Focus on Tempi, Dynamics, Phrasing, and Articulation in the Solo Viola Part
This chapter investigates those aspects of the interpretation of the Viola Concerto that are predominantly in the domain of the performer. The issues of tempi, dynamics, phrasing, and articulation in the solo part are brought to the fore, and comparisons are made with the performance practice of William Primrose and the differing opinions of the revisionists. The chapter brings attention to the clues left by the composer, both in the manuscript of this work and also in similar parallel passages in other works. As Bartók left almost no precise markings on any of the above aspects, there will always be scope for individual interpretation of his actual intentions. The chapter sets out some of the factors that performers would be well advised to consider when determining their various interpretive ideas.
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