Submitted by Sderci on Wed, 05/04/2011 - 09:52
Let's wrap this one up... with the coda! Many audition lists will also include the last page, or coda, as well as the first page. Here it is:
It's basically more of the same, with an unwritten option (one that I accept) to bump the tempo up a bit for a more exciting ending. If you've shown great control and restraint in the main section, here you can show more virtuosity.
Submitted by Sderci on Wed, 05/04/2011 - 09:36
So how do you get it started? I've unfortunately heard many auditions where a candidate simply got off to a bad start and couldn't recover his/her coordination. It can happen to anyone. But you decrease the chances of it happening to you if you have a consistent, and I mean ironed-in, starting routine. Your routine should begin with the violin in a "down" position, as it would be between excerpts in an audition. You imagine that the next excerpt requested is the Schumann. You then put the instrument up and begin. Sounds simple!
Submitted by Sderci on Tue, 05/03/2011 - 16:45
The Scherzo movement from Schumann's 2nd Symphony ties with Don Juan at the top of the "Most Wanted" list for violin auditions. In fact, I remember former Cleveland Orchestra violinist Erich Eichhorn telling me (way back when I was 17), "Don Juan. Schumann Scherzo. Mozart's 39th Symphony. These are what you need to know." I should have started practicing them right away!
