Keyboard instruments > Piano solo
Wolfgang Amadeus Mozart
Piano Sonata E flat major K. 282 (189g)
編集者: Ernst Herttrich
指使い: Hans-Martin Theopold
6.00 €
Urtext Edition, paperbound
Detailed critical commentary
(not available in the printed editions)
available free-of-charge: Download
ページ: 13 (V, 8), 大きさ 23,5 x 31,0 cm
注文番号 HN 60 · ISMN M-2018-0060-8
難易度 (Piano): 中くらい (等級 5)
FIRST MOVEMENT Remarkably, this sonata opens with a slow movement like the A major Sonata K 331. But the form is not a Theme and Variation. Instead, the lyrical Adagio is in sonata form. It starts with an expressive theme in three-part writing which, surprisingly, is missing in the recapitulation and recurs only in the coda. The expression is so tender and intimate that this movement might well have been labeled “amoroso” like the Andante from the preceding sonata. What to our ear sounds typically Mozart is in reality an adaption from Haydn’s Theme and Variations in the same key, Hob. XVII/3, composed, but not printed, before 1774. Melody and harmony are practically identical, only the rhythm is different. Is this a case of unconscious borrowing? Maybe Mozart saw a handwritten copy in the possession of Haydn’s brother Michael. A grazioso second theme begins in measure 9. Basically, this is a simple binary motif, which is repeated and merges imperceptibly into the concluding thought of the exposition. The development begins dramatically with a highly charged diminished seventh chord followed by two short crescendos. Inspite of its small dimensions, this movement shows Mozart at his best - expressive, exquisite. He was meticulous in providing it with plenty of articulation signs and dynamic marks.
SECOND MOVEMENT In contrast to this slow movement, the next one is a lively minuet with a relatively long trio section (labeled Menuett II), which clearly draws on Austrian dance traditions. Such folk or popular elements are relatively rare in Mozart, but this Movement is the exception, akin to the minuets of Beethoven’s Septet, op. 20 and his Sonata op. 49 N° 2.
THIRD MOVEMENT The finale, an irresistibly fresh and brilliant Allegro in 2/4 meter, concludes a distinctly original and lovable work.
Paul and Eva Badura-Skoda
More information
Suggested viewing on YouTube: Samuel Feinberg, 1st movement
Audio example: Maria João Pires
Deutsche Grammophon 028947752004GB6
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