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For doing one movement only, I think the Handel is the best, or the Dussek. I think the Dittersdorf is a better bet than the Boieldieu. The Gliere is too boring to me to mention. If Russians look down on his music, I take that as a word to the wise.
You can do the Dittersdorf in recital with a harpsichordist, or a small ensemble of strings and winds. The Boeildieu is much harder than it might look, I think. It also only shows off the right hand most of the time. The Dittersdorf has better personality, it has warmth and charm when played well. It’s actually an arrangement by Pillney that is a re-creation of the piece, something he did quite well.
I don’t remember her ever being mentioned. Judging by the cover artwork of her book, I would guess she was a student in the 1960s or earlier. I did know a
But they haven’t been built for years, I understand. They are all playing on old instruments, albeit with first-class wood. Now, if someone would figure out an improved construction method…………..Carl………………..it might be worth pursuing.
But, really, the question should not be popularity or familiarity. When you consider repertoire, you should have, hopefully, some sense of its greatness. We have a lot of repertoire that is not great, some that is great. Now which would you rather spend your precious time learning? Great or not-great? Which will benefit you the most?
There are quite a few concerti that are not too difficult and are, if not great, very good. I would include among these:
Saint-Saens: Morceau de Concert
Rodrigo: Sones en la Giralda
Albrechtsberger: Concerto
J. C. Bach: 6 Concerti
Dussek: Concerto in B-flat (two movements)
and perhaps Wagenseil, Eichner; and more romantically,
If you want to win the competition, do the one that you know the very best and can play most musically. The Mozart is huge. It is 30 minutes long, and is the longest concerto in our repertoire that I know of. Each movement is long and challenging. You do have all summer, though. It depends on how much you practice and how well you learn. The Mozart is a great piece, the Dittersdorf is good, the Boieldieu is good, and there are others that are similar. The Dittersdorf would be the most accessible, but is not especially flashy.
I saw him in concert, perhaps twice, and I am sure he did not leave it engaged. It encompassed so many strings, the harp would have been dead sounding.
Busser wrote several harp solos that are as well written for the harp, if not better than, as those of Pierne. The early pieces are in a similar style, and they gradually become more modern. I believe the titles are Ballade, second Ballade or something, Impromptu on Japanese Airs, and Prelude and Dance.
I could have sworn Renie was frequently referring to Loukine’s Second Ballade.
Busser wrote several harp solos that are as well written for the harp, if not better than, as those of Pierne. The early pieces are in a similar style, and they gradually become more modern. I believe the titles are Ballade, second Ballade or something, Impromptu on Japanese Airs, and Prelude and Dance.
I could have sworn Renie was frequently referring to Loukine’s Second Ballade.
Busser wrote several harp solos that are as well written for the harp, if not better than, as those of Pierne. The early pieces are in a similar style, and they gradually become more modern. I believe the titles are Ballade, second Ballade or something, Impromptu on Japanese Airs, and Prelude and Dance.
I could have sworn Renie was frequently referring to Loukine’s Second Ballade.
