David Gyula Viola Concerto Pdf 15
Serge Moquin
David Gyula - Viola concerto. You can download the PDF sheet music David Gyula - Viola concerto on this page. The Viola concerto by Gyula David, which dates from 1951, is almost classical in effect. The composer, who was born at Budapest in 1913, treats the solo part in a manner more essentially characteristic of the instrument than was the case in Bartok's Viola concerto - this is probably a result of the fact that David was an orchestral viola player himself before taking up his appointment as professor at the Budapest conservatorie.
Despite the vigorous echoes of folk music and its use of assymmetrical phrases the influence of Beethoven is unmistakable in this work, most noticeably in the employment as motifs of lengthy scale passages, and in the organic collaboration of soloist and orchestra. Thus the powerfully energetic first movement is constructed in the traditional sonata form. The tenderly flowing melody of the slow movement, which is in three sections, is freely decorated by the solo instrument, though the cantabile contours of the melody always shine through the ornamentation. The Rondo which follows - it is inthe Lydian mode and may be regarded as an act of homage to Bartok - concludes the work. In dancelike principal theme is soon linked with a phrase constructed on fourths, then with a graceful melody reminiscene of a folk song. The brilliant line of the solo viola, here again based on the melody, takes the stage at the center of the movement.
David's Viola concerto is dedicated to Pal Lukacz. This soloist, who was born in 1919, won the first prize for viola playing at the International Musical Competition held at Geneva in 1948, and since 1946 he has been a professor at the Academy of Music in Budapest.
August 13, 2013 at 10:30 PM I teach violin privately, and occasionally have a viola student. I currently have a student who is going to be a senior in high school this year. He is looking to audition for viola performance at the college level. He is currently working on the Marchenbilder by Schumann, and the first Bach suite. I don't have as thorough of knowledge about the standard viola concerti as I do violin, so what would be considered an appropriate standard concerto to audition with at this level?
August 14, 2013 at 01:00 PM Have you considered suggesting to the student that they might want to take some lessons with a friend or colleague who is a violist? That way the student would possibly get good fingerings and bowings and some idea about what a viola college teacher would expect concerning an audition.
August 14, 2013 at 02:12 PM Check out some cello concertos. You can get ones like Elgar on Virtual Sheet Music. My favorite is the Forsyth viola concerto. It is not quite as difficult as Walton, but will take some work.
August 15, 2013 at 01:26 AM Walton at College Level????? Fine, if he can play it at speed, but there is nothing worse than turning up with the last movement of the Walton at half-speed. He needs something he can play with some degree of musicianship. The Bartok is almost as difficult.
I studied Tertis's arrangement of the Elgar 'Cello Concerto while at high school, but there's playing it and PLAYING it! I also performed the last movement of the Stamitz with the junior orchestra while at high school.
One request, re Marchenbilder: Please check out the speeds in the Wikipedia article. Schumann wrote some things about Marchenbilder that haven't made it into either English translation or books on Schumann published in English.
Ryan didn't mention the Telemann, which is technically not as difficult as the ones he did mention, but is an important part of the viola soloist's repertoire (Bruno Giurianna listed it, but not the Stamitz, amongst the works he would consider handling at his Prussia Cove masterclasses).
August 20, 2013 at 08:17 PM Thank you all for your suggestions! I have tried to pass this student on to a viola professor or professional player, but I'm afraid there's just not a good match in our vicinity. I studied viola at the college level for a semester or two, though, so I feel like he's at least not getting wrong info.
August 22, 2013 at 04:13 PM It was in B minor when I studied it. Its reputation has suffered as a result of Casadesus's long-accepted claim that it was by Handel, and its rehabilitation as a concerto simply by Casadesus has been slow - Unfortunately Handel wasn't the near-nonenity that Pugnani, etc. (I don't think I've even heard a Joseph Lanner waltz up to the standard of Liebeslied and liebesfreud) were, so the forgery seems that bit more heinous.
August 23, 2013 at 02:42 PM Jay, the easiest movement of the Walton is the last movement, unless you have extreme difficulty reaching top A. The most difficult sections of the Walton are that between figures 7 and 8, followed by the second movement.
August 23, 2013 at 02:50 PM And nobody's mentioned the Brahms Sonatas (Brahms had originally designed them for the clarinet, but during composition decided that they were equally meant for the viola - note double stoppings in the viola part).
I never played any of the Walton for an orchestral audition, partly because the conductor, who doubled as accompanist at auditions, said he'd kill me if I put the Walton in front of him - He was happy with Brahms F minor though.
August 30, 2013 at 04:28 PM First, make sure there isn't a list of acceptable concerti for the schools. Many have one. It would be a shame to prepare a piece that wasn't accepted for all the schools under consideration.
The "Big Three" for viola are the Bartok, the Walton and the Hindemith Schwanendreher. Schnittke would be an acceptable alternative, and is gaining popularity. Many schools won't require these for admission, though. Just make sure they don't!
August 31, 2013 at 01:24 AM Jay, you don't write that you've actually tried to PLAY the Walton. My experience is that that passage in the first movement I referred to is the most difficult thing in the whole work, followed, perhaps, by the second movement as a whole. I would agree that much of the rest of the first movement is easier than the last movement.
No one has mentioned Harold. When going up to university, I took my transcription of the solo viola part (having failed to locate a viola and piano arrangement) to an audition for the university's first orchestra. The panel were nonplussed, but they had me in second desk for the whole of my career at that university, so it would seem that their initial assessment was not far off the mark. I found out a number of years later that an arrangement for viola and piano had become available, but have only just now found out that the piano part is by Liszt, and is as difficult as you'd expect - Had I been able to obtain that arrangement, I don't think anyone would have thanked me for turning up with it (and if Ian Reid threatened to kill me over the Walton, what would he have said about a part by Liszt?). Actually, there's one circumstance in which it MIGHT be suitable for a college audition; that is, if the violist has an absolutely brilliant pianist friend who's also trying to get in - the violist would get the pianist in, even if self were rejected! In terms of difficulty, I would say it was what Julie calls Intermediate.
When I took my transcription of Dowland's Melancholy Galliard to a orchestral audition, the comment was "You've made it very difficult for yourself, haven't you?". It's at , if anyone wants to have a go.
My father gave me a copy of the Shostakovich Sonata Op 147 for a birthday, because a former pupil of his was performing it with great success. There look to be some very difficult things, in the second movement particularly.
August 31, 2013 at 12:54 PM Nobody mentioned my favorite sonatas, Schubert Arpeggione and Glinka Sonata. They are as meaty as a concerto movement, but probably check if acceptable at schools you want to audition for. I, too, am a violinist teaching advanced viola students. If any of mine decided to head to music school, I'd get them to a "name" violist. I'm near a couple major universities, conservatories.
September 1, 2013 at 03:22 PM If a school's catalog does not state a specific list of works from which to choose your audition program, then it may specify eras and types of pieces. Many schools request solo Bach plus a romantic era sonata and a concerto. If it is not required that the concerto be from the classical era, then there are several 20th century possibilities less difficult than Bartok, Walton and Der Schwanendreher, but challenging enough to offer material in which a violist can make a strong artistic and technical impression in a typical audition of 10-15 minutes:
Lars Erik Larsson - Concertino (tonal with modal and chromatic harmonies; 1st mvt has rhythmic variety, melodies & fast passage work but no double stops, is playable by a student with good command of 2nd, 3rd, 4th positions, and is least difficult of this list)
In choosing audition repertoire, it is important to keep in mind that you want to display your intonation, facility, tone and musicianship to best advantage. For example, if you have trouble with long distance shifting, sophisticated bow distribution, facility with fast passage work in non-traditional scale patterns, or double stops, then Walton is not a good choice, but Martinu might sound very impressive. My best advice is to make sure that your current etudes and daily warmup exercises match the level of difficulty of the repertoire selected.
If a classical era concerto is required, there are attractive alternatives to Stamitz and Hoffmeister. A thematic catalog of many examples is among the Articles (Let's Play Something Else!) at my website, Ashmont Music
April 9, 2014 at 05:40 PM I'm a little bit alarmed that people are suggesting the Telemann, seeing as how I would consider that a middle school level piece. I would suggest MAYBE Stamitz, possibly hoffmeister, definitely Walton or Bartok!
April 10, 2014 at 01:50 PM I don't suppose there's a Music Minus One, as opposed to Music Minus Two version of Brandenberg 6 or Sinfonia Concertante? The latter could be particularly suitable audition material. Even better would be a really go ahead auditioning college or orchestra that's prepared to provide a trusted "tame" violinist to go along with the pianist. Mozart is so much more revelatory of a player's control and musicianship than anything else - See other Discussions on this website.
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