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is concerned. On the other hand, perhaps the flutes doubled the ritornello as it
was notated in the first and second violin parts. After all, the horns play the
ritornelli of this movement. I opted for the latter idea.
As with all concertos that are contained in the Double Reed Archaeologist, the
string bass plays only during the ritornelli. Scores of the 18th century are quite
vague on this issue, but as the Concertante follows this procedure for the
second viola and for the four winds, I have followed suit. I would also
recommend the use of a concertante string quartet during the episodes, as
Fiala has forgone the conventional use of first and second violins in these
episodes, for the four-part harmony of two violins, viola, and cello.
The layout of the score of 1955 from which I worked, has been modified for
my edition: the two solo parts are now placed in the center between the winds
and strings, rather than at the top of the score. It should be noted that in Georg
Feldmayr's Concertante, the composer positioned the soloists at the top of his
autograph score, followed by the strings. Feldmayrs's wind band is relegated
to the bottom of the score, almost as an afterthought, although its participation
in his composition is integral.
Fiala's Concertante, itself, is lightweight. Structurally, the first two movements
are set in ritornello form, the first with a sonata-form overlay. The finale, on
the other hand, is a rondo, and is quite comical! All three movements require
the composition of cadenzas for the clarinet and cor anglais, a good project for
the two soloists who will play this work. On the other hand, one could utilize
the cadenzas for the first two movements supplied with the Musica Rara
edition of the Concertante. This modern version, created from the Thurn und
Taxis parts, is a practical arrangement for clarinet, English horn, and piano
published in 1984.