"The Bach Partita was very moving too.  As though we were at a religious service almost!"
—  audience member

Notes for Performers on music by
Dale, Correa, Jolivet, Schmitt, Vaughan Williams & Walton

Benjamin Dale's music for viola and piano

I first encountered B J Dale’s music - almost all of his works seem to have been ascribed in this way, so our title may be a bit impertinent ! - when my violist-friend Richard was given a beautifully bound second-hand copy of the Suite.  That was in the early 1980's; my impression is that scores of Dale's music were harder to come by then than they are nowadays, so we felt an extra privilege as we discovered and grew to love this music. 

Some years ago I read a book which invited the reader to name three pieces of music with which we identified most closely.  Dale's Phantasy was one of my three.  Intriguingly these might not necessarily be the same as the works we like the most, and I'm not sure whether or not the Phantasy would also count amongst my top three, although it would certainly come close.  The transition from minor to major at the bottom of page 28 of the piano score is a very special moment.

Another personal memory is of an audience-member at a concert which had included Dale's Ballade for violin and piano, who came up with a witty little verse where "Dale" rhymed with "real ale" - which seems very apt. 

I can add almost nothing of a biographical nature to Christopher Foreman's substantial study, the four parts of which are paired together in two articles: Parts 1 and 2 and Parts 3 and 4.

However, here are a couple of small extra details:

I once asked my first piano teacher, who had studied at the Royal Academy of Music during the 1920s or 1930s, whether she remembered Dale.  She did, adding only that he didn't take much care over his appearance.  This seems a surprising comment, given his elegance in photographs.

Then it may be amusing to read the composer Cyril Scott's description of Dale in his book Bones of Contention: "He was a waggish and most engaging fellow."

The works involving viola and piano are:

Suite, op 2 - now reissued by Chester/Novello.

Phantasy, op 6 - now reissued by Schott.

English Dance, written by Dale for violin and piano, and adapted for viola and piano by York Bowen; published by Comus Edition.  In the Royal Academy of Music Library there is also what appears to be a substantial but incomplete sketch of an arrangement for viola and piano by Dale himself.  Maybe he ended up delegating the task to Bowen.

Come away, death, op 9, no 2, from Two Songs from Shakespeare, with voice: apparently out of print, but easy to find on the internet.

It may also be possible to play some of the other short violin pieces on the viola, even without the need to change the pitch.

Much of Dale's music is densely written and difficult to perform.  One is left with the impression of a composer with great imagination and skill, but who did not always consider all the practicalities of performance - not that he is alone in that respect, of course.  Dale also seems to have assumed more changes of tempo than are marked in his scores - for example, it seems natural to adopt his tempo (from the piano score) of crotchet=116 for the beginning of the last movement of the Suite, but this may need to have been adjusted by the time we reach the triplet semiquavers in the viola part.  He uses pizzicato very effectively, often writing triple- or quadruple-stops, but pianists will sometimes need to be flexible at the transitions from arco to pizzicato and vice versa.  In passages where Dale uses changing time-signatures, his barring sometimes does not seem the most natural option; in 4/4, for example, quite often he adds a bar of 2/4, whereas to my mind it might have been more natural to extend the previous bar to 6/4 or 3/2.  In the Phantasy the barring of the first half of page 17 of the piano score seems to me quite clumsy.

Despite the necessary flexibility of tempo just mentioned, I personally should be wary of adding too much localised rubato when interpreting Dale's works, because if this music ends up sounding like a series of effects, it can quickly become irritating.  Even more than in much other repertoire, phrasing cannot be grafted on artificially, but needs to be derived directly from the musical content.

The two main works both bubble over with invention and demonstrate Dale's ingenuity at transforming the character of his ideas.  For example, the opening idea of the Suite reappears in different guises: see the viola part of the Tranquillo section on pages 6 and 17 of the piano score, and then the tinkly right hand of the piano part on the 3^rd line of page 12.  The Phantasy is full of similar examples, such as the transformation of the first three notes of the piece into the beginning of the Allegro section at the bottom of page 3 of the piano score; the same figure then introduces a dance-style melody on pages 20 and 21; later, at the end of the top line of page 28, the return of the original pattern is foreshadowed rather elegantly in the poco affrettando bars immediately beforehand.  ("Hang on a minute: surely from the end of page 27 the viola is just quoting the theme from the risoluto section on page 18."  "Ah yes, but maybe the link on page 28 was already planned right back then!")

Dale appears to have used this technique of transformation much less in his later works.  Another development in his style involved reducing the number of dominant-tonic progressions.  So if we look, for example, at the beginning of the D♭ major theme of the Romance, these progressions are everywhere, either involving A♭ and D♭ harmonies, or with equivalent chords in transitory keys such as E♭ minor or F major.  If we compare this with Come away, death, for example, we can see how these dominant/tonic relationships are used much more sparingly, so that harmonically the work moves in longer sweeps.

Many people prefer the Suite to the Phantasy, and certainly the Suite is a very compelling piece: some of the Finale is particularly inventive.  Highlights for me are the layers of glissando in bar 8 (repeated on page 62) and the viola's tremolo moments on pages 41 and 64, with their sparkling piano parts.  To the best of my knowledge the first and third movements of the Suite are also the only Dale works with fast conclusions, and they both end thrillingly.  The Phantasy however has its own special nobility, and the way in which it moulds such a range of experiences into its all-compassing single movement is quite ingenious; the form of the piece seems as creative as its musical content.  The return to the opening material after all that has happened in the meantime is very touching, and then the simple shift into D major brings an extraordinary glow.

It may be helpful to add a list of misprints and other details from the published scores.  Some of these, particularly in the piano parts, are obvious, but in a few places these lists may save violists some embarrassment!

Suite

It would be sensible for both players to check each other's parts, because some details do not correspond between the viola part and the piano score, and I may miss some here.  Generally it seems reasonable to assume that anything apart from bowing marks is correct in the piano score, and that someone may have forgotten to incorporate revisions made to the piano score into the viola part.  (Of course such discrepancies are much less likely to occur nowadays, because of computers automatically producing individual parts from a full score.)

Dale also arranged the piano parts of the Romance and Finale for orchestra.  I was once told that the only copies of these versions were lost when the Titanic sank, but this is not true.  There is a digital copy of the Romance score in the Royal Academy of Music Library here.  The Library does not have the score of the Finale, but the Academy does keep orchestral parts for both movements. 

Likely mistakes in the Suite (although I haven't studied a manuscript):

Phantasy

The manuscript at the Royal Academy of Music Library can be viewed here.  The main manuscript of the piano score finishes on page 36 of this document, pages 37-65 are an earlier version with a completely different ending, and page 67 onwards show the viola part, already edited by Lionel Tertis.

Mistakes in the Schott edition:

Apparent mistakes in the Schott score, which in fact (surprisingly) match the version in the RAM manuscript:

Again, it is worth checking the phrasing and annotations in the viola part with the version in the piano score, because they don't always correspond.

Some instructions in the manuscript are written in both English and German.  For example, senza premura in the viola part (line 7 of page 1), which incidentally doesn't appear in the published piano score in any language, is given in the manuscript as don't hurry and nicht eilen!

English Dance

This piece quotes two segments of a traditional melody The Monk's March, introduced in bars 1-4 and 25-6.  The published Comus score seems to be a sensitive amalgamation of Bowen's arrangement and some points from the published violin score.

There are however a few mistakes:

The metronome mark for minims in the violin version and in Bowen's manuscript is 50-60.

At bar 83 it may be interesting to note that Dale's viola and piano sketch has tentatively instead of reflectively.

Come away, death

The Royal Academy of Music Library has a manuscript copy (in the low key version of D♭) and a very thoroughly marked proof-reader's copy of the published score.

Here are a few interesting features from the manuscript that had been omitted by the time the work was published (page numbers refer to the published piano score):

Many thanks to Amy Foster and Adam Taylor from the Royal Academy of Music Library, and to Richard, Thomas, David and Louise.

Notes on Correa's Tiento 43 from Facultad Orgánica (1626)

I have written some notes on Francisco Correa de Arauxo's Tiento 43 from his Facultad Orgánica (1626) in this PDF.  The original edition of the Facultad can be found here.  The original edition of Tiento 43 can be found here, and a modern edition here.

I have made a corrected copy of the modern edition with my fingerings in this PDF, where mistakes are noted in red, matters of personal preference in green and my fingerings in blue.

There is a performance of my interpretation on YouTube:

Notes from my research on the manuscripts of André Jolivet's organ music
relevant to my recordings for Priory (2001) and Touch (2005)

Cinq Interludes

I studied a photocopy of the manuscript in the offices of Alphonse Leduc publishers.  They intend to correct the misprints in their published score for future editions.

Hymne à l'Univers

The manuscript of this work is kept at the Bibliothèque Nationale, Paris.  I studied it hurriedly, while feeling unwell, and these notes may have suffered as a consequence.

The quoted text comes from the book Le Cœur de la Matière.  Registrations noted here were written by Jolivet before the addition of the printed registration by Grunenwald.  Dynamics are by Jolivet.

Mandala

The manuscript of this work is kept at the Bibliothèque Nationale, Paris.  I studied it hurriedly, while feeling unwell, and these notes may have suffered as a consequence.

Again, these notes indicate registrations marked by Jolivet before the addition of those included in the published score.  Dynamics are generally Jolivet's.

Notes on Florent Schmitt's Légende, for saxophone and piano

Florent Schmitt's Légende for saxophone and piano has recently been reprinted.  Previously, as far as I know, the only piano part available gave the alternative viola version of the solo line, which at times is very different from the sax part.  This made life difficult for pianists, even though the piece was written for a saxophonist and was presumably intended for that instrument originally – I have never come across a violist who even knows the piece!

So it is very helpful that pianists can now read a score that shows the saxophone part (which is incidentally written in the piano score at sounding pitch, although this isn't specified.)  However the new issue includes several mistakes in the piano part – as listed below:

The saxophone part in the orchestral score seems to be the most reliable.  The sax part in the old piano edition included a few mistakes (like missing slurs at the beginning), which have mainly now been corrected.  However, in the new edition some elements of Schmitt's sax part have (without acknowledgement) been replaced by the equivalent sections of his viola version.  So, however helpful it is to have a piano score showing the sax part, this may not correspond completely with what you hear.  The biggest surprises may come in bars 15, 33, 66, 70, 89, 90, 93 and especially 118.  Incidentally, both editions of the sax part have a mistake in bar 93: the second F should be marked as a natural (sounding as G♯).

Notes on Ralph Vaughan Williams's London Symphony, arranged for piano duet by Archibald Jacob

This edition is a transcription of the orchestral version as originally published in 1920; the symphony was revised by Vaughan Williams after the duet version was issued, and the later orchestral version is generally used.  The following sections of the duet score were subsequently cut by Vaughan Williams:

• pages 40-41: bar 2
• pages 42-43: bars 1–9 and 12–13 (with slight adjustments at the cuts)
• pages 80-81: the bar before the Lento was cut; the next 7 bars were retained, followed by one new bar, which leads straight to the Tranquillo section over the page.

These are suggested alterations, not mentioning the many places where things can be redistributed for greater convenience or reliability; there may be other mistakes too ...

Page	Line; Bar	Comment
2	2; 4	RH voices cross from beats 2 to 3
	3; 1	Top note tied from previous line
	3; 6	Tie RH A♮'s
	5; 6	Tie LH octave F♯'s from the previous bar
3	4; 5	LH tie meaningless; more helpfully it could be a slur covering six notes
	5; 3	Delete LH F♯ on the first beat
	5; 6	Comma for LH too
4	1; 1	LH better an octave down for six bars
	2; 2	The last triplet should also be A+G
	3; 1	Allegro risoluto, molto pesante – Vaughan Williams asks that this section is played more slowly than the general tempo until a tempo at p.4 6; 2
	3; 2-3 then 3;4 to 4; 2	All the lower E♭'s in the right hand better tied
	4; 2-3	cresc. and mf for the moving G's and G♭'s; everything else has dim. in 2 and p in 3
	4; 5	RH pp on fourth crotchet
	5; 2	Chord on second minim could include more of the orchestral harmony; same in 5; 5
	5; 4	pesante; all quavers have tenuto lines
	6; 1-2	The dynamics apply to both hands
5	1; 5	Maybe add C to first LH chord to complete the phrase
	3; 1	Allegro risoluto, molto pesante – Vaughan Williams asks that this section is played more slowly than the general tempo until a tempo at p.5 6; 2
	4; 5 & 5; 2	Perhaps play fingered scales to include E flat rather than natural
	5; 5	The trumpet is muted; last note of the bar mf
	6; 1-2	dim. in second half of bar 1 to p at bar 2
6	1; 4-6	These bulges are for both hands
	4; 2	The last two RH E♭'s should be F
	4; 7	The second minim could be tremolo, which would explain why it's not written as a semibreve
	5; 1	The note halfway through the bar becomes a minim!
	5; 2	LH should have ties and slurs as in the previous bar
	6; 1	The first E♭ should enter on the second crotchet
7	4; 3	cresc. through second crotchet beat
	4; 5	f
	5; 5	Add LH E♭ minim at the beginning of the bar (repeating the previous note)
	6; 3	Highest LH note should be C not D
8	1; 5	Second half of the bar p
	2; 3-4	cresc. through E♭ and F octaves, then dim. through E♭ octave minim
	2; 5-6	cresc. finishes on third crotchet, then dim. for crotchets 2–4 of the next bar
	3; 1	f on third crotchet
	3; 5-6	dim. from RH E♭/C to C/A♭ (which is not A♮)
	4; 1	pp not p
9	1; 2	The accents in this bar and the next are not in the orchestra; a tenuto line could be substituted on beat 2 of bar 2; a slur from the B♭ in bar 2 to the D♭ in bar 3, then another from the following chord onwards, would help
	1; 5	Second half of the bar p
	2; 3 to 3; 1	each time cresc. through rising chords to f at G♭ minor, followed by dim.
10	1; 2-3	Slur across the bar-line
	2; 2	Better not to repeat the E♭'s halfway through the bar
	4; 2	cresc. starts on second crotchet
	5; 3	The first three RH notes can be turned into G minor, F major and E♭ major triads (with the printed notes at the bottom)
	5; 4	First LH note: quaver with quaver rest
11	1; 4	First RH note is natural
	3; 2	Second RH note is D♭
	6; 2	Slur LH minims too
12	1; 1	RH can add F and D on third and fourth crotchets too; LH rest is wrong
	1; 2	RH chords are staccato
	1; 4	Both hands: first 4 notes are C, D, B♭, G – all quavers
	2; 1	Instead of a tempo it should say animato
	2; 2	Low G♭'s come simultaneously, but the lower one is short
	3; 4	f applies only to the LH
	5; 1-3	All the top F's could have D and B♭ below them
	6; 2	RH tremolo could add top G, and both hands tie across bar-line
	6; 3	Tempo alla I (largamente)
	6; 5	dim. is for LH only; last crotchet has mf for RH and p for LH
13	1; 4	Both hands: first four notes are C, D, B♭, G – all quavers
	2; 1	Instead of a tempo it should say animato; the third and fourth LH chords should match the first two
	3; 1	Delete the chord on the first beat of the bar
	4; 4 to 5; 1	It seems sensible to delete all the lowest F's in the LH, because of the secondo part
	6; 1-2	Tie LH across the bar-line
	6; 2	Tempo alla I (largamente)
	6; 4	No dim.
14	1; 1	Last quaver is C♭ / B♮
	1; 2	Fifth quaver is D♭ (maybe natural in front of seventh quaver would help too)
	1; 3	Last of the four chords should have C♮; penultimate quaver is D♮; tie LH across bar-line
	2; 6	largamente for last two crotchets; final LH note is G♮, not A
	3; 4	All staccato
	4; 2	Same dynamic bulge as in the previous bar
	4; 3-4	Bar 3 is marked animato; cresc. should be for the second half of 3, and dim. throughout 4
	5; 2	RH last note could be a minim, sustaining indefinitely
	5; 4	Trill stops on third crotchet
	6; 1	Horn plays E♭ below the RH C♭, as the first note of the triplet
	6; 3	Tie the RH A♭'s
15	1; 3	Sixth quaver has LH C♮; seventh quaver has LH D and A naturals; last quaver has LH G♮
	1; 4	Third chord has D♮ at the bottom
	2; 5	Second chord in the upper stave should have C♭, with C♮ two chords later
	3; 1	Third crotchet marked largamente
	4; 2 & 3	Add cresc. and dim. in both bars, with peaks on third crotchet each time
	4; 4	animato
	4; 5	dim. should start at the beginning of the bar
16	1; 1	The later revision of the score has poco animato here
	2; 1	RH should start the bar with a D♯ minim, tied from previous bar
	2; 4	LH second note F♯
	2; 5 to 3; 2	All LH notes could have lower octave added, except A rather F♯ below the printed F♯ at the start of 3; 1 – the extra low C♯ at the start of 3; 2 would be released after one crotchet.
	3; 2	The later revision of the score has tranquillo here
	4; 1	Tie the final A in RH to the next bar
	4; 3	All C's should be sharp
	4; 4	RH notes at the beginning of the bar are both sharps; an A could be added between them, tied from the previous bar
	5; 2	Delete the minims
	6; 1	RH F♯
	6; 4	Both hands F♯
17	1; 1	The later revision of the score has poco animato here
	2; 1	The top D♯ is tied from before; in the orchestra the lower D♯ is simply tied too, so either this note can either be held from the first part of the previous bar or else not struck in 2; 1
	2; 3 & 5	LH F's should be sharp
	3; 1	LH G should be sharp
	3; 2	The later revision of the score has tranquillo here
18	3; 5	Last note G♯
	4; 1	First note E♯
	5; 6	LH should have G minim at the beginning of the bar
19	5; 4	RH F should be sharp
20	2; 1	Note that the RH B is not tied from before
	3; 2	pocch. animato
	4; 2	cresc.
	5; 1-2	cresc. through bar 1 to f, rather than sfp, then dim. through the rest of bar 2
21	3; 2	pocch. animato
	4; 1	cresc. from the second half of this bar
	5; 1-2	cresc. through bar 1 to f, rather than sfp, then dim. through the rest of bar 2
22	1; 2	The LH chord can tie across the bar-line too
	1; 4	The orchestral score clarifies that this returns to the speed from the 16th bar of the Allegro risoluto
	2; 3	Note that the LH is exactly the same as the previous bar!
	4; 1	p
	4; 3	Generally mp – the ff is only for the horn notes
	5; 2	No LH grace-notes; play low octave then start tremolo on C♯, G and E♭: A can be added to the tremolo; this bar starts f (rather than sf), then immediately dim.
23	1; 4	The orchestral score clarifies that this returns to the speed from the 16th bar of the Allegro risoluto
	3; 6	Tie the RH D from the previous bar; similarly two bars later
	4; 5	Generally mf – the f is only for the trumpet notes
24	1; 1	poco animato
	3; 6	No accent
	3; 7	B♭'s
	4; 1-2	Slur across the bar-line
	5; 3	dim.
	6; 2	p; the minim halfway through should be G not B
	6; 4	Obviously there is one quaver with a tail missing
25	1; 1	poco animato
	2; 3	The notes are correct despite the rest; in all this section the LH copies the articulation of the RH
	3; 2	No staccato dots for the first half of the bar
	5; 4	dim.
	6; 3	p
26	1; 1	mp
	3; 1	f with diminuendo to p on fifth crotchet will probably match primo better
27	3; 1	Tie first grace-note to the semibreve; f on the second chord, with p for the second
	4; 2	The notation doesn't always show which notes to bring out in this section; the G dotted semibreve in this bar is part of a melody perhaps better represented if you leave out the RH G later in the bar
28	1; 1	No instrument plays more than ff until the top of p.30 (except for the cresc. in the last bar of this page)
	1; 3	poco animando; first note of RH can have B♭ and D above it
	3; 2	RH's fourth wedge should be one note later; LH continues matching RH marks to the end of the line
	4; 1-2	Horn has no accents, but tenuto, tenuto, staccato x 4
	4; 3	This would be closer to the orchestral music:
	5; 3	cresc. after first crotchet; 3/2 coming over the page
29	1; 1-2	There may be a better solution, perhaps with RH tremolo and LH chords; no-one plays top B♭ in either bar
	1; 3	poco animando; the first LH crotchet can add upper B♭ and D
	4; 1-2	LH first chord is a quaver only, followed by two quaver rests, then the quaver chord to complete the second beat; the pattern continues for the two bars; RH semiquavers can add B+G as in the other chords; none of the accents or tenuto lines are in the orchestra
	5; 1	The LH should be the same as the previous bar
	5; 3	cresc. after first crotchet; 3/2 coming over the page
30	1; 1	largamente; 3/2
	3; 2	Third chord has G♭
	4; 5	The LH notes come simultaneously, with the lower one short
	5; 1	Second chord: delete bottom two notes and the accents in both hands; the remaining note of the LH chord should not hold through the second crotchet
	5; 3	First pattern lasts a minim, and does not need to change the note-order from the previous bar; second pattern lasts a crotchet, leading to a quaver chord (D,B,G) on the fourth crotchet beat, at which point the pedal can release
	5; 3-5	All the low bass chords can add middle D
31	1; 1	largamente; 3/2
	3; 2	p
	3; 4	Third RH chord should have lower note as F♯, so two chords later is still D♮
	4; 4	Delete bottom note in LH
	5; 2	RH continues at the higher octave for the whole line; RH should continue the pattern of bar 1 as far as the rests, except without top notes for first, third and fifth chords of bar 2; the second RH rest should last a quaver; on the third crotchet LH plays the same notes as the tremolo as a quaver chord and then has two quaver rests
	5; 3	At least in the RH play the full chord before starting tremolo
32	3; 2-5	Generally legato despite the look of the slurs
33	3; 2-5	Generally legato despite the look of the slurs
	4; 3	pp is for RH only; LH has p and cresc. through the bar
34	3; 1	dim. through first two crotchets
	4; 1	Delete LH D♯ on second crotchet (probably a misprint in the harp part); slur LH from third beat to end of next bar
	4; 3	Tie second LH octave across the bar-line
	4; 4	p at start of bar, followed by dim.
35	3; 1	dim. through first two crotchets
	3; 3	f; delete the D♯ in the final chord of this bar; it could become an E instead
	4; 3	p at start of bar, followed by dim.
	4; 5	Last RH quaver is A not G
36	2; 8	Perhaps delete the tie in RH between beats 1 and 2
	6; 1	The staccato dot should be repeated four notes later
	6; 2	Slur from first to second note; 'cello line has cresc.
37	1; 3	Delete LH accent
	4; 1	LH C♯ can tie to last underneath the F♯
	4; 5	In the orchestra there is no change in the tremolo pattern for the third beat
	5; 2	LH can add A to the pattern for 21/3 bars
	6; 2	The RH G should be E, continuing the line from F♯ on the second beat of the previous bar and continuing to the C♯ and B of the LH; the accent is wrong
	6; 5	No LH accent; LH plays C dotted minim with no B; RH tie is really for the minim on the second beat
38	1; 2	Accent is for the G, not C♯
	1; 3-4	All LH chords have low F♮; second beat of bar 3 pp, bar 4 has cresc. for beat 2 and dim. for beat 3
	3; 1	dim. for beat 2 only; beat 3 is p
	3; 3 & 4	Only G crotchet is tied to the next bar
	4; 1	Delete D on second quaver
	5; 2	A♭ can tie on; add G on second beat of next bar and tie the G triplet quaver into the following bar
	5; 5	Slur LH octaves
39	1; 2	This bar is different in the later revision; the accents in this bar and the next are wrong
	1; 4	First two beats cresc.; third beat mf with dim.
	2; 3	RH: add G♯ and E underneath the B dotted minim
	3; 1	dim. for beat 2 only; beat 3 is p; slur RH throughout this line
	3; 2	The D in LH's fifth chord should be an E
	5; 2	pp; from here to the end of the page none of the RH D's, natural or flat, feature in the orchestra
40	2; 3	dim.; RH G for dotted minim only
	3; 1	Delete bottom two notes of RH but add top E♭
	3; 2	For beats 2 and 3 delete all notes except the top line of D–F♮–E and also add minim C on the second beat
	4; 2	Sixth RH chord: B should be flat; last two RH chords: delete C then B♭, but make the B♭ on the fourth beat a crotchet and add low F to this penultimate RH chord
	4; 3	Perhaps add top F♮ to final quaver; the orchestra has a crescendo through this bar – maybe cut down in volume after a quaver or so to make this possible
	6; 1	Tie bottom D♭ from tremolo to third beat
41	1; 3	First semiquaver is not a crotchet as well; similarly two bars later
	2; 2	cresc. starts from the beginning of the bar
	2; 4	dim. through this bar
	3; 2-3	The F's in these bars are all naturals
	4; 1	First three quavers are a triplet
	4; 4	The orchestra has a crescendo through this bar – maybe cut down in volume after a quaver or so to make this possible
	5; 2	Bottom F's are also naturals; the third low F should not have a dot after it
	6; 4	Tie E♭ across to the semibreve – it can stay tied for as long as the RH does
	6; 7	Nothing else happens in the RH
42	1; 5	RH can add top G dotted minim then A crotchet
	2; 2	cresc.
43	1; 4	On the third crotchet LH E should be natural, and the final LH note is G
	2; 2	cresc.
	5; 4	Slurring is perhaps unhelpful; probably legato to the end – the printed slurring doesn't correspond to the solo viola anyway
44	1; 1	Allegro vivace
	2; 3	Tremolo would be simpler as E and C throughout the bar
	2; 5-6	LH notes come simultaneously, but the bottom ones are short
	2; 7	All chords the same length; similarly there is no need for a difference between lengths of chords at the beginning and end of the next line (and so on)
	3; 5	dim. to p at the beginning of the next bar
	4; 2	This pattern generally has two notes slurred and the third quaver staccato; there are also extra crescendos at the beginning of bars 4 and 7
	5; 2	cresc. starts here; first note should be tied from the previous bar
	5; 5	Delete p; the dynamic is pp but from the beginning of the bar
45	3; 5	dim. to p at the beginning of the next bar
	3; 7	Third note in both hands is D
	4; 3	Slur first two notes, third is staccato
	4; 5	Extra cresc. for the first three notes
	4; 7	The staccato dot is wrong; cresc. throughout the bar, continuing until the f
	5; 3	The G is tied to the previous RH note; the cresc. also starts at the beginning of this bar
46	6; 6	First RH chord can add low G♮; in the next chord delete the A♭
47	1; 6	RH A's are flat; similarly three bars later
48	1; 4	First two semiquavers should be slurred; the pp in the next bar initially applies to LH only
	2; 2	This LH B♭ can be tied for the next two bars
	2; 4	All dotted minims should be tied to dotted crotchets, to last for the whole bar; similarly the RH F and D♭ in bar 5 (which can be tied from the beginning of bar 4) hold for the full bar
49	1; 6	dim. for second half of the bar
	2; 3	Delete stress mark
	2; 6	Delete upper note in LH
	3; 5	First RH note should be B♭
50	3; 3	dim. from just after the second beat
	5; 2	RH can add higher F for one dotted crotchet, leading to the primo continuation (or primo can play this note too)
	5; 3	Tie RH
	6; 4	dim. should start on the second dotted crotchet
51	3; 2-3	The wedges don't appear in the orchestra; dim. from third beat of bar 2
	3; 4	p
	6; 1	All legato to the end of the page
52	2; 5	RH A lasts through the whole bar
	5; 5	Slur first two quaver chords here and in the following bar
53	1; 3	Slur from fourth quaver until the second one of the following bar
	1; 6	Slur from fourth quaver until next bar, which is all legato
	2; 5	simile after 3 quavers
	3; 4	Slur from the C until the end of the next bar
	3; 5	Last three quavers are D, E, F
	3; 6	No tie between the first two E quavers, but slur the C to the second E
	5; 3	Last LH note is A♭
	6; 2-3	RH: no top C; add trill to A (trilling to B♮)
	6; 3	LH first note is E not C
	6; 4-5	RH: no top C; add trill to A (trilling to B♮)
54	1; 3	The accent isn't in the orchestra
	2; 3	Add tenuto marks to the chords
	3; 4	6/8
	3; 6	Tie LH D to the next bar
	4; 1	RH A and D last for the whole bar
	4; 5	Delete lower RH note
	5; 5 to 6; 2	Add staccato dots to all notes apart from the first three notes of 5; 5 and 5; 6, then add extra pairs of slurs to the C/A groups in 5; 7 and 6; 1
55	1; 6	ff
	2; 3	Add tenuto marks to LH chords
	2; 4 to 3; 3	Slur LH dotted crotchets in pairs
	4; 1	Slur the first five notes, as in the other similar bars
56	1; 4-6	Add top E to the second chord of each bar, and cresc. and dim. marks, making second beat chords louder than those on the first beats
	5; 5	Halfway through this bar: p, with dim. to pp at the start of the next bar, and with LH quavers slurred across the bar-line
57	4; 1	LH third staccato dot should be an accent, as in the RH
	5; 3	Delete comma, then next bar RH p
	5; 5	LH quavers p with dim.
58	1; 1	RH pp, LH mp cantabile, rather than marcato; legato would also be more helpful than all the lines (which don't feature in the orchestra) and the little slurs
	2; 2	Add crotchet E in RH, a third above the printed C
	3; 5	LH: tie the upper G from the previous note
	4; 4	There is no good reason for the intermittent staccato dots; all notes should be staccato until the last two bars of the page, except for the first RH quaver of 5; 4, which can be slurred to the second quaver
59	5; 2	There is no good reason for the intermittent staccato dots; with the exception of the ties and slurs (including an extra matching slur in the LH of 6; 1), all notes are staccato until the last two bars of the page
60	3; 1-3	It would seem better to play only the lower octave in the LH
	5; 1	There is no reason why secondo should be louder than primo here; anyway no instrument is marked more than ff in this six-bar section
	5; 5	Slur first two quavers, then staccato until the bass clef section
	6; 3	dim. from the second half of the bar
	6; 4	Delete C from first chord, putting that note on the second quaver instead; top voice staccato
61	5; 2	There is no reason why secondo should be louder than primo here; anyway no instrument is marked more than ff in this six-bar section
	5; 5	Slur first two quavers, then all RH notes staccato
	6; 3	dim. from halfway through this bar
62	3; 4	Slur LH
	5; 4	Slur LH and add cresc. as at 3; 4; the strings have dim. in 5; 5 and reach pp in 5; 6
	5; 7	Do not repeat the B♭ here, but two bars later
	6; 1	LH notes come simultaneously, but the bottom one is short
	6; 6	Bottom note also sharp
63	1; 3, 5	LH articulation as shown by RH; the third quaver of 1; 1 is staccato
	3; 9	Delete staccato dots in these bars; the harp rings on
	4; 2	The second chord is B♮ over G
	4; 3	Add D one octave below the RH note and hold it for the same length
	5; 4	This D can be tied to last for a total of three bars
	6; 3	Slur notes 1–3 and 4–5 (although the dots are correct)
64	2; 2	Slur LH octaves; cresc. through this bar
	2; 7	LH notes come simultaneously, but the bottom one is short
	3; 3	Slur LH
	4; 6	dim. through the second half of this bar and for two more bars
66	1; 5	tremolo can apply to this chord too
	1; 6	Delete dot after RH B♭
	2; 1	Some ledger lines are wrong, but the notes are in the right places
	2; 2	RH can add A dotted minim then A♭ crotchet
	2; 3	RH lowest note ties to the LH in the next bar; RH G repeats on the third minim and ties to the next bar
	2; 4	Tie bass E♭ to the following bar
	2; 5	On the second minim LH can replay the E♭ together with the octave below, then tie them to the next bar; note that the RH G ties to the next bar
	3; 1	The speed change applies to the next bar
	3; 2	p pesante; the dotted quaver has a staccato dot as well as the slur; the last two quavers also have dots as well as the slur
	3; 6	Slur LH
	4; 1	Slur LH from beat 4 for three notes
	4; 3	Delete tenuto mark
	4; 4	First LH octave should also have staccato dot; delete tenuto mark (and the first one in 4; 6); the dotted quaver/semiquaver patterns in bars 4 and 6 should have staccato dots and slurs; in bar 6 the second slur lasts for only two notes
	5; 1	Delete RH minim F; slur RH crotchets
	6; 3	RH has B♭'s and D♮'s
67	1; 3	LH E♮ in the final chord
	2; 3	Repeat LH G on the third minim, still keeping the tie to the next bar
	2; 4	RH: this is the same note as the previous bar, so tied!
	3; 1	p pesante; last two quavers have dots as well as the slur
	3; 2	Dotted quaver has a staccato dot as well as the slur; the last slur in the following bar is wrong
	3; 5	Slur LH until the rest and then beyond
	4; 2	The notes at the end of the bar are a triplet of demisemiquavers
	4; 3	Check LH articulation for the next four bars; most of the tenuto lines do not appear in the orchestra
	5; 2	RH sostenuto; sustain the G underneath the A so that it passes the phrase to the LH
	6; 3	LH first F should be a dotted minim
	6; 5	Chords are marked with tenuto lines and slurred in pairs – the same a few bars later
68	1; 5	Last two beats have cresc.; transfer LH D to the RH; add lower octave to LH G and B♮; upper bass G, B, F, A♭ are slurred, but lower octaves are pizzicato; everything is arco and legato from the G in 2; 1
	2; 2	mf
	2; 4	Delete tenuto marks on the first chord
	3; 1	Delete the D on the first beat
	3; 2	f marcato
	3; 3	Add upper C♭ to the last beat in RH and tie it from the third beat
	5; 3	Semibreves should be tied from the previous bar
	5; 5	LH minim should be tied from the previous bar; also add upper B to the fifth chord in RH (or maybe the last LH note on p.69 should be B)
69	1; 5	Last two beats have cresc.
	2; 2	mf
	4; 2	The top G does not feature in this bar
	5; 2	First and third chords have RH E♭; the second and fourth chords have LH F♮
70	1; 2	The last two RH quavers are slurred; also slur next bar over to the first chord of 1; 4
	1; 4	Apart from the ties, both hands are staccato for four bars
	2; 4	con fuoco
	5; 1	From here to the end of the page all quavers are staccato
	6; 3	Add upper B and G♯ to the first RH quaver
	6; 4	p
71	1; 2	After the rest, slur until the beginning of 1; 4
	1; 4 to 2; 3	For four bars all notes shorter than a crotchet are staccato; crotchets in 2; 1 have tenuto lines
	2; 2	Last chord adds A in LH but not RH
	2; 3	LH adds upper E to the third beat; RH plays octave higher from this beat
	2; 4	Maybe add the missing E and D octaves
	3; 3	First grace-note should be tied from before; these are not grace-notes in the orchestra anyway, so the LH B on the third beat is a crotchet
	4; 2	RH F♮'s
	6; 4	The F should be F♯
72	1; 1	First four notes staccato; fifth note is a quaver with a quaver rest
	1; 2	Slur octaves; third beat f, with all notes from this point until the long note staccato
	1; 3	Third beat p, with both octaves tied for seven beats
	1; 5	First note in each hand is a crotchet; on the second beat repeat the G's underneath the E♭, all f with dim.; RH slurs to the fourth beat; LH slurs to the beginning of the next bar
	2; 1	First LH note is mp, so the first sf applies only to the RH; also delete redundant sf in LH
	2; 3 to 3; 1	Try this:
	4; 2 & 3	Delete RH accents and second LH tenuto line in 4; 2, then add RH tenuto lines to match LH; all shorter notes in this section are staccato if not marked with lines or accents
	5; 1	Last RH chord should have C natural not sharp
	6; 4	p, not fp; shift LH note an octave lower
73	1; 1-2	p with cresc. from halfway through bar 1 to f peak on second beat of bar 2, then dim., with sudden f in the LH one beat later (which is actually trumpet as well as horn); RH slurs the whole phrase; LH slurs the chords
	1; 3 to 2; 2	p on third beat of bar 3; cresc. in the next bar to f peak on the second beat of 2; 1, followed by dim.; RH slurs the whole phrase; LH ties the G's then slurs until the rest
	2; 4 to 3; 1	Try this:
	4; 3	LH chord on the third crotchet should have A♭
	6; 4	ff is for LH only; RH is p
74	1; 1	p
	1; 4	The quavers are triplets
	2; 1-4	Copy articulation from the orchestral score and delete LH B♭ from the first beat of bar 4
	2; 5	p; add sostenuto cantabile
	4; 3	Tie bottom D's; on the third beat delete the accent and the F♯ and A; last three quavers are mp with cresc.
	5; 1	f; RH crotchets should be minims; adapt the whole of this line so that LH plays low octave G's in the rhythm crotchet, minim, crotchet for bars 1–3 and 5 (except perhaps not playing the bottom octave on the first beat of the first bar); at the start of bar 4 the lowest G plays a dotted minim (not tied from bar 3), whilst the upper G line plays crotchet, minim; the last beat of this bar can stay as printed
	6; 1	The first LH minim is tied from the previous bar
	6; 5	cresc.
75	1; 2	Delete first LH note; second LH chord should have E♯; third LH chord should have D♮
	1; 3	Slur LH phrase as previously
	1; 4	Fourth LH chord should have the natural sign in front of the F instead of the A
	2; 4 to 3; 1	Check articulation with the orchestral score
	3; 2	p sostenuto cantabile; the low G can hold underneath the A as in the RH (and could be played by secondo, as it is part of the secondo melody)
	4; 6	dim. for 2 crotchets, then mp with cresc.
	5; 3-5	RH slurs the last two beats of each of these bars; add lower F to the final RH note of 5; 4
	6; 3	Second RH octave is also with D♯'s; slur this to the E octave
	6; 5	First RH octave lasts two beats; add crescendo through this bar
76	1; 1 & 3	LH: delete grace-note and top D; slur RH chords
	1; 2 & 4	Add tenuto lines to last four quavers; in bar 4 the last three chords also have cresc.
	2; 2	On the second beat the bass note is a minim tied to the next bar; RH G on the third beat is also tied to the next bar; from the second beat other voices slur to the start of the next bar; LH quavers are triplets
	2; 3	Delete LH accent; instead slur LH crotchets through to the RH B♮ two bars later; instead of the LH G in bar 4, RH can play that same pitch on the second beat of bar 3 and tie it through to the end of bar 4
	3; 1	The LH should be tied from the previous bar; the second and fourth RH chords should have A♭
	3; 2	No bottom G in this bar
	3; 3	Last four chords have cresc.; slur LH octaves
	3; 4	Better to play crotchet chord In RH, then drop down for dotted minim tremolo; add cresc. through second half of the bar
	3; 5	Bar begins mf; tie final LH minim to the next bar; both of these minim octaves could be with or without tremolo, but there is no reason to change for the second one
	4; 2 & 3	Add A to LH tremolo, which can apply to the whole chord; the missing ledger line in bar 2 goes in the obvious place
	4; 3	First half has dim. to p in LH on beat 3; the ff applies to RH only
	4; 4	LH starts pp, then mf on second beat; the mf notes are dotted quavers in both hands
	5; 4	Dotted semibreve in RH
	5; 8	Restrike full chord including LH
77	1; 1 & 3	Slur these bars
	1; 2	Second half: RH slurred, LH with tenuto marks
	1; 4	Second half: LH with tenuto marks, and the last 3 chords have cresc.
	2; 4	LH D is tied from the previous bar
	3; 1	In the context of the musical line, the accented note is a dotted crotchet even though other instruments play the D on the third beat; no accent is marked in the orchestral score anyway
	3; 6	Slur the chords as in the previous bar; add dim. for the last three chords
	4; 1	First four chords slurred, then slur RH in two pairs, with ties for the B, G and E♭; the fourth RH chord has B and E naturals; last LH note is A♮
78	1; 5	Perhaps tie the bass too
	2; 1	Slur bass to the next bar
	3; 1	Try this:
	5; 2	Add cresc. from beat 2; also cresc. from beat 2 of bar 4 of this line
79	4; 2-3	LH holds first G for five beats, or leaves it out if secondo plays our alternative version
80	1; 2-4	Each bar starts ppp
	1; 5	Start pp; slur LH crotchets
	2; 1	Slur LH octaves
	2; 2	Slur LH from beat 1 to 2; start p with cresc. to beat 2 then dim. to the end of the bar; tie to the next bar
	2; 4-5	As 2; 2–3, except that 2; 4 starts pp
	3; 3	Probably better to tie the A and G from before
	4; 1	LH tied from previous bar
	4; 2	dim. to pp in 4; 3
	5; 1	Delete RH top D
	5; 2	Top D in LH is obviously a dotted semibreve too; this and 5; 5 are good places to restrike the octave
81	2; 3 & 5	Slur LH quavers
	2; 5	Start pp
	3; 5	Probably better to tie the A and G from before
	4; 3	dim. to pp in 4; 4, then cresc. up to the C and down again
	5; 2	The LH can add a low D dotted minim to the start of this bar (the first note of the clarinet and horn phrase D, E, G, F♯, E, D); tie the LH G's but not A's; the rising minims D, G, A, C can have cresc. up to the C and down again – the phrase leads to the LH G in 5; 5
	5; 6	A, C cresc.
82	1; 2	The LH octaves should D, G, A; this bar also starts p
	1; 4	cresc. for the crotchets, then dim.
	1; 6	The dim. extends through the next three bars too
	2; 2	The LH C in bar 2 can be a semibreve and the RH A and F♯ can hold for the whole bar
	2; 4	The accents do not appear in the orchestra; delete marc. and add cantabile
	2; 5-6	cresc. from beat 3 of bar 5, then dim. from 2; 7
	2; 7	Maybe tie RH A from the previous bar
	3; 7	G will have to be released at least for a while, for the primo entry
83	1; 1	p, with cresc. in the next bar
	1; 6	The dim. extends through the next three bars too
	2; 6-8	The RH G's could be tied
	2; 7	The accents do not appear in the orchestra; delete marc. and add cantabile; at least the accents printed show the notes making up the viola/'cello line, which is marked pocch. cresc. until the last note of the line, which has a diminuendo; all other notes are gradually fading away for these three bars; the D at the start of 2; 7 could be held underneath the E and then tied to the next bar; the E in the 2; 9 should be tied from the previous bar of the LH
	2; 8	The slur is for the D to the C, and strings do not tie the C into the last bar
	3; 7	Do not tie the E from the previous bar, but notice that the G, E and C all tie to the next line
	4; 5	Slur LH crotchets; maybe repeat RH D at the beginning of this bar

Notes on William Walton's Symphony No 1, arranged for piano duet by Herbert Murrill

These are suggested alterations, not mentioning the many places where things can be redistributed for greater convenience or reliability; accents are also prone to have greater impact than in the orchestral context.