Viola Concerto (Erdélyi restoration)

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corresponding instruction to indicate for how long the harmonics should continue. Erdélyi suggests returning to modo ordinario after m.151, or possibly at m.150. 183–184 Only the starting notes of the ascending scale passages are given. 185–187 M.185, last note and m.187, first note originally A6; harmonic editorial. 189–190 Only the starting notes of the ascending scale passages are given. 236–237 In the MS, these two measures appears thus: & É É # ˛ ˛# ˛# ˛ ‘ ‘ # ˛ ˛ # ˛# ˛ This is the sort of impractical writing for the viola that Bartók had intended to discuss later with Primrose. Playing the second four semiquavers of m.237 at the prevailing fast tempo involves an awkward string crossing which sounds unsatisfactory in this final frantic build-up. Erdélyi suggests that the desired effect might satisfactorily be created by transferring these notes to the orchestra – most likely to the viola section. Piano Movement I 2–10 LH lower octave doublings are editorial. 17 RH minim appears in the MS as a crotchet on beat 4; however the preceding crotchet rest on beat 3 has been crossed out. 18 Note above LH upper voice: “2 clar / 1 fag”, and in the MS this line is doubled at the octave above and below. 23 Note above LH GÏ4: “cl.”. Note below LH lowest voice: “fag. is?” (“bassoon too?”). 53 LH tie from previous bar is editorial. 54–58 The piano reduction has involved condensing a 9-part texture. In the MS, the lowest voice in mm.54 and 55 is still written in the viola staff. It is a strong supporting line for the erupting tutti, and would be inaudible if only played by the viola. The study of other of Bartók’s working drafts suggest that later in the compositional process he might have assigned these notes to other instruments (bassoon or horn, for instance). 55 Note above RH beat 1 B5: “trp.”. Note above beat 2.5: “vl.”. Note above LH beat 4 FÍ4: “cor.”. 68 RH beats 1 and 2 originally quavers; LH beat 2 originally a crotchet. Durations have been doubled to accommodate the retention of the triplet on the second beat in the viola part (see note above). PE066 – 38
80 LH beat 2 B1 is editorial. 91–93 Some redistribution of parts has been made to effect playability. M.91 RH beat 3 lower voice enters an octave lower in the MS. 110 RH upper voice lower notes (AÍ4, G V 4) are editorial. 110–111 Tie between RH DÍ4s is editorial. 111 RH first chord AÍ4 and DÍ5 are editorial. 146–153 Only the first two notes of the RH upper voice appear in the MS, with an indication that the doubling of the lower voice is to continue. 157–158 m.157 beat 3 to m.158 beat 3 RH upper voice, upper octave doublings are editorial. 165 LH beats 1-3, doubling of RH is editorial. 166 LH editorial. 167–170 Editorial. The staves of the orchestral reduction were left blank, and Erdélyi has supplied a variant of the material at mm.48-51. 172–180 Editorial. Again, the staves of the orchestral reduction are empty in the MS. An orchestral tutti, different to and stronger than the equivalent passage in the exposition is required here. Erdélyi’s solution here is similar to that of Serly, although 3 measures shorter, conforming more closely to Bartók’s material in mm.52-60 of the exposition. 181–182 LH A1 is editorial. 193–195 LH EÏ2 is editorial. 200 RH lower voice one is octave lower in the MS. 219–222 LH octave doublings are editorial. 225 This measure appears blank in the MS, with ties extending into it from the notes in the preceding measure. It is closed by a double-bar line, and a note above the measure, apparently not in Bartók’s hand, reads “end of 1st?”. Movement II 83 LH last note, G1 is editorial. 84–99 Editorial reconstruction. In the MS, the designation A appears at m.68, and B at m.77. The orchestral reduction ends at m.84, a Bd measure containing the indications AB and ‘2 tr. és corni’ with an octave sign beneath. A seven-measure melodic fragment follows. This passage has thus been editorially reconstructed, with the melodic fragment added as a counter melody to section B. PE066 – 39
Page 1: PROMETHEAN EDITIONS BÉLA BARTÓK V
Page 4 and 5: Viola Concerto (PE066), for Viola a
Page 6 and 7: Following Bartók’s death, Tibor
Page 8 and 9: a composition left incomplete by Ba
Page 10 and 11: PE066 - viii
Page 12 and 13: 17 B b˛ b˛ ˛. ˇ- pochiss. rall.
Page 14 and 15: 41 B & ? Risoluto Œ = ◊. 88 b .
Page 16 and 17: 58 B ∑ ∑ ∑ molto rall. & & >
Page 18 and 19: 88 B Poco più mosso Œ = 92 4 7 po
Page 20 and 21: 114 ˇ & n ˛ # ˛ # ˛ # ˛ ˛ #
Page 22 and 23: 140 & 4 # ˛# ˛ ˛ ˛ # ˛ #˛ ˛
Page 24 and 25: 164 B & ? n ˛ n˛ 3 ˛ ≤ ˛ >≥
Page 26 and 27: 186 & & ? Î ˛- ˛. # ˛ # ˛ ˛ .
Page 28 and 29: 215 B ˛ p # ˛ ˛ Œ Œ ≥ ˛ #
Page 30 and 31: 12 B a tempo Œ = ◊. 54-60 Œ # #
Page 32 and 33: 56 & ? ? molto accelerando ˛b˛ ˛
Page 34 and 35: III & & ? Allegro vivace Œ = 126 4
Page 36 and 37: 47 & & & b> ˛ ˛ ˛ ˛ n˛ ff [piz
Page 38 and 39: 90 & ˛ ˛ b˛ b˛ ˛m“ b˛ m “
Page 40 and 41: 138 & ∑ ∑ ∑ ∑ ∑ j n ‰
Page 42 and 43: 178 & & ? Œ = 138 ∑ # ˛ - ˛- #
Page 44 and 45: 217 & ˛ ˛ ˛ # ˛ ˛ # ˛ ˛ ˛
Page 46 and 47: Notes to the Critical Edition Throu
Page 50: Movement III 1 RH first chord is ed

Viola Concerto (Erdélyi restoration)

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