Why is it so hard to do dynamics in the Mendelssohn violin concerto Mov. 2?
Maybe this is just me, I'm not too sure but I find it so difficult to do dynamics in the second movement of the Mendelssohn violin concerto. I'm not bad at dynamics and I don't struggle with it in other pieces, its just this particular piece. And honestly, in general, my intonation and rhythm in the piece is good but I'm struggling to make it sound nice. I have less than 2 months to my exam, please help! Thank you so much.
Perhaps because it is a slow piece? Anyway the main technique here is bowing closer or further from the bridge, with appropriate varying of pressure, but keeping the bow speed high enough. Another way of changing the dynamics is playing the same passage on different strings, e.g., first using the A-string, the second time playing the same staying on the D-string. Best of luck!
Hard to say what's the problem but there are more things that just volume changes in dynamics, and there more than a few ways to control dynamics, too.
Dynamics in concerto work are somewhat of an illusion. As Mr. Jefferson said above, you do not want to get overwhelmed by the orchestra. Therefore, a piano in a concerto can be much different from an orchestral piano.
The soloist has a narrower volume range than the orchestra violinist.
Yeah, the dynamic marking "piano" is easily misunderstood when playing solo, especially in a concerto.
This is a bow control issue, and Jean has some good suggestions.
Dynamics, in terms of decibels, are always relative to what else is going around you. In a concerto, even a pianissimo is basically a "pp attitude", as opposed to something that doesn't produce plenty of projection. (Whereas, for instance, a marking of forte in chamber music might be a "forte attitude" if you're supporting harmony, i.e., you need to be below other more prominent parts.)
I mean, dynamics is always relative though ... i think the fact you are competing with like 40+ strings players makes it legal for you to play as loud as you can