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Klaviersonate (Waldstein-Sonate) und Andante favori
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Beethoven's Piano Sonata in C major op. 53, called the Waldstein Sonata, is one of the highlights of all piano music. The large-scale work was originally even more expansive with its extensive Andante middle movement, so that Beethoven eventually decided to replace the Andante with a relatively short Adagio introduction to the Rondo finale. In addition to the Waldstein Sonata in its definitive version, the new edition brings the original middle movement, published separately by Beethoven and later called Andante favori (WoO 57). It may seem attractive to play the sonata in this early version and discover the unprecedented dimensions to which Beethoven had advanced the genre of the piano sonata. Alternatively, it may be appealing to combine the final version of the Waldstein Sonata with the Andante favori as a single piece in one and the same piano recital. The edition is essentially based on the autograph and first printing as well as Haslinger's complete edition, which is significant in detail. Nils Franke's interpretative notes draw attention to the time of the work's composition and to its earliest reception, thus casting a critical light on all-too-familiar performance conventions.
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Standard works of music literature in the original text
The Wiener Urtext Edition is a scientific critical edition for prac-tice and differs from other editions declared as "original text" in that it contains extensive textual informa-tion in German and English (partly French):
Its preface informs about the work, its genesis and significance for the history of music, about written records and problems of the wording of the text as well as about the respective method applied for editing. Despite their necessary briefness, the critical annotations clearly account for editorial decisions and mention textual divergence going back to the author himself. The music text itself was produced on the basis of an exact checking of all sources by experienced musico-logists. Autographs, first editions, copies and patterns for engravings were used.
In some cases, these materials were analysed completely for the first time. Editions for teaching, studies, concert practice, including comprehensive information about the works by detailed introductions and editorial notes and notes on interpretation. Prepared for practice by interpreters resp. educationalists of international repute.
