論評

Obwohl beide Bände zusammen auf die stattliche Zahl von über 500 Seiten kommen, lassen sich die Bände dank einer cleveren Bindung wunderbar blättern und unfallfrei auf den Notenhalter legen, ohne dass sich die eine oder andere Seite selbständig machen wollte. … Irgendetwas Neues findet sich immer – und gibt noch Jahre Anlass zum Vergnügen.
[Piano News, 2009]

De uitgave is een voorbeeldig eerbetoon aan een componist wiens werk nogal eens aan wisselende waardering onderhevig is geweest. Hoewel beide delen zo’n 250 pagina’s dik zijn, slaan ze makkelijk open. Een heldere bladspiegel, logische omslagpunten, facsimilé’s, een historisch voorwoord en nauwgezette bronverantwoording, zoals we van Henle gewend zijn.
[Pianowereld, 2009]

As with all Henle publications, there are scholarly notes explaining the different sources used for each piece and the greatest care has been given to fingerings and editorial directions. If you have not explored the music of Mendelssohn before or are a keen player you will find a lot to enjoy here.
[Piano Journal, 2009]

2009 marque la célébration du 200 anniversaire de la naissance de Mendelssohn(1809-1847). C'est l'occasion pour l'editeur allemand G.Henle Verlag de publier deux magnifiques volumes qui regroupent la quasi-totalité de de ses compositions pour piano, classées par ordre chronologique. Des commentaires détaillés prenant en compte l'état actuel des recherches accompagnet cette publication, qui constitute l'édition Urtext la plus exhaustive jamais présentée.
[Pianiste, 2009]

Le opere sono state accuratamente riviste e commentate, accogliendo i risultati dei più recenti studi in campo musicologico.
[Suonare News, 2009]

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

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