Description

Having published the scores, Critical Commentaries and the complete performance material (BA 9021-9025) as well as a boxed set of study score editions (TP 920) to all five of Beethoven’s piano concertos, the study scores can now also be purchased individually.

The musical text reflects a meticulous examination of every surviving source, resulting in Urtext editions at the highest possible level. The study scores are supplemented by Introductions by Beethoven scholar Barry Cooper on the genesis of the concertos as well as Forewords by the renowned editor Jonathan Del Mar, with descriptions of the sources and the editorial method.

Description

Beethoven’s fifth and final piano concerto is at the same time the culmination of his efforts in this genre and a reflection of all his artistic skill and expertise. The surviving manuscripts provide a clear insight into his working methods and his intentions regarding the work’s performance.

The editor, Jonathan Del Mar, has closely scrutinised the autograph solo piano part and reproduced Beethoven’s sophisticated performance instructions for the first time in a modern edition. Among other things, this has special repercussions for the left-hand figured bass line of the piano part during the tutti passages.

As with the Piano Concertos Nos. 1 to 4, the piano reduction appears with a separate solo part containing all the information needed by the soloist to conduct the ensemble from the piano.

Description

Beethoven’s fifth and final piano concerto is at the same time the culmination of his efforts in this genre and a reflection of all his artistic skill and expertise. The surviving manuscripts provide a clear insight into his working methods and his intentions regarding the work’s performance.

The editor, Jonathan Del Mar, has closely scrutinised the autograph solo piano part and reproduced Beethoven’s sophisticated performance instructions for the first time in a modern edition. Among other things, this has special repercussions for the left-hand figured bass line of the piano part during the tutti passages.

As with the Piano Concertos Nos. 1 to 4, the piano reduction appears with a separate solo part containing all the information needed by the soloist to conduct the ensemble from the piano.