K003 Symphonie No. 1 Es dur

K3 Symphonie No. 1 Es dur

pour grand orchestre, Op. 1 – Symphonie Nr. 1 Es-Dur für großes Orchester, Op. 1 – Première Symphonie en mi bémol majeur, Op. 1 – Первaя Симфония / (Es-dur) для opкеcтpa - Symphony in e flat for orchestra, Op. 1 – Sinfonia n. 1 in mi bemolle maggiore per grande orchestra, op. 1

Scored for: a) First edition: 3 Flauti (3. anche Piccolo), 2 Oboi, 3 Clarinetti in B, 2 Fagotti, 4 Corni in F, 3 Trombe in B e A, 3 Tromboni, Tuba, Timpani, Triangolo, Piatti e Gran Cassa, Violini I, Violini II, Viole, Violoncelli, Contrabassi [3 Flutes (3rd also Piccolo flute), 2 Oboes, 3 Clarinets in B flat, 2 Bassoons, 4 Horns in F, 3 Trumpets in B and A, 3 Trombones, Tuba, Triangle, Cymbals and Big drum, Violins I, Violins II, Violas, Violoncellos, Double basses; b) Performance requirements: Piccolo (= 3rd Flute), 3 Flutes (3rd Flute = Piccolo), 2 Oboes, 3 Clarinets in B (2 Clarinets in A*), 2 Bassoons, 4 Horns in F, 3 Trumpets in C (2 trumpets in A**), 3 Trombones, Tuba, Timpani, Percussion (Cymbals, Bass drum, Triangle), Strings*** (1st Violins, 2nd Violins, Violas, Violoncellos, Double basses).

* The 2 clarinets in A appear only in the 3rd movement, where there are no clarinets in B.
** The two trumpets in A appear only in the 3rd movement, where there are no trumpets in B.
*** All divided in two.

Construction: All four movements bear roman numerals (with dot) and, apart from the first, have Italian headings: I.; II. SCHERZO; III. LARGO; IV. FINALE.

Structure

I.

Allegro moderato (figure ⁸1 up to figure 13⁴)

  poco rit. (figure 13⁵ up to figure 13⁶)

  a tempo (figure 13⁷ up to figure 13⁹)

  rit. (figure 13¹⁰)

  a tempo (figure 13¹⁴ up to figure 16¹⁹)

Molto sostenuto (figure 16²⁰ up to the end of figure 30)

  Poco meno mosso (figure 31 up to the end of figure 32)

  Più mosso (figure 33 up to the end of figure 34)

Allegro molto (figure 35 up to figure 37¹⁰)

Tempo I (figure 37^11–13)

II. SCHERZO

Allegretto (figure ⁹1 up to figure 3³)

  rit. (figure 3⁴)

  a tempo (figure 3⁵ up to the end of figure 5)

  poco accelerando (figure 6⁵ up to figure 10¹⁰)

  rit. (figure 10¹¹)

Pochissimo meno mosso (figure 11 up to figure 14¹)

Stringendo poco a poco (figure 14² up to the end of figure 14)

Allegretto (Tempo I) (figure 15 up to figure 18⁷)

  ben rit. (figure 18⁸)

  a tempo (figure 19² up to figure 24³)

  rit. (figure 24⁸)

  a tempo (figure 25 up to the end of figure 38^[9])

III. LARGO

Largo (figure ⁸1 up to figure 17⁷)

  poco rit. (figure 17⁸)

  In tempo (figure 18 up to the end of figure 30^[12])

IV. FINALE

Allegro molto (figure ¹⁶1 up to figure 5⁸)

  poco ritard. (figure 5⁹)

  Più tranquillo (figure 5¹⁰ up to the end of figure 7)

  Poco accelerando (figure 8¹ up to figure 8⁴)

  L’istesso tempo (figure 8⁵ up to figure 18¹⁷)

  poco rit. (figure 18¹⁸)

  Un poco più tranquillo (figure 19 up to figure 20¹⁶)

  poco accelerando (figure 2017 up to figure 2024)

  L’istesso tempo (figure 20²⁵ up to figure 21¹⁶)

Presto (figure 21¹⁷ up to figure 22²¹)

  Molto pesante (figure 22²² up to the end of figure 22^[23])

Corrections / Errata

Full score 3–1

1st Movement

1.) p. 34, figure 18¹, throughout: >un piu accel.< has to be added.

2.) p. 35, figure 19, throughout: >A tempo (I^o)< has to be added.

3.) p. 38, figure 20⁵, throughout: >cresc.< after >p sub.< has to be removed.

4.) p. 38, figure 20⁶, throughout: the crescendo sign [<] that stretches across the entire bar should only appear in the second half of the bar.

5.) p. 46, figure 26^1–4, divided Violas: both the 1st and 5th semiquaver notes should have accent marks >, and at the end of bar 26⁴ an >etc.< should be inserted.

6.) p. 54, figure 31¹⁰, Bass trombone: sharp in front of es must be replaced by natural.

7.) p. 57, figure 35¹, wind instruments: With the exception of the 1st and 2nd clarinets, all the wind parts should be cut.

8.) p. 57, figure 35¹, Strings: the first notes of the bar should be marked >pizz.<; the pizz. markings on the 3rd note of the bar should be removed.

9.) p. 57, figure 35¹, 1./2. Clarinet: the two-note chord at the beginning of the bar should read crotchet c1-c2 instead of the incorrect f2-a2.

10.) p. 57, figure 35¹, Strings: in the 2nd violin part, the two-note chord should be removed and replaced by a g, and in the violoncelli, the first set of notes should be replaced by a unison b flat; all the notes at the beginning of the bar should be played pizzicato.

11.) p. 57, figure 35^1–4, 1./2. Clarinet: every crotchet note at the end of the bar should be replaced by a quaver followed by a quaver rest.

2nd Movement

1.) p. 63, figure 3⁴⁺⁵: >rit. | a tempo< has to be removed.*

2.) p. 65, figure 6¹: >poco accelerando< has to be removed.

3.) p. 66, figure 8¹, throughout: p–mark above 2. Semiquaver has to be added, >molto diminuendo< has to be removed.

4.) p. 67, figure 8³, Strings: 1. and 5. semiquaver ligature have to be marked with accent (>);>sim<´has to be added at figure 84.

5.) p. 68, figure 9⁵ up to 10⁴, Horns: >staccato< has to be added.

6.) p. 69, figure 10¹¹: the tempo marking >rit.< should be moved to between the 2nd and 3rd semiquaver beats of figure 10¹².

7.) p. 70,figure 12⁴⁺⁵: after the crescendo sign at figure 12⁴, a >sub pp< should be entered.

8.) p. 72, figure 15⁵, Trumpets: a >{ stacc< with a left-facing bracket should be entered into the empty system.

9.) p. 73, figure 15¹¹, Trumpets + Trombones: the slurs between the last two quaver notes should be removed and replaced by >staccato< dots.

10.) p. 73, figure 16¹: >mf cresc.< have to be removed.

11.) p. 74, figure 16⁶, brass instruments: in the parts of Horns, Trumpets and Trombones should be entered a >stacc<, in the parts of Horns and Trumpets with a left facing bracket.

12.) p. 75, figure 17⁷, brass instruments without Horns: in the parts of Trumpets, Trombones and Tuba an f–sign should be entered, and in the string parts, the f–marking should be replaced by an >>f> subito< throughout.

13.) p. 75, figure 17⁸, Strings: all of the last quaver notes should have an accent sign >.

14.) p. 79, figure 22^1–6, 1./2. Violins: should read semiquaver instead of the incorrect quaver***.

15.) p. 79, figure 23¹, Flutes + Clarinets: >stacc< has to be added.

16.) p. 80, figure 24⁸: >rit.< has to be removed.

17.) p. 81, figure 25¹: >a tempo< has to be removed.

18.) p. 87, figure 35¹, Strings: a >sub< should be added after the p–marking.

19.) p. 88, figure 36⁷, Violas, Violoncellos, Double basses: a p–sign has to be added the second value.

20.) pp. 88–89, figure 36^7–8: >molto | dim.< has to be removed and should be replaced by a p–sign.

21.) p. 89, figure 38^1–2, Violoncellos, Double basses: a >stacc< has to be added.

3rd Movement

1.) p. 94, figure 6+7^1–2, the section has been altered, in that what was previously 6 bars has become 4.

2.) p. 95, figure 7^5–6, Violoncellos, Double basses: crescendo–sign has to be added.

3.) p. 95, figure 8¹, Trombones, Tuba: an fp–marking should be entered after the sf–marking; Violoncellos, Double basses: an fp–marking should be entered after the f–marking.

4.) p. 97, figure 12¹, 1. Violins: >in 2< should to be entered above the system.

5.) p. 99, figure 16⁴, 1. Violins: mf–sign should be replaced by an f–sign.

6.) p. 99, figure 16⁵, Violas: mf–sign should be replaced by a f–sign.

7.) p. 103, figure 21¹, 2. Solo-Bassoon: quavers instead of semiquavers.

8.) p. 103, figure 21³, 1. Solo-Bassoon: the 2nd-semiquaver beam in the 1st solo bassoon part should be removed and put into the clarinet part, and the incorrect f-d1-c1-f1 should actually read b1-d2-c2-f2; the semibreve rest in the clarinet bar should be replaced by a crotchet rest at the beginning of the bar.

9.) p. 109, figure 28⁷, Trumpets: fis1 and fis2 instead of incorrect f1 und f2.

4th Movement

1.) p. 124, figure 5⁹: >poco ritard.< has to be removed.*

2.) p. 131, figure 10⁶: at the end of the bar shoud be added a fermata***.

3.) p. 131, figure 10⁷, Strings: >sf p< instead of >molto p<*; the indication >(enharm.)< below Bassoon parts, 1. Violins and Violoncelli has to be removed.

4.) p. 137, figure 12^{9–10,12–13}, 1./2. Violins: semiquaver instead of quaver.*

5.) p. 144, figure 16^14–15, Violas: phrase marks has to be removed.

6.) p. 145, figure 17²⁺³, Violas: phrase marks has to be removed.*

7.) p. 151, figure 18¹⁸: >poco ritard.< has to be removed.*

8.) p. 163, figure 22^8–15: these 8 bars are to be repeated.

Style: Strawinsky’s First Symphony constitutes a stylistic synthesis of Wagner (Tristan-atmosphere), Tchaikovsky, Rimsky-Korsakov and Glazunov, the last named a composer whom Strawinsky had much admired since his youth (the sentiment was not returned). His use of first-movement sonata form suggests a meticulous application of textbook rules, with the result that only in the Scherzo, with its folklike reminiscences of the Dance of the Wet Nurses from Petrushka, does the work really come alive. This movement, which is heavily indebted to the Russian school, including Tchaikovsky, later took on an independent existence as a ballet intermezzo.

Dedication: >Доромy yчителю моемy / Hикoлaю Андреевичy / Pимcкомy-Кoрcaкoвy / Meinem teuren Lehrer / Nikolai Andreewitsch / Rimsky-Korsakow< [To my dear teacher Nikolay Andreyevich Rimsky-Korsakov].

Duration: 11′ 26″ + 6′ 03″ +13′ 52″ + 8′ 32″.

Date of origin: between 1905 and 1907 in St Petersburg. The individual movements are dated: I: 18 July 1905; II: 21 July 1905; III: 4 August 1905; and IV: 24 September 1905. Strawinsky’s revisions date from 1907 onwards.

First performance: 22nd January 1908 in St Petersburg within the framework of the Belayev Concerts under Hugo Warlich*. Warlich had previously (27th March 1907) conducted a private performance of the second and third movements with the St Petersburg Court Orchestra. The revised version was introduced by Ernest Ansermet conducting the Orchestre du Kursaal in the Kursaal at Montreux on 2 April 1914. Strawinsky himself conducted the French première with the Orchestre Symphonique de Paris in the Théâtre des Champs-Élysées on 16th November 1928. He later gave the first American performance in Chicago on 22nd January 1935.

* According to Goubault, Felix Blumenfeld.

Remarks: The autograph of the full score includes the first line of a nonsense rhyme, ‘Chicher-Yacher’, the words and music of which reappear in the third of the Three Little Songs of 1913. It is thought that this is one of the themes on which Strawinsky used to improvise in his youth. Its appearance in the Symphony, where it features prominently in over half the final movement, may be interpreted as an early pre-echo of the grotesque and parodistic elements in Strawinsky’s later works. As such, it invests the movement with the hint of a joke.

Significance: Although Strawinsky never had any need to distance himself from the present piece, it can hardly be said to represent a milestone in the history of the symphony in general. None the less, it remains an important piece in terms of the composer’s own development inasmuch as it reveals his earliest signs of originality, signs that include rhythmic variety, a refusal to revel in late Romantic sonorities, a chamberlike treatment of the orchestra and an attempt to clarify the musical textures.

Situationsgeschichte: The Symphony was created as the product of the teacher-student relationship between Strawinsky and Rimsky-Korsakov. The latter told his student to orchestrate classical compositions, and then corrected the mistakes under his scrutiny, while the pupil had to explain the artistic construction of the works. When Strawinsky began the composition of the Symphony one-and-a-half years after starting his tuition, he proceeded in the same way. Every completed section of a movement he gave to Rimsky-Korsakov, so that his teacher could oversee the composition of the entire Symphony section by section. The same went for the orchestration. As opposed to the French aesthetic of orchestration, which considered melodic, harmonic, structural and instrumentational inspiration as a single unified entity, Rimsky-Korsakov taught orchestration as the elucidation of the structural idea. For Rimsky-Korsakov, composition and orchestration were two spiritually separated events, which were to be overseen separately as separate acts in their own right.

Revised version: Serious writers on Strawinsky have long spoken of a revised version of the work first conducted by Ansermet in Montreux. Commenting on the first performance, Rimsky-Korsakov had complained that the work was far too heavily orchestrated and that the writing for the trombones was particularly infelicitous in their middle register. He also criticized the work for its undue dependence on his own and Glazunov’s style of composition. But Strawinsky could not have altered the work’s structure and denied his debt to Rimsky-Korsakov and the Belayev circle that included Glazunov without eschewing the very principles on which the symphony was based. In turn this would have been tantamount to abandoning the piece in its original version. We shall not go far wrong, therefore, in assuming that Strawinsky’s revisions were limited in essence to improvements on the level of instrumentational technique and that these changes were made immediately after the first performance in 1907 and certainly by the date of the printed edition of 1914. Roman Vlad also held this opinion. If this is so, these revisions must have found their way into the published edition of the full score, which appeared in the same year as Ansermet’s performance. If this hypothesis is accepted, it becomes difficult to argue for the existence of a revised version as against a printed edition of the first version of the work. Support for this hypothesis also comes from the fact that Strawinsky never made any public comments on this subject. The question of a revised version cannot be settled by reference to the published editions of the piece.

Versions: The success of Strawinsky’s three Russian ballets will have made it easy for the Russian publishing house of Jurgenson to include in its list a symphony by a beginner and to publish the complete orchestral score in 1914 at a price of 10 roubles. The edition was most attractively presented and easy to read. The copy in London includes a number of performance markings added in pencil in German (for example on pages 103 or 105, etc.). Encouraged by the interest in new works on the part of contemporary concert audiences, the publisher also issued a complete set of parts at this time for 20 roubles, but no copies seem to have survived in any of the major German libraries. This also applies to the additional parts that were available at this time and that cost 1.25 roubles each. The conducting score was followed in 1928 by an arrangement for piano for four hands that was prepared in Moscow by N. Gilayev, almost certainly without Strawinsky’s approval. In the wake of the expropriations undertaken by the Leninist regime, Jurgenson’s rights passed to the Leipzig publisher Robert Forberg, who reprinted the conducting score, its sale being restricted to the Magdeburg firm of Heinrichshofen, while the performing rights were held by Adler-Edition of Berlin. The date of the Heinrichshofen edition is disputed: the copy in London no longer has a jacket title but was acquired on 26th June 1934. According to the library’s catalogue, it was printed and published in 1933. The copy in the Bavarian State Library in Munich, conversely, survives complete and is dated 1931 by the library. The pocket score was not published until 1964. It appeared under the imprint of Robert Forberg, who had moved from Leipzig to Bad Godesberg following the Second World War. There were clearly at least two different versions of the title-page of this pocket score, the first of which still names Jurgenson as the publisher. The present publisher has been unable to throw any light on this matter. The performance material – the conducting score and set of parts – was available only for hire. The material for both versions was the same. The New York publishing house of Edwin F. Kalmus later brought out a pirated edition of the orchestral version for the American market, suppressing all reference to the work’s copyright, the original plate number, the dedicatee and the original publisher, whose name he replaced with his own.

Performance history: It is to Eric Walter White that we owe the information that the Scherzo was sometimes used as an independent intermezzo at performances of the Ballets Russes.

Historical recording: Hollywood, 2nd May 1960, with the Columbia Symphony Orchestra under the direction of Igor Strawinsky.

CD edition: IV–1/1–4.

Autograph: Rimsky-Korsakov Archives.

Copyright: 1964 by Rob. Forberg, Bad Godesberg.

Editions

a) Overview

3–1 1914 FuSc; Jurgenson Moskau-Leipzig; 164 pp.; 36664.

  3–1^Straw ibd. [with corrections].

3–2^St 1914 set of parts [unidentified].

  3–2^St-Straw ibd.

3–3^St 1914 additional individual parts [unidentified].

3–4 1928 VoSc [Gilaiew]; RSFSR Moskau; 107 pp.; M. 7451 r..

3–5 1931 FuSc; Forberg Leipzig; 164 pp.; 36664.

3–6 (1964) PoSc; Forberg / П. ЮPГEHCOHA Bad Godesberg; 164 pp. 4°; 8628.

3–7 [1964+] PoSc; Rob. Forberg / P. Jurgenson Bad Godesberg; 164 pp. 4°; 8628.

3–8 [ ] Dp; Kalmus New York; 162 p..

b) Characteristic identifications

3–1 SYMPHONIE N^o 1. / Es-dur / POUR GRAND ORCHESTRE / PAR / IGOR STRAWINSKY. / Partition 10 Rb.— [#] Parties 20 Rb.— / Parties supplémentaires à 1 Rb. 25 k. / [Vignette] / Propriété de l’éditeur / P. JURGENSON, / Commissionaire de la Chapelle de la Cour, de la Société Impériale Musicale / Russe et du Conservatoire de Moscou. / MOSCOU, [#*] LEIPZIG, / Neglinny pr., 14. [#*] Talstrasse, 19. / St.-Pétersbourg, chez J. Jurgenson. | Varsovie & Kiew, chez L. Idzikowski. / Sole Agents for the British Empire / Breitkopf & Härtel, London. [°] // SYMPHONIE N^o1. / Es-dur / POUR GRAND ORCHESTRE / PAR / IGOR STRAWINSKY. / Partition 10 Rb.– [#] Parties 20 Rb.– / Parties supplémentaires à 1 Rb. 25 k. / [Vignette] / Propriété de l’éditeur / P. JURGENSON, / Commissionaire de la Chapelle de la Cour, de la Société Impériale Musicale / Russe et du Conservatoire de Moscou. / MOSCOU, [#*] LEIPZIG, / Neglinny pr., 14. [#*] Talstrasse, 19. / St.-Pétersbourg, chez J. Jurgenson. | Varsovie & Kiew, chez L. Idzikowski. / Sole Agents for the British Empire / Breitkopf & Härtel, London. // (Full score stapled 26.5 x 34.5 (2° [4°]); 164 [160] pages + 4 cover pages black on light green-blue [front cover title with vignette 0.7 x 0.8 double-headed eagle with crown, sceptre and orb, and a rider (with blurred printing) on a horse in the middleground, 2 empty pages, page with publisher’s advertisements >Compositions russes pour Grand Orchestre. Suite 1.<* without production data] + 4 pages front matter [title page with vignette 0,7 x 0,8 double-headed eagle with crown, sceptre and orb, and a rider on a horse in the middleground, empty page, page with dedication >Доромy yчителю моемy / Hикoлaю Андреевичy / Pимcкомy-Кoрcaкoвy. / empty page] without back matter; title head >Symphonie N^o 1.<; author specified 1st page of the score paginated p. 5 below title head flush right >IGOR STRAWINSKY.<; legal reservation (without Copyright) 1st page of the score next to author specified flush left underlined >Aufführungsrecht vorbehalten.< below type area flush left >Propriété de l’éditeur<; production indications 1st page of the score below type area flush right >P. Jurgenson à Leipsic et Moscou.< p. 164 flush right as end mark >Gravé et impr. chez [Vignette 0,3 x 0,4 double-headed eagle with crown, sceptre and imperial orb and a middleground] P. Jurgenson à Moscou.<; plate number: 36664) // (1914)

* Two line pointed dividing line 0.7 cm vertical.
** Compositions are advertised in two columns by A. Arensky, M. Balakirew, J. Bleichmann, A. Conus, A. Goedicke, A. Iljinsky, M. Ippolitow-Iwanow, B. Kalinnikow, H. Pachulski, N. Rimsky-Korsakow, A. Rubinstein, J. Sibelius, A. Simon, P. Tschaïkowsky; Strawinsky not mentioned.
° Strawinsky’s private copy contains a stamp mark on this point >50% Kriegsaufschlag<.

3–1^Straw

Strawinsky’s copy contains many corrections. He also notes in pencil >page 94 [in a box] 6 / 4 bars change / page 103 [in a box] 21 / / Fg-Cl change / tres difficulties< flush left on the outer title page from under the title of the work continuing up to underneath >POUR GRAND ORCHESTRE<. [see 3-1, annotation °]

3–2^St SYMPHONIE N^o 1. / Es-dur / POUR GRAND ORCHESTRE / PAR / IGOR STRAWINSKY. / Partition 10 Rb.— [#] Parties 20 Rb.— / Parties supplémentaires à 1 Rb. 25 k. / [Vignette] / Propriété de l’éditeur / P. JURGENSON, / Commissionaire de la Chapelle de la Cour, de la Société Impériale Musicale / Russe et du Conservatoire de Moscou. / MOSCOU, [#*] LEIPZIG, / Neglinny pr., 14. [#*] Talstrasse, 19. / St.-Pétersbourg, chez J. Jurgenson. [#*] Varsovie & Kiew, chez L. Idzikowski. / Sole Agents for the British Empire / Breitkopf & Härtel, London. [°] // (set of parts 26.5 x 34.5 (2° [4°]); 4 cover pages black on blue green [front cover title with vignette 0,7 x 0,8 double-headed eagle with crown, sceptre and imperial orb, 2 empty pages, page with publisher’s advertisements >Compositions russes pour Grand Orchestre. Suite 1.<* without production data) // (1914)

* Pointed dividing line 0.7 cm vertical.
** Compositions are advertised in two columns by A. Arensky, M. Balakirew, J. Bleichmann, A. Conus, A. Goedicke, A. Iljinsky, M. Ippolitow-Iwanow, B. Kalinnikow, H. Pachulski, N. Rimsky-Korsakow, A. Rubinstein, J. Sibelius, A. Simon, P. Tschaïkowsky.

3–2^St-Straw

There is apparently no surviving original set of parts, only an outer cover for the set of parts, because Strawinsky had both covers bound together one after the other in his private copy, giving: Outer cover score outer cover empty page, Outer cover set of parts, Outer cover empty page // Title page score with musical text // Outer cover empty page, Outer cover page with publisher's advertisements, Outer cover empty page, Outer cover page with publisher’s advertisements. Strawinsky’s copy contains a pencil signature right at the top of the cover title >IStrawinsky<.

3–3 [Additional individual parts to 3–1, 1914, available to sale; unidentified].

3–4 И. CTPABИHCКИЙ / I. STRAWINSKY / Первaя Симфония / (Es-dur) / Première Symphonie / для opкеcтpa / pour Orchestre / Пepeдoжениe для фopтепиaнo в 4 pyки / H. ЖИЛЯЕBA / Transcription pour Piano à 4 mains / par N. GILAIEW / PCФPC [#*] RSFSR / MУ3ЫКAЛЬHЫЙ CEКTOP [#*] SECTION MUSICALE / ГOCУДAPCTBEHHOГO ИЗД-BA [#*] DES EDITIONS D’ETAT / MOCКBA, HEГЛИHHЫЙ ПP 14 [#**] MOSCOU, NEGLINNY PR. 14 / № 7451—28 л. [#] 1928 [#] Ц 7 р. 50 к. // И. CTPABИHCКИЙ / I. STRAWINSKY / Первaя Симфония / (Es-dur) / Première Symphonie / для opкеcтpa / pour Orchestre / Пepeдoжениe для фopтепиaнo в 4 pyки / H. ЖИЛЯЕBA / Transcription pour Piano à 4 mains / par N. GILAIEW / Propriété de l’éditeur / Coдетвеннocть издaтеля / ГOCУДAPCTBEHHOE ИЗДATEЛЬCTBO [#] SECTION MUSICALE / MУ3ЫКAЛЬHЫЙ CEКTOP [#] DES EDITIONS D‘ETAT / MOCКBA [#] MOSCOU // (Piano reduction for four hands [library binding] 26.5 x 34.9 (2° [4°]); 107 [106] pages + 4 cover pages [front cover title in ornamental frame, empty page, page with publisher‘s advertisements >COЧИHEHИЯ [#***] WERKE VON / H. MЯCКOBCOГO [#***] N. MIASKOWSKY / CEPИЯ 1 [#] SERIE 1<, page with publisher‘s advertisements > COЧИHEHИЯ [#***] WERKE VON / H. MЯCКOBCOГO [N. MIASKOWSKY / CEPИЯ II [#] SERIE II<] + 1 page front matter [title page] + 1 page back matter [empty page]; title head in connection with author specified 1st page of the score paginated p. 2 centre centred >CИMФOHИЯ № 1. [#] Symphonie N^o 1. / И. CTPABИHCКOГO. [#] par IGOR STRAWINSKY.<; arranger specified 1st page of the score flush right centred p. 2 next to, p. 3 above movement number in Roman numeral (with dot) >1.< >Пepeлoжениe для фopтепиaнo в 4 pyки / H. Жиляевa / Réduction pour piano à 4 mains par N. Gilaiew.****; without legal reservations; plate number >M. 7451 г.<; production indication p. 107 below type area flush left >Mocквa. Глaвлит № A-18642. Тиp.< flush right as end mark >Hoтoпeчaтня Гизa Кoлпaчи. 13.< // 1928°

° The copy in the Prussian State Library >DMSk 212053< is complete, but the cover pages are missing in the London copy >h 3992.g.(6.)<.
* The separating vignettes span four lines in the shape of a treble clef with its foot in the middle at **.
** Separating vignettes in the form of a treble clef with a >J.< on the left side and an >R.< on the right side incorporated into the design.
*** A continuous, vertical separating line spanning two lines.
**** P. 2 with the second dot of the diaeresis misprinted slightly to the right; p.3 is without a diaeresis but with a superscript i-dot.

3–5 SYMPHONIE N^o 1 / Es-dur / POUR GRAND ORCHESTRE / PAR / IGOR STRAWINSKY / Alle Rechte vorbehalten /* Tous les droits réservés / VERLAG ROB. FORBERG, LEIPZIG / TALSTRASSE 19 / KONZERTVERTRIEB: EDITION ADLER G.M.B.H., BERLIN W 15 / LIETZENBURGERSTRASSE 32 / [Stempel:] Verkauf dieser Partitur nur durch: / Heinrichshofen’s Verlag, Magdeburg // SYMPHONIE N^o 1 / Es-dur / POUR GRAND ORCHESTRE / PAR / IGOR STRAWINSKY / Alle Rechte vorbehalten /* Tous les droits réservés / VERLAG ROB. FORBERG, LEIPZIG / TALSTRASSE 19 / KONZERTVERTRIEB: EDITION ADLER G.M.B.H., BERLIN W 15 / LIETZENBURGERSTRASSE 32 // (Full score [library binding] 27 x 33.4 (2° [4°]); 164 [160] pages + 4 cover pages black on fibered light grey [front cover title, 3 empty pages] + 4 pages front matter [title page, empty page, page with dedication >Доромy yчителю моемy / Hикoлaю Андреевичy / Pимcкомy-Кoрcaкoвy / Meinem teuren Lehrer / Nikolai Andreewitsch / Rimsky-Korsakow<; page with legend >Orchesterbesetzung< with German headline] without back matter; title head >Symphonie N^o 1.<; author specified 1st page of the score unpaginated [S. 5] between title head and movement number flush right >IGOR STRAWINSKY.<; legal reservations without Copyright 1st page of the score above type area flush left >Aufführungsrecht vorbehalten< below flush left >Propriété de l’éditeur<; plate number >36664<; production indication p. 160 flush right as end mark >Druck C. G. Röder A.-G., Leipzig<) // (1931**; 1933***)

* Slash original.
** According to Bayerische Staatsbibliothek München.
*** According to an assumption of the British Library London.

3–6 Taschenpartitur · Pocket score · Partitur de poche / IGOR STRAWINSKY / I. Symphonie / Es-Dur / [Vignette] / ROB. FORBERG [#] П. ЮPГEHCOHA // Taschenpartitur · Pocket score · Partitur de poche / IGOR STRAWINSKY / I. Symphonie / Es-Dur / ROB. FORBERG [#] P. JURGENSON / U.S.A.: C. F. PETERS CORPORATION, NEW YORK // [no text on spine] // (Pocket score sewn 1.1 x 13.5 x 19 (4° [8°]); 164 [160] pages + 4 cover pages [front cover title white on dark green with vignette 1.5 x 1.5 double-headed eagle with crown, 2 empty pages, page with publisher’s >ROB. FORBERG [#] P. JURGENSON< advertisements >Orchester — Leihmateriale / Auswahl Russischer Komponisten<* without production data] + 4 pages front matter [title page, empty page, page with dedication >Meinem teuren Lehrer / Nikolai Andreewitsch / Rimsky-Korsakow<, legend >Orchesterbesetzung< Italian] without back matter; title head >Symphonie № 1<; author specified 1st page of the score unpaginated [p. 5] between Title and movement number in Roman numeral (with dot) >I.< flush right >IGOR STRAWINSKY>; legal reservations 1st page of the score below type area flush left >Propriété de l’Editeur, Eigentum des Verlegers für alle Länder / International Copyright secured / © 1964 by Rob. Forberg, Bad Godesberg< flush right >Alle Rechte, einschließlich Aufführungsrechte vorbehalten<; production indication 1st page of the score below legal reservation flush right >Printed in Germany<; plate number >6828<; without end of score dated p. 164; without end marks) // (1964)

* Compositions are advertised whitout column divisions from >ARENDS, H.< to >WASSILENKO, P.<, amongst these >STRAWINSKY, I. op. 1 [#] Symphonie Nr. 1 Es-Dur / STRAWINSKY, I [#] „Le Roi des étoiles“ Kantate für / [##] Männerchor und Orchester / [##] Text russ./franz.<.

3–7 Taschenpartitur · Pocket score · Partition de poche / IGOR STRAWINSKY / I. Symphonie / Es-dur / Rob. Forberg · BAD GODESBERG // [title page = front cover title] // (Pocket score [library binding] 13.1 x 18.5 (4° [8°]); 164 [160] pages + 4 cover pages black on pink-coloured [front cover title; 1 empty page, [missing], [missing] + 4 pages front matter [title page, empty page, page with dedication >Meinem teuren Lehrer / Nikolai Andreewitsch / Rimsky-Korsakow<, legend >Orchesterbesetzung< Italian with German headline] without back matter; title head >Symphonie № 1<: author specified 1st page of the score paginated p. 5 between title head and movement number in Roman numeral (with dot) >I.< flush right >IGOR STRAWINSKY<; legal reservations 1st page of the score below type area flush left >Propriété de l’Editeur, Eigentum des Verlegers für alle Länder / International Copyright secured / © 1964 by Rob. Forberg, Bad Godesberg< flush right >Alle Rechte, einschließlich Aufführungsrechte vorbehalten<; production indication 1st page of the score below legal reservation flush right >Printed in Germany<; plate number >6828<; without end marks) // (1964+*)

* Presumably published later than 1964; the Bonn publishers were unable to give any further information.

3–8 KALMUS ORCHESTRA LIBRARY / [Vignette] / STRAWINSKY / SYMPHONY No. 1 / in E flat major // KALMUS ORCHESTRA LIBRARY / STRAWINSKY / SYMPHONY No. 1 / in E flat major / EDWIN F. KALMUS / PUBLISHER OF MUSIC / NEW YORK, N. Y. // (Full score [library binding] 26.3 x 32.9 (2° [4°]); 162 [160] pages + 4 cover pages black on green fleecy [front cover title left-orientated front cover title page with a 3 x 3 cm vignette of a crotchet with a semiquaver tail styled with a leaves inside a rhombus, empty page, [missing], [missing]] + 2 pages front matter [title page centre, empty page] + 2 pages back matter [empty pages]; title head >Symphonie N^o1.<; author specified 1st page of the score paginated p. 3 below title head flush right not centred >И. CTPABИHCКИЙ / IGOR STRAWINSKY.<; without legal reservations; without plate number; production indication 1st page of the score below type area centre centred partly in italics >EDWIN F. KALMUS / PUBLISHER OF MUSIC / NEW YORK, N. Y.<; without end mark p.162) // [ ]*

* In the copy Berliner Staatsbibliothek >N. Mus. 13431< the two back sides are missing.

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K Cat­a­log: Anno­tated Cat­a­log of Works and Work Edi­tions of Igor Straw­in­sky till 1971, revised version 2014 and ongoing, by Hel­mut Kirch­meyer.
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