Suite for Viola

Alone
by
Quincy Porter
(18971966)

AVSPublications008

Suite for Viola Alone

Lento q48
III

Quincy Porter
Edited by David M. Bynog

I
II

2
1
2
1
1
o
2
b

,2
1
b

.
1

-J
b b. J
J
B 44
b
43 J J
p

F 3
P
p

1
3
3
2
3
3
3
2
1
1
2
1
1
,
2

1
2

j
6
1
>
j 3
#
3
>

b 3 b b b 4
B b # b n 44
& b b 4 b 4
J
f
cresc.
>
3
a tempo

3 poco rit.
II
I
3
2 3 1 2 j
1j
3
j
j
1

1 3
9
1

3 1
b

& 44 b b b .. B b J b 43 b b 44 & J 43 b b b n b n

p
poco a poco cresc.
F dim.
1 1 2
poco accelerando
rit.
3
2 2
1
2

3 1
3
> > -2 .
14
2
1

3 2 1
# # 1 2 1 2 3

>
.. J
J b b # J # - b b b b #
& # J
J

b > > b > #

poco rit.
4
a tempo
4 o
-2 2-II - 2
o
2
b

19
n

4
1
b

1 3
1
b 2

b b B b #
# n b 2
3
18
#

&

4
4
16

P
dim.
II

Allegro furioso ek144

2
1
23
3
2

18
B 16 b b . . . b b b
b

poco a poco accel. e cresc.*

24

> > > > > 12

15
b

B b b 16 16
b
n

27

2
1

1
2

> > >

b 9 18 # b
B 12
16 b 16 16 b

( poco a poco cresc.)*

30

*See the critical comments regarding

the location of this crescendo

3
1

1937 Quincy Porter Estate

2010 AVS Publications, AVS 008

ek168
o
2
o
1
1
2
2
3

33
3
2
2
. . . 15 b b
B b . . b . . b .. . 16

b
- - - - - -f
P poco a poco cresc.
dim.
2
>2 > > > >
>1 > > > >
3

36
2
b 1

B b b n
- - - - -

b n b 18

16
B
>
>
o 2
3
1
1
> > . b >3 2

41
# b . b .. > . > .>
j

. b . .. 12 .
b
. . . . .
B 18
16 .b b
16 ..
. . .
>

> > >

F
4
4
4
3
2
2
2
2
2
1
1
2
3
2
3
2
1

>

>
2
2
2
1
>

>
1
.
2 b.

>
44
1
. 2 # 1 .
> .. . > .. b ..

.
.
n

#. .

.
.
.
.
.
.
.
.
n

15

B . ..
b. & b . . . . #. . . .
16 b . .
> n . > > # . > . > .
>

4
4
1 1
>

1
48
b

>
.
>
2 > 4 > 1

.
.
>
# 18 n . # n b > > > > b >3 12
16
& # . 16
. # > > > >
> > > > >
1
2

39

2
1

1
2

1
2

cresc.

3 3
4
> 4 2
12 b n 16
9 b b n
& 16

> >
>> >
0

51

^n b ^n b ^n
b

15 b b b
16
0

2
3

0 0
0 1

2
3

^ 4 >
>
>
>
2
4
1
54
b 9 # > b 3 > > 18
#

B
16 b 16
2
3

dim. poco a poco

>
>
>
1
>
56
2
.
.
B 18
16 b . . 21
16 b
>
1
2

^ 12

b
>

3
^

12
16
>

1
>2 >
2
1
1 2
18
15

.
B 12
16 b 16 b 16
b . . . . . . . . . . . . . . .
> >
>
0

58

B n 12
16 b b
b . . . . . . . . . . . . . . .
b . . . . . . . . . . . . b .

61

2
1

poco a poco ritardando

4
1

3
1

ek144

. b . . . . . . . . . . . b b . . .
B b 18
16
b
b . - . - . - . - . - . - . - . - . - . - . - .

64

2
3

B b b b
b

sempre

67

1
2

2
3

2
1

3

3
j
15
9
12
B b 16 b b . . 16 b

16
b
n b n

69

2
1

2
1

3
3
12
18
B 16 b b . . . 16 b
b - - - - - - - - - - -
n
-

72

j II 4
4
j b 32 .
poco rit.j j
U

.
.

12

B b. . .
b . . b 16 b J & J J 43
n

74

Larghetto espressivo e88

1
3
b 2 3
2 3 1 3 2
1
2
b

1
1 3
1

# b 42 43 b B b
& 43
- - -
P
1
2.
poco accel.
b
3
2

83
3
3 1 3 2 2
3
1
1

3
b

2
1
2
# b b
J
B b b b # b b - b
b

4
o
cresc.
3
p
a tempo, poco piu mosso
a tempo e88
rit.
89
4 1 poco rubato
b b 3 b - 4
1 3 1
b bb
B
b b
b b b b b n

dim.
f
p
4
poco
accel.
3
3
2
95
2 1
2
1 1
# b b
3
#

b b
B b

n

3
3
poco a poco cresc.
ten.
II
1
a tempo 2
1 3
2 b 1 3 3o 4 1 rit.
poco rit.
3
101 #
b

.
3

1
1 b 3 3

&

J
B
b b 44
b
dim.

, a tempo
, 1 1 4 n 4o 2 n 2 1 3 b 2 1 2 1 4 1 1
106
1 2
1
2
2
1 2
b
b
b n b n
& 44 - b B - b - 43 b b - - - b - b n
&
poco a poco cresc. ed accel.
3
3

p
3
111 . 1 n - 3 1 2 1 n - 3 1 2 1 n - 3 1 1 - - 2 - - 2
4
#
#
4
&
#
#

espress.

78

1 1

- - 3 1 - 1 3 1 1 > . . > . . # 4. . . . 2
1

# # . #

# - - # - # #
2
# #
&4
dim.

f
120
3 1 4
-
>

- b - - 3

& n

4
#
F
125
. .

>
.

3
2

.
b

b
&4
cresc.
dim.
p
1
130
1
1
1 - 31
-
B & - # # #
Allegro spiritoso q138

115

- -

- # 4

>
> >

&


# B
>
dim.
3
3
3

b 3
140

1
2
2

n
-
b -


B
cresc.
p
1 4
>
145
> 3 1 b 1 >1 b 3 1
> > > 1
1

43
b 42 b
B
135

>4
>

>
>
>

bb
B b 43 b 42 b
dim.
F
4
4
4
4
155
4
1
1
1 b
1 b
1

B . b b b
. . .
p
4
4
4
4
4
4
4
160
1

1
1
1
1
1 b
1 b

1
B b b
0

150

- cresc. poco a poco

4 1 b 4 1 4
0

4
-3 1 4 3 1 2 1
2
4
1 1 1
3 1
2
1
1
1
1

B &
b b -

165

a tempo ) **
4
( poco ritardando )** ( -1
4
4
3 1 # 2 -1 3 1 # 2 1

1
1 4
1
1 4

#
#
&

> . . > . # 4
175
# # 2 #

# # # # #
&
#
f
p poco a poco cresc.
dim.
4
> 1 4
180
2
1
2
1
2
1
3 1 #
3 1#
3 1 #
3 1 # 1
3
#

4
&
170

4 , 1 2
4
4
4
4
4
# 4 1
185
1 1 1
1 1
1 1 1
1 #
1 #

#
& 43 42 J #
> >>> > >
4

** See the critical comments regarding

the accuracy of these tempo markings

Fine
^
J
2
2

Paris, Oct. 15, 1930

Critical Comments
In preparing this edition, two sources were consulted from the Quincy Porter papers in the Irving
S. Gilmore Music Library of Yale University: a holograph score marked original manuscript,
bearing a copyright date of 1937 (HM) and the Valley Music Press (VMP) edition, bearing a
copyright date of 1937 and published in 1946. Two other sources were consulted: an edition
entitled Suite Para Viola Solo published in the Boletn Latino-Americano de Msica vol. 5,
suplemento musical (Oct. 1941): 9094 (BLM) and Porters recording of this work (New Music
Quarterly Recordings 1512, 1939; CRI SRD 390, 1978).
While there are discrepancies among the HM, VMP, and BLM sources, this new AVS edition
largely adheres to the holograph manuscript, which contains several markings that do not appear
in the VMP or BLM edition. In addition to several extra fingerings, other markings (and
alternative readings in the other editions) appear below:
M. 8. In the HM, a slur appears over the first two notes of the triplet on beat three.
M. 17. In the HM, a marcato accent (>) appears over the second eighth note of the measure.
M. 2628. The HM and BLM edition contain the marking poco a poco accel e cresc. in M. 26.
The VMP edition contains only poco a poco accel. in M. 26, with the marking poco a poco
cresc. in M. 28. (In Porters recording of the work, he begins both a crescendo and accelerando
in M. 26.)
M. 32. The BLM edition contains an additional marcato accent on the first note (f#) of the
second three-note grouping of sixteenth notes, which is likely a transcription error.
M. 35. In the HM, dashes appear on the first sixteenth note of each three-note grouping of
sixteenth notes in this measure.
M. 38. The marcato accents in the HM are placed between the upper and lower viola voices. The
VMP and BLM editions transcribed this as an accent in each voice. As the placement of these
accents in the HM seems to be a space issue (text completely fills the space above the staves,
preventing any additional markings there), the accents likely are intended only for the upper
voice, similar to M. 36.
M. 39. In the HM, a slur appears on the third beats second and third sixteenth notes.
M. 46. In the BLM edition, a marcato accent appears on the fourth note in this measure, which is
likely a transcription error.
M. 57. In addition to the sforzando accents (^) on the fifth and eleventh notes in this measure,
marcato accents (>) appear below these notes in the BLM edition, which are likely transcription
errors.

M. 71. In the HM and BLM edition, the upper voices final beat consists of a sixteenth note and
an eighth note followed by a sixteenth rest. This was transcribed in the VMP edition as two
sixteenth notes followed by a sixteenth rest and is also reproduced here as such.
M. 76. The HM contains a time signature change to
editions.

, which is absent in the VMP and BLM

M. 77. In the HM, a fermata appears over the final barline.

M. 78. In addition to the tempo marking of Larghetto espressivo, the HM and BLM edition also
contain the marking espressivo.
M. 90. In the HM, a dash appears over the first note of this measure.
M. 106107. The HM and BLM edition contain a crescendo from the third beat of M. 106 to the
second beat of M. 107, with a dynamic marking of pp on the second beat of M. 107.
M. 108. The HM and BLM contain the marking poco a poco cresc. ed. acccel. The VMP edition
separates these into two markings: poco a poco cresc. and poco a poco accel.
M. 115. The HM contains the tempo marking Allegro spiritoso; the VMP and BLM editions
Allegro spirituoso.
M. 117. In the HM and VMP edition, a dot appears over the second note in this measure (e),
which is absent in the BLM, likely owing to a transcription error.
M. 139. In the HM and VMP edition, a dash appears over the first note in this measure, which is
absent in the BLM, likely owing to a transcription error.
M. 147. In the HM, a marcato accent appears on the seventh sixteenth note of the measure (f). In
the VMP and BLM editions, the accent appears on the eighth sixteenth note (b-flat), which,
given the placement of other accents throughout this movement, is likely a transcription error.
M. 172173. The HM and BLM edition do not contain a poco ritardando and a tempo in these
measures, nor is there a noticeable ritard in M. 172 in Porters recording. The presence of these
markings in the VMP edition cannot satisfactorily be explained as a transcription error, so Porter
likely chose to incorporate these notations in the VMP edition.
M. 188. In the HM and VMP edition, a dash appears over the first note in this measure, which is
absent in the BLM, likely owing to a transcription error.

David M. Bynog, editor

The American Viola Society

http://americanviolasociety.org/resources/scores/