Keyboard instruments > Piano solo
Robert Schumann
Paganini-Studies op. 3 and op. 10
Editor: Ernst Herttrich
Fingering: Klaus Schilde
25.50 €
Urtext Edition, paperbound
Pages: 92 (XXII, 70), Size 23,5 x 31,0 cm
Order no. HN 614 · ISMN M-2018-0614-3
Robert Schumann was fascinated by the violin virtuoso Nicolò Paganini, as were many composers of the time. When he was planning a piano tutor in 1832/33 that was to include his own works as well as those by others, Schumann took a close look at Paganini’s virtuosic Caprices for violin. Schumann’s own Caprices op. 3 were composed in this spirit, based very closely on Paganini’s original and following their educational intention. Opus 10, on the other hand, deals more freely with the model and is designed more with an effective performance in mind. Our Urtext edition of all of the Paganini Studies is supplemented by the composer’s extensive explanation on their execution, which he placed at the beginning of his Opus 3.
Reviews
Inhalt: außergewöhnlich (5 Sterne)
Druck: außergewöhnlich (5 Sterne)
Layout: außergewöhnlich (5 Sterne)
Vorbildliche Edition in quellenkritischer Hinsicht wie auch im Druck.
[Music Manual]
Eine schöne Urtext-Ausgabe der Paganini-Etüden von Robert Schumann! Wie gewohnt bietet der [Henle] Verlag nebem einem exzellenten Druckbild auch einen reichhaltigen Anmerkungsapparat, der neben dem Kritischen Bericht auch Schumanns originales Vorwort zu Opus 3 und dessen eigene (!) Rezension von Opus 10 in der April-Ausgabe der Neuen Zeitschrift für Musik von 1836 enthält.
[Piano News]
The Schumann Paganini Studies op 3 and 10 may be just the compilation you’re looking for: the all-trilingual backup includes Schumann’s own written prefaces to each opus, while the variant readings fill four more pages alone.
[Music Teacher, 2002]
Contents
- Paganini-Studies op. 3
-
Caprice 1, Agitato op. 3
Level of difficulty (Piano): difficult (Level 7/8)Other titles with this level of difficulty » -
Caprice 2, Allegretto op. 3
Level of difficulty (Piano): difficult (Level 7)Other titles with this level of difficulty » -
Caprice 3, Andante op. 3
Level of difficulty (Piano): difficult (Level 6/7)Other titles with this level of difficulty » -
Caprice 4, Allegro op. 3
Level of difficulty (Piano): difficult (Level 7)Other titles with this level of difficulty » -
Caprice 5, Lento. Allegro assai op. 3
Level of difficulty (Piano): difficult (Level 7)Other titles with this level of difficulty » -
Caprice 6, Allegro molto op. 3
Level of difficulty (Piano): difficult (Level 7/8)Other titles with this level of difficulty » - 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 »
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