Keyboard instruments > Piano solo
Joseph Haydn
Piano Pieces - Piano Variations
Editor: Sonja Gerlach
Fingering: Christine Schornsheim
27.95 $
Urtext Edition, paperbound
Pages: 129 (XII, 117), Size 23,5 x 31,0 cm
Order no. HN 224 · ISMN 979-0-2018-0224-4
The works in this volume show the development of keyboard instruments in an exemplary manner: the early works were intended for harpsichord, two of which were for an instrument with the so-called “Viennese bass octave”, which enabled the musician to play chords larger than a hand span with one hand. In our edition, these passages have footnotes with suggestions on how to play them. The pianoforte was the inspiration behind the later works. Haydn was also happy to arrange his own compositions for piano, as with the “Largo assai” from the “Reiterquartett”. Christine Schornsheim, a specialist in historical performance practice, provided fingerings for this completely revised and extended Urtext edition.
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Reviews
Christine Schornsheim has used a welcome light touch with the fingering, the layout is generally spacious and the background notes informative.
[Piano Professional, 2008]
In total, this is a real treasure-trove of material that will be of use to Haydn enthusiasts of all ages and persuasions.
[International Piano, 2008]
Contents
-
Capriccio in G "Acht Sauschneider müssen seyn" Hob. XVII:1
Level of difficulty (Piano): medium (Level 4)Other titles with this level of difficulty » -
Piano Variations in A Hob. XVII:2
Level of difficulty (Piano): medium (Level 4/5)Other titles with this level of difficulty » -
Piano Variations in E flat Hob. XVII:3
Level of difficulty (Piano): medium (Level 4/5)Other titles with this level of difficulty » -
Andante after Hob. I:81II
Level of difficulty (Piano): medium (Level 3/4)Other titles with this level of difficulty » -
Allegretto G major (after an aria from "La vera costanza")
Level of difficulty (Piano): easy (Level 3)Other titles with this level of difficulty » -
Adagio nach Hob. I:79II
Level of difficulty (Piano): medium (Level 3/4)Other titles with this level of difficulty » -
Menuett after Hob. I:85III
Level of difficulty (Piano): easy (Level 2/3)Other titles with this level of difficulty » -
Romance after Hob. I:85II
Level of difficulty (Piano): easy (Level 3)Other titles with this level of difficulty » -
Allegretto after the overture from "La vera costanza"
Level of difficulty (Piano): easy (Level 3)Other titles with this level of difficulty » -
Adagio in F Hob. XVII:9
Level of difficulty (Piano): easy (Level 3)Other titles with this level of difficulty » -
Allegro after Introduzione from "La vera costanza"
Level of difficulty (Piano): medium (Level 3/4)Other titles with this level of difficulty » -
Andante Hob. I:53II
Level of difficulty (Piano): easy (Level 3)Other titles with this level of difficulty » -
Allegretto and Presto G major (after Hob. III:41IV)
Level of difficulty (Piano): medium (Level 3/4)Other titles with this level of difficulty » -
Capriccio (Fantasia) in C Hob. XVII:4
Level of difficulty (Piano): difficult (Level 6/7)Other titles with this level of difficulty » -
Piano Variations in C Hob. XVII:5
Level of difficulty (Piano): medium (Level 3/4)Other titles with this level of difficulty » -
Piano Variations (Sonata) f minor Hob. XVII:6
Level of difficulty (Piano): difficult (Level 6/7)Other titles with this level of difficulty » -
Adagio in G Urfassung von Hob.XV:22II
Level of difficulty (Piano): medium (Level 5/6)Other titles with this level of difficulty » -
Largo assai in E after Hob. III:74II
Level of difficulty (Piano): medium (Level 4/5)Other titles with this level of difficulty » -
Poco adagio G major - after the variations on "Gott erhalte" Hob. III:77II
Level of difficulty (Piano): medium (Level 5)Other titles with this level of difficulty » -
Andante in C after Hob.I:94II
Level of difficulty (Piano): medium (Level 4)Other titles with this level of difficulty » -
Adagio in G nach Hob. I:93II
Level of difficulty (Piano): medium (Level 4)Other titles with this level of difficulty » -
Menuett in C after Hob. I:97III
Level of difficulty (Piano): easy (Level 3)Other titles with this level of difficulty » - Appendix: Works of doubtful authenticity
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Piano Variations in A major Hob. XVII:2: Additional variations from the first edition
Level of difficulty (Piano): easy (Level 2)Other titles with this level of difficulty » -
Variations in D Hob. XVII:7
Level of difficulty (Piano): easy (Level 2/3)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