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.

- 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