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Really? And you will need to coordinate this with an orchestra? I'm sure a medley of movements is possible but I would hesitate to suggest how. Are breaks allowed between movements/sections or is this to be continuous music?

Can't you work it out with the orchestra? They might have some good ideas too.

Or with your teacher??

Or, if all else fails (and it might), see if you can't 'negotiate' the stupid thing about needing to touch on all movements.

And if none of that works....
Since, all things considered, it's such an odd and difficult thing, with that time limit -- maybe they wouldn't really expect it to be that "coherent"! Maybe a sequence of excepts not sounding like much more than a sequence of excerpts would be fine enough.

I'll consult with my teacher and also with one my colleagues- he won last year and is doing Liebermann 2, which I just realize is about half an hour long. I'm brainstorming, and so far, I'm thinking of these:

Mvt 1:
Playing to just after the Presto (but missing out on my favorite part, when the theme leads to the E major seventh chord into the ending...)

Mvt 2:
Solo piano entrance to just before the trills for days...

Mvt 3:
Up to before the restatement of the cyclic theme

Mvt 4:
After the restatement of the recitative in the 2nd movement to the end

I think that touches on the important parts of the concerto... I'll figure out the approximate timings tomorrow.

Looks like good ideas! But....


What a shame!

The whole idea of requiring parts of each movement of the chosen concerto seems outrageously silly to me. Forcing the participants to break up masterpieces into incoherent mishmoshes. Particularly horrendous for any listening audience. I'm surprised many participants, teachers, and audience members haven't complained.

Oh--that puts an entirely different perspective to consider.

So you would be expected to do about 2-3 minutes from each section? That's a bit weird.

Decidedly bizarre and certainly intended not to display or test any real musicianship. Makes you wonder who's running this "show"!

One of our few things on which it seems everyone is unanimous (if you pardon the redundancy).

How about this collection of adjectives that we've used for it:

strange
odd
silly
horrendous
weird
bizarre

....and rightly so.
That's why I would think he has a decent chance to be able to work out something with them that makes more sense -- because it's hard to believe that any halfway accomplished and serious musicians wouldn't see it and therefore be open to something better. But then again, if you're dealing with the people who presumably set up that system, who knows.

Which school is this?