Piano concertos

All eight concertos [BA 5224-BA 5231] are presented in piano reductions with separate orchestra parts. Not only is the piano reduction suitable for conducting from the harpsichord, it also enables the works to be played on two harpsichords. ...

All eight concertos [BA 5224-BA 5231] are presented in piano reductions with separate orchestra parts. Not only is the piano reduction suitable for conducting from the harpsichord, it also enables the works to be played on two harpsichords. ...

All eight concertos [BA 5224-BA 5231] are presented in piano reductions with separate orchestra parts. Not only is the piano reduction suitable for conducting from the harpsichord, it also enables the works to be played on two harpsichords. ...

New findings in Beethoven’s first piano concerto

The Bärenreiter editor and Beethoven expert Jonathan Del Mar who has received international acclaim for his highly successful editions of Beethoven’s works now turns his focus ...

Although the sources to Beethoven’s piano concerto op. 19 are generally known, many misconceptions and misinterpretations are put right in this Bärenreiter Urtext edition. Up till now, no edition was based exclusively on the authentic ...

Beethoven’s Piano Concerto No. 3 is the only concerto where no authentic manuscript exists for the solo part. The autograph of the score is available whereby the articulation, dynamics and pedal markings are for the most part absent. However, ...

The autograph to Beethoven’s Piano Concerto No. 4 is lost. For every new edition which has appeared during the course of time there have been only two authentic sources to draw upon; the copyist’s manuscript of the score with Beethoven’s own ...

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 ...

After attending the premiere of Beethoven’s stately concerto for violin and orchestra Muzio Clementi approached the composer and requested the work in a transcription for piano and orchestra; his wish was fulfilled in 1807 providing us with ...

In Beethoven’s Triple Concerto, a piano trio provides the soloists – a first in the history of music. Beethoven’s treatment of the trio is pioneering: he does not apply a typical piano trio setting in contrast to the orchestra, but varies his ...

Composed in 1876, Dvorák’s only piano concerto has been overshadowed by his other two concertos, for violin and violoncello, respectively. Performers and editors have often attempted to upgrade this pianistically unassuming work by adding ...

Mozart perfected the form of the modern piano concerto, which from about 1750 begins to show its affinity with sonata form, in his 21 concertos for solo piano and orchestra. The D minor piano concerto K.466 is one of the few concertos which ...

Wolfgang Amadeus Mozart's concertos for piano and orchestra reveal the then young form in classical perfection. Among the most beautiful of them, which are quite equals of his great symphonies, are the works which he composed in a two year ...

This new piano reduction of Mozart’s “Coronation Concerto” K. 537 is based on the music text from the New Mozart Edition and is fully compatible with the already existing performance material (BA 5318).

A separate Urtext solo piano ...

This performing edition contains all the cadenzas and lead-ins that have survived in Mozart’s hand for his piano concertos. They are taken from volume X/31/3 of the New Mozart Edition, reflecting the most recent findings of musical scholarship. ...

The renowned Austrian pianist, music editor and pedagogue Paul Badura-Skoda (born 1927) has been at the forefront of both performing and musical scholarship for more than half a century. This volume presents his cadenzas, lead-ins and ornamnets ...

In 1929 Paul Wittgenstein, a pianist and war veteran who lost his right arm in the Great War, commissioned Maurice Ravel to write a concerto for him to perform. The result was one of Ravel’s most thrilling compositions and, for Wittgenstein, ...