Keyboard instruments > Piano solo
Franz Liszt
Transcendental Studies
Editor: Ernst-Günter Heinemann
Fingering: Franz Liszt
Preface: Mária Eckhardt
41.95 $
Urtext Edition, paperbound
Pages: 132 (IX, 123), Size 23,5 x 31,0 cm
Order no. HN 717 · ISMN M-2018-0717-1
Liszt’s “Transcendental Studies” of 1852 are without doubt among the triumphs of virtuoso piano music, and their visionary language and poetic expression make them a milestone of the romantic age. This set of twelve études represents the results of the composer’s own revision of a collection already published in 1827 and 1839. Accordingly, the principal source for our edition was a printed copy of the earlier version with myriad changes in the composer’s hand. Each of these pieces, including the famous “Harmonies du soir” and “Mazeppa”, bears its own title and has entered the concert repertoire less as an étude than as a tone-poem with its own distinctive flavour.
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Reviews
The print is large and easy to read, although the music is difficult to play. Liszt had specific ideas for the performance of these etudes, which are presented here with greater clarity than other editions.
[Clavier, 2005]
La Henle propone questi formidabili pilastri tecnici in una nuova pubblicazione, dove sono collazionate ben cinque fonti, fra cui le edizioni del 1852 e del 1871-3, uniche riconosciute dall’autore, e quella del 1839.
[Suonare, 2005)
Por ello, esta pulcra edición crítica de Henle vale su peso en oro.
[Doce Notas, 2004]
Contents
- Transcendental Studies
-
Preludio
Level of difficulty (Piano): difficult (Level 7)Other titles with this level of difficulty » -
Molto vivace
Level of difficulty (Piano): difficult (Level 7/8)Other titles with this level of difficulty » -
Paysage
Level of difficulty (Piano): medium (Level 6)Other titles with this level of difficulty » -
Mazeppa
Level of difficulty (Piano): difficult (Level 9)Other titles with this level of difficulty » -
Feux Follets
Level of difficulty (Piano): difficult (Level 9)Other titles with this level of difficulty » -
Vision
Level of difficulty (Piano): difficult (Level 8)Other titles with this level of difficulty » -
Eroica
Level of difficulty (Piano): difficult (Level 8/9)Other titles with this level of difficulty » -
Wilde Jagd
Level of difficulty (Piano): difficult (Level 9)Other titles with this level of difficulty » -
Ricordanza
Level of difficulty (Piano): difficult (Level 8)Other titles with this level of difficulty » -
Allegro agitato molto
Level of difficulty (Piano): difficult (Level 9)Other titles with this level of difficulty » -
Harmonies du soir
Level of difficulty (Piano): difficult (Level 8)Other titles with this level of difficulty » -
Chasse-neige
Level of difficulty (Piano): difficult (Level 9)Other titles with this level of difficulty »
The levels of difficulty of the
piano music published by G. Henle Publishers
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 |
|---|---|---|---|---|---|---|---|---|
| easy | medium | difficult | ||||||
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