Note that, in measure 79 of the first movement, the viola part shown here does not match the recording. This is because there are two versions of that measure found in different editions, one of which has a B minor chord and the other of which has a D major chord. It's uncertain which version is what Hoffmeister intended. There is no surviving autograph score, and despite Hoffmeister being best known as a music publisher, this concerto was not published in his lifetime. The surviving source material that we have from Hoffmeister's time is a set of parts, without score, and in the handwriting of at least three different copyists. If I remember correctly, in that set of parts, the orchestral parts have a B minor chord in measure 79 and the solo viola part has a D major chord. (It may be the other way around.) Some modern editions change the orchestral parts to match the chord in the solo viola part, others change the solo viola part to match the chord in the orchestral parts. When I learned this concerto, I played the double-stops in B minor as heard in the recording, rather than in D major as printed in the viola part above. I've heard recordings of both versions, and I think B minor is more interesting, but both versions can be done convincingly.
Note that, in measure 79 of the first movement, the viola part shown here does not match the recording. This is because there are two versions of that measure found in different editions, one of which has a B minor chord and the other of which has a D major chord.
It's uncertain which version is what Hoffmeister intended. There is no surviving autograph score, and despite Hoffmeister being best known as a music publisher, this concerto was not published in his lifetime. The surviving source material that we have from Hoffmeister's time is a set of parts, without score, and in the handwriting of at least three different copyists. If I remember correctly, in that set of parts, the orchestral parts have a B minor chord in measure 79 and the solo viola part has a D major chord. (It may be the other way around.) Some modern editions change the orchestral parts to match the chord in the solo viola part, others change the solo viola part to match the chord in the orchestral parts.
When I learned this concerto, I played the double-stops in B minor as heard in the recording, rather than in D major as printed in the viola part above. I've heard recordings of both versions, and I think B minor is more interesting, but both versions can be done convincingly.
Lo anterior me trajo acá qué maravilla de sincronicidad
Nunca nada salió mal o va a salir mal, es solo que tenemos una lección de como queremos verlo