021: The best orchestra audition concerto


Hi, and welcome back to stand partners for life. I'm Nathan, I'm Akiko it. We didn't say last names this time switching it up. Thanks again for being here with us means a lot for you to spend this hour, this this won't even be now spend this time with us. And we've got a great topic today we've hinted at audition concertos before sort of talked around them a little bit when we've discussed auditions. But as episodes all about what you're starting out your audition with and I missed you the last couple of episodes of had a couple special guests, and they've been they have been awesome. I enjoyed my vacation. Thank you catch up on those. If you haven't gotten the chance to hear them, but thanks Akiko for being back with us today because you you have so much to bring to this discussion. Although the concerto you've played most recently does not appear on the list that we're working from. We'll get to that. Yeah. Civil talk about what what happens when like charter you. You wanted to play is not. Played anyway. And dare them to talk toss you that? The list, you sure, I would have mentioned many of you, maybe even most of you will have gotten an Email already from me about a survey fun little survey of I'm running at the time of this recording just to kind of see where everyone's that. What pieces you're working on how long you've been playing the violin or or even whether you play the violent because I know many of you play other instruments and your your listeners for reasons. Other than violin talk. First of all, if you haven't gotten that Email that likely means that you're not getting any of my emails in which case, you've really got, you know, reassess your priorities here. So I would encourage you to go to Nate's violin dot com. Pick up. My my free practice guide about practice mistakes. You could be making then you'll you'll get my emails and all that. But if you want to fill out, the survey, and you haven't gotten the invitation just send me a message to contact it stand partners for life dot com or you can simplify it contact at SP for L dot com because I'd love to to get your voice as part of that survey too. If you've gotten invitation haven't had a chance to fill it out yet, please do that. I really want to hear from each and every one of you. And if you've done the survey, that's amazing almost a thousand people now have completed the survey for me just takes three minutes, and I've loved not only analyzing the data in a cold way. But also reading your comments for those of you who left some comments. So that's been a lot of fun anyway. So. So let's talk first about what you really want out of your concerto in an audition because oftentimes not always. But oftentimes, it's the very first thing that the committee will here in the very first thing you play. So it had better be comfortable in. You're talking about your mentor concerto, your Mozart or either. Well, that's the thing you suffer. Anybody who's wondering? And most outages yourself repertoire almost always include both. What they call Manta concerto, and and your Mozart concerto, two different two different periods or two different styles. You and usually there's a lot more choice for the romantic concerto than there will be for the Mozart. Because even though he wrote five generally they're only going to allow you to select from either two or three of his concerto. So we'll get to that. But there's more variation than in the romantic concerto selections yet most auditions you'll get a chance to play one of your concertos. I and I would say more often than not that's the romantic one. Wouldn't you say you've opened more auditions with your own Antic and Chiro than anything else? I mean, I actually I've maybe say it's fifty fifty you mean between with Mozart are starting list romantic oak. I think there's only one just never took where I didn't get to play any concerto to start. And that was my very first edition, which was Philly. Yeah. That sounds familiar, but most of the time you can count on playing one of your concertos to start. Meaning that both of them have to be comfortable the openings have to be comfortable for you. Because that's your first impression. And that's just that's by far the most important minute chill play. Yeah. Not to make it something. I mean, you know, we've talked about the fact that you can you should never feel like, you know, it's over just because he had a bad opening or something. But no, certainly not. But since I mean, this is one of the few things you have control over in the addition because the orchestra will have picked the whole list that you're playing from except for your concerto. So at least you can sort of put your stamp on right on that. Right. And that's I think that's one of the hardest things about taking it on Titian as just feeling like, you know, you're a number here. Not on the name your at a face, even because there's a screen, you know, you just end it goes by so fast. It's easy to serve just it's just flies by some like, I've played auditions or you come out and you're like. What just happened? Well, so for that reason you've heard of people you've talked to people, right? Who they want to select something out of the way to stand out. Yes. Yes. That does happen. And I think that's a mistake. Yeah. I do too. If that's your if that's your biggest reason for picking a certain piece is because other people aren't playing it then. Yeah. I also think that's a mistake on this. If you're using it because you feel like you're playing it really well people sometimes a lot of the time say this, you know, to easy and committee is going to knock going to respect me as a player if I choose the species on the list of accepted pieces. Yeah. There's some feeling like, oh, the other gonna think I can't play something harder. Right. And if you start thinking that way than you're you're dead. You're trying to appeal to the committee. But you also can't. Yeah. You can try to read their minds because that's just not going to work Royd. So I think in the end you have to it sounds trite, but you have to be yourself. And I think like you were saying if there is a piece that maybe a piece really speaks to you because it's not played all the time, and therefore you really identify with it and you play it. Well, and without a lot of self conscious feeling the night can be great. That's a win win. You know, then you're you are standing out for good reasons. I think it's weird one Prokofiev one is on lasts seen that. And it just seems strange while I was going to say, I think it's weird when they put two and not one, but. Well, we'll get we'll get to the specifics just wanted to sort of set some set some expectations for what we're talking about here with what what a concerto should be for you in the first place and stop wandering off. Okay. Heard me back in it. Shape here. Okay, then. Yeah. And in my article about violent concerto openings I wanted to run through all the major violin concerto openings figuring out where they would rank on the scale from cruise control to may you don't the lesson is in your audition. You don't want any anything that feels like mayday to to start. You're not setting yourself up for no one would do that. I mean, I think. Days until like, they gather people do they think I'm going to play Mendelssohn because nobody else's playing it. But it does seem like, okay, it's going to be so bad. You know? And then you get there, and you feel naked and that is true. So yeah, I mean, that's the importance of playing for people like knowing how you're gonna react. And and visualization. I think you're you know, you you you've got a whole article on visualizing. And I I I was like what are you talking about? But you know, the more I think about it's true. It's like even when I'm just playing some like a shift just like an ordinary one one to another note. I can tell feel like you know, you right before I play it like this feels weird. You know, I I'm going to do something strange like you've never done it before. Yeah. And even though in the moment you end up playing to you know, sometimes you'll get it. But there is something a little odd. And I think Mendelssohn falls into that category of things like probably superficially seemed like it was going to be. Okay. But like if you really sat down thought about yourself getting ice nervous as you possibly can. Yeah. You're something. Strange might happen. Yeah. You wanna? Yeah. Ferret those moments out, and we'll talk about Mendelssohn more later too. But yeah. Oh, because it's one that people learn when they're young also. You tend to learn that piece at an age when you're really fearless. And then having to play at an age where your fear fearful can be very strange. And so yeah, that piece needs a lot of seasoning. And a lot of performing if you're really going to go for it. Well, we do have a sample list to to work from an our discussion today because when I took a group of great players through preparation for Detroit symphony audition in the beginning of two thousand eighteen and that list was pretty Representative. And it was a list says these pieces are allowed and anything else is not allowed. So I figured it would be a good actually that was your idea to go from an actual audition list. So thank you for that. So here are the concertos Detroit allowed for their audition. And they wanted the first movement with credential of one of the following, and that was Beethoven Brahms divorce Jacques Mendelssohn. For coffee of to Sibelius and Tchaikovsky. And then they also wanted the first movement without Kadena, interestingly of one of the following Mozart's, and it's three four or five least three so. Yes. Yeah. Right now, it'd be salivating over like, ooh, Detroit here. I come. What may maybe let's talk about the Mozart's first because that'll be a bit of a shorter discussion. I mean, the content of those three Mozart concertos is not drastically different one to the next three has the stigma of being the student concerto. Although what I think we we've always both agreed that anything. Well play. Anybody listening right now? Just play Mozart three. You're taking Detroit. Forget about it. Stop stop foreign five right now. I mean, the I think the thought is as with the romantic insured, a you play. What you play the best right with no thought whatsoever to what someone else I e the committee is going to think about it. And. Yeah. Just you play what's comfortable, and what you play the best. I mean any peace. That's on this list is going to be great. If it's played. Well, yeah. Let's art was no dummy. Need already written two concertos? But by the time he'd written the third. It's a great piece. But yeah, the opening is not nearly as difficult as either four or five, which is a great thing. And got a lot with it. It's not like, you know, you can show your we've got a great sound. You can go to your laxed. You know, your Bronco can concern really really beautiful, and you can just produce a great sound that opening and just immediately win some people over in the first one of my favorite times hearing Pearlman live was Mozart three that was a long time ago. Probably twenty years almost and ask yourself like if you if you heard ten different recordings of Mozart three would you have a favorite like sure? So same thing. That's a it's a great piece. So that's we're putting too to bed forever. The idea that it's not made my point Mozart three. That's the way to go. Well, and you won the LA Philadelphian originally Mozart three so. Yeah. And I think also Chicago I think they also allowed. I think the I think they now maybe they only say for five my very first audition. I remember Philly. Said you could play three four or five. But when I asked my coach and mentor, William defense quality. Said that really means four or five do not show up playing three. Explains why didn't advance in the. Well, well, mystery solved all these years later. Well, I had you know, inside info, and I still well advanced. Okay. But I didn't get to the finals. Okay. The kind of like that turns my whole theory on its head. Then that was you know orchestra. You don't get inside information to advance burn. Two thousand era. Philly orchestra nine hundred ninety nine. A boston. I think was the first audition. I took where they just said four four or five. But here we are in Detroit three four or five quickly. I guess between four or five is they're they're both tough openings big differences that Mozart five is slow. It's an adagio opening and opening his is harder than it was to me Senate pretty simple the opening of five. Yeah. And then he start playing it. And you're like even now I sit down planets hard to get everything as smooth as you want. And I think it depends on what your natural strengths are. I guess playing smoothies. Maybe not my strength. Well, it's interesting. I just heard a quote, it's actually from an old colleague of ours. Eugene is a former principal oboe of Chicago. I'm still thinking about it. Actually, it was that your whatever your strengths are those are still going to be with you in an audition or under pressure, the other things may or may not be. But you're you're very strong. Your superpowers. So to speak are gonna stay with you. If one of those is just like, a nice, smooth singing sound, then no matter how nervous you're going to be Mozart five would be a great opening for you know, for me smooth. And singing can sometimes be the first thing that goes out the window one. I'm nervous. But but he's doing that's your Mozart concerto though for for auditions. So it served you served you quite well that is another episode to all right mine's always been four that a force of habit. And something about that key of d major most popular key for violin concertos. So. Yeah. And you know, you you play great Mozart for mister I have played it in a lot of audience for been every audition then. Well every audition I've taken. Yeah. I mean, it's not like well is there ever not rather just say five I feel like there has been. I thought maybe a Boston. Maybe boston. Yeah. Okay. Just five. But in fact, if if and when I've gotten the choice of which solo to start with which concerto, I would always pick Mozart I would pick them outside for between, just comfort wise. Yeah. Okay. Yeah. So we should get to why why we gravitate to problems like what do you want to take this Detroit list and order? Sure, then we okay just two quick recap Beethoven Brahms Mendelssohn Prokofiev to Sibelius Tchaikovsky. So you're thinking immediately. How weird it is that they don't they won't allow Prokofiev one. Oh, that's something. I I know I had my first thought on reading out that list out loud is the I mean, the only concertos we ever hear and auditions really are Brahms Sibelius and Tchaikovsky. I mean that would cover ninety five out of one hundred auditions. Yeah. How would you feel about starting with divorce tougher it with the double stops? Oh, yeah. Do you? Do you want to do this in order? Because. Yeah, I would not feel good about starting with the. Yeah. Beethoven? I've I get asked maybe two or three times a year by someone. I'm thinking of switching to Beethoven my, and I I'm not trying to make fun because as I said I've thought about switching pieces. And usually when someone's asking me that they're saying that not feeling good with peace ex. And I thought about you know to switching to Beethoven. It's such a great piece, and I agree. It's a great piece. But man, if you're feeling nervous with peace X. Chances are Beethoven's not going to sit there any more comfortably. I'm like, I've never actually learned all Beethoven concerto. So you know, maybe there's somebody out there. Just feels great about their octaves. And what did I say about the Beethoven and my? Little article because I only only learned it for the first time. I mean truly learned just a couple of years ago. Performance with orchestra. And it was tough yet confirmed my opinion that it would not be. Agree scary opening yet, you mentioned the octaves. I mean, literally the first thing you plays and our Pezzo of octaves broken octaves. But still in that I feel like that descending chromatic. Yes. Just treacherous and. I've never really played it. So you know, I only have anecdotal evidence from like having seen season soloist get up and seem unsure themselves. They're so. Yeah. Now, here's what I wrote about it a tutti that seems to last forever, and that won't be relevant in the orchestra dishing. Because if you have it complement, of course, that'll be cut an opening our you in octaves than an entire page of sixteenth notes slurred separate, but all designed to make you look like a fool somehow this d major doesn't seem like the same keys the d major of Mozart four. I think I also wrote something later about it sort of being like the swimsuit ground in beauty pageant. Well, that's true. You know, what it is that the most concerto will make you feel that way the last thing. Most people need us to have both their concertos Sheila way. Yeah. Yeah. That's a great way of putting you're already you're forced to put yourself out there with the Mozart at least let Euro-mandate concerto be something you can sort of swim around in a little bit more. Yeah. I'm sure we'll talk about risk and reward, and there's just a lot of risk in Beethoven because of the purity of the scales. Our Peggie does the intonation so critical and kind of the best you can hope for is that singing sound intelligent phrasing. Beauty. But you know, it's going to take to solid minutes of great Beethoven playing to really leave people especially non string players. Nonviolence to leave them with a real kick us impression. Yeah. I would say that's one instance in which you can sort of try to read the committee's mind a little bit in remember that it's not. Primarily made up of violinist usually, so even if you're playing out of your mind, and great, I think that people are it might even come across the sun in easy, you know, to horrifyingly like, you know, people that doesn't have a whole lot of teeth. Now, I think that Brahms concerto really seemed like something with this a little. I mean, I think it would be not that you would ever do this. But I think it would be a piece that would be more effective in the finals where you're guaranteed to play for. Let's say fifteen twenty minutes or whatever. And you're definitely going to play into bunch of styles. And you're only playing next to other really high level players, then I think that you probably a little more comfortable at that point. Yes. But nobody would ever you wouldn't play different concerto for the finals or something. Like that is just I think that's a tough first round. That's I wonder if anyone's ever done that like change their concerto from round around especially in those one of those additions like the rounds are separated by a couple of months. I wonder that's never something. I've thought to do. But if you have let us know share your stories. Okay. We come next Brahms, which is both of our that would be both of our choice from this list. Although if given the choice you would play Bartok too. Yeah. I admittedly feel a little bit at a disadvantage when I can't play Bartok. Let's talk about that a little. Yeah. Why Bartok just been playing it for so long? I mean, okay. So I think I roundly denounced the idea of playing something different. I I think it's how I got started with our talk that you know, it's not a lot of people play it. I think it's. Yeah. I I wanted to stand out. So such as Bartok, then I felt like it was a piece that it plays to my my what I perceive as my strength. So I agree. And it's also important that I mean, even if I didn't agree that those were your strengths. But I do. But even if I didn't the fact that you believe they are that is so important, right? I think that it's a concerto. That sounds impressive to people who don't necessarily know all the violent repertoire. Yeah. And you know, it is it is a it's a difficult opening, but it's. Not opening on the g string, at least the way. Most people play it on the string. Although not Leonidas Cavaco s-. The last time we saw first position. Sure. How many they'll go to? Yeah. Well, they had to play the whole thing. So cut them a little slack. But the way you play it. It's a big big thing on the G string. And although I spent years having to dial back how I play the opening I think I was thought of as like no guns blazing. And it's actually just a nice opening. Doesn't have to be like me doesn't. Yeah. I like the way you your Email. You're like the villain in the old west you. Blow up in the saloon doors like. Everyone else stops Hart show Tara vote oak with the buck. So that's how I used to treat it. And then you know, I actually lost since I think because it was too much so saloon. Yeah. I think they were like we don't really want someone who's going to just come in just railroad over the rest of the section. It's bringing back memories about why I chose. I think I felt like it was kind of a stand out in. It sounds impressive. It's like a lot of bang for your buck. You know, you're gonna have people in the community. Hey, that's, you know, so that's a cool piece. That's you know, you're not gonna forget you if you play that. Well, yeah. Yeah. Good way. I'm bad way. I guess but nowadays it's just like played it so many times keep doing it. So that's the key. I mean, it's it's a comfortable piece for you. In addition to those other things so because I I don't want to go back and scrub out all our audio about don't play piece just to stand up just spent most of the last few minutes, saying go ahead and do that. But do that if it if it feels right and it fits you. What was the match in a couple of levels? I felt like it wasn't just that that was the case. But I was really worried about getting lost in a sea of just okay Brahms concertos on that's next on the list the Brahms concerto. I've always played in which you play when you can't play Bartok. I mean, I don't think there's a violinist alive that doesn't consider that one of the greatest if not the greatest violin concerto. But it's always in the top. I would say the top two if you're going to have a top. Two Brahms is going to be one of them. You mean evolved just favorite concertos? Yeah. Let's say best like concerto concertos that the violent were world. Couldn't be without. Sure. And it's funny. 'cause like we'll you think about playing it for an addition. It's a so easily segment -able into like, you've got the first I page at first cases odds are they're not going to get to the theme. They'll be like. All right. We've got a few measures in. You know, scaleback your preparation proportionately from their Emma than work on the condenser. But it's a little tougher that way because checkoffs you just goes and goes, we'll right although that also has several predictable place where people what stop but. Yep, rubs it just seems like yeah, you can spend a lot of time working on that. I. Age. And that's and you have to shine. That's the dangerous that it just it starts at pretty much maximum intensity and gradually. Let's up rather than something. Like the tchaykovsky that starts with comfort and gradually ramps up. Right. I guess it starts comfort. I just never I never like Tchaikovsky Bill get to that later. But in terms of playing I mean, you almost anybody could string together a few good bars of tchaykovsky, even if they're not totally warmed up. It's true. It's true. But that also I think is a negative. It's like anybody could you know, so a year. A year. Because you can do it. But tend to agree. I mean, check out ski gets going quickly enough. I mean, you can show what you need to show quickly enough that that's why it's such a popular concerto as well. But Brahms it's like that very first bar. You're already you're jumping into the deep end, you know, and. And it has backfired on me me too. Yeah. The very second bar is octopus. Yeah. And then I realized one of the biggest problems if you will rush through that I measure, they're nervous. And they were either that or they like consciously slow it down. So it's super tedious you. I mean, it takes so much poise and actually weren't weren't you a little bit hardened. I know I was when we recently had Pinkas superman come in and play the Brahms concerto with us and coming off stage after that first performance he was mentioning how he hadn't performed with orchestra and a while. And he said just takes so much poise. Yeah. He did playing it again. We'll, you know, he's a who who knows if he really meant it or he was saying it for our benefit, but he said playing it again tomorrow night, and we'll sort of I'll remember more what that's like or I'll I'll get more of that back. Yeah. If you're only public performing is auditioning, and you're only doing that a few times a year. Then it's hard to expect yourself. You shouldn't expect yourself to just bang out those first ninety seconds of Brahms concerto. Like like, it's nothing. I'm not gonna not gonna be doing that anytime. So high reward high risk definitely something to be lived in for while the Brahms concerto. It's a great piece never disappoints as a piece, but that's one for sure just all speak. If I may for the for non violinists on committees. They're almost always shocked at how scratchy that piece sounds in auditions it is just so easy to try to go for too much and to lose sight of the sound quality issues in the pacing paintings, really tough. Yes. With or without accompaniment because if you're without accompaniment, it's easy to get on moored and just switch tempos all over the place. Yeah. I mean, I can almost never do. I hear those this sixteenth notes in the tempo that this person opened right? A peace with and then it cer- summers in it's always very jarring since see that's a pitfall for sherbet. But despite that we both always want. Play brahms. So. Yeah. I think for a while. It was stubbornness on my part. It's yeah. It's probably just stubborness for me to him in the this list. There's no one's gonna tell me. I can't play Brahms. Even if it's. Well, I. Yeah. So let's move onto divorce. Jack Norman, it's not as if any of these other pieces would be any better. Divorced huck. I just I would just think why. If it really, you know, maybe your check, and it really speaks to you know, if it really speaks to you and it's comfortable, then that's great. But that is a tough opening to. Yeah. I was thinking the double stops this crazy run. Well, let me see what I wrote about it back. We didn't say what I wrote about problems. But I said nothing about Bronx. But divorced, doc you enter with a four note chord. That's actually the start of an expressive motif in thirds and asymmetrical phrase leads to an up and down series of our Pez ios that ends with a high e. You know? Thanks. I gave it a seven point three out of ten in terms of difficulty. So then point number two, I gave seven point five degree of difficulty for the opening alone that we're just talking about the. I mean, this I wrote this a couple of years ago. I mean, the only things above that are vignette ski one Beethoven. Yeah. Why isn't that on the list Brahms and Paganini Mendelssohn, which we'll get to so far talked to was high up on the list and just below. It was divorced Jack. Yeah. You know, he was a violist divorce Huck. But not virtuous violinist and his stuff just doesn't lie. So well, and that you know, that the first ninety seconds of solo violin playing Jacques is broken up by a lot of rests, and it's hard to get your momentum is just kind of a wandering opening especially without accompaniment. Yeah. That's right. Because it's very like call and response. Yeah. Yeah. So it takes a while takes a while to get going again, you know, coming in really playing it. Well, that obviously would make a great impression because nobody literally nobody else would be playing for shock. You know? Yeah. And for me, this is stupid but string crossing rapid stream crossings. Well, that's hard. They are one of the first things that's gets super Taff when I'm really nervous. So is our patio's those really faster pressures in the beginning sort of beat served deadly for me. And this is totally worth though, says it doesn't mean anything. But teaching was you know, I teach all these concertos and diversion is the one that I really don't feel confident with like if I'm not warmed up, and I'm just starting a lesson or something and I'm trying to demonstrate it. I always sound bad playing devore's oxide that for me is a big red flag again because it has to like, I described should ideally be something. That you feel like you could just leap into on warmed up. And that's what they said about a Ulysses s grant. They said he no they said he had four o'clock in the morning, courage that you could. Yeah. Just blow a Trump and his ear at four in the morning wake them up, and he's he's right there on his horse in the battlefield. Divorce accident the piece that would do that for me? Okay. So so now we come to Mendelssohn. Which probably said enough about Mendelssohn. Well, we we just said it's hard. But eight of the funny thing is that it doesn't. Yeah. It doesn't sound that harder. You leave learn it when you're twelve versus near like, it's not anything learned with your twelve must be not that hard. But some. Yeah. As you said, you learn it when you're getting more fearless point in your life. And yet, it's funny. You know, this is the concerto that I've most often considered switching to if I was going to switch. Yeah. I mean, I'm sure you do a great job of. But yeah, what stops me? Okay. So here's what I wrote in toughest concerto openings article. So the classic short tutti dilemma that. We saw in Glazunov civilians and Mozart five meaning and this is again, not super relevant for the orchestra additions. But it's hardly any to at all. So that can be good or bad, depending on how you feel a soaring theme it gives way to scales in our pegos as Beethoven and end of page fusillade of octave. Arpels? Ios both solid and broken. And then I said, you know, you're probably surprised to see this get the ten point zero degree of difficulty. But I said, it's a simple hyphen said the first page of Mendelssohn was the hardest thing in the entire island repertoire plan tune. So therefore, it automatically got the ten point. Okay. I might quibble with that as as did several people in the comments, you crazy Palestinians, much worse. But as opposed to Beethoven, I would much more readily play Mendelssohn in an audition. I just think it shows more more quickly it lies better. I mean, it's funny. I would choose Beethoven. Actually, I the thing is that I'd never really played Beethoven. So it's possible. If I did that I would go running back to Mendelssohn butter. I had to choose between those two I think I think there's just a couple of dealbreakers Romy a mental thing that the the quick Boches are Peggie like I turn around really easily with that stuff. So weakness of mine. Already string changes are my forte. You've probably wondering how the hell I have a job. But I know. Yeah. I I think one of my. You know, strengths is just knowing what wait I can punch. So. Yeah. Do brilliantly with either one of those. But I don't know. Yeah. Mendelssohn? And maybe again, maybe it's because I've taught it more often. I just feel like I could more easily pick up violin? And of course, you can't. But yeah, definitely high rescue. You've got to play that dead into it's worthless. And for that reason, we pretty much never hear it in additions. Even just thinking about that has this is I just know when I'm talking about the Poteen, just oh, yeah. Jefferson. String crossings. Yeah. No. All right next. We've got Prokofiev's to actually I don't think I ever learned Prokofiev to either yet for me this strange one to include on the list. I almost feel like it was it came into fashion. Well, hyphen it's really helped popularize it. And I almost feel like a lot of these concerto. Lists sort of came into being around those years. This thing happened to me college that it didn't involve too. But scarred me or made an impression on me, depending how you look at it. But so they'd a concerto competition, and I think it was like he could play whatever PC wanted or something thinking too weird. And so whatever I hot canary. I was so excited because I'd never seen something like. So free form. So I like, oh Shostakovich tonight, low Shostakovich charter, and I'm gonna I was learning it, you know, like on my own, which is, you know, felt so decadent and amazing to just be learning something on my own who's at Harvard or Julia at Harvard, so, you know, at that point I'd been so like, you know, micromanage in terms of my learning of pieces, and I was like it was like, hey know, you can't tell me about we can do now. Anyway. So having screw time learning, and I decided to play for the competition, and then, you know, true to form like, I just didn't even find competent. But I think he were it was like optional. But like like stupid, of course, he should have an accommodates like so I didn't show up with one. Yeah. I played, and I think has started because companies has started with a the third movement that could ENZA figured there's no companies there. So whatever, you know. And then I knew segue into the fourth movement, and then, but I thought I play out whatever I thought. Played. Well, I always thought I played well back, then I guess, but you know, afterward. I didn't win afterwards. Somebody conductors set to me like I think people were confused like they didn't know what this piece was. And there was no accompaniment, and they know what was going on because you're playing Connecticut. And it was like I I was indignant. And it was like, well, why the hell should that matter? But there was like there was a lesson. It was like you have to you can't just come out and play something where people are easily confused, you know, especially if it's held up against something that's much more standard. So I think I was a little spooked from that point on. I don't think it's unreasonable to to think that you know. Yeah. People are going to. I mean, we know what Prokofiev second concerto is. But, you know, some people in the committee may not have heard did we don't hear that often work certainly in. It's not so often played really as a solo concerto with orchestra anymore. Yeah. I mean, you know, what happens, and it's a great piece share. But I do think that opening couple minutes don't show enough. And I think you know. You know, people are not only confused because they don't hear that often. But also thinking, I don't really know what's going on here. But it's not the they might just might just be a scratch. You know, they'd be like, well, let's let's hear something else. And decide what we think based on that. So I think you're missing an opportunity. Maybe you're punting to the the experts to make the decision for you. Yeah. Yeah. Actually, hey, that might may strategy to maybe feel that you're excerpts are just like awesome. You know, you you don't feel great about any of the concertos, and you feel like, hey, I'll just play something and all sound fine. And I'm gonna wait to impress them. Yeah. I mean, if that's true. That's a. That's out there, the I'm not someone. I'm sure a lot of people who've won, you know, plan for coffee concertos splinter to. No, I mean, you you could win a job playing any of these for sure says our very opinionated take on on all this buzzer. I mean, the fact is that you could listen to one hundred auditions and not here. One Prokofiev to this pretty rare. The last two on the list are along with Brahms, the most popular Sibelius and checkoff ski there. Also. I mean, jeez. Every piece on this list has Haifa's stamp on it somewhere Schakowsky was popular before high photography, but a lot more people play Chuck played Cibeles after heights did. That sabinas popular partly I think because it also takes a little bit of time to open up, and you can get comfortable in the sounds. You know, it's not fireworks. Renting with you know, probably if I didn't play Brahms play Scibilia suit say because you know, there's still it shows a lot. I think a lot on that first page. Yeah. And it's not unreasonably difficult. You know, but it sounds. It's flashy. It's yeah. It's it's I think something can you can sorta sink your teeth into when a good way like an comfortable lay. Yeah. So the probably my second choice if I had to choose something other than problems or by truck. Yeah. I mean, it almost I don't want to say it takes too long to get going because great playing great playing. But I think you know, if you are prone to the kind of nerves that. Well, the the started inhabiting the the basic sound those first few lines can be really long if you're making the same kind of sound all the time. So you there has to be that flexible because those are long notes long, bows, it's a little bit like the opening to Mozart five something has to happen there. Something to to look forward to sort of know, yourself know, your strengths and weaknesses. Whereas kofsky the last consider on the list. I mean, you're changing bows all the time. It's maybe the most meat and potatoes of all the pieces on this list. And the way what's the deal with Sibelius could ends at. Oh, if you're talking about playing the whole he like, you know, because you have to consider the need is really hard and many many times people have asked me. Okay. So I'm playing Sibelius. Now, they say I could Enzo are they really going to hear the good ENZA. Yes. And that could ends is really difficult and not so often practiced thoroughly. Issues with both changes string changes. But you know, it's nice once you've been playing for a few minutes already. So it's not as if you're going cold. No, you're probably not going to ask you to start have condenser Zaho claim it could happen. But they probably wouldn't right tchaykovsky. I it's funny. If told me I had I would have to play Tchaikovsky in my next auditions I would be nervous only because I feel like of all the pieces that is one that the most people can sound impressive on which I know he said was not supposed to be the main consideration. But I feel like they're players with really limited strengths who can really put together. A great sounding or at least quite a good sounding Tchaikovsky. Yeah. I'm your standards here. I can be expecting fits to come out. So somebody playing clean cleanly kind of in tune. Not it's not the opposite. But I mean, I feel like even if someone is not super clean, maybe not super tune. Give it enough. Verve. Tchaykovsky combined plant. It would have a lot of might not be so in tune. But yeah. I'm not talking about you thinking about like if I had to play Tchaikovsky high would play plant, and it would not be safe. You know? No. And I think you mean euro complete player, but I have no doubt that you would make that you would just play a better Tchaikovsky. And then me, and it was I mean low that's not what that's why. I don't play it. I really always had a hard time strike housing. I would never have chosen partial partially because I don't love Jake hausky as a composer which. Yeah. Hopefully, some of you aren't just terrain exit your phone right now or something. But I just I never really I never loved checkoffs came out on top of it. The shouldn't influence how I feel about the opening, but I did feel like it was always so hard to play because it could end is in the middle, which is weird arrangement, and then gets into more difficult key after the Connecticut over so it's like, we'll just you know, you get through the first however, many minutes, and then you get through the condenser, which is hard. And then then it gets. Order. So it's like we'll first one was already so long, and it just getting harder and harder for me. If it will also until I think I had a bad concerto competition moment like pre-college or something sounds like a bad break up. It was bad. Yeah. It was like it was the piece for that competition. I was like fourteen or fifteen or something didn't go. Well, so I think ever since I don't know gonna play it. We'll have you talking about additions where you have to prepare the entire movement. Well, no. But even like, even when you don't think my feelings about I just feel like if you don't love the whole P. You don't move the whole movement. Even like, it's tough to wanna do a great job on the first two pages, or whatever, you know. Yeah. Yeah. I agree. I think you have to love the piece overall they have good feelings about it. Like, I just I don't know. I never had great feelings about it. So and I certainly don't I don't think it's easy. I didn't mean to imply that, you know, saying that I think more people could sound good on it, certainly not an easy piece. It just yet. If there was something else on the list that I thought I could sound good on. And you know, in my case, I think that's Brahms. Then I would sooner choose that. Yeah. So I guess in submarine, there's a lot that goes into choosing your piece in you shouldn't discount your personal feelings about it. Because in the end, it's going to be a personal performance, obviously. And I think if you don't love the piece it's gonna come across you have to have a real conviction about your performance. And it is a performance is beset. It's not it's not just a bunch of people listening behind a screen, you, you know, you're not just proving you know, you can play the violin. Like you. You want to show that he was something really like a unique individual. To say, so yeah, maybe I mean, we've talked a lot of details here. And as you said, there's a lot that goes into it. But it could also be a simple thing to write that you pick a great piece and all all the pieces on this list are great pieces pick one that somehow you identify with. And that you play well, especially the opening that there's some comfort in the opening. Yeah. Not to some place. You're not comfortable better. Get comfortable. That's what the practice room is for. But hey, it's just it's really just two pages. And yes, if they say could ends that they might hear the density so practicing. Well, thank you as always for hanging out with here at stand partners for life and really having fun this year, bringing more episodes to you. We're looking forward to covering a lot of topics that you've requested. I haven't forgotten those of you that wrote in when we first started the show haven't forgotten the topics that you wrote in about and thank you as always for your comments when you write in and most of all for your time and spending it with us. So look forward to talking with you again on the next stand partners for life.

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