The opening of Mozart's 39th
symphony presents several challenges,
most of which have to do with rhythm.
So the rhythm has to be first and foremost
in your mind.
As soon as you start, you should actually
have 32nd notes
running through your head, so again, you
That sets your pulse for the whole thing.
Now the problem is you have to count a lot
of 32nd notes.
But if your disciplined in your practicing
about doing that,
you'll have no problem doing it in the
audition as well.
Where you run into trouble is when you get
started without having that
running through your head.
So, you give yourself the pulse.
Now if I could tap 30 seconds with my toes
inside my shoes I might do that, but
instead I do eighth notes and
I have the 30 seconds running through my
head like I'm a machine.
[SOUND] That opening chord needs to have a
So, it doesn't need to be sustained like,
like it might be in Tchaikocsky or
something like that.
It should have a natural taper, even
though there's not a dim that's marked.
Now this is a very
warm key, E flat major.
Not only that, but I have an open string
in that double stop.
So the worst thing to do would be to have
a huge bravado on the D string,
the sound wouldn't match at all, and it
would sound aggressive.
You can see that,
that my bow almost doesn't know what to do
It almost has to sustain it in a hard way,
and that's not what I want.
So the 32nd notes come after that first
bar and a half, and
the exact pulse that you had.
Now to cross over to that E string, you
use use the techniques
that you developed in the Kreutzer Etudes
to do it silently.
So the bow shouldn't leave the string.
And then any tiny noises that happen,
nobody will be able to hear from more than
a couple feet away.
And that gets you over to the E string in
rhythm ready to play the scale.
The scale should have an even arm motion
for the string crossings.
So, in other words, rather than this
you would cross gradually using all
the parts of the string.
That's much easier to do quickly and
to make it sound smooth.
The last thing is to make sure that you
count through the rests fully.
You've got one eighth rest before the
scale which surprisingly many people
also rush, so don't want to be one of
And then at the end of bar nine, you have
a half bar rest and
then another half bar rest at the
beginning of ten.
Those eight notes should be counted fully
So the long notes, the half notes, and the
long rests count fully so
that you display that, that real
discipline and integrity and
rhythm that the committee's looking for.