Solo & Violin with Orchestra and Piano and Other Instruments Concertos with Orchestra J.S. Bach – Concerto in A minor, BMV 1041 J.S.
Bach – Concerto in E Major, BMV 1042 J.S. Bach – Concerto in G minor, BMV 1056 Samuel Barber – Concerto for Violin and Orchestra, Op. 14 Bela Bartok – Violin Concerto No. 1 Bela Bartok – Violin Concerto No. 2 Ludwig van Beethoven – Violin Concerto in D Major, Op.
61 Ernest Bloch – Violin Concerto in A minor Johannes Brahms – Violin Concerto in D Major, Op. 77 Richard Dicidue – Violin Concerto Gabriel Faure – Violin Concerto Felice Giardini – Violin Concerto Joseph Haydn – Violin Concerto No.
Sample Violin Recital Programs Near Me
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1 in C Major, Hob. Vlla:1 Joseph Haydn – Violin Concerto No. 2 in G Major, Hob.
Vlla:2 Ezra Laderman – Violin Concerto Michel Michelet – Violin Concerto W.A. Mozart – Concerto No. 3 in G Major, “Strassburg” K. Mozart – Concerto No. 5 in A Major, “Turkish” K. 219 Felix Mendelssohn – Violin Concerto in E minor, Op.
64 Pietro Nardini – Violin Concerto Sergei Prokofiev – Violin Concerto No. 2 in G minor, Op. 63 George Rochberg – Violin Concerto Jean Sibelius – Violin Concerto in D minor, Op. 47 Dmitri Shostakovich – Violin Concerto No. 2 in C-sharp minor, Op. 129 Robert Schumann – Concerto in A minor, Op. 129 (arrangement of his Cello Concerto) Ralph Vaughn-Williams – Concerto in D minor, “Concerto Accademico” Henryk Wieniawski – Violin Concerto No.
2 in D minor, Op. 22 Solo Violin Sonatas J.S. Bach – Sonatas and Partitas for Solo Violin Michel Michelet – Sonatas for Solo Violin Sergei Prokofiev – Sonatas for Violin Eugene Ysaye – Sonatas for Violin Violin Sonatas with Piano J.S. Bach – Sonatas for Violin with Piano Ludwig van Beethoven – Violin Sonatas John Corigliano – Violin Sonata Aaron Copland – Violin Sonata Claude Debussy – Violin Sonata Cesar Franck – Violin Sonata George Friedrich Handel – Violin Sonatas Nikolai Lopatnikov – Violin Sonata No.
1 Michel Michelet – Violin Sonata No. Mozart – Violin Sonatas Sergei Prokofiev – Violin Sonata No. 2 in D Major, Op. 94a Giuseppe Tartini – Violin Sonata in G minor “Devil’s Trill Sonata” Antonio Vivaldi / Ottorino Respighi – Violin Sonata Works for Violin and Orchestra or Piano Ludwig van Beethoven – Romance No. 1 in G Major, Op. 40 for Violin & Orchestra Ludwig van Beethoven – Romance No.
2 in F Major, Op. 50 for Violin & Orchestra Bela Bartok – Rhapsody No.
1 Max Bruch – In Memoriam, Op. 65 Max Bruch – Konzertstuck in F-sharp minor, Op.
84 Claude Bolling – Suite for Violin Giovanni Bottesini – Grand Duo for Violin and Double Bass Ernest Chausson – Poeme, Op. 25 Archangelo Corelli – Variations on La Folia Antonin Dvorak – Mazurek Antonin Dvorak – Romance in F Major, Op. 11 Joseph Haydn – Serenade Douglas Moore – Down East Suite W.A. Mozart / Fritz Kreisler – Rondo Pablo de Sarasate – Introuduction and Tarantella, Op. 43 Pablo de Sarasate – Zigeunerweisen (Gypsy Airs), Op. 20 Camille Saint-Saens – Introuduction and Rondo Capriccioso in A minor, Op.
28 Camille Saint-Saens / Eugene Ysaye – Caprice in the Form of a Valse Franz Schubert – Rondo Pyotr Ilyich Tchaikovsky – Souvenir d’un lieu cher, Op. 42: Meditation & Melodie Henryk Wieniawski – Legende, Op. 17 Henryk Wieniawski – Scherzo Tarantella, Op. 16 Tomaso Antonio Vitali – Chaconne Short Pieces and Works for Solo Violin Joseph Achron – Hebrew Melody Issac Albeniz – Tango J.S.
The Violin Channel recently caught up with American violin virtuoso Aaron Rosand, from the Curtis Institute of Music, who provided some fascinating thoughts on the ‘lost art of violin recital programming’. “I feel it’s unfortunate that we have chosen to neglect the great music written expressly for the violin,” Mr Rosand has told VC, “ a recital should be a one man show where you show how well you play your instrument – and for my taste, recital programs are a bore these days.” videolightboxyoutube videoid=”BKuIoAobigQ” width=”590″ height=”385″ autothumb=”1″ AARON ROSAND CURTIS INSTITUTE ‘THE LOST ART OF VIOLIN RECITAL PROGRAMMING’ I’d like to talk today about programming – which has become so radically different from programs that we used to consider ‘standard’ not too many years ago. My personal preference in a recital program is to always begin with something that will immediately show ‘tone’ – and the type of sound that you have. I always felt it will not only warm up the audience – but also warm up yourself. I used to do early Italian works, or a Handel, Bini Pasquale, Corelli or Tartini Sonata – the ‘Devil’s Trill’ Sonata is an old favourite of mine as a concert opener.
Then I would plan one of the major sonatas – by Brahms or Beethoven or whoever it might be that I would be featuring. In fact, in my generation, we sometimes played concertos in recitals. I often programmed Bruch’s ‘Scottish Fantasy’ with piano – which we rarely see any more. The second half I always chose to begin with solo violin, inevitably a solo sonata by Bach or Ysaye or some other solo violin pieces – before then getting into the virtuoso repertoire of Wieniawski, Sarastate or Paganini. I feel a recital is not complete until you show what the music written for the violin can do for the instrument.
For me, when I see programs today I often can’t understand how it is written up as a ‘violin recital’, because when I see three or four sonatas for violin and piano, the piano is actually playing the major role – and for me that doesn’t make a lot of sense. And, the thing that actually offends me, is that most of these recitals are being played with the music stand and reading the sonatas from music. It’s one thing to say that it’s an equal part with piano, but the pianist doesn’t include a violin sonata when they program their own recitals, so I don’t understand why the violinist can’t play the sonata without any music. I used to talk about this with Nathan Milstein, and he would laugh and in simple words say: ‘They don’t know the music!’ The programming I find today is often quit boring for the audiences. Recitals used to be very popular 50 or 60 years ago because of the show pieces that were actually played – not so much for the major work on the program. People couldn’t wait to hear the virtuoso repertoire.
For example when Vladimir Horowitz was doing a recital, it didn’t matter if he played Rachmaninoff, Chopin or Scriabin Sonatas, people couldn’t wait for him to play his version of the ‘Stars and Stripes Forever’ – because that was the thing they went home singing. I feel it’s unfortunate that we have chosen to neglect the great music written expressly for the violin. I feel this cannot be just resigned to an encore – the music of Wieniawski or Henri Vieuxtemps deserves to be put on the programme.
Pianist don’t neglect their great composers, Liszt and Chopin in recitals – but the violinists have somehow pushed the best repertoire for the instrument onto the back burner and I dont understand the reasons for it. A recital should be a one man show where you show not only how you play Bach or Beethoven or Brahms but also how well you play your instrument – and this is something that I feel strongly should come back into being, because for my taste recital programs are a bore these days.
Elmhurst College Faculty Recital Paul Reade Victorian Kitchen Garden Suite, trans. For flute and harp Gabriel Faure Sonata in A Major Joseph Schwantner Black Anemones, Soaring Maurice Durufle Recitative, Prelude and Variations for flute, viola, piano Michael Gordon ACDC for flute, clarinet, violin, cello, piano Wheaton College Faculty Recital Maurice Durufle Recitative, Prelude and Variations for flute, viola, piano Andre Jolivet Chant de Linos Luciano Berio Sequenza Paul Reade Victorian Kitchen Garden Suite, trans. For flute and harp J.S. Bach Sonata in E Major Henri Dutilleux Sonatine On the Wisdom of Women Ann Boyd Goldfish in Summer Rain Jake Heggie (texts by Sister Helen Prejean)The Deepest Desire Jennifer Higdon Rapid.fire Amy Beach Sonata Yuko Uebayashi Au Dela du Temps for two flutes and piano Bethel Summer Concert Series Samuel Barber Canzone Paul Hindemith Sonata J.S.
Bach Sonata in E Major Aaron Copland Duo Henri Dutilleux Sonatine Stim.U.Li Concert Series, Chicago J.S. Bach Sonata in e minor Samuel Barber Canzone Andre Jolivet Chant de Linos Sergei Prokofiev Sonata in D Major Henri Dutilleux Sonatine University of Illinois, Champaign-Urbana Webster University, St Louis Maurice Ravel Habanera Lowell LiebermanSonata Sergei Prokofiev Sonata in D Major George Crumb Voice of the Whale Flute and Guitar Concert Joan Tower Snowdreams Robert Beaser Mountain Songs Toru Takemitsu Into the Sea Astor PiazzollaHistoire du Tango.
Your spring piano recital is one of only a handful of times when your entire studio population is gathered under one roof. Taking full advantage of this captive audience and delivering a brilliant recital welcome speech can accelerate your studio growth and contribute to a long, full, and healthy musical career. But what does a brilliant welcome speech look like? In today’s post we’re sharing the six components of a “pitch perfect” recital welcome speech, followed by an actual welcome speech transcript that you can adapt for your own recital.
How To Build The “Perfect Recital Welcome Speech” Below I have highlighted the six building blocks that make up a “perfect piano recital welcome speech”. At the bottom of the post please share your thoughts on your own welcome speeches and add anything we may have missed. Building Block 1 – Set The Stage After welcoming everyone to your recital, you’ll want to immediately let people know that there will be students of many different ages, working at many different levels. In doing this, you keep your audience’s expectations in check. Some audience members may assume that every child to grace the stage will be a mini-Mozart. But, as this may not be the reality in your studio, it’s a good idea to set the record straight in terms.
Bringing attention to the variety of students in your piano studio has a second purpose as well. It lets the parents in your audience see what their children can become and reminds them of where their children used to be.
A reminder of progress does wonders for student retention and parental satisfaction. Building Block 2 – Gush About Your Students Next up, you’ll want to gush to about your piano students. Use this opportunity to highlight all of the accomplishments that have occurred in your studio over the course of the year. But be sure to keep this studio specific, rather than student centered. For example, you’ll want to say something like, “The children in my studio completed 357 pieces this year!” as opposed to, “Sarah earned a silver medal in her Grade 6 exam”. Building Block 3 – Gush About Your Studio While your gushing about your students, you’ll want to make sure that your “gushes” include references to the awesome things that have happened in your piano studio over the course of the year.
People lead very busy lives these days so they can be forgiven if they don’t remember your practice incentives during the fall or your CD release parties at Christmas. And, even if they do remember what has happened over the course of the year, listing off an array of activities in rapid fire will be impressive and make you look awesome! Building Block 4 – Gush About Your Studio Parents After gushing about your students, go ahead and gush about their parents as well. Use your piano recital welcome speech to remind them of how appreciative you are of their decision to make music a part of their children’s lives; reecognize their commitment to music. This could be the most important aspect of any welcome speech because, if carefully crafted, your appreciation can be used to highlight the importance of music in the lives of children and ensure an incredible re-registration rate. Building Block 5 – Gush About Your Students Again If you want to really impress your studio parents, remind them of how proud you are of their children for simply having the courage to get up on stage and perform music for an audience. Whenever I deliver this line at my recitals I can see genuine nods of approval in the audience.
The thought of performing in public is terrifying to most adults. When you bring this to their attention, they will be that much more appreciative of the efforts your piano students are making and understanding of nervous slip-ups that might occur. And, most importantly, they will see that music lessons can have incredible value in the lives of their children, beyond the learning of music itself which once again, will result in more piano students coming back year after year after year. Building Block 6 – Keep The Audience In Their Seats After reminding your audience of the courage your piano students are about to show, it’s time to hit them with the big one, “Don’t leave this recital early!”Of course, I would never phrase it like that in a million years, but as you’ll see below, I have an effective way of communicating my point and ensuring a full recital even as the last note is played. First impressions are important but so are last impressions.
If you’re hoping to have strong re-registration rates and a growing and thriving studio, you do not want parents to leave with an image of a half empty concert hall. Even if it was packed to begin with, that half empty image will be burned in their minds, making your studio seem small and not particularly popular. A Piano Recital Welcome Speech Below is a sample, fictitious welcome speech that you can use to guide the writing of your own speech. The recital speech below can be delivered in less than five minutes. Five minutes doesn’t seem like long but when you’re up in front of an audience time does slow down. If you do not think that your public speaking skills can engage an audience for this amount of time, chop this speech down to its absolute most important components. Hello everyone and welcome to our spring recital.
I’m so happy to see everyone here today; moms, dads, grandparents, aunties, uncles, cousins and friends We have a wonderful line up of performers to entertain you. Today is a celebration; it’s the very first recital for some students and it’s the 15th recital for others! Our recital will showcase a wide variety of levels from young beginners right through to advanced students. This variety gives older students the opportunity to remember what it was like to be a beginner, and younger students the chance to see what their hard work will enable them to accomplish in the future!
Music Recital Program Examples
I feel so fortunate to teach such a special group of students. This past year has been full of learning, progress and accomplishments.
I just added up the numbers last night, and students in this studio have completed over 300 pieces this year! Perhaps even more impressive is that every student has composed at least 4 original pieces of their own! As you probably know, our studio was a very busy place this year – we held several fun practice incentive events including our very popular E-Fish-Ent Practice and Wild West events.
Students had so much fun with weekly piano theory games and with the improv activities we introduced this year. We also just recently completed our CD project where students recorded their favorite pieces from the year. Students can look forward to taking their own personal CD home at the last lesson before the summer break!
In addition to all of the wonderful accomplishments during lesson time, our studio has also been active beyond the studio even helping to raise over $500 for local families. We’ve had many students complete their piano and theory exams with wonderful results. Students also participated in our local music festival and performed in their school talent shows.
Each and every child here today has shown incredible growth and progress and they should feel very proud of what they have achieved. Today, we are not only celebrating the fact that your children are learning to play the piano, but that they are willing to share this gift with others.
It is not an easy task to come up here on stage and perform, and the confidence that these children are building by learning to do this from a young age is so valuable. Finally, I’d like to take a moment to thank the parents. I am truly grateful for the opportunity to get to know your children and to work with them each and every week; they continue to amaze me with their intelligence, their energy and their sense of humor. Thank you for recognizing the value of music in the life of a child. Thank you for the time you invest in supporting your child at home and thank you for including me as a part of your child’s musical education. Before we begin, I’d like to remind you that students placed at the end of the recital program have worked just as hard to prepare their performances as have students placed at the start. I would ask that you remain until the end of the program to ensure that all of these wonderful children experience the supportive and full audience that they deserve.
Violin Recital Program
And now we’re ready to begin! After Delivering This Welcome Speech Sit back and watch your piano students amaze your audience with music from Teach Piano Today’s PianoBookClub. For just $8 US monthly, you’ll get incredible new music each and every month! I loved this article too! I would like to share how I keep my parents in their seats until the end – I give ‘recital certificates of accomplishment’ at the end and do a group photo which I put up in the studio. Which student wants to attend and then not have recognition at the end with a certificate and be part of the ‘big picture’.
I have a large number of students in my studio, with three one-hour recitals each Christmastime (all on the same afternoon), and I always have everyone staying to the end of their session. I also give a very small gift (dollar store or pound store value) to those that perform and they don’t get it until they come up for their certificate of accomplishment. I have agonised over this for many years and I guess this now works for me! I used to feel very frazzled trying to talk and be the “host” for the evening while simultaneously the backstage organizer and accompanist. My last recital I “employed” a new MC–my awesome hubby, an Air Force Colonel who is very comfortable commanding an audience. I wrote out exactly what I wanted to say and when, and he did such a great job.
That took the pressure off me so I was able to concentrate on my students! I also “employed” a couple of my teen students to help keep my little Wunderkeys students in step. Delegating some responsibility was my best choice ever and I will never go back! This year, I have delegated a student who is accomplished at oral interpretation to start the show with the story of “The Pop Waltz Prophecy.” That will be the theme of the show, with narratives all the way through.
Three students will be performing pieces from the book, while others will perform a variety of works that we will weave into the narrative. We always have cake and socialization afterward, with parents participating in bringing food, helping with set-up and clean-up, etc. I’m going to add elements from your opening speech this year! Thanks for all the great ideas. I love all the ideas and thought going into this speech; I too, keep mine a bit shorter but it is inspired by the same ideology.
One thing that I do that I have found effective is to have all my students stand at the beginning (they are seated in the front of the auditorium in performance order), I have them stand and turn around to face the audience and ask for thunderous applause for all their hard work throughout the year emphasizing that they are already successful because they are here and they deserve congratulations before they play. ? It goes over well!!! In addition to my teaching “hat”, I also wear a “collaborative pianist” hat, so in my recitals, I always invite a guest artist in and we perform something together. I am fortunate to have quite a few musician parents in my studio, so it’s been fun to include them as the guest artist. I think it’s also important for my students to see me playing piano – something I love – and to discover that collaborating with other musicians is an excellent aspect of being a pianist! In fact, at my spring recital, I’m inviting my students themselves to be the guest artists. Many of my students play a band instrument as well, so my more advanced students will be learning the art of collaborating with them.
I’ve never had trouble keeping families around for the entire recital. They know it’s expected.
Also, I often mix up the order of performances so that no one knows exactly when they will be performing. In 2 weeks, my recital is called Musical Movies! There will be a box of trivia questions about each of the 34 movie themes. As the questions are drawn and answered, the student with the song matching that trivia question will perform.
I can’t thank you enough for your wonderful and generous help. It has transformed the way I teach. Thanks a million! At the beginning of the recital, I can barely stand up, and say good afternoon, welcome, before I start to cry. I hardly have to look at those faces that I love and hardly have to think about how proud of them I am before I start to cry; despite all the times I practice my welcome speech in the shower.
A terrible handicapthat I just can’t fight. So, I just try to communicate all that important stuff another way.
And At the end of the recital, a family member will speak for me, and she always adds something spontaneous and unexpected when she speaks directly to the students. All of my students play at least three pieces, and they are each interspersed throughout the program. This prevents too much restlessness and they can’t possibly leave until the whole thing is over.
I think it’s important to communicate high expectation of audience behavior. My piano recitals are unique. Two years ago I came in as Darth Vader with a light saber and pretended to attack everyone while a student played the Darth Vader theme, last year the kids marched into La La Land as I was playing it, and this year I was thinking of doing a TV show, where I am the moderator.like a takeoff on America’s Got Talent. So I don’t do “the speech” anymore. When I did in the past, the parents thought it was too long. I praise the kids all year and I am in contact with all the parents.
August 31, 2005 at 06:04 AM First know how long the recital is to last. If it's a recital for examination purposes, they will usually have a set time (eg 45 minutes) plus or minus 10% (eg 4.5 minutes, or 4 minutes and thirty seconds). Then think about what pieces you are learning that you can fit in that time. Of course it depends on the situation, for example, if at a University final year recital, it would probably be a good idea to do a movement or two of Bach, maybe a movement of a mozart sonata, a movement of a romantic concerto and then a show piece - Weiniawski etc. Or if it's just a public recital that you are putting on, It might be nice to see if you can fit in two full sonatas, or perhaps a Bach Sonata or Partita, a sonata, and then a show piece at the end as a prepared encore. September 2, 2005 at 02:23 PM I don't really think a concerto is that good to put on a university solo recital. Why put an orchestra/solo piece on a recital when there is plenty of recital music to put on a recital?
Use recital music for recitals, and concertos for competitions, orchestral performances, auditions.etc. For the Bach, I think it's more impressive to have the whole sonata/partita instead of just 2 or so movements. Actually, that goes for anything.
Try to do everything in full. Don't fill up the program with sonatas, even though they're easier because you don't have to memorize them. Maybe 1 sonata and 4 solos.
September 2, 2005 at 04:02 PM Of course, the recital repertoire has changed a lot over the years. It used to be perfrectly normal and acceptable to have a concerto with piano reduction on a recital program, and also to have whole recitals of miniatures, or single movements.
It's a good idea to 'warm up' the audience a bit, so it's normal to put shorter sonatas at the beginning of the program (Handel, Mozart G major, or the Schubert 'sonatinas', for example). You wouldn't want to open a program with Franck or Brahms, for instance. But personally I don't see a problem with just about any part of the violin repertoire being on a recital, because I think we tend to limit ourselves too much. If you think the slow movement of Wieniawski #2 is the most beautiful piece of music on the planet, and you want to put just that movement on a program, there really isn't a reason not to, especially as part of a 'set' of miniatures and showpieces. Singers put together totally disparate songs that happen to be in the same language for a set, and no one bats an eyelash, so why can't we do it too?
As a side note, one such set is what could be called the 'tour de france concerto' - a set comprised of the Rondo Capriccioso, Chausson Poeme, and Tzigane. The only problem with it is that the change of key between the Saint-Saens and the Chausson (from A major to E-flat minor) is a little jarring, but it's a lot of fun.
September 2, 2005 at 10:44 PM My point was that if you only have a limited amount of time (45 minutes is the time for the graduation recital at my uni) then you have to be really conscious about the time planning of your recital - it might not be feasable to play a whole Bach S or P, a Whole Sonata and a showpiece. For example if you played the whole Bach E Major Partita and the whole Sonata 1 in G Major from Brahms (Op. 78) - you'd already be looking at around 44 minutes from that. Doesn't leave you much time for a show piece. Of course it is preferable to play whole pieces, but for some situations it just is not feasable. Download komik tintin bahasa indonesia lengkap contoh.