String instruments > Violin and Piano
Wolfgang Amadeus Mozart
Violin Concerto no. 4 D major K. 218
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 part
Pages: 61 (III, 26, 16, 16), Size 23,5 x 31,0 cm
Order no. HN 680 · ISMN M-2018-0680-8
Level of difficulty (Violin): difficult (Level 7)
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Reviews
La réduction pour piano du Concerto pour violon No. 4 ré majeur KV 218 de Mozart se base sur la partition "Urtext" reposant elle-meme exclusivement sur l'autographe de Mozart. Cette réduction pour piano représente l'exemple par excellence d'une partition très musicale et d'exécution facile, ce qui facilitera certainement le travail des musiciens amateurs.
[Pizzicato]
... Zum einen ist der Klavierpart bei Henle wesentlich schlanker und durchsichtiger (und damit auch technisch leichter) gestaltet als bei anderen Verlagen ..., zum anderen überzeugt die Einrichtung der Violinstimme durch Kurt Guntner. Da gibt es keine pseudovirtuosen Schluchzer und Rutscher, die Strichvorschläge führen zu kurzer, luftiger Bogenführung, die neuen Kadenzen sind keine technisch überladenen Schaustücke, sondern nutzen relativ einfache, aber glanzvolle Mittel, das Instrument in seiner klanglichen Eigenart zu charakterisieren ... Einfach, aber durchdacht, geschmackvoll, verständlich, übersichtlich – so können Urtextausgaben eben auch sein.
[Das Liebhaberorchester]
L’originalité de cette réduction réside dans le fait que la partie de piano sonne bien tout en évitant au pianiste accompagnateur de trop grandes difficultés techniques, ne privilégiant pas le fait de rejoindre l’écriture orchestrale. Une grande attention a été portée à la distinction entre la « staccato » et le « trait », le point ayant tendance à prendre la forme du trait dans l’écriture rapide de Mozart, les manuscrits autographes de Mozart étant les seules sources de cette édition Urtext. Quelques problèmes d’éditions sont annotés là où ils se présentent ; la partie soliste est augmentée de propositions techniques et de cadences de Kurt Guntner.
[Crescendo, 2001]
Mr. Gunter`s suggested fingerings are entirely logical from a violinistic point of view with slurs and phrasing always in style. (It is interesting to compare earlier editions that contained many more shifts and less than exemplary slurring). His cadenza is an amalgam of several well-known examles while he also adds his own embellishments to the main motifs of each movement. The short improvisatory lead-ins back to the main theme in the last movement are fluidly and imaginatively written. This is altogether a painstaking, carefullys crafted account of the solo part.
Siegfried Petrenz`s piano reduction is sufficiently abundant in harmony while the texture remains clearer than earlier versions that were more closely based on the orchestral writing. The keyboard part indicates the relevant instrumentation (for example, horns, oboes, violas and general tuttis)
As is usually the case with Henle, this new publication is spacious in layout with well-organized page turns and meticulous attention to detail.
[Music Teacher Magazine]
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