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Piano solo (Piano solo) - SMP Level 10 (Advanced)
SKU: HL.51480393
Piano Solo. Composed by Clara Wieck-Schumann. Edited by Janina Klassen. Sheet Music. Paperbound. Henle Music Folios. Urtext edition-paper bound. Classical Period. Collection (softcover). With introductory text and performance notes. 104 pages. G. Henle #HN393. Published by G. Henle (HL.51480393).ISBN 9790201803937. UPC: 9790201803937. 9x12 inches.
This title has selections that range in difficulty from SMP Level 8-10.
About Henle Urtext
What I can expect from Henle Urtext editions:
- error-free, reliable musical texts based on meticulous musicological research - fingerings and bowings by famous artists and pedagogues
- preface in 3 languages with information on the genesis and history of the work
- Critical Commentary in 1 – 3 languages with a description and evaluation of the sources and explaining all source discrepancies and editorial decisions
- most beautiful music engraving
- page-turns, fold-out pages, and cues where you need them
- excellent print quality and binding
- largest Urtext catalogue world-wide
- longest Urtext experience (founded 1948 exclusively for "Urtext" editions)
About SMP Level 10 (Advanced)
Very advanced level, very difficult note reading, frequent time signature changes, virtuosic level technical facility needed.
- Quatre pieces characteristiques, op. 5 (Piano solo)
- Soirees musicales (No. 1,2,4,5), op. 6 (Piano solo)
- Scherzo, op. 10 (Piano solo)
- Trois romances, op. 11 (Piano solo)
- Variations, op. 20 (Piano solo)
- Three romances, op. 21 (Piano solo)
- Romance without opus (first edition) (Piano solo)
Ratings + Reviews
Based on 2 Reviews
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Alex M.
June 27, 2024
Happy customer
Love the careful editing. Page turns are easy.
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Donald C.
May 06, 2022
Good Urtext of selected works by Clara Schumann
This is a nice selection of Clara Wieck Schumann's best works and the accuracy of the text is fine. The suites are complete except for Op. 6, where a couple of inferior movements are left out. This volume omits the early variations Opp. 3 and 8, which are of more historical than musical importance - they illustrate the kind of showy writing expected of virtuosi at that time, and Schumann eventually abandoned that kind of writing for a more sober style. The editor's fingerings are generally helpful. Some of these pieces require large hand spans (perhaps Schumann used a piano with narrow keys). Some redistribution of the notes between the hands may be helpful.
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