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Title: Concerto per due violini, viola e violoncello
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Title: Concerto per due violini, viola e violoncello
Series Title: Concerto per due violini, viola e violoncello
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Table of Contents
    Front Cover
        Front page 1
        Front page 2
        Front page 3
    Frontispiece
        Front page 4
    Title Page
        Front page 5
    Front Matter
        Front page 6
        Front page 7
        Front page 8
    Main
        Page 1
        Page 2
        Page 3
        Page 4
        Page 5
        Page 6
        Page 7
        Page 8
        Page 9
        Page 10
        Page 11
        Page 12
        Page 13
        Page 14
        Page 15
        Page 16
        Page 17
        Page 18
        Page 19
        Page 20
        Page 21
        Page 22
        Page 23
        Page 24
        Page 25
        Page 26
        Page 27
        Page 28
        Page 29
        Page 30
        Page 31
        Page 32
        Page 33
        Page 34
        Page 35
        Page 36
        Page 37
        Page 38
        Page 39
        Page 40
        Page 41
        Page 42
        Page 43
        Page 44
        Page 45
        Page 46
        Page 47
        Page 48
    Back Cover
        Page 49
        Page 50
Full Text












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PHILHARMONIA
PARTITUREN SCORES PARTITIONS

Al Quartetto ..Pro Arte" di Bruxelles:
Alphonse Onnou Laurent Halleux Germain Pr6vost -
Robert Maas


ALFREDO CASELLA

CONCERTO
per due violini, viola e violoncello










Eigentum der
Universal-Edition A. G. Wien-Leipzig-New York
und mit deren Genehmigung in die
,,PHILHARMONIA"-Partiturensammlung aufgenommen
Copyright 1924 by UnIversal-Edltlon
AufIlhnungerelhtvorbehalten Performing rights reserved Drolts d'exooutlonMnarvi
No. 249
WIENER PHILHARMONISCHER VERLAG A.G.
WIEN 124


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Alfrlo Csella warde am
26. Jull 188s in Turin geboren.
Er stndlerte in Paris, wo er bald
als Pianist and Dirigent Ansehen
erlangte and warde 1915 sum
Lehrer fir Klacier am Lieeo di
S. Cecilia In Bomn ernannt. 1921
verlieA er sein Amt. Die melaten
seiner Werhe sind Kompositionen
fir K]avier,esang oder Kammer-
musik. Auaerdem omponierte er
i Symphonies, eine Suite, die
Orehester-RhKpsodle .Italia', die
symphonitche Dlchtungen ,Note
die maggio" ,Elegia eroicas, ,a
notte aIt*, die Ballette .Le con-
vent sur P'ean, La giarsa a. a.
Das Concerto fur Streich-
quartett warde in der Zeit vom
s8. November 12m bhis st. 10ar
1934 komponiert and sum
elatenmal am 28 MIrz 1924 vom
Brlsseler Streiohquartett Pro
Arte" in einem Konzert der Cor-
porauone delle nuove mnuiche-
im Saale der kgl. Akademie
St. Cecilia in Rom aufefihrl.
Es gehart der a. S lperiode
seines Schopfers an and stellt.
im Vergleiche zn den vorher-
gehenden Werken Casellas, einen
gewaltigen Sehritt on einer syn-
hetisoheren, anti-impressioni-
stischen Kanst dar Dis Formen.
obwohl modern in ihrer Frelheil,
sind nichtsdestoweniger tradi-
tionell and lehnen sich mit Ihrem
wenig romantischen Inhalr an
die musikaliache Vergangenhelt
Itallena des i8. and insbesondere
des 17. Jahrhunderts an.


Alfredo Casella was born on Alfredo Casell nid le a6 aillet
Julyvi, 1a8, in Torino. Bestudied 188I & Turin At see 6tudes hParis,
In Paris, where he soon became oh Udevint blent6t eonnn come
known asa piantsland conductor. pianist et chef d'orehetre. En
In 191F he was appointed master 1915 il fat nommd professear de
ofthepianoattheLiceodiSt.Ceci- piano an Liceo di 8. Ceollia
lia Rome, which position he i Rome, position qu'il quitta en
Let in lusa. Hlr principal com- 1921. 11 eat l'antear d'n grand
positions are vocal, piano and nombre de compositions pianieti-
chamber music works. He has also ques, vocals el de chambre. En
composed a symphonies, an outre nous possmdons de lid
orchestral suite, the ozehestral 2 symphonies, one suite, sItallas,
rhapsody "Italia the synponic rapsodie pour orchestra, lea po4-
poemss Nottedi magrio .'legia mes symphoniques *Notte di
eroica" and the ballots "Le con- maggioe, .Elegiaeroica, sa notte
vent eur I'ean" and *La giara", altas, les ballets sLe convent our
etc. 'sauc et La giarsac etc.
The Concerto for String Quar- Le Concerto poar quatuor i
tet was composed between No- cordes de Case a as et com-
vember 2-, J1s2 and March 16, pos6 du to novembre 192l an
1924, and was first produced on o1 mars 1924 et executr ponr la
March 28, through the "Pro premiere ols leI 28 de ee mime
arte" Quartet from Brussels, in mois par le quaruor sPro Artes
the concert hall of the Royal de Bruxelles h nn concert done
Academy Santa Cecilia, Rome, danslaalledel'AcadmileRoyale
onthe occasion ofaconcert given de Sainte-CUcile 1 Rome par la
by the "Corporazionedelle inove sCorporadione delle nuove mu-
muaiche" iche..
In its style, the Concerto be- [) apparent an troiaibme style
longs to the works from Casella's de son ateur et constitue par
third period; compared to his rapport 6 d'aucres oeuvres pr6ed-
previous works, it represents a denotes de Casella un puisant
forceful stride toward a more syn- effort vers un art plus synthd-
thetie, anti-tmpreaionerilc mu- rique et nettement anti-impres-
sical art. The formal schemes, sionniere. Les former bien que
however modern in their free- moderoes dns learJiberte -n en
dom, are yet traditional. Their sont pas moins traditionnelles et
contents based on the Italian se rattachent par lear contend
music of the l8th and partieu- fort pen romantique, an passe
larly on that of the 7lth century, italien do Is lme et surtont du
reveal but little of romanticism 171me sibele.


FORMOBERSICHT.
Sinfonia (ee ist an be-
achten, dao in Italien ,Sin-
fonia" ,Voropiel bezeichnete
und auch heute noeh be-
seichnet): Sonatenform, er-
weitert dareh eine ftir die
Bachechen Suiten charakte-
ristichen Anlae: der Haupt-
sats bildetden mtegnerenden
Tell des Sohlasses.
Takt
Hauptsatz ........... 1-l2
Zwaltes Theonsa .. 49--62
Erste Wiederholung
geolgt von der Durch-
fuhrung .. .. ..... 86-119


SYNOPSIS OF FORM
Sinfonia (it must be
noted that In Italy the term
"Sinfonia" was and still
is the equivalent or "Pre-
lade"): Sonata form, ang-
mented by a scheme which
is charaoternstic for Bach's
Suites: the principal section
is an integral part of the
closing portion.
Bar
Principal section ... -- 27
End theme .............. 49- t-
lot Repetition lol-
lowed by the Develop-
ment .................. 86--11

W. Ph. V. 2a9. U. B. 758M.


RIPSUME DE LA FORME.
Sinf'onia (Ul ne fat pas
onblier qu'en talie,oisnfonlac
signiiat et signifle encore
onvertuoe): forms de senate,
enriehie toutet'ois d'ne dispo-
sition caraet6ristique de Is
anire de Baoh: I exposition
qui se reprodnit integrale-
ment i la fn de la pilee.

Measure
Exposition............ 1- 7
Deunieme theme .... 49- 62
Premiere reprise sui-
vie do ddveloppement. 86-119






w -


Wiledwholsng des
a. Themes and Fort,
S tetaing der Dwreb-
fhronm. .......... ...t20-16t
RBlakkehrindieBanRt-
tonart and neuerliehe
Dnrchflhrun ........ .15-1-7
Wiederholung des
Hamptsattes. .........178-02
Rod ...... ...... 0f.
Sicili na: Liedform mit
1 WIederholungen and r
Zwischensltzsen.
Einleitung............ 1- z7
5. Tell................. 8- 67
1. Zwisohensat ..... 6 -112
Wiederbolung des
I. Teiles. ........... -134
s. Zwitohensiat ... .317-161
Wiederholung der
Elinleltann mit Ankran-
gen an Motive des t.
Zwischensatzes........162- 19
I. Wiederholang des
t. Telles in der Art
einer Kods ............ 19f.

Mennett, Rezitativ
and Arie: Dieser Satz ist
nihet als eine Zusammen-
fasanng von drei Srttcken,
sondern als eine moderne
Verarbeitang der ealtn, tra-
diLionellen Form A-B-A zs
verstehen. Das Rezitariv ver-
trit die Stelle des Trios. (In
der Arie verbirgt sich hunter
wanderer Gestalt, die Wieder-
holong des zarten and grs-
zifsen Menuetts. Dan wird
bel Takht io dentlich, wo die
rate Geige iber der Aria
der drei anderen Instrumente
RAndante ,4] wieder drs
enoett [allegretto grazioso
1.4] asfgreift.)
Menuett........... ... S6
Rezitativ .......... P7- 8
Uberleitung ur Aria. 64-102
Aria..... ....... 10-119
Aria and Menuett
vereinigt .............20-131
da........ .......... ssrf.

Canoone (dieser Titel ist
in dem Stnne au veratehen,
den er lm 16. and 17. Jahr-
handerthatte and welcherder


Repetition of the aod
theme and sontianatilon
of the Developmeat...ls--llst
Reversion to the pnsn-
cipsl key and repeated
Development ..........152-175
Re petition of the Prin-
cipal section ..... .... 17--02
Coda ... ... ..........o a.f.
Sicilians (Bong form
with three repetitions and
two intermediate sections).
Introdootion ... .. 1- 27
t0 seetion... .... Il-- 67
let Intermediate ser-
tion. ............. 58--11
Repetition of the ist
Section ....... ... ...113-13
2nd Intermediatesee-
tion ... ... .. ......137-161
Repetition of the In-
troduction, with romi-
niaeenses of motive,
from the lot Interme-
diate section ..... .. .162-t1
2nd Repetition of the
1ti section in the man-
nor of a Coda......... 19:a f.
Minuet Recltativeand
Aria. This movement repre-
sents not a combmation of
three pieces but a modern
variant of the old traditional
"A-B-A" form. The Reeita-
tive replaces the Trio, and
the Aria is merely a new
guise for the tender grace-
fil Minuet. This becomes
evident in bar 120, where
the first violin resumes the
Minuet (Allegretto grazioso,
3/4) to the accompaniment
of the Aria (Andante, 2/4)
played by the other instrn-
mente.


Minuet ... ... l- tr,
Recitativ .... 7- 83
Transition to the Aria i4--10
A ria ...............108- 119
Aria anti Minuetcom-
bined....... .. ......120- 181
Coda.. ............ .... Ia.f.

Canzone (this title is to be
understood in the sense asso-
ciated with it in the 16th
and 17th centuries and which

W. Ph. U. 249, U. JE 7m.


Reprise d d ealhbmed
t b m e t continuation
du devoloppement..... IO- i
Reprise de sa tone-
lit6 principals et
nouveau ddvalop-
pement ......... ..t-17.
Reprise de J'eipo-
sitlon ......... ....176-M0
Coda. . ........206 1. .
Siciliana: former de lied
A trois reprises avee dexn in-
termbdes.
Introduction......... 1- 27
Premiere partie...... s- 57
Premier intermede 58-112
Reprise de Is premiere
patie ......... ......113-l6
Deuoibme later-
mde ........ .. ..t.. .17-161
Reprise de l'intro-
d u eion aveo rappela
des motifs do premier
Intermbde ...... ..t1e-14t
Deuibfme reprise'de
Ia premiere parties en
guise de Coda.........197 1. a
Minuetto. Becitativo
et Aria: pltot que trols
pieces distinctes, 11 but con-
sid6rer ce moreeq omme
une interpretation moderne
de 1'ancienne, traditionnelle
forme A-B-A. Le recitativo
tient lien, en effect, du trio
Et I'aria ne fair que dissi-
muler sons une nouvelle mn-
sique, ]a reprise do tendre
et grraliez minuetto. Ceci
devient evident loraque, las
12Oe mesnur, le premier vio-
Ion vient superposer a l'aria
jouee par les trois utree in-
straments (andante 'o le
minoetro joad allgrerto gra-
zloso 1 .
Minuetto ............ 1- 66
Reeitativo...... .... 67- 88
Intermbde oenduisant
a I'aria ............... 84-102
Aria.... . ...........108-119
Aria et Minuetto
combines .. ............ o-is1
Coda ..................182 L
Canzone (le titre de.ee
finale eat entrndu dans la
signification qu'll avsit aux
16e et l7e sieles et qui 6qui-









Bedtelhnng Sonata g eich-
kam): Rondoform mit a Wie-
derholungen und i Zwischen-
satzsn.
Refrain (dem italieni-
schen Gebrauch der
Zeit Frescobaldis ent-
sprechend setst das
Thema mit daktyli-
sehem Rhythmus em). l- 45
Uberleftung sum l.
Zwischensat . .... 46- 64
I. Zwinohensatz .. .. 65- 89
Divertissement .... 90--15
VW ederholung des
Refrains....... .. ....186-152
oberleitnng zum 2
Zwischensarz . .15-164
2. Zwischensatz. .165-2a
1. Divertissement
and tIberleitung nur
Ietaten Wiederholong
des Refrains.... ... .214-290
i. Wiederholung des
Refrains . ......... 91-351
Stretta and ScholuB-
gruppe ........ .. 814-345
Koda (mit Erinnerung
an das Eingsangshema
der .Sinfona ... .. S46ff


signifies an equivalent to the
term "Sonata"): Rondo form
with three repetitions and
two intermediate section.
Burden (the theme
opens in Dactyl rhythm,
according to te custom
practised in the time
of Frescobald)........ 45
Transition to the las
Intermediate section.. 46-- A6
ltt Intermediate sec-
tion ...... ....... d5- 89
Divertissement 90--13
Repetition of the
Borden......... .. .16-182
Transition to the 2nd
Intermediate section.. s158-1
2ndIntermediateaec-
tion. ... ....... ..15-- t13
2nd Divertissement.
and Transition to the
last repetition of the
Burden..... ... 4-O90
2nd Repetition of the
Burden..... ..... ..91-Sl3
Stretta and Closing sec-
tion . . ......314-S- 4
Coda with reminiscen-
ces ofthe open theme
from the Sinfona) .. a.f.


valait a sonata): forms de
rondean a trots reprises et
deux intermedes.

Refrain (Ie theme, eon-
form4mentl'nsage ita-
lien de 1'poque de Fres-
cobaldi, debule par eI
rythme dactyle....... I- 4b
Passage condulsant
au 'premier inter-
made. ......... 46- 64
Premier intermede. 65- 89
Divertissement...... 90- 1-5
Reprise du refrain ..IS-152
Passage conduisant
an deunibme inter-
mbde .. ........ 15-16
Deuihbme inter-
mbde . ......165--tI
Deuxibme divertls-
sement et pdriode de
liaison avec la dernibre
reprise du refrain ..... 14--N0
Deuxibme reprise
du refrain............. 91-313
Stretta et conoleuon. .314--45
Coda (avec le rappel du
thbme initial de le
Binfonia). .... .. 3 1. s.


H





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W. Ph. V. 249. *U. E. 7s8.






.CONCERTO
,s 1,--- I. SINFONIA
Dirote d&e Uon rwerve
Allegro brioso e deciso
Violino I

Violino I

Viola


Alfredo Casella
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P H I L H A R M.O N I A

7AJCHEN-PARTITUKRE.
MINIATURE SCORES / PARTITIONS DE POCHE


No. HAYDN
28 Die JaraEten / The Season / Lae
121 Thereslen-Mese B / Si i
115 Symphonie No. 1 (Paukenwirbel)
6 Symphonic No. 2 (Loodon)
36 Symphonle No. 4 (Uhr)
26 Symphonic No. 6 (Pankenschlag)
113 Symphonie No. 7 C / Do
38 Symphonic No. 11 (Militlr)
87 Symphonie N. 15 (La Reins)
34 Symphonic No 16 (Oxford)
117 Symphonie No. 17 (L'oaral
38 Symphonic No.18 (Abschied)
338/47 lu Sir. QuarLt.): op. 17 No. G Sol /
op. 20 No: 6 A -La (Sodnen) / op. 54
No. 1, G Sol 4 op. 64 No. 5, D Re
(Lerhen) / op. 74No. 3,g ol (Reier)
op. 76 No. 2, d -rd (Qunten) I op. 76
No. 3, C- Do (Kaiser) / p. 76 No. 4,
B- B flat- Si I op. 76 No. 5, D- R
(Largo) / op. 77 No. 1, G-Sol
A. HONEGGER
287 Pastorale d' d

E. KIENEK
247 Str. Quart. 1ll), op. 6
LIST
79 Tasso
80 Les Preludes
MAHLER
251 Lieder eeion fahrenden Gesellen
219 20 Lieder ius Dea Knabea Wunderhoran,
Bd. I/11
252 Kindermrtenleder
253 7 letin Lieder tn Vo.b)
FR. MALIPIERO
88'r0 Impresuioni dal vero, 1,11 t(n Vorb)
299 Pause del iler.zio ,i' Vort..
MENDELSSOHN
29 Eiia. i Elijah. Oratorium, op. 70
52 ymphonie No. 3, op. 66 (chotnische)
82 Symphonic No. 4, op. 90 ( talienischel
16 Sommerarhlitraum, Ouverrure
55 Hebriden, Ouveriure
83 Violinonlert, op 64
a48W503 Sir. Quar.1), op. 44, No 1/3


No. MOZART
46 Schauspieidirekor / L'lmpresarlo,
K6ch. 486, kpl. Part. and Kl.-AusE.
60 Symphonie C / Do Kech.;2(O
61 Symphonic D I Rd K0ch 85-(laoffrer
49 Symphony C / Do Kich. 425 (Llorer)
61 Symphonic D / Rd Kich. 50- (ohne
Memlet)
Ileauett)
86 Symphonic Es / E flat / Mi Kich 543
27 Symphoni g slol K6th 550
6 Symphonic C / Do (Jupiteri Kch. 551
53 Krooungamesse / Coronation Mass,
Kbch. 317
BS KRlavierkonzer A t La Koch. 488
57 Klavierkonzerec t do Koch. 491
47 Entillrung a. & Serail, Ouv., KRch 384
13 Figaro, Ouverture, Koch. 492
14 Don Juan, Ouverrore, KOch. 527
15 Coal fan tuIe, Ouverture, Kbch. 586
12 Die Zauberfllte, Ouverture, Kc6h. 621
327/3610 Str. Qu.') Kdch. No. 387, 421, 428,
458, 464, 465, 49-, 575, 589, '90

NICOLAI
41 Die lustizen Weiber von Windsor The
Merry Wives of Windror LesJoyeu.e
Commires de Windsor, Outetture

VIT. NOVAK
221 Serenad, op. 36

PALESTRINA
90 Stabar Mater

PFITZNER
269 Palestrina, 3 Votrp. 3 Preludes
270 Chrsielflein, Ouvenure op. 20

REGER
.22 Sir. Qoart.i g / ol, op. 54, No. I
223 Sr. Quert. ) A I La, op. 54, No. 2
283 Ier Eiosiedler, op. 144a t in Vorb.)
284 Requiem, op 144b .In Vorh

RIMSKYOKORSAKOWV
.79 Gold. Hahn / Coq d'or, Smuce


1' Streichquarter 1 S n.ng Quarte Quatuor A cordes
2) Stzelchquinett / Sirng Qute Quite inrtor & cordes

Bei Bestellang gefigi die Angabe der Verlaganommer / In ordering kindly mention numetr
of edition only / Pour lea commander il suffi d'indiquer a] anmero de I'oeuvre










PHILHARM ON IA

TASCHEN-PA RTITUREN
AUNIATURE SCORE / PARTITIONS DE POCHE


No ROSSINI
17 Der Babler won Sevilla / The Barber
of Seville / Le Barbier do StWel,
OuveRonm
112 La GOau Ladra, Ouverrura
SCH6NBERG
225 Kamimenmphoele / Chamber Sym-
phony I Symphoani do Chabre, op. 9
239 Sr. QmUn.1) Le I/ i ,op. o10
SCHREKER
235 Geburuag der Infantin/ Th Birthdoy o
the Infont / Ls e do Plofante, Balm
SCHUBERT
9 Symphonie 7, C / Do
1 Symphnia / UnavolUdele I Un-
mfihed Inoomplte
l4 Romiudh, (Zu hae). Ouerture
81 St. Q Iun.r) / a, op. 29
8m Sit. Qua.) G Saol, op. 161
m SON. Qut.) d / rd, op. poth (Tod a.
d. Midcen Ded sad th maldea)
854 Sr. Qulnot) C I Do, op. 1U
SCHUMANN
31 Symphooul No. 1, op. d3
32 Symphoele No.2, op. 61
38 Symplonle No. 8, op. 97
25 Symphonic No. 4, op. 120
861/63Ltr. Quart.), op. 41, No. 1/3
SMETANA
2 Die vwrkanute Brat i The bartered Bride/
La FiancIe Voedue, Ouverture
73 Der Kua / The Kim / Le Balme Our.
357 Str. Qua. I), e/ml(Am meinem Leben)
RICHARD STRAUSS
345 Blserrereaade, op. 7
- 27 Symphouie f / a, op.12
38 Au Itallen / From Italy / De I'lalle,
op. 16
239 Don Juan, op. 20
240 Macbth, op. 23
241 Tod unad VerklSrun Death and Train.
guratdon / Morn t Traunsfiradon,
oap 26


o. RICHARD STRAUSS
22 Till Eleuspilgl, op. N
243 ZMath rs, op Wo
264 Dom Quxoe, op.
246 5 Or hesterlieder
267 BIrger als Edelman/ Boargpie geniil-
homme Suiter, op 60
268 Coup S-Suite
STRAWINSKY
291 RagEae
29 B1rcun du chat (in Vorb.)
9s Pribaulki (in Vorb.

C. SZYMANOWSKY
248 Str. Quart ), op. T, C Do

TSCHAIKOWSKY
71 Symphonic No. 4, f/ op. 36
63 Symphonle No., /ml, op.6 (1* Vorb.)
64 Sympthon Na. /I, op. 74
(Pathidqu)
WAGNER
KOMPLEFTT OPKIJK q
255 RIeme
256 Dar leoande Hollieer / Tfe Plrns
Dutchman I L Vaaieas FInatol
.257 Tamanhauer
268 Lohengrin
269 Trimnf und Ieldo

69 Riendl, Ouvertur
20 HollAnder, Ouaertur
1t Tanhaluer, Overture
39 Loheongin, Vrepll I Prelod
40 Tristan und Iloldo, Vonplal I-Prelud
19 Malsteaninpgr, Vonpiel L PIrlud
,70 PudfRl, Vonpil /Prelde
68 Siegfed.-dU
123 Wobflroarltn
13 Turanortm k Ou Gfterdammerurn
WEBER
22 Freaichilu, Ouvnrmur
77 Eury trhe, Ouverteu
N Obaron, Oauverto


) Srelchqua re/ Sring QuarM / Quater & tard
) Strelchqulntett / Suing Quintet / Qoluteor A card
) Complete Opera / Opers complaes

Bel Be stldan pnfll die Angonb de VQlagaumm I arderig kindly mention number
of eitldoe only I Pour les commaudu l sufic d'lndlqer I uamro de l'ovre




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