String instruments > Violin and Piano
Wolfgang Amadeus Mozart
Single Movements for Violin and Orchestra K. 261, 269 and 373
Editor: Wolf-Dieter Seiffert
Piano reduction: Siegfried Petrenz
Fingering and bowing for Violin: Kurt Guntner
Cadenzas: Kurt Guntner
21.95 $
Urtext Edition, Piano reduction, paperbound
with marked and unmarked string parts
Pages: 50 (VIII, 22, 10, 10), Size 23,5 x 31,0 cm
Order no. HN 707 · ISMN M-2018-0707-2
Level of difficulty (Violin): medium (Level 5)
For years Henle has been issuing urtext piano reductions of Mozart‘s works for violin and orchestra at six-month intervals. Now the time has come for the three single movements. These incomparable treasures of the violin literature are too well-known to require special praise here. Each solo part appears in an impeccable urtext edition accompanied by cadenzas, improvised lead-ins (Eingänge), fingering, and bowing marks. The piano reduction sounds beautiful and is easy to play -- or, to quote Mozart‘s own words, "it comes off as smooth as silk."
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Reviews
The present edition of these works in piano reduction under the careful editorship of Wolf-Dieter Seiffert complements Henle’s earlier publication of the five concertos. … Seiffert provides a detailed and helpful preface to his edition, where, in addition to establishing editorial procedures, he reviews with clarity and logic the situation with regard to source material and compositional background. … The musical text itself is clear and readable. Seiffert takes great care to remain faithful to his sources. For example, his attention to details of articulation leads him to retain the distinction that Mozart makes between dots and strokes. … Perhaps because they remain single-movement torsos not yet successfully reunited with their intended host compositions, these works have not found the same favour with performers as have Mozart’s other compositions for solo violin. It is to be hoped that offering them in a keyboard reduction will provide greater accessibility to a larger performing audience and encourage the performances they deserve.
[Eighteenth-Century Music, 2005]
As youthful works of great charm as well as fine craftsmanship, they reflect Mozart’s love and understanding for the violin, which he himself played brilliantly. This latest edition by Henle contains the three single-movement works that are perhaps less well known but equally beautiful.
[Stringendo]
The levels of difficulty of the
music for violin published by G. Henle Publishers
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 |
|---|---|---|---|---|---|---|---|---|
| easy | medium | difficult | ||||||
The levels of difficulty of the violin music published by G. Henle Publishers
| Level | Degree | Example |
|---|---|---|
| 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