Gyula Dávid’s Viola Concerto stands as a significant and rewarding contribution to the 20th-century viola repertoire. It is a work that brilliantly synthesizes Hungarian folk spirit, Classical concerto form, and a deep understanding of the viola’s unique voice. Although the score is not freely downloadable on IMSLP due to copyright, acquiring the legitimate edition from Editio Musica Budapest is a straightforward process. With a definitive recording by the dedicatee, Pál Lukács, and growing scholarly attention, the concerto remains a vibrant and important part of a violist’s study and performance journey. It is a hidden gem of the modern concerto literature, waiting for more musicians and audiences to discover its rhythmic vitality and expressive heart.
While users often search for this work on the International Music Score Library Project (IMSLP) , it is important to note its current copyright and publishing status: Category:For viola, orchestra - IMSLP
Dávid’s concerto is a staple of the 20th-century Hungarian viola repertoire, heavily influenced by the folk-inspired language of Béla Bartók and Zoltán Kodály.
Composed in 1950 (published in 1952), the concerto predates Dávid's later shift toward atonal and twelve-tone music. It maintains a largely tonal but harmonically advanced palette typical of the post-Bartók/Kodály generation. Structure & Movements The concerto follows a standard three-movement structure: I. Allegro moderato: Sets a serious yet energetic tone. Gyula David Viola Concerto Imslp
For detailed musical scores, performance parts, or up-to-date reviews, IMSLP (https://imslp.org/) would be an excellent resource. The website hosts a vast collection of scores, many of which are available for free. You can search for Gyula David's Viola Concerto and find:
This movement is arguably the emotional heart of the concerto. It showcases the viola's capacity for intense, singing melodic lines. It is slow, moody, and highlights the darker registers of the instrument, creating an atmospheric, poignant contrast to the opening movement. III. Allegro
To understand the concerto, you must first meet its creator. Gyula Dávid (1913–1977) was a central figure in 20th-century Hungarian music. As a violist and composer, his life and work were deeply intertwined. Gyula Dávid’s Viola Concerto stands as a significant
Dávid’s musical style can be divided into two distinct periods. His early works, a period that lasted until around 1960, are marked by the influence of Hungarian folk songs (though he seldom quoted them directly), Gregorian chant, and Renaissance polyphony. The music of this period is characterized by its freshness and its deep connection to the Hungarian musical spirit. In the last two decades of his life, his style shifted toward a more chromatic, atonal, and twelve-tone serial idiom. This stylistic evolution makes his a fascinating snapshot of the composer at the height of his first, folk-infused period.
This phenomenon highlights a shift in the classical music canon: the canon is no longer curated solely by record labels and major orchestras, but by digital accessibility. A work cannot become standard if it cannot be read. IMSLP facilitated the "reading" phase of the Dávid concerto, allowing it to enter the "standard" phase.
Infused with the spirit of Hungarian musical traditions and folk-like melodies, though Dávid rarely quoted folk songs directly. It is often compared to the works of Bartók and Kodály, whom Dávid studied under. With a definitive recording by the dedicatee, Pál
The concerto begins with a lively Allegro, featuring a virtuosic viola part that weaves in and out of the orchestral texture. The movement's themes are inspired by traditional Hungarian folk music, with a dash of modernism. The Adagio movement is a beautiful, contemplative piece, highlighting the viola's lyrical qualities. The final movement, Allegro vivace, is a thrilling conclusion to the concerto, with a driving rhythm and intricate solo passages.
It is commonly available as a solo part with piano reduction (approx. 52 pages).
This movement is widely recognized as the emotional heart of the concerto. It showcases a quiet, contemplative atmosphere, highlighting the instrument's lyrical capabilities. It is a slow, expressive movement that requires profound musicality from the soloist to sustain its long, singing lines. III. Vivace
Uses pentatonic scales and "parlando-rubato" rhythms characteristic of Hungarian folk music.