In an era where violists compete for a limited orchestral repertoire, programming a work by Gyula Dávid offers several distinct advantages:
Composed in 1950, Gyula Dávid’s Viola Concerto is arguably his most frequently performed work. It emerged during a complex period in Hungarian history, shortly after the communist takeover, when artists were pressured to create music that was accessible and "pro-people." Ironically, this political pressure resulted in a work of genuine craftsmanship and lasting value.
The concerto is cast in the traditional three movements (Fast-Slow-Fast), lasting approximately 20 minutes. It is a work of moderate technical difficulty—demanding for the amateur but accessible to a professional orchestral violist. Gyula David Viola Concerto Imslp
Title: Rediscovering a Masterpiece: Gyula Dávid’s Viola Concerto on IMSLP
When violists talk about 20th-century concertos, the conversation usually starts with Bartók, Hindemith, and Walton. But Hungary produced another remarkable composer-violist: Gyula Dávid. His Viola Concerto (1950) is a tight, three-movement work that balances warm lyricism with rhythmic energy. In an era where violists compete for a
What you’ll find on IMSLP:
Why you should learn it:
How to access:
Go to IMSLP.org → Search “Dávid” → Select “Viola Concerto” → Download free PDFs of score and part.
The beauty of IMSLP lies in these specific discoveries—the ability to unearth scores that have fallen out of print in physical music shops. Why you should learn it:
For the musician navigating the IMSLP page for Dávid’s concerto, the experience is akin to finding an original manuscript in a dusty library. The scan quality is generally crisp, revealing the dense orchestration and the soloist’s intricate passagework.
When you open the score, the first thing that strikes you is the writing for the viola. Dávid knew the instrument’s capabilities and its limitations. He exploits the "C-string" gravity that gives the viola its unique, chocolaty depth, but he also demands a technique that pushes the instrument into the stratosphere. The double stops and rapid figurations are not merely showy; they are idiomatic, written by a player who knew the weight of the bow on the string.