JAVS Summer 1997

12

Manuscripts at the British Library (Add. Ms. 50386). Even though it was presumably the basis for the published version of the Suite because it had been the property of Oxford University Press, several discrepancies exist between the manuscript and published ver sions. Apparently, the solo part was extracted from the score and given to Lionel Tertis, who subsequently added fingerings and bow ings. When Tertis received the solo part, it most likely contained inconsistencies with the manuscript. Most of the differences between the manu uscript and printed versions of the Suite con cern articulations, dynamics, and bowings. There are several instances of different pitches. The most important of these occurs in the opening measures of the "Moto Perpetuo." The treble clef sign in the sixth measure should be after the third note, rather than before it. Therefore, the third note of the measure should be dl, rather than c2. It thus follows the pattern established in the preced ing measure of having an open string fol lowed by the three note pattern Bb eBb, with the pattern occurring an octave higher each time.

It may be compared with the cafe music of the Flemish Farm suite. Before the final cadenza the minor third, which has previ ously appeared, stands preceded by the major third, while the last chord is third less, both tokens of con1miseration. 12 oxymoron of its title. A polka is thrust into the minor mode and with some curious melodic twists is transformed from a lively folk dance into a mournful caricature. Percy M. Young said of the movement, in refer ence to the dichotomy between the minor mode and the polka character and Vaughan Williams's use of tonality: The "Galop," although in the minor mode, nonetheless provides a virtuoso ending for the Suite. As mentioned above, a galop is typically in 2/4; however, in this movement, the central section is in 6/8. The tune, scored for solo viola and piccolo, is not pastoral like the 6/8 sections of the "Prelude" and "Ballad" but rather suggests a theme that one might find in a score for a western film. The theme is transformed into a saloon dance through an increase in orchestration and rhythmic em phasis on the second beat of each measure. The three movements of Group III all offer creative and atypical interpretations of traditional dance forms on the part of Vaughan Williams. These movements are among the most original of the Suite and, minor mode; and the "Galop," a dance typi cally in 2/4, has a middle section in 6/8. The "Musette," played con sordino, reestablishes the pastoral character of the open ing Group. The gentle ostinato in the harp and the muted string sound create an orches tral atmosphere reminiscent of Ravel, 11 while the frequent modulations in the middle sec tion provide distinctive tonal interest. The "Polka Melancolique" lives up to the

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c

D

Example. "Moto Perpetuo," mm. 5-6, manuscript version

A detailed description of each discrepancy between the manuscript and printed versions of the Suite is beyond the scope of this study; however, some comments on tempo indica tions and titles of movements will be of inter est. Six of the eight movements demonstrate differences in either the tempo indication or suggested metronome marking (see Table). While neither tempo nor metronome markings j == 66 (both metronome markings are present in different hands) "Carol" j == 66 j = 70 "Ballad" Andante tranquillo Movement "Prelude" Manuscript j = 60 and j == 66

after the pastoral nature of Group I and the austerity of Group II, provide an effective set of movements to con clude the work.

Printed Version

The Manuscript Score

Lento non troppo " Allegro J = 80

Presto J = 88

"Mota Perpetuo"

The manuscript orchestral score for the Suite for Viola and Orches tra is housed in the Department of

"Musette"

Andante sostenuto

Lento

j = 184

j = 160

"Galop"

Table. Differences in tempo indications and metronome markings between manuscript and printed versions.