A Transcription of Four Viola Works by. York Bowen for Clarinet and Piano. Andrew Caleb DeBoer

Transcription

1 A Trascritio o our Viola Works y York Boe or Clariet ad Piao y Adre Cale DeBoer A Research Paer Preseted i Partial ulillmet o the Requiremets or the Degree Doctor o Musical Arts Aroved Novemer 2011 y the Graduate Suervisory Committee: Roert Srig, Chair Gary Hill Timothy McAllister Kay Norto Sadra Stauer ARIZONA STATE UNIVERSITY Decemer 2011

2 2011 Adre Cale DeBoer All Rights Reserved

3 ABSTRACT Works or clariet i the tetieth cetury exist i audace; urthermore, the umer o extat orks rom the Classical eriod is sustatial Hoever, orks or solo clariet i the lateromatic style are lackig; most o the sigiicat literature or clariet is cotaied i orchestral orks Thereore, the urose o this roect is to add to the solo clariet reertoire o the late Romaticstyle through the trascritio o orks ritte origially or viola The our orks trascried or this roect are y York Boe Boe as a British comoser ad iaist ho taught at the Royal Academy o Music i Eglad Although his career lourished i the tetieth cetury, his music relects the music o the lateromatic style The roect icludes a trascritio o Boe's Soata No 1 i C mior, O 18 or viola ad iao, Soata No 2 i maor, O 22 or viola ad iao, Romace i Dlat or viola ad iao, ad Phatasy i, O 54 or viola ad iao Additioally, a rie examiatio o Boe s lie, a overvie o each iece, details regardig trascritio arts, a list o chages made to the origial art, ad a recordig o each trascritio is icluded i the documet i

4 ACKNOWLEDGMENTS I ould like to thak the memers o my committee, Gary Hill, Kay Norto, Tim McAllister, ad Sadra Stauer, or helig me throughout my career as a studet at Arizoa State Uiversity Because o them I have gaied much isight ad advice i my ritigs ad research, as ell as through the coachig ad directig o various esemles The koledge I have asored rom them is ivaluale Most o all I at to thak my teacher ad chair o my committee, Roert Srig While eig a isirig artist, he has also ee a amazig teacher ad great ried these last e years He has ushed me to e ad higher levels o musiciashi ad has give me the tools to cotiue urther Lastly, I'd like to thak Dera McKim or cultivatig a love or music i me ad or givig me the tools to egi my lielog ursuit I ould like to thak Matt Miracle or itroducig me to the music o York Boe, or suggestig the idea or this roect, ad or the hours he ut i to hel me roduce the recordig or the roect Because o him I am ale to eoy the music o York Boe ad have ee ale to eoy orkig o this roect rom egiig to ed I ould also like to thak all o my amily, esecially my arets or their cotiual suort ad hel throughout my musical ad school careers Their suort ad ecouragemet have ee ivaluale ii

5 Additioally, I ould like to thak my ie, Allissa, or her love ad suort Her ords o ecouragemet ad acts o sellessess have gotte me through this roect ad to this oit i my musical lie She is a amazig erso ially, as i all my ork ad lie, soli Deo Gloria iii

6 TABLE O CONTENTS Page INTRODUCTION Exlaatio ad summary o the roect 1 CHAPTER 1 HISTORICAL OVERVIEW Musical Atmoshere i Britai Aroud 1900 York Boe: A Brie Look at His Lie8 Lioel Tertis: A Isiratio or Viola Works 15 2 OVERVIEW AND EXPLANATION O CHANGES 18 Soata No 1 i C mior, O Romace i Dlat 22 Phatasy i, O Soata No 2 i Maor, O 22 0 Coclusio List o Solo Part Alteratios 4 BIBLIOGRAPHY44 APPENDIX 46 TRANSCRIPTIONS Soata No 1 i C mior, O Romace i Dlat 90 iv

7 Phatasy i, O Soata No 2 i Maor, O RECORDINGS Soata No 1 i C mior, O 18 Romace i Dlat Phatasy i, O 54 Soata No 2 i Maor, O 22 v

8 INTRODUCTION Exlaatio ad summary o the roect This roect is due i art to the love the author has or clariet music i the Romatic style The amout o clariet music rom this eriod, hoever, is rather limited I more music rom this style is to exist or clariet it ill have to e oud, e music ill have to e ritte, or music origially comosed or other istrumets ill have to e trascried or clariet Sice the latter method o otaiig e Romaticstyle music or clariet seems most reasoale, this as the method chose or the roect O the may istrumets hose orks ca e trascried or clariet, viola is oe o the most romisig choices due to its similarity i rage ad timre to the clariet Oce the decisio to trascrie viola music as made or this roect, the ext ste as to id ieces rom either a variety o comosers or rom oe comoser ith may viola orks Ater eig itroduced to the music o York Boe ( ), I as struck oth y the souds o his melodies ad harmoies I chose our o his viola ad iao ieces or this roect Ilueced y coyright rules, the our ieces ere rom early i his career, datig rom 1918 or earlier Notithstadig his tetiethcetury liesa, his ieces remai i the lateromatic idiom; hoever, ecause o the evolutio o music all aroud him, Boe s music is ot strictly o the late Romatic style While his music does ot evolve like that o his cotemoraries, Boe s music takes o various asects o 20 th cetury characteristics Although his music is ot strictly 1

9 Romatic, ut ecause his music is more closely aliged ith that o the late Romatic era tha the music o his cotemoraries, I ill reer to Boe s music as eig i the Romatic style throughout this aer The resultig trascritios ill e a elcome additio to the existig clariet music i the Romatic style While orks or clariet i the tetieth cetury exist i audace ith a sustatial amout o orks i the Classical style as ell, the umer o solo orks or clariet i the late Romatic style is much loer While there are some orks or solo clariet i the Romatic style, most o the maor literature or clariet as i the orchestral gere durig the Romatic era The revival o solo ad chamer orks or clariet is ote accredited to Brahms, ut this revival came at the ed o his lie ad the Romatic era Cosequetly, clarietists have a relatively small amout o orks i this style rom hich to choose Thereore, this roect as desiged to add to the reertoire o solo clariet music i the Romatic style The roect icludes a trascritio o Boe's Soata No 1 i C mior, O 18 or viola ad iao, Soata No 2 i maor, O 22 or viola ad iao, Romace i Dlat or viola ad iao, ad Phatasy i, O 54 or viola ad iao A recordig o all our ieces is aeded as ell Icluded i the documet is a rie ackgroud o the musical cotext o York Boe's childhood ad early career as ell as a rie accout o his early career ad lie As ell, a rie overvie o each iece, a exlaatio o certai trascritio diereces, ad a list o seciic chages to the solo arts are eclosed i the documet 2

10 CHAPTER 1 HISTORICAL OVERVIEW MUSICAL ATMOSPHERE IN BRITAIN AROUND 1900 I May 188, the year eore York Boe as or, Sir George Grove ( ) had maaged to secure eough moey to estalish the Royal College o Music ouder o the Grove Dictioary o Music ad Musicias, George Grove as seekig to uild or Great Britai a e atioal idetity i music With music aig at the Royal Academy o Music ad the Natioal Traiig School or Music, Grove ega raisig moey to egi a e school The Natioal Traiig School as reormed ito the Royal College o Music As art o oudig the school, Grove recruited youg ad iluetial eole to aid him i his visio o moderizig Eglish music ad icreasig its stadards o erormace Three o the me he recruited, Huert Parry( ), Walter Parratt( ), ad Charles Villiers Staord( ), ould e couted amog the most iluetial scholars o the Eglish Musical Reaissace These me ere i Grove's ier circle, helig him see his visio come to ruitio 1 Huert Parry, though ot idely ko he he oied the Royal College o Music, evetually ecame ko as a comoser ad riter He also succeeded Grove as the director o the RCM i 1894 ad cotiued to ork or the visio o more ad etter music i Eglad ad more ad etter Eglish music I cotrast to Parry, Staord already had a atioal reutatio he oiig the RCM He 1 Roert Stradlig ad Meirio Hughes, The Eglish Musical Reaissace : Costructio ad Decostructio, (Ne York: Routledge, 199), 2527

11 had ee a roessor at Camridge Uiversity ad, havig comosed to symhoies ad secured a oera remiere i Germay, had a rove record i comositio 2 Parratt, the third memer o Grove's ier circle, as a orgaist coected to the church music estalishmet at Oxord ad the Chael Royal He as the most coservative o the three, avorig comosers like Medelssoh over those like Max Reger; hoever, he as oe o the irst to sot Elgar's talet, ad he heled secure the atroage o the Royal court or the RCM ad the Reaissace As the RCM s irst director, Grove shaed the istitutio s directio ad visio; ith the hel o his ier circle, Grove urther iteded to iluece the uture o Eglish music His irst task as to gai the suort o those ho still held to more traditioal music The musical ackoe o mid ieteethcetury Eglish music as the choral music estivals held at various times o the year Begu as charity evets, these estivals ere held to make a roit Orgaizers o the rograms used ulicly avored music desiged to make larger roits Because o these iacial imeratives, the oratorios o Hadel, Hayd, ad Medelssoh domiated these estivals Because e icetives ecouraged reseters to try music y other comosers, these choral estivals, hich ilueced a large ortio o Eglad's atioal music, ere a arrier to Grove's visio o moderizig music 2 Stradlig ad Hughes, 26 Stradlig ad Hughes,

12 Sice the hold o traditioal music o the geeral ulic as strog, the visioaries o the Eglish Reaissace had to egi y icororatig traditioal choral music at the school Revivals o Bach's ad Purcell's music ere used as ell Additioally, Parry s ad Staord s comositios ere tailored to relect such music i order to gai the suort o the ulic Evetually, the Reaissace gaied suort ad roduced a sustatial umer o choral ad orchestral orks, may o hich ere erormed i Germay 4 While Grove, alog ith Parry ad Staord, had succeeded i gaiig suort or imrovig Eglish music ad musicias ad thus heled i shaig the uture o Eglish music, aother otetial ostacle or their musical estalishmet had arise A rilliat e comoser, Edard Elgar ( ), as ecomig oular amog the ulic ith the ethusiastic recetio o Eigma Variatios 5 ad The Dream o Gerotius 6 Because he as ot educated through the maor musical estalishmets ad came rom the loer classes o society, his music as ot oticed at irst He evetually gaied the attetio o oth the geeral ulic ad the court, heled y the iluece o his uerclass ie, Carolie Alice Roerts, ad y William Parratt, ho romoted Elgar s music ith the Royal amily 7 This reseted a otetial rolem or the youg 4 Iid, 29 5 Iid, 47, 50 6 rak Hoes, The Eglish Musical Reaissace, (Ne York: Stei ad Day, 1966), 16 7 Stradlig ad Hughes,

13 musical estalishmet Ater Grove retired i 1894, the urde o carryig the Eglish Musical Reaissace as shouldered y the RCM's e director, Huert Parry Because Parry ad Staord had take careul stes to develo a oit eort etee the various musical estalishmets, ersuadig Elgar to oi their cause as essetial to keeig a uited rot ad remai i cotrol o imrovig ad moderizig Eglish music They irst tried recruitig Elgar through academic accolades With Staord's hel, Elgar as oered a hoorary doctorate rom Camridge (1904) 8 While Elgar did ot altogether reect the emrace o the Reaissace, he did ot accet the hoor at irst or ear o losig some o his comositioal reedom I the ed, he could ot resist ad acceted the aard alog ith other academic hoors rom various istitutios, icludig a hoorary doctorate rom Oxord Uiversity i A schism etee Elgar ad the Reaissace came i 1904 Elgar ithdre a commissioed iece rom the Leeds estival, hich Staord had orked to secure Shortly ater, as he as cosiderig a academic ositio, Elgar tured do oers rom various istitutios i hich Staord had a had, oly to accet the Richard Peyto Chair o Music at the Uiversity o 8 Iid, 51 9 Iid, 51 6

14 Birmigham 10 These evets ere istrumetal i severig ay ties etee Elgar ad the Reaissace grou As art o his e duties, Elgar as required to give six lectures over a year Elgar used this latorm, ko as the Peyto Lectures, to critique everythig that had ee achieved i Eglish music i the revious thirty years By 1904 he had created a olloig ith some ouralists ad egatively aected the Reaissace; hoever, his udoig occurred oly a year later I oe o his seemigly less cotroversial lectures i 1905, Elgar advocated asolute music i a attemt to raise Brahms, oeig u the deate etee asolute ad rogrammatic music He eded u ot oly codemig some o his o revious orks, ut also lost the suort he had mustered rom his revious lectures ad his career to that oit 11 He ultimately resiged the ositio at the Uiversity o Birmigham ad used oly his music as his orm o exressio, droig out o his cotetio or shaig the uture o Eglish music Although the Reaissace leaders had ailed i securig the hel o Elgar i shaig the atioal music o Eglad, to o Eglad's most imortat comosers came rom its Royal College o Music: Ralh Vaugha Williams ad Gustav Holst Iroically, hile the Reaissace aimed to deart rom its musical heritage to orge Eglish music ae, Vaugha Williams ould hel shae the 10 Iid, Iid, 558 7

15 uture o Eglish music through the olk music oud i its heritage Much o his iluece came through his trascritios o olksogs he collected throughout Eglad Through his trascritios ad icororatio o olksogs ito some o his o orks, Vaugha Williams heled rig aout the revival o Eglish olksog Today the Eglish olksog ad dace traditio is ket alive through the eorts o the Eglish olk Dace ad Sog Society The coditios surroudig the Eglish Musical Reaissace, icludig the oeig o the Royal College o Music ad the visio o Sir George Groves to develo more ad etter Eglish music, ere the ackdro agaist hich York Boe etered the Eglish musical orld YORK BOWEN: A BRIE LOOK AT HIS LIE York Boe as or o 22 eruary 1884 at Crouch Hill, Lodo He had to older rothers, ad his ather, Edard Boe, as a hisky distiller York Boe took his irst music lessos i harmoy ad iao ith his mother He shoed a great iterest ad atitude or music at a youg age, romtig his arets to eroll him i the North Metroolita College o Music He later studied at the Blackheath Coservatoire uder Alred Izard By the time he as te years old, he had already o aards i music examiatios i hich he articiated He as taleted eough at this youg age that he might have had the 8

16 career o a child rodigy, ut his arets did ot at this lie or him ad decided to cotiue his studies 12 By the age o ourtee Boe had o several more hoors ad aards He also o the Erard Scholarshi to The Royal Academy o Music, here he studied iao ith Toias Matthay ad comositio ith rederick Corder He had a successul career as a studet, iig may aards durig his teure at the RAM, icludig the Hie Prize i 1899, the Heathcote Log Prize (1900), the Steardale Beett Scholarshi (1902), the Charles Lucas Prize (1902), the redericke Westlake Memorial Prize (190), the Macarre Gold Medal (190), ad the Dove Prize (190) 1 Boe s career as a erormer ad comoser ega to lourish as ell His symhoic oem The Lamet o Tasso as erormed at a Quee's Hall Promeade Cocert i August 190 ith Hery Wood coductig It as received armly y oth the audiece ad the critics 14 olloig this erormace i Decemer 190, Boe gave his irst erormace o his o Piao Cocerto i Elat Maor ith Sir Alexader MacKezie coductig Like 12 Gle Ballard, The Eglish Rachmaio: Edi York Boe, lutist Quarterly 4, o (2009), htt://searchroquestcomezroxy1liasuedu/docvie/ accoutid=4485 (accessed 19 uly 2011) 1 Moica Watso, York Boe: A Ceteary Triute, (Lodo: Thames, 1984), Watso, 1 9

17 the symhoic oem, this ork as also ellreceived The erormace as hailed as rilliat, cotaiig sirit ad vivacity 15 I her iograhy o York Boe, Moica Watso gives may examles o such commedatios aout oth his erormig ailities ad his comositios I oe such examle Camille SaitSaës, uo hearig Boe's comositios, said: This is the most remarkale o the youg British comosers 16 Aother critic, ater hearig Boe lay, said: he I say that Mr Boe is the iest iaist I have heard sice Ruistei, I give him the highest raise I have to give 17 Other examles attest to the talet ad skill credited to youg Boe as he as egiig his career Boe ega to aear i cocerts throughout the Uited Kigdom I 190 he aeared i the Promeade Cocerts i Lodo ad ith such grous as the Orchestral Uio, Liverool Orchestral Society, Southort Chamer Cocerts, ad Eastoure Classical Cocerts i the cities o Machester, Birmigham, ad Glasgo He also layed uder such coductors as Da Godrey, rederic Coe, ad Has Richter, uder hom Boe layed his irst ad Third Piao Cocertos 18 I 1904, Boe's Symhoic atasia as erormed at Quee's 15 Iid, 1 16 Quoted i iid 17 Quoted i iid, Iid 10

18 Hall ith the Lodo Symhoy Orchestra ad at the Hallé Cocert i Machester I 1904 Boe gave his irst recital ith Lioel Tertis, the violist or hom he ould comose may orks ad ith hom he ould collaorate o may erormaces Programmed o this recital as the Romace i Dlat or viola ad iao 19 By 1905, York Boe had let the RAM to cotiue his career as a emergig comoser ad iaist By 1907 he had comosed oth his Soata No 1 i C mior, O 18 (1905) ad his Soata No 2 i Maor, O 22 (1906), oth or viola ad iao He erormed ad toured ith Tertis layig oth stadard ieces ad his o While tourig i Germay he received gloig revies o oth his layig ad at least oe o his soatas, resumaly his Soata No 1 20 Iterestigly, oe o the ieces he layed ith Tertis as Brahms's Soata i Elat Maor O 120, No 2 or viola ad iao, trascried or viola rom clariet aout te years earlier Ater he let the RAM, Boe ot oly toured ad gave erormaces, he also taught iao at the Toias Matthay Piaoorte School I 1907, at the age o tetythree, he as elected a ello o The Royal Academy o Music To years later he ecame a roessor at the same istitutio at hich he as educated He had held this ositio or ity years he he retired i the summer o York Boe, Romace I D lat or viola ad iao, (Cole, Lacashire: Comus, 2004) 20 Watso, 15 11

19 York Boe ecame asciated ith the music o Deussy ad Ravel, ad as isired y the souds o Strauss His iterest i such comosers eve caused a short reach i his teure at the RAM ater a argumet ith the ricial there He as shortly reistated ater his rie resigatio As he had develoed a asciatio or the music o his cotemoraries, he also seemed to have a odess or certai istrumets as ell, esecially the viola He had ot oly comosed his to soatas ad trascried the Romace i Dlat, ut y 1908 had also comosed a duet or orga ad viola, a quartet or our violas, ad his Viola Cocerto, hich as remiered y Tertis at the Quee's Hall i March 1908 Boe oud himsel usy i the early art o 1912 he his e Symhoy i E mior, O 1 as erormed at Quee's Hall ith the Ne Symhoy Orchestra, coducted y Lado Roald It had take him aout to years to rite The erormace as atteded y a host o critics, ad the ork as received ethusiastically y the geeral audiece 21 While sometimes comared to Deussy or Grieg, some critics elt this ork to e ilueced y Wager ad Tchaikovsky, hile others sa ilueces o Schuma ad Medelssoh 22 Aout to moths later, i 1912, aother chater i his lie ega he he married his ie, Sylvia, ith hom he ould give oit recitals 21 Watso, Watso, 19 12

20 A e years later, i 1914, the irst World War ega Whe the ar lasted loger tha redicted, Boe decided to oi the Scots Guards ad layed hor i the regimetal ad He did ot eoy Army lie He cotracted eumoia he the regimet as i race ad as set ack to Eglad shortly aterard Although he did ot erorm much durig the ar, he as ale to comose a e orks He also cotriuted at least six orks to the Edi Evas series o iaola rolls, o ehal o the Aeolia comay, alog ith such comosers as Stravisky, Bax, Goosses, ad Graiger Alog ith a e iao ieces ritte earlier i the ar, York Boe also iished his Phatasy i, O 54 or viola ad iao o 1 May 1918 I 1919, York Boe oce agai ecame active i the musical lie o Eglad He cotiued givig recitals egiig ith a Octoer erormace i the Aeolia Hall Alog ith erormig, he etered several comositio cometitios, iig ive o them etee 1918 ad 1920 He ega coductig a e o his o ieces ad atteded may cocerts Ever committed to the late Romatic style o music, he exressed his strog disaroval o the 10 ue 1921 remiere erormace o Stravisky's Symhoies o Wid Istrumets i a letter to the Editor o Musical Oiio, commetig o ho a ovice i orchestratio could have doe etter 2 Such istaces, hile misguided as they may have ee i the greater scheme o Euroea music, evertheless sho the assio ad sicerity ith hich he ursued his crat 2 Watso, 27 1

21 I 190 Boe comosed his irst soata or a id istrumet: the Soata i D maor, O 85, or ooe ad iao I the 190s York Boe cotiued to ork at the RAM, ut his roductio o e orks aed Some o his eergy as diverted ito ritig his ook Pedallig the Moder Piaoorte, ulished i 196, ut curretly out o rit 24 He comosed his Soata i mior, O 109, or Blat clariet ad iao i 1940 He comosed this iece or Paulie uler ith hom he layed it i cocert several times uler, a clarietist rom Pakeham, is roaly most amous or eig the reciiet o Gerald izi s ive Bagatelles ad Cocerto She as a clarietist o ote i the 190s ad 1940s i Britai Later, she married ad had childre ad, decidig to ocus o her amily, retired rom her clariet career Cosequetly, little else is ko aout her 25 Begiig i the 1940s, Boe as icreasigly asked to ecome a examier ad adudicator at estivals ad cometitios He set a sustatial amout o time travelig aroud Eglad to these estivals ad cotiued to do this to the ed o his lie York Boe cotiued to teach ad erorm at the Royal Academy o Music util his retiremet i 1959 at the age o sevetyive years Although he had retired, he cotiued to sustitute or teachers there ad also erormed O 24 York Boe ( ), Works, htt://yorkoecouk/orkshtm (accessed 12 Novemer 2011) 25 Pakeham Village o To Mills, Village Nes Pakeham Village Nes Octoer 200, htt://akehamvillagecouk/nes/churchnes/akvillnesoct200htm (accessed auary 2011) 14

22 4 Setemer 1959 Boe gave the irst ulic erormace o his Cocerto No 4 i A mior at a Promeade Cocert, thirty years ater it as comosed I 1960, a year eore his death, he also comosed his Partita (O 156) or iao, Ballade i A Maor (O 157) or iao duet, ad Three Sketches or harsichord (O 158) or oseh Saxy Durig the ial year o his lie, York Boe comleted ad ulished his ook The Simlicity o Piao Techique (1961), a ork he had ote thought aout ritig durig his career 26 He comosed more ieces ith his last ork eig the Soata No 6 i Blat maor, O 160 or iao The ight eore his death he as still ocused o erormig; he as rehearsig or a roadcast that as to e give to days later He died o 2 Novemer 1961, resumaly rom heart ailure at the age o sevetyseve LIONEL TERTIS: AN INSPIRATION OR VIOLA WORKS Oe o the erormers ho most ilueced York Boe's career as a comoser as the violist, Lioel Tertis ( ) Aout eight years Boe's seior, Tertis had a relatively diicult lie as a youg musicia He ega layig iao at the age o three ad ega layig ulicly y age six By the time he as thirtee, he had gaied eough skill to leave his arets home ad emark o ideedet lie He ega y accomayig other layers ad layig i a variety o situatios, rom ads to seaside shos, i order to raise tuitio or musical study at the Triity College o Music i Lodo While there, he ega 26 Watso, 8 15

23 studyig violi; he had alays elt that iao as iadequate or hat he ated to exress 27 Ruig out o moey ater to semesters, he retured to erormig, oe time accetig a o layig iao at a isae asylum 28 While that o did ot last log, Tertis ially made eough moey to cotiue his educatio, evetually edig u at the Royal Academy o Music Tertis ega studyig viola i 1896 he a ello studet, iterested i startig a strig quartet, suggested that Tertis sitch to viola He soo develoed a great assio or the istrumet ad started a lielog ursuit o romotig ad imrovig viola music ad viola layig 29 While he had received a certai amout o traiig rom various layers, Lioel Tertis as maily seltaught No viola teachers taught at the RAM at that time ad very e viola layers ere erolled 0 Actually, very e reoed viola layers ere ko throughout the orld i the late ieteeth cetury Oly to other layers could rival Tertis i his early career: Alred Hoday ad Oskar Nedal Because there ere o viola teachers at the RAM, Tertis taught himsel maily through the oservatio o the great violiists o the day, articularly riedrich (ritz) Kreisler By 1901 Tertis had gaied eough mastery that he as elected as the roessor o viola at the RAM Oe o the most imortat times i his career as soo to ollo i oh White, Lioel Tertis: The irst Great Virtuoso o the Viola, (Woodridge, Suolk: Boydell Press, 2006), 2 28 Iid, 29 White, 5 0 Iid, 56 16

24 Although Tertis had oly ee layig the viola aout te years, he as asked to sustitute or the violist, Oskar Nedal, i the Bohemia Strig Quartet durig their British tour Ater oe o their erormaces, oe critic commeted that, esecially i oe had ever heard the quartet eore, oe ould ever suose that Tertis had ot ee layig ith the quartet or years, so high as his level o erormace 1 rom this oit i his career, Tertis's ame as a violist accelerated I the irst e years o the tetieth cetury, Tertis ecame acquaited ith Boe While Boe as still a studet, he ad Tertis gave their irst recital together i 1904 or may years aterard, Boe requetly accomaied Tertis o iao Because it as Tertis's missio to romote the viola y askig or viola orks rom every comoser he met, Boe as amog the youg comosers ho comosed orks or Tertis I Tertis s recitals i the seasos, he remiered oth o Boe's viola soatas comosed seciically or him Because o their riedshi, Boe rote may additioal viola orks, icludig the Phatasy i, O 54 (1918) or viola ad iao, the atasia or our violas, O 41, atasia i (mauscrit, 190) or viola ad orga, ad the Cocerto i C mior, O 25 (1907) or viola ad orchestra 1 Iid,

25 CHAPTER 2 OVERVIEW AND EXPLANATION O CHANGES Soata No 1 i C mior, O 18 or viola ad iao The Soata No 1 i C mior, O 18 or viola ad iao as comleted hile Boe as still a studet at the RAM It as remiered y Lioel Tertis i Aril 1905 at the Aeolia Hall i Lodo, eaturig Boe as iaist ANALYSIS The irst movemet o Soata No 1 is ritte i stadard soata orm Ater a short, tomeasure itroductio y the iao, Boe egis the irst theme o the exositio i the viola art This theme is characterized y dotted rhythms olloed y a uard movemet o sixteeth otes It egis i a relective maer ad gradually gais i itesity The movemet o the oeig lies slos do to a road ad exressive secod theme y m 2 The material o the secod theme is o aroximately the same legth as the irst, ad the trasitios to a reeat o the exositio or to the egiig o the develomet here Boe exerimets ith the thematic material o the exositio At m 140, Boe trasitios to the recaitulatio through the reetitio o a ourquarterote igure Ater the irst theme is restated, the secod theme is stated a halste higher tha its origial key oly to e resolved y comig ack to C mior ad edig o the short restatemet o the rimary thematic material The secod movemet is i ABA' orm It is a road ad graceul melody cosistig o mostly quarter otes ad eighth otes i 2/4 meter The egiig 18

26 sectio oes i A maor, movig to A mior ad 6/8 meter i the B sectio, ad comig ack to A maor i the ial sectio It eds delicately ith a uard lie i the viola art ad at a iaissimo The third movemet is the most assertive ad demadig o the ork It egis ith a seeig uard lie i the viola art as a itroductio that moves to a dramatic oeig theme The mai themes o the movemet are divided ito the various sectios i ABCA B orm The light ad quick melody o sectio A is cotrasted y the melody egiig i m 78 o sectio B Sectio C is marked Allegro molto ad remais more aggressive util it eds uexectedly ith a reserved character, egiig ith the dimiuedo to the high cocert A i the viola/clariet art at m 206 The melody o the oeig sectio the returs at m 222 or the A sectio ad uilds to a climax through the B sectio, hich egis i m 245 The climax occurs i m 296 This high oit is olloed y a dramatic quasi recitative sectio or the viola/clariet The movemet eds rilliatly ith a Presto sectio o ruig eighth otes, edig o a threeoctave toic Cmior scale TRANSCRIPTION NOTES Throughout the ork York Boe uses a ide rage o itches, emloyig the viola s highest ad loest otes He also makes use o multile stos, glissados, ad articulatio that, alog ith the ide rage o otes, are sometimes diicult to trascrie roerly to clariet The most requet trascritio challege is a matter o rage Usually viola music trascries ell 19

27 to clariet, sice music ritte or viola does ot usually iclude otes that ould trascrie ito the extreme altissimo register o the clariet, as music ritte or violi does requetly Hoever, the viola has a rage do to C, hich is a hole ste loer tha the Blat clariet ca lay ad a hal ste loer tha the A clariet ca lay This rolem is ote oly mior, as ca e see i several laces i the irst movemet I mm 6768 the lie moves rom a cocert C6 to ed o a cocert C at the egiig o the third eat Oly the last ote had to e moved u the octave While ot iishig the lie i the directio origially iteded, the music does ot suer greatly rom the reritte ote A similar situatio occurs a e measures later i mm 79 ad 81 Because o the melodic igure, all otes o the igure are ritte u a octave to reserve melodic coherece, ut the origial itet is ot sigiicatly altered While still ot as sigiicat as other alteratios made i this trascritio roect, a e more istaces o octave dislacemets iclude m 15 ad mm I m 15, the melody desceds to the lo register, sloig to Largamete, ad dislays a darker mood I order to reserve the timre o the assage, the otes o m 15 are ritte u a octave, ut the go ack to the origial octave i the ext measure While ot altogether desirale, the octave dislacemet is still i the lo throat toes/high chalameau register o the clariet These e otes ca still e layed i the same dark character so as ot to greatly distur the itet o the origial lie I mm 16216, the musical lie moves doard i a areggiated atter rom the revious measure, so that it 20

28 desceds to cocert C While the hole assage o mm could have ee ritte u a octave to maitai the cotiuity o the lie, this seemed less desirale tha ritig the last our otes o the assage u a octave give the rage o the melody i the surroudig assages Aother trascritio issue is that o multile stos o viola While multihoics ca e roduced o clariet, this is ot the same as multile stos o strig istrumets, ad most certaily ot desirale i these trascritios While deth o soud is alays sacriiced i such situatios, melodies are usually easily reserved Ote eective trascritio requires choosig the correct octave i hich to lay Sometimes a melody is layed aove a droe ote; i such cases the melody is maitaied through the trascritio Occasioally, Boe rote multile stos at crucial times i the iece Regrettaly, the clarietist caot reroduce this eect Oe examle ca e see i the irst movemet o the Soata No 1 i mm At this momet i the iece, the music has reached a climax, ad Boe rites a very oerul igure o quadrule stos i the viola art Sice this caot e reroduced as eectively o clariet, the art as ritte u a octave i these measures to maitai the itesity o the lie Simultaeously, this hels maitai the cotiuity o the lie sice the otes o mm are too lo or the clariet Writig the igure i mm u a octave solves oth issues o itesity ad cotiuity Lastly, alteratios cocerig to additioal issues, oe o hich occurs requetly, result i oly mior chages The ritte glissado etee the 21

29 octave otes o mm i the irst movemet is removed The desired eect is ot ellrelicated o clariet sice idividual otes are layed To maitai the desired emotio, comlete removal o the glissado is the est choice or the trascritio A similar slide etee to otes also occurs i m 24 o the secod movemet This slide is also removed or the same reaso The other idesread issue cocers articulatio May assages are ritte ithout slurs, sometimes or log eriods o time These assages are ot a issue or violists oth i stamia ad smoothess Sice the articulatio o these assages ould ot oly e otetially challegig to stamia ad seed, ut also hamer smoothess ad luidity o the lie or clarietists, may slurs are added throughout the iece Such log ad umerous hrases ith o slurs are ot oud so ote i id music Romace i Dlat or viola ad iao As the shortest ad earliest o the ieces trascried i this roect, the Romace i Dlat as ot origially ritte or viola Writte shortly ater he ega his studies at the Royal Academy o Music, Boe trasosed this iece rom violi ad iao to viola ad iao or his irst recital ith Lioel Tertis i 1904 ANALYSIS Although oly ive to six miutes i legth, Boe uses may melodies ad key chages throughout the iece The short iece alls ito three sectios that together resemle soata allegro orm The irst sectio has to themes The 22

30 melody o the irst theme is characterized y three ascedig quarter otes egiig o the domiat ote i m 2, olloed y a slo descedig motio to the toic, ut stoig short o the suertoic The toic is ot achieved util the ed o the reetitio o the melody The secod theme egis ith a similar threeote ascesio i m 22, ut the quickly desceds ith a dotted quarter ote ad three eighthotes This melody is reeated or a time i the viola art, ad the it is take over y the iao util the middle develomet sectio The middle sectio, egiig i m 4, chages rom the Dlat maor o the irst sectio to E Maor, ad the sitches to C Maor via G Maor Boe itroduces a e melody ith a little more motio i this sectio ad develos it through several keys I the middle o this sectio, Boe remids the listeer o the irst sectio y rigig ack the secod theme or six measures He closes the middle sectio ith a aassioato melody i the high register hich desceds ad gros more traquil as it aroaches the recaitulatio The recaitulatio, ack i Dlat maor i m 94, egis ith the melody rom the irst sectio, excet do a octave The reetitio o the melody is i its origial octave Ater restatig the secod theme i the viola art ad iao, as i the exositio, Boe eds the iece ith a rie coda that egis i m 16 ith the three ascedig quarter otes rom the irst theme He cocludes the iece ith the ascesio o three dotted hal otes outliig the toic chord 2

31 TRANSCRIPTION NOTES Partly ecause the iece as comosed or violi ad artly ecause o the ature o the iece, there is oly oe alteratio rom the origial viola art I m 59 Boe rites doule stos at the reetitio o a motive The trascried clariet art lays the uer otes o the doule stos to maitai the melodic lie ially, ecause o the rage ad key, oth a Blat clariet versio ad a A clariet versio ould ork ell or the trascritio While A clariet is ote see as ossessig more o the darker timres o the viola, the case ca e made or erormace o Blat clariet as ell, sice the iece as origially comosed or the violi or this roect, the author chose to iclude ad erorm the A clariet trascritio Phatasy i, O 54 or viola ad iao ANALYSIS The Phatasy i, O 54 or viola ad iao as comosed last amog the our ieces trascried or this roect Boe comleted it o 1 May 1918 A oemovemet, sectioal ork, the irst art o the iece is comosed i mostly 6/8 meter The sectios i this art could e laeled ABCB ith a Itroductio The secod art sitches to 2/4 It has oe theme ad is the shortest o the three arts The third art o the iece sitches to 4/4 meter ad chages to Allegro Vivo The orm or this art is ABA A Coda at the ed rigs the three arts together 24

32 The Itroductio egis ith a slo melody i 6/8 meter, emhasizig rest ad eace ith the viola (clariet) aloe o a melody i the lo register The iao eters shortly thereater ith lock chords, all i the ass cle Ater to statemets o the melody, Boe trasitios to the A sectio hich is ast ad dacelike This sectio egis at m 27 ith the theme marked y a dotted eighthote olloed y three sixteeth otes, ad later, sixteethote areggiated atters Sectio B egis i m 71 The key chages to D maor ad a theme resemlig the theme rom the itroductio is restated I this sectio, Boe urther develos the theme, makig it a loger sectio tha the A sectio As he egis the trasitio to the ext sectio, Boe icludes remats o the melody rom the A sectio I sectio C, hich egis at m 120 i C Maor, the temo returs to the temo o sectio A, ut, hile icludig ragmets o melodies oud i the irst to sectios, Boe ever states either melody comletely Istead, he itroduces a e theme to the listeer hile maitaiig cotiuity ith ragmets o melodies already stated Sectio C ecomes icreasigly techical or the violist (clarietist) util it eds ith ruig sixteeth otes to a high cocert Dlat, here the sectio eds ad auses eore roceedig The olloig sectio, egiig i m 170, is a direct restatemet o sectio B ad returs to maor This sectio eds the irst art o the iece At m 209 Boe trasitios to the secod art o the iece hich egis i m 21 25

33 While Boe seems to comletely reak aay rom the irst art o the iece y uttig the melody o the viola i 2/4 meter, he kees the iao i 6/8 meter or most o this art ad oly chages over to 2/4 meter ust as the art is comig to a close The mood o the iece has chaged to a more somer emotio as comared to the revious material Because o the chage i character, meter, ad key to Dlat maor, this art o the ork is searate rom the irst ad last arts The third art o the iece is i 4/4 meter, is marked Allegro vivo, ad returs to maor This art is divided ito three sectios Ater a short itroductio, the mai theme o the sectio A egis ith a ourote igure olloed y eighthote leas i m 292 The irst our otes o this mai melody are used i sectio B, ut elaorated Sectio B egis i the loer register o the viola, ut later roceeds to the higher register ith a rie lyrical statemet The A sectio egis ith the melody stated at the egiig o sectio A, ut it eds more rilliatly ith otes i the high register ad sixteethote rus descedig to a lo cocert C Boe eds the iece ith the Coda that egis ith 11ote rus He also uses the Coda to remid the listeer o melodies rom the irst hal o the iece, ut this time i 6/4 meter, comiig asects rom oth halves o the iece to create a summary o the hole ork eore edig ith a ascedig sixteethote ru olloed y three toic chords i maor 26

34 TRANSCRIPTION NOTES O the our orks trascried or this roect, the Phatasy i as the most diicult due to rage issues The rage ote desceded to a lo cocert C, a hole ste loer tha the Blat clariet rage ad a hal ste loer tha the A clariet rage Thought as give to trascriig this ork or either ass clariet or asset hor i, ut a excessive umer o assages ould have ee too ureasoaly high or oth istrumets; this otio as discarded sice the itet o the trascritio as to kee as may origial otes ad octaves as ossile I keeig as may otes i the correct octave is ot a oective, this iece ould ork ell or a ass clariet trascritio here all the otes are ale to e layed, ut do a octave rom the origial viola art Oe other solutio to this rolem ould have ee to trasose the hole ork to G maor ad trascrie the viola art to A clariet; hoever, this seemed to deart too much rom the origial itet o the comoser The est solutio as to maitai the origial key ad trascrie the viola art to Blat clariet, eve though this creates may reaks i the cotiuity o lies throughout the ork The irst istace o rage diiculties lies i mm ad 12 I each measure the melody o the viola art riely desceds to a lo C Because o the ature o the melody ad the otes surroudig the lo C otes, the irst eightee measures ad the irst ote o m 19 are ritte u a octave to reserve the cotiuity o the melodic lie ad stay ithi the rage o the Blat clariet 27

35 While this shit maitais the cotiuity o the melodic lie, the dark timre iteded y Boe ith the lo rage o the viola is missig Aother comromise made ecause o rage is i mm 6 ad 179, here the sectio o m 179 is a reeat o the sectio o m 6 The secod ote o each measure is the lo cocert C Uortuately, cotiuity o the melodic lie had to e sacriiced, ad the irst three otes o each measure are ritte u a octave Likeise, the cotiuity o the sixteethote rus o mm 58 ad 201 had to e comromised ecause the last ote i each measure desceds to a lo cocert C Similar to the rage ad cotiuity issues reviously discussed, other rage issues occur throughout the iece, ut do ot distur the liear cotiuity as drastically Mm 8790, mm , mm 20921, ad mm 2127 are ritte u a octave ecause o oe or to otes eig out o rage The comromise or such assages disturs maily the deth o the lie; the loer octave adds more cotrast, ot oly y ehacig the lie ith a darker timre, ut also y simly givig the listeer aother level o otes to hear Other istaces o rage issues are icluded i the list o art alteratios i the ext sectio Like the matter cocerig multile stos i other ieces, the solutio o trascriig doule stos or clariet is to either choose oe o the otes to lay, or to ill i the chord through the use o grace otes Examles o oe o the otes eig layed, usually the to ote, are i mm , mm 1214, ad mm While the lack o the ottom otes i these laces is uortuate, the 28

36 assage loses little, i ay, o its itesity Examles o multile stos layed as grace otes eore the to itch o the sto occur i m 62, m 205, mm , ad m 291 I these measures, usig grace otes to ill i the chord or the listeer is eective While this ay o trascriig multile stos is eective or most occurreces, some multile stos are etter trascried he the grace otes are let out, as i mm Isertig grace otes etee the eighthotes to ill i the doule stos at the quick temo ould e less eective due to excessive emellishmet i such a short sace Articulatio throughout the iece is essetially the same as that o the origial art Ay articulatio chages made usually iclude the additio o slurs to make the lie soud as smooth as it ould soud o viola Such examles iclude mm 290, mm 4, ad loger assages o sixteethote rus like mm As ith may ieces, hoever, articulatio ca e oe to iterretatio ad ca e chaged ased o the eeds o the layer While some clarietists may at to kee the articulatio o mm , mm 28, 285, ad mm 7276, others may eel it udesirale Lastly, all ossia measures are ased o the ossia measures i ose Weierger's ulicatio, edited y oh White The oly alteratios made to the ossia measures are i m 65 here articulatio as chaged, ad i m 78, here the irst to eats are ritte u a octave due to the lie egiig out o rage 29

37 Soata No 2 i Maor, O 22 or viola ad iao Aother o York Boe's early orks, the Soata No 2 i Maor, O 22 or viola ad iao as comleted shortly ater his Soata No 1 Soata No 2 is lighter i style i the irst ad third movemets ad more relective i the secod movemet tha i those o his Soata No 1 But like the irst, this ork as comosed or ad layed y the violist, Lioel Tertis ANALYSIS Like the Soata No 1, Soata No 2 egis ith a tomeasure itroductio i the iao ith the irst theme egiig i the viola art i the third measure Writte i /4 meter, the movemet egis ith a exasive ad lyrical irst theme While ot aggressive, the irst theme is still aimated ad rovides a eelig o layuless The secod theme cotiues this imressio through the rest o the exositio, hile ecomig more motivic Boe exerimets ith the irst ad secod themes egiig i m 14 ith the Develomet, ecomig eve more aimated throughout the sectio He egis the Develomet sectios marked dolce ad grazioso, cotiuig the mood rom the Exositio, ut eds ith a sectio marked aassioato hich uilds i itesity util the trasitio to the Recaitulatio Durig the Recaitulatio, Boe restates the mai themes ut the makes a short detour to mior eore edig ith oe last statemet o the irst theme The secod movemet is i three sectios The irst sectio egis i 4/4 i a very somer mood The oeig temo is marked Grave ad egis i the 0

38 lo register o the viola The itesity o the Grave sectio evetually gives ay to a lighter, more otimistic imressio egiig ith the sectio marked Poco aimato The character also chages at this oit he the iao art chages to a trilet eel ith the e meter (12/8) 4/4 The viola art moves rom the lo register to layig delicate otes aove the trele cle This exasive eel gais motio through the use o trilets ad seeds u to a Allegro Ater the middle sectio, Boe restates the oeig theme ut soo moves to a Agitato sectio eore edig ith a Traquillo sectio i the oeig key The iale stads i shar cotrast to the secod movemet through its lively ad caricious melodic lies Ater a rie itroductio, the mai theme egis i a teasig ay through the use o ruato i m 15 olloig the irst theme, the melody rom the itroductio is reeated ith more emhasis The ext sectio is stated i D maor ad sharly cotrasts the oeig theme Marked esressivo, it icludes ruato as ell olloig this assage, Boe develos the irst theme i a ugue etee the viola ad iao arts This sectio egis i C maor ad asses through various keys util it arrives ack at the origial key o maor ad restates the melody rom the itroductio Boe settles ack ito the mai melody rom the oeig assage, ut istead o takig it through various keys, as i the revious sectio, he takes the melody through varyig temos eore edig ith a rilliat Aimato sectio 1

39 TRANSCRIPTION NOTES Alteratios made to Boe's Soata No 2 rimarily cosist o chages made due to multile stos ad a excessively lo rage Alteratios made to articulatio occur requetly too, articularly i the third movemet Oe examle o a lie that goes out o rage is i the descedig o the viola voice i mm 452 The lie goes out o rage o the clariet at m 50; hoever, to maitai the cotiuity o the descedig lie, the clariet art is ritte u a octave egiig o eat to o m 4 A exteded amout o otes ritte u a octave occurs also i mm 1 o the secod movemet While Boe origially ated the dark timres o the viola's loest toes, the clariet, uortuately, caot lay all o the otes The origial rage egis agai i m 4 As i the other orks trascried or this roect, alteratios to multile stos usually cosist o leavig out oe or more o the stos, or illig i the chordal otes ith grace otes The chordal quadrule stos o mm 6 i the third movemet are ritte ith the to ote as the rimary ote o the lie ad leave out the other otes o the chord A similar examle occurs agai i m 69 Aother examle o leavig out otes o multile stos occurs i mm 26026, here the to ote o the sto is layed The last to measures o this examle are similar to some o the ritig rom Boe's Soata No 1 I mm the irst ad ourth otes o the sixteethote grous are ritte u a octave or ease o articulatio A list o all the alteratios i Soata No 2 ca e see elo 2

40 CONCLUSION The orks trascried or this roect, hile ot o the same quality as those y masters like ohaes Brahms, cotai momets o isiratio ad should e a elcome additio to the clariet reertoire Although these orks are geerally ot diicult i iger techique, they require a musically mature layer Thereore, these orks are rimarily meat to e layed y musically mature college studets to roessioal musicias The most diicult asect o trascriig viola music to clariet music is the slight dierece i rage Because the viola has a rage that desceds eyod the rage o the Blat clariet y a hole ste ad the A clariet y a hal ste, may assages had to e chaged While the viola is the most suitale strig istrumet or a clariet trascritio, the dierece i rage ca make some assages diicult to trascrie ially, ecause there is a dearth o clariet music rom the Romatic era, trascritios o other istrumetal orks is a viale ay o otaiig more music or the clariet rom this era, or, as i York Boe s case, music hich relects music rom the Romatic era

41 A LIST O ALTERATIONS MADE ROM THE ORIGINAL VIOLA PART TO THE TRANSCRIBED CLARINET PART Soata No 1 i C mior, O 18 I Allegro moderato m 5 additio o slurs mm 1, 14, 15, 16 additio o slurs mm 19, 21 additio o slurs mm 20, 22 oly the ottom octave o doule stos are layed m 5 secod ad third otes are ritte u 8va due to rage mm65, 66 additio o slurs m 68 the irst ote o the third eat is ritte u 8va due to rage mm 79, 81 etire igure ritte u 8va due to rage mm 98, 100 additio o slurs mm uer octave o doule stos are layed m 112 (last to otes)m 115 ritte u 8va due to rage m 10 irst ote ritte u 8va due to rage m 12 the trill ote is ritte as Elat i the viola art, ut should e Eatural m 140 quadrule sto; i the trascried art, the to otes are ritte u 8va to maitai itesity ad to maitai lie cotiuity (mm cotai otes too lo or clariet) m 152 slurs o the recaitulatio are ket the same rom the exositio mm 169, 171 uer octave o doule stos are layed 4

42 m 18 last to otes are ritte u 8va due to rage mm uer otes o doule stos are layed m 210 the secod ote is ritte u 8va due to rage; additio o slurs m 220 uer otes o doule sto are layed mm the glissado is removed II Poco leto e cataile m 24 slide (glissado) is removed m 54 irst eat, icludig grace otes, ritte u 8va due to rage m 90 uer otes o doule stos are layed m 101 (last ote)m 104 ritte u 8va due to rage m 107 (ith ote)m 109 ritte u 8va due to rage mm ritte u 8va due to rage III iale mm 25 additio o slurs mm 116 uer otes o doule stos are layed mm 2426 quadrule sto; oly to ote is layed mm 271 additio o slurs mm 444 additio o slurs mm 5559 additio o slurs 5

43 mm 6267 uer otes o doule stos are layed; the irst ad ourth otes o each grou are take u 8va to ease articulatio, esecially i mm 6667 ith the accelerado; slurs added mm 707 uer otes o doule stos are layed m 118 ourth eat, irst ote, ritte u 8va due to rage m 1 irst ote is ritte u 8va due to rage m 15 etire measure ritte u 8va due to rage m 162 (eat to)m16 ritte u 8va due to rage ad cotiuity m 185 additio o slurs mm additio o slurs mm additio o slurs m 218 (eat to)m 219 ritte u 8va due to rage mm uer otes o doule stos are layed mm 1112; 1516; 1920 doule stos; oly to ote is layed mm 14 ritte u 8va due to rage ad cotiuity mm 4748 additio o slurs mm 5152 additio o slurs m 56 additio o slurs m 61 additio o slurs mm 6869 additio o slurs mm 7174 additio o slurs mm 8182 additio o slurs 6

44 m 84 irst ote is ritte u 8va or cotiuity o ext measures mm 8588 uer otes o doule stos are layed; the irst ad ourth otes o each grou o our is ritte u 8va or easier articulatio, esecially or mm 8788 due to the accelerado; slurs are added m 91 irst ote is ritte u 8va due to rage m 94 toic otes o quadrule sto chord is layed Romace i Dlat m 59 uer otes o doule sto are layed Phatasy i, O 54 m 1 m 19 (irst ote) ritte u 8va due to rage i mm ad 12, ad or cotiuity o lie mm 290 additio o slurs mm 4 additio o slurs m 6 irst three otes are ritte u 8va due to rage m 45 uer ote o doule sto is layed mm 505 additio o slurs m 58 (eat to) m 59 (irst to otes) ritte u 8va due to rage ad cotiuity m 62 doule sto; oly to ote is layed m 87 (last to otes) m 90 ritte u 8va due to rage ad cotiuity 7