SKU: BR.OB-5542-30

3 Work Stages, 2 Versions, 1 Edition

,,… the musical text is fine. This is a valuable improvement. (Clifford Bartlett, Early Music Review)

ISBN 9790004341759. 10 x 12.5 inches.

With the new edition of the G-minor Symphony, a vital work group in Mozart's oeuvre is now complete: the three late symphonies K. 543, 550 and 551, now available in Urtext editions. As in his new edition of the Hafner Symphony, Henrik Wiese uncovers in the present Breitkopf Urtext score three different stages in the genesis of the G-minor Symphony. Mozart initially wrote the work without clarinets (1st stage), and then he added the clarinets (2nd stage). Not until a final stage did he change the wind instrumentation in the Andante (3rd stage). Mozart thus returned to the 1st version again after completing the 2nd version (with clarinets). This advances the importance of the 1st version without clarinets as Fassung letzter Hand. A compelling insight which sheds new light on the famous G-minor Symphony. Both versions are of equal value and can now be compared with one another, studied and, above all, performed for the first time ever thanks to the new score and parts.Another extremly practical aspect that should be noted: the orchestral parts offer solutions for all the problematic page turns for the first time ever (please see the sample pages of OB 5542 - Violin II.),,... the musical text is fine. This is a valuable improvement. (Clifford Bartlett, Early Music Review)

3 Work Stages, 2 Versions, 1 Edition.

SKU: BR.OB-5373-30

ISBN 9790004341049. 10 x 12.5 inches.

Wolfgang Amadeus Mozart wrote his Hafner Symphony K. 385 in the summer of 1782 on the occasion of the elevation into the nobility of his friend and patron Sigmund Hafner. Next to the well-known movements, this version (A) also contained the March K. 408/2 (385a) and possibly a second, no longer extant minuet. Called Hafner=Musique by Mozart, the work was unquestionably a serenade at first. In early 1783 Mozart then reduced the Hafner Music for his subscription concert at the Vienna Burgtheater on 23 March 1783 to a four-movement symphony. This is the form in which the work was first printed in 1785 (Version B). For a further performance, Mozart added flute and clarinet parts to the symphony. In 1805, this version (C) was published by Andre in Offenbach, who thus began making it known.The primary sources of the present Breitkopf Urtext edition are the autographs to K. 385 and K. 408/2 (385a). It thus becomes possible for the first time to play all three versions of the Hafner Music, since the variants of Versions A and B can be easily discerned through indications in footnotes and notes in small print.

SKU: BR.OB-5310-30

ISBN 9790004339947. 10 x 12.5 inches.

To all extents and purposes, Germany is the land of artists, wrote Felix Mendelssohn Bartholdy in 1831 while on his travels in Italy; but Italy, he added, is the land of art. Indeed, everywhere he went in Italy, the 22-year-old composer found impulses for his symphony: I have to save the work until I have seen Naples. But although the country fired his inspiration: It will be the merriest piece that I have ever written, he did not actually write the Italian Symphony there. This did not occur until early 1833, when Mendelssohn obtained a commission from London, where he then conducted the first performance in May 1833. Begun the following year, his revision of the piece remained fragmentary, and the composer no longer performed the work himself. The familiar London version thus represents the only closed form of the work which the composer presented to the public. This is the version of the Italian Symphony that is now appearing in the Breitkopf Urtext collection based on the Complete Edition.

SKU: BR.OB-14610-30

The study score (,,Studien-Edition) is available at G. Henle Verlag.

ISBN 9790004336564. 10 x 12.5 inches.

Beethoven did not work continuously on this symphony and interrupted his work a couple of times. As the sketches show, he presumably wrote down first ideas in the autumn of 1800.No other autograph material has survived. As Ferdinand Ries, a pupil of Beethoven, bitterly reports, Beethoven gave him the autograph, but it was unfortunately stolen by a friend, out of pure friendship. In April 1803, the composition was premiered publicly, together with the first symphony and the third piano concerto with Beethoven himself as soloist. Although Beethoven's first two symphonies are still influenced by Haydn and Mozart, novelties can already be discovered. The second symphony starts breaking away from traditional forms and lets us surmise the monumentality of Beethoven's innovation. The editor, Armin Raab, critically illuminates the transmission of the work and its sources. He also clears up a wide spread belief in older literature, that this cheerful work might have been composed parallel to the Heiligenstadter Testament. The practical performance material by Breitkopf & Hartel is based on the music text of the New Beethoven Complete Edition and constitutes the authoritative reading of Beethoven research.

SKU: BR.OB-5237-30

ISBN 9790004331620. 10 x 12.5 inches.

Ludwig van Beethoven conceived his Seventh Symphony in the summer of 1811 in the Bohemian spa of Teplitz. The fair copy of the score autograph was made the following year. The work was heard for the first time on 8 December 1813 in the auditorium of the Vienna University, when the Seventh was given its first, enthusiastically applauded audition - together with the programmatic symphony Wellington's Victory or the Battle of Victoria op. 91.The present Urtext edition is the first to be based on the evaluation of all the sources transmitted for the work.The score contains the complete Critical Report. Observations deemed particularly important, as well as divergences from established editions, are clearly marked within it.Words are not enough to praise this exemplary edition, resulting from many years of systematic editorial work on the sources. Breitkopf's source-critical, practice-oriented edition by Clive Brown and Peter Hauschild will provide valuable new impulses in the interpretation of Beethoven's music. (Kurt Masur, 2006)

This is the first new edition of the 7th Symphony for which all surviving sources have been examined. The examination brought up a number of text-critical problems with respect to divergent readings. (Peter Hauschild).