SINFONIA CONCERTANTE

Transcription

1 SINFONIA CONCERTANTE K. 64 W. A. Mozart ( ) Princial Viola Part Extended Scordatura Edition Edited by Andrew Filmer AVS Publications 019

2 Autograh manuscrit containing two drats o a second-movement cadenza or Mozart s Sinonia Concertante. MS Mus 177, Houghton Library, Harvard University.

3 Sinonia Concertante or Violin, Viola and Orchestra, K. 64 THE EXTENDED SCORDATURA At times, Mozart is the unexected adventurer. He laced the viola in the sotlight, alied the use o scordatura, and exlored the sinonia concertante individual endeavors not marking him as a trailblazer, but in combination revealing a subtle revolutionary. The comoser ut his quill to the genre o the sinonia concertante only three times K. 64 or violin, viola and orchestra; the ragment K. A. 104 or violin, viola, cello and orchestra; and one or winds, which comes down to us in the rather dubious orm o K. 297b. In the one comlete and veriied case, the comoser redeines the genre, bringing conversation not only between the soloists, but between soloists and the orchestral orces. Additionally, in both works that eature string soloists, the viola emloys scordatura: u a semitone or K. 64 and u a ull tone in K The use o scordatura, articularly or the viola, has three historical stages: the use o exansive exerimentation, most notably with the Rosary Sonatas or violin o Heinrich Biber; the use o the transosition scordatura in which Mozart oerated; and inally the use o it or secial eects as well as ost-tonal era oortunities, rom Mahler to Lachenmann. The transosition scordatura was largely or the unction o rojection or the convenience o keeing strings tuned in iths though Mozart s alication o the technique was to additionally aect timbral change in the solo grou. Here, revising the scordatura reexamines that trade-o in reserving its original acoustic eects and extending its beneits beyond rojection, albeit at some cost o convenience. While the aroach historically sustains the comositional intent, it does deviate rom the erormance ractice o the day; it can be seen either as an aroach o a modern erormer, or contrastingly as an extraolation o Biber-esque exerimentation. The extension ushes the lowest string u an additional semitone, made ossible by the lowest itch that Mozart emloys being a D and the airly limited use o the lowest string. In doing so the extended scordatura articularly contributes to three areas. The irst o these occurs in the irst movement, where the availability o a low D string allows the oen string to ring as the bow leas over the adjacent string, instead o necessitating a remature abbreviation o a low stoed D. ii

4 The second instance occurs at the start o the irst-movement cadenza, where the violin has the oortunity to begin with the oen G string. The viola now has the ability to do likewise, with the low D string allowing or almost identical ingering in this assage. The inal area is at the beginning o the second-movement cadenza, where the second note o the viola has additional symathetic resonance rom the oen string an octave below. It can be noted that in two o these cases, the advantages o resonance or oen string use are not accordingly made available or the violin. However, it has been argued that Mozart s original scordatura or the viola created systematically dierent aroaches with the two solo instruments a rincial comositional aim in roviding urther rojection or the viola rather than or both instruments equally. 1 Contrasted to rojecting the viola, the key o E-lat major darkens the sound o the violin, bringing the two instruments closer as a concertizing unit. It is this goal o strengthening the viola art that the new scordatura urther advances, in an era where musicians invest more time in rearing and erorming works o Mozart than the comoser ever had the oortunity to do himsel. EDITORIAL COMMENTARY This arrangement is the roduct o research into the larger context o scordatura discussed in this author s article Building a Framework or Scordatura: New Possibilities or the Viola, and Beyond, in the online journal String Praxis, vol. 1, no. 1. A comlete autograh o the score no longer exists. Christoh-Hellmut Mahling, in the Neue Mozart-Ausgabe (NMA), notes that arts o the autograh score exist in rivate collections and are limited to sketches o the cadenzas. Currently, two acsimiles are available in the critical reort o the NMA, 2 and one is urther available on the Harvard University Library website. 1 Nathan Cook, Scordatura Literature or Unaccomanied Violoncello in the 20th Century: Historical Background, Analysis o Works, and Practical Considerations or Comosers and Perormers (DMA thesis, Rice University, 2005), 1. 2 htt://dme.mozarteum.at/dme/nma/nma_cont.h?vse=16&l=1&1=29 htt://ids.lib.harvard.edu/ids/view/ iii

5 In rearing this edition, the irst edition o the viola art as well as the ull score, both in the ublic domain rom the International Music Score Library Project (IMSLP), have rimarily been used, as well as the three acsimile manuscrits mentioned above. The viola art is ublished by Oenbach: Johann André, n.d. (c.1840) (Plate 1588). The score is rom Wolgang Amadeus Mozarts Werke, Serie XII: Concerte ür die Violine mit Orchester. Leizig: Breitko & Härtel, 1877 (Plate W.A.M. 64), also known as the Alte Mozart-Ausgabe, the irst comlete edition o the comoser s works. IMSLP states the editor to be Johannes Brahms, and while the New Grove does note that Brahms did indeed edit works o Mozart, there is unortunately a lack o conirmation that Brahms edited this articular work. Additionally, two modern editions have been consulted: one edited by Wol- Dieter Seiert (Munich: G. Henle Verlag, 2006, HN 798) and one edited by Christoh-Hellmut Mahling as art o the Neue Mozart-Ausgaube, Serie V: Konzerte; Werkgrue 14, Band 2 (Kassel: Bärenreiter, 1975). The rincial dierences in the two nineteenth-century sources regarding the viola art are in the distribution o slur markings, which are likely due to the lack o an existing comlete autograh manuscrit, and contrasting strands o secondary sources, as noted by Seiert. There are inconsistencies in the use o slurs in both the Oenbach and Breitko & Härtel editions, and reconciling these discreancies is the major issue aced in the roduction o this edition. The Oenbach edition has numerous inconsistencies between the solo violin and viola arts. In addition, there is a conlict in the irst movement between the lacement o the ermata in m. 189 with the orchestral arts (o the Breitko & Härtel edition), which have a ermata over the irst two beats: First movement, mm (Oenbach edition) The Breitko & Härtel score dislays only occasional issues between the solo arts; there are, however, more rominent irregularities between sections. An examle o this is the cadenza o the irst movement, where the slurring o the sequential attern is disruted: First-movement cadenza, mm (Breitko & Härtel edition) iv

6 Nonetheless, in having ewer irregularities than the Oenbach edition, the Breitko & Härtel score serves as a more reliable basis overall. Corrections, and occasional sections where the editor has decided that the Oenbach edition rovides a reerable or ossible alternative, have been recorded in the Notes. This rocess is comlex, even or the sections where Mozart s autograh is available. A clear examle occurs at the end o the second-movement cadenza: Mozart s autograh ~ Breitko & Härtel edition ~ Oenbach edition A literal reading o the autograh would be imractical; the sixty-ourth notes would be clearly slurred, in essence unctioning as embellishments. The Breitko & Härtel edition clariies this, but there is the additional argument that these sixty-ourth notes should be connected to the receding trill, as in the Oenbach edition, with the comlication o the slur adding an unjustiied tie, along with the ermata in the ollowing measure. Reerences to the revious movement suggest that the second beat should be over one slur, desite its contrast to all three excerts shown above. Added articulation not originally ound in the rincial sources such as in this examle has been denoted with broken slurs. Grace notes have been let searate as in the available sources. Andrew Filmer, editor The editor would like to acknowledge the ollowing or their assistance: David Bynog, Pro. Donald Maurice, Assoc. Pro. Anthony Ritchie, Assoc. Pro. Jorge Muñiz, Georey Coker, and Dr. Erin Helyard, as well as Education New Zealand and the University o Otago. v

7 VIOLA PRINCIPALE Sinonia Concertante in E-lat or Violin, Viola and Orchestra, K. 64 Scordatura # # # W. A. Mozart Edited by Andrew Filmer 9 Allegro maestoso c b w j Ó Ó s s 2 Ó J J n 2 b b j j J J J J b b Ó J J n b r Ó b b n (0) (1) # w w w Ó w w w Ó r n # SOLO n w Ó 75 J R 5 American Viola Society 2012, AVS 019

8 Ó # J R J R J R J # R Ó # 4 n b # # n # Ó # Ó b # r n # # 115 # # # # # # 124 Ó Ó R R R # # #.. Ó # # # # # r r # # r r r 14.. #.. # #.. #.. # 148 # # # # # J # #

9 156 TUTTI # # # 164 j b j j b j n # æ æ æ æ æ æ æ U 10 # # Ó Ó Ó j # # # r Ó U U # # J # # b # # Ó # # Ó # # Ó # # # # 205 # # # # 209 B # # Ó Ó b b 4 2 # b Ó 4 2 # b Ó # # # #

10 4 22 TUTTI w j Ó Ó 21 s s SOLO w w r J R Ó # J R J R Ó # J R J R 246 # Ó 25 # #. r 8 # Ó 266 # # # 269 B # 9 # Ó # Ó Ó r r # R r r w w # w Ó B # 0 # # # # # # r # r r r Ó r 7

11 14 IV.... b bb # b bb# # # IV b b # # bb (0) n # Ó w 26 0 TUTTI n b J b (0) j 5 j b j b j J J J Uw b 1 Violino Princiale & bb b Ó Viola B # Princiale # b # Ó 4 &b b b Ó b n b # b # # 7 & bb b b # b # # # # # #

12 6 10 &b b b b b b b b # w n w Ó 1 &b b b b n 16 &b b b 20 2 s s U..... Ω Ω U..... J b J J U s..... Ω Ω U..... # J J J # # Adagio. & bb Ω U Ω U b b b b J b J s s B #. # Ω U.... Ω U # # # J r J &b b b n <b> U w U U # #. U w # n s b TUTTI # w w w Ó w ( 1) w Ó # R R Ó

13 Andante B ## 4 # # 7 5 # s s 7 16 Kr 2 4 b r r j b r b b 20 1 b b # # J # # # r J # r # # r r r J r J # J 40 J B # # r J r J r r b # r r J 44 r Ó # r r 50 b TUTTI # cresc b b

14 8 66 j r # r r r # # # 72 B # #... J r n r <#>. #... r s # # B # r # # r # r... J # J # # #.. r J #... #... b. b 4 97 # # # 100 # J r J r J # # J # r r r # r r # J 105 # J r # r r 110 # # r # r B # 0 # # # b. 11 b #... #.

15 B # TUTTI # # # cresc. # # # &b b b Violino Princiale U [1] U Viola Princiale r # r # r # r 9 5 &b b b r b r n# j # 9 & bb b... J # J # # J # j # j J. 1 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ & bb b r J # B # # # # # U 16 & bb # J r r r b U U n b R R B # U U U # # # # r r J r R R TUTTI # # s III (2 ) b# b# b b s

16 10 Presto b b b b b 7 b... b b b 48 b b b bb b b b b b b b æ æ # # b b æ æ SOLO.... J J n # b # J # # b b # # b # # # # # 142 r # # B # #.. #... #.... #... #

17 # # (0) s s s # # # # bb b b b calando oco a oco b b <b>.. b # J.. J J J J TUTTI # r J J J r Ó 5 <n> 25 B # # b bb 261 B # 17 # (0) b bb b SOLO (0) IV (0).. j b #.. (0) IV (0) j.. b #.. # J 7 # # # # 4 # (0) b j <n>

18 # b b (0) s s s calando oco a oco bb b b b <b> b J J J J J TUTTI.. # r J # J # J r 77.. ~~~~~~~~~~~~~~ ~~~~~~~~~~~~ ~~~~~~~~~~~~~ # # # B #.. # # b B # # # J J J J ~~~~~~~~~~ 11 TUTTI Ó b b b # æ æ # # b b b æ æ b

19 1 Notes The two rincial sources used in rearing this edition are the irst edition o the viola art, ublished by Oenbach: Johann André, n.d. (c.1840) (Plate 1588) and the ull score, ublished in Wolgang Amadeus Mozarts Werke, Serie XII: Concerte ür die Violine mit Orchester. Leizig: Breitko & Härtel, 1877 (Plate W.A.M. 64). Three acsimiles o Mozart s autograh (limited to sketches o the cadenzas) were also used: two ublished in the critical reort o the Neue Mozart-Ausgaube (NMA) and one available on the Harvard University Library website. Additionally, two modern editions have been consulted: one edited by Wol-Dieter Seiert (Munich: G. Henle Verlag, 2006, HN 798) and one edited by Christoh-Hellmut Mahling as art o the Neue Mozart-Ausgaube, Serie V: Konzerte; Werkgrue 14, Band 2 (Kassel: Bärenreiter, 1975). First movement mm. 0 1: The Breitko & Härtel edition has the second violin, viola and cello arts with detached bowing, as does the Oenbach viola art. The Breitko & Härtel edition has a conlicting irst violin art (and corresondingly, the solo violin art) that slurs over the barline. However, as the irst violin art does not slur over the barline rom m. 1 2, it seems that the detached bowing is correct. mm. 8 45: Originally slurred in grous o eight, these have been adjusted to corresond to the orchestral arts; in addition to this, the grouings o our make the articulation markings more ractical. mm : Note that the Oenbach edition consistently slurs ive notes instead o our across both solo arts. This is an entirely viable otion. mm : The Breitko & Härtel score has a slur only over two notes; the slur over three notes is rom the Oenbach edition. Though the Oenbach solo violin art is inconsistent regarding the number o notes slurred, nonetheless, the slur over the barline remains consistent. m. 124: The slur over the irst two beats has been added in viewing this though with diering notation as an embellishment aligned with m. 157 o the solo violin art. Note also a comarison with tutti areas, such as m. 9. mm. 18 9: Slurs on the second beat have been retained rom the Oenbach edition, desite incongruity within the art and with the solo violin art within that source. The melodic attern is reeated at mm , without the slurs. m. 140: Additional slurs added to sustain sequential attern rom the receding two measures. m. 149: The Breitko & Härtel score has the slur rom the irst note o this measure; the Oenbach edition is deemed more congruous with the sequential attern across both solo instruments. m. 152: There is a view in some newer editions that the irst note o this measure should be a g natural, with a harmonic view as to the V 7 chord however, this is not evident in either o the early editions, suggesting that the g shar can be contrastingly viewed melodically as a lower neighbor tone. mm : An unusual section within this movement, considering that the divergence between the two solo arts is not inverted in mm Both rincial sources consistently lack slurs; however, there is a ossible relation to mm. 18 9, and erormers may reer to adat some o the bowings rom those measures. m. 189: The Oenbach edition has the second ermata on the ollowing rest. While this is inconsistent with the solo violin art o the same edition at m. 176, on a musical level this is an entirely viable otion. mm : Both rincial sources have slurs over the irst two beats and the third and ourth beats. However, the resent edition has oted to work toward congruity with mm mm : Both rincial sources have double stos, combining both Viola 1 and Viola 2 arts o the orchestra. However, this is incongruous with mm mm : Both rincial sources consistently lack slurs, ossibly as a continuation o systematic variation. However, erormers may reer to adat the bowings o m. 18: The Breitko & Härtel edition has a d natural (seventh note), while the Oenbach edition has a d shar.

20 14 m. 26: Both rincial sources are consistent; however, it can be argued that the attern o this measure is inconsistent with the ollowing measure. Comarisons with other areas immediately receding tutti sections are useul here, and mm would suggest a correction to m. 26. However, the second hal o m. 222 suggests that additional areas o emhases here and in m. 27 may illustrate a comositional intent or the uroses o the anticiation o tutti sections. The ossibility o systematic variation already evident in the articulation atterns in the recaitulation would make the contrasts with mm viable. Perhas most imortantly, one can note that the same attern is subsumed into the orchestral texture, with the second violins laying this same attern in mm Cadenza: The rincial reerence or the cadenza is a acsimile o the autograhic sketch, available rom the critical reort o the NMA. Both the Oenbach and Breitko & Härtel editions dislay inconsistencies, and there is ambiguity in the autograh as well, articularly between the solo violin and viola arts in mm There is also no clear indication whether the return o the original temo is at the tutti o m. 9 or in the receding measure. However, the Oenbach edition has an additional ermata over the inal trill, which is not in the autograh. mm : Edited to include only Viola 1 line; see mm While it would be useul to enable both orchestral viola arts within the score, areas such as the tutti beginning at m. 158 make this imractical. Second movement m. 20: The rincial sources conlict in the second beat o this measure: Breitko & Härtel edition ~ Oenbach edition Neither o these otions reserves a three-note ubeat that seems revalent throughout this movement (e.g. mm. 16, 18 and 26). While consistency in this resect is not always ossible (see m. 22), it would seem that Oenbach s slur neatly comletes the sub-hrase, and a three-note slur ollowing this is consistent with the rest o the movement. m. 49: See m. 72. Likewise, searate bows constitute an equally viable otion. m. 51: The Oenbach edition has this measure slit somewhat ambiguously over two slurs; the Breitko & Härtel edition has one slur over the entire measure, but the associated section in the violin art has three slurs. The three-slur otion is deemed the most ractical. m. 67: The Oenbach solo viola art has two sixteenth notes contrasted to the dotted rhythm in the Breitko & Härtel score; however, the Oenbach solo violin art does not corresond in this regard. m. 70: Slur over three notes instead o our, ollowing the Oenbach edition and to match m. 79. Note that consistently slurring our notes in these two sections is a viable alternative. m. 72: There is considerable inconsistency, and the editor has oted to use the slurs as they exist in m. 69 o the solo viola art and m. 71 o the solo violin art o the Breitko & Härtel edition. That being said, there is the viability o the use o systematic variation in detached notes or both solo instruments, mm. 72 7, esecially considering the cadenza; or this reason, broken slurs are used. mm : The Breitko & Härtel score has the irst slur o each measure covering the irst ive notes. The slurs adoted here are rom the Oenbach edition, desite inconsistencies, as it is deemed a more ractical otion. m. 77: The ourth note in the Breitko & Härtel edition is a d shar, however, this seems inconsistent with the relation to the violin art in the two receding measures. The Oenbach edition has an unnecessary natural, which may suggest a correction to a revious coy. m. 78: There are various bowing ossibilities in this measure; the solo violin art o the Oenbach edition has been reerenced here, though the solo viola art o that edition has errors in emulating this. The Breitko & Härtel edition has the last two notes searate and with dots consistently in both solo arts; however, the single note ubeat otion seems to be consistent with mm Note that both rincial editions combine the tie with the ollowing slur, which is entirely viable; this edition slits these in view that the bowing allows more eective execution o the dynamic.

21 15 Cadenza, m. 18: There are various ossibilities in the lacement o the slur; in this edition the sixty-ourth notes have been considered an ornamental extension o the trill and slurred accordingly. For urther details o the conlicting sources in this section, see the Editorial Commentary. Third movement A consistent issue in this movement is the sixteenth or thirty-second notes ollowing a trill, as in the ollowing examles: Third movement, Breitko & Härtel score, mm. 141 and 206 Once again these are seen as an elaboration o the embellishment, but more so the thirty-second notes. With this in view, instances o thirty-second notes are slurred automatically, while sixteenth notes are notated with broken slurs. mm. 64, 65: The Oenbach edition has chosen to lace the dynamic marking at the start o m. 64 to line u the orchestral arts. The Breitko & Härtel score indicates an area o overla akin to a dovetailing o dynamics, with the solo viola art having the dynamic marking at m. 65. mm : The Oenbach edition adds staccatos to these measures, linking them to the revious two measures. However, the aearance o trills suggests a systematic contrast in articulation, ossibly to link to the restatement o the theme. m. 126: Both rincial sources have one slur consistently across the measure. However, in both sources this is inconsistent with m. 119 o the solo violin art. This could simly imly an error in the violin art, or ossibly that some orm o systematic variation has occurred in view o the orchestra at mm , as contrasted to In either case, the score is deemed correct. However, this oses an issue when dealing with m mm. 141, 14, 149, 151: The Oenbach edition does not have a dotted rhythm in the second beat, having an eighth note and two sixteenths instead; this is viable, esecially i it is considered related to the rincial motivic igure. However, this edition considers the reeated dotted eighth notes being relevant to this section, as well as the thirty-second notes being an extension o the trill. m. 165: The NMA has the slur extending to the irst note o m. 166, and Wol-Dieter Seiert notes that the use o this (indicated in a dierent branch o sources) does not have to corresond to m. 157 o the receding violin art, due to a attern change an entirely valid interretation, which would suggest an emhasis on the second eighth notes o mm. 166 and 167. mm. 189, 190, 28, 29: Seiert notes the ossibility o the s laced one eighth note later, consistently. This is a viable alternative i one considers alication o second-beat accents in areas such as mm However, this edition considers the consistency o the two available rincial sources as well as the selective use o the s in this movement. mm , 8: There is some inconsistency in the lacement o the calando oco a oco instruction in both the Oenbach and Breitko & Härtel editions. Seiert believes that the indication extends to mm. 20 and 42 resectively, though there are interretations that ick u the original temo two measures rior to these. The intent seems to clearly extend to at least mm. 199 and 8 and has thus been standardized here. mm : The editor would like to make the observation that the solo viola art essentially ceases laying the tutti early in rearation or the ucoming solo, in a manner that the violin art does not do (see the section leading to m. 79). However, as there is no sign o inconsistency in the rincial sources, and as the solo viola art has a similar section in mm , this section is rinted as the sources indicate. This discreancy is likely due to the dynamic in the orchestra at these measures, which does not aly to the associated section in the violin art. mm : See mm

22 16 m. 286: In this edition, broken slurs are used at this oint; however, it should be additionally noted that deending on one s interretation o the contrast to the violin art (see m. 126), a reverse decision is viable: searation in m. 286, and accordingly, slurs in the violin art in m There is also the alternative that all slurs be removed or the sake o consistency within this ambiguous context. mm. 08, 10, 16, 18: see mm. 141, 14, 149, 151. mm. 88, 96: The issue at m. 96 is the discreancy with the violin art; in this measure and eight measures earlier, the slur occurs over the irst two notes. In this case, however, due to a reeated note in the violin art, the slur is imractical at best and is moved to the second and third notes instead. Two otions exist: to only alter m. 96 or to alter both sections; this edition elects or the latter. Third movement, Breitko & Härtel score, mm It should be noted that the otion to alter only m. 96, desite the aarent inconsistency, may be viable i considering the second movement, m. 22, where the inability to slur in line with m. 20 is likewise due to a reeated itch. m. 41: Though consistently with three notes er slur in both rincial sources, see m. 165 and the corresonding violin art at m. 157.

23 AVS Publications VIOLA SOLO Quincy Porter Suite or Viola Alone. AVS 008 Frederick Slee Variations on a Hymn Tune or Solo Viola. AVS 00 VIOLA AND PIANO Blanche Blood Barcarolle or Viola and Piano. AVS 002 Arthur Foote Melody or Viola and Piano, o. 44a. AVS 015 Quincy Porter Seed Etude or Viola and Piano. AVS 007 Gustav Strube Regrets or Viola and Piano. AVS 010 Theodore Thomas Divertissement or Viola and Piano. AVS 006 Louise Lincoln Kerr Etude. AVS 020 J. N. Pychowski Peretual Canon. AVS 017 VIOLIN AND VIOLA TWO VIOLAS Felix Mendelssohn-Bartholdy Canon or Two Violas. AVS 004 Scott Slain Caricious. AVS 012 THREE VIOLAS VIOLA ENSEMBLE (FOUR OR MORE) J. S. Bach Sinonia rom the Cantata: Gleichwie der Regen und Schnee vom Himmel ällt. AVS 005 Matthias Durst Adagio or Four Violas. AVS 001 Felix Mendelssohn-Bartholdy Adagio rom String Sinonia VIII. AVS 011a Hendrik Waelut Cantabile or Four Violas. AVS 018 Max von Weinzierl Nachtstück ür 4 Violen, o. 4. AVS 009 MIXED ENSEMBLES J. S. Bach Chorale: Ich, dein betrubtes Kind, or Sorano, Viola obligata, and Continuo rom the Cantata Mein Herze schwimmt im Blut. AVS 01 Ergieße dich reichlich,du göttliche Quelle, Aria or Tenor, Viola, and Continuo rom the Cantata Wo soll ich liehen hin. AVS 014 Sinonia rom the Cantata: Gleichwie der Regen und Schnee vom Himmel ällt. AVS 005 Michael Colgrass Revisions to Variations or Four Drums and Viola. AVS 016 Felix Mendelssohn-Bartholdy Adagio rom String Sinonia VIII. AVS 011 W. A. Mozart Princial Viola Part or Sinonia Concertante, K. 64, Extended Scordatura Edition. AVS 019 Princial Viola Part or Sinonia Concertante, K. 64, Scordatura Edition. AVS 019a htt://americanviolasociety.org/resources/scores/