Keyboard instruments > Piano solo
Ludwig van Beethoven
Cadenzas and Lead-ins for Piano Concertos
Editor: Friedhelm Loesti
Fingering: Klaus Schilde
18.00 €
Urtext Edition, paperbound
Pages: 79 (VII, 72), Size 23,5 x 31,0 cm
Order no. HN 1182 · ISMN M-2018-1182-6
This volume contains all of Beethoven’s surviving cadenzas and lead-ins for piano concertos: both for his own concertos nos. 1–4, for his piano arrangement of the Violin Concerto op. 61 as well as for Mozart’s Concerto in d minor K. 466. They were in all probability not intended for his own use, as Beethoven’s improvisatory skills were legendary. His pupil and patron Archduke Rudolph of Austria, in whose library the unpublished autographs were kept for decades during the composer’s lifetime, might well have prompted him to do so. Our edition contains the musical text of the Beethoven Complete Edition that has been put into a new order and updated.
Contents
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Piano Concerto no. 1 in C major op. 15: first cadenza, 1st movement
Level of difficulty (Piano): medium (Level 5/6)Other titles with this level of difficulty » -
Piano Concerto no. 1 in C major op. 15: second cadenza 1st movement
Level of difficulty (Piano): difficult (Level 7)Other titles with this level of difficulty » -
Piano Concerto no. 1 in C major op. 15: third cadenza, 1st movement
Level of difficulty (Piano): difficult (Level 6/7)Other titles with this level of difficulty » -
Piano Concerto no. 2 in B flat major op. 19: cadenza 1st movement
Level of difficulty (Piano): difficult (Level 6/7)Other titles with this level of difficulty » -
Piano Concerto no. 3 in C minor op. 37: cadenza 1st movement
Level of difficulty (Piano): difficult (Level 7)Other titles with this level of difficulty » -
Piano Concerto no. 4 G major op. 58: first cadenza, 1st movement
Level of difficulty (Piano): medium (Level 5/6)Other titles with this level of difficulty » -
Piano Concerto no. 4 G major op. 58: second cadenza, 1st movement
Level of difficulty (Piano): difficult (Level 7)Other titles with this level of difficulty » -
Piano Concerto no. 4 G major op. 58: third cadenza 1st movement
Level of difficulty (Piano): difficult (Level 6/7)Other titles with this level of difficulty » -
Piano Concerto no. 4 G major op. 58: first cadenza, 3rd movement
Level of difficulty (Piano): medium (Level 5)Other titles with this level of difficulty » -
Piano Concerto no. 4 G major op. 58: second cadenza, 3rd movement
Level of difficulty (Piano): medium (Level 4/5)Other titles with this level of difficulty » -
Piano Concerto no. 4 G major op. 58: third cadenza, 3rd movement
Level of difficulty (Piano): medium (Level 5/6)Other titles with this level of difficulty » -
Piano Transcription of the Violin concerto in D major op. 61a: cadenza 1st movement
Level of difficulty (Piano): difficult (Level 6/7)Other titles with this level of difficulty » -
Piano Transcription of the Violin concerto D major op. 61a: Transition: 2nd to 3rd movement
Level of difficulty (Piano): medium (Level 5)Other titles with this level of difficulty » -
Piano Transcription of the Violin concerto in D major op. 61a: first cadenza 3rd movement
Level of difficulty (Piano): medium (Level 4/5)Other titles with this level of difficulty » -
Piano Transcription of the Violin concerto in D major op. 61: first cadenza, 3rd movement
Level of difficulty (Piano): medium (Level 5/6)Other titles with this level of difficulty » -
Piano Concerto in d minor K. 466 by W.A. Mozart: Cadenza 1st movement WoO 58,1
Level of difficulty (Piano): difficult (Level 6/7)Other titles with this level of difficulty » -
Piano Concerto in d minor K. 466 by W. A. Mozart: Cadenza 3rd movement WoO 58,2
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 | difficulty | 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