I Need help choosing my next piece
So me and my teacher just wrapped up the Vitali Chaconne, and I need help with getting recommendations on what to play for my next piece, a little more info about my level is that I've already played Mozart 3, Viotti 23, and Vivaldi's Winter.
This is a question I do not understand when it comes from a violinist with a teacher.
Well, I do have pieces in mind that I want to play, but I'm not sure if im ready for it, like the E Minor mendelssohn concerto, which has been my dream piece ever since I was in Suzuki Book 2. But thanks for the recommendations.
So, work on the Mendelssohn - unless your teacher disagrees.
Thank you, also, is 4 harder than 5, or 5 harder than 4?
As one who muddled through it before I was properly ready, I offer this humbly: careful with Mendelssohn.
Katie gives you very good advice. My opinion, you’re not ready for Mendelssohn. If you want to play it well later, don’t try it now.
Do you have any suggestions for pieces for me to play to get from where I am now to Mendelssohn?
Here’s some stuff that I learned with my teacher before getting to the Mendelssohn. Hopefully it will give you an idea.
Please consider Katie B’s recommended pieces. They are excellent. Exactly the pieces I would have suggested also. And of course all of this should be in consultation with your teacher.
I think Zukerman said something about having to practice it every time before teaching a student that was learning it.
Dont op 37, I love those! I’ve started teaching them to all my students who are at that level. (The “first” book of Dont that Buri mentioned.) The famous ones are opus 35 and they are much much more difficult. Dont 37 is exactly the level that I think the OP would benefit from.
Yep. Galamian was very insistent about them too.
Mike, do you think that I can do Mozart 4, or is that too hard at my level, I'm considering Mozart 4 as my next piece.
Please check with your teacher because I do not know how well you can play Mozart 3. You should go on IMSLP and look at the score. If you find any bits that are too hard/incomprehensible, then it's beyond your current skill level.
I will next week when me and my teacher have lessons on Friday. I sight read the first half of movement 1, and it doesn't seem too difficult.
My high school teacher wouldn't let me touch Mozart 4/5 until/unless I had the technique to play her preferred cadenzas (which I believe were the Joachim ones), as demonstrated by playing the relevant etudes. (Didn't happen. We worked on Beethoven Romances, DeBeriot 9, and Rode 7 instead.)
I guess I'll listen to the Beethoven Romances, btw, I have played Beriot 9 already. Rode 7 was an option that my teacher offered me.
Katie's list has good suggestions. Rode 7, Spohr 8, Kabalevsky, Kreisler Praeludium & Allegro, Bartok 6 Romanian Dances, are all good choices at that point. Perhaps Conus, as well, which the Russians like to use as a bridge from the pedagogical intermediate concertos to the Bruch level.
She thinks I'm ready to play Bach Sonata No.1, Mozart No.4,and Beriot's Scene De Ballet. I already played #9
Sonata No 1 with the Fugue? Impressive. I usually see people doing the Bruch G minor at least before doing the Fugue.
Without the fugue.
I already played Bach Partita No.2 Omit Chaconne also
If I was in your position, I would pick the Mozart 4. This is because of it being a better piece than Scene De Ballet, it is harder than the other 2, it helps develop a sense of style, and it being harder means that you will develop more from learning it (assuming that it is in your ability).
Katie's list is solid.
Scene de Ballet is fun, but I'm not sure it teaches any techniques that aren't in de Beriot 9.
To play Devil's advocate, I believe that there is considerable value in playing another more impressive Mozart Concerto instead of continuing to nurture your taste in Mozart 3. As Buri said, "I don’t think it’s usually no3". That says a lot about the practical usefulness of a more stigmatized concerto such as the No 3 in G major . What I mean by "stigmatized" is that audition panels for pre-college programs and etc may have a tiny internal scoff when they see a more "pedestrian/easy Mozart Concerto" such as No 3. Although I don't really believe this because we see many play the 3 in major comps (Ray Chen in Menuhin, Sumina Studer in 2018 Menuhin, 2016 Wieniawski with Bosomari Kim and Richard Lin, and many more), so it's just a possibility. Even ignoring this point, the main purpose for any student is to develop their musicality and technique. I believe that these kind of go hand-hand (playing more music=more exprience with different patterns in phrases and encountering and exercising more and more techniques), so a more technical Mozart concerto would equal a supremely splendid package of music and technical development right? The things you can learn from Mozart Violin Concertos 4 and 5 fit that portfolio SO well.
I'm going to ask my teacher about the pieces that Katie and Lydia Leong reccomended. (Kabalevsky, Rode 7, Kreisler P&A, Viotti 22 etc)
“They are somewhat similar to he mendelssohn in terms of deceptive simplicity. Consider that for a professional orchestral audition you are required to play a movement from a Mozart Concerto and I don’t think it’s usually no3 although playing this well is no mean feat. It’s a hard juggling act I think. If you have really got a good sense of Mozart three I would do more technical stuff and keep reviewing that concerto rather than adding another one.“
I learned Mozart 4 after I had already learned several major Romantic concertos (including Mendelssohn), because my teacher, when I was a teenager, believed very strongly that Mozart 4, as a likely future audition concerto, should be learned as pristinely as possible.
What Lydia said.
Isn't the first question here what the OP aims to achieve? Andrew put the finger on it but nobody (including the OP) afterwards refers to goals in any way (except by implication when there is talk about auditions).
The reason that people ask for a Mozart concerto for auditions is that it's very hard to hide deficiencies in core technique in a way that you could do in a Romantic concerto. (This is also why Mozart symphony excerpts are common in orchestral auditions.)
“I find it strange that you need to audition with a soloist's part in order to get a job to accompany the soloist--entirely different skill sets).“
I'm still deciding but I'm most likely going to settle on playing either Kabalevsky or Viotti 22. I will talk to my teacher. And PS. Yes I'm 15.
Ben, I think you have two great choices ahead of you. Listen to both of them a couple of times and see which one you like, and talk it over with your teacher. Either one will give you skills that will get your playing a little closer to what you will need for Mendelssohn.
I think I've settled on the Kabalevsky concerto.
Awesome! I had fun with that piece.
The ONE thing that's easier about the Mendelssohn is that the cadenza is already fixed - You need never worry about whether the cadenza you're playing is too undemanding technically or inferior musically.
I was going to suggest the Bach E major, which I'm learning now, but I see that it comes after the Bruch and Lalo concertos in the rep sequence noted above. (https://www.stringacademyofwisconsin.org/resources/violin-music-repertoire/#sequence_of_rep)
I would question why the Bach E Major was so high......
To be honest, I'm a bit less intimidated by Bach than some of the Romantics (even early Beethoven seems intimidating). Not to say this Bach concerto is easy; it's not. It's like climbing a mountain to be sure. I've had to pace myself.
I've actually seen it rated so high elsewhere before. I don't remember why or where though, but I do remember that the source was a pretty respected one.
I mean in my opinion it doesn't seem much harder to play than the Bach E Major Prelude. Hm. Also, I'm working on the Kabalevsky and will ask my teacher.
I'm curious. It's not an easy key to play in for sure. But I like it a lot. It's fun.
It reminds me of the Preludio that I learned many years back. The two pieces seem to complement each other.
I think the E-major Partita is easier than the D-minor (though the Loure has its difficulties), but I think it's considerably more difficult than the Bach concertos, which I think most people study before they study any Mozart concertos. I played the E-major first movement for the House Music Competition in my first year at senior school, and I was no prodigy, coming in third, behind Dickie Juniper (6th Form, playing Liszt's Dance of the Gnomes), who was behind Anthony Camden (6th Form, Oboe).
A repertoire sequence is not necessarily a
Minus the Chaconne, the d minor partita is quite significantly easier than the E major partita, with the exception of the E maj Gigue, which is the single easiest movement of solo Bach IMO.
I agree with everyone else's suggestions of several dozen pieces but I'd like to add at least one more for the sake of needless complexity. And since Albrecht wrote, "Everybody wants to play Brahms; you won't be an exception to that," I'd like to suggest that you can play Brahms now -- you can play the Sonatensatz!
Legends say that if you can play the first scale, you can play the entire piece.
That's certainly true of the Scherzo movement from Beethoven's Spring Sonata.