I need to decide by Monday, lol.
Ok so-
Moz. k. 330 mov. 1-
I love this piece, but I'm unsure of the wiseness of playing something which requires such precise detail and clarity in the playing of the passagework for an audition. I mean, if I'm nervous, and I get shaky, those runs are gonna go fbddfghjbflhgvbdfhglbnlsawjdfghdkv really quickly, and instead of sounding like an unearthily elegant and beautiful Mozart playing Seraphim, I'll sound like Nimrod trying to sightread the Mephisto Waltz. On the other hand, I do have a good feel for this piece, and if I'm NOT nervous I think I'd bust it out gorgeously.
mov. 3-
A bit safer option from my perspective, quite fun as well.
Beethoven op. 26, mov. 1-
Erm, I don't know if my teacher will approve in the least of this idea- it's rather difficult in spots technically (there's no other word for it- I struggle in the second variation, and the others are no cakewalk, either). But. IT'S SOOOOO BEAUTIFUL!!!
op. 10 no. 1, mov. 1-
I actually pretty well know this, I studied it last summer with my genius master teacher, and if I was smart, or even sane, I'd do this without even thinking about it. However, I have spent the majority of the past year studying fugues and Schumann, so my sanity is perhaps justly in question.
My objections to playing it are that 1) I suck at the opening hip-hoppy-yet-insanely-angry-sounding-arpeggio-thingies and 2) it's in a minor key, and I don't particularly like the idea of playing a big angry c minor beethoven sonata movement right after the big e minor toccata fugue. And yet on the other hand, prehaps it is fated that I play this, because I just randomly downloaded one of the programs from Dubal's reflections from the keyboard, AND I KID YOU NOT, the op. 10 no. 1 MOVEMENT ONE was the first thing that came on, and he was praising it to the skies. Uuuuuummmmmm.
So from smartest > dumbest, I'd say:
op. 10 no. 1 mov. 1 > k. 330 mov. 3 > op. 26 mov. 1 > k. 330 mov. 1
...help! I can't decide!
-elf
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