| Author |
Subject |
mcello
Registered User
(3/27/01 2:06:16 pm)
Reply |
Choosing an audition concerto
I would like feedback on what others
play for the concerto part of an audition. I know that sometimes,
the orchestra picks the concerto, i.e. Haydn in D, Dvorak, and then
sometimes its just first movement from standard concerto. I've had
some tell me never play Haydn D, unless required, and others
disagree. I think the concerto I perform best is probably Lalo, but
is that really a very good one to use?
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Steve
Drake
Registered
User
(3/27/01 4:00:43 pm)
Reply |
Re:
Choosing an audition concerto
I was told a long time ago that the
Lalo and Elgar were poor choices for auditions - they don't show off
enough varied technique in the small amount of time you'll get to
play them. I think this is true for the Elgar, but I've heard
several people play the Lalo extremely well at auditions, and think
it's a good choice if you're really good with it.
Dvorak and
Haydn D are the number 1 and 2 choice for most people, and for good
reasons - they both show off lots of technique right from the start.
I've had my best luck with the Schumann concerto - I tend to get
locked up a bit doing the Dvorak. I've only won one audition with it
so far, however.
My MP3's
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sarah
schenkman
Registered User
(3/27/01 7:04:35 pm)
Reply |
Re:
Choosing an audition concerto
I would say Dvorak and Haydn C are
best choices. Saint-Saens is also good.
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zambocello
Registered User
(3/28/01 4:19:23 pm)
Reply |
Re:
Choosing an audition concerto
The point of the solo piece in an
audition is to show yourself to best advantage. If Lalo Concerto
does that for you then you should play Lalo. Generally, the audition
committee wants to hear some variety in the solo, so they hear more
than one facet of the player's ability and character. That's why
Dvorak concerto is such a good audition piece; in the first couple
of minutes there are so many musical and technical characters. I
feel the same way (but to a lesser extent) about the Lalo, in the
first few minutes there is a lot of "stuff." I think some people
look down at the Lalo a little, thinking that it is a "student"
piece merely because it is one we usually learn earlier in the study
of concerto rep. (I disagree!)
I don't use Schumann for
auditions. The character at the opening is essentially lyrical. I
want to show what I can do in more rough and tumble music (more than
just a couple of arpeggios). Plus I took to heart what Stephen Geber
once said in a class. He suggested not using Schumann for auditions
because, under pressure it's not unusual for the A, the second note,
to be tentative or a little out of tune. He pointed out that one's
auditions might not last long enough to make up for the bad first
impression of not getting from one whole note to another
succesfully!
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my
spleen
Registered
User
(3/28/01 6:06:19 pm)
Reply |
Re:
Choosing an audition concerto
What do you guys think of using the
Shostakovich No. 1 as an audition concerto? I've used it
successfully in the past, and it's my favorite concerto. However, I
can see how there might not be enough technical variety in the
beginning of the piece.
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DannyP
Registered User
(3/28/01 11:26:13 pm)
Reply |
audition concerto
If I had the chops for it, I would
do some of the Symphony-Concertante by Prokofiev, plenty of stuff to
flaunt there...
Dan
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