Breitkopf in the Orchestra.
Reliable. Efficient. Ready to Perform.
For centuries, our editions of major orchestral works have set international standards. Every component of a Breitkopf & Härtel edition is perfectly coordinated. Our large-format scores and orchestral parts, long appreciated by conductors and musicians alike, provide the ideal foundation for outstanding musical work.
Almost all standard works of the classical repertoire are available in modern Urtext editions. At the same time, the established canon is continually expanded to include outstanding works by lesser-known composers, opening up new perspectives and keeping the repertoire vibrant.
Generous Format
Generous in size, clearly laid out and ideally suited for rehearsals and concerts — a format designed for real-world orchestral use.
Crisply Engraved
Exceptional legibility, thoughtfully placed page turns, and generous space for markings — designed with professionals in mind.
Flawless in Practice
Critically examined, fully documented, and edited with the greatest care — designed for reliable use in the orchestral repertoire.
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![Ruy Blas in C minor [Op. 95] MWV P 15](https://www.breitkopf.com/media/2f/g0/81/1764007714/9790004215210.jpg?ts=1764007714 "Ruy Blas in C minor [Op. 95] MWV P 15")
Work of the Month
February
Discover an outstanding work from our catalogue each month.
Wolfgang Amadeus Mozart
Symphony [No. 40] in G minor K. 550
1st and 2nd Version – Urtext edited by Henrik Wiese
With the new edition of the G-minor Symphony, a vital work group in Mozart’s oeuvre is now complete: the three late symphonies K. 543, 550 and 551, now available in Urtext editions.
As in his new edition of the “Hafner Symphony”, Henrik Wiese uncovers in the present “Breitkopf Urtext” score three different stages in the genesis of the G-minor Symphony. Mozart initially wrote the work without clarinets (1st stage), and then he added the clarinets (2nd stage). Not until a final stage did he change the wind instrumentation in the Andante (3rd stage). Mozart thus returned to the 1st version again after completing the 2nd version (with clarinets). This advances the importance of the 1st version without clarinets as “Fassung letzter Hand.” A compelling insight which sheds new light on the famous G-minor Symphony. Both versions are of equal value and can now be compared with one another, studied and, above all, performed for the first time ever thanks to the new score and parts.
Another extremly practical aspect that should be noted: the orchestral parts offer solutions for all the problematic page turns for the first time ever (please see the sample pages OB 5542 Violin II.)
