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.