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TRANSCRIPT
PETER GELLHORN
STRING QUARTET NO.2 (1935)
RCM EDITIONS
About RCM Editions
RCM Editions are performing editions of works. They have been created to supportCollege performances, recordings and research. They are published to bring the
works to a wider public.
About the Peter Gellhorn Project
This edition was created as part of the AHRC-funded Cultural Engagement Project“Exile Estates – Music Restitution: The Musical Legacy of Conductor/Composer
Peter Gellhorn”, in collaboration with the International Centre for Suppressed Music(ICSM) and the Jewish Music Institute (JMI).
Project supervisor: Norbert Meyn
Cultural Engagement Fellow: Dr. Terence Curran
Advisor (ICSM): Professor Erik Levi
General Editor: Dr. Bruno Bower
Assistant Editors: Catherine Cheung, Lison Favard, Ray Leung, PiyawatLouilarpprasert, Tim Maryon, Randall Scotting.
© 2016 Royal College of Music, London (graphic rights only), and Mary, Barbara,Martin and Philip Gellhorn. All rights reserved.
This RCM Edition is supported by:
We would also like to acknowledge the support of the British Library in providingaccess to its collection of Peter Gellhorn’s papers.
Preface
On the manuscript score of this string quartet Gellhorn gives November 1935, London as the date and place of composition. Gellhorn had just arrived in London and worked as a ‘resident volunteer’ at Toynbee Hall, where he taught music, directed ensembles, and composed incidental music for the theatre group.1
Dr. Terence Curran and Norbert Meyn
References:
1. Toynbee Hall Annual Report, 1935-1938. Appendix A: List of Residents; Toynbee Hall Annual Report, 1935-1938. Education and the Arts: The New Music Department, p. 25.
Editorial Statement
A collection of Peter Gellhorn’s papers, including autograph manuscripts for all of his extant compositions, was donated to the British Library on 30th April 2010 and 20th July 2011 as Music Deposit 2010/15. The official reference for the collection is now MS Mus. 1800, and a complete catalogue can be found at www.petergellhorn.com /sheet-music. Alongside sketches and drafts, the composition manuscripts include a number of autograph fair copies, written in ink, clearly notated, and with few corrections, suggesting that Gellhorn intended them to be regarded as authoritative. It has therefore been possible to make urtext editions of these works, accurately conveying Gellhorn’s intentions. Some minor corrections and changes to formatting have been made so that the scores are ready for use by performers, in keeping with the ethos of the RCM Editions. On a similar basis, any specific modifications are outlined in the preface to each work, rather than using editorial brackets in the score,in order to reduce clutter on the page and to ensure easy reading. For an overarching outline of the approach to transcription, see “The Peter Gellhorn Edition:General Statement”, available at www.petergellhorn.com/sheet-music and at researchonline.rcm.ac.uk/69/.
Sources
The Gellhorn Papers contain five autograph manuscripts for String Quartet No.2, catalogued under MS Mus. 1800/4/1 Orchestral and instrumental music; 1932-1936: a fair score, and complete set of four fair parts. The fair score has been taken as the primary copy text, with the fair parts consulted to ensure consistency.
The fair score is written in black and blue ink on 18-stave Keith Prowse (U18, Siestrop System) manuscript paper. The manuscript is formed from seventeen bifolios, of which two are interpolated, and two interpolated folios, making an unbound seventy-two-page booklet measuring 359mm by 263mm. The contents are as follows:
[i]: Title page [ii]: Blank page pp.1-19: First movement pp.20-32: Second movement pp.33-40: Third movement pp.41-57: Fourth movement [iii-xv]: Blank pages
Specific Editorial Remarks
The following minor corrections have been made:
Movement 1 measure 61 beat 1: Gellhorn added a sharp on the first triplet quaver in the viola as it was carried from a tie over a page break. It has been moved to the second triplet quaver here as it is still intended to stand for the whole bar (supported by the autograph part).
Movt.2 m.29 b.3: a slur has been added to the second violin for consistency.
Movt.2 m.35 b.1: the F in the cello has been changed to a G to neaten the subsequent tie.
Movt.2 m.73 b.1: the demisemiquaver beam in the first violin has been divided to match the beaming in the second violin and viola.
Movt.2 m.104 b.1: a “Sul G” marking has been removed, the line from previous bar derived from the same marking has been extended to cover the two notes.
Movt.4 m.32 b.1: a natural has been added to the B in cello to match m.215 and for clarity.
Movt.4 mm.67-68: a sharp has been added to the C in the second violin for consistency (supported by the autograph part).
Movt.4 m.146: the F in the viola has been changed to an E to neaten the subsequent tie.
Movt.4 m.174: slurs have been added to the second violin for consistency.
Dr. Bruno Bower
Andante lento q = 42
String Quartet No.2Peter Gellhorn (1912–2004)
I.
Violin I
Violin II
Viola
Violoncello
mf
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6
Vln. I
Vln. II
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Vln. I
Vln. II
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16
© 2016 Royal College of Music, London (graphic rights only), and Mary, Barbara, Martin and Philip Gellhorn. All rights reserved.
Vln. I
Vln. II
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dim. pp
Allegro h = 7620
Vln. I
Vln. II
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27
Vln. I
Vln. II
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33
Vln. I
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39
Vln. I
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45
Vln. I
Vln. II
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51
Vln. I
Vln. II
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3 3
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60
Vln. I
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65
Vln. I
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Vln. I
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Andante lento q = 42
73
Vln. I
Vln. II
Vla.
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77
Vln. I
Vln. II
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8
81
Vln. I
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85
Vln. I
Vln. II
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89
Vln. I
Vln. II
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pp
dim. pp
dim.
pp
dim.
p
dim.
Allegro h = 7692
Vln. I
Vln. II
Vla.
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3
3
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3 3
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33
9
97
Vln. I
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101
Vln. I
Vln. II
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105
Vln. I
Vln. II
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p
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109
Vln. I
Vln. II
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10
114
Vln. I
Vln. II
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f
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119
Vln. I
Vln. II
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3
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123
Vln. I
Vln. II
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129
Vln. I
Vln. II
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135
Vln. I
Vln. II
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140
Vln. I
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145
Vln. I
Vln. II
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151
Vln. I
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156
Vln. I
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161
Vln. I
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165
Vln. I
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169
Vln. I
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173
Vln. I
Vln. II
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Andante lento q = 40177
Vln. I
Vln. II
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181
Vln. I
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Andante q = 50
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6
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23
Vln. I
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29
Vln. I
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35
Vln. I
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41
Vln. I
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47
Vln. I
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51
Vln. I
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55
Vln. I
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59
Vln. I
Vln. II
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64
Vln. I
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17
69
Vln. I
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73
Vln. I
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76
Vln. I
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78
Vln. I
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18
81
Vln. I
Vln. II
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85
Vln. I
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89
Vln. I
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93
Vln. I
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97
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100
Vln. I
Vln. II
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102 poco più lento
Vln. I
Vln. II
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106
Vln. I
Vln. II
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20
Scherzo h. = 92Allegro Vivace
III.
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21
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30
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38 1.
2.
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46
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56
Vln. I
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64
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22
73
Vln. I
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81
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88
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97
Vln. I
Vln. II
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23
106Musette h = 84
Vln. I
Vln. II
Vla.
Vc.
p
p
p
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118
Vln. I
Vln. II
Vla.
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pp
mp
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130
Vln. I
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140
Vln. I
Vln. II
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24
150
al Tempo I.accel.
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Scherzo da Capo al
, poi la Coda
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(arco)
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165
Vln. I
Vln. II
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Vc.
Andante q = 60
IV.
Vln. I
Vln. II
Vla.
Vc.
senza vibrato
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senza vibrato
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senza vibrato
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senza vibrato
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25
11
Vln. I
Vln. II
Vla.
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20 attacca:
Allegro molto q. = 152
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Vln. II
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Vln. I
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26
42
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49
Vln. I
Vln. II
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Vc.
56
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64
Vln. I
Vln. II
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senza vibrato
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27
72
Vln. I
Vln. II
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80
Vln. I
Vln. II
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Vc.
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88
Vln. I
Vln. II
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96
Vln. I
Vln. II
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28
104
Vln. I
Vln. II
Vla.
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112
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Vln. II
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120
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pizz.
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127
Vln. I
Vln. II
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Vc.
cresc.
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29
135
Vln. I
Vln. II
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143
Vln. I
Vln. II
Vla.
Vc.
cresc.
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mf
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dim.
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151
Vln. I
Vln. II
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Vc.
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159
Vln. I
Vln. II
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Vc.
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f
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pizz.
f
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30
167
Vln. I
Vln. II
Vla.
Vc.
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175
Vln. I
Vln. II
Vla.
Vc.
cresc.
ff
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183
Vln. I
Vln. II
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Vc.
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190
Vln. I
Vln. II
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Vc.
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31
196
Vln. I
Vln. II
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Vc.
pizz.
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203
Vln. I
Vln. II
Vla.
Vc.
ffz
arco
mf
arco
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mf
ff
211
Vln. I
Vln. II
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Vc.
cresc.
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pizz.
pizz.
cresc.
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mf
218
Vln. I
Vln. II
Vla.
Vc.
f
pizz.
mf
arco
f
mf
arco
f
mf
arco
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mf
32
226
Vln. I
Vln. II
Vla.
Vc.
cresc.
arco
f
cresc.
f
cresc.
f
cresc.
f
233
Vln. I
Vln. II
Vla.
Vc.
240
Vln. I
Vln. II
Vla.
Vc.
pizz.
arco
pizz.
pizz.
pizz.
pizz.
arco
pizz.
247
Vln. I
Vln. II
Vla.
Vc.
arco
ff
arco
ff
p
ff
p
arco
ff
p
pizz.
33
254
Vln. I
Vln. II
Vla.
Vc.
p
senza vibrato
mp
262
Vln. I
Vln. II
Vla.
Vc.
dim.
p
270
Vln. I
Vln. II
Vla.
Vc.
f
f
mp
f
arco
f
278
Vln. I
Vln. II
Vla.
Vc.
f
f
f
f
34
286
Vln. I
Vln. II
Vla.
Vc.
dim.
mf
mf
dim.
mf
mf
dim.
mf
mf
cresc.
294
Vln. I
Vln. II
Vla.
Vc.
ff
cresc.
ff
cresc.
ff
f
ff
pizz.
arco
f
302
Vln. I
Vln. II
Vla.
Vc.
f
dim.
f
dim.
dim.
dim.
310
Vln. I
Vln. II
Vla.
Vc.
p
pizz.
pp
p
pizz.
pp
p
pizz.
pp
pizz.
p
pp
Fine
35
Andante lento q = 42
Violin I String Quartet No.2Peter Gellhorn (1912–2004)
I.
mf
6
11
cresc.
f
16
© 2016 Royal College of Music, London (graphic rights only), and Mary, Barbara, Martin and Philip Gellhorn. All rights reserved.
fz dim. mf
dim.
19
Allegro h = 76
p
dim.
Vc.
mf
24
f
28
32
fz
mf
cresc.
37
f
p
mf
41
f
ff
f
47
mf
mf
cresc.
f
3 3
55
58
dim.
cresc.
61
f
mf
cresc.
66
f
#
mf
cresc.
Violin I
2
70
Andante lento q = 42
f
p
75
77
79
81
84
cresc.
87
f
fz
p
90
Allegro h = 76
dim.
pp
Vln. II
Violin I
3
93
p
cresc.
3
3
96
mf
cresc.
f
b
100
cresc.
103
ff
106
dim.
p
cresc.
109
mf
113
f
118
cresc.
ff
Violin I
4
121
dim.
mf
3
126
f
130
fz
mf
135
cresc.
f
139
ff
142
p
mf
f
146
ff
149
f
mf
Violin I
5
157
mf
cresc. f
#
#
163
bb
b
b
f
dim.
mp
167
§
cresc.
170
f
dim.
mf
173
cresc.
f
dim.
176 Andante lento q = 40
molto dim.
p
mp
180
p
dim.
182 molto dim.
pp
dim.
Violin I
6
II
Andante q = 50
p
4
8
pp
15
mp
20
cresc.
mp
25
30
dim. p
cresc.
36
p
cresc.
p
44
dim.
mp
53
56
Violin I
7
59
Vla.
mf
64
69
p
72
cresc.
mf
74
dim.
p
cresc.
76
mf
cresc.
f
mf
79
mf
86
cresc.
f
92
dim.
mf
dim.
p
cresc.
Violin I
8
98
mf
dim.
p
101
Sul G
p
104 poco più lento
pp
pp
107 ppp
Scherzo h. = 92Allegro Vivace
III.
mf
8
14
f
21
26
Violin I
9
32
mf
1.
44
2. 46
ff
mp
cresc.
55
f
61
66
mf
73
f
ff
81
p
87
cresc.
92 97
f
ff
Violin I
10
100
106 Musette h = 84
p
114
122
pp
133
mf
142
150
al Tempo I.accel.
Scherzo da Capo al
, poi la Coda
Coda
ff
166
Violin I
11
Andante q = 60
IV.
senza vibrato
p
9
17attacca:
Allegro molto q. = 15224
ffz
mf
30
cresc.
35
f
40
pizz.
mf
cresc.
arco
f
47
53
Violin I
12
58
pizz.
arco
ff
65
p
senza vibrato
73
80
f
87
f
94
mf
101
mf
ff
108
112
Violin I
13
117
mf
dim.
p
123
ffz
mf
131
cresc.
f
fz
mf
139
p
cresc.
146
f
mf
154
163
pizz.
f
f
arco
170
cresc.
179
ff
187
sempre ff
192
Violin I
14
196
pizz.
201
ffz
arco
mf
209
215
cresc.
f
220
pizz.
mf
225
cresc.
arco
f
231
237
pizz.
243
arco
pizz.
247
arco
ff
Violin I
15
252
p
senza vibrato
260
267
f
274
279
f
284
dim.
mf
mf
292
ff
298
f
306
dim.
p
312
pizz.
pp
Violin I
16
Andante lento q = 42
Violin IIString Quartet No.2
Peter Gellhorn (1912–2004)
I.
p
4
7
10
13
cresc.
f
16
© 2016 Royal College of Music, London (graphic rights only), and Mary, Barbara, Martin and Philip Gellhorn. All rights reserved.
fz p
dim.
19
Allegro h = 76
pp
Vc.
23
mf
f
29
f
fz
mf
34
cresc.
f
39
p
mf
f
ff
45
f
mf
p
53
mf
cresc.
f
3 3
56
59
dim.
cresc.
f
p
64
cresc.
f
mf
69
Andante lento q = 42
cresc.
f
p
78
mf
86
cresc.
f
fz
p
dim. pp
Violin II
3
Allegro h = 7692
p
cresc.
96
mf
cresc.
f
3
100
cresc. ff
105
dim.
p
109
p
112
ff
f
116
cresc.
120
ff
dim.
mf
3
123
dim.
f
128
f
Violin II
4
133
fz
mf
cresc.
138
f
ff
142
p
mf
f
147
ff
f
mf
154
mf
3
3
157
cresc.
f
160
163
dim.
cresc.
f
p
168
cresc.
f
172 mf
cresc.
f
Violin II
5
Andante lento q = 40177
p
180
pp
182 pizz.
ppp
IIAndante q = 50
arco
p
9
12
pp
mp
17
21
cresc.
mp
25
Violin II
6
29
dim.
p
cresc.
33
39
p
cresc.
p
45
dim.
mp
48
51
55
dim.
p
60
Vln. I
mf
63
Violin II
7
67
p
72
cresc. mf
dim.
p
75
cresc.
76
mf cresc.
f
dim.
78
mf
mp
82
85
cresc.
88
mf
92
b
dim.
mp
Violin II
8
95
dim.
p
cresc.
mf
dim.
99
p
102 poco più lento
p
pp
106
pp
ppp
Scherzo h. = 92Allegro Vivace
III.
mf
9
16
f
24
30
mf
Violin II
9
38 1.
2.
ff
46
p
53
cresc.
f
63
69
mf
f
77
ff
mf
84
pizz.
p
cresc.
92 97
f
arco
ff
100
Violin II
10
106 Musette h = 84
p
117
mp
126
134
mf
144
151
al Tempo I.accel.
Scherzo da Capo al
mf
, poi la Coda
Coda
ff
165
Violin II
11
Andante q = 60
IV.
senza vibrato
p
11
20 attacca:
Allegro molto q. = 152
ff
28
33
cresc.
pizz.
f
arco
38
mf
42
cresc.
f
48
54
57
pizz.
Violin II
12
61
arco
ff
p
67
72
77
82
f
88
f
93
98
mf
mf
105
cresc.
109
ff
Violin II
13
114
f
dim.
f
dim.
122
pizz.
p
arco
f
mp
128
cresc.
133
f
mf
140
p
cresc.
148
f
dim.
mf
153
158
cresc.
dim.
163
pizz.
f
arco
f
168
173
cresc.
Violin II
14
178
ff
185
sempre ff
190
195
pizz.
200
206
arco
ff
212
217
pizz.
cresc.
arco
f
222
mf
227
cresc.
f
234
240
pizz.
Violin II
15
246
pizz.
arco
ff
p
252
257
262
267
272
f
278
f
284
dim.
mf
mf
Violin II
16
291
cresc.
ff
297
f
306
dim.
p
312
pizz.
pp
Violin II
17
Andante lento q = 42
ViolaString Quartet No.2
Peter Gellhorn (1912–2004)
I.
p
4
7
10
13
cresc.
f
16
© 2016 Royal College of Music, London (graphic rights only), and Mary, Barbara, Martin and Philip Gellhorn. All rights reserved.
fz p
dim.
19
Allegro h = 76
pp
Vc.
mf
24
f
29
f
fz
mf
cresc.
37
f
p
mf
f
42
ff
46
dim.
p
50
mf
3
3
53
mf
cresc.
f
59
dim.
cresc.
f
dim.
mp
63
65
§
cresc.
f
Viola
2
67
dim.
mf
69
cresc.
f
Andante lento q = 4273
p
76
79
82
85
cresc.
f
88
fz p
90
dim.
pp
Viola
3
Allegro h = 7692
Vln. II
mf
3 3
98
cresc.
f
ohne Nachschlag
102
cresc.
ff
105
dim.
p
108
p
111
ff
114
dim.
f
117
ff
121
dim.
p
127
f
f
fz
134
mf
cresc.
f
Viola
4
140
ff
dim.
§
p
144
mf
f
f
ff
149
dim.
153
p
mf
157
cresc.
f
3
160
163
dim.
cresc.
f
p
167
cresc.
f
171
#
mf
173 cresc.
f
Viola
5
Andante lento q = 40177
p
180
pp
182 pizz.
ppp
IIAndante q = 50
arcop
6
12
dim.
mf
19
cresc.
dim.
24
mf
29
cresc. dim.
p
cresc.
Viola
6
33
p
40
p
45
dim.
mp
49
52
55
§
57
p dim.
Viola
7
61
mf
66
70
p
mfcresc.
74
dim.
p
cresc.
76
mf cresc.
f
dim.
78
p
dim.
80
mp
83
87
cresc.
mf
91
dim.
mp
Viola
8
94
dim.
p
cresc.
98
mf
dim.
p
p
103 poco più lento
p
pp
107
ppp
Scherzo h. = 92Allegro Vivace
III.
mf
9
17
f
25
mf
33
39 1.
2.
Viola
9
46
p
cresc.
54
f
63
71
f
ff
80
f pizz.
p
87
cresc.
f arco
95
ff
100
106 Musette h = 84
p
119
pp
131
mf
Viola
10
144
152
al Tempo I.accel.
Scherzo da Capo al
mf
, poi la Coda
Coda
ff
165
Andante q = 60
IV.
senza vibrato
p
8
16 attacca:
Allegro molto q. = 15224
ffz
mf
mf
pizz.
29
33
cresc.
Viola
11
38
arco
f
mf
43
cresc.
f
50
55
60
ff
p
66
#
mp
74
dim.
p
79
mp
Viola
12
85
f
91
f
97
mf
103
cresc.
ff
110
f
dim.
117
f
dim.
123
f
Viola
13
131
mf
cresc. f
mf
138
p
cresc.
146
f
dim.
mf
152
157
cresc.
dim.
162
pizz.
f
arco
f
167
172
cresc.
Viola
14
177
ff
183
sempre ff
189
194
pizz.
199
205
arcoff
mf
211
pizz.
216
pizz.
cresc.
Viola
15
221
arco
f
mf
226
cresc.
f
232
238
243
pizz.
arco
ff
249
p
255
mp
262
dim.
p
Viola
16
267
mp
273
f
f
280
286
dim.
mf
293
cresc.
ff
300
f
308
dim.
p
313
pizz.
pp
Viola
17
Andante lento q = 42
VioloncelloString Quartet No.2
Peter Gellhorn (1912–2004)
I.
p
12 mf
15
© 2016 Royal College of Music, London (graphic rights only), and Mary, Barbara, Martin and Philip Gellhorn. All rights reserved.
f
fz
p
dim. pp
Allegro h = 7620
mf
25
f
30
f
fz mf
35
cresc.
p
mf
f
42 ff
f
mf
49 mf
52 f
f
pizz. 3
3
56
mf
p
mf
f
62 arco
p
cresc.
f
pizz.
68 arco
mf
cresc.
f
dim.
3 3
71 molto dim.
Andante lento q = 4273
p
mf
77
82
86 cresc.
f
fz
dim.mf
90
Allegro h = 76
dim.
p
dim.
Vln. II
Violoncello
3
96f
mf
cresc.
f
3
3
100
cresc.
103ff
106dim.
p
p
110
ff
114
dim.
f
pizz.
118 arco
ff
dim.
123p
f
128
133 f
fz mf
cresc.
Violoncello
4
138
f
§
ff
§
142 p
mf
f
ff
149
f
mf
p
154 f
pizz.
f
161
mf
p
mf
f arco
mf
166
cresc.
f
pizz.
171
arco
mf
cresc.
§
f
Andante lento q = 40
177 pizz.
p
pp
182 ppp
pizz.
Violoncello
5
IIAndante q = 50
arcop
6
11 dim.
pp
mp
16
22cresc.
dim.
mp
28 dim.
p
35
p
45 mf
49
Violoncello
6
53 dim.
mp
60
Vln. I
mf
65
70 p
cresc.
76mf cresc.
f
dim.
78 pizz.
p
dim.
mp
84
mf
90 dim.
mp
97
arco
p
cresc. mf
dim.
p
104 poco più lento
pp
p
dim.
Violoncello
7
Scherzo h. = 92Allegro Vivace
III.
mf
pizz. 9 17 arco
f
25
dim.
mf
34
43 1.
2.
mp
52
pizz. arco
f
59
66 pizz.
mf
arco
f
74 ff
81 pizz.
p
cresc.
Violoncello
8
88 arco
f
dim. mf
ff
97
101
106 Musette h = 84
p
118
pp
130
mf
143
152
al Tempo I.accel.
mf
pizz.
Scherzo da Capo al
, poi la Coda
Coda
(arco)
ff
165
Violoncello
9
Andante q = 60
IV.
senza vibrato
p
9 16 attacca:
Allegro molto q. = 152
24ff
pizz.
mf
32 arco
f
39 mf
cresc.
45 f
50
57
pizz. arco
ff
63
pizz.
p
Violoncello
10
68
73
78
83
arco
f
89
f
95 mf
102
cresc.
ff
111 pizz.
dim.
118
fdim.
122
fz
131 arco
mf
cresc. f
Violoncello
11
138mf
p
144cresc.
f
151 mf
158
pizz.
f
165
arco
f
172
cresc.
180 ff
185
sempre ff
192
198
204
ff
Violoncello
12
211 pizz.
mf
217
arco
f
mf
224 cresc.
229
f
235
241 pizz.
246
arco
ff
p
pizz.
252 257 262 267 272
arco
f
Violoncello
13
277 f
283 mf
290
cresc.
ff
298 pizz.
arco
f
307 dim.
pizz.
p
313
pp
Violoncello
14