Béla Bartók/Csaba Erdélyi - BB 128, Sz.120 Viola Concerto (1945, 1992-2004) (Score, Analysis)

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BB 128, Sz.120 Brácsaverseny/Viola Concerto (1945, 1992-2004)
Béla Bartók (born Bartók Béla Viktor János) (1881-1945) is one of the most important composers of the earlier half of the 20th century. His works can be divided roughly into four periods, each with unique colors. The first period is reminiscent of Strauss and Wagner, in a late romantic idiom. The second period utilizes folk music and modern harmonies reminiscent of Schoenberg and Debussy. The third is characterized by mathematical elements and conquest for unique harmony. The last period is characterized by the simplification of textures. His best-known works include the second violin concerto, six string quartets, second piano concerto, concerto for orchestra, and music for strings, percussion, and celesta.
While Tibor Serly tried his best to bring life to the barely finished Viola Concerto (and the result is pretty impressive in my opinion), and it has been the most played version to this day, there were several flaws. First, the tempo markings: Bartók did not intend the tempo markings as Serly wrote, as he did not leave any tempo indications in the sketches. Second, he modified the general structure a bit. Third, there were typographical errors. Fourth, some of the passages added by Serly did not fit Bartók’s style. Some people have tried to fix this problem, to provide a more definitive edition.
Thus, this edition was born. It was completed by the violist Csaba Erdélyi. He tried to stick as close to the original manuscript as possible, both orchestra and solo. He obviously crossed out unplayable passages to make it playable, and filled up the extra spaces with what Serly filled in from time to time. However, the result was a piece closer to Bartók’s original manuscripts, and possibly closer to the original intention of Bartók than the Serly edition.
This edition is scored for Piccolo, 2 Flutes, 2 Oboes, 2 Clarinets (2 doubling Bass Clarinet), 2 Bassoons, 4 Horns, 3 Trumpets, Trombone, Bass Trombone, Tuba, Timpani, Percussion, and Strings.
(Continued on Neubauer/P. Bartók edition video)
(0:00) Mov.1 Allegro moderato - I won’t list every single differences, but only some major ones (There are a lot of differences in all parts, so it will get over the character limit to list them all). The first one would be the change of the accompaniment to timpani from lower strings in the beginning. (2:53) Compared to Serly, I think Erdelyi’s version is more lightly orchestrated. (11:44) Erdelyi’s edition labels the first interlude correctly as “Ritornello”, and there is no bassoon postlude.
(12:41) Mov.2 Lento - I did say that the second movement is kind of a placid one like the third piano concerto, but it is not “religioso” like that one, as there are elements of ambiguity and uncertainty. Anyway, Erdelyi removed that label and turned this into just “Lento”. (14:42) Erdelyi removed the woodwind parts. (15:47) The unlabeled second ritornello is labeled, as well as (16:09) “Scherzo”. Here, Erdelyi uses heavier orchestration and pizzicato on the solo. It is also more expanded than the Serly version.
(16:53) Mov.3 Allegro vivace - In general, Erdelyi uses more percussion than Serly. (18:36) The entire middle section is half-step lower than the Serly version. (20:12) Erdelyi removed the double-stop present in Serly. (20:55) In the Serly version, there is an orchestral flourish here, but the Erdelyi edition concludes without it.
Source: English/Hungarian Wikipedia, prefaces from 2004 Promethean Edition, original research
Recording by Csaba Erdélyi, Marc Taddei/New Zealand Symphony Orchestra ( • Bartok Erdélyi Viola... )
This video is for a non-commercial purpose (I do not get any profit from this video), and I do not own the score or the music. If there is an advertisement, it is not by me; it is by KZfaq. If you are the rightful owner and want this video removed, please contact me, and I will promptly remove it.

Пікірлер: 11

@jiafeiskinnyproducts 7 ай бұрын

18:47 really love the violist's harmonics, it sounds like someone singing

@rabbit_ls2ver 10 ай бұрын

벨라 바르톡 제가 정말 좋아하는 작곡가인데 노고에 감사드립니다. 덕분에 바르톡의 곡들을 한데 모아서 편하게 들을 수 있네요. 특히 비올라 협주곡 이미 많이 올라와 있는 티보르 셀리 완성판본 말고 그 이후에 나온 다른 두 가지 완성판본을 모두 악보와 함께 들을 수 있게 해 주신 것 정말 감사하게 생각하고 있답니다. 그래도 종종 연주는 되는 것 같은 페테르 바르톡/델라마죠레 판본보다 더 연주되지 않는 것 같아서 많이 안타깝기도 한 에르데이 판본을 이렇게 악보와 함께 들을 수 있어 정말 좋습니다. 다시 한 번 감사드립니다! Signore님의 채널을 알게 된 건 정말 행운이라는 생각이 드네요:)

@Signore_S 10 ай бұрын

감사합니다 :)

@Signore_S Жыл бұрын

Additions: Since this was second of the viola concerto videos, due to my mistake - this edition is the most recent version! P. Bartok/Neubauer edition was published in 1995, and this was released in 2004! My bad for messing that up. I don't know if there was a connection between those two editions (i.e., whether Erdelyi looked at Bartok/Neubauer edition for reference). Therefore, I have assumed that the two editions are two separate and distinct editions. And I might have mis-worded some of my sentences: both editions are not re-creation of the Serly edition, but editions that build up on that one, seeking to correct the errors (either by Mr. Serly or the publisher) to make it more "authentic". So, both editions should be considered as "revised" editions of the Serly completion. The orchestration and melodic materials don't diverge that much from Serly's, which was why I was able to list almost all of the revisions without going over the character limit for either of those videos. Thank you to Remo Mazzetti for letting me realize of this mistake. I should have been clearer with my words, as it seems that I have suggested that Mr. Erdelyi "recreated" the score, instead of "revising" the Serly edition. If there is an error somewhere, please don't hesitate to contact me, so that I can correct my errors or add extra explanations.

@Signore_S Жыл бұрын

@@remomazzetti8757 While both of them stems from Serly edition, the primary aim of both editions was to thoroughly re-examine Bartok's manuscript, to identify typographical errors to revise the 1949 edition, into a more definitive form. Based on the prefaces of both editions, both editors acknowledge Serly's effort to bring life to the unfinished sketch. In the Delmaggiore/Bartok/Neubauer, the editors state: "The Revised Version, while including all the bars of music sketched, dispenses with certain bars that had been added by Mr. Serly; it [the revised version] contains a viola solo part which reproduces exactly that found in Bela Bartok's sketch...the few typographical errors...have also been corrected.", and also "Much of Tibor Serly's orchestration has been retained. Some of the changes in this revised score apply to the tutti passages where a fuller orchestration is used, and in a few instances, where the solo is playing, fewer instruments accompany." And from Erdelyi: "We owe them [Serly, Primrose] a debt of gratitude for their faith in the importance of this masterpiece". "Some of the sections...left blank in the manuscript and filled by Serly have been retained but thoroughly revised." So, I don't think I can agree with your statement of "But neither editors gave credit to Serly or admitted their indebtedness to Serly." I am fine with you considering Serly version as the best out of 3 (I mean, I like Erdelyi edition best, but each of us have different tastes, don't we?), but I want you to know that both editions did acknowledge Serly's efforts, as well as to explicitly state "examined and 'corrected' to produce a more definitive edition closer to Bartok's original manuscript." Could you let me know where you found the information that both editors considered their editions separate and superior to Serly's edition? - since it is quite contrary to the information I saw on the prefaces of both versions.

@remomazzetti8757 6 ай бұрын

I find it strange that so many violists who don't want to use the Serly version choose the Dellamagiore version which i think is the least successful of the three. I hope the Erdelyi version attracts more attention and performances. There's still only this recording after 20 years since it became available!

@rabbit_ls2ver 8 ай бұрын

조회수가 1천회가 넘었네요👏👏👏👏 개인적으로 바르톡 비올라 콘체르토의 에르데이 판본이 더 널리 알려졌으면 좋겠습니다. 더 나은 판본이 분명히 존재하는데도 불구하고 최초 완성본이라는 이유로 티보 셀리판만 바르톡 비올라 협주곡의 '사실상 유일한 판본이자 제일 나은 판본으로' 취급되는 것 같은 현실이 안타깝습니다. 연주되는 것마다 대부분 셀리 판본이더라구요. 아주 가끔 페테르 바르톡/넬슨 델라마죠레 판은 연주되는 것 같던데 에르데이 판본은 사바 에르데이가 직접 협연한 음원 유튜브에 하나 있는 거랑(본 영상에서도 그걸 사용하셨죠) 2016년인가 2017년인가에 베를린필 비올라 단원이었던 비올리스트 분이(이름이 기억이 안 나네요ㅠㅠ) 지휘자 Alain Altinoglu가 지휘한 베를린 필과 함께 연주했던 거(이건 베를린필 디지털 콘서트홀에서 유료로 볼 수 있어요. 이게 유럽 초연이었던 걸로 기억) 말고는 아예 존재하지도 않는 것 같더군요..

@Signore_S 8 ай бұрын

아마 셸리판이 가장 오랫동안 연주되어왔기 때문에 그런 듯하네요. 아니면 연주용 악보를 가장 구하기 쉬운 판본이 셸리판이라서 그런 것 아닐까요 (나머지 두개는 저작권 문제라든가 여러가지 어려움이 있을수 있으니까요).

@rabbit_ls2ver 8 ай бұрын

@@Signore_S 그렇다고 보기에는 분명히 해당 판본의 악보 출판사 홈페이지에서 에르데이 판본의 총보와 피아노 반주 버전 악보를 구매할 수 있다는 거.... 그냥 연주자들이 다른 판본의 존재 사실을 몰라서 안 하는 것일지도요....ㅠㅠ 그냥 바르톡이 정말 좋아하고 즐겨듣는 작곡가이고 바르톡 비올라 콘체르토도 정말 좋아하는 곡이라서 그런지 좀 많이 안타까움을 많이 느끼게 되네요...ㅠㅠ 셀리 판본이 워낙에 여러 이유로 비판을 많이 받았던 판본이라... 그래도 에르데이 판본의 연주를 이렇게라도 들을 수 있어 다행이라고 생각합니다. 감사드려요.