Violin Concerto no. 1 B flat major K. 207
編集者: Wolf-Dieter Seiffert
ピアノ用スコア: Siegfried Petrenz
指使い: Kurt Guntner
カデンツ: Kurt Guntner
Urtext Edition, Piano reduction, paperbound
with marked and unmarked string parts
ページ: 47 (III, 24, 11, 9), 大きさ 23,5 x 31,0 cm
注文番号 HN 706 · ISMN M-2018-0706-5
難易度 (Violin): 中くらい (等級 6)
This is not only Mozart’s first concerto for the violin but his first concerto altogether. He composed it at the age of 17, writing it in Salzburg in 1773 two years before his other four violin concertos. And what a concerto it is! This new publication completes Henle’s series of Mozart‘s violin concertos and single movements, all of which are now available in exemplary urtext editions with easy-to-play piano reductions.
The Preface gives a historical background to the concertos as well as a useful note on the different bow strokes used by Mozart. Here is a fine edition from this revered publishing house.
The first movement is in the AMEB Grade 8 List B.
[Music Teacher Magazine, 2004]
Painstakingly reconstructed from original manuscripts, the solo part is admirably clear, enhanced by Kurt Guntner's detailed suggestions for bowing and fingering. The keyboard reduction is equally as impressive, retaining the essential details while staying eminently playable. The violinist anxious to perform Mozart is spoiled for choice when presented with editions such as these.
[Music Teacher, 2004]
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