K091 Movements

deutsch K091 Sätze

K91 Movements

for Piano and Orchestra – Sätze für Klavier und Orchester – Mouvements pour piano et orchestre – Движения для фортепиано с оркестром – Movimenti per pianoforte ed orchestra

Scored for: a) First Edition: 2 Flutes (2nd doubling Piccolo), Oboe, Cor Anglais, Clarinet in B b, Bass Clarinet in B b, Bassoon, 2 Trumpets in B b, 2 Tenor Trombones, Bass Trombone, Harp, Celeste, Strings (6, 6, 5, 5, 2); b) Performance requirements: = a).

Score: The score is a reformed score with modern part-ordering laid out in separate blocks with the systems reduced according to the number of instruments playing; all the instruments are notated in C and sound as written, the piccolo an octave higher and the double bass an octave lower.

Construction: Movements is a five-movement, freely structured twelve-tone concert piece for piano and orchestra with integrated, self-standing episodes. The individual movements have no names but have Roman numerals; they are numbered by bar numbers throughout and not with figures (I:1-26,1-22,27-45; II:46-67,68-73; III:74-91,92-95; IV:96-109,110-122,123-135,136-140; V:141-193).

Structure

I

Quaver = 110 (bar 1 up to bar 26 [with repetition from bar 1 up to bar 22)

Meno mosso Quaver = 72 (bar 27 up to bar 45)

II

Crotchet = 52 (bar 46 up to bar 67)

Crotchet = 72 (bar 68 up to bar 73)

III

Quaver = 72 (bar 74 up to bar 91)

Quaver = 80 (bar 92 up to bar 95)

IV

Quaver = 80 (bar 96 up to bar 109 [forward attacca subito to bar 110])

stesso tempo ([from attacca subito bar 109] bar 110 up to bar 122 [forward attacca subito to bar 123])

sempre stesso tempo ([from attacca subito bar 122] bar 123 up to bar 135)

Crotchet = 52 (bar 136 up to bar 140 [forward attacca subito to bar 141])

V

Quaver = 104 ([from attacca subito bar 140] bar 141 up to bar 193)

Row*: e b 2-f b 2-b b 1-a b 1-a1-d2-c2-b1-c #2-f#1-g1-f1.

* A ccording to Library Darmstadt.

Corrections / Errata

Full score 91-2

Annotations pencil, green and red

1.) duration: >8:30< instead of 10’ (pencil).

2.) 1. page of the score unpaginated [p. 1] metronome marking: quaver = 120 instead of quaver = 110 (pencil).

3.) bar 20: 3/8-metre instead of 6/16-metre (green).

4.) bar 25: 5/8-metre instead of 5/16-metre (red).

5.) bar 73: last value has to be marked with a fermata (green); afterwards, it should moves > attacca< into the third movement. It also continues attacca from the first movement into the second.

A second copy contains performance remarks in red, but no corrections.

Style: Strawinsky manipulates the row in its classic four-fold form, as developed by Schoenberg: prime, inversion, retrograde and retrograde inversion, but not following Schoenberg’s method of composition, which does not allow any development outside the row. Strawinsky works with the row as with the exposition of a fugal theme and the concomitant episodes, in that he uses the row constructions as crystallization complexes which he separates by means of interspersed free intervallic combinations according to his manner. Furthermore, he gave forms that had become unusual for a row. In this way, he constructed the 5th movement out of 12 vertical rows. He developed a network for the manipulation of the row with rotational process and replacement rows. The process becomes clear when analysed alone and uncovers a game with alternating rows of 3, 4 and 5 notes respectively. The rhythmic element is complicated and makes the performance correspondingly precarious. Strawinsky worked with serial rhythmic frameworks, in that he speeds up or slows down rhythms steadily at certain times. In this way, the music gains a multidimensionality defined by the structure, something which Balanchine exploited later. In addition, each movement is defined differently in terms of sound colour.

Dedication: > to Margrit Weber< (T he dedication is a part of the subtitle).

Dedicatee: Margrit Weber was born on 24. February 1924 in Ebnat-Kappel and died on 2nd November 2001 at the age of 77 years in Zollikon in Switzerland. She had studied at the Conservatory in Zürich and graduated there in 1952. The Fantasia Concertante, the name for Bohuslav Martinu’s 5th Piano Concerto, was commissioned by Weber, a work which she, as with many other contemporary works, also premièred. Margrit Weber taught at the Conservatory in Zürich until 1973. She was associated with the Sacher Stiftung in Basel, to which she gave a loan which later became a donation two years before her death.

Duration: between 8' 30" and 10'.

Date of origin: 1958 up to 30th July 1959.

History of origin: On 11th March 1958, Nabokov, who had been completely shaken by the death of Piovesan, inquired of Strawinsky whether he would be prepared to write a work for piano and orchestra or instrumental group for an outstanding young Swiss female pianist, whose name he did not mention, for the tax-free sum of $15,000. The pianist he was referring to was Magrit Weber, whose husband was a very rich industrialist, owned several hotels in Arosa, Venice and St. Moritz as well as his own collection of pictures. Karl Weber was regarded as a friendly and educated man. He attached only two conditions to the commission: first, his wife should hold the exclusive rights to the work for a year, i.e. a season of six to eight months, and second that the piece could only be conducted by Ferenc Friscay or Strawinsky himself during this period of time. Strawinsky wrote back to Nabokov on 16th March that he was basically in agreement and would consider the matter. The fact that he had already given Nabokov his Swiss bank details shows that he had long been decided to write the piano concerto. He wanted to know the name of the pianist then (the exchange was in Russian and in Russian the difference between a female and a male pianist is not made, as is the case in English, and so Strawinsky had assumed a male pianist from Nabokov’s letter) and he wanted to know whether he/she was a French- or a German-Swiss. Furthermore he wanted to know whether Weber was good for such a sum of money and he demanded absolute silence about the project from everyone, something which was not unusual for Strawinsky. Strawinsky suggested as a precaution that Boosey & Hawkes would have to demand a fee for the production of the orchestral material and that he could not do anything to change it nor did he want to. The composition, so ends the letter, would take him a year to produce. Exactly when he began work in 1958 cannot be gleaned from the correspondence except for the fact that he had composed two-thirds by 5th June 1959 and at the same time had written it as a score and as an arrangement for two pianos. It was completed on 30th July 1959 and we learn from the correspondence that he completed it earlier than expected, which is even more astounding considering that the first half of 1959 was taken up with his journey to Japan and Scandinavia. He subsequently attempted to bring forward the première with success. Using these two specific markers in the compositional process, the beginning of the composition can be postulated to be Autumn 1958 at the earliest, which does not exclude earlier plans. This links in with the fact that Strawinsky and Weber met in September 1958 in Zürich. In his correspondence, Strawinsky spoke of a piano concerto, the final title of which was only developed later. In a letter to Ernst Roth of 5th June 1959, he finally mentions the title Movements for Piano and Orchestra. The talkative and witty Nabokov did not keep to the confidentiality clause. Kirstein and Balanchine certainly knew of it by June 1958. Strawinsky accused his friend in a letter of 8th June 1958 of not having kept his mouth shut. The information could only have come from him because the other collaborator who knew, Hans Ericman, with whom Strawinsky had been in dealings with about the piano concerto, came back from New York immediately. Boosey & Hawkes publishers began the printing in 1959. Strawinsky, in a letter to Ernst Roth of 19th September of 1959, was hoping for the first corrections.

First performance: 10th January 1960 in New York, Margrit Weber (Piano) conducted by Igor Strawinsky; the première, which was originally intended for 17th June 1960 in Cologne, became the second performance.

Remarks: Thanks to Rolf Liebermann, who especially travelled to Strawinsky to Copenhagen at the beginning of June 1959, the première was arranged for the 17th June 1960 in the large broadcasting hall of the Cologne Broadcasting House under the direction of Ferenc Friscay with a subsequent concert on 27th June in Hamburg. The large broadcasting hall, opened with a concert by Strawinsky himself after its completion, was regarded as the most modern broadcasting hall in Europe. As can be seen in a letter from Strawinsky to Suvchinsky of 24th August 1959, he had finished the work earlier than expected and did not want to wait for later than June 1960 for the première, but he strove for the opportunity to have it played under his own direction in New York at Christmas or shortly after the beginning of the new year. He especially did not intend to travel to Europe once again in early 1960. Strawinsky had to acclimatise himself to new dealings with Liebermann which were written this time but which took place in a friendly atmosphere, according to Strawinsky. The première took place in New York and the Cologne première became the second performance overall but the first European performance. Magrit Weber played the solo part though neither Friscay nor Strawinsky conducted; it was put on under the aegis of a special concert by Hans-Schmidt Isserstedt with the Sinfonieorchester des Norddeutschen Rundfunks, Hamburg. Presumably other reasons were involved. A première in Germany would probably have seen Ferenc Friscay as the conductor; in New York, Strawinsky himself was able to conduct. The planned French première under Boulez in June 1960 did not come to fruition due to issues with the rights and time constraints. – The actual rights for Margrit Weber turned out to be more cheaper than originally predicted. Her exclusive rights to the piece covered one season in 12 months, especially as broadcasting companies and record companies are not bound to seasons for recordings. The one-year right of performance only concerned Europe; it was extended to two years for the United States. The period began from the day of the American première, 10th January 1960. In mid-September 1959, Margrit Weber travelled to Venice. She gave a concert there of Martinu’s Piano Concerto. She took this opportunity to stay for a day in Venice to study the Movements with Strawinsky. On 8th March 1960, Strawinsky sent a copy of the score to Ernst Krenek, who was very highly esteemed by him, bearing the name of Margrit Weber and the imminent publication of the score by Boosey & Hawkes and the recommendation that he should conduct the work. – Even before October 1959, the matter of the recording was being debated between Columbia, New York or Deutsche Grammophon Gesellschaft, Hamburg. Margrit Weber preferred the Hamburg company while Strawinsky was, for obvious reasons, inclined towards Columbia. The exclusive rights ran out yet moral limitations remained, so that Strawinsky agreed with the Webers. The Movements could be acquired by anyone who wanted them; with the same work, Margrit Weber on the other hand could only commit herself to a single firm. The same problem arose for the conductors. In this matter, Weber chose the German firm for good reasons, but Strawinsky chose the American firm for just as good a reason, because he was able to conduct there. Margrit Weber recorded the Piano Concerto in an entirely different format from when she had played it in New York and Cologne, namely with the Radio Symphony Orchestra of Berlin eventually under the direction of Ferenc Friscay while Strawinsky was looking for a new pianist in Charles Rosen and played the recording on 12th February 1961 with the Columbia Symphony Orchestra. So it came that two recordings of the Movements for Piano and Orchestra were made which can both lay claim to authenticity as historic recordings. The version conducted by Strawinsky later went into the CD edition.

Significance: The Movements do away with the original concept of a concerto for piano and orchestra, and also the works of this type written by Strawinsky himself, in that the work links all the instruments to an insoluble structural unity which cannot be solved without every bit of virtuosic brilliance or possibility for development for the soloist, who is actually not one any more at all. Strawinsky’s later serial style avoids emotional effects, though not colour, which was first recognisable when one has accustomed oneself to the rather brittle musical language. – Strawinsky was very worried about the Movements because he saw that the work was very difficult, not for the pianist but for the conductor due to the many-layers of rhythm and meter. – The possibility for spatial choreography inspired Balanchine since the arrangement of the rows made the music multi-dimensional.

Production: Balanchine choreographed the Movements in April 1963 with the New York City Ballet for 2 solo dancers (Suzanne Farrell, Jacques d’Amboise) and 5 female dancers.

Versions: The publishing contract with Boosey & Hawkes was settled on 28th October 1959 and Boosey & Hawkes published the conducting score as well as the piano reduction and pocket score in 1960. The parts were issued for hire. The piano reduction and conducting score were printed in April and the pocket score in May 1960. In both volumes of the complete collection of Strawinsky’s piano music, the publisher of the Editions Musiques in Moscaw in 1968 included the Movements without reference to the original publishers.

Historical Recordings: Hollywood 12th February 1961, Charles Rosen (Piano), Columbia Symphony Orchestra conducted by Igor Strawinsky; Berlin, Margrit Weber (Piano), Radio-Symphonie-Orchester Berlin conducted by Ference Friscay.

CD edition: V/4-8 (Strawinsky-Rosen).

Autograph: The original manuscript and the two handwritten copies of the piano reduction came in the possession of Karl Weber in Zürich.

Copyright: 1960 by Hawkes & Son, London.

Editions

a) Overview

91-1 1960 VoSc; Boosey & Hawkes London; 15 pp.; B. & H. 18677.

91-2 1960 FuSc; Boosey & Hawkes London; 20 pp.; B. & H. 18676.

    91-2Straw1 ibd. [with corrections].

    91-2Straw2ibd. [with annotations on performance; no corrections].

91-3 1960 PoSc; Boosey & Hawkes London; 20 pp.; B. & H. 18676; 718.

    91-3601960 ibd.

    91-3631960 ibd.

91-4Alb 1969 VoSc; Œeuvres pour piano II, 17 pp.; Editions Musique Moscou; 6089.

b) Characteristic features

91-1 Igor Strawinsky / MOVEMENTS / for / Piano and Orchestra / Reduction for two Pianos/ Boosey & Hawkes // Igor Strawinsky / MOVEMENTS / for / Piano and Orchestra / Reduction for two Pianos/ by the Composer/ Boosey & Hawkes / London . Paris . Bonn . Capetown . Sydney . Toronto . New York // (Piano score for 2 pianos sewn in red 23,6 x 30,9 (4° [4°]); 15 [15] pages + 4 cover pages thicker paper light red on green beige [front cover title, 3 empty pages] + 2 pages front matter [title page, page with note on performance English-French-German >Piano I plays the solo part thoughout, Piano II the orchestral part, with the exception / of the Interludes where both pianos play orchestral parts. / Piano I est la partie du soliste, et Piano II celle de l'orchestre à l'exception des / Interludes, où la partie d'orchestre est jouée par les deux pianos. / Piano I ist durchaus die Stimme des Solisten, / Piano II spielt den Orchesterpart mit / Ausnahme der Zwischenspiele (Interludes) wo beide, Piano I / und II, den Orchesterpart übernehmen <] + 1 page back matter [empty page]; title head in connection with dedication italic >MOVEMENTS / for Piano and Orchestra / to / Margrit Weber<; author specified 1. page of the score without pagination [p. 1] below title head flush right centred >IGOR STRAWINSKY / 1958-59<; legal reservations 1. page of the score below type area flush right >All rights reserved< flush left >© 1960 by Hawkes & Son (London), Ltd.<; plate number >B. & H. 18677<; end of score dated p. 15 >July 30 th 1959<; production indication 1. page of the score below type area next to flush left legal reservation centre inside right >Printed in England< ;end number p. 20 flush left >4.·60. E.<) // (1960)

91-2 Igor Strawinsky / MOVEMENTS / for / Piano and Orchestra / Full Score/ Boosey & Hawkes // Igor Strawinsky / MOVEMENTS / for / Piano and Orchestra / Full Score/ Boosey & Hawkes / London · Paris · Bonn · Capetown · Sydney · Toronto · New York // (Full score sewn in red 23,5 x 30,9 (4° [4°]); 20 [20] pages + 4 cover pages thicker paper orange-red on green-beige [front cover title, 3 empty pages] + 4 pages front matter [title page, empty page, legend >Orchestra< Italian + duration data [10’] English + note on performance English-French-German >All transposing instruments are written in C, Piccolo one octave lower and Double / Basses one octave higher than they sound, Celesta at actual pitch. / Tous les instruments tranpositeurs sont écrits en ut, Petite Flute une octave plus bas / et Contre-basses une octave plus haut que le ton véritable, Celeste seIon le ton véritable. / Alle transponierenden Instrumente sind in C notiert, Kleine Flöte eine Oktave tiefer / und Kontrabässe eine Oktave höher aIs sie klingen, Celesta klingt wie notiert.<, empty page] without back matter; title head >MOVEMENTS / for Piano and Orchestra<; dedication below title head centre italic > to / Margrit Weber<; author specified 1. page of the score without pagination [p. 1] below and next to movement number in Roman numeral (without dot) >I< flush right centred >IGOR STRAWINSKY / 1958-59<; legal reservations 1. page of the score below type area flush left >© 1960 by Hawkes & Son (London), Ltd.< flush right >All rights reserved<; plate number >B. & H. 18676<; production indication 1. page of the score below type area centre inside right >Printed in England; end of score dated p. 20 >July 30th. 1959<; end number p. 20 flush left as end mark >4. 60 E<) // 1960

91-2Straw1

The copy from Strawinsky’s estate contains a note on the right of the inner title page underneath the italic > Full Score<, and the performance duration corrected by hand to 8’30” on the 3 rdpage of the prefatory material. Under >Orchestra<, after >Archi< the string numbers are specified as >[6VL.I, 6VI.II, 4Vle., 5Vce., 2Cb.]<. The copy is signed >ISTR< on the outer title page slightly to the right between the name and the title and there are performance instructions entered predominantly in green. Apart from these, there are 5 corrections that have been made: in bar 42b, the last double note in the piano system should be a demisemiquaver rather than a semiquaver; an >attacca< should be added at the end of bars 45, 95 and 140; a fermata followed by an >attacca< marking should be added in bar 73 in the treble-clef system at the top.

91-2Straw2

The second copy in Stravinsky’s estate contains performance instructions predominantly in red. It is neither signed nor dated.

91-3 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / MOVEMENTS / for / Piano and Orchestra^ / BOOSEY & HAWKES / No. 718 // HAWKES POCKET SCORES / IGOR STRAWINSKY / MOVEMENTS / for / Piano and Orchestra / BOOSEY & HAWKES / LTD. / LONDON · PARIS · BONN · CAPETOWN · SYDNEY · TORONTO · BUENOS AIRES · NEW YORK / NET PRICE / MADE IN ENGLAND // (Pocket score stapled 13,7 x 18,7 (8° [8°]); 20 [20] pages + 4 cover pages thicker paper dark green-olive-green on beige [front cover title with frame 9,5 x 3,6 beige on dark green-olive-green, 3 empty pages] + 4 pages front matter [title page, empty page, legend >Orchestra< Italian + duration data [10’] English + note on performance English-French-German >All transposing instruments are written in C, Piccolo one octave lower and Double / Basses one octave higher than they sound, Celesta at actual pitch. / Tous les instruments tranpositeurs sont écrits en ut, Petite Flute une octave plus bas / et Contre-basses une octave plus haut que le ton véritable, Celeste seIon le ton veritable. / Alle transponierenden Instrumente sind in C notiert, Kleine Flöte eine Oktave tiefer / und Kontrabässe eine Oktave höher aIs sie klingen, Celesta klingt wie notiert.<, empty page] without back matter; title head in connection with dedication in italics >MOVEMENTS / for Piano and Orchestra / to / Margrit Weber<; author specified 1. page of the score without pagination [p. 1] above and next to movement number in Roman numerals (without dot) >I< flush right centred >IGOR STRAWINSKY / 1958-59<; legal reservation 1. page of the score below type area flush right >All rights reserved< [/] flush left >© 1960 by Hawkes & Son (London), Ltd.<; plate number >B. & H. 18676<; end of score dated p. 20 >July 30th. 1959<; production indications 1. page of the score below type area centre inside right >Printed in England< p. 20 below type area flush left >Lowe and Brydone (Printers) Limited, London<; end number p. 20 between centre plate number and flush right end of score dated >5·60 L & B<) // (1960)

^ ^ = Text in frame.

91-360 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / MOVEMENTS / for / Piano and Orchestra^ / BOOSEY & HAWKES / No. 718 // HAWKES POCKET SCORES / IGOR STRAWINSKY / MOVEMENTS / for / Piano and Orchestra / BOOSEY & HAWKES / LTD. / LONDON · PARIS · BONN · Johannesburg· SYDNEY · TORONTO · BUENOS AIRES · NEW YORK / MADE IN ENGLAND [#] NET PRICE // (Pocket score [library binding] 13.8 x 18.7 (8° [8°]); 20 [20] pages + 4 cover pages thicker paper dark green on grey [front cover title with frame 9.5 x 3.6 grey on dark green, 3 empty pages] + 4 pages front matter [title page, empty page, legend >Orchestra< Italian + duration data [10'] English + note on performance English-French-German >All transposing instruments are written in C, Piccolo one octave lower and Double / Basses one octave higher than they sound, Celesta at actual pitch. / Tous les instruments tranpositeurs sont écrits en ut, Petite Flute une octave plus bas / et Contre-basses une octave plus haut que le ton véritable, Celeste seIon le ton véritable. / Alle transponierenden Instrumente sind in C notiert, Kleine Flöte eine Oktave tiefer / und Kontrabässe eine Oktave höher aIs sie klingen, Celesta klingt wie notiert.<, empty page] without back matter; title head in connection with dedication in italics >MOVEMENTS / for Piano and Orchestra / to / Margrit Weber<; author specified 1. page of the score without pagination [p. 1] above and next to movement number in Roman numeral (without dot) >I< flush right centred >IGOR STRAWINSKY / 1958-59<; legal reservations 1. page of the score below type area flush right > [#] All rights reserved [/]< flush left >© 1960 by Hawkes & Son (London), Ltd.<; plate number >B. & H. 18676<; end of score dated p. 20 >July 30. 1959<; production indications 1. page of the score below type area next to flush left legal reservation centre inside right >Printed in England< p. 20 as end mark flush left >Lowe and Brydone (Printers) Limited, London<; end number p. 20 between production indication und end of score dated inside right centre [#] 12·60 L & B<) // (1960)

^ ^ Text in frame.

91-363 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / MOVEMENTS / for / Piano and Orchestra^ / BOOSEY & HAWKES / No. 718 // HAWKES POCKET SCORES / IGOR STRAWINSKY / MOVEMENTS / for / Piano and Orchestra / BOOSEY & HAWKES / MUSIC PUBLISHERS LIMITED / LONDON · PARIS · BONN · Johannesburg· SYDNEY · TORONTO · NEW YORK / MADE IN ENGLAND [#] NET PRICE // (Pocket score stapled 13.8 x 18.7 (8° [8°]); 20 [20] pages + 4 cover pages thicker paper olive-green on grey beige [front cover title with frame 9.5 x 3.6 grey beige on olive-green, 3 empty pages] + 4 pages front matter [title page, empty page, legend Italian + duration data [10'] English + notes on performance English-French-German >All transposing instruments are written in C, Piccolo one octave lower and Double / Basses one octave higher than they sound, Celesta at actual pitch. / Tous les instruments tranpositeurs sont écrits en ut, Petite Flute une octave plus bas / et Contre-basses une octave plus haut que le ton véritable, Celeste seIon le ton veritable. / Alle transponierenden Instrumente sind in C notiert, Kleine Flöte eine Oktave tiefer / und Kontrabässe eine Oktave höher aIs sie klingen, Celesta klingt wie notiert.<, empty page] without back matter; title head in connection with dedication in italics >MOVEMENTS / for Piano and Orchestra / to / Margrit Weber<; author specified 1. page of the score without pagination [p. 1] above und next to movement number in Roman numeral (without dot) >I< flush right centred >IGOR STRAWINSKY / 1958-59<; legal reservations 1. page of the score below type area flush right > [#] All rights reserved [/]< flush left >© 1960 by Hawkes & Son (London), Ltd.<; plate number >B. & H. 18676<; end of score dated p. 20 >July 30th 1959<; end number p. 20 inside right centre >5·63 L & B<; production indications 1. page of the score below type area next to flush left legal reservation centre inside right >Printed in England< p. 20 flush left as end mark >Lowe and Brydone (Printers) Limited, London<; // (1963)

^ ^ Text in frame.

91-4Alb Stravinsky* / И. СТРАВИНСКИЙ // IGOR STRAVINSKY / ŒUVRES POUR PIANO / VOLUME / II / EDITIONS MUSIQUE MOSCOU · 1969 // ИГОРЬ СТРАВИНСКИЙ / СОЧИНЕНИЯ ДЛЯ ФОРТЕПИАНО / ТОМ / II / ИЗДАТЕЛЬСТВО МУЗЫКА · МОСКВА · 1969 // [Text on spine:] ИГОРЬ СТРАВИНСКИЙ 2° СОЧИНЕНИЯ ДЛЯ ФОРТЕПИАНО // (Album 1.7 x 21.7 [22.6] x 28.9 [29.5] [Lex 8°]; 212 [212] pages + 4 pages bound in imitation leather [front cover title cream white on black, 2 empty pages red, empty page black with price mark creme white pages above flush left >3 р. 51 к.< + vignette centre centred 1.4 x 1.6 in the text box containing initial >M< with a stylized treble clef form cream white] + 6 pages front matter [empty page red, empty page white, empty page with vignette centre centred 1.4 x 1.6 in the text box containing initial >M< with a stylized treble clef form, 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<] + 6 pages back matter [page with annotation >ПРИМЕЧАНИЯ< with notes about the genesis of the work and dedications Russian, empty page, index >СОДЕРЖАНИЕ< Russian, imprint Russian >Индекс 9-4-4< with billing of names >Редактор А. Бакулов/ Художник В. Антипов/ Худож, редактор А. Головкина/ Техн. редактор С. Белоглазова< and itemized statements of format and origin, empty page, empty page red]; reprint pp. 196-201 (I), 202-203 (II), 204-205 (III), 206-207 (IV), 209-212 (V); title head Russian-French >ДВИЖЕНИЯ [#] MOUVEMENTS / дла фортепиано с оркестром [#] pour piano et orchestre <; index as numbers in Roman numerals without dots; plate number >6089<; marked sheet below type area flush left p. 2 >2 Стравинский, фортепиано Т. II<, p. 29, 45, 61, 77, 93, 109°°, 125, 141, 157, 173, 189, 193, 201 >3 Стравинский, фортепиано Т. II< continued to >15 Стравинский, фортепиано Т. II<; without author specified, legal reservations and without acknowledging the original publishers on the pages of the score, without end marks) // 1969

° Vertical to text.

°° Marked sheet >9< instead of >8< is original, and the marking >9< on p.125 continues with the correct numbering.

* 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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