K034 Pulcinella

deutsch K034 Pulcinella

K34 Pulcinella
[Suite italienne*]

Ballet avec chant en un tableau. Musique d’Igor Strawinsky, d’après Giambattista Pergolesi – Pulcinella. Ballett mit Gesang in einem Akt von Igor Strawinsky nach Musik von Giovanni Battista Pergolesi – Pulcinella. Ballet in one act with three solo voices. Music by Igor Strawinsky after Giambattista Pergolesi – Pulcinella. Balletto in un atto per piccola orchestra con tre voci soliste su musica di Giovanni Battista Pergolesi

* Two transcriptions associated with this piece, for Violoncello and Piano (Platigorsky) and Violin and Piano (Dushkin), have the name Suite italienne; the French title is also used up to this point in the German-language versions and was not even replaced by the obvious translation Italian Suite.

Scored for: a) First edition ( Characters) : Pulcinella, Pimpinella, Prudenza, Rosetta, Fourbo, Rosetto, Caviello, Florindo, il Dottore, Tartaglia, 4 kleine Pulcinelli, people of Naples*; ~ (Voices): Soprano, Tenor, Bass; ~ (Orchestra Nomenclature**): 2 Flauti, 2 Oboi, 2 Fagotti, 2 Corni Fa, Tromba in Do, Trombone, Quintette Solo (Violino I, Violino II, Alto, Violoncello, Contrabasso), Quintette d’orchestre (Violini I, Violini II, Viole, Violoncelli, Contrabassi) ~ (Orchestra Legend**): 2 Flûtes, 2 Hautbois, 2 Bassons, 2 Cors en Fa, 1 Trompette en Ut, 1 Trombone (Ténor Basse), Quintette Solo (1 erViolon, 2 meViolon, Alto, Violoncelle, Contrebasse), Quintette Orchestre (4 I ersViolons, 4 II mesViolons, 4 Altos, 3 Violoncelles, 3 Contrebasses [2 Flutes, 2 Oboes, 2 Bassoons, 2 Horns in Fa, Trumpet in C, Trombone (Tenor Bass), Solo Quintet (Violin I, Violin II, Viola, Violoncello, Double Bass), Quintet Orchestra (4 Violins I, 4 Violins II, 4 Violas, 3 Violoncellos, 3 Double Basses); b) Performance requirements: 1 Piccolo Flute (= 2. grand Flute), 2 grands Flutes (2. grand Flute = Piccolo Flute), 2 Oboes, 2 Bassoons, 2 Horns in F, 1 Trumpet in C, 1 Trombone*** (Tenor Bass), 3 Solo Violoncellos****, Solo Strings Concertino (2 Solo Violins, Solo Viola, Solo Violoncello, Solo Double Bass), Tutti Strings (First Violins, Second Violins*****, Violas*****, Violoncellos*****, Double Basses).

* In some performances, further roles were introduced, such as for example the lady from the Tartaglia.

** The Ballet and the Suite call for identical forces: the orchestra is without clarinets and percussion; 23 string players are required.

*** If absolutely necessary, a slide or valve trombone is a possible alternative.

**** In connection with the tutti strings.

***** Divided into two parts: also without indication in the score, the points with the tutti violas at figure 58 6-7and 160 to 60 1as well as the tutti violoncellos at figure 59 4-8are divided into two.

Voice types: all the roles should be filled by lyric voices. The soprano with range B flat to A2 can also be taken on, to its advantage, by a Mezzo-soprano, because the a2 only comes once and it is not accented, while the as2 is in parallel octaves with the tenor; furthermore, the entire role is predominantly in the middle to lower-middle register. The most important aria for the soprano, Se tu m’ami , has the register B flat to F2. The tenor role, which has a range of D to A1, presents no problems. The Bass role, with range G to g1, should be taken by a very high bass or bass-baritone, or even a baritone, due to the very high register and the fact that the G only comes at the end in the ensemble and in a brief piano moment.

Summary: Since all young girls are in love with Pulcinella, their jealous fiancés join in a plot to kill him. Hearing of this, Pulcinella changes places with his doppelganger Fourbo and puts on the guise of a magician. He then awakens the seemingly dead Fourbo to life and reveals his own identity at the moment the young lovers are approaching one another. Pulcinella gets them all married, chooses Pimpinella for his own wife and passes the magician’s guise on to Fourbo.

Source: Little or nothing is known about the sources of the Pulcinella choreography. Various contradictory contemporary statements about the beginnings of the Pulcinella idea exist side by side. According to Strawinksky, Diaghilev had found a book of Pulcinella stories in Rome from which both men selected episodes intended for a scenario whose eventual shape was jointly determined by Diaghilev, Massine and Strawinsky. According to Massine, the idea came to them from a libretto originating in Naples and dating back to the 17th century entitled ‘The Four Pulcinellas’ (Le quattro Polcinelle).

Source according to Russischer Musikverlag 1926 : No authentic translation verifiable, see German text.

Construction: Pulcinella is a one-act work for the stage, including dance, song, pantomime and a small orchestra of 33 players; it is to be performed without a break and - depending on how rhythmic divisions are made - consists of 5 to 21 sections based on music composed by Giovanni Battista Pergolesi in an orchestral arrangement by Igor Strawinsky. There are no choreographic or other stage directions. The sections are not numbered nor is there a division into scenes or pieces - merely the musical intentions of the composer are noted in Italian, preceding each movement and indicating tempi and mood. Strawinsky’s own numbering is restricted to the concert versions he made of the piece and is not continued in the numerous transcriptions made of this work. This is probably due to the fact that he saw the ballet as an indivisible whole and wished it to be performed without a break. – The accompanying suite is made up of eight separate self-contained scenes each with its own heading (I Sinfonia Ouverture; II Serenata; III Scherzino-Allegro-Andantino; IV Tarantella; V Toccata; VI Gavotta con due variazioni; VII Vivo; VIII Minuetto-Finale) and was extracted from the original ballet without changes to the instrumentation and including the vocal lines transcribed for instruments. – The first transcription was made in 1925 for the Polish violinist Paul Kochanski. It is for violin and piano and is in five sections (Introductione; Serenata; Tarantella; Gavotta con due variazioni; Minuetto e Finale) . The second, made in 1934 for and together with Dushkin was published as a Suite italienne in six parts (Introduzione; Serenata; Tarantella; Gavotta con due Variazioni; Scherzino; Minuetto e Finale) with the scherzino not corresponding to the original ballet music but instead to the presto tenor aria ‘Una te fallan semprece’. Another transcription made by Piatigorsky for cello and piano in 1934 was authorised and partly assisted by Strawinsky. It is also a ‘Suite Italienne’ consisting of but five sections (Introduzione; Serenata; Aria; Tarantella; Minuetto e Finale) .

Structures

a) Ballet

OUVERTURE

Allegro moderato (G major) crotchet = 80 (figure 7I up to the end of figure VII)

[Curtain comes at the end of figure VII = VII 5]

[1st movement trio Sonata I Molto moderato C major]

SERENATA

Larghetto (c minor) dotted crotchet = 50 (figure 1 up to the end of figure 8 3)

[Figure 3 up to figure 8 Anfang3Tenor Solo:] Mentre l'erbetta pasce l'agnella

[1st Act Il Flaminio Aria Polidoro]

SCHERZINO

Allegro (C major) crotchet = 104 (figure 9 up to the end of figure 19)

[1st. movement Trio Sonata II Moderato B flat major]

Più vivo ( modulatory section through D major to A major ) crotchet = 136 (figure 20 up to the end of figure 22)

[2nd. movement Trio Sonata II Adagio E flat major]

Allegro

(A major) crotchet = 88 (figure 23 up to the end of figure 33)

( modulatory section through C major) dotted crotchet = crotchet meno mosso crotchet = 88

(figure 34)

[3rd movement Trio Sonata II Presto B flat major]

Andantino

(F major) crotchet = 88 (figure 35 up to the end of figure 45)

[1st. movement Trio Sonata VIII Allegro ma non tanto E flat major]

Allegro

(B flat major) crotchet = 120 (figure 46 up to 60 1)

poco meno crotchet = 104 (figure 60 2up to 60 4)

[Ouverture 2nd Act Lo Frate 'nnamorato ]

Ancoro poco meno

(D major) crotchet = 86 (figure 61 up to the end of figure 67 6)

[Figure 62 Ende2up to figure 67 3Soprano Aria:] Contento forse vivere [3rd Act Adrianm in Siria Ariatte Aquilio]

Allegro assai

(c minor) dotted crotchet = 112 (figure 68 up to the end of figure 90)

[3rd movement Trio Sonata III]

Allegro (alla breve)

(G major) minim = 112 (figure 91 up to the end of figure 103 4)

[Figure 195 up to figure 103 3Bass Solo:] Con queste paroline [1st Act Il

Flaminio Aria Bastiano]

Andante

(E flat major) quaver = 63 (figure 104 up to the end of figure 107)

(E flat major) quaver = quaver (figure 108 up to the end of figure 113)

[Trio Soprano-Tenor-Bass:] Sento dire [3rd Act Lo Frate 'nnamorato Aria Ascanio]

Allegro

(e flat minor / F major) dotted crotchet = 112 (figure 114 up to the end of figure 116 10)

[Figure 114 up to figure 116 8Duett Soprano-Tenor:] Una te falan semprece

[2nd Act Lo Frate 'nnamorato Kanzone Vannella]

Presto

(d flat minor) minim = 112 (figure 117 up to the end of figure 121 with repeating of figure 119 up to the end of figure 121)

[Figure 119 up to the end of figure 121 , repeating tenor solo with the same text:] Una te fallan semprece [2nd Act Lo Frate 'nnamorato Kanzone Vannelda]

[Ouverture 3rd Act Lo Frate 'nnamorato ] without repeating the first 10 bars

Larghetto

(e flat minor) dotted crotchet = 48 (figure 122)

Allegro - alla breve

(g minor) minim = 116 (figure 123 up to the end of figure 131)

[Suite Nr. XII for strings]

TARANTELLA

(B flat major) dotted crotchet = 128 (figure 132 up to the end of figure 143)

[3rd movement Trio Sonata VII]

Andantino

(f minor) quaver = 86 (figure 144 up to figure 149 2)

[Figure 144 5up to the end of figure 148 Soprano-Solo:] Se tu m'ami [Canzona per Soprano Se tu m'ami ]

Allegro

(B flat major) crotchet = 120 (figure 149 3+4) [2 bars transition from the Andantino to the subseqent Allegro]

Allegro

(E major) crotchet = 120 (figure 150 up to the end of figure 157)

[2nd movement Sonata VII for Cembalo]

GAVOTTA con due variazioni

Allegro moderato (D major) minim = 50-56 (figure 158 up to the end of figure 161 8with repeat of the 10 bars of figure 158)

Variazione I a/ Allegretto (D major) dotted crotchet = 100 (figure 162 up to the end of figure 165 8with repeat of the 10 bars of figure 162 [ attacca forward to figure 166])

Variazione II a/ Allegro più tosto moderato (D major) crotchet = 88 ([ attacca from figure 165 8]

figure 166 up to the end of figure 169 5with repeat of the 5 bars of figure 166 and repeat of the 7 bars of figure 167 3-169 1)

Vivo (F major) crotchet = 132-138 (figure 170 up to the end of figure 178 6with repeat of the 20 bars of figure 170 1 up to 172 7 )

Tempo di minuetto quaver = 88 / Molto moderato (F major)

(figure 179 up to the end of figure 186 6 )

[figure 182 up to the end of figure 186 6Trio Soprano-Tenor-Bass] Pupilette fiammette

d'amore [1. Act Lo Frate 'nnamorato Nr. 3 Cancona di Don Pietro ]

Allegro assai crotchet = 144 (C major)

(figure 187 up to the end of figure 203 8with repeat of the 7 bars of fgure 203 1up to 203 7)

b) Concert Suite

I / SINFONIA / (Ouverture)*

Allegro moderato crotchet = 80 (G major) (figure 61 up to the end of figure 7 5)

II / SERENATA*

Larghetto dotted crotchet = 54-56 (c minor) (figure 8 up to the end of figure 15; transition to IIIa)

III / a) SCHERZINO*

Crotchet = 112 (C major) (figure 16 up to the end of figure 26)

Più vivo crotchet = 152 (figure 27 up to the end of figure 29; transition to IIIb)

b***) Allegro, dotted crotchet = 96**

(A major) (figure 30 up to the end of figure 40)

dotted crotchet = crotchet meno mosso crotchet crotchet = 96 (figure 41; transition to IIIc)

c) Andantino**

(F major) (figure 42 up to the end of figure 52)

IV / TARANTELLA*

dotted minim = 88 (B flat major) (figure 53 up to the end of figure 64 with figure 354 repeated up to the end of figure 61 8; Enchainez forward to Toccata figure 65)

V / TOCCATA*

Allegro crotchet = 120 (E major) (figure 65 up to the end of figure 72)

VI / GAVOTTA / con due variazioni*

Allegro moderato minim = 50-56 (D major) (figure 73 up to the end of figure 75 with figure 73 repeated)

Variazione I a*

Allegretto dotted crotchet = 100 (D major) (figure 77 up to the end of figure 80 with figure 77 repeated)

Variazione II a*

Allegro più tosto moderato crotchet = 88 (D major) (figure 81 up to the end of figure 84 with figure 81, 83-84**** repeated)

VII / DUETTO [VIVO*°]

Vivo crotchet = 132-138 (F major) (figure 85 up to the end of figure 93 with figure 85-87 repeated)

VIII / a) MINUETTO*

Molto moderato quaver = 88 (F major with transition to C major at the end of figure 99)

(Figure 94 up to the end of figure 100)

b) FINALE*

Allegro assai crotchet = 144 (C major) (figure 102 up to the end of figure 118 15

° Duetto is the name of the original version, Vivo that of the revised version.

* Centre centred.

** Not centre centred.

*** In the original edition, it is misprinted as a.

**** A t the repeat of figure 84, four bars are turned into two.

d) Suite Italienne (Violoncello-Version Piatigorsky)

Introduzione

Allegro modto (G major) (without upbeat 45, with upbeat 46 bars)

Serenata

Larghetto (c minor) (32 bars)

Aria

Allegro alla breve (G major) (Bars 1 up to 107)

Largo (E flat major) (Bars 108 up to 163)

(e flat minor) (Bars 164 up to 176) [ attacca forward to Tarantella]

Tarantella

Vivace (B flat major) (without upbeat 158, with upbeat 159 bars with repetition of the bars 6

[without upbeat] up to 72)

Minuetto e Finale

Moderato (F major / C major [from bar] 50) (Bars 1 up to 61)

Finale / Molto vivace (C major) (Bars 62 up to 198)

e) Suite Italienne (Violin Edition Dushkin)

Introduzione

Allegro moderato (G major) (without upbeat 45, with upbeat 46 bars)

Serenata

Larghetto (c minor) (32 bars)

Tarantella

Vivace (B flat major) (without upbeat 158, with upbeat 159 bars)

Gavotta con due Variazioni^

(D major) (without repeat^ of the first 10 bars 32 bars, with repeat 42 bars)

Variazione 1.

Allegretto (D major) (without repeat of the first 10 bars 32 bars, with repeat 42 bars)

[ attaca subito forward]

Variazione 2.

Alltto più tosto moderato (D major) (without repeat of the first 5 bars 16 bars, with repeat 21 bars)

Scherzino

Presto alla breve minim = 92 (F major) (70 bars)

Minuetto e Finale

Moderato (F major / C major [ab bar] 50) (Bars 1 up to 61)

Finale / Molto vivace (C major) (Bars 62 up to 198)

^ A ll repeated sections are first played mezzoforte , and then piano for the repeat.

Corrections / Errata

Suite

Full score 34-4

(Entries in blue)

Figure 61 (p 3 [Beginning >I / Sinfonia / (Ouverture)<]): Above the tempo marking >Allegro moderato< the metronom marking >crotchet = 80< should be entered.

Figure 8 1(p. 10 [Beginning >II / Serenata<]): Above the tempo marking >Larghetto< the metronom marking >dotted crotchet = 54-56< should be entered.

Figure 16 1(p 15 [Beginning >III / a) Scherzino<]): the metronom marking >crotchet = 112< should be entered.

Figure 27 1(p. 22): The tempo marking >Poco piu vivo< should be replaced by >piu vivo<.

Figure 30 1(p 23): Above the movement title >b) Allegro< the metronom marking >dotted crotchet = 96< should be entered.

Figure 41 1(p. 30): The metronom marking ligature >2 quaver-crotchet = ligature 4 demisemiquaver (crotchet = 96) should be entered.

Figure 41 2(p. 30): a p marking with a left-facing curly bracket { should be inserted between the Violas and the Violoncellos.

Figure 41 2+3(p. 30): A decrescendo sign > should be added in both bars above the Violoncelli system.

Figure 42 1(p31): The metronome marking >quaver = // quaver (some crotchet = 96)< should be inserted.

Figure 53 1(p. 35 [Beginning >IV / Tarantella<]): The tempo marking >dotted crotchet = Lento< should be entered.

Figure 60 2(p. 39): Above the system Solo Oboe an m ƒ sign should be entered.

Figure 65 1(p. 43 [Beginning >V / Toccata<]): The tempo marking >crotchet = 120< should be entered.

Figure 68 2(p. 45) 1st Oboe: The 2nd semiquaver ligature f#1-e1-d1-c#1 should have staccato dots.

Figure 73 1(p. 48 [Beginn >VI / Gavotta / con due variazioni<]): The tempo marking >minim = 50-60< should be entered.

Figure 77 1(p. 50 [Beginning >Variazione I a<]): the tempo marking >dotted crotchet = 100< should be entered.

Figure 81 1(p. 50 [Beginning >VI >Variazione I b<]): The tempo marking >crotchet = 88< should be entered.

Figure 83 2(p. 51) 1st Solo Bassoon: The 4th semiquaver ligature iInstead of the incorrect G#-e-d#-e, it should read G-e-d#-e.

Figure 83 3(p. 51) 1st Solo Bassoon: The 1st note of the bar should have a natural added to it.

Figure 85 1(p. 52 [Beginning >VII / Vivo<]): The tempo marking >crotchet = 132-138< should be entered.

Figure 94 1(p 56 [Beginning >b) Finale<]): The tempo marking >quaver = 88< should be entered.

Figure 102 1(p 62 [Beginning >VIII / a) Minuetto<]): The tempo marking >crotchet = 144< should be entered.

Ballet

Full Score 34-5

(Corrections in red)

1.) P. 3: After the tempo marking >Allegro moderato< the metronome marking crotchet = 80.

2.) Edited Spalding crossed out and replaced with Revised version.

3.) Figure 1 (p. 10): Metronome marking dotted crotchet = 50.

4.) Figure 3 1(p. 11) i n the middle solo part of the viola: at the beginning of the bar and in the margin is a note for the addition of marking >marcato<.

5.) Figure 9 (p. 15): Metronome marking crotchet = 104.

6.) Figure 20 1(p. 22): After >Poco piu vivo< metronome marking crotchet = 136.

7.) Figure 23 (p. 23) Flute: After >Allegro< metronome marking dotted crotchet [=] 88.

8.) Figure 34 (p. 30): A bove >meno mosso< (solo strings) (stesso crotchet = 88).

9.) Above figure 35 (p. 31): (stesso crotchet = 88).

10.) Figure 44 5[= 41 2] (p. 32) 1st violins: a1-e b 2-d2-d2-bracket natural sign d2-c2 instead of a1-e b 2 d2-d2-d2-c2.

12.) Figure 46 1(p. 35): After tempo marking >Allegro< metronom marking crotchet = 120.

14.) Figure 47 2(p. 35): > p < should be entered underneath the 1st bassoon.

15.) Figure 47 3(p. 35): >marc. sƒ< should be entered underneath the solo trumpet.

16.) Figure 47 4(p. 35): >marc.< should be entered underneath the quaver note in the 2nd bassoon.

17.) Figure 48 4(p. 36): T he quaver note in the 2nd bassoon should have a >marc.< added to it.

18.) Figure 49 8[= 150] (p. 37) quaver note in the 2nd horn: a b 1 instead of a1.

19.) Figure 51 1(p. 38): A leftward-facing curly bracket { followed by a >stacc.< should be entered between the bassoon systems [not at correction in red].

20.) Figure 152 (p. 39): A leftward-facing curly bracket { followed by an > ƒ < should be entered between the bassoon and horn systems.

21.) Figure 54 1(p. 41) Solo Violoncello: T he crotchet b should have a pizz. marking added to it (also marked in the margin).

22.) Figure 54 4[= 455] (p. 42) Solo Violoncello: I t should be played arco: the four quavers are marked.

22a.) Figure 54 5+6[= 3+255] (p. 42) Solo Violoncello: A ll [2 sets of 4] quaver notes should have staccato dots.

23.) Figure 56 4(p. 43) 1st Horn: T here should be a phrasing mark from the quaver b b 1 to the crotchet a b 1.

24.) Figure 56 5-6(p. 43) 2nd Solo -Violin: The last note of figure 56 5, quaver b b 1, should be tied over to the first note of 56 6, quaver b b 1, and both notes should have a staccato dot.

25.) Figure 56 5-6(p. 43) 2nd Tutti Violins: The last note of figure 56 5, quaver b b 1, should be tied over to the first note of 56 6, quaver b b 1, and both notes should have a staccato dot.

26.) Figure 56 6(p. 43) 1st Horn: There should be a phrasing mark from quaver g1 to quaver b b 1.

27.) Figure 56 6(p. 43) 1st Solo Violin: There should be a phrasing mark from quaver c2 to quaver e2.

28.) Figure 56 6(p. 43) Solo Viola: There should be a phrasing mark from quaver c2 to quaver e2.

29.) Figure 58 2(p. 44) 1st Flute: The first quaver note, d3, should have an accent > and be slurred to the next quaver note, b3 by means of a phrasing mark

30.) Figure 58 2(p. 44) 1st Flute: The accent sign > above the 1st quaver d3 should be removed and replaced by a staccato dot; likewise, the phrase mark to the next note should also be removed.

31.) Figure 60 2(p. 46): >poco meno< crotchet = 104 should be entered underneath the Oboe system.

32.) Figure 60 3-4(p. 46) 1st Bassoon: T he phrasing mark from the demisemiquaver a over the demisemiquavers c1 and a to | quaver b b should be shortened to just the first two notes; the last two notes should instead have staccato dots [in the new version, the dot appears only above the last note].

33.) Figure 60 3-4(S. 46) 2nd Bassoon: T he phrasing marking from the demisemiquaver c over the semiquavers d1 and e to | quaver f should be shortened to just the first two notes ; viola s ystem in the orchestra: viola clef erased and reinserted.

34.) Figure 61 1(p. 47): >Ancora poco meno< crotchet = 86 should be entered above first system.

35.) Figure 61 1(p. 47) viola system in the orchestra: Viola clef erased and reinserted.

36.) Figure 68 (p. 52): After >Ancora poco meno< metronom marking crotchet = 112 should be entered.

37.) Figure 69 5(p. 53) Solo Violoncello: Quaver note c1 instead of e1.

38.) Figure 84 5[= 285] (p. 69): Between the oboe and bassoon systems there should each be a leftward-facing curly bracket { with a p.

39.) Figure 86 9[= 287] (p. 71): B etween the systems of the bassoon, horns, solo violin, tutti violins, above the solo viola, tutti violas and – tutti violon celli, a cresc. with a leftward-facing curly bracket should be inserted.

40.) Figure 91 1(p. 74): After >alla breve< metronom marking (Minim = 112 should be entered.

41.) Figure 94 5[= 495] (p. 77): p sign with a leftward-facing curly bracket { should have the system of the Oboe, between the systems of the Bassoons, Horns, Solo Violins, tutti Violins, underneath the systems of the Solo Viola, Solo Violoncello, 2nd Violins [meaning the Violas], Violoncellos.

43.) Figure 96 3(p. 78): The systems of the 1st Oboe, 1st Bassoon, Trumpet should have a m ƒ sign.

44.) Figure 96 6-8(p. 78) should have a ral-len | tand-do inserted.

45.) Figure 96 6-8(p. 78) Trombone system: The minim notes should have a staccato dot and a marcato dagger added, and the first one should have a p marking.

46.) Figure 96 8(p. 78) Bass: Instead of the incorrect minim A and rest with fermata, it should read semibreve with fermata but without a rest. The note should be tied over to the 1st crotchet of figure 97 1, it should be sung portamen- | to, and a Crescendo sign should be added before >Bel - < (figure 97 1= p. 79).

47.) Figure 98 4[= 899] (p. 80): Systems of the Flute and the Bassoon should have a p sign.

48.) Figure 99 9[= 1100] (p. 82) tutti Violoncellos and tutti Double basses: The last two quavers should have a >cresc.<.

49.) Figure 101 1(p. 83): The 2nd Flute, Oboe and 1st Horn should have a f sign, and in the oboe system, there should be a leftward-facing curly bracket.

50.) Figure 103 1(p. 85): System Flutes should have a ƒƒ sign (with a leftward-facing curly bracket { ), 2nd Solo Violin with Solo Viola should have a s ƒ sign (with a leftward-facing curly bracket { ).

51.) Figure 104 1(p. 86): After >Andante< metronome marking quaver = 63 should be entered.

52.) Figure 108 1(p. 88): throughout p sign should be entered.

53.) Figure 109 3(p. 88): A p sign with a leftward-facing curly bracket should be entered between the 1st and the 2nd Solo Violin.

54.) Figure 111 1(p. 89) strings: throughout p sign should be entered, with a leftward-facing curly bracket between Solo Violins, Violoncello and Double Bass, between tutti Violins, tutti Violoncellos and tutti Double Basses.

55.) Figure 113 5(p. 90): Above >Allegro< metronom marking (dotted crotchet = 112).

56.) Figure 114 1(p. 91): Metronom marking (dotted crotchet = 112).

57.) Figure 114 6(p. 91) strings: throughout >marc.< should be entered.

58.) Figure 115 1(p. 92): An mf marking should be added in before the oboe, bassoons (with leftward- facing curly bracket) and 1st horn systems; the same goes for the flute system at figure 115 4 (with a leftward-facing curly bracket).

59.) Figure 116 10[= 1117] (p. 94): The tempo marking quaver = quaver should be replaced by two quavers beamed together = two quavers beamed together.

60.) Figure 117 1(p. 95): The tempo marking quaver = quaver should be removed and replaced by crotchet = crotchet, and the metronome marking minim = 112 should be added after Presto.

61.) Figure 117 1(p. 95): Between system 1st and 2nd Bassoon an m ƒ sign with leftward-facing curly bracket should be entered.

62.) Figure 118 1(p. 96): Between system Horn > m ƒ stacc.< with leftward-facing curly bracket should be entered.

63.) Figure 118 1(p. 96): Above the trumpet part >Solo en dehors< should nbe entered.

64.) Figure 119 1(p. 97): W ith leftward-facing curly bracket an > m ƒ sempre< between the Bassoons and an >poco marc.< between the Solo Violins should be entered, but w ithout leftward-facing curly bracket an >marc.< above the tutti Violas and tutti Double Basses.

65.) Figure 119 4(p. 97): A >marc.< should be entered underneath the three-note chords, with a leftward-facing curly bracket between the solo violins, but without a curly bracket underneath the Solo Viola; Strawinsky marked a hooked bracket under the 5th hnote in the tutti violas, which refers to the two-note crotchet chord.

66.) Figure 122 1(p. 101): At the tempo marking Largo assai (Tempo I), the Largo assai should be removed and replaced with Larghetto with the metronome marking dotted crotchet = 48.

67.) Figure 123 1(p. 102): After tempo marking >Allegro–alla breve< metronome marking minim = 116 should be entered.

68.) Figure 3-1124 (p. 102) 1st Solo -Violin: Second value crotchet-crotchet instead of minim.

69.) Figure 125 1(p. 102) 1st Bassoon: At the beginning of the bar >solo m ƒ< should be entered.

70.) Figure 125 2(p. 102): An p sign should be entered underneath the 1st Solo and tutti Violins an the Solo and tutti Violoncellos.

71.) Figure 3126 (p. 103): Between 2nd Solo Violin and Solo Viola and between 2nd tutti Violins and tutti Violas an p sign with a leftward-facing curly bracket should be inserted.

72.) Figure 1126 (p. 103) systems Oboe and 1st Horn: At the beginning of the bar an p sign should be entered.

73.) Figure 126 1(p. 103): Between 2nd Solo Violoncello and Solo Double Bass and between tutti Violoncellos and tutti Double Basses an m ƒ with a leftward-facing curly bracket should be inserted.

74.) Figure 129 5-7(p. 106) 2nd Solo Violine: Minim + crotchet + crotchet rest instead of incorrect dotted minim + crotchet.

75.) Figure 132 (p. 109): The metronome marking dotted crotchet = 138 should be added after >Allegro moderato<.

76.) Figure 1135 (p. 110) tutti Violas: A change to viola clef should be made before the beginning of figure 135.

77.) Figure 1138 (p. 112): A n ƒ should be entered below all the string systems.

78.) Figure 138 3respectively 138 4(p. 112): T he last two quaver notes in the solo and tutti Violins at 138 3should have a left-facing curly bracket with an > mf < marking added to them, and the same should happen at 138 4in the solo and tutti Violas without the curly bracket, and again the same for the solo and tutti Violoncellos and the Double Basses but with curly bracket.

79.) Figure 144 1(p. 117): After >Andantino< metronom marking quaver = 86 should be entered.

80.) Figure 145 1(p. 117) 1st Solo Violin: At the beginning of the bar the quaver ligature instead of the incorrect a1-f2, it should read f1-f2.

81.) Figure 149 1(p. 121): A >dolce< with a leftward-facing curly bracket should be inserted underneath the system of the Oboe, but without a curly bracket between the systems of the Bassoons, and underneath the system of the Horn an p sign.

82.) Figure 149 3(p. 121): After >Allegro< metronom marking crotchet = 120 should be entered.

83.) Figure 157 6(p. 126) should have a continuous double barline relating to the stave added.

84.) Figure 158 1(p. 127): After >Allegro moderato< metronom marking minim = 50-56 should be entered.

85.) Figure 162 1(p. 129): After >Allegretto< metronom marking dotted crotchet = 100 should be entered.

86.) Figure 166 1(p. 130):After >Allegro più tosto moderato< metronom marking crotchet = 88 should be entered.

87.) Figure 166 5(p. 130) 1st Bassoon: First semiquaver-ligature should be f#1-a2-g2-a2 instead of g1- a2-g2-a2.

89.) Figure 179 1(S. 131): After tempo marking >Vivo< metronom marking crotchet = 132138 should be entered.

90.) Figure 185 1(p. 139) 2nd tutti Violins: T he 3rd two-note quaver chord should be g-g1 instead of the incorrect g-f1; the same is true for the 3rd two-note quaver chords in the 2nd solo and tutti Violins.

93.) Figure 187 1(p. 141): The metronom marking crotchet = 144 should be added above >Allegro assai<.

94.) Figure 202 1-2(p. 153): The 2nd flute should have a quaver beam crossing over the bar line: instead of the incorrect e3-g3|g3-g3, it should correctly read e3-e3|e3-e3.

Violin Piano (Dushkin) 1934 34-17

Introduzione (without corrections)

Serenata (without corrections)

Tarantella

1.) p. 8, system II, bar 5 [bar 25], Piano discant: throughout e2 instead of e b 2.°

2.) p. 11, system IV, bar 3 [bar 92], Piano discant: throughout e2 instead of e b 2 [= 1.)].°

3.) p. 12, system II, bar 4 [bar 102], Violin (score, not part): throughout e2 instead of e b 2.°*

4.) p. 13, system III, bar 2 [bar 129], Violin (score, not part): quavers g-d1-a1-a b 2 instead of a1-a b 2.°*

5.) p. 14, system IV, bar 4-5 [bar 157-158 (last bars)] (score Piano + Violin + enclosed part): crescendo-sign at beginning last but one bar to beginning last bar instead of decrescendo- sign.°

Gavotta / con due Variazioni

1.) p. 18, system II, bar 1, [2. variation bar 1], Piano bass: the 1. note of the 1. semiquaver four-tone ligature d instead of f#.°

Scherzino

1.) p 21, system III, bar 4 [bar 28], Violin (score, not part): 2. quaver ligature f3-e3-e3-d3 instead of

f3-e3-d3-c3 [also following bar parallel passage].°*

Minuetto e Finale (without corrections)

° Subsequent edition not corrected.

* Part correct.

Style: Pulcinella, after Renard, Les Noces and Histoire du soldat is the fourth of Strawinsky’s works for the stage which may not be ascribed to any specific genre. Pulcinella is as much ballet as vocal work or pantomime. To attempt a classification in the widest sence it could be termed a scenic cantata with a continuous ballet action and performed not from musical notation but solely from the choreography. Strawinsky himself rejected the descriptive term ‘ballet’ and preferred to speak of danced action (action dansante) instead. Since Strawinksy found himself restricted by Pergolesi’s mostly concertato chamber music, and since he could not - as was the case in the later ballet The Fairy’s Kiss - rely on the intrinsic or indeed dramatic coherence of the action he remained unable to effect the characterisation of personage and/or situation otherwise typical of his compositions nor was he able to realise his characteristically variable combinatory movements in relating music to action. Thus regarded, Pulcinella stands out as ‘untypical’ in Strawinsky’s complete works and remains the only work of his for the stage where the action is not guided by the orchestra and the music does not interpret the stage action in any way. The characterisation the protagonists remained (remains) in the hands of the choreographer. Thus Pergolesi’s music as arranged by Strawinsky may be performed as an independent piece of concert music set in the typically baroque form of a Suite with major/minor changes without the dialectical elements (movements) characteristic of the sonata form, but including operatic arias in the style of 1735. The words of the vocal parts relate to the action but in a very distant way, so that they do not elucidate the choreography which we have come to associate with the work. The arias reflect the delights and sorrows of love taken from other contexts and featuring the stereotyped complaints raised by men against women like carelessness and wantonness. Whether Strawinsky paid greater heed to the words or the music when selecting them must needs remain open to speculation. He treated the arias as numbers to be inserted in the action dansante , character pieces without any direct bearing on the action. But with new meaning ascribed to it, the music, too, changes its character. The three-part minuet for example, in the ballet signalling with calm and dignity the end of turbulent play, in Pergolesi’s original appears in the opening movement as the solo cantata of a ridiculous figure, dandyish Don Pietro, who is looking at himself in the mirror ( Don Pietro guardandosi in uno specchio che tiene nelle mani ).

Original work or adaptation: As for Pulcinella there is also the question of original or adaptation. Contemporary reception understood the piece to be music by Pergolesi in an orchestral arrangement by Strawinsky (as in the case of Scarlatti-Tommasini or Rossini-Respighi), and early performances were advertised accordingly with far reaching admittance to the ‘modern’ orchestration. For the concert-going public, Strawinsky was an arranger who did not write music ‘after’ or ‘about’ Pergolesi but (new) orchestrated music ‘by’ Pergolesi. Such indeed had been Diaghilev’s original commission. Strawinsky’s adaptation may not be seen under the aspect of critical editions, which began to proliferate at the time and for a long time to come remained an academic matter, while eventually beginning to affect the performance of music. Up until then it had been a matter of course for the performing artist not only to adapt earlier music to his own tastes but at times to distort its musical sense by radical modernisation.The Critical Edition as the publication of an Urtext was not without its controversies, and triggered a counter movement that was based on the concept of the necessity of adapting music that was no longer alive to the requirements of its own period. Today’s critical writing on Strawinsky, particularly the more popular publications, assumes more originality towards Strawinsky’s work and does not categorise Pulcinella as a mere adaptation. Analysis of the work reveals an arrangement which for the most part strictly adheres to Pergolesi’s original while leaving out or re-locating some sections and tightening others, with a tendency to freer handling of the material; and only at the very end is there own material, composed in the style of Pergolesi. The rhythmic characteristics which were said to be Strawinsky’s are also found in Pergolesi’s original. The more stringent, original in the sense of unusual instrumentation is justifiably due to the comical or comedianesque interpretation of the jointed fragments on the part of the choreographer and the artistic director. There is no justifiable connection permitted between Strawinsky’s Pulcinella ballet and the later emerging neo-classicism, a notion misinterpreting the interrelationships between musical and intellectual history. The success of Strawinsky’s Pergolesi adaptation was due largely to an echo from supporters of a return to an uncomplicated tonality in the traditional style with the intention of cutting the lifelines of new music. This train of thought may be followed through the entire output of the retrospective faction (music criticism and musicology) and draws its evidence from various compositions. For this reason the première of Pulcinella, performed to Pergolesi’s classical major/minor chamber music did not have any historical impact whatsoever, not even in the larger context of Strawinsky’s work catalogue, which is why the Schönberg Circle did not even criticise it directly. No contemporary would ever have seen or heard anything other in Pulcinella than a Strawinsky adaptation of Pergolesi let alone ascribing to it an epoch-making quality. Before the neo-classicist movement could appear, many strands of philosophic thought would yet have to be joined together and combined with a clearly formulated artistic programme based on synchronising traditional tonal models with elements of contemporary music. Shifting rhythms and an instrumentation pointedly supporting the stage action were not enough to come to speak of a new musical style. The birth of the neo-classicist movement became possible only years later, its nurturing ground being the French philosophy of order which emerged from neo-Thomist circles around Jacques Maritain. Surely enough, with the emergance of the first neo-classicist work, Strawinsky’s Octuor in 1923, sudden controversies set in about for and against, later extending to a veritable cultural-political battle. The result was a merely dialectical, even then untenable antipodal situation Strawnsky vs. Schönberg, resting on an historicised, germanistic and art historical contradictory method moreover inapplicable to musicological matters. Thus, Schönberg was led to act rashly against Strawinsky (setting to music a satirical poem >3 Satiren< Op. 28) with serious consequences never to be overcome which kept poisoning the relationship between both men for as long as they lived despite their obvious respect for each other’s work.

Strawinsky’s method of adaptation exemplified*

First example: The 32 bars of the SERENATA, with the marking Larghetto (figure 11 to the end of figure 8 3) are taken from 46 bars of Polidoro’s aria ‘Mentre l’erbetta pasce agnella’, with which the opera Flaminio opens after the orchestral introduction. Strawinsky retained the 12/8 time signature and the tenor vocal register throughout, but transposed it from D minor to C minor and shortened the original by 14 bars in total. He took the 9 bars of the prelude unchanged for the 9 bars of figures 1 and 2 and gave the melodic line to the 1st oboe. With the empty demi-semiquaver quintuplets in the ‘celli, which are passed after 3 bars into the violins, he weaves an atmosphere-enhancing tapestry of sound under the melody. At figure 31 (bar 10), the aria begins, which Strawinsky follows until bar 14 inclusive (figure 42). bar 15 (figure 43) brings a small intervallic departure. Strawinsky obviously did not like the fact that the tenor entered again after a five-quaver rest with the final note of the previous phrase in order to reach the third of the tonic. Strawinsky had written the third immediately before, and so it was therefore repeated. Bars 16-20 (figure 44-54) correspond to the original, in which he, unlike Pergolesi, has the vocal part at figure 51 (bar 17) hold the note on over the next bar. He omits bar 22 of the original and with it makes the first shortening, which is effected in Strawinsky’s manner. He changes nothing but recognises the possibility of removing material without replacing it because in Pergolesi’s version, bar 22 can be joined to bar 20 without loss of substance. The subsequent 3 bars remain untouched and the 1st Oboe once again takes the melody in the short instrumental interlude. It is then that Strawinsky begins to shorten the original material greatly without touching the music itself. Again he does not change material so much as crush two of Pergolesi’s bars into one bar of Strawinsky’s. He combines the first triplet of Pergolesi’s bar 27 with the two final triplets of Pergolesi’s bar 30 and creates his bar at figure 7 1from this combination. Strawinsky’s progression from figure 7 2- 7 3corresponds to Pergolesi’s in his bar 31-33 while removing Pergolesi’s bar 32. While Pergolesi subsequently has the vocal part hold a long slurred set of twice twelve quavers d2 in bars 35 and 36 in order to have them held on further in bar 37, Strawinsky uses the coda. Strawinsky recognises the contrapuntal possibility of Pergolesi’s bars 35 and 36 in the following bars and exploits them. As in Pergolesi’s version, Strawinsky has the tenor c2 hold on for 2 bars and a quaver at figures 8 1-3(Pergolesi: + 1/4 = bars 35-37), at the same time overlapping figure 8 1with the tenor’s continued song from Pergolesi’s bar 37 as the melody in the 1st Oboe, which is transposed down a third and ends up in the 2nd Oboe part after figure 8 2. At figure 8 2, Pergolesi’s sung line continues in the tenor in bar 38 as a melody in the 1st Flute which ends after figure 8 3, with which, in Strawinsky’s version, the end of the work is reached. He omits all the remaining bars of Pergolesi’s version. For the transition into the following SCHERZINO, he composed a rising quick flourish between two quintuplets in the Piccolo and two septuplets in the 1st Flute with an entire length of three quavers.

Strawinsky-Figure = Pergolesi-Bar

1 1-4 21-14

4 315°

4 4-5 416-20

6 1-5 522 to 26

7 127- + 30--

7 231

7 333

7 434

8 135 + 37

8 236 + 38

8 337^

* According to (unpublished) seminar paper.

° Original slightly changed.

- Original changed by shortening (4/8).

-- Original changed by essential shortening (8/8).

^ Original shortened (except initial value).

Second example: Scherzino Allegro (figure 9 to figure 34). The 69 bars of the Allegro movement take their thematic model from the 86 bars of the third movement of the Trio Sonata No. II, a Presto. In bars 1-26 Strawinsky uses Pergolesi’s entire thematic material in a transposed form (bars 1-26), and works in an additional violin solo made up of semiquaver runs. In bars 26-38, the final motif from the second theme (Pergolesi 27-39) forms the basis of Stravinsky’s work. In bars 38-66 (Pergolesi 39-86), Strawinsky continues with the semiquaver runs in the solo violin part, distributing Pergolesi’s violin part into various orchestral instruments. The final section, the meno mosso in bars 67-69 has no corresponding section in Pergolesi’s version. Strawinsky changes to a 2/4 time signature, and transitions to the following Andantino with a semiquaver run in the solo violin.

Third example: The 15 bars of the Piu vivo (figure 20 to the end of figure 22) are formed from the 41 bars of the second movement of the Trio Sonata No. II, an Adagio in E flat major. With the short Presto, Strawinsky inserts with the Presto an independent moment of his own into the ballet music, the motific material of which he takes from the 1st theme and which he augments. The flageolets in the string parts are also his invention. This section is the first part of the ballet that is freely composed in the style of Pergolesi and based on Pergolesi’s fragments.

Fifth example: Andantino (figure 35 to the end of figure 46). The 59 bars of the Andantino are taken from the 76 bars of the first movement, Allegro ma non tanto from the E flat major Trio Sonata No. VIII, transposed however from E flat major to F major. The first 23 bars are literal uses of the first (bars 1-11 = Pergolesi 1-11) and second (bars 12-23 = Pergolesi 12-23) themes, while Strawinsky inserts a derivation of the opening motif of the first theme in the subsequent bars 24-28 (Pergolesi 24-28). In bars 28-35 (Pergolesi 38-44), Strawinsky expands Pergolesi’s final motif from the third theme by inserting sequences for three bars. Bars 38-42 (Pergolesi 57-63) again use Pergolesi’s second theme note-for-note, which Stravinsky takes up once again in bars 43-53 (Pergolesi 57-66). This is also the case for bars 54-55 (Pergolesi 65-66). The final bars, 56-59 (Pergolesi 73-76), once again take on the second theme with a simple modification at the end.

Sixth example: Allegro (figure 46 to the end of figure 60). The 105 bars of the Allegro are taken from the 155 bars of Vannella’s aria “Gnora, credetemi” from the opera “Lo Frate ‘nnamorato”. Stravinsky retains the key, B major, and the 2/4 time signature, but reworks the aria as an instrumental piece. His first two bars act as a transition. They contain only the note f, with which the 12-bar introduction to the aria begins. The following four bars (figure 46 3-6= Pergolesi 1-4) are reproduced note-for-note. He uses powerful bassoon triplets for the simple downward notes. He extends Pergolesi’s fifth bar by half a bars worth, in that he has the upper voice enter a crotchet later (figure 47 ¹ = Pergolesi 5). He does the same 4 bars later (figure 48 ¹ = Pergolesi 8), and then again (figure 48 5+6= Pergolesi 12), at which point he introduces, with music unchanged from the original, a sort of deceleration effect into the melodic flow. Pergolesi’s 12 bars thus become 14 bars in Stravinsky’s version. The aria begins at this point in the original. Stravinsky follows Pergolesi note-for-note for the next 15 bars (figures 49 to 50 7= Pergolesi 13-27) and Stravinsky simply adapts the rhythmic values of the last bar of the phrase to the previous music, so that he turns quaver-crotchet-quaver into quaver-dotted crotchet, whilst Pergolesi ends with crotchet-crotchet (figure 50 8= Pergolesi 28). Bars 29 to 32 of the original are reused note-for-note (figure 51 ¹-4) and the same goes for bars 33-44 (figure 51 ¹-52 8), in which Stravinsky removes Pergolesi’s suspended notes in some cases, which is later to be repeated in an expanded phrase. The repetition at figure 53¹ to 55² corresponds note-for-note to bars 45-62 of the original, with the small exception that Stravinsky extends Pergolesi’s subsequent final bar, 63, into 2 bars (figure 55³ +4= Pergolesi 63). The next 3 bars are true to the original (figure 55 5-7= Pergolesi 65-66). For 2 bars, he then at first anticipates only the accompaniments in the upper-register accompaniment of the subsequent voice part in the horns (figure 56 ¹-2 = Pergolesi 67-68), and then shortens the music by removing Pergolesi’s repeats. He uses bars 67 to 70 for the 9 bars of figure 56 (Figure 56 7-8), skips bars 71 to 76, and continues with bars 72 and 73 (figure 56 7-8); he then omits the slowing of tempo in bar 74 and ends the figure at bar 80 (figure 56 9) of the original. The 25 bars of figures 57-60 are based on the wealth of material from Pergolesi’s 16 bars, bars 81-96. In figure 57 1-6, he removes Pergolesi’s suspensions in bars 81-86, instead proceeding immediately to their resolutions. Pergolesi’s original has another one-and-a-half sung bars up to the postlude, which Stravinsky omits in order to repeat bars 81-86 at figures 58 1-6and 59 ¹, and he then continues with bar 87, which was missing before the repeat, as figure 58 7. In doing this, he shifts the melody part in the repeat from the first violin to the first flute and reintroduces in the 5 thbar the original emphasis of the suspensions in Pergolesi’s version. The 8 bars of the final figure, 59, with the instrumental bars cut out from Pergolesi’s piece are some of the most characteristic of Stravinsky’s work. That is to say, he follows Pergolesi’s melodic course firstly in a jumping manner, leaving out every other bar. Figure 59 1-3is made up from the original order of bars 88, 90 and 92, and figure 59 5-8from bars 89-92. In the entire piece, there is only one bar that was newly written, or better, inserted by Stravinsky,. This is the bar of figure 59 4with the d-effect, which creates a noticeable harmonic colouring in the final flourish that is not observable in Pergolesi’s version. Figure 60 ¹ plays the final E of bar 93 and corresponds to the original once again for the last 3 bars (figure 60 2-4 = Pergolesi 94-96). Pergolesi’s puts a presto, which Stravinsky likewise omits as he also does with the following repeated section. Pergolesi’s ending in bars 152-156 is identical to that in bars 93-96. Stravinsky therefore transforms the entire aria into an instrumental piece and only cuts interlude sections of the original as well as the entire repeat of the ending, almost a third of the content of the aria, with the aim of streamlining the work.

Seventh example: Figures 179-186. The trio “Pupillette fiammette d’amore” is derived from the bass solo canzone sung by Don Pietro, “Pupillette fiammette d’amore” from the musical comedy “Lo Frate ‘nnamorato”. Strawinsky takes the 59 bars of the 3rd number of the original in the opera and makes it into 61 bars. The tempo marking “Tempo di minuetto” is kept, along with the original 3/8 time signature (with the exception of a single 2/8-bar at figure 179 8). The key is also changed, as Strawinsky transposes the original key of G major to F major in order to manage the connection to the preceding piece, and then modulates to C major in order to manage the connection to the Finale. The original consists of an introduction of 18 bars, the one-sentence text of the canzone lasting 8 bars, which corresponds melodically to the first 8 bars of the introduction, a miniature dance lasting 8 bars that is inserted and accompanied with “larallà”, which likewise corresponds to the first section of the introduction (which has now been repeated for the third time), a repetition of the text lasting 10 bars based on the melodic figure of the second part of the introduction, which lasts 10 bars, and the concluding dance again accompanied with “larallà”, likewise lasting 10 bars (now based structurally on the melody of the 2nd section of the introduction). This is a very simple, but effective combination structure: Introduction (A-B) - Text (A) -Dance (A) - Repeat of text (B) - Dance (B) which is 54 bars long but has only 18 bars of usable music. The first 8 bars of the introduction are used by Strawinsky unchanged (figure 179) and then the first 7 bars are repeated with a different orchestration (figure 180). He then pulls together Pergolesi’s bars 8 and 9 into one bar, before reproducing the next 8 bars, 10-17, note-for-note (figure 181 2-9). In Pergolesi’s version, the 18th bar is a final chord followed by a fermata and the 19th bar is the beginning of the solo. Strawinsky brings the final chord and the beginning of the singing together into one bar (figure 182¹) and then follows the original 46 bars (figure 182² -7). In Pergolesi’s version, the first line of the melody ends on the fifth in the next bar. Strawinsky uses the final note on the fifth, but then immediately has the tenor enter an octave away with a separate counter-voice invented by Strawinsky, and one quaver rest later, still in the same bar (figure 183¹) the soprano also enters as a third voice, which takes on, one bar ahead, a literal octave imitation of the bass melody. The now complete trio of voices plays exclusively with coupled Pergolesi motifs in multiple parts, especially with the rhythmic displacements which are prized as a trademark of Strawinsky, but which are in fact Pergolesi’s inventions, which were in fact the reason that this small canzone found favour with Stravinsky.

Eighth example: Finale Allegro assai (figure 187 to end). Relatively speaking, Strawinsky is at his greatest distance from the original in the Finale. The 133 bars are derived from the 69 bars of the 3rd movement of the Trio Sonata No. XII. The original Presto movement is transposed from E major to C major. Large sections of this movement are indebted to Pergolesi’s motifs; Strawinsky however recomposes them in the style of Pergolesi and colours them rhythmically and orchestrally in his own style, but more strongly than previously. It is therefore not really possible to match Pergolesi’s bars to Strawinsky’s. In bars 1-6 (Pergolesi’s 1-11) Strawinsky takes the opening motif of the first theme and uses it sequentially 3 times. Pergolesi on the other hand continues the theme after only 2 sequences of the opening motif. In bars 7-14 (with no direct correspondence to Pergolesi), he derives the transition motif from the first theme, which is also used for the ostinato accompaniment figure. Bars 15-35 (Pergolesi 12-27) are constructed by Strawinsky from material from the second of Pergolesi’s themes. He reuses two figures note-for-note (Pergolesi bars 14+15) and treats them in sequence several times, introducing the theme differently, however. Bars 36-54 (Pergolesi 28-31) are written by Strawinsky as free play with the opening motif of the first theme. He continues in the same vein (bars 55-62 = Pergolesi 32-37). In bars 62-73 (Pergolesi from 45), he works with three statements of the opening motif from the second theme. The opening motif of the first theme (Pergolesi from 61) is in bars 73-91. In bars 92-98 (Pergolesi 45-53) the ostinato figure taken from the first theme becomes independent and is used by Strawinsky as a rising figure to increase the intensity, in parallel in all parts. For bars 99-101 (Pergolesi 58-61), Strawinsky constructs two characteristic transitional motifs out of motific material from the first and second themes, and these motifs both fit into the span of an octave. Bars 102-116 (Pergolesi from 69) form a playful variation of the opening motif of the second theme. There then follows a free transition without any reference to Pergolesi (bars 117-120). In order to build up towards the end of the Finale, Strawinsky inserts the accompaniment figure from bar 6 in Pergolesi’s piano part as an ostinato parallel in all instruments apart from the first horn in bars 121-133.

Ninth Example: The 105 bars designated Allegro alla breve (figure 91 1to the end of figure 103 4) of the following movement are taken from Bastiano’s 165-bar (excluding da Capo ) da Capo aria ‘Con questo paroline’ from the opera Flaminio . Bastiano is Polidoro’s manservant. The bass buffo aria, beloved in its time, which the publishers published as a separate Pulcinella piece, has its original place at number 3 in the first act. Number 2 is Polidoro’s aria with which Pergolesi opened his opera Flaminio and Strawinsky his ballet Pulcinella . After the ballet come 4 spoken scenes in Pergolesi’s version followed by a repeat of Polidoro’s aria. Bastiano’s da Capo aria is inserted after the 5 thscene, a recitative between Bastiano and Checca, who is the maidservant of the young widow Giustina. Strawinsky left the aria in the same key and with one small exception, a lla breve ; he also shortened it by a third by removing repeated sections and he exploited the contrapuntal possibilities of Pergolesi’s music in the interludes. Pergolesi begins his version of the aria with an extended 26-bar introduction and the bass aria begins on the upbeat to bar 27. Strawinsky begins his piece with an additionally composed three-bar transitional figure (figure 91 1-3) consisting of crotchet chordal beats in the strings, with which he sets the combination of fifths c-g, d-a and g-d against one another. Pergolesi’s melodic line enters with a repeated five-bar section which Strawinsky uses only at the beginning in order to shorten the repeated section from 5 to 3 bars. At figure 92 1, he combines bars 5 and 6 and at figure 92 2, he proceeds from bar 7, leaving out bars 8 and 9 and continues with the introduction to bar 23 exactly according to Pergolesi’s notes. After bar 23 (figure 94 2), he repeats bars 20 and 21 but omits bars 22 to 24, and continues with bars 25 and 26, concluding the introductory section with a shortened repeat of bars 25 and 26 (figure 94 7+8) which comes from 4/4 to 3/4 for these two bars only. He constructs figure 94 7from bar 25 shortened by two crotchets with the inclusion of the first crotchet of bar 26, while 94 8consists of bar 26 without the first crotchet but with the beginning of Pergolesi’s melody of bar 27. Strawinsky achieves the individual coloration of the introduction by means of the soloistic distribution of the melody in the solo horn and trumpet. He does not touch the actual sung line but rather follows it until shortly before the first interlude. Two bars before the end of the melody (figure 99 2= Pergolesi’s bar 67), Strawinsky allows small contrapuntal inventions to filter in: he inserts the melody line of bar 66, given to the solo bassoon, into the through-composed bar 67, and likewise the melody line of bar 67, again in the solo bassoon, is placed in bar 68, which is contested by the solo trumpet. A further melodic canon occurs with the 1st flute together with the solo trumpet at figure 99 5-9(Pergolesi’s bars 70-72), which functions at this point as a melodic crown and concludes the instrumental interlude. This does not lead back into Pergolesi’s aria now but omits 5 bars in order to reach the final section of the aria. figure 99 9corresponds to the instrumental bar 72, at the same time combining the start of the further development of the melody of bar 77 with it. Up to figure 101 6(Pergolesi’s bar 93), Strawinsky follows the original, and at figure 101 1+3, he expands the repeated sung notes into octave leaps. Strawinsky makes Pergolesi’s two-fold climax (Pergolesi’s bar 92/93) into a three-fold one, repeating Pergolesi’s bar 93 at figure 101 6. He extends Pergolesi’s bar 94 through figure 101 8to 101 9 in order to find the modulatory transition from figure 102 to Pergolesi’s bar 115; he removes bars 95 to 114. Strawinsky follows Pergolesi to bar 123 (figure 103 3) inclusive, at which point he inserts a slightly altered reprise of the sung melody of bars 121 and 122 into the final bar of singing (figure 103 3) and the final bar (figure 103 4): Pergolesi: third, fourth, fifth sixth; Strawinsky: third, fourth, sixth. This is given to the 1 stoboe in the well known manner. The remaining notes serve the modulation to E flat major for the next section of the ballet.

* According to (unpublished) seminar paper.

Dedication: Ballet and Suite for orchestra: no dedication known; Suite for Violin and Piano: > Dédié à PAUL KOCHANSKI< [Dedicated to Paul Kochanski].

Duration: Ballet: between 35' and 38'43"; C oncert Suite: between 21'15" and 23'.

Date of origin: Ballet: Morges at the end of September 1919 up to 20. April 1920; Vocal Score : end date 11th April 1920; Concert Suite: 1920-1922 ; Violin Suite (Kochanski): Nizza Summer up to 24. August 1925 ( preliminary work seems to stretch back to 1921 ); Suite Italienne (Violoncello version Piatigorsky): 1932; Suite Italienne (Violin version Dushkin): completed on 18th July 1932

First performances: Ballet: 15th May 1920,Paris, Théâtre National de l' Opéra, with the Solo dancers Leonide Massine (Pulcinella), Tamara Karsawina (Pimpinella), Ljubow Tschernischewa (Prudenza), Véra Nemchinowa (Rosetta), Sigmund Nowak (Fourbo), Stanislaw Idzikowsky (Caviello), Nicolas Zwerew (Florindo), Enrico Cecchetti (Il Dottore), Stanislaw Kostetsky (Tartaglia), Bourman, Okimowski, Micholaitschik, Loukine (Quatre petits Pulcinella), the solo singers Zoia Rosowska [Soja Rossowskaja] and Mafalda de Voltri Romanitza* (Soprano), Aurelio Anglada and Angelo Masini Pieralla* (Tenor), Gino de Vecchi (Bass), and the Ballets Russes de Serge de Diaghilew; Stage design and costumes by Pablo Picasso (construction of the stage set: Wladimir Polunine and Violette Polunine); Choreography by Leonide Massine; Stage direction by Serge Grigoriew; conducted by Ernest Ansermet; C onzert Suite: 22th December 1922 in Boston with the Boston Symphony Orchestra, conducted by Pierre Monteux; Violin Suite (Kochanski): 21st November 1925 in Frankfurt with Alma Moodie (Violin) and Igor Strawinsky (Piano); Suite Italienne (Violin version Dushkin): 28th October 1932, Berlin, Funkhaus, with Samuel Dushkin (Violin) and Igor Strawinsky (Piano)

* Replacement cast.

** There was a previous private performance at the house of Werner Reinhart on 12th November 1925 in Winterthur, likewise with Moodie and Strawinsky.

The Pergolesi problem: There has always been doubt as to whether all the works ascribed to Pergolesi were indeed composed by him. A special branch of research has since emerged which has been and still is raising all sorts of disputes swiftly becoming musicological history. The concertini for example were ascribed first to Ricciotti (Dunning/Rimmer: A Master Unmasked or the Pergolesi-Ricciotti Puzzle Solved), (Ricciotti - Johann Philipp Hinnenthal), then to Count Unico Wilhelm von Wassenaer (Albert Dunning), then to Chelleri and most recently to Domenico Gallo (Hucke). The question of authenticity does not affect Strawinsky research. Strawinsky did not know the names of Ricciotti or Gallo nor indeed that of Chelleri. Himself and Diaghilev assumed to be dealing with compositions by Pergolesi and indeed they were later all verified and ascribed to him*. All the historically valuable trio sonatas Strawinsky has used that can be dated around 1755 today are ascribed to Domenico Gallo, the concertino to Fortunato Chelleri, the aria ‘Se Tu m’ami’ and both cembalo suites to anonymous composers.

* The pieces were assigned, named and numbered in accordance with traditional practice.

Remarks: After the success of the Scarlatti-Tommasini ballet in the Spring of 1917 and the Rossini-Respighi ballet in the summer of 1919, Diaghilev wished to extend his ballet repertoire to include ancient music. He had had Pergolesi’s music copied from old manuscripts and brought it with him to show Strawinsky in Paris since he was eager to attach Strawinsky more closely again to his ballet company. He also brought with him a book of Pulcinella stories which he thought would do for a suitable scenario. Strawinsky showed little enthusiasm at first but soon changed his mind. He went out in search of more music from Pergolesi, copied some manuscripts himself and had others copied for him in Naples and London. In part he even wrote his own version straight onto the copied materials. German musicologists criticised Strawinsky’s rendering of the artistic process stating that it could not be correct, since all of Pergolesis’s compositions had indeed existed in print and that there were no unpublished fragments. The sighting of the Pergolesi Estate proves, however, that all of Strawinsky’s statements on this matter were correct. He was using copies of Pergolesi music from the Naples Conservatory which were made available to him or indeed to Diaghilev through the good offices of Prof. A. Ricci, who ran a ‘Casa Musicale Metronomo’ in Gelso 126 of Naples. Such copies were generally but thinly orchestrated or even incomplete. Included were the Gavotte with two variations, the Sinfonia per Violoncello e Basso, excerpts from cantatas and operas all of which found their way into the ballet. Whether these copies originated from manuscripts or printed material did not interest Strawinsky. It was not important. He mostly worked with fragments and thus was entitled to speak of fragments. A second source of materials for his work stemmed from an edition of printed music from the British Museum Library in London Twelve/Sonatas for Two Violins /and a Bass or an Orchestra /composed by /Gio. Batt.a Pergolesi/Author of the Stabat Mater/The Manuscripts of these Sonatas were proceeded by a/Curious Gentleman during his travels through Italy. /London/Printed and sold by Preston and Son at their /Warehouse 97/Strand/The following movements copied/and put in score from the printed/parts of the above work by. E. van der Straate/London/Septbr. 1918., containing the 1st Movement of the First Sonata, the 1st and 3rd of the Tenth, the 3rd of the Third, the 1st of the Fourth and Eighth respectively, the 3rd of the Tenth, the 2nd Movement of the Eleventh Sonata and finally the Twelfth in its entirety. The order of appearance of the works in this so-called Straaten Edition is even partly followed in Strawinsky’s ballet. His referring to a 1918 Edition alone would explain why he adamantly refused to name his sources and obliged the editor to decline passing on information of any kind on the subject. His agreeing to the matter was of course not only due to artistic reasons but also to pecuniary ones. Strawinsky had great financial worries and could not freely choose his commissions at the time but had to accept what was offered to him. - The ‘Pulcinella Suite’ collated by and by from the ballet materials in the course of 1922 originally consisted of two complementary suites. Pierre Monteux could not première the second as intended on 22 December in Boston, as the orchestral parts were not yet available. Only afterwards the two parts were joined in a single suite and as such Pulcinella was performed in the course of 1923 in Boston, New York, Cambridge, Providence and Brooklyn under Monteux’ direction. The ‘Pulcinella Suite’ remained, as did the ballet, a lasting success. The first transcription of Pulcinella for violin by Strawinsky himself was dedicated to the well-known violinist Kochanski in 1925 but not premièred by him. The 1932 Dushkin transcription for violin is different in structure from the one Strawinsky intended for Kochanski. We are talking about two different pieces for which reason Strawinsky chose a different title. It is the same title also given to Piatigorski’s violoncello transcription of 1934, structurally a reanimation of the Dushkin transcription completed by Strawinsky on 18th July 1932.

Situationsgeschichte: With the spreading of musical historism after the turn of the century ‘ancient music’ or whichever other term one wishes to apply to this phenomenon, became gradually more interesting to the public. The first to recognise the use such music could be put to in ballet was Diaghilev, when he had a selection of piano pieces by Domenico Scarlatti arranged for modern orchestra by Tommasini, and achieved an unexpected success with a ballet drawing on those arrangements entitled Les Femmes de Bonne Humeur after Carlo Goldoni choreographed by Leonide Massine with costumes by Léon Bakst and Ernest Ansermet conducting. The première took place in the Roman Constanzi-Theatre in the Spring of 1917 (12th April). Two years later, Diaghilev repeated this success with music by Gioacchino Rossini instrumented by Ottorino Respighi. This ballet, La Boutique Fantasque premièred on July 5th 1919 at the Alhambra in London, the set design was by Andrè Derain, the musical director being Delfosse and the choreography by Massine. Until 1927 it had been performed in Paris, Rome, Madrid, barcelona and Geneva. It was for this reason that Diaghilev, who in the last years of his life had become a collector of autographs and connoisseur of manuscripts scoured the respective dealers’ premises for precious editions to add to his collection, approached Strawinsky only a while later, expecting a similar work from him which according to his plan should be based on Pergolesi’s music. Apparently, Diaghilev had asked Strawinsky on the matter before without raising much of a response. Thus the anecdote may be explained, by which he, Diaghilev, intended to propose a new plan for a ballet and that Strawinsky should not get angry at him for it. From Strawinsky’s point of view both the initial dislike and the later acceptance are understandable. To have to work on Pergolesi after Sacre, and between stylistic extremes like Les Noces, Histoire du soldat and Renard must have seemed like asking too much from a Strawinsky. Diaghilev must have been well aware of this, but he also knew that Strawinsky was in need of money, because for the first time in his life he was under severe financial restraint and could not choose his work. – Presumably it was the money that tipped the scales in favour of Pergolesi, and once Strawinsky had entered the world of Pergolesi’s compositions he developed a real interest in his music. While the musical tastes of the 19th century public - insistent as it was on exotism - increasingly turned to the past for its musical entertainment, new music was displaced to appear at special festivals and music events and its representatives held court amongst their own, albeit well-informed circles. Particularly Strawinsky complained of the fact that his music was mostly only heard at festivals. This goes to show that there was much more new music being performed in the cities than is generally thought - only the number of followers of such music and its general acceptance remained small. When in among the many co-existent styles since 1911 certain musical forms crystallised and claimed greater universality, those having a greater affinity with the music of the past succeeded more easily. The listeners’ longing for a seemingly harmonious sound world favoured the success not only of Pulcinella but of many other compositions which - some in earnest, some parodistically - made a caricature of the old by means of the new. Common to them all is the return to feeling in art, an element which should have been replaced by new music in Strawinsky’s vein and which maintained a great following. When Strawinsky went further and let modern sounds intrude by using unusual instrumentation and introducing an estranged rhythmic patterns, Diaghilev was quite perturbed and it took some time before he was able to cease protesting against what he felt to be new and strange.

Significance: That is to say: Had Strawinsky not written Pulcinella his artistic portrait would merely lack one facet - his importance as one of the leading composers of the 20 thcentury would, however, not be impaired; it would mean one less success in his life’s achievement. If another, less masterful composer had thought up Pulcinella, say, Tommasini, the composition would probably have been less popular and at most have passed as an unusual ballet score, bearable only from the director’s or choreographer’s point of view or as film music. If Strawinsky had continued in the Pulcinella vein, however, he would today be no more than a footnote in musical history, referred to by specialists, if at all. Pulcinella may be seen in the context of a number of other pieces of his early American years, when Strawinsky experimented with jazz and musical elements without much success and soon decided not to compose commercial music in the future - a decision surely supported by the general contract concluded with Boosey & Hawkes in 1950.

Production 1920: Diaghilev had created the best possible conditions for the Pulcinella production by engaging an excellent group of soloists with Massine (who danced the title role), Picasso for the set design, Strawinsky as a composer, Ansermet as musical director and a number of solo dancers. The greater was his disappointment when Picasso presented him with a set that ran counter to his views of a Commedia dell’arte, as its leading motif was to combine heterogeneous elements - to counterpoint the lightness of Neapolitan opera buffa with an Offenbachesque stage. Arguments ensued which brought the project dangerously close to failing - but Picasso relented. His second stage set showed a street scene with a slightly alienating cubist touch that yet harmonised with the historic street theatre and its settings. These he contrasted with plain but realistic costumes. Massine picked up the leading aspect of synchronised heterogeneity by spreading the action to various levels simultaneously combining different styles of dancing. The nobility danced classical figures, the rustics folk dances, the old performed in pantomime and the central character mixed all genres together as the action required. The part of Pulcinella could only be shaped using body language, since Massine performed in semi-masque. To him the part was many-faced and ambiguous with elements even of the macabre. The performance became a success for Diaghilev and his troupe.

Problem with performance material: The fact that Pulcinella was played often, but that the performance material was only available to hire led to great wearing of the copies. Each conductor added different markings, made his own cuts, and organised the score in his own individual ways. The necessary addition of each new version into the sets of parts and the deletion of previous versions affected the paper greatly, which was clearly not of particularly high quality. When Strawinsky performed Pulcinella himself, he saw the material and grew annoyed, with good reason, about the poor state of the parts. For a performance on 11th November 1952, he requested the Suite material on 8th September as well as 2 arias by David Adams from the publishers. What he was sent were smudged pages with entries of all kinds inside outer material that was also in poor condition. He explained in a forceful letter to Ernst Roth on 26th September 1952 that he could spare no time to clean up the parts and patch up the pages. The rehearsal time [Cleveland] was too valuable for stupid business such as this. He therefore demanded from the publishers a new set of parts that had not been previously published up to that point so that he could enter his corrections into them or, in case such a material were not on hand, permission from the publishers to be allowed to engage a copyist, to be paid for by the publishers, to remove the mess.

Versions: The mix-ups and problems in assigning exact dates of publication to the various adaptations of Pulcinella would no doubt also have affected the Firebird Suite, Petrouchka and Sacre had not the Schott-Verlag gradually bought up all the rights of publication. The piano reduction was the only version published by Chester in London in 1920, because Kling Editors, although interested in the piano reduction, did not wish to obtain the rights in the full score nor the performing rights as would have been the case had they taken on the complete rights from the former Henn Edition (of which Pulcinella was not a part) which later were bought up by Kussewitzky for the Russian Music Editors. Chester was at the time publisher of all the popular ‘historic’ adaptations, including those of Tommasini and Respighi, and ran what would today be called an advertising campaign for them. An arrangement of the Gavotta con variazioni for piano solo appeared in that same year, the Scherzino two years later, in 1925 an arrangement of the bass aria ‘Con queste paroline’ for bass voice and piano. It is unlikely that copies of the full score of the opera-ballet were available for sale. The only library in possession of a full score in print (sign. Dms 198541) is the Prussian State Library, a beautifully made copy signed by Struve himself on 17th December 1924; it is marked as not for sale. Whether Struve wished to make a Christmas donation to the library or a special occasion prompted him to give them a copy must remain speculation. He could also simply have adhered to the recommendation requiring to leave one copy of each production with the central library. In the England of the time that would have been obligatory. Strawinsky’s own full score came from the archives of the Leipzig printer Röder and was dated 3rd Dec. 1924. The vocal parts could only be had from a lending library as opposed to the pocket score which was first printed in 1924 after the full score. The Russian Music Editors also published the three transcriptions for strings: From 1926 onwards the transcription for violin and piano dedicated to the violinist Kochanski (new version re-issued in 1930) appeared under the usual protective name Albert Spalding, from 1934 onwards the transcriptions for violin and piano (both entitled Suite italienne) in cooperation with Samuel Dushkin which were made popular by various concert tours, followed by those for violoncello and piano together with Gregor Piatigorsky. The Piatigorsky Suite especially was re-printed several times. - In the context of the orchestral studies edition issued by Alphonse Leduc with the permission of the original editors (répértoire du conservatoire national de Paris) of particularly complex orchestral pieces (traits difficiles) an excerpt from Pulcinella featuring the trombone was included. – Once the Russian Music Editors were sold, their rights became the property of Boosey & Hawkes while in the course of the majority takeover of Chester (by which Strawinsky was not affected) the Copenhagen Hansen Verlag was nominated. A transcription for orchestra of the Suite was in the possession of the Monte Carlo ballet company (through Galaxy 1947). Denham used sections thereof for his Commedia Ballettica. A further transcription belonged to Strawinsky himself - he had had it made for his own oncert requirements in 1946 and offered it to Ralph Hawkes (as he had previously done with the Apollo transcription). Strawinsky’s main interest at the time of 1949 was of course to persuade Hawkes to print the full orchestral score and also to make him his ally in getting a new edition of the piano reduction under way for which the rights were still with Chester. Pulcinella was the first of Strawinsky’s scores to come under copyright protection as a revised edition. In 1949 Boosey & Hawkes published the Suite in its revised form as a full orchestral score and a pocket score with follow-on editions, 1966 the Suite and the ballet appeared as full scores. A conductor’s full score of the ballet followed in 1965. Further arrangements were planned but did not materialise for a variety of reasons. It seems that Pulcinella did not fall victim to American or Russian illegal printing, although the editions sold quite well. The contract covering the Pulcinella orchestral suite was concluded as no. IV on 12th August 1924 by Oeberg and Strawinsky. The latter did not receive a set fee but a fixed percentage of the sales and lending fees. To Strawinsky the Russian Music Editors were more than a mere publishing house as all fees coming to him were collected there and his accounting for purchases down to writing materials was done there. After the breakdown of his Russian publishers the collection of royalties passed on to Schott-Verlag Mainz, at the same fixed percentage of 10%. Schott also sought to arrange concerts for Strawinsky, at least for as long as Strecker remained managing director. After all it was in the publishers interest to have Strawinsky’s music publicly performed. Between 1924 and 1938 the Russian Music Editors sold around 800 pocket scores. Of Strawinsky’s Kochanski transcription (he received his personal copy in November 1926) even more than one thousand copies were sold between 1926 and 1938, the number of single editions was at more than 350. – The transcription was for sale both as full score and singly in the form of instrumental sheet music at various prices per sheet, and all 5 pieces have the same plate number. ‘Introduction’ and ‘Serenade’ were sold at M 1.50, the ‘Tarantella’ at M 1.80, the ‘Gavotte’ with both variations at M 2.20 and the ‘Minuet’ and ‘Finale’ at at M 2.80 each. All single sheets together cost M 9.80, more than the complete work bound which was available at only M 8.00. There is evidence of a new edition with a prospective date for publication in 1927. The pieces from the Suite italienne as well as Platigorsky’s and Dushkin’s were clearly not sold separately, however they received each a differing increasing plate number (Platigorsky: 551-55; Dushkin: 585-590). Approaching the critical year 1939 the ‘Suite italienne’ did not do as well, nor did the Dushkin and Piatigorsky transcriptions, but this was due in part to the publishing house having become considerably less active. The political end of editorial sales in Germany was marked by a mere 21 and 80 copies sold respectively for the two last years 1937 and 1938. The rights went to Boosey & Hawkes. The contract for the revised Suite was concluded by Strawinsky and Boosey & Hawkes on Nov. 6th 1950.

Revised editions 1947/1965: The revision of the concert suite was made in 1947. There were no changes in the notation, but existing printing errors were eradicated. The most important changes refer to metronome settings and to the re-naming of part seven from ‘duetto’ to ‘vivo’. The same goes for the ballet edition of 1965. Here, too, the changes referred mainly to metronome settings.

Historical recordings: Ballet, Cleveland 14th December 1953 with Mary Simmons (Soprano), Glenn Schnittke (Tenor), Philip McGregor (Bass) and the Cleveland-Orchestra under the direction of Igor Strawinsky; Ballet, Hollywood 23rd August 1965 with Irene Jordan (Soprano), George Shirley (Tenor), Donald Gramm (Bass) and the Columbia Symphony Orchestra under the direction of Igor Strawinsky; Suite, Hollywood 25th August 1965 with the Columbia Symphony Orchestra under the direction of Igor Strawinsky*; Suite italienne Nr. 2 und 5, Paris, Studio Albert, 7th April 1933 with Samuel Dushkin (Violin) and Igor Strawinsky (Piano)

* Nos. 7 and 8 in the Orchestral Suite were produced in 1927 (Columbia D 15126 and LWX 75) and Nos. 5 and 6 in 1932 (Columbia LFX 289)in Paris (the disc edition of both recordings is Columbia X-36).

CD edition: II-3/1-5 (Ballet Hollywood 1965); III/12-22 (Suite).

Autograph: The vocal score passed from the inventory of Chester into the British Library in London, and the Kochanski transcription into the Library of Congress in Washington.

Copyright: 1924 by Russischer Musikverlag in Berlin (Édition Russe de Musique)

Editions

a) Overview

34-1 1920 VoSc Ballet; I; Chester London; 86 p.; J. & W. C. 9707.

34-1Straw

34-2 [1922] Gavotta con variazioni, Piano; Chester London; 6 pp.; J. & W. C. (2129).

34-3 [1922] Scherzino Kl.; Chester London; 4 pp.; J. & W. C. (2128).

    34-3Straw ibd.

34-4 1924 FuSc Suite; Russischer Musikverlag Berlin; 75 pp.; R. M. V. 409.

    34-4Straw ibd. [with annotations].

34-5 1924 FuSc Ballet; Russischer Musikverlag Berlin; 154 pp.; R. M. V. 410.

    34-5Straw ibd.

34-6 1924 PoSc Suite ; Russischer Musikverlag Berlin; 75 pp.; R. M. V. 409 + R. M. V. 409A.

    34-6Straw1 ibd.

    34-6Straw2 ibd.

34-7 1925 Con queste paroline; I; J. & W. Chester London; 6 pp.; J. & W. C. (3946).

34-8 1926 Suite [Kochanski] Vl.-Kl. (komplett); Russischer Musikverlag Berlin; 25 pp.; R. M. V. 428.

    34-8Straw ibd. [no annotations].

34-9 1926 Suite [Kochanski] (Introduktion); Russischer Musikverlag Berlin; 3. pp.; R. M. V. 428.

34-10 1926 Suite Vl.-Kl. (Serenata) [Pulcinella]; Russischer Musikverlag Berlin; 4 pp.; R.M.V. 428.

34-11 1926 Suite Vl.-Kl. (Tarantella) [Pulcinella]; Russischer Musikverlag Berlin; 4 pp.; R.M.V. 428.

34-12 1926 Suite Vl.-Kl. (Gavotte) [Pulcinella]; Russischer Musikverlag Berlin; 5 pp.; R.M.V. 428.

34-13 1926 Suite Vl.-Kl. (Finale etc.) [Pulcinella]; Russischer Musikv. Berlin; 9 pp.; R.M.V. 428.

34-14 1927 Suite Vl.-Kl. [Pulcinella]; Russischer Musikverlag Berlin; 25 pp.; R.M.V. 428.

34-15 1930 Suite [Kochanski]; Russischer Musikverlag Berlin; 25 pp.; R. M. V. 428.

34-16 1934 Suite italienne [Piatigorsky]; Russischer Musikverlag Berlin; 27 pp.; R.M.V. 551-555.

34-17 1934 Suite italienne Vl.-Kl. [Dushkin]; Russ. Musikverlag Berlin; 31 pp.; R. M. V. 585-590.

    34-17Straw ibd.

34-17[66] [1966] ibd.

34-18 1935 Suite [Kochanski]; Russ. Musikverlag Berlin; 25 pp. 2°; R. M. V. 428 [unidentified].

34-19 1943 Orchesterstudie Posaune [Couilland]; Alphons Leduc Paris; 2°; A. L. 20,232.

34-20 [1947] KlA; Chester London; 86 pp.; J. & W. C. 9707.

34-21 (1949) Suite Dp; Russischer Musikverlag-Boosey & Hawkes; 76 pp.; B. & H. 16332.

    34-21Straw ibd. [with annotations].

34-21[65] [1965] ibd.

34-22 (1949) Suite Tp; Boosey & Hawkes London; 76 pp.; B. & H. 16332; 632.

34-2257 (1957) ibd.

34-2259 (1959) ibd.

34-22 67(1967) ibd.

34-2270 (1970) ibd.

34-23 [1950] Suite italienne [Piatigorsky]; Russ. Musikv. / Boosey & Hawkes; 27 pp.; B. & H. 16350.

34-2364 1964 ibd.

34-24 1962 Suite Vl.-Kl. [Kochansky]; Москва ; 24 pp. 4°; 30180.

34-25 1966 Dp Ballett rev.; Boosey & Hawkes London; 160 pp. 2°; B. & H. 19362.

34-26 1968 Suite Vl.-Kl. [Kochansky]; Москва ; 24 pp. 4°; 30180.

34-27 [1968] KlA; Chester-Hansen; 86 pp. 2°; J.W.C. 9707.

b) Characteristic features

34-1 IGOR STRAWINSKY / D'APRÈS / GIAMBATTISTA PERGOLESI. / PULCINELLA / [vignette]° // PULCINELLA / BALLET AVEC CHANT / EN UN ACTE / MUSIQUE DE / IGOR STRAWINSKY / D'APRÈS / GIAMBATTISTA PERGOLESI / J. & W. CHESTER, LTD. / LONDON: [#] GENÈVE: / 11, GREAT MARLBOROUGH STREET, W.-1. [#] 9-11, PLACE DE LA FUSTERIE. / Déposé selon les traités internationaux. [#] Propriété pour tous les pays. / Tous droits de traduction, de reproduction, et d'arrangement réservés. / Seuls Dépositaires pour la France: [#] Seuls Dépositaires pour la Belgique: / ROUART, LEROLLE ET CIE., [#] MAISON CHESTER, / 29, RUE D'ASTORG, PARIS. [#] 86, RUE DE LA MONTAGNE, BRUXELLES. / Engraved and Printed in England. / Copyright MCMXX. by J. & W. Chester, Ltd. [*] // (Piano reduction with chant [library binding] 24.5 x 30.5 (4° [4°]); sung text Italian; 86 [86] pages + 4 cover pages [**] black on beigebraun [front cover title with vignette 2.6 x 3 half-mask, 2 empty pages, page with imprint + price in a decorated frame 5.8 x 5.3 centre centred > Propriété des éditeurs / pour tous pays / J. & W. CHESTER, Ltd., / 11, Great Marlborough / Street / LONDON, W. 1. / Price 10ct net. (Fr: 15,00) <°] + 2 pages front matter [title page°, (world) premiere data >PULCINELLA< French + summary > ARGUMENT < French] without back matter; title head >PULCINELLA<; author specified 1st page of the score paginated p. 1 next to piece title centred >IGOR STRAWINSKY / d'après Giambattista Pergolesi<; legal reservation 1st page of the score below type area flush left >Copyright, 1920, by J. & W. Chester, Ltd. London.<; plate number >J. & W. C. 9707<; without end marks) // (1920)

* The copy of the Bayerische Staatsbibliothek München >4 Muspr. 5314< contains a stamp mark >NET 15/–<, also the copy of Berlin >DMs 192478<, registered with >M. 1922.91<. In the Munich copy >4 Muspr. 5314<, the printed price on the back page of the cover was crossed out in pencil.

** London copy >H. 786.b.(1.)< without cover pages.

34-1Straw

In the copy from Strawinsky’s estate, which was later bound with strong cardboard and cut to 24.2 x 30.1, the mask vignette is missing. It contains the price, but on the outer title page and the inner title page above centre, there appears the stamp >Unverkäufliches Leih-Material / Eigentum des Verlegers< [ Rental material not for sale / Property of the publishers ] . A (red) statement of the price >13 ,fs< on the outer title page is crossed out.

34-2 CHESTER / LIBRARY / IGOR STRAWINSKY / D'APRÈS G. PERGOLESI / GAVOTTA CON VARIAZIONI / PIANO. / PRICE 2/- (Frs. 3.00) NET. / J. & W. CHESTER L TD // IGOR STRAWINSKY / D'APRÈS G. PERGOLESI / [°] / GAVOTTA CON VARIAZIONI / FROM / PULCINELLA / FOR / PIANOFORTE / J. & W. CHESTER, LTD., / LONDON: 11, GREAT MARLBOROUGH STREET, W.1. / [°°] / FRANCE. [#] BELGIUM. [#] SWITZERLAND. [#] ITALY. / ROUART, LEROLLE ET CIE., [#] LES EDITIONS MODERNES, [#] REDSCHY FRÈRES, [#] PIZZI UMBERTO, / PARIS. [#] BRUXELLES. [#] GENÈVE. [#] BOLOGNA. / GERMANY. [#] HOLLAND. [#] CZECHO-SLOVAKIA. [#] SOUTH AMERICA. / HUG & CO., [#] BROEKMANS & VAN POPPEL, [#] HUDEBNI MATICE, [#] HARRODS, LTD., / LEIPZIG. [#] AMSTERDAM. [#] PRAGUE. [#] BUENOS AIRES. // (Edition piano [library binding] 26.2 x 32.9 (2° [4°]); 6 [6] pages + 4 cover pages black on cream white [front cover title with a full-page Chester Lyre surrounded by a coat of arms black on white with (presumably) the artist’s signature >H J M< # >1914< entered left and flush right at the bottom of the frame , 2 empty pages, page with publisher’s advertisements > ŒUVRES DE / IGOR STRAWINSKY / PUBLIÉES PAR / J. & W. CHESTER, Ltd., LONDRES. <* without production date] + 2 pages front matter [decorated title page with framed flower tendrils and publishers frame laid out with the artist’s signature >H. J. M.< # >1922.< entered left- and flush right (presumably) at the bottom of the frame, empty page] without back matter; title head >GAVOTTA CON VARIAZIONI<; author specified 1st page of the score without pagination [p. 1] below title head flush right centred>IGOR STRAWINSKY / d'après G. Pergolesi.<; legal reservation 1st page of the score below type area flush left >Copyright, MCMXX, by J. & W. Chester, Ltd.< flush right centred >Tous droits réservés. / All rights reserved.<; plate number >J. & W. C. (2129)<; without end marks; without production indication) // (1920)

° Dividing horizontal double line of 5.4 cm.

°° Dividing horizontal line of 5.4 cm.

* All works for sale with Chester are advertised in alphabetical order with editions and net price information behind fill character (dots in groups of three) as well as with self-arrangements by Strawinsky marked in bold type > Berceuses du chat,suite de chants pour voix de femme et trois clarinettes: / Partition d’ensemble° 6/- net. / Parties° 6/- * / Réduction pour chant et piano par l’auteur**° 2/- / BERCEUSE ET FINALE (“ L’Oiseau de Feu ”): / Arrangement pour orgue de Maurice Besly° 2/- * / CHANT DES BATELIERS SUR LE VOLGA, pour instruments à vent: / Partition et parties° 5/- * / LES CINQ DOIGTS, huit pièces faciles pour piano° 3/- * / CINQ PIECES°° FACILES pour piano à quatre mains (main droite facile)° 3/- * / L’HISTOIRE DU SOLDAT, grande suite: / Arrangement pour piano par l’auteur**° 10/- * / Suite pour clarinette, violon et piano, arrangement par l’auteur**°°° 20/- * / LES NOCES, scènes chorégraphiques russes avec chant: / Réduction pour piano et chant par l’auteur**° 20/- * / L’OISEAU DE FEU, nouvelle suite pour orchestre moyen: / Partition° 40/- * / Parties° 50/- * / PIANO RAG MUSIC pour piano seul° 3/- * / PRIBAOUTKI, chansons plaisantes pour une voix et huit instruments: Partition° 8/- * / Parties° 10/- * / Réduction pour chant et piano par l’auteur**° 4/- * / PULCINELLA, ballet d’après Pergolesi: / Réduction pour piano par l’auteur**° 15/- / QUATRE CHANTS RUSSES, chant et piano° 3/- * / RAG-TIME pour petit orchestre: / Partition° 7/- * / Réduction pour piano par l’auteur**° 4/- * / RENARD, Histoire burlesque en un acte: / Réduction pour piano et chant par l’auteur**° 15/- * / RONDE DES PRINCESSES (“ L’Oiseau de Feu ”): / Arrangement pour orgue de Maurice Besly° 2/- * / TROIS HISTOIRES POUR ENFANTS, chant et piano° 2/6 * / TROIS PIÈCES°° FACILES pour piano à quatre mains (main gauche facile)° 2/6 * / TROIS PIÈCES pour clarinette seul° 3/- *< [° fill character (dots in groups of three) ; °° original spelling; °°° without fill character (dots in groups of three) ; * double quotation („); ** bold print].

34-3 CHESTER / LIBRARY / IGOR STRAWINSKY / D'APRES* G. PERGOLESI / SCHERZINO / PIANO. / PRICE 2/- (FRS. 3.00) NET. / J. & W. CHESTER L TD // IGOR STRAWINSKY / D'APRÈS* G. PERGOLESI / SCHERZINO / FROM / PULCINELLA / FOR / PIANOFORTE / J. & W. CHESTER, LTD., / LONDON: 11, GREAT MARLBOROUGH STREET, W.1. / FRANCE. [#] BELGIUM. [#] SWITZERLAND. [#] ITALY./ ROUART, LEROLLE ET CIE [#] LES EDITIONS MODERNES [#] REDSCHY FRERES. [#] PIZZI UMBERTO. / PARIS. [#] BRUXELLES. / [#] GENÈVE. [#] BOLOGNA. / GERMANY. [#] HOLLAND. [#] CZECHO-SLOVAKIA [#] SOUTH AMERICA. / HUG & CO. [#] BROEKMANS & VAN POPPEL. [#] HUDEBNI MATICE. [#] HARRODS, LTD., / LEIPZIG. [#] AMSTERDAM. [#] PRAGUE [#] BUENOS AIRES. // (Edition for piano [library binding] 26 x 33.8 (2° [4°]); 4 [4] pages + 4 cover pages thicker paper black on light green beige [front cover title with a full-page Chester Lyre surrounded by a coat of arms black on white with (presumably) the artist’s signature >H J M< # >1914 < entered left and flush right at the bottom of the frame, 2 empty pages, page with publisher’s advertisements > Œuvres de / IGOR STRAWINSKY / PUBLIÉES PAR / J. & W. CHESTER, Ltd., LONDRES. <** without production date] + 2 pages front matter [ decorated title page with framed flower tendrils and publishers frame laid out with the artist’s signature >H. J. M.< # >1922 . < entered left- and flush right (presumably) at the bottom of the frame, empty page] without back matter; author specified 1st page of the score without pagination [p. 1] between title head and piece title flush right >IGOR STRAWINSKY / d'après G. Pergolesi.<; legal reservation 1st page of the score below type area flush left >Copyright MCMXX, by J. & W. Chester, Ltd.< flush right centred >Tous droits réservés. / All rights reserved.<; plate number >J. & W. C. (2128)<; without production indication; without end mark) // [1922]

* Original spelling.

** All works for sale with Chester are advertised in alphabetical order with editions and net price information behind fill character (dots in groups of three) as well as with self-arrangements by Strawinsky marked in bold type > Berceuses du chat , suite de chants pour voix de femme et trois clarinettes: / Partition d’ensemble° 6/- net. / Parties° 6/- * / Réduction pour chant et piano par l’auteur**° 2/- / BERCEUSE ET FINALE (“ L’Oiseau de Feu ”): / Arrangement pour orgue de Maurice Besly° 2/- * / CHANT DES BATELIERS SUR LE VOLGA, pour instruments à vent: / Partition et parties° 5/- * / LES CINQ DOIGTS, huit pièces faciles pour piano° 3/- * / CINQ PIECES°° FACILES pour piano à quatre mains (main droite facile)° 3/- * / L’HISTOIRE DU SOLDAT, grande suite: / Arrangement pour piano par l’auteur**° 10/- * / Suite pour clarinette, violon et piano, arrangement par l’auteur**°°° 20/- * / LES NOCES, scènes chorégraphiques russes avec chant: / Réduction pour piano et chant par l’auteur**° 20/- * / L’OISEAU DE FEU, nouvelle suite pour orchestre moyen: / Partition° 40/- * / Parties° 50/- * / PIANO RAG MUSIC pour piano seul° 3/- * / PRIBAOUTKI, chansons plaisantes pour une voix et huit instruments: Partition° 8/- * / Parties° 10/- * / Réduction pour chant et piano par l’auteur**° 4/- * / PULCINELLA, ballet d’après Pergolesi: / Réduction pour piano par l’auteur**° 15/- / QUATRE CHANTS RUSSES, chant et piano° 3/- * / RAG-TIME pour petit orchestre: / Partition° 7/- * / Réduction pour piano par l’auteur**° 4/- * / RENARD, Histoire burlesque en un acte: / Réduction pour piano et chant par l’auteur**° 15/- * / RONDE DES PRINCESSES (“ L’Oiseau de Feu ”): / Arrangement pour orgue de Maurice Besly° 2/- * / TROIS HISTOIRES POUR ENFANTS, chant et piano° 2/6 * / TROIS PIÈCES°° FACILES pour piano à quatre mains (main gauche facile)° 2/6 * / TROIS PIÈCES pour clarinette seul° 3/- *< [° fill character (dots in groups of three); °° original spelling; °°° without fill character (dots in groups of three); * double quotation („); ** bold print].

34-3Straw

34-4 IGOR STRAWINSKY / SUITE DE PULCINELLA / POUR / PETIT ORCHESTRE / D'APRÈS / J. P. PERGOLESI / PARTITION D'ORCHESTRE / ÉDITION RUSSE DE MUSIQUE // IGOR STRAWINSKY / SUITE DE PULCINELLA / POUR / PETIT ORCHESTRE / D'APRÈS / J. P. PERGOLESI / [°] / [vignette] / PROPRIÉTÉ DE L'ÉDITEUR POUR TOUS PAYS / TOUS DROITS D'EXÉCUTION RÉSERVÉS / ÉDITION RUSSE DE MUSIQUE / (RUSSISCHER MUSIKVERLAG G. M. B. H.*) / FONDÉE PAR S. ET N. KOUSSEWITZKY / BERLIN, MOSCOU, LEIPZIG, NEW YORK, LONDRES, BRUXELLES, BARCELONA, MADRID, / PARIS / 22, RUE D'ANJOU, 22 / S. A. DES GRANDES ÉDITIONS MUSICALES // (Full score [library binding] 26.5 x 32.5 (2° [4°]); 75 [73] pages + 4 cover pages black on grey grained [front cover title, 2 empty pages, page with publisher’s advertisements >LES ŒUVRES / d’IGOR STRAWINSKY<** production date >N o 2<] + 2 pages front matter [title page in feather frame with vignette 1 x 1.2 sitting women playing cymbalom, page with index in feather frame >1. SINFONIA / (OUVERTURE) / 2. SERENATA / 3a. SCHERZINO / b. ALLEGRO / c. ANDANTINO / 4. TARANTELLA / 5. TOCCATA / 6. GAVOTTA CON / 2 VARIAZIONI / 7. VIVO / 8a. MINUETTO / b. FINALE< + legend >ORCHESTRE< French >EN TOUT 33 PERSONNES<] + 1 page back matter [empty page]; title head >SUITE<; author specified 1st page of the score paginated p. 3 next to and below movement title numbered in Roman numeral (without dot) >I / Sinfonia / (Ouverture)< flush right centred >Pergolesi – Strawinsky / Edited by Albert Spalding, New York<; legal reservation 1st page of the score above type area between title head and movement number flush left >Tous droits d'exécution réservés< below type area flush left partly in italics >Copyright 1924 by Russischer Musikverlag, G. m. b. H., Berlin / Russischer Musikverlag, G. m. b. H., Berlin, Leipzig / Édition Russe de Musique< flush right >Propriété de l'Éditeur pour tous pays<; plate number >R. M. V. 409<; without end marks***) // 1924

° Dividing horizontal line of 4.5.

* G.M.B.H. is printed in smaller letters whereas B. and H. are printed below the G. and M.

** Compositions are advertised >PÉTROUCHKA (BALLET) / PARTITION DE POCHE / RÉDUCTION POUR PIANO À QUATRE MAINS PAR L’AUTEUR / „TROIS MOUVEMENTS DE PÉTROUCHKA“. / TRANSCRIPTION POUR PIANO-SOLO PAR L’AUTEUR / ROSSIGNOL (CONTE LYRIQUE) / RÉDUCTION POUR PIANO À QUATRE MAINS PAR L’AUTEUR / „MARCHE CHINOISE“. TRANSCRIPTION POUR PIANO-SOLO / PAR THÉODORE SZÁNTO / „CHANT DU ROSSIGNOL“. (POÈME SYMPHONIQUE) / PARTITION DE POCHE / LE SACRE DU PRINTEMPS (BALLET) / PARTITION DE POCHE / RÉDUCTION POUR PIANO À QUATRE MAINS PAR L’AUTEUR / TROIS PIÈCES POUR QUATUOR À CORDES / PARTITION DE POCHE / POUR CHANT ET PIANO: / DEUX POÉSIES DE BALMONT / ÉDITION NOUVELLE AVEC TEXTE RUSSE, FRANÇAIS, ANGLAIS ET ALLEMAND / TROIS POÉSIES DE LA LYRIQUE JAPONAISE / ÉDITION NOUVELLE AVEC TEXTE RUSSE, FRANÇAIS ET ANGLAIS / TROIS PETITES CHANSONS (SOUVENIR DE MON ENFANCE) / ÉDITION NOUVELLE AVEC TEXTE RUSSE ET FRANÇAIS, RUSSE ET ANGLAIS<.

*** This edition can apparently officially only be accessed in Berlin and in Strawinsky’s estate. The Berlin copy >DMs 198541< contains a stamp on the inner title page underneath the type area >Unverkäufliches Leihmaterial / Eigentum des Verlegers.<; the same stamp also appears at an angle at the bottom of the 1 stpage of the score and at times sliding off the edge of the page, again in the same form, while on the outer title page, the subline >Eigentum des Verlegers.< is crossed out. There is an entry underneath in old-German Sütterlin script >Expl. für Hofmeister / u. nach Eintragung / für die „Germane Musiksammlung / bei der Staatsbibliothek“ in / Berlin 17./2. 24<. . There then follows the stamp of the shop >Russischer / Musikverlag / G.m.b.H. / BERLIN S. W. / 1 ??? Dessauerstr. 17.< , and >i. V. Struve<, again handwritten.

34-4Straw

The copy in Strawinsky’s estate was given to him gratis with a dedication >Herrn Igor Strawinsky / zur Erinnerung an seinen / Besuch freundlichst überreicht / von der Firma<. in December 1924 on the occasion of his visit to the Leipzig firm Röder (front cover title above >IGOR STRAWINSKY< centre). There follow two signatures >Breitkopf< >Hans Reichel< and the date, signed by Strawinsky >Leipzig / Dec. 1924 < (front cover title above, next to and below >IGOR STRAWINSKY< centred). On the title page (front matter page) oputside the feather frame at the top of the page flush right centred, he made the handwritten note >This full score / is / Igor Strawinsky's / privately<. Between the dedication to Strawinsky, which was positioned under the 1st line of text on the front cover, and the two signatures, there is a blue stamp at the centre >C. G. Röder / Gesellschaft mit beschränkter Haftung<, and there is another one >Berechnungs-Datum / 3. DEZ. 1924 / Archivexemplar / C. G. RÖDER G.m.b.H.<, this time in red and with a text box containing the stamp, diagonally on the right side above the third and fourth lines of the outer title page. Strawinsky’s copy no longer has any back pages and as a result, has no page of advertisements.

34-5 IGOR STRAWINSKY / PULCINELLA / BALLET / D'APRÈS / J. P. PERGOLESI / PARTITION D'ORCHESTRE / ÉDITION RUSSE DE MUSIQUE // IGOR STRAWINSKY / PULCINELLA / BALLET / D'APRÈS / J. P. PERGOLESI / [°] / [vignette] / PROPRIÉTÉ DE L'ÉDITEUR POUR TOUS PAYS / TOUS DROITS D'EXÉCUTION RÉSERVÉS / ÉDITION RUSSE DE MUSIQUE / (RUSSISCHER MUSIKVERLAG G. M. B. H.**) / FONDÉE PAR S. ET N. KOUSSEWITZKY / BERLIN, MOSCOU, LEIPZIG, NEW YORK, LONDRES, BRUXELLES, BARCELONA, MADRID, WIEN, / PARIS / 22, RUE D'ANJOU, 22 / S. A. DES GRANDES ÉDITIONS MUSICALES // (Full score [library binding] 26.9 x 33.8 (2° [4°]); 154 [152] pages + 4 cover pages black on braunbeige [front cover title, 2 empty pages, page with publisher’s advertisements >LES ŒUVRES / D’IGOR STRAWINSKY<*** without production date] + 2 pages front matter [title page in a feather frame mit vignette 1 x 1.2 sitting women playing cymbalom, empty page] without back matter; title head >PULCINELLA / BALLET AVEC CHANT / EN UN ACTE<; author specified in connection with fictitious editor specified 1st page of the score paginated p. 3 next to and below piece title numbered in Roman numeral (without dot) >I / Sinfonia / (Ouverture)< flush right centred >Pergolesi - Strawinsky / Edited by Albert Spalding, New York<; legal reservation 1st page of the score between title head and piece title flush left >Tous droits d'exécution réservés< below type area flush left partly in italics >Copyright 1924 by Russischer Musikverlag, G. m. b. H., Berlin / Russischer Musikverlag, G. m. b. H., Berlin, Leipzig / Édition Russe de Musique<; plate number >R.M.V. 410<; without production indication****; without end mark) // (1924)

° Dividing horizontal 4.5 cm line.

** G.M.B.H. is printed in smaller letters whereas B. and H. are printed below the G. and M.

*** Compositions are advertised >PÉTROUCHKA (BALLET) / PARTITION DE POCHE / RÉDUCTION POUR PIANO À QUATRE MAINS PAR L’AUTEUR / „TROIS MOUVEMENTS DE PÉTROUCHKA“. / TRANSCRIPTION POUR PIANO-SOLO PAR L’AUTEUR / ROSSIGNOL (CONTE LYRIQUE) / RÉDUCTION POUR CHANT ET PIANO PAR L’AUTEUR / „MARCHE CHINOISE“. TRANSCRIPTION POUR PIANO-SOLO / PAR THÉODORE SZÁNTO / „CHANT DU ROSSIGNOL“. (POÈME SYMPHONIQUE) / PARTITION DE POCHE / LE SACRE DU PRINTEMPS (BALLET) / PARTITION DE POCHE / RÉDUCTION POUR PIANO À QUATRE MAINS PAR L’AUTEUR / TROIS PIÈCES POUR QUATUOR À CORDES / PARTITION DE POCHE / POUR CHANT ET PIANO: / DEUX POÉSIES DE BALMONT / ÉDITION NOUVELLE AVEC TEXTE RUSSE, FRANÇAIS, ANGLAIS ET ALLEMAND / TROIS POÉSIES DE LA LYRIQUE JAPONAISE / ÉDITION NOUVELLE AVEC TEXTE RUSSE, FRANÇAIS ET ANGLAIS / TROIS PETITES CHANSONS (SOUVENIR DE MON ENFANCE) / ÉDITION NOUVELLE AVEC TEXTE RUSSE ET FRANÇAIS, RUSSE ET ANGLAIS<.

34-5Straw

This copy from Strawinsky’s estate was especially painstakingly corrected. It is signed and dated >Igor Strawinsky / Paris, May 1925< flush right on the upper part of the outer title page.

34-6 *IGOR STRAWINSKY / SUITE DE PULCINELLA / POUR / PETIT ORCHESTRE / D'APRÈS / J. B. PERGOLESI / PARTITION D'ORCHESTRE / FORMAT DE POCHE / ÉDITION RUSSE DE MUSIQUE // IGOR STRAWINSKY / SUITE DE PULCINELLA / POUR / PETIT ORCHESTRE / D'APRÈS / J. B. PERGOLESI / [°] / [vignette] PROPRIÉTÉ DE L'ÉDITEUR POUR TOUS PAYS / TOUS DROITS D'EXÉCUTION RÉSERVÉS / ÉDITION RUSSE DE MUSIQUE / (RUSSISCHER MUSIKVERLAG G. M. B. H.**) / FONDÉE PAR S. ET N. KOUSSEWITZKY / BERLIN, MOSCOU, LEIPZIG, NEW YORK, LONDRES, BRUXELLES, BARCELONA, MADRID, / PARIS / 22, RUE D'ANJOU, 22 / S. A. DES GRANDES ÉDITIONS MUSICALES // (Pocket score sewn 14 x 18,5 (8°); 75 [73] pages + 4 cover pages black on dark beige [front cover title, 2 empty pages, page with publisher’s advertisements >LES ŒUVRES d'IGOR STRAWINSKY<*** without production date] + 4 pages front matter [2 empty pages, title page in feather frame with Vignette 0.6 x 0.8 sitting women playing cymbalom, index of movements Italian + legend >Orchestre< French (>EN TOUT 33 PERSONNES<)] + 3 pages back matter [3 empty pages****]; title head >SUITE<; author specified in connection with fictitious editor specified 1st page of the score paginated p. 3 next to and below piece title numbered in Roman numeral (without dot) >I / Sinfonia / (Ouverture)< flush right centred >Pergolesi - Strawinsky / Edited by Albert Spalding, New York<; legal reservation 1st page of the score between title head and piece title flush left >Tous droits d'exécution réservés< below type area flush left >Copyright 1924 by Russischer Musikverlag, G.m.b.H., Berlin / Russischer Musikverlag, G.m.b.H., Berlin, Leipzig / Édition Russe de Musique< flush right >Propriété de l'Éditeur pour tous pays<; plate numbers [p. 3, p. 75:] >R. M. V. 409 A< [p. 4-74:] >R.M.V. 409<; production indication p. 75 flush right as end mark >Imp. Delanchy-Dupré – Paris-Asnières<) // (1924)

° Dividing horizontal 2.8 cm line.

* The Darmstädt copy >A / 8873 / 56< contains above the front cover title centre inside left and above the title page centre centred a stamp mark >Unverkäufliches / Exemplar<, and on the front cover page above right manually written the (probably) price >4 –<. Between the outer and inner title pages (empty page – inner title page) a half-page photo showing Strawinsky conducting an orchestra is stuck in without a comment; it is taken from the side, looking right from the front, with the audience in the background.

** G.M.B.H. is printed in smaller letters whereas B. and H. are printed below the G. and M.

*** Compositions are advertised lait out >PÉTROUCHKA (BALLET) / PARTITION DE POCHE / RÉDUCTION POUR PIANO À QUATRE MAINS PAR L’AUTEUR / TROIS MOUVEMENTS DE PÉTROUCHKA / TRANSCRIPTION POUR PIANO-SOLO PAR L’AUTEUR / ROSSIGNOL (CONTE LYRIQUE) / RÉDUCTION POUR CHANT ET PIANO PAR L’AUTEUR / [#] (textes russe et français) / INTRODUCTION, CHANT DU PÊCHEUR et AIR DU ROSSIGNOL / [#] tirés du I eracte) / MARCHE CHINOISE, TRANSCRIPTION POUR PIANO-SOLO / [#] PAR THÉODORE SZANTO° / CHANT DU ROSSIGNOL. (POÈME SYMPHONIQUE) / PARTITION DE POCHE / RÉDUCTION POUR PIANO A° DEUX MAINS PAR J. LARMANJAT / LE SACRE DU PRINTEMPTS (BALLET) / PARTITION DE POCHE / RÉDUCTION POUR PIANO A° QUATRE MAINS PAR L’AUTEUR / PULCINELLA (BALLET) / SUITE DE PULCINELLA pour Petit Orchestre / PARTITION DE POCHE / TROIS PIÈCES POUR QUATUOR A° CORDES / PARTIES / PARTITION DE POCHE / OCTUOR POUR INSTRUMENTS A° VENT / PARTITION DE POCHE / RÉDUCTION POUR PIANO A° DEUX MAINS PAR A. LOURIÉ / CONCERTO pour Piano et Orchestre d’Harmonie / RÉDUCTION POUR DEUX PIANOS A° QUATRE MAINS PAR L’AUTEUR / SONATE pour Piano / MAVRA OPÉRA EN 1 ACTE / RÉDUCTION POUR CHANT ET PIANO PAR L’AUTEUR / (avec textes russe, français, anglais et allemand) / sur DEUX POÉSIES DE BALMONT / ÉDITION NOUVELLE avec textes russe, français, anglais et allemand. / sur TROIS POÉSIES DE LA LYRIQUE JAPONAISE / ÉDITION NOUVELLE avec textes russe, français et anglais. / TROIS PETITES CHANSONS (Souvenir de mon enfance) / ÉDITION NOUVELLE avec texte russe et français, russe et anglais.< [° original spelling].

**** Das Darmstädter Exemplar >A / 8873 / 56< enthält auf der empty page nach p. 75 oben links handschriftlich offensichtliche Spieltermin-Eintragungen >28.V. 32. (R. Hamburg, Strawinsky: Nr. 7, 8). / 14. VI. 32. (R. Hamburg, Strawinsky: No. 7, 8). / 26. I. 33. (R. Prag, Vogel).<.

34-6Straw1

The copy in Strawinsky’s estate is signed and dated >Igor Strawinsky / paris juile 1925< centred and in the centre on the outer title page above the name, and contains corrections [figure 57 5; p. 37 Flute: the last note in the bar should be b b 2 instead of c3; figure 106 7p. 65: the four quaver notes entered into the 2nd horn part should be moved into the 1st horn part, and the four notes in the trombone system should be moved into the 2nd horn part; figure 107 1-2p. 66: all the notes and rests entered in the trombone system should be moved into the trumpet system; figure 113 1p. 71 Violoncello part: the first quaver note should be b b 2 instead of G].

34-6Straw2

The copy in Strawinsky’s estate is neither signed nor dated, and contains corrections in pencil [p. 3 figure 4 1, 2nd bassoon, 3rd quaver note F instead of e, the same in the system below at figure 4 3for the penultimate note instead of g2; p. 29 figure 139 Double Bass: the quaver note e is incorrect (>wrong note<); p. 31 legend before figure 42: the marking entered here that belongs to the 1st Flute is circled and has a question mark next to it; p. 35 figure 53 3, 1st Oboe: 2nd ligature is circled and has a question mark next to it; p. 49 figure 74 82nd Oboe: 3rd note crotchet g#1: the bracket around the sharp sign should be removed; p. 49 figure 75 61st Flute: the 3rd note (d2) should be a minim instead of a crotchet; p. 59 figure 99 12nd Flute: the crotchet rest should be written as a quaver rest; p. 63 legend before figure 104: this should read 1st Oboe instead of 2nd Oboe; p. 65 figure 106 7: what appears in the Bass Trombone part here should be moved into the 2nd Horn part, and what appears in the 2nd Horn part should be moved into the 1st Horn part; p. 66 figure 107 1-2: what appears in the Bass Trombone part should be moved into the trumpet system].

34-7 CHESTER / LIBRARY / IGOR STRAWINSKY / D'APRÈS G. PERGOLESI / CON QUESTE PAROLINE / BASS. / [°] / PRICE 2/., (FRS. 3.00) NET. / J. & W. CHESTER L TD // IGOR STRAWINSKY / D'APRÈS GIAMBATTISTA PERGOLESI / CON QUESTE PAROLINE / [°°] / FROM / PULCINELLA / FOR / BASS VOICE / J. & W. CHESTER, LTD., / LONDON: 11, GREAT MARLBOROUGH STREET, W.1. / [°°°] / FRANCE. [#] BELGIUM. [#] SWITZERLAND. [#] ITALY. / ROUART, LEROLLE ET CIE., [#] LES EDITIONS MODERNES, [#] REDSCHY FRÈRES, [#] PIZZI UMBERTO, / PARIS. [#] BRUXELLES. [#] GENÈVE. [#] BOLOGNA. / GERMANY. [#] HOLLAND. [#] CZECHO-SLOVAKIA. [#] SOUTH AMERICA. / HUG & CO., [#] BROEKMANS & VAN POPPEL, [#] HUDEBNI MATICE, [#] HARRODS, LTD., / LEIPZIG. [#] AMSTERDAM. [#] PRAGUE. [#] BUENOS AIRES. // (Piano reduction with chant [library binding] 26 x 33.7 (2° [4°]); sung text Italian; 6 [6] pages + 4 cover pages thicker paper black on dark beige [front cover title with a full-page Chester Lyre surrounded by a coat of arms with (presumably) the artist’s signature >H J M< # >1914< entered left and flush right at the bottom of the frame, 2 empty pages, page with publisher’s advertisements > ŒUVRES DE / IGOR STRAWINSKY / PUBLIÉES PAR / J. & W. CHESTER, Ltd. LONDRES. <* without production date] + 2 pages front matter [decorated title page with framed flower tendrils and publishers frame laid out with the artist’s signature >H. J. M.< # >1922.< entered left- and flush right (presumably) at the bottom of the frame, empty page] without back matter; title head >CON QUESTE PAROLINE<; author specified 1st page of the score without pagination [p. 1] below title head flush right centred >IGOR STRAWINSKY / d'après G. Pergolesi.<; legal reservation 1st page of the score below type area flush left >Copyright MCMXX, by J. & W. Chester, Ltd.< flush right centred >Tous droits réservés. / All rights reserved.<; plate number >J. & W. C. (3946)<; without end marks; without production indication) // [1925]

° Dividing horizontal line of 2.2 cm.

°° Double dividing line of 5 cm waagerecht.

°°° Dividing horizontal line of 5,4 cm waagerecht.

* All works for sale with Chester are advertised in alphabetical order with editions and net price information behind fill character (dots in groups of three) as well as with self-arrangements by Strawinsky marked in bold type > Berceuses du chat,suite de chants pour voix de femme et trois clarinettes: / Partition d’ensemble° 6/- net. / Parties° 6/- * / Réduction pour chant et piano par l’auteur**° 2/- / BERCEUSE ET FINALE (“ L’Oiseau de Feu ”): / Arrangement pour orgue de Maurice Besly° 2/- * / CHANT DES BATELIERS SUR LE VOLGA, pour instruments à vent: / Partition et parties° 5/- * / LES CINQ DOIGTS, huit pièces faciles pour piano° 3/- * / CINQ PIECES°° FACILES pour piano à quatre mains (main droite facile)° 3/- * / L’HISTOIRE DU SOLDAT, grande suite: / Arrangement pour piano par l’auteur**° 10/- * / Suite pour clarinette, violon et piano, arrangement par l’auteur**°°° 20/- * / LES NOCES, scènes chorégraphiques russes avec chant: / Réduction pour piano et chant par l’auteur**° 20/- * / L’OISEAU DE FEU, nouvelle suite pour orchestre moyen: / Partition° 40/- * / Parties° 50/- * / PIANO RAG MUSIC pour piano seul° 3/- * / PRIBAOUTKI, chansons plaisantes pour une voix et huit instruments: Partition° 8/- * / Parties° 10/- * / Réduction pour chant et piano par l’auteur**° 4/- * / PULCINELLA, ballet d’après Pergolesi: / Réduction pour piano par l’auteur**° 15/- / QUATRE CHANTS RUSSES, chant et piano° 3/- * / RAG-TIME pour petit orchestre: / Partition° 7/- * / Réduction pour piano par l’auteur**° 4/- * / RENARD, Histoire burlesque en un acte: / Réduction pour piano et chant par l’auteur**° 15/- * / RONDE DES PRINCESSES (“ L’Oiseau de Feu ”): / Arrangement pour orgue de Maurice Besly° 2/- * / TROIS HISTOIRES POUR ENFANTS, chant et piano° 2/6 * / TROIS PIÈCES°° FACILES pour piano à quatre mains (main gauche facile)° 2/6 * / TROIS PIÈCES pour clarinette seul° 3/- *< fill character (dots in groups of three) ; °° original spelling; °°° without fill character (dots in groups of three) ; * double quotation („); ** bold print].

34-8 Dédié à PAUL KOCHANSKI / [°] / IGOR STRAWINSKY / SUITE / pour / VIOLON et PIANO / d'après de thèmes, fragments et morceaux / DE / GIAMBATISTA PERGOLESI / ÉDITION RUSSE DE MUSIQUE // Dédié à PAUL KOCHANSKI / [°] / IGOR STRAWINSKY / SUITE / pour / VIOLON et PIANO / d'après de thèmes, fragments et morceaux / DE / GIAMBATISTA PERGOLESI / 1. Introductione [#*] Fr. 2.25 [#**] M. 1.50 / 2. Serenata [#*] " 2.25 [#**] " 1.50 / 3. Tarantella [#*] " 2.50 [#**] " 1.80 / 4. Gavotta con due variationi [#*] " 2.50 [#**] " 2.20 / 5. Minuetto et**** Finale [#*] " 2.50 [#**] " 2.80 / Complet " 10 " [#**] " 8. >> PROPRIÉTÉ DE L'ÉDITEUR POUR TOUS PAYS / ÉDITION RUSSE DE MUSIQUE / (RUSSISCHER MUSIKVERLAG G.M.B.H.**) / BERLIN / (FONDÉE PAR S. ET N. KOUSSEWITZKY) / DÉPOTS: Paris · LEIPZIG · NEW · YORK · LONDRES · BARCELONE · MADRID · VIENNE / Pour la France et ses Colonies: S. A. des Grandes Éditions Musicales, 22, Rue d'Anjou, Paris / Pour l'Angleterre et ses Colonies: Hawkes & Son, Denman Street, London, W.1. // (Edition for violin and piano 27 x 34.2 (2° [4°]); 25 [23] pages + 4 cover pages [empty pages] + 2 pages front matter [title page, empty page] + 1 page back matter [empty page] + 8 [8] pages violin part [with identical text]; dedication above title head italic > à Paul KOCHANSKI <; title head partly in italics >SUITE / Pour VIOLON et PIANO / d’àpres des thèmes, fragments et morceaux / de GIAMBATISTA PERGOLESI<; author specified 1st page of the score paginated p. 3 next to and below 4. line [part paginated p. 18 next to and below 3. and 4. line] title head flush right >Igor STRAWINSKY / 1925<; fictitious editor specified 1st page of the score between 2. and 3. line [part: next to and below 3. line title head flush left >Edited and fingered by Albert Spalding<; legal reservation [score and part] 1st page of the score below type area flush left centred >Russischer Musikverlag G.M.B.H. Berlin / (Edition Russe de Musique) / Copyright 1926 by Russischer Musik-Verlag G.m.b.H. Berlin.< flush right partly in italic > Tous droits d'exécution, de reproduction et / d'arrangements réservés pour tous pays. / Propriété de l'Editeur pour tous pays. plate number >R.M.V. 428<; end of score dated p. 25 >NICE le 24 Août°° 1925<; production indication [score] p. 25 [part: p.1 below type area flush left centred as end mark >Grav. Imp. Delanchy Dupré Paris Asnières. / 2 et 4, Avenue de la Marne, XXVI.<) // (1926)

° Dividing horizontal line

°° The circumflex over the letter >û< has been moved to the left in the direction of the >o< (between o and u).

* Fill character (dotted line).

** G.M.B.H. is printed in smaller letters whereas B. and H. are printed below the G. and M.

*** Separated vertical line between price indications, spanning more than six lines.

**** I n the title >et< In the score et , in the notes e.

34-8Straw

Strawinsky’s copy is without annotations.

34-9 Dédié à PAUL KOCHANSKI / [°] / IGOR STRAWINSKY / [°°] / SUITE / pour / VIOLON et PIANO / d’après des thèmes, fragments et morceaux / DE / GIAMBATISTA PERGOLESI / ÉDITION RUSSE DE MUSIQUE // Dédié à PAUL KOCHANSKI / [°] / IGOR STRAWINSKY / SUITE / pour / VIOLON et PIANO / d’après des thèmes, fragments et morceaux / DE / GIAMBATISTA PERGOLESI / 1. Introductione [#*] Fr. 2.25 [#**] M. 1.50 / 2. Serenata [#*] " 2.25 [#**] " 1.50 / 3. Tarantella [#*] " 2.50 [#**] " 1.80 / 4. Gavotta con due variationi [#*] " 2.50 [#**] " 2.20 / 5. Minuetto et Finale [#*] " 2.50 [#**] " 2.80 / Complet " 10 " [#**] " 8. » / PROPRIÉTÉ DE L'ÉDITEUR POUR TOUS PAYS / ÉDITION RUSSE DE MUSIQUE / (RUSSISCHER MUSIKVERLAG G. M. B. H.**) / BERLIN / FONDÉE PAR S. ET N. KOUSSEWITZKY / DÉPOTS: PARIS · LEIPZIG · NEW YORK · LONDRES · BARCELONE · MADRID · VIENNE / Pour la France et ses Colonies: S. A. des Grandes Éditions Musicales, 22, Rue d'Anjou, Paris / Pour l'Angleterre et ses Colonies: Hawkes & Son, Denman Street, London, W. I. // (Edition for violin and piano [library binding] 27 x 34.4 (2° [4°]); 3 [3] pages + 4 cover pages black on brown beige [front cover title, 3 empty pages] + 2 pages front matter [front page, empty page] + 3 pages back matter [empty pages] + 1 [1] page with text identical**** violin part 26,5 x 30,5 without pagination with empty page as back matter; dedication above title head centre italic > à Paul KOCHANSKI <; title head >SUITE / Pour VIOLON et PIANO / d'après de thèmes, fragments et morceaux / de GIAMBATISTA PERGOLESI<; dedication above title head centre italic >à Paul KOCHANSKI <; author specified 1st page of the score paginated p. 3 next to and below 4. line [part: page of the score without pagination above, next to and below 3./4. line] title head flush right centred >Igor STRAWINSKY / 1925<; fictitious editor specified 1st page of the score between 2. and 3. line [part: next to 3. line] title head flush left >Edited and fingered by Albert Spalding<; unnumbered piece title >INTRODUCTIONE.<; legal reservation 1st page of the score below type area flush left centred >Russischer Musikverlag G.M.B.H. Berlin / (Edition Russe de musique) / Copyright 1926 by Russischer Musik-Verlag G.m.b.H. Berlin.< flush right centred partly in italics > Tous droits d'exécution, de reproduction et / d'arrangements réservés pour tous pays . / Propriété de l'Editeur pour tous pays.<; plate number >R. M. V. 428.<; without end of score dated p. 3; production indication p. 3 flush right centred as end mark >Imp. Delanchy-Dupré, Paris-Asnières, / 2 & 4, Avenue de la Marne, XXVI.<) // (1926)

° Dividing horizontal line of 2.2 cm.

° Dividing horizontal line of 2.1 cm.

* Fill character (dotted line).

** G.M.B.H. is printed in smaller letters whereas B. and H. are printed below the G. and M.

*** Separated vertical line between price indications, spanning more than six lines.

**** Not in identical layout.

34-10 Dédié à PAUL KOCHANSKI / [°] / IGOR STRAWINSKY / SUITE / pour / VIOLON et PIANO / d’après des thèmes, fragments et morceaux / DE / GIAMBATISTA PERGOLESI / 1. Introductione [#*] Fr. 2.25 [#**] M. 1.50 / 2. Serenata [#*] " 2.25 [#**] " 1.50 / 3. Tarantella [#*] " 2.50 [#**] " 1.80 / 4. Gavotta con due variationi [#*] " 2.50 [#**] " 2.20 / 5. Minuetto et Finale [#*] " 2.50 [#**] " 2.80 / Complet " 10 " [#**] " 8. » / PROPRIÉTÉ DE L'ÉDITEUR POUR TOUS PAYS / ÉDITION RUSSE DE MUSIQUE / (RUSSISCHER MUSIKVERLAG G. M. B. H.**) / BERLIN / FONDÉE PAR S. ET N. KOUSSEWITZKY / DÉPOTS: PARIS · LEIPZIG · NEW YORK · LONDRES · BARCELONE · MADRID · VIENNE / Pour la France et ses Colonies: S. A. des Grandes Éditions Musicales, 22, Rue d'Anjou, Paris / Pour l'Angleterre et ses Colonies: Hawkes & Son, Denman Street, London, W. I. // (Edition für violin and piano [library binding] 27 x 34.4 (2° [4°]); 4 [3] pages without cover pages + 1 page front matter [front page] + 2 pages back matter [empty pages] + 1 [1] page in identical text and layout violin part 26.5 x 30.5 without pagination with empty page as back matter; dedication above title head centre italic > à Paul KOCHANSKI <; title head >SUITE / pour VIOLON et PIANO / d'après de thèmes, fragments et morceaux / de GIAMBATISTA PERGOLESI; dedication above title head centre italic > à Paul KOCHANSKI <; author specified 1st page of the score paginated p. 2 next to and below 4. line title head flush right centred >Igor STRAWINSKY / 1925<; fictitious editor specified 1st page of the score between 2. und 3. line title head flush left >Edited and fingered by Albert Spalding<; unnumbered piece title >SERENATA<; legal reservation 1st page of the score below type area flush left centred >Russischer Musikverlag G.M.B.H. Berlin / (Edition Russe de musique) / Copyright 1926 by Russischer Musik-Verlag G.m.b.H. Berlin.< flush right centred partly in italics > Tous droits d'exécution, de reproduction et / d'arrangements réservés pour tous pays.< / Propriété de l'Editeur pour tous pays . <; plate number >R. M. V. 428.<; without end of score dated p. 4; production indication [exclusively score] p. 4 flush right centred as end mark >Imp. Delanchy-Dupré, Paris-Asnières, / 2 & 4, Avenue de la Marne, XXVI.<) // (1926)

° Dividing horizontal 2,2 cm line.

* Fill character (dotted line).

** G.M.B.H. is printed in smaller letters whereas B. and H. are printed below the G. and M.

*** Separated vertical line between price indications, spanning more than six lines.

34-11 Dédié à PAUL KOCHANSKI / [°] / IGOR STRAWINSKY / SUITE / pour / VIOLON et PIANO / d’après des thèmes, fragments et morceaux / DE / GIAMBATISTA PERGOLESI / 1. Introductione [#*] Fr. 2.25 [#**] M. 1.50 / 2. Serenata [#*] " 2.25 [#**] " 1.50 / 3. Tarantella [#*] " 2.50 [#**] " 1.80 / 4. Gavotta con due variationi [#*] " 2.50 [#**] " 2.20 / 5. Minuetto et Finale [#*] " 2.50 [#**] " 2.80 / Complet " 10 " [#**] " 8. » / PROPRIÉTÉ DE L'ÉDITEUR POUR TOUS PAYS / ÉDITION RUSSE DE MUSIQUE / (RUSSISCHER MUSIKVERLAG G. M. B. H.**) / BERLIN / FONDÉE PAR S. ET N. KOUSSEWITZKY / DÉPOTS: PARIS · LEIPZIG · NEW YORK · LONDRES · BARCELONE · MADRID · VIENNE / Pour la France et ses Colonies: S. A. des Grandes Éditions Musicales, 22, Rue d'Anjou, Paris / Pour l'Angleterre et ses Colonies: Hawkes & Son, Denman Street, London, W. I. // (Edition for violin and piano [library binding] 27 x 34.4 (2° [4°]); 4 [4] pages without cover pages + 1 page front matter [front page] + 2 pages back matter [empty pages] + 1 [1] page in identical text and layout violin part 26.5 x 30.5 without pagination mit empty page als back matter; dedication above title head centre italic > à Paul KOCHANSKI <; title head >SUITE / pour VIOLON et PIANO / d'après de thèmes, fragments et morceaux / de GIAMBATISTA PERGOLESI; author specified 1st page of the score paginated p. 1 next to and below 4. line title head flush right centred >Igor STRAWINSKY / 1925<; fictitious editor specified 1st page of the score between 2. and 3. line title head flush left >Edited and fingered by Albert Spalding<; unnumbered piece title >TARANTELLA<; legal reservation 1st page of the score below type area flush left centred >Russischer Musikverlag G.M.B.H. Berlin / (Edition Russe de musique) / Copyright 1926 by Russischer Musik-Verlag G.m.b.H. Berlin.< flush right centred partly in italics > Tous droits d'exécution, de reproduction et / d'arrangements réservés pour tous pays.< / Propriété de l'Editeur pour tous pays . <; plate number >R. M. V. 428.<; without end of score dated p. 4; production indication [exclusively score] p. 4 flush right centred as end mark >Imp. Delanchy-Dupré, Paris-Asnières, / 2 & 4, Avenue de la Marne, XXVI.<) // (1926)

° Dividing horizontal line of 2.2 cm.

* Fill character (dotted line).

** G.M.B.H. is printed in smaller letters whereas B. and H. are printed below the G. and M.

*** Separated vertical line between price indications, spanning more than six lines.

34-12 Dédié à PAUL KOCHANSKI / [°] / IGOR STRAWINSKY / SUITE / pour / VIOLON et PIANO / d’après des thèmes, fragments et morceaux / DE / GIAMBATISTA PERGOLESI / 1. Introductione [#*] Fr. 2.25 [#**] M. 1.50 / 2. Serenata [#*] " 2.25 [#**] " 1.50 / 3. Tarantella [#*] " 2.50 [#**] " 1.80 / 4. Gavotta con due variationi [#*] " 2.50 [#**] " 2.20 / 5. Minuetto et Finale [#*] " 2.50 [#**] " 2.80 / Complet " 10 " [#**] " 8. » / PROPRIÉTÉ DE L'ÉDITEUR POUR TOUS PAYS / ÉDITION RUSSE DE MUSIQUE / (RUSSISCHER MUSIKVERLAG G. M. B. H.**) / BERLIN / FONDÉE PAR S. ET N. KOUSSEWITZKY / DÉPOTS: PARIS · LEIPZIG · NEW YORK · LONDRES · BARCELONE · MADRID · VIENNE / Pour la France et ses Colonies: S. A. des Grandes Éditions Musicales, 22, Rue d'Anjou, Paris / Pour l'Angleterre et ses Colonies: Hawkes & Son, Denman Street, London, W. I. // (Edition for violin and piano [library binding] 27 x 34.4 (2° [4°]); 5 [5] pages without cover pages + 2 pages front matter [front page, empty page] + 1 page back matter [empty page] + 2 [2] pages page in identical text and layout violin part 26.5 x 30.5 paginated empty page as front matter and as back matter; title head >SUITE / pour VIOLON et PIANO / d'après de thèmes, fragments et morceaux / de GIAMBATISTA PERGOLESI; dedication above title head centre italic > à Paul KOCHANSKI <; author specified 1st page of the score paginated p. 1 [part paginated p. 2] next to and below 4. line title head flush right centred >Igor STRAWINSKY / 1925<; fictitious editor specified 1st page of the score between 2. and 3. line [part: next to 3. line] title head flush left >Edited and fingered by Albert Spalding<; unnumbered piece title >GAVOTTA / con due variazioni<; legal reservation 1st page of the score below type area flush left centred >Russischer Musikverlag G.M.B.H. Berlin / (Edition Russe de musique) / Copyright 1926 by Russischer Musik-Verlag G.m.b.H. Berlin.< flush right centred partly in italics > Tous droits d'exécution, de reproduction et / d'arrangements réservés pour tous pays.< / Propriété de l'Editeur pour tous pays . <; plate number >R. M. V. 428.<; without end of score dated p. 5; production indication p. 5 flush right centred as end mark >Imp. Delanchy-Dupré, Paris-Asnières, / 2 & 4, Avenue de la Marne, XXVI.<) // (1926)

° Dividing horizontal line of 2.2 cm.

* Title: >variazioni<, price information: >variationi<.

* Fill character (dotted line).

*** Separated vertical line between price indications, spanning more than six lines.

**** G.M.B.H. is printed in smaller letters whereas B. and H. are printed below the G. and M.

34-13 Dédié à PAUL KOCHANSKI / [°] / IGOR STRAWINSKY / SUITE / pour / VIOLON et PIANO / d’après des thèmes, fragments et morceaux / DE / GIAMBATISTA PERGOLESI / 1. Introductione [#*] Fr. 2.25 [#**] M. 1.50 / 2. Serenata [#*] " 2.25 [#**] " 1.50 / 3. Tarantella [#*] " 2.50 [#**] " 1.80 / 4. Gavotta con due variationi [#*] " 2.50 [#**] " 2.20 / 5. Minuetto et Finale [#*] " 2.50 [#**] " 2.80 / Complet " 10 " [#**] " 8. » / PROPRIÉTÉ DE L'ÉDITEUR POUR TOUS PAYS / ÉDITION RUSSE DE MUSIQUE / (RUSSISCHER MUSIKVERLAG G. M. B. H.**) / BERLIN / FONDÉE PAR S. ET N. KOUSSEWITZKY / / DÉPOTS: PARIS · LEIPZIG · NEW YORK · LONDRES · BARCELONE · MADRID · VIENNE / Pour la France et ses Colonies: S. A. des Grandes Éditions Musicales, 22, Rue d'Anjou, Paris / Pour l'Angleterre et ses Colonies: Hawkes & Son, Denman Street, London, W. I. // (Edition for violin and piano [library binding] 27 x 34.4 (2° [4°]); 9 [8] pages without cover pages + 1 page front matter [front page] + 1 page back matter [empty page] + 4 [3] pages page in identical text and layout***** violin part 26.5 x 30.5 paginated with empty page as front matter; dedication above title head centre italic > à Paul KOCHANSKI <; title head >SUITE / pour VIOLON et PIANO / d'après de thèmes, fragments et morceaux / de GIAMBATISTA PERGOLESI<; author specified 1st page of the score paginated p. 2 next to and below 4. line title head flush right centred >Igor STRAWINSKY / 1925<; fictitious editor specified 1st page of the score between 2. and 3. line title head [score and part] flush left >Edited and fingered by Albert Spalding<; unnumbered piece title >MINUETTO E FINALE<****; legal reservation 1st page of the score below type area flush left centred >Russischer Musikverlag G.M.B.H. Berlin / (Edition Russe de musique) / Copyright 1926 by Russischer Musik-Verlag G.m.b.H. Berlin.< flush right centred partly in italics > Tous droits d'exécution, de reproduction et / d'arrangements réservés pour tous pays.< / Propriété de l'Editeur pour tous pays . <; plate number >R. M. V. 428.<; end of score dated p. 9 [part p. 4] >NICE le 24 Août 1925<; production indication p. 9 [part p. 4] flush left centred as end mark >Imp. Delanchy-Dupré, Paris-Asnières, / 2 & 4, Avenue de la Marne, XXVI.<) // (1926)

° Dividing horizontal line of 2.2 cm.

* Fill character (dotted line).

** G.M.B.H. is printed in smaller letters whereas B. and H. are printed below the G. and M.

*** Separated vertical line between price indications, spanning more than six lines.

**** Title and musical text: >e<, price information: >et<.

***** 1st [p. 2] und last [p. 4] page of the score.

34-14 Dédié à PAUL KOCHANSKI / [*] / IGOR STRAWINSKY / SUITE / pour / VIOLON et PIANO / d'après des thèmes, fragments et morceaux / DE / GIAMBATISTA PERGOLESI / ÉDITION RUSSE DE MUSIQUE [**] // Dédié à PAUL KOCHANSKI / [*] / IGOR STRAWINSKY / SUITE / pour / VIOLON et PIANO / d'après de thèmes, fragments et morceaux / DE / GIAMBATISTA PERGOLESI / ***1. Introductione [#] Fr. 2.25 [#] M. 1.50 / 2. Serenata [#] " 2.25 [#] " 1.50 / 3. Tarantella [#] " 2.50 [#] " 1.80 / 4. Gavotta con due variationi° [#] " 2.50 [#] " 2.20 / 5. Minuetto et°° Finale [#] " 2.50 [#] " 2.80 / Complet " 10 " [#] " 8. " / PROPRIÉTÉ DE L'ÉDITEUR POUR TOUS PAYS / ÉDITION RUSSE DE MUSIQUE / (RUSSISCHER MUSIKVERLAG G. M. B. H.****) / BERLIN / (FONDÉE PAR S. ET N. KOUSSEWITZKY) / DÉPOTS: PARIS · LEIPZIG · NEW YORK · LONDRES · BARCELONE · MADRID · VIENNE / Pour la France et ses Colonies : S. A. des Grandes Éditions Musicales, 22, Rue d'Anjou, Paris / Pour l'Angleterre et ses Colonies : Hawkes & Son, Denman Street, London, W. I. // (Edition for violin and piano not sewn 26.5 x 34.5 (2° [4°]); 25 [23] pages + 4 cover pages thicker paper black on green beige [front cover title, 3 empty pages] + 2 pages front matter [title page, empty page] + 3 pages back matter [empty pages] + 8 [8] pages violin part enclosed not sewn with 4 cover pages paper [front cover title = score, 3 empty pages]; title head [score and part] >SUITE / Pour VIOLON et PIANO / [#] d’aprés des thèmes, fragments et morceaux / de GIAMBATISTA PERGOLESI<; dedication [score and part] above title head centre italic > à Paul KOCHANSKI <; author specified 1st page of the score paginated p. 3 next to and below last line [part: 1st page of the score paginated p. 1 next to 3. up to the 4. line] title head flush right centred >Igor STRAWINSKY / 1925<; fictitious editor specified 1st page of the score between 2. and 3. [part: next to 3.] line title head flush left >Edited and fingered by Albert Spalding<; legal reservations [score and part] 1st page of the score below type area flush left centred >Russischer Musikverlag G.M.B.H. Berlin / (Edition Russe de musique) / Copyright 1926 by Russischer Musik-Verlag G.M.B.H. Berlin.< flush right centred partly in italics > Tous droits d'exécution, de reproduction et / d'arrangements réservés pour tous pays. / Propriété de l'Editeur pour tous pays.<; plate number >R. M. V. 428.<; end of score dated p. 25 [part: p. 8] >NICE le 24 Août***** 1925<; production indication p. 25 [part: p. 8] flush left centred as end mark >Imp. Delanchy-Dupré – Paris-Asnières. / 2 et 4, Avenue de la Marne – XXVII<) // (1927)

° Dividing horizontal line of 2.2 cm.

** At this point, the copy of the Städtische Musikbibliothek München >95/< contains a stamp mark centred >in die Universal-Edition / aufgenommen No 875 6<. The irregular number is stamped into the stamp itself.

*** Titles of movements with price information flush right, separated vertical line between price indications, spanning more than six lines.

**** G.M.B.H. is printed in smaller letters whereas B. and H. are printed below the G. and M.

***** The circumflex over the letter >û< has been moved to the left in the direction of the >o< (between o and u).

° Heading musical text p. 13 [part: p. 4] >GAVOTTA / con due variazioni<.

°° Heading musical text p. 18 [part: p. 6] >MINUETTO E FINALE<.

34-15 Dédié à PAUL KOCHANSKI / [°] / IGOR STRAWINSKY / SUITE / pour / VIOLON et PIANO / d'après de thèmes, fragments et morceaux / DE / GIAMBATISTA PERGOLESI / ÉDITION RUSSE DE MUSIQUE // Dédié à PAUL KOCHANSKI [°] / IGOR STRAWINSKY / SUITE / pour / VIOLON et PIANO / d'après de thèmes, fragments et morceaux / DE / GIAMBATISTA PERGOLESI [# flush right centred] Igor STRAWINSKY / 1925 / MINUETTO E**** FINALE / 1. Introductione [#*] Fr. 2.25 [#**] M. 1.50 / 2. Serenata [#*] " 2.25 [#**] " 1.50 / 3. Tarantella [#*] " 2.50 [#**] " 1.80 / 4. Gavotta con due variationi [#*] " 2.50 [#**] " 2.20 / 5. Minuetto et**** Finale [#*] " 2.50 [#**] " 2.80 / Complet " 10 " [#**] " 8. >> / PROPRIÉTÉ DE L'ÉDITEUR POUR TOUS PAYS / ÉDITION RUSSE DE MUSIQUE / (RUSSISCHER MUSIKVERLAG G.M.B.H.***) / BERLIN / (FONDÉE PAR S. ET N. KOUSSEWITZKY°° / DÉPOTS: PARIS · LEIPZIG · NEW YORK · LONDRES · BARCELONE · MADRID · VIENNE / Pour la France et ses Colonies: S. A. des Grandes Éditions Musicales, 22, Rue d'Anjou, Paris / Pour l'Angleterre et ses Colonies: Hawkes & Son, Denman Street, London, W. I. // (Edition for violin and piano [library binding] 26 x 33.5 (2° [4°]); 9 [8] pages + 4 cover pages black on green beige [front cover title, empty page, [missing], [missing] ] + 2 pages front matter [title page, empty page] + 1 page back matter [empty page] + 8 [8] pages violin part 26 x 33.5; title head >SUITE / Pour VIOLON et PIANO / d'après de thèmes, fragments et morceaux / de GIAMBATISTA PERGOLESI; author specified 1st page of the score paginated p. 2 next to and below 4. line [part: above and below 3.-4. line] title head flush right centred >Igor STRAWINSKY / 1925<; fictitious editor specified 1st page of the score between 2. and 3. line title head [part: next to 3. line] flush left >Edited and fingered by Albert Spalding<; legal reservations 1st page of the scoren below type area flush left centred >Russischer Musikverlag G.M.B.H. Berlin / (Edition Russe de musique) / Copyright 1926 by Russischer Musik-Verlag G.m.b.H. Berlin.< flush right centred partly in italics > Tous droits d'exécution, de reproduction et / d'arrangements réservés pour tous pays. / Propriété de l'Editeur pour tous pays.<; plate number >R. M. V. 428.<; end of score dated p. 25 [part p. 8] >NICE le 24 Août 1925<; production indication p. 25 [part p. 8] flush left centred as end mark >Imp. Delanchy-Dupré – Asnières/-Paris. / 2 & 4, Avenue de la Marne, XXX<) // (1930)

° Dividing horizontal 2.2 cm line.

* Fill character (dotted line).

** Separated vertical line between price indications, spanning more than six lines.

*** G.M.B.H. is printed in smaller letters whereas B. and H. are printed below the G. and M.

**** Title and musical text >e<, price information: >et<.

34-16 IGOR STRAWINSKY / SUITE ITALIENNE / pour Violoncelle et Piano / ÉDITION RUSSE DE MUSIQUE // IGOR STRAWINSKY / SUITE ITALIENNE / pour Violoncelle et Piano / Prix* RM. 7. = / Frs. 8. = / ÉDITION RUSSE DE MUSIQUE / RUSSISCHER MUSIKVERLAG (G. M. B. H.)** / FONDÉE PAR S. ET N. KOUSSEVITZKY / BERLIN · LEIPZIG · PARIS · MOSCOU · LONDRES · NEW YORK · BUENOS AIRES / [°] / S. I. M. A. G. - Asnières-Paris. / 2 et 4, Avenue de la Marne – XXXIV // (Edition for violoncello and piano [library binding] 25.9 x 33.6 (2° [4°]); 27 [27] pages + 4 cover pages thicker paper dark blue auf cream yellow [front cover title, 3 empty pages] + 2 pages front matter [title page, empty page] + 3 pages back matter [empty pages] + enclosed violoncello part in identical layout 10 [10] pages + 2 empty pages as back matter; title head >SUITE ITALIENNE / pour Violoncelle et Piano<; author specified 1st page of the scores paginated p. 1 next to and below piece title >Introduzione< flush right centred >Composé par / Igor STRAWINSKY / 1932< note below title head next to piece title flush left >Cette partie de Violoncelle / est établie par l'auteur en / collaboration avec Gregor / Piatigorsky<; legal reservations below type area [score p. 1 flush left:] >Pour toute exécution publique / il sera fait mention dela colla- / boration, pour cet arrangement, / de Gregor Piatigorsky< score p. 1 flush right centred + score pp. 4, 8, 16, 20 + part pp. 1, 2, 3, 6, 8 flush left centred:] >Copyright 1934 by Russischer Musikverlag G. m. b. H. Berlin / Edition Russe de Musique< score p. 1 + part pp. 1, 2, 3, 6, 8 ragged alignment flush right + score pp. 4, 8, 16, 20 flush left p. 1 >Tous droits d'exécution, de reproduction et / d'arrangements réservés pour tous pays / Propriété de l'Editeur pour tous pays[.]<; plate numbers [score pp. 1-3, part p. 1:] >R. M. V. 551< [score pp. 4-7, part p. 2:] >R. M. V. 552< [score pp. 8-15, part pp. 3-5:] >R. M. V. 553< [score pp. 16-19, part pp. 7-8:] >R. M. V. 554< [score pp. 22-27, part pp. 9-10:] >R. M. V. 555<; production indications below type area score p. 27 part p. 10 flush left >S.I.M.A.G. Asnières (Paris)< flush right as end mark >GRANDJEAN GRAV.<) // 1934

° Dividing horizontal line of 0.8 cm.

* The currency units are set below one another.

** G.M.B.H. is printed in smaller letters whereas B. and H. are printed below the G. and M.

34-17[66] Igor Stravinsky / suite italienne / pour violon et piano / édition russe de musique · boosey & hawkes // Igor Stravinsky / Suite Italienne / Transcription pour violon et piano / par l'Auteur et S. Dushkin / Édition Russe de Musique (S. et N. Koussewitzky) Boosey & Hawkes / LONDON . PARIS . BONN . JOHANNESBURG . SYDNEY . TORONTO . NEW YORK // (Edition for violin and piano [library binding] 23.4 x 31 (2°); 31 [31] pages + 4 cover pages thicker paper tomato red on grey green beige [front cover title, 2 empty pages, page with publisher’s advertisements >Igor Stravinsky<* production date >No. 40< [#] >7.65<] + 2 pages front matter [title page, empty page] + 1 page back matter [page with publisher’s advertisements >MUSIC FOR VIOLIN<** production date >No. 20a< [#] >4.66<] + 12 [12] pages in identical text violin part with name of the instrument >VIOLON< 1st page of the score paginated p. 1 above type area centre; title head >SUITE ITALIENNE / pour Violon et Piano <; author specified 1st page of the score paginated p. 1 below piece title >Introduzione< flush left >Arrangé pour Violon et Piano / par l'Auteur et S. Dushkin< flush right >IGOR STRAVINSKY<; legal reservations 1st page of the score below type area flush right >All rights reserved< flush left >Copyright 1934 by Edition Russe de Musique (Russischer Musikverlag) / Copyright assigned 1947 to Boosey & Hawkes Inc., for all countries<; plate number [score and part] >B. & H. 17009<; production indications 1st page of the score below type area above legal reservation flush right >Printed in England< p. 31 [part p. 12] flush right as end mark >GRANDJEAN Grav.<) // [1966]

* Compositions are advertised in two columns without edition numbers, without price information and without specification of places of printing >Operas and Ballets° / Agon [#] Apollon musagète / Le baiser de la fée [#] Le rossignol / Mavra [#] Oedipus rex / Orpheus [#] Perséphone / Pétrouchka [#] Pulcinella / The flood [#] The rake’s progress / The rite of spring° / Symphonic Works° / Abraham and Isaac [#] Capriccio pour piano et orchestre / Concerto en ré (Bâle) [#] Concerto pour piano et orchestre / [#] d’harmonie / Divertimento [#] Greetings°° prelude / Le chant du rossignol [#] Monumentum / Movements for piano and orchestra [#] Quatre études pour orchestre / Suite from Pulcinella [#] Symphonies of wind instruments / Trois petites chansons [#] Two poems and three Japanese lyrics / Two poems of Verlaine [#] Variations in memoriam Aldous Huxley / Instrumental Music° / Double canon [#] Duo concertant / string quartet [#] violin and piano / Epitaphium [#] In memoriam Dylan Thomas / flute, clarinet and harp [#] tenor, string quartet and 4 trombones / Elegy for J.F.K. [#] Octet for wind instruments / mezzo-soprano or baritone [#] flute, clarinet, 2 bassoons, 2 trumpets and / and 3 clarinets [#] 2 trombones / Septet [#] Sérénade en la / clarinet, horn, bassoon, piano, violin, viola [#] piano / and violoncello [#] / Sonate pour piano [#] Three pieces for string quartet / piano [#] string quartet / Three songs from William Shakespeare° / mezzo-soprano, flute, clarinet and viola° / Songs and Song Cycles° / Trois petites chansons [#] Two poems and three Japanese lyrics / Two poems of Verlaine° / Choral Works° / Anthem [#] A sermon, a narrative, and a prayer / Ave Maria [#] Cantata / Canticum sSacrum [#] Credo / J. S. Bach: Choral-Variationen [#] Introitus in memoriam T. S. Eliot / Mass [#] Pater noster / Symphony of psalms [#] Threni / Tres sacrae cantiones°< [° centre centred; °° original mistake in the title].

°° Works are advertised in two columns under the headline >Tutors and Studies< by >Hawkes< to >Loder<, without headline in two columns compositions by >Bach< to >Ysaye<, Strawinsky not mentioned.

* The currency units are set below one another.

** G.M.B.H. is printed in smaller letters whereas B. and H. are printed below the G. and M.

34-17Straw

34-17[66] Igor Stravinsky / suite italienne / pour violon et piano / édition russe de musique · boosey & hawkes // Igor Stravinsky / Suite Italienne / Transcription pour violon et piano / par l'Auteur et S. Dushkin / Édition Russe de Musique (S. et N. Koussewitzky) Boosey & Hawkes / LONDON . PARIS . BONN . JOHANNESBURG . SYDNEY . TORONTO . NEW YORK // (Edition for violin and piano [library binding] 23.4 x 31 (2° [4°]); 31 [31] pages + 4 cover pages thicker paper tomato red on grey green beige [front cover title, 2 empty pages, page with publisher’s advertisements >Igor Stravinsky<* production date >No. 40< [#] >7.65<] + 2 pages front matter [title page, empty page] + 1 page back matter [page with publisher’s advertisements >MUSIC FOR VIOLIN<** production date >No. 20a< [#] >4.66<] + 12 [12] pages in identical text violin part with name of the instrument >VIOLON< 1st page of the score paginated p. 1 above type area centre; title head >SUITE ITALIENNE / pour Violon et Piano <; author specified 1st page of the score paginated p. 1 below piece title flush left >Arrangé pour Violon et Piano / par l'Auteur et S. Dushkin< flush right >IGOR STRAVINSKY<; legal reservations 1st page of the score below type area flush right >All rights reserved< flush left >Copyright 1934 by Edition Russe de Musique (Russischer Musikverlag) / Copyright assigned 1947 to Boosey & Hawkes Inc., for all countries<; plate number [score and part] >B. & H. 17009<; production indications 1st page of the score below type area above legal reservation flush right >Printed in England< p. 31 flush right as end mark >GRANDJEAN Grav.<) // [1966]

* Compositions are advertised in two columns without edition numbers, without price information and without specification of places of printing >Operas and Ballets° / Agon [#] Apollon musagète / Le baiser de la fée [#] Le rossignol / Mavra [#] Oedipus rex / Orpheus [#] Perséphone / Pétrouchka [#] Pulcinella / The flood [#] The rake’s progress / The rite of spring° / Symphonic Works° / Abraham and Isaac [#] Capriccio pour piano et orchestre / Concerto en ré (Bâle) [#] Concerto pour piano et orchestre / [#] d’harmonie / Divertimento [#] Greetings°° prelude / Le chant du rossignol [#] Monumentum / Movements for piano and orchestra [#] Quatre études pour orchestre / Suite from Pulcinella [#] Symphonies of wind instruments / Trois petites chansons [#] Two poems and three Japanese lyrics / Two poems of Verlaine [#] Variations in memoriam Aldous Huxley / Instrumental Music° / Double canon [#] Duo concertant / string quartet [#] violin and piano / Epitaphium [#] In memoriam Dylan Thomas / flute, clarinet and harp [#] tenor, string quartet and 4 trombones / Elegy for J.F.K. [#] Octet for wind instruments / mezzo-soprano or baritone [#] flute, clarinet, 2 bassoons, 2 trumpets and / and 3 clarinets [#] 2 trombones / Septet [#] Sérénade en la / clarinet, horn, bassoon, piano, violin, viola [#] piano / and violoncello [#] / Sonate pour piano [#] Three pieces for string quartet / piano [#] string quartet / Three songs from William Shakespeare° / mezzo-soprano, flute, clarinet and viola° / Songs and Song Cycles° / Trois petites chansons [#] Two poems and three Japanese lyrics / Two poems of Verlaine° / Choral Works° / Anthem [#] A sermon, a narrative, and a prayer / Ave Maria [#] Cantata / Canticum sSacrum [#] Credo / J. S. Bach: Choral-Variationen [#] Introitus in memoriam T. S. Eliot / Mass [#] Pater noster / Symphony of psalms [#] Threni / Tres sacrae cantiones°< [° centre centred; °° original mistake in the title].

** Strawinsky not mentioned.

34-19 1943 Studies for orchestra trombone (Henri Couilland) 2. Fascicle Nr. 10 p. 4, Répertoire du Conservatoire National de Paris; Alphons Leduc Paris; 26,2 x 34,4 (2°); Pl.-Nr. A. L. 20,232.

34-21 igor strawinsky / suite de pulcinella / partition d'orchestre / édition russe de musique · boosey & hawkes // Igor Strawinsky / Suite de Pulcinella / pour / Petit Orchestre / d'après / J. B. Pergolesi / Partition d'Orchestre / revised 1949 version / Édition Russe de Musique (S. et N. Koussewitzky) · Boosey and Hawkes / London · New York · Sydney · Toronto · Capetown · Paris · Buenos Aires // (Full score sewn 26,6 x 33,6 (2° [4°]); 76 [74] pages + 4 cover pages tomato red on grey beige [front cover title, 2 empty pages, page with publisher’s >Édition Russe de Musique / (S. et N. Koussewitzky) / Boosey & Hawkes< advertisements > Igor Strawinsky <* production date 453] + 2 pages front matter [title page; index > Table des Matières < French + legend > Orchestre < French + duration data [22’] French]; title head >SUITE DE PULCINELLA<; author specified in connection with fictitious editor specified 1st page of the score paginated p. 3 next to and below 2. line index >I / SINFONIA / (Ouverture)< flush right centred >Pergolesi – Strawinsky / Edited by Albert Spalding, New York<; legal reservations 1st page of the score below type area flush left >Copyright 1924 by Édition Russe de Musique (Russischer Musikverlag) for all countries. / Printed by arrangement, Boosey & Hawkes, Inc., New York. / Revised Edition Copyright 1949 in U.S.A. by Boosey & Hawkes, Inc., New York.< flush right centred >All rights of reproduction / in any form reserved<; production indication 1st page of the score below type area centre inside right >Printed in England<; plate number >B. & H. 16332<; end number p. 76 flush right as end mark >3·49·L. & B.<) // (1949

* In French, compositions are advertised in two columns without edition numbers and without price information >Piano seul° / Trois Mouvements de Pétrouchka / Suite de Pétrouchka ( Th. Szántó ) / Marche chinoise de “ Rossignol ” / Sonate pour piano* / Ouverture de “ Mavra ” / Serenade en la / Symphonie*°° pour°° instruments à vent / Octuor pour instruments à vent / Partitions pour piano°* / Le Chant du Rossignol / Apollon Musagète / Le Baiser de la Fée / Orpheus / Piano à quatre mains° / Le* Sacre du Printemps / Pétrouchka / Deux Pianos à quatre mains° / Concerto pour piano* / Capriccio pour piano* et orchestre / Chant et piano°* / Deux Poésies de Balmont / Trois Poésies de la lyrique japonaise / Trois petites chansons / Chanson de Paracha de “ Mavra ” / Introduction, chant du pêcheur, air du rossignol / Choeur°* / Ave Maria (a cappella) / Credo (a cappella) / Pater noster (a cappella) // Partitions pour chant et piano* / Rossignol. Conte lyrique en 3 actes / Mavra. Opéra bouffe en 1 acte / Œdipus Rex. Opéra-oratorio en 1 acte* / Symphonie de Psaumes / Perséphone / Violon et Piano°* / Suite d’après Pergolesi / Duo Concertant / Airs du Rossignol / Danse Russe / Divertimento / Suite Italienne / Chanson Russe / Violoncelle et Piano°* / Suite Italienne ( Piatigorsky ) / Musique de Chambre° / Trois pièces pour quatuor à cordes / Octuor pour instruments à vent / Partitions de poche° / Suite de Pulcinella / Symphonies pour°° instruments à vent / Concerto pour piano* / Chant du Rossignol / Pétrouchka. Ballet / Sacre* du Printemps / Le Baiser de la Fée / Apollon Musagète / Œdipus Rex* / Perséphone / Capriccio* / Divertimento / Quatre Études pour orchestre / Symphonie de Psaumes / Trois pièces pour quatuor à cordes / Octuor pour instruments à vent / Concerto en ré pour orchestre à cordes< [* different spelling original; ° centre centred; °° original spelling]. The following places of printing are listed: London-New York-Sydney-Toronto-Cape Town-Paris-Buenos Aires<.

34-21Straw

On the front cover title, Strawinsky’s copy is signed and dated above name right centred >Igor Strawinsky / May 1949<, the title page and the paginas 71-76 are missing. As a page of advertisements, Stravinsky gives >LES ŒUVRES d’IGOR STRAVINSKY< production date >N o 2.< [corresponds to the Song of the Nightingale]; according to the specifics of the editions, this cannot be correct, because this is the page of advertisements from the Russian Music Publishers, not the combined one from RMV and Boosey. Strawinsky evidently stuck this page of adverts into his copy for one reason or another.

34-21[65] igor stravinsky / pulcinella suite / full score / édition russe de musique · boosey & hawkes // IGOR STRAVINSKY / PULCINELLA SUITE / for / Orchestra / after / J. B. Pergolesi / Full Score / revised 1949 version / Édition Russe de Musique (S. et N. Koussewitzky) · Boosey and Hawkes / London · Paris · Bonn · Johannesburg · Sydney ·Toronto · New York // (Full score [library binding] 25.3 x 32.7 (2° [4°]); 76 [74] pages + 4 cover pages tomato red on light grey green [front cover title, 2 empty pages, page with publisher’s advertisements >Igor Stravinsky<* production date >No. 40< [#] >7.65<]+ 2 pages front matter [title page, index > Table des Matières < + legend > Orchestre < French + >En tout 33 personnes< + duration data [22'] French] without back matter; title head >SUITE DE PULCINELLA<; author specified 1st page of the score paginated p. 3 next to piece title flush right centred >IGOR STRAVINSKY / d'après Giambattista Pergolesi / revised 1949<; legal reservations 1st page of the score next to title head flush left with a text box containing >IMPORTANT NOTICE / The unauthorized copying / of the whole or any part of / this publication is illegal< below type area flush left >Copyright 1924 by Édition Russe de Musique (Russischer Musikverlag) / Copyright assigned 1947 to Boosey & Hawkes, Inc., for all countries / Revised Edition © Copyright 1949 by Boosey & Hawkes, Inc.< flush right centred >All rights of reproduction / in any form reserved<; production indication 1st page of the score below type area centre inside right >Printed in England<; plate number >B. & H. 16332<; without end marks) // [1965]

* Compositions are advertised in two columns without edition numbers, without price information and without specification of places of printing >Operas and Ballets° / Agon [#] Apollon musagète / Le baiser de la fée [#] Le rossignol / Mavra [#] Oedipus rex / Orpheus [#] Perséphone / Pétrouchka [#] Pulcinella / The flood [#] The rake’s progress / The rite of spring° / Symphonic Works° / Abraham and Isaac [#] Capriccio pour piano et orchestre / Concerto en ré (Bâle) [#] Concerto pour piano et orchestre / [#] d’harmonie / Divertimento [#] Greetings°° prelude / Le chant du rossignol [#] Monumentum / Movements for piano and orchestra [#] Quatre études pour orchestre / Suite from Pulcinella [#] Symphonies of wind instruments / Trois petites chansons [#] Two poems and three Japanese lyrics / Two poems of Verlaine [#] Variations in memoriam Aldous Huxley / Instrumental Music° / Double canon [#] Duo concertant / string quartet [#] violin and piano / Epitaphium [#] In memoriam Dylan Thomas / flute, clarinet and harp [#] tenor, string quartet and 4 trombones / Elegy for J.F.K. [#] Octet for wind instruments / mezzo-soprano or baritone [#] flute, clarinet, 2 bassoons, 2 trumpets and / and 3 clarinets [#] 2 trombones / Septet [#] Sérénade en la / clarinet, horn, bassoon, piano, violin, viola [#] piano / and violoncello [#] / Sonate pour piano [#] Three pieces for string quartet / piano [#] string quartet / Three songs from William Shakespeare° / mezzo-soprano, flute, clarinet and viola° / Songs and Song Cycles° / Trois petites chansons [#] Two poems and three Japanese lyrics / Two poems of Verlaine° / Choral Works° / Anthem [#] A sermon, a narrative, and a prayer / Ave Maria [#] Cantata / Canticum Sacrum [#] Credo / J. S. Bach: Choral-Variationen [#] Introitus in memoriam T. S. Eliot / Mass [#] Pater noster / Symphony of psalms [#] Threni / Tres sacrae cantiones°< [° centre centred; °° original mistake in the title].

34-22 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / PULCINELLA / SUITE^ / BOOSEY & HAWKES / No. 632 // HAWKES POCKET SCORES / IGOR STRAWINSKY / PULCINELLA / SUITE POUR PETIT ORCHESTRE / D'APRÈS PERGOLESI / Revised 1949 version / BOOSEY & HAWKES / LTD / LONDON · NEW YORK · LOS ANGELES · SYDNEY · CAPETOWN · TORONTO · PARIS / NET PRICE / MADE IN ENGLAND // [text on spine:] °STRAWINSKY · PULCINELLA SUITE // (Pocket score sewn 0.7 x 14.2 x 19.1 (8° [8°]); 76 [74] pages + 4 cover pages dark green on green grey [front cover title with frame 9.5 x 3.8 green grey on dark green, 2 empty pages, page with publisher’s advertisements >HAWKES POCKET SCORES / A comprehensive library of Miniature Scores containing the best-known classical / works, as well as a representative selection of outstanding modern compositions. <* production date >No. 520< [#] >1.49<] + 2 pages front matter [title page, page with index >Table des Matières< + legend >Orchestre< French + information about the number of players >En tout 33 personnes< French + duration data [22'] French] without back matter; title head >SUITE DE PULCINELLA<; author specified in connection with fictitious editor specified 1st page of the score paginated p. 3 next to 2./3. line piece title >I / SINFONIA / (Ouverture)< flush right centred >Pergolesi – Strawinsky / Edited by Albert Spalding, New York<; legal reservations 1st page of the score below type area flush left >Copyright 1924 by Édition Russe de Musique (Russischer Musikverlag) for all countries. / Printed by arrangement, Boosey & Hawkes, Inc., New York. / Revised Edition Copyright 1949 in U.S.A. by Boosey & Hawkes, Inc., New York.< flush right centred >All rights of reproduction / in any form reserved<; production indication 1st page of the score below type area centre inside right >Printed in England<; plate number >B. & H. 16332<; without end of score dated; end number p. 76 as end mark flush right >L. & B. 3·49<) // (1949)

^ ^ = Text in frame.

° Preceding text in all the accessible copies unidentifiable.

* Classical editions from >J. S. BACH< to >WEBER< are listed including the titles of their works in four columns under the headline > classical editions<, under the headline >MODERN EDITIONS< the names of contemporary composers are listed without any titles in four columns from >Bela Bartok< to >Arnold van Wyk<, among them >IGOR STRAWINSKY<. The order of the places of printing is London-New York-Chicago-Los Angeles-Toronto-Buenos Aires-Capetown-Sydney-Paris.

34-2257 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / PULCINELLA / SUITE^ / BOOSEY & HAWKES / No. 632 // HAWKES POCKET SCORES / IGOR STRAWINSKY / PULCINELLA / SUITE for Orchestra / after / J. B. Pergolesi / Revised 1949 version / BOOSEY & HAWKES / LTD. / LONDON · PARIS · BONN · CAPETOWN · SYDNEY · TORONTO · BUENOS AIRES · NEW YORK / NET PRICE / MADE IN ENGLAND // [text on spine] No. 632 IGOR STRAWINSKY · PULCINELLA SUITE // (Pocket score sewn 0.5 x 13.6 x 18.7 (8° [8°]); 76 [74] pages + 4 cover pages dark green on dark beige [front cover title with frame 9.5 x 3.8 dark beige on dark green, 2 empty pages, page with publisher’s advertisements > Hawkes Pocket Scores / A selection of outstanding modern works / from this famous library of classical and contemporary Pocket Scores<* production date >N0. 782< [#] >I/56<] + 2 pages front matter [title page, page with index >Table des Matières< + legend >Orchestre< French + information about the number of players >En tout 33 personnes< French + duration data [22'] French] without back matter; title head <SUITE DE PULCINELLA<; authors specified 1st page of the score paginated p. 3 next to 2nd line movement title in Roman numerals without dots >I / SINFONIA / (Ouverture)< >Pergolesi-Strawinsky<; fictitious editor specified below author specified between 2nd and 3rd line movement title >Edited by Albert Spalding, New York<; legal reservations 1st page of the score below type area flush left > Copyright 1924 by Édition Russe de Musique (Russischer Musikverlag) for all countries. / Printed by arrangement, Boosey & Hawkes, Inc. New York. / Revised Edition Copyright 1949 in U.S.A. by Boosey & Hawkes, Inc., New York.< flush right centred >All rights of reproduction / in any form reserved<; plate number >B. & H. 16332<; end number p. 76 flush left >10 · 57 L & B<; production indications 1st page of the score below type area centre inside right >Printed in England< p. 76 flush right as end mark >Lowe and Brydone (Printers) Limited, London<) // (1957)

^ ^ = Text in frame.

* Compositions are advertised in two columns with edition numbers from >Béla Bartók< to >Ralph Vaughan Williams<, amongst these >Igor Strawinsky / 6I0 Capriccio ( Revised I949 Edition ) / 6II Apollon Musagète ( Revised I947) Edition ) / 630 Octet for Wind Instruments / [#] ( Revised I952 Edition ) / 632 Pulcinella Suite ( Revised 1949 Edition ) / 637 Symphony of Psalms / 638 The Rite of Spring ( Revised I947 Edition ) / 639 Pétrouchka ( Revised I947 Edition ) / 640 Orpheus / 65I Œdipus Rex ( Revised I948 Edition ) / 652 Perséphone / 655 Mass / 666 Cantata / 672 Symphonies of Wind Instruments / [#] ( Revised I947 Edition ) / 679 The Fairy’s Kiss / 682 Septet (I953) / 688 In Memoriam Dylan Thomas (I954)<. After London the following places of printing are listed: Paris-Bonn-Capetown-Sydney-Toronto-Buenos Aires-New York.

34-2259 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / PULCINELLA / SUITE^ / BOOSEY & HAWKES / No. 632 // HAWKES POCKET SCORES / IGOR STRAWINSKY / PULCINELLA / SUITE for Orchestra / after / J. B. Pergolesi / Revised 1949 version / BOOSEY & HAWKES / LTD. / LONDON · PARIS · BONN · CAPETOWN · SYDNEY · TORONTO · BUENOS AIRES · NEW YORK / NET PRICE / MADE IN ENGLAND // [text on spine] No. 632 IGOR STRAWINSKY · PULCINELLA SUITE // (Pocket score [library binding] 0.5 x 13.6 x 18.5 (8° [kl. 8°/8°); 76 [74] pages + 4 cover pages dark green on dark beige [front cover title with frame 9.5 x 3.8 dark beige on dark green, 2 empty pages, page with publisher’s advertisements >HAWKES POCKET SCORES / A selection of outstanding modern works / from this famous library of classical and contemporary Pocket Scores<* production date >N0. 782< [#] >I/56< ] + 2 pages front matter [title page, page with index >Table des Matières< + legend >Orchestre< French + information about the number of players >En tout 33 personnes< French + duration data [22'] French] without back matter; title head <SUITE DE PULCINELLA<; authors specified 1st page of the score paginated p. 3 next to 2. line movement title in Roman numerals without dots >I / SINFONIA / (Ouverture)< >Pergolesi-Strawinsky<; fictitious editor specified below author specified between 2. and 3. line movement title >Edited by Albert Spalding, New York<; legal reservations 1st page of the score below type area flush left > Copyright 1924 by Édition Russe de Musique (Russischer Musikverlag) for all countries. / Printed by arrangement, Boosey & Hawkes, Inc. New York. / Revised Edition Copyright 1949 in U.S.A. by Boosey & Hawkes, Inc., New York.< flush right centred >All rights of reproduction / in any form reserved<; plate number >B. & H. 16332<; end number p. 76 flush left >11 · 59 L & B<; production indications 1st page of the score below type area centre inside right >Printed in England< p. 76 flush right as end mark >Lowe and Brydone (Printers) Limited, London<) // (1959)

^ ^ = Text in frame.

* Compositions are advertised in two columns with edition numbers from >Béla Bartók< to >Ralph Vaughan Williams<, amongst these >Igor Strawinsky / 610 Capriccio ( Revised I949 Edition ) / 611 Apollon Musagète ( Revised I947) Edition ) / 630 Octet for Wind Instruments / [#] ( Revised I952 Edition ) / 632 Pulcinella Suite ( Revised 1949 Edition ) / 637 Symphony of Psalms / 638 The Rite of Spring ( Revised I947 Edition ) / 639 Pétrouchka ( Revised I947 Edition ) / 640 Orpheus / 65I Œdipus Rex ( Revised I948 Edition ) / 652 Perséphone / 655 Mass / 666 Cantata / 672 Symphonies of Wind Instruments / [#] ( Revised I947 Edition ) / 679 The Fairy’s Kiss / 682 Septet (I953) / 688 In Memoriam Dylan Thomas (I954)<. After London the following places of printing are listed: Paris-Bonn-Capetown-Sydney-Toronto-Buenos Aires-New York.

34-2267 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / PULCINELLA / SUITE^ / BOOSEY & HAWKES / No. 632 // HAWKES POCKET SCORES / IGOR STRAWINSKY / PULCINELLA SUITE / for Orchestra / after / J. B. Pergolesi / revised 1949 version / BOOSEY & HAWKES / MUSIC PUBLISHERS LIMITED / LONDON · PARIS · BONN · JOHANNESBURG · SYDNEY · TORONTO · NEW YORK / NET PRICE / MADE IN ENGLAND // [text on spine:] >No. 632 IGOR STRAWINSKY · PULCINELLA SUITE< // (Pocket score sewn 0.6 x 13.8 x 18.7 (8° [8°]); 76 [74] pages + 4 cover pages olive-green on beige [front cover title with frame 9.5 x 3.8 beige on olive-green, 2 empty pages, page with publisher’s advertisements >HAWKES POCKET SCORES / An extensive library of miniature scores containing both classical works / and a representative collection of outstanding modern compositions <* production date >No. I6< [#] >I/6I<] + 2 pages front matter [title page, page with index >Table des Matières< + legend >Orchestre< French + information about the number of players >En tout 33 personnes< French + duration data [22'] French] without back matter; title head <SUITE DE PULCINELLA<; authors specified in connection with fictitious editor specified 1st page of the score paginated p. 3 above, next to and below 3. line piece title >I / SINFONIA / (Ouverture)< flush right centred >Pergolesi – Strawinsky / Edited by Albert Spalding, New York<; legal reservations 1st page of the score below type area flush left >Copyright 1924 by Édition Russe de Musique (Russischer Musikverlag) / Copyright assigned 1947 to Boosey & Hawkes, Inc. for all countries. / Revised Edition © Copyright 1949 by Boosey & Hawkes, Inc.< flush right centred >All rights of reproduction / in any form reserved<; plate number >B. & H. 16332<; end number p. 76 flush left >5 · 67 L & B<; without end of score dated; production indication 1st page of the score below type area centre inside right >Printed in England< p. 76 flush right as end mark >Lowe and Brydone (Printers), London<) // (1967)

^ ^ = Text in frame.

* Compositions are advertised in three columns without edition numbers from >Bach, Johann Sebastian< to >Wagner, Richard<, amongst these >Stravinsky, Igor / Agon / Canticum Sacrum / Le Sacre du Printemps / Monumentum / Movements / Oedipus Rex / Pétrouchka / Symphonie de Psaumes / Threni<. After London the following places of printing are listed: Paris-Bonn-Johannesburg-Sydney-Toronto-New York.

34-23 igor strawinsky / suite italienne / pour violoncelle et piano / édition russe de musique · boosey & hawkes // Igor Strawinsky / Suite Italienne / pour violoncelle et piano / La partie du violoncelle établie / par l'auteur en collaboration avec / Gregor Piatigorsky / Édition Russe de Musique (S. et N. Koussewitzky) Boosey & Hawkes / London · New York · Sydney · Toronto · Cape Town · Paris · Buenos Aires // (Edition stapled with violoncello part enclosed 26.5 x 32.8 (2° [4°]); 27 [27] pages + 4 cover pages puce on grey green [front cover title, 2 empty pages, page with publisher’s >Édition Russe de Musique / (S. et N. Koussewitzky) / Boosey & Hawkes< advertisements > Igor Strawinsky <* production date 453] + 2 pages front matter [title page, empty page] + 3 pages back matter [3 empty pages] + 10 [8] pages violoncello part stapled 26.2 x 32.7 + 2 pages back matter [empty page, page mit with publisher’s >Édition Russe de Musique / (S. et N. Koussewitzky) / Boosey & Hawkes< advertisements > Igor Strawinsky <* production date 453]; title head [score and part] >SUITE ITALIENNE / pour Violoncelle et Piano <; author specified [score and part] 1st page of the score paginated p. 1 next to and below piece title >Introduzione< flush right centred >Composé par / Igor STRAWINSKY / 1932< above, next to and below piece title flush left >La partie du Violoncelle de / cette partition est établie / par l'auteur en collaboration / avec Gregor Piatigorsky<; performance reservation [exclusively 1st page of the score below type area flush left >Pour toute exécution publique / il sera fait mention de la colla- / boration, pour cet arrangement, / de Gregor Piatigorsky.<; legal reservations below type area flush left score 1st page of the score [below performance reservation], pp. 4, 8, 16, 20 [part pp. 1, 2, 3, 6, 8] >Copyright 1934 by Édition Russe de Musique (Russischer Musikverlag) / for all countries. / Printed by arrangement, Boosey & Hawkes, Inc., New York, U.S.A. / All rights of reproduction in any form reserved.< flush right >Tous droits d'exécution, de reproduction et / d'arrangements réservés pour tous pays. / Propriété de l'Editeur pour tous pays.<; production indication 1st page of the score [exclusively score] below type area flush right below plate number >Printed in England.<; plate number >B. & H. 16350<; end number [exclusively score] p. 27 flush right >H.P. B710. 448<) // (1950**)

* In French, compositions are advertised in two columns without edition numbers and without price information >Piano seul° / Trois Mouvements de Pétrouchka / Suite de Pétrouchka ( Th. Szántó ) / Marche chinoise de “ Rossignol ” / Sonate pour piano* / Ouverture de “ Mavra ” / Serenade en la / Symphonie*°° pour°° instruments à vent / Octuor pour instruments à vent / Partitions pour piano°* / Le Chant du Rossignol / Apollon Musagète / Le Baiser de la Fée / Orpheus / Piano à quatre mains° / Le* Sacre du Printemps / Pétrouchka / Deux Pianos à quatre mains° / Concerto pour piano* / Capriccio pour piano* et orchestre / Chant et piano°* / Deux Poésies de Balmont / Trois Poésies de la lyrique japonaise / Trois petites chansons / Chanson de Paracha de “ Mavra ” / Introduction, chant du pêcheur, air du / rossignol / Choeur°* / Ave Maria (a cappella) / Credo (a cappella) / Pater noster (a cappella) // Partitions pour chant et piano* / Rossignol. Conte lyrique en 3 actes / Mavra. Opéra bouffe en 1 acte / Œdipus Rex. Opéra-oratorio en 1 acte* / Symphonie de Psaumes / Perséphone / Violon et Piano°* / Suite d’après Pergolesi / Duo Concertant / Airs du Rossignol / Danse Russe / Divertimento / Suite Italienne / Chanson Russe / Violoncelle et Piano°* / Suite Italienne ( Piatigorsky ) / Musique de Chambre° / Trois pièces pour quatuor à cordes / Octuor pour instruments à vent / Partitions de poche° / Suite de Pulcinella / Symphonies pour°° instruments à vent / Concerto pour piano* / Chant du Rossignol / Pétrouchka. Ballet / Sacre* du Printemps / Le Baiser de la Fée / Apollon Musagète / Œdipus Rex* / Perséphone / Capriccio* / Divertimento / Quatre Études pour orchestre / Symphonie de Psaumes / Trois pièces pour quatuor à cordes / Octuor pour instruments à vent / Concerto en ré pour orchestre à cordes< [* different spelling original; ° centre centred; °° original spelling]. After London the following places of printing are listed: London-New York-Sydney-Toronto-Cape Town-Paris-Buenos Aires angegeben.

** Dating according to information in the former Library of the British Museum. The allocation is brought into question just as much by the end number of the printing, which can be inferred as being 1948, 1949 at the latest, as by the plate number >B. & H. 16350<, which must belong to the set of numbers for the year 1948. However, a later date of publication, for which there are always reasons, cannot be ruled out.

34-2364 igor stravinsky / suite italienne / pour violoncelle et piano / édition russe de musique · boosey & hawkes // Igor Stravinsky / Suite Italienne / pour violoncelle et piano / La partie du violoncelle établie / par l'auteur en collaboration avec / Gregor Piatigorsky / Édition Russe de Musique (S. et N. Koussewitzky) · Boosey & Hawkes / London . Paris . Bonn . Johannesburg . Sydney . Toronto . New York // (Edition violoncello and piano [library binding] 23.4 x 31 (4° [4°]) with violoncello part enclosed; 27 [27] {10/10 violoncello part} pages + 4 cover pages light red on beige [front cover title, 3 empty pages] + 2 pages front matter [title page, empty page] + 1 page back matter [empty page] + 10 [10] pages violoncello part without title page and without front matter and without back matter and without name of the instrument; title head [score + part] >SUITE ITALIENNE / pour Violoncelle et Piano <; author specified 1st page of the score score paginated p. 1 part without pagination [p. 1] next to and below movement title >Introduzione< flush right centred >Composé par / IGOR STRAVINSKY / 1932<; collaboraor specified score and part 1st page of the score above and next to movement title flush left >La partie du Violoncelle / est établie par l'auteur en / collaboration avec Gregor / Piatigorsky<; legal reservations below type area flush left [exclusively] score 1st page of the score >Pour toute exécution publique / il sera fait mention de la colla- / boration pour cet arrangement, / de Gregor Piatigorsky.< movement titles [score: pp. 1, 4, 8, 16, 20; part: pp. 1, 2, 3, 6, 8] flush left >Copyright 1934 by Edition Russe de Musique (Russischer Musikverlag) / for all countries. / Printed by arrangement, Boosey & Hawkes, Inc., New York, U.S.A. / All rights of reproduction in any form reserved.< flush right >Tous droits d'exécution, de reproduction et / d'arrangements réservés pour tous pays. / Propriété de l'Editeur pour tous pays.< production indication [exclusively] score 1st page of the score below type area below legal reservation flush right >Printed in England>; plate number [score + part] >B. & H. 16350<; end number [exclusively] score p. 27 flush left as end mark >1. 64. E.<) // (1964)

34-24КОНЦЕРТНЫЙ РЕПЕРТУАР / СКРИПАЧА / И. СТРАВИНСКИЙ / СЮИТА / на темы / Дж. ПЕРГОЛЕЗИ / [vignette] / МУЗГИЗ 1962 // И. СТРАВИНСКИЙ / СЮНТА / на темы Дж. ПЕРГОЛЕЗИ / ДЛЯ СКРИПКИ И ФОРТЕПЬЯНО / ГОСУДАРCTВЕННОЕ МУЗЫКАЛЬНОЕ ИЗДАТЕЛЬСТВО / Москва 1962 // (Edition for violin and piano [library binding] 21,8 x 28,6 (4° [Lex. 8°]); 24 [23] pages + 4 cover pages whith frame 11.9 x 17.4 light-blue white sprinkled violin corpus [ornamental front cover title with vignette 0.7 x 1.6 treble clef on framed five-line-stave blue, 2 empty pages, page with price and plate number >40 к.< [#] >30180-ш< + publisher’s advertisements >ГОСУДАРCTВЕННОЕ МУЗЫКАЛЬНОЕ ИЗДАТЕЛЬСТВО / Вытла и выхобим в свем / ЛИТЕРАТУРА ДЛЯ СКРИПКИ И ФОРТЕПЬЯНО]<* production date >18—62< + imprint with billing of names >Редактор С. Сапожинков / Техн. Редактор М. Ильина< and itemized statements of format and origin ] + 1 page front matter [title page] + 1 page back matter [empty page] + 8 [8] pages violin part not sewn in identical layout with name of the instrument next to author specified flush left >Скрипка< ; title head >СЮИТА / на темы Дж. ПЕРГОЛЕЗИ<; dedication above title head centre italic > Павлу Коханскому <; author specified 1st page of the score score paginated p. 2 [part: paginated p. 1] below title head flush right centred >И. СТРАВИНСКИЙ / 1925 г.<; without legal reservation; plate number >30180<; without end mark p. 24) // 1962

* Compositions are advertised in two columns under the heading >ПЕДАГОГИЧЕСКИЯ РЕПЕРТУАР<, Strawinsky not mentioned; under the heading >КОНЦЕРТНЫЙ РЕПЕРТУАР / Произведения русских и советских композиторов< from >Глазунов А.< to >Шостакович Д.<, amongst these >Стравинский И. Русская песня / Стравинский И. Скерцо / Стравинский И. СЮНТА на темы Дж. Перголези<.

34-25 IGOR STRAVINSKY / PULCINELLA / BALLET / Full Score / R evised E dition 1965 / BOOSEY & HAWKES // IGOR STRAVINSKY / PULCINELLA / Ballet in one act / for small orchestra with three solo voices / after / Giambattista Pergolesi / Revised Edition 1965 / BOOSEY & HAWKES / Music Publishers Limited / London · Paris · Bonn · Johannesburg · Sydney ·Toronto · New York // [without text on spine] // (Full score sewn 1.2 x 26.4 x 35.5 (2° [gr. 4°]); sung texts Italian; 160 [158] pages + 4 cover pages tomato red auf green beige [front cover title, 3 empty pages] + 2 pages front matter [title page, summary >ARGUMENT< English + legend >Orchestra< Italian + duration data [35'] English] without back matter; title head >PULCINELLA<; author specified 1st page of the score paginated p. 3 between title head und piece title >OUVERTURE< flush right centred >IGOR STRAVINSKY / after Giambattista Pergolesi / revised 1965<; legal reservations 1st page of the score below type area flush left >Copyright 1924 by Edition Russe de Musique (Russischer Musikverlag) / Copyright assigned 1947 to Boosey & Hawkes, Inc. for all countries / Revised Edition © Copyright 1966 by Boosey & Hawkes, Inc.< flush right centred >All rights of reproduction / in any form reserved<; plate number >B. & H. 19362<; production indications 1st page of the score below type area centre inside right >Printed in England< p. 160 flush right as end mark >The Markham Press Ltd.<) // (1966)

34-26 И. СТРАВИНСКИЙ / ИТАЛЬЯНСКАЯ / СЮИТА / ДЛЯ ВИОЛОНЧЕЛИ И ФОРТЕПИАНО / [vignette] / · МУЗЫКА · / МОСКВА · 1968 // И. СТРАВИНСКИЙ / ИЗТАЛЬЗНСКАЗ / СЮИТА / ДЛЯ ВИОЛОНЧЕЛИ И ФОРТЕПИАНО / ИЗДАТЕЛЬСТВО МУЗЫКА МОСКВА 1968 // (Edition violoncello with piano [library binding] 21.8 x 28.5 ([Lex. 8°]); 38 [36] pages + 4 cover pages black on cream white [ornamental front cover title with vignette centre centred 1.5 x 1.6 with a text box containing initial >M< with a stylized treble clef form creame white, 2 empty pages, [missing]] + 2 pages front matter [title page, empty page] + 2 pages back matter [imprint >Индекс 9–6–2< with billing of names >Редактор В. Мурзин / Техн. редактор А. Арсланова / Корректор И. Миронович < and itemized statements of format and origin, page with publisher’s advertisements >ВЫШЛА И ВЫХОДИТ ИЗ ПЕЧАТИ / Литература для струнных / инструментов<* without production date] + enclosed 14 [13] pages violoncello part with 1 page front matter [front page >Виолончель<] without back matter; title head >ИТАЛЬЯНСКАЯ СЮИТА<; author specified score 1st page of the score paginated p. 3 [part: 1st page of the score paginated p. 2] below unnumbered piece title flush right centred >И. СТРАВИНСКИЙ / 1932<; editor specified [exclusively] part 1st page of the score below piece title flush left >Партия виолончели отредактирована автором / в сотрудничестве с Г. Пятигорским.<; without legal reservation; plate number >5623<; production indications score below type area flush left p. 5 >2. Стравинский< p. 15 >3*<; without end marks) // 1968

* Compositions are advertised in two columns under the heading > ÑÅÐÈß «Ê ÎÍÖÅÐÒÍÛÈ ÐÅÏÅÐÒÓÀл / ÂÈÎËÎÍ ×ÅËÈÑÒÀ <, amongst these > Ñòðàâèíñêèé È. Ïàñòîðà ëü <, under the heading > Àëüò < amongst these > Ñòðàâèíñêèé È. Èòà ëüÿíñêàÿ ñþèòà <.

34-27 IGOR STRAWINSKY / AFTER / GIAMBATTISTA PERGOLESI. / PULCINELLA / [vignette] // PULCINELLA / BALLET IN ONE ACT / WITH THREE SOLO VOICES / MUSIC BY / IGOR STRAWINSKY / AFTER / GIAMBATTISTA PERGOLESI / NORSK MUSIFORLAG A/S [#*] WILHELM HANSEN, / OSLO [#*] MUSIK-FORLAG / A.B. NORDISKA [#*] COPENHAGEN / MUSIKFORLAGET [#*] WILHELMIANA MUSIKVERLAG / STOCKHOLM [#*] FRANKFURT a. M. / Made in Great Britain // (Vocal score sewn 23.9 x 30.7 (2° [4°]); sung text Italian; 86 [86] pages + 4 cover pages thicker paper black on yellow [front cover title with vignette 2,6 x 3 half-mask, 2 empty pages, page with publisher’s advertisements >IGOR STRAWINSKY / Over 25 years ago the House of Chester was the first English music publishing house to / recognise the importance of, and to issue in their own edition, the compositions of this / world famous composer. / It will be noted that these works contain many of his most important contributions / to music of this century.<** without production date<] + 2 pages front matter [decorated title page with framed flower tendrils and publishers frame laid out with the artist’s signature >H. J. M.< # >1922.< entered left- and flush right (presumably) at the bottom of the frame, (world) premiere data French + index of rols (historical), > DISTRIBUTION: < > ARTISTES DU CHANT: < + summary > Argument < French] without back matter; title head >PULCINELLA<; authors specified 1st page of the score paginated p. 1 above, next to and below piece title >OUVERTURE< flush right centred >IGOR STRAWINSKY / d’àprès Giambattista Pergolesi.<; legal reservation 1st page of the score below type area flush left >Copyright, 1920, by J. & W. Chester, Ltd. London.<; plate number >J. & W. C. 9707<; without production indication; without end mark) // [1968]

* A round separating vignette covering more than four lines, consisting of letters ø 3.1 cm >J< through a >W< into a >C< with the line of text >J. & W. CHESTER LTD< running three-quarters around above it, with >LONDON<, separated on both sides by full stops, underneath.

** Compositions are advertised in alphabetical order without edition numbers and without price information behind fill character (dots in groups of two) >A SELECTED LIST OF WORKS / Berceuse du Chat° Four Songs for Contralto and Three Clarinets / *° Miniature Score / *° Voice and Piano / Berceuse and Finale (L’Oiseau de Feu)°° Arranged by M. Besly.°°° Organ / Les Cinq Doigts—Eight easy pieces° Piano Solo / Cinq Pieces Faciles (Right hand,°° easy)° Piano Four Hands / L’Histoire°° du Soldat° To be read, played, and danced.°°° Miniature Score / *° Vocal Score / * Suite arranged by the Composer for / [#] Violin, Clarinet, and Piano / Les Noces—Ballet with Chorus° Miniature Score / *° Vocal Score / L’Oiseau de Feu (1919)—Suite from the Ballet° Miniature Score / Piano Rag Music° Piano Solo / Pribaoutki for Medium Voice and Eight Instruments° Miniature Score / *° Voice and Piano / Pulcinella, Ballet after Pergolesi° Piano Score / Quatre Chants Russe°° for Medium Voice° Voice and Piano / Ragtime for Chamber Orchestra° Miniature Score / * arranged by the Composer° Piano Solo / Renard—A Burlesque in one act° Miniature Score / *° Vocal Score / Ronde des Princesses (L’Oiseau de feu)°° Arranged by M. Besly.°°° Organ / Song of the Haulers on the Volga, arranged for Wind Instruments.°°° Score and Parts / Trois Histoires pour Enfants for Medium Voice° Voice and Piano / separately: Tilimbom—with orchestral accompaniment. / Trois Pieces Faciles (Left Hand Easy)° Piano Four Hands / Trois Pieces° Solo Clarinet< / > All Orchestral Materials are available on Hire from the Chester Orchestral Hire Library. < [° fill character (dots in groups of two); °° original spelling; °°° without fill character (dots in groups to two); * double quotation („)].


K Cat­a­log: Anno­tated Cat­a­log of Works and Work Edi­tions of Igor Straw­in­sky till 1971, revised version 2014 and ongoing, by Hel­mut Kirch­meyer.
© Hel­mut Kirch­meyer. All rights reserved.
http://www.kcatalog.org and http://www.kcatalog.net