Henry Walford Davies. SONATA n r 2. in A major for Violin & Piano. edited by. Rupert Marshall-Luck EMP SP002

Transcription

1 Henry Walford Davies SONATA n r 2 in A major for Violin & Piano edited by Ruert Marshall-Luck EMP SP002

2 I Poco agitato (quasi Allegro) Poco agitato (quasi Allegro) 8 Allegro semlice Allegro semlice 14 cresc. 20

3 26 oco rit. 32 A A a temo [a temo] oco cresc. [oco rit.] [ ] 38 esress. 44 morendo ma non rall.

4 Allegro giocoso II Scherzo Allegro giocoso 7 f cresc. [cresc.] f 13 mf cresc.

5 III The Monk and the Warrior Largo Largo oco forte [] [] [] [] 3 3 dim. f 3 3 [ ] [ ][ ] [ ] [ ] [ ] 5 ed esress 3 [ ] 9 L [ ] f e molto esress. L 3 3 f ff f [ ][ ] [] [] oco dim. sf

6 IV Allegro f Allegro f [ ] [ ] [ ] [ ] [ ] [ ] [ ] [ ] 9 cresc. [ ] [ ] [ ] [ ] [ ] [ ] [ ] [ ] 16 iù f iù f 23 ff loco f [ 3] [ 3] [ 3] sf [ 3]

7 Poco agitato (quasi Allegro) Allegro semlice 8 17 I 24 oco rit. 32 A a temo 40 oco cresc. esress. 48 B 56 f senza esress. dim. f dim. 65 f dim. 75 C 82

8 II Scherzo Allegro giocoso 8 f cresc. 14 mf cresc. 20 ff [dim.] 26 oco rit. H a temo 34 cresc. 41 f

9 III The Monk and the Warrior Largo ed esress 3 9 L f e molto esress Poco iù mosso 3 ten. 3 3 f f M 21 sf dim. (mezz[a] voce) 25 cresc. oco f 28 dim. 32 N [Temo Imo] esress.

10 IV Allegro f 11 cresc. 18 iù f ff 26 [ 3] [ 3] sf [ 3] [ 3] 32 R f e esress. 43 ortamente cresc. 55 dim. 66 ortamente Tranquillo dim Ossia* 3 3 *See Editorial Commentary

11 E D I T O R I A L N O T E S

12 A B B R E V I A T I O N S A N D D E S I G N A T I O N S Vn Pf RH LH violin iano right hand left hand b. bar PITCH DESIGNATION Pitches are assigned an octave using an adated version of the Helmholtz system of notation. An octave is taken to range between Cs; and middle C is designated the symbol c 1, the note an octave above middle C the symbol c 2, the note an octave below c, and so on. DESIGNATION OF CHARACTERS Individual characters within a bar are identified by counting all notes (whether tied or not), rests and accidentals from the beginning of the bar: constituent notes within a chord are counted from the lowest note to the highest. Where there is need to identify a symbol that joins two characters (for instance, a slur or a tie), the symbol numbers involved are conjoined with the letter x. Thus, a slur that joins characters 3 and 5 of a articular bar would be identified by the exression 3x5. Where the symbols are in different bars, the symbol number follows the bar number, the two being searated by an oblique stroke. For examle, the exression 18/6 x 19/2 would refer to an element that joins the sixth symbol of bar 18 and the second symbol of bar 19. The same means of reference is used to designate a secific symbol within the editorial note itself.

13 S O U R C E S 1. The manuscrit of the final version, written in ink with some additions and alterations in ink and encil. Rehearsal letters are written in red ink. S1 Given title on first title age: Sonata in A/(No.2)/for Violin and/pianoforte/by/h Walford Davies. Given title on second title age: Sonata in A major/(no.2)/for Piano and/violin/by/h Walford Davies. Given title above first system: Sonata in A. Royal College of Music Library; classmark: MS The manuscrit of what aears to be an early version of the work, written in ink with extensive corrections, deletions and additions in encil. Rehearsal letters are also written in encil. The manuscrit is inscribed, after the final double-bar: Finished March 14th 1893 (Midday). S2 Given title on title age: SONATA II/FOR/PIANO AND VIOLIN/in A major/h Walford Davies/A major [sic]. Given title above first system: Sonata in A major/for Piano and Violin/(N o 2) Royal College of Music Library; classmark: MS6302(3). Both sources are written on 20-stave manuscrit aer, measuring 343mm x 263mm, with no discernible stams or watermarks. S1 is clearly the rincial source. E D I T O R I A L P O L I C Y All amendments to the sources are indicated as follows: added or altered accidentals, notes and rests are rinted in small tye, with the excetion of editorial accidentals which aly to the uer notes of trills: for the sake of clarity, these are enclosed within square brackets; editorial dots of addition, temo indications and technical instructions are enclosed within square brackets; editorial articulations (staccato dots, tenuto lines etc.) are enclosed within square brackets; editorial dynamic markings such as cresc. and dim. are enclosed within square brackets; editorial dynamic markings such as f and are rinted in light tye; editorial slurs, ties and dynamic hairins are rinted in dashed lines. In cases where the notational conventions of the sources differ from those of modern ractice, the latter has been referred unless articular significance seems to be attached to the use of the original.

14 Where the need for a correction or addition is self-evident (in the case of a missing accidental or rest, for examle), the necessary amendment has been sulied without further comment, other than by means of the indications detailed above. In all other cases, the reason for the amendment has been given in the Editorial Commentary. E D I T O R I A L C O M M E N T A R Y 1ST MOVEMENT Throughout the 6/8 section, in the MS, a half-bar rest is notated by means of a crotchet rest followed by a quaver rest; these are relaced by a single dotted-crotchet rest, according to the convention of modern notation. Bar no. Symbol no. Instrument Comment 8 13 Pf bb.12 & 13 are indicated in S1 by the direction bis written above bb.10 & 11; however, it is not clear whether the slur that encloses bb.8 11 should be extended to the end of b.13. The editorial slurring attern has been deduced by analogy with bb , where S1 gives the figuration in full Pf LH In S1, bb.25 and 26 are searated by a line break; the slur that links bb.24 and 25, and continues into the right margin, indicating an intended continuation, does not continue from b.26. The edition corrects this, extending the slur to the end of b.27 by analogy with the hrasing Pf LH Slur added by analogy with Pf RH Pf LH In S1, the G of this chord is missing; however, the tie from the receding (quaver) G indicates that this is a simle omission. 43 Pf LH Tie and slur added by analogy with Pf RH Pf LH Articulation added by analogy with Pf RH Pf LH Articulation added by analogy with Pf RH Pf LH Articulation added by analogy with Pf RH Pf LH Articulation added by analogy with Pf RH Pf LH In S1, it is unclear to which note the end of the slur is attached: edition slurs to the first beat of

15 b.77, by analogy with b Vn S1 gives this grou of notes as a demisemiquaver quintulet; the edition corrects this to a semiquaver quintulet, according to the convention of modern notation Pf LH Articulation added by analogy with Pf RH Pf RH The comoser s first intention with resect to the first beat of this bar was c 1 with the a 1 in the right hand. This c 1 was later corrected to b and it aears that the comoser omitted to insert the necessary natural sign before the c 1 of this third beat. 134 Pf S1 has at the beginning of the bar; this has not been reroduced in the edition as it is suerfluous in the context of the following direction a temo [ma] semre x3 Pf LH Slur added by analogy with those of b Vn Editorial dim. added to follow that of Pf in b.152 and to allow for the given in b Pf LH Articulation added by analogy with Pf RH. 162 Pf RH Articulation added by analogy with b.56: the articulation of bb is in all other resects identical to bb Pf LH S1 gives the first note as a dotted crotchet; the editorial alteration has been made in order to make the figuration of this bar analogous to that of b.59: the alteration also allows the length of the first quaver of the second beat to be identical to that of the Pf RH. 168 Pf LH Slur added by analogy with Pf RH Pf RH Slurs added by analogy with Pf LH Pf LH Slur added by analogy with that of Pf RH. 201 Vn The direction dim. e oco rit. added by analogy with that given in Pf Pf LH Articulation added by analogy with that of Pf RH. 209 Pf The direction morendo added by analogy with that

16 given in Vn. 219 Vn Articulation (dot shortening the last crotchet) added by analogy with those given in Pf. SECOND MOVEMENT The rerise of the Scherzo of this movement (bb in this edition) is indicated in the MS by the direction Da Cao Scherzo e oi la Coda. This rerise is rinted in full in the edition for ease of erformance. In the absence of any such qualification as senza reetizione, the reeat signs have been retained. The ossia staves for the Pf LH derive from an instruction written by the comoser under the first system. Indicating the Pf LH, he writes: This figure may be reversed, so: ; there follows the first two bars of the Pf LH, rewritten according to the ossia figure given in the edition. All analogous assages in the movement have been so treated. It is clear, both from the wording of the instruction and from the fact that the original is not deleted, that Walford Davies regarded the two versions as equally viable for erformance. Bar no. Symbol no. Instrument Comment 8 & 108 Pf Editorial cresc. added by analogy with that given in Vn. 11 & 111 Pf Editorial f added by analogy with that given in Vn. 24 & 124 Vn Editorial dim. added by analogy with that given in Pf and also to allow for the given in b & Pf LH S1 gives the uer note of the second quaver as g 1 ; edition alters this to f 1 by harmonic analogy with the third beat of b.27 (b.127 in the da cao) furthermore, the alteration allows a descending melodic line to be traced from the g 1 of b.27/3, through the f 1 of b.28/2 and the e 1 and d 1 of b.29 to the c 1 of b Pf LH Editorial slurs added by analogy with those given Vn Editorial slur added by analogy with that given in bb Pf Editorial cresc. added by analogy with that given in Vn and also to allow for the given f in b Pf RH Slurs added by analogy with those given in Vn, whose line the Pf doubles during this assage: the

17 unity of melodic material would seem to indicate a unity of articulation. 149 Pf LH Editorial tie added in order to make the hrasing of this assage analogous to that given at bb (a hrase-length of five bars, searated by tied edal-notes into a grouing of two bars followed by three bars, is a feature of the Trio section of this movement). THIRD MOVEMENT Bar no. Symbol no. Instrument Comment 1 Pf LH Articulation added in lower voice by analogy with that given in uer voice. 2 3 & 9 Pf LH Articulation added in lower voice by analogy with that given in uer voice. 2 14, 16 & 18 Pf LH Articulation added by analogy with that given in Pf RH. 4 Pf LH Articulation added by analogy with that given in Pf RH. 5 Pf LH Editorial areggiation sign added for technical reasons (the range of the chord is too large for it to be sanned). 9 Pf LH Articulation added by analogy with that given in Pf RH (see also bb.2&4). 11 Pf LH Articulation added by analogy with that given in Pf RH. 15 Pf LH Editorial slur added to reflect the doubling in thirds by this line of the inner voice of Pf RH. 19 Pf LH Editorial slurs added to match those given in Pf RH. 20 Pf LH Editorial slur added to match that given 30 Pf RH Slurs added by analogy with those given in Pf RH in b.29; the answering figure in the Vn is similarly articulated in both bars. 35 Pf LH (3rd stave) Articulation added by analogy with that given in Pf RH (see also b.11).

18 47 Pf oco cresc. added editorially to corresond with that given in Vn; also to allow for the following dim Pf LH Articulation added in lower voice by analogy with that given in uer voice (see also bb.1&2). 59 4x5 Pf RH Editorial tie added by analogy with the articulation given in b.58: furthermore, the greater emhasis that would be lent to this first beat, were the tie not resent, would be at odds with the direction semre dim. of the revious bar Pf LH S1 gives the first note of the acciaccatura as F: an obvious error, given the surrounding figuration. 64 7x9 Pf RH Editorial tie between the two f 1 added by analogy with that between the two d 2 ; see also Pf LH in this bar. 67 Pf Articulation added by analogy with that given in Vn; see also b Pf Editorial hairin cresc. added by analogy with that given in Vn; also to allow for the given f in b Pf Editorial dim. added by analogy with that given in Vn; also to allow for the given in b.70. FOURTH MOVEMENT Bar no. Symbol no. Instrument Comment 1 2 Pf LH Editorial accents added by analogy with those given 4 5 Pf LH Editorial accents added by analogy with those given 9 10 Pf LH Editorial accents added by analogy with those given Pf LH Editorial accents added by analogy with those given 28 Vn S1 extends hairin cresc. only to b 1 ; edition extends it to the end of the bar in consideration of the given sf on the first beat of b Pf S1 reiterates the direction dim. following the age break, which occurs between b.45 and b.46. This

19 reetition has been omitted in the edition Pf RH S1 gives a as the uer note: edition corrects this to c 1, consistent with the octave doubling of the melodic line that is characteristic of this entire assage; the analogy with b.166 resents a case for this alteration, rather than an editorial change of the lower note to A, as does the fact that A/a would result in a strong and, in this context, uncouth dissonance with the G of Pf LH. 54 Pf LH S1 omits slur; which is, however, written as a continuation through b.55: an obvious oversight. 71 & 72 Pf LH Editorial slurs added by analogy with the articulation given in b.70 and b Pf LH S1 slurs b.82 alone (this bar is written out in full; the receding six bars, and the following three, are indicated using the sign ). However, it seems imrobable that the articulation of a reetitious bassline would change in the middle of the hrase; therefore, the edition retains the two-bar slurring of the receding eight bars for bb.82 to Pf RH S1 omits slur; which is, however, written as a continuation through b.91: an obvious oversight Vn S1 aarently gives both versions of the Vn art equal status: there is nothing to indicate that either version is a correction. Which version is used is, therefore, left to the erformer s discretion. 100 Pf RH S1 omits slur; which is, however, written in b.99 with an extension over the line break Pf RH S1 laces a treble clef at the beginning of b.103; however, the bass clef which should be at the beginning of b.106 is missing (it is correctly given at the start of the new stave which, in the MS, falls between b.108 and b.109). The bass clef has, therefore, been retained in the edition, as the b/d chord lies quite comfortably in the bass clef and a change of clef for two bars only may aear uncouth. 163 Vn S1 omits slur; which is, however, written in b.162 with an extension over the line break.

20 179 Vn Editorial added by analogy with that given in Pf; see also b.50 and b Pf LH Editorial slur added by analogy to that given in b Pf LH S1 omits slur in b.190 (this bar is written out in full; the receding bars, and the following eight, are indicated using the sign ). The edition retains the two-bar slurring given in bb for the remainder of this assage Pf LH Duration of slur in MS is ambiguous: edition extends it until the end of b.207, thus allowing the articulation to highlight the change of rhythmic configuration at b Vn S1 reiterates the direction f following the line break, which occurs between b.216 and b.217. This reetition has been omitted in the edition Pf LH Editorial accents added by analogy with those given 226 Pf LH Editorial accents added by analogy with those given Pf LH Editorial accents added by analogy with those given Pf LH Editorial accents added by analogy with those given 261 Pf LH S1 has a quaver rest instead of a crotchet rest: an obvious error. 273 Vn S1 omits natural sign for uer note of trill: an obvious error, given the harmonic context, which is identical with that of b Pf LH Editorial kyles added by analogy with those given in Pf RH (see also bb ) Pf LH Editorial kyles added by analogy with those given in Pf RH (see also bb ) Pf LH Editorial accents added by analogy with those given 336 Pf S1 gives fermata on chord at b.335; the modern convention has been followed in its lacement in the edition.

21 E D I T O R I A L N O T E S

22 A B B R E V I A T I O N S A N D D E S I G N A T I O N S Vn Pf RH LH violin iano right hand left hand b. bar PITCH DESIGNATION Pitches are assigned an octave using an adated version of the Helmholtz system of notation. An octave is taken to range between Cs; and middle C is designated the symbol c 1, the note an octave above middle C the symbol c 2, the note an octave below c, and so on. DESIGNATION OF CHARACTERS Individual characters within a bar are identified by counting all notes (whether tied or not), rests and accidentals from the beginning of the bar: constituent notes within a chord are counted from the lowest note to the highest. Where there is need to identify a symbol that joins two characters (for instance, a slur or a tie), the symbol numbers involved are conjoined with the letter x. Thus, a slur that joins characters 3 and 5 of a articular bar would be identified by the exression 3x5. Where the symbols are in different bars, the symbol number follows the bar number, the two being searated by an oblique stroke. For examle, the exression 18/6 x 19/2 would refer to an element that joins the sixth symbol of bar 18 and the second symbol of bar 19. The same means of reference is used to designate a secific symbol within the editorial note itself.

23 S O U R C E S 1. The manuscrit of the final version, written in ink with some additions and alterations in ink and encil. Rehearsal letters are written in red ink. S1 Given title on first title age: Sonata in A/(No.2)/for Violin and/pianoforte/by/h Walford Davies. Given title on second title age: Sonata in A major/(no.2)/for Piano and/violin/by/h Walford Davies. Given title above first system: Sonata in A. Royal College of Music Library; classmark: MS The manuscrit of what aears to be an early version of the work, written in ink with extensive corrections, deletions and additions in encil. Rehearsal letters are also written in encil. The manuscrit is inscribed, after the final double-bar: Finished March 14th 1893 (Midday). S2 Given title on title age: SONATA II/FOR/PIANO AND VIOLIN/in A major/h Walford Davies/A major [sic]. Given title above first system: Sonata in A major/for Piano and Violin/(N o 2) Royal College of Music Library; classmark: MS6302(3). Both sources are written on 20-stave manuscrit aer, measuring 343mm x 263mm, with no discernible stams or watermarks. S1 is clearly the rincial source. E D I T O R I A L P O L I C Y All amendments to the sources are indicated as follows: added or altered accidentals, notes and rests are rinted in small tye, with the excetion of editorial accidentals which aly to the uer notes of trills: for the sake of clarity, these are enclosed within square brackets; editorial dots of addition, temo indications and technical instructions are enclosed within square brackets; editorial articulations (staccato dots, tenuto lines etc.) are enclosed within square brackets; editorial dynamic markings such as cresc. and dim. are enclosed within square brackets; editorial dynamic markings such as f and are rinted in light tye; editorial slurs, ties and dynamic hairins are rinted in dashed lines. In cases where the notational conventions of the sources differ from those of modern ractice, the latter has been referred unless articular significance seems to be attached to the use of the original.

24 Where the need for a correction or addition is self-evident (in the case of a missing accidental or rest, for examle), the necessary amendment has been sulied without further comment, other than by means of the indications detailed above. In all other cases, the reason for the amendment has been given in the Editorial Commentary. E D I T O R I A L C O M M E N T A R Y 1ST MOVEMENT Throughout the 6/8 section, in the MS, a half-bar rest is notated by means of a crotchet rest followed by a quaver rest; these are relaced by a single dotted-crotchet rest, according to the convention of modern notation. Bar no. Symbol no. Instrument Comment 8 13 Pf bb.12 & 13 are indicated in S1 by the direction bis written above bb.10 & 11; however, it is not clear whether the slur that encloses bb.8 11 should be extended to the end of b.13. The editorial slurring attern has been deduced by analogy with bb , where S1 gives the figuration in full Pf LH In S1, bb.25 and 26 are searated by a line break; the slur that links bb.24 and 25, and continues into the right margin, indicating an intended continuation, does not continue from b.26. The edition corrects this, extending the slur to the end of b.27 by analogy with the hrasing Pf LH Slur added by analogy with Pf RH Pf LH In S1, the G of this chord is missing; however, the tie from the receding (quaver) G indicates that this is a simle omission. 43 Pf LH Tie and slur added by analogy with Pf RH Pf LH Articulation added by analogy with Pf RH Pf LH Articulation added by analogy with Pf RH Pf LH Articulation added by analogy with Pf RH Pf LH Articulation added by analogy with Pf RH Pf LH In S1, it is unclear to which note the end of the slur is attached: edition slurs to the first beat of

25 b.77, by analogy with b Vn S1 gives this grou of notes as a demisemiquaver quintulet; the edition corrects this to a semiquaver quintulet, according to the convention of modern notation Pf LH Articulation added by analogy with Pf RH Pf RH The comoser s first intention with resect to the first beat of this bar was c 1 with the a 1 in the right hand. This c 1 was later corrected to b and it aears that the comoser omitted to insert the necessary natural sign before the c 1 of this third beat. 134 Pf S1 has at the beginning of the bar; this has not been reroduced in the edition as it is suerfluous in the context of the following direction a temo [ma] semre x3 Pf LH Slur added by analogy with those of b Vn Editorial dim. added to follow that of Pf in b.152 and to allow for the given in b Pf LH Articulation added by analogy with Pf RH. 162 Pf RH Articulation added by analogy with b.56: the articulation of bb is in all other resects identical to bb Pf LH S1 gives the first note as a dotted crotchet; the editorial alteration has been made in order to make the figuration of this bar analogous to that of b.59: the alteration also allows the length of the first quaver of the second beat to be identical to that of the Pf RH. 168 Pf LH Slur added by analogy with Pf RH Pf RH Slurs added by analogy with Pf LH Pf LH Slur added by analogy with that of Pf RH. 201 Vn The direction dim. e oco rit. added by analogy with that given in Pf Pf LH Articulation added by analogy with that of Pf RH. 209 Pf The direction morendo added by analogy with that

26 given in Vn. 219 Vn Articulation (dot shortening the last crotchet) added by analogy with those given in Pf. SECOND MOVEMENT The rerise of the Scherzo of this movement (bb in this edition) is indicated in the MS by the direction Da Cao Scherzo e oi la Coda. This rerise is rinted in full in the edition for ease of erformance. In the absence of any such qualification as senza reetizione, the reeat signs have been retained. The ossia staves for the Pf LH derive from an instruction written by the comoser under the first system. Indicating the Pf LH, he writes: This figure may be reversed, so: ; there follows the first two bars of the Pf LH, rewritten according to the ossia figure given in the edition. All analogous assages in the movement have been so treated. It is clear, both from the wording of the instruction and from the fact that the original is not deleted, that Walford Davies regarded the two versions as equally viable for erformance. Bar no. Symbol no. Instrument Comment 8 & 108 Pf Editorial cresc. added by analogy with that given in Vn. 11 & 111 Pf Editorial f added by analogy with that given in Vn. 24 & 124 Vn Editorial dim. added by analogy with that given in Pf and also to allow for the given in b & Pf LH S1 gives the uer note of the second quaver as g 1 ; edition alters this to f 1 by harmonic analogy with the third beat of b.27 (b.127 in the da cao) furthermore, the alteration allows a descending melodic line to be traced from the g 1 of b.27/3, through the f 1 of b.28/2 and the e 1 and d 1 of b.29 to the c 1 of b Pf LH Editorial slurs added by analogy with those given Vn Editorial slur added by analogy with that given in bb Pf Editorial cresc. added by analogy with that given in Vn and also to allow for the given f in b Pf RH Slurs added by analogy with those given in Vn, whose line the Pf doubles during this assage: the

27 unity of melodic material would seem to indicate a unity of articulation. 149 Pf LH Editorial tie added in order to make the hrasing of this assage analogous to that given at bb (a hrase-length of five bars, searated by tied edal-notes into a grouing of two bars followed by three bars, is a feature of the Trio section of this movement). THIRD MOVEMENT Bar no. Symbol no. Instrument Comment 1 Pf LH Articulation added in lower voice by analogy with that given in uer voice. 2 3 & 9 Pf LH Articulation added in lower voice by analogy with that given in uer voice. 2 14, 16 & 18 Pf LH Articulation added by analogy with that given in Pf RH. 4 Pf LH Articulation added by analogy with that given in Pf RH. 5 Pf LH Editorial areggiation sign added for technical reasons (the range of the chord is too large for it to be sanned). 9 Pf LH Articulation added by analogy with that given in Pf RH (see also bb.2&4). 11 Pf LH Articulation added by analogy with that given in Pf RH. 15 Pf LH Editorial slur added to reflect the doubling in thirds by this line of the inner voice of Pf RH. 19 Pf LH Editorial slurs added to match those given in Pf RH. 20 Pf LH Editorial slur added to match that given 30 Pf RH Slurs added by analogy with those given in Pf RH in b.29; the answering figure in the Vn is similarly articulated in both bars. 35 Pf LH (3rd stave) Articulation added by analogy with that given in Pf RH (see also b.11).

28 47 Pf oco cresc. added editorially to corresond with that given in Vn; also to allow for the following dim Pf LH Articulation added in lower voice by analogy with that given in uer voice (see also bb.1&2). 59 4x5 Pf RH Editorial tie added by analogy with the articulation given in b.58: furthermore, the greater emhasis that would be lent to this first beat, were the tie not resent, would be at odds with the direction semre dim. of the revious bar Pf LH S1 gives the first note of the acciaccatura as F: an obvious error, given the surrounding figuration. 64 7x9 Pf RH Editorial tie between the two f 1 added by analogy with that between the two d 2 ; see also Pf LH in this bar. 67 Pf Articulation added by analogy with that given in Vn; see also b Pf Editorial hairin cresc. added by analogy with that given in Vn; also to allow for the given f in b Pf Editorial dim. added by analogy with that given in Vn; also to allow for the given in b.70. FOURTH MOVEMENT Bar no. Symbol no. Instrument Comment 1 2 Pf LH Editorial accents added by analogy with those given 4 5 Pf LH Editorial accents added by analogy with those given 9 10 Pf LH Editorial accents added by analogy with those given Pf LH Editorial accents added by analogy with those given 28 Vn S1 extends hairin cresc. only to b 1 ; edition extends it to the end of the bar in consideration of the given sf on the first beat of b Pf S1 reiterates the direction dim. following the age break, which occurs between b.45 and b.46. This

29 reetition has been omitted in the edition Pf RH S1 gives a as the uer note: edition corrects this to c 1, consistent with the octave doubling of the melodic line that is characteristic of this entire assage; the analogy with b.166 resents a case for this alteration, rather than an editorial change of the lower note to A, as does the fact that A/a would result in a strong and, in this context, uncouth dissonance with the G of Pf LH. 54 Pf LH S1 omits slur; which is, however, written as a continuation through b.55: an obvious oversight. 71 & 72 Pf LH Editorial slurs added by analogy with the articulation given in b.70 and b Pf LH S1 slurs b.82 alone (this bar is written out in full; the receding six bars, and the following three, are indicated using the sign ). However, it seems imrobable that the articulation of a reetitious bassline would change in the middle of the hrase; therefore, the edition retains the two-bar slurring of the receding eight bars for bb.82 to Pf RH S1 omits slur; which is, however, written as a continuation through b.91: an obvious oversight Vn S1 aarently gives both versions of the Vn art equal status: there is nothing to indicate that either version is a correction. Which version is used is, therefore, left to the erformer s discretion. 100 Pf RH S1 omits slur; which is, however, written in b.99 with an extension over the line break Pf RH S1 laces a treble clef at the beginning of b.103; however, the bass clef which should be at the beginning of b.106 is missing (it is correctly given at the start of the new stave which, in the MS, falls between b.108 and b.109). The bass clef has, therefore, been retained in the edition, as the b/d chord lies quite comfortably in the bass clef and a change of clef for two bars only may aear uncouth. 163 Vn S1 omits slur; which is, however, written in b.162 with an extension over the line break.

30 179 Vn Editorial added by analogy with that given in Pf; see also b.50 and b Pf LH Editorial slur added by analogy to that given in b Pf LH S1 omits slur in b.190 (this bar is written out in full; the receding bars, and the following eight, are indicated using the sign ). The edition retains the two-bar slurring given in bb for the remainder of this assage Pf LH Duration of slur in MS is ambiguous: edition extends it until the end of b.207, thus allowing the articulation to highlight the change of rhythmic configuration at b Vn S1 reiterates the direction f following the line break, which occurs between b.216 and b.217. This reetition has been omitted in the edition Pf LH Editorial accents added by analogy with those given 226 Pf LH Editorial accents added by analogy with those given Pf LH Editorial accents added by analogy with those given Pf LH Editorial accents added by analogy with those given 261 Pf LH S1 has a quaver rest instead of a crotchet rest: an obvious error. 273 Vn S1 omits natural sign for uer note of trill: an obvious error, given the harmonic context, which is identical with that of b Pf LH Editorial kyles added by analogy with those given in Pf RH (see also bb ) Pf LH Editorial kyles added by analogy with those given in Pf RH (see also bb ) Pf LH Editorial accents added by analogy with those given 336 Pf S1 gives fermata on chord at b.335; the modern convention has been followed in its lacement in the edition.