Chamber music > Piano Quintets
Joseph Haydn
Piano Concerto (Harpsichord) G major Hob. XVIII:4
Editor: Horst Walter, Bettina Wackernagel
Fingering: Klaus Schilde
Cadenza: Axel Ruoff
Figured bass realization: Siegfried Petrenz
56.95 $
Urtext Edition, paperbound
Edition for Piano and String Quartet (Score with one part each)
Pages: 80 (IV, 49, 8, 7, 6, 6), Size 23,5 x 31,0 cm
Order no. HN 683 · ISMN 979-0-2018-0683-9
Level of difficulty (Piano): medium (Level 4)
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Reviews
Als u altijd al eens zelf een pianoconcert hebt willen spelen, waarbij u ook nog zelf kunt dirigeren, dan geeft Henle met de uitgave van Haydn's tweede pianoconcert in G. Hoboken XVIII:4, u alle kans. Dit concert kann namelijk zowel met strijkorkest als in kamermuziekbezetting worden gespeeld. ... De uitgave is prachtig en zeer overzichtelijk. De strijkerspartijen zijn apart bijgevoegd en staan eveneens allemaal in de pianopartij afgedrukt. Het uitgebreide voorwoord vermeldt o.a. dat de versie met strijkers oorspronkelijk is, in tegenstelling tot de door latere uitgaven toegevoegde blazers.
[Pianowereld, 2001]
Die vorliegende Ausgabe folgt der "bereinigten" Fassung der Gesamtausgabe und darf wohl als weitgehend authentisch angesehen werden. ... Das Werk ist ein echter, temperamentvoller und spielfreudiger Haydn. ... Beim Mangel an leichteren Klavierkonzerten darf man für diese Neuerscheinung dankbar sein, zumal sie auch mit einem sehr kleinen Orchester, vielleicht sogar einem Streichquartett präsentiert werden kann.
[Schweizer Musikzeitung, 2001]
La presente edizione ripropone l'Urtext del secondo concerto per pianoforte composto da Joseph Haydn. ... Il curatore ha fatto riferimento alla versione pubblicata nel 1983 (sempre per le edizioni Henle) dal Joseph Haydn-Institut, ... Una pregevole edizione, dunque, che comprende anche le parti staccate degli archi in funzione di una possibile esecuzione solistica della stesse.
[Hortus musicus, 2000]
Haydns Klavierkonzert D-dur ist das zweite in der Reihe der "Clavierconcerte", um 1770 geschrieben und wahrscheinlich schon für das Klangideal des Pianoforte komponiert. Nach einer Fülle eigenartig verwässerter und mit offensichtlich unechten Zusätzen versehenen Ausgaben legt Henle nun eine auf der Gesamtedition basierende praktische Urtext-Ausgabe vor, die kaum Wünsche übrig lässt. Das Druckbild ist fantastisch, alle Stimmen sind mit fabelhaften Wendestellen ausgestattet.
[Piano News, 2000]
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