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LUDWIG VAN BEETHOVEN COMPLETE CATALOG


202 0 5 LUDWIG VAN 0 BEETHOVEN

CHAMBER MUSIC KEYBOARD INSTRUMENTS 3 STRINGS 3 WIND INSTRUMENTS 4 MIXED INSTRUMENTS 5

COMPLETE CATALOG

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CONTENTS

VOICE

5

CHOIR

6

ORCHESTRA CONCERTOS 7 OVERTURES 7 SYMPHONIES 8 OTHER ORCHESTRAL WORKS 9 BREITKOPF & HÄRTEL AND BEETHOVEN

10

DRAMATIC WORKS

12

BREITKOPF ORIGINALS

13

URTEXT FROM THE NEW BEETHOVEN COMPLETE EDITION (G. HENLE VERLAG) CHOIR 14 CONCERTOS 15 SYMPHONIES 16 SYMPHONY NO. 9 IN D MINOR OP. 125 17 OTHER ORCHESTRAL WORKS 18 MASTHEAD & CONTACTS

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CHAMBER MUSIC KEYBOARD INSTRUMENTS

6 Ecossaises WoO 83 for Piano

11 Viennese Dances “Moedling Dances” WoO 17

EB 2550

EB 2838  Edition for Piano

Edition BrEitkopf

BEEthovEn

EB 4333 Breitkopf & Härtel Edition Breitkopf

Klaviersonaten Piano Sonatas Instruktive Ausgabe | Instructive Edition Band I | Volume I

STRINGS Duet with two Obbligato Eyeglasses WoO 32 für Viola und Violoncello

Beethoven

EB 4341

EB 6739

– KONZERT für Klavier und Orchester Nr. 3 c-moll

– CONCERTO for Piano and Orchestra No. 3 in C minor

Complete Piano Sonatas

op. 37

Instructive Edition, Edited and Supplied with Fingerings by Frederic Lamond EB 4341  Volume 1 EB 4342  Volume 2

Frederic Lamond (1868–1948) belonged to the world’s leading interpreters of Beethoven’s music. In his edition of the sonatas, he did not allow any intervention in the music text per se. His indications give instead interpretive approaches, additionally inspiring today’s musicians in the realization of the musical composition. When Lamond first published his edition of Beethoven’s 32 piano sonatas with Breitkopf & Härtel in 1923, he became the epitome of Beethoven interpretation. The present “Instructive Edition” of Beethoven’s 32 Piano Sonatas is part of the “Breitkopf Originals” series on the occasion of Beethoven’s 250th Birthday in 2020. Apart from the established Urtext editions, this reissue opens up a fascinating view on the interpretation and performance practice of one of the most important Beethoven interpreters in the 19th and 20th century.

Klavierauszug Piano reduction

for Piano Selected and Edited by Heinz Walther EB 6734

for String Quartet Urtext edition KM 2268

Concertos for Piano and Orchestra Piano Reductions by Eugen d’Albert and Friedrich Hermann Printed in score form EB 4331  No. 1 in C major op. 15 EB 4332  No. 2 in B flat major op. 19 EB 4333  No. 3 in C minor op. 37 EB 4334  No. 4 in G major op. 58 EB 4335  No. 5 in E flat major op. 73

Piano Trio in B flat major (Gassenhauer-Trio) op. 11 for Clarinet (Violin), Violoncello and Piano KM 1066

Piano Trio in B flat major op. 97 8 Original Cadenzas for the Piano Concertos Nos. 1, 2, 3, and 4

for Violin, Violoncello and Piano KM 1061

EB 4055

Piano Trio op. 1 Music for a Knightly Ballet WoO 1 for Piano Arranged by Willy Hess EB 6740

German Dances from WoO 8 and 13

Fugue from Handel’s Overture to “Solomon” (HWV 67)

Beethoven wrote this work towards the end of his years in Bonn, in 1790/91. There is no surviving program and the only reference made to it is in H. Reichard’s “Theater Kalender auf das Jahr 1792”, where it is called a “characteristic ballet in old German costumes” which deals with “our ancestors’ main interests, to wit: war, hunt, love and drink.”

for Violin, Violoncello and Piano KM 1056  in E flat major op. 1 No. 1 KM 1057  in G major op. 1 No. 2 KM 1058  in C minor op. 1 No. 3

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CHAMBER MUSIC Trio in C major op. 9 No. 1

3 Duets WoO 27

for Violin, Viola and Violoncello

for Clarinet (Flute, Oboe, Violin) and Bassoon (Violoncello)

KM 706

EB 8069  Score and parts

KAMMERMUSIK BIBLIOTHEK

BEETHOVEN Trio für Violine, Violoncello und Klavier

Trio for Violin, Violoncello and Piano op. 70 Nr. 1

KM 1059

String Quartets from the series “Breitkopf Originals” additional information on page 13

KM 254

KM 266

Piano Trios op. 70 for Violin, Violoncello and Piano KM 1059  in D major op. 70 No. 1 KM 1060  in E flat major op. 70 No. 2

Romances in G major op. 40 in F major op. 50 for Violin and Piano EB 1172

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Sonata in F major op. 17 for Horn (Violoncello) and Piano Urtext edition EB 7404 Original for Horn and Piano EB 7405 Edition for Violoncello and Piano

String Trio in G major op. 3 for Violin, Viola and Violoncello

for 4 Trombones KM 1555  Original for 4 Trombones KM 2169  Edition for 4 Horns

op. 18 No. 1–6 op. 59, 74, 95

3 Equale WoO 30

Originals

op. 127, 130, 131 KM 277

Octet in E flat major op. 103 for 2 Oboes, 2 Clarinets, 2 Horns and 2 Bassoons KM 1554  Set of Parts

op. 132, 133 (Große Fuge), 135 KM 286

supplied with fingerings and bowing marks by Engelbert Röntgen

Quintet in E flat major op. 16 for Oboe, Clarinet, Horn, Bassoon and Piano MR 1040  Score and parts

Trio in C major op. 87 for 2 Oboes and Cor Anglais

Sextet in E flat major op. 71

KM 714 Edition for 2 Violins and Viola KM 1552  Original for 2 Oboes and Cor Anglais MR 2156  Edition for Flute (Oboe), Clarinet

for Wind Sextet

KM 1551

and Bassoon

Sonata in B flat major Trio in C major

for Flute and Piano

for Violin, Violoncello and Piano After the Triple Concerto op. 56 Arranged by Carl Reinecke

EB 5879

EB 6607

Sonata in F major op. 17 for Horn (Violoncello) and Piano Urtext edition

KM 703

WIND INSTRUMENTS Adagio for a Musical Clock in F major WoO 33a No. 1 for Wind Nonet Arranged by Willy Hess KM 2216

EB 7404 Original for Horn and Piano EB 7405 Edition for Violoncello and Piano


VOICE An die Hoffnung (“Ob ein Gott sei”) op. 94

LUDWIG VAN BEETHOVEN

for Soprano and Orchestra Arranged by Felix Mottl

TRIO

Edition BrEitkopf

for

Clarinet, Bassoon (Violoncello) and Piano

BEEthovEn

in E flat major

op. 38

Variationen über „Là ci darem la mano“ für Oboe und Klavier

Variations on “Là ci darem la mano” for Oboe and Piano WoO 28

BREITKOPF & HÄRTEL

EB 6709

Wiesbaden • Leipzig • Paris

MUSICA RARA

for Clarinet, Bassoon (Violoncello) and Piano After the Septet op. 20 MR 1082

Die Ehre Gottes aus der Natur “Die Himmel ruehmen des Ewigen Ehre” op. 48 No. 4 for Orchestra Arranged by Felix Mottl Performance material available on hire

MR 1082

Trio in E flat major op. 38

Performance material available on hire

Variations on “Là ci darem la mano” (“Give me thy hand, oh fairest”) WoO 28

A combination with the version for choir by Bruno Dost (Choral score ChB 4723  ) is possible.

from W. A. Mozart’s “Don Giovanni” EB 3967 for 2 Oboes and Cor Anglais EB 6709 Edition for Oboe and Piano MR 1187  Edition for Flute (Oboe),

Clarinet and Bassoon

Edition BrEitkopf

BEEthovEn Sämtliche Lieder

MIXED INSTRUMENTS

für Singstimme und Klavier Ausgabe für hohe Stimme

Complete Songs for Voice and Piano Edition for high voice

Piano Trio in B flat major (Gassenhauer-Trio) op. 11

EB 34

for Clarinet (Violin), Violoncello and Piano KM 1066

Complete Songs for Voice and Piano

Septet op. 20 Trio in C major op. 87 KM 1552 Original for 2 Oboes

and Cor Anglais

for Violin, Viola, Violoncello, Double Bass, Horn, Clarinet and Bassoon KM 4

MR 2156 Edition for Flute (Oboe),

Clarinet and Bassoon

KM 714 Edition for 2 Violins and Viola

Serenade in D major op. 25 for Flute, Violin and Viola

Trio in G major WoO 37 for Flute, Bassoon and Piano EB 6604

KM 1560

EB 34 High voice EB 296 Low voice

Songs were an integral part of Beethoven’s oeuvre throughout his life, especially in the middle of his creative years – whether it be the cycles opp. 48, 52, 75 and 82, characteristic single works such as Adelaide op. 46 and An die ferne Geliebte op. 98 or the nearly 30 shorter pieces that Beethoven published without an opus number. The edition Beethoven – Collected Songs is also available for low voice.

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VOICE New Folk Songs Volume from “Lieder verschiedener Völker” WoO 158

Die Ehre Gottes aus der Natur “Die Himmel rühmen des Ewigen Ehre” op. 48 No. 4

for Voice, Piano, Violin and Violoncello

for Soprano and Piano for Choir and Piano Arranged by Bruno Dost

EB 6974  Score and parts

Scene and Aria “Ah! Perfido” / “Per pietà, non dirmi addio” op. 65 for Soprano and Orchestra

PB 4762 Score ChB 4723 Choral score

A combination with the orchestrated version by Felix Mottl (Performance material available on hire) is possible.

EB 1332 Edition for Soprano and Piano

“Es ist vollbracht” WoO 97 Trio for Soprano, Tenor, Bass and Orchestra

Finale to Georg Friedrich Treitschke’s Singspiel “Die Ehrenpforten” for Bass, Choir and Orchestra

Performance material available on hire

Performance material available on hire

“Tremate, empi, tremate” op. 116

The history of the origins and sources of Beethoven’s Choral Fantasia poses considerable difficulties to today’s researchers. A definitive “final version” is not extant. Instead, there are contemporary printed editions which diverge from each other in many details. Editor Clive Brown thus based his text-critical work on his comprehensive knowledge of the performance and notation practice of Beethoven’s time.

“Germania, wie stehst du jetzt im Glanze” WoO 94 Finale to Georg Friedrich Treitschke’s Singspiel “Die gute Nachricht” for Bass, Choir and Orchestra Performance material available on hire

Cantata “Der glorreiche Augenblick” op. 136 for Soloists, Choir and Orchestra

CHOIR 6

“Benedictus” from the Missa solemnis op. 123 for Orchestra Arranged by Ferruccio Busoni Performance material available on hire

PB 5230

Beethoven

for 2 Sopranos, Women’s Choir and Orchestra Performance material available on hire

Chor auf die verbündeten Fürsten “Ihr weisen Gründer glücklicher Staaten” WoO 95

EB 8014 Breitkopf & Härtel Edition Breitkopf

– FANTASIE für Klavier, Chor und Orchester c-moll

– FANTASIA for Piano, Choir and Orchestra in C minor op. 80

Partitur Score

Bundeslied “In allen guten Stunden” op. 122

Performance material available on hire

Breitkopf & Härtel Orchester-Bibliothek

Beethoven – KANTATE AUF DEN TOD KAISER JOSEPHS II.

Choral Fantasia in C minor op. 80 for Piano, Choir and Orchestra Edited by Clive Brown Urtext edition PB 5230 Score OB 5230 Orchestral parts / Solo piano EB 4348 Piano vocal score PB 5258 Study score

für Soli, Chor und Orchester

– CANTATA ON THE DEATH OF EMPEROR JOSEPH II. for Soloists, Choir and Orchestra WoO 87

Klavierauszug Piano Vocal Score

Cantata on the Death of Emperor Joseph II. WoO 87 for Soloists, Choir and Orchestra

for Choir and Orchestra

EB 8014  Piano vocal score

Performance material available on hire

Performance material available on hire


ORCHESTRA URTEXT EDITIONS FROM THE NEW BEETHOVEN COMPLETE EDITION (G. HENLE VERLAG) FROM PAGE 14

Kantate auf die Erhebung Leopolds II. zur Kaiserwürde WoO 88 for Soloists, Choir and Orchestra Performance material available on hire

Opferlied “Die Flamme lodert” Version of 1822 op. 121b

CONCERTOS Concerto for Violin and Orchestra in D major op. 61 Edited by Clive Brown Urtext edition PB 5353  Score OB 5353  Orchestral parts EB 8656  Piano reduction PB 5531  Study score

for Soloists, Choir and Orchestra Performance material available on hire

Version of 1824 (Final Version) op. 121b for Soprano, Choir and Orchestra Performance material available on hire

The Ruins of Athens op. 113 Incidental Music to August von Kotzebue’s Festival Play for Soloists, Choir and Orchestra

What with all the traditional editions available on the market, can we still expect new readings? This is what editor Clive Brown asked himself as he meticulously examined the often conflicting sources. The result: a wealth of new readings in the score as well as an extensively commented piano reduction. The historically informed setting of the solo part deserves special attention. The entries of fingerings and bow strokes go back to the premiere interpreter Franz Clement and the Viennese performance tradition of Beethoven’s time. The edition is thus a unique treasure trove for today’s performers, providing many inspiring ideas for one’s own interpretation.

OVERTURES Overture to the Opera “Fidelio” op. 72 Edited by Christian Rudolf Riedel Urtext edition PB 5511  Score OB 5511  Orchestral parts PB 5307  Study score

Overture to “König Stephan” op. 117 Incidental Music to August von Kotzebue’s Festival Play Performance material available on hire

Overture No. 1 to the Opera “Leonore” op. 138 Performance material available on hire

ChB 3572  Choral score

Performance material available on hire

PB 5142 Breitkopf & Härtel Partitur-Bibliothek

Concert Movement in C major (Fragment) WoO 5 March and Chorus “Schmückt die Altäre” from “The Ruins of Athens” Second Version of 1822 op. 114 for Choir and Orchestra

for Violin and Orchestra Completed by Wilfried Fischer EB 6623  Piano reduction

Performance material available on hire

Beethoven – OUVERTÜRE NR. 2 zur Oper LEONORE – OVERTURE NO. 2 to the Opera LEONORE op. 72

Performance material available on hire Partitur Score

“Wo sich die Pulse jugendlich jagen” WoO 98 Chorus to the Festival Play “The Consecration of the House” for Choir and Orchestra (with Soprano Solo) Performance material available on hire

Overture No. 2 to the Opera “Leonore” op. 72 PB 5142  Score OB 5142  Orchestral parts

The Overture Leonore, wrongly named No. 2, is the first of a total of four overtures that Beethoven wrote for his only opera, which was unsuccessful in 1805 and has therefore been revised several times. He was still composing between rehearsals for the premiere of the original version in 1805 at the Theater an der Wien. The music text is based on Volume 11 of the “Supplements to the Complete Edition”.

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ORCHESTRA URTEXT EDITIONS FROM THE NEW BEETHOVEN COMPLETE EDITION (G. HENLE VERLAG) FROM PAGE 14

Overture No. 3 to the Opera “Leonore” op. 72

Symphony No. 7 in A major op. 92

Edited by Christian Rudolf Riedel Urtext edition

PB 5343 Breitkopf & Härtel Partitur-Bibliothek

PB 5512  Score OB 5512  Orchestral parts PB 5306  Study score

Edited by Peter Hauschild Urtext edition PB 5237  Score OB 5237  Orchestral parts PB 5347  Study score

Beethoven – SYMPHONIE NR. 3

Overture to “The Ruins of Athens” op. 113

Es-dur (Eroica)

– SYMPHONY NO. 3 in E flat major (Eroica) op. 55

Performance material available on hire Studienpartitur Study Score

Symphony No. 8 in F major op. 93 Edited by Peter Hauschild Urtext edition PB 5238  Score OB 5238  Orchestral parts PB 5348  Study score

Symphony No. 3 in E flat major “Eroica” op. 55

SYMPHONIES

Edited by Peter Hauschild Urtext edition EB 8633

PB 5341 Breitkopf & Härtel Partitur-Bibliothek

Beethoven – SYMPHONIE NR. 1 C-dur

– SYMPHONY NO. 1 in C major op. 21

8

PB 5233  Score OB 5233  Orchestral parts PB 5343  Study score

Symphony No. 4 in B flat major op. 60 Edited by Peter Hauschild Urtext edition PB 5234  Score OB 5234  Orchestral parts PB 5344  Study score

Breitkopf & Härtel Edition Breitkopf

Beethoven – SYMPHONIE NR. 9 d-Moll

– SYMPHONY NO. 9 in D minor op. 125 – Finale

Klavierauszug Piano Vocal Score

Studienpartitur Study score

Symphony No. 1 in C major op. 21 Edited by Clive Brown Urtext edition PB 5231  Score OB 5231  Orchestral parts PB 5341  Study score

Symphony No. 5 in C minor op. 67 Edited by Clive Brown Urtext edition PB 5235  Score OB 5235  Orchestral parts PB 5345  Study score

Symphony No. 2 in D major op. 36

Symphony No. 6 in F major “Pastorale” op. 68

Edited by Clive Brown Urtext edition

Edited by Peter Hauschild Urtext edition

PB 5232  Score OB 5232  Orchestral parts PB 5342  Study score

PB 5236  Score OB 5236  Orchestral parts PB 5346  Study score

Symphony No. in 9 D minor op. 125 Edited by Peter Hauschild Urtext edition PB 5239 Score OB 5239 Orchestral parts ChB 5237 Choral score EB 8633 Piano vocal score PB 5349 Study score

Additional information on page 17


Triumphal March in C major WoO 2a

OTHER ORCHESTRAL WORKS PB 4800 Breitkopf & Härtel Partitur-Bibliothek

to the Music to Christoph Kuffner’s Tragic Drama “Tarpeja” for Orchestra Performance material available on hire

PB 4814 Breitkopf & Härtel Partitur-Bibliothek

Beethoven – ZWÖLF KONTRETÄNZE für Orchester

– TWELVE CONTREDANSES for Orchestra

Beethoven

WoO 14

– GRATULATIONSMENUETT für Orchester Es-dur

– CONGRATULATORY MINUET

Partitur Score

Der Wachtelschlag “Horch, wie schallt’s…” WoO 129 for Voice and Piano for Orchestra Arranged by Felix Mottl Performance material available on hire

for Orchestra in E flat major WoO 3

12 Contredanses WoO 14 Partitur Score

for Orchestra PB 4800  Score OB 4800  Orchestral parts

Congratulatory Minuet in E flat major WoO 3

11 Viennese Dances “Moedling Dances” WoO 17 for Orchestra PB 4787  Score OB 4787  Orchestral parts

for Orchestra

Military March in D major WoO 24

PB 4814  Score OB 4814  Orchestral parts

for Military Band

Tattoo No. 1 WoO 18

Performance material available on hire

for Military Band Arranged by Johannes Schade

12 German Dances WoO 8 for Orchestra with Post-horn solo PB 4799  Score OB 4799  Orchestral parts

Ecossaise in D major WoO 22 for Military Band Performance material available on hire

Performance material available on hire

Music for a Knightly Ballet WoO 1 for Orchestra Performance material available on hire Beethoven wrote this work towards the end of his years in Bonn, in 1790/91. There is no surviving program and the only reference made to it is in H. Reichard’s “Theater Kalender auf das Jahr 1792”, where it is called a “characteristic ballet in old German costumes” which deals with “our ancestors’ main interests, to wit: war, hunt, love and drink.”

Performance material available on hire

for Military Band Arranged by Johannes Schade Performance material available on hire

Tattoo No. 2 WoO 19 for Military Band Arranged by Johannes Schade Performance material available on hire

Grand Fugue in B flat major op. 133 for Orchestra Arranged by Manuel Hidalgo

Tattoo No. 2 WoO 20

Sonata in B flat major “Hammerklavier-Sonata” op. 106 for Piano for Orchestra Arranged by Felix Weingartner Performance material available on hire

9


LUDWIG VAN BEETHOVEN AT BREITKOPF & HÄRTEL SINCE 1802

IT IS NOT POMPOUS WHEN I TELL YOU THAT I PREFER YOU OVER ALL OTHERS.

10

Contract (declaration of ownership and receipt) between BREITKOPF & HÄRTEL and LUDWIG VAN BEETHOVEN, dated 25 July 1810

* LUDWIG VAN BEETHOVEN, LETTER TO BREITKOPF & HÄRTEL IN LEIPZIG, BADEN, 21 AUGUST 1810


First edition of the score of SYMPHONY NO. 5 IN C MINOR OP. 67

MASS IN C MAJOR OP. 86

original edition 1812

11

QUINTET OP. 29

original edition December 1802

[…], WHEREAS THE GENTLEMEN BREITKOPF AND HÄRTEL, THE RIGHTFUL OWNERS OF THIS QUINTET, HAVE MADE EVERY EFFORT TO RENDER THE WORK AS BEAUTIFUL AS POSSIBLE. LUDWIG VAN BEETHOVEN’S ADVERTISEMENT IN THE WIENER ZEITUNG OF 22 JANUARY 1803


DRAMATIC WORKS Egmont op. 84

König Stephan op. 117

Incidental Music to Johann Wolfgang von Goethe’s Tragedy

Incidental Music to August von Kotzebue’s Festival Play

Performance material available on hire

Performance material available on hire

Fidelio op. 72

Leonore

Opera in Two Acts

Opera in Three Acts Early Version of “Fidelio” from 1805

Performance material available on hire “The whole matter concerning the opera is the most troublesome in the world. There is a very great difference between letting oneself be guided by reflection and giving oneself up to free inspiration. In short, I assure you, dear Treitschke, the opera is going to win me a martyr’s crown.” Beethoven had already revised the opera several times when he wrote these words to the then director and dramaturg at the Court Opera. Reworked partly at the urging of friends and partly of his own free will, the opera finally made its breakthrough in its final version. The triumphal first performance of the third version of the work was held at Viennas Kärntnertortheater on 23 May 1814 with Beethoven conducting.

The Creatures of Prometheus op. 43

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Ballet in Two Acts Performance material available on hire In the ballet Gli uomini di Prometeo, Beethoven interprets the Greek legend about the titan Prometheus. Prometheus resisted the will of the gods by standing up for the people he had created. He had formed two people from clay, woke them to life and was at the same time their teacher. When teaching them about the secrets of fire, he incurred Zeus’ wrath upon him. Prometheus’ support for the people was not to remain without consequences. In the season after its premiere on 28 March 1801 in Vienna, the ballet was performed almost 30 times and was thus a great success for the time. Today, the music belongs to Beethoven’s less known works.

Performance material available on hire When the original Leonore was performed at the Theater an der Wien in 1805, adverse circumstances prevented the hoped-for success. Beethoven had to revise his only opera several times until it finally succeeded in 1814 as Fidelio. It then comprised only two acts instead of three; apart from that, the dramaturgical focus was different. In 1953, Willy Hess succeeded in uncovering the editorial potential of Beethoven’s bold opera debut by means of a thorough comparison of the versions.

DRAMATIC WORKS SELECTIONS

Go on a journey through the various stages of the Breitkopf & Härtel rental library!

In the meantime, the performance material has been updated as well, taking into account the results of the Beethoven research. It has served interpreters such as Bertrand de Billy and René Jacobs as a reliable and inspiring basis.

Leonore Prohaska WoO 96 Music to Johann Friedrich Leopold Duncker’s Drama of the Same Name Performance material available on hire

The Ruins of Athens op. 113 Incidental Music to August von Kotzebue’s Festival Play Performance material available on hire

Individual numbers from the respective works on request.

www.breitkopf.com/catalogs


Breitkopf

Originals

13

Milestones of the Publishing-house and Music History What could be a more fitting time than our 300th publishing-house anniversary to open for you the bookcases and drawers of our archives? With the brand new series ”Breitkopf Originals” promptly starting our 2019 anniversary year, we are offering you an unprecedented view into our publishinghouses’ archives, a treasure trove for scholars, musicians, and music lovers alike, placed today under cultural asset protection. In the coming years we shall be making available editions in premium-quality reprints that are historically and musico-historically invaluable as witnesses to their times. The selection will initially include the core repertoire of (string) chamber music, to be expanded step by step. We are attaching great importance to continuing the historic Breitkopf ”look.” Our popular ”Angel Oval” in modern columnar bar form gives our Urtext editions its distinctive face today. In its historically baroque original form, however, it has almost completely disappeared from the publishing program, to experience now its renaissance in this new series. So, we invite you to join us in looking forward to the great chamber music repertoire of the 18th and 19th centuries, together with exciting discoveries that often still astonish even us.

Reprint of historic milestones

High-quality engraved image Modern and exclusively featured paper, binding and printing Old ”Leipzig” music-text format: 25.0 x 32.0 cm Appropriate alike for musicians, music lovers and collectors

String Quartets op. 18 Nos. 1–6 KM 254

op. 59, 74, 95 KM 266

op. 127, 130, 131 KM 277

op. 132, 133 (Große Fuge), 135 KM 286

supplied with fingerings and bowing marks by Engelbert Röntgen


URTEXT FROM THE NEW BEETHOVEN COMPLETE EDITION (G. HENLE VERLAG) CHOIR Christ on the Mount of Olives op. 85 for Soloists, Choir and Orchestra Edited by Anja Mühlenweg EB 10582  Piano reduction

Performance material available on hire

Choral Fantasia in C minor op. 80 for Piano, Choir and Orchestra Edited by Armin Raab

EB 10581 Breitkopf & Härtel Edition Breitkopf

Urtext der neuen BeethovenGesamtausgabe

PB 14660 Score OB 14660 Orchestral parts ChB 14660 Choral score EB 10546 Piano reduction

Beethoven – MESSE C-DUR

Christus am Ölberge (Christ on the Mountain of Olives) is Beethoven’s only oratorio. The premiere took place on 5 April 1803 as part of an academy concert. Breitkopf & Härtel published the original edition of the score in 1811, however, against Beethoven’s will, with strong textual interventions in the opera-like libretto by Franz Xaver Huber. The new Urtext edition by Anja Mühlenweg represents a kind of historical reparation; it not only precisely reproduces the original text, but also presents the work as a whole in the form intended by Beethoven.

für Soli, Chor und Orchester

– MASS IN C MAJOR for Soloists, Choir and Orchestra op. 86

PB 14670 Breitkopf & Härtel Partitur-Bibliothek Urtext der neuen BeethovenGesamtausgabe

Beethoven – MEERES STILLE UND GLÜCKLICHE FAHRT für Chor und Orchester

– CALM SEA AND PROSPEROUS VOYAGE for Choir and Orchestra op. 112

Elegischer Gesang “Sanft wie du lebtest” op. 118 for Choir and Strings Edited by Armin Raab

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PB 14675 Score ChB 14675 Choral score

Partitur Score

Calm Sea and Prosperous Voyage op. 112 for Choir and Orchestra Edited by Armin Raab PB 14670 Score OB 14670 Orchestral parts ChB 14670 Choral score EB 10580 Piano vocal score

In his op. 112, Beethoven brings Goethe’s poems Meeresstille (Calm Sea) and Glückliche Fahrt (Prosperous Voyage) together. A few sketches reveal that Beethoven had already begun exploring the poems by the end of 1814. He conducted the premiere at a charity concert in support of the Vienna Citizens’ Hospital Fund in 1815. Due to delays in printing, Goethe received a dedicatory copy of the score only in May 1822. Later, Beethoven inquired of him whether he thought that he had set the texts to music in an apt manner. He expressed his readiness for an “indoctrination that is to be seen as the truth,” as he loved the truth above all, saying: “To me, the following shall never apply: Veritas odium parit.”

Klavierauszug Piano vocal score

Mass in C major op. 86 for Soloists, Choir and Orchestra Edited by Jeremiah W. McGrann PB 14676 Score OB 14676 Orchestral parts / Organ ChB 14676 Choral score EB 10581 Piano vocal score

As is often the case with Beethoven’s orchestral works, various, often contradictory sources arising from both the material used at the first performance and the first edition, calling for the knowledgeable assessment of a specialist. Editor Jeremiah W. McGrann takes Breitkopf’s original edition as the main source, despite its shortcomings due to time constraints, placing particular emphasis on the aspect of the organ’s figured bass. As it has been transmitted in two authentic readings, both are printed in the score. The newly revised orchestral material contains a new organ part, realized by Siegfried Petrenz, and fulfills every requirement for a stylistically authentic performance.


URTEXT FROM THE NEW BEETHOVEN COMPLETE EDITION (G. HENLE VERLAG) CONCERTOS EB 10544 Breitkopf & Härtel Edition Breitkopf

Urtext der neuen BeethovenGesamtausgabe

Concerto for Piano and Orchestra No. 1 in C major op. 15

Beethoven Concerto for Piano and Orchestra No. 2 in B flat major op.19 Edited by Hans-Werner Küthen Klavierauszug Piano Vocal Score

Missa solemnis in D major op. 123

PB 14560  Score OB 14560  Orchestral parts

for Soloists, Choir and Orchestra Edited by Norbert Gertsch

Concerto for Piano and Orchestra No. 3 in C minor op. 37

PB 14650 Score OB 14650 Orchestral parts / Organ ChB 14650 Choral score EB 10544 Piano vocal score

Edited by Hans-Werner Küthen

Ludwig van Beethoven wrote his Missa solemnis, which he declared to be his most accomplished work in the last years of his life, between 1819 and 1822. The primary source for the present edition is the working copy of the score that Beethoven most likely commissioned immediately after completing the piece. It is the earliest copy of the work and the sole copy based on the now incomplete autograph. Since the work copy was repeatedly revised and corrected as further copies were made, it comes closest to a “definitive version” today.

Urtext der neuen BeethovenGesamtausgabe

Beethoven – KONZERT

– MISSA SOLEMNIS

op. 123

Breitkopf & Härtel Partitur-Bibliothek

Edited by Hans-Werner Küthen PB 14550  Score OB 14550  Orchestral parts

für Soli, Chor und Orchester for Soloists, Choir and Orchestra

PB 14540

PB 14570  Score OB 14570  Orchestral parts

Concerto for Piano and Orchestra No. 4 in G major op. 58 Edited by Hans-Werner Küthen PB 14620  Score OB 14620  Orchestral parts

Concerto for Piano and Orchestra No. 5 in E flat major op. 73

für Klavier, Violine, Violoncello und Orchester C-dur (Tripelkonzert)

– CONCERTO for Piano, Violin, Violoncello and Orchestra in C major (Triple Concerto) op. 56 Partitur Score

Concerto for Piano, Violin, Violoncello and Orchestra in C major “Triple Concerto” op. 56 Edited by Bernard van der Linde PB 14540  Score OB 14540  Orchestral parts

Romances in G major op. 40 / in F major op. 50 for Violin and Orchestra Edited by Shin Augustinus Kojima PB 14590  Score OB 14590  Orchestral parts

Rondo in B flat major WoO 6

Edited by Hans-Werner Küthen

for Piano and Orchestra Original Finale of the Piano Concerto No. 2 Edited by Hans-Werner Küthen

PB 14630  Score OB 14630  Orchestral parts

PB 14679  Score OB 14679  Orchestral parts

Concerto for Violin and Orchestra in D major op. 61 Edited by Shin Augustinus Kojima PB 14580  Score OB 14580  Orchestral parts

15


URTEXT FROM THE NEW BEETHOVEN COMPLETE EDITION (G. HENLE VERLAG) Symphony No. 1 in C major op. 21

TWO PERSPECTIVES – ONE GOAL: BEETHOVEN SYMPHONIES AT BREITKOPF & HÄRTEL

PB 14600  Score OB 14600  Orchestral parts

Edited by Armin Raab

1993 marked the start of the first text-critical edition of the Beethoven symphonies edited by two acknowledged specialists: Peter Hauschild, who had previously monitored Kurt Masur’s complete recording with the Gewandhaus Orchestra from a musicological point of view and Clive Brown, author of the standard work “Classical & Romantic Performance Practice” and as violinist one of the world’s authorities on historical performance practices. The systematic editing of the complex, sometimes contradictory sources was still far from complete when Breitkopf & Härtel began collaborating in 2003 with the Henle Verlag, publisher of the Beethoven complete edition. With this came the unique opportunity of assuming not only Henle’s hitherto existing Beethoven orchestral material (including all seven solo concertos, several concert overtures, and the Missa solemnis), but also of participating in future, highly specialized Beethoven research projects. In the case of the symphonies, Choral Fantasy, and the violin concerto, however, this involved a duplication as unusual as it is in need of explanation.

– SYMPHONIE NR. 6 F-dur (Pastoral-Symphonie)

PB 14610  Score OB 14610  Orchestral parts

– SYMPHONY NO. 6 in F major (Pastoral Symphony) PB 14616

Symphony No. 3 in E flat major “Eroica” op. 55 Edited by Bathia Churgin PB 14613  Score OB 14613  Orchestral parts

op. 68

Partitur Score

Symphony No. 6 in F major “Pastral Symphony” op. 68 Edited by Jens Dufner PB 14616  Score OB 14616  Orchestral parts

Symphony No. 4 in B flat major op. 60 Edited by Bathia Churgin

Symphony No. 7 in A major op. 92 in preparation

PB 14614  Score OB 14614  Orchestral parts

Symphony No. 8 in F major op. 93 in preparation

PB 14615 Breitkopf & Härtel Partitur-Bibliothek

Urtext der neuen BeethovenGesamtausgabe Urtext der neuen Beethoven-Gesamtausgabe

Beethoven – SYMPHONIE NR. 5 c-moll

– SYMPHONY NO. 5 in C minor op. 67

9 790004 214909 PB 14615

Symphony No. 9 in D minor op. 125 Edited by Beate Angelika Kraus

PB 14615

Users now have the luxury of choice, but regardless of the option chosen, are richly rewarded: with text-critical editions of the highest quality and with Breitkopf’s practice-based orchestral parts.

Breitkopf & Härtel Partitur-Bibliothek

Beethoven

Edited by Armin Raab

ISMN 979-0-004-21490-9

www.breitkopf.com

PB 14616

Urtext der neuen BeethovenGesamtausgabe

Symphony No. 2 in D major op. 36

BEETHOVEN – SYMPHONIE NR. 5 op. 67

16

What could be regarded in the case of less important works by other composers as an expendable luxury, proved here to be a magnificent enrichment. It is not without reason that both performers and editors regard Beethoven as the ultimate challenge. The double edition impressively shows how to manage “the difficult balancing act between the requirements of practical usefulness and philological meticulousness” (Peter Gülke). Each approach offers different solutions from varying perspectives, especially in terms of presenting source facts. Both, however, combine the absolute penetration of the material, the seriousness and consistency of opening up Beethoven’s musical practice intentions.

BEETHOVEN – SYMPHONIE NR. 6 op. 68

SYMPHONIES

Partitur Score

Symphony No. 5 in C minor op. 67 Edited by Jens Dufner PB 14615  Score OB 14615  Orchestral parts

PB 14619 Score OB 14619 Orchestral parts EB 9356 Piano vocal score


URTEXT FROM THE NEW BEETHOVEN COMPLETE EDITION (G. HENLE VERLAG)

SYMPHONY NO. 9 IN D MINOR OP. 125   

                                     Since 2001 the “Ninthâ€? has been includedin UNESCO’s Memory of the World Register.                       for  many      was  work Beethoven preoccupied with his unique years, still shortly before his death.      will now finally be  available as an edition The work produced the new    from       Beethoven Complete                    Edition in time for the 2020 anniversary year commemorating the composer’s 250th birthday. New    evaluations     taken into account     for instance,   source    appear,    and  findings pertaining to the      here, ★)



Fl



 



 



 

Ob

Clar (A)

I

Fg

   the tradition of the metronome indications, the contrabassoon part, and the underlying work’s title,  The edition  is to be considered   as a “contribution   to the understanding text in the finale. vocal of a work in which there is a discrepancy between its significance in musical life and the critical                               of appreciation its musical      text.â€? Cfg

Cor I,II (D)

Cor III,IV (D)

★)





                     

Trb (D)

Sop

Zelt!

Alt CORO

Bs

V II

Va

Vc, Cb

-





-

der

Zelt!

BrĂź

-

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BrĂź

-

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                     ★)



 

–

BrĂź - der

–

–

BrĂź - der

–

BrĂź - der

BrĂź - der



-

Ăź



-

–

  Ăź

-

–

Ăź

-

           

                   





   

-

-

-

  

Ste

   ber’m

Ste

ber’m

Ste

-

-

ber’m

Ste

-

-

                       

                  

PB 14619 Breitkopf & Härtel Partitur-Bibliothek

Siehe Kritischer Bericht, III. Lesarten.







     -

ber’m





  

Ăź

–





          –



BrĂź





der

Zelt!



  

  

              

Ten

VI

BrĂź



     

- Ă&#x;

ein

- Ă&#x;

ein

       

-

rnen

Zelt

Mu -

    -

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Zelt

Mu -

 

rnen

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        44    



  





 

“I ask that the score be written as it stands so far as concerns the words,â€? is Beethoven’s clear statement to a copyist. His separation rule after stretched-out vowels is observed in the edition for the first time (here: “Ste - rnen,â€? “Mu - Ă&#x;â€?). Also visible: the reproduction of the original dashes before or parallel to rests (after “BrĂźderâ€?) and spelling (“Sternen Zeltâ€?), as well as Beethoven’s capitalization of the beginnings of the verses in Schiller’s poem (“MuĂ&#x;â€?).

   

-

   

Vocal Text Underlay

 

 

       

234 234

Contrafagotto Contrafagotto

Allegro Allegro assai assai (( == 80) 80)

Urtext der neuen BeethovenGesamtausgabe

Beethoven GA / HN 4034 / 9. Symphonie 2. Fahne – Stand 10.09.2018

243 243

Beethoven – SYMPHONIE NR. 9 d-moll

– SYMPHONY NO. 9 in D minor op. 125

Partitur Score

250 250

Contrabassoon Part

cresc. cresc.

Main source for the edition was the part from the original edition (August 1826), originating with Beethoven’s participation and most likely reproducing the definitive version. 257 D D greatly from previous sources (e.g., rhythm, octave register). The excerpt 257 differs This shows the beginning of measures 237–312, in which in earlier sources the contrabassoon was fully at rest throughout. 264 264 sempre sempre

17


URTEXT FROM THE NEW BEETHOVEN COMPLETE EDITION (G. HENLE VERLAG) OTHER ORCHESTRAL WORKS

PB 14678 Breitkopf & Härtel Partitur-Bibliothek Urtext der neuen BeethovenGesamtausgabe

The autograph of the incidental music to Egmont is located at the Staatsbibliothek zu Berlin Preußischer Kulturbesitz. It is, however, lacking precisely the Overture, of which only three scribal copies corrected by Beethoven have survived as manuscript sources. Particularly important is the manuscript preserved in the collections of the BeethovenHaus in Bonn, since this is the one into which Beethoven entered all the corrections made with respect to the autograph, no doubt during the rehearsals for the first performances.

Beethoven – „AH! PERFIDO“/„PER PIETÀ, NON DIRMI ADDIO“

“Zur Namensfeier” Overture op. 115

Szene und Arie für Sopran und Orchester Scene and Aria for Soprano and Orchestra op. 65

Edited by Hans-Werner Küthen

Scene and Aria “Ah! Perfido” / “Per pietà, non dirmi addio” op. 65 for Soprano and Orchestra Edited by Ernst Herttrich

Edited by Klaus Kropfinger

“Coriolan” Overture op. 62 Edited by Hans-Werner Küthen PB 14500  Score OB 14500  Orchestral parts

PB 14678  Score OB 14678  Orchestral parts

PB 14520

PB 14640

Breitkopf & Härtel Partitur-Bibliothek

Breitkopf & Härtel Partitur-Bibliothek

Urtext der neuen BeethovenGesamtausgabe

Urtext der neuen BeethovenGesamtausgabe

18

“The Creatures of Prometheus” Overture op. 43

PB 14510  Score OB 14510  Orchestral parts

Partitur Score

Beethoven – EGMONT Ouvertüre für Orchester Overture for Orchestra

“Egmont” Overture op. 84 Edited by Helmut Hell PB 14640  Score OB 14640  Orchestral parts

The source situation of the ballet music to The Creatures of Prometheus is typical of Beethoven’s work: No autograph, but various sources bearing corrections by the composer. For preparing the Urtext edition for practical performance of op. 43, Editor Klaus Kropfinger primarily used a copy of the score examined by the composer himself and located at the Austrian National Library in Vienna. It was complemented by proofs of the piano version corrected by the composer along with the original edition of the orchestral parts. Taking these sources into account, the present edition differs from the first Beethoven Complete Edition.

Beethoven – OUVERTURE „Die Weihe des Hauses“ “The Consecration of the House” op. 124

op. 84

Partitur Score

PB 14677  Score OB 14677  Orchestral parts

Partitur Score

“The Consecration of the House” Overture op. 124 Edited by Hans-Werner Küthen PB 14520  Score OB 14520  Orchestral parts

Wellington’s Victory op. 91 Edited by Hans-Werner Küthen PB 14530  Score OB 14530  Orchestral parts


A Journey Through

300 Years – of Publishing-House History –

BV 485 (German)

Edited and commented by Thomas Frenzel – 504 pages | about 620 illustrations – – Chronicle of the firm’s important events – – Essays on selected topics, historical visual and textual documents, anecdotes and all sorts of curiosities – – High-quality linen covers with dust jacket –


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Ludwig van Beethoven | Complete Catalog 2020  

Chamber Music | Voice | Choir | Orchestra | Dramatic Works

Ludwig van Beethoven | Complete Catalog 2020  

Chamber Music | Voice | Choir | Orchestra | Dramatic Works

Profile for breitkopf