could someone please rank these compositions?

[chopin_girl]

i would like to know in which grade you can play these compositions:

-J.S.Bach-prelude & fugue in g-minor (preludium und fuga XVI)
-Fr.Fr.Chopin-Valse in e-minor (op.posth)
-F.Mendelssohn-Bartholdy-lieder ohne wörte (i just know the german meaning of the composition so i hope you know what i mean) g-minor (No.21-Presto Agitato)
-L.van Beethoven-Sonata in c-minor op.10 No.1

I would appretiate your help very much!
You see,where I come from the education system is very different so I would like to know in what grade you can play those compositions
thank you very much in advance!!!
chopin_girl

[super_ardua]

Grades don't matter.

[Spatula]

True to a point.  I'm already learning ARTC pieces even though I'm only  up to a grade 8 RCM standard level.

[bernhard]

i would like to know in which grade you can play these compositions:

-J.S.Bach-prelude & fugue in g-minor (preludium und fuga XVI)
-Fr.Fr.Chopin-Valse in e-minor (op.posth)
-F.Mendelssohn-Bartholdy-lieder ohne wörte (i just know the german meaning of the composition so i hope you know what i mean) g-minor (No.21-Presto Agitato)
-L.van Beethoven-Sonata in c-minor op.10 No.1

I would appretiate your help very much!
You see,where I come from the education system is very different so I would like to know in what grade you can play those compositions
thank you very much in advance!!!
chopin_girl

Super ardua is correct. Grades do not matter, and are subjective anyway. What is difficult for someone maybe easy for someone else. Keep this in mind as you read the grades below:

-J.S.Bach-prelude & fugue in g-minor (preludium und fuga XVI). You have not specifed the book. They are both above grade 8 the one from book 1 easier than the one from book 2. If you order all the 48 preludes and fugues from easy to difficult, no. 16 book one would be 30 and no. 16 from book 2 would be 47 (yes, it is that difficult).

-Fr.Fr.Chopin-Valse in e-minor (op.posth) grade 8.

-F.Mendelssohn-Bartholdy-lieder ohne wörte Op. 53 no. 3 - g-minor (No.21-Presto Agitato) – Grade 7.

-L.van Beethoven-Sonata in c-minor op.10 No.1 – Grade 8 or slightly above.

(All grades ABRSM)

I hope this helps.

Best wishes,
Bernhard.

[chopin_girl]

Super ardua is correct. Grades do not matter, and are subjective anyway. What is difficult for someone maybe easy for someone else. Keep this in mind as you read the grades below:

-J.S.Bach-prelude & fugue in g-minor (preludium und fuga XVI). You have not specifed the book. They are both above grade 8 the one from book 1 easier than the one from book 2. If you order all the 48 preludes and fugues from easy to difficult, no. 16 book one would be 30 and no. 16 from book 2 would be 47 (yes, it is that difficult).

-Fr.Fr.Chopin-Valse in e-minor (op.posth) grade 8.

-F.Mendelssohn-Bartholdy-lieder ohne wörte Op. 53 no. 3 - g-minor (No.21-Presto Agitato) – Grade 7.

-L.van Beethoven-Sonata in c-minor op.10 No.1 – Grade 8 or slightly above.

(All grades ABRSM)

I hope this helps.

Best wishes,
Bernhard.

okay.so you're saying that the valse in e-minor is not as hard as mendelssohn?wow.i would have never put it that way...but i see you know better then me

sorry about the Bach-it's WTK 1 (i knew i forgot something,,, )
so technically,how old are you when you're in grade 8?
because i'm 15 now and that is my current repertoire.
it would really help if you answered these questions too!
(thanks bernhard!!!)

[bernhard]

You are welcome.

Actually I am saying that the E-minor waltz is more difficult (grade than the Mendelssohn (grade 7).

And I don’t really know better than you. Difficulty is highly subjective. Maybe for you it is the other way round. Ultimately the difficulty of a piece is irrelevant, if you like it enough you will face whatever difficulty is there and master it.

so technically,how old are you when you're in grade 8?
because i'm 15 now and that is my current repertoire.
it would really help if you answered these questions too!
(thanks bernhard!!!)

Age has little to do with it. It is your ability (being able) to play that counts. Kissin was already playing Chopin concertos at age 12. Arrau was playing Liszt’s “Gnomenreigen” at age 7. And I have an 85 year old student who will be doing her grade 3 in 6 months time.

Also just playing advanced repertory is not enough. How much do you know about music in general? Can you analyse your pieces? Can you ascertain performance practices as related to style? For instance there is a huge difference in the techniques/resources you must use when performing a Bach fugue, from the techniques/resources you need to perform a Chopin’s waltz. Can you call upon these techniques/resources? Can you explain them  - and “defend” cogently your way of interpreting these works?

In the Middle Ages there was a very clear distinction between three groups of people involved in the music business: the theoretician, the practitioner and the total musician. The theoretician was a music scholar. He understood in great depth the structure of music and how it all fitted together, but he could neither compose nor play. Because in the Middle Ages music was an integral part of education and was considered as an independent science for which neither performance nor composition was really necessary, he was highly respected (a bit like theoretical physicists and mathematicians today, who are not expected to build anything they may project). Then there was the practitioner. He could play music beautifully, but had no idea whatsoever about musical theory. This lack of knowledge was made up by an instinctive musical understanding. You can compare the theoretician and the practitioner with an specialist in linguistics – who knows everything about language and grammar – and a native speaker of that language – who can use it in a highly articulate manner, and yet may know nothing of grammar and syntax.

Finally you have the total musician, who not only understands and is fully conversant with the theory of music, as he can play and perform the music he understands so well. As a consequence, he can also compose. He is both theoretician and practitioner.

In the middle ages, a time where hierarchy suffused all parts of life, the total musician was at the top of the hierarchy, followed by the theoretician and finally by the practitioner.

So, do not concern yourself with grades and the like. Instead ask yourself who you are: practitioner, theoretician or total musician?

Of course, always aim at being a total musician.

Best wishes,
Bernhard.

[chopin_girl]

okay,thanks for the info
i don't concern myself with stuff like that
i'm just interested at witch age do you USUALLY play those compositions (and i still didn't get the answer to that question lol) i mean-at what age you're usually grade 7 or does it really matter?can you start taking classes at 90 years of age and it still won't matter? what i was wondering is-if you're an average student at what age do you play those compositions?

but thanks anyway
i don't really get the need for "ability (being able)" because i do know what ability means lol,but anyway....

and yes-you do know better then me because you're a teacher (you said you have students,so...) and i am just a student

(thanxx anyway....... )