Violin Sonata c minor op. 45
Urtext Edition, paperbound
with marked and unmarked string parts
Pages: 99 (IV, 57, 19, 19)
Order no. HN 700 · ISMN 979-0-2018-0700-3
Level of difficulty (Violin): medium (Level 6)
Grieg’s Third Violin Sonata is one of his major creations and stands alongside the sonatas of Johannes Brahms and César Franck at the pinnacle of late nineteenth century chamber music. One small measure of the work’s renown is its occurrence in Thomas Mann’s novel "Doktor Faustus". The sonata has been growing more popular ever since its first publication, and it is now high time for it to appear in an urtext edition from Henle. A preface and detailed editorial notes provide interesting background material on the work’s source tradition.
Bella ed elegante, come sempre, l'edizione Henle, con un' interessante e documentata introduzione.
Die von Egon Voss betreute Neuausgabe bietet gewohnte Henle-Qualität für Theorie und Praxis: ein sauber recherchierter kritischer Bericht, gute Fingersätze für beide Instrumente und ein klares Druckbild. Für interessierte Duopartner sicherlich eine gute Wahl.
The levels of difficulty of the
music for violin published by G. Henle Publishers
The levels of difficulty of the violin music published by G. Henle Publishers
|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