For The Left Het For Piano et Orchestra. Par RAVEL MAURICE. 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, the most important of the many works he commissioned over the course of his career. This scholarly-critical edition of Ravel's Concerto for the Left Hand is based on previously inaccessible and unknown sources. The editor, Douglas Woodfull-Harris, was able to consult manuscripts in the private library of the Paul Wittgenstein Estate which allowed him to retrace the work's evolution from Ravel's autograph working copy to the first printededition. The piano reduction in our edition contains both Ravel's and Wittgenstein's fingerings. Also included is a solo part without fingering, thereby giving pianists the opportunity to enter their own fingering after having studied those of Ravel and Wittgenstein. 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, the most important of the many works he commissioned over the course of his career. This scholarly-critical edition of Ravel 's Piano Concerto For The Left Hand is based on previously inaccessible and unknown sources. The editor, Douglas Woodfull-Harris, was able to consult manuscripts in the private library of the Paul Wittgenstein Estate which allowed him to retrace thework's evolution from Ravel 's autograph working copy to the first printed edition. A source of key importance to our new edition is a handwritten French copy of Ravel 's own Piano reduction (the autograph is inaccessible) that he gave to Wittgenstein to facilitate rehearsing the work. This copy is the sole source reflecting Wittgenstein's own interpretation and containing his changes to the final cadenza. It also helps us to understand omissions in the first edition of the score as well as the Piano reduction, and enabled the editor, amongst other things, to correct a great many notes which could be found in previous editions, including the solo Piano part. The Piano reduction in our edition contains both Ravel 's and Wittgenstein's fingering. Also included is a solo part without fingering, thereby giving pianists the opportunity to enter their own fingering after having studied those of Ravel and Wittgenstein. Score and orchestral parts in large format (25. 5 x 32. 5 cm) Includes source descriptions and a Critical Commentary with alternative readings (Eng) Informative Introduction on the work's history and genesis (Ger/Eng/Fr) With facsimile pages Piano reduction with separate Urtext solo part enclosed Full score & parts (BA7881) and two-Piano reduction (BA7881-90) available for sale./ Répertoire / Piano et Orchestre

Für Klavier und Orchester. Par ROSLER JOHANN JOSEF. Johann Joseph Rösler (1771-1812) was a composer, conductor and pianist who was active in Prague and Vienna. Later he was in the service of Prince Franz Joseph von Lobkowitz. His Piano Concerto No. 2 in E-flat major of 1803 is a fitting companion to the piano concertos of Beethoven - indeed, his first Piano Concerto in D major was mistakenly attributed to Beethoven until 1925. Now Rösler's second Piano Concerto is appearing in print for the first time. This is due to editor Alena Hönigová discovering and identifying an autograph score which is the only preserved source in the Prague Conservatory archive. In this Urtext edition Hönigová takes into account the distinctive features of Rösler's handwriting and the division of parts in the score, as befits the performance practice of his day./ Répertoire / Piano et Orchestre

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.- Many wholly new corrections in the solo and orchestral parts- Piano reduction with a separate solo part, as was customary in Beethoven's day- With Beethoven's continuo figures for the first time in a modern edition / Alto

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.- Many wholly new corrections in the solo and orchestral parts- Piano reduction with a separate solo part, as was customary in Beethoven's day- With Beethoven's continuo figures for the first time in a modern edition / Violon 1

Composer : Mozart, Wolfgang Amadeus Edition : Score, urtextEditor : Gertsch, Norbert Separate Parts available on demand