The American Viola Society

suite

for viola alone

Quincy Porter
(1897-1966)

AVS Publications 008

Preface
The American composer Quincy Porter (18971966) completed his Suite for Viola Alone on
October 15, 1930, during a three-year stay in Paris funded by a Guggenheim Fellowship. Porter
premiered the work at a critically successful recital devoted to his music at the Salle Chopin on
February 18, 1931; this concert greatly furthered his reputation as both a composer and violist.
After his return to the United States, Porter held teaching and administrative posts at the
Cleveland Institute of Music, Vassar, the New England Conservatory of Music, and Yale. Highly
committed to the development and promotion of American music, Porter was among a group of
composers who co-founded the American Music Center (Aaron Copland and Howard Hanson
were two of his notable colleagues in this endeavor). While Porters music exhibits a twentiethcentury tonality, he eschewed many of the avant-garde experiments of his fellow composers and
focused on writing well-crafted music in traditional forms.
The Suite for Viola Alone is a model of Porters superb compositional craftsmanship:
idiomatically written for the viola, the suites four tightly constructed movements display a
mixture of styles and harmonic consonance and dissonance. The first movement, Lento, explores
the violas color palette and leads directly into the frenetic Allegro furioso, with a pulsating
rhythmic drive that suggests a locomotive. The lyrical third movement, Larghetto espressivo, is a
calm and serene moment of repose before the boisterous Allegro spiritoso, an impressive feat of
fiddling that reveals Porters American roots.
This AVS edition is made possible by the generosity of the Quincy Porter estate. Please see the
Critical Comments for additional details on the sources for this edition.

David M. Bynog, editor

October 2015

Suite for Viola Alone

Lento q 48

o
w
B 44

III

Edited by David M. Bynog

2 1 1 2
II
2
1
b

1 b.
b

0
#

J
J
b b. J
J
43 J
F 3
P
p
p
II

1
3
2

n 4 # > # >

B b # n 4
2
1

1
3

Quincy Porter

3
2

2
1

cresc.

, -32

b
& b b
f
1

, 20
b -

j j 13 3
b
43 b b b 44

J
>
3
3
1
0

a tempo
poco ritardando
3
3
II
3
I
3
1j
2j
j
j

1 3
1
9
1
b b b
3 1
3
1

4
3
4
3
b

b n
& 4 b b .. B b J b 4 b b 4 & J 4 b b

poco a poco cresc.

p
F dim.
1 1 2
poco accelerando
rit.
3
1
2
2
0 3 2 1
14
3 2 1 3 10 >2 > > -2 .
# - # 1 2 1 2 3
.. J
J b b # J # - b b
b b #
& # J
J

b > 0 >
b > 0 #

-2 2II- - 2
n

1
1
3
b
# n
b # b b B b #
b
&
P
dim.

poco ritardando

19

a tempo
2

2
4

b 4 b b

Allegro furioso ek 144

4
-o o
3
4

18
16

2
1
23
3
2

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

24

poco a poco accel. e cresc.*

> > > > > 12

15

B b b b
16 b 16
n

27

2
1

1
2

( poco a poco cresc. )*

> > >

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

30

*See the critical comments regarding

the location of this crescendo

3
1

1937 Quincy Porter Estate

2010 AVS Publications, AVS 008
Reprinted 2015

ek 168
o
2
1
2
2
3
o 12

33
3
2
b

15
b

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

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

36
2
b b 1
b

B b
n
- - - - -

1
2

2
1

1
2

b n
b

>
>
o 2
3
1
1
> . > . b >3 . 20
41
# b b . > . > . >
. b . .. 12
18
b
.
B 16 .. . .. .. ..
16
1
2

39

>

>

>

> . > b > .

. 21 > . 21 b > .

.
15 n . b .. # . .. .
.. . . 16
>

4
1
>
48
b

# . 18 . n > . >1 .
& # . 16
. # > > > >
>
> > > >
cresc.
2
1

> ..
b
B .

4
2

3
2

44

j
.. b
> b
F

2
> .
1
n . b .. & b n .. . .. .. # . # .. .
> n. > > # . > .
2
1

3
2

> 2 >1 4 > 1 b 4>

# n

0
0
3 3
4
4
2
>
9 b b n
& 12
16 b b n 16

>
>
>> >
0
3

51

18
16

0
2
3

4
2

2
1

3
2

2
0

4
2
1

.
.
.
>

0
> >
3
>
b > 12
16

0
2
3

0
0
1
0
^
n b ^n b ^n
b

15 b b b
16

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

B




16 b 16
2
3

dim. poco a poco

Porter - Suite for Viola Alone

>
>
1
>
1
>
^ 12
^
56
2
2
b . .
21 b

12
B 18
16 . . 16 b 16
>

> >

0
>
>
18
15 1

.
B 12

16 b 16 b 16 b
> >
. . . . . . . . . . . . . . .
>
0
1

58

2
1

1
2

3
1

4
1

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

61

poco a poco ritardando

ek 144

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

2
3

64

2
3

1
2

B b b b
b

sempre

67

2
1

3
3

15
9

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

69

2
1

2
1

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

72

II
3
j
j
4
4
2
74

U
.
j
b

.
.
j

12
B b.
. .
b . . b b 16 b & # J J 43
J
n

poco rit.

Porter - Suite for Viola Alone

Larghetto espressivo e 88

b 3 1

3
&4
P espress.

78

83

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

# b 2 1 3 3 b B 0 b
4
-
4 - -1
2.
poco accel.
b
2
3
2

1
3 2
0
1
3

1
b

2
0

3
1
2

# b b - b
# b b
J
b b
4o
3
1

B b

cresc.
p
a tempo, poco pi mosso
a tempo e 88
89
4 1 poco rubato
rit.
b b 3 0 4
1 3 1
b

B
- b b b
b b
b b b b b n
b

f
dim.
p
4
poco accel.
3 2
95
0 3
0 2 1
1 1
3

2 b b

b b
B b

3
3
poco a poco cresc.
ten.
II
1
poco rit.
a tempo 2
3
2 b 1 1 3 3o 4 1 0 rit.
1 3
101 #
b

3
.
2

3
3

b b
b

&
J

B
b

b 44
dim.

a tempo
,
2
106
, 1 1 4 n 4o 2 0 n 2 1 3 b 2 1 2 1 4 1 0 1
2 0 1 2
2
0 1
1
0
b
b b
n
b n n b
& 44 - b B - b - 43 b b - - -
b - &
-p
poco a poco cresc. ed accel.
3
3

0
111
- 3 1 2 0 1 n - 3 1 2 0 1 n - 3 1 0 1 -3 .
1 n
- 2 - - 2

#
#
4 4
&
#
#
1

- - 3 1 - 0 1 3 1 0 1 > . . > . . # 4. . . . 2
1

# # . #

# - - # - # #

# #

&4

f
dim.

0
120
3 1 4
>
b - b - b - - 3

& # n




4
F
125
. .

>
.

.
b

b
&4
cresc.
dim.
p
1
130
1
1
3 1 # 0
0 1
B & - # #
f
115

Allegro spiritoso q 138

Porter - Suite for Viola Alone

5
4
>
>
>
- # 4

&



>
dim.
3
3
3

140
0
0
1
0 1 0 2 0 0 n b 3
2 0

0
0

-
b -

B
cresc.
p
1 4
145
> 3 1 b 0 1 > 0 >1 b 3 1 0 1 >
1
0

43
b 42 > > b 1
B

- -

135

150

>4
b

> > 3 b 2 b > > b

b b
4
4
b
dim.

4
4
4
4
4
1 0 1 b 0
1 0 1 b 0 1

b
B . b b b

. .
- cresc. poco a poco
p .
4
4
4
160
1
1 0
1 0 1 4 0 1 b 4 0 1 4 0 1 b 4 0 1 4 0 1 b 4 0 1 4 0
0
0

B b b
155

4
-3 1 4 3 1 2 0 1
2 0
4 0
1
3 1
2
0 1
1
1
1 0 1 0 1

B &
b b -

165

( poco ritardando )**

4
1
1
4 0 1 4
4 0 1 4 0

0 1
0 1

0 0 0 - # 3 1 # 2 0 - # 3 1 # 2 0 1
&

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

#
# #

&
#

#
f
p poco a poco cresc.
dim.
180
2
4 # 3 1 # 0 1 3 1 # 2 0> 1 4 0
1
2 0 1
1
3 1 # 0
3 1 #
#

# 43
#
&
( a tempo )**

170

4 , 1 2
4 1
#

185
1
1
1 0
1 0 1 0 1
1 0 #
1 0
1 0 #
1
0
0
0
# J #

42

& 43
#
> > >> > >
4

Fine
^

J
2
2

Paris, Oct. 15, 1930

** See the critical comments regarding

the accuracy of these tempo markings

Porter - Suite for Viola Alone

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
titled 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
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. 33. The HM contains a tie between the second and third notes (g) in the lower voice, which is
absent in the VMP and BLM editions.
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

October 2015

AVS PUBLICATIONS

VIOLA SOLO

VIOLA AND PIANO

VIOLA AND ORCHESTRA

Bob Cobert
Music for Only One Lonely Viola. AVS 028

Jeanne Behrend
Lamentation for Viola and Piano. AVS 035

Ern Dohnnyi
Intermezzo, from Symphony No. 1. AVS 040

John Duke
Suite for Viola Alone. AVS 027

Blanche Blood
Barcarolle for Viola and Piano. AVS 002

Cecil Forsyth
The Dark Road for Viola and String Orchestra.
AVS 024

Ivan Langstroth
Viola Suite. AVS 022

Lo Delibes
La Paix, from Copplia, for Viola and Piano.
AVS 023

Quincy Porter
Suite for Viola Alone. AVS 008
Jeong Eun Park
Mook Nyum (A Moment of Silence). AVS 039
Frederick Slee
Variations on a Hymn Tune for Solo Viola.
AVS 003

Ern Dohnnyi
Intermezzo, from Symphony No. 1, for Viola
and Piano. AVS 040a
Arthur Foote
Melody for Viola and Piano, op. 44a. AVS 015
Peter Racine Fricker
Fantasy for Viola and Piano, op. 44. AVS 032

TWO VIOLAS
Bob Cobert
Three Moods for Two Violas. AVS 030
Felix Mendelssohn-Bartholdy
Canon for Two Violas. AVS 004
THREE VIOLAS
Scott Slapin
Capricious. AVS 012
VIOLA ENSEMBLE
(FOUR OR MORE)
J. S. Bach
Sinfonia from the Cantata: Gleichwie der
Regen und Schnee vom Himmel fllt. AVS 005
Lo Delibes
La Paix, from Copplia, for Solo Viola and
Viola Quartet. AVS 023a
Matthias Durst
Adagio for Four Violas. AVS 001
Felix Mendelssohn-Bartholdy
Adagio from String Sinfonia VIII. AVS 011a
Santiago E. Osorio
Theme Envy for Four Violas or Four-Part
Viola Ensemble. AVS 042
Hendrik Waelput
Cantabile for Four Violas. AVS 018

W. A. Mozart
Principal Viola Part for Sinfonia Concertante,
K. 364, Extended Scordatura Edition. AVS 019
Principal Viola Part for Sinfonia Concertante,
K. 364, Scordatura Edition. AVS 019a
G. P. Telemann
Concerto for Two Violettas, TWV 52:G3.
Critical Edition Including Alternative
Scordatura Solo Parts. AVS 025
MIXED ENSEMBLES

Carl Fuerstner
Two Pieces for Viola and Piano. AVS 021
Henry Holden Huss
Sonata Movement for Viola and Piano.
AVS 034
Edna Frida Pietsch
Andante Cantabile for Viola and Piano.
AVS 033

J. S. Bach
Chorale: Ich, dein betrubtes Kind, for Soprano,
Viola obligata, and Continuo from the Cantata
Mein Herze schwimmt im Blut. AVS 013
Ergiee dich reichlich,du gttliche Quelle, Aria
for Tenor, Viola, and Continuo from the
Cantata Wo soll ich fliehen hin. AVS 014

Quincy Porter
Speed Etude for Viola and Piano. AVS 007

Hochgelobter Gottessohn, Aria for Alto, Viola,

and Continuo from the Cantata Bleib bei uns,
denn es will Abend werden. AVS 029

Ferdinand Praeger
Elegy for Viola and Piano. AVS 031

Sinfonia from the Cantata: Gleichwie der

Regen und Schnee vom Himmel fllt. AVS 005

Gustav Strube
Regrets for Viola and Piano. AVS 010

Michael Colgrass
Revisions to Variations for Four Drums and
Viola. AVS 016

Theodore Thomas
Divertissement for Viola and Piano. AVS 006
Fidelis Zitterbart Jr.
Sonata No. 2 in G Minor for Viola and Piano.
AVS 041

Felix Mendelssohn-Bartholdy
Adagio from String Sinfonia VIII. AVS 011
Quincy Porter
Little Trio (Suite in E Major) for Flute, Violin,
and Viola. AVS 026

VIOLIN AND VIOLA

Louise Lincoln Kerr
Etude. AVS 020
J. N. Pychowski
Perpetual Canon. AVS 017

Max von Weinzierl

Nachtstck fr 4 Violen, op. 34. AVS 009

http://americanviolasociety.org/Resources/Scores.php