Bruch G Minor Road
So I've already posted a few threads about this, but I feel like the situation I have is becoming more updated than my last threads. My teacher and I are working on DeBeriot Concerto No. 9 in A minor and 3/4 octave scales/arpeggios in thirds, double stops, octaves, etc. One of my ultimate goals is to be able to play the Bruch G minor Violin Concerto (not anytime soon). Do you think there are any significant pieces one should play before attempting a movement of the Bruch? My teacher definitely wants me to do a Mozart concerto for musicality before the concerto. Can anyone suggest a sequence of pieces/etudes for me to look at before attempting this concerto? Anything would be greatly appreciated.
I think anything that can build the technical and musical skills for the Bruch should do the trick.
Chromatic scales!! Bach E Major Praeludio. Before Mozart, try Haydn G Major if you have not done it, and first movement of Summer from Vivaldi Four Seasons. The Bach and the Vivaldi will help prepare you for the fast bits of the Bruch.
Bruch is quite a tricky concerto technique-wise. The finger placement and such feel pretty unorthodox on the violin in that piece.
Most students do Bruch (at least the first movement) before Mendelssohn or SS3. Likely the OP's teacher has him on this typical trajectory.
Really? I didn’t know that. Seems like I took the reverse road.
Everyone takes a different path, and it depends on each individual's strengths and weaknesses to a degree.
Mozart is good for musicality and precision, and then Lalo before Bruch is pretty standard (Lalo is very violinistic so easier than Bruch, but still builds technical familiarity). In parallel doing some Bach like the E major (whole thing with Loure and Preludio last) is good for both musicality and technical facility. Of course, you should always practice scales and arpeggios for at least 30 minutes a day.
Bruch usually precedes Mendelssohn or SS3. It's also very unusual to play Lalo before Bruch (G minor concerto). Occasionally you might get a teacher who does a single easier movement of Lalo (specifically the Symphonie Espagnol) before Bruch but that's pretty unusual too. The whole Lalo is, as an entity, more difficult. than the Bruch.
My wife and I usually teach the Lalo Symphonie Espagnole (first movement only) before the Bruch concerto. It's just a lot more scalar and formulaic, with less-complex rhythm overall, and easier for younger students to piece together.
If you're playing De Beriot, you're closer than you think. Bruch is not incredibly challenging as long as you have good intonation. Have you played Kabalevsky? Maybe Lalo also (as Gene said)?
Of course Gabbi. I think that each student under the same teacher will learn different repertoire because of strengths and weaknesses, as well as personal preferences. Plus, teachers will single out movements for study.
Difficulty of all repertoire depends on individual strengths and weaknesses. Some teachers are more sequential, I think -- i.e., similar repertoire choices, in the same order, for most of their students -- while others tend to mix it up a lot more. And different teachers have different notions of when a student is ready to play a particular piece.
I feel as if this list may be a logical repertoire sequence:
If you haven't worked through Kreutzer, you should do that, and a great one to do before Kreutzer is Dont op. 37.
I actually did things in this order:
Also why not practice several things at the same time?
This discussion has been archived and is no longer accepting responses.