K030 Ragtime

K30 Rag-time*

pour onze instruments – Ragtime für elf Instrumente – Rag-time* for eleven instruments – Регтайм. Для одиннадцати инструментов – Ragtime per undici strumenti

* already in the first edition, it is Rag-time rather than Ragtime.

Scored for: a) First Edition: Grande Flûte, Clarinette en La, Cor en Fa, Cornet à Pistons en Sib, Trombone, Caisse claire à corde, Caisse claire sans corde, Grande Caisse, Cymbale, Cymbalum, 1^er Violon, 2^e Violon, Alto, Contrebasse [Flute, Clarinet in A, Horn in F, Cornet in Sib, Trombone, Drum with snares, Drum without snares, Big drum, Cymbal, Cimbalom, 1st Violin, 2nd Violin, Viola, Double bass]; b) Performance requirements: Flute, Clarinet in A, Horn in F, Cornet in Sib, Trombone, Percussion* (Big drum, Side drum with snares, Side drum without snares, Cymbal), Cimbalom**, 2 Violins, Viola, Double bass).

* 1 player.

** In later performances it was rewritten for piano.

Construction: The Ragtime is a one-movement concert piece in a style combining solo and ensemble elements with an unchanging tempo of crotchet = 160, which is retained throughout, and without an Italian tempo marking; it is 178 bars in length, in addition to which another upbeat is added which is not included in this number. Similarly, the score is numbered with figures (38 figures) as well as by bar numbers and stays in 4/4 without alteration. The work is structured using the structural principles of the Concerto Grosso and the alternation of Solo and Tutti sections, as well as differently combined combinations of the eleven instruments. An introduction of 3 bars states the motivic material, and the subsequent bars establish the Ragtime rhythm itself which remains constant throughout the entire piece, more or less clearly. The cimbalom defines the basic sound of the Ragtime with its somewhat cavernous, dull tone colour and it is never silent apart from for a few bars. The first solo is also in the cimbalom. The first violin has its first solo in bar 16, the flute and clarinet have theirs at bar 18, and the Cornet à pistons has its solo at bar 73 with a light, sentimental passing melody; the trombone has its own at bar 91 with a powerful Jazz glissando. Even at this point however, where the instruments are not singled out as soloists, Strawinsky lays bare the orchestra so that the players inevitably sound soloistic. The other string instruments are used as percussion and in rhythmic roles.

Structure

Crotchet = 160 (without upbeat* 178 bars = with upbeat figure ⁵1 up to figure 38⁸).

* The upbeat is not balanced out at the end of the piece.

Cimbalom: Strawinsky's persevering use of the cimbalom for years as an art instrument set even narrower limits for the proliferation of the work in its original version. Strawinsky first departed from his unenforceable preconceptions in the Thirties when he sold his cimbalom. Its whereabouts remained known and it was re-obtained many years later by the Paul Sacher Stiftung in Basel. He rewrote the Cymbalom part for piano for a concert. For the preparatory performance in New York, which was used in the CD edition on 26th January 1962 however, the Cimbalom was used.

Style: The work stands in the direct stylistic vicinity of the Soldier's Tale and shares its stylistic flow. The playing techniques for the instruments were prescribed exactly. On the 31 pages of music, there are 73 written-out instructions which aim for a plurality of colours and in order to avoid identical repeats of the music. The ‘Philharmonia’ score has them compiled in a single one-page table.

Jazz influence: The much-discussed Jazz influence on Strawinsky, which plays a large role in the Strawinsky literature, regards the Ragtime influence as a rhythmic phenomenon, and it is certainly not limited solely to expressly or similarly named compositions; rather, it is further-reaching in his field of free and popular music, including self-standing instrument music and in neo-classical ballet work such as Orpheus. Strawinsky did not identify Ragtime with Jazz, but saw in it an unbiased and novel rhythmic model which he reworked again and again. Jazz for him was limited to the Blues, also including improvisation, which he practically detested and consequently rejected for structural reasons, even for notable soloists such as Woody Herman in commissioned compositions expressly in the Jazz Genre, such as the Ebony Concerto. He did not include soloistic improvisation in his style of composition since it would inevitably have destroyed his well considered structural sequences. Strawinsky himself described the jazz influence as fatal for any serious composer.

Dedication: >à Madame E. Errazuriz < [to Mrs. E. Errazuriz]. On the French first edition, the name of Strawinsky's Chilean patron was embarrassingly misprinted as ‘à Madame Errasuri’; the name was first printed correctly in the later English [Chester] edition. After Strawinsky's death, Chester publishers adopted the incorrect spelling again in what was probably the 12th edition, in 1978.

Dedicatee: Eugenia Huici Arguedas de Errázuriz was one of the most significant female figures to write herself into European and musical history after 1900, both as a patroness and a leading figure in defining style. She was born in Chile on 15th September 1860, one of the daughters of the Bolivian-Chilean ‘silver magnate’ Ildefonso Huici de Perón, and was raised by English nuns in Valparaiso; she married a landscape painter, José Tomás Errázuriz, who was very rich (by birth) and with whom she had several children. The couple moved to Paris in 1882, where her brother-in-law was the Chilean consul. Eugenia Errazuriz gathered around her an elect circle of artists, among whose ranks were Gabriel Fauré, Serge Diaghilev, Igor Stravinsky, Arthur Rubinstein, Jean Cocteau, Blaise Cendrars, as well as many notable painters, whom she supported and influenced intellectually. Stravinsky expressed that he was deeply moved by her friendship. Her beauty was known to be legendary, and there was scarcely another woman so often painted as she was. Pablo Picasso alone, to whom she was closely connected over the course of many years (‘Picasso’s other mother’), produced more than twenty portraits of her. It was she that made the link between Picasso and Stravinsky for the Ragtime edition, as she also presumably did in the case of Rubinstein and Stravinsky. Eugenia Errazuriz, who owned a house in Biarritz among others, was one of the early founders of the minimalistically orientated. unornamental ‘Neue Sachlichkeit’ and venerated Coco Chanel, whose fashion style, being reduced to simple materials and black-and-white, corresponded to her own conception of a new simplicity. Deeply religious, she later joined the Third Order of the Fransiscans and died in Santiago at the age of 91, the victim of a traffic accident.

* Died of tuberculosis in London in 1927.

Date of origin: Morges 1918.

History of origin: The Ragtime was probably started in autumn 1917 after the completion of the Study for Pianola. It is closely linked with the composition of the Piano-Rag-Music and the Three Pieces for Clarinet, which for their part can be traced back to the corresponding dance movement in the Soldier's Tale; the Ragtime was written before the Soldier's Tale, but became known after it. Since the chronologically final entry in the first group of sketches (violin part bars 57-60) is dated as 27th October 1917, Craft concludes that the start of composition was 11th October. That it may have been started earlier cannot be the case because Strawinsky had been working up to that point to complete Les Noces. Strawinsky worked on the Ragtime with an interruption of approximately two months and as a result, as is also the case with the Piano-Rag-Music, left an unusually large number of sketches for such a relatively small piece, which shows the amount of work that he had to do on it. After the interruption, he restarted work either in December 1917 or January 1918. The short score was completed on 5th February 1918. The sketches were completed on 21st March 1918, and the orchestral version on 11th November 1918. The instrumental score bears the date of completion, 10th November 1918 in the morning, i.e. the date of the end of the First World War. Whether Strawinsky in fact completed the neat copy of the score exactly at this time or whether he pretended this, in order to be able to write his much-quoted date marking 'jour de la déliverance. Messieurs les Allemands ont capitulé. Dimanche 10 November 1918 Morges', remains unresolved. There are several cases in which he synchronised completion dates with the times of historical events. In any case, date errors do creep in often enough. In the memoirs (not written by him), Strawinsky places the Ragtime as being written after the Soldier's Tale. It was in fact written before it, but published afterwards. On 2nd July 1919, the score and parts went to Ernest Ansermet.

Duration: CD: 4'36".

First performance: 27th April 1920, Aeolian Hall in London by the Philharmonic Quartet (Frederick* Holding, Thomas Peatfield**, Raymond Jeremy, Cedric Sharp) enlarged by a chamber orchestra (A. Fransella, Flute; H. P. Draper, Clarinet; A. E. Brain jun., Horn; H. Barr, Trumpet; Jesse Stamp, Trombone; C. Turner, Percussion; H. Grosse, Cymbalom) conducted by Arthur Bliss; there was a pre-performance of the Piano version on 8th November 1919 in Lausanne before the première of the orchestral version.

* Also written Frederic.

** During the War occasionally replaced by Marjorie Bentwich.

Remarks: Strawinsky was so enthused by the new rhythmic scheme, which was as yet unknown in Europe and which he had become familiar with through Ansermet's dance-music material that the latter had brought with him from the United States, that he pledged his further creation despite its being strikingly being described as Jazz.

Title page: The title page for the piano edition of the Ragtime was designed by Pablo Picasso, but his design was not yet ready on 23rd July 1919 and Strawinsky had to chase him up. It depicts two men playing music in an endless line and the title is incorporated into the design. Picasso made three designs. The first of the three corresponds to his conceptions (the two pre-designs were first published in 1960 in the English but not in the American edition of Memories and Commentaries).

Situationsgeschichte: On 29th April 1917, Blaise Cendrars wrote to the composer for the first time at the instigation of Strawinsky's patron, Eugenia Errazuriz. Cendrars had taken over the directorship of a new Parisian publishing house >Éditions de la Sirène< with the business address La Boète Nr.12. The general director was Paul Laffitte. The goal was quite generally the furthering of contemporary art, but was not specialised towards music. Cendrars asked Strawinsky for the printing rights to Renard. Since these had already been given to Henn and Chester, he offered Strawinsky takeover proceedings for the French market in France. Strawinsky was in fact, as a result of the War, looking for a publishing house, but had just failed with Riccordi, who were disappointed by Strawinsky's high expectations for financial demands. He therefore decided upon Henn, who were not actually music publishers, but a music supplies dealership. When Cendrars offered him to name his conditions, and thus gave the impression that he wanted to have Strawinsky at any price and especially to obtain his up-to-then unpublished works for the publishing house, Strawinsky sent him his entire work catalogue with several at-the-time unpublished pieces which Cendrars identified with numbers 22 to 24, of which the Ragtime was one. Strawinsky's financial demands, which were exorbitant for the time, once again caused shock. The Second World War, which was entering its final stage, was making things difficult for publishing houses, and Cendrars had to fight against difficulties which made him fear that the publishing house would go under. They needed some time before they made Strawinsky a much smaller counter-offer on 10th July 1918. This firstly referred to the unpublished Ragtime, with which Cendrars wished to begin a series of Strawinsky publications and which he wished to publish before Christmas 1918; this however did not take place, because Strawinsky first sent the piece to the publishers after the signing of the contract, i.e. after 19th December 1918. According to Cendrars' plan, the printing would run to 1,000 copies, and each copy would be sold for 6 Francs apiece; Strawinsky would receive 600 Francs for the first thousand, so he would be compensated with a share of 10% of the sold copies. This amount would then increase to 750 Francs, so 12.5%, for each further thousand printed. Of the net profit, ten percent was once again given to Strawinsky. Presumably, the further income from this can be accounted for by the income from the rights which could be made to be valid everywhere apart from in Russia. The offer was not to Strawinsky's taste, as he wanted to keep the income from the performances for himself. He wrote back to Cendrars on 7th August 1918, stating that he would not accept his conditions because he had not expected such a small fee. Strawinsky pointed to the increased costs of living, to his two months of work on the Ragtime and certainly based it in his own demands on the simple formula of monthly living costs equalling his monthly proportion of work time. At this time, financial connection to his Russian patrons was broken off and the composition became his only way of supporting himself, with which he had to feed eleven people. Cendrars, who stated that he had in the meanwhile accustomed himself to Strawinsky, wrote back on 17th August in a very conciliatory manner and assured Strawinsky that he wanted to stand up for Strawinsky in order to reach conditions which would absolutely satisfy him, especially taking into account the events of the war. He, Strawinsky, would know best of all how difficult it was in these times for him and for other poor artists in Paris at the time to receive appropriate fees. The negotiations ended in Strawinsky's favour. It appeared as if he would be helped along with outside financial assistance, since in a further letter from Cendrars of 28th October 1918, it was conveyed to the composer in response to a letter from two days earlier not only Carlo Placci's visit to the publishers but also the forthcoming sending by Laffite of the contracts to be signed. Ms. Errazuriz's return to London was being expected, according to the letter. It can only be read in such a way that the tough-negotiating Strawinsky must have stood by his conditions, the publishers could not or did not want to fulfil them and Eugenia Errazuriz would become active as his patron. Strawinsky collated the contents of the contract once again into one single letter of 11th November 1918 to Cendrars. After that, the publishers Edition de la Sirène produced and sold, excluding Russia, 1,000 printed copies of the piano reduction of the Ragtime and (as was normally included in all pre-War contracts), while all other and further rights remained with the composer (i.e. the performing rights, arrangement and transcription rights and the rights for mechanical reproduction). In return, Strawinsky was to receive a fixed fee of one thousand Swiss Francs. Apart from this, the publishers had to fulfil further conditions in Strawinsky's favour: they had to register the copyright in the United States and transfer it to Strawinsky; they had to display Strawinsky's copyright for 1918 (it was in reality given as 1919) both on the title page as well as the first page of music; they had the same way to print an extensive right reservation statement which expressly included Denmark, Sweden and Norway; they had to state that the orchestral material was available to hire and in the case of financial enquiries, direct these to Strawinsky; they were, after a successful sale of 1,000 copies, to convey this news immediately to him or his heirs, and they had to send him ten contributory copies after a successful print run. Strawinsky's letter ends with the request to remind Pablo Picasso of his promise to design a title page. The contract, which Strawinsky received from Paris on 29th November from Lafitte and which he sent back countersigned on 19th December, matches his demands with two differences: the publishers had added an option for the second print run and omitted the right reservation for the Scandinavian countries. Strawinsky agreed with the first, usual addition; he put up with the second, only registering his misgivings and saying that it would hopefully not come to differences of opinion between them. The publishers however omitted the rights reservation in the printed copies, not just the addition concerning the Scandinavian countries, so that the consumer received no form of performance-right restrictions apart from the named copyright mark. The second edition was published by Chester and in this case the statement concerning the reservation of the performance rights was printed exactly as Strawinsky had arranged contractually with Lafitte and Cendrars. After the contract had been returned, Strawinsky at first heard nothing more from the La Sirène publishers. He also received no acknowledgement of receipt. He finally enquired by telegram of Cendrars on 2nd February 1919 and on 5th February 1919 of Alfred Cocteau as an intermediary to Laffitte. The fact that he does not mention the piece itself in either telegram but only the contract seems to suggest that, unlike how he had announced it in his letter of 19th December 1918, he had sent his manuscript copy, he sent it to Paris a short while afterwards. Strawinsky took care, not just at this difficult time for him, to demand payment of the fee with the delivery of the manuscript. He did a similar thing in a telegram of 18th February 1919 along with an inquiry about the receipt of the manuscript. He received his one thousand Swiss Francs with a cheque of 27th February, but three months later, he was sent the copies of the corrections via the brother of his close friend Charles-Albert Cingria, Alexander as a messenger to Morges. The printing was delayed by some months for several reasons. The printing plant working for La Sirène that had started printing the Ragtime, introduced into their business, probably in August, a new printing plant which continued and completed the print run, but they had at first to be found, meaning that two different printers worked on the Ragtime. Apart from this, Picasso was not satisfied with his design of the title page and called for it back so that he could make a new one. Strawinsky enquired impatiently in a letter of 13th October from Morges of Cendrars about the state of affairs, and whether they would eventually decide to bring out Ragtime. The hectic pace connected with all of this meant that they failed to send Strawinsky the final corrections, which he had expressly asked for. When Lafitte finally informed him in December that the piece was now published and would be available for sale from January 1920, and Strawinsky received his contributory copies (including two damaged ones), the composer sent a raging telegram in protest on 22nd December 1919 to Laffitte. The publishers had misprinted the name of one of the most important financial patrons, who to all appearances was also contributing financially to the Ragtime: instead of the correct 'Errazuriz', they had printed 'Errasuri'. A misprinted name of a dedicatee or person to be thanked is the nightmare of every author; the matter can never be resolved well. All this, according to his telegram, would not have happened if the final corrections had been sent to him, according to their agreement. Strawinsky was almost raging and demanded the immediate, unconditional and absolute removal of the error. This naturally could not happen without the entire print run being cancelled. This oversight which must have crept in to the new printer, was especially bad in this case of an expensively designed musical edition with Strawinsky as the composer and Picasso as the designer of the title page. The cost to render the copies useless due to a wrongly printed name would have been much too large, especially as the majority of buyers would not know its correct spelling anyway, and this would have turned the expected profits into a deficit. – When Strawinsky recalled the earliest of Cendrar's letters which guaranteed him that the printing would be carried out according to his wishes along with careful supervision, as well as negotiation of the contract and the named sums from the sales, then he felt that had been, in spite of his high demands, doubly duped. The work had been produced very well artistically and many positive comments had been made to him; this embarrassing printing error however devalued the copies in Strawinsky's narrow circle for the composer, and the drastically raised sales price changed the basis of the commercial side of things to Strawinsky's displeasure, even if it must be presumed that Picasso must have been paid for his title page in some way. The copy did not cost 6 Francs, as was planned during the contract negotiations, but was doubled to 12 francs, while the special edition of the publication was priced at 30 francs per copy. The sales did not add up to 6,000 francs, but 3,000 for the special edition and 10,800 francs for the normal edition, so 13,800 in total. If Strawinsky calculated it in percent, then Cendrars had firstly offered him 10%, so 600 francs, and in doing so demanded that he not have access to 90% of the income from performances, and his own share of 1,000 Francs increased, rising to slightly under 17% and thus retaining the performance rights. For the now altered sales, his fixed fee was now under 10%, especially with the benefit of the interest-providing pre-payment without sales obligation and with the performance rights retained. Strawinsky had certainly been promised more financially from this composition. This would later be repeated in America with the unsuccessful pieces in the Broadway style until he entirely gave up this branch of composition at the beginning of the Fifties and on looking back at them, referred to them derogatorily as >Jazz commercials<.

Significance: In the Strawinsky literature, the work is not valued very highly; Craft almost wanted to label it a parody. Strawinsky himself saw it at the time as being very important. Earlier popular dances had already been stylised and reinterpreted as artworks, as he wrote in his memoirs. He cited the Menuett, Waltz and Mazurka. Strawinsky was also considering raising the new form of folk-like American dance music onto the level of concert music with his Ragtime, in that he was making a self-standing concert piece out of a ragtime and was certainly hoping to make it into a genre in itself, as he had managed to do with the Study for Pianola in the field of mechanically produced music.

Productions: The Ragtime was choreographed several times, for the first time by Leonide Massine and Lidia Lopokowa under the main title Divertissement (3rd April 1922, Covent Garden in London), later also by George Balanchine, when the latter included it in 1960 as a Pas de deux in a production running under the main title, 'Jazz Concert'. – For Strawinsky, certain disappointed hopes were associated with the Ragtime and also to Cendrars, according to a film project by the entrepreneur, Abel Gance. Gance had his business premises in 9th avenue de l'opéra in Paris and must have had at his disposal a fund of one hundred billion francs. At that time, he built a hotel on the Place de la Concorde with a large film projection hall, and was interested in a project on the Firebird or Sacre with Strawinsky, who was rather stand-offish in such matters. There was some friendly correspondence, but no result.

Versions: The Ragtime was finally printed completely at the end of 1919 after a long interruption and was published at the beginning of 1920 as a double edition: a numbered special edition of copies 1-100 in a photographic negative copy at a raised price and a normal, printed edition of 900 copies (101-1000). Cendrars stuck with it. Afterwards, the work went over to Chester publishers in London, the director of which, Otto Kling, had come to know it indirectly through Ernest Ansermet who had been commissioned to carry out the negotiation by the middle of 1919. As Lafitte wrote on 10th March to Otto Kling, 200 copies had already been sold by this time, for which the figures for the special and the normal editions could not be differentiated. Lafitte offered Chester the rights and the stock of 800 copies for the sum of four thousand French Francs. Chester printed a conductor's score for sale in 1920 and the piano reduction in 1922 in its name. The orchestral material was available to hire. A licence edition of the pocket score was arranged in 1924 by the Vienna Philharmonia publishers, which was in direct connection to Chester's pocket score edition, which took on parts of the Austrian introductory text. Strawinsky however received his contributory copy of the Philharmonia edition in April 1925. Picasso's title page was still only used for the piano edition. Chester later produced editions with anglicised titles, the exact chronological allocation of which cannot be worked out from the copies in the libraries. Further editions were created in connection with the Hansen publishing house, into which the Chester Production was incorporated after the Second World War ([1960]) Pocket Score; Chester / Hansen; 32 S. 14 x 19 (8°); plate number J. W. C. 22a). Up to 1986, there must have been 13 editions, in which the Russian subsequent printing of 1968 is probably not included.

Historical recordings: Paris 13th July 1934, Studio Albert, Aladar Racz (Cymbalom), Roland Charmy and Henry Volant (Violins), Etienne Ginot (Viola), Louis Juste (Double bass), Lucien Lavaillotte (Flute), Emile Godeau (Clarinet), Jean Devemy (Horn), Eugène Foveau (Trumpet), Roger Tudesq (Trombone), Jean Paul Morel (Percussion) conducted by Igor Strawinsky; New York City 26th January 1962, Toni Koves (Cymbalom), Columbia Chamber Ensemble conducted by Igor Strawinsky.

CD edition: VII/6 (Record 1962).

Autograph: Score, the neat copy of the piano reduction and the complete sketch material is in the Paul Sacher Stiftung in Basel. The writing in the sketches for Ragtime” matches that in the sketches of Study for Pianola.

Copyright: 1919 Piano Version by Igor Strawinsky; 1920 Full Score and Pocket Score, 1921 Pocket Score, 1922 Piano Version by J. & W. Chester in London.

Editions

a) Overview

30-1 1919 Piano [1-100]; Éditions de la Sirène Paris; 12 pp.; E. D. 4 L. p.

30-2 1919 Piano [101-1000]; Éditions de la Sirène Paris; 12 pp.; E. D. 4 L. p.

    30-2^Straw1 ibd. Nr. 132.

    30-2^Straw2 ibd. unnumbered [without annotations].

30-3 (1920) FuSc; Chester London; 15 pp. 2°; J.W.C. 22.

  30-3^St-Straw [1925] Set of parts; Chester London; J.W.C. 22A

30-4 1922 PoSc; Chester London; 12 pp.; J. W. C. 2071 / E. D. 4 L. p.

30-5 1924 PoSc; Philharmonia Wien; 32 pp.; W.Ph.V. 291 J.W.C. 22^a; 291.

30-6 [1924] PoSc; Chester London; 32 pp.; W. Ph. V. 291 J. W. C. 22^a.

30-7 [1930] PoSc; Chester London; 32 pp.; J. W. C. 22 ^a.

b) Characteristic features

30-1 [de-luxe edition] // IGOR STRAWINSKY / RAGTIME / EDITIONS DE LA SIRENE 12 R. LA BOËTIE PARIS // RAG-TIME / d'Igor Strawinsky / POUR ONZE INSTRUMENTS / TRANSCRIPTION POUR / PIANO PAR L'AUTEUR / COUVERTURE DE / Pablo Picasso / Éditions de la Sirène / 12, RUE LA BOÉTIE, 12, PARIS VIII^e / Copyright by Igor Strawinsky, 1919 / [*] // (Reduction for piano 26.9 x 34.3 (2° [4°])**; a numbered preparatory copy 1-100; 12 [12] pages + 4 cover pages black on creme white 26.9 x 34.3 (2°)**; a numbered preparatory copy 1-100; 12 [12] pages + 4 cover pages black on creme white [front cover title with a full-page picture (consisting of one continuous line) of musicians playing 2 banjos and a violin signed >Picasso<, 3 empty pages] + 2 pages front matter [title page, empty page] + 2 pages back matter [page with sales lead >JUSTIFICATION / DU TIRAGE: / Le RAG-TIME d'Igor Strawinsky / a été à mille exemplaires: Cent, / numérotés de 1 à 100 et vendus 30 fr., / sont tirés en négatif, et neuf cent, / numérotés de 101 à 1000 et vendus / 12 francs, sont tirés sur paper / vergé anglais (On en fit en outre / dix exemplaires, dits de Chapelle, hors commerce et lettrés de A à J). / Le présent exemplaire est numéroté:<°, empty page]; title head >RAG – TIME<; dedication below title head centre italic >à Madame Errasuri<°°; author specified 1st page of the score paginated p. 1 below dedication flush right >Igor Strawinsky<; legal reservation 1st page of the score below type area flush left partly in italics >Copyright 1919 by Igor Strawinsky / Editions de LA SIRÈNE / 12, rue de la Boétie, Paris< flush right centred >Tous droits d'exécution publique, de tradutions°°°, / de reproduction et d'arrangements réservés pour tous pays, / y compris la Suède, la Norvège, et le Danemark<; plate number >E. D. 4 L. S.<; end of score dated p. 12 italic >Morges 1918<; production indication p. 12 flush right as end mark >Grav. & Imp. de musique, Amédée Rosoor, Paris<) // 1919

* The London copy >H. 3992.c.(2.)< has at the top of the page centre centred a Stamp >COPYRIGHT / for all Countries. / [wavy line] / J. & W. CHESTER, Ltd. / < with the address mostly cut-off. The upper part can still be seen >W1< and flush right >NET 4/–<.

** The examined editions that have not been trimmed have a difference of 1 millimetre at the top (up to 34.6).

° The London copy >H. 3992.c.(2.)<, which was unfortunabely trimmed while it was being restored, has the number >13< in pencil on the 1st back page of the cover at the bottom flush left right of the page.

°° Mistake in the title original.

°°° Misprint original.

30-2 = 30-1 [Copies with the number 101 upwards].

30-2^Straw1

The copy contains after >numéroté< the number 132.

30-2^Straw2

Strawinsky’s copy of his estate is completely preserved, unbound, unnumbered, undated, unsigned and contains neither corrections nor annotations.

30-3 CHESTER / LIBRARY / IGOR STRAWINSKY / RAG-TIME / PARTITION D'ORCHESTRE / PRIX: 7/– (FR. 10.50) Net / J & W. CHESTER L^TD // RAG-TIME°* / D'IGOR STRAWINSKY* / POUR ONZE INSTRUMENTS* / PARTITION D'ORCHESTRE net frs 10.50 (7/—)** / PARTIES D'ORCHESTRE (en location, on hire)** / TRANSCRIPTION POUR PIANO PAR L'AUTEUR** / [°°] net frs 4.50** [°°] / [flush left:] J. & W. CHESTER, LTD. / LONDON: 11 Great Marlborough Street, W.-1 / GENÈVE: 9 – 11 Place de la Fusterie / Déposé selon les traités internationaux /*** Propriété pour tous les pays /*** Tous / droits de représentation, traduction, reproduction et d'arrangement réservés / [flush right:] Seuls dépositaires pour la France / ROUART, LEROLLE & CIE, PARIS / 29 Rue D'ASTORG / Seuls dépositaires pour la Belgique / MAISON CHESTER, BRUXELLES / 86 RUE DE LA MONTAGNE / [centre:] Printed in Munich // (Full score [library binding] 26.8 x 33.6 (2° [4°]); 15 [13] pages + 4 cover pages thicker paper black on dark orange [ornamental front cover 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, 3 empty pages] + 2 pages front matter [title page, empty page] + 1 page back matter [empty page]; title head >RAGTIME<; dedication below title head centre >à Madame E. Errazuriz<; author specified 1st page of the score paginated p. 3 below dedication flush right centred >Igor Stravinsky / 1918<; legal reservations 1st page of the score below type area flush left >Copyright 1920 by J. & W. Chester, Ltd.< flush right >Tous droits réservés<; production indication 1st page of the score below legal reservation flush right >Gravure et Impression Mandruck,Munich.<; plate number >J.W.C. 22<; end of score dated p. 15 >Morges 1918<; without end mark) // (1920)

° Upper line bold.

°° Fill character double line 4 cm horizontal.

* Line flush left.

** Line centre centred as justified text.

*** Slash original.

30-3^St-Straw

A copy of the rental material remained in Strawinsky’s estate and comes from the end of 1925 at the latest (on p.2 of the cornet part, there appears flush right at the bottom the note >Lauritz Sörensen-Kobenhavn 2/12 25<), but it was not printed, rather handwritten and then the handwritten version was copied by the Munich printers, Mandruck. The plate number >J.W.C. 22A< appears printed however, on the 1st page of each part; on the following pages, the >A< is missing, and the number >J.W.C. 22< is handwritten. The legal reservations always appear on the 1st page of the score below the type area, >Copyright 1920 by J. & W. Chester Ltd. / 11. Great Marlborough Street / London, W. 1< flush right >Tous droits reservés<. Production data appears below the type area >Autographie: Mandruck, Munich<.

30-4 IGOR STRAWINSKY / RAGTIME / LES EDITIONS CHESTER LONDRES // RAG-TIME / d'Igor Strawinsky / POUR ONZE INSTRUMENTS / TRANSCRIPTION POUR / PIANO PAR L'AUTEUR / COUVERTURE DE / Pablo Picasso / Prix 4/- net / J. & W. CHESTER, Ltd. / 11, Great Marlbourough Street, LONDON, W. 1 / Printed in France // (Reduction for piano in cover not sewn enclosed loosely 26.9 x 34.3 ([4°]); 12 [12] pages + 4 cover pages black on creme white [front cover title with a full-page picture (consisting of one continuous line) of musicians playing 2 banjos and a violin signed >Picasso<, 3 empty pages] + 2 pages front matter [2 empty pages] + 2 pages back matter [2 empty pages]; title head >RAG-TIME<; dedication below title head centre centred italic >à Madame E. Errazuriz<; author specified 1st page of the score paginated p. 1 below title head flush right >Igor Stravinsky.<; legal reservations 1st page of the score below type area flush left italic >Copyright 1919 by Igor Strawinsky / Copyright 1922 by J. W. Chester L^td< flush right centred >Tous droits d'exécution publique, de traductions, / de reproduction et d'arrangements réservés pour tous pays, / y compris la Suède, la Norvège et le Danemark<; plate numbers [p. 1:] >J.W.C. 2071< [pp. 2-12:] >E. D. 4. L. S.<; end of score dated p. 12 italic >Morges 1918<; production indication p. 12 as end mark flush right centred >Grav. Imp. P. BERNHARD-ERNOULT / Roubaix-Tourcoing<) // [1922]

30-5 PHILHARMONIA / PARTITUREN · SCORES · PARTITIONS / STRAWINSKY / RAG-TIME / No. 291 / WIENER PHILHARMONISCHER VERLAG // PHILHARMONIA / PARTITUREN · SCORES · PARTITIONS / [+] / À Madame E. Errazuriz / IGOR STRAWINSKY / RAG-TIME / pour 11 instruments /* für 11 Instrumente /* for 11 instruments / [Vignette] / Eigentum des Verlages / J. & W. CHESTER, LTD. LONDON / und mit dessen Genehmigung in die / ,,PHILHARMONIA''-Partiturensammlung aufgenommen / [++] / Copyright 1921 by J. & W. CHESTER, Ltd. / Aufführungsrecht vorbehalten – Performing rights reserved – Droits d'exécution réservés / No. 291 / [+++] / WIENER PHILHARMONISCHER VERLAG A. G. / WIEN 1924 // (Pocket score sewn 13.5 x 18.5 (8° [kl. 8° / 8°]); 32 [32] pages + 4 cover pages black on grey [front cover title in the decorative frame of the circular ornament, with a width of 2cm with a circular vignette at the centre of the base ornament ø 1.7 cm, consisting of plucked instruments and a stylized face at the centre point in a round, stylized, coat-of-arms-esque, triangular background 3 x 3 and the initials >W<, >PH< and >V< appearing in the shape of a star at the points, page with publisher’s advertisements >PHILHARMONIA / TASCHEN-PARTITUREN / MINIATURE SCORES /° PARTITIONS DE POCHE<** without production data, page with publisher’s advertisements PHILHARMONIA / TASCHEN-PARTITUREN / MINIATURE SCORES /° PARTITIONS DE POCHE <*** without production data, page with publisher’s advertisements PHILHARMONIA / TASCHEN-PARTITUREN / MINIATURE SCORES /° PARTITIONS DE POCHE<**** without production data with production indications below Rahmen centre >WEAG.< flush right >Printed in Austria<] + 6 pages front matter [empty page, photo 8.7 x 12.9 facing right centre quasi-handwritten script printed italic below >Igor Strawinsky.< flush right below photo italic signed >Phot. R. Rigassi, Lausanne.<, title page with centre centred circular vignette ø 2 cm of plucked instruments and a stylized face as the middle point, one and a half page with five-column introductory German-English-French by >Dr. E. W.< + [half] page legend >ORCHESTRA< with >Abréviations: / Abkürzungen: / Abbreviations: / Abbreviazioni;<* in five columns French-German-English-Italian, page with comments on performance practice in five columns French-German-English-Italian oblong] without back matter; title head >RAG–TIME<; dedication 1st page of the score paginated p. 1 above title head centre centred italic >à Madame E. Errasuriz<; author specified 1st page of the score below title head flush right centred >Igor Stravinsky / (* 1882); legal reservation 1st page of the score next to and below title head flush left partly in italics >Aufführungsrecht vorbehalten / Droits d'exécution réservés / Performing rights reserved< below type area flush left partly in italics >J. & W. Chester Ltd,.° London / Copyright 1920 by J. & W. Chester, Ltd.<; comment 1st page of the score below type area and legal reservation centre >In die „Philharmonia" Partiturensammlung aufgenommen<; plate number [text:] >W. Ph. V. 291< [notes:] >W.Ph.V. 291 J.W.C. 22^a<; end of score dated p. 32 >Morges 1918<; production indication as end mark p. 32 flush right >Weag.<) // 1924

+ Dividing horizontal line of 9 cm, i.e., text width, centrally thickening to 0.1 mm.

++ Dividing (horizontal) 4 mm line.

+++ Dividing horizontal line of 8.9 cm, i.e., text width, centrally thickening to 0.1 mm.

° Punctuation original.

* Slash original.

** Compositions are advertised in two columns with edition numbers from >J. S. BACH< to >HAYDN<; Strawinsky not mentioned.

*** Compositions are advertised in two columns with edition numbers Kompositionen from >HAYDN< to >RIMSKY-KORSAKOW<; Strawinsky not mentioned.

**** Compositions are advertised in two columns with edition numbers from >ROSSINI< to >ZEMLINSKY<, amongst these >STRAWINSKY / 294 Histoire du Soldat /° Geschichte vom / Soldaten †) / 291/92 Ragtime /° Berceuses du chat †) / 293 Pribaoutki †) / 295 Suite p. petit orchestre †)< with miniature cross below advertisement >†) Not available in the British Empire< [° slash original].

30-6 CHESTER LIBRARY / IGOR STRAWINSKY / RAGTIME / [°] / PRICE 2/- NET / J & W CHESTER L^TD // IGOR STRAWINSKY / [°°] / RAG-TIME / POUR ONZE INSTRUMENTS / Partition d'orchestre 10/– (Frs. 15.–) net / Partition format de poche 2/– (Frs. 3.–) net / Parties d'orchestre (en location – on hire) / Arrangement pour piano à 2 mains 4/– (Frs. 6.–) / J. & W. CHESTER Ltd. / 11 Great Marlborough Street, London, W. 1 / Déposé selon les traités internationaux, Editeurs propriétaires 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 & CIE. [#] MAISON CHESTER / 29, Rue d'Astorg, [#] 86, Rue de la Montagne, / PARIS. [#] BRUXELLES. [°] // (Pocket score [library binding] 13.5 x 18.7 (8° [8°]); 32 [32] pages + 4 cover pages thicker paper black on yellow-orange-beige [ornamental front cover 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 >Handbook of Miniature / ORCHESTRAL AND CHAMBER / MUSIC SCORES / Complete List of Published Miniature Scores with a / THEMATIC LIST / of Classical Orchestral and Chamber Works. / Preface by SIR HENRY H. WOOD<] + 6 pages front matter [empty page, photo 8.7 x 13.5 facing right centre quasi-handwritten script printed italic below >Igor Strawinsky.< flush right below photo italic signed >Phot. R. Rigassi, Lausanne.<, title page, page with three-column introductory without a title German-English-French, [half] page with end of the introductory signed >Dr. E. W.< + [half] page legend >ORCHESTRA< with >Abréviations: / Abkürzungen: / Abbreviations: / Abbreviazioni;<* in five columns French-German-English-Italian, page with comments on performance practice in five columns French-German-English-Italian oblong >Notes / Anmerkungen / Notes / Anuntiazioni<°°] without back matter; title head >RAG–TIME<; dedication above title head centre italic >à Madame E. Errazuriz<; author specified 1st page of the score paginated p. 1 below title head flush right centred >Igor Stravinsky / (* 1882); legal reservation 1st page of the score above, next to and below title head flush left partly in italics >Aufführungsrecht vorbehalten / Droits d'exécution réservés / Performing rights reserved< below type area flush left partly in italics >J. & W. Chester Ltd,.** London / Copyright 1920 by J. & W. Chester, Ltd.<; plate number [text:] >W. Ph. V. 291< [notes:] >W.Ph.V. 291 J.W.C. 22^a<; end of score dated p. 32 >Morges 1918<; production indication p. 32 below type area flush right as end mark >Weag.<) // [1924]***

° Dividing (horizontal) 0.6 line. The copy Leipzig >1:2377< has a stamp >B. SCHOTT'S SÖHNE, MAINZ<.

°° Dividing (horizontal) 1.5 line.

* Slash original.

** Punctuation original.

*** The library of the British Museum gives the entry date on its (trimmed) contributory copy >c.133.c.(1.)< as 23^rd January 1937. If an unchanged price index can be ruled out, then this must be due the delivery of the copy having been delayed rather than a new edition published in that year, unless the dating is the result of the colour of the stamp being wrong. It is almost impossible to believe that Chester was still buying pocket scores titled in French at this time, especially ones with out-of-date adverts, as they were selling, at least in Germany, anglicised editions through Schott (from 1930 at the latest, as can be inferred from Schott’s edition number). The misprint 1st page of the score (see note **) is not corrected.

30-7 RAGTIME / FOR ELEVEN INSTRUMENTS / IGOR STRAWINSKY / MINIATURE SCORE / PRICE 5/-° NET / J. & W. CHESTER Ltd., LONDON / [°] // (Pocket score sewn 13.6 x 18.8 (8° [8°]); 32 [32] pages + 4 cover pages black on light beige [front cover title, 2 empty pages, page with publisher’s advertisements >SYMPHONIC ORCHESTRAL WORKS / AVAILABLE IN MINIATURE SCORE FORM<* without production data] without front matter + without back matter; title head >RAG–TIME / for Eleven Instruments<; dedication above title head centre italic >à Madame E. Errazuriz<; author specified 1st page of the score unpaginated [S. 1] below title head centred >Igor Stravinsky / (* 1882)<; legal reservations 1st page of the score below type area flush left partly in italics >J. & W. Chester Ltd,.°°° London / Copyright 1920 by J. & W. Chester, Ltd.< flush right >All rights reserved.<; plate number >J. W. C. 22^a<; production indication 1st page of the score below type area flush right below legal reservation >Printed in England.<; marked sheet below type area flush right [p. 1] >1<, p. 3 >1+<, p. 17 >2<, p. 19 >2+<); end of score dated p. 32 >Morges 1918<; without end mark) // [1930]

° Copies delivered later have a round label pasted in >8/8<.

°° Copies delivered by Schott have a stamp at the bottom of the page flush left >EDITION SCHOTT No. 3468<.

°°° Original spelling.

* Compositions are advertised in two columns from >BERNERS, LORD< to >STRAVINSKY, I. / [#] Histoire du Soldat. / [#] Les Noces. / [#] Ragtime. / [#] Renard. / [#] Suite from L’Oiseau de / [#] Feu (I9I9). / [#] Suite No. I for Small / [#] Orchestra. / [#] Suite No. 2 for Small / [#] Orchestra.<.

30-8^Alb Stravinsky* / И. СТРАВИНСКИЙ // IGOR STRAVINSKY / ŒUVRES POUR PIANO / VOLUME / I / EDITIONS MUSIQUE MOSCOU · 1968 // ИГОРЬ СТРАВИНСКИЙ / СОЧИНЕНИЯ ДЛЯ ФОРТЕПИАНО / ТОМ / I / ИЗДАТЕЛЬСТВО МУЗЫКА · МОСКВА · 1968 // [Text on spine:] ИГОРЬ СТРАВИНСКИЙ 1° СОЧИНЕНИЯ ДЛЯ ФОРТЕПИАНО // (Album 1.6 x 22 [22.3] x 28.9 [29,4] [Lex 8°]; 143 [143] pages + 4 pages bound in imitation leather [front cover title black on cream white, 2 empty pages red, empty page cream] + 8 pages front matter (including binding sides) [empty page red, empty page white, whole-page portrait of the young Strawinsky facing left, 2 empty pages, title page French, title page Russian, editors specified Russian >Составлние и редакция / А. КОНДРАТЬЕВА и К. СОРОКИНА< French >Complétés et rédigés par / A. KONDRATJEV et K. SOROKINE<] + 7 pages backmatter (included binding sides) [page with annotation >ПРИМЕЧАНИЯ< with notes about the genesis of the work and dedications Russian, index >СОДЕРЖАНИЕ< Russian, imprint Russian >Индекс 9-4-4< with billing of names >Редактор А. Бакулов / Художник В. Антипов / Худож. редактор Г. Христиани / Техн. редактор В. Кичороская< and itemized statements of format and origin, 3 empty pages, empty page red]; plate number >5064<; without legal reservations and acknowledging the original publishers on the pages of the score, without end marks) // 1968

° Vertical to text.

* An imprinted, stylized signature risen up in grey-black on black with a first letter the size of the entire page.

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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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