Keyboard instruments > Piano solo
Franz Liszt
Valses oubliées
Editor: Peter Jost
Fingering: Rolf Koenen
Preface: Mária Eckhardt
14.00 €
Urtext Edition, paperbound
Pages: 51 (VIII, 43), Size 23,5 x 31,0 cm
Order no. HN 977 · ISMN M-2018-0977-9
The “Valses oubliées” belong to Liszt’s late work, characterised by themes such as memory, sorrow and grief. They do not form a cycle but were written as separate pieces between 1881 and 1884. The title “Forgotten Waltzes” alludes to the fact that certain forms and genres were no longer fashionable. These four pieces are reminiscent of Liszt’s waltzes for piano from the 1830s, but embed typical melodic and rhythmic clichés from salon waltzes in new harmonic progressions. Up to now only the first of the “Valses oubliées” has found its way into concert repertoire. Our new edition affords pianists an opportunity to discover all four waltzes and their characteristic idiosyncrasies.
Contents
- Valses oubliées
-
Valse oubliée
Level of difficulty (Piano): difficult (Level 6/7)Other titles with this level of difficulty » -
Deuxième Valse oubliée
Level of difficulty (Piano): difficult (Level 6/7)Other titles with this level of difficulty » -
Troisième Valse oubliée
Level of difficulty (Piano): difficult (Level 7)Other titles with this level of difficulty » -
Quatrième Valse oubliée
Level of difficulty (Piano): difficult (Level 6/7)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