Cyril Scott SONATA. for Viola & Piano. edited by. Rupert Marshall-Luck EMP SP006

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1 Cyril Scott SONATA for Viola & Piano edited by Ruert Marshall-Luck EMP SP006

2 [I] Allegretto (e=c.10) 6 f Allegretto (e=c.10) 6 m oco cresc

3 oco rit. a trifle lingeringly 9 dolce e esr. a trifle lingeringly oco esr cresc. 9 6 cresc. 9 6

4 Allegro (q=c.116) Allegro (q=c.116) Humoresque II 7 mf f m mf avec nuance m

5 Adagio (q [=] c.96) Adagio (q [=] c.96) III esress. ma och. cresc. oco rubato rit.

6 Allegretto (e=c.10) [I] 6 6 f oco rit. a trifle lingeringly dolce e esr cresc. 7 voilé wistful 6 9 och. tenuto a temo 9 mf 9 6 oco seml[ice] 9 non redominante 6 7

7 II Humoresque Allegro (q=c.116) mf 7 avec nuance 9 dolce rit. tranq[uillo] 1 a temo sfz 1 mf non redominante allargando a temo f 19 a shade lingeringly m cantab. oco tenuto a temo 6 m 6 9 cant. cant.

8 III Adagio (q [=] c.96) oco rubato rit. a temo esr. e son[ore] 9 7 oco rit. a temo, iù mosso mf 7 attacca mf Energico (e = 1) a trifle lingeringly oco och. rit. a temo

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

10 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 Va Pf RH LH viola 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, 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 and of a articular bar would be identified by the exression x. Where the symbols are in different bars, the symbol number follows the bar number, the two being searated by a oint. For examle, the exression 1.6 x 19. would refer to an element that joins the sixth symbol of bar 1 and the second symbol of bar 19. The same means of reference is used to designate a secific symbol within the editorial note itself.

11 S O U R CE A coy of the manuscrit of the final version, written in ink, with a few corrections made by crossings-out and scratching-out; more extensive revisions have been made by asting aroriatelytrimmed ieces of manuscrit aer over the original. Title, given above the first stave of the first age, reads: Viola Sonata. ; on the right-hand side, of the same age, again above the first stave, the comoser s name is given as Cyril Scott. Original in the rivate collection of Desmond Scott. The autograh is written on 1-stave manuscrit aer, the sheets numbered sequentially, aarently by the comoser. No watermarks or stams are visible. 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 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. 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 Bar no. Symbol no. Instrument Comment 0 Pf MS gives quaver rest; an obvious error. Pf l MS gives hairin over final quaver of this bar; as this aears to relicate that given in Pf u, it has not been relicated in this edition. (Cf. notation of analogous assages at b. and at b..)

12 10 11 Pf Dynamics given in Pf l translated so as to aly to both staves; the arallel melodic lines in each staves justifies this treatment. 7 Pf l MS gives B as dotted crotchet: an obvious error, given the following B 1 quaver in the same voice. 1 Pf u Duration of slur is not clear in MS; the melodic and rhythmic shae of the bar, as well as the resence of the motivically-imortant acciaccatura at the beginning of b.19, justifies the editorial marking. Pf l MS gives g as two tied quavers, the second sharing a stem with the a and f 1. The editorial alteration clarifies the voicing and the articulation. 76 Pf l MS gives A as two tied quavers, each quaver sharing a stem with the F and F resectively. The editorial alteration clarifies the voicing and the articulation. 71 Pf u Editorial accent in lower voice added by analogy with that given in uer voice. 7 Pf u Editorial accent in lower voice added by analogy with that given in uer voice. 9 Va Editorial forte given by analogy with the dynamic level given in Pf. 9 Va MS extends hairin cresc. to f 1 ; editorial extension takes account of the trajectory of the melodic line and the osition of the highest oint of the hrase. (See also note for b.9 Pf.) 9 Pf MS extends hairin cresc. to nd crotchet; editorial extension takes account of the trajectory of the melodic line and the osition of the highest oint of the hrase. 10 Va MS gives alto clef immediately before the b 1, giving a treble clef before the f of b.10; such changes seem suerfluous, taking into account the duration of the assage and the registration. 110 Pf u MS gives d 1 as two tied quavers: the editorial alteration clarifies the voicing and the articulation Pf Editorial slur in lower voice added by analogy with that given in uer voice.

13 10 Pf l MS designates A and G shared stems with the tied d and f ; the editorial alteration serves to clarify the articulation, esecially with resect to the slur. 119 Pf MS gives quaver rest: an obvious error, given the alignment with the Va art. 11 Pf l In the MS reading, the e and the e share a stem with the other notes in these two chords; the editorial alteration clarifies the voicing and the articulation. 11 Pf l MS omits quaver rest. 1 Pf l MS gives first chord as dotted minim: an obvious error. 116 Pf l Editorial accent added by analogy with that given in Pf u. 17 Pf l Editorial accent added by analogy with that given in Pf u Pf l Editorial slurs added by analogy with those given in Pf u. 17 Pf u Editorial tenuto lines in lower voice added by analogy with those given in uer voice. 176 Pf l MS gives g as two tied quavers, the second sharing a stem with the a and f 1. The editorial alteration clarifies the voicing and the articulation. 17 Pf l Editorial accent added by analogy with that given in Pf u Pf u MS gives semiquaver rest: an obvious error. 19 Pf l MS omits crotchet rest Pf l MS gives B in lower voice as crotchet: edition corrects this to a quaver, having regard for the following attern of ties. 190 Pf l Editorial accent in lower voice added by analogy with that given in uer voice. 01 Pf l Editorial tenuto line added by analogy with that given in Pf u. 10 Pf l Editorial accent added by analogy with that given in Pf u. 16 Pf l Editorial tenuto lines added by analogy with those given in Pf u.

14 SECOND MOVEMENT Bar no. Symbol no. Instrument Comment Pf l Editorial tenuto lines added by analogy with those given in Pf u. 10 Pf l MS designates b the same stem as the other notes of the chord: the editorial alteration clarifies the voicing (esecially imortant with regard to the given tenuto line on this note). 19 Pf u Editorial accent added by analogy with that given in uer voice. 6 Pf u MS gives what aears to be a tie attached to the d 1 ; however, no d 1 is given in b.7 (which bar begins a new system). The tie has therefore been suressed in the edition in reference to adding an editorial note to the chord on the first crotchet of b.7 (the falling minor third, f 1 to d 1, may be regarded as forming a comlement to the rising minor third, c 1 to e 1, which is found in the first half of b.6 in the lowest voice of Pf u.) 0 Va MS recedes the last crotchet of this bar with a flatsign in brackets: the brackets are redundant in context and so have been omitted from the edition. 9 Va Editorial direction simile added: no articulation is indicated in the MS for the iterated semiquavers beyond the staccato dots marked on the first air; however, it seems robable, given the figuration, that the same manner of articulation would be required for the remainder of the assage in question. 0 Pf l MS gives last chord of this bar as dotted crotchet, followed by a quaver rest: an obvious error. It would aear, from the alignment of the quaver rest with resect to the f 1 /b 1 quaver in Pf u, that a semiquaver rest is intended, thus imlying the value of a dotted quaver for the receding chord. 60 Pf Editorial edal release added by analogy with that given in b.. 6 Va Editorial direction simile added: no articulation is indicated in the MS for the iterated semiquavers beyond the staccato dots marked on the first air; however, it seems robable, given the figuration, that the same manner of articulation would be

15 required for the remainder of the assage in question. (See also b.9n.) 6 Va Editorial double-staccato marks added by analogy with that given on first quaver (see also b.9n. and b.6n.). 7 Pf l Editorial hrase-mark added by analogy with that given in Pf u. 7 Pf l Editorial hrase-mark added by analogy with that given in Pf u. 77 Pf l Editorial accent added by analogy with that given in Pf u. Pf MS aears to give the direction oco cresc. coinciding with the first beat of b.; editorial alteration made by analogy with the given lacement of the same dynamic direction in Va, the melodic line of which the Pf arallels until the third crotchet beat of b.. Pf l Editorial slurs and dots of articulation added by analogy with those given in Pf u. THIRD MOVEMENT Bar no. Symbol no. Instrument Comment Pf l MS omits final crotchet, thus giving only six crotchets -worth of notes in a 7/ bar: an obvious error. 0 1 Va MS gives dot of addition after semibreve c : an obvious error, given the minim that follows. 6 Va The length and starting-oints of the first two slurs in this bar are somewhat ambiguous: the editorial solution follows the clearer slurs given in Pf, having consideration for the arallelity of the melodic lines. 6 Va MS extends hairin cresc. only to f 1 ; editorial extension made with regard to the aex of the melodic and the given hairin cresc. in Pf, the end of which coincides with a slight thickening of texture. 6 Pf u Final semiquaver rest in MS has been omitted (it aears to have been written as a quaver rest, which was then deleted; but the necessary correction was never made).

16 Pf MS gives first chord as dotted crotchet: the alignment of this bar with resect to the Va art makes it clear that a crotchet is intended. 10 Pf MS gives a minim chord followed by a crotchet chord, omitting the crotchet rest. It is, of course, ossible that the comoser intended the first chord to be a dotted crotchet in duration; but the addition of an editorial crotchet rest has been made on the basis that its omission is more likely than that a dot of addition should have been omitted from the nine notes of which the first chord is comosed (rests are occasionally missing in the MS; dots of addition are not). 10 Pf l Editorial accent added by analogy with that given in Pf u. 10 Pf l Editorial accents added by analogy with those given in Pf u. 111 Va Editorial direction simile added: no articulation is indicated in the MS for the iterated semiquavers beyond the staccato dots marked on the first four; however, it seems robable, given the figuration, that the same manner of articulation would be required for the remainder of the assage in question. 1 Va Editorial dots of articulation added by analogy with that given at b.1/10. 1 Pf l Editorial tenuto line added by analogy with that given in Pf u. 16 Pf l Editorial accents added by analogy with those given in Pf u.

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

Henry Walford Davies. SONATA n r 2. in A major for Violin & Piano. edited by. Rupert Marshall-Luck EMP SP002 Henry Walford Davies SONATA n r 2 in A major for Violin & Piano edited by Ruert Marshall-Luck EMP SP002 I Poco agitato (quasi Allegro) Poco agitato (quasi Allegro) 8 Allegro semlice Allegro semlice 14