The last movement of Mozart's forty first
symphony, the Jupiter Symphony is a
Even playing the excerpt is pleasurable.
Sometimes the entire movement is asked in
it could be the first violin part, the
second violin part.
This relatively short selection from the
second violin part is representative,
it includes a lot of the same challenges
that go throughout the movement and
it also includes a nasty surprise in the
that is sometimes asked at auditions.
Your main challenges here are the pulse
Again it's very simple elements that make
up this movement.
Mostly eighths, quarters, halves and whole
So the simpler the elements the more
thought has to go into shaping them.
Let's look at this opening first, this is,
well let's play it first.
Some of those measures are possible to
finger on one string but it doesn't make
sense to do some and
not others so you alternate the entire
What you want is simply to get a good
It's helpful to think of your arm level as
right in the middle of the two strings.
However, you do need a fair amount of
motion from the wrist in order to cleanly
If this were just a simple string
you'd want to cross just from the A side
of the D to the D side of the A.
when you try to do that very quickly,
you often end up with a double stop when
your trying to go back and forth.
It's not the worst thing in the world but
it's nicer to have a cleaner articulation.
Therefore, you get the arm level set to
the double stop, but
you use the wrist to cross nice and
strongly between the two strings.
Maybe it goes without saying that you
put the fingers down always as double stop
you are not trying to time that as well.
The most important thing in the audition
is to remember to keep the arm moving.
If you slow down the bow too much, you can
see how your wrist ends up, the whole
thing ends up feeling too vertical
and the sound will pinch.
So keep that arm moving horizontally.
Even if you think you may be playing more
than piano, it's okay.
It's an important accompaniment figure.
It's only the two violin sections playing
in the beginning.
So the firsts have the fugue subject and
the seconds have this.
You can see, I favor something
toward the upper part of the bow,
to avoid any pinching
of the sound.
Now, once you've gotten past that, you're
you're feeling relief.
Fortes that you have, such as when the
seconds get the fugue subject,
those bars have a natural taper to them
That's how I interpret those dots, for
separation not, not just a stop.
The quarters and eighth notes have
a moderate amount of articulation
It's nice if you can articulate those
eighths slightly off the string and
what you want when you have the mixed
separates is to release the slurs
And as always,
you release the slur to the same height as
you're gonna bounce the eighths.
When you have a whole string if eight
notes, you need patients there, so
they don't move ahead.
This whole movement, has to, just go like
clockwork, and the, and
the genius is in how the, all the parts
They don't fit together if one section is
you have to bare that always in mind
It's great to have direction toward the
end of those, but not direction in tempo.
So that your eighths line up with the
quarters, halves and
whole notes of the rest of the orchestra