Viotti 23:

Edited: October 19, 2019, 3:21 PM · Hello,
My teacher just gave me Viotti 's violin Concerto n°23 , and during these holidays(I'm in France),I wanna play the 1st mov ALMOST perfectly.
What is difficult and how to correct it?
Is musicality difficult?
Well I've seen that the truplets in 6th position with 4th finger extention on the second page aren't easy!

Second question:
What do we usually play after?(maybe Mozart 4 or 5,Bruch 1 ,Saint-Saëns or Mendelssohn ?
Waiting for your answers and practicing...

Replies (9)

October 19, 2019, 3:21 PM · Viotti is never musically difficult.
October 19, 2019, 3:23 PM · Thanks for your answers Paul
October 19, 2019, 3:46 PM · Paul, any piece worth playing is by definition musically difficult. If Viotti 23 is worth playing is of course another question...
October 19, 2019, 4:02 PM · The running sixteenth notes take a little drill to get clean, and the triplets that you mentioned can be tricky. There's not a lot of musical subtlety to be found though.

I played DeBeriot #9 after Viotti 23. Viotti 22 and Kabalevsky also come to mind. The first four movements of the Bach d minor partita fit here as well. Saint-Saens #3, Bruch, or Mendelssohn would all be huge jumps from Viotti 23 and I would never go straight from Viotti to one of those without several pieces in between.

Edited: October 19, 2019, 8:10 PM · Albrecht I'm glad we agree. Guillermo, there just isn't that much musical content in Viotti as there is in Mozart.

I am working on Viotti 22 now. I'm enjoying it but there is a fair amount of gratuitous redundancy and the David cadenza is crap. I want to play Mozart 5 and I need to improve my technique first, hence the Viotti, which is a stretch piece for me. Listen to it on Youtube with Lola Bobesco... wow.

Have you played Haydn C Major? That's a nice concerto in my opinion.

October 19, 2019, 10:01 PM · I have worked on Haydn's C-Major concerto and I find it great, the last movement a bit less great than the first two.

As to Viotti 22 it is doubtless a lot more inspired than 23. Just listen to the somber tutti that opens the concerto! The violin entry is breath taking (he tried to do it again in 23 but it does not work there, does it?). I would take the tempo completely free there--all the way to the fermata, playing slow, make the long notes as long as the bow will allow (I have never heard a recording where that was done, but I am quite certain it would be effective). I love the short adagio and the wild and stormy final movement is certainly more interesting than the more conventional stuff usually done in third movements at the time. It is true that the solo sections often have less musical interest then the tuttis though, something one observes in many concertos of virtuosos, for example most of Spohr's.

October 21, 2019, 12:14 PM · Guillermo, do you have a teacher? Does your teacher play the violin? What does your teacher say?
October 21, 2019, 10:12 PM · Love the Viotti 22nd-a beloved concerto by many performers and composers of the romantic era. And for good reason, in my strong view.

Easy to bash these wonderful works as student stepstone pieces. I respect them as good music, and they should be performed as such-not just mere lifeless etudes with piano accompaniment.

It's up to the player to make them sound great, so I wouldn't blame Viotti (or the other violinist-composers, Spohr, etc.) for a rudimentary, tepid performance.

October 22, 2019, 1:57 PM · It may be the teacher's wise choice to postpone the great concertos and the Mozart 3-5, until both your technique and musicianship are more mature. This is especially true if you plan on being a professional player. You don't want to turn the more primitive approach to a piece into permanent habits. The Haydn and Mozart 1&2 are also good choices. On the other hand, if you are an amateur or semi-pro, like me, who will never actually perform those great pieces, then go ahead and work on things like the Beethoven concerto, for the shear enjoyment of it.

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