Reviews

But, be that as it may, this is an historically important publication and provides some good alternative material for older students.
[Piano Juornal, 2012]

De uitgave is prachtig verzorgd, met overzichtelijke informatie per opus.
[Pianowereld, 2012]

Eine echte Entdeckung für den Unterricht.
[Piano News, 2012]

Für gute Klavierspieler lohnen sich die Stücke allemal, denn ihre melodische Gefälligkeit, ihre formale Ordnung, ihr abwechslungsreiches Variationengefüge und eine nie extravagante, doch reizvoll ins Ohr fallende Harmonik werden nicht langweilig.
[Acta Mozartiana, 2012]

The publicity goes on say that as he was not primarily a virtuoso, so these works are also suitable for amateurs. Nonprofessional pianists will certainly enjoy and welcome these compositions to the repertoire, and they deserve to have due recognition. They are ideal for both perfoming and teaching purposes and will appeal to many.
[Piano Professional, 2012]

Questa nuova edizione renderà in parte giustizia al "figlio di Amadeus".
[Suonare News, 2013]

The levels of difficulty of the
piano music published by G. Henle Publishers

The levels of difficulty of the piano music published by G. Henle Publishers

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