String instruments > Violin and Piano
Robert Schumann
Fantasy Pieces op. 73 for Piano and Clarinet
編集者: Ernst Herttrich
指使い: Hans-Martin Theopold
指使いバイオリン: Ernst Schliephake
11.00 €
Urtext Edition, Edition for Violin, paperbound
with marked and unmarked string parts
ページ: 38 (V, 19, 7, 7)
注文番号 HN 421 · ISMN M-2018-0421-7
The circumstances in which these poetic “Soirée Pieces” (thus their original title) came into being are quite surprising. In 1849 Dresden was seized by violent political turmoil that ultimately forced Schumann to flee with Clara to the countryside. Yet none of this is apparent in the music of these three pieces, whose idyllic character signifies a longing for harmony and seclusion. Originally conceived for the clarinet, they were accompanied by alternative parts for violin and cello as early as the original print. We have subjected our editions to a thoroughgoing critique and include a section of detailed editorial notes.
内容
- Fantasy Piece for Piano and Clarinet op. 73
-
Zart und mit Ausdruck op. 73,1
難易度 (Violin): 中くらい (等級 4)この難易度のまた別の見出し » -
Lebhaft, leicht op. 73,2
難易度 (Violin): 中くらい (等級 4)この難易度のまた別の見出し » -
Rasch und mit Feuer op. 73,3
難易度 (Violin): 中くらい (等級 5)この難易度のまた別の見出し »
The levels of difficulty of the
music for violin published by G. Henle Publishers
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 |
|---|---|---|---|---|---|---|---|---|
| やさしい | 中くらい | 難しい | ||||||
The levels of difficulty of the violin music published by G. Henle Publishers
| Level | Degree | Example |
|---|---|---|
| 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