Issuu

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Concerto for Violin and Orchestra

ARNOLD SCHOENBERG

Edited by Clovis Lark and Nicholas Greer

ISSUU Version For Perusal Only

A c k n o w l e d g e m e n t s

T h i s e d i t i o n w o u l d h a v e b e e n i m p o s s i b l e w i t h o u t t h e k i n d h e l p o f

S t é p h a n e & L é a n d r e B o u l e z , t h e S c h o e n b e r g f a m i l y , M i c h a e l B a r e n b o i m ,

C l a u d i a R e s t r e p o , P a u l G r i f f i t h s , K a t h a r i n a H ö t z e n e c k e r , E i k e F e s s &

T h e r e s e M u x e n d e r o f t h e A r n o l d S c h ö n b e r g C e n t e r , a n d D a v i d F l a c h s &

P e t e r M a r t i n o f G . S c h i r m e r I n c .

Preface to the 2024 edition:

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This performing edition of Arnold Schoenberg’s Violin Concerto, Op. 36, arose out of concerns over the accuracy and condition of the 1939 original edition, published by G. Schirmer. That printing included a hand-engraved condensed score that was difficult to read, as well as similarly hand-engraved parts. Errors in this material, haphazardly corrected over the years, included a section for the brass (measures 420-423) that was present in the score but missing from the parts, as well as inclusion of a passage for celli and basses, doubling the brass, that the composer deleted in a preliminary copy of the score, presumably in favor of a lighter texture (measures 420-422). In 1975, the Gesamtausgabe printed a new full score, edited by Tadzeuz Okuljar, that could have supplanted the 1939 condensed score. However, new parts failed to appear, and the old version remained the primary vehicle for performance.

In preparing the new edition, we discovered that the 1975 Gesamtausgabe had its own set of issues, as it was overly cautious in its assessment of the sources, treating them all equally. Among these sources is one in Schoenberg’s hand, known as the erste Niederschrift (first draft), which contains the most consistent adherence to the row and its derivations. There is also an annotated early version (called CA in the Gesamtausgabe) of what would become the 1939 edition. This draft of the score has numerous corrections of pitches, durations and dynamics in various hands, including Schoenberg’s. We deemed both of these sources reliable.

However, the Gesamtausgabe also refers to an incomplete set of transparencies (containing the first 330 measures of the concerto-there are 731 in all) which the copyist used to prepare CA and the later1939 Schirmer score. This source, labeled B in the Gesamtausgabe, introduced at least 20 errors that found their way into the score (the number is probably closer to 45, given that this source was presumably complete when used to create the Schirmer score). Arnold Whittall, in his review of the miniature score printing of the Gesamtausgabe, noted that Okuljar, only made changes where all sources agreed (Music and Letters, Volume 59, Issue 1, 1 January 1978, Pages 101–102). This assured that printed errors remained wherever there were inconsistencies among the sources.

In our edition, we began with the Gesamtausgabe, as it provided a clear text and referred to the erste Niederschrift, as well as the draft of the score (CA) with the hand corrections. Based upon Whittall’s review and Anne C. Hall’s article “A Comparison of Manuscript and Printed Scores of Schoenberg’s Violin Concerto” (Perspectives of New Music, xiv/1 (1975), pp. 182-96), we decided to ignore sources that were the source of the textual problems, B in particular. We also were given access to photographs of the late Pierre Boulez’s personal score. Pierre Boulez conducted exclusively from the older condensed score and never used the newer Gesamtausgabe publication, even though he possessed a copy of the latter which he used for performances of the Piano Concerto (also in that volume). Presumably he was mindful of the problems in that 1975 printing, as well as of the editor’s decision to leave many of the

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anomalies that appeared in the original printing, anomalies that arose out of ambiguities in the manuscripts. Boulez clearly spent a lot of time editing and correcting his 1939 score and was probably disinclined to repeat the process, as well as face fixing a new set of errata. As was his habit, Boulez compiled several lists of errata on various pieces of stationary, which he tucked into the score for reference as well as for dissemination to orchestra librarians and players prior to and during rehearsals. In addition, his score contains several pages of notes, including a detailed listing of all the permutations of the row and a dissection of the solo cadenzas. He also notated in red ink over twenty note corrections in the body of the score where he felt there were erroneous deviations from the row.

Beyond Boulez’s materials, Ann C. Hall’s thorough examination of the 1939 score and the composer’s various manuscripts proved invaluable. Her conclusions were based on two criteria: Schoenberg’s aversion to octave doublings in his use of combinatorial row forms, and note deviations from the row where they made no sense (Schoenberg was no different than Alban Berg in eschewing the primacy of the row where it suited his musical intuitions). Hall’s article includes tables laying out the various note deviations and inconsistencies. The first of these lists some 45 cases where the erste Niederschrift in Schoenberg’s hand has notes that are consistent with the row but were later changed in B and the 1939 printed score. Sixteen of these proposed corrections agree with Boulez’s annotations in his score and a few are also corrected in the Gesamtausgabe. All things considered, we felt we could generally trust Hall’s conclusions.

Occasionally, we did have differences of opinion with Hall (also with Boulez, where his personal taste seemed at odds with the manuscript evidence). For example, at measure 598, the last 8th-note of beat 2, violins 1 and E♭clarinet play B♭. Hall believed this should read as B ♮, whereas we felt this would destroy the semitone phrasing initiated by the piccolo. At another point, in measure 677, she suggested that the soloist should probably play an E to conform to the row, rather an A. We felt that this discrepancy was too large to be dismissed as an error. But Hall’s contribution to clearing up the discrepancies was a huge help in our editorial process.

We are extremely grateful for Hall’s detailed research and Boulez’s performance insights, as well as Okuljar’s hard work in preparing the Gesamtausgabe, including his detailed referencing of primary sources. Without their dedicated analytical work, the 1939 edition’s editorial problems would not have been resolved as smoothly. In addition, Michael Barenboim provided critical insight for the editing of the solo part and Katharina Hötzenecker of the Berlin Philharmonic alerted us to lingering typographical errors following the first performances of this material.

- Clovis Lark

Changes from the 1975 Gesamtausgabe.

Measure Instrument Beat Correction

40 Solo Violin 6th � C# s/r E Boulez, Hall, e.N.

69 Contrabass 7th � B s/r C Hall, e.N.

70-71

Violin I -

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73 Solo Violin 3

77 Piccolo 2

I. Gg s/r 1. Gg m.70-71 are still just one Violin I player. The section returns to Tutti in m.73 1939

F s/r F# (Both 16-notes in b.3)

s/r E

77 Xylophone 1 G s/r Bb

77 Solo Violin 8th � G s/r G# (Conformity with the row) Hall

84 Violoncello, Contrabass 3 F s/r B Hall, e.N.

87 Violin I, II 4th �

Bb s/r B Boulez, Hall, e.N.

90 Flute 2 3 Remove 8th note rest. Misprint. ed.

103 Solo Violin 5th �

s/r A

113 Bassoon 1-3 3 B s/r D (Conformity with the row)

134 S.Vln, Ob.1, EbClar., Tpt.1, Vla., Vc., Cb. -

Add [meno mosso]

According to Michael Barenboim, “[This] should likely read ‘meno mosso’ as it doesn’t seem to make much sense to play suddenly faster, accelerate, and then play slower (main tempo of the section).”

Barenboim

137 Flute 1 1 G s/r Gb Hall, e.N.

192 Violoncello 3 3 D s/r D# Boulez

196 Violin I 6th �

Ab s/r A Boulez

203 Violoncello 1-2 F s/r A Hall, e.N.

214-215 Violin II

228 Flute 2 2nd - 6th ♪

229 Trumpet 1 5

229 Trumpet 2 7-8

237 Violin I, 2 3

Add Hauptstimme, as in Violin I. (Implied from the e.N.) e.N., Lark

D s/r D# Hall, e.N.

G s/r Gb Boulez, Hall, e.N.

Last two 8-notes (A, A) s/r (Ab, A) Boulez

Eb s/r Gb (Conformity with the row) Hall

240 Violin 2 8th � F s/r E Boulez, Hall, e.N.

260 Viola 1 1

260 Viola 2 1

Bb s/r A Boulez, Hall, e.N.

s/r E Boulez, Hall, e.N.

260 Violoncello 1 E s/r Eb Boulez, Hall, e.N.

260 Contrabass 1 B s/r F# Boulez, Hall, e.N.

386 Solo Violin 8th 

C s/r B (Conformity with the row) 1975 Gesamtausgabe already correct. Supported by Hall. Hall

Measure Instrument

407 Viola 1 7th � C s/r D#

407 Violoncello 7th �

415 Bassoon 1-3 5th � F s/r D#

421 Trombone 2 5th � D s/r C (Conformity with the row)

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G#(1.) and C#(2) s/r Ab(1.) and Db(2.) (Change to enharmonics) e.N., 1939

421-422 Violoncello, Contrabasss/r as Tacet (Vc. & Cb. doubled Tbn 2-3 in the 1939 ed., sources agree Schoenberg did not want that doubling. 1975 Gesamtausgabe already correct.)

427 Clarinet 1 C s/r D (Conformity with the row)

466 Horn 1 2 F# s/r G#

482 Viola 2 3rd � D s/r Db (Conformity with the row)

482-484 Viola, Violoncello Divided Cellos s/r as divided Violas. (Vc-1 notes s/r as Vla-2. Vc-2 s/r Vc Tutti.)

, C.A.

1939

496 Violin II 1.5 4-note s/r 8-note. Misprint. ed.

513 Violin I, II 6th � G s/r Gb (For row consistency Hall posits a Gb in the Viola on b.1 instead of a G-nat. Boulez leaves the Viola as G-nat and offers the solution presented here.)

Boulez

577 Flute 3 4 E s/r F (Conformity with the row) Hall

585 Solo Violin 4 G s/r B Hall, e.N.

589 Violin I 2nd � Db s/r D Hall, e.N.

622 Bassoon 1 8th � E s/r Eb Hall, e.N.

628 Oboe 3 1-2

630-634 Flutes 1-3 -

636 Solo Violin 5th trplt �

E s/r D (Conformity with the row) Hall

Contextual error. Piccolo cannot switch to Flute that quickly. Made to match 1939 performance part, which gives the player 2 measures to make the change: On pg.141 “1.2.3 Fl” s/r “1.2. Fl”. On m.632 s/r a2 instead of a3. On pg.142, m.633; a3 s/r a2 At m.634, 3. Fl rejoins other Flutes in unison

Bb s/r B

651 Oboe 1 6th � G# s/r E

685 Solo Violin 4th �

696 Solo Violin 3-4

The “0” above the staff appears below the staff in the D position in both the e.N. and 1939 score, and looks more like a harmonic than a 0. But Hall suggests the symbol is likely meant to be a D played with the A as a dyad. Both context and row analysis suggests Hall is correct.

Remove the “0” and add a D underneath the A, creating a dyad.

1939, Lark

e.N., 1939

Boulez, Hall, e.N.

Hall, e.N., 1939

Upwards-facing 16-note moved to the left, making it the last 16-note of b.3. It should precede the 8-notes rather than sound together with them. e.N., 1939

721 Violoncello 2 C s/r B (Conformity with the row) Hall

e.N.

Boulez, Hall

Bibliography

Boulez, Pierre: Hand annotations to personal copy of Arnold Schoenberg “Concerto for Violin”, Op. 36 Full Score (G. Schirmer Inc. New York 1939)

Hall, Anne C.: “A Comparison of Manuscript and Printed Scores of Schoenberg’s Violin Concerto,” Perspectives of New Music, Vol. 14, No. 1 (Autumn – Winter, 1975), pp. 182-196.

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Schoenberg, Arnold: Arnold Schönberg Sämtliche Werke Konzerte IV/15 “Concerto for Violin and Orchestra”, Op. 36; Tadeusz Okuljar, editor (B.Schott’s Söhne, Mainz 1975).

Schoenberg, Arnold: Concerto for Violin, Op. 36, (G. Schirmer Inc., New York 1939). Marked score & marked set of parts.

Schoenberg, Arnold: Concerto for Violin, Op.36; 1936 Blueprint copy, hand corrections by Arnold Schoenberg, Gertrude Greissle, property of G. Schirmer Inc., Courtesy of Sibley Library, Eastman School of Music, Rochester N.Y. (Listed in the source column as C.A.)

Schoenberg, Arnold: Concerto for Violin, Op. 36, partial facsimile, Arnold Schönberg Center, Vienna (erste Niederschrift, listed in the source column as e.N.)

Whittall, Arnold: “Violinkonzert, Op. 36; II Kammersymphonie, Op. 38; Klavierkonzert, Miniature scores (Philharmonia/Universal, Vienna & London)”, review in Music and Letters, Volume 59, Issue 1, 1 January 1978, Pages 101–102

I N S T R U M E N TAT I O N

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3 F l u t e ( F l . ) , 3 . d o u b l e s P i c c o l o ( P i c c . )

3 O b o e ( O b. )

E b C l a r i n e t ( E b C l . )

C l a r i n e t ( C l )

B a s s C l a r i n e t ( B s C l ) *

3 B a s s o o n ( B n . )

4 H o r n ( H n )

3 Tr u m p e t ( T p t . )

3 Tr o m b o n e ( T b n )

Tu b a

T i m p a n i ( T i m p. )

G l o c k e n s p i e l ( G l o c k . )

X y l o p h o n e ( X y l )

B a s s D r u m ( B . D. )

B e c k e n ( B e c k . )

Ta m t a m ( Ta m . )

S n a r e D r u m ( S . D. )

Tr i a n g l e ( Tr g . )

Ta m b o u r i n e ( Ta m b. )

S o l o V i o l i n ( S - V n . )

V i o l i n I ( V n . I )

V i o l i n I I ( V n . I I )

V i o l a ( Va )

V i o l o n c e l l o ( V c . )

C o n t r a b a s s ( C b )

* ) T h e B a s s C l a r i n e t c a n l e a v e o u t l o w n o t e s ,

b u t s h o u l d n e v e r t r a n s p o s e t h e m t o h i g h e r o c t a v e s

E n g r a v e d b y N i c h o l a s G r e e r

F i l e c r e a t e d : 1 0 / 2 9 / 2 4

1 . b e d e u t e t : H a u p t s t i m m e

b e d e u t e t : N e b e n s t i m m e

d e r e n E n d e d u r c h b e z e i c h n e t i s t

D i e s e B e z e i c h n u n g e n b e z w e c k e n , d i e S p i e l e r ü b e r d i e j e w e i l i g e B e d e u t u n g i h r e r S t i m m e a u f z u k l ä r e n

u n d s i e z u v e r a n l a s s e n , b e i d e n u n b e z e i c h n e t e n S t e l l e n b e g l e i t e n d z u r ü c k z u t r e t e n

2 u n d b e d e u t e n : b e t o n t , w i e e i n g u t e r Ta k t t e i l ;

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b e d e u t e t : u n b e t o n t , w i e e i n s c h l e c h t e r Ta k t t e i l

3 I n d e r B e z e i c h n u n g d e r k u r z e n N o t e n i s t h i e r u n t e r s c h i e d e n z w i s c h e n d e n h a r t e n , s c h w e r e n ,

g e s t o ß e n e n N o t e n u n d d e n l e i c h t e n , e l a s t i s c h e n , g e w o r f e n e n N o t e n . E r s t e r e s i n d d u r c h ,

l e t z t e r e d u r c h b e z e i c h n e t . i s t a l s L ä n g e n z e i c h e n v e r w e n d e t ( t e n u t o u n d po r t a t o ) . We n n

d a r ü b e r d a s B e t o n u n g s z e i c h e n g e s e t z t i s t ( ) , s o b e d e u t e t d a s : b e t o n e n u n d v e r l ä n g e r n ; s t e h t

d a s S t a c c a t o - Z e i c h e n d a r ü b e r ( ) , s o i s t d i e N o t e g u t a u s z u h a l t e n u n d t r o t z d e m d u r c h e i n e k l e i n e

P a u s e o d e r U n t e r b r e c h u n g v o n d e r f o l g e n d e n z u t r e n n e n ( s o s i n d i n s b e s o n d e r e A u f t a k t e b e z e i c h n e t )

N o t e n , d i e m i t v e r s e h e n s i n d , s o l l e n m i t e i n e m g e w i s s e n G r a d v o n G e w i c h t i g k e i t g e s p i e l t w e r d e n

4 I n d i e s e r P a r t i t u r g i b t e s k e i n e t r a n s p o n i e r e n d e n I n s t r u m e n t e m e h r K l a r i n e t t e n u n d H ö r n e r , w e l c h e

d i e v o l l s t ä n d i g e c h r o m a t i s c h e S k a l a b e s i t z e n , s i n d w i e a l l e a n d e r e n C - I n s t r u m e n t e b e h a n d e l t . E s w ä h l e s o m i t d e r B l ä s e r d i e j e n i g e S t i m m u n g , d i e d i e A u s f ü h r u n g j e w e i l s a m m e i s t e n b e g ü n s t i g t

S e l b s t v e r s t ä n d l i c h m ü s s e n a l l e s o g e l e s e n w e r d e n , a l s s e i e n s i e f ü r K l a v i e r g e s c h r i e b e n – a l s o o h n e

Tr a n s p o s i t i o n

5 . D i e M e t r o n o m z a h l e n s i n d n i c h t w ö r t l i c h , s o n d e r n b l o ß a l s A n d e u t u n g z u n e h m e n .

6 Tr i l l e r i m m e r o h n e N a c h s c h l a g , Vo r s c h l ä g e a l s A u f t a k t e .

E X P L A N A T O R Y N O T E S

1 m e a n s : p r i n c i p a l p a r t

m e a n s : s e c o n d a r y p a r t

t h e e n d s o f w h i c h h a v e b e e n m a r k e d w i t h t h e s i g n

T h e s e i n d i c a t i o n s a r e f o r t h e p u r p o s e o f m a k i n g c l e a r t h e i m p o r t a n c e o f e a c h p a r t I t f o l l o w s t h a t

u n m a r k e d p a s s a g e s a r e t o r e t i r e i n t o t h e b a c k g r o u n d a s a c c o m p a n i m e n t .

2 . a n d m e a n : a c c e n t e d , l i k e a s t r o n g b e a t .

m e a n : u n a c c e n t e d , l i k e a w e a k b e a t .

3 . I n t h e n o t a t i o n o f t h e s h o r t n o t e s , a d i s t i n c t i o n h a s b e e n d r a w n b e t w e e n t h e h a r d , h e a v y,

m a r t e l é o n e s a n d t h e l i g h t , e l a s t i c , t h r o w n o n e s T h e f i r s t h a v e b e e n i n d i c a t e d b y t h e s i g n ,

t h e l a t t e r b y t h e s i g n T h e s i g n m e a n s t h a t t h e n o t e s h o u l d b e l e n g t h e n e d ( t e n u t o a n d po r t a t o ) . W h e n t h e m a r k i s p l a c e d a b o v e t h e d a s h ( ) , t h e n o t e s h o u l d b e a c c e n t e d a n d l e n g t h e n e d . W h e n i t i s t h e s t a c c a t o d o t t h a t i s p l a c e d a b o v e ( ) , t h e n o t e i s t o b e w e l l s u s t a i n e d

a n d y e t s e p a r a t e d f r o m t h e n e x t b y a s l i g h t p a u s e o r i n t e r r u p t i o n . m e a n s “ d o n o t a l l o w t h i s t o w e a k e n ” , a n d o f t e n e v e n “ b r i n g o u t ” ( I t i s m a i n l y u p - b e a t s t h a t h a v e b e e n m a r k e d t h u s )

4 . I n t h i s s c o r e t h e r e a r e n o t r a n s p o s i n g i n s t r u m e n t s . C l a r i n e t s a n d H o r n s , p o s s e s s i n g a s t h e y d o a f u l l c h r o m a t i c s c a l e , s h o u l d b e r e g a r d e d a s i n s t r u m e n t s i n C . B u t t h e w i n d - i n s t r u m e n t p l a y e r s m a y u s e i n s t r u m e n t s o f w h a t e v e r p i t c h i s t e c h n i c a l l y m o s t s u i t a b l e I t g o e s w i t h o u t s a y i n g t h a t a l l

c l e f s s h o u l d b e r e a d a s t h o u g h w r i t t e n f o r t h e p i a n o – t h a t i s , w i t h o u t t r a n s p o s i t i o n .

5 T h e m e t r o n o m e m a r k s m u s t n o t b e t a k e n l i t e r a l l y – t h e y m e r e l y g i v e a s u g g e s t i o n o f t h e t e m p o

6 Tr i l l s m u s t a l w a y s b e p l a y e d w i t h o u t a f t e r b e a t s A p p o g g i a t u r a s s h o u l d b e r e g a r d e d a s u p b e a t s