Keyboard instruments > Piano solo
Frédéric Chopin
Preludes
Editor: Norbert Müllemann
Fingering: Hermann Keller
26.00 €
Urtext Edition, clothbound
replaces HN 228
Detailed critical commentary
(not available in the printed editions)
available free-of-charge: Download
Pages: 85 (XV, 70), Size 23,5 x 31,0 cm
Order no. HN 883 · ISMN 979-0-2018-0883-3
Fréderic Chopin’s stay with George Sand on Mallorca in the winter 1838/1839 was ill-fated. Yet Chopin still managed to finish his “Préludes” there which he had begun to compose in Paris. Today’s interpreter not only has to deal with numerous variant readings but also with corrupt performance traditions. The “Préludes” are the first edition to be completed in our comprehensive Chopin revisions; the editor has taken the latest scholarly findings into account and in the musical text brings to light “established” variants as well as others which are to be found in the sources. And there is another first here, too: the printed volume contains a shorter critical report – the extensive version with all the details can be downloaded.
Reviews
… the preface directs us to a website for detailed critical commentary, which is surely a good way forward, for those who would simply wish to enjoy the music as it is without copious explanation.
[Piano Professional, 2008]
All in all, these editions rank among the finest Henle has yet produced.
[Piano Journal, 2007]
Norbert Müllemann, il curatore, oltre che all’autografo, alle copie del Fontana e di Ludwika (amico e sorella di Frédéric) e alle varie edizioni, fa riferimento anche a tre copie appartenute ad allieve di Chopin, con interventi scritti del Maestro. Il risultato, talvolta, è sconvolgente.
[Suonare, 2007]
… is dit du seen bijzonder hoopvolle start voor Henle’s nieuwe Chopin-editie.
[Pianowereld, 2007]
Contents
-
Prelude C major op. 28,1
Level of difficulty (Piano): medium (Level 6)Other titles with this level of difficulty » -
Prelude a minor op. 28,2
Level of difficulty (Piano): medium (Level 5)Other titles with this level of difficulty » -
Prelude G major op. 28,3
Level of difficulty (Piano): difficult (Level 6/7)Other titles with this level of difficulty » -
Prelude e minor op. 28,4
Level of difficulty (Piano): medium (Level 4)Other titles with this level of difficulty » -
Prelude D major op. 28,5
Level of difficulty (Piano): difficult (Level 7)Other titles with this level of difficulty » -
Prelude b minor op. 28,6
Level of difficulty (Piano): medium (Level 3/4)Other titles with this level of difficulty » -
Prelude A major op. 28,7
Level of difficulty (Piano): medium (Level 3/4)Other titles with this level of difficulty » -
Prelude f sharp minor op. 28,8
Level of difficulty (Piano): difficult (Level 7/8)Other titles with this level of difficulty » -
Prelude E major op. 28,9
Level of difficulty (Piano): medium (Level 5)Other titles with this level of difficulty » -
Prelude c sharp minor op. 28,10
Level of difficulty (Piano): difficult (Level 6/7)Other titles with this level of difficulty » -
Prelude B major op. 28,11
Level of difficulty (Piano): difficult (Level 6/7)Other titles with this level of difficulty » -
Prelude g sharp minor op. 28,12
Level of difficulty (Piano): difficult (Level 7/8)Other titles with this level of difficulty » -
Prelude F sharp major op. 28,13
Level of difficulty (Piano): medium (Level 5/6)Other titles with this level of difficulty » -
Prelude e flat minor op. 28,14
Level of difficulty (Piano): difficult (Level 6/7)Other titles with this level of difficulty » -
Prelude (Raindrop) D flat major op. 28,15
Level of difficulty (Piano): medium (Level 5)Other titles with this level of difficulty » -
Prelude b flat minor op. 28,16
Level of difficulty (Piano): difficult (Level 8)Other titles with this level of difficulty » -
Prelude A flat major op. 28,17
Level of difficulty (Piano): difficult (Level 6/7)Other titles with this level of difficulty » -
Prelude f minor op. 28,18
Level of difficulty (Piano): difficult (Level 7)Other titles with this level of difficulty » -
Prelude E flat major op. 28,19
Level of difficulty (Piano): difficult (Level 7)Other titles with this level of difficulty » -
Prelude c minor op. 28,20
Level of difficulty (Piano): medium (Level 3/4)Other titles with this level of difficulty » -
Prelude B flat major op. 28,21
Level of difficulty (Piano): medium (Level 5/6)Other titles with this level of difficulty » -
Prelude g minor op. 28,22
Level of difficulty (Piano): difficult (Level 7)Other titles with this level of difficulty » -
Prelude F major op. 28,23
Level of difficulty (Piano): medium (Level 6)Other titles with this level of difficulty » -
Prelude d minor op. 28,24
Level of difficulty (Piano): difficult (Level 9)Other titles with this level of difficulty » -
Prelude c sharp minor op. 45
Level of difficulty (Piano): medium (Level 6)Other titles with this level of difficulty » -
Prelude A flat major KK IVb,7
Level of difficulty (Piano): difficult (Level 7)Other titles with this level of difficulty » - Appendix:
- Prelude no. 3 early version
- Prelude no. 17 early version
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