Keyboard instruments > Piano solo
Alexander Scriabin
Piano Sonata no. 6 op. 62
編集者: Valentina Rubcova
指使い: Michael Schneidt
13.00 €
Urtext Edition, paperbound
ページ: 30 (V, 25), 大きさ 23,5 x 31,0 cm
注文番号 HN 699 · ISMN 979-0-2018-0699-0
難易度 (Piano): 難しい (等級 9)
A work of transcendent beauty and rich programmatic allusions, Skrjabin’s single-movement sixth Piano Sonata is a highly expressive product of the composer’s final outburst of piano music. This edition, by the renowned Skrjabin scholar Valentina Rubcova (Moscow), is based on the early printed editions and the composer’s virtually complete autograph manuscript.
Audio example: Roberto Szidon
Deutsche Grammophon 028947704928GTR3
論評
The 6th piano sonata was written in 1911 and was first published the following year. The present edition is based on corrections made to the first publication as well as an autographed manuscript of an early version of the work.
[Sheet Music, 2001]
... on a retrouvé une version autographe, presque complète et cette dernière, outre l'édition Chiliaïev, a servi pour la présente édition afin d'éclaircir des passages problématiques. Les divergences des sources de correction sont notées et commentées - en anglais et allemand avec une traduction des indications d'exécution, précieuses chez Scriabine - en fin de volume. Enfin, l'éditrice, Valentina Rubcova (les doigtés sont de Michael Schneidt), a noté entre parenthèses ses propres ajouts.
[Crescendo, 2001]
... , als je dit stuk snel moet instuderen, dan is die klaarheid welkom. En het werd wel tijd voor een goed leesbare uitgave van het stuk. ... Die leesbaarheid is bij Henle nooit een probleem en redactrice Valentina Rubcova heeft er goed aan gedaan het werk van haar voorganger Nikolai Shilyayev op de voet te volgen. ...
[Pianowereld, 2001]
La Sonata n° 6, de Alexander Scriabin, forma parte de sus últimos trabajos para el teclado. Compuesta muy probablemente en 1911, editada un año después y estrenada el año de la muerte del compositor, 1915, esta Sexta Sonata conversa toda la potencia pianística de su autor y su gusto por el misterio. La impecable edición urtext de Henle restituye un material de calidad.
[Doce notas, 2001]
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 | 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