K022 Katzenwiegenlieder

K22 Berceuses du chat

Suite de chants pour vois moyenne et trois clarinettes – Katzenwiegenlieder (Wiegenlieder der Katze). Gesangssuite für mittlere Stimme und drei Klarinetten, nach russischen Volksliedern – Cats Cradle Songs for contralto and three clarinets – Ninnananne del gato. Suite di romanze per mezzosoprano (contralto) e tre clarinetti da canzoni popolari russe

Text: The words are based on Russian folksongs. In the first of the four songs the cat is described sleeping on the stove. The clock is ticking, but not for the cat. In the second song the pap cat cracks open some nuts, while the female washes herself and their children put on their glasses and wait patiently till their father has finished. The third song is a delightful lullaby. The cat has put on her beautiful grey dress in order to hunt mice, but she will take it off again if the child misbehaves and refuses to go to sleep. The child will, however, soon go to sleep. The final song consists of four strophes, each ending with a refrain telling a child how to be something special. The cat has a beautiful cradle, a snow-white pillow, a fine sheet and a warm bonnet; but ‘my child’, sings the mother with each strophe, has an even more beautiful cradle, an even whiter pillow, an even finer sheet and an even finer bonnet.

Scored for: middle voice; piccolo clarinet in E flat, clarinet in A (= clarinet in B flat) and bass clarinet in B flat (= clarinet in A).

Construction: A suite of songs made up of four short pieces numbered with roman numerals and with original Russian and French titles derived from the first lines of their respective poems: I. Спи, котъ . . . - Sur le poêle; II. Котъ на печи . . . – Intérieur; III. Бай-Бай – Dodo; IV. У кота, кота . . . – Ce qi'il a, le chat.

Structure

Cпи котъ . . . – Sur le poêle – Hinterm Herd – [On the stove]

Dotted crotchet = 52 (16 bars)

Cпи, котъ, на печкђ, . . . – Dors sur le poêle . . . – Hinterm Herd, Kater . . . – [You sleep on the

stove . . .]

II

Котъ на печи . . . – Intérieur – Katzenidylle – [At home]

Quaver = 88 (19 bars)

Котъ на печи . . . – Le chat, dans un coin, . . . – Kater knackt Nüsse – [Pap cat in a

corner . . .]

III

Бай - Бай . . . – Dodo . . . Wiegenlied – [Bai-bai - Dodo]

Quaver = 96 (16 bars)

Баюшкибаю, . . . – Dodo, l'enfant do, l'enfant dormira . . .– Eija, eija, du Kindchen . . . [Dodo, the child,

will soon be asleep . . . ]

IV

У кота, кота . . . – Ce qi'il a, le chat . . . – Was gehört der Katz'? – [The cat has . . .]

Crotchet = 69 (A song in four verse with Refrain = 7 bars excluding the upbeat)

У кота, кота . . . – Ce qi'il a, le chat . . . – Was gehört der Katz'? – [The cat has . . .]

А у дитятки мово . . . – mon enfant . . . – doch mein Kind . . . – [My child . . .]

Style: With the exception of the last of the four settings, which is somewhat livelier in tone, these Cat’s Cradle Songsare all in the style of sustained lullabies, their texts set in the Russian fashion and their musical language inspired more by a repertory of feline gestures than by any interpretation of the words. It is presumably this that explains the unusual instrumentation for three clarinets, the smoothy tone of which is especially well suited to depicting the body language of these animals. They also evoke the image of a cat stretching itself contentedly on the stove to the calming sounds of the vocal line and are further used to depict the cat typically washing itself or chasing a mouse.

In the first song, they recreate the lolling sense of well-being on a warm oven to the peaceful falling motion in the voice part.

The second song is in 3 sections in its miniature form A-A-A1, to which one can add a short coda B, according to the verse. Whether it’s cracking nuts or going to the toilet: the same frilly melody is used both times with the same simple orchestral accompaniment that suggests the typical washing of the cat. The next 5 bars, which are dedicated to the kittens, are a formal variation of the 2 A sections, which are identical to one another. The short coda consists of the 15th bar.

The 16 bars of the third song can be broken up into short sections of 2-3-5 and 6 bars, which can also be divided into 9 even shorter sections of 1, 1, 3, 1, 2, 1, 1, 3, 1 and 2. The central note D is common to all the sections, and it is reached from a higher note, and at times after a separate downwards movement. The 1st clarinet reinforces the direction towards the D sparingly, and the other 2 instruments proceed in constant quavers and are like the not monotone but peaceful sung motifs in the voice part with simple variations, specifically intended to put a child to sleep. Only at two places does the piccolo clarinet stand on its own in anticipation. In the first, this is at the beginning of bar 7. The combination of a 3rd and a 2nd, e-g-a as two semiquavers and a quaver has the effect of a hunting motif and appears here for the first time. The text of the song is about a mouse hunt. The same moment is repeated two bars before the end and’s testament to Strawinsky’s skill at characterization, in that he keeps the listener thinking to the end. Since the cat only does this if the child is well behaved and falls asleep. And at this moment, the song ensures that the child will also do this and the cat will therefore go hunting. The child does not dream of the hunt because it is not asleep yet, but it will sleep soon and the cat will do what it must, and the composer Strawinsky repeats his little hunting motif.

The fourth song is not actually a song to get a child to sleep, but a gently rocking lullaby which would be sung before the final song when the child’s consciousness is still awake enough to understand the meaning. The melody is very simple, and the refrain is likewise. The first section of the song stays inside the interval of a sixth g1-e2, and the refrain to the second section of the song in fact stays inside the interval of a major 3rd a1-c2 with a g in the last bar, and from there, there is a glissando back to the starting note of the song a, leading back into the next verse, which ends with the final note without glissando. The piccolo clarinet serves, with only small variations, as reinforcement of the voice part, which as a result sounds somewhat sharper than in the piano part.

Dedication: >Наталiи Сергеевне Гончаровой и Михаилу Федоровичу Ларiонову Игорь Стравинскiй / A Madame Natalie Gontscharowa et Monsieur Michel Larionow Igor Strawinsky< [To Mme. Natalie Gontscharowa and Mr. Michel Larionow Igor Strawinsky].

Duration: 0 ¢ 38 ¢¢ + 0 ¢ 56 ¢¢ + 1 ¢ 14 ¢¢ + 0 ¢ 48 ¢¢ .

Date of origin: Clarens, Château d’Oex and Morges, 1915–16.

First performance: 20 November 1918 in the Salle des AgriculteurEsin Paris by Pierre Bertin; the Austrian première took place at the Vienna Society for Private Musical Performances on 6 June 1919.

Remarks: It is impossible even to speculate on the background and genesis of this work. All that we can say for certain is that Strawinsky was a cat lover and adept at dealing with children. Presumably he recited the Russian folk texts to his children, improvising a vocal line to them and then setting them to music in the style of Russian lullabies. The melodies are authentically Strawinskyan rather than arrangements of existing folksongs. Comments to the contrary in his 1935 autobiography, Chroniques de ma vie(not written by Strawinsky himself), have turned out to be incorrect.

Versions: The original version for voice and three clarinets was published with the vocal score by Adolphe Henn of Geneva in 1917. Henn also published a set of parts: for so short a work, this could hardly be described as an extravagance even for so small a publisher. But 500 vocal scores were printed, together with 150 full scores and 50 sets of parts, a serious miscalculation on Henn’s part. By the end of 1919, when the rights were acquired by Chester in London, it appears from his inventory – which does not always agree entirely with his accounts – that he had sold 146 copies of the vocal score, 13 full scores and 5 sets of parts. He also gave away 15 vocal scores, 18 full scores and 1 set of parts. Strawinsky received a fee of 420 francs for the vocal score on 1 August 1917 and on the 15th was paid a further fee of 275 francs for the full score and parts. Chester took charge of 300 vocal scores, 150 full scores and 40 sets of parts on 29 November 1919. The discrepancy between these figures and those of the number of copies sold and given away – 39 vocal scores, 9 full scores and 4 sets of parts – is no doubt due to the fact that Henn rounded them up or down where necessary. Trade copies may also account for the difference. The Cat’s Cradle Songswere part of a package of works from Henn’s list for which Otto Kling paid Strawinsky a total of 10,000 francs in two instalments under the terms of an agreement dated 7 December 1919. Chester reprinted the vocal score in 1923, and in 1925 granted a licence to Viennese Philharmonia publishing house, using its edition for a whole series of its own editions, a practice adopted in the case of other scores published by Philharmonia. The parts, now with a new plate number, continued to be sold under Chester’s imprint. Five years later Chester brought out a new version of the pocket score containing only the French and German texts: the Russian text was evidently pasted over, and the space between the lines where the Russian words had once appeared was left blank. The Cat’s Cradle Songscontinued to be sold in this form. The publishing details were expanded following Chester’s takeover by Hansen. The cover was later changed to conform with changing fashions and the composer’s name was now spelt with a v. The music itself and the plate number were not altered. A version for solo piano that was prepared in 1915/16 remains unpublished, as does a further piano version of the fourth of the songs that Strawinsky prepared in 1940.

Piano version: With the exception of a mere handful of bars, the piano version is not difficult and creates a calm, if less colourful, impression. The three clarinet voices are fully worked into the textures, with the result that at no point in the score do we find four-part writing or textures that are congested or at all untypical of the piano. Only in the first song did Strawinsky write out the clarinet parts on three staves. Here the part scored for violin clef takes over the function of the piccolo clarinet, while the upper bass part takes over that of the bass clarinet. The sustained tremolando in fifths corresponds to the 16-bar tremolando on the clarinet in A.The predominantly two-part texture of the accompaniment in the 2nd song is carried by the sparing nature of the writing for the A clarinet up to the 5 bars at the end. This time, it is the bass clarinet that plays in the lower part of the piano, while the piccolo clarinet, which again accompanies the voice part in unison, appears again in the upper part. The part-writing is altered in the third song. Where it is not silent, the right hand of the piano doubles the voice, resulting in only minor variants. In the original, the bass clarinet is replaced by a clarinet in A, resulting in two clarinets in A playing a fourth apart. This now appears in the left hand of the piano. This lullaby is evidently intended to put the child to sleep, and so the composer clearly did not want any garish or obtrusive tone colours but only gentle sonorities. In consequence he brought both the tone colours and the writing for the clarinets closer together, using the piccolo clarinet only very sparingly for two notes, anticipating the vocal line beneath it and thereby conjuring up the image of a cat chasing mice and its symbolic analogue.The fourth song returns to the normal position. The bass clarinet finds itself literally in the lower bass part, the A clarinet in the middle register and the piccolo clarinet in the upper part of the register again.

Historical recording: Columbia Chamber Ensemble under the direction of Igor Strawinsky, with the mezzo-soprano Cathy Berberian. Sung in Russian, the recording was made in New York City on 11th December 1964.

CD edition: VIII-2/18-21.

Autograph: Archives Culturelles Romandes at Morges (Collection Kaspar Ansermet); nos. 3 and 4 of the piano version are in the Bibliothèque Nationale in Paris (formerly Collection André Meyer); the fair copy of the unpublished piano version of the 4th song, dating from 1940, is in the Paul Sacher Foundation in Basel.

Copyright: 1917 by Adolphe Henn, Geneva; 1923 by Chester, London.

Editions

a) Overview

22-1 1917 VoSc; R-F; Henn Genf; 8 p.; A. 68 H.

    22-1^Straw1ibd.

  22-1¹⁹1919 VoSc; R-F; Henn Genf [Chester London]; 8 p.; A. 68 H.

22-2 1917 Sc; R-F; Henn Genf; 8 p.; A. 69 H.

    22-2^Straw1ibd.

    22-2^Straw2ibd.

  22-2¹⁹1917 P; R-F; Henn Genf; 8 p.; A. 69 H.

22-3^St 1917 Set of parts; Henn Genf [unidentified].

22-4 1923 VoSc; R-F; Chester London; 8 p.; J. W. C. 3826 ^1-4; 117 [unidentified].

22-5 1925 PoSc R-F G; Philharmonischer Verlag Wien; 12 p.; W.Ph.V. 292 J. W. C. 14 ^a; 292.

  22-5^[62][1962] [unidentified].

22-6 [1925] PoSc; R-F G; Chester London; 12 p.; W. Ph. V. 292 + J. W. C. 14 ^a.

    22-6^Strawibd.

22-7^St [1925] Set of parts; Chester London; 3 x 1 p.; J. W. C. 14 ^1-3.

  22-7^St-[50] [1950] ibd.

22-8 1930 PoSc; F-G; Chester London; 12 p.; J. W. C. 14 ^a.

b) Characteristic features

22-1 IGOR STRAWINSKY / BERCEUSES DU CHAT / SUITE DE CHANTS / POUR / UNE VOIX DE FEMME ET TROIS CLARINETTES / MIS EN FRANÇAIS / par / C.-F. RAMUZ / RÉDUCTION POUR CHANT ET PIANO / PAR L'AUTEUR. / °Edition AD. HENN, GENÈVE. / °Copyright 1917 by Ad. Henn. / °Partition d'ensemble [#*] Net Fr. 6.– / °Parties d'ensemble [#*] " " 6.– / ° Réduction pour piano et chant [#*] / " " 3.–/ °°Propriété de l'auteur / pour tous pays. / °°Tous droits d'exécution, de reproduction / et d'arrangement réservés pour tous / pays, y compris le Danemark, la Suède / et la Norvège. // IGOR STRAWINSKY / BERCEUSES DU CHAT / SUITE DE CHANTS / I. SUR LE POÊLE, [#] II. INTÉRIEUR, / III DODO. [#] IV. "LE QU'IL Á, LE CHAT" / pour / UNE VOIX DE FEMME / ACCOMPAGNÉE DE TROIS CLARINETTES / TEXTES POPULAIRES RUSSES / MIS EN FRANÇAIS / PAR / C.-F. RAMUZ / RÉDUCTION POUR CHANT ET PIANO / PAR L'AUTEUR. / °Edition AD. HENN, GENÈVE. / °Copyright 1917 by Ad. Henn. / °Partition d'ensemble [#*] Net Fr. 6.– / °Parties d'ensemble [#*] " " 6.– / ° Réduction pour piano et chant [#*] / " " 3.–/ °°Propriété de l'auteur / pour tous pays. / °°Tous droits d'exécution, de reproduction / et d'arrangement réservés pour tous / pays, y compris le Danemark, la Suède / et la Norvège. // (Vocal score with chant [library binding] 27 x 19.6 oblong (obl. 8° [quer Lex. 8°]); sung texts Russian-French; 8 [6] pages + 4 cover pages grey on creme white [front cover title, empty page, page with dedication Russian-French handwritten printed in line etching >Наталiи Сергеевне Гончаровой / и / Михаилу Федоровичу Ларiонову / Игорь Стравинскiй / A Madame Natalie Gontscharowa / et Monsieur Michel Larionow / Igor Strawinsky<, page with publisher’s advertisements >DU MÊME AUTEUR< without production date]; title head as song title numbered in Roman numeral (with dot) >I. / Cïè êîòú . . . — Sur le poêle.<; without author specified; legal reservations 1st page of the score paginated p. 3 below type area flush left >Edition Ad. Henn, Genève (Suisse) / Copyright 1917 by Ad. Henn.< flush right; >Propriété de l'auteur pour tous pays. < flush right justified text left >Tous droits d'exécution, de traduction, d'arrangement et de reproduction / réservés pour tous pays, y compris le Danemark, la Suède et la Norvège< p. 4, 6, 8 flush left >Copyright 1917 by Ad. Henn.<; plate number >A. 68 H.<; end of score dated p. 8 centred >Clarens-Morges. / 1915-1916<; production indications p. 8 below type area centre >Imprimerie H. Jarrys, Genève.< flush right as end mark a clover-leaf made up of three circles, each containing the printed letter >C, >G< >R< as end mark) // (1917)

° Section publisher’s advertisement flush left.

°° Section legal reservation flush right centred.

* Fill character (dotted line).

** Compositions are advertised >TROIS PIÈCES FACILES pour PIANO A QUATRE MAINS. (MAIN GAUCHE FACILE.) / CINQ PIÈCES FACILES POUR PIANO A QUATRE MAINS. (MAIN DROITE FACILE.) / RENARD, HISTOIRE BURLESQUE EN UN ACTE, pour quatre voix d'hommes et orchestre de / chambre, mise en français par C.-F. RAMUZ. / a)PARTITION D'ENSEMBLE et PARTIES. }° Avec textes / b)RÉDUCTION pour CHANT et PIANO par l'AUTEUR. }° russe et français. / PRIBAOUTKI, Chansons plaisantes pour une voix et huit instruments, mises en français / par C.-F. RAMUZ. / a)PARTITION D'ENSEMBLE et PARTIES. }° Avec textes / b)RÉDUCTION pour CHANT et PIANO par l'AUTEUR. }° russe et français. / Edition AD. HENN — GENÈVE. [#] Propriété de l'auteur pour tous pays. / Imprimerie H. Jarrys, Genève.< [° the curly bracket, which is two-lines tall, encompasses the lines beginning with a)and b)].

22-1^Straw

22-1¹⁹ = Copy 22-1+ stamp mark Chester.

22-2 STRAWINSKY / BERCEUSES DU CHAT / SUITE DE CHANTS / POUR / UNE VOIX DE FEMME ET TROIS CLARINETTES / MIS EN FRANÇAIS / par / C.-F. RAMUZ / PARTITION D'ENSEMBLE / Edition AD. HENN, GENÈVE. / Copyright 1917 by Ad. Henn. / ° Partition d'ensemble[#*] Net Fr. 6. —/ Parties d'ensemble [#*] " " 6. — / Réduction pour piano et chant [#*] " " 3. — / °°Propriété de l'auteur / pour tous pays. / Tous droits d'exécution, de reproduction / et d'arrangement réservés pour tous / pays, y compris le Danemark, la Suède / et la Norvège. // [1st title page = front cover title] // IGOR STRAWINSKY / BERCEUSES DU CHAT / SUITE DE CHANTS / I. SUR LE POÊLE, II. INTÉRIEUR, / III. DODO, IV. “CE QU'IL A, LE CHAT” / pour / UNE VOIX DE FEMME / et / TROIS CLARINETTES: / I ^reen Mi bémol, II ^meen La (puis en Si bémol) III ^meClarinette basse en Si bémol (puis Clarinette en La). / TEXTES POPULAIRES RUSSES / MIS EN FRANÇAIS / PAR / C.-F. RAMUZ // (score not sewn 28.6 x 19.3 oblong (obl. 8° [quer Lex. 8°]); sung texts Russian-French; 8 [7] pages + 4 cover pages thicker paper black on blue-grey [front cover title, 2 empty pages, page with publisher’s advertisements >DU MÊME AUTEUR:< without production date] + 5 pages front matter [title page, empty page, second title page, empty page, page with dedication Russian-French handwritten printed in line etching >Наталiи Сергеевне Гончаровой / и / Михаилу Федоровичу Ларiонову / Игорь Стравинскiй / A Madame Natalie Gontscharowa / et Monsieur Michel Larionow / Igor Strawinsky<] without back matter; title head as song title numbered in Roman numeral (with dot) >I. / Cïè êîòú . . . — Sur le poêle.<; without author specified 1st page of the score paginated p. 2; without dedication; legal reservations 1st page of the score below type area flush left >Edition Ad. Henn, Genève (Suisse) / Copyright 1917 by Ad. Henn.< flush right >Propriété de l'auteur. / Tous droits d'exécution, de traduction, d'arrangement et de reproduction / réservés pour tous pays, y compris le Danemark, la Suède et la Norvège.< flush left p. 4, 6, 8 >Copyright 1917 by Ad. Henn, Genève.<; plate number >A. 69 H.<; end of score dated p. 8 >MORGES 1916<; production indications p. 8 below type area centre >Imprimerie H. Jarrys, Genève.< flush right a clover-leaf made up of three circles, each containing the printed letter >C, >G< >R<) as end mark; ) // (1917)

° Complex publisher’s advertisement flush left.

°° Complex legal reservation flush right centred.

* Fill character (dotted line).

** Compositions are advertised without division in columns >TROIS PIÈCES FACILES pour PIANO A QUATRE MAINS. / (MAIN GAUCHE FACILE.) / CINQ PIÈCES FACILES POUR PIANO A QUATRE MAINS. / (MAIN DROITE FACILE.) / RENARD, HISTOIRE BURLESQUE EN UN ACTE, pour quatre voix d'hommes / et orchestre de chambre, mise en français par C.-F. RAMUZ. / a)PARTITION D'ENSEMBLE et PARTIES. }° Avec textes / b)RÉDUCTION pour CHANT et PIANO par l'AUTEUR. }° russe et français. / PRIBAOUTKI, chansons plaisantes pour une voix et huit instruments, / mises en français par C.-F. RAMUZ. / a)PARTITION D'ENSEMBLE et PARTIES. }° Avec textes / b)RÉDUCTION pour CHANT et PIANO par l'AUTEUR. }° russe et français. / Edition AD. HENN — GENÈVE. [#] Propriété de l'auteur pour tous pays. / >Imprimerie H. Jarrys, Genève.< [° the curly bracket, which is two-lines tall, encompasses the lines beginning with a)and b) ].

22-2^Straw1

22-2^Straw2

Strawinsky’s copy of his estate is on the front cover page above name flush right with >Igor Strawinsky< signed and contains notes on performance.

22-2¹⁹ = Copy 22-2+ stamp mark Chester

22-3^St 1917 set of parts; Ad. Henn Genf [unidentified].

22-4 (1923) VS [unidentified].

22-5 PHILHARMONIA / PARTITUREN · SCORES · PARTITIONS / STRAWINSKY / BERCEUSES DU CHAT / KATZENLIEDER / No. 292 / WIENER PHILHARMONISCHER VERLAG // PHILHARMONIA / PARTITUREN · SCORES · PARTITIONS / [°] / IGOR STRAWINSKY / BERCEUSES DU CHAT / KATZENLIEDER / pour une voix de femme et trois clarinettes / für eine Frauenstimme and drei Klarinetten / Mis en Français par C. F. RAMUZ / Deutsche Übertragung von R. St. HOFFMANN / [Vignette] / Eigentum des Verlags / J. & W. CHESTER, LTD. LONDON / und mit dessen Genehmigung in die / „PHILHARMONIA“-Partiturensammlung aufgenommen / [Asterisk] / Copyright 1917 by AD. HENN, Genève / Aufführungsrecht vorbehalten – Performing rights reserved – Droits d'exécution réservés / No. 292 / WIENER PHILHARMONISCHER VERLAG A. G. / WIEN 1925 // (Pocket score sewn 13. x 18.5 (8° [kl. 8° / 8°]); sung texts Russian-French-German; 12 [6] pages + 4 cover pages black on grey [front cover title in wide ornamental frame, page with publisher’s advertisements >PHILHARMONIA / Taschen-Partituren / miniatures scores /°° paRTITIONS DE POCHE < without production date*, page with publisher’s advertisements >PHILHARMONIA / Taschen-Partituren / miniatures scores /°° paRTITIONS DE POCHE < without production date**, page with publisher’s advertisements >PHILHARMONIA / Taschen-Partituren / miniatures scores /°° paRTITIONS DE POCHE < without production date***, [Haydn to Rimsky-Korsakow] without production date, [Rossini to Weber]** production date flush left >Nr. 1. IV 23< + production indications centre >Gesellschaft für graphische Industrie. Wien VI.< flush right >Printed in Austria<] + picture page with a picture [a lady with a cat signed >M.L.<] + 6 pages front matter [title page with centre centred circular vignette ø 2 cm of plucked instruments and a stylized face as the middle point, empty page, page with introductory text in three columns German-English-French without the name of the composer + picture credits with the statement of rights, empty page, page with dedication Russian-French handwritten printed in line etching >Наталiи Сергеевне Гончаровой / и / Михаилу Федоровичу Ларiонову / Игорь Стравинскiй / A Madame Natalie Gontscharowa / et Monsieur Michel Larionow / Igor Strawinsky<, empty page]; without back matter; title head BERCEUSES DU CHAT /* KATZENLIEDER; author specified 1st page of the score paginated p. 7 below song title flush right centred >Igor Strawinsky / (* 1882)<; legal reservations 1st page of the score above and next to song number in Roman numeral (without dot) >I< flush left >Aufführungsrecht vorbehalten / Performing rights reserved/ Droits d'exécution réservés< below type area flush left >Copyright 1917 by Ad. Henn, Genève< flush right >Propriété de J. & W. Chester, Ltd. London<; note 1st page of the score below type area and legal reservation centre centred >In die „Philharmonia" Partiturensammlung aufgenommen<; plate numbers [Text:] >W.Ph.V. 292< [Noten:] >W.Ph.V. 292 J. W. C. 14 ^a<; without end marks) // 1925

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

°° Slash original.

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

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

*** Compositions are advertised in two columns with edition numbers from >ROSSINI< to >WEBER<, amongst these >STRAWINSKY / 291 Ragtime / 292 Berceuses du chat Iin Vorb.) / 293 Pribautki (in Vorb.)<

22-5^[62] [1962] [unidentified].

22-6 MINIATURE SCORE. / CHESTER / LIBRARY / IGOR STRAWINSKY / BERCEUSES DU CHAT / PRICE 1/6 NET [*] / J. & W. CHESTER, L ^TD/ [°] // IGOR STRAWINSKY / BERCEUSES DU CHAT / SUITE DE CHANTS / pour / UNE VOIX DE FEMME ET TROIS CLARINETTES / J. & W. CHESTER, Ltd. / LONDON, 11, GREAT MARLBOROUGH STREET, W. 1 // (Taschenpartitur fadengeheftet 13,8 [STRAW 13,7] x 18,7 (8°); Singtext russisch-französisch-deutsch; 12 [6] Seiten + 4 Seiten Umschlag steifes Papier schwarz auf orange [Zieraußentitelei Chester-Lyra schwarzorange auf cremeweiß in floralem Rahmenmuster mit nach oben ausgerückter erster Druckzeile, 3 Leerseiten] + 6 Seiten Vorspann [Innentitelei, Leerseeite, Seite mit dreispaltiger Einführung deutsch-englisch-französisch ohne Verfassernennung + Bildnachweis** + Bilddruckerlaubnis**, Leerseite, Widmungsseite russisch-französisch handschriftlich in Strichätzung >Наталiи Сергеевне Гончаровой / и / Михаилу Федоровичу Ларiонову / Игорь Стравинскiй / A Madame Natalie Gontscharowa / et Monsieur Michel Larionow / Igor Strawinsky<, Leerseite] ohne Nachspann; Kopftitel >BERCEUSES DU CHAT /*** KATZENWIEGENLIEDER<; Autorenangabe 1. Notentextseite paginiert S. 7 unterhalb Liedtitel rechtsbündig >Igor Strawinsky / (* 1882)<; Rechtsschutzvorbehalte 1. Notentextseite neben römischer Liednummer linksbündig teilkursiv >Aufführungsrecht vorbehalten / Performing rights reserved/ Droits d'exécution réservés< unterhalb Notenspiegel linksbündig >Copyright 1917 by Ad. Henn, Genève< rechtsbündig >Propriété de J. & W. Chester, Ltd. London<; Platten-Nummern [Text] >W.Ph.V. 292<, [Noten] >W.Ph.V. 292 J. W. C. 14 ^a<; ohne Herstellungshinweis; ohne Endevermerk) // [1925]

° Stempelaufdruck >PRINTED IN ENGLAND<. Der Stempelaufdruck vom Printed in England mystifiziert, denn es handelt sich um die wenn auch verstümmelte österreichische Philharmonia-Partitur.

* Die Preisauszeichnung ist im Münchner Exemplar >8 Mus.pr. 3735< rundüberklebt und mit >2/6< überstempelt, im Darmstädter Exemplar >1179/50< kaum lesbar mit >2/<.

** ohne Bildwiedergabe; Hinweise außerhalb der Plattennummer-Kennung auf die Identität mit der Wiener Philharmonia-Partiturausgabe fehlen, doch ist der (englischsprachige) Bildhinweis >[Asterisk] / The picture added< stehen geblieben. Strawinsky hat in seinem Handexemplar mit Rotstift den Asterisk in einer durchgehenden Fragezeichenlinie durch- und den Bildhinweis unterstrichen und den gesamten deutsch-englisch-französischen Anmerkungstext gekastet und unterhalb des Drucktextes mittig darunter den Vermerk angebracht >But where is the picture? / [Initialen] Istr<.

*** Schrägstrich original

22-6^Straw

22-7^St CHESTER LIBRARY / IGOR STRAVINSKY / BERCEUSES DU CHAT / PARTIES D’ENSEMBLE [°] / PRICE 6/- NET. / J & W. CHESTER L ^TD // (set of parts [library binding] 25 x 33.2 ([4°]); 4 cover pages thicker paper black on beige [front cover title, 2 empty pages, page with publisher’s advertisements > ŒUVRES DE/ IGOR STRAWINSKY / PUBLIÉES PAR / J. & W. CHESTER, Ltd., LONDRES.<* without production date] enclosed are 3 unpaginated single pages 24.9 x 32.8 (always with an empty back side) with Roman numbers (without dots) above song titles Russian-French centre centred**; title head >BERCEUSES DU CHAT< with the instrumental names appearing afterwards below centre >Clarinetto in Mi. ^b< >Clarinetto in la.< >Clarinetto basso in Si. ^b<; author specified always next to 1st piece number in Roman numeral (without dot) >I< flush right >IGOR STRAVINSKY<; legal reservations always page of the score below type area flush left >Copyright 1917 by Ad. Henn. / J. & W. Chester Ltd. London.< flush right >Tous droits d'exécution, de reproduction et / d'arrangement réservés pour tous pays, y / compris le Danemark, la Suède et la Norvège[.°]<; plate numbers [I B-Klarinette: ]>J.W.C. 14 ¹<, [II A-Klarinette:] >J.W.C. 14 ²<, [III B-Baßklarinette:] >J.W.C. 14 ³<); without production indication; without end of score dated, without end marks) // [1950]

° The end point is only behind the bass clarinet part.

* All works for sale with Chester are advertised in alphabetical order with edition and net price as well as with self-arrangements by Stravinsky marked in bold type behind fill character (dots in groups to three) > Berceuses du chat,suite de chants pour voix de femme et trois clarinettes: / Partition d’ensemble° 6/- net. / Parties° 6/- * / Réduction pour chant et piano par l’auteur**° 2/- / BERCEUSE ET FINALE (“ L’Oiseau de Feu ”): / Arrangement pour orgue de Maurice Besly° 2/- * / CHANT DES BATELIERS SUR LE VOLGA, pour instruments à vent: / Partition et parties° 5/- * / LES CINQ DOIGTS, huit pièces faciles pour piano° 3/- * / CINQ PIECES°° FACILES pour piano à quatre mains (main droite facile)° 3/- * / L’HISTOIRE DU SOLDAT, grande suite: / Arrangement pour piano par l’auteur**° 10/- * / Suite pour clarinette, violon et piano, arrangement par l’auteur**°°° 20/- * / LES NOCES, scènes chorégraphiques russes avec chant: / Réduction pour piano et chant par l’auteur**° 20/- * / L’OISEAU DE FEU, nouvelle suite pour orchestre moyen: / Partition° 40/- * / Parties° 50/- * / PIANO RAG MUSIC pour piano seul° 3/- * / PRIBAOUTKI, chansons plaisantes pour une voix et huit instruments: Partition° 8/- * / Parties° 10/- * / Réduction pour chant et piano par l’auteur**° 4/- * / PULCINELLA, ballet d’après Pergolesi: / Réduction pour piano par l’auteur**° 15/- / QUATRE CHANTS RUSSES, chant et piano° 3/- * / RAG-TIME pour petit orchestre: / Partition° 7/- * / Réduction pour piano par l’auteur**° 4/- * / RENARD, Histoire burlesque en un acte: / Réduction pour piano et chant par l’auteur**° 15/- * / RONDE DES PRINCESSES (“ L’Oiseau de Feu ”): / Arrangement pour orgue de Maurice Besly° 2/- * / TROIS HISTOIRES POUR ENFANTS, chant et piano° 2/6 * / TROIS PIÈCES°° FACILES pour piano à quatre mains (main gauche facile)° 2/6 * / TROIS PIÈCES pour clarinette seul° 3/- *< [° fill character (dots in groups to three); °° original spelling; °°° without fill character (dots in groups to three); * double quotation („); ** bold print].

** The London copy >h.3992.s.(5.)< (purchased >15 JAN 76<) contains on the three pages above left a slanted upwards stamp >FORENINGER „NY MUSIK“<.

22-7^St-[50] [set of parts]* // EDITION CHESTER / N ^o 117 / IGOR STRAWINSKY / BERCEUSES DU CHAT / CHANT ET PIANO / PRICE 2/- NET. / J. & W. CHESTER L ^TD // IGOR STRAWINSKY / BERCEUSES DU CHAT / SUITE DE CHANTS / I. SUR LE POÊLE. [#] II. INTÉRIEUR. / III. DODO. [#] "CE QU'IL A, LE CHAT." / POUR / UNE VOIX DE FEMME ACCOMPAGNÉE DE TROIS CLARINETTES / TEXTES POPULAIRES RUSSES / MIS EN FRANÇAIS / PAR / C.-F. RAMUZ / REDUCTION POUR CHANT ET PIANO PAR L’AUTEUR. / J. & W. CHESTER, LTD. / LONDON: 11, GREAT MARLBOROUGH STREET, W.1. // (Vocal score not bound 24.2 x 30.5 (4° [4°]); sung texts Russian-French; 8 [6] pages + 4 cover pages [ornamental front cover title full-page Chester Lyre black on cream in floral-patterned frame, 2 empty pages, page with publisher’s advertisements >IGOR STRAWINSKY / Over 25 years ago the House of Chester was the first English music publishing house to / recognise the importance of, and to issue in their own edition, the compositions of this / world famous composer. / It will be noted that these works contain many of his most important contributions / to music of this century.<** without production date] without front matter and without back matter; song title numbered in Roman numeral (without dot) Russian-French as title head; author specified 1st page of the score unpaginated [p. 3], paginated p. 4, 6, 8 below song title flush right >IGOR STRAWINSKY .<; legal reservations 1st page of the score below type area flush left >Copyright 1917 by Ad. Henn, Geneva. / Copyright MCMXXIII by J. & W. Chester L ^{td ..}< flush right >All rights reserved.<; production indication 1st page of the score above legal reservation flush right >Printed in England<; plate numbers [I = p. 3:] >J.W.C. 3826 ¹, [II = p. 4-5:] >J.W.C. 3826 ²<, [III = p. 6-7:] >J.W.C. 3826 ³< [IV = p. 8:] >J.W.C. 3826 ⁴<; end of score dated p. 8 centred >Clarens-Morges. / 1915-1916<; without end mark) // 3 unpaginated single pages 24.9 x 32.8 (empty rear sides) with Roman numbers (without dots) above song titles Russian-French centre centred; title head >BERCEUSES DU CHAT< with the instrumental names appearing afterwards below centre >Clarinetto in Mi. ^b< >Clarinetto in la.< >Clarinetto basso in Si. ^b<; author specified always next to 1st piece number in Roman numeral (without dot) <I< flush right >IGOR STRAVINSKY<; legal reservations always page of the score below type area flush left >Copyright 1917 by Ad. Henn. / J. & W. Chester Ltd. London.< flush right >Tous droits d'exécution, de reproduction et / d'arrangement réservés pour tous pays, y / compris le Danemark, la Suède et la Norvège[.°]<; plate numbers >J.W.C. 14 ¹< [I clarinet in B b], >J.W.C. 14 ²< [II clarinet in A], >J.W.C. 14 ³< [III bass clarinet in B b]); production indication 1st page of the score below type area between flush left legal reservation and centre platen number >Printed in England<; without end of score dated, without end marks) // [1950]

° The end point is only behind the bass clarinet part.

* in the Darmstadt copy >L / 14589 / 61<, the set of parts is in a yellow cover, and it is not possible to establish whether this cover was part of the original publication or whether it belonged to the publishers [page with an attached label containing >Kranichsteiner Musikinstitut< and mechanically-typed text above >Igor Strawinsky / BERCEUSES DU CHAT / Klavierauszug und 3 Stimmen<, page with publisher’s advertisements >SELECTED WORKS FOR ORCHESTRA< with price marks without fill character (dotted line) >IGOR STRAVINSKY / Suite No. 1 for Chamber Orchestra 4/– / Suite No. 2 for Chamber Orchestra 4/–<, page with publisher’s advertisements >The / “Chesterian” / SERIES / String Orchestra< (Strawinsky not mentioned) + empty page].

** Compositions are advertised in alphabetical order of works with fill character (dots in groups to two) without edition numbers and without price information >A SELECTED LIST OF WORKS / Berceuse du Chat° Four Songs for Contralto and Three Clarinets / *° Miniature Score / *° Voice and Piano / Berceuse and Finale (L’Oiseau de Feu)°° Arranged by M. Besly. Organ / Les Cinq Doigts—Eight easy pieces° Piano Solo / Cinq Pieces Faciles (Right hand,°° easy)° Piano Four Hands / L’Histoire°° du Soldat° To be read, played, and danced. Miniature Score / *°* Vocal Score / * Suite arranged by the Composer for / [#] Violin, Clarinet, and Piano / Les Noces—Ballet with Chorus° Miniature Score / *° Vocal Score / L’Oiseau de Feu (1919)—Suite from the Ballet° Miniature Score / Piano Rag Music° Piano Solo / Pribaoutki for Medium Voice and Eight Instruments° Miniature Score / *° Voice and Piano / Pulcinella, Ballet after Pergolesi° Piano Score / Quatre Chants Russe°° for Medium Voice° Voice and Piano / Ragtime for Chamber Orchestra° Miniature Score / * arranged by the Composer° Piano Solo / Renard—A Burlesque in one act° Miniature Score / * Vocal Score / Ronde des Princesses (L’Oiseau de feu)°° Arranged by M. Besly. Organ / Song of the Haulers on the Volga, arranged for Wind Instruments. Score and Parts / Trois Histoires pour Enfants for Medium Voice° Voice and Piano / separately: Tilimbom—with orchestral accompaniment. / Trois Pieces Faciles (Left Hand Easy)° Piano Four Hands / Trois Pieces° Solo Clarinet< / > All Orchestral Materias are available on Hire from the Chester Orchestral Hire Library.< [° fill character (dots in groups to two); °° original spelling; * double quatation („)].

22-8 BERCEUSES DU CHAT / IGOR STRAWINSKY / MINIATURE SCORE / 3/-* NET / J. & W. CHESTER, Ltd., LONDON // IGOR STRAWINSKY / BERCEUSES DU CHAT / SUR LE POÊLE / INTERIOR / DODO (CRADLE SONG) for / Medium Voice and 3 Clarinets / German Text by R. St. Hoffmann / French Text by C. F. Ramuz / Copyright for all countries / J. & W. CHESTER, LTD. / II** Great Marlborough Street / London, W. I // (Pocket score sewn 13.2 x 18.3 (8° [kl. 8°]); sung texts French-German***; 12 [6] pages + 4 cover pages thicker paper black on yellow beige [front cover title, 2 empty pages, page with publisher’s advertisements >SELECTED CHAMBER MUSIC<**** without production date] + 2 pages front matter [title page, empty page] without back matter; title head >BERCEUSES DU CHAT /***** KATZENLIEDER<; author specified 1st page of the score paginated p. 7 below three-lingual song title > < flush right centred >Igor Strawinsky / (* 1882)<; legal reservations 1st page of the score below type area flush left >Copyright 1917 by Ad. Henn, Genève / Copyright for all Countries / J.&W. Chester, Ltd. London.W.1< flush right >All rights reserved<; plate number >J.W.C. 14 ^a<; production indication 1st page of the score below legal reservation flush right >Printed in England<; without end marks) // (1930)

* The price mark of the Darmstadt copy >L / 14860 / 61< is with a small round paper pasted over; the original price is not legible.

** W hat is meant is 11.

*** The musical text corresponds to the Philharmonia score 292, however in this, the space used for the Russian text without a change of leading is left blank, meaning that the Russian text was removed.

**** Compositions are advertised in two columns under the heading >DUOS< from >Collings, G. A.< to >Seiber, M.<, Strawinsky not mentioned; under the heading >TRIOS< from >Absil, J.< to >Szalowski, A.<, amongst these >Strawinsky, I. Suite from “L'Histoire du Soldat”–Clarinet, Violin and Piano<; under the heading >Quartets< from >Bantock, G.< to >Weber, C. M.<, Strawinsky not mentioned; under the heading >VARIOUS< from >Erhardt, D.< to >Spelman, T.<, Strawinsky not mentioned.

***** Slash original.

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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.
© Hel­mut Kirch­meyer. All rights reserved.
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