What should I start after finishing Mozart 4?

March 29, 2017 at 07:35 PM ·

Replies (20)

March 29, 2017 at 07:36 PM · Why two Mozart concertos in a row?

March 29, 2017 at 07:47 PM ·

March 29, 2017 at 08:20 PM · This is a pretty common refrain here, but your teacher really should be guiding you at this point.

With that said, if you have not done much in the romantic/virtuosic repertoire, you may want to look at a Vieuxtemps or Wieniawski, or something along those lines. Viotti 22 might not be a terrible idea, although it might not push you forward depending on where you are, and it may not be sufficiently different in terms of technique from the Mozart. Kabalevsky would be a little different.

It's really strange to me that you would be asking about repertoire here, and playing Mozart. My guess is that if your teacher is comfortable teaching the Mozart, then your teacher can suggest a piece(s) that would address your strengths and weaknesses in an intelligent way. Much more than the people on this forum can.

If it's kind of up to you, then there's Bruch, Saint Saens or Mendelssohn. There are smaller pieces by Kreisler and maybe some Sarasate that could work. There are different sonatas. It kind of depends on what you need to work on as a player.

March 29, 2017 at 08:47 PM · Thanks! I was going to ask my teacher anyway, I just needed some ideas for what to ask her about.

March 29, 2017 at 09:28 PM · She'll either assign you a piece or give you a choice between some pieces. At your level it is not really a sound idea to allow the student to pick and choose what they want to play. Harsh as it sounds, Nobody here knows how you play, what you're lacking, your strongpoints, etc... so take what advice about literature you receive here with a big helping of salt.

March 29, 2017 at 09:49 PM · Although honestly, I sort of question the wisdom of doing two Mozart concertos in a row -- even Suzuki didn't intend that to be the case. Might be time to ask if this teacher routinely teaches kids to this level or if they typically move on to a traditional teacher.

March 29, 2017 at 11:03 PM ·

March 29, 2017 at 11:07 PM · Also; John, I was going to ask her about concertos and see which one she thought would be the best for me.

March 29, 2017 at 11:23 PM · Good choices after Mozart 5 could include Kabalevsky, Bruch, Viotti 22, and Spohr 2. Note that Spohr 2 has a few tenths.

If you have not been doing any salon pieces outside of Suzuki you should ask your teacher about that too, especially some of the slower things like Meditation or Vocalise, it's good to do some of that.

Does your teacher assign Kreutzer and other studies?

March 29, 2017 at 11:27 PM · Yes, I am working on the kreutzer etudes right now. I am currently working on the 24th etude.

March 30, 2017 at 12:37 AM · What other concerto pieces have you played?

March 30, 2017 at 10:29 AM ·

March 30, 2017 at 11:18 AM · It seems that your concerto repertoire could benefit from de Beriot #9 or Vitali's Chaconne. Both pieces are good for building different technique than you have previously studied, and they pave the way to more advanced concertos. Look up these and pieces recommended by others on YouTube and talk to your teacher, who should be the best judge of where you are standing.

March 30, 2017 at 01:50 PM · If you cannot play the Accolay concerto *very* well, then you have absolutely no business doing Bruch! It's a bit surprising that you are working on Mozart 5 and claim to be playing that "pretty good" when the closest thing that you have worked on appears to be Bach A Minor. That's a big jump. We don't know what your Mozart sounds like. So, depending on how good "pretty good" is, you might want to delay moving up the concerto ladder in favor of filling in with the kinds of pieces that are going to build your foundation. I agree with Sung that considering the concertos you have played, Beriot No. 9 is a great choice. But again, Beriot 9 comes *after* Accolay has been *polished*. Also if you have not played Haydn G Major then that is a good one too, as well as Beethoven Romance Op. 40. Normally these pieces are considered "Preparation for Mozart." Beware that there are some teachers that will want to push you up the ladder as fast as they can because they don't actually know how to build your fundamentals. I had such a teacher as a child, so I know too well the effects of such "training".

March 30, 2017 at 01:53 PM · This sounds like a teacher who is using *only* the Suzuki repertoire without supplementing, up to this point.

March 30, 2017 at 03:09 PM · "I'm doing the Suzuki method but not using the Suzuki books"

What exactly does it mean, at this level, to be "doing the Suzuki method?"

What is the "method" involved here. Presumably by this time the student is reading and not learning by ear. But what else specifically?

I'm being neither sarcastic nor dismissive (or even rhetorical) with this question. I simply want to know what it means at advanced levels.

March 30, 2017 at 04:38 PM ·

March 30, 2017 at 05:02 PM · You seem to be confusing having "completed Suzuki Book 8" with "ready to play Mozart concertos 4 and 5." There is a gaping hole in the technical and musical material in Suzuki 7-8, primarily as Suzuki was unable to secure copyright permission to reproduce the works he wanted to incorporate, like all the wonderful Kreisler pieces. Then there's a ton of other works folks have mentioned (there's another thread here on the site that covers this extensively) like the Haydn G, Mozart G, Beethoven Romance in F, Accolay, Viotti, Kabalevsky, Thais Meditation, Sarasate Romanza Andaluza, Wieniawski Legende, etc.

Any competent instructor, Suzuki-trained or not, understands that jumping into Mozart 4/5 from only doing Bach A Minor, the Double Concerto, and Vivaldi is a *huge* reach. You'll have to forgive us for our skepticism...those of us who have taught and played for decades have seen too many students ruined by jumping into advanced repertoire without having built a strong foundation of basics beforehand.

March 30, 2017 at 06:39 PM · I would love to join in on this discussion but for some reason I can not view Brady's original post (only the title) and I can not view some of his comments (but I can see every time he commented, just not the words). Does anybody know what is causing this problem?

March 30, 2017 at 06:46 PM · I think he deleted his posts.

This discussion has been archived and is no longer accepting responses.

Facebook Twitter YouTube Instagram Email

Violinist.com is made possible by...

Shar Music
Shar Music

Yamaha Silent Violin
Yamaha Silent Violin

Pirastro Strings
Pirastro Strings

Find a Summer Music Program
Find a Summer Music Program

Dimitri Musafia, Master Maker of Violin and Viola Cases
Dimitri Musafia, Master Maker of Violin and Viola Cases

Violinist.com Business Directory
Violinist.com Business Directory

Violinist.com Guide to Online Learning
Violinist.com Guide to Online Learning

Dominant Pro Strings

Antonio Strad Violin

Bay Fine Strings Violin Shop

Bobelock Cases

Fiddlerman.com

Fiddlershop

Los Angeles Violin Shop

Nazareth Gevorkian Violins

Violin-Strings.com

Metzler Violin Shop

Leatherwood Bespoke Rosin

Warchal

Barenreiter

Johnson String Instrument and Carriage House Violins

Potter Violins

String Masters

Bein & Company

Annapolis Bows & Violins

Laurie's Books

Discover the best of Violinist.com in these collections of editor Laurie Niles' exclusive interviews.

Violinist.com Interviews Volume 1
Violinist.com Interviews Volume 1, with introduction by Hilary Hahn

Violinist.com Interviews Volume 2
Violinist.com Interviews Volume 2, with introduction by Rachel Barton Pine

Subscribe