K072 Elegie
K72 Élegie
composée à l’intention de Germain Prévost, pour être jouée à la mémoire de / ALPHONSE ONNOU / fondateur du Quatuor Pro Arte pour Viola ou Violon seul – Elegy for Viola or Violin unaccompanied – Elegie auf Anregung Germain Prévosts zum Gedenken an den Gründer des Pro-Arte-Quartetts Alphonse Onnou für Solo-Bratsche oder Solo-Violine komponiert – Elegia per viola o violino solo, composta su iniziativa di Germain Prévost, per essere suonata alla memoria di Alphonse Onnou, fondatore del Quartetto Pro Arte
Construction: This two-voice work for solo viola, constructed in three sections, can also be played transposed up a 5th by a solo violin. The work consists of 59 bars, divided thus: 15 + 29 + 15= 59 in the tempo marking Lento, quaver=56 throughout. Formally, it is an elegy in A-B-A1 form in which the A section is simultaneously the Prologue and Postlude for the fughetto of the middle section. Both A sections together are proportionally related to the middle section 1:2:1 in terms of length. The work is strictly in two voices and almost without dynamic markings; the printed fingerings have no practical or technical meaning but help the contrapuntal flow of the work. A rare accent marking should always be played as a sforzato-piano. The viola version is in A-flat major throughout, and the violin version is in E-flat major. There is no key signature. The metrical basic unit is given as a quaver, which is barred into groups of two, three, four and six depending on contrapuntal and intervallic construction. In this way, Strawinsky repeats bar 7 in bar 10, but takes the first note of the lower part in bar 8 as the lower part of bar 10. The metrical imbalance arising in bar 7 through the introduction of a group of three quavers is balanced out again in bar 12.The intervallic construction is based on a four-note motif which, in accordance with Strawinsky's style, is developed in blocks but altered from block to block. The introduction is therefore constructed from the four-note motif g-d-b-d, changing via f-d-g-d and a-d-e-f into f-d-b-d with f/g as the upbeat. At this point, the end of the first sostenuto phrase is indicated by a breath mark. The introduction takes on a different character but does not depart from the method of construction, manipulating and tessiturally expanding the four-note motif which is always exposed in a new form. Bars 5 and 6 return in bars 7-9 and the beginning of bar 5 becomes the beginning of bar 9 and the end of bar 9 is identical to the end of bar 5, because bars 5 and 9 are identical. In the first five bars of the middle section, there is a fugue subject in the lower part (16-20) which is taken up as an answer in the top part in bars 6-10 (21-26) and is developed contrapuntally in the lower part as a continuation of the theme. Strawinsky develops the accompanying music from the basic material of the fugue subject. By using 4 sections in the middle section, Stravinsky carries the four-section structure of the motifs in the introduction structurally across into the fughetto style. After a four-bar episode, the theme re-enters in bar 15 (30) again in the lower part and again in bar 25 (40) in the top part, where the accompaniment consists of the inversion of the theme. The bridge into the A1 section happens by means of the only 10/8 or 5/4 bar of the entire piece, in which both parts are written in crotchets from a major 6th to a perfect 5th, a perfect 4th, a major third and a minor third (written as an augmented second). This constitutes the end of the middle section with the same minor thirds with which A1 section begins. In this A1 section, the first 11 bars (45-55), are identical to the first A section. For the ending, Strawinsky rewrote the last four bars as a coda section. The work ends however with the same chord.
Analysis of the middle section using a sketch by Karlheinrich Hodes
The middle section is not a fugue with the classic characteristics of a fugal scheme (dux and comes), but is structured in 4 sections using fugal technique (“… that Stravinsky designed the’ fugue’ freely and stepped back from the form when faced with the technique of its execution…”). Stravinsky introduces the theme (dux) in the first 5 bars, and the answer (comes) in the 6th bar. The 4 sections of the fugue (I, II, III, IV) vary in their rhythmic composition and in the amount of thematic answering that they contain (without becoming schematic). In every 2nd bar, it is: section I - semiquaver, section II - quaver; in every 4th bar, it is the other way around, section I - quaver, section II - semiquaver. In section III, Stravinsky has the theme enter in the lower voice a fifth above (d2), and has the counterpoint to it appear in the upper part. In section IV, the theme enters with the ninth and is answered with the inversion (major 3rd below rather than major 3rd above). Summary: section I consists of the five-bar theme which begins on g1 and proceeds to the fifth below, c2, to begin the 9 bars of section II. The answer then follows, after a semiquaver rest, in the lower part directly after the theme. The modulation goes towards d2. The 10 bars of section III begin a fifth above g1, on a crotchet d2. At this point, unlike in section II, the theme appears in the lower part and the comes accompanies it in the upper part. The modulation to section IV, which is once again 5 bars long, occurs chromatically in the last bar, going towards a2. The note a2 is the fifth above d2. The relationship between dux and comes corresponds to the relationship in section I. The modulation leads to the starting point of the 3rd section of the Elegy.
Corrections: In the original edition, there is at least one remaining printing error which is easy to notice. The crotchet in the upper part in bar 7 should not be dotted. In the repeat, bar 51 is correctly written.
Structure
Lento Quaver = 56
[15 bars = bar 1-15]
L'istesso tempo
[29 bars = bar 16-44]
come prima
[15 bars = bar 45-59]
Style: The combination and montage processes applied in the Elegy are characteristic of Strawinsky's work in the mid-40’s and are suggestive of the serial techniques that he would use a decade later.
Dedication: The dedication is part of the title of the work.
Duration: about 4' 30".
Date of origin: [From the beginning of] 1944; o n the subject of the composition of the Elegy there is no more known than is in the dedication.
First performance: The first public performance took place in Los Angeles on 11th February 1945 and was played by Germain Prévost as part of a concert by Pro Arte. The public performance was preceded by a private one at Strawinsky’s house on 7th February 1945, again by Germain Prévost.
Versions: The work was originally intended for viola but was reworked (transposed up a 5th to allow for the different string tunings) and can also be played by a Solo Violin. From a sheet can be seen that Sol Babitz has transposed the piece for violin. In the printing the name of Babitz ist not mentioned. An arrangement for two violas remains unpublished. The work was firstly distributed split into viola and violin versions by Associated Music Publishers. All the European printed versions in Strawinsky's lifetime on the other hand have the work on three pages on a folded sheet of paper so that the viola and violin part antipodally stand opposite one another and the player does not need to turn the page*. For this reason, the title on the inner page was removed. The dedication, which is a part of the title and which is quite long for a main title, was used by the publishers (Chappell and Schott) as the heading on the first page of music and does not appear on the outer title page. The first publisher of the Elegy was Associated Music Publishers in New York. The contract with Strawinsky was settled on 15th February 1945. Strawinsky received $125 and the usual proportion of the proceeds from sales. The Elegy was published on 24th December 1945 in a first run of 529 copies, of which 198 were sold on up until 30th June, 1946 and 146 were given for free, so that only 185 copies remained available. In this way, the publishing house arranged in the second half of 1946 to print a new run with twice as many copies as the first run, namely 1029 copies. This time however, the sales dropped. Up to the middle of 1947, only 116 copies and 5 free examples were sold, so not even the rest of the first print-run. In an agreement of 21st September 1950, the rights went to Chappell on 30th September, while Associated Music Publishers were only duty-bound until the end of the year. Until then, only 64 copies were sold, but 54 were given away. In April 1951, there was a three-way deal between the Associated Music Publishers, Chappell and Strawinsky. The Chappell edition was presented at the beginning of 1947. The stamp of entry in London dates the contributed example to 27th March 1947. –In 1953, ownership of the Elegy was transferred to Schott. Schott printed 4 editions in Strawinsky’s lifetime with 2,300 copies in total. The first print run (800 copies) took place at the same time as the print run for the Sonata for 2 Pianos on 8th April 1953; the subsequent print runs took place on 29th June 1962, 5th November 1965 and 23rd October 1969 at 500 copies each. From Strawinsky’s death up to the end of the century, 5732 copies were printed + 151 overhang + 12 publishers’ copies in a further 9 print runs (3/7/1972: 500; 4/9/1974: 600; 21/10/1977: 600; 23/11/1981: 400; 11/8/1983: 700; 3/11/1986:700; 13/10/1989:700 + 98; 19/3/1993: 800 + 53 + 6; 18/12/1996: 732 + 6).
* In some libraries, the folded sheet is found cut up into three parts.
Historical Recording: none traceable.
CD edition: not contained.
Autograph: The original manuscript and sketches were in Strawinsky’s estate, but were not left to the Paul Sacher Stiftung in Basel, but to the Library of Congress in Washington. This is also the case for three pages of a viola version notated on two systems, which remains unpublished.
Copyright: 1945 by Chappell & Co., Inc. New York: it appears that Strawinsky registered or wanted to register a copyright with the date 24 thNovember 1944 in his own name.
Editions
a) Overview
72-1 1945 leaflet; Associated Music Publishers New York; 2 x 3 pp.; AMP-7520.
72-1Straw ibd. [with annotations].
72-2 1947 leaflet; Chappel London; 2 x 3 pp.; 38474.
72-3 1953 leaflet; Schott Mainz; 2 x 3 pp.; B .S .S 38483.
b) Characteristic features
72-1 IGOR STRAVINSKY / Élégie* / for Viola or Violin / unaccompanied / [vignette] / Price . . . $ 1.25 / ASSOCIATED MUSIC PUBLISHERS, INC. NEW YORK / Printed in U. S. A. // (Edition unsewn 23 x 30.1 (4°); 6 [6] pages = 2 x 3 [3] overleaf >Viola Sola< >Violino Solo< + 4 cover pages dark blue on beige [front cover title with vignette 5.2 x 5.7 female head crowned with a lyra centre on stage with raised curtain facing the audience, 2 empty pages, empty page with centre centred publisher’s emblem 2 x 2.6 >AMP-Music<**] with a loose, folded leaflet inside, without front matter and without back matter; dedication in connection with title head 1st page of the scores paginated p. 1 centre centred partly in italics >Élégie / composée à l'intention de Germain Prévost, pour être jouée à la memoire de / ALPHONSE ONNOU / fondateur du Quatuor Pro Arte <; author specified 1st page of the scores below title head flush right centred >Igor Stravinsky / 1944<; names of the instruments >Viola Sola< >Violino Solo< between title head and author specified; legal reservations 1st page of the scores below type area and playing instructions centre centred >Copyright, 1945, by Chappell & Co., Inc., New York. / Sole Selling Agents: / For the Western Hemisphere — Associated Music Publishers, Inc., New York / Elsewhere -Chappell & Co., Ltd., London.<; plate number viola version >A. C. 19454< violin version >A. C. 19454 Vln.<; without end mark) // (1945)
* In fancy letters italic.
** The word >Music< stands against the letter >P< vertically underneath the bulge and has as a syllable the same font size as half the single letter.
72-1Straw
On the front cover, Strawinsky’s copy from his estate is above the name flush right centred with >Igor Straw[v]insky / Dec./°45< (° slash original) signed and dated.
72-2 IGOR STRAVINSKY / Élégie* / for Viola or Violin / unaccompanied / [vignette] / Price 4/- net / CHAPPELL / [°] / ASSOCIATED MUSIC PUBLISHERS INC. NEW YORK / 1884** [#] MADE IN ENGLAND / [***] // (Edition unsewn 22.4 x 28.2 (4°); 6 [6] pages = 2 x 3 [3] pages paginated overleaf >Viola Sola< >Violino Solo< + 4 cover pages bright blue on matt blue-grey [front cover title with vignette 3.6 x 4.8 centre centred back view conductor with baton in raised right hand, 2 empty pages, empty page with vignette 4.5 x 3.3 an opened-up grand piano on a five-line stave with the publishers’ name running diagonally from bottom to top over the instrument, with a loose, folded leaflet inside >CHAPPELL<], without front matter and without back matter; dedication in connection with title head 1st page of the scores paginated p. 1 centre centred partly in italic >Élégie / composée à l'intention de Germain Prévost, pour être jouée à la memoire de / ALPHONSE ONNOU / fondateur du Quatuor Pro Arte<; author specified 1st page of the scores below flush left name of instruments >Violino Solo< ><Viola Sola< flush right centred >Igor Stravinsky / 1944<; legal reservations 1st page of the scores below playing instructions centre centred >Copyright, 1945, by Chappell & Co., Inc., New York. / Sole Selling Agents: / For the Western Hemisphere – Associated Music Publishers, Inc., New York. / Elsewhere – Chappell & Co., Ltd., London.<; production indications 1st page of the scores below legal reservations flush right >MADE IN ENGLAND< p. 2 + 3 below type area flush left >Chappell<; plate number >38474<; without end mark) // (1947)
* handwritten italic.
** In the text box contained.
*** T he copy of the Bayerische Staatsbibliothek >4 Mus.pr. 26388< contains a stamp at this point, as well as on p.1 of the viola part underneath the music centre centred >THE COPYRIGHT OF / SCHOTT & CO. LTD., / 48 GREAT MARLBOROUGH STREET, / LONDON. W. 1.<.
72-3 STRAWINSKY / Elegie / Violine oder Viola solo / [vignette] / EDITION SCHOTT / 4477 // (Edition unsewn 23.3 x 30.6 ([4°]); 6 [6] pages = 2 x 3 [3] pages unpaginated overleaf Viola/Violine + 4 cover pages anthrazit on light grey veined [front cover title with orange oval publisher’s emblem 2.8 x 3.5 wheel of Mainz in a frame containing text in bottom half >PER MARE< [#] >ET TERRAS< left and right, 3 empty pages] with a loose, folded leaflet inside, without front matter and without back matter; dedication in connection with title head 1st page of the scores unpaginated centre centred partly in italics >Élégie / composée à l'intention de Germain Prévost, pour être jouée à la memoire de/ ALPHONSE ONNOU / fondateur du Quatuor Pro Arte<; author specified 1st page of the scores below flush left name of the instruments >Violino Solo< >Viola Sola< flush right centred >Igor Strawinsky / 1944<; legal reservations 1st page of the scores below type area and playing instructions centre centred >Copyright, 1945, by Chappell & Co., Inc., New York.<; plate number on both (all) pages >B·S·S 38483<; production indication p. 3 of the scores as end mark flush right >Druck u. Verlag von B. Schott's Söhne in Mainz<) // (1953)
K Catalog: Annotated Catalog of Works and Work Editions of Igor Strawinsky till 1971, revised version 2014 and ongoing, by Helmut Kirchmeyer.
© Helmut Kirchmeyer. All rights reserved.
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