K070 Scherzo à la Russe

deutsch K070 Scherzo à la Russe

K70 Scherzo à la Russe

Scherzo alla russa

Scored for: a) Whiteman-Version / Jazz-Version: Piccolo (anche Flauto 2 / Saxofono Tenore B b 2), Flauto, Oboe, Saxofono Alto B b 2, Saxofono Tenore B b 2, Saxofono Baritono E b, Tromba C 1-3, Corno F, Trombone 1-3, Tuba, Pianoforte, Arpa, Chitarra, Xylofono, Timpani, Tamburino, Piatti, Tamburo militare, Gran Cassa, Violino 1-4, Viola 1-2, Violoncello, Contrabasso [Piccolo (also Flute 2 / Tenor Saxophone in B b), Flute, Oboe, 2 Tenor Saxophones in B b, 2 Alto Saxophones in B b, Baritone Saxophone in E b, 3 Trumpets, Tuba, Piano, Harp, Guitar, Xylophone, Timpani, Tambourin, Cymbals, Snare Drum, Big Drum, Violins 1-4, Violas 1-2, Violoncello, Double Bass] – b) Symphonic Version: Piccolo, 2 Flutes, 2 Oboes, 2 Clarinets in B b, 2 Bassoons, 4 Horns in F, 3 Trumpets in C, 3 Trombones, Tuba, Timpani, Percussion, Harp, Piano – c) Performance requirements: a: = a, b: Piccolo Flute (= 2nd Flute), 2 Flutes (2nd Flute = Piccolo Flute), 2 Oboes, 2 Clarinets in B b, 2 Bassoons, 4 Horns in F, 3 Trumpets in C, 3 Trombones, Tuba, Percussion (Tambourine, Triangle, Cymbals, Snare Drum with and without snares, Big Drum), Harp, Piano, 3 Solo Violins, 1 Solo Viola, Strings (First Violins*, Second Violins*, Violas**, Violoncellos**, Double Basses).

* Divided in two.

** Divided in three.

Construction: The Scherzo à la Russe is a one-movement orchestral work with two middle trio sections in the form A-B-A-C-A. The figuring runs through to the end of the Trio (figure 16) but begins again at the repeat of Scherzo as 1a ff. and is continued at Trio II (Figure 17f). At the end of the second Trio (figure 30), the work concludes with a repetition of the opening (up to the end of figure 8).

Structure

Symphonic Version

Con moto Crotchet = 116 (figure 51 up to the end of figure 8 [8 5])

Trio Crotchet = Crotchet (figure Ziffer 9 up to figure 16 3)

Scherzo (figure 41a up to the end of figure 8a [8a 5])

Trio II Crotchet = Crotchet (figure 17 up to the end of figure 30 [30 4])

Con moto Crotchet = 116 (figure 41 up to the end of figure 8 [8 5])

Style: Contrary to Whiteman’s assertion, the Scherzo à la Russe is not symphonic jazz. The Scherzo à la Russe could be, with the possible exception of a few bars, a classic movement from any Strawinsky symphony and it was conceived from the start as such. The Russian overtones are unmistakeable, above all in the Trios. One sees its models in Petrushka, The Fairy’s Kiss or in the Sonata for Two Pianos. The name ‘Scherzo’ was certainly a structural indicator. It does remind us of the popularity of the scherzo in the Russian musical society at the turn of the 20th century, and it is something to which many other works and sections of works by Strawinsky are indebted.

Dedication: Dedication not known.

Date of origin: Whiteman Version: Hollywood 1944; Symphonic Version: Hollywood, from January 1943 to end of July / beginning of August 1944.

History of origin: When Strawinsky was commissioned by Paul Whiteman, who was seen as the founder of symphonic jazz, with a composition for his own radio programme, he re-orchestrated the Scherzo and rewrote it for Whiteman’s Ensemble, which consisted of 25 musicians playing 50 instruments (8-10 violins, 1 or 2 string basses, 2 pianos including celesta, 1 Hungarian Cymbalon, 1 Banjo, 4 saxophones including clarinet and flute as well as oboe and cor anglais, 2 trumpets including 2 flugelhorns, 2 French horns, 1 trombone, 1 bass trombone, 1 or 2 tubas, 1 set of percussion). The project was realised at the beginning of April 1944. As he wrote in a letter to Hugo Winter of 17 April 1944, Strawinsky had scruples at first because he did not know whether Whiteman was with Associated Music Publishers and whether it would present difficulties with the printing of the score. The Whiteman version was in fact not printed. The contract with Associated Music Publishers, which had already been settled, referred to the commission and the rented material, but not to the printing. Strawinsky wanted it to be printed and in addition the rights situation had to be clarified between Whiteman as the contractor, Strawinsky as the composer and the publishers, since exactly this question had remained open. Strawinsky wanted good conditions, especially as he regarded the offer of $1,000 by Blue Network without further additions as being a very interesting offer. This did not exclude the possibility of it being improved upon by Associated Music Publishers. Strawinsky had negotiated the amount of $1,000 with Whiteman and gave him the radio première and publishing rights for the printed version provided that the sum was to be divided up, half given as credit which Strawinsky received based on the expected vinyl sales and which he was be obliged to refund as soon as he had received the actual amount for the première. Inevitably, there was a subsequent lively correspondence and endless telephone calls, but the matter seemed to have been settled to Strawinsky’s satisfaction. By the 16th May 1944, he was already in the midst of work on the piece and in a letter of the same date, he gives the final title Scherzo à la Russe for the first time in a correspondence which has been available up to now. On 4th June 1944, he describes the orchestration of the Scherzo as been ‘nearly finished’ in another letter to Winter. He had a good reason for this: namely, that the contract had not yet been fulfilled, something which he was not accustomed to (‘I do not find this situation entirely normal’). In addition, he complained about the fact that he had been kept without news of whether people had been informed of his choice of title. Furthermore, the long-desired Blue Network contract arrived with a letter of 13th July 1944. They had however forgotten to sign it and the cheque was missing. He now had to wait for the signed copy to be sent back again along with the cheque. Only then did he finally allow the orchestral score to be sent off. He subsequently gave himself over to the completion of the symphonic version, something which in fact may have been running alongside the other project and which at times held noticeable difficulties for him. The Trio Canon for example seemed to him to work in a lighter and more floating manner in the mandolin and guitar orchestration of the original version than in the harp and piano orchestration of the symphonic version at this point. The compositional process from film version to band version to orchestral version is evident from the seemingly contradictory dating of the symphonic version (1943/44), i.e. before the Whiteman contract (1944). The Scherzo was however originally intended in 1943 as a section: better, as sections of film music and was then reworked for Whiteman in 1944; he went on to arrange it again for symphony orchestra in 1944-1945. It is unclear as to when Strawinsky began work on this piece. In his correspondence with Associated Music Publishers, there is an indication that the company received the score on 3rd August 1944. He had at first planned separate orchestrations for the respective scherzo sections, which are now the same. The second trio was originally a two-part movement for children’s choir in A major for Soprano and Alto, dated 18th January 1943. In the meanwhile, he was complaining quite bitterly in a letter from 8th October 1944 about an outstanding contract. He made grave accusations against Winter. To Strawinsky, who was in a difficult situation and was a man of order, this matter was of extreme importance. He did not understand that others would take it more easily if it was in any case clear. He hoped (‘Let us hope’) and it seemed to sensitive observers just after the dispute that matters would take their normal course in the future with the publishers (‘will take their normal course’). This proposed contract can only have been the contract for the orchestral version which he had only been engaged in by October 1944 at the latest. By 31st May 1945, he had almost completed it and by the 5th July at the latest, the copies were with the publishers. The costs for it hit him hard. According to the accounts, he paid 5 dollars. It presumably ran to 23 pages because the neat copy that he received numbered that many pages. In addition, the postage cost $115, a considerable sum for the year 1945. It was no surprise that he asked the publishers not to forget to provide him with ‘this big amount’.

Duration: circa 4'.

First performances: Whiteman-Version: 5th September 1944, Broadcast Blue Network Program, Paul Whiteman's Band, conducted by Paul Whiteman; Symphonic Version: 22th March 1946, San Francisco, San Francisco Symphony Orchestra, conducted by Igor Strawinsky; Version for two Pianos : 25. October 1944, Mills College, Oakland, by Nadia Boulanger and Igor Strawinsky.

Performance practice: Strawinsky was not at all happy with Whiteman’s interpretation. As he explained later, Whiteman took the Scherzo far too quickly. The expressive indication Con moto, given next to the satisfactory metronome marking may be understood as an expression of Strawinsky’s displeasure.

Remarks: The Scherzo à la Russe was originally a part of some planned film music with a Russian background, to which the Russian subtitle referred. The American President Roosevelt demanded national sympathies amongst the American film industry after America’s entry into the Second World War and as a result, demanded that Russia be supported in the propaganda. Hollywood produced a whole series of propaganda films to which The Northern Star, filmed in 1943 by American director Lewis Milestone, belongs. It is set in the Ukraine and contrasts the misdeeds of the advancing German troops with the heroic deeds of the Russian defenders. The fact is that Strawinsky, who was a Russian aristocrat disappropriated by Lenin, and who, if at all, stood politically to the right rather than the left, could have had no great interest in the glorification of Stalin, the Soviet Union and the Red Army in whatever form. On the other hand, the emigrant Strawinsky urgently needed money. For the first and final time in his life, he gave private composition lessons in order to maintain himself. Hollywood came at just the right time, but as a compositional personality, Strawinsky was inappropriate for what Hollywood was demanding: emotional, inflammatory music to convey the war ideology. In addition, there was the concept of writing film music without composing alongside the directed film. He would later say that the best ever film music was Schoenberg’s Musik zu einer Lichtspielszene and this was because there was no existing film for it. Both were unacceptable for Hollywood and so Aaron Copland wrote the music for Milestone. In the general reuse of Strawinsky’s works, he let the title stand because, as he said, the work had been written in the spirit of Russian folk-music without actually using a real Russian folksong.

Situationsgeschichte: The Scherzo à la Russe belongs to the group of compositions which only partially gave Strawinsky pleasure. His emigration to the United States in 1939 brought him once again into extreme financial need, especially as his unprotected, successful works brought him no financial benefits as a result of the copyright and ownership laws in America. He therefore composed a series of works which he probably would not have taken on in other circumstances , such as the Ebony Concerto, Circus Polka and Scherzo à la Russe, works which he himself described as ‘Jazz Commercials’. They brought him no success even though he expected it and, as in the case of Schoenberg, all Strawinsky’s film projects, the style of which in Hollywood had long been established by Korngold, fell through. The money did not provide an obstacle in this matter, it was rather the licence expected from the contract maker to deal with the purchased music including the name of the composer according to his discretion (Stravinsky was offered one $100,000 dollars on one occasion for some film music which he was not intended to write, rather only to lend his name to) and the imagination of the composer to be able to compose music to films that he/she had never seen. The first performance of Scherzo à la Russe was quite a failure and it is not certain whether it was due to the piece itself or its interpretation. Strawinsky himself assigned this lack of success not to the work but to the performance itself, which he rejected when he came to know it.

Versions: The original version of the film music was not published during Strawinsky’s lifetime. The same holds for Whiteman’s version which was first published in 1996, long after Strawinsky’s death, in an Eulenburg series of pocket scores as Urtext edition No. 8049 (plate number: EE 7045) of a Version for Jazz Ensemble (1944). The contract with the Blue Network Company Inc. was undersigned by the sender on 13rd July 1944 and countersigned by Strawinsky on 15th July 1944. Strawinsky received two instalments of 500 dollars for the work. The symphonic version however was produced as a pocket score in 1945 by Associated Music Publishers in New York, in 1947 by Chappell in London and 1955 by Schott in Mainz; the version for two pianos by Strawinsky himself was published in 1945 by Associated Music Publishers and in 1955 by Schott. The contract with Associated Music Publishers bears the date 11th September 1944. Chappell & Co. entered into the contract on 21st September 1950. The first date of publication was registered as 29th December 1945 and the sales success was small. The publishers printed 1023 pocket scores and 512 piano reductions. In the first half of the year up to 30 th June 1947, almost the same number of these copies were given away for free (146) as were sold (156). Of the piano reductions, 133 were sold and 43 given away for free. In the subsequent year, 1st July 1946 to 30 th June 1947, only another 89 pocket scores and 38 piano versions were sold. In the following years, the number of copies sold sunk to below ten for the year and from 1951, until Schott took over, there seem to have been no more printed. – 1000 copies of the pocket score of the Scherzo were produced in two print runs by Schott during Strawinsky’s lifetime, after Strawinsky’s death up to the end of the century a further print run of 500 copies (commissioned 8th October 1954: 500; 18th June 1964: 500; 15. 12. 1977: 500). The version for two pianos by Strawinsky himself was published in 1945 by Associated Music Publishers and in 1955 by Schott. – Thad Marciniak later arranged the Scherzo for a concert band of 45 players. The arrangement was published in 1977 by Associated Music Publishers in New York in the usual manner of a conducting score with a set of parts under the plate number AMP-7607 (35 Dollars), conducting score without set of parts (5 Dollars), and as a set of single parts, each for 1.25 dollars.

Historical records: Hollywood, 16th September 1947, RCA- Victor-Symphony Orchestra, conducted by Igor Strawinsky; New York City, 17th December 1963, Columbia Symphony Orchestra, conducted by Igor Strawinsky.

CD edition: I-1/23.

Copyright: 1945 by Chappel & Co., Inc., New York.

Autographs: Both orchestral scores and the autograph of the piano arrangement are in the Paul Sacher Stiftung in Basel.

Editions

a) Overview

70-1 1945 PoSc; Associated Music Publishers New York; 35 S.; A.C. 194552.

70-2 1945 VoSc 2 Kl.; Associated Music Publishers New York; 27 S.; A.C. 19455.

70-3 1947 PoSc; Chappell & Co, London; 22 S.; 38449.

70-4 1955 [1959] VoSc; Assoc. Music Publ. New York / Schott Mainz; 17 S.; S & Co. 6184; 10646.

70-5 (1955) PoSc; Schott Mainz; B·S·S 38949 a ; 4553.

  70-5(64) (1964) ibd.

b) Characteristic features

70-1 Igor Stravinsky / Scherzo à la Russe / symphonic version / [vignette] / Miniature Score [*] $ 1.25 / ASSOCIATED MUSIC PUBLISHERS, INC. / New York / Printed in U.S.A. // Igor Stravinsky / Scherzo à la Russe / symphonic version / [vignette] / ASSOCIATED MUSIC PUBLISHERS, INC. / New York / Printed in U.S.A. // (Pocket score stapled 14.3 x 22.3 (8°); 35 [33] pages + 4 cover pages raspberry red on green 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 publisher’s emblem centre 2.1 x 2.6 >AMP-Music<**] + 2 pages front matter [title page with vignette 5.2 x 5.7 female head crowned with a lyra centre on stage with raised curtain facing the audience, empty page] + 1 page back matter [empty page]; title head >Scherzo à la Russe / Symphonic Version<; author specified 1st page of the score unpaginated [p. 3] below title head flush right centred >Igor Stravinsky / 1944<; legal reservation 1st page of the score below type area 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 indication 1st page of the score below type area flush right >Printed in U. S. A.<; plate number [only] 1st page of the score >A.C. 194552<; without end mark) // (1945)

* Fill character (dotted line).

** 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.

70-2 IGOR STRAVINSKY / Scherzo à la Russe / for orchestra / Transcribed for Two Pianos / by the composer / [Vignette] / Price ( 2 copies) $2.50 / ASSOCIATED MUSIC PUBLISHERS, INC., New York / Printed in U.S.A. // IGOR STRAVINSKY / Scherzo à la Russe / for orchestra / Transcribed for Two Pianos / by the composer / [Vignette] / ASSOCIATED MUSIC PUBLISHERS, INC., New York / Printed in U.S.A. // (Piano reduction for 2 pianos [library binding] 23 x 30.5 (4° [4°]); 17 [17] p. + 4 cover pages raspberry red on light grey [front cover title with vignette female head crowned with a lyra centre on stage with raised curtain facing the audience, 2 empty pages, empty page with publisher’s emblem centre >AMP-Music<*] + 2 pages front matter [title page with Vignette female head crowned with a lyra centre on stage with raised curtain facing the audience, empty page] + 1 page back matter [empty page]; title head >Scherzo à la Russe<; author specified 1st page of the score paginated p. 1 below title head flush left centred >Two-Piano Version / by the Composer< flush right centred >Igor Stravinsky / 1944<; legal reservation 1st page of the score below type area 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 >A. C. 19455<; production indication 1st page of the score below type area flush right >Printed in U. S. A.<; without end mark) // (1945)

* 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.

70-3 IGOR STRAVINSKY / Scherzo à la Russe / SYMPHONIC VERSION / [Vignette] / CHAPPEL & CO. LTD. / 50, NEW BOND STREET, LONDON, W.1 [#] SYDNEY AND PARIS / ASSOCIATED MUSIC PUBLISHERS INC. NEW YORK / 1872* / MADE IN ENGLAND // IGOR STRAVINSKY / Scherzo à la Russe / SYMPHONIC VERSION / Miniature Score / Price 6/- net / CHAPPEL & CO. LTD. / 50, NEW BOND STREET, LONDON, W.1 [#] SYDNEY AND PARIS / ASSOCIATED MUSIC PUBLISHERS INC. New York // (Pocket score stapled 16 x 22.7 (8° [gr. 8°]); 22 [22] pages + 4 cover pages black on light beige sand coloured [front cover title with vignette 4 x 5.2 back view conductor with baton in raised right hand, 2 empty pages, page with publisher‘s vignette 3.5 x 2.5 opened-up grand piano on a five-line stave with the publishers’ name CHAPPELL running diagonally from bottom to top over the instrument, with a loose, folded leaflet inside] + 2 pages front matter [title page, empty page] without back matter; title head >SCHERZO À LA RUSSE / Symphonic Version<; author specified 1st page of the score paginated p. 1 above, next to and below 2. line title head flush right centred >Igor Stravinsky / 1944<; legal reservation 1st page of the score below type area flush left >Copyright MCMXLV by Chappell & Co., Inc., New York / Sole Selling Agents {** / For the Western Hemisphere: Associated Music Publishers, Inc., New York / Elsewhere: Chappell & Co. Ltd., 50, New Bond Street, London. W.1st Sydney & Paris<; production indication 1st page of the score below type area flush right >MADE IN ENGLAND<; platte number [p. 1:] >38449< [pp. 2-22 flush left-flush right:] >38449 [#] Chappell<; end mark p. 22 flush right >CHAPPELL<) // (1947)

* In a text box.

** The bracket follows in the middle and spans the following two lines.

70-4 IGOR STRAVINSKY / Scherzo à la Russe / for orchestra / Transcribed for Two Pianos / by the composer / [vignette] / Edition Schott 10646 / SCHOTT & CO. LTD. / Associated Music Publishers Inc., New York / B. Schott's Söhne, Mainz / Printed in England // title page = front cover titleei farblos // (Reduction for four hands [library binding] 22 x 29.2 (4° [Lex. 8°]); 17 [17] pages + 4 cover pages black on structured in camel-coulor structured [front cover title with centre centred publisher’s emblem 5 x 5.6 female head facing the audience crowned with a lyra centre on stage with raised curtain, 2 empty pages, page with publisher’s advertisements >CONTEMPORARY PIANO MUSIC SCHOTT & LTD<* without production data] + 2 pages front matter [title page, empty page] + 1 page back matter [empty page] + enclosed 2. Exemplar without cover; title head >Scherzo à la Russe<; author specified 1st page of the score paginated p. 1 below title head flush left centred >Two-Piano Version / by the composer< flush right centred >Igor Stravinsky / 1944<; legal reservation 1st page of the score below type area centre centred >Copyright, 1945, by Associated Music Publishers, Inc., New York / Owner of Rights for All Countries outside the Western / Hemisphere and Israel: Schott & Co., Ltd. London<; plate number >S & Co. 6184<; without end mark) // (1959)

* Compositions are advertised in two columns under the headline >Piano solo< from >R. ARNELL< to >B. MARTINI<, amongst these >I. STRAVINSKY [#] Circus Polka<; under the headline >Piano Duet< from >R. ARNELL< to >E. SATIE<, Strawinsky not mentioned; under the headline >Two Pianos< from >P. RACINE FRICKER< to >I. STRAVINSKY [#] Sonata / [#] Concerto for two pianos / [#] Circus Polka<; under the headline >Piano Concerto (ARR. FOR 2 PIANOS)< from >R. ARNELL< to >H. VILLA-LOBOS<, Strawinsky not mentioned.

70-5 STRAWINSKY / Scherzo à la Russe / Symphonic Version / Partitur / [Vignette] / EDITION SCHOTT / 4553 // IGOR STRAWINSKY / Scherzo à la Russe / Symphonic Version / [Asterisk] / Partitur / B. Schott's Söhne /* Mainz / [°] / Schott & Co. Ltd., London W.1, 48 Great Marlborough Str. / Editions Max Eschig, Paris, 48 Rue de Rome / Associated Music Publishers Inc., New York, 25 West 45 th Str. / Printed in Germany – Imprimé en Allemagne // (Pocket score stapled 15 x 23 (8° [gr 8°]); 22 [22] pages + 4 cover pages black on grey beige veined [front cover title with publisher’s emblem orange oval 1.8 x 2.5 wheel of Mainz in a frame containing text in bottom half >PER MARE< [#] >ET TERRAS< left and right<, 2 empty pages, page with publisher’s advertisements >Studien-Partituren<** production data >45<] + 2 pages front matter [title page, legend >Instruments< English + duration data [4'] English] without back matter; title head >SCHERZO À LA RUSSE / Symphonic Version<; author specified 1st page of the score paginated p. 1 next to and below 2. line title head flush right centred >Igor Stravinsky / 1944<; legal reservation 1st page of the score below type area flush left >Copyright MCMXLV by Chappell & Co., Inc., New York / Sole Selling Agents:{*** For the Western Hemisphere: Associated Music Publishers, Inc., New York / Elsewhere: Chappell & Co. Ltd., 50, New Bond Street ,London. W.1st Sydney & Paris<; platte number >B·S·S 38949 a <; production indication p. 22 flush right as end mark >Druck u. Verlag von B. Schott's Söhne in Mainz<) // (1955)

° D ividing horizontal line of 7.6 cm, i.e. column width.

* Slash original.

** Compositions are advertised in three columns with edition numbers behind fill character (dotted line) under the framed [sole] headline >Kammermusik< from >Bach, Joh. Seb.< to >Windsperger, Lothar<, amongst these >Strawinsky, Igor / Pastorale für Sopran, / Oboe, Englischhorn, / Klarinette u. Fagott ° 3399 / Wiegenlieder d. Katze / f. tiefe Frauenstimme / und 3 Klarinetten ° 3466< [° fill character (dotted line)].

*** The bracket follows in the middle and spans the following two lines.

70-5(64) STRAWINSKY / Scherzo à la Russe / Symphonic Version / Partitur / [Vignette] / EDITION SCHOTT / 4553 // IGOR STRAWINSKY / Scherzo à la Russe / Symphonic Version / Studien-Partitur / Edition Schott 4553 / B. SCHOTT'S SÖHNE · MAINZ / Schott & Co. Ltd., London · B. Schott’s Söhne (Editions Max Eschig), Paris / Schott Music Corp. (Associated Music Publishers Inc.), New York // (Pocket score stapled 14.9 x 23 (8° [gr 8°]); 22 [22] pages + 4 cover pages grey-black on grey veined [front cover title with publisher’s emblem orange oval 1.9 x 2.5 wheel of Mainz in a frame containing text in bottom half >PER MARE< [#] >ET TERRAS<, 2 empty pages, page with publisher’s advertisement >STUDIEN-PARTITUREN / Eine Auswahl zeitgenössischer Orchesterwerke<* Stand >40<] + 2 pages front matter [title page, legend >Instruments< English + duration data [4'] English] without back matter; title head >Scherzo à la Russe / Symphonic Version<; author specified 1st page of the score unpaginated [p. 1] next to and below 2. line title head flush right centred >IGOR STRAWINSKY / 1944<; legal reservation 1st page of the score below type area flush left >© 1945 by Associated Music Publishers Inc., New York / © Owners: For the Western Hemisphere and Israel: Associated Music Publishers Inc., New York / Elsewhere – Schott & Co., London<; plate number >B·S·S 38949 a <; production indications p. 22 below type area flush left >Printed in Germany< flush right as end mark >Druck u. Verlag von B. Schott's Söhne in Mainz<) // (1964)

* Compositions are advertised with edition numbers behind fill character (dotted line) under the framed from >HELMUT DEGEN< to >BERND ALOIS ZIMMERMANN<; amongst these >IGOR STRAWINSKY / Babel° 4412 / Circus-Polka° 4274 / Concerto in Es (Dumbarton Oaks) / für Kammerorchester° 3527 / Danses concertantes° 4275 / Der Feuervogel, Ballett-Suite (1945)°° 4420 / Feuerwerk, Fantasie° 3464 [°fill character (dotted line); °° fill character (dot)].

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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