Difficulty order

On Mozart and 18th-century music in general (as with all their scores), Henle editions report the difficulty level. However, I wouldn't treat the indicated number as sacred, since every piece adapts or not to a certain type of hand, sensitivity, taste, technique etc. etc. I mean that even a difficult piece may prove less demanding if it is closer to your personality and technical/expressive background.

What are you studying?

I imagine you mean by a reviser, for Beethoven there was a list going around in a topic (curated by Liszt)... for these composers I wouldn't know

Even on the Wiener Urtext website, if I am not mistaken, there is a cataloging by difficulty of Mozart's works; if I recall correctly, Casella in his revision for them had marked his own cataloging by difficulty, although personally they leave you to find your own way... Many are based only on technical difficulty, which, while it is a good approximation for Clementi's early sonatas (cataloging, for example, op. 50 solely technically is a heresy), is not at all the case for Mozart and Haydn.

Explain Antares, what do you mean?

fabio73 wrote:

Regarding Mozart and 18th-century music in general (as with all their scores), Henle editions report the difficulty level. However, I wouldn't treat the indicated number as sacred, since every piece adapts or not to a certain type of hand, sensitivity, taste, technique etc. etc. What I mean is that even a difficult piece may prove less demanding if it is closer to your personality and technical/expressive background.

What are you studying?.

I am studying Bach's 2nd English Suite and Rachmaninoff's Prelude in G minor, op. 23 no. 5

Not bad, right? Are you preparing for exams or just self-taught study?

What do I mean? That often the level of difficulty found refers exclusively to the technical aspect.

I suspected so. I wanted confirmation ...I didn't understand why Mozart no...anyway, clear.

Yes, in fact it is quite a nonsense/silly thing.

There are difficulties of many kinds, and in the case of rankings, one would need to know the criteria adopted.

The case of Beethoven's sonatas ordered by Liszt, which I had probably shared, is "debatable" in some cases because it depends on what Liszt (at the time) considered more "prohibitive"... clearly some positions are shareable without too many questions

Try to verify and let me know

http://www.pianoconcerto.it/forum/index.php?/topic/1945-le-sonate-di-beethoven/?p=15983

fabio73 wrote:

Not bad, right? Are you preparing for exams or just self-taught study?

i am preparing for an exam as a self-taught student

i found this..

Etude studies: in order of difficulty

Cramer 60 studies

Czerny op. 740

Clementi Gradus ad Parnassum

Kessler op.20

Moscheles op.70

Chopin op.10

Chopin op.25, three posth. studies

Liszt 12 transcendental studies

Liszt six étude de concert

six studies from Paganini-Liszt, studies op.1.

Bach: in order of difficulty

Three-part inventions

preludes and fugues from The Well-Tempered Clavier

French suites

English suites

German suites (Partitas)

Sonatas: in order of difficulty

- HAYDN

liv.7

Haydn: Sonata in C major, Hob. XVI:35

Haydn: Sonata in G major, Hob. XVI:40

liv.8

Sonata in C Major Hob.XVI:35

liv.9

Sonata in E Flat Major Hob.XVI:49

Sonata in D Major Hob.XVI:37

Sonata in E minor Hob.XVI:34

Sonata in G Major Hob.XVI:40

Liv.10

Sonata, B flat major, Hob. XVI: 41

Sonata A major Hob. XVI:26

Sonata, A flat major, Hob. XVI: 46

Sonata A flat major Hob. XVI:43

- MOZART

liv.7

Sonata in F major, K. 280 (189e)

Sonata in G major, K. 283 (189h)

Sonata in C major, K. 545

Liv.8

Sonata in C Major K279 (189d)

Sonata in E Flat Major K282 (189g)

Sonata in F Major K332 (300k)

Sonata in A minor K310 (300d)

Sonata in D Major K576

Liv.9

Sonata in G Major K283 (189h)

Sonata in C Major K330 (300h)

Liv.10

Sonata K. 311 (284c)

Fantasy and Sonata C minor K475/457

Sonata in B Flat Major K333 (315c)

Sonata in B Flat Major K570

- CLEMENTI

liv.7

Sonata in G major, Op. 39, No. 2

Liv.8

Sonata Didone Abvolumeonata Scena Tragica in G minor Op. 50, No. 3

Liv.9

Sonata, A major, op. 10,1

Sonata, A major, op. 50,1

Sonata in G Major WO 14

- Beethoven.

Level 1 –

Op. 49 n. 2

Op. 49 n. 1

Op. 79

Op. 14 n. 2

Op. 14 n. 1

Op. 2 n. 1

Level 2 –

Op. 10 n. 1

Op. 10 n. 2

Op. 2 n. 2

Op. 2 n. 3

Op. 10 n. 3

Op. 13

Op. 22

Op. 28

Op. 7

Level 3 –

Op. 78

Op. 26

Op. 31 n. 3

Op. 31 n. 1

Op. 90

Op. 27 n. 1

Op. 27 n. 2

Op. 54

Op. 31 n. 2

Op. 53

Op. 81a

Op. 57

Op. 101

Op. 110

Op. 109

Op. 111

Op. 106

On many things I disagree, putting the French suites after The Well-Tempered Clavier or Moscheles after Kessler and Clementi for example...

Well said!! How can one put The Well-Tempered Clavier after the French Suites... perhaps they consider the short study of the two pages (in most of The Well-Tempered Clavier) and therefore less mental endurance than preparing an entire French Suite... but.....let's take BWV 849 as an example.. so much for simplicity..

Still, it should be taken seriously with tweezers.

But... doubt... can one still take exams in conservatories as a continuo player? I was cut off.

I mean ...error; before the French suites, I meant to say.

I believe it depends on the conservatories... Anyway, even the cataloging of Mozart's sonatas... For the [auitr - typo for suite/audition?] you can always take one dance at a time as they used to do during exams: half of this, half of that... Throw it all together and mix it ahahahah

Anyway, I find it curious that most studies, excluding Chopin and Liszt, date back at most to the 1820s-30s.

Instead, for the sonatas, is the list reliable?

Whose? Haydn, Mozart, Beethoven or Clementi?

I believe that every piece should be evaluated on its own. Perhaps you could choose two or three sonatas that are close to you in terms of performance spirit or scope, and each of us will be able to advise you best.