| +++ Happy Birthday Maurice Ravel +++ |
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| Bärenreiter News – November 2024 |
Dear musicians
“A genius of perfection”. This is how musicologist, composer and music educator Peter Cahn described Maurice Ravel (7 March 1875 – 28 December 1937), whose 150th birthday will take place in 2025.
Is he a late romantic, an impressionist, an avant-gardist? It is difficult to place this composer. Ravel was a highly individual artist who went his own way and left behind fascinating creations. In particular, his piano music forms an integral part of the standard repertoire. The Piano Concerto in G major, the Concerto for the Left Hand and “Jeux d'eau” (Water Games) reveal the full spectrum of his mastery. Atmospheric sound magic and dreamy rubato are juxtaposed with rhythmic drive, rapid tempi and breathtaking virtuosity. Cahn aptly described these opposing poles as “a unique combination of coolness and sensuality”.
French music of the 18th to 20th centuries forms an important and constantly growing focus within the Barenreiter catalogue, which also includes Ravel's solo concertos, piano and chamber music.
You can find details on our Maurice Ravel editions in this newsletter. You are welcome to order all products directly via our webshop.
With kind regards
Your international sales and marketing team |
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 | New reliable Urtext edition faithful to the sources, opening up new perspectives
Fingering and notes on performance by Alexandre Tharaud (Fr/Eng/Ger)
Extensive preface and glossary (Fr/Eng/Ger)
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| Ravel, Maurice | | Jeux d'eau for Piano | BÄRENREITER URTEXT
Editor: Southon, Nicolas | | BA 10824 | EUR 10.95 | 9790006526406 | It was unmistakably Liszt’s piano piece “Les jeux d’eau à la Villa d’Este” that inspired Ravel to compose one of his most famous works in 1901: “Jeux d’eau”. Laid out in sonata form, its sound is governed by myriad motions of water and sustained by innovative, highly virtuosic piano textures against a freely migrating and richly coloured harmonic backdrop.
Nicolas Southon gains new insights by re-evaluating the main sources. In addition, valuable accounts concerning performance practice from musicians close to Ravel such as Vlado Perlemuter, Jacques Février and Robert Casadesus are included. Special attention has been devoted to the original part-writing in Ravel’s notation. Rounding off this new and informative edition are an in-depth preface, a trilingual glossary, as well as fingering (alongside that of Ravel himself) and notes on performance by Ravel specialist Alexandre Tharaud. |
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 | Detailed trilingual preface (Fr/Eng/Ger) and Critical Commentary (Eng)
Optimum page turns
Includes a glossary (Fr/Ger/Eng)
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| Ravel, Maurice | | Valses nobles et sentimentales for Piano | BÄRENREITER URTEXT
Editor: Southon, Nicolas | | BA 10826 | EUR 17.95 | 9790006525867 | Ravel’s “Valses nobles et sentimentales” created a stir when they were anonymously premiered in Paris’s Société nationale indépendante in 1911: many listeners thought they were by Satie, or even Kodály!
For our new Urtext edition of this work, the famed musicologist Nicolas Southon, a co-editor of the “Œuvres Complètes de Gabriel Fauré”, has examined a large body of sources to present a musical text with many new readings.
The edition contains fingering and performance notes by the French pianist Alexandre Tharaud, one of today’s leading interpreters of Ravel’s music. Commentaries by pianists closely associated with Ravel, such as Lucian Garban, Vlado Perlemuter, Robert Casadesus and Jacques Février are also included. |
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 | First critical edition of Ravel’s masterpiece
Includes facsimile pages
Extensive Foreword (Eng/Fr/Ger) and Critical Commentary (Eng) |
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| Ravel, Maurice | | Pavane for a Dead Princess for piano | BÄRENREITER URTEXT
Editors: Back, Regina / Woodfull-Harris, Douglas | | BA 9632 | EUR 9.50 | 9790006537013 | Originally composed by Ravel for piano solo in 1899 and published by Demets, this work achieved immediate success and has been one of the most beloved works in the classical canon ever since.
This first critical edition of the Pavane traces the history of the composition, the various reprints of the piano original and naturally the autograph score of the orchestral version from 1909 as well as the numerous reissues until Ravel's death in 1937. Also consulted was the solo piano recording by the composer as well as the orchestral recordings during his lifetime made under his auspices.
A preface in English, French and German, facsimiles and a Critical Commentary round out this important new addition to the Bärenreiter Urtext catalogue. |
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 | A varied selection of Ravel's easiest piano pieces
Authoritative edition with short commentaries on the pieces
Tried and tested fingering
Foreword (Ger/Eng/Fr)
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| Ravel, Maurice | | Easy Piano Pieces and Dances | | Editor: Töpel, Michael | | BA 6580 | EUR 13.95 | 9790006540938 | | This edition contains a selection of the easiest piano pieces and dances by Maurice Ravel. Piano music occupies an important place in his output and often contains dance-like elements. Fortunately Ravel, although a virtuoso pianist, also wrote easier music for the instrument. Alongside famous works such as the “Pavane pour une Infante défunte”, this selection contains less well-known works and will encourage pianists to make new discoveries. The inclusion of fingering makes it a truly practical performing edition. This is a varied unusual addition to the piano teaching literature with short invaluable information on the works and a well presented music layout. |
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 | 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
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| Ravel, Maurice | | Concerto for the Left Hand for Piano and Orchestra | BÄRENREITER URTEXT
Editor: Woodfull-Harris, Douglas | | BA 7881 | EUR 56.00 | Full score | 9790006506750 | 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 the work’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. | | |
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 | Restoring of the original musical text authorised by Ravel
Retaining the idiosyncracies of Ravel’s notation (e.g. allocation of treble and bass clef)
Appendix with a list of alternative readings |
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| Ravel, Maurice | | Concerto for Piano and Orchestra | BÄRENREITER URTEXT
Editor: Woodfull-Harris, Douglas | | BA 9048 | EUR 49.95 | Full score | 9790006573868 | In the 1960s, long after Ravel’s death, the musical text of the then available Durand edition of Ravel’s Piano Concerto in G major underwent various changes. Although it is unknown who authorised these changes, they have become established as common performance practice.
A variety of sources were consulted for this new edition. The first print of the score, parts and piano reduction as well as a set of proofs used by pianist Marguerite Long to rehearse the work for the premiere served as the main sources. Ravel’s autograph, which was used as the engraver’s copy for the first print, must be considered a secondary source as Ravel later authorised changes during the proofreading process. Additionally, a set of handwritten orchestral parts owned by André Kostelanetz, the first sound recording of the concerto as well as copies of the first print of the piano reduction which Marguerite Long, Alfred Cortot, Gustave Samazeuilh, and Robert Casadesus received as gifts were consulted as secondary sources. These piano reductions, all from the possession of musicians who belonged to Ravel’s closest circle, have played a major role in restoring the original form of the work as it was published and performed under Ravel’s supervision.
The musical text appears in a clear, spacious layout with optimum page turns. Characteristics of Ravel’s notation have been retained with regard to cautionary accidentals, beaming, stemming and the distribution of the piano part between the upper and lower staves. The piano reduction offers an innovative solution to the problem that not all the layers of the orchestral writing can be reproduced in the piano part: for some passages two versions are presented, one with a reduction of the wind parts and one with a reduction of the string parts.
The text apparatus contains notes on interpretation, e.g., with regard to tempo based on the 1932 recording with Marguerite Long as soloist which was carried out in the presence of Ravel. | | |
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 | First scholarly-critical Urtext edition of the work
Presented are both versions: for violin and orchestra and for violin and piano
Includes Jelly D’Aranyi’s fingering |
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| Ravel, Maurice | Tzigane
Concert Rhapsody for Violin and Orchestra | BÄRENREITER URTEXT
Editor: Woodfull-Harris, Douglas | | BA 8849 | EUR 34.50 | Full score | 9790006541560 | In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Joseph Joachim, Jelly D’Aranyi, in concert in London. Following the performance, Ravel spent the remainder of the evening requesting D’Aranyi to play numerous gypsy tunes on her violin, probing her on the technical limits of the instrument. The result of this encounter is Ravel’s virtuoso classic “Tzigane”.
Written originally for violin and piano or luthéal (a mechanism invented in 1919 that attaches to a piano, producing a sound similar to the rich overtones of the Cimbalon), the premiere took place in London in April 1924. The composer had finished the work only days beforehand. Ravel later orchestrated “Tzigane” and both versions remain a “must” for music-lovers and aspiring violinists today. Jelly D’Aranyi performed both versions regularly throughout her long career.
This Urtext edition presents the first scholarly-critical edition of Ravel’s masterpiece. It is published both in the orchestral version, complete with full score and performance material, as well as in the composer’s earlier version for violin and piano. All known sources, including letters, have been drawn on for the new edition; one of the available sources, consulted for the first time, was a copy of “Tzigane” from the estate of Jelly D’Aranyi, which is today part of a private collection.
The version for piano and violin contains, besides the Urtext part, a second violin part as a facsimile with performance instructions by Jelly D’Aranyi. D’Aranyi’s alterations and fingering reflect how Ravel must have heard the work in rehearsals and performance and as such are a document of early 20th century performance practice. The cooperation between Ravel and D’Aranyi is comparable to that of Brahms and Joachim working on the Brahms violin concerto.
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 | New scholarly-critical edition of Ravel’s famous sonata
First scholarly-critical edition of the “Berceuse sur le nom de Fauré”
Foreword on the historical context and performance practice issues (Eng/Ger) as well as a Critical Commentary (Eng) |
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| Ravel, Maurice | | Sonata / Berceuse sur le nom de Gabriel Fauré for Violin and Piano | BÄRENREITER URTEXT
Editor: Woodfull-Harris, Douglas | | BA 9428 | EUR 26.50 | Performance score | 9790006541362 | Ravel worked on his Sonata for Violin and Piano for four years (1923–1927) which was longer than he took for any other composition. According to the composer, the reason for his difficulties was the “fundamental incompatibility” of these two instruments. However, the interplay between two quite different partners is precisely what makes this sonata so charming. The violin and piano are independent, sometimes playing alongside each other and at other times with each other: here in a lyrical Allegretto, there in a jazz-inspired second movement, finally in a “perpetuum mobile” finale.
This new edition edited by Douglas Woodfull-Harris corrects numerous inconsistencies of earlier editions. It also includes the “Berceuse sur le nom de Fauré” which is available for the first time in a scholarly-critical Urtext edition. This lullaby for violin and piano consists of variations on a theme derived from the letters of Fauré’s name. |
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 | First Urtext edition of this work
Two performing scores (format 25,5 x 32,5 cm)
additional violoncello part in small print without page turn |
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| Ravel, Maurice | | Sonata in Four Parts for Violin and Violoncello | BÄRENREITER URTEXT
Editor: Woodfull-Harris, Douglas | | BA 9417 | EUR 27.95 | Two performance scores | 9790006538454 | In 1920 Maurice Ravel was asked by his publisher Durand to contribute to an issue of "La Revue Musicale" dedicated to Claude Debussy. A supplement included the first movement of Ravel’s Sonata as well as works contributed by Debussy’s friends Stravinsky, Satie, Dukas, Bartok and de Falla to name only a few. This 1st movement of Ravel’s Sonata, of which the autograph is lost, then developed into a large scale four movement chamber music work utilizing a more modern music vocabulary than found in almost any other Ravel composition.
Bärenreiter’s scholarly-critical edition, the first ever of this masterpiece, presents the work in two performing scores. It contains an introduction on the history of the work reflecting Ravel’s work and rehearsals with violinist Hélène Jourdan-Morhange and cellist Maurice Maréchal. Sources for this new edition include the engraved copy, the personal autograph scores (with earlier versions of some passages) which were used to rehearse the work and the first edition scores with emendations by Jourdan-Morhange and Maréchal. Included in the appendix are the original fingerings by the performers which are not found in the first edition. They reflect how Ravel must have heard the work in rehearsals and as such are a document of early 20th century performance practice. |
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 | A masterpiece of the trio genre
Based on the latest research, taking sources into account that had previously not been evaluated
With an Introduction on the history and reception by Gudula Schütz (Ger/Eng/Fr)
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| Ravel, Maurice | | Trio for Piano, Violin and Violoncello | BÄRENREITER URTEXT
Editor: Woodfull-Harris, Douglas | | BA 10921 | EUR 31.95 | Performance score and parts | 9790006566266 | Maurice Ravel broke new personal ground with his only piano trio, yet in a stroke of genius he created a work of the early 20th century that is outstanding in many respects and a key work of this genre. As one of his most rhythmically daring pieces, the four-movement trio fascinates with its asymmetrical rhythmic division and polymetrics, with Ravel possibly drawing on impressions from Stravinsky’s “Sacre du Printemps”. The second movement “Pantoum” refers to a form of poetic declamation in Malaysia, while the slow third movement is reminiscent of the Baroque passacaglia.
The main source on which this edition is based is the Durand edition published during Ravel’s lifetime. Also taken into account are copies of the first edition from Ravel’s circle in which corrections were entered. The edition contains a detailed Introduction (Ger/Eng/Fr) and a Critical Commentary (Eng). |
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 | First Critical Edition of this masterpiece
Critical Commentary with facsimiles (Eng)
Meticulously laid out performance parts
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| Ravel, Maurice | | String Quartet | BÄRENREITER URTEXT
Editor: Appold, Juliette | | BA 9413 | EUR 37.95 | Parts in slipcover | 9790006532643 | Maurice Ravel’s sole composition for string quartet dating from 1903 is considered today to be one of the most important, most performed and recorded works of the chamber music repertoire.
The editor Juliette Appold , traces the work's inception and documents its first performance and the reactions to it from none other than Fauré and Debussy. Also addressed are later performances of the work under the supervision of Ravel, the early recordings made under Ravel’s auspices and the first publication by Astruc .
This first ever critical edition of Ravel’s quartet relies not only on the Astruc edition and its proofs, corrected and altered by the composer, but also on the revised edition issued by Durand in 1910.
Needless to say all discrepancies between the score and the later publication of the performing parts are addressed in the Critical Commentary. |
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 | First critical edition of Ravel’s masterpiece
Includes facsimile pages
With a Foreword (Eng/Fr/Ger) and a Critical Commentary (Eng)
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| Ravel, Maurice | | Pavane for a Dead Princess for small orchestra | BÄRENREITER URTEXT
Editor: Back, Regina / Woodfull-Harris, Douglas | | BA 9044 | EUR 16.95 | Full score | 9790006536641 | This work, which Ravel originally composed for piano solo in 1899 and which was published by Demets, quickly achieved great success and has since been considered one of the most popular works in the classical orchestral repertoire.
This scholarly-critical edition of the “Pavane” by Regina Back and Douglas Woodfull-Harris takes into account the various reprints of the original piano version, the handwritten score of the orchestral version from 1909 as well as the numerous reprints up to Ravel's death in 1937. In the Foreword, the editors trace the history of the composition. The composer's piano recording and the orchestral recordings made under his direction during his lifetime have also been consulted.
The edition includes a Foreword in English, French and German, facsimile pages and a critical Commentary. | | |
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 | Reference score and parts
Diomatic arranging
First ever arrangement for quintet
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| Ravel, Maurice | | Mother Goose Suite for Woodwind Quintet | | Arranger: Linckelmann, Joachim | | BA 8605 | EUR 32.50 | Score and set of parts | 9790006536894 | Ravel’s eternally charming Mother Goose Suite was originally composed for piano 4 hands between 1908 and 1910. At a later date it was orchestrated and included additional movements.
Joachim Linckelmann’s arrangement for woodwind quintet evokes Ravel’s sound world realizing it with that special blend of wind instruments. The suite contains: “ Pavane of the Sleeping Beauty”; “Tom Thumb”; “ Laideronnette ”, “empress of the pagodas”; “Conversations of Beauty and the Beast” and lastly “The enchanted Garden”.
This first ever arrangement of Ravel’s masterpiece will quickly find a place in concert halls! |
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Responsible for content (i.S. des § 10 Abs. 3 MDStV): Ivan Dorenburg.
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