

Ludwig van Beethoven
Piano Concerto no. 4 G major op. 58
Ludwig van Beethoven composed his five large piano concertos over a period of twenty years. His Fourth Concerto in G major op. 58, largely written in 1805/06, is here presented in a piano reduction for two pianos. This edition, in the quality one has come to expect from an Urtext, is based on the Beethoven Complete Edition and is designed for practical use. Indications of the instrumentation have been added to the second piano part for purposes of musical orientation. In his extensive preface, Beethoven researcher Hans-Werner Küthen discusses the special source situation of the Fourth Piano Concerto. This is the only one of Beethoven’s five concertos for which the autograph score has not survived. For this Urtext edition, this offered an incentive for a most exacting examination of all other extant sources.
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About the Composer

Ludwig van Beethoven
No composer has had as profound and sustained an influence on immediately following generations to the present day as Beethoven. His instrumental music, especially his symphonies, served as touchstones for symphonic composition throughout the nineteenth century. The extraordinarily high standard of his music and his relative independence as a freelance composer have led to his being characterized as the greatest composer of all time.
About the Authors

Hans-Werner Küthen (Editor)
Rediscovered the “Kammerfassung des Vierten Klavierkonzerts” for Pianoforte and String Quintet (1807). Co-editor (with Oldrich Pulkert) of the compendium “Ludwig van Beethoven im Herzen Europas. Leben und Nachleben in den böhmisc
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G. Henle Verlag
Here you can find the information about the manufacturer of the product.G. Henle Verlag e.K.
Forstenrieder Allee 122
81476 München
Germany
info@henle.de
www.henle.com
Der musikalische Text stützt sich im wesentlichen auf die Abschrift des Kopisten Josef Klumpar ... Um Beethovens Absichten gerecht zu werden, hat sich der Herausgeber entschlossen, einige charakteristische Schreibweisen im Soloklavier beizubehalten – beispielsweise die Notengruppierung durch Balken und Fähnchen, wenn damit eine bestimmte Artikulation beabsichtigt ist.Weiter so! Eine Studienpartitur, die sich so knicken läßt, das man sie auf den Notenständer seines Klaviers plazieren kann, ohne ständig in Angst und Sorge zu leben, dass sich a) die aufgeschlagene Seite vermittels der Eigendynamik des viel zu starken Buchrückens nach sonstwohin verblättert, b) der ganze Kladderadatsch genau dann auf die Tasten rutscht, wenn man es gerade wirklich nicht gebrauchen kann, c) ein vernünftiges Vorwort hat und d) so schön gedruckt ist, dass man sich keine Augenschäden zuzieht ...
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Further editions of this title
Further editions of this title