Violin Concerto D major op. 77
編集者: Michael Struck, Linda Correll Roesner
ピアノ用スコア: Johannes Umbreit
Fing. vn: Frank Peter Zimmermann
Urtext Edition, Piano reduction, paperbound
with marked and unmarked string parts
ページ: 124 (X, 51, 30, 33), 大きさ 23,5 x 31,0 cm
注文番号 HN 818
難易度 (Violin): 難しい (等級 9)
Brahms’ only violin concerto was given a very warm reception by his contemporaries and has been an important piece in the violin repertoire ever since. It bears witness to Brahms’ fruitful collaboration with Joseph Joachim, who contributed a cadenza. The composer’s original and extremely demanding piano reduction has been carefully simplified for our edition by Johannes Umbreit. This Urtext edition follows the musical text of the new Brahms Complete Edition. The appendix also contains an alternative version of Joachim’s cadenza that to date has not been published in a practical edition. Alongside Joachim’s original fingerings and bowings there are also fingering suggestions by Frank Peter Zimmermann.
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