Mallorca op. 202
編集者: Johannes Behr
指使い: Rolf Koenen
Urtext Edition, paperbound
ページ: 14 (III, 11), 大きさ 23,5 x 31,0 cm
注文番号 HN 830 · ISMN M-2018-0830-7
難易度 (Piano): 中くらい (等級 4)
As with his famous “Asturias”, Albéniz’ transcription of “Mallorca” for guitar became a great deal more popular than the original version for piano. He probably composed this tender, dreamy “barcarolle” during his second trip to Mallorca in May 1890. In so doing, he remained faithful to his penchant for portraying regions of his native land in music. Enrique Granados, who admired Albéniz as a friend and patron, is said to have sat down at the piano when the composer was on his deathbed and greatly moved him with a rendering of “Mallorca”. Today’s pianists can play this sophisticated work in an edition with superb engraving which also displays Henle’s customary faithfulness to the musical text.
Die Ausgabe ist von gewohnt hoher Henle-Qualität.
[VdM Literaturempfehlungen für den Unterricht, 2010]
Diese Ausgabe ist von gewohnt hoher Henle-Qualität. Ein Vorwort informiert über Hintergründe der Entstehung, die „Bemerkungen” am Ende des Heftes geben Aufschluss über die Quellenlage und machen Entscheidungen des Herausgebers nachvollziehbar.
De uitgave is overzichtelijk en goed verzorgd, zoals we van Henle gewend zijn. Bijzondere aandacht is gegeven aan zinvolle oplossingen voor grote grepen. Met haakjes is duidelijk aangegeven waar de handen bepaalde noten van elkaar kunnen overnemen, zodat akkoorden niet onnodig hoeven te worden gebroken.
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||difficulty||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