Sonata in a minor for Violin and Basso continuo
Editor: Zdenka Pilková, Sonja Gerlach
Fingering and bowing for Violin: Karl Röhrig
Figured bass realization: Sonja Gerlach
Urtext Edition, paperbound
with marked and unmarked string parts
Pages: 32 (V, 10, 7, 7, 3), Size 23,5 x 31,0 cm
Order no. HN 1049 · ISMN M-2018-1049-2
Level of difficulty (Violin): medium (Level 5)
There has been increased general interest in the Bohemian composer Johann Baptist Georg Neruda (c. 1711–1776) over the past few years, especially due to his frequently played trumpet concerto. A respected violinist and longstanding member of the Dresden Court Orchestra, he did, however, mainly compose for the violin. The substantial and technically quite demanding Violin Sonata in a minor was published for the first time ever in 1982 as part of our edition “Bohemian Violin Sonatas” (HN 334). We are now proud to present it in a practical single edition with a new preface as well as an additional unmarked part.
The levels of difficulty of the
music for violin published by G. Henle Publishers
The levels of difficulty of the violin music published by G. Henle Publishers
|1||easy||Beethoven, 6 German Dances WoO 42
|2||Beethoven, Rondo G major WoO 41
|3||Mozart, Violin Sonata F major KV 547
|4||medium||Haydn, Violin Concerto A major Hob. VIIa:3
|5||Bach, Violin Concerto a minor BWV 1041
|6||Brahms, Violin Sonata G major op. 78
|7||difficult||Paganini, No. 9 from Capricci op. 1
|8||Beethoven, Violin Concerto D major op. 61
|9||Berg, Violin Concerto
I have assigned all of the violin music in G. Henle Publishers' catalogue a level of difficulty, ranging from "very easy" to "very difficult". The model for this was the evaluation system with nine levels developed for Henle's piano catalogue by Rolf Koenen. Unlike the works for solo piano, I have decided against evaluations that lie between two levels (e.g. 4/5 or 7/8).
This kind of attempt will always be "relative" to some degree. While the work remains the work, what is relative is the technical and musical ability of the player. Let us take a look at Mozart, for example, from the perspective of an Arthur Grumiaux and from that of a very young pupil. It is clear to whom my levels of difficulty are addressed: to the pupils or their teacher. I have, of course, always endeavoured to objectively assess the purely technical level of difficulty. But everything "between the lines" is, of course, left up to the judgement of each individual musician. Depending on our abilities, we perceive the "difficulty" of a work for violin differently, yet with the same conviction.
At the start, categorizing violin literature into levels of difficulty from 1 to 9 seemed to carry a certain risk as well as being unknown territory, yet I have now gained a deep insight into all of the works for violin in G. Henle Publishers' catalogue.
Ernst Schliephake © 2013