Keyboard instruments > Piano solo
Maurice Ravel
Miroirs
編集者: Peter Jost
21.00 €
Urtext Edition, paperbound
ページ: 69 (IX, 60), 大きさ 25,3 x 32,5 cm
注文番号 HN 842 · ISMN M-2018-0842-0
“Miroirs” – Ravel dedicated each of these five piano pieces to a member of the Parisian artistic circle “Les Apaches”. Ravel also belonged to this circle of poets, painters and musicians, giving first performances of many of his works at gatherings of this illustrious group. In “Miroirs” he went a step further than in “Jeux d’eau”. The music was to sound as if it came from a sketchbook. The bold harmony irritated his contemporaries at first but pointed the way ahead for Ravel’s subsequent works. This famous cycle – it also contains the well-known “Alborada del gracioso” – is now available in Henle Urtext in a particularly clear and larger format with an extensive commentary.
論評
It is fascinating to note that the sources for this intelligently presented package include not only autographs of each piece, but also Ravel’s personal copy of the first edition, as well as the first edition’s reprints and orchestral versions of the third and fourth pieces.
[International Piano, 2009]
Ce cycle très connu -il inclut entre autres la célèbre pièce Alborada del gracioso- peut désormais s’obtenir accompagné d’un commentaire détaillé , dans un format agrandi, bien lisible, et selon la qualité Urtext Henle.
[Crescendo, 2009]
内容
- Miroirs
-
Noctuelles
難易度 (Piano): 難しい (等級 8)この難易度のまた別の見出し » -
Oiseaux tristes
難易度 (Piano): 難しい (等級 7)この難易度のまた別の見出し » -
Une barque sur l'océan
難易度 (Piano): 難しい (等級 8)この難易度のまた別の見出し » -
Alborado del gracioso
難易度 (Piano): 難しい (等級 8/9)この難易度のまた別の見出し » -
La vallée des cloches
難易度 (Piano): 難しい (等級 7)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
| 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 piano music published by G. Henle Publishers
| Level | Grade | Example |
|---|---|---|
| 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