Violin Sonata e minor K. 304 (300c)
Urtext Edition, paperbound
with marked and unmarked string parts
Pages: 27 (III, 16, 4, 4), Size 23,5 x 31,0 cm
Order no. HN 728 · ISMN 979-0-2018-0728-7
Level of difficulty (Violin): medium (Level 5)
Besides being Mozart’s most popular and frequently played violin sonata, it is also the only one set in a minor key. He wrote it in Mannheim and Paris in 1778 along with a few other sonatas, choosing a somewhat unusual two-movement layout. As all lovers of domestic music-making know, this profound and beautiful piece is not all that difficult to play. Our edition is extracted from volume 1 of the complete violin sonatas and includes a preface and the requisite critical commentary.
Audio example: Wolfgang Schneiderhan
Deutsche Grammophon 028947790556GB3
After researching a variety of sources, the editor has taken the autograph score as the foundation for this latest edition. Bowing and fingering is indicated in the violin part and the piano part also contains some fingering. The helpful layout ensures that page-turns are easily managed. An excellent performing edition.
[Sheet Music, 2004]
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