Technical Tips
Perfect rhythm and subdivision: The rhythmic drive of the sixteenth notes needs to be heard throughout this excerpt. To ensure that the sixteenth notes sound even, practice with a metronome set to eighth notes.
Articulation: Make sure to play with a very light articulation and to not force the sound. This solo should not sound labored. Think of the plot of the play, and refer to the articulation in the first 4 bars of this movement to set the character for the solo.
Breathing in time: For auditions, we should practice taking only 3 breaths: 9 measures after P, 20 measures after P, and 7 measures before the end of the solo, on the 2 measure rest. The first 2 breaths are very quick and should not interfere with the rhythm. To achieve that, instead of playing an eighth note, play a sixteenth note followed by a sixteenth rest, fitting in the quick breaths.
Musical Tips
Musical gesture: Always refer to the beginning of the Scherzo, and think of the musical direction of the first two measures (and of measures 3 and 4). The first measure of each two-measure-group leads to the second measure. The same feeling should be achieved in the solo. Think of a classical character rather than a romantic one. Practice making a crescendo from the first measure to the second, and then a diminuendo. Eventually, make these hairpins very light, as a musical gesture.
Pickup note: The low D pickup note to the beginning of the solo is the least important note. Play it more quietly and lightly than the following note, G.
Make music: Remember that this is not a technical exercise, but rather a beautiful piece of music, and play it as such.