Keyboard instruments > Piano solo
Johann Sebastian Bach
Fantasies, Preludes and Fugues
Editor: Klaus Rönnau, Georg von Dadelsen
Fingering: Hans-Martin Theopold
66.95 $
Urtext Edition, clothbound
Pages: 152 (VI, 146), Size 23,5 x 31,0 cm
Order no. HN 220 · ISMN 979-0-2018-0220-6
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Contents
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Chromatic Fantasy and Fugue d minor BWV 903, BWV 903a
Level of difficulty (Piano): difficult (Level 7/8)Other titles with this level of difficulty » -
Fantasy and Fugue a minor BWV 904
Level of difficulty (Piano): difficult (Level 6/7)Other titles with this level of difficulty » -
Fantasy with an unfinished Fugue c minor BWV 906
Level of difficulty (Piano): medium (Level 5/6)Other titles with this level of difficulty » -
Fantasy and Fugue a minor BWV 944
Level of difficulty (Piano): medium (Level 6)Other titles with this level of difficulty » -
Fantasy (Duobus subiectis) g minor BWV 917
Level of difficulty (Piano): medium (Level 5)Other titles with this level of difficulty » -
Fantasy (on a rondo) c minor BWV 918
Level of difficulty (Piano): medium (Level 6)Other titles with this level of difficulty » -
Fantasy c minor BWV 919
Level of difficulty (Piano): medium (Level 5)Other titles with this level of difficulty » -
Fantasy a minor BWV 922
Level of difficulty (Piano): medium (Level 5)Other titles with this level of difficulty » -
Prelude a minor BWV 894
Level of difficulty (Piano): medium (Level 5/6)Other titles with this level of difficulty » -
Fugue a minor BWV 894
Level of difficulty (Piano): medium (Level 6)Other titles with this level of difficulty » -
Prelude and Fugue F major BWV 901
Level of difficulty (Piano): medium (Level 5)Other titles with this level of difficulty » -
Prelude G major BWV 902 Nr. 1
Level of difficulty (Piano): medium (Level 5)Other titles with this level of difficulty » -
Prelude on a theme by Albinoni b minor BWV 923
Level of difficulty (Piano): medium (Level 5)Other titles with this level of difficulty » -
Fugue on a theme by Albinoni b minor BWV 951
Level of difficulty (Piano): medium (Level 6)Other titles with this level of difficulty » -
Fugue on the same theme by Albinoni b minor BWV 951a
Level of difficulty (Piano): medium (Level 5/6)Other titles with this level of difficulty » -
Fugue C major BWV 946
Level of difficulty (Piano): medium (Level 5)Other titles with this level of difficulty » -
Fugue a minor BWV 947
Level of difficulty (Piano): medium (Level 4/5)Other titles with this level of difficulty » -
Fugue d minor BWV 948
Level of difficulty (Piano): difficult (Level 6/7)Other titles with this level of difficulty » -
Fugue A major BWV 949
Level of difficulty (Piano): medium (Level 6)Other titles with this level of difficulty » -
Fugue on a theme by Albinoni A major BWV 950
Level of difficulty (Piano): medium (Level 6)Other titles with this level of difficulty » -
Fugue after Reinken B flat major BWV 954
Level of difficulty (Piano): medium (Level 6)Other titles with this level of difficulty » -
Fugue after Erselius B flat major BWV 955
Level of difficulty (Piano): medium (Level 5/6)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 | difficult | 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