Violin Concertos for Pre-Advanced Students
Intermediate, Pre-Advanced, and Advanced
Selecting the right repertoire for students is one the most important responsibilities of music teachers. The piece that was chosen for the purpose of learning must not exceed the level of challenge a student can handle. Students will benefit from carefully selected repertoire that does not overwhelm their current abilities, but poses sufficient challenges that enhance their skills.
With the intent to let their students develop their technique and musicality naturally, many violinist-composers in the nineteenth century have written concertos that are less demanding than those of the standard repertoire. Often time, these concertos involve shifting up to only a certain position. Some of the composers who wrote such concertos include Rieding, Seitz, Portnoff, Sitt, and Accolay. To learn more about their works, go to Violin Concertos for Intermediate Students.
The concertos listed below are suitable for violinists who have mastered the student-level concertos but are still unprepared to take on the “big works” of the Romantic period and the twentieth century. These concertos should not be treated as student-level works as they are artistic masterpieces that call for a high level of technical command and musical understanding. However, they are idiomatically written for the violin which makes them a good stepping stone for students going into the advanced level.
Giovanni Battista Viotti (1755-1824)
Viotti was born in the Piedmont region of Italy. He studied with Gaetano Pugnani. As a descendant of the great Italian violin playing tradition traced back to Corelli, he later became the teacher of Kreutzer and Rode, who were both important figures of the “modern” French violin school.
Viotti composed twenty nine violin concertos between the years 1782 and 1805. Concerto no.22 in A minor, composed in London in the mid-1790s stands out as one of his most popular works. It has been performed and recorded by many great violinists. Brahms, in a letter to Clara Schumann, wrote about his admiration to this fantastic concerto. It was also a favorite piece of legendary violinist, Fritz Kreisler, who wrote the piano reduction and cadenzas for the concerto, and performed it frequently.
While this work is often regarded as a “student concerto”, it definitely deserves a place among the great violin concertos. The first movement opens with a lengthy orchestral tutti, the soloist then enters with a series of contrasting passages so cleverly woven together. The second movement is a beautiful interlude, leading to the third movement which brings a sense of anxiousness and unrest.
Pierre Rode (1774-1830)
A star student of Viotti, French violinist Rode was mostly known for his 24 caprices. He was a widely respectable musician and he premiered Beethoven’s final violin sonata. The thirteen violin concertos that he composed were nearly forgotten, despite being very popular at his time. Rode’s Concerto no.7 in A minor, Op.9 was one of the few works that Paganini would perform apart from his own compositions. It was also a favourite piece of Wieniawski.
The orchestration in concerto no.7 is rich in texture and the virtuosic displays never overtake Rode’s emphasis on long phrases and the singing quality of the violin. The second movement is a lyrical Adagio and the third movement is a Rondo marked ‘con spirito’.
Charles Auguste de Bériot (1802-1870)
De Bériot was a Belgian violinist and composer. While his training can be attributed back to Viotti, he was better known for his compositional and performance style that represent a synthesis of Paganini’s virtuosic display and the elegance of the French violin tradition.
He composed ten violin concertos and his Concerto no.9 in A minor, Op.104 was considered as an important pedagogy work for students. The first movement was also included in Barbara Barber’s Solos for Young Violinist, Vol.4 - a popular compilation of violin pieces favoured by many teachers.
The first movement is full of virtuosic displays such as double stops and large leaps. Apart from that, one can still hear the grace of the French style in it. The first movement flows uninterruptedly into the second movement, a lyrical Adagio, followed by the third movement, which is a delicate piece in 6/8 meter.
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© 2017 Goh Tong Keat