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.
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.