What should I play next?
I've made a couple of posts recently asking for advice on repertoire and now I need to know what should I play next.
Over the past year and a half or so I have learnt Mozart 3, Bach Partita 2 Allemande, Bach Partita 3 Preludio andMinuet 1, and the Bach Violin Concerto in A Minor. I've also learnt Fiorillo 22, Rode 6, and Brahms Academic Festival Overture Violin 1. What should I play next?
Thank you for your time
Why not read over Deberiot 9? See if it’s within your capabilities. Also, see if you like it. I certainly don’t.
Mozart k304? 2 and 1 violin concertos? Beethoven 5th violin sonata? Viotti 22 (a stretch)?
I’m not a fan of Deberiot, also I’m not sure if I could play it. As for the Viotti, I might be able too but it would take a little while longer than usual for me to learn it than another piece. I’ll take a look at the other pieces you recommended to see what I think of them, thanks for the help!
Maybe some Beethoven. Romance no.2 and/or if a good pianist available Spring Sonata (the easiest sonata from the duo aspect in my opinion).
I second James' suggestions of Beethoven Spring and the Romance No.2.
Tchaikovsky Violin Concerto's 2nd movement is also an option.
Is there a link to the syllabus you mentioned Jeremy?
Here's a link to the AMEB syllabus (PDF digital download for $10 - well worth it imo as it gives you a great overview of pieces all graded by difficulty) https://www.ameb.edu.au/shop
Tchaik second movement is not that hard. I didn't find it much harder than "Thais Meditation." Also the Wieniawski No. 2 second movement ("Romance") is a fine piece. For salon pieces there is the Mazurka "Obertass" by Wieniawski (a favorite encore of Ehnes), the Tchaikovsky Melodie (Youtube with Jansen), the beautiful Melodie by Gluck (Heifetz!), and the Rondo from the "Haffner" Serenade by Mozart (it's in the red Kreisler book, find it on Youtube with Kreisler). There is the Brahms Sonatensatz -- I enjoy Mutter's recording. Both of the Beethoven romances are beautiful. Sumptuous youtube videos with Renaud Capucon. The F major has more high stuff, the G major has the double-stopped solo portions. I have performed both -- the F major with orchestra!
Paul, I don't actually understand why people say the 2nd part is more difficult than the first. With one exception everything the first plays is played by the second though often in a different key. BTW I have never heard a performance nor seen a recording of the piece without the last movement. If it is neglected then only by violin teachers. And it shares that fate with numerous other works studied in violin lessons...
The Tchaikovsky 2nd movement isn't "Technically" difficult, but the emotion that has to be put into playing makes it difficult in my opinion.
Paul mentioned the Brahms sonata movement. That's a good piece to learn because there is a lot of technique/phrasing that can be touched upon and it's relatively short. I don't think there is an edited version (my copy is unedited) but you can determine your own fingerings and bowings. I think it's a good introduction to Brahms at least.
I vote for Mendelssohn violin concerto (what I did right after DeBeriot #9
A lot of these suggestions seem to be more advanced than where you are at. I've heard no mention of a teacher, and if you really want to progress without doing all kinds of damage to your playing, you should be working with a teacher with a good track record, and that teacher will be able to tell you exactly what you should be playing.
If you can play the Bach Praeludium, how about the rest of the Partita? Learning the poise and phrasing necessary for the Loure would do a lot of good.
Sadly, some people (like myself) are not well off enough to afford lessons.
There may be teachers in your area that offer reduced rates for motivated students with financial needs, or community scholarships or other resources that can put good teaching within reach. I don't know what country you live in, but there's nothing wrong with reaching out to some teachers and asking if they are willing to teach students with a financial need. If there are any arts councils, arts highschools, or even your regional symphony, you can try contacting them, telling them you have a financial need and are looking for a teacher and resources to have lessons, and they may be able to steer you in the right direction.
OP is in Texas. Agree with Christian there are people out there who would help find and fund a teacher. You are in an orchestra, per other thread, have you asked the conductor for help, advice?
"Self teaching is for people playing Paganini" - I am not sure if I can agree with this statement to be honest. Or else serious musicians don't even need to go to conservatories.
I'm pretty sure Christian's comment about self-teaching and Paganini was a joke about one person in particular who used to pop into this forum and play incredibly fast and incredibly out-of-tune Paganini on an exercise bike.
My point is more that a good teacher teaches the student to teach themself, and that a thoughtful student can go on and do this without doing harm to their technique when they have reached a very high level. A student at the intermediate level will bake in a lot of technical errors that should have been worked out before getting to all that fancy Paganini stuff. I'm mostly using Paganini as metonymy for really advanced technique.
My conductor recommended the Bach A Minor most recently(which is why I learned it), but has been unavailable due to extenuating circumstances so I am unable to ask. And also, I have gone about multiple options for lessons, however none of them work out due to money, or other reasons
Does anyone have any etude recommendations for me to learn?
Correct me if I’m wrong, but I don’t think anyone has mentioned other Mozart concertos or Kabalevsky. Haydn C major could work and so would the Haydn G major. Personally, as far as the two Haydn concertos I think learning both isn’t that necessary. It wouldn’t hurt, but you would probably survive without doing both. I only learned the 1st movement of the G major concerto. I never touched the C major concerto.
Oh and as for etudes it’s hard to say. Etudes are meant to develop technique or teach new ones, and without knowing your playing we wouldn’t be able to see what areas of your technique need to be developed/improved in order to know what etudes to recommend.
A fun and relatively easy piece is the theme song to the movie Thomas Crown Affair “Windmills of your mind” by Michel Legrand. I’m works very well for the violin. Good movie (I prefer the original with Steve McQueen and Faye Dunaway).
Preparing for Kreutzer by H whistler is a good choice of basic etudes.
Well for specific things I need to work on, I’ve been told I need to work on my double and triple stops, are there any good etudes for that?
Josephine Trott- Melodious Double Stops.
If you want syllabuses, NZ and ABRSM are free. You don't need to pay for the Australian one.
Which Mozart should I learn first, 4 or 5?
I would say that the 5th concerto is harder than the 4th, so if you wanted to go from a difficulty standpoint you could start with the 4th concerto even though that one isn't a walk in the park either, especially from a musical standpoint.
Suzuki Book 9 is Mozart 5 and Suzuki Book 10 is Mozart 4, so you know what HIS opinion on the subject was. I thought so too, when I came back to Mozart 4 (I "learned" it in my childhood, Mozart 3 at 13, and 5 at 17 - having studied viola in between). I think 5 is more consistently difficult (and it goes higher), but 4 and 3 have some very tricky bits.
Since you are already learning some etudes from Fiorillo and Rode, why not learn a few more from them along with some Kreutzer (and maybe Dont op. 37)?
The only reason I learned the Fiorillo and Rode was for Symphony Region Orch auditions so I don’t know if I want to learn any more of those yet
I'm not too sure about the usefulness of Fiorillo as I only played a few etudes from it, but I would consider Rode a really important bridge between intermediate and advanced playing. It has a handful of useful exercises that many professional violinists (e.g., Kerson Leong and Nancy Zhou) still practice them occasionally.
Okay, thanks Buri.
I'll point out that Laurie's rules for the forum requires use of your real name. This is somewhat honored in the breach, and it's impossible to tell if some people are truly using a real name rather than a made-up name, but it's a general expectation that you at least attempt to respect the fiction of real names here.
Oh okay, I had no idea. I’m sorry. How do I change my name?
In the real world.
It's a little presumptuous to assume that isn't the OPs real name. If my last name was Violinist I would have include "Classical" in the top five names for my kids.
Now, welcome to the main stage....CLASSICAL! Give her (him?) a round of applause and don't forget to tip your bartenders!
I have a friend with daughters called Symphony and Rhapsody. He doesn't know what a son would have been called.
Oh I'm sorry, I sent an emoji but it replaced it with Question Marks.
If you really want to be thorough, going through all of Dont op 37 and Kreutzer is a must. It helps to have an understanding of what an etude is about, but they teach really important techniques. I did Kreutzer a while ago, but I've been going back to Kreutzer 2 and using it to really try and develop my detache and spicatto (Making sure my bowing is straight, and making sure my left hand is playing together with my right, really watching if my bow is in the exact place it needs to be after a string crossing, and any number of little elements). These etudes can seem really simplistic, but you can get a lot out of them even when you are quite advanced.
As Christian says but perhaps more so. They have been a life7s work for many greta violinists including Szigeti who sometimes off the cuff asked competitors on international competitions to play them .
I remember working on Mozart K304 and asking my teacher how to get that crispy, just-a-little-off-the-string sound that I heard on some pro recordings. I could do it on one string, but it got fouled up if I had to change strings. His answer was to practice the bowing with K2 until I got the sound I wanted. (So I wouldn't have to think about the notes.)
Yes. I would love to have heard that. Quite a few years back The Strad published an arrangement of K8 (maybe by Yankelevitch?) that turned it into a horrendously difficult study/showpiece.
I got in contact with my friends teacher for an evaluation type thing and he recommended the Khachaturian Violin Concerto minus the cadenza
I don’t know though, it seems above my level
Khachaturian sounds like a really strange choice based on what you've written here.
I agree with Christian (that's weird to say). Khachaturian seems like a strange choice based on the past pieces you've done. At least according to the delay sequence (idk how closely people follow it) Khachaturian is placed after Mendelssohn but before concertos like Barber, Wieniawski 1 and 2, Lalo, and others.
I mentioned Kabalevsky a couple days ago. I think it would be a good next piece if the OP didn’t want to do a Mozart concerto.