F R O M MANUSCRIPT TO PUBLICATION:

ASPECTS OF L I O N E L TERTIS' S T Y L E OF V I O L A P L A Y I N G

A S R E F L E C T E D I N HIS 1936 E D I T I O N O F

R A L P H V A U G H A N W I L L I A M S ' SUITE FOR V I O L A A N D O R C H E S T R A

by

Bernard John Kane

B . Mus.(Hons), Royal College of Music, London

M . M . , Y a l e University

A THESIS R E Q U I R E D IN P A R T I A L F U L F I L M E N T O F
T H E REQUIREMENTS FOR THE D E G R E E OF

Doctor of Musical Arts

in

The Faculty of Graduate Studies

(Music)

The University of British Columbia

July 2007

© Bernard John Kane 2007

 ABSTRACT

The Suite for Viola and Small Orchestra (or Piano) by Ralph Vaughan Williams (1872 -

1958) was commissioned by and dedicated to the British violist Lionel Tertis (1876 - 1975). The

premier occurred on 12 November 1934; Lionel Tertis was the soloist with the London

Philharmonic Orchestra under the baton of Sir M a l c o l m Sargent. The work was first published

by Oxford University Press i n 1936 in an edition for viola and piano. In this edition, the viola

part contains many inconsistencies with the manuscript, which is held at the British Library

(Add. M S 50386). Between the first performance i n 1934 and the publication of the Suite in

1936, Tertis made considerable editorial changes to the viola part. These changes involve

fingerings, bowings, phrasing, articulation, and dynamics; at times the notational substance is

altered as well. 1

It is the aim of this thesis to demonstrate why Lionel Tertis' 1936 version differs from the

manuscript. The author w i l l attempt to demonstrate that the differences which do exist between

the manuscript and the 1936 edition are the result of Tertis' idiosyncratic style of performance,

the most notable aspects being Tertis' emendations concerning his use of articulation and

phrasing.

In chapter 1,1 shall discuss aspects of Lionel Tertis' life that led to his international

recognition as one of the greatest violists of all time; I shall also discuss the relationship that he

had with Ralph Vaughan Williams, one which led to the composition of the Suite for Viola and

' Original discovery by William A. Everett, discussed in "Ralph Vaughan Williams's Suite for
Viola and Orchestra," Journal of the American Viola Society 13, no. 2 (1997): 9-19.

ii
Orchestra. In the following two chapters, I shall demonstrate that the differences made between

the manuscript and the 1936 edition are reflections of two aspects of Tertis' own style of viola

playing. These are - generally speaking - Tertis' use of articulation to create a bigger sound in

passages of a louder dynamic and his use of connected, sustained cantabile phrasing in passages

of a softer dynamic. I shall also use other examples from his own arrangements of other music in

he makes similar changes which reflect this general philosophy.

iii
 TABLE OF CONTENTS

Abstract ii

Table of Contents iv

Acknowledgements v

Dedication vi

1. C H A P T E R 1: Ralph Vaughan Williams and Lionel Tertis 1

2. C H A P T E R 2: Differences between the manuscript,

Tertis' 1936 edition of the Suite, T C I and T C 2 : Articulation 24

3. C H A P T E R 3: Differences between the manuscript,

Tertis' 1936 edition of the Suite, T C I and T C 2 : Phrasing 39

Summary 51

Bibliography 52

Appendix A : Table of differences between the manuscript,

Tertis' 1936 edition, T C I and T C 2 56
Appendix B : Works written for and/or arranged and edited by Lionel Tertis 92

iv
Acknowledgements

I would most gratefully wish to acknowledge the following people for their help and

understanding in the last few years:

Prof. Alexander J. Fisher

Prof. D a v i d Harding
Prof. Eric W i l s o n
Dr. Erika Crino
Michael C . Eberly
Ida Haendel, C B E
Dr. Brett Kingsbury
Simon Rowland-Jones
R o d and Johanna Evans
Annemarie Kane
David Kane
Paul Kane
Robert Kane
B u d Richardson
Bob and M a r i l y n Harris
Michael Harris
Elizabeth Owens
Mattew Neuner
Cindy Starzyk
John R. Taylor
Claire K i d w e l l , Librarian, Trinity College of Music, London
The Library Staff, Cardiff University School of M u s i c
The Library Staff, U B C School of M u s i c

v
Dedication

I would like to dedicate this thesis with much love to my mum, Maureen Frances Kane,

without whom so many aspects of my life would simply not have been possible. Thanks

for everything, mum.

vi
 CHAPTER 1

L I O N E L TERTIS A N D R A L P H V A U G H A N W I L L I A M S

L i o n e l Tertis a n d the V i o l a

Lionel Tertis (1876-1975) has long been recognised as one of the greatest violists of all

time. The promotion of the viola as a solo instrument was his lifelong aim and his eventual

achievement. Michael Kennedy described Tertis' importance for the world of the viola in the

following words:

Surely it is the most extraordinary coincidence in the history of music that Pablo Casals and
Lionel Tertis were born on the same day, 29 December 1876? Each was destined, by artistry and
virtuosity, to give his chosen stringed instrument a higher place that it hitherto occupied. There
were great cellists before Casals, but Tertis was the first virtuoso of the viola and remains the
greatest. He did more than play the instrument marvellously; he put it on the map. True, there
were always viola players in orchestras and string quartets (and, after all, Mozart played it) but
they were rarely either good or distinguished performers—obviously there must have been some
exceptions—and the beautiful sound one now expects to hear from viola sections was
unimaginable until the results of Tertis's teachings and examples became evident. His life has
been a campaign dedicated to the instrument he loves and has championed for over seventy
years. 1

Lionel Tertis entered Trinity College of Music, London in 1892 as a pianist, studying with R. W .

Lewis; his secondary area was the violin with the violinist B . M . Carrodus. While at Trinity

College of Music, Tertis became quite a successful pianist:

I made considerable progress with the piano, playing concertos with the College orchestra, and
also had a few lessons on the organ during my short stay. But my prevailing concern and pleasure
were my violin lessons. M y savings saw me through only two terms, ending with the Lent term of

1
Michael Kennedy, liner notes to Lionel Tertis Plays Sonatas by Brahms, Handel & Delius; music by Bach,
Mendelssohn, etc. (Hayes, Middlesex, Great Britain: E M I recording H L M 7055, 1974). Kennedy (1926-) is a
British writer on music. He was a writer for the Daily Telegraph (London) and music critic for the Sunday
Telegraph (London). Among his many books on music is The Works of Ralph Vaughan Williams (London: Oxford
University Press, 1964, 3/1980). Kennedy was asked by Vaughan Williams himself to write the musical side of
Vaughan Williams' biography before the composer died. See David Scott, "Kennedy, (George) Michael (Sinclair),"
Grove Music Online, http://www.grovemusic.com, accessed 10 February 2006. It is interesting to note that J. S.
Bach, too, enjoyed playing the viola in chamber music: "In musical parties where quartets or fuller pieces of
instrumental music were performed and he was not otherwise employed, he took pleasure in playing the viola. With
this instrument, he was, as it were, in the middle of the harmony, whence he could best hear and enjoy it, on both
sides." See Hans T. David and Arthur Mendel, eds., "Forkel on Bach's Life and Works," in The Bach Reader: A Life
of Johann Sebastian Bach in Letters and Documents (New York: Norton, 1945), 397.
 1893, and then I had to go out into the world once more to earn the wherewithal for further
tuition.2

In order to save money for his future studies, Tertis was obliged to seek employment in

various fields; one of these was as a music attendant at a mental institution in Preston. In addition

to making music Tertis would look after the needs of patients; Tertis would help in "assisting the

patients to dress themselves, and helping them behave as far as their mental capacity would

allow." Tertis informs us that the atmosphere which surrounded the asylum compelled h i m to

seek employment elsewhere:

I remember our playing seemed to awaken in them (the patients) some sort of interest, but their
mental condition so terribly destitute of any expectation saddened me, and the hopelessness of the
general atmosphere in the institution was more than I could endure for long and forced me to look
for other sources of income. 4

Tertis eventually saved enough funds to return to Trinity College for a further three

months. A t this point, Tertis decided to concentrate on studying violin with B . M . Carrodus.

After completing his studies at Trinity College, the young violinist then chose to study abroad at

the Leipzig Conservatory for a six-month course. Tertis apparently did not learn a great deal

from his teachers and states in My Viola and I that the general ambiance at the Conservatorium

was one of hostility and negativity:

I learnt precious little from my teachers and particularly little in my principal study, the violin.
My tutor, Professor Bolland, paid small or no attention to what or how I played. His room was an
extremely long one, I played at one end, and during most of my lessons he was generally at the
other extremity of it engrossed in his collection of postage stamps! English and American
students were there in numbers in my time, and no love was lost between us and the German
students. Feelings were expressed not in mere casual blows but in pitched battles. The authorities
knew of this but never troubled to interfere. 5

While in Leipzig Tertis came across a viola that was for sale in a junk shop. He tells us that

although he never had any urge to play the viola previously, the instrument was so attractive to

2
Lionel Tertis, My Viola and I (London: Kahn & Averill, 1991), 10.
3
Ibid,ll.
4
Ibid.
5
Ibid., 13.

2
him that he simply had to buy it: "I considered the instrument such a fine specimen of

craftsmanship that I longed to have it." 6

After his Leipzig stay Tertis returned to London towards the end of 1895 and enrolled as

an intermittent student at the Royal Academy of M u s i c to study violin with Hans Wessely, a man

whom Tertis respected but from whom he did not learn all he needed to know about violin

technique:

Professor Wessely was a good fiddler, a classical player, rather cold but possessed a fine
technical ability. He was dictatorial, inclined to be conceited, and as a teacher rather harsh. He
taught well up to a point—only up to a point, however, for the most important tricks of the trade
he jealously kept to himself.7

A t the age of nineteen, whilst still a student of Wessely, Tertis took up the viola in order

to form a string quartet:

When I reached the age of nineteen a fellow violin student, Percy Hilder Miles, came to me with
the suggestion that I should take up the viola. He wanted to form a string quartet, and there was
not one viola student at the Academy! So casual was my discovery of my mission in life, of that
beautiful, soon-to-be-loved viola, to which I was to devote the rest of my days. 8

Tertis' initial attraction to the viola was "its attractive quality of tone, so distinct from the

other members of the string family." He was determined from that moment on to focus entirely
9

on mastering the instrument. Tertis describes how he chose to teach himself the viola, as

Wessley was seemingly incapable of such:

Thenceforward I worked hard and, being dissatisfied with my teacher—who new nothing about
the idiosyncrasies of the viola, nor indeed was there any pedagogue worthy of its name to go for
guidance—I resolved to continue my study by myself. I consider that I learnt to play principally
through listening to virtuosi; I lost no opportunity of attending concerts to hear great artists
perform. I especially remember hearing Sarasate at the old St. James's hall playing the
Mendelssohn concerto most marvellously—every note a pearl. 10

, 6
Ibid.
7
Ibid, 15.
8
Ibid., 17.
9
Ibid., 16.
Ibid. Pablo de Sarasate (1844-1908), a Spanish virtuoso violinist, had many works written for him by various
10

composers, including Saint-Saens (Violin Concertos nos. 1 and 3; Introduction et Rondo capriccioso), Lalo (the
Concerto in F minor and Symphonie espagnole) and Bruch (Violin Concerto no. 2 and the Scottish Fantasy). The
article on Sarasate by Boris Schwarz and Robin Stowell in Grove Music Online (accessed 10 July 2006) states that

3
 In his lifetime, which spanned almost one hundred years, Tertis was to promote the viola

from the ranks of "Cinderella of the string f a m i l y " " to virtuoso status. In his autobiography My

Viola and I, Tertis paints a vivid description of how the viola was viewed at the beginning of the

twentieth century:

When I first began to play the viola as a solo instrument, prejudice and storms of abuse were my
lot. The consensus of opinion was that the viola had no right to be heard in solos, indeed the
consideration of its place in the string family was of the scantiest.... A wretchedly low standard
of viola-playing was in fact accepted simply and solely because there was no alternative. A little
old man, said to be a professional viola-player, was engaged by the Academy to take part twice a
week in the orchestral practices. What a player he was! He used a very small instrument, not
worthy of the name viola, and he produced from it as ugly a sound as fiddle ever emitted—a
bone-dry tone, absolutely devoid of vibrato, which made one's hair stand on end. I once enquired
of Sir Alexander: "Could we not dispense with this horrible player?" His reply was, "No, he is a
necessary evil." 12

Tertis stated in his autobiography that in 1897, when he borrowed a Guadagnini viola, he

"resolved that my life's work should be the establishment of the viola's rights as a solo

instrument." 13

In 1901, Tertis was appointed full time professor at the Royal Academy of M u s i c and

also became member of the Wessely String Quartet with his old violin teacher, Hans Wessely.

Tertis then went on to join Henry Wood's Queen's H a l l Orchestra as a violinist playing at the

back desk of the second violins. A t this time, Tertis played the viola for Henry W o o d and

immediately moved from back desk second violin to principal viola of the orchestra. 14

"Sarasate was the ideal embodiment of the salon virtuoso. His nine recordings [...] confirm critical opinion of his
playing, which was distinguished by sweetness and purity of tone, produced with a 'frictionless' bowstroke and
coloured by a shallow, fast vibrato, less sparingly employed than was customary at that time. His technique was
assured, his intonation was precise, especially in high positions, his use of portamento was varied and frequent, and
his whole manner of playing was so effortless as to appear casual."
" Ibid., 55. Tertis also wrote an autobiographical book called Cinderella No More (London: Peter Nevill,
1953), a forerunner to M y Viola and I.
12
Ibid:
13
Ibid., 18.
14
Henry Wood (1869-1944) was an eminent British conductor and composer. He founded the Promenade
concerts at the Queens Hall in London in 1895. These concerts - the "Proms" as they became known in 1927 when
the B B C took over them - later moved to the Royal Albert Hall in 1942 (the Queens Hall was destroyed in 1941 by
German bombing). Vaughan Williams wrote and dedicated his Serenade to Music for and to Wood in 1938. See

4
 In 1904 there was a dispute between the players of the Queen's H a l l Orchestra and the

management. Members were told that they no longer were allowed the use of deputies. Using

deputies allowed regular members of the orchestra take on other, better-paid jobs while retaining

their positions with the Queen's H a l l Orchestra. Tertis describes this situation:

The story goes that a player once sent to the first rehearsal of a concert a deputy, who in his turn
sent a deputy to the second rehearsal, and the deputy's deputy turned up at the concert! The
excuse if there was one for this paradoxical state of things was that by present-day standards
players were miserably paid and were irresistibly tempted to accept the most remunerative job
that was going. True, the system probably helped toward quick reading—English orchestral
players were well known for being the best sight readers. But what a shameful situation, all the
same. 15

The dispute led to forty of the members of the orchestra refusing to give up their privilege

of being able to use deputies. These members decided to resign and create their own orchestra,

the London Symphony Orchestra. The members of the new orchestra then asked Tertis to join

them as their principal violist; he declined and states his reasons in the following way:

They resigned and set about organizing a self-governing orchestra, the London Symphony. I was
invited to join them as their principal viola, but I declined and at the same time relinquished my
position in the Queen's Hall Orchestra. Before this happened I had made up my mind to give up
orchestral playing as soon as possible and devote all my time to solo work. The Queen's Hall
crisis was my opportunity. On the one hand I was devoted to Henry Wood, and on the other was
attached to my colleagues who had seceded. By renouncing orchestral playing altogether I hoped
to avoid the feelings of either party.
16

A s he embarked upon his solo career Tertis remained a professor at the Royal Academy

of Music in London, where some of his students included Eric Coates and Rebecca Clarke. In

1906 Tertis joined the Bohemian String Quartet for a short time; 17
in 1908 he joined a string

quartet that his colleague at the Royal Academy, Professor W i l l y Hess, was forming in the

Arthur Jacobs, "Wood, Sir Henry J.," Grove Music Online, www.grovemusic.com, accessed 12 July 2006. In a
conversation with the violinist Ida Haendel, she told me that Sir Henry Wood was an "absolute gentleman" - she
had performed the Beethoven Violin Concerto with Henry Wood at a Promenade concert when she was only nine
years of age.
15
Tertis, My Viola and I, 23.
16
Ibid.
17
The Bohemian String Quartet was founded in 1891. It later became known as the Czech Quartet in 1918.
Many famous works were written for and/or first performed by the group, including works by Dvorak and Janacek.

5
United States. Tertis remained with this group for less than three weeks, as he was dissatisfied

with the situation: " O n arriving in Boston, Mass., I found that the terms offered to me were

vastly inferior to those I had been promised verbally in London. The American prospect, I

decided, was uninviting, and exactly three weeks later, I departed N e w Y o r k for home on the

S.S. Lusitania.,M

Despite his original statement that he would concentrate solely on solo playing, Tertis

returned to orchestral playing for one year in 1909, this time under the baton of Thomas

Beecham and the Beecham Symphony Orchestra where the lead violinist of the orchestra was

Albert Sammons. Subsequently he commenced his journey of promoting the viola as a solo
19

instrument. The first composers who came to Tertis' aid in his request for music for the viola

were the British composers Benjamin Dale and Y o r k Bowen, followed soon after by A r n o l d B a x .

Tertis' first performance with the Royal Philharmonic Society on 26 M a r c h 1908 included

Bowen's Concerto for V i o l a and Orchestra. In 1911 Tertis again appeared with the Royal

Philharmonic Society, premiering Benjamin Dale's Suite for V i o l a and Orchestra.

In 1911 Tertis gave the first public performance his own edition of Bach's Chaconne

from the D-minor Partita, B V W 1004 for Solo V i o l i n . Tertis tells us in his autobiography, My

Viola and I, that this was the first performance ever of this work on viola. Apparently there was

little press coverage of the event apart from one critic, E d w i n Evans, who became music critic of

the Pall Mall Gazette in 1912 and later of the Daily Mail. A n article written a few years later by

Evans reflects his great admiration for the violist:

It is a perennial subject of discussion, especially in theatrical circles, as to whether the performer

or interpreter can legitimately claim credit for creative work—whether for instance the great actor

Tertis, My Viola and /, 25.

18

Tertis would later make a recording of his own edition of Mozart's Sinfonia Concertante with Albert
19

Sammons and the London Philharmonic Orchestra under Sir Hamilton Harty, under the title Sinfonia Concertante in
E flat major for Violin, Viola and Orchestra, K. 364 (Columbia Records Dx478/81, issued 1933).

6
 who infuses life into a character is not something more than the interpreter of the dramatist
[...]Performers may have their little vanities, but it does not commonly occur to them to claim a
sonata as their own because they played it well. Yet there is a point at which the interpretive
artist may merge into the creative without being himself a composer—we might even say
preferably not being a composer, judging by our knowledge of those who were performers first
and composers afterwards. They become creative artists when they so influence the medium of
their art that it furnished a new incentive and a new impulse to creative effort. In the whole
history of music such performers have been rare [...]But there occurs occasionally an exception.
There arises a player whose convictions turn to idealism, and whose sense of artistic
responsibility develops into a mission. They then become, as it were, apostles, whose gospel is
carried far and wide, gathering converts on its way. To this sparse category of players belongs
Lionel Tertis.20

In his book Cinderella No More, Tertis quotes Evans as writing the following to Oxford

University Press regarding a later performance of the Chaconne in 1935:

I heard Tertis play his arrangement of the Chaconne, and I am in favour of its being published.
Not many viola players will be equal to playing it as he does, but they will all want to have a stab
at it. As it becomes known it ought to be the equivalent of the cordon bleu among them. On the
musical side it struck me, while listening, that in sonority it was a distinct improvement on the
original, though I may be stoned for saying so! The chords and arpeggios spread across the
strings gain much in dignity by starting from a deep foundation. Moreover, with violinists I have
always been conscious of a certain occasional scratchiness, which they complacently regard as
inevitable but which, for my ears, mars the effect. With the mellower tone of the viola this
becomes negligible. I was on the qui-vive for it on Friday and it never bothered me. 21

Tertis took the liberty of writing Evans to air his views about the neglect of the viola as a solo

instrument:

Dear M r Evans,
I can't thank you sufficiently for your article in The Oudook. It is so understanding, and fully
realises the shameful neglect of the viola as a solo instrument. The concert has been disgracefully
treated as far as the press is concerned. I suppose if I had come from Bulgaria (or some other
foreign country with an unpronounceable name) they would take more interest in it....
Surely they know by this time that my aim is and object is not for any personal prestige in any
way, but solely and purely for the furtherance of the claims of the viola as a solo instrument....
22

During the war years from 1914 to 1918, Tertis was called up for military service and

served as a Special Constable. It was during these years that Tertis was to meet the great violinist

EugeneYsaye (1858-1931), with whom Tertis performed Mozart's Sinfonia Concertante at the

~ Edwin Evans, "British Players and Singers," The Musical Times 63, no. 949 (1 March 1922): 157.
u

21
Tertis, Cinderella No More, 72-73.
22
Tertis, My Viola and 1,44, extract from a letter from Tertis to Edwin Evans. Date unknown.

•7
Queen's H a l l on 28 February 1916, with Thomas Beecham conducting.

Just before the war, Tertis established a piano quartet with Albert Sammons on violin,

W i l l i a m Murdoch on piano, and Felix Salmond on violoncello, called "The Chamber M u s i c

Players". During the war, Sammons and Murdoch were conscripted and joined the Grenadier

Guards; apparently Tertis made special efforts to visit them in their barracks whenever

possible. After the war, the Chamber M u s i c Players reformed with great success; Alfred Kalish

wrote in 1921 that "Individual excellence is not always a guarantee of a fine ensemble, but this is

one of the exceptions which proves the rule. Their success has been instantaneous, and they w i l l

no doubt be an important factor in the making of chamber music in the near future." 24

In 1922 Tertis returned to the United States for his first tour as a viola soloist, giving

recitals in New Y o r k and playing Dale's Suite for V i o l a and Orchestra with the New Y o r k

Symphony Orchestra. Tertis made another trip to the N e w Y o r k in 1924, this time to play

Mozart's Sinfonia Concertante with Fritz Kreisler in Carnegie H a l l . He later performed the same

work with Fritz Kreisler in Boston and later at the Albert H a l l in London.

It becomes apparent from the following review in 1923 that Tertis' crusade towards

promoting the viola as a solo instrument started with the various arrangements he made for viola

from other classic works:

From the A E . - Voc. Comes the third and last movement of Grieg's Violin and Pianoforte Sonata
in C minor, arranged for viola by Tertis, and played by him and Ethel Hobday. This, I feel, is
easily the most successful part of the Sonata. If all Mr. Tertis's piratical excursions into the violin
repertory came off so well, the raids would be justified. But it is clear that as a rule violin music
loses in being adapted to a lower instrument.. ..But seeing that the viola has now a big
gramophone public, and that Mr. Tertis cannot go on arranging indefinitely, why don't some of
our many excellent string composers write some pieces for viola and pianoforte, with Mr. Tertis
and the recorder specially in view? 25

" Ibid., 48.

Alfred Kalish, "The Chamber Music Players," The Musical Times 62, no. 936 (1 February 1921): 114.
2 4

Review by "Discus," in The Musical Times 64, no. 970 (13 December 1923): 847. " A E . - Voc" stands for
2 5

"Aeolian Company and Vocalian Records".

8
 During his lifetime, many works for solo viola were written specifically for Tertis.

Mention has already been made of Dale's Suite for V i o l a and Orchestra (1911) and Bowen's

Concerto for V i o l a and Orchestra (1908), as well as several compositions by A r n o l d Bax: the

Sonata for V i o l a and Piano (1922); the Legend for V i o l a and Piano (1929); a trio for flute, viola

and harp (1927), and the Concerto for V i o l a and Orchestra (1920), later called Phantasy. Works

also written for Tertis include Gustav Hoist's Lyric Movement for V i o l a and Orchestra (1934)

and Ralph Vaughan W i l l i a m s ' Suite for V i o l a and Orchestra (1934). A l l of these works are

dedicated to Tertis.

A famous tale surrounding a work written for Tertis concerns the V i o l a Concerto (1927)

by W i l l i a m Walton (1902-1983). Reminiscent of Nicolo Paganini's (1782-1840) initial refusal

in 1834 to perform Harold in Italy, which he had commissioned from Hector Berlioz, Tertis

declined to premiere the concerto that Sir Thomas Beecham had asked Walton to write for him;

Tertis thought the work "too modern." Just as Paganini eventually changed his opinion of

Berlioz's music, Tertis also came to the realisation that the Walton V i o l a Concerto was a great

work. Tertis relates this tale in his autobiography:

One work of which I did not give the first performance was Walton's masterly concerto. With
shame and contrition I admit that when the composer offered me the first performance I declined
it. I was unwell at the time; but what is also true is that I had not learnt to appreciate Walton's
style. The innovations in his musical language, which now seem so logical and so truly in the
main-stream of music, then struck me as far-fetched.... I remember that, when Walton came to
me with it and I refused the honour, he was generous enough not to seem to take it too much
amiss but asked me to suggest someone else to undertake the performance. I thought immediately
of Paul Hindemith, a well-known and much-talked-of composer and viola player too. So it was
that Hindemith played the work for the first time at Queen's Hall. 27

In addition to having works written for him and in an effort to expand the repertoire of

the viola Tertis also arranged many other works, including Johannes Brahms' Clarinet Sonatas,

op. 120, nos. 1 and 2, Mozart's Clarinet Concerto, Bach's Chaconne (from the V i o l i n Partita in

2 6
G . A . Osborne, Proceedings of the Musical Association, 5th Sess. (1878-1879): 68-69.
2 7
Tertis, My Viola and I, 36.

9
D minor, B W V 1004) and Sir Edward Elgar's Cello Concerto.

Tertis' arrangement of the Elgar concerto deserves special attention, as it was actually

sanctioned by the composer himself. In his autobiography, Tertis noted that "When I was once in

conversation with Sir Edward Elgar I mentioned to h i m the innumerable objections I had met

against my transcriptions. H e exclaimed: 'What nonsense! What of the countless arrangements

that the great masters themselves have made of their own w o r k s ? ' " Tertis went on to say that
29

"When I tried my hand at arranging his cello concerto for the viola he authorized me to direct

that printed on the viola part in large letters should be the words: 'Arranged with the sanction of

30

the composer'." Elgar must have been impressed with Tertis' arrangement, as the composer

agreed to conduct the first performance on 21 March 1930 at the Queen's H a l l in London.

In his autobiography Tertis describes how, in 1937 he was suffering from rheumatism,

a consequence of which prevented h i m from playing staccato passages:

There was another reason why I returned home depressed. In 1937 a cloud that had been looming
for some considerable time darkened over me still further. Little by little I had to cut down my
repertory because of a physical affliction—public enemy number one, rheumatism. Fibrositis in
the right arm had for some time gradually been depriving me of an essential of essentials—
spicatto bowing, without which no string player has the right to perform in public. 32

Tertis goes on to state that:

The malady was becoming acute and interfering very much with my playing capability, and by
the end of 1936 I managed only with great difficulty to conceal the shortcomings of my bow arm.
The fear haunted me that if I were to continue playing, I should deteriorate more and undo the
years of struggle on behalf of the solo viola. I decided that the symphony concert at the Queen's
Hall on 24 February 1937, at which the B B C had invited me to play in celebration of my sixtieth
birthday, should be my'swansong. 33

2 8
Other works written for or arranged and edited for Tertis are noted in Appendix B .
2 9
Tertis, My Viola and I, 64.
3 0
Ibid., 65.
31
1 believe that what Tertis refers to as being "rheumatism" is in actual fact tendonitis. The fact that Tertis
insisted on playing such a large viola, in addition to his desire for a bigger sound, may well have triggered tendonitis
in the bow arm. It is probable that after a break from playing, Tertis' condition remedied itself.
3 2
Ibid., 81.
3 3
Ibid.

10
A dinner was given in his honour on 13 June 1937, attended by many famous figures such as Sir

Hugh A l l e n , Sir Adrian Boult, Eric Coates, Eugene Goosens, Beatrice Harrison, Sir M a l c o l m

Sargent, Bernard Shore, S o l o m o n and Ralph Vaughan Williams:

34

I here give the content of some of the speeches as they were taken down at the time - for their
entertainment value (the first two of them at least) rather than with any intention of blowing my
own trumpet.

'Dr Vaughan Williams referred to the news of Tertis's retirement, due to his alleged
inability to play spicatto. "I don't even know what spicatto is," he added. He spoke of
the letter he had written to Tertis, promising that all those who tried to write works for
him would guarantee to include no spicatto bowing. He said that although one had to
respect the decision of so great an artist, he was sure that Tertis's second best was good
enough for us' . 3S

It could be argued that many of Tertis' changes to the text of the Suite for the 1936 edition may

have been made due to his problems with his bow arm. I do not believe this to be the case, as a

man of Tertis' integrity would likely not have rewritten Vaughan W i l l i a m s ' music and then

published it as a result of a problem with his bow arm. In any event, Tertis did, by all accounts,

recover a few years later to full playing health. It is interesting to note that the additional changes

he makes in his own copies of the Suite are entirely consistent with those he made in his 1936

edition (even though we have no idea when Tertis used these parts). This would speak against

the assertion that the changes were the product of a short-term physical illness.

Fortunately, Tertis' medical condition did not end his career; within two years, the violist

was back on the concert platform:

The 1914 War had until the last moment seemed incredible to those brought up under
nineteenth-century liberalism. Yet more incredible would it have seemed that a second horror
would be our lot within less than a generation. In a heavy air, very different from that of 1914,

Solomon (Solomon Cutner [1902-1988]; he never used his surname professionally) was an English pianist
who rose to fame early on in life. The pressures on him were so great that he soured on the piano; Henry Wood
advised him to take some time off from music. He did eventually return to the concert platform as virtuosic as ever.
It is interesting to note that the piano part to Bliss' viola sonata - the viola part was written for Tertis - was actually
written for Solomon. See William S. Mann, "Solomon," in Grove Music Online (http://www.grovemusic.com,
accessed 16 November 2006).
3 5
Tertis, My Viola and I, 85.

11
 came 1939. One dare not peer into the future. I resumed practice, and found to my gratification
that my arm had benefited from the two years rest, and this amelioration encouraged me to
look round and see if I could be of some use... .Thus it was that I went back on my 1937
resolution.36

This return to the conceit platform was heralded with success:

As a preliminary I returned to the concert platform to give to recitals with William Murdoch in
November 1939, Playing on a T . M . [Tertis Model] viola made by Arthur Richardson - the first
time that the English viola had been heard in public. I also resumed broadcasting. Among the
letters I received was one from 'Uncle Tobs' (Tobias Matthay, the famous pianoforte
pedagogue). " M y dear Lionel," he wrote. "We heard you over the wireless the other day. It was
as great as ever. And it was a great happiness to hear you again. The new instrument came
through most effectively, too." 37

Another review states that Tertis' playing was as good as ever:

There is no viola-player like Lionel Tertis, and his return to the concert platform after an
absence of two years was not less eventful because it took place not at the Queen's but at the
Wigmore Hall or because he played sonatas and not concertos. The programme consisted of
three excellent sonatas by Dohnanyi, Ireland and Brahms for viola and piano. But, for once in
a way, one had less thought for the music. Our ear delighted in the extraordinary beauty of the
player's tone—beauty that one feared was lost when Tertis left us. He returns with powers
absolutely unimpaired. In grace, finish, technical mastery, intelligence he is what he
always has been, the rare being who places all the resources of virtuosity humbly and
unreservedly at the service of the composer. 38

T h e Tertis M o d e l V i o l a ( T . M . viola)

For many years, Tertis worked on a design for a viola that was small enough to be

played under the chin, yet large enough in order to be able to - in Tertis' words - attain a

satisfactory " C string sonority":

The design of violas to which you are listening to today has been conceived, first as a result of
the scarcity of violas, and secondly, because of the deficiencies of small, and the difficulties of
impossibly large violas still in circulation [....] The small violas have insufficient air-space and
therefore lack C string sonority. The large ones of 17 or 18 inches in length, with their
cumbersome features, effectively prevent ease of manipulation. As my colleague William
Primrose once pungently remarked with regard to the very large viola: "The viola is difficult
enough without having to indulge in a wrestling match with it!" 39

Tertis states that the solution to this problem was his new "Tertis M o d e l " viola:

3 6
Ibid., 95.
37
Ibid.
3 8
"Tertis," The Musical Times 80, no. 1162 (December 1939): 823 (author known as F.B.).
3 9
Tertis, My Viola and I. 164.

12
 The "Tertis Model" will help to correct these shortages and defects. It is 16| inches long, and
this I consider to be the maximum length for playing under the chin, and, at the same time, the
minimum from which to hope for a really satisfactory C string sonority. I was encouraged to
find that Alfred Hill - that great connoisseur of string instruments and son of William E . Hill
(founder of the famous house of violin-and-bow makers in New Bond Street) - agreed with me
that this was the correct size for the ideal viola.
40

The T . M . viola became rather popular, and by 1965 there were more than six hundred Tertis

M o d e l violas in existence. It is interesting to note - and a point of support to Tertis' charitable

character - that the drawings and blue prints for the Tertis model were available to both

professional and amateur makers. The profits from the sale of the drawings were donated to

charity. 41

Tertis' influence on the world of viola music was tremendous. Less than a year after

his death, works that were inspired by Tertis were performed at a concert celebrating the

centenary of the violist's birth. A recital was given by the viola section of the B B C Symphony

Orchestra at the Wigmore Hall in London in 1976 to celebrate the centenary of his birth. The

works performed at the concert included the Suite for Six Violas by John Wray, the Suite for

Eight Violas by Gordon Jacob, the Meditation on a Byzantine Hymn for Two Violas by Edmund

Rubbra, the Fantasie for Four Violas by Y o r k Bowen, the Concertante for Five Violas by

Kenneth Harding, and Tertis' own arrangement of Beethoven's Trio for Two Oboes and English

Horn—for three v i o l a s . In 1980 the first Lionel Tertis International Competition and Workshop
42

was organized on the Isle of M a n to commemorate Tertis' legacy of promoting the viola as a

solo instalment.

4U
Ibid., 164.
41
"The drawings and specifications are now available to amateur as well as professional craftsmen and may be
purchased from the sole distributors Messrs W. E . Hill & Sons, Haventields, Great Missenden, Bucks. Profits from
the sale of these drawings are donated to the Royal Society of Musicians Samaritan fund." Qtd. in Tertis, My Viola
and I, 164.
42
Ibid., Preface.

13
L i o n e l T e r t i s ' Style

Probe into, using your musicality to the utmost, tone graduation, accents, rhythm, or even
alteration of phrasing, etc., all of which will relieve monotony and lend colour and expressiveness
to your efforts. Do not feel absolutely bound to abide by all the printed nuances you find in the
work you are playing. A n alteration here and there that really appeals to you is not a crime and
will provide a change from other interpretations and show your own individuality. 43

This statement from Tertis' treatise reveals his willingness, to make changes to works by other

composers, changes that reveal his own individuality and personal style of viola playing. M a n y

of the differences that exist between the manuscript and Tertis 1936 edition of the Suite concern

articulation and phrasing. W e shall see in changes he makes in other arrangements - changes that

w i l l be discussed in the following two chapters - that aspects of Tertis' "own individuality" can

be described thus: in fuller, louder sections, he tends to manipulate the bow in order to create a

bigger, fuller sound; 44

in cantabile, quieter passages he uses a broad, sustained, connected bow-

stroke which produces his beautifully warm tone. In the treatise, Tertis addresses the following:

the left hand and intonation; vibrato and portamento; the right hand and bowing; and cantabile

playing. Portamento concerns fingerings; the right hand involves the use of the bow, bowings,

and articulation. Phrasing (bowing) and articulation are the two main areas of discrepancy

between the manuscript and Tertis' 1936 edition of the Suite, as we shall see. It is the primary

assertion of this thesis that the phrasing and articulation changes made between the manuscript

and Tertis' 1936 edition of the Suite are reflections of Tertis' personal style of viola playing.

Tertis' "unique and daring qualities," to quote Michael Kennedy, are evident in many of

his recordings. That of his own arrangement of the Brahms Sonata in F minor, Op. 120, no. 1, is

43
Ibid., 152.
44
In a conversation with violist Simon Rowland-Jones, Mr. Rowland-Jones mentioned to me that he had once
been part of a master class with Tertis; the work that was performed at the time was Brahms Viola Sonata Op. 120
no. 1. The one major comment that Tertis made to Rowland-Jones was that he needed to create a bigger sound and
needed a bigger viola.

14
exemplary. The listener may first observe his legato style: phrases are always connected, his

legato playing is always languid, notes are never cut short, and the tempi he employs are always

on the broad side. Kennedy's annotation of this recording addresses Tertis' general style:

Outstanding in Tertis' playing of the sonata—the autumnal music, glowing and strong—are the
accurate intonation (the foundation of Tertis' musical strength); the constant true vibrato, always
alive and disciplined, never obtrusive; the sheer range of tone-colours. This tonal range, allied to
an instinctively aristocratic sense of broad, natural phrasing, gives Tertis' playing its unique and
daring qualities. It is like listening to a great singer. 46

One of Tertis' main concerns in his 1938 treatise, Beauty of Tone in String Playing, lies

in how to produce this "broad, natural phrasing" mentioned above. 47

Often it can be seen that he

prefers a more weightier tenuto yet detached style of playing in louder sections - just like the.

style of playing he employs in his recording of the Brahms Sonata, Op. 120, no. 1. In the softer

passages - again, audible in the same recording - Tertis prefers long, sustained, connected

phrasing. Such a use of phrasing is an aspect of Tertis' idiosyncratic style that he tends to

manipulate in his own arrangements and editions. H i s phrasing - and therefore implied bowing -

indications reflect his actual style of playing as mentioned above, i.e., the aspects of his "own

individuality." This preference for the connected phrase is also reflected in his comments on the

use of portamento, a technique in which a shift on the same string is linked with a very slight,

expressive slide, giving the performer the ability to play a phrase on a single string only, helping

to avoid breaking a phrase. 48

In his edition of the Suite Tertis uses articulation, as well, in order to create a fuller,

Kennedy, liner notes to Lionel Tertis plays sonatas by Brahms, Handel & Delius; music by Bach,
Mendelssohn, etc.
Tertis, Beauty of Tone in String Playing (London, New York: Oxford University Press, 1938). Reprinted in
4 7

full in his My Viola and I (London: Kahn & Averill, 1974).

48
"Portamento is the means of joining or linking two notes of varied distances between them, smoothly and
naturally. It is not a discernible slide; it is an infinitesimal join. The art of its use is to avoid break, jerk or nauseous
slide. It is a most necessary adjunct to legato playing and can either enhance or mar beauty of expression." Tertis,
My Viola and 1, 148.

15
broader quality, one that is characteristic of the qualities Tertis used in his own playing. H i s

addition of accents and tenuto markings in the louder sections of the Suite help the sound of the

viola cut through the orchestral texture; there are even occasions when Tertis w i l l add other

indications - words like "broad", "whole bow" - in addition to adding accents and tenuto

markings to aid the fuller sound he requires. 49

R a l p h V a u g h a n W i l l i a m s a n d the C o m p o s i t i o n of the Suite for V i o l a a n d S m a l l O r c h e s t r a

N o w that we have summarized aspects of Lionel Tertis' characteristic style, it is

important to discuss his lengthy relationship with Ralph Vaughan Williams and its consequences

for the Suite for Viola and Orchestra. Vaughan Williams was no stranger to the viola, an

instrument that was dear to him. He even contemplated playing the viola professionally, but was

discouraged from doing so by his family. It appears that the prejudices against the viola

experienced by Tertis were the same that influenced Vaughan W i l l i a m s ' decision not to play the

instrument professionally. Ursula Vaughan Williams describes this life-changing decision in her

biography of her husband:

At this time Ralph felt he had the makings of a good string player; he had given up the violin for
the viola, an instrument he loved, and would have dearly liked to become an orchestral player.
But the whole weight of family opinion was against him. If he had to be a musician he must be an
organist, which was a safe and respectable career. 50

In 1890 Vaughan Williams entered the Royal College of M u s i c to study composition

with Sir Charles Hubert Parry. He later studied at Trinity College, Cambridge, completing two

degrees, one in music ( M u s B , 1884), the other in history ( B A , 1895) before returning to the

Royal College of Music. Composition was to become Vaughan W i l l i a m s ' vocation in life, and

4 9
See Appendix A : 1.1 (TCI), 1.2 (TCI), 1.27 (1936), III. 1 (TCI & TC2), 111.38 (1936), VIII. 12 (TCI), VIII. 13
(TCI).
Ursula Vaughan Williams, R. V. W., A Biography of Ralph Vauglian Williams (London: Oxford University
5 0

Press, 1973), 30.

16
apart from his college training he would take lessons from M a x Bruch in Berlin in 1897 and

Maurice Ravel in Paris in 1908. 51

Vaughan Williams features the viola in many of his compositions, reflecting his deep

affection for the instrument. Before writing the Suite in 1934, he composed the Fantasia on a

Theme by Thomas Tallis (1910), written for double string orchestra and string quartet, and

featuring a viola solo. In this great work, the solo viola plays a haunting solo that exploits the

melancholic timbre of the instrument, similar to the later Flos Campi (see below). Other works

that feature the viola are the Phantasy Quintet involving two violas (1912); Four Hymns for

tenor, piano, and viola obbligato (1914); A London Symphony (1914) featuring a viola solo in

the slow movement; and Flos Campi (1925) for viola, chorus, and orchestra.

In her biography of her husband, Ursula Vaughan Williams refers to the neglect of the

viola by other composers. Discussing the origins of Flos Campi, she writes:

Ralph had two works for strings in hand, a violin concerto for Jelly d'Aranyi, and a viola piece to
add to the very limited repertory that existed for the instrument. He had taken a literary idea on
which to build his musical thought in The Lark Ascending and made the violin become the bird's
song and its flight being, rather than illustrating, the poem from which the title was taken. So, in
Flos Campi, words were the starting point, episodes from the Song of Songs. The viola with its
capability of warmth and its glowing quality was the instrument he knew best. 52

Dedicated to Lionel Tertis, Flos Campi is a suite for solo viola, small wordless mixed chorus

(SATB) and small orchestra. It was first performed, with Tertis as soloist, at the Queen's H a l l in

London on 10 October 1925 with the Queen's H a l l Orchestra conducted by Sir Henry Wood.

Flos Campi is unique in the composer's output, as it is the only time he wrote for such a

combination. The work is a choral-fantasy in six movements, all connected; a solo viola plays

throughout as i f the work were a concerto. Each of the movements has a quotation in Latin from

the Song of Solomon. The solo viola writing throughout exploits the haunting characteristics of

51
Michael Kennedy, The Works of Ralph Vaughan Williams (London: Oxford University Press, 1964), 43, 90-
91.
5 2
Ursula Vaughan Williams, R.V.W., 156.

17
the instrument as it sings with both the orchestra and the choir. One of the most fascinating

features of Flos Campi is the fact that the chorus is wordless throughout; the entire effect is a

sonority which is simply glorious. Michael Kennedy comments on the work in the following

way:

The solo instrument, while given a virtuoso part calling for musicianship as well as technique, is
but one voice among the instrumentalists and his part is equalled in importance by that of the
chorus. Of all the works by Vaughan Williams I think this is the most beautiful considered in
terms only of sound. The juxtaposition of viola and oboe, the delicate use of the percussion and
the imaginative use of the chorus give Flos Campi the quality of a mosaic. One hopes that Ravel
heard and liked it. 53

Although it was not written for Lionel Tertis, it is dedicated to h i m ; 54

the sonorous, cantabile,

sustained viola writing is reflective of Tertis' own style of viola playing.

It is in Flos Campi that we first are exposed to the relationship between Lionel Tertis and

Ralph Vaughan Williams, a relationship that would culminate in the 1934 Suite and would last

for many years to come. Ursula Vaughan Williams, describing her husband's feelings for Tertis'

viola playing, writes that the premiere of Flos Campi "bewildered a lot of people, but Ralph's

chief pleasure was in Lionel's ravishing playing. He was also delighted to discover that the

orchestra had nicknamed it 'Camp F l o s s i e ' . " 55

According to his widow, for some reason Vaughan Williams appears to have had

difficulty completing the Suite: 56

3 J
Kennedy, The Works of Ralph Vaughan Williams, 211-212.
5 4
Ibid., 211.
5 5
Ursula Vaughan Williams, R.V.W., 160-161!
5 6
Why Vaughan Williams found difficulty in completing the Suite is unknown. Perhaps the reason is that there
are certain passages in the work that are very technically demanding. The best example of this is the Moto Perpetuo.
This movement - with its non-stop sixteenth notes throughout - contains some of the most technically difficult
passages he ever wrote for the instrument. Unfortunately, there is no evidence of what the initial impetus for the
creation of the Suite was, but what we do know is that in the period if the Suite's composition and indeed for many
years prior, Tertis was on a mission to get as many works written for the viola as possible: "...once you become a
viola-player one of your most important duties is to strive to enlarge the library of solo viola music, by fair means or
foul. Cajole your composer friends to write for it, raid the repertory of the violin, cello or any other instrument, and
arrange and transcribe works from their literature suitable for your viola." Tertis, My Viola and /, 148.

18
 In November (1934) he [Vaughan Williams] and Adeline stayed in London for one of what they
called their "seasons" at the Eversleigh Court Hotel in Cromwell Road. The reason for this visit
was the first performance of Ralph's viola suite, written for Lionel Tertis and played by him at
the Courtauld-Sargent concerts on 12 and 13 November, with the London Philharmonic Orchestra
conducted by Malcolm Sargent. It was a work he had found difficult to write; a year earlier he
had written to Peter Montgomery - "my viola suite is not finished - 1 do not know if it ever will
be" - but it had materialized at last.
57

The premiere of the work, however, appears to have been a success. "The programme," reported

the Times, "has the distinction of introducing a new work by Vaughan Williams, a suite for viola

and small orchestra written, it seems scarcely necessary to say, for M r . Lionel Tertis, who in

turning the viola into a virtuoso's instrument has reconciled English composers to instrumental
co

virtuosity.

A Brief M u s i c a l Description of the Suite

Group 1 of the Suite contains three movements that are all connected by one single

theme, Christmas. In the C-major Prelude to Group 1, the listener is immediately offered an

image of pealing Christmas bells. The arpeggiated, broad sixteenth notes in the viola conjure up

the idea of church bells ringing in yuletide festivities. This grand, expansive 3/4 movement

contains two 9/8 festive dance-like sections which are woven into the overall fabric. The second

movement, Carol in E-flat major, continues the Christmas theme. It contains some of the most

beautiful music written for viola, conjuring up an image of a picturesque, snow-landscaped

Gloucestershire Christmas. Its simplicity is one of its great strengths. The third movement, an

earthy G-major Christmas Dance (marked pesante), with its alternating 6/8 - 3/4 rhythm, creates

5 /
Ibid., 203.
5 8
"Courtauld-Sargent Concerts, Vaughan Williams' Suite." Times (London), 13 November 1934. The comment
regarding the fact that English composers tended to shy away from instrumental virtuosity seems misleading; Sir
Edward Elgar had written two concerti for strings: the Violin Concerto op. 61 in B minor (premiered 10 Nov 1910
by Fritz Kreisler with Elgar conducting) and the Cello Concerto op. 85 in E minor (premiered 27 Oct 1919 by Felix
Salmond with Elgar conducting and later arranged for viola and performed by Tertis, with the composers sanction,
on 21 March 1930 both conducted by the composer). Both works are examples of great instrumental virtuosity by an
English composer.

19
a joyous almost "tavern-like" robustness that brings to a close this Christmas spirit movement

with crazy drunken quadruple-stopped chords falling toward the end.

Group 2 of the Suite contains two movements, the Ballad in C major and the virtuosic

Moto Perpetuo in C minor. The Ballad exploits the sound world of muted strings which are at

times written divisi in nine parts. 59

This heavenly sound creates a bed of warmth on which the

solo viola can sing. Again, as in the Prelude, there is 6/8 dance-like interlude where the viola

dances with the solo oboe (the same partner that the viola has in the opening of Flos Campi),

after which the music returns to the opening atmosphere of celestial bliss. Virtuosity is an

absolute must to be able to tackle the frenetic Moto Perpetuo. It is in this movement that we can

see how Tertis' virtuosity must have compelled Vaughan Williams to write such a technically

demanding movement; the viola does not stop for one moment, and the piece seems to be over

before one is able to catch his or her own breath. Vaughan W i l l i a m s ' accents continually disrupt

the prevailing metre.

Group 3 of the Suite contains three movements, Musette, Polka Melancolique and

Galop. Vaughan W i l l i a m s ' orchestration in the Musette again is remarkable. Muted strings once

more—this time with the solo viola muted, as well—are joined by harp and celesta in this

beautifully delicate movement. Six glorious bars of forte divide the two main sections which are

dedicated to an almost seamless nocturnal lullaby. The movement ends with viola harmonics

reaching heavenly heights. The Polka Melancolique is a quirky movement in D minor where the

viola dances in an almost cumbersome manner. Curious key changes from D minor to B-flat

minor, C-sharp minor, B major, D major and back to D minor underline the unusual feel of this

movement. In the Galop we are thrown into a frantic, foot-stomping dance. A s with other

5 9
Vaughan Williams would use this string divisi technique with incredible later effect in the slow movement of
his Fifth Symphony.

20
movements in the Suite, two different time signatures play a part in this finale, 2/4 and 6/8. The

2/4 moments provide an opportunity once more for virtuosity in the solo part, while the

orchestration of piccolo doubling the solo viola in one of the 6/8 interludes brings to mind a

sailor's hearty sea-shanty. Frantic rhythmic changes herald a final virtuosic cadenza from the

viola before it and orchestra end the Suite on a triumphant unison F-sharp.

Tertis as E d i t o r : the 1936 E d i t i o n a n d the T r i n i t y College P a r t s

The 1936 edition of the solo viola part to the Suite has no indication that Lionel Tertis

was its editor. However, I have discovered a series of unpublished letters in the Suite's file at the

M u s i c Department of Oxford University Press, letters that show not only that Tertis was the

original editor of the Suite in the 1936, but also that when the Suite was revised in 1964, the

editors at Oxford University Press agreed that Tertis' edition need not be revised; only the

orchestral score was to be changed due to some inaccuracies. The following letter from Eric
60

Gritton to Christopher Morris, both editors at Oxford University Press in 1936, is revealing: it

demonstrates that Tertis was the original editor of the 1936 edition of the Suite, and states quite

clearly that the 1936 edition of the solo viola part is very different from that written in the

manuscript. 61

27 July 1959
th

Dear Mr. Morris,

Vaughan Williams viola suite

Many thanks for your letter. I have been through the score and marked obvious corrections and

File of Ralph Vaughan Williams Suite for Viola and Orchestra, Oxford University Press, Music Department,
6 0

shelf no. 1047.

61
Letter to Christopher Morris from Eric Gritton, 27 July 1959. V . W . = Vaughan Williams, L. T. = Lionel
Tertis. Bernard Shore (1896-1985) was an English violist and at one time a student of Lionel Tertis. Along with Eric
Gritton of Oxford University Press, Shore helped edit the posthumously published Romance for Viola and
Pianoforte by Vaughan Williams in 1962.

21
 considered less obvious ones. Regarding notes, the printed piano version does not always tally
with the M.S. score. The piano version is the more reliable, I feel. (I went through this work
with V . W . + L.T. at V . W . 's Dorking house when it was prior to the 1 performance which L.T. +
st

I gave at B in Dorset (R.V.W. being present). Regarding the viola part, it is a question of whether
to keep the version given in the orchestral score which you sent or whether we scrap that and
substitute the L.T. version already published by O.U.P. in the piano score. Bernard Shore and I
can discuss this and then let you know what we think is best and leave it for your final decision.

Yours sincerely,

Eric Gritton

Another letter from Eric Gritton, again to Morris dated 8 August 1959, indeed states that Tertis'
edition of the Suite was to be retained for the new 1964 edition:

8 August 1959
th

Dear Mr. Morris.

Re. V . W . viola Suite

Bernard Shore and I had our tete-a-tete last Wednesday and came to the conclusion that the viola
solo part as printed in the piano score is the authentic one and should be incorporated to replace
the one that you have adopted from the M.S. score you sent me which is so completely different
in bowing, phrasing and dynamics.
Are you making a new set of orchestral parts? You mentioned in a previous letter that you had a
set of parts, should I wish to refer to them - but are these correct, I wonder?

I am so anxious to get everything as accurate as possible for you before handing the work back to
you. You would probably like me to come in and see you about it all sometime soon if you are
not on holiday.

Yours sincerely,

Eric Gritton

The many differences which exist between the Manuscript autograph (held at the

British Library, A d d . M S . 50, 386 A - C ) of the Suite and Tertis' 1936 published version mainly

concern his use of phrasing and articulation. W e can follow a second, later editing process on the

part of Tertis in two viola parts to the Suite that were actually used by him. One of these parts,

housed in the Lionel Tertis Collection at Trinity College of M u s i c in Greenwich, has the

dedication written by hand on the front of the copy "Lionel, with much gratitude from R.

22
Vaughan W i l l i a m s . " 62
In both parts, Tertis makes further emendations to the changes already

made in his own 1936 edition of the Suite. Many of these changes can be linked to Tertis'

idiosyncratic style of viola playing and are similar to the changes he made in his own

transcriptions of other works for the viola. In the following analysis (chapters 2 and 3) changes

in the 1936 edition as well as the two Trinity College parts w i l l be considered.

Ralph Vaughan Williams, Suite for Viola and Orchestra (Piano) (Oxford University Press: London, 1936),
Tertis copies no. 1 and 2, Bin no. 1, Lionel Tertis Collection, Trinity College of Music Library, Trinity College of
Music, Greenwich, London. In this thesis these parts will henceforth be referred to as T C I and TC2.

23
 CHAPTER 2

DIFFERENCES B E T W E E N THE MANUSCRIPT OF V A U G H A N WILLIAMS' VIOLA

S U I T E , T E R T I S ' 1936 E D I T I O N , A N D C O P I E S T C I A N D T C 2 : A R T I C U L A T I O N

Another vital necessity is to obtain this smoothness, evenness and continuity of sound at the
actual moment of bowing from one string to another. While playing on one string you must, in
preparation for crossing, get your bow as near as you dare to the string you are about to play
upon; indeed the art lies in drawing the bow from one string to another with the crossing-over
remaining absolutely imperceptible. The idea is to convey the impression that your instrument has
one string only, not four. A further valuable acquirement for legato playing is to make your bow
belong, so to speak, to the string. The bow should literally cling to it. 63

A s mentioned in chapter 1, many of the differences which exist between the manuscript and

Tertis' 1936 edition of the Suite concern articulation and phrasing. When such changes are made,

they often reflect his idea that in cantabile, quieter passages he tends to use uses a broad,

sustained, connected bow-stroke which produces his beautifully warm tone. The above quotation

from Tertis' treatise Beauty of Tone in String Playing helps to explain some of these articulation

changes, particularly in broad legato movements such as the Prelude where there are many string

crossings. Tertis states that in passages involving string crossings the bow should "cling" to the

string. In other words, in legato passages, Tertis calls for a broadening of phrases by means of a

fuller, tenuto bow stroke. Another fundamental idea behind Tertis' articulation changes in the

Suite reflect his idea of creating a bigger, fuller sound in louder passages. T o do this, Tertis

makes frequent additions of the accent (>) and the tenuto mark (-) throughout his 1936 edition of

the Suite. Later emendations concerning articulation—particularly the accent and the tenuto

mark—are revealed in his two personal copies of the Suite which are held at Trinity College of

Music, London ( T C I & T C 2 ) . 6 4

Together, these changes in articulation reflect Tertis' personal

Lionel Tertis, "Beauty of Tone in String Playing," in My Viola and I (London: Kahn & Averill, 1991), 149-
150.
6 4
Ralph Vaughan Williams, Suite for Viola and Orchestra (Pianoforte), Lionel Tertis Copies (TCI & TC2).
I

24
style of viola playing. In this chapter we w i l l systematically examine a series of articulation

changes made by Tertis in the editing process.

The first change to be discussed occurs in bars 1-7 of the Prelude. A comparison of the

manuscript with the 1936 edition follows in Examples la-b:

Ex. la: Vaughan Williams. Viola Suite. Prelude, bars 1-7, manuscript:

P — = /

Vaughan Williams writes indicates tenuto ( - ) for every note in bars 1 and 2 of this passage.

Bars 3-5 have these articulations on the first and third beats, while bar 6 has these articulations

on the first, second and third beats. Tertis edits this passage in the following manner:

Ex. lb: Vaughan Williams. Viola Suite. Prelude, bars 1-7. Tertis 1936 edition:

• /

A s we can see in Tertis' edition of this passage, he continues the use of tenuto lines ( - ) on

almost every sixteenth note in bars 3, 4, 5, and 6. Accents have now been added in bars 2, 3, 4, 5

25
and 6. It is clear that Tertis wants a big, open sound here, one that is similar to the broad sound

he produces in his recording of the first movement of the Brahms Viola Sonata in F minor, op.

120 and to that prescribed in his arrangement of the Bach Chaconne (see below). Tertis'
65

demands for a bigger, broader sound can also be seen in the additional markings he makes in

both T C 1 and TC2 of the Prelude. Tertis firstly writes "broad" above the tempo indication

Allegro moderato, also, throughout this opening movement in both copies, Tertis frequently adds

words such as "on string," "broad" and "sost" [sostenuto]; 66

additional accents and tenuto

markings appear in these parts as well. 67

Another example of articulation changes can be seen in the following passage:

Ex. 2a: Vaughan Williams, Viola Suite, Prelude, bars 26-32. manuscript:

Viola

fa tempo dim.
29

Via.

Lionel Tertis, Lionel Tertis Plays Bax, Brahms, Bach, Delius, Lionel Tertis - viola, Arnold Bax - piano,
Harriet Cohen - piano, Pavilion Records C D 9918.
6 6
See Appendix A , examples: 1.1 (TCI & TC2), 1.2 (TCI & TC2), 1.4 (TCI & TC2), 1.6 (TCI & TC2), 1.7
(TC 1 & TC2), 1.13 (TC 1 & TC2), 1.26 (TC 1 & TC2), 1.27 (1936).
6 7
See Appendix A , examples: 1.3 (TC 1 & TC2), 1.4 (TC 1 & TC2), 1.16 (TC 1 & TC2), 1.17 (TC 1 & TC2), 1.18
(TC 1 & TC2), 1.20 (TC 1) (accents) and examples 1.3 (TC 1), 1.16 (TC 1 & TC2), 1.17 (TC 1 & TC2), 1.18 (TC2)
(tenuto markings).

26
Tertis edits this passage in the following way:

Ex. 2b: Vaughan Williams. Viola Suite. Prelude, bars 26-32, Tertis 1936 edition:

Viola

Via.

Tertis creates very similar changes in this passage to the ones he made in E x . l b . It is interesting

to note that Tertis uses slurs in bar 31 that are not present in the manuscript. 68
These added slurs,

along with the crescendo that he marks in from bar 30 onward (one that is not marked in the

manuscript until a bar later) would create a broader climax towards the forte in bar 32. The

broader bow strokes, combined with the crescendo might imply a poco ritardando in bar 31,

aiding this climax. This is actually confirmed in both T C I and T C 2 as "poco rif is pencilled in

by Tertis on the second beat of bar 3 1 . 69

In sum, both of these passages require string crossings

quite regularly; these, combined with the added tenuto articulations, reflect Tertis' views on

legato playing in his Beauty of Tone in String Playing and are reflections of his characteristic

approach.

In bars 15-28 of the Christmas Dance, Tertis makes several alterations to Vaughan

W i l l i a m s ' articulations as indicated in the manuscript:

I am assuming that the "sim" ceases to apply at the beginning of bar 28.
69
TCI & T C 2 , page 3.

27
 Ex. 3a: Vaughan Williams. Viola Suite, Christinas Dance, bars 15-28. manuscript:

15 r i _ _ c
M«-| « p • V
Viola p r * f - -j
ISv * -- — 1
<—

-
20

Via. i* r i
I*- ^» p
^ J
< J

25

«a. $f J J g ir ^ P if

70
In this passage, Vaughan Williams indicates an articulation known as "shoe-shine" bowing

This type of bowing creates a dance-like effect, rather appropriate for a movement entitled

Christmas Dance. Tertis changes the articulation in the following way:

Ex. 3b: Vaughan Williams. Viola Suite, Christmas Dance, bars 15-28. Tertis 1936 edition:

15 4 3 o JT- 4- ^ 2

m
1 2
f*=—P
Viola
sempre f
20
z
P' p—1
0
•
0-
P—I 0
m
- H - 0
Via. v*
1
9
i — 1—
• ? —
i—
• 1 m
— 0 — t—
•
25

Via.

"Shoe-shine" bowing is a technique when one bows a passage—the example in this case being bars 25-28 —
in such a way that the short note (in this case, an eighth-note) is played on a down-bow and the longer note (in this
case a quarter-note) is played on an up-bow. This technique makes the short note "snap," so to speak; it is also very
similar to the "Scotch Snap." The resulting bowing is similar to the action made while shoe-shining.

28
 There are several discrepancies here. Firstly, Tertis removes the tenuto articulation marks

from bar 15, thus creating a smoother, more legato join between the second and third eighth-

notes. He also expands the slur in bars 17 and 19 so that the entire bar is played in one bow

stroke, not in two strokes as indicated in the manuscript; this evens out the articulation. Tertis

also adds notes—octaves—in bars 22 and 23, which were not present in the manuscript. The

"shoe-shine" bowing in bars 25-28 is now changed to a "hooked" bowing, in which the second

note is rearticulated within the same bow stroke. It would appear, then, that Tertis has smoothed

out this entire passage, reminiscent of his method in the Prelude.

Tertis made several articulation changes in the Galop. The first major change occurs i n

bar 12:

Ex. 4a: Vaughan Williams. Viola Suite. Galop, bars 12-14, manuscript:

Viola

Ex. 4b: Vaughan Williams. Viola Suite. Galop, bars 12-14. Tertis 1936 edition:

12 n 4 0 _ n
h
Viola

Tertis removes the original phrasings added on each sixteenth-note and adds tenuto markings,

thus creating a broader stroke in this passage. Tertis also for some reason changes the pitches of

beats one and two of bar 12 and beat one of bar 13. The same passage in T C I and T C 2 remains

29
identical to the 1936 edition apart from the four sixteenth-notes in bar 14; In T C I and T C 2 they

are all slurred together.

Another major difference between the manuscript and Tertis' 1936 edition of the Suite

is the alteration of a staccato passage to a more legato stroke in the 1936 edition (bars 43^17):

Ex. 5a: Vaughan Williams. Viola Suite, Galop, bars 43-47, manuscript: 71

(nV) (nV) s i m
- (n v i ^ ^ n ) (V)(n)(v)

Viola
g
pF - mF—fT-

Note that the first three bars of this passage are all have dots, while the fourth and fifth bars

contain a hemiola that is difficult to produce with the indicated articulation. Tertis edits his

version thus:

Ex. 5b: Vaughan Williams. Viola Suite. Galop, bars 43-47. Tertis 1936 edition:

71
In examples 5a and 5b, I have added the implied bowings.

30
The dotted articulation of the first three bars of this passage has now been altered to legato,

slurred in groups of four. The pitches in the third bar have also been changed. A l s o note that the

articulation in the fourth and fifth bars has also been re-articulated in order to ease the creation of

the accents that mark the hemiola. W i t h the added implied bowings, it is possible to see that the

execution of example 5b would be more practical than that of example 5a. Interestingly enough,

Tertis smoothes out this passage even more in T C I and T C 2 , showing his preference for a long-

line cantabile in sections of a softer dynamic:

Tertis deletes all the accents in bar 50 and adds a slur over three beats between bar 50 and 51 and

a slur over four beats between bar 51 and bar 53. He also delays the crescendo that starts on beat

two of bar 51 in the 1936 edition; it is now moved a beat later to beat two of bar 53.

Another significant alteration occurs in bars 123-131:

31
Ex. 6a: Vaughan Williams, Viola Suite, Galop, bars 123-131. manuscript: 72

123 ^ ^

r r rrtcfri
Viola
15 *%*
0
727

Via. ^

750

Via. r f r f

Ex. 6b: Vaughan Williams. Viola Suite. Galop, bars 123-131. Tertis 1936 edition:

123

Viola 1 ^
I
0

727

Bars 123-125 (the fifth sixteenth-note) correspond exactly to bars 12-14 (see above ex. 4a) i n

72 ,
Dynamics that are marked in parentheses are indications of the dynamic that has been placed earlier in the
passage and not directly where they are placed in these examples.

32
both the manuscript and the Tertis versions of this passage. There is one difference in ex. 6b, in

that all of the sixteenth notes have dots added to them; in the corresponding passage in bars 12-

14 (ex 4b) we have tenuto markings. I believe the staccato marks in the 1936 edition to have

been a mistake, as T C I and T C 2 offer a different reading:

Example 6c: Vaughan Williams. Viola Suite. Galop, bars 123-127, T C I and T C 2 :

Viola

127

Via.
*_

Tertis changes the first two bars of this passage making them identical to the passage early in the

movement (ex. 4b) - it is, after all, the same music. Not only does Tertis write in the tenuto

marks as he does in bars 123-124, he also writes in slurs bars 125-131 which are reminiscent of

his other alterations. The addition of the tenuto marks indicates a broadening of the bow stroke

while the addition of the slurs indicates a preference to a more legato playing in these passages.

It is also interesting to note that Tertis has changed the dynamic from forte to mezzo-piano, an

indication of his general preference for a more legato, smoother style in quieter passages.

Articulation in Tertis' Arrangements of Other M u s i c

In a review of Tertis' playing of his own arrangement of the Chaconne from the Partita

in D minor, BWV1004 (originally for solo violin), we read a comment on the violist's broad

style of playing:

Lionel Tertis, for his solo, performed the amazing double feat of transferring Bach's Chaconne to

33
 the viola, note for note, and of restoring it, so far as possible, to the bowing and phrasing Bach
himself must have known when he wrote it for the violin and out-curved bow of his own day. The
experiment was a noble success. The broader, slower style fitted well with the dark vistas of viola
tone, and the unbroken continuity of thought and beauty in the great work were clear to a singular
degree 7 3

In his recording of the Chaconne, Tertis actually broadens his tempo in certain sections, notably

between bars 53 and 56. In his own transcription of the work, all the sixteenth notes of this

passage are marked with tenuto markings (see Example 7a):

Ex. 7a: J. S. Bach, Chaconne from Partita in D minor, BWV 1004: 74

Violin 0 0

Vln.

Ex. 7b: J. S. Bach. Chaconne from Partita in D minor, BWV 1004. Tertis arrangement:

A s is clearly visible from this arrangement, Tertis calls for a sustained sound here with his

addition of tenuto markings, also apparent in his recording. These indications call to mind those

"London Concerts, Chamber Music of the Month," The Musical Times 76, no. 1105 (March, 1935), 263.
J.S. Bach, Ciaccona from Partita in D minor for Solo Violin BWV 1004, ed. Giinther Hausswald (Basel,
7 4

London, New York: Neue Ausgabe Samtlicher Werke, Barenreiter, 1958).

J.S. Bach, Chaconne from Partita in D minor for Solo Violin BWV 1004, ed. Tertis (London: Augener, 1934).
7 5

34
changes of articulation in passages where he wanted a more sustained sound in his 1936 edition

of Vaughan W i l l i a m s ' Suite for V i o l a and Orchestra.

A similar articulation is added in Tertis' edition of Brahms V i o l a Sonata, Op. 120. N o .

1 in F minor:

Ex. 8a: Brahms Sonata op. 120 no. 1. Andante un poco Adagio bars 15-20:

(dolce )

Ex. 8b: Brahms Sonata op. 120 no. 1, Andante un poco Adagio bars 15-20 Tertis edition:

Viola

( dolce )

The addition of the tenuto markings in bar 17-18 would help create a broader crescendo.

In his own edition of Mozart's Sinfonia Concertante for violin and viola, K. 364, Tertis

makes use of his characteristic tenuto markings in several passages:

Johannes Brahms, Sonata in F minor for Viola and Piano Op. 120 no.1 (Berlin: N . Simrock, 1895).
Johannes Brahms, Sonata in F minor for Viola and Piano Op. 120 no.1, ed. Tertis (London: Augener, 1951).

35
Ex. 9a: Mozart Sinfonia Concertante for Violin and Viola . K. 364, Allegro Maestoso bars 115-120: 78

fr i r f t f f f f f f f f ff r r.
775

Viola "n r r r? r? fr fr
i
T

777

Via. j j j j r
^

779

Via.

Ex. 9b: Mozart Sinfonia Concertante for Violin and Viola . K. 364. Allegro Maestoso bars 115-120 Tertis
edition

775

Viola
K h > rTrr?r?r?r?f?r ^ W^ffi f ¥ #

mf
777

Via. 4j^ r rtt

'

779

Via. grP

Tertis adds his familiar tenuto markings to bar 116 of this passage. Tertis obviously wants a

more articulated stroke in the fuller section, one characteristic of his preference for breadth and

weight. Note also that Tertis also changes the dynamic here. The entire implied dynamic of this

passage in the Barenreiter edition is piano; in order to create a contrast, Tertis in his edition

W A . Mozart, Sinfonia Concertante for Violin and Viola , K . 364 ed. Christoph-Hellmut Mahling (Basel,
London, New York: Neue Ausgabe Samtlicher Werke, Barenreiter, 1987).
7 9
W.A. Mozart, Sinfonia Concertante for Violin and Viola , K . 364 ed. Tertis (London: Oxford University
Press, 1936).

36
changes the dynamic to mezzo-forte. Tertis also adds a diminuendo to bar 117 and adds a

pianissimo in bar 118.

Tertis makes similar changes in the following passage:

Ex. 10a: Mozart Sinfonia Concertante for Violin and Viola . K. 364. Allegro Maestoso bars 139-144:

Ex. 10b: Mozart Sinfonia Concertante for Violin and Viola . K. 364. Allegro Maestoso bars 139-144. Tertis

edition:

139 r\ — —

ftr
Viola K"B r r" m - m ~ ^ 4 = ^

mf PP
141

- = m 0
V!a. ^

cresc.
143
-—s. I—
Via. • m | f>' etc

In this example, as in example 10b, Tertis adds his familiar characteristic tenuto articulation

markings (he even removes the staccato markings in bars 139, 140, 142, 143), thus calling for a

37
more connected bow stroke, one that clings to the string, recalling his admonition that "a further

valuable acquirement for legato playing is to make your bow belong, so to speak, to the string.

The bow should literally cling to i t . " 80

Generally speaking, Tertis makes use of the tenuto mark and the accent when he wishes

to create a bigger, broader, fuller sound in his use of articulation in his arrangements of other

music. His additions of such markings in the Prelude of Vaughan W i l l i a m s ' Suite are good

examples of his wish to produce a broader more sustained sound in louder, fuller passages. His

addition of such terms as "broad" and "sosf [sostenuto] in the 1936 edition and the Trinity

College parts represents fundamental characteristics of Tertis' broader, fuller quality of playing.

In passages where he prefers a more pure legato, Tertis alters the articulation in order attain this:

"The idea is to convey the impression that your instrument has one string only, not four." 81
This

was demonstrated in example 6 and in many other occasions throughout his 1936 edition of the

Suite. 82

Lionel Tertis, "Beauty of Tone in String Playing," in My Viola and I (London: Kahn & Averill, 1991), 150.
81
Ibid., 149-150.
8 2
For examples see Appendix A: IV. 11 (1936), IV. 15 (1936), 111.33 (1936), VIII.9 (1936), VIII. 10 (TC 1)

38
 CHAPTER 3

DIFFERENCES B E T W E E N THE MANUSCRIPT OF V A U G H A N WILLIAMS' VIOLA

S U I T E , T E R T I S ' 1936 E D I T I O N , A N D C O P I E S T C I A N D T C 2 : P H R A S I N G

The changes in phrasing made between the manuscript and Tertis' 1936 edition of the

Suite reflect Tertis' preference for a fuller, broader sound in more bigger, louder passages and, to
j
a lesser extent, smoother, more connected playing in quieter cantabile passages. The

importance of a connected bow stroke may be seen clearly in Tertis' My Viola and I:

Another very necessary attainment is to conceal the changing of the bow from down to up or vice
versa. There must be no sign of jerk or break; indeed it must sound as if the arm and bow were of
unlimited length and never had to change, unless of course accents or any other effects are
indicated.84

O f the 261 changes made by Tertis from Vaughan W i l l i a m s ' manuscript, 109 (42%) concern

phrasing. Out of these 109 changes of phrasing, 20 involve the replacement of a slur by an

articulation marking (usually a tenuto mark) in louder passages; 36 of these changes involve the

addition of slurs for a more cantabile feel in softer passages. In both instances, Tertis at times

also alters dynamics, sometimes to a louder dynamic in fuller sections, or to a softer dynamic in

85

quieter sections.

In Example 1, we can see how Tertis changes the phrasing - and the implied bowing - in

order to create a more connected and at times bigger sound:

Concerning softer passages, recall Tertis' view that "the ethereal sound of a passage played pianissimo by a
slow clinging bow can be exquisite." Lionel Tertis, My Viola and I (London: Kahn & Averill, 1991), 150.
8 4
Ibid.
For some examples of louder dynamic changes, see Appendix A , ex. 1.20 (TCI & TC2), 111.26 (1936), 111.38
8 5

(1936), IV.20 (1936), IV.32 (1936, T C I . TC2), IV.33 (TCI, TC2), V.37 (1936), V.5 (1936); some softer dynamic
changes may be seen in ex. IV. 1 (TC1.TC2), IV.5 (1936, T C I , TC2), IV.37 (1936, T C I , TC2), VI.7 (1936).

39
Ex. la: Vaughan Williams, Viola Suite. Prelude, bars 10-17, manuscript:

(n)
10 (n) ( )
V (n) ()
V ()
V (n) (
V^_
.ri>

Viola

14 H^(v)_- (n) () n (v n
X )(V) (n^(n^) ( ^ )

Via.
i^-*—— f l_I_LJ dim

Ex. lb: Vaughan Williams, Viola Suite. Prelude, bars 10-17 , Tertis 1936 edition:

io (g> 3 (V n V)°2* ( v n) V
(n)
A _ - _ _ _ -_, 0 0 mf
0 m —
s

Viola
tez
(V) sim
L _ <
—._(n) 0 2
l
i
2

Via. nt. n__ff ± 3 = «—=

—i
—^
45 i
=
M i b

Tertis removes the slur that was placed on the first two eight notes in bar 10 and replaces it with

two tenuto ( - ) marks, creating a broader, weighter impression . In bars 12, beat one to two; 13,

beat two to three; 14, beat one to two, 15, beat three to down beat of bar 16, Tertis ties the

sixteenth note with the quarter note. I have written in the implied bowings which result from this

phrasing change in order to show how such "tying i n " of notes would enable a player to use a

more connected bow stroke.

In examples la, lb, and lc, the bowings marked in parentheses ( ) are implied; those without parentheses are
added by Tertis. Vaughan Williams marked explicit bowings on only three occasions: see Appendix A ex. III. 1 and
ex. III. 11. The one other occasion occurs in the Galop bar no. 146, where Vaughan Williams marks both quarter
notes as down-bows. As a general rule, down-bows have the ability to add more weight and volume to specific
notes than up-bows do.

40
Tertis makes further changes o f this same passage in T C I and T C 2 :

Ex. lc: Vaughan Williams, Viola Suite, Prelude, bars 10-17, T C I and TC2: 8

on string (TC2)

It is possible to see here that not only has Tertis "tied i n " the second sixteenth of the third beat of

bar 11, he also marks in indications such as "on string" (bar 11, T C 2 ) and "more" (bar 15, T C 2 ) .

O n both occasions, Tertis is indicates directions that would produce a bigger, broader quality of

sound.

Another instance where Tertis changes a phrase in order to create a "broader" line occurs

in bars 38-46 in the Christmas Dance. In the manuscript, this passage is written in the following

way:

Ex. 2a: Vaughan Williams. Viola Suite, Christmas Dance, bars 38-46, manuscript:

The markings in T C I and TC2 are for the most part identical; however, I have indicated in brackets where
additional markings are shown in TC2 but not TC1. For example, the "on string" indication in bar 10 is only written
in TC2.

41
Ex. 2b: Vaughan Williams, Viola Suite. Christmas Dance, bars 38-46. Tertis 1936 edition:
(n)
38 ( >-
n
^ (V) <") (V) (n) (V) ^

v i
° i a
4^ j r r Lr if ? =
pp
43 , v (V>—_ ( n )

( 2-
N

(V) (V) ( n )
(V)
Via. =SE^

Tertis changes the slurs in bar 38 and 39, calling for only one bow per bar instead of two. Tertis

also adds a slur to bar 41 where there is none marked in the manuscript. It is as though Tertis

wishes to avoid any slight accent that could be created on the third beats of bars 38, 39, 40, and

41 i f one were to play the original bowing that is implied by the manuscript. Again, as in

Example l b , Tertis is aiming for a smoother phrase, one characteristic of his personal style.

Tertis retains the same phrasing in both T C I and T C 2 .

A n example of where Tertis changes a phrasing in order to create a bigger sound occurs

in bar 42 of the Ballad:

Ex. 3a: Vaughan Williams. Viola Suite, Ballad, bars 41-42. manuscript:

41 (n) (V) ( n ^ _ (V)

Viola

Ex. 3b: Vaughan Williams. Viola Suite, Ballad, bars 41-42, Tertis 1936 edition:

41 (n) (V) v n

Viola

42
The dynamic i n all sources considered here is marked pianissimo. The phrasing of one slur on

beats 2-3 in bar 41 helps create a smoother line, while the elimination of the slur in bar 42 creates

three separate bows that aid the climax on the last beat of bar 42. This change of phrasing

reflects Tertis' characteristic bigger, more articulated sound quality.

Another example of how a change of phrasing can alter and broaden the shape of a phrase

occurs in bars 104-107 of the Ballad. The manuscript transmits the following:

Ex. 4a: Vaughan Williams. Viola Suite, Ballad, bars 104-107, manuscript:

104
^ W
"few ^ <n, 0 0 ^
n *J i * J * J
Viola *4 J .
T
dim.
ff largamente

Ex. 4b. Vaughan Williams. Viola Suite. Ballad, bars 104-107. Tertis 1936 edition:

f f ?? ( (

_n
(n]_(y)(n)
jKV (V)_ (n) <"> . , . m (V)
104
^ ^ 4 (y) ^ (V)
_r~~ ^ * 2 A j ( V)
j 2
^ - 2 2

Viola " ^ p p | m*
- * f * m^m —— _ * - *
r

ff largamente

Tertis removes the slur that was placed on beat one of bar 104 i n the manuscript. This creates

two separate bows on the first two eighth-notes in bar 104. Tertis creates two broader strokes on

the first beat as opposed to just one bow stroke; it helps create a bigger, heavier sound on the first
DO

beat of bar 104. Tertis also omits the diminuendo that is marked in bar 106 i n the manuscript.

He obviously wishes to retain the dramatic fortissimo for a few more bars, thus sustaining greater

In TCI and TC2, Tertis marks in "rit." Two beats before bar 104 - anticipating the fortissimo climax of the
first beat of bar 104.

43
volume (he eventually adds a diminuendo on the third beat of bar 108). In addition to removing

this diminuendo in bar 106, Tertis also removes the slurs that were placed on second and third

beats of bar 107. He directs that they should be played separate and adds the familiar ( - )

articulations which are so characteristic of the 1936 edition of the Suite. This direction, in

addition to the fingering that he adds - the consecutive 3/2, 3/2 fingerings require a change of

position from third position to fourth position and back to third position, helping to exaggerate

the tenuto articulation - creating more rubato to the largamente which has already been

specified.

In the last six bars of the Ballad, Tertis changes the bowings in order to end the

movement with a slow bow, suggesting that "ethereal," pianissimo quality prized in his treatise.

The readings of bars 113-118 in the manuscript and 1936 edition follow:

Ex. 5a: Vaughan Williams, Viola Suite. Ballad, bars 113-118, manuscript:
(n)
1 1 3
(V) (n) (V) (n) (V)
Viola

(pp)
0 F
mPPP
?t H I

Ex. 5b: Vaughan Williams. Viola Suite, Ballad, bars 113-118, Tertis 1936 edition:
113 n n V V i(nL " 7=T~

Viola
Kit J T ^ n U J 1J J JI r P Ml
ppp
(pp)

Tertis changes the manuscript's phrasing that suggests a hemiola pattern in bars 113-114.

Tertis's new bowing, combined with the slight crescendo he indicates on the first beat of bar 115,

shows that he is aiming to be at the heel of the bow on the second beat of bar 115 in order to

have a very long, slow down-bow to close the movement. The up/down bow between bar 115

and 116 that is implied in Vaughan W i l l i a m s ' manuscript would not have as dramatic an affect

44
as the single long down bow that Tertis demands, the "slow clinging" bow that he describes in

his treatise. In T C I and T C 2 Tertis creates an even greater contrast to this particular phrase by

changing the dynamic:

Ex. 5c: Vaughan Williams. Viola Suite, Ballad, bars 113-118, T C I & TC2 edition:
113 n n V V i(n)^—

Viola
nag rj- ^ ni 1
J J j j J J i r r 7 M II
-fP PPP -------
(mf) W.B.

Tertis has changed the original dynamic from pp to mf adding afp in bar 115 with the indication

W . B . ("whole bow"). One can almost imagine Tertis being at the heel of the bow on the second

beat of bar 115 in order to be prepared for that characteristic pianissimo "slow clinging bow."

A t the end of the Polka Melancolique, Vaughan Williams writes in a Cadenza for the

viola alone. In the manuscript this Cadenza is written in the following manner:

Ex. 6a: Vaughan Williams, Viola Suite, Polka Melancolique, bars 96-100. manuscript:
9 6
Cadenza
^ *- 0 P-
Viola t^yf

98

Via.

The entire passage calls for rapid alternations of up- and down-bow throughout. Tertis adds

bowings which connect these notes in the following way:

45
Ex. 6b: Vaughan Williams. Viola Suite, Ballad, bars 96-100, Tertis 1936 edition:

96 Cadenza V

Viola

Via.

A s has been demonstrated with all of these examples, the changes in phrasing made between the

manuscript and Tertis' 1936 edition of the Suite are due to Tertis' ideas concerning phrasing,

which in turn reflect his philosophy of a fuller, broader sound in more bigger, louder passages

and of smoother, more connected playing in quiet cantabile passages.

B o w i n g a n d Phrasing in Tertis' Arrangements of Other M u s i c

A good example of Tertis' use of bowings in order to create a bigger, broader sound can be seen

89
in his transcription for viola of Brahms' Clarinet Sonata Op. 120, no. 1 in F minor.

Ex. 7a: Johannes Brahms, Clarinet Sonata in F minor Op. 120, No. 1.1st movement, bars 13-25 (Brahms arr. for

viola):

13

Johannes Brahms, Viola Sonata in F minor, Op. 120, No. 1, ed. Lionel Tertis (London: Augnener Ltd., 1951).

46
Tertis' edition gives the following reading:

Ex. 7b: Johannes Brahms, Clarinet Sonata in F minor. O p . 120, No. 1,1st movement, bars 13-25 (Tertis arr. for
viola):

Viola

Via.

Tertis breaks the bowing in bars 13-15, while Brahms indicates that these three bars are to be

played with one bow per bar. Tertis obviously wants to create a bigger, more articulated

sustained sound and writes in his bowings accordingly. The same applies in bars 17-18. Whereas

Brahms had written these two bars as one bow per bar, Tertis splits the bowing in order to create

a fuller sound; by using separate bows in this passage, one is able to produce a louder sound than

if one were to use the phrasing originally indicated. One of the main practical problems in

performing this sonata is the maintaining good balance between the viola and piano. B y

changing the bowing in the manner he does, Tertis is attempting to "cut through" the large sound

of the piano at this particular point.

Another example of Tertis' altering of a phrase in order to create a bigger sound occurs in

the last movement of this sonata, the Vivace:

Ex. 8a: Johannes Brahms, Clarinet Sonata in F minor. O p . 120, No. 1,4 th
movement, bars 109-110 (Brahms
arr. for viola)

109

Viola * * M —x—
m m J t—
-0 J J

47
Tertis' version of this passage reads:

Ex. 8b: Johannes Brahms. Clarinet Sonata in F minor. Op. 120, No. 1,4 th
movement, bars 109-110 (Tertis arr. for
viola):

109

Viola
1^ f
-* - *

Not only has Tertis removed the slurs that Brahms originally wrote, he also adds his familiar

tenuto markings to the first twelve notes of this passage. A s with a good part of this sonata, there

is a tendency for the piano to overpower the viola in this passage. Tertis' characteristic bigger

quality is displayed here in order that the viola is indeed heard.

Another revealing example of Tertis' philosophy of phrasing may be seen in his

arrangement o f Bach's Chaconne from the Violin Partita in D minor B W V 1004. Bach writes 90

the following:

Ex. 9a: J.S. Bach. Chaconne from Partita in D minor for Solo Violin BWV 1004. manuscript, bars 33-36.
33

Violin

Tertis edits his arrangement as follows; note his use of articulation, phrasing and fingering:

J.S. Bach, Ciaccona from Partita in D minor for Solo Violin BWV 1004, ed. Giinther Hausswald (Basel,
9 0

London, New York: Neue Ausgabe Samtlicher Werke, Barenreiter, 1958).

48
Ex. 9b: J.S. Bach. Chaconne from Partita in D minor for Solo Violin BWV 1004. arr. Tertis. bars 33-36. 91

ViolafiffE ff =±2 fe

r
This example shows how meticulous Tertis was with his directions on how to play this particular

passage, it also demonstrates exactly how much phrasing and use of the tenuto ( - ) mark Tertis

adds to Bach's original manuscript. 92

The exclusive playing of the pianissimo sections on the D

string in bars 33-35 employs Tertis' characteristic use of portamento as described above. This

style would help emphasize the "question-answer" phrasing that Tertis creates between his forte

and pianissimo markings. Also characteristic of Tertis' style is the huge leap from d (on the C

string) to B-flat (on the G string) in bar 36.

In the introduction to his edition of this piece, Tertis describes the philosophy behind

these editorial decisions:

The out-curved bow, in use when Bach wrote the Chaconne, permitted of three or four strings
being played simultaneously, therefore the endeavour should be to sustain as many parts going at
once, without overshadowing the main theme. The chord playing should be with successive up
93

and down bow strokes, thus avoiding the playing of the theme in fragments, so often heard with
the conventional bowing. I also believe in the deletion of spiccato, for two reasons, (1) musically,
legato playing appears to me not only preferable but essential to the interpretation of the
Chaconne; (2) the out-curved bow did not permit of satisfactory spiccato or staccato bowing. 94

9 1
J.S. Bach, Chaconne from Partita in D minor for Solo Violin BWV 1004, ed. Tertis (London: Augener, 1934).
9 2
A l l of the dynamics used have been added by Tertis. There are no dynamic markings in the autograph
manuscript to the Chaconne for the Partita.
93
Another reason for this ease of playing all four strings together lies in the fact that bridges on baroque
instruments were not as curved as they are on modern instruments: "The desire for a more brilliant, powerful sound
and greater agility prompted late-eighteenth-century makers to lengthen the neck (by 0.64-1.27 cm to the present
standard of 12.86-13.02 cm) and set it at 4-5° angle from the body of the instrument. These changes offered an
increase in the playing length of string and normally required a slightly higher, thinner and more steeply curved
bridge." Robin Stowell, The Early Violin and Viola: A Practical Guide (Cambridge: Cambridge University Press,
2001),119.
94
Bach, Chaconne, ed. Tertis.

49
 One more example of an arrangement in which Tertis manipulates phrasing in order to

create smoother, more connected playing in quieter cantabile passages occurs in his arrangement

of the Concerto for Cello and V i o l i n by Frederick Delius (1862-1934); Delius writes the

following:

Ex. 10a: Frederick Delius, Concerto for Violin and Cello manuscript, bars 134-137: 9

134

C e l l o ^ - m m n If m

Tertis arranges this passage for viola thus:

Ex. 10b: Frederick Delius. Concerto for Violin and Cello arr. Tertis. bars 134-137: 9

134

Viola IK J j i | j | J 1 J _b j 1 | J | J m j*' 1 0 m _ HI

pp

In his arrangement, not only does Tertis lower the dynamic from piano to pianissimo, he also

adds phrasing which makes this passage smoother, cantabile and more connected.

A s has been demonstrated with all of these examples, Tertis' alterations of phrasing

reflect his philosophy of a fuller, broader sound i n more bigger, louder passages, and of

smoother, more connected playing in quiet cantabile passages.

Frederick Delius, Concerto for Violin and Cello (London: Augener Ltd, 1920).
6
Frederick Delius, Concerto for Violin and Cello, arr. Tertis (London: Augener Ltd, 1935).

50
 SUMMARY

The combination of two great British musicians in the 1930s, the composer Ralph

Vaughan Williams and the violist Lionel Tertis, resulted in a work that is fresh, original and

invigorating, the Suite for Viola and Orchestra. Through examination of the manuscript, Tertis'

1936 edition, Tertis' own copies of the Suite, and unpublished correspondence regarding the

creation of the work, we have seen how the Suite changed from Vaughan Williams's original

form into a composition which reflects aspects of Lionel Tertis's idiosyncratic style of viola

playing. Through his addition of articulations and his employment of phrasing, Tertis breathes

his own life into the soul of Vaughan Williams's work. General aspects of Tertis's style of viola

playing—his use of articulation to create a bigger sound in passages of a louder dynamic and his

connected, sustained cantabile phrasing in passages of a softer dynamic—manifest themselves

clearly in his edition of the Suite.

51
 Bibliography

Books

Butterworth, N e i l . Ralph Vaughan Williams: a Guide to Research. New Y o r k : Garland

Publishing, Inc., 1990.

Day, James. Vaughan Williams, London: J. M . Dent and Sons Ltd, 1961.

Dickinson, A . E . F. Vaughan Williams. London: Faber and Faber, 1963.

Douglas, Roy. Working with R.V.W. London: Oxford University Press, 1972.

Foreman, Lewis, ed. Vaughan Williams in Perspective. London, 1998.

Frogley, A l a i n , ed. Vaughan Williams Studies. Cambridge: Cambridge University Press, 1996.

Heffer, Simon. Vaughan Williams. London: Orion Books, 2001.

Howes, Frank. The Music of Ralph Vaughan Williams. Westport, C T : Greenwood Press, 1977.

Kennedy, Michael. A Catalogue of the Works of Ralph Vaughan Williams. London: Oxford
University Press, 1982.

. The Works of Ralph Vaughan Williams. 2d ed. London: Oxford University Press, 1980.

Mellers, Wilfrid. Vaughan Williams and the Vision of Albion. London: Barrie & Jenkins, 1989.

Lunn, John E . , and Ursula Vaughan Williams,. Ralph Vaughan Williams - A Pictorial
Biography. London: Oxford University Press, 1971.

Ottaway, Hugh. Vaughan Williams. London: Novello Press, 1966.

Tertis, Lionel. Beauty of Tone in String Playing: London: Oxford University Press, 1938.

. Cinderella No More. London: Carling & C o . Ltd., 1953.

. My Viola and I. London: Kahn & A v e r i l l , 1974.

Vaughan Williams, Ralph. National Music and Other Essays. London: Oxford University Press,
1972.

52
 , and Gustav Hoist. Heirs and Rebels - Letters Written to Each Other and Occasional
Writings on Music. Edited by Ursula Vaughan Williams and Imogen Hoist. London:
Oxford University Press, 1959.

Vaughan Williams, Ursula. R.V.W.: A Biography of Ralph Vaughan Williams. London: Oxford
University Press, 1965.

Young, Percy M . Vaughan Williams. London: Dennis Dobson, 1953.

A r t i c l e s and Theses

Anonymous. "London Concerts, Chamber Music of the Month." The Musical Times 76, no. 1105
(March 1935): 263.

Banfield, Stephen. ' " T o o much of A l b i o n ? ' M r s . Coolidge and her British Connections."
American Music 4, no. 1 (Spring 1986): 59-88.

Barbrey, Anna. " A r n o l d Bax: a Friend to the Violist." American String Teacher 46, no. 3
(Summer 1996): 59-63.

Evans, Edwin. "British Players and Singers. III. Lionel Tertis." The Musical Times 63, no. 94, (1
March 1922): 157-159.

Everett, W i l l i a m A . "Ralph Vaughan Williams's Suite for V i o l a and Orchestra." Journal of the
American Viola Society 13, no. 2 (1997): 9-19.

Goddard, Scott. "Gramophone Records." Music & Letters 14, no. 3 (July 1933): 301-302.

Kalisch, Alfred. "London Concerts." The Musical Times 62, no. 936 (1 February 1921): 114.

Ottaway, Hugh. "Vaughan Williams, Ralph." In The New Grove Dictionary of Music and
Musicians, 2d ed., 26: 345-362. London: Macmillan, 2001.

Russell, Thomas A . "Lionel Tertis: A Study." The Musical Times 78, no. 1132 (June 1937): 5 0 4 -
506.

Treter, Christine W . "The Significance of Selected Compositions by Ralph Vaughan which

Feature the V i o l a . " D . M . A . thesis, B a l l State University, 1993.

53
 Unpublished Sources
/

Gritton, Eric. Letter to Christopher Morris. 8 August, 1959. File No. 1047, M u s i c Department,
th

Oxford University Press, by permission of the Secretary of the Delegates of Oxford

University Press.

. Letter to Christopher Morris. 2 7 July, 1959. File N o . 1047, M u s i c Department, Oxford

th

University Press, by permission of the Secretary of the Delegates of Oxford University

Press.

Vaughan Williams, Ralph. Suite for Viola and Orchestra, copies of (with permission from
O.U.P.) Solo viola part, N o . 1 and 2 with Lionel Tertis' markings and signed dedication
from the composer to Tertis. London: Oxford University Press, 1934. File N o . 1, Lionel
Tertis Collection, Trinity College of Music, Greenwich, London.

Scores

Bach, Johann Sebastian. Chaconne from Partita in D minor BWV 1004, ed. Lionel Tertis.
London: Augener, 1934.

. Ciacconafrom Partita in D minor for Solo Violin BWV 1004, ed. Gunther Hausswald.
Neue Ausgabe Samtlicher Werke. Basel, London, New Y o r k : Barenreiter, 1958.

Bach, Johann Sebastian. Sonaten und Partiten Fiir Violine Allein: Wiedergabe der Handschrift.
Edited by Yehudi Menuhin. Frankfurt: Im Insel-Verlag, 1962.

Brahms, Johannes. Sonata for Clarinet and Piano in F minor, Op. 120, No. 1. Edited by
Lionel Tertis. London: Augener, 1951.

. Sonata for Clarinet and Piano in F minor, Op. 120, No. 1. Edited by
Hans-Christan Muller. Vienna: Vienna: Wiener Urtext Edition, 1973.

Mozart, Wolfgang Amadeus. Sinfonia Concertante for Violin and Viola, K364. Edited by
Christoph-Hellmut Mahling. Neue Ausgabe Samtlicher Werke. Basel, London, New
Y o r k : Barenreiter, 1987.

Vaughan Williams, Ralph. Romance for Viola and Piano. London: Oxford University Press,
1962.

. Suite for Viola and Small Orchestra (Full Score). London: Oxford University Press,
1966.

54
. Suite for Viola and Small Orchestra (Pianoforte). London: Oxford University Press,
1936, 2/1964.

55
Appendix A

Table of differences between the Vaughan Williams's manuscript of the Suite for Viola, Tertis's

1936 edition, and parts T C I and T C 2 .

The following table lists every change made between the manuscript and Tertis' 1936 edition. It

also lists the additional changes made between Tertis' 1936 edition and T C I and T C 2 . It is

possible to note that the majority of changes made concern articulation and phrasing.

56
T a b l e of differences between the V a u g h a n W i l l i a m s ' s m a n u s c r i p t of the Suite for Viola,

Tertis's 1936 edition, a n d parts T C I a n d T C 2 .

57
 Differences between the Manuscript, Tertis' 1936 edition, T C I and TC2

Group 1 no. 1 Prelude.

Example Bar Manuscript 1936 edition TCI TC2

number - no.
type of
change
1.0 0 Same as 1936 Same as 1936
Metronome
mark J =60 J =66
edition edition

"not too slow" L.T.

1.1 1 Same as M.S. Same as TCI
Articulation
CSS T^^^^ F W ^

7.03.033 .EE
KJ ~

1.2 2 Same as 1936 Same as TCI

Articulation edition: Tertis adds
E_E_E_I ^ ^ ^ ^
•W.B. "whole
bow'

1.3 3
Articulation
E_____] i C_E_E3 1"*^^*^ t*^^^m C_E_iS r^^^*n r-^^^i
>
J3J33J3 .033.033.033 .Q
C_n_3 ^^^^ r^W^^

33J333.Q33

1.4 4- Same as TCI

Articulation 5
CCXS r^^^f^ [_E_E3 r***^^™< r T " w
>
J333J333J333 E3ZZS _3^^3
J333J333J333
^^^^^

Tertis adds '/wore'

1.5 6 Same as 1936 Same as 1936

Articulation edition
C____3 f™^^^^ f^^^r^
edition
C323 E^^S r^-^i

J3D.5SJ333
> ^ V>

1.6 10 Same as 1936 Same as TC 1

Phrasing and edition:
articulation
JJJJJJ Tertis indicated
W.B. 'Whole Bow'

58
Example Bar Manuscript 1936 edition TCI TC2
number- no.
type of
change
1.7 11 Same as the M.S. Same as T C I
Phrasing
J333JJK ^yj
1.8 12 Same as T C 1
Phrasing and
articulation
vy ^ y JJ33J3S

1.9 13 Same as 1936 Same as 1936

Phrasing edition edition

JDJJEJ JDJJIB

1.10 15 Same as 1936 Same as 1936

Phrasing
.03 J3jS J _ edition edition

I.ll 16 Same as 1936 Same as 1936

Phrasing edition edition
_j, ^>—

Tertis adds 'point'

1.12 18 Same as 1936 Same as 1936

Phrasing edition edition

K J
w - — ^

1.13 22 Same as M . S . Same as M . S . Same as T C I

Articulation Tertis adds 'sost'
J]]JJ^JJ>
1.14 23 Same as 1936 Same as 1936
Phrasing edition edition
J J>J. J.

1.15 24 Same as T C I
Phrasing and
articulation JS3J J J333J JJ3J

59
Example Bar Manuscript 1936 edition TCI TC2
number - no.
type of
change
1.16 26 Same as T C I
Articulation

/.Q3.033.E3 ^J33J333J333
- - ->> >—.-

1.17 27 Same as T C I
Articulation
—

J333J333J333 J333.033J333
C___^3 ^^F^PJ p~r~r^ C3_ES ^^EES r~~~"i*^
~~P~~~1

1.18 28
Articulation > > -
J333J333J333
__E___3 CI____ r*~*~~^

> — > >—>

1.19 29 Same as 1936

Articulation edition

_S .033.533 J333J333J333 .Q33.Q33J333

______3 P~P~~~! ______3 r~~—

> » — > > > —

1.20 30 No extra marks are

Articulation added except poco

JE3.Q33.Q33 S3 S3-OS
[™^2E3 ______9 E3___3 ^3I^^3 p^^^^ p^^^^p^
cresc
.033J333.S33
> > > —
>
poco cresc
1.21 31 Same as M . S . with Same as T C I
Phrasing, added poco rit on
p—p—MB p—p—p~I p
— p
— p
— •
J333J333.Q33
dynamic ^^323 ^3^33
second beat

1.22 33 diminuendo diminuendo diminuendo Same as T C I

Dynamic indicated indicated removed
1.23 34 Same as 1936 ed. Same as T C I
Phrasing
JJ JJ

60
Example Bar Manuscript 1936 edition TCI TC2
number - no.
type of
change

1.24 40 Same as 1936 Same as 1936

PJJPJPJ CSZ^S P^ ^^
M

Phrasing edition edition

1.25 42 Same as M.S. Same as TCI

Phrasing
P™P^J3 ^^^ZE^TJ3 P^P^P^

S3JSJS3
vy V _ /

Same as T C I
1.26 43 Same as M.S.
Phrasing
JJJJH JJJ.E3
— v>
Tertis also adds

1.27 45 Tertis adds 'W.fl.' Same as M.S. Same as M.S.

Phrasing

J.S J JJ3EJ
v_y

1.28 51 Same as M.S. Same as 1936

Phrasing edition

gj. JU J J>

1.29 52 Same as 1936 Same as 1936

Phrasing edition edition

J J> J J>J. J_J> JJ>J.

V

1.30 57 Same as 1936 Same as 1936

Phrasing edition edition

1.31 59 Same as 1936 Same as 1936

Articulation edition edition
E^™J1 2MCI3 P^P^PJ

\J v7 v> ~~ ^T t
w

61
Differences between the Manuscript, Tertis' 1936 edition, T C I and T C 2

Group I. no. 2 Carol. Andante con moto

Example Bar Manuscript 1936 edition TCI TC2

number- no.
type of
change
II. 1 3-5 piano indicated Same as M.S. Tertis adds Same as TCI
Dynamic 'poco cresc'
for whole of
bar 3-: .
H.2 5-6 Tertis Same as 1936
Phrasing j removes edition
dynamic 'hair-pin' in
fJ J.J J] | 1JJJJI bar 6

II.3 7 Same as Same as 1936

Phrasing 1936 edition edition

n.4 lu- Same as Same as 1936

Phrasing ll 1936 edition edition

o ^JEJJJJJ

TI.5 11- Same as Tertis adds 'poco'

Phrasing I 12 1936 edition (cresc) in bar 12

5 J J3U J31
dynamic
\ JJH3J3|
PPP

II.6 13 Same as Same as 1936

Phrasing 1936 edition edition

JDDDJD3]J0J|"

62
 Example Bar Manuscript 1936 edition TCI TC2
number — no.
type of
change
II.7 15 Tertis Same as TCI
Dynamic removes the

§J>JJlQJ>JJ> decrescendo
and marks in
' rather
marcato''

U.8 17- Tertis adds Tertis adds 'mezzo

18 p CftNT. ' « / ' in forte'
dynamic
§JhJJ JJ] addition to

fl r
f J > 7 j J J J | the word
'slide'

n.9 19 Tertis adds Same as TCI

dynamic JJJ j j j

11.10 21 - Tertis adds Tertis adds 'poco'

22 n v 'cresc' (cresc) ~
dynamic
JJJ-D|JJ J J J J l J J

tut 24- Same as Same as 1936

25 1936 edition edition

1JJJJJJ fJJJJp

11.12 25- Same as Same as 1936

26 1936 edition edition
dynamic ?

JJJJJlJJ^JJ

n.i3 27 decrescendo added Same as M.S. with Crescendo Same as TCI

Dynamic on beat 3 'Poco rit' added to 'hair-pin'
first two beats added to
first two
beats
0.14 31 - Same as Same as 1936
32 1936 edition edition

IJ J J JD J j 3JJJJJJ|

63
Example Bar Manuscript 1936 edition TCI TC2
number — no.
type of
change
11.15 37- Same as
39 vn v 1936 edition

JJJJ | JJJ J| JJJJjJJJJJ_

JJJJJJJJJJ
JJJ || JJJ II
JJJ II

64
 Differences between the Manuscript, Tertis' 1936 edition, T C I and T C 2

Group 1 no. 3 Christmas Dance

Example Bar Manuscript 1936 edition TCI TC2

number no.
- type of
change
1II.1 3 Same as M.S.
Bowing, n n n v n v n n n
articulation
JJJ JJJ
• • •
n v rr
Tertis adds the
word 'Sosf
ni.2
Bowing
and note
5
' ri rin Same as 1936
edition
Same as above

4=
: £ 1

112-
115- ar f— llu—

U1.3 6-7 Same as 1936 Same as 1936

Bowing edition edition
JJ>JJ>|JJ>JJ> JJUJIIJJUJ>
III.4 8 Same as ex. m . l Same as ex. II1.1 Same as ex. Same as ex. QI.l
Bowing m.l '
III.5 10 Same as 1936 Same as 1936
Notes^ edition edition
Arh co lach'o*
II?- llrr-
f i IPJ-

m.6 13- Same as 1936 Same as 1936

Articulation 14
J J1J J J J1J J edition edition

III.7 15- Tertis adds Same as TCI

Articulation
Prvosn^
16
JjlJll JUJHI
'sort'

JM JJJJJJ
— v> — >^
III.8 17- Same as TCI

1 J. J J J | J.
19 1
articulation JJJ1 J. JJJ

65
 Bar Manuscript 1936 edition TCI TC2
Example
number no.
- t y p e of
change
III.9 22 Same as 1936 Same as 1936 ed.
Notes If - M r-
f—*H— /t^ r[ jj ;
ed.

111.10 23 Same as 1936 Same as 1936 ed.

Notes
1-1
V-
« — J - — ^ 1r ed.

III. 11 25- V . W . indicates The 'shoe-shine' is Same as 1936 Same as 1936 ed.
28 'shoe-shine' bowing replaced by J „ J* ed.
with added
(-)

v n (v n * n)
JJ>JJ>J
| J>JJI JJ>JJ>J
|J>JJ>

JJ>JJ>IJJ>JJ>
\y \j \y
ITT 12 29- Same as 1936 Same as 1936 ed.
30
JJ|JJJJ2 JJ 1 JJJ i p
ed.

III. 13 32 Same as 1936 Same as 1936 ed.

ed.
Articulation
JUJJJ

III. 14 33- Same as 1936 Same as 1936 ed.

ed.
Articulation^ 37
2>y >(_ *JJJI*JJJJI
J3*D)|J3IJ]T| JXQ7IJJ7JJ7
JJ7JJ1

66
Example Bar Manuscript 1936 edition TCI TC2
number no.
- type of
change

III. 15 38 Same as 1936 Same as 1936 ed.

ed.
J J JJ JJJ?
PhcaStnO)

111.16 39 Same as 1936 Same as 1936 ed.

ed.
JJJ JJJ
III. 17 41 Same as 1936 Same as 1936 ed.
ed.
articulation
JJ •J j"
III. 18 43 Same as 1936 Same as 1936 ed.
ed.
JJJJJ JJJJJJ
III. 19 44 Same as 1936 Same as 1936 ed.
ed.
J J J
111.20 45 No crescendo Crescendo added Crescendo Same as 1936 ed.
Dynamic removed
01.21 47 piano indicated Same as M.S. forte marked Same as TCI
Dynamic
111.22 57 Same as TCI

JJJJJ- " JJJJJ- JJJJJ>

<vr~ ^
111.23 60- Same as 1936 Same as 1936 ed.
61
J. | J J J JjJJJ
ed.

111.24 63 Same as 1936 Same as 1936 ed.

Articulation ed.
J. J»J J. J>J

111.25 69 Same as 1936 Same as 1936 ed.

ed.
J J JJ J^JJD ;

67
Example Bar Manuscript 1936 edition TCI TC2
number no.
- t y p e of
change

111.26 70- Same as 1936

and
71
JJJ|JJJ JJJ | JJ J ed.
JJJ|JJJ
dynamic j. s
J-

111.27 75- Same as 1936 Same as 1936 ed.

77 ed.

JJJ JJJ| JJJ JJJ1

JJJ JJJ| JJJ JTJ3-I
JJJ
- w - w

111.28 79 Tertis adds mf Same as 1936 ed.

Articulation
JJJJH ' JJ JJ
>
Vy

W
HI.29 80 Same as M.S. Lasted'" is Same as TCI
Notes crossed out

HI.30 82 Same as 111.27, Same as 111.27 - no Same as 111.27 Same as 111.27 -

R.V.W. adds# ^"indicated -no# no indicated
dynamic ^ indicated
in.3i 83 Same as 1936 Same as 1936 ed.

-QJJ.D " JJ "JCJ"JJ ' ed.

\_y V_/ W

UI.32 86 Same as 1936 Same as 1936 ed.

ed.
articulation ' JJJJJ] JJ JJ JJ
W v>
w vy
>
111.33 87- Same as 1936 Same as 1936 ed.

JJJ 1 J.
88 ed.
JJJ | J.

111.34 89- Same as III. 23 Added cresc. Same as 1936 Same as 1936 ed.
90 ed.
111.35 90 No diminuendo diminuendo added diminuendo Same as TCI
Dynamic removed

68
Example Bar Manuscript 1936 edition TCI TC2
number no.
— type of
change

111.36 91 Same as 1936 Same as 1936 ed.

ed.
dynamic »» JJJ] '
p

111.37 92- Same as bars 25 - 27 Same as bars 25 - 27 Same as 1936 Tertis adds (> )
Phrase 95 (ex. I1I.9) (ex. 111.9) ed. to the first beat.
111.38 96 Same as 1936 Same as 1936 ed.
Note, ed.
dynamic IP V y V '> IP E \ v v—
lis r '—-*-^>—
II!) L 7 J 3—
111.39 99 Same as 1936 Same as 1936 ed.
Notes IP IP-. v S —
ed.
115 "" I J J—
V
115—,

111.40 105- Same as 1936 Tertis indicates f,

107 ed. not#
*7.IJ>|JJ>JJ| *7JJ>|JJ>JJl
Jj^
— r
^"indicated ^indicated

69
 Differences between the Manuscript, Tertis' 1936 edition, TC1 and T C 2

Group 2 no. 1 Ballad

Example Bar Manuscript 1936 edition TCI TC2

number no.
- type of
change
IV. 1 2 piano dynamic marked Same as M.S. Tertis marks Same as TCI
Dynamic in/jp

TV.2
Bowing.
9
rt • Same as 1936 Same as

JJ>J J. J1J •
ed. 1936 ed.

IV.3 11 mp marked in No dynamic marked poco cresc. Same as TCI

Dynamic marked
it 1
•
IV.4 13 Same as 1936 Same as
IP-9 4— ed. 1936 ed.
dynamic IIP—a
E-rj +
S — lib , — , —

A?/" V
' '
IV.5 14 cresc. marked across No cresc. added Same as 1936 Same as
Dynamic whole bar ed. 1936 ed.
IV.6 15 dim. Marked on first No dim. added Same as 1936 Same as
Dynamic two beats. ed. 1936 ed.
IV.7 16 Animato indicated Poco animato indicated Same as 1936 Same as
Tempo ed. 1936 ed.
indication
IV.8 18 Tertis Same as
indicates / 1936 ed.
dynamic JJUl.J.
mf espress. added

rv.9 26 Same as 1936 Same as

JJJ JJJ
ed. 1936 ed.

v_>- v

IV. 10 35-
37
Jjljjjipjj JJJJJ
gjjjj
JJHH JJJJ.J] nv
JJJJJJ
^ —

IV. 11 38 Same as 1936 Same as

ed. 1936 ed.
J.JU

70
 Example Bar | Manuscript 1936 edition
number no.
TCI TC2

- type of
change
IV. 12 41-
fi Same as 1936 Same as
42 ^- ed. 1936 ed.

IV. 13 45
Same as 1936 Same as
J. J>J J. J>J ed. 1936 ed.

IV.14 | 55 Cantabile indicated in Cantabile not indicate Tertis marks Same as TCI
Expression solo via. p dynamic in solo via. in / with '
marking, indicated addition of
dynamic
'W.B.' =
'whole bow'
IV.15 | 56
Same as 1936 Same as
JJ>J. J J>J. ed. I 1936 ed.

IV.16 | 57 p dynamic indicated - | Same as M.S. Tertis adds | Same as TCI

Dynamic no cresc. cresc.
IV.17 | 58
Same as M.S.
Articulation
PbrtSfSi/v
JJ>J. J J>J.
J

IV.18 | 65
Same as 1936 I Same as
Articulation
JHJ. JJ2J. ed. I 1936 ed.

IV.19 66
Same as 1936 Same as

J3HB ed. 1936 ed.

IV.20 | 67 ff with dim. marked No dim. marked Same as 1936 Same as

Dynamic
ed. 1936 ed.
IV.21 68
r7V Same as 1936 Same as
71
tyr\rc\<z in
JJJ|JJJ|JJJ|JJJ JJJjJJJ|JJJjJJJ *

Same as 1936 Same as

JJ JJ ed. 1936 ed.

71
 Example _Bar I Manuscript 1936 edition TCI TC2
number no.
- type of
change
IV.23 | 77 Same as IV.22 Same as IV.22 Same as Same as
IV.22 IV.22
IV.24 78 'Hairpin' Same as TCI
Phasing, removed
Dynamic

IV.25 79 cresc. marked No cresc. marked Tertis marks Same as TC 1

Dynamic in cresc. i ••• ;
IV.26 81 Same as 1936 Same as
ed. 1936 ed.
JJJJJJ
IV.27 | 82 Same as IV.26 Same as IV.26 Same as Same as
IV.26 IV.26
IV.28 83 No specific dynamic Same as M.S. Tertis marks Same as TCI
Dynamic added
IV.29 | 93
[£
Same as 1936 Same as T C I
dynamic , 7J,>JDDD ed. - Tertis
marks mp
IV.30 98 v n Same as 1936 Same as
JJJ JJJ ed. 1936 ed.

IV.31 102 No cresc. marked cresc. marked Same as 1936 Same as TCI
Dynamic
ed. — Tertis
marks mf.
before cresc.
IV.32 106 \ Dim. Marked in No dim. marked Tertis marks Tertis marks
Dynamic
in ''sempref in 'sempre

72
1 Example Bar Manuscript 1936 edition TCI TC2 _
1 number no.
- type of
change

IV.35 113

114 JOB J31 JJ JOE JJJJJJl

v>

JOJID
— KJKJ
JJJQZ
o»v>
IV.36 115 No cresc. written cresc. hairpin written in Tertis writes' Same as TCI
Dynamic in cresc. to fp
IV.37 117 Same as 1936 Same as
ed.
dynamic JJjM*||_ ; J£L>M*II
1936 ed.

(PP)

73
 Differences between the Manuscript, Tertis' 1936 edition, T C I and T C 2

Group 2 no. II - Moto Perpetuo

Example Bar Manuscript 1936 edition TCI TC2

number- no.
type of
change
V.Tempo Presto indicated Allegro indicated Allegro indicated Allegro indicated
indication 88
J. = J . = 80 J . = 92 J . = 80

mm mm mm
V.l
Dynamic,
articulation

( - ) not added ( - ) not added ( - ) not added

/indicated mf indicated mf indicated
V.2 5-6 Same as 1936 ed. Same as 1936 ed.
Articulation

V.3 Same as 1936 ed. Same as TCI

Pitch, Tertis removes
dynamic cresc.

V.4 14 No decresc. added decresc. added Tertis removes Same as TCI

Dynamic decresc.
V.5 15 No dynamic added p with added Tertis marks mf- Tertis removes
Dynamic cresc. indicated removes cresc. cresc. - writes in
word 'steady' !

V.6 16 (>) marked on No (>) marked Same as 1936 ed. Same as 1936 ed.
Articulation first on first Ji
V.7 19- Hairpin( <>) No hairpin marked No hairpin Same as 1936 ed.
Dynamic 20 marked over two marked
bars Tertis marks in
pp - indicates
'point' of bow
V.8 23 Same as 1936 ed. Same as TCI
Tertis indicates
Articulation 'M' - middle of
bow
V.9 29

mm
Same as 1936 ed. Same as 1936 ed.
Notes, Tertis marks in p
dynamic

V.10 31 Hairpin (<>) No hairpin marked p marked Same as TCI

Dynamic marked

74
 Example Bar Manuscript 1936 edition TCI TC2
number- no.
type of
change

mm mm
V.ll 33 Same as 1936 ed. Same as 1936 ed.

V.12 38- No hairpin marked Hairpin ( <> ) No hairpin Hairpin ( < > )
Dynamic 39 marked oyer two marked marked over two
bars bars
V.13 55 No fp marked fp added Tertis marks in f Same as 1936 ed.
Dynamic
V.14 57 No p marked p marked Same as 1936 ed. Same as 1936 ed.
Dynamic

mm\
V.15 59- Same as M.S. Tertis removes Same as 1936 ed.
Articulation 61 accents

mm\
mm\
mm mm
V.16 62 Same as 1936 ed. Same as 1936 ed.
Articulation

> >
V.17
>
63- No ( > ) marked (>) marked on 1 st
Same as 1936 ed. Same as 1936 ed.
65 Jl

mm mm .
V.18 65 Same as 1936 ed. Same as 1936 ed.
n vr V

mm mm
V.19 66 Same as 1936 ed. Same as 1936 ed.

> vy > w

V.20 67 Same as 1936 ed.

n V rW Same as 1936 ed.

mm mm
V.21 68 Same as 1936 ed. Same as 1936 ed.

Dynamic
hra. , „g
7
&

dim. indicated No dfw. indicated

mm
V.22 71 Same as M.S. Same as M.S.
Phrasing
5 3

75
 Example Bar Manuscript 1936 edition TCI TC2
number- no.
type of
change
V.23 85 nv Same as M.S. Same as M.S.

87 .333.51 S33S|
SS33|S33 SSSlSE
V.24 90 n V nv n v t» v Same as T C I
Articulation
91 J33 J331 J3JJ0OI vy >-> 1
ny nv
.03.33 JS J33 S3 S3
n v n v

V.25 96 Same as 1936 ed. Same as 1936 ed.

Articulation
S3 S3
—\s - \^
S3 S3
V.26 97 Same as 1936 ed. Same as 1936 ed.
Articulation
S3 J33 S3 S3
V.27 102 p marked p/? marked Same as 1936 ed. Same as 1936 ed.
Dynamic
V.28 105 No dynamic Cresc. to/marked Same as 1936 ed. Same as 1936 ed.
Dynamic marked
106
V.29 113

articulation, 116 /EBD3|JnED| 3 3 3 | J 3 S | JJJJJJ|JJJJJJ|

> J J J J J J
W > (/;
V.30 116 i >) marked on 1 st
No ( > ) marked Same as 1936 ed. Same as 1936 ed.
Articulation Jt on 1 J l st

V.31 119 Same as 1936 ed. Tertis indicates p

Articulation,
bowing, Ml
dynamic
p indicated p not indicated
V.32 124 Same as 1936 ed. Same as 1936 ed.
Articulation
m JJJJJJ
V.33 128 Same as V. Same as V... Same as 1936 ed. Same as 1936 ed.
Articulation
V.34 123 No dynamic /"indicated Tertis indicates mf Same as TCI
Dynamic marked
V.35 131 /"indicated //[/"indicated Same as 1936 ed. Same as 1936 ed.
Dynamic

76
 Example Bar Manuscript 1936 edition TCI TC2
number- no,
type of
change
V.36 137 No articulation ( > ) marked on Tertis removes the Same as T C I
Articulation indicated every 1 Jl of each
st
commas indicated
146 bar - commas are after every 6 J* of
th

added after every each bar

6 Jl of each bar
th

V.37 147 ^indicated ^indicated Tertis indicates/ SameasTCl s

Dynamic
V.38 147 No articulation Same as M.S. Same as 1936 ed. (> ) marked on
Articulation indicated every 4 Jl of each
th

149 bar - , V
V.39 154 No dim. Marked Same as M.S. Same as 1936 ed. Tertis marks in a
Dynamic dim. • ••
V.40 156 Same as M.S. Same as M.S
Bowing v
A£ncujmo4 157
jnniJDD
vy v/ 1
v-> v>
V.41 158 Same as M.S. Same as M.S

mm\mm mm\mm
Bowing
159

V.42 160 Same as 1936 ed. b. 160-162, Tertis

mm\mm
mm\mm
Bowing
slurs all three bars
161 together
X 1

mm
V.43

mm
163 Same as TCI
Articulation

V.44 183 Same as V.3 - the The third J

l is Same as 1936 ed. Sames as 1936 ed.
Pitch third Ji is marked as marked as a c"
ad'
V.45 184 /marked p marked Same as 1936 ed. Same as 1936 ed.
Dynamic
V.46 197 Dim. marked No dim. marked Same as 1936 ed. I Same as 1936 ed.
Dynamic

mm
V.47 202 Same as 1936 ed. Same as 1936 ed.
Articulation

> >
V.48 206 Same as V.9 Same as V.9 Same as 1936 ed. Same as 1936 ed.
Notes
Tertis marks in p
V.49 211 (>) marked on 1 st
No accents are Tertis marks an Same as TCI
Articulation, and 4 Jl of each
th
marked, dim accent on only 1 Jlst

dynamic, 212 bar. dim. Marked marked in 211 also writes in

tempo in b. 212 poco rit

77
 Bar Manuscript 1936 edition TCI TC2
no.

225 Same as b. 85 - 87 Same as b. 85 - 87 Same as b. 85 - 87 Same as b. 85 - 87

(ex. V.24) (ex. V.24) (ex. V.24) (ex. V.24)
228

232 p with cresc. / marked with Tertis marks mf \ Same as TCI

marked added(>) marked
on 1 st
•>• f .
233 < / > marked <f> not marked Same as 1936 ed. I Same as 1936 ed.

234 pp marked fp marked Same as 1936 ed. Same as 1936 ed.

mm
236 No accents are Same as 1936 ed. I Same as 1936 ed.
Articulation marked
237

251 Tertis removes Same as 1936

(>) onl J*of
s,
edition except
254 each bar, indicates Tertis indicates that
thatb. 251 - 2 5 4 bars 251 - 2 5 4 be
(bars 251 - 2 5 4 all be played p played p
have same (2/51 - *****
articuation)

255 ( > ) marked on 1 st

No accents are Same as 1936 ed. | Tertis marks
and 4* J> of each marked ( > ) on 1 J l b.
st

256 bar 256

mm\mm\
258

261
\J
mm\mm\ mm
mm\mm\
\-/ \ J / \S \ ^ \J

mm\mm mm\
mm\mm
260 Accel, indicated cresc. Tertis removes Same as TCI
e animando cresc. -
indicated animando
262 No tempo Same as M.S. Tertis indicates Same as TCI
indication, still presto
accel.
266 Same as 1936 ed I Same as 1936 ed.

267
> >

269 ff indicated Same as M.S. Tertis marks fp,' Same as TCI

marks in cresc. at
274 b.272 •'

78
 Differences between the Manuscript, Tertis'. 1936 edition, T C I and T C 2

Group 3 no. I - Musette

Example Bar Manuscript 1936 edition TCI TC2

number — no.
type of
change
VI. 1 Tempo indicated Tempo indicated Same as 1936 ed. I Same as 1936 ed.
Tempo is marked: is marked:
indication Andante Lento
sostenuto
VI.2 3-4 Same as 1936 ed. Same as 1936 ed.

mrc?
ffir
VI.3 8-9

r\— r\
mri rcr mri rcr
_ r»—
rrcfi rr?
VJ.4 10 Both J are Same as 1936 ed. Same as 1936 ed.
separate Both J are slurred
VI.5 11 Same as 1936 ed. I Same as 1936 ed.
12
fhra5,o^
fflrT rrrr

VI.6 13 Same as 1936 ed. I Same as 1936 ed.

fhr(X5,n^
rn r rr
VI.7 14 No dynamic A decrescendo is Tertis removes Same as TCI
Dynamic indicated added decrescendo
VI.8 16 No dynamic <>) hairpin is Tertis removes the | Same as TCI
Dynamic 17 indicated added hairpin •
VI.9 18
Same as 1936 ed. Same as 1936 ed.
y

19

"3 crrrcnri n cnrrnri i

79
 Example Bar Manuscript 1936 edition TCI TC2
number- no.
type of
change

VI. 10 28-
33

JJJJJJJJl JJJJJJJJl •DJJJJJJl JJUJUJI

JJJ3JJ33| JJJJJJJJl .•JJJJJJ
U V v

Jiaim JJJJJJJJ JJU.QJJ JJUJID

VI. 11 33 ( <>) hairpin is Same as M.S. Tertis removes the Same as 1936 ed.
Dynamic added decrescendo
VI.12. 34 pp indicated Same as M.S. Tertis indicates mf Tertis indicates p
Dynamic
7 ? T —

VI.13 |38

articulation
V I . i<¥- 53 p with cresc.
HOT ffuT
\ 4-\

rrccr
p with no cresc. Same as M.S. Same as M.S.
Dynamic indicated indicated
15 53-

firirr
VI. 56

Etirr itTirr
rnr mr frTr rnr
p.

56

fic^fnlffiifri mrrolfn"rriffilrTi
VM6 60

rrrirnr irirTErf rrTcrrr r cr i mr

VI.I7 61
64

rnrnrn rnrnrn rirrTrrl rnrnrn

ft tor fir)

80
 Example Bar Manuscript 1936 edition TCI TC2
number- no.
type of
change,
65 | Both J are slurred Same as M.S. Both J are Same as TCI
together separate with
Articulation added ( - )
67- Same as M.S.
69

LT o/ rx
7
Tempo Tertis indicates
indication LT LT 'W.B.' - 'Whole
Bow'
Rit. marked b.67 Rit. marked b.68

VI. ZO 71 - No dynamic p indicated Tertis indicates pp Same as TCI

Dynamic 73 indicated

VI. 21 73-
74

JJ| J JJU
/'Ar-as,/},
JJJ J JJU
V\ .22. 75-
76

T'C cc4<r/o~/\
J J I JJJ J J I .JJJ JJ IJJJJ J JIJXQ

V( . 2 3 77-
78
n
J JJ I JJJJJ JJlJJJJ J JJlJJJJ J J3|J3U
Tertis indicates
'W.B.'-'Whole
Bow'
82

IPJraS/s}
°3 J J J | |J J312 J JJJ I? J
Tertis indicates Tertis indicates
'W.B.'-'Whole W.B.' - 'Whole
Bow' Bow'

81
Example Bar Manuscript 1936edition TCI TC2
number - no.
type of
change

V I . 2-S 84
V V
5 J J j J 1J \\j
Tertis indicates Tertis indicates
' W . B . ' - 'Whole ' W . B . ' - 'Whole
Bow' Bow'
V i .26 90-
92

JJfJ -O-jGCD
&&§
Tertis indicates Tertis indicates
' W . B . ' - 'Whole ' W . B . ' - 'Whole
Bow' on last three Bow' on last three
>s >s
VI . 2 7 93
w-s. W-6.
w
JEI JD3 vy \J
vy vy

82
 Differences between the.Manuscript,Tertis' 1936 edition, T C I and T C 2

Group 3 no. II - Polka melancolique (referred to as Polka in the manuscript)

Example Bar no. Manuscript 1936 edition TC1 TC2

number-
type of
change
VII.1 5-6

articulation,
dynamic JJJJJJIJJJJ JQ3JD|JJDD ifja I D JJJ
y— KJ~ 'v_y — |JJJJ"
/rfano indicated
piano indicated Tertis indicates Tertis
indicates 'p'
VI/. 2 11

articulation
mm J2JJJ
vy —
JJJ.CQ mm
w
VII. 3 27

v/ •
jmn
VI/.+ 34
n >irW

•tun JJS33

VI/. 5 37 Same as 1936

articulation ^
jmjm J3J33
ed.

VII. 6 40 Same as 1936 Same as 1936

mm
Articulation ed. ed.

JQD JDD
' KJ x — \> —

VI/. 7 41 Same as 1936 Same as 1936

mm
Articulation ed. ed.

JJJ JJJ
-- KJ ~
— O"

83
 Example Bar no. Manuscript 1936 edition TCI TC2
number -
type of
change

VIJ.8 42 Same as 1936 Same as 1936

Articulation ed. ed.
JSJ

VIM 43 Same as 1936 Same as 1936

ed. ed.
"3
W v.

VI/.to 46-47 Same as 1936 Same as TCI

Articulation,
dynamic
-•131,0 J JJU I JJJ
Tertis indicates
In the M.S. the The dynamic the dim To be
dynamic indicates a df/w to played a beat
indication is ' / piano later
VIJ,U
V
articulation

VIJil-2 55

articulation n
J>-033
*w -
vu.13 59-60

JID|J.J>|J> JID|J.J>| J> XD3|J.Ji| JJJ3|J. J>|

VII .14- 67-68

JICIJIU
Articulation

JQBiJin
JJJ3
Tertis adds the
word 'broad'

84
 Example Br Manuscript 1936 edition TCI TC2-
number no.
- type of
change

VII.(5 69

E3S3S3 ^^^^^^3

.333 .333 .333.533 J333S33

VII. 16 70 Same as Same as

1936 ed. 1936 ed.
4

P
notes ^

VII. 17 71 Same as Same as

1936 ed. 1936 ed.
notes _y
tagp i p
1/

VII. 18 72 Same as Same as

1936 ed. 1936 ed.
notes

VII: I f 73 Same as Same as

it 1936 ed. 1936 ed.

p
notes —' >
115 if

Vll.iO 74 Same as Same as

936 ed. TCI
75
J333 JJ33 J333 .033' except that
Tertis marks
v>
sixth Ji as a
I
ST

.533 .533 J333 .033 g as

opposed to
w — \ J —
the g' *
indicated in
M.S.

85
 Example Bar no. Manuscript 1936 edition TCI TC2
number -
type of
change
VII. 2.1 76 Tertis removes Same as TCI
No r7\ indicated ^ indicated on
Tempo although Tertis
/ dynamic ^ — he adds a
indication, first «h - / indicates /n/"
indicated ( > ) accent to
dynamic dynamic indicated
the first «h
77
VII. zz Same as TCI

msh n A
V

Articulation
3SJ3 .5333 J3
U £ -»

VI 1.21 79
Articulation,
dynamic JJJ JJJ
_y
JJJJJJ JJJ_ '
)
/ dynamic / dynamic Tertis indicates Tertis
indicated indicated 'martele'' indicates mp
VI. 1-2^, 80-81
Articulation

.SSJJJi J S JJJl jm JJJI J3S JJJj

JJJ JJJ JZJZ JJJ JJJ JJJ JJJ

V H : 2.5 82 Same as 1936

ed.
articulation
JJJ JJJ JU JJJ JJJ JK
—
v —
Tertis indicates
'sosf
Vlf.i^ 83-84 fl\trti nn
n Vfiv P "
articulation
.533 JJ| J3JJ|
w
JJJJJJ
1 JDDQJOj
JUJOD mm
JJJ-CTJ / vy
/

Tertis indicates
'sosf

86
Example Bar no. Manuscript 1936 edition TCI TC2
number -
type of
change

vn.:2.7 85-86 Same as T C I

articulation JMPJOQ jijjiijrjjTj m rfjimrr

Tertis indicates
'satf'

VII. 2~% 87-88 Same as T C I

-[DJSlJID J7JJJJ|JI0 JIJ]]|JJJJ

Vlf. Zf 89 /indicated Same as M.S.
w #
Tertis indicates Same as TCI
Dynamic #
Vlfj 3o 92 No cresc. Cresc. indicated Same as 1936 Tertis adds ( <
Dynamic indicated ed. >) 'hairpin'
vinai 96-97 All notes are
(Cadenza) indicated to be >
played separately
SUE I

>
J3J23 I
VII.3JL 98-99 A l l notes are Same as TCI
indicated to be
played separately
J33JS3 l J531S3 1

Vl>;33 100 A l l notes are Same as TCI

indicated to be >
played separately
J3EJ3 I I

87
 Differences between the Manuscript, Tertis' 1936 edition, T C I and T C 2

Group 3 no. I l l - Galop

Example Bar Manuscript 1936 edition TCI TC2

number — no.
type of
change
7 No indication of Tertis indicates Same as 1936 ed. Same as T C I
vm.i
bowing direction - all notes to be Tertis indicates mf
dynamic forte indicated played 'down
bow' -/orte
indicated
VIII.2 12 f

dynamic 14
>
JEJi

JH JEiJJJJ

VIII.3 15 Only single notes Same as M.S. Tertis adds a Same as T C I

Notes are indicated double stopped a to
16 without double each note
stops
21
vm.4
22

3^
22 / marked Same as M.S. mf marked
vm.5 Same as TCI
Dynamic . )
Vffl.6 39 marked Same as M.S. /marked Same as TCI
Dynamic
VIII.7 43 Same as 1936 ed. Same as 1936 ed.

articulation 45
J333 J333 |

J33 JS31 J33 J35 I

44 Same as M.S.
vm.8 5"0=c#' Same as TCI
Note

88
Example Bar Manuscript 1936 edition TCI TC2
number - no.
type of
change

VIII.9 45
Notes
r^tTTrftTTIF>¥ r7?f fffn
\M'flu ff fR
Ph r < X 5 1 r-c^ ||5m
uJJ UL= 144} L4U
B f
15r

V I I I . 10 46 Same as T C I
> > >
articulation 49
Mss 1 SS J3 |
1

.fe J H I S S J333 1
.X vy • • • 1
JIB JB31
J333 J S I J33.5331
J3H.E31
J S J ^ JEJ JSJ ••
— >

vin.ii 52
nn 5 nn n
53
j jq_j_j»j J»I JJJ|>JJ> J jJ|y>J J»| jjjjjjj>l

vra.12 63
Bowing,
n n n n v v n n n
64
articulation
J 7 J 7|J 1 J 7 J 7 J 7|J 7J7 J 7 J 7| J 7J7 J 7 J 7|J 7 J 7

VHI.13 65
Bowing, vrw ^ n
articulation 66
J]] J.|J J>J J> J J J J . | J ^ J > JJ] J.|J J>J J
• w , is.
VI0.14 68
Bowing^

JJ4JJ|J-W-h JJ>JJIJJ>JJ>
• •• i »4 |i

89
 Example Bar Manuscript 1936 edition TCI
number - no. TC2
type of
change

VIII.22 135
Bowing, -
nnnn Same as T C I
articulation,
JOB I
J
D 3J
QQ

VIII.23 139
Notes, Same as T C I
dynamic
(Cadenza)

W_ N.B. extra J
VIII.24
Dynamic, Same as T C 1
articulation,
bowing J333 J333 I J33 J23 JHJH
f

EXZXS r^r™^^
.033.033 S3 J S

J3 JB
I *

VIH.21 Manuscript b. 123- 132:

123

Viola

/27

90
VIII.21 1936 edition b. 123-132:

123

/27

Via.

VIII.21 TC1 and TC2 b. 123 - 132:

123

Viola

mp
127

Via.

91
 APPENDIX B

The following is a list of some of the works written for Lionel Tertis or arranged and edited by Lionel

Tertis as they appear in the appendix to Tertis' autobiography, My Viola and I (London: K a h n &

A v e r i l l , 1974), 171-174.

PUBLISHED WORKS

Works written for viola and orchestra

Arnold Bax. Phantasy (Concerto) (1920)

T. F. Dunhill. Triptych (1942)

Gustav Hoist. Lyric Movement (1933)

Wolfgang Amadeus Mozart. Sinfonia Concertante in Eflat (K. 364) for violin and viola, with a cadenza

by L . T . (1779-1780)

W . H . Reed. Rhapsody (1927)

Ralph Vaughan Williams. Flos Campi, for Viola, Orchestra and Choir

(1925), Suite (1936)

W i l l i a m Walton. Concerto (1929).

Works written for V i o l a and Piano, etc.

Arnold Bax. Fantasy-Sonata for viola and harp (1927); Legend (1929);

Sonata (1922); Elegiac Trio for Flute, Viola and Harp (1916)

Arthur Bliss. Sonata (1933)

Y o r k Bowen. Sonatas in C minor (1909) Sonata in F (1911);

Melodies for C string and G String (1923)

Frank Bridge. Allegro Appassionato (1908): Pensiero (1905)

Benjamin Dale. Suite (1906); Phantasy (1911)

92
Lionel Tertis. The Blackbirds (1927); Hierau Soir (1925); Romance;

Sunset (1920); Tune (Galliard); Variations on a Theme of Handel, for Unaccompanied Viola and

Cello.

Arrangements of orchestral works

Johann Sebastian Bach. Double Concerto in D minor for Two Violins, arr for V i o l i n and V i o l a

(1730-1731)

Frederick Delius. Double Concerto for Violin and Cello, arr. for V i o l i n and V i o l a (1923)

Edward Elgar. Cello Concerto (1919)

Franz Joseph Haydn. Cello Concerto in D, with a cadenza by L . T . (1783)

Wolfgang Amadeus Mozart. Clarinet Concerto (1791)

Arrangements for Viola and Piano (except where otherwise stated)

A n o n . Fifteenth-Century Folk Song, arr. for viola, cello and piano

Johann Sebastian Bach. Adagio from the 'Great' Toccata and Fugue in Cfor Organ (1712);

Chaconne from Suite in D minor for unaccompanied violin, trans, to G minor

(a fifth lower) for unaccompanied viola (1720); Come Sweet Death, from

Schemelligesangbuch No. 42 (1725)

L u d w i g van Beethoven. Cello sonata in G major, Op. 5, No 2 (1796);

Trio for Two Oboes and Cor Anglais, Op. 87, arr. for Three Violas (1795);

Variations on a Theme from 'The Magic Flute' (1801)

Johannes Brahms. Cello sonata in E minor, Op. 38 (1866); Clarinet sonatas

Nos land 2, Op. 120 (1895); Wir wandelten (1884)

Frederick Delius. Caprice for Cello and Piano (Boosey and Hawkes);

Serenade from "Hassan" (1923); Violin sonata No. 2 (1923) Violin sonata No. 3 (1930)

Franz Peter Schubert. Allegretto in G, also arr. for two violas (or violins)

and piano (date unknown)

Sevcik. Violin Studies, arr. for solo viola (1901)

93
UNPUBLISHED WORKS

Works written for viola and orchestra

Arthur Benjamin. Romance Fantasy for Violin, Viola and Orchestra (1937)

Y o r k Bowen. Concerto (Phantasy for Viola and Orchestra) (1920)

Benjamin Dale. Romance and Finale, with cadenza by L . T . (1906)

John Blackwood M c E w e n . Concerto (1901)

Richard Walthew. Mozaic in Ten Pieces (1900)

Works written for viola in small ensembles

W i l l i a m Henry B e l l . Sonata for Viola and Piano (1926)

Y o r k Bowen. Fantasie for Four Violas (1907); Romance for Viola and Organ;

Romantic Poem for Viola, Harp and Organ (dates unknown)

Frank Bridge. Duet for violas (1912)

Benjamin Dale. Introduction and Andante for Six Violas (1911)

Joseph Holbrooke. Nocturne for Viola, Oboe d'amore and Piano (1936)

Lionel Tertis. Obbligato to two songs by Brahms, Op. 91: Longing at Rest

and Cradle Song of the Virgin (1884)

Ralph Vaughan Williams. Romance for viola and piano (date unknown)

94