Symphony No. 9 in D minor, op. 125 — 贝多芬
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Symphony No. 9 in D minor, op. 125

Official edition of "Symphony No. 9 in D minor, op. 125" by Ludwig van Beethoven, published by Breitkopf & Härtel (9790004214947), scored for Orchestra. Edition includes 29 parts, 878 pages.

Catalog No.
9790004214947
Opus
op. 125
Instrumentation
Orchestra
Specifications
29 parts · 878 pages (Score & Parts)

Parts & Score Materials

Part NameInstrumentPages
(全)总谱FullScore260 pages
钢琴缩简谱Piano64 pages
混声合唱Chorus24 pages
短笛Piccolo10 pages
长笛 1Flute28 pages
长笛 2Flute20 pages
双簧管 1Oboe24 pages
双簧管 2Oboe20 pages
单簧管 1Clarinet24 pages
单簧管 2Clarinet24 pages
大管 1Bassoon28 pages
大管 2Bassoon24 pages
低音大管Bassoon8 pages
圆号 1Horn20 pages
圆号 2Horn20 pages
圆号 3Horn16 pages
圆号 4Horn16 pages
小号 1Trumpet16 pages
小号 2Trumpet16 pages
次中音长号Trombone4 pages
长号Trombone4 pages
低音长号Trombone4 pages
TimpaniPercussion18 pages
打击乐Percussion2 pages
小提琴 1Violin40 pages
小提琴 2Violin36 pages
中提琴Viola40 pages
大提琴Cello36 pages
低音提琴DoubleBass32 pages

Work & Edition Details

Since 2001 the “Ninth” has been included in UNESCO’s Memory of the World Register. Beethoven was preoccupied with his unique work for many years, since at least 1815, and still shortly before his death, according to the highly complex source situation. The work will now finally be available as an edition produced from the new Beethoven Complete Edition in time for the 2020 anniversary year commemorating the composer’s 250th birthday. Not all doubtful cases can be clarified, not all gaps closed, but numerous aspects have been further illuminated in this edition. New findings and source evaluations taken into account here, appear, for instance, pertaining to the work’s title, the tradition of the metronome indications, the contrabassoon part, and the underlying vocal text in the finale, as well as in the original rendering of the sforzato and forte markings. The edition is to be considered, according to its editor Beate Angelika Kraus, as a “contribution to the understanding of a work in which there is a discrepancy between its significance in musical life and the critical appreciation of its musical text.”

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