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

Notes for Performers on music by
Walton, Vaughan Williams, Correa and Jolivet


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.

Page Line; Bar Comment
42; 1dim. sub. is for secondo only
53; 1the septuplet is of quavers
 3; 5secondo LH upper G tied from the previous bar
81; 4primo: the third crotchet is part of the RH phrase – same two and four bars later
91; 5first accent in secondo LH is wrong
102; 1secondo LH: both ties continue from line 1
111; 4third crotchet in primo: E♭, D♮
 2; 2 & 4secondo f again (and line 3, bar 2)
123; 3secondo top A♭: crotchet only; add this same note underneath the primo B♭'s – the same eight bars later
142; 5after first chord, the F's in secondo and primo are played by strings only, so maybe not quite as loud as it says
 3; 2primo dim. through the bar
151; 4primo fp at beginning of bar, then both players dim.
 2; 1primo cresc. to match secondo
 2; 2-3dotted crotchet/quaver rhythm is actually a triplet rhythm until the end of the page; the same goes for secondo LH on p.16
161; 3the secondo notes on second and third crotchets make a phrase with the primo fourth crotchet and the following E
 2; 1some dynamics are misleading until the bar of figure 17
183; 7slur could lead to primo C
191; 1tremolos also have the bulges – incidentally this bit is easier if primo takes the secondo LH
 3; 4primo should have dim. from first minim to second
202; 4secondo cresc.
 2; 5-6add upper G to secondo LH
 3; 5secondo first note in RH is E♭
241; 3secondo LH chord should repeat the notes from two bars before
 3; 4 etcthe secondo LH notes come simultaneously, but the lower ones are short
251; 1 etcthe brackets refer to the repetition of the tempo fluctuations from figure 25
 1; 4-5secondo slurs across the bar-line with diminuendo, ff should be on second crotchet of bar 5
 2; 2-3secondo slurs across the bar-line with diminuendo
 2; 6secondo dim.
261; 1ffp is for the second crotchet beat
 1; 4secondo A should not tie to figure 27, where the A crotchet follows on from the C, E♭, F line
271; 4 & 2; 4accents on final crotchets unhelpful
 3; 1secondo LH mf (and four bars later)
283; 1for two lines: secondo LH could add lower octave to long notes and could shift the crotchets down an octave
292; 7check orchestra for variation of dynamics through this section
311; 2the tempo change comes at the beginning of the bar
 3; 2-3secondo LH f; lower LH accent in bar 3 should be for the upper note
332; 5upper note in secondo RH should be A♭, not F
 3; 2secondo RH mf
351; 8secondo RH accent is for the G♯ only
363; 8primo can add LH B♭ above the E, as continuation of secondo line C, D♯, F♯
371; 2primo RH accent unhelpful
381; 3poco rall. should come at the beginning of this bar (and not bar 4) for both players
422; 5secondo mf with crescendo through the three chords
431; 3 & 7secondo p does not refer to the horn line
473; 7 etcthere is no reason why the primo LH should not have the same accent as RH (although the discrepancy in p.47 1; 7 does make sense)
483; 3-5the current orchestral score has dim. in bars 3 and 4 and p in bar 5
522; 5secondo f is for the RH only
543; 1secondo pp applies from the second crotchet
573; 5secondo p, then mf in the final bar of the page; also notice that secondo should be pp for most of this page, despite the occasional sfz
581; 5secondo LH should have accent on first crotchet
 2; 4p
 2; 7second crotchet: primo LH and secondo p
 3; 1-2secondo LH enters f; primo f in the next bar
593; 1both players p
611; 8secondo RH mf for this section, LH pp
 2; 7 & 3; 7secondo crotchets to match previous primo phrase; secondo G can be tied from before
641; 7dynamics unreliable until just before figure 79
692; 4, 5secondo C♯–D♯ is slurred
713; 3until figure 87 secondo can sustain certain notes as in the orchestra
721; 3primo can add the D♯–D♮ from the solo viola
 1; 4 & 2; 1slur secondo minim to crotchet
 2; 1slur last two primo RH notes; secondo f applies to the C♯, F, E line only
 2; 3, 4secondo RH: voices cross in the two pairs of chords
731; 1secondo: the word cresc. refers to LH only
 1; 2both players should have a tempo – this has the effect of senza rit., despite the dynamic change at the bar-line
741; 2final crotchet dynamic for primo: mf would be more representative
 3; 1-2four octaves in secondo LH come simultaneously, with the lower notes short
751; 1primo LH better poco f as continuation of secondo A; secondo starts p or mp with cresc.
762; 2secondo LH chords: top notes slurred, first low E staccato
771; 4secondo LH pp without bulges; it might also be more helpful to slur all three LH octaves in these bars
 3; 1secondo LH mp
 3; 3secondo mf
 3; 5secondo LH ff
782; 1the number of accents in this section is misleading, as is the omission of slurs in the primo triplets; at any rate primo and secondo articulation should match for the first crotchet of p.78 2; 3
 3; 2just for this bar the secondo LH scale should have D♯ and E♯
802; 1secondo LH should have no accents; the RH G perhaps should
823; 5primo f
833; 3primo mp would be about right
841; 1primo rhythm is wrong: it should match the pattern two bars later
901; 1fourth secondo note should be C♭
 1; 4secondo E's are both flat
913; 3secondo p should come after the first chord
931; 5-6more helpfully, both players could have slurs from halfway through bar 5 into bar 6, with secondo dim. starting at the LH entry, then with cresc. for the first three quavers of bar 6 and dim. for the other quavers
941; 2check orchestral dynamics
951; 2all mf apart from melodies
 1; 6f after first chord
 3; 3cresc.
 3; 4secondo RH: slur first three notes and delete the accent on the third; identically two beats later
961; 1no tempo change in the orchestral score
 2; 4fourth and eighth primo chords should have D♯ at the top, not D♮
983; 5these secondo scales all have crescendo marks in the orchestra
991; 6, then 3; 2, 3 & 6secondo mf on second quaver, not first
1013; 2-5both players slur this whole phrase and ignore final two accents before 129
 3; 6secondo p
 3; 9secondo f refers only to four octaves, so RH stays mf and LH returns to mf in p.102 1; 3, with cresc. from that point for two bars
1023; 3-4, 7-8secondo has dim. similar to primo in bars 3–4 of this line
1031; 8final three notes are a triplet
1053; 1secondo RH better as dotted crotchet, to encourage pedalling the repetition of primo B♭'s
1061; 7it might be worth clarifying that primo LH has D♮ and C♯


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:

  • pp 40-41: bar 2
  • pp 42-43: bars 1–9 and 12–13 (with slight adjustments at the cuts)
  • pp 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
22; 4RH voices cross from beats 2 to 3
 3; 1top note tied from previous line
 3; 6tie RH A♮'s
 5; 6tie LH octave F♯'s from the previous bar
34; 5LH tie meaningless; more helpfully it could be a slur covering six notes
 5; 3delete LH F♯ on the first beat
 5; 6comma for LH too
41; 1LH better an octave down for six bars
 2; 2the last triplet should also be A+G
 3; 1Allegro 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; 2all the lower E♭'s in the right hand better tied
 4; 2-3cresc. and mf for the moving G's and G♭'s; everything else has dim. in 2 and p in 3
 4; 5RH pp on fourth crotchet
 5; 2chord on second minim could include more of the orchestral harmony; same in 5; 5
 5; 4pesante; all quavers have tenuto lines
 6; 1-2the dynamics apply to both hands
51; 5maybe add C to first LH chord to complete the phrase
 3; 1Allegro 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; 2perhaps play fingered scales to include E flat rather than natural
 5; 5the trumpet is muted; last note of the bar mf
 6; 1-2dim. in second half of bar 1 to p at bar 2
61; 4-6these bulges are for both hands
 4; 2the last two RH E♭'s should be F
 4; 7the second minim could be tremolo, which would explain why it's not written as a semibreve
 5; 1the note halfway through the bar becomes a minim!
 5; 2LH should have ties and slurs as in the previous bar
 6; 1the first E♭ should enter on the second crotchet
74; 3cresc. through second crotchet beat
 4; 5f
 5; 5add LH E♭ minim at the beginning of the bar (repeating the previous note)
 6; 3highest LH note should be C not D
81; 5second half of the bar p
 2; 3-4cresc. through E♭ and F octaves, then dim. through E♭ octave minim
 2; 5-6cresc. finishes on third crotchet, then dim. for crotchets 2–4 of the next bar
 3; 1f on third crotchet
 3; 5-6dim. from RH E♭/C to C/A♭ (which is not A♮)
 4; 1pp not p
91; 2the 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; 5second half of the bar p
 2; 3 to 3; 1each time cresc. through rising chords to f at G♭ minor, followed by dim.
101; 2-3slur across the bar-line
 2; 2better not to repeat the E♭'s halfway through the bar
 4; 2cresc. starts on second crotchet
 5; 3the first three RH notes can be turned into G minor, F major and E♭ major triads (with the printed notes at the bottom)
 5; 4first LH note: quaver with quaver rest
111; 4first RH note is natural
 3; 2second RH note is D♭
 6; 2slur LH minims too
121; 1RH can add F and D on third and fourth crotchets too; LH rest is wrong
 1; 2RH chords are staccato
 1; 4both hands: first 4 notes are C, D, B♭, G – all quavers
 2; 1instead of a tempo it should say animato
 2; 2low G♭'s come simultaneously, but the lower one is short
 3; 4f applies only to the LH
 5; 1-3all the top F's could have D and B♭ below them
 6; 2RH tremolo could add top G, and both hands tie across bar-line
 6; 3Tempo alla I (largamente)
 6; 5dim. is for LH only; last crotchet has mf for RH and p for LH
131; 4both hands: first four notes are C, D, B♭, G – all quavers
 2; 1instead of a tempo it should say animato; the third and fourth LH chords should match the first two
 3; 1delete the chord on the first beat of the bar
 4; 4 to 5; 1it seems sensible to delete all the lowest F's in the LH, because of the secondo part
 6; 1-2tie LH across the bar-line
 6; 2Tempo alla I (largamente)
 6; 4no dim.
141; 1last quaver is C♭ / B♮
 1; 2fifth quaver is D♭ (maybe natural in front of seventh quaver would help too)
 1; 3last of the four chords should have C♮; penultimate quaver is D♮; tie LH across bar-line
 2; 6largamente for last two crotchets; final LH note is G♮, not A
 3; 4all staccato
 4; 2same dynamic bulge as in the previous bar
 4; 3-4bar 3 is marked animato; cresc. should be for the second half of 3, and dim. throughout 4
 5; 2RH last note could be a minim, sustaining indefinitely
 5; 4trill stops on third crotchet
 6; 1horn plays E♭ below the RH C♭, as the first note of the triplet
 6; 3tie the RH A♭'s
151; 3sixth quaver has LH C♮; seventh quaver has LH D and A naturals; last quaver has LH G♮
 1; 4third chord has D♮ at the bottom
 2; 5second chord in the upper stave should have C♭, with C♮ two chords later
 3; 1third crotchet marked largamente
 4; 2 & 3add cresc. and dim. in both bars, with peaks on third crotchet each time
 4; 4animato
 4; 5dim. should start at the beginning of the bar
161; 1the later revision of the score has poco animato here
 2; 1RH should start the bar with a D♯ minim, tied from previous bar
 2; 4LH second note F♯
 2; 5 to 3; 2all 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; 2the later revision of the score has tranquillo here
 4; 1tie the final A in RH to the next bar
 4; 3all C's should be sharp
 4; 4RH notes at the beginning of the bar are both sharps; an A could be added between them, tied from the previous bar
 5; 2delete the minims
 6; 1RH F♯
 6; 4both hands F♯
171; 1the later revision of the score has poco animato here
 2; 1the 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 & 5LH F's should be sharp
 3; 1LH G should be sharp
 3; 2the later revision of the score has tranquillo here
183; 5last note G♯
 4; 1first note E♯
 5; 6LH should have G minim at the beginning of the bar
195; 4RH F should be sharp
202; 1note that the RH B is not tied from before
 3; 2pocch. animato
 4; 2cresc.
 5; 1-2cresc. through bar 1 to f, rather than sfp, then dim. through the rest of bar 2
213; 2pocch. animato
 4; 1cresc. from the second half of this bar
 5; 1-2cresc. through bar 1 to f, rather than sfp, then dim. through the rest of bar 2
221; 2the LH chord can tie across the bar-line too
 1; 4the orchestral score clarifies that this returns to the speed from the 16th bar of the Allegro risoluto
 2; 3note that the LH is exactly the same as the previous bar!
 4; 1p
 4; 3generally mp – the ff is only for the horn notes
 5; 2no 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.
231; 4the orchestral score clarifies that this returns to the speed from the 16th bar of the Allegro risoluto
 3; 6tie the RH D from the previous bar; similarly two bars later
 4; 5generally mf – the f is only for the trumpet notes
241; 1poco animato
 3; 6no accent
 3; 7B♭'s
 4; 1-2slur across the bar-line
 5; 3dim.
 6; 2p; the minim halfway through should be G not B
 6; 4obviously there is one quaver with a tail missing
251; 1poco animato
 2; 3the notes are correct despite the rest; in all this section the LH copies the articulation of the RH
 3; 2no staccato dots for the first half of the bar
 5; 4dim.
 6; 3p
261; 1mp
 3; 1f with diminuendo to p on fifth crotchet will probably match primo better
273; 1tie first grace-note to the semibreve; f on the second chord, with p for the second
 4; 2the 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
281; 1no instrument plays more than ff until the top of p.30 (except for the cresc. in the last bar of this page)
 1; 3poco animando; first note of RH can have B♭ and D above it
 3; 2RH's fourth wedge should be one note later; LH continues matching RH marks to the end of the line
 4; 1-2horn has no accents, but tenuto, tenuto, staccato x 4
 4; 3this would be closer to the orchestral music:

 5; 3cresc. after first crotchet; 3/2 coming over the page
291; 1-2there may be a better solution, perhaps with RH tremolo and LH chords; no-one plays top B♭ in either bar
 1; 3poco animando; the first LH crotchet can add upper B♭ and D
 4; 1-2LH 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; 1the LH should be the same as the previous bar
 5; 3cresc. after first crotchet; 3/2 coming over the page
301; 1largamente; 3/2
 3; 2third chord has G♭
 4; 5the LH notes come simultaneously, with the lower one short
 5; 1second 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; 3first 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; 3-5all the low bass chords can add middle D
311; 1largamente; 3/2
 3; 2p
 3; 4third RH chord should have lower note as F♯, so two chords later is still D♮
 4; 4delete bottom note in LH
 5; 2RH 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; 3at least in the RH play the full chord before starting tremolo
323; 2-5generally legato despite the look of the slurs
333; 2-5generally legato despite the look of the slurs
 4; 3pp is for RH only; LH has p and cresc. through the bar
343; 1dim. through first two crotchets
 4; 1delete LH D♯ on second crotchet (probably a misprint in the harp part); slur LH from third beat to end of next bar
 4; 3tie second LH octave across the bar-line
 4; 4p at start of bar, followed by dim.
353; 1dim. through first two crotchets
 3; 3f; delete the D♯ in the final chord of this bar; it could become an E instead
 4; 3p at start of bar, followed by dim.
 4; 5last RH quaver is A not G
362; 8perhaps delete the tie in RH between beats 1 and 2
 6; 1the staccato dot should be repeated four notes later
 6; 2slur from first to second note; 'cello line has cresc.
371; 3delete LH accent
 4; 1LH C♯ can tie to last underneath the F♯
 4; 5in the orchestra there is no change in the tremolo pattern for the third beat
 5; 2LH can add A to the pattern for 21/3 bars
 6; 2the 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; 5no LH accent; LH plays C dotted minim with no B; RH tie is really for the minim on the second beat
381; 2accent is for the G, not C♯
 1; 3-4all LH chords have low F♮; second beat of bar 3 pp, bar 4 has cresc. for beat 2 and dim. for beat 3
 3; 1dim. for beat 2 only; beat 3 is p
 3; 3 & 4only G crotchet is tied to the next bar
 4; 1delete D on second quaver
 5; 2A♭ can tie on; add G on second beat of next bar and tie the G triplet quaver into the following bar
 5; 5slur LH octaves
391; 2this bar is different in the later revision; the accents in this bar and the next are wrong
 1; 4first two beats cresc.; third beat mf with dim.
 2; 3RH: add G♯ and E underneath the B dotted minim
 3; 1dim. for beat 2 only; beat 3 is p; slur RH throughout this line
 3; 2the D in LH's fifth chord should be an E
 5; 2pp; from here to the end of the page none of the RH D's, natural or flat, feature in the orchestra
402; 3dim.; RH G for dotted minim only
 3; 1delete bottom two notes of RH but add top E♭
 3; 2for 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; 2sixth 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; 3perhaps 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; 1tie bottom D♭ from tremolo to third beat
411; 3first semiquaver is not a crotchet as well; similarly two bars later
 2; 2cresc. starts from the beginning of the bar
 2; 4dim. through this bar
 3; 2-3the F's in these bars are all naturals
 4; 1first three quavers are a triplet
 4; 4the orchestra has a crescendo through this bar – maybe cut down in volume after a quaver or so to make this possible
 5; 2bottom F's are also naturals; the third low F should not have a dot after it
 6; 4tie E♭ across to the semibreve – it can stay tied for as long as the RH does
 6; 7nothing else happens in the RH
421; 5RH can add top G dotted minim then A crotchet
 2; 2cresc.
431; 4on the third2 crotchet LH E should be natural, and the final LH note is G
 2; 2cresc.
 5; 4slurring is perhaps unhelpful; probably legato to the end – the printed slurring doesn't correspond to the solo viola anyway
441; 1Allegro vivace
 2; 3tremolo would be simpler as E and C throughout the bar
 2; 5-6LH notes come simultaneously, but the bottom ones are short
 2; 7all 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; 5dim. to p at the beginning of the next bar
 4; 2this 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; 2cresc. starts here; first note should be tied from the previous bar
 5; 5delete p; the dynamic is pp but from the beginning of the bar
453; 5dim. to p at the beginning of the next bar
 3; 7third note in both hands is D
 4; 3slur first two notes, third is staccato
 4; 5extra cresc. for the first three notes
 4; 7the staccato dot is wrong; cresc. throughout the bar, continuing until the f
 5; 3the G is tied to the previous RH note; the cresc. also starts at the beginning of this bar
466; 6first RH chord can add low G♮; in the next chord delete the A♭
471; 6RH A's are flat; similarly three bars later
481; 4first two semiquavers should be slurred; the pp in the next bar initially applies to LH only
 2; 2this LH B♭ can be tied for the next two bars
 2; 4all 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
491; 6dim. for second half of the bar
 2; 3delete stress mark
 2; 6delete upper note in LH
 3; 5first RH note should be B♭
503; 3dim. from just after the second beat
 5; 2RH can add higher F for one dotted crotchet, leading to the primo continuation (or primo can play this note too)
 5; 3tie RH
 6; 4dim. should start on the second dotted crotchet
513; 2-3the wedges don't appear in the orchestra; dim. from third beat of bar 2
 3; 4p
 6; 1all legato to the end of the page
522; 5RH A lasts through the whole bar
 5; 5slur first two quaver chords here and in the following bar
531; 3slur from fourth quaver until the second one of the following bar
 1; 6slur from fourth quaver until next bar, which is all legato
 2; 5simile after 3 quavers
 3; 4slur from the C until the end of the next bar
 3; 5last three quavers are D, E, F
 3; 6no tie between the first two E quavers, but slur the C to the second E
 5; 3last LH note is A♭
 6; 2-3RH: no top C; add trill to A (trilling to B♮)
 6; 3LH first note is E not C
 6; 4-5RH: no top C; add trill to A (trilling to B♮)
541; 3the accent isn't in the orchestra
 2; 3add tenuto marks to the chords
 3; 46/8
 3; 6tie LH D to the next bar
 4; 1RH A and D last for the whole bar
 4; 5delete lower RH note
 5; 5 to 6; 2add 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
551; 6ff
 2; 3add tenuto marks to LH chords
 2; 4 to 3; 3slur LH dotted crotchets in pairs
 4; 1slur the first five notes, as in the other similar bars
561; 4-6add 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; 5halfway through this bar: p, with dim. to pp at the start of the next bar, and with LH quavers slurred across the bar-line
574; 1LH third staccato dot should be an accent, as in the RH
 5; 3delete comma, then next bar RH p
 5; 5LH quavers p with dim.
581; 1RH 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; 2add crotchet E in RH, a third above the printed C
 3; 5LH: tie the upper G from the previous note
 4; 4there 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
595; 2there 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
603; 1-3it would seem better to play only the lower octave in the LH
 5; 1there 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; 5slur first two quavers, then staccato until the bass clef section
 6; 3dim. from the second half of the bar
 6; 4delete C from first chord, putting that note on the second quaver instead; top voice staccato
615; 2there 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; 5slur first two quavers, then all RH notes staccato
 6; 3dim. from halfway through this bar
623; 4slur LH
 5; 4slur LH and add cresc. as at 3; 4; the strings have dim. in 5; 5 and reach pp in 5; 6
 5; 7do not repeat the B♭ here, but two bars later
 6; 1LH notes come simultaneously, but the bottom one is short
 6; 6bottom note also sharp
631; 3, 5LH articulation as shown by RH; the third quaver of 1; 1 is staccato
 3; 9delete staccato dots in these bars; the harp rings on
 4; 2the second chord is B♮ over G
 4; 3add D one octave below the RH note and hold it for the same length
 5; 4this D can be tied to last for a total of three bars
 6; 3slur notes 1–3 and 4–5 (although the dots are correct)
642; 2slur LH octaves; cresc. through this bar
 2; 7LH notes come simultaneously, but the bottom one is short
 3; 3slur LH
 4; 6dim. through the second half of this bar and for two more bars
661; 5tremolo can apply to this chord too
 1; 6delete dot after RH B♭
 2; 1some ledger lines are wrong, but the notes are in the right places
 2; 2RH can add A dotted minim then A♭ crotchet
 2; 3RH lowest note ties to the LH in the next bar; RH G repeats on the third minim and ties to the next bar
 2; 4tie bass E♭ to the following bar
 2; 5on 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; 1the speed change applies to the next bar
 3; 2p 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; 6slur LH
 4; 1slur LH from beat 4 for three notes
 4; 3delete tenuto mark
 4; 4first 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; 1delete RH minim F; slur RH crotchets
 6; 3RH has B♭'s and D♮'s
671; 3LH E♮ in the final chord
 2; 3repeat LH G on the third minim, still keeping the tie to the next bar
 2; 4RH: this is the same note as the previous bar, so tied!
 3; 1p pesante; last two quavers have dots as well as the slur
 3; 2dotted quaver has a staccato dot as well as the slur; the last slur in the following bar is wrong
 3; 5slur LH until the rest and then beyond
 4; 2the notes at the end of the bar are a triplet of demisemiquavers
 4; 3check LH articulation for the next four bars; most of the tenuto lines do not appear in the orchestra
 5; 2RH sostenuto; sustain the G underneath the A so that it passes the phrase to the LH
 6; 3LH first F should be a dotted minim
 6; 5chords are marked with tenuto lines and slurred in pairs – the same a few bars later
681; 5last 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; 2mf
 2; 4delete tenuto marks on the first chord
 3; 1delete the D on the first beat
 3; 2f marcato
 3; 3add upper C♭ to the last beat in RH and tie it from the third beat
 5; 3semibreves should be tied from the previous bar
 5; 5LH 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)
691; 5last two beats have cresc.
 2; 2mf
 4; 2the top G does not feature in this bar
 5; 2first and third chords have RH E♭; the second and fourth chords have LH F♮
701; 2the last two RH quavers are slurred; also slur next bar over to the first chord of 1; 4
 1; 4apart from the ties, both hands are staccato for four bars
 2; 4con fuoco
 5; 1from here to the end of the page all quavers are staccato
 6; 3add upper B and G♯ to the first RH quaver
 6; 4p
711; 2after the rest, slur until the beginning of 1; 4
 1; 4 to 2; 3for four bars all notes shorter than a crotchet are staccato; crotchets in 2; 1 have tenuto lines
 2; 2last chord adds A in LH but not RH
 2; 3LH adds upper E to the third beat; RH plays octave higher from this beat
 2; 4maybe add the missing E and D octaves
 3; 3first 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; 2RH F♮'s
 6; 4the F should be F♯
721; 1first four notes staccato; fifth note is a quaver with a quaver rest
 1; 2slur octaves; third beat f, with all notes from this point until the long note staccato
 1; 3third beat p, with both octaves tied for seven beats
 1; 5first 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; 1first LH note is mp, so the first sf applies only to the RH; also delete redundant sf in LH
 2; 3 to 3; 1try this:

 4; 2 & 3delete 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; 1last RH chord should have C natural not sharp
 6; 4p, not fp; shift LH note an octave lower
731; 1-2p 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; 2p 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; 1try this:

 4; 3LH chord on the third crotchet should have A♭
 6; 4ff is for LH only; RH is p
741; 1p
 1; 4the quavers are triplets
 2; 1-4copy articulation from the orchestral score and delete LH B♭ from the first beat of bar 4
 2; 5p; add sostenuto cantabile
 4; 3tie bottom D's; on the third beat delete the accent and the F♯ and A; last three quavers are mp with cresc.
 5; 1f; 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; 1the first LH minim is tied from the previous bar
 6; 5cresc.
751; 2delete first LH note; second LH chord should have E♯; third LH chord should have D♮
 1; 3slur LH phrase as previously
 1; 4fourth LH chord should have the natural sign in front of the F instead of the A
 2; 4 to 3; 1check articulation with the orchestral score
 3; 2p 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; 6dim. for 2 crotchets, then mp with cresc.
 5; 3-5RH slurs the last two beats of each of these bars; add lower F to the final RH note of 5; 4
 6; 3second RH octave is also with D♯'s; slur this to the E octave
 6; 5first RH octave lasts two beats; add crescendo through this bar
761; 1 & 3LH: delete grace-note and top D; slur RH chords
 1; 2 & 4add tenuto lines to last four quavers; in bar 4 the last three chords also have cresc.
 2; 2on 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; 3delete 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; 1the LH should be tied from the previous bar; the second and fourth RH chords should have A♭
 3; 2no bottom G in this bar
 3; 3last four chords have cresc.; slur LH octaves
 3; 4better to play crotchet chord In RH, then drop down for dotted minim tremolo; add cresc. through second half of the bar
 3; 5bar 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 & 3add A to LH tremolo, which can apply to the whole chord; the missing ledger line in bar 2 goes in the obvious place
 4; 3first half has dim. to p in LH on beat 3; the ff applies to RH only
 4; 4LH starts pp, then mf on second beat; the mf notes are dotted quavers in both hands
 5; 4dotted semibreve in RH
 5; 8restrike full chord including LH
771; 1 & 3slur these bars
 1; 2second half: RH slurred, LH with tenuto marks
 1; 4second half: LH with tenuto marks, and the last 3 chords have cresc.
 2; 4LH D is tied from the previous bar
 3; 1in 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; 6slur the chords as in the previous bar; add dim. for the last three chords
 4; 1first 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♮
781; 5perhaps tie the bass too
 2; 1slur bass to the next bar
 3; 1try this:

 5; 2add cresc. from beat 2; also cresc. from beat 2 of bar 4 of this line
794; 2-3LH holds first G for five beats, or leaves it out if secondo plays our alternative version
801; 2-4each bar starts ppp
 1; 5start pp; slur LH crotchets
 2; 1slur LH octaves
 2; 2slur 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; 4-5as 2; 2–3, except that 2; 4 starts pp
 3; 3probably better to tie the A and G from before
 4; 1LH tied from previous bar
 4; 2dim. to pp in 4; 3
 5; 1delete RH top D
 5; 2top D in LH is obviously a dotted semibreve too; this and 5; 5 are good places to restrike the octave
812; 3 & 5slur LH quavers
 2; 5start pp
 3; 5probably better to tie the A and G from before
 4; 3dim. to pp in 4; 4, then cresc. up to the C and down again
 5; 2the 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; 6A, C cresc.
821; 2the LH octaves should D, G, A; this bar also starts p
 1; 4cresc. for the crotchets, then dim.
 1; 6the dim. extends through the next three bars too
 2; 2the LH C in bar 2 can be a semibreve and the RH A and F♯ can hold for the whole bar
 2; 4the accents do not appear in the orchestra; delete marc. and add cantabile
 2; 5-6cresc. from beat 3 of bar 5, then dim. from 2; 7
 2; 7maybe tie RH A from the previous bar
 3; 7G will have to be released at least for a while, for the primo entry
831; 1p, with cresc. in the next bar
 1; 6the dim. extends through the next three bars too
 2; 6-8the RH G's could be tied
 2; 7the 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; 8the slur is for the D to the C, and strings do not tie the C into the last bar
 3; 7do not tie the E from the previous bar, but notice that the G, E and C all tie to the next line
 4; 5slur LH crotchets; maybe repeat RH D at the beginning of this bar


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 here.


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.

IopeningRegistration by Jolivet: LH 8, RH 8 + 4
 bar 11Jolivet: -4 +16
IIbar 7LH: A is semibreve
 bar 8LH: F♯ not G♯
 last barB natural!
IIIbar 5RH: sixth note should be D♯
IVopeningJolivet: pedal 8 +16, LH 8, RH 8 +4
 bar 17LH: extra D in first chord
Vbar 7RH: third and fourth notes should be tied
  Some of the right hand phrasing in the 5th piece is inconsistent


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.

2line 2Under the words molto rit., The first LH demisemiquaver is C♮, not C♯
7bar 1Jolivet wrote: +4 pieds
7-9 Pedal entries all marked 8 +2 in sketch
10bar 1Jolivet marks each hand 8 and pedals 16 +8
12bottom linePedal marked 8
13bar 6From the beginning of this bar, pedal +16
14bottom lineThe beginning of this line: RH +4
15 Right at the end of this page, RH +2
18bar 5RH: G♮ marked 8; subsequent pedal entry 8, 16 and LH 8, 2
 last barMisprint: tie should be added between LH G's
19bar 5LH minus 2



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.

1 All registrations by Jolivet except for final 8, 11/3.  NB: The G♯ at the end of the page does indeed continue to the end of the bar
2bar 6Originally down octave, marked 4, 2
 bar 716, 8 as printed
 bar 9Hands 8; pedal 16, 8.  Jolivet did not include manual changes in this section
3bar 216 is original
 last bar+ tremulant
4lines 1 & 2These are Jolivet's registrations, but for Ranquette read Bourdon
 bars 2 & 5Have crescendo throughout to mf and f respectively.  (Bar 4 still p)
 bottom lineHands simply ppp, pedal 8
5lines 1 & 3Bracketed dynamics correct
 line 2Jolivet writes tutti but includes the printed dynamics and a diminuendo to p during the last 12/3 beats of the line
 line 3Pedal 8
 line 4Final pedal phrase 16
6bar 2Instructions by Jolivet except the word Bon
 last barInstructions by Jolivet except Unda Maris and Salicional alternative, and registrations at the end of the page
7bar 1RH: 8 solo, LH unmarked, additional crescendo throughout to f
 bar 2"moelleux"
 bar 4RH solo, additional crescendo from beat 2 to final f
 bar 5Opening dynamic p; again "moelleux"
 bar 6Hands and pedal marked 8, 16
 bar 8Originally down octave, 4 + 2
8bar 1Hands 8, 16; più f
 lines 2 & 3High chords originally loco, marked 2, 1
 line 2Beat 2: hands 8,16
 line 38
9bar 1Hands 8, pedal 8, 16
 line 3Hands Tutti 8, 4, 2; pedal 8, 16
10bar 3Starts mf
11openingppp, mais mordant; opening registration original except for Larigot and Septième
 bar 2Starts -1 + 4; 1 foot added again for the a piacere section, then off again
 line 3Pedal 8, 16
12openingHands 8, LH also marked "sourd"
 bar 6Jolivet marked 8, 2 from the top B♭
 line 3RH 8, pedal 16
 last two barsHands and pedal 8
14line 2Pedal 16, the final seventh marked p
 line 3Starts pp and 8. In the draft: choisir un timbre composite et rare.  Pedal enters 8, ppp
 line 4Hands 2, 1, ppp
15 Pedal registrations original
 line 2Hands have simply 4 and 16
 line 32, 1, 11/3, ppp
 last barOriginally down octave, marked "sur 4 pieds" and 4, 2, 11/3
16bar 2+ 1
 lines 3 & 4All written down octave, initially 4, with + 2 for the second phrase
 line 5Hands marked exactly as printed; pedal simply 16
17openingJolivet has Tp 8, also "jeux criards"
 line 2Where printed score marks "pos", Jolivet has Tp récit and dynamic drops to p (still with crescendo)
 lines 3 & 4Both pedal entries ff, mixtures, mutations, (cornet 2 p)
18openingFl. 4 (not written down octave)
 line 2-4 + 1, written down octave
 next bar+8, 4; loco
19bar 3Pedal 8
 last two barsRH 4, LH 8
20bar 3Both hands 8
 line 2Pedal 8
21line 1Pedal 16, 8, then 32 added as in printed score
 line 3-8 at beginning of line; +8 for the second bar