WAHRE KUNST BLEIBT UNVERGA .. NGLICH
LUDWIG VAN BEETHOVEN
200 TH ANNIVERSARY OF DEATH
LUDWIG VAN BEETHOVEN
CHAMBER MUSIC
KEYBOARD INSTRUMENTS
BEE thov E n
Complete Piano Sonatas
Instructive edition, edited and supplied with fingerings by Frederic Lamond
EB 4341 Volume 1
EB 4342 Volume 2
Beethoven
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.
6 Ecossaises WoO 83 for Piano
EB 2550
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
8 Original Cadenzas for the Piano Concertos Nos. 1, 2, 3, and 4
EB 4055
Music for a Knightly Ballet WoO 1 for Piano arranged by Willy Hess
EB 6740
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.”
11 Viennese Dances (Moedling Dances) WoO 17
EB 2838 Edition for Piano
WIND INSTRUMENTS & STRINGS
Duet with two Obbligato Eyeglasses WoO 32 for Viola and Violoncello
EB 6739
3 Duets WoO 27 for Clarinet (Flute, Oboe, Violin) and Bassoon (Violoncello)
EB 8069 Score and parts
3 Equale WoO 30 for 4 Trombones
KM 1555 Original for 4 Trombones
KM 2169 Edition for 4 Horns
Piano Trio op. 1 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
BEETHOVEN
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
Klaviersonaten
Klavierauszug Piano reduction
CHAMBER MUSIC
Piano Trio in B flat major op. 97 for Violin, Violoncello and Piano
KM 1061
Piano Trio in B flat major (Gassenhauer-Trio) op. 11 for Clarinet (Violin), Violoncello and Piano
KM 1066
Octet in E flat major op. 103 for 2 Oboes, 2 Clarinets, 2 Horns and 2 Bassoons
KM 1554 Set of Parts
Quintet in E flat major op. 16 for Oboe, Clarinet, Horn, Bassoon and Piano
MR 1040 Score and parts digitally available on nkoda
2 Romances for Violin and Piano
G major op. 40 & F major op. 50
EB 1172
Septet op. 20 for Violin, Viola, Violoncello, Double Bass, Horn, Clarinet and Bassoon
KM 4
Serenade in D major op. 25 for Flute, Violin and Viola
KM 1560
Sextet in E flat major op. 71 for Wind Sextet
KM 1551
Sonata in B flat major for Flute and Piano
EB 5879
Sonata in F major op. 17 for Horn and Piano Urtext edition
EB 7404 Edition for Horn and Piano
String Trio in G major op. 3 for Violin, Viola and Violoncello
KM 703
Trio in C major op. 9 No. 1 for Violin, Viola and Violoncello
KM 706
String Quartets from the series “Breitkopf Originals”
op. 18 No. 1–6
KM 254
op. 59, 74, 95
KM 266
op. 127, 130, 131 Originals
KM 277
op. 132, 133 (Grand Fugue), 135
KM 286
supplied with fingerings and bowing marks by Engelbert Röntgen
Trio in C major for Violin, Violoncello and Piano after the Triple Concerto op. 56 arranged by Carl Reinecke
EB 6607
Trio in C major op. 87
KM 1552 Original edition for 2 Oboes and Cor Anglais
KM 714 Edition for 2 Violins and Viola
MR 2156 Edition for Flute (Oboe), Clarinet and Bassoon
Trio in E flat major op. 38 for Clarinet, Bassoon (Violoncello) and Piano after the Septet op. 20 MR 1082
Trio in G major WoO 37 for Flute, Bassoon and Piano
EB 6604
B EEthovE n
Variationen über „Là ci darem la mano“ für Oboe und Klavier Variations on “Là ci darem la mano” for Oboe and Piano WoO 28
EB 6709
VOICE
An die Hoffnung (“Ob ein Gott sei”) op. 94 for Soprano and Orchestra arranged by Felix Mottl
Performance material available on hire
Die Ehre Gottes aus der Natur (“Die Himmel ruehmen des Ewigen Ehre”) op. 48 No. 4 for Soprano and Orchestra arranged by Felix Mottl
New Folk Songs Volume from “Lieder verschiedener Völker”
WoO 158 for Voice and Piano Trio
EB 6974 Score and parts
Scene and Aria “Ah! Perfido” / “Per pietà, non dirmi addio” op. 65 for Soprano and Orchestra
EB 1332 Edition for Soprano and Piano
Variations on “Là ci darem la mano” (“Give me thy hand, oh fairest”) WoO 28
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
Performance material available on hire
A combination of the version for choir by Bruno Dost (Choral score ChB 4723 ) with the orchestration by Felix Mottl is possible.
“Tremate, empi, tremate” op. 116
Terzet for Soprano, Tenor, Bass and Orchestra
Performance material available on hire
B EEthovE n
Sämtliche
Complete Songs for Voice and Piano
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.
CHOIR
“Benedictus” from the Missa solemnis op. 123 for Orchestra arranged by Ferruccio Busoni
Performance material available on hire
Bundeslied “In allen guten Stunden” op. 122 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 for Choir and Orchestra
Piano vocal score by Carl Reinecke
Performance material available on hire
Die Ehre Gottes aus der Natur (“Die Himmel rühmen des Ewigen Ehre”) op. 48 No. 4 for Choir and Piano arranged by Bruno Dost
PB 4762 Score
ChB 4723 Choral score
A combination with the orchestrated version by Felix Mottl (Performance material available on hire) is possible.
“Es ist vollbracht” WoO 97
Finale to Georg Friedrich Treitschke’s Singspiel “Die Ehrenpforten” for Bass, Choir and Orchestra
Performance material available on hire
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
E B 43 4 8 Piano vocal score
PB 525 8 Study score
Beethoven
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
Performance material available on hire
Cantata on the Death of Emperor Joseph II. WoO 87 for Soloists, Choir and Orchestra
EB 8014 Piano vocal score
Performance material available on hire
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 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
Music for a play by August von Kotzebue for Soloists, Choir and Orchestra
ChB 3572 Choral score
Performance material available on hire
ORCHESTRA
URTEXT EDITIONS FROM THE NEW BEETHOVEN COMPLETE EDITION (G. HENLE VERLAG) FROM PAGE 14
CONCERTOS
Concerto for Violin and Orchestra in D major op. 61 edited by Clive Brown Urtext edition
PB 53 53 Score
OB 5353 Orchestral parts
E B 865 6 Piano reduction
March and Chorus “Schmückt die Altäre” from “The Ruins of Athens” second version of 1822 op. 114 for Choir and Orchestra
Performance material available on hire
“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
PB 55 31 Study score
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.
Concert Movement in C major (Fragment) WoO 5 for Violin and Orchestra completed by Wilfried Fischer
EB 6623 Piano reduction
Performance material available on hire
OVERTURES
“Fidelio” Overture op. 72
edited by Christian Rudolf Riedel Urtext edition
PB 55 11 Score
OB 5511 Orchestral parts
PB 53 07 Study score
“König Stephan” op. 117
Overture to the play by August von Kotzebue
Performance material available on hire
“Leonore” Overture No. 1 op. 138
Performance material available on hire
“Leonore” Overture No. 2 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”.
ORCHESTRA
URTEXT EDITIONS FROM THE NEW BEETHOVEN COMPLETE EDITION (G. HENLE VERLAG) FROM PAGE 14
“Leonore” Overture No. 3 op. 72
edited by Christian Rudolf Riedel Urtext edition
PB 5512 Score
OB 5512 Orchestral parts
PB 5306 Study score
“The Ruins of Athens” op. 113 Overture to the play by August von Kotzebue
Performance material available on hire
SYMPHONIES
Beethoven
Beethoven
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. 2 in D major op. 36
edited by Clive Brown Urtext edition
PB 5232 Score
OB 5232 Orchestral parts
PB 5342 Study score
Symphony No. 3 in E flat major (Eroica) op. 55
edited by Peter Hauschild Urtext edition
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
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. 6 in F major (Pastorale) op. 68
edited by Peter Hauschild Urtext edition
PB 5236 Score
OB 5236 Orchestral parts
PB 5346 Study score
Symphony No. 7 in A major op. 92
edited by Peter Hauschild Urtext edition
PB 5237 Score
OB 5237 Orchestral parts
PB 5347 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
Beethoven –
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
E B 8633 Piano vocal score
PB 5349 Study score
OTHER ORCHESTRAL WORKS
Beethoven
Beethoven –
Congratulatory Minuet in E flat major WoO 3 for Orchestra
PB 4814 Score OB 4814 Orchestral parts
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
Grand Fugue in B flat major op. 133 for Orchestra arranged by Manuel Hidalgo
Performance material available on hire
12 Contredanses WoO 14 for Orchestra
PB 4800 Score OB 4800 Orchestral parts
Military March in D major WoO 24 for Military Band
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.”
Sonata in B flat major (Hammerklavier-Sonata) op. 106 for Orchestra arranged by Felix Weingartner
Performance material available on hire
Triumphal March in C major WoO 2a to Christoph Kuffner’s Tragic Drama “Tarpeja” for Orchestra
Performance material available on hire
Der Wachtelschlag (“Horch, wie schallt’s…”) WoO 129 for Orchestra arranged by Felix Mottl
Performance material available on hire
11 Viennese Dances (Moedling Dances) WoO 17 for Orchestra
PB 4787 Score
OB 4787 Orchestral parts
Tattoo No. 1 WoO 18 (“York‘scher Marsch”) for Military Band arranged by Johannes Schade
Performance material available on hire
Tattoo No. 2 WoO 20 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
LUDWIG VAN BEETHOVEN
AT BREITKOPF & HÄRTEL SINCE 1802
IT IS NOT POMPOUS WHEN I TELL YOU THAT I PREFER YOU OVER ALL OTHERS.
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
[…], 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
First edition of the score of SYMPHONY NO. 5 IN C MINOR OP. 67
MASS IN C MAJOR OP. 86 original edition 1812
QUINTET OP. 29 original edition December 1802
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
Performance material available on hire
EB 10582 Piano vocal score
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.
Elegischer Gesang (“Sanft wie du lebtest”) op. 118
for Choir and Strings edited by Armin Raab
PB 14675 Score
OB 14675 Orchestral parts
ChB 14675 Choral score
Choral Fantasia in C minor op. 80
for Piano, Choir and Orchestra edited by Armin Raab
PB 14660 Score
OB 14660 Orchestral parts
ChB 14660 Choral score
E B 10546 Piano reduction
Beethoven
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
E B 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.”
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
E B 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)
Missa solemnis in D major op. 123 for Soloists, Choir and Orchestra edited by Norbert Gertsch
PB 14650 Score
OB 14650 Orchestral parts / Organ
ChB 14650 Choral score
E B 10544 Piano vocal score
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.
CONCERTOS
Concerto for Piano and Orchestra No. 1 in C major op. 15 edited by Hans-Werner Küthen
PB 14550 Score
OB 14550 Orchestral parts
Concerto for Piano and Orchestra No. 2 in B flat major op.19 edited by Hans-Werner Küthen
PB 14560 Score
OB 14560 Orchestral parts
Concerto for Piano and Orchestra No. 3 in C minor op. 37 edited by Hans-Werner Küthen
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 edited by Hans-Werner Küthen
PB 14630 Score
OB 14630 Orchestral parts
Concerto for Violin and Orchestra in D major op. 61
edited by Shin Augustinus Kojima
PB 14580 Score OB 14580 Orchestral parts
Beethoven
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 for Piano and Orchestra
Original finale of the Piano Concerto No. 2 edited by Hans-Werner Küthen
PB 14679 Score
OB 14679 Orchestral parts
URTEXT FROM THE NEW BEETHOVEN COMPLETE EDITION (G. HENLE VERLAG)
SYMPHONIES
TWO PERSPECTIVES – ONE GOAL: BEETHOVEN SYMPHONIES AT BREITKOPF & HÄRTEL
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.
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.
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.
Symphony No. 1 in C major op. 21
edited by Armin Raab
PB 14600 Score
OB 14600 Orchestral parts
Symphony No. 2 in D major op. 36
edited by Armin Raab
PB 14610 Score
OB 14610 Orchestral parts
Symphony No. 3 in E flat major (Eroica) op. 55
edited by Bathia Churgin
PB 14613 Score
OB 14613 Orchestral parts
Symphony No. 4 in B flat major op. 60
edited by Bathia Churgin
PB 14614 Score
OB 14614 Orchestral parts
Beethoven
Beethoven
Symphony No. 5 in C minor op. 67
edited by Jens Dufner
PB 14615 Score
OB 14615 Orchestral parts
Symphony No. 6 in F major (Pastral Symphony) op. 68
edited by Jens Dufner
PB 14616 Score OB 14616 Orchestral parts
Symphony No. 7 in A major op. 92 edited by Ernst Herttrich
PB 1461 7 Score
OB 1461 7 Orchestral parts
Symphony No. 8 in F major op. 93
edited by Ernst Herttrich
PB 1461 8 Score
OB 1461 8 Orchestral parts
Symphony No. 9 in D minor op. 125
edited by Beate Angelika Kraus
PB 14619 Score
OB 14619 Orchestral parts
ChB14677 Choral score
E B 9356 Piano vocal score
URTEXT FROM THE NEW BEETHOVEN COMPLETE EDITION (G. HENLE VERLAG)
THE SYMPHONIES COMPLETE SCORES IN SLIPCASE
The authoritative edition according to the new Beethoven Complete Edition. The study of all available sources, new discoveries and source evaluations lead to a text-critical authentic musical text, which sets new standards for musical practice.
The conducting scores of Symphonies Nos. 1–9 adopt the original text from the respective volume of the new Beethoven Complete Edition, published by G. Henle Verlag. The most important information on the genesis, sources and readings is given in the remarks of the conducting score of the respective symphony.
The Symphonies
PB 146 80 Complete scores in slipcase
INHALT
Symphony No. 1 in C major op. 21
PB 146 00 Score
Symphony No. 2 in D major op. 36
PB 1461 0 Score
Symphony No. 3 in E flat major op. 55 (Eroica)
PB 1461 3 Score
Symphony No. 4 in B flat major op. 60
PB 1461 4 Score
Symphony No. 5 in C minor op. 67
PB 1461 5 Score
Symphony No. 6 in F major op. 68 (Pastoral Symphony)
PB 1461 6 Score
Symphony No. 7 in A major op. 92
PB 1461 7 Score
Symphony No. 8 in F major op. 93
PB 1461 8 Score
Symphony No. 9 in D minor op. 125
PB 1461 9 Score
URTEXT FROM THE NEW BEETHOVEN COMPLETE EDITION (G. HENLE VERLAG)
OTHER ORCHESTRAL WORKS
Scene and Aria “Ah! Perfido” / “Per pietà, non dirmi addio” op. 65 for Soprano and Orchestra edited by Ernst Herttrich
PB 14678 Score
OB 14678 Orchestral parts
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.
Overture “Zur Namensfeier” op. 115
edited by Hans-Werner Küthen
PB 14510 Score
OB 14510 Orchestral parts
“Coriolan” op. 62
Overture to Heinrich Joseph von Collin‘s Tragedy edited by Hans-Werner Küthen
PB 14500 Score
OB 14500 Orchestral parts
Beethoven –
“The Creatures of Prometheus” op. 43
Overture to the Ballet
edited by Klaus Kropfinger
PB 14677 Score
OB 14677 Orchestral parts
„Egmont“ op. 84
Overture to Johann Wolfgang v. Goethe‘s Tragedy edited by Helmut Hell
PB 14640 Score
OB 14640 Orchestral parts
Beethoven –
Overture “The Consecration of the House” op. 124
edited by Hans-Werner Küthen
PB 14520 Score
OB 14520 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.
Wellington’s Victory or the Battle at Vittoria op. 91
edited by Hans-Werner Küthen
PB 14530 Score
OB 14530 Orchestral parts
DRAMATIC WORKS
Egmont op. 84
Incidental Music to Johann Wolfgang von Goethe’s Tragedy
Performance material available on hire
Fidelio op. 72
Opera in Two Acts
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
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.
König Stephan op. 117
Incidental Music to August von Kotzebue’s Festival Play
Performance material available on hire
Leonore
Opera in Three Acts
Early Version of “Fidelio” from 1805
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.
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.
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INSPIRED BY BEETHOVEN
MANUEL HIDALGO
(*1956)
Beethoven: Grand Fugue op. 133
Arrangement for Orchestra *
Introduction and Fugue
Arrangement of the last set of Beethoven‘s Sonata in B flat major op. 106 for Accordion and Orchestra *
HELMUT LACHENMANN
(*1935)
Staub
Compositional “comment” on Beethoven‘s Symphony No. 9 for Orchestra *
PB 5177 Study score
ISABEL MUNDRY
(*1963)
Orchestra Fragments to Beethoven *
JOHANNES MARIA STAUD
(*1974)
A propos 1. ... de Diabelli for Piano
EB 9370
HANS ZENDER
( 1936–2019)
33 Veränderungen über 33 Veränderungen New Version 2019 – A composed interpretation of Beethoven‘s Diabelli Variations for Ensemble *
* Performance material available on hire
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DIN A3 (29,7 x 42 cm)
140g Offset matte paper
B+H 338
GLASSES CLEANING CLOTH
im PP case with Velcro fastener
P-9000® microfiber 18 x 15 cm
(80 % polyester, 20 % polyamide)
BM 437
NOTE BOOK
for Composing and Annotating 32 Pages saddle stitch
DIN A6 (10,5 x 14,8 cm)
PB 5888
POCKET UMBRELLA
with case & soft-touch handle elastic carrying cord
Double automatic function, Windproof PLUS system
Diameter when opened: 97 cm, 100 % Polyester
BM 438
SPRING 2026
Unisex in various sizes
100 % cotton
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Magnetic button & waterproof zipper
2 outside pockets, 1 inside pocket
36 x 40 x 7 cm
BM 436
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