Venetian Gondola Songs for Piano
編集者: Rudolf Elvers, Ernst Herttrich, Ullrich Scheideler
指使い: Andreas Groethuysen, Hans-Martin Theopold
前書き: Ullrich Scheideler
Urtext Edition, paperbound
ページ: 26 (IX, 17), 大きさ 23,5 x 31,0 cm
注文番号 HN 1172
In autumn 1830 Mendelssohn Bartholdy visited Venice whilst on a great European tour and was intoxicated by his impressions. He said of the local gondoliers: “The gondoliers are now crying out to one another again, and the lights are reflected deep in the water; one is playing the guitar and singing. It is a merry night”. Perhaps it was with this in mind that Mendelssohn wrote four Venetian Gondola Songs between 1830 and 1841 (published in Henle Urtext in the collected volumes HN 327 and 861). We are now publishing the four popular, easy-to-play and melodious pieces together in one volume, with a new preface by Ullrich Scheideler.
Song without Words (Venetian Gondola Song) g minor op. 19,6
難易度 (Piano): 中くらい (等級 4)この難易度のまた別の見出し »
Song without Words (Venetian Gondola Song) f sharp minor op. 30,6
難易度 (Piano): 中くらい (等級 4/5)この難易度のまた別の見出し »
Gondola Song A major
難易度 (Piano): 中くらい (等級 5)この難易度のまた別の見出し »
Song without Words (Venetian Gondola Song) a minor op. 62,5
難易度 (Piano): 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
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