Recital Training, Vol. 1 [incl. CD]: Violin (Solo)

This series cuts through the awkward middle ground where students finish their method books but aren't ready for full concertos. Wartberg gives you movements from real masterworks paired with her own practice strategies, meaning you're not inventing supplementary material or patching together fragments. The dual CDs with multiple tempos turn solo repertoire into something students can actually work through systematically.

These movements capture the lyrical elegance of Baroque violin writing, where technical clarity serves expressive purpose rather than display. The music sits in a golden zone: substantial enough to feel like real concert material, but shaped and supported in ways that build genuine confidence.

Suzuki students in Book 4 and beyond who need scaffolded access to concerto literature, as well as non-Suzuki students navigating the intermediate repertoire gap. Players returning to violin after time away also benefit from the structured progression and dual-language instructions.

• Start with the slowest backing track version and match your tempo exactly before moving faster. Hearing yourself against the ensemble forces you to lock rhythm and intonation immediately.
• Use the preparatory exercises in sequence before tackling a new movement. They isolate the technical demands you'll encounter, so you're not solving three problems at once.
• Record yourself against the performance version once you've learned the notes. You'll hear immediately where your phrasing lives separate from the accompaniment rather than inside it.

Pull individual movements for student recitals rather than programming complete concertos, which keeps performance time manageable while introducing students to legitimate repertoire on a real stage. The included backing tracks also make this suitable for young soloist recitals where a full chamber ensemble isn't available.

• Sustained tone production across multiple bow strokes
• Baroque articulation and style conventions
• Intonation precision in ensemble context
• Interpretation of period ornamentation
• Rhythmic accuracy against accompaniment
• Transition between positions in concert passages