Oskar Rieding was a composer and German violinist who worked at the national Opera House in Budapest. For 32 years he was a teacher in Budapest and there he composed several easy violin concertos for beginners, based on different technical playing levels. In each of his 7 violin concertos he would compose in a specific violin position: the most famous concerto, the Concerto in B Minor, Op. 35, can be played entirely in 1st position.
December 18, 2006 at 05:39 AM Ok, so maybe I am a little hard on myself. But after being frustrated with the amount of ambiguity in many graded repertoire lists and hearing so many music teachers, professors, and students complain, I have taken it upon myself to create my own graded repertoire (with help from many sources). The criteria for each level is not specific, as that would mean 110 different analyses of each work. However, I have taken into consideration the technique and musicality required to play the pieces (bow control, dexerity, vibrato, flexibility, tone quality, and tempo among other things). For this reason, the Paganini concertos are not higher in level than other, technically easier pieces (such as Barber and Beethoven) for the reason that Barber and Beethoven require more insight and knowledge to play. Tonality is also taken into account. The levels range from 1-13+, 1 being the easiest and + being disgusting. Please feel free to comment, inquire, reject, or add (or some other verb) to this list. I am not perfect, so if I have missed something important, misspelled something, or misjudged a piece, please let me know. Please keep in mind, these are pieces for solo violin and orchestra.
rieding b minor violin concerto pdf 15
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December 19, 2006 at 02:50 AM I have not studied all of the Kreisler pieces in depth. I did mention above that these are somewhat standard concertante works for violin. The Bach S&P are very varied in difficulty. My next idea with the list is to include the solo violin repertoire (as it is not as large as the violin and piano repertoire). I am working hard on my list, but I have 5 AP classes, 2 instruments, swim team, boy scouts, and like 5 clubs to tend to, so this list is what I do in my spare time (yay geeks!!!). In response to the question about order, this is not a method by any means. It is simply my answer to "What can I play next?" or "I need to find something to play at ___ level, soon." I would not suggest learning the pieces in the order I have presented, as I am in no way a pedagogue, but based on opinions collected, I have ranked the pieces based on overall difficulty. For example, the first two movements of the Barber might make it a level 9, however, the third movement is blisteringly difficult. I am going by the assumption that people who start a piece will play the WHOLE piece (including the Intermezzo in Symphonie Espagnol, my favorite movement). These are also subject ot some of my personal experiences. I mentioned before that I can not play fast arpeggios; I failed to mention that beyond two flats, I am lost in terms of key signature (strangely, I can play pieces with all seven sharps OvO^?). That is one reason why Scottish Fantasy and Poeme are higher on the list (not to mention the technique and tone/dynamic control). Besides, if you think about it, no one in their right mind learns all six of Paganini's concertos in a row (if you notice, the list is alphabetical so as not to offend anyone within particular levels).
Kevin, I misplaced the Valse-Scherzo. It should have been in level 10. As for the Paganini concertos, technically, I agree, but musically, I do not. See the revised list. I moved them up. And for the Schubert Fantasy, I saw a performance of it with orchestra. All of the pieces on this list go: w/ orchestra --> w/ piano, or vice-versa. I felt the need to include them, seeing as the list for violin and piano will take a very long time.
December 24, 2006 at 08:12 PM Anne, I could actually use imput similar to that. I never studied the most basic of violin repertoire, so I lack greatg knowledge in that area. If you or anyone else could help me place the student concertos, that would be great.
Looking at your list I had just a couple of thoughts. First, sometimes it is a good strategy to work on certain pieces together because they present different challenges or together they prepare the player for something really challenging to come. Not that you need to complicate your list, but it would be interesting to present an example of a first year grouping, a second year grouping etc.... You could get an idea of what teachers have done in this regard by asking for folks to contribute their repertoire lists with dates of first performance. One example I can think of is Viotti # 22, which introduces up-bow staccato and the "Wieniawski" bowings. Together with Tchaikovsky Opus 42 "Three pieces" where the entire second movement is spicatto and the third movement introduces collet, these two pieces prepare a student to play the Wieniawski F# minor concerto the following year. Another example is the Paganini caprice # 6 used to prepare a student for the Devil's Trill Sonata (Tartini).
Would love to see the Schumann Violin Concerto d-minor somewhere. The third Movement has some crazy scales, the first movement has some dezime-double-stop-trills. I would put that concerto somewhere between Mendelssohn and the Paganini VCs.
But still, lists like this are a great help to chose repertoire for you and your students! I haven't played a quarter of it, but I know almost all from listening to competitions and stuff. We violinists have a good time chosing from that rich repertoire. And this is as we all know not even the "complete" list of concertos and etudes.
-concerto-in-c-major-op-48-mc0002357654 and the next line in Sassmannshaus's graded repertoire list mentions a concerto by him with no details, so it's probably referring to the same one (he only published one violin concerto).
Bärenreiters Easy Concertos is a new series of the most popular short concertos for violinists who want to begin performing in public. The series begins with works by the composers Rieding, Seitz and Vivaldi which are clear favorites amongst the first solo concertos played. The editions include a solo violin part and a piano reduction for the accompanist.
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