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I think the simple answer is learn it all. The whole Concerto that is. What if the panel asks you to start on page of the Concerto and then begin the second movement and you have not even looked at the second movement?

The same goes for the excerpts. Yes there are parts that are standard, but one should know the entire piece.

Please remember it is no fun the sight-read in an audition when the music could have been learned before entering the room.

Good luck,

Bob1062 wrote: Boy am I glad I have that Cherry CD! I've been basically going through it and playing everything that they have listed for the season that is on the CD (most of it)! I think I should send Gordon a Christmas basket or something!

I think we all owe him a christmas basket!

Bob1062 wrote:It does seem that the audition is meant to be somewhat shorter in nature. And the 1st movement seems to be appropriately long enough WITHOUT the cadenza (no accompaniment), so I am considering NOT playing the cadenza.
To be perfectly honest, I am not super hot at it either right now, but I think I can do a pretty credible job on it if I work on it. I enjoy the rest of the movement and think I can make it sound nice and interesting so I'm not too worried about that.

The cadenza is an IMPORTANT part of the movement. If you are playing the first movement, then it must include the cadenza unless you are told otherwise

Jonathan "who wonders how you are going to play Fountains, the Ride & Tchaik. 4 on a 3 valve Eb"

Bob1062 wrote:I am working up the RVW concerto for an audition at the end of September.
...
The requirements for the audition say to play a solo (no specifications), and judging by the requirements for the other instruments it seems that one movement of a concerto would be acceptable. I am happy with how I am doing on the 1st movement, so that is what I will be using. Plus, I think the 2nd movement is boring

First of all, I find the second movement to be the most musical and expressive, so if it bores you, perhaps you should investigate another line of work...

Anything you play, you should be prepared to play the entire music. In some auditions, there will be persons familiar with the music who will "next!" you immediately. In lesser auditions, you have no idea if the evaluator(s) will be knowledgeable (but perhaps it's on a CD where the next track is their favorite piece, so they've heard it a lot!).

It's a risk, but it's your risk.

Then again, the committee/persons may only want the solo so that they can hear you in an extended solo, apart from excerpts which can be very quick, depending on what and how they hear it. This is one of the reasons why, in a big audition, if you get far enough, you can count on playing with the low brass section. They will want to hear your concept of sound, pitch, and ensemble when working, and not just playing the excerpts.

If you are not entirely comfortable with you performance of the Vaughan-Williams, and that particular piece is NOT required, find something else that you ARE pleased with.

You are correct in that they often just want a short example of your solo work, but whatever you choose, be prepared to do it correctly. Perhaps choose a shorter, less demanding work. You will get NO credit for trying something that's beyond you right now, even if YOU think you should get it. It will come, if you keep progressing, but NEVER show people what you can't do, for any reason.

The same goes for solo performances. Programming a piece that stretches you only works if you can do it in your sleep when the time comes. Otherwise, you are doing nobody any favors, not yourself OR your audience.

Besides, auditioning should be fun, not nerve-wracking!

Neptune wrote:Jonathan "who wonders how you are going to play Fountains, the Ride & Tchaik. 4 on a 3 valve Eb"

(Don't forget those false-tones!)

windshieldbug wrote:

Neptune wrote:Jonathan "who wonders how you are going to play Fountains, the Ride & Tchaik. 4 on a 3 valve Eb"

(Don't forget those false-tones!)

Gosh - there will be whole passages entirely in false tones

When performing the RVW 1st movement at an audition, I have sometimes been stopped, asked to skip ahead and do the cadenza. If they're running out of time, they might do that to you too!