The levels of difficulty of the piano music published by G. Henle Publishers (for violin please see below):

Level	Gradetable	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. 

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

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The levels of difficulty of the violin music published by G. Henle Publishers:

Level	Gradetable	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

 

Guide to the levels of difficulty

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.

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.

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