Keyboard instruments > Piano solo
Robert Schumann
Complete Piano Works, Volume II
Editor: Ernst Herttrich
Fingering: Walther Lampe, Klaus Schilde, Hans-Martin Theopold
21.50 €
Urtext Edition, Study score, paperbound
Pages: 270 (XXXV, 235), Size 17,0 x 24,0 cm
Order no. HN 9922 · ISMN 979-0-2018-9922-0
For the first time since Clara Schumann’s Complete Edition of 1879–93, all of the works for piano solo are appearing as one editorial project. Spanning almost ten years of painstaking work, all of the Schumann titles published by G. Henle Publishers have undergone a careful revision. The Schumann expert Ernst Herttrich has closely examined each edition and also dedicated himself to those works that were previously missing from our catalogue. The result is being published in this new collection, comprising six volumes, which are available both in paperbound and clothbound editions, as well as study editions in a slipcase. They replace the former four volumes (HN 108–HN 115). Arranged clearly according to opus numbers, it includes not only all of Schumann’s piano works, revised to reflect the latest scholarly findings, but also informative accompanying texts, alternative versions and much more besides.
Reviews
Wer während der letzten Jahre das sukzessive Erscheinen dieser Einzelausgaben, die bei gleichbleibender HN-Nummer jeweils die vorhergehende Ausgabe ablösten, verfolgt hat, konnte schon ahnen, welche Freude es sein würde, einmal das Ganze in Händen zu halten. ... Fazit: eine Ausgabe, die Maßstäbe setzt, und eine Quelle der Freude für jeden Schumann-Freund!
[VdM Literaturempfehlungen für den Unterricht, 2011]
Stattliche 38 Einzelbände, jeweils sechs Sammelbänden der bekannten Broschur- oder Leinen-Ausgabe und schließlich die sechs verkleinerten Bänder der Studien-Edition - das macht (oh Wunder der Kabbalistik) 56 Bände, die hintereinander gelegt eine Reihe von gut siebzehn Metern bilden und einen halben Zentner wiegen. … Treibende Kraft hinter diesem verlegerischen Kraftakt ist der Musikwissenschaftler Ernst Herttrich, der mit dieser Ausgabe noch aus dem „Ruhestand“ heraus (der bei ihm eher ein klassischer Unruhestand zu sein scheint) einen Markstein in der Editionsgeschichte setzt und sich nun entspannt zurücklehnen kann. … „Consumatum est - es ist vollbracht!"
[Piano News, 2010]
Die neue Edition ist in Umfang und Seriosität ausserordentlich imposant. Nebst einem akribischen Kritischen Kommentar hat Herausgeber Ernst Herttrich zu jedem Werk ein ausführliches Vorwort verfasst. Man liest diese Texte mit grossem Gewinn.
[Schweizer Musikzeitung, 2010]
Im praktischen Schuber und aufgeteilt in sechs Teile lässt sich das klavieristische Oeuvre Schumanns am besten lesenderweise nachverfolgen.
[Fono Forum, 2010]
Vielleicht ist die wissenschaftlich-kritische Neuausgabe seiner 38 Klavierwerke, die erste seit Clara Schummans Pioniertat vor 120 Jahren, der wichtigste Beitrag zum Schumann-Jahr 2010.
[Westfälische Nachrichten, 2010]
Contents
-
Allegro b minor op. 8
Level of difficulty (Piano): difficult (Level 7/8)Other titles with this level of difficulty » -
Carnaval op. 9
Level of difficulty (Piano): difficult (Level 8)Other titles with this level of difficulty »
ABRSM: FRSM (recommended)Other titles for this instrument and ABRSM grade » - Paganini-Studies op. 10
-
Etude 1 op. 10
Level of difficulty (Piano): difficult (Level 9)Other titles with this level of difficulty » -
Etude 2 op. 10
Level of difficulty (Piano): difficult (Level 7)Other titles with this level of difficulty » -
Etude 3 op. 10
Level of difficulty (Piano): difficult (Level 9)Other titles with this level of difficulty » -
Etude 4 op. 10
Level of difficulty (Piano): difficult (Level 9)Other titles with this level of difficulty » -
Etude 5 op. 10
Level of difficulty (Piano): difficult (Level 9)Other titles with this level of difficulty » -
Etude 6 op. 10
Level of difficulty (Piano): difficult (Level 8)Other titles with this level of difficulty » -
Piano Sonata f sharp minor op. 11
Level of difficulty (Piano): difficult (Level 8/9)Other titles with this level of difficulty » - Fantasy Pieces op. 12 (with Appendix: posthumous piece)
-
Des Abends op. 12 Heft 1
Level of difficulty (Piano): medium (Level 5)Other titles with this level of difficulty »
ABRSM: DipABRSMOther titles for this instrument and ABRSM grade » -
Aufschwung op. 12 Heft 1
Level of difficulty (Piano): difficult (Level 6/7)Other titles with this level of difficulty »
ABRSM: DipABRSMOther titles for this instrument and ABRSM grade » -
Warum? op. 12 Heft 1
Level of difficulty (Piano): medium (Level 5/6)Other titles with this level of difficulty » -
Grillen op. 12 Heft 1
Level of difficulty (Piano): medium (Level 6)Other titles with this level of difficulty » -
In der Nacht op. 12 Heft 2
Level of difficulty (Piano): difficult (Level 7)Other titles with this level of difficulty » -
Fabel op. 12 Heft 2
Level of difficulty (Piano): difficult (Level 6/7)Other titles with this level of difficulty » -
Traumes Wirren op. 12 Heft 2
Level of difficulty (Piano): difficult (Level 7)Other titles with this level of difficulty » -
Ende vom Lied op. 12 Heft 2
Level of difficulty (Piano): medium (Level 6)Other titles with this level of difficulty »
The levels of difficulty of the
piano music published by G. Henle Publishers
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 |
|---|---|---|---|---|---|---|---|---|
| easy | medium | difficult | ||||||
The levels of difficulty of the piano music published by G. Henle Publishers
| Level | Grade | Example |
|---|---|---|
| 1 | easy | Bach, Notebook for Anna Magdalena Bach, nos. 4 and 5 |
| 2 | Bach, Well-Tempered Clavier I, no. 1 Prelude C major | |
| 3 | Beethoven, Piano Sonatas op. 49,1 and 2 | |
| 4 | medium | Grieg, Lyric Pieces op. 12, no. 4 |
| 5 | Schumann, Fantasy Pieces op. 12, no. 1 | |
| 6 | Chopin, Nocturnes op. 27, nos. 1 and 2 | |
| 7 | difficult | Beethoven, Piano Sonata op. 10, no. 3 |
| 8 | Beethoven, Piano Sonata op. 81a | |
| 9 | Schumann, Toccata op. 7 |
Guide to the levels of difficulty
"I don't know what 'difficult' means. Either you can play or you can't" – this was the rather terse comment by the great violinist Nathan Milstein, on being asked about the unbelievable difficulty of Niccolo Paganini's Caprice no. 1.
The relativity of the evaluation of difficulty in music immediately becomes clear. Yet I gladly take up this great challenge, presented to me by G. Henle Publishers. For I am aware of how useful a guide like this can be, both from my own experience as well as that of many colleagues. In particular so as to be able to identify "appropriate" works. For example for music teachers, who teach at very different levels, from beginners to those preparing for music conservatories, but also for all those interested amateurs for whom this guide is intended.
After careful deliberation I have settled on nine levels of difficulty, which I have divided into three groups: 1–3 (easy), 4–6 (medium), 7–9 (difficult). A number of parameters have been considered when assessing the level of difficulty. I have not just looked at the number of fast or slow notes to be played, or the chord sequences; of central importance are also the complexity of the piece's composition, its rhythmic complexities, the difficulty of reading the text for the first time, and last but not least, how easy or difficult it is to understand its musical structure. I have defined "piece" as being the musical unit of a sonata, or a single piece in a cycle, which is why Bach's "Well-Tempered Clavier" Part I comprises a total of 48 levels of difficulty (each prelude and fugue is considered separately), Schumann's Sonata in f sharp minor op.11 only has a single number. My assessment is measured by the ability to prepare a piece for performance.
While assessing the pieces, it became clear that the medium level of difficulty (4–6) is the trickiest. Now and again this means that a piece is judged as a "3/4", even if it only deserved a "3" as far as piano technique is concerned. An example of such a "borderline" case (easy/medium) is Schumann's "Scenes from Childhood" op. 15 Von fremden Ländern und Menschen or at the other end "6/7" part of Bach's "English Suites". And of course within a main category there are also "from-to" evaluations (e.g. 7/8).
Any evaluation of art or music will always be subjective, even if the aim was to be objective. Despite the fact that I have endeavoured to be as careful as possible, I am all too aware that the results of my work can be called into question, and am therefore grateful for any suggestions you might have.
Prof. Rolf Koenen © 2010