The Seven Last Words of Christ, Arrangement for Piano
編集者: Ullrich Scheideler
指使い: Klaus Schilde
Urtext Edition, paperbound
ページ: 48 (VI, 42), 大きさ 23,5 x 31,0 cm
注文番号 HN 967 · ISMN 979-0-2018-0967-0
難易度 (Piano): 中くらい (等級 5/6)
In 1786 Haydn was commissioned by the cathedral canon in Cádiz to write meditative music, which was to be performed alternately with readings of Christ’s last words on Good Friday. Already in the spring of 1787 the orchestral version and an arrangement for string quartet (HN 851 and 9771) were published by Artaria in Vienna. Barely ten years later he also made an oratorio version, which Henle has published as a study score (HN 9830). Although Haydn did not undertake the version for “Clavicembalo o Forte Piano” (harpsichord or fortepiano) himself, he received the proofs and praised the piano reduction as being “very good and conceived with particular care”. In addition, this expressive work is also extremely well-suited to being performed on the organ.
Deshalb sei auf die hervorragende Neuausgabe von Ullrich Scheideler aufmerksam gemacht. Der Herausgeber hat als Quelle nicht nur die Erstausgabe für Klavier benutzt, sondern zum Vergleich auch die Orchester- und die Streichquartettfassung herangezogen. In Fußnoten macht er auf Abweichungen zwischen den Fassungen aufmerksam. Auch sein Vorwort und der ausführliche Revisionsbericht lassen keine Wünsche offen.
[VdM Literaturempfehlungen für den Unterricht, 2011]
This is an excellent collection of pieces and offers Haydn for piano that few pianists will be familiar with and are suitable for intermediate players.
[Piano Professional EPTA UK, 2011]
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
|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