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Proof Delivery Form USE THIS LAYOUT WHEN PROOF CORREX ARE TO BE EMAILED BACK go to page 0 go to free text page 0 go to FV proofing instructions Tempo go to special page 0 go to issue proofing instructions go to navigation screen Date of delivery: 08.03.13 tem Journal and vol/article ref: TEM1300007 << ONLY search for mnemonic here Number of pages (not including this page): 14 This proof is sent to you on behalf of Cambridge University Press. Please print out the file and check the proofs carefully. Please ensure you answer all queries. Please EMAIL your corrections within 2 days of receipt to: << Use drop down to indicate turnaround time for proofs Laura Macy <[email protected]> << Add email address of person you want authors to send their proofs to Authors are strongly advised to read these proofs thoroughly because any errors missed may appear in the final published paper. This will be your ONLY chance to correct your proof. 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Amount Signature of (Including VAT card holder: if appropriate): £ Please advise if address registered with card company is different from above Author Queries Journal: TEM (Tempo) Manuscript: TEM Q1 Please check that all names have been spelled correctly and appear in the correct order. Please also check that all initials are present. Please check that the author surnames (family name) have been correctly identified by a pink background. If this is incorrect, please identify the full surname of the relevant authors. Occasionally, the distinction between surnames and forenames can be ambiguous, and this is to ensure that the authors’ full surnames and forenames are tagged correctly, for accurate indexing online. Please also check all author affiliations. Typesetter Query 1. Facsimile 1-2 and Example 1-5 is provided as Figure label, whereas its caption is missing. Please check and supply. Tempo 67 (264) 1–14 © 2013 Cambridge University Press 1 doi:10.1017/S0040298213000077 1 2 3 4 bartók’s revisions to the 5 instrumentation of ‘duke 6 7 bluebeard’s castle’ 8 9 10 Márton Keréfky Q1 11 12 13 14 15 ’ ’ 16 Abstract: The full score of Béla Bartók s one-act opera Duke Bluebeard s Castle (1911) reached its 17 final form through many intermediate stages and after many years. The most comprehensive 18 revision had been carried out in 1917 before Bluebeard was finally put on the programme of ’ 19 the Budapest Opera House. Bartók s revisions concerned not only the ending of the opera 20 and the vocal parts but also the instrumentation. On the basis of all available primary sources, 21 the present article examines how the instrumentation changed between 1911 and 1925, when the 22 full score was published by Universal Edition. As a result of experiences gained during rehearsals 23 of The Wooden Prince in 1917, Bartók added two instruments, the celesta and the xylophone, 24 which he had originally not used in Bluebeard. However, the original score included two 25 tenor tuba parts, which he later replaced with trumpets and trombones. In the revised score 26 Bartók applied new instrumental techniques, corrected an unplayable passage, made the orches- 27 tral material thinner in favour of the vocal parts, and altered the instrumentation in order to 28 emphasize motivic connections. Most of these alterations, however, do not represent a concep- 29 tual change in the opera’s instrumentation but rather realize Bartók’s original ideas in a more 30 precise and more elaborate way. 31 32 33 34 35 The genesis of Bartók’s one-act opera Duke Bluebeard’s Castle was any- 36 thing but simple. Almost seven years elapsed between the completion 37 of the full score (20 September 1911) and the première of the opera 38 (24 May 1918), and it took another three and a half years until the 39 piano-vocal score was published (December 1921). As manuscript 40 sources show, Bartók made several alterations to the score during 41 this decade. The most significant ones, as has been widely known 42 1 since György Kroó’s ground-breaking philological article, affected 43 the vocal parts and the conclusion of the opera. Much less attention 44 has been paid to Bartók’s revisions to the instrumentation, although 45 the autograph full score and the first edition differ considerably also 46 in that respect. On the basis of all extant primary sources, I will exam- 47 Photo. 1 - B/W online, B/W in print ine how the instrumentation changed between 1911 and 1925, when 48 2 Béla Bartók (photo: Boosey & Hawkes) the full score was published by Universal Edition. 49 50 51 52 1 György Kroó, ‘Data on the genesis of Duke Bluebeard’s Castle’, Studia Musicologica 23 53 (1981), pp. 79–123. 54 2 For a list of primary manuscript sources of the opera and their stemma see László Vikárius, 55 Commentary to Béla Bartók, Duke Bluebeard’s Castle, Op. 11, Facsimile of the Autograph Draft (Budapest: Balassi Kiadó, Institute for Musicology of the Hungarian Academy of 56 Sciences, 2006), pp. 47–48. 57 2 tempo In his article Kroó presents the formation of Duke Bluebeard’s Castle 58 between the completion of the opera and the publication of the piano- 59 vocal score. Focusing mainly on the conclusion, he points out that the 60 final version of the ending was composed as late as in the second half 61 of 1917, when Bartók carefully revised his opera, and that it was pre- 62 3 ceded by two earlier versions dating from 1911 and 1912 respectively.

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