Poème for Violin and Orchestra op. 25
編集者: Peter Jost
ピアノ用スコア: Johannes Umbreit
Fing. vn: Kurt Guntner
Urtext Edition, Piano reduction, paperbound
with marked and unmarked string parts
ページ: 40 (VI, 18, 8, 8), 大きさ 23,5 x 31,0 cm
注文番号 HN 738 · ISMN M-2018-0738-6
難易度 (Violin): 難しい (等級 8)
Once again, Henle can boast of an important new addition to its Pantheon of great composers: Ernest Chausson. Based on a novella by the Russian novelist Ivan Turgenev, the Poème for violin and orchestra was originally conceived as a symphonic poem. Gradually, it evolved into a character piece with violin solo, or, to quote the composer, "a piece in very free form with many passages where the violin plays alone." That Chausson’s plan came off to perfection is proved by the work’s ever-growing popularity. The solo part of this new Henle volume satisfies the most rigorous criteria of an urtext edition. The piano reduction places a premium on playability and lies better under the fingers than ever before.
The levels of difficulty of the
music for violin published by G. Henle Publishers
The levels of difficulty of the violin music published by G. Henle Publishers
|1||easy||Beethoven, 6 German Dances WoO 42
|2||Beethoven, Rondo G major WoO 41
|3||Mozart, Violin Sonata F major KV 547
|4||medium||Haydn, Violin Concerto A major Hob. VIIa:3
|5||Bach, Violin Concerto a minor BWV 1041
|6||Brahms, Violin Sonata G major op. 78
|7||difficult||Paganini, No. 9 from Capricci op. 1
|8||Beethoven, Violin Concerto D major op. 61
|9||Berg, Violin Concerto
I have assigned all of the violin music in G. Henle Publishers' catalogue a level of difficulty, ranging from "very easy" to "very difficult". The model for this was the evaluation system with nine levels developed for Henle's piano catalogue by Rolf Koenen. Unlike the works for solo piano, I have decided against evaluations that lie between two levels (e.g. 4/5 or 7/8).
This kind of attempt will always be "relative" to some degree. While the work remains the work, what is relative is the technical and musical ability of the player. Let us take a look at Mozart, for example, from the perspective of an Arthur Grumiaux and from that of a very young pupil. It is clear to whom my levels of difficulty are addressed: to the pupils or their teacher. I have, of course, always endeavoured to objectively assess the purely technical level of difficulty. But everything "between the lines" is, of course, left up to the judgement of each individual musician. Depending on our abilities, we perceive the "difficulty" of a work for violin differently, yet with the same conviction.
At the start, categorizing violin literature into levels of difficulty from 1 to 9 seemed to carry a certain risk as well as being unknown territory, yet I have now gained a deep insight into all of the works for violin in G. Henle Publishers' catalogue.
Ernst Schliephake © 2013