The American Viola Society. suite. for viola alone. Quincy Porter ( ) AVS Publications 008

Transcription

1 The American Viola Society suite or viola alone Quincy Porter (897966) AVS Pulications 8

2 Preace The American comoser Quincy Porter ( ) comleted his Suite or Viola Alone on Octoer 5, 9, during a threeyear stay in Paris unded y a Guggenheim Fellowshi Porter remiered the work at a critically successul recital devoted to his music at the Salle Choin on Feruary 8, 9; this concert greatly urthered his reutation as oth a comoser and violist Ater his return to the United States, Porter held teaching and administrative osts at the Cleveland Institute o Music, Vassar, the New England Conservatory o Music, and Yale Highly committed to the develoment and romotion o American music, Porter was among a grou o comosers who coounded the American Music Center (Aaron Coland and Howard Hanson were two o his notale colleagues in this endeavor) While Porter s music exhiits a twentiethcentury tonality, he eschewed many o the avantgarde exeriments o his ellow comosers and ocused on writing wellcrated music in traditional orms The Suite or Viola Alone is a model o Porter s suer comositional cratsmanshi: idiomatically written or the viola, the suite s our tightly constructed movements dislay a mixture o styles and harmonic consonance and dissonance The irst movement, Lento, exlores the viola s color alette and leads directly into the renetic Allegro urioso, with a ulsating rhythmic drive that suggests a locomotive The lyrical third movement, Larghetto esressivo, is a calm and serene moment o reose eore the oisterous Allegro siritoso, an imressive eat o iddling that reveals Porter s American roots This AVS edition is made ossile y the generosity o the Quincy Porter estate Please see the Critical Comments or additional details on the sources or this edition David M ynog, editor Octoer 5

3 Lento q» 8 III w o J J n J # F J # J P, π # n # # #, n j j cresc J 6 oco ritardando a temo 9 II j j j j J J F dim π oco accelerando # # # J J J # J # n oco a oco cresc # # rit n J a temo 9 # n # II # n o o 6 8 P π dim Allegro urioso ek» 6 8 π oco ritardando ƒ oco a oco accel e cresc* n Suite or Viola Alone II ( oco a oco cresc )* I II Quincy Porter Edited y David M ynog # I *See the critical comments regarding the location o this crescendo 97 Quincy Porter Estate AVS Pulications, AVS 8 Rerinted 5

4 ek» 68 o 6 5 dim P oco a oco cresc 6 n 9 n # o 6 ƒ 6 5 ƒ n # n n n j F # # 8 # # 6 8 n # n 6 # cresc n n n n ^ n ^ 5 # 6 9 # 6 8 dim oco a oco ^ ^ # Porter Suite or Viola Alone

5 ^ ^ oco a oco ritardando n ek» π 67 π semre 6 5 j n n n 7 oco rit j j j II j n 6 # J J n J U Œ Ø Ø 7 Porter Suite or Viola Alone

6 8 Larghetto esressivo e» # P esress oco accel J cresc a temo, oco iù mosso n oco a oco cresc # o oco ruato dim # # rit oco accel # a temo e» 88 n # # ten o rit # a temo II J # oco rit ƒ dim a temo,, n o n n n n π π π oco a oco cresc ed accel # n # n # n # 6 # # ƒ 5 Allegro siritoso q» 8 # # # # # dim # # # # n F 5 dim # cresc # # Porter Suite or Viola Alone

7 5 # # # cresc dim # n dim F 55 cresc oco a oco 6 65 ( a temo )** 7 ( oco ritardando )** # # # # ƒ 75 # # # # # # # # # # dim oco a oco cresc 8 # # # # # # # # 85 # # # # J, # # Ï ** See the critical comments regarding the accuracy o these temo markings Porter Suite or Viola Alone ^ Fine Œ J Paris, Oct 5, 9

8 Critical Comments In rearing this edition, two sources were consulted rom the Quincy Porter aers in the Irving S Gilmore Music Lirary o Yale University: a holograh score marked original manuscrit, earing a coyright date o 97 (HM) and the Valley Music Press (VMP) edition, earing a coyright date o 97 and ulished in 96 Two other sources were consulted: an edition titled Suite Para Viola Solo ulished in the oletín LatinoAmericano de Música vol 5, sulemento musical (Oct 9): 9 9 (LM) and Porter s recording o this work (New Music Recordings 5, 99; CRI SRD 9, 978) While there are discreancies among the HM, VMP, and LM sources, this new AVS edition largely adheres to the holograh manuscrit, which contains several markings that do not aear in the VMP or LM edition In addition to several extra ingerings, other markings (and alternative readings in the other editions) aear elow: M 8 In the HM, a slur aears over the irst two notes o the trilet on eat three M 7 In the HM, a marcato accent () aears over the second eighth note o the measure M 6 8 The HM and LM edition contain the marking oco a oco accel e cresc in M 6 The VMP edition contains only oco a oco accel in M 6, with the marking oco a oco cresc in M 8 (In Porter s recording o the work, he egins oth a crescendo and accelerando in M 6) M The LM edition contains an additional marcato accent on the irst note (# ) o the second threenote grouing o sixteenth notes, which is likely a transcrition error M The HM contains a tie etween the second and third notes (g) in the lower voice, which is asent in the VMP and LM editions M 5 In the HM, dashes aear on the irst sixteenth note o each threenote grouing o sixteenth notes in this measure M 8 The marcato accents in the HM are laced etween the uer and lower viola voices The VMP and LM editions transcried this as an accent in each voice As the lacement o these accents in the HM seems to e a sace issue (text comletely ills the sace aove the staves, reventing any additional markings there), the accents likely are intended only or the uer voice, similar to M 6 M 9 In the HM, a slur aears on the third eat s second and third sixteenth notes M 6 In the LM edition, a marcato accent aears on the ourth note in this measure, which is likely a transcrition error M 57 In addition to the sorzando accents (^) on the ith and eleventh notes in this measure, marcato accents () aear elow these notes in the LM edition, which are likely transcrition errors

9 M 7 In the HM and LM edition, the uer voice s inal eat consists o a sixteenth note and an eighth note ollowed y a sixteenth rest This was transcried in the VMP edition as two sixteenth notes ollowed y a sixteenth rest and is also reroduced here as such M 76 The HM contains a time signature change to, which is asent in the VMP and LM editions M 77 In the HM, a ermata aears over the inal arline M 78 In addition to the temo marking o Larghetto esressivo, the HM and LM edition also contain the marking esressivo M 9 In the HM, a dash aears over the irst note o this measure M 6 7 The HM and LM edition contain a crescendo rom the third eat o M 6 to the second eat o M 7, with a dynamic marking o on the second eat o M 7 M 8 The HM and LM contain the marking oco a oco cresc ed acccel The VMP edition searates these into two markings: oco a oco cresc and oco a oco accel M 5 The HM contains the temo marking Allegro siritoso; the VMP and LM editions Allegro sirituoso M 7 In the HM and VMP edition, a dot aears over the second note in this measure (e ), which is asent in the LM, likely owing to a transcrition error M 9 In the HM and VMP edition, a dash aears over the irst note in this measure, which is asent in the LM, likely owing to a transcrition error M 7 In the HM, a marcato accent aears on the seventh sixteenth note o the measure ( ) In the VMP and LM editions, the accent aears on the eighth sixteenth note (lat ), which, given the lacement o other accents throughout this movement, is likely a transcrition error M 7 7 The HM and LM edition do not contain a oco ritardando and a temo in these measures, nor is there a noticeale ritard in M 7 in Porter s recording The resence o these markings in the VMP edition cannot satisactorily e exlained as a transcrition error, so Porter likely chose to incororate these notations in the VMP edition M 88 In the HM and VMP edition, a dash aears over the irst note in this measure, which is asent in the LM, likely owing to a transcrition error David M ynog, editor Octoer 5

10 AVS PULICATIONS VIOLA SOLO VIOLA AND PIANO VIOLA AND ORCHESTRA o Coert Music or Only One Lonely Viola AVS 8 John Duke Suite or Viola Alone AVS 7 Ivan Langstroth Viola Suite AVS Quincy Porter Suite or Viola Alone AVS 8 Jeong Eun Park Mook Nyum (A Moment o Silence) AVS 9 Frederick Slee Variations on a Hymn Tune or Solo Viola AVS TWO VIOLAS o Coert Three Moods or Two Violas AVS Felix Mendelssohnartholdy Canon or Two Violas AVS Scott Slain Caricious AVS THREE VIOLAS VIOLA ENSEMLE (FOUR OR MORE) J S ach Sinonia rom the Cantata: Gleichwie der Regen und Schnee vom Himmel ällt AVS 5 Léo Delies La Paix, rom Coélia, or Solo Viola and Viola Quartet AVS a Matthias Durst Adagio or Four Violas AVS Felix Mendelssohnartholdy Adagio rom String Sinonia VIII AVS a Santiago E Osorio Theme Envy or Four Violas or FourPart Viola Ensemle AVS Hendrik Waelut Cantaile or Four Violas AVS 8 Max von Weinzierl Nachtstück ür Violen, o AVS 9 Jeanne ehrend Lamentation or Viola and Piano AVS 5 lanche lood arcarolle or Viola and Piano AVS Léo Delies La Paix, rom Coélia, or Viola and Piano AVS Ernő Dohnányi Intermezzo, rom Symhony No, or Viola and Piano AVS a Arthur Foote Melody or Viola and Piano, o a AVS 5 Peter Racine Fricker Fantasy or Viola and Piano, o AVS Carl Fuerstner Two Pieces or Viola and Piano AVS Henry Holden Huss Sonata Movement or Viola and Piano AVS Edna Frida Pietsch Andante Cantaile or Viola and Piano AVS Quincy Porter Seed Etude or Viola and Piano AVS 7 Ferdinand Praeger Elegy or Viola and Piano AVS Gustav Strue Regrets or Viola and Piano AVS Theodore Thomas Divertissement or Viola and Piano AVS 6 Fidelis Zitterart Jr Sonata No in G Minor or Viola and Piano AVS Louise Lincoln Kerr Etude AVS VIOLIN AND VIOLA J N Pychowski Peretual Canon AVS 7 Ernő Dohnányi Intermezzo, rom Symhony No AVS Cecil Forsyth The Dark Road or Viola and String Orchestra AVS W A Mozart Princial Viola Part or Sinonia Concertante, K 6, Extended Scordatura Edition AVS 9 Princial Viola Part or Sinonia Concertante, K 6, Scordatura Edition AVS 9a G P Telemann Concerto or Two Violettas, TWV 5:G Critical Edition Including Alternative Scordatura Solo Parts AVS 5 MIXED ENSEMLES J S ach Chorale: Ich, dein etrutes Kind, or Sorano, Viola oligata, and Continuo rom the Cantata Mein Herze schwimmt im lut AVS Ergieße dich reichlich,du göttliche Quelle, Aria or Tenor, Viola, and Continuo rom the Cantata Wo soll ich liehen hin AVS Hochgeloter Gottessohn, Aria or Alto, Viola, and Continuo rom the Cantata lei ei uns, denn es will Aend werden AVS 9 Sinonia rom the Cantata: Gleichwie der Regen und Schnee vom Himmel ällt AVS 5 Michael Colgrass Revisions to Variations or Four Drums and Viola AVS 6 Felix Mendelssohnartholdy Adagio rom String Sinonia VIII AVS Quincy Porter Little Trio (Suite in E Major) or Flute, Violin, and Viola AVS 6 htt://americanviolasocietyorg/resources/scoresh