Facsimiles, reprints, and revisions of the music
Preface, commentary, and notes are presented in English, Hungarian, German, Chinese, and Spanish. Regarding Tibor Serly’s orchestral realization of the original sketch, Peter Bartók states in his Preface that “determinations had to be made by Tibor Serly, who exercised his judgment and discretion in assembling the mosaic and ﬁ lling the gaps. The question has been asked: how much is Bartók, what details come from Serly? Or, if different solutions to the problems are attempted by others, the same question can be posed regarding their decisions. To provide answers to such questions is the objective of this publication.” Somfai’s Commentary includes a history of the manuscript, a survey of the paper structure and the contents of the pages, data on the genesis of the Viola Concerto (including correspondences between Bartók and William Primrose), and notes on the concept and the survived form of the music (including information on links between the movements, the page written in ink, the elaboration of the texture of the orchestra, and notes about the instrumentation). Dellamaggiore’s Notes include a list describing how some of the details were approached while preparing the fair copy (including information on stems, clefs, accidentals, unused data, ambiguities, and ties). Also contains printed musical form of the autograph manuscript.