I am an early-intermediate violinist looking for repertoire advice. I recently got Seitz's third concerto to performance level, and am now working on Portnoff's concerto in A minor. What are some other pieces that are suitable for me?
I know that there are a lot of variables here, so please let me know if there is any information I should add.
Please do not recommend any concertos written by Seitz; I have done many of them, and now want something else.
Never heard of Portnoff! Seitz 3 is harder than some of the other Seitz concertos, in case people are thinking of the ones in Suzuki book 4.
I do not currently have a teacher, so that is why I am asking here. Thank you for the suggestions though! I will take a look at them.
If Accolay was slightly beyond you then I strongly recommend Vivaldi g minor. It is the easiest of my suggestions but it is harder than the a minor.
Thank you! I will try the Vivaldi. I have not played much baroque violin music though.
The site doesn't have a configurable time zone. It seems to depend on the status of daylight savings and I think currently it's Central Time.
Do you work on any studies? If not, the ones by Kayser might be about the right level for you.
I have no experience with Seitz concertos, I skipped around a lot in repertoire. For intermediate pieces in general I would recommend Mozart violin concerto no 3 in G major. Not too difficult and quite sight readable. Hard to phrase with Mozart, when I learned the fifth concerto in A major(and any piece) I listened to a lot of recordings. It seems to be on another level to these student concertos in the eyes of many though.
Mozart concertos are not intermediate pieces and the OP is nowhere near ready for any of them, including the G major (#3).
Welp, there you go. I have no experience with Seitz so I don’t know much about his level. I read a little and it seems to be in Suzuki books so that says a lot about it.
When I began violin I cam from a piano background (cause I’m Asian get it?) so it allowed for easier reading and a better ear right off the bat. So I’m not familiar with many intermediate level pieces (tldr don’t crucify me).
By the way Mary Ellen: Portnoff wrote a nice set of student concertos! I think Portnoff Op.14 was my first concerto (as a young child). It is easy but contains many typical violinistic idioms, at least applied to me it was a great teaching tool.
Thank you for the suggestions everyone!
Samwit, studies do two things -- they advance your technique (by doing ones that are just
Thank you for your advice! I have some questions though. You suggest that I pick "just a couple studies at a time, perhaps with different objectives." I assume that by "studies," you mean a single étude and not an entire set of études, although I could be wrong. Should all the études that I pick be by the same composer? Also, is it necessary to do a certain composer's études from a set in order, or should I skip around depending on what technique I need to work on?
Yes a study is one etude. Some teachers just work you through each book, one study at a time. There's nothing really wrong with that, but it can become kind of a routine where you're just playing through them and not really getting as much out of them as you could. That said, without the advice of a teacher on a weekly basis, how will you choose? If you want just one suggestion, maybe one Schradieck and one Kayser (or Mazas). Schradieck is very technical and Kayser/Mazas are more musical.
Yes, I think I will do one Schradieck and one Mazas at a time.
Oh my goodness there are sure to be a great number of private teachers in Rockville, Maryland (I grew up in Gaithersburg). That is not to say that they will all be equally qualified, available, or affordable.
Lydia Leong - I looked at the Bohm Moto Perpetuo that you recommended. I do not understand how one does spiccato so fast. Do I have to use sautillé or something?
Yes its sautille. Lots of people just say spiccato to cover a whole spectrum of off-the-string bowings.
Paul Deck - Thank you!
Well I don't know how you do "normal spiccato" that fast! Spiccato can very tremendously depending on how much time the bow spends in contact with the string. It can be very "vertical" or biting, or it can be more "horizontal" or "brushy".
Samwit, feel free to contact me through the link in my profile. (Your mom might have my email address from the MP YCMF of the previous summer, too.) I can recommend teachers in Rockville. (Paul, I would consider Rockville is unpleasantly far from Arlington in ordinary traffic; it can easily take an hour to get between them. Fairfax from Rockville can be pretty awful too.)
The Suzuki books are a good starting place. Another basic method book, like Mark O'Connor's if he's interested in fiddling, would also work.
Spiccato is Italian. Sautille is French. I have never made a distinction between the two words. There is a wide range of speeds and sounds without clear distinctions; from a high, slow, forced bounce, the brush-stroke, and the very fast, light bounce controlled by the fingers.
My own mental distinction between spiccato and sautille, which I'll admit freely is arbitrary, is that spiccato is where you control every stroke individually. Sautille is more of a resonance phenomenon where you control the overall speed and brushiness of the sound but not each stroke individually.