JAVS Spring 2013

Example 1a. John Ireland, Violin Sonata No. 2 , movt. II, mm. 33–40, viola part (Tertis version).

Example 1b. John Ireland, Violin Sonata No. 2 , movt. II, mm. 33–40, violin part.

The opening of the first movement, Allegro , already seems more convincing in the more resonant and somber register of the viola. The second movement, poco lento quasi adagio , makes a deeper emotional impact on the listener by opening in the lower octave. The first high A-string violin cantilena sounds like a distant lark, quite remote from the world, whereas on the viola’s D string it becomes the heart of the narrative and offers consolation to the listener. From measures 33 to 40, Tertis has a completely new distribution of notes and intervals (exs. 1a–1b), which gives this passage a new and slightly different significance; another variation of the same truth! This example demonstrates Tertis’s deep under standing of the composer’s intentions. His transcrip tions should be understood as a written-out “master interpretation.”

The third movement opens in the original register, and the fingering indicates the use of the outer and stronger C and A strings. The viola’s characteristic timbre renders this theme even more impressive and authoritative than on the violin. John White’s preface to this edition contains an abundance of useful background information for the performer. The printed pages are comfortably spaced. The parts for both viola and piano are easy to read. The music is printed on good quality paper. For violists interested in more Ireland, there exists the perfect encore piece: The Holy Boy , Ireland’s most popular solo piano work, transcribed for viola and piano (in Lionel Tertis: The Early Years , book 2, also edited by John White). This sounds particularly convincing on the viola and will beautifully comple ment a performance of the Ireland Sonata.

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