Which Concerto comes after Sibelius?
I recently just finished the Sibelius Violin Concerto and I had so much fun playing it. It’s one of my most favourite concertos and learning it was definitely an unforgettable experience! I also played it for a competition recently. Although I didn’t win, I had the opportunity to play the concerto (only the first movement) with an orchestra, which I was grateful for.
I just wanted to ask, what Concerto is good after the Sibelius? I just want a good Concerto that might be good for a competition. Since I didn’t win, I really want to pick a very convincing Concerto.
What else have you played? Generally, if you are able to play Sibelius well, you should already have the technical ability to play almost any other concerto well. Common other concertos played by this level student include Tchaikovsky, both Prokofiev concertos, Beethoven, Wieniawski f#, Brahms, etc. Also, some of the modern ones like Shostakovich, Bartok, Walton, etc.
How about the Beethoven Concerto? Unlike the Sibelius or several others, you will never say that you are truly "finished" with this masterpiece. Like J.S. Bach's Sonatas & Partitas, the Beethoven Concerto is an infinite wellspring of transcendental ideas and inspiration.
Just be glad you didn't perform Vieuxtemps 4 with the orchestra. The orchestral introduction is three minutes long.
The question is wrong: there is no concerto coming naturally after Sibelius. The Sibelius is simply part of a group of standard great violin concertos. You know what they are. The question also seems to suggest that you cannot win a competition with Sibelius; you need a "next" concerto. You can win any competition with the Sibelius. It's not the concerto, it's how good a violinist and musician you are. Of course, to grow as a violinist, you will study many different concertos.
Totally agree with Jean Dubuisson. Well said!
Hear, hear! Speaking as a musical enthusiast and amateur violinist who could never get close to performing the Sibelius concerto, I often get the uncomfortable feeling that many of the up-and-coming generation of young virtuosi view the music they play as fences to be jumped, mountains to be climbed, personal goals to be achieved. Those who consciously or subconsciously hold such views will eventually discover that they've missed the point rather comprehensively.
In all fairness, possibly Jianlin is simply asking for suggestions of which concerto to study. Anyway, my answer is the same: any other one from the standard set of great violin concertos, and, eventually, if you're serious, you'll have to study them all, give or take.
If you can play Sibelius, then the world is kind of your oyster.
Look, there are maybe 10 concertos that occupy 90% of the orchestral bandwidth. If you can play the Sibelius well, then until you've learned all X of them, from a career development perspective, why work on anything else?
You left out Barber and Prokofiev No. 2. As per aggregated League of American Orchestras repertoire reports, those two were the 7th and 9th most performed pieces for violin and orchestra in the US and Canada between 2008 and 2013. The top 10 were:
Nice reply Paul,
I agree with Buri about Kreisler transcriptions. My hat is off to anyone who can play the Haffner Rondo cleanly at a decent tempo. I'm certainly not among them.
For a rough idea, I have already played the Mendelssohn Violin Concerto, Vieuxtemps No.4 in D minor and the Barber Violin Concerto. I did skip quite a bit because I started playing the Sibelius right after I finished learning the Mendelssohn and this meant that I had skipped a lot of the other concertos that should usually come before learning the Sibelius. But I am just about to finish up with the Sibelius since my teacher thinks that I have mastered the whole concerto now.
When I read the word "mastered" I can't help thinking "oh yeah?". No matter how much time and effort you put into a piece there's always something more to think about, something that can be improved. I doubt that any truly accomplished soloist would claim to have "mastered" one of the great concertos.
Sorry I don't actually mean that there's not more to be done in the concerto, what I meant was that I've been playing it for quite some time now and I have pretty much finished polishing it. I don't mean that I'm deifnitely the greatest at this concerto, of course not. But there's always a time when you need to learn something new, right?
You can play the Sibelius convincingly to where your teacher thinks you’re ready to move on? My answer like others is whichever one you want. Since you’re considering either Tchaikovsky or Prokofiev 2 pick the one you like more and learn that one. After that do the other. Then learn the other standards along with some chamber music including sonatas aka not just quartets and some other shorter pieces. Kreisler has many wonderful ones as well as some concert pieces by Wieniawski, Saint-Saens, Sarasate, etc.
Right you are. But an informed answer to your question really isn't possible for those who don't know your background and haven't heard you play. If I could I might go for Walton!
If I recall correctly, Jiya posted a recording of them playing the Barber Concerto last year. If I'm remembering right, it was solidly done, so maybe it's really just a matter of your own taste, Jiya. I don't think you'll lose either way.
Still, agonizing over it for another couple of weeks probably can't hurt. (Obviously just kidding.)
Ah yes, Chris, you're right. I did post a video of the Barber Concerto. Thanks for all the suggestions everyone.
Check out the violin sonatas published in 1681 by Heinrich Ignaz Franz von Biber! I have a special love for #5 but they're all beautiful.
The Dvorak Violin Concerto would be on my list to try. It really is a great piece and requires significant collaboration between the orchestra and the soloist. Last year I saw it live in Chicago with Hilary Hahn as soloist. I loved every minute of it.
Glazunov is also a very underrated one.
Thanks for all the suggestions everyone!
I never know which version I'm listening to, but if you can track down a copy of the original and the Auer version, you can probably find most elements between the two that occur in various recordings. A lot of violinists make their own choices on cuts and alterations according to their particular taste, so you can find little bits of variation in different recordings. I think more and more violinists are going back more faithfully to the original, but I'm not sure what Ray Chen did.
Regardless of what you end up doing, I would start with the urtext. This is the one my son used.
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