K106 Requiem Canticles

K106 Requiem Canticles

for contralto and bass soli, chorus and orchestra – Requiem-Gesänge * für Alt, Bass, vierstimmig gemischten Chor und Orchester – Requiem Canticles pour chœur et orchestre – Requiem Canticles per contralto e basso soli, coro misto a quattro voci ed orchestra

* A German main title has not yet emerged.

Title: Originally, this work should have been called Sinfonia da Requiem, on the one hand in order to acknowledge the large proportion of the work which is purely instrumental music, in its final form making up about half of the length of the piece, and on the other hand, to avoid confusion with other historical Concert–Requiem compositions, and finally in order that it be regarded as the fulfilment of a promise that Strawinsky had made to the young Symphony Orchestra of Princeton.

Scored for: First Edition front matter: 3 Flauti grandi (3° anche Fl. Picc.), Flauto alto, 2 Fagotti, 4 Corni, 2 Trombe, 3 Tromboni, Timpani (2 esecutori), Xilofoni Vibrafono Campane } 2 esecutori, Arpa, Pianoforte, Celesta, Archi [3 Flutes (3rd doubling Piccolo), Alto Flute, 2 Bassoons, 4 Horns, 2 Trumpets, 3 Trombones, Timpani (2 players), Percussion (2 players; Xylophone, Vibraphone, Bells), Harp, Pianoforte, Celesta, Strings]; b) Performances specifications: Alto Solo, Bass Solo, four-part mixed chorus (included Solo Soprano, Solo Alto, Solo Tenor, Solo Bass), Piccolo Flute (= 3rd Flute), 3 Flutes (3rde Flute = Piccolo Flute), Alto Flute, 2 Bassoons, 4 Horns, 2 Trumpets, 2 Tenor Trombones, Bass Trombone, 5 Timpani*, Percussion* (Xylophone, Vibraphone, bells), Harp, Piano, Celesta, 2 Solo Violins, Solo Viola, Solo Violoncello, 2 Solo Double Basses, Strings (1st Violins, 2nd Violins, Violas**, Violoncellos***, Double Basses).

* Two players.

** Divided in two (only bar 235).

*** Divided in two (only bar 58).

Performance practice: The timpani have five notes to play, four of which to be played as a chord; the text should preferably be performed in triplets.

Score: The score is printed with modern layout in separated blocks with instruments hidden when they are not playing; all the instruments are notated in C and sound as written, the Piccolo an octave higher, the double basses an octave lower.

Sung text: “Requiem” is the Incipit of the Introit of the Mass for the Dead, which in Ordinary Time is attached to the second of November, All Souls Day. According to Catholic practice, the Incipit of the Mass Introit gives its name to the entire mass. Therefore the votive mass for the dead has been called Requiem since the beginning, although its correct name is Missa pro defunctis (Mass for the Dead) and according to the Tridentine rite, fulfils one of several stations in the framework of the Ordo exsequiarum . Although the piece has the title Requiem, Strawinsky set a section which had only been introduced much later into the Mass for the Dead and was removed after the second Vatican council (ascribed to Jacopo di Todi and Thomas of Celano, the biographer of St Francis of Assisi, and discussed in both cases), the Dies irae sequence. This was originally a trope possibly inserted into the Libera me and came from 13th Century from Italy; it was not used in itsentirety, but rather selected parts of the verse were chosen to follow the Responsory Libera me, which is to be sung after the Mass for the Dead. Strawinsky used the title of Requiem, although he had not composed the classic Requiem-Introit Requiem aeternam. This was not necessary because the Responsory Libera me, with which the composition finishes , ends with the opening verse of the Requiem-Introit ( Requiem aeternam dona eis domine; et lux perpetua luceat eis ) and Strawinsky has the choir speak under the soloist’ singing. Programmatically, Strawinsky had already decided to single out from the (uncomposed) Mass Introit only the second verse of Psalm 64 ( Exaudi ... ), which also serves in the Introit Requiem aeternam from the Mass for the Dead as a Psalm Verse just as in the Officium defunctorum for hourly prayer, the Laudes serves as a framing verse for the second Antiphon. It is with these that Strawinsky began his Requiem Canticles . As the text ' Ad te omnis caro veniet ' in the Tridentine versions elected by Strawinsky ( 'to you comes all flesh ') is used instead of the newer ( ' ...ad te omnis caro veniet propter iniquitatem ' = 'all men come to you under the burden of sin '), it starts from the Resurrection of the body, which is so difficult to grasp, and without which the Ritual for the Dead loses its eschatological meaning. The fact that in 1965 (after the Catholic Church had removed the Dies irae, which for many centuries had been regarded as the fundamental symbol of Catholic belief, from the Graduale Romanum) Strawinsky set specific excerpts from this sequence to music using the older spelling with j instead of the Latin i, reveals his theological idea. –

The original available to him consists of three strophic groups, each with three strophes consisting of two three- line verses (= a double verse) and a final group consisting of a four-lined and a two-lined verse as well as the final Amen. Strawinsky used this first strophe (‘ Dies irae ... ’) in its entirety, and from the second only the first verse i.e. a half verse (‘ Tuba mirum ... ’). He did not set the second verse or the entire third strophe. After the Interlude, he uses the text of the second verse of the fourth strophe (i.e. the first strophe of the second strophic group), ‘ Rex tremendae ... , then he leaves the rest of the second strophic group and the entire third strophic group uncomposed and ends his personal Dies irae with the final group ( Lacrimosa... ) including Amen. Strawinsky also removed certain sections of text, because they had been brought into question in the second Vatican Council, especially the text of the Sequence in its entirety. The part of the text between the Prelude and the Interlude attests to the Last Judgement, but is dispensed with as Strawinsky rejects the subsequent verses which deal with the Judgement of the Court in a prayer to benevolent Jesus, asking not to let those concerned with the Court fall. The Sequence thereby loses its threatening nature and limits itself to the simple facts that the world will return to dust, and that there is a Judgement but also a benevolent Jesus, who died on the Cross for mankind. Logically, Strawinsky ignores all further verses and finishes with the last six lines of the Sequence, in which the dead turn to Jesus on the Day of Judgement, but the peace of eternal life is granted to all. Thus Strawinsky creates, through his manipulation of the text, a personal meaning which expresses his own beliefs and which is also very involved with the ideas of the old Christianity. He handles the Libera me in a similar way. The omnipotence of God and the punishment of the wicked are untouched, but the forgiving God is evoked to a much greater extent than the angry God. – The sequences have their liturgical place in the end at the Alleluia , which for the days of repentance and mourning, as is also in the Mass for the dead, is replaced with the Tractus . –

The Responsory Libera me , a Responsorium prolixum in form, with which Strawinsky’s Requiem Canticles finishes, does not have its liturgical place in the Mass. In Catholic Ritual for the Dead, the Mass for the Dead depicts only the second Station ( statio secunda ). While entering the Church, one of a series of six responsories is sung. The Mass for the Dead then begins to the last memory and farewell ( ad ultimam commendationem et valedictionem ) of the deceased, who is laid out in the Church. The Tridentine Mass for the Dead does not end (as it does nowadays) with the usual dismissal (‘ Ite, missa est ’) rather with the prayer ‘ Requiescat/Requiescant in pace ’ (‘may he/she/they rest in peace’); ‘Pax’ in the Christian does not mean an absence of war, but rather rest in the lap of God. The congregation gathers itself after the Mass around the catafalque respectively the tomb in order to pray further for the soul of the deceased. At this point, the Libera me , very important in its time, was sung. Only then, at the carrying-out of deceased out of the Church, does the statio tertia of the Catholic Ritual for the Dead begin. It is intended that the terminally ill, the dying or the deceased are not left alone on their final and, from a mortal point of view, perhaps most difficult journey. Strawinsky’s ordering of the text traces precisely this path. Whether it had been intended thus can be seen from the background, in that the Graduale Romanum contains two Libera me Responsories and both Responsoria prolixa and these are all contained in the Ritual for the Dead. The first Libera me belongs to the six Responsories, from which one is chosen if the deceased is accompanied into the church for the Mass for the Dead. In Germany, it was normally the Responsory Subvenite Sancti Dei . Strawinsky however did not choose this Libera me , rather the Libera me which follows the Mass and which has a different text with a different implication. This was also the deeper stylistic reason why he did not compose the Requiem Introit, and in spite of this, he could still speak of it as a “Requiem”. Since this Responsory Libera me , with which he ends the work, closes with the opening verse of the Requiem-Mass Introit (‘ Requiem aeternam dona eis Domine, et lux perpetua luceat eis ’), it is more suitable from an artistic and logical standpoint at the end than at the beginning when considerable parts of the actual Mass are omitted. Strawinsky also composed the Libera me in small bits, simultaneously on a sung and also on a spoken level, the spoken text being different to the sung text. He set the Requiem Introitus formula ‘ Requiem aeternam ’ etc. on the spoken level. The words of the spoken level were seemingly omitted in the CD liner text, as was also the case for the text written at the front of the score, but not in the score itself.

Template text

[Prelude]
Exaudi orationem meam, ad te omnis caro veniet. Dies irae, dies illa, Solvet saeclum in favilla, Teste David cum Sibylla. Quantus tremor est futurus, Quando Judex est venturus, Cuncta stricte discussurus! Tuba mirum spargens sonum Per sepulchra regionum Coget omnes ante thronum.	Erhöre mein Gebet, zu Dir komme alles Fleisch. Day of wrath and doom impending, David‘s word with Sibyl‘s blending! Heaven and earth in ashes ending! Oh, what fear man‘s bosom rendeth, When from heaven the Judge descendeth, On whose sentence all dependeth! Wondrous sound the trumpet flingeth, Through earth‘s sepulchres it ringeth, All before the throne it bringeth.
[ Death is struck, and nature quaking, / All creation is awaking. / To its Judge an answer making. // Lo, the book, exactly worded, / Wherein all hath been recorded, / Thence shall judgement be awarded. // When the Judge His seat attaineth, / And each hidden deed arraigneth. / Nothing unavenged remaineth. // What shall I, frail man, be pleading? / Who for me be interceding, / When the just are mercy needing?]*
[Interlude]
Rex tremendae majestatis, Qui salvandos salvas gratis, Salva me, fons pietatis.	King of majesty tremendous, Who dost free salvation send us, Fount of pity, then befriend us.
[ Think, kind Jesu, my salvation / Caused Thy wondrous lncarnation; / Leave me not to reprobation. // Faint and weary, Thou hast sought me, / On the Cross of suffering bought me, / Shall such grace be vainly brought me? // Righteous Judge, tor sin‘s pollution, / Grant Thy gift of absolution, / Ere that day of retribution. // Guilty now I pour my moaning, / All my shame willi anguish owning; / Spare, 0 God, Thy suppliant groaning! // Through the sinful warnen shriven, / Through the dying thief forgiven, / Thou to me a hope hast given. // Worthless are my prayers and sighing, / Yet, good Lord, in grace complying, / Rescue me from lires undying. // With Thy sheep a place provide me, / From the goats afair divide me, / To Thy right hand do Thou guide me. // When the wicked are confounded, / Doomed to flames of woe unbounded, / CaIl me, with Thy Saints surrounded. // Low I kneel, with heart’s submission! / See, like ashes my contrition! / HeIp me in my last condition!]*
Lacrimosa dies illa, Qua resurget ex favilla, Judicandus homo reus, Huic ergo parce Deus: Pie Jesu Domine, Dona eis requiem. Amen. Libera me, Domine, de morte aeterna, in die illa tremenda: Quando coeli movendi sunt et terra: Dum veneris judicare saeculum per ignem. Tremens factus sum ego, et timeo, dum discussio venerit, atque ventura ira. Quando coeli movendi sunt et terra. Dies illa, dies irae, calamitatis et miseriae, dies magna et amara valde. Libera me.	Ah! that day of tears and mourning! From the dust ot earth returning, Man for judgement must prepare him, Spare, O God, in mercy spare him! Lord, all pitying, Jesu blest, Grant them Thine eternal rest. Amen. Free me, Lord, from eternal death, on that terrible day, when the skies are to be moved, and the earth. As you'll come to judge the world by fire. Terrified I have been caused to become, and I fear, as the tremor will come, when the skies are to be moved, and the earth. That day, the day of rage, danger and misery, the great and bitter day. Free me.
[Postlude]
* not set to music by Strawinsky.

Construction: This work for choir and instruments is in nine parts and the bar numerals counted in groups of five. The movements are unnumbered, and have different structures, with Catholic liturgical excerpts from the Latin sequence for the Dead, Dies Irae, as the textual centre-point. There is a setting of the psalm verse ‘Exaudi’ and the Responsorium prolixum ‘Libera me’, and these names are used as labels for the movements as well as the Incipit text, in addition to the instrumental Prelude, Interlude and Postlude (PRELUDE: 54 bars = bars 1-54; EXAUDI: 26 bars = bars 55-80; DIES IRAE: 22 bars = bars 81-102; TUBA MIRUM: 33 bars = bars 103-135; INTERLUDE: 67 bars = bars 136-202; REX TREMENDAE: 26 bars = bars 203-228; LACRIMOSA: 37 bars = bars 229-265; LIBERA ME: 23 bars = bars 266-288; POSTLUDE: 17 bars = 289-305). –

Prelude: In 4 parts with coda, rising from 1 to 4 parts, in that it is a pyramid of strings piling up on itself with a percussive character. It starts with the first violin (bars 1 to 7 = 4 + 3 bars), then 2 solo violins (bars 8 to 19 = 1 [empty] + 3 + 7 bars) then 2 solo violins + solo viola (bars 20-33 = 6 + 8), then 2 solo violins + solo viola + solo violoncello doubled an octave lower by solo double bass (bars 34-36=1[empty] + 4 + 8). This results in the form: A (a + b) – B (a1 + b1) – C (a2 + b2) –D (a3 + b3) – E (a4), which is an arrangement which loops back on itself. It simultaneously appears as if it continues into infinity. There then follows a seven-bar coda with a metrically varied, rhythmically constant drum-rhythm on ‘a’ in the tutti violas, cellos and double basses and a final chord (bars 47 – 54). –

Exaudi: In two-part homophony with coda for flute section, bassoon, horn, harp and strings where the structural divisions are defined by the splitting-up of the text. In the first part, Strawinsky sets only the Incipit; in the second, he sets the entire verse. Each part of the text is preceded by a miniature two-part instrumental introduction consisting of a melodic and a chordal part. Thus the second movement begins with two bars of melodic introduction with the flute and harp, followed by one bar-long chord from the bassoons and tutti strings, which make up a vertical twelve-tone chord which completes the one-bar Exaudi call. The second part begins with a two-bar melody in the harp followed by four bar-long chords from the flute quartet and horn and (in the last bar) cello with double bass. This ten-bar instrumentally accompanied verse-setting is completed, which is interrupted after the fourth bar with an instrumental mediant. The movement finishes with a twelve-tone coda in the strings. The formal scheme is A-B-C, if one disregards structural contents, and is split up according to this scheme: A = a + b + c, B = a1 + b1 + d, C = b2. –

Dies Irae: In four strophes, in which the first three strophes are preceded by a one-bar identical instrumental introduction in the strings, piano and timpani as a prefix, after which the choir enters. In the last verse, this prefix bar is varied, and the repetition breaks into an entire bar’s rest. The section is chorally homophonic and its force is in the identical rhythm; the instrumental accompaniment takes its cue from the text. Strawinsky employs effects such as echo sounds and speech in the choir part. The formal scheme is: A (a + b) – B (a = b1) – C (a + b2) – D (a1 + b3). The movement continues without a break attacca into the next section. –

Tuba Mirum: Three part bass solo aria in A – B – A1 form with a fanfare introduction played by two trumpets. It is at first accompanied by two trumpets and tenor trombone (A), which is resolved after an instrumental interlude (B) by two bassoons (A2). The first bassoon extends the final G sharp in the double-bass part by a bar shortened by a semiquaver rest at the end of the section. –

Interlude: Four-part instrumental and sung lamentation for which a many-barred chordal combination of flutes, horns and timpani follow an expanded and differently coloured after-song, which expands the entire instrumentation by two bassoons. The introductory bars (bars 136 - 139, 144 – 146, 159 – 160, 194 – 196) take up the opening rhythm of the Dies Irae which has a dividing character in this homo-rhythmic complex. This gives us the formal scheme: A – B – A1 – C – A2 – D – A3 – E, for which the sections B (bars 140 – 143), C (bars 147 – 158), D (bars 161 – 192 + bar 193 as a general pause) and E (bars 197 – 203) constructed in a constructivist fashion in the manner of a lamentation and with different length, different note values and different instrumentation. B (4 bars) uses flutes and bassoon instrumentation, C (12 bars) combines alto flute, two bassoons and timpani, the extended D section (32 bars) limits itself to the flute section (three flutes and alto flute), E (7 bars) enters with alto flute and bassoon, reinforced in bar 2 by the second bassoon, and in the third bar the alto flute drops out; the last four bars are played by two bassoons only. –

Rex Tremendae: In three parts in a highly complicated interior-structured A – B – C form, because Strawinsky synchronizes two opposed choir parts in response to the text and compresses the different forms. The accompaniment is played by trumpet and tenor trombone, and a complex of three flutes and three lower tutti strings takes over the insertion of instrumental chords. In the contrapuntal choral section, the chordal instrumental group is used and plays above the choir section like a postlude (A = a – a1 / b – b1). Now Strawinsky combines the new choir text with the old one and only allows the chordal-instrumental group to play afterwards (B = a2 / c – b2). In the third part, only the new choir text sounds with the instrumental group cutting back (C = c1 – b3). –

Lacrimosa: In seven strophes, constructed as an Alto aria, for which strophes of different lengths follow a short instrumental final song, which joins the trumpets, trombones and the strings (without double bass) to the flutes, solo double bass and harp, which accompany the singing. The seventh verse, the Amen, is constructed in the same way, so that one can only speak of six strophes with Amen coda. In the sixth verse, only the after-song is inserted into the strophe. The schematic structural picture appears simpler than it is in reality: A(a + b) - B(c + b1) - C(d + b2)-D(e + b3)-E(f + b4)-F(g + b5)-G(h + b6). As regards bar numbers, A corresponds to bars 229-234 (229-232 + 232-234), E corresponds to bars 235-237 (235 + 236-237), C to bars 238-244 (238-242 + 242-244), D to bars 245-249 (245-248 + 249), E bars 250 – 254 (250 – 253 + 254), F bars 255 – 260 [261] (255 – 260 + 260 plus general pause 261), G bars [261] 262 – 265 (general pause 261 + 262 to 263 + 264 – 265). –

Libera Me: A two-part homophonic movement for four solo singers and speaking chorus, accompanied solely by four horns. The first part (bars 266 – 279) consists of seven double-bars alternating fast and slow tempi . In the ‘fast’ bar (which is in a different meter), the text is to be preferably said in triplets but sung in quavers; the choir and soloists speak and sing different texts above and against one another. The ‘slow’ second bar of three-minim length serves each particular flooding-out. This system continues in the second part (bars 280 – 288) in a slightly slowed flow. –

Postlude: In three strophes with coda. A semibreve chord in the flutes, piano and harp follows a combination of quaver values over many bars, interrupted by pauses in the celesta, bells and vibraphone. This occurs three times with subsequent coda from the repeated opening chord, giving the formal scheme: A (a – b) – A1 (a1 – b1) – A2 (a2 – b2) – B (a3 + b3). The section b3 is in this case only one chord. A, B, C consist of 5 bars (289 – 293 = 289 + 290 – 292 + general pause; 294 – 298 = 294 + 295 – 297 + general pause; 299 – 303 = 299 + 300 – 302 + general pause), and B consists of 2 bars. The link between both complexes comes from the unmuted first horn with long held notes over the barlines.

Structure

[1.] PRELUDE

Semiquaver = 250 (54 bars = bar 1 up to bar 54)

[2.] [1.] EXAUDI

Quaver = 104 = Crotchet = 52 (26 bars = bar 55 up to bar 80)

[3.] DIES IRAE

Semiquaver = 136 = Quaver = 68 (22 bars = bar 81 up to bar 102 [ attacca onward to bar 103])

[4] TUBA MIRUM

Semiquaver = 136 (33 bars = bar 103 [from attacca bar 102] up to bar 135)

[5.] INTERLUDE

Semiquaver = 104 (67 bars = bar 136 up to bar 202)

[6.] REX TREMENDAE

Crotchet = 104 up to 106 (26 bars = bar 203 up to bar 228)

[7.] LACRIMOSA

Semiquaver = 132 (37 bars = bar 229 up to bar 265)

[8.] LIBERA ME

Crotchet = etwa 170 (23 bars = bar 266 up to bar 288)

[9.] POSTLUDE

Crotchet = 40 (17 Bars = bar 289 up to bar 305)

Rows: In the Requiem Canticles , Strawinsky uses a double-row of which the second row stands in relation to the first around a general five-note centre in a type of permutating retrograde (Row I: g1-a1-f1-f#1-g#1-d#2-c#2-d2-e2-b1-a#1-c2; Row II: g1-e1-f#1-g#1-d#2-c#2-d2-a#1-a1-b1-c2-f1).

Corrections / Errata

Full score 106-1 [ annotations in red and green ]

1.) p. 1, bar 8: 3/8 instead of 6/16.

2.) p. 1, bar 9: 7/16 instead of 8/16.

3.) p. 4: bar 34 is divided up into 2 groups, 5/16 and 2/8.

4.) p. 4, bar 35 is divided up into 2 groups, 2/8 and 4/8.

5.) p. 4, bar 36 is divided up into 2 groups, 3/8 and 5/16.

6.) p. 4, bars 36 until 45 1. Violins: the first notes of the ligatures should be marked with accent (>).

7.) p. 9, bar 76: the sung parts should be held up to the new bar.

8.) p. 9, bar 77: Violins, Violas and Violoncellos are in treble clef.

9.) p. 9, bars 77-78 Violins: down-bows have to be added.

10.) p. 9, bar 77: The notes should be marked with accent (>).

11.) p. 9, bar 80: Fermata throughout.

12.) p. 12, bar 90: 4/8 instead of 2/4.

13.) p. 15, bar 108: >sub p< instead of >p<.

14.) p. 15, bar 109: 2/8 instead of 4/16.

15.) p. 16, bar 125: 2/8 instead of 4/16.

16.) p. 16, 1st/2nd Bassoon: Ligatur phrase marks from one system to the other.

17.) p. 17, bar 140, 1st/2nd Flutes: >mp< instead of >mf<.

18.) p. 18, bar 141: crescendo-sign <, from bar 141 up to the end of bar 142.

19.) p. 18, bar 143: decrescendo-sign >should be added.

20.) p. 19, bar 155: 4/16 + 3/ 16.

21.) p. 19, bar 156: 4/8 instead of 8/16.

22.) p. 20, bar 168: > p < has to be added between systems 1st./2nd Flute and 3rd Flute/Alto Flute.

23.) p. 21, bar 180, 3rd Flute and Alto Flute: 2nd note of the demisemiquaver-ligature should be added

an accent (>).

24.) p. 21, bar 181, 3. Flute and Alto Flute: after 1. note has to be added a breath mark.

25.) p. 21, bar 184 1./2. Fl.: Crescendo-sign should be added.

26.) p. 21, bar 185 2. Flute: 2. demisemiquaver (ligature) has to be marked with accent (>).

27.) p. 24, bar 209, 1st/2nd Flute: the 4st non-staccato quaver note of the ligature should be added an

accent (>); at the end of the bar should be added a breath mark throughout.

28.) p. 24, bar 210: Altos and Tenors e nter fortissimo.

29.) p. 25, bar 216, 1. Trumpet: has to be added a >piano<.

30.) p. 26, bar 225 Tenor: The syllab >–tis< should be added an accent (>).

31.) p. 26, bar 226: The Soprano and 1st Trumpet are tied over into the rest; the flutes enter mf .

32.) p. 26, bar 227 1st Flute: The dotted crotchet f3 should be marked with an accent (>); a breath

marking should be entered after the tied note, then the Flute p marking continues; the last note

in the bar should have an accent mark (>).

33.) p. 26, bar 228: The 1st Flute is tied over into the rest.

34.) p. 29, bar 238 Solo Clarinet: there should be a vertical line after the 2nd demisemiquaver of the 2nd group

in order to indicate that the binding between the two e1 demisemiquavers should be removed.

35.) p. 29, bar 239 (no correction) Metre 3/16: note on performance repeated above staffs in red without a fraction line .

36.) p. 34, bar 272: the 12 crotchet notes, subdivided into 2 groups of six, should in fact be

divided into 4 groups of three.

37.) p. 36, bar 285: The Choir entry should be marked forte ( f -sign has should be added).

38.) p. 37, bar 290: The 1st Horn should carry on over into the rest.

39.) p. 37, bar 291 1. Horn: Minim has to be marked with an accent (>).

Style: The nine-part structure of the composition comes from considerations of the Trinity, for which the three instrumental parts, which gradually light up, depict the trial of life as Darkness-Light-Understanding, represented by Earth – Journey – Heaven = Death – Hope – Fulfilment. The excited playing of the Prelude gives the strings the role of the percussion and has an unbalanced, dull, garish effect which sounds rough and shattered. Strawinsky’s method of composition, which reaches back to his earliest works, is to show the extent of the excitement and unpleasantness by the large leaps, , ,, which are also present in the Requiem . The music starts to calm down in the subsequent petitions. The Interlude allows bright notes to flow in. The flute quartet with horn bass dominates the sound; bassoon and timpani represent the low register. The motion is reduced, and desperation gives way to complaint. Strawinsky spoke of the Interlude as the lament of the piece. The Postlude brings fulfilment. The sound is ethereal and static. No low-register instrument disturbs the high flutes, harp, piano and horn, to which are added for the first, only and final time the celesta, vibraphone and bells. The final chord is intoned with the C sharp struck four times in the celesta - the highest note of the piece. The comprehension of the parallels: Earth – Heaven = low - high register = sin - pardon = death – life has found its fulfilment in Life = Heaven. Elsewhere, as in comparable baroque compositions, whose ends must remain formally open, Heaven is more than just an expectation or possibility for Mankind, rather it is a certainty which is based on the benevolence of God. The text excerpts with their fundamental tendencies and the ethereal tone-colour at the end correspond with a changed theological outlook. The verse arrangement gives further meaning in addition to the textual meaning and the form itself becomes the statement. –

The second passage, Exaudi , is divided so that its first part consists solely of the three-voice Incipit, the second consists of the entire verse with the four-part repeated Incipit, and at the same time, the twelve-tone structure ends vertically like a signal before the Incipit; in this way, the form is compressed even further. It is no wonder that Strawinsky puts the three a cappella Soprano, Alto and Tenor voices in their lowest register; the setting of the entire verse is then set higher. In this way, the Tractus for the Dead appears analogously in the Exaudi . The text concerns the much-debated resurrection of the body. Strawinsky structures the row in such a way that the tessitural high-point ‘e2’ is only played once, and with the Latin word ‘te’ (you = God). The body is resurrected and comes to God. Strawinsky emphasises the importance of this by repeating the words ‘ad te’ (‘to you’), which he doesn’t need for emphasis, rather for the figure itself, in the manner of an anabasis: ‘ad te’ / ‘ad te’ = c2 – d2 / D sharp - e2 each in their increasing value, crochet – minim. The third repetition of the word ‘veniet’ (venire = to come) is just as programmatic because it picks up the Pax Christi, the rest in the lap of God, in that the body comes to God where it will rest for eternity. He lets it blast out on a semibreve, which is used only at this point in the passage. The four-bar miniature Postlude is now imbued with a symbolic meaning, because it anticipates the fulfilment represented in the Postlude: the strings, in long held chords and finally in high-register double semibreves, (in which the double bass even plays in the treble clef) refer to the spheres, in which the drama takes place. In the Postlude therefore, the celesta and bells are used. That was regarded as new in 1966: out of the fear of what happens after death comes the sight of the promise. Resurrection is not put into question, it is reality. –

The extreme graphicness of the beginning of the Sequence in the third passage, Dies irae , including the subsequent passage Tuba mirum , is striking. The introductory bar is very animated and the large leaps, which are another example of Strawinsky’s old technique, suggest awkwardness and unpleasantness. This comments here in the truest sense on life and death, and also the back-and-forth before the great event of the Last Judgement. He wrote the echo effect verbally expressly in the sketches [make the response an echo]. The Call to Judgement happens like a hammer with trumpet and trombone accompaniment (which are royal instruments, often used to herald disaster). One is reminded of judicial practice, from the beating of a hammer enforcing quiet and attention and emphasising the passing of a judgement, to the trombones of Jericho and the appearance of the royal Judge. There is no repetition of the words in the text, with the exception of the Incipit; on the other hand, the music overflows with fast whispering in the choir. The text-setting shows through its homophonic and homo-rhythmic force, the irreversible judgement of God and the whispering, the fear and the oppressed nature of those who are being judged, who do not dare even once to speak aloud; this relationship is emphasised through the text. The repetition of text is only employed at the opening. Strawinsky begins with the eerie call, marked forte , of the Dies Irae, of which the second powerful word sounds pianissimo in the echo. He finishes with ‘ Dies irae ’, this time repeating both words like an echo, in order to join immediately into the Tuba mirum . Strawinsky repeats them according to his thoughts on the Requiem about the Resurrection of the Dead. The melody enters like a fanfare, and the bass solo takes up the fanfare rhythm. He spins it out and repeats the Incipit twice at the end, holding on the final note as a signal blasting out for six bars legato , so that it is the last thing to be heard,. The only two repeated words are, according to this, ‘ per sepulchra ’ (‘through the graves’), meaning the trumpet calls which resound through the graves and call the Dead to the Last Judgement. That the solo voices are on both occasions directed downwards (‘to the graves’), while the trumpets give out their signal in all directions, is just as inevitable as the rising solo line when it ascends to God’s throne. There is also the two-tone melisma of the word ‘ coget ’ (cogere, from the original coagere = to drive together), the three-note melisma on ‘ spargens ’ (spargere = to spread out, in this sense referring to the sound of the tuba) or the four-note melisma on ‘ tuba ’ (translated as Trombone). – In the short passage, Rex tremendae , Strawinsky composes in an almost audiovisual manner. In the choral movement, accompanied by trumpet and trombone in contrapuntal free imitation (bars 203-205), the flutes and low strings enter on ‘tremendae’ (tremere = to tremble or quake) vividly with staccato semiquavers (bars 206-207) and it continues to tremble (bars 208-209). According to the theological understanding of the benevolent God, Strawinsky couples the final text ‘qui salvandos’ together with the promise of mercy with the previous section of text (bars 210-213), so that point of awfulness of the Court sounds at the same time as the point of the promise of grace. This grace comes from God and it can be observed in the bass. In this way the soprano and alto, who symbolise the heights and the bass, who represents the Earth, are allotted to the text about Grace. Only the tenor, who stands for the keeper in the textual representation, takes care that the reason for the mercy is not forgotten. The fear exists even further but in considerably reduced compass. Logically, Strawinsky doesn’t let the former ‘tremendae’ semiquaver beats play a role in the text-complex, rather they come afterwards; he reduces them from the former ten quavers to five quavers with a petering-out dotted crochet beat (bars 214-215). In the third chorus section of the passage, the ‘tremendae’ text is removed entirely from the text concerning mercy (bars 216-226). The trembling before the event is now in the past. The formerly moving quaver beats enter without the choir in bar 226 and die away at the poco meno (bars 226-228). –

The Lacrimosa section, which is rich in melisma according to the text, contains a repeated lamenting figure representing the slowing movement into the fast text finale of the Libera me . Strawinsky superimposes the text, which is sung by the four soloists homo-rhythmically, with spoken words flowing out from the choir in a triplet cross-rhythm against the sung rhythm. In this way, the movement is transformed into two static blocks of sound, and gives the individual, personal Libera Me a plurality of functions. This is not done just for effect, rather it is a declaration. The link between the ordered singing and unordered speaking in a stationary sound world represents the Oneness of the Church itself as a Church for the living and the dead in the past, present and future. This musical and theological idiosyncrasy at this point suggests the image that Strawinsky had in mind: a prayer that is directed towards one single being, to grant it as if it had been asked by the entirety of Christendom simultaneously and at one moment in time, coming together in mystical meaning. The plurality of voices in singing and speech is the plurality of the whole Church in itself; the simultaneity of billions and billions of humans, who pray in their different ways in the last moment before the Last Judgement is finally passed. That Strawinsky now additionally throws in a fragmented version of the spoken text means that he can give the chosen excerpts the character of so-called ejaculatory prayers, and in them summarise real and almost stammered prayers to the benevolent God; there are however only a few of these left in this situation: the final prayer for the redemption from Death; for the eternal light which may shine there; for rest in peace. At this point, the Postlude receives its final theological meaning. Its music, which points towards heaven, promises the fulfilment of all prayers. The piece is constructed serially with a double row both horizontally and vertically, polyphonically and homophonically, and works with the technique of block-like sections of a many kinds juxtaposed, where a strong sense on continuity is ensured through repetition of clauses, combinatorial elements of variation and instrumental colours. The rows are thus constructed in order to enhance the meaning of the text. The piece is in a plurality of forms with variable tone colours and, in the Libera me , it displays the influence of the younger generation, which was composing in the direction of sound plains.

Dedication: >T o the memory of Helen Buchanan Seeger <. The dedication was a condition of the contract between Strawinsky and the publishing house, Boosey & Hawkes.

Dedicatee : Helen Buchanan Seeger was born in 1895, the fourth child and youngest of the three daughters of the American multimillionaire William Buchanan. In 1918, she married the American surgeon Stanley Seeger, who had worked at the Mayo Clinic, and moved to Milwaukee with him, where, as a highly regarded doctor, he was active in leadership roles at several hospitals but in the end gave up his career for her. The American sources do not paint Helen Buchanan Seeger as an entirely pleasant lady. Archer H. Moore, who traced the entire history of the empire of the Buchanans from beginning to end*, collected contemporary statements about her, according to which she was ‘colorful’, ‘demanding’, ‘outgoing’ and ‘free-spending’. She was described as a ‘bear-cat’, a ‘boisterous woman’, a ‘hell-raiser’ with a ‘pronounced’ character, and was regarded as ‘highly strung’. In her close family circle, she was simply referred to, presumably only behind her back, as ‘Horrible Helen’. Indeed, she twice fired the architect who was building her an elaborate house in the Georgian style in River Hills**, one of the most fashionable areas in Milwaukee. Stanley Seeger died in 1952, and Helen Buchanan Seeger in 1964. The exact date of death is not stated in the American literature.

* Archer H. Moore: Southern Timberman. The Legacy of William Buchanan, University of Georgia Press, XVII + 263 pages, Athens & London 2009.

** one of the tourist attractions of the city nowadays.

Duration: between 14' 39" and 15'.

Date of origin: Hollywood, March 1965 up to 13rd August 1966, with further corrections at the end of 1966.

History of origin: The compositional history can be reconstructed from the remaining sketches as exactly as a few of Strawinsky’s works and was put together by Craft in a special essay. According to Craft, he began with the Interlude in March 1965, but had to leave the work for three and a half months due to several commitments; he took it up again on 15th July. The dating of the sketches shows that he composed bars 163 – 175 on 25th – 26th July, bars 152 – 158 on 28th July, bars 161 – 162 on 20th August and bars 176 – 178 on 29th August. On this day the Interlude was finished. The Exaudi he completed on 10th November, and eight days later, on 18th November, he started work on the Prelude. The Dies irae was written between December 1965 – January 1966. The first completed bars were the five tone-peaks of bar 91. He then wrote the choral section bar 81. On 24th January 1966, he completed the section with bars 88 and 89. Before that, he had already completed the Tuba mirum on 7th January and had planned the music for bar 124 (‘ Per sepulchra ’). At this point he first intended to take a harmonium but then he decided for the bassoons. The Rex tremendae was started on 29th March and completed on 6th April. The Lacrimosa was dated 27th April. Bars 235 and 234 were sketched separately. For the Libera me , there are no dated sketches extant, but the passage, excluding the last section, after the end of the Lacrimosa was written before 12th May 1966, the date of his departure to Europe. The final sketches, bars 270 – 272 and 280 to the end, were written in the last week of May in Lisbon, which can be inferred from the notepaper he was using and that he bought there. The Postlude was constructed between 26th July and 13th August 1966. Thus was the Requiem completed. – On 16th August 1966, he sent four copies to Rufina Ampenoff of Boosey & Hawkes asking for a speedy printing, because he expected the première to be in December, but it actually took place in Princeton in October.

First performance: 8th October 1966, Princeton University, Linda Anderson (Soprano), Elaine Bonazzi (Alto), Charles Bressler (Tenor), Donald Gramm (Bass), The Ithaca College Choir (Choirmaster: Gregg Smith), N ew York Symphony Orchestra, conducted by Robert Craft.

Remarks: As can be seen in a letter from Strawinsky to Nabokow of 21st March 1965, the composer had the choice of writing a work for Rostropowitsch or honouring an old promise for a symphony that he had made to the young Princeton Orchestra a while before. Strawinsky discussed why he did not take up the commission for Rostropowitsch. His rejection was expressly not directed at the virtuoso cellist, whom Strawinsky had nothing against, rather it was directed at Russia. Strawinsky was never exploited so greatly when it came to copyright as he was by Soviet Union: Soviet official speakers demonised him for many years until after his visit to Russia, after which they praised him for everything he did, but gave him no royalties for the publication and performances of his works. Strawinsky had never been so wounded, and so he rejected the commission in the knowledge that he neither wanted to compose for a Russian or for Russia. He aimed instead, in July 1965, to start work on the composition for Princeton which became the Requiem Canticles , which was finished at the latest in the middle of August 1966. – Strawinsky firstly planned the idea of a three-part instrumental framework and began the composition with the central Interlude. As regards his decision not to set the Introit-Antiphon, Requiem aeternam , there were good artistic reasons. Strawinsky’s Requiem Canticles is a setting of a sequence with following Responsorium obliquum, which can be inserted in its entirety in the Mass in place of the Sequence. With the addition of the eponymous Introit, the composition would have come to a Mass and would have made the composition of the other parts of the Requiem from the Proprium and Ordinarium a necessity for a composer as aware of the Liturgy as Strawinsky. For this, he would have had to repeat himself, because he had already taken up the parts of the Ordinarium Kyrie , Sanctus and Agnus Dei in the Mass and Introit (whose antiphonal framing verse also defined the Graduale and the Communio) for his memorial work of less than a year earlier, T.S. Eliot in memoriam . Such a repetition would have contradicted Strawinsky’s basic effort only to compose paradigms. The advancement of the date of the première caused Strawinsky to write in a letter to Ampenow that all his other European commitments should be cancelled because he wanted to conduct the European première himself in spring 1967. The printing was not fast enough for him. Leopold Spinner was asked to complete the piano reduction, but Strawinsky did not have time to explain the intricacies to him. Strawinsky conveyed to the London publisher on 10th December that he did not want to allow any performance before printed and proof-read rehearsal material was available. He was present at all the rehearsals under Craft and knww definitely that this delicate music requires a carefully produced score. On 17th January 1967, the corrections went back to London. Strawinsky was satisfied and had the material dispatched to Spinner. He promised the French première, despite the Threni Affair, to Gilbert Amy for the Parisian Domaine Musicale in December 1967, as can be seen in a telegram to Boosey & Hawkes on 17th May. Furthermore, the piece could still be worked on. He therefore began to sketch a further Prelude on 17th April 1968 because the Requiem was going to be played for the commemoration of the murdered Martin Luther King. He gave this up after he realised he would not be able to complete it by the date of the performance.

Significance: The entire title also gives us a theological conclusion. The old church term ‘Canticum’ gives the English translation ‘Canticle’, a song of praise relating to the Bible. By Strawinsky’s interpretation of the Mass for the Dead, especially his departure from the mourning and frightening sections of the Dies irae sequence and choosing a succession of songs of praise, thus describing death as the result of birth with the significance of the passage to eternal life which follows death. This lays out the Christian paradox: Birth – Life – Death – Birth. The Requiem Canticles are certainly the shortest setting a requiem text in music history. Strawinsky himself called the work the ‘first mini- or pocket-Requiem’. As witty as he was, he based this name not only on the brevity of the piece, but also the manner in which it was written, namely whilst he was travelling around on trips and sketched in notebooks which he took with him in his pocket.

Versions: Between April and May 1967, the piano reduction, conductor’s score and pocket score were published by Boosey & Hawkes. The conductor’s score and piano score were both printed in April. The British Library received both of these on 2nd May. The pocket score was published in May. The British Library catalogues the entry of the depository copy with the date 1st June 1967. The later editions were published without end marks and even later with the rights reservation in a box >IMPORTANT NOTICE / The unauthorized copying / of the whole or any part of / this publication is illegal<. The parts were available to hire. It can be taken as read that the colour of the black thread -stitching used by Boosey, as opposed to the normal red thread-stitching for the conducting score and piano reduction (the first edition of the pocket score is stapled), has, like the colour of the writing on the outer title page, symbolic meaning. Black, as the sacred colour of the absence of light, stands for everything that points into the earth and has not yet reached heaven. As a result, the liturgical colour black for the Catholic Ritual of the Dead is, in the centuries-old Church canon of colours which was first dissolved in the after-effects of the Second Vatican Counsel, the colour of day. Presumably for the same reason, the usual green of the mirror colour of the pocket scores could in this case have been darkened to black. The possibility that the copies examined could have been darkened by age is unlikely. The publishers evidently chose the stitching colour for the Strawinsky editions corresponding to the writing on the cover. This was predominantly red; Requiem canticles and Canticum sacrum on the other hand have black lettering on the outer title pages.

Historical recording: New York City, 11th October 1966, Linda Anderson (Soprano), Elaine Bonazzi (Alto), Charles Bressler (Tenor), Donald Gramm (Bass), The Ithaca College Choir (Choirmaster: Gregg Smith), Columbia Symphony Orchestra conducted by Robert Craft. The recording varies at certain points from the printed score, because Strawinsky was still making corrections after the recording and entering the corrections into the printed material.

CD edition: XII/7-15.

Autograph: Library University Princeton.

Copyright: 1967 by Boosey & Hawkes Music Publishers Ltd.

Editions

a) Overview

106-1 1967 FuSc; Boosey & Hawkes London; l; 40 pp.; B. & H. 19518.

106-1^Straw ibd. [with corrections].

106-2 1967 VoSc; Boosey & Hawkes London; l; 24 pp.; B. & H. 19546.

106-3 1967 PoSc; Boosey & Hawkes London; l; 40 pp.; B. & H. 19518; 825.

b) Characteristic features

106-1 IGOR STRAVINSKY / REQUIEM CANTICLES / Full Score / BOOSEY & HAWKES // IGOR STRAVINSKY / REQUIEM CANTICLES / for Contralto and Bass Soli, / Chorus and Orchestra / Full Score / Boosey & Hawkes / Music Publishers Limited / London · Paris · Bonn · Johannesburg · Sydney · Toronto · New York // (Full score sewn in black 23.6 x 31 (4° [4°]); sung text Latin; 40 [40] pages + 4 cover pages thicker paper black on grey-beige [front cover title, 2 empty pages, page with publisher’s advertisements >Igor Stravinsky< production data >No 40< [#] >7.65<] + 4 pages front matter [title page, empty page, premiere data > First performance: Princeton University, October 8th, 1966. / Conductor: Robert Craft.< + sung text Latin, legend >Orchestra< Italian + duration data [15'] English + transposition mark italic > All instruments are written at actual pitch / except Flauto piccolo, which sounds one octave / higher than written. <] without back matter; title head >REQUIEM CANTICLES<; dedication above title head centre centred italic > To the memory of Helen Buchanan Seeger <; author specified 1st page of the score paginated p. 1 between title head and [flush left] movement title >PRELUDE< flush right centred > IGOR STRAVINSKY / 1965-66<; legal reservation 1st page of the score below type area flush left >© 1967 by Boosey & Hawkes Music Publishers Ltd.< flush right >All rights reserved / Tonsättning förbjudes<; production indication 1st page of the score below type area below legal reservation flush right >Printed in England>; plate number >B. & H. 19518<; end of score dated p. 40 next to last bar system horn oblong >August 13, / 1966<; end number p. 40 flush right as end mark >4. 67. E.<) // (1967)

* 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].

106-1^Straw

Strawinsky’s copy is signed and dated in blue next to and below > Full Score < on the outer title page >IStr / April /° 67< [° slash original] and contains corrections.

106-2 IGOR STRAVINSKY / REQUIEM CANTICLES / Vocal Score / BOOSEY & HAWKES // IGOR STRAVINSKY / REQUIEM CANTICLES / for Contralto and Bass Soli, / Chorus and Orchestra / Vocal Score / Boosey & Hawkes / Music Publishers Limited / London · Paris · Bonn · Johannesburg · Sydney · Toronto · New York // (Vocal score with chant sewn in black 23.2 x 30.9 (4° [4°]); sung text Latin; 24 [22] pages + 4 cover pages thicker paper black on green-grey [front cover title, 2 empty pages, page with publisher’s advertisements >Igor Stravinsky<* production data >No. 40< [#] >7.65< + 2 pages front matter [title page; page with (world) premiere data > First performance: Princeton University, October 18th, 1966. / Conductor: Robert Craft.< + sung text Latin] without back matter; title head >REQUIEM CANTICLES<; dedication above title head centre centred italic > To the memory of Helen Buchanan Seeger <; author specified 1st page of the score paginated p. 3 between title head and [flush lefter] movement title >PRELUDE< flush right centred > IGOR STRAVINSKY / 1965-66<; legal reservations 1st page of the score below type area flush left >© Copyright 1967 by Boosey & Hawkes Music Publishers Ltd.< flush right >All rights reserved / Tonsättning förbjudes<; production indication 1st page of the score below type area below legal reservation flush right >Printed in England>; plate number >B. & H. 19546<; without end of score dated; end number p. 24 flush right as end mark >4. 67. E.<) // (1967)

106-3 HAWKES POCKET SCORES / ^IGOR STRAVINSKY / REQUIEM CANTICLES^ / BOOSEY & HAWKES / No. 825 // HAWKES POCKET SCORES / IGOR STRAVINSKY / REQUIEM CANTICLES / for Contralto and Bass Soli, / Chorus and Orchestra / BOOSEY & HAWKES / MUSIC PUBLISHERS Limited / London · Paris · Bonn · Johannesburg · Sydney · Toronto · New York / MADE IN ENGLAND [#] NET PRICE // (Pocket score stapled 14 x 18.6 (8° [8°]); sung text Latin; 40 [40] pages + 4 cover pages thicker paper dark green on dark beige [front cover title with frame 9.9 x 3.9 dark beige on dark green, 2 empty pages, page with publisher’s advertisements >HAWKES POCKET SCORES / The following list is but a selection of the many items included in this extensive library of miniature scores / containing both classical works and an ever increasing collection of outstanding modern compositions. A / complete catalogue of Hawkes Pocket Scores is available on request.<* production data >No. I6< [#] >I.66<] + 4 pages front matter [title page, empty page, page with (world) premiere data partly in italics > First performance: Princeton University, October 18th, 1966. / Conductor: Robert Craft.< + sung text Latin, page with legend >Orchestra< Italian + duration data [15'] English + transposition mark italic > All instruments are written at actual pitch / except Flauto piccolo, which sounds one octave / higher than written. <] without back matter; title head >REQUIEM CANTICLES<; dedication above title head centre italic > To the memory of Helen Buchanan Seeger <; author specified 1st page of the score paginated p. 1 between title head and flush lefter movement title >PRELUDE< flush right centred > IGOR STRAVINSKY / 1965-66<; legal reservation 1st page of the score below type area flush left >© Copyright 1967 by Boosey & Hawkes Music Publishers Ltd.< flush right >All rights reserved / Tonsättning förbjudes<; production indication 1st page of the score below type area below legal reservation flush right >Printed in England<; plate number >B. & H. 19518<; end of score dated p. 40 next to last bar oblong >August 13, / 1966<; end number flush right >5. 67. E.<) // (1967)

* Compositions are advertised in three columns without edition numbers and without specification of places of printing from>Bach, Johann Sebastian< to >Tchaikovsky, Peter<, amongst these >Stravinsky, Igor / Abraham and Isaac / Agon / Apollon musagète / Concerto in D / The flood / Introitus / Oedipus rex / Orpheus / Perséphone / Pétrouchka / Piano concerto / Pulcinella suite / The rake’s progress / The rite of spring / Le rossignol / A sermon, a narrative and a prayer / Symphonie de psaumes / Symphonies of wind instruments / Threni / Variations<.

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