EDUARD TUBIN
c o m p l ete w o r k s
Series IV
Volume XIX
Piano works
Edited by
Vardo Rumessen
INTERNATIONAL EDUARD TUBIN SOCIETY / GEHRMANS MUSIKFÖRLAG
CO N T E N T S
[Sonata No.1 in E major]. ETW 31-1.
1. Sonata Allegro. Moderato, con espressione
Sonatine in D minor. ETW 39.
1. Allegro moderato, ma un poco agitato
2. Andante sostenuto, quasi largo
3. Presto
Sonata No.2 ETW 44.
1. Rubato e agitato
2. Andante. Variations on Laplandian Tunes
3. Allegro
S U PPL E M E N T
[Sonata No.1 in E major]. ETW 31.
2. Scherzo. Presto
3. Andante mesto, con passione
4. Finale. Allegro fuocoso
COMM E N TA RY
A B B R E V I AT I O N S
EKHSEesti Kultuurkapitali Helikunsti Sihtkapital (Cultural Endowment of Estonia for Music)
ETWEduard Tubin. Helitööde Helitööde temaatilis-bibliograafiline kataloog. The Works of
Eduard Tubin. Thematic-Bibliographical Catalogue
GMFGehrmans Musikförlag AB
SMBStatens Musikbibliotek (The Music Library of Sweden)
TMMTeatri- ja Muusikamuuseum (Theater and Music Museum in Tallinn)
VRPrivate Collection of Vardo Rumessen
The Commentary provides information on completed original manuscripts, manuscript copies and printed
editions. The time and place of writing are noted, if they appear in the manuscript. The location of each
manuscript or copy is provided. For printed editions the date and place of publication is provided. If
sources provide different titles for works or titles in other languages these are also supplied.
The primary source (A) is the basis for this critical edition and is given first in the list of sources,
followed by earlier manuscripts, copies or printed editions (B, C, etc.). In case any part has been used
from an earlier handwritten score, it is specially noted. If the original manuscript has not been preserved,
printed scores published during the composer’s lifetime have been used.
The commentaries are limited to listing and describing the original sources. A complete commentary
can be found on the Internet, where major discrepancies between finished handwritten scores are noted.
For those works that are based on folk tunes, the original folk tunes and their sources can also be found
on the internet (www.tubinsociety.com).
[Sonata No.1 in E major].
Sonaat allegro ETW 31-1.
Composed: 1928.
A. Original manuscript in TMM (M319). I movement, 16 pp. Title: Sonata-allegro. No date.
B. Handwritten copy in TMM (M319). I movement, 17 pp. Title: Sonata allegro. No date.
C. Handwritten copy by C. Kreek in TMM (M11). I movement, 24 pp. Title: Sonaadi Allegro. No date.
D. Original manuscript in pencil, TMM (M319). I movement, 18 pp. Title: I. No date.
The main title “Sonata” was originally not attached to any of the movements; it has been added by the
editor. The first movement of the Sonata, Sonaat allegro, was sold by the composer as an independent
work to EKHS in 1936. This manuscript A is a basis for this edition. In addition, a manuscript of the first
movement in pencil also survives (D), with only a few minor variations compared to the later ink
manuscript. Unfortunately the placement of slurs in all of the movements is often haphazard and often
incorrect and uncomperehensive, as is often the case in draft manuscripts.
Since the last three movements of the Sonata were written in pencil, and since they partly look like
drafts, they cannot be treated as finished works and are, therefore, published in the Supplement.
Bar
B. 7 B.168 In manuscript A in right hand, the
two bottom notes in the chord
C sharp-F sharp are tied to the notes
of the previous fifth. The same in the
analogous bar 12. The editor
recommends the following be played:
There is an a tempo marking in
manuscript A. The earlier manuscript
D has Tempo I.
B. 232 In manuscript A the last note of the
fifth in left hand is E sharp. Probably
it is an error. In manuscript D there is
D sharp. Corrected by editor.
B. 276-281In the earlier manuscript D these bars
are written as follows:
S o n a t i n e i n D M i n o r. E T W 3 9 .
Composed: 1941–1943.
A. Published: Sonatine. Körling, Stockholm, [1947].
B. Original manuscript in pencil in VR private music collection. 29 pp. Title: Sonaat No. 2.
Date&place: Tartu, 23 June 1943.
C. Original manuscript in pencil in TMM (M319). 2 pp. (41 bars). Title: Sonatiin. Date: 1941.
The work was initially titled as Sonata No. 2, as is specified in manuscript B. The work was debuted
under this title at a concert devoted to works by Tubin in Tartu’s Vanemuine Theatre on 14 December
1943, as performed by Olav Roots. After being forced to emigrate to Sweden, the composer did not know
whether his Sonata No. 1 had survived in Estonia, and thus gave it the title Sonatine in the first printed
edition in 1947. The basis for this edition is the first printed edition A, which was prepared by composer
for print on the basis of manuscript B.
1. Allegro moderato, ma un poco agitato
3. Presto
Bar
B.1 B. 169 Manuscript B lacks a metronome
marking. It is present in the first
printed edition A.
B. 129-130
and 135-136The dynamic markings are corrected
according to manuscript B.
B. 158
The marking rit. is from manuscript B;
it is missing in the first printed edition B. 226 A.
2. Andante sostenuto, quasi largo
B.1 In manuscript B, there is no
metronome marking, it is from the
first printed edition A.
The first printed edition A has the
marking Mezza movimento, quasi
marciale, ma misterioso. Manuscript B
has Un poco meno mosso, quasi
marciale, ma misterioso: there is no
metronome marking in the
manuscript; it is from the first printed
edition.
Manuscript B lacks the marking
tranquillo, which is from printed
edition A.
Sonata No. 2 ETW 44.
Composed: 1950.
A. Original manuscript on onionskin sheets in GMF. 22 pp. Title: Sonata.
I movement; II movement, Variations over Laplandian Tunes; III movement. Date&place:
Stockholm, February – October, 1950.
B. Original manuscript in SMB. Draft in pencil. I vers. 44 pp. Title: Sonaat klaverile. Date: 1950.
C. Original manuscript in pencil in GMF. II vers. 26 pp. Title: Sonaat klaverile. I, II Lapi rahvaviis
variatsioonidega, III. Date: Feb.- Oct. 1950.
D. Original manuscript in SMB. 1 p. (24 bars). Title: Sonaat klaverile. Date: 1949.
The first written recording (D) of the sonata is from
1949, and this is musically completely different
from the later one:
The various manuscripts of the sonata lack the
sonata number: the composer did not know at the
time it was composed whether his Sonata No. 1 was
still extant, the title is marked merely “Sonata”.
Manuscript B is the initial version of the sonata,
which is a fairly rough version and is dated 1950:
Manuscript C was written in pencil, with numerous
corrections and strikethroughs. Manuscript A was
written as a finished draft on onionskin; it is used as
the basis for this edition.
The sonata was first published in print as a copy
of manuscript A after the death of the composer in
1986, with the English-language title Sonata No. 2.
1. Rubato e agitato
Bar
B. 1 Manuscript C has the tempo as Agitato e
rubato together with the metronome
marking h = 56. The time signature is given
only as 2 without the note value that
constitutes the beat, which is given in the
later manuscript A. In manuscript C, the
tempo is given as Prestissimo e agitato and
the metronome marking as q 176-184. In
manuscript C mf.
B.14 The last two notes in manuscript C are
crochets, as the accompanying figure for the
right hand is repeated three times.
B.17 A triplet is noted for the left hand in
manuscript C, as the accompanying figure
for the right hand is repeated three times.
B. 22
B. 30
B. 49 B. 55
B. 62
B. 63, 180
and 183 B. 76
B. 76-77 B. 82
B. 107
B. 112
B. 115
B. 116
B. 141
B.143-144
B.147-148
B. 168
B. 187-188
B. 196-197
B. 197
The beginning of the passage was
originally written an octave lower in
manuscript C, but later deleted.
Marked piú p in manuscript C.
In manuscript C two eighth notes on
the second beat of the left hand are
marked one octave higher. In manuscript A the octave mark is missing
and has been added by the editor.
A triplet is marked in manuscript C.
In manuscript A the flat sign is missing
in the left hand in the second beat. It is
present in manuscript C. Corrected by
the editor.
Manuscript A lacks triad markings in
these bars. They exist in manuscript C
(except for bar 183). Corrected by the
editor.
Manuscript C carries the marking
Tranquillo.
In manuscript C 11 bars were inserted
between indicated bars; these bars
have later been deleted.
Manuscipt C carries the marking
Trillo.
Manuscript C carries a bracketed
marking mf for the right hand.
Instead of the triplets for left hand in
manuscript C, four notes H-D-E flat-F
sharp were originally written, of
which the D has later been deleted.
In the first beat in manuscript C, there
was originally a repetition of the last
group of notes from the previous bar;
it was later deleted.
Manuscript C carries the marking
trillo.
The last chord for left hand in
manuscript C is notated as a quaver.
Originally two bars were written
between these bars, and later deleted.
In manuscript C another bar was
inserted between the indicated bars; it
was later deleted.
In manuscript C part of this bar was
later deleted.
In manuscript C another bar was
originally inserted between these bars,
and later deleted.
In manuscript C these bars originally
included the same figure (B-G flat-F)
played in parallel octaves in the bass
as the previous two bars; it was later
deleted.
Manuscript C carries the markings
sostenuto and ppp.
2. Andante.Variations on Laplandian Tunes
In manuscript C the title is given in Estonian language as Lapi rahvaviis variatsioonidega (Lappish
folk tune with variations). Manuscript A bears the
title Variations over Laplandian Tunes. Actually
the composer has used two Sami folk tunes from
Karl Tirén’s anthology of Sami folk tunes, Die Lappische Volksmusik. The first of these is a temptation song (Katnihat-vuoleh):
K. Tirén, Die lappische Volkmusik. Acta Lapponica III.
Stockholm, 1942, p. 57.
The other tune used by Tubin is a Sami joik. It is a
love song (Rakesluoteh):
K. Tirén, Die lappische Volkmusik. Acta Lapponica III.
Stockholm, 1942, p. 71.
B. 1 B. 8
B. 13
B. 20
B. 31
B. 33
B. 44
B. 53
In manuscript C, there is no tempo
marking, but only the metronome
marking e = 63.
Manuscript C carries the tempo marking
e = e. The later manuscript A carries
x = x, which is a probable error. This has
been corrected by the editor on the bases
of the earlier manuscript.
Manuscript C carries the marking poco
rit here. This is missing in the later
manuscript A.
In manuscript C is pp.
The sharp sign before the E on beat 3 in
the left hand is missing from the later
manuscript A. It is probably an error.
The sharp is present in manuscript C.
Corrected by the editor.
Manuscript A lacks a flat sign before the
B on the second beat in the right hand. It
flat is present in manuscript C. Added by
the editor.
In manuscript C is pp.
Stringendo e crec. is noted in manuscript
C. Originally another group was written
between the fifth and sixth groups of the
candenza, which later was deleted.
B. 66
B. 67
In manuscript C, mf preceded by
cresc. and followed by dim is noted.
In manuscript C is pp. It is missing in
manuscript A.
3. Allegro
B. 13-14
B. 29
B. 37
B. 66 B. 70 In manuscript C another bar was
inserted between referred bars; it
repeated the previous rhythm figure.
Manuscript C has a metronome
marking e = 176.
Manuscript C has originally four
beats, of which the last beat repeats
the previous one.
In manuscript C is pp.
Manuscript C has a metronome
marking e= 152.
B. 79 Manuscript A lacks a tie between the
C sharp on the second beat and the C
sharp on the third beat of the left
hand. The tie is present in manuscript
C. Added by the editor.
B. 89
In manuscript C the last beat of the
left hand is written one octave higher
C-F sharp-C.
B. 105-109 These bars have been repeatedly improved and changed in manuscript C.
B. 125
This bar has been improved and
changed in manuscipt C.
B. 129
At the beginning of this bar there is
one more beat in manuscript C, which
repeats the rhythm figure of the
previous bar.
B. 132 Manuscript A lacks a sharp sign in
front of the C of the right hand at the
beginning of the bar. It is present in
manuscript C. Added by the editor.
supplement
[Sonata No. 1]
Composed: 1928.
2. Scherzo ETW 31-2.
A. Original manuscript in pencil in TMM (M159).
II movement. 8 pp. Title: Scherzo.
Bar
B. 46 Only F sharp is written in the first
eighth note in the right hand.
Presumably this should be F sharp-B,
as was corrected by the editor on the
basis of the next two bars.
B. 48 In the manuscript, the second eighth of
the chord B3-E4 of the right hand seems
superfluous, since the corresponding
place in measure 59 has marked with a
rest of an eighth.
B. 57 In the manuscript, the first eighth of
the right hand appears as C sharp.
Probably it should be C sharp-F as the
editor has marked it on the basis of the
two preceding measures.
B. 58
In the manuscript, the first eighth of
the right hand appears as F sharp-F
sharp. Probably it should be F sharpA-F sharp as the editor has marked it
on the basis of the two preceding
measures.
B. 201
In the manuscript, the chord C sharp-F
sharp-A-C sharp is written on the last
beat in the right hand, which is likely
an error. Based on mm. 202-203, this
sonority is corrected to C sharp-E-G
sharp-C sharp.
B. 204-206 These bars have the appearance of a
draft version. They were corrected and
then deleted:
These bars have been corrected by the editor.
B. 273 In the manuscript, only F sharp is written
in the first eighth note in the right hand.
Presumably this should be F sharp-B, as
was corrected by the editor on the basis
of the next two bars.
B. 275 See the commentaries to bar 48.
B. 284 See the commentaries to bar 57.
B. 285 See the commentaries to bar 58.
B. 368 The editor recommends the following to
be played:
3. Andante mesto, con passione
C. Original manuscript in pencil in TMM (M159).
III movement, 9 pp. No date.
B. 38
In the manuscript, E is preceded by sharp
on the first beat of the bar. Although E of
the second beat of both left and right
hands includes no natural, it has to be
regarded as a mistake. Consequently, the
naturals are added by the editor.
B. 45
The key signature consist of four flats in
the manuscript, but from the next bar on
five flats have erroneously been marked.
Corrected by the editor.
B. 50 The last note in the fourth quarter note
of the right hand in the manuscript is
given as E double sharp, which is
probably an error. The natural sign
before the E was added by the editor.
B. 77-79 The manuscript has, initially, instead of
these bars:
Instead, three additional measures were written,
which were later deleted by the composer:
At this point the manuscript breaks off, continuing
on the following page from bar 77. As the abovementioned bars remain unfinished in the manuscript, these bars were omitted by the editor.
4. Finale. Allegro fuocoso
A. Original manuscript in pencil in TMM (M319).
IV movement, 22 pp. Finale. No date.
B. 35
The manuscript has a natural sign
before the G in the first chord in the
right hand at the beginning of the
measure. This is presumably an error.
It was corrected by the editor.
B. 244
Manuscript lacks a sharp in front of D
in the left hand. It is presumably an
error. Corrected by the editor.
B. 247-248 Another three bars were initially
written in the manuscript between
these bars, which were later deleted by
the composer:
B. 248-249 The marcato articulation marks of the
left hand are missing in the
manuscript. Added by the editor on
the basis of analogous bars 120-121.
B. 268 There is a sharp before the second
eighth-note F in the right hand of the
manuscript. This is presumably an
error and there should be a double
sharp before this F.
B. 346
In the manuscript, the first chord in
the right hand is written D-G-B-E.
However, this is probably an error and
should be D-F sharp-B-D. Corrected
by the editor.