~The AUDITION~

[Rach3]

Advice?

Quick summary of my life: I'm applying to Julliard. That's all that matters about now, I should think. Oh wait, also some alternates like NEC, Manhattan, Peabody, Curtis... nothing scary there...

Okay... Beethoven... I've been playing Les Adieux for some years now, it was my teacher's choice and he continues to strongly support it for god-knows what reason, since, as well as I know the piece, I think my playing sucks. Yes, I speak my mind. Maybe I've thought about it too much, I know it too well and have too high standards, the usual, but maybe a sixteen year old isn't particularly strong with almost-late-Beethoven? It's not quite cohesive, I am nowhere near the kind of mastery I could achieve if I did something like Pathetique or the early A-flat major, the one with a Theme and Variations - it's really not too late for those... Of course to a great extent I trust my teacher's judgment, I mean he is a Ph.D. and a musicologist with an emphasis on 19th century German music... but all the same, it seems quite brash. Pathetique is very overplayed, yes, but if the point of a twenty-minute classical sonata is to demonstrate a competent ability to understand the complete structure of a sontata and maintain it consistently and musically, then an early sonata would be much more logical than a late, sophisticated piece (81a) to which I am very much a student? I am not making a statement, I am just offering my thoughts and worries seeking advice.

A few background notes - I am sixteen, and I am spending what would be the year of my senior high school year preparing for conservatory (oh yeah, I'm also in college this year - a rather unimportant distinction, I am not pursuing any degree from here). I have a bit of theory background - I started on the third year level at college with harmony/analysis (chromatic harmony, sonata form analysis), and currently studying counterpoint & fugue.

Frankly, my current teacher is not experienced in the admission process (he teaches at a college) which is why I am writing here (2:36 AM local time, I should add). I do not excpect to become any better of a musician in the next two months, mainly I am figuring out how to maximize my chances - with what repertoire is my audition actually most effective. Hence the Beethoven dilemma.

I don't have a choice with regards to the romantic-era piece - it's the Chopin third scherzo, and I have nothing to replace it with in time. It's a rather extroverted choice, no? I mean it's a real piece I admit, it's not like I'm stacking my cards with Mephisto waltzes and Islameys, but still, are they actually looking for subtle, introspective pieces that are very representative of the era as a whole? Schumann? Humoreske op. 20 is too long unforunately, had I chosen a different Schumann three years ago I would have been much better off now. I once saw an older student traumatize a lot of the runs in the Scherzo, I hope I come nothing close to that. I'm sure I'm not. But if this scherzo is really a bad choice... what alternatives are there? At least I've known this piece for some time, that is an advantage in itself?

Bach could go anywhere right know - I've played the Bb-minor from book I - but it's definitely a weak audition choice (too big! too slow!) so I started the f minor from bk II - but its a bit thin no? A rather small three-voice fugue, not nearly as sophisticated counterpoint as, for instance, the really chromatic ones like the a minor from II or the f minor from I - yes I really think I need a larger fugue. Not one of the ricercar-like ones I hope. I've learned a lot of the other f minor one, maybe I'll go with that? It has a good prelude as well. Here I have a tinge of regret - the bk. II f minor has a really nice prelude, simple, but effective. A challenge, really.

The etude is chopin's 10/8, why not? My teacher thinks it makes sense, and I think it will make sense too, if I can play it. Nightmare scenario - weak, uneven arpeggios, uneven with uncontrolled accent marks where the thumb lands, tendonitis from bad practicing, etc. If anyone asks, THIS is why I so very much prefer practicing things like this SLOWLY. I mean there is nothing to fear at half note = 80, and it will eventually get very fast and clean... right? I  have five months to prepare this new piece, woe is me.

Finally, Prokofiev's 3rd sonata. Fortunately, I have not learned enough of this piece yet to be seriously worried. Ha! I can't wait. At the moment I am worrying about the second theme - I think it's a 'double canon'? It's impossible to get a clean effect. Too much counterpoint, but it's not Bach-like, it's much harder and more exotic. Very other-wordlyish. It's not dense counterpoint, but it's hard all the same.

For more background, I am also preparing Brandenburg 5 for a university orchestra concert, accompanying some violin concertos for other conservatory applicants, and some misc. chamber music (some 20th century violin sonata, not sure yet which, and hopefully Beethoven A major cello).

So what do I do? Serious advice only, please. No viola jokes.

[Rach3]

Postlude - it is 3:05 AM and I am not bothering to read my own post. If there are any typographical minor seconds I will resolve them sometime tomorrow.

[Motrax]

What's perfect pitch?

When you throw an accordian into a dumpster and it lands on a viola.  


But in regards to the topic at hand, indeed, what can you do? 2 months is not a lot of time to both learn the notes of a piece and develop a good musical understanding of it. Don't worry about playing overplayed pieces - the judges at Julliard (and Curtis, and MSM, etc) will know any piece you play fairly well, at least. So playing Les Adieux instead of Pathetique will not get you any extra points. I like Pathetique more as a piece of music than Les Adieux, and if you feel more comfortable with it, by all means go with the "overplayed" piece.

There's nothing wrong with the third Scherzo. The judges are not interested in technical juggernauts, they are interested in pieces where you can most fully express both your music and attention to detail.

Since you are completely undecided on the Bach (it seems), you should first choose something you feel comfortable playing, and only then think of what the judges want. I'm auditioning too, in February, and I've chosen the D minor from book 1.  The prelude is light and beautiful, and the fugue is also lovely. Technically speaking, both require a very assured musical touch, because they both become very boring if they aren't played right.

The Prokofiev is fine, if you can learn it in time.

Good luck!

- Motrax

[chopiabin]

I think your program sounds really awesome if you can clean it up in time. I really don't think you should resort to the Pathetique sonata, however - it's highly overplayed and isn't Beethoven at his most sophisticated. The Pathetique just doesn't seem like Julliard audition material.

[dinosaurtales]

I think your program sounds great.  I would go with your teacher's recommendations - after all, as a PhD he probably knows some of the Juilliard folks and what makes them tick - he'll be looking to show you off best he can.

Remember, you are auditioning to get IN.  Not doing a recital to get OUT, so the quest for perfection is good, but if you can play that stuff, you'll be great!  If not Juilliard, one of those top schools will nab you!

Good luck!

[chromatickler]

The etude is chopin's 10/8, why not? My teacher thinks it makes sense, and I think it will make sense too, if I can play it. Nightmare scenario - weak, uneven arpeggios, uneven with uncontrolled accent marks where the thumb lands, tendonitis from bad practicing, etc. If anyone asks, THIS is why I so very much prefer practicing things like this SLOWLY. I mean there is nothing to fear at half note = 80, and it will eventually get very fast and clean... right?

Forget it! Nowdays at competitions, so many people play this in under 2minutes without pedal it's not funny anymore.

[scarbo87]

hello rach3-

did you ever recieve my message??