what should I play next

Edited: December 1, 2019, 5:32 PM · I am a high schooler, I have played bruch, lalo, wieniawski no2, vieuxtemps 5, dvorak, mozart 3 and 5, sarasate carmen, and saint saens intro and rondo cappriccioso, my teacher does not want me to play tchaikovsky, brahms, beethoven. I have played kreautzer, fiorillo and rode, I am part way through dont and have played paganini 13, 14, and 16. I am thinking about paganini violin concerto no 1. It does not have to be a concerto though. Any suggestions

Replies (14)

December 1, 2019, 5:00 PM · Mendelssohn.
December 1, 2019, 5:18 PM · I agree with Paul do Mendelssohn. You could also do Saint Saens no 3 before doing Mendelssohn if you want.

You also might want to considering doing Mozart 5 as well if you haven't already. It may not be Bruch, Lalo, or something more difficult, but is definitely one you want to have under your belt since it's one that many professionals perform. Some to name are Hilary Hahn, Anne Sophie Mutter, and Ray Chen. And Mozart concerti are hard to pull off in terms of musicality.

December 1, 2019, 5:30 PM · Ive played mozart no 3 and no 5
Edited: December 1, 2019, 7:09 PM · I second Mendelssohn violin concerto. What a beautiful piece! Have you played various show pieces like Sarasate and Wieniawski?
December 1, 2019, 8:56 PM · How about Saint-Saens Havanaise?
Edited: December 1, 2019, 10:02 PM · It seems to me that the works you've listed tend to be technically challenging but musically straightforward (excluding the Dvorak and of course, the Mozart). I can understand why you're teacher wants you to hold off on the great Romantic concerti. The thing about technical showpieces is that the challenges present often do a lot of the musical work for us: a Paganini caprice full of runs and extended techniques doesn't require a ton of color manipulation, since the character is partly written into the music. In these pieces, simply executing the technical challenges allows the musician to come a significant way in terms of bringing the music to life.

However, the simpler the music, the more the player has to do to make that material interesting. In that vein, I'd discourage you from doing a Paganini concerto, which seems like a bit more of the same, and opt for a musically challenging work. Some above have mentioned Mendelssohn. Sibelius and either of the Prokofiev concerti work too. Whatever you choose, I'd urge you to find a piece to learn that challenges you to explore your personal voice on the violin, rather than one full of technical challenges you're eager to overcome. I'm not saying the latter isn't valuable, but I think you might benefit more from the former at this point in your development. I hope this helps.

December 1, 2019, 10:45 PM · How about sonatas? These are mu'sically challenging. And yes, Joel made a a good point.
December 1, 2019, 10:47 PM · How about the Khachaturian? It's lots of fun. Or Prokofiev 2?
Edited: December 2, 2019, 12:48 AM · Agree with Evan. If you can find a pianist, work on a Beethoven sonata.
December 2, 2019, 9:28 AM · - khachaturian concerto
- (if your skill level exponentially increases) heifetz-gershwin 3 preludes, especially the beautiful last one
- mvts 2-5 of symphonie espagnole
Edited: December 2, 2019, 7:00 PM · My son is of similar age (14) and level, and he has been working during these early years in high school on filling in the gaps before hitting the big pieces like Tchaikovksy and Sibelius. You have some obvious gaps in repertoire, the biggest being Mendelssohn, but also Saint Saens 3 and Lalo. Barber and Mozart 4 as well. Some of these won't take a lot of time (esp. Barber and Mozart 4) but they are important to know if you plan on a career in performance. Unless you are imminently facing college auditions, I would fill in some of those gaps.
Edited: December 2, 2019, 11:49 AM · I agree with Susan that the Mendelssohn is a gap that needs to be filled. The OP has played Lalo and Mozart 5, so those are not such an issue. I disagree with the implication that the Barber and Saint Saens 3 are pieces that need to be done now. Prokofiev 1 or the Glazunov would also be fine pieces to study at this stage, as are countless others. I think the primary factor for selecting repertoire should be the violinist's interest, not a sense of obligation to have played what their colleagues are playing. The Mendelssohn is a warhorse that anyone will benefit from studying, but I know musicians who've played the Barber at 15 - I also know some who've started it at 23. The Tchaikovsky is a concerto many study in high school. I'm 22 and haven't gotten around to it yet, and I don't feel that it has cost me anything development-wise. Do what feels right for you, guided by a sense of what your colleagues are doing. First and foremost, pick a piece you enjoy, because if you don't, it will come through in the way you play it.
December 2, 2019, 7:00 PM · Sorry -- I meant Mozart 4. Fixed that in my post.
December 6, 2019, 6:53 PM · Keith Jarrett wrote a nice piece for violin and orchestra. I’m not sure if the sheet music is readily available. I remember listening to a recording in the nineties.


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