Partition
Interprétations
Partitions et parties
Hudební Matice, n.d.[1945].
Maison d’édition
Prague: Hudební Matice, n.d.[1945]. Plate H.M. 822.
Réimpression
London: Merton Music, No. 3115, n.d.[1996-2010].
Remarques diverses
Split into normal layout. In movement 4 (Elegie), the V1 part has repeats and the bar numbers reflect this; V2 and Va have no repeats, but the bar numbers are the same. In other words, V1 must do its repeats, and although the V2/Va bar numbers do not 'add up', they do match what is in V1. This file is part of the Merton-Ourtext Project.
Droits d’auteur
Jonathan Dafna.
Éditeur scientifique
Maison d’édition
Jonathan Dafna
Remarques diverses
In general, I've tried to stay as faithful as possible to the original parts (the Hudební Matice edition also available on IMSLP), even at the cost of aligning dynamics. There were only a few actual mistakes in the parts – bar 46 of the Capriccio in the second violin part, where there was a spurious augmentation dot, and bar 22 of the Elegie in the first violin part, where the D-flat earlier in the bar wasn't cancelled (I typeset the natural as a suggestion).
Hudební Matice, n.d.[1945].
Maison d’édition
Prague: Hudební Matice, n.d.[1945]. Plate H.M. 822.
Réimpression
London: Merton Music, No. 3115, n.d.[1996-2010].
Remarques diverses
Split into normal layout. In movement 4 (Elegie), the V1 part has repeats and the bar numbers reflect this; V2 and Va have no repeats, but the bar numbers are the same. In other words, V1 must do its repeats, and although the V2/Va bar numbers do not 'add up', they do match what is in V1. This file is part of the Merton-Ourtext Project.
Droits d’auteur
Jonathan Dafna.
Éditeur scientifique
Maison d’édition
Jonathan Dafna
Remarques diverses
In general, I've tried to stay as faithful as possible to the original parts (the Hudební Matice edition also available on IMSLP), even at the cost of aligning dynamics. There were only a few actual mistakes in the parts – bar 46 of the Capriccio in the second violin part, where there was a spurious augmentation dot, and bar 22 of the Elegie in the first violin part, where the D-flat earlier in the bar wasn't cancelled (I typeset the natural as a suggestion).