Often when we prepare for a competition, audition or masterclass, the required repertoire is dicatated to us in the form of a list. But there are times when we have a choice about which solo piece we will perform. There are some things to keep in mind when choosing a piece:
1. Always choose something that puts you in the best light. This may seem obvious, but you will be surprised how many times flutists have played something only because they felt they “ought to” or “should”. When given the opportunity to pick your solo, find something that makes you sound the very best you can and throw out all those “should’s” and “ought’s”! If fast articulation is your thing, choose the first movement of the Ibert concerto or the second movement of the Bach a minor partita. If long phrasing is your best skill, pick the arrangement of Afternoon of a Faun for flute and piano. The idea is to let your best shine.
2. With that in mind, you will want to play something relatively familiar to your audience, this is particularly important if your judges are not flutists as they will have an easier time digesting something they have already heard. In the alternative, it can work to your advantage to perform an unfamiliar work for a panel made up of flutists. Let’s face it, flutists have developed very strong ideas on the major repertoire. They also may be tired of hearing yet another Mozart G-Major concerto and feel refreshed hearing an entirely new work.
3. Choose something that you have memorized. Usually learning a piece to this level indicates a full understanding of the piece and complete mastery. You don’t want to feel nervous from a lack of preparation. However, even with music memorized, I don’t feel that it is imperative to compete or perform from memory. I still have a sinking feeling when I remember sitting on the panel of an important solo competition. One finalist made memorizing her foremost objective possibly in an attempt to impress the jury. Sadly, she was not totally prepared and due to many memory slips that detracted from an otherwise wonderful performance, it became nearly impossible to give her a high score. Another performer, who had obviously learned her music to the point of having it memorized, played with calm and ease and her music. Because she was such a fine musician and “owned” the repertoire so well, her music stand disappeared from the juries’ focus and she won the competition.
4. Choose music that has a lot of variety in it’s style and character. If you are limited to just one selection or movement, this will require careful consideration. I have often recommended the music of the French composers like Chaminade and Gaubert because they are little gems that pack many contrasting ideas into a short amount of time. The first movement of the Ibert can be very impressive, but without the other two movements, it can sound too much the same. Of course with whatever you choose your artistry will keep the listener excited and on the edge of their seats wanting more!
