K043 Sonate

deutsch K043 Sonate

K43 Sonate

pour piano – Sonate für Klavier – Sonata for piano – Соната для фортепиано – Sonata per pianoforte

Title: Strawinsky did not waste one word on his repertoire intentions. Strawinsky was clear about the fact that his title ‘Sonata’ must cause a comparison with the German Classical composers among his contemporaries and thus create formal preconceptions. He therefore mentioned that he used the word ‘Sonata’ in its original form as a ‘musical piece’ as opposed to the sung ‘cantata’, and did not wish it to have any reference to the sonata movement title of Haydn or Mozart or Clementi. He acknowledged that he had played the Beethoven Piano Sonatas again for the purposes of study. The observations that he made at this opportunity, not against the composer but against the idol, Beethoven, must be seen from the excited atmosphere of a French image of Beethoven at the turn of the century, in which Beethoven had almost become a replacement for religion. The late Strawinsky admired in particular the music of the late Beethoven.

Type face (musical text): The written style of the Sonate is surprising due to its being written at times on three systems, which renders the playing of the piece more difficult. It is unnecessary in terms of performance on the piano. The two lower systems of bars 6-9 can be notated on one system and would then be so easy to play that a practised pianist could sight-read them, while they require notes to be swapped between the two hands in Strawinsky’s written presentation and as a result cause a stumbling point. Strawinsky’s presentation of it has structural reasons, because only in this way is it visible that there are at this point four downwardly chromatic lines over an organ pedal point, and these would not have been recognised if it were notated differently. The sober typeface of the Sonata (like the Serenade), almost without continuous key signatures, was understood by contemporaries under the phrase ‘Neue Sachlichkeit’ as an expression of modern sobriety, resigning the addition of anything superfluous which it is not necessary. Strawinsky’s own style of playing reveals the level of knowledge of differentiated articulation from the background of the composition that must be known in order to avoid a mechanistic reproduction. The revival, begun with the Octet and continued with the Piano Concerto of older movement types and writing techniques from the 18th Century by Stravinsky was not intended as a (moody) incidental piece of work, rather as a style that was to be taken seriously and which triggered deep-seated conflicts.

Construction: The Sonate is made up of three movements, each with Roman numerals; Movement II also bears the additional label title 'Adagietto'. The metronome markings crotchet = 104 for the first and third movement in the original edition is a printing error [correct: crotchet = 112]. – Rudiments of a Classical form remained. Structural divisions can be postulated which are historically derivative. This also includes the division of the first movement into three sections. – The first section continues to bar 56 inclusive, the second from bar 57 to 125 and the third from bar 126 until the end (bar 160). There is therefore an A-B-A form which can be interpreted as exposition, development and reprise. The exposition consists of a sort of introduction (bars 1-14), a first subject (bars 15-31), a second subject (bars 32-40) and a coda (bars 41-50), for which the coda is derived from the material of the introduction. A binding device is the strong movement of chains of continuos triplets in both hands. The middle section is not a development in the Classical sense. This is also not however possible because Strawinsky works with structural variations and not thematic ones. The middle section also contains a connection employing the triplet movement. The final section begins with a truncated use of the first subject of the exposition and flows at bar 149 into the pseudo-introduction of the opening, so that the first movement leads back into itself in a cyclic manner. – The second movement, which is the only movement with an Italian title ('Adagietto') but which has no metronome mark, has excited many accompanying comments. In the literature, there is an explanation that this work is a shortened copy of a Beethovenian Adagio from which the Beethovenian cantabile quality has been taken by the dry staccato sound and in which Strawinsky has included improvisational traits. The 'Adagietto', the tempo of which players of Strawinsky give as semiquaver = 112, is in three sections in an A-B-A1 formal design, for which Strawinsky has indicated the three-part nature with double barlines. The first section of the 52 bars in total extends to bar 12 and the second to bar 39. The third section uses the structure of the first section with the usual alterations. At two points, the single bars (bars 10 and 43) extend over the width of the page. – In certain circles that are not well disposed to Strawinsky, they saw the second movement being a return to Beethoven, and the third movement to Bach. The latter was this above all that triggered Schoenberg's invectives against Strawinsky and tempted him to the fateful step of mocking Strawinsky in verses and setting them. The third movement is a quickly running piece of music in the style of a Bach invention with a theme that accompanies itself and is augmented. To this is added a form of countersubject in bar 9. According to White, one chromatic turn which appears in bars 26ff. is taken from bars 24 and 25 of the 'Adagietto'. On what sources he bases this, White does not say. The named combinations of intervals are however not so characteristic that they cannot have been conceived independently of one another.

Structure

I

Crotchet = 112* (160 bars)

II

Adagietto [without metronome marking] (52 bars)

III

Crotchet = 112 (146 bars)

* corrected tempo marking: in the original edition, the incorrect marking, crotchet = 104, is given.

Corrections: the piano Sonate and the Serenade for piano contain errors just as much in the first edition as in the corrected editions and cannot be used for the performance purposes. The original edition contains around 23 serious printing errors. The Russian music publishers went on to print a certain table of errata. Strawinsky made further corrections for the new editions from the years after 1947. The strange circumstances of a sheet of Strawinsky's corrections by Strawinsky which was been lost hindered the removal of further printing errors. Boosey printed from the old (partly) corrected plates of the Russian music publishers. The new version which Strawinsky was hoping for did not come to fruition during his lifetime.

Corrections / Errata

1st edition 1925 41-1

1st movement

1.) Bar 1 (p. 2. 1st system, bar 1): metronome marking crotchet = 112 instead of crotchet = 104.*

2.) Bar 4 (p. 2, 1st system, bar 4) bass: 1st note 2nd group quaver triplets should be A b instead of c b.*

3.) Bar 23 (p. 3, 1st system, bar 1) descant: the last note with a quaver stem should be a two-note

chord d1-f#1 instead of a single note F#1.**

4.) Bar 46 (p. 4, 1st system, bar 2) descant: last quaver 1st triplets-ligature should be c b 1 instead of

c1 zu lesen.*

5.) Bar 46 (p. 4, 1st system, bar 2) Bass: last note F# should be dotted crotchet instead of double-

dotted crotchet.*

6.) Bar 79 (p. 5, 1st system, bar 5) descant: 2nd triplets-ligature should be b1-d1-b1 instead of b1-

d#1-b1.***

7.) Bar 118 (p. 6, 4. system, bar 4) descant: 1st two-note chord should be crotchet h#1-d#2 instead of

crotchet h#1-d2.*

8.) Bar 140 (p. 8, 1st system, bar 1) descant I+II: 1st quaver triplets-ligature should be b-d1-g1

instead of b-e1-g1.*

9.) Bar 141 (p. 8, 1st system, bar 2, descant: the crotchet two-note chord should be f1-es2 instead of

g1-es2.*

10.) Bar 148 (p. 8, 2. system, bar 4) descant I: 2nd interval-combination should be read crotchet e b 1-

c2 instead of crotchet e1-c2.*

2nd movement

1.) Bar 1 (p. 9, 1st system, bar 1) Bass: 3rd two-note chord 1st semiquaver-ligature should be c-a b

instead of e b-a b.*[Wrong accidental in the bass system (should be e b-e b instead of e b-d b).] is

not corrected.

2.) Bar 2 (p. 9, 1st system, bar 2) Bass I: 2nd two-note chord of the 3rd semiquaver-ligature should

be c1-e b 1 instead of e b 1-g1.*

3.) Bar 4 (p. 9, 3. system, bar 1) descant: 1st note of the 2nd hemidemisemiquaver-ligature should be

g1 instead of g b 1, the natural sign (3rd note) should be removed; 2nd group of triplets of the

last demisemiquaver-ligature should be a2-b b 1-g1 instead of a2-b1-g1; the 4th (last) group of

triplets oft the last demisemiquaver-ligature should be g2-a b 1-f1 instead of g2-a1-f1.

4.) Bar 7 (p. 10, 1st system, bar 1) descant I: should be ligature two quavers f1-g1 instead of a single

crotchet f1.*

5.) Bar 10 (p. 10, 2nd system, first half of the bar 2, descant I: the last four notes of the 1st ligature

should be demisemiquaver-Ligature b b 1-a b 2-f2- b b 1 instead of demisemiquaver-ligature d b 2-

a b 2-f2-b b 1.*

6.) Bar 24 (p. 11, 3rd system, bar 2) Bass II: a slur from the crotchet c1 to the quaver c1 should be

inserted.* [Strawinsky lists this slur as missing on the errata].

7). Bar 35 (p. 12, 2nd system, bar 3, middle line: 2nd two-note chord of the 1st ligature should be b b-

e b 1 instead of b b-d1.

8.) Bar 35 (p. 12, 2nd System. bar 3, descant: phrase mark has to be added to each of the four

demisemiquaver-ligatures; the same applies to the two demisemiquaver-ligatures p. 12, 3rd

system, 1st bar, descant.

9.) Bar 35 (p. 12, 2nd system, bar 3) descant II: the 2nd two-note chord of the 1st demisemiquaver-

ligature should be b b-d1 instead of b b-e1.*

10.) Bar 38 (p. 12, 3. system, bar 3) descant II: 1st two-note chord of the 1st demisemiquaver-ligature

sould be a-c#1 instead of a-c1.*

11.) Bar 42 (p. 13, 1st system, bar 1) descant I: the grace notes preceding the 2nd semiquaver note of

the last ligature should be e b 2-g2-a b 2 instead of e b 2-g b 2-a b 2.*

12.) Bar 48 (p. 13, 3. system, bar 2) descant: the last semiquaver two-note chord of the last ligature

should be d1-b b 1 instead of d1-b1.***

13.) Bar 57 (p. 13, 4th system, bar 2) Bass: the first semiquaver-ligature with tems upward should be

g b-f-g-a instead of g-f-g-a.*

14.) Bar 57 (p. 13, 4. system, bar 2) Bass: the (superfluous) flat in the 2 ndtwo-note chord should be

removed.

3rd movement

1.) p. 14: metronome marking crotchet = 112 instead of crotchet = 104.*.

2.) Bar 19 (p. 14, 5th system, bar 3, descant: 2nd semiquaver-ligature should be f#2-c2-a2-b1

instead of f#2-e2-a2-b1.

3.) Bar 48 (p. 15, 6. system, bar 4) Bass (written in treble clef): 1st semiquaver-ligature should be a1-

g#1-e2-g1 instead of a1-g#1-h1-g1.*

4.) Bar 103 (p. 18, 1st system, bar 1) descant: the first note with a semiquaver stem, e2, should be a

two-note chord e2-a2 in the ligature.

* Corrected.

** Not corrected

*** Edition Boosey not corrected.

Tables of Errata

First edition 1925 Russischer Musikverlag 43-1

Errata-Sheet 43-2

Page Bar Hand Incorrect Correct

1.) 1 crotchet = 104 crotchet = 112.

2.) 1 4 left c b-e b-F A b-c b-F.

3.) 4 2 right 2nd triplet c1-b b 1-c1 c1-b1-c b 1.

4.) 5 5 right 2nd ligature b1-d#s1-b1 b1-d1-b1.

5.) 6 * right 1st two-note chord b#1-d2 two-note chord b#1-d#2.

6.) 8 1 right 1st ligature 2nd note e1 1st ligature 2nd note d1.

7.) 8 2 right two-note chord crotchet g1-e b 2 two-note chord f1-e b 2.

8.) 8 9 right 2 tied two-note chords e1-c2 2 tied two-note chords e b 1-c2.

9.)° 9 1 left 1st ligature c-a b /a b -c1/e b -a b /A b Semiquaver ligature c-a b /a b -c1/c-a b /A b .

10.)° 9 2 [left] 3rd ligature A/e b 1-g1/e b-c1/e b 1 A/c1-e b 1/e b-c1/c-e b.

11.) 9 4 right 1st note quintuplet without natural 1st note quintuplet with natural.

12.) 9 4 right last but three triplet a2-b1-g1 triplet a2-b b 1-g1.

13.) 10 1 right 4th note crotchet f1 4th-5th notes quavers f1-g1.

14.) 10 4 right 1st lig. 4th-8th note b b 1-c b 2-b b 1-c b 2-d b 2 b b 1-c b 2-b b 1-c b 2-b b 1.

15.) 10 6 left 1. semiquaver chord 1F#-F# 1F# should be removed.

16.) 11 10 crotchet-quaver without tie crotchet-quaver with tie.

17.) 12 6 feft 1st lig. two-note chords a-e b 1 + b b-e b 1 two-note chords c1- e b 1 +b b-d1..

18.) 12 9 left two-note chords a-c1/g#-b two-note chords a-c#1/g#-b.

19.) 13 1 [right] 2nd grace-note ligature e b 1-f1-(g b 1) 2nd grace-note ligature e b 1-f1-g1.

20.) 13 last [left] 3rd system, 2nd note top part with flat note without flat.

21.) 14 crotchet = 104 crotchet = 112.

22.) 14 19 [right] semiquaver f2-e2-a2-b1 semiquaver f2-c2-a2-b1.

23.) 15 last [left] semiquaver a1-g#1-c2-g1 semiquaver a1-gis1-e2-g1.

24.) 18 1 [right] 1st semiquaver-ligature e2-g1-a1-b1 semiquaver e2+a2-g1-a1-b1

* Last but one.

° Strawinsky made a mistake in the errata list in that he mixed up 9 and 10, and he corrected this using crossed arrows.

Style: The style is Neo-Classical with a mechanical and motoristic effect. The sober compositional style of the Sonate (like the Serenade), almost without any performance indications throughout, with a sequence of notes which seems to speak for itself, was taken by the composer's contemporaries under the buzzword Neue Sachlichkeit, which was an expression of modern sobriety which aimed to avoid any ingredient because it would be not necessary. Strawinsky's own style of playing reveals how much must be known about the differentiation of types of articulation from the background of the composition in order to avoid a mechanical interpretation.

Dedication: > Dédiée à Madame la Princesse Edmond de Polignac < + [Dedicated to the princess Edmond de Polignac] [Посвящена княгине Эдмон де Полиньяк ]

Duration: about 3' 23" + 4' 53" + 2' 34".

Date of origin: Biarritz [Juny] 4st August 1924 up to Nizza 21st October 1924.

First performance: Felix Petyrek played the première of the Sonate on 26th July 1925 in Donaueschingen; before that, there had been a non-public performance in the Salon of the Princess of Polignac in Paris and there then followed a demonstration played by Strawinsky which was also not public and took place on 6th November 1924 in Warsaw. The details of the première are, as with certain other chamber-music works by Strawinsky, not without their problems. The Parisian performance had the character of one of those concerts that were common in the Polignac House with the invitation of special personalities. Strawinsky profited greatly from these events and it was also he who introduced the work in the Salon of the Princess, since he had retained the performance rights for 5 years. In spite of this, he came around to the première that was intended to for Venice because Felix Petyrek was playing the work, for which the ink was not yet even dry on the page, for the Donaueschinger Music Days. It was originally not included on the programme, because it was not at all known therefore and not expected, and was subsequently included, to the surprise and joy of the audience. The curiosity surrounding the 'new' Strawinsky already in a 'new', i.e. Neo-Classical (even though it was not yet called this) stylistic direction superposted misgivings in terms of the rights, insofar as these were ever seen. Only on 8th September 1925, Strawinsky played his new Piano Sonata in Teatro La Fenice in Venice for the Festival of the International Society for New Music. Strawinsky himself mentioned only the French and Italian premières, but not the German one.

Remarks: The Sonate is one of Strawinsky's compositions that was written very quickly and without any long interruption; its history can be traced furthest by analysis of the dating of the sketches. He relocated from Biarritz to Nice between August and October 1924 because the storms which often arose strongly from the Atlantic Ocean, especially in Winter, played heavily on his nerves. The Sonate was therefore started in Biarritz and completed in Nice. Since it was a solo composition conceived for the purposes of earning additional income from his concert performances, which were contested by himself, he also did not need to make any adjustments to appease an outsider, and as he composed the piece fairly quickly, there is no report about the progress of the work. In addition, one must take into account Strawinsky's dread of speaking about planned projects or those that were being worked on with anyone apart from the direct parties involved. He referred to them in an encoded manner so that those uninitiated into his life situation could only learn about a project that had been started but not to which one he was referring. It can be seen from the sketches that he started the first movement of the Sonate on 4th August 1924 in Biarritz and finished it there on 21st August. The compositional process was the usual one for him. He began at a point in the middle and gradually composed the rest. On 12th August, he composed the 13 bars up to the repeat, bars 135-148, and a day later the bars coming before this, bars 121-135; bars 83-88 were written on 15 thAugust. He became clearer in a letter of 2nd October 1924 to Ansermet. He wrote that he was composing a sonata for piano and that Ansermet would not be able to imagine what that would be. Evidently the structure of the work was not coming easily to him. He must however have worked continuously and without interruption on it. He completed the second movement in Nice on 6th October and the third on 21st October 1924, also in Nice. – A meaningful event for Strawinsky occurred in relation to the Venetian performance. He was suffering from a painful abcess on his right hand which hindered his playing, so that he was afraid that he would have to cancel his appearance. He went to a church in Nice and prayed. Before the performance, he made the audience aware of his indisposition and asked for their consideration for the incompleteness of the playing what he was expecting. When he then took off the dressing, his pain was gone and he saw that he was healed.

Significance: The Sonate continues the compositional path started with the Octet by incorporation older types of movements into his New Music.

Versions: The Sonate was published in May 1925 in the Russian music publishers in Berlin under the simulated responsibility for publication of Albert Spalding in New York. The many errors in the printing gave rise to the creation of a sheet of errata, the contents of which (23 corrections) were incorporated into a new edition without reference to it being a corrected version. Three editions quickly following one another were created in a similar way which can only be told by the correction pages: the first edition without errata sheet, containing errors, the first edition with errata sheet, containing errors, and the corrected edition. During this process there was a double error made for the correction on the 10th bar of the second movement (original edition: page 10, bar 4). The table of errata gives the correct four-note figure b1-c2-b1-c2, in order to better identify of the notes to be corrected, but gives them incorrectly as a hemidemisemiquaver instead of, as is printed correctly in the first edition, a semihemidemisemiquaver. The contract with the Russian publishers was signed on 13rd December 1924 under the Roman-numeral contract number V and countersigned on the part of the publisher by Oeberg. Strawinsky received a flat fee of $1,000 and a 10% share. The print run ran to 500 copies which must have been sold quickly. In 1926 alone, 372 copies were registered as sold. The Sonate and the Serenade were the only ones to be accounted for not separately but according to the different print runs. New printings were certainly stated for 1925 as well as 900 copies each for 1929 and 1933. The second run was also stated for 900 copies in 1925. After the agreement of the takeover of Koussevitsky by Ralph Hawkes of 1947, the Sonate was published once again by Boosey & Hawkes by November 1948 at the latest. The unfortunate situation of a sheet of corrections by Strawinsky going missing prevented the removal of further printing errors. The later Russian printing of 1968 is based on the third version. The special publishing contracts for the transfer from the Russian publishers to Boosey & Hawkes bear the same date for the Sonate for Piano as for the Serenade for piano, 6th November 1950. The London copy, h.3992.h.(10.) comes from the May 1950 printing, but was sent off as a contributory copy three years later. The anglicized spelling of the name with ‘v’ was later adopted, the format was altered a little and the outer title only printed in lower case was removed. Since 1980, the publishers sold the Sonate in a quasi-critical edition with many additions and with the printing errors removed under the authority of publication of Soulima Stravinsky.

Historical recording: Historical recording: 1926 in a Duo-Art-punched-tape process by Igor Strawinsky: 6th November 1930 at the Berlin Radio with Igor Strawinsky as Pianist.

CD-Edition: not contained.

Autograph: Paul Sacher Stiftung Basel.

Copyright: 1925 by Russischer Musikverlag Berlin-Leipzig.

Editions

a) Overview

43-1 1925; Édition Russe de Musique Berlin; 19 pp.; R. M. V. 417.

    43-1Straw ibd. [with annotations].

43-2 1925 page of Errata to 43-1 [23 corrections].

43-3 1925 = 43-1 [with errors removed].

43-3281928 ibd.

43-333 1933 ibd.

43-4 1948; Édition Russe de Musique / Boosey & Hawkes London; 19 pp.; B. & H. 16498.

43-4501950; ibd.

43-4521952; ibd.

43-5Alb 1968; Editions Musique Moskau; 17 pp.; 5064.

b) Characteristic features

43-1 IGOR STRAWINSKY / (1924) / SONATE / pour Piano/ ÉDITION RUSSE DE MUSIQUE / [°] / Imp. Delanchy – Paris-Asnières. // A la Princesse Edmond de Polignac* / Igor Strawinsky<* / SONATE / pour Piano/ Prix: M. 5/ [Vignette] / PROPRIÉTÉ DE L'ÉDITEUR POUR TOUS PAYS. / ÉDITION RUSSE DE MUSIQUE / (RUSSISCHER MUSIKVERLAG G. M. B. H.**) / BERLIN MOSCOU LEIPZIG NEW YORK LONDRES BRUXELLES BARCELONE MADRID VIENNE / PARIS / 22. RUE D’ANJOU, 22 / S. A. DES GRANDES ÉDITIONS MUSICALES / [°] / Imp. Delanchy-Dupré – Paris-Asnières.// (Edition unsewn 26 x 31.8 (2° [4°]); 19 [18] pages + 4 cover pages thick paper black on creme white [front cover title, 3 empty pages] + 1 page front matter [title page with vignette 0,8 x 0,8 spiralshaped ornament in square] + 1 page back matter [empty page]; title head >SONATE<; dedication above title head centre italic > Dédiée à Madame la Princesse Edmond de POLIGNAC<; author specified 1st page of the score paginated p. 2 next to and below movement number in Roman numerals (without dot) >I< flush right centred >Igor STRAWINSKY / 1924<; fictitious editor specified 1st page of the score between title head and movement number flush left >Edited by / ALBERT SPALDING _ New-York<; legal reservations 1st page of the score below type area flush left partly in italics >Copyright 1925 by Russischer Musikverlag G.m.b.H., Berlin. / Russischer Musikverlag G.m.b.H., Berlin, Leipzig./ Édition Russe de Musique<; flush right centred partly in italics >Propriété de l'Editeur pour tous pays. / Tous droits d'exécution, de reproduction/ et d'arrangements réservés pour tous pays.<; plate number >R.M.V. 417<; production indication p. 19 flush right italic as end mark > Grav. Imp. DELANCHY-DUPRÉ, Asnières (Seine)<) // (1925)

° Dividing horizontal line of 0.4 cm.

* Dedication handwritten printed in line etching; dedication on p. 2 standard typeface.

** G.M.B.H. is printed in smaller letters whereas B. and H. are printed below the G. and M.

43-1Straw

Strawinsky’s copy from his estate is on the outer title between > pour Piano< and >EDITION . . .< centre centred with >Igor Strawinsky / Nice, Mai 1925. / Exemplaire corrigé avec / mes doigtés glise / IStr< signed, dated and commended. It contains corrections and fingerings.

43-2Err ERRATA / > Imprimé [ # ] Lire:°° / [Text with musical examples] / R. M. V. 417°°° // (1 page unpaginated; 23 corrections listed by page number and bar without clef and key signature with the misprint in musical notation in the left column > Imprimé:< and the correction in the right column, again in musical notation > Lire:<; without further marks) // (1925)*

° Flush left.

°° Flush right.

°°° Centre.

* Whether the sheet was delivered with the first edition remains unclear. In any case, there are first editions currently without an errata sheet, for which the sheets originally supplied with them have gone missing as they were only placed in the copies by the publishers. The errata sheets were inserted differently, in Berlin >DMS 200848< inside the back page, in Munich >Mus.pr. 8157< before the 4 thcover page of the copy which was subsequently stitched etc.

43-3 [°] // A la Princesse Edmond de Polignac* / Igor Strawinsky* / SONATE / pour Piano/ Prix: M. 5/ [Vignette] / PROPRIÉtÉ DE L'ÉDITEUR POUR TOUS PAYS. / ÉDITION RUSSE DE MUSIQUE / (RUSSISCHER MUSIKVERLAG G. M. B. H.**) / BERLIN / FONDÉE PAR S. ET N. KOUSSEWITZKY / DÉPÔTS: PARIS · LEIPZIG · NEW YORK · LONDRES · BRUXELLES · BARCELONE · MADRID · VIENNE. // (Edition [library binding] 26.7 x 34.5 (2° [4°]); 19 [18] pages + 4 cover pages thicker paper paper black on creme white [°] + 1 page front matter [title page with vignette 0.8 x 0.8 spiralshaped ornament in square] + 1 page back matter [empty page]; title head >SONATE<; dedication above title head centre italic > Dédiée à Madame la Princesse Edmond de POLIGNAC<; author specified 1st page of the score paginated p. 2 next to and below movement number in Roman numerals (without dot) >I< flush right centred >Igor Strawinsky / 1924<; fictitious editor specified above and next to movement number flush left >Edited by / ALBERT SPALDING _ New-York<; legal reservations 1st page of the score below type area flush left partly in italics >Copyright 1925 by Russischer Musikverlag G.m.b.H., Berlin. / Russischer Musikverlag G.m.b.H.,Berlin, Leipzig. / Édition Russe de Musique<; flush right centred partly in italics >Propriété de l'Editeur pour tous pays. / Tous droits d'exécution, de reproduction / et d'arrangements réservés pour tous pays.<; plate number >R. M. V. 417<; production indication p. 19 flush right partly in italics as end mark > Grav. Imp. Delanchy-Dupré, Paris-Asnières, / 2 & 4, Avenue de la Marne, 1925<) // (1925)

° Consulted copies without cover pages (pages missing).

* Dedication handwritten printed in line etching.

** G.M.B.H. is printed in smaller letters whereas B. and H. are printed below the G. and M.

43-328 IGOR STRAWINSKY / (1924) / SONATE / pour Piano/ ÉDITION RUSSE DE MUSIQUE // A la Princesse Edmond de Polignac* / Igor Strawinsky* / SONATE / pour Piano/ Prix: M. 5/ [Vignette] / PROPRIÉtÉ DE L'ÉDITEUR POUR TOUS PAYS. / ÉDITION RUSSE DE MUSIQUE / (RUSSISCHER MUSIKVERLAG G. M. B. H.**) / BERLIN / FONDÉE PAR S. ET N. KOUSSEWITZKY / DÉPÔTS: PARIS · LEIPZIG · NEW YORK · LONDRES · BRUXELLES · BARCELONE · MADRID · VIENNE // (Edition fadensewn (2° [4°]); 19 [18] pages + 4 cover pages thicker paper black on cream white [front cover title, 3 empty pages] + 1 page front matter [title page with vignette 0,8 x 0,8 spiralshaped ornament in square] + 1 page back matter [empty page]; title head >SONATE<; dedication 1st page of the score paginated p. 2 above title head centre italic > Dédiée à Madame la Princesse de POLIGNAC<; author specified 1st page of the score next to and below movement number in Roman numerals (without dot) >I< flush right centred >Igor Strawinsky / 1924<; fictitious editor specified 1st page of the score above and next to movement number flush left >Edited by / ALBERT SPALDING _ New-York<; legal reservations 1st page of the score below type area flush left partly in italics >Copyright 1925 by Russischer Musikverlag G. m. b. H., Berlin. / Russischer Musikverlag G. m. b. H., Berlin, Leipzig. / Édition Russe de Musique<; flush right centred >Propriété de l'Editeur pour tous pays. / Tous droits d'exécution, de reproduction / et d'arrangements réservés pour tous pays.<; plate number >R.M.V. 417<; production indication p. 19 as end mark flush right >Imp. Delanchy-Dupré – Paris-Asnières. / 2 et 4, Avenue de la Marne – XXVIII) // (1928[1929])

* Dedication handwritten printed in line etching.

** G.M.B.H. is printed in smaller letters whereas B. and H. are printed below the G. and M.

43-333 IGOR STRAWINSKY / (1924) / SONATE / pour Piano/ ÉDITION RUSSE DE MUSIQUE // A la Princesse Edmond de Polignac* / Igor Strawinsky* / SONATE / pour Piano/ Prix: M. 5/ [Vignette] / PROPRIÉtÉ DE L'ÉDITEUR POUR TOUS PAYS. / ÉDITION RUSSE DE MUSIQUE / (RUSSISCHER MUSIKVERLAG G. M. B. H.**) / BERLIN / FONDÉE PAR S. ET N. KOUSSEWITZKY / DÉPÔTS: PARIS · LEIPZIG · NEW YORK · LONDRES · BRUXELLES · BARCELONE · MADRID · VIENNE // (Edition unsewn (2° [4°]); 19 [18] pages + 4 cover pages thicker paper black on cream white [front cover title, 3 empty pages] + 1 page front matter [title page with vignette 0.8 x 0.8 spiralshaped ornament in square] + 1 page back matter [empty page]; title head >SONATE<; dedication 1st page of the score paginated p. 2 above title head centre italic > Dédiée à Madame la Princesse de POLIGNAC<; author specified 1st page of the score next to and below movement number in Roman numerals (without dot) >I< flush right centred >Igor Strawinsky / 1924<; fictitious editor specified 1st page of the score above and next to movement number flush left >Edited by / ALBERT SPALDING _ New-York<; legal reservations 1st page of the score below type area flush left partly in italics >Copyright 1925 by Russischer Musikverlag G.m.b.H., Berlin. / Russischer Musikverlag G.m.b.H., Berlin, Leipzig. / Édition Russe de Musique<; flush right centred >Propriété de l'Editeur pour tous pays. / Tous droits d'exécution, de reproduction / et d'arrangements réservés pour tous pays.<; plate number >R.M.V. 417<; production indication p. 19 as end mark flush right >S. I. M. A. G. – Asnières-Paris. / 2 et 4, Avenue de la Marne – XXXIII) // (1933])

* Dedication handwritten printed in line etching.

** G. M. B. H. ist mit kleineren Lettern und dabei B. H. unter G. M. gedruckt.

43-4 igor strawinsky / sonate / pour piano/ édition russe de musique · boosey & hawkes // Igor Strawinsky / Sonate / pour piano/ (1924)/ Édition Russe de Musique (S. et N. Koussewitzky) · Boosey & Hawkes / London · New York · Sydney · Toronto · Capetown · Paris · Buenos Aires // (Edition stapled 26.7 x 33 (2° [4°]); 19 [18] pages + 4 cover pages tomato red on greybeige [front cover title, 2 empty pages, page with publisher’s >Édition Russe de Musique / (S. et N. Koussewitzky) / Boosey & Hawkes< advertisements > Igor Strawinsky<* production data >No. 453<] + 1 page front matter [title page] + 1 page back matter [empty page]; title head >SONATE<; dedication above title head centre italic > Dédiée à Madame la Princesse Edmond de Polignac<; author specified 1st page of the score paginated p. 2 next to and below movement number in Roman numerals (without dot) >I< flush right centred >Igor STRAWINSKY / 1924<; fictitious editor specified 1st page of the score above and next to movement number flush left >Edited by / ALBERT SPALDING _ New-York<; legal reservations 1st page of the score below type area flush left >Copyright 1925 by Édition Russe de Musique (Russischer Musikverlag) for all countries / Printed by arrangement Boosey & Hawkes, Inc., New York< flush right centred partly in italics >Propriété de l'Editeur pour tous pays. / Tous droits d'exécution, de reproduction / et d'arrangements réservés pour tous pays.<; production indication 1st page of the score below legal reservation flush left >Printed in England<; plate number >B. & H. 16498<; end number p. 19 flush left >11·48·L.&B.<; without end mark) // 1948

* In French, compositions are advertised in two columns without edition numbers and without price informations >Piano seul° / Trois Mouvements de Pétrouchka / Suite de Pétrouchka ( Th. Szántó) / Marche chinoise de “ Rossignol ” / Sonate pour piano* / Ouverture de “ Mavra ” / Serenade en la / Symphonie*°° pour°° instruments à vent / Octuor pour instruments à vent / Partitions pour piano°* / Le Chant du Rossignol / Apollon Musagète / Le Baiser de la Fée / Orpheus / Piano à quatre mains° / Le* Sacre du Printemps / Pétrouchka / Deux Pianos à quatre mains° / Concerto pour piano* / Capriccio pour piano* et orchestre / Chant et piano°* / Deux Poésies de Balmont / Trois Poésies de la lyrique japonaise / Trois petites chansons / Chanson de Paracha de “ Mavra ” / Introduction, chant du pêcheur, air du / rossignol / Choeur°* / Ave Maria (a cappella) / Credo (a cappella) / Pater noster (a cappella) // Partitions pour chant et piano* / Rossignol. Conte lyrique en 3 actes / Mavra. Opéra bouffe en 1 acte / Œdipus Rex. Opéra-oratorio en 1 acte* / Symphonie de Psaumes / Perséphone / Violon et Piano°* / Suite d’après Pergolesi / Duo Concertant / Airs du Rossignol / Danse Russe / Divertimento / Suite Italienne / Chanson Russe / Violoncelle et Piano°* / Suite Italienne ( Piatigorsky) / Musique de Chambre° / Trois pièces pour quatuor à cordes / Octuor pour instruments à vent / Partitions de poche° / Suite de Pulcinella / Symphonies pour°° instruments à vent / Concerto pour piano* / Chant du Rossignol / Pétrouchka. Ballet / Sacre* du Printemps / Le Baiser de la Fée / Apollon Musagète / Œdipus Rex* / Perséphone / Capriccio* / Divertimento / Quatre Études pour orchestre / Symphonie de Psaumes / Trois pièces pour quatuor à cordes / Octuor pour instruments à vent / Concerto en ré pour orchestre à cordes< [*different spellings original; ° centre centred; °° original spelling]. The following places of printing are listed: London-New York-Sydney-Toronto-Cape Town-Paris-Buenos Aires.

43-450 igor strawinsky / sonate / pour piano/ édition russe de musique · boosey & hawkes // Igor Strawinsky / Sonate / pour piano/ (1924)/ Édition Russe de Musique (S. et N. Koussewitzky) ··Boosey & Hawkes / London · New York · Sydney · Toronto · Capetown · Paris · Buenos Aires // (Edition 23 x 29.8 (4° [Lex. 8°]); 19 [18] pages + 4 cover pages tomato red on grey-beige [front cover title, 2 empty pages, page with publisher’s >Édition Russe de Musique / (S. et N. Koussewitzky) / Boosey & Hawkes< advertisements > Igor Strawinsky<* production data >No. 453<] + 1 page front matter [title page**] + 1 page back matter [page with publisher’s >Édition Russe de Musique / (S. et N. Koussewitzky) / Boosey & Hawkes< advertisements > Serge Prokofieff< production data >No. 454< ]; title head >SONATE<; dedication 1st page of the score paginated p. 2 above title head centre italic with > Dédiée à Madame la Princesse Edmond de Polignac<; author specified 1st page of the score paginated p. 2 next to and below movement number in Roman numerals (without dot) >I< flush right centred >Igor STRAWINSKY / 1924<; fictitious editor specified 1st page of the score above und next to Stücknummer flush left >Edited by / ALBERT SPALDING _ New-York<; legal reservations 1st page of the score below type area flush left >Copyright 1925 by Édition Russe de Musique (Russischer Musikverlag) for all countries / Printed by arrangement Boosey & Hawkes, Inc., New York< flush right centred partly in italics >Propriété de l'Editeur pour tous pays. / Tous droits d'exécution, de reproduction / et d'arrangements réservés pour tous pays.<; production indication 1st page of the score below legal reservation flush left >Printed in England<; plate number >B. & H. 16498<; end number p. 19 flush left >5 · 50·L. & B. E<; production indications 1st page of the score below legal reservations flush left >Printed in England< p. 19 flush right as end mark >LOWE AND BRYDONE PRINTERS Limited, LONDON<) // (1950)

* In French, compositions are advertised in two columns without edition numbers and without price informations >Piano seul° / Trois Mouvements de Pétrouchka / Suite de Pétrouchka ( Th. Szántó) / Marche chinoise de “ Rossignol ” / Sonate pour piano* / Ouverture de “ Mavra ” / Serenade en la / Symphonie*°° pour°° instruments à vent / Octuor pour instruments à vent / Partitions pour piano°* / Le Chant du Rossignol / Apollon Musagète / Le Baiser de la Fée / Orpheus / Piano à quatre mains° / Le* Sacre du Printemps / Pétrouchka / Deux Pianos à quatre mains° / Concerto pour piano* / Capriccio pour piano* et orchestre / Chant et piano°* / Deux Poésies de Balmont / Trois Poésies de la lyrique japonaise / Trois petites chansons / Chanson de Paracha de “ Mavra ” / Introduction, chant du pêcheur, air du / rossignol / Choeur°* / Ave Maria (a cappella) / Credo (a cappella) / Pater noster (a cappella) // Partitions pour chant et piano* / Rossignol. Conte lyrique en 3 actes / Mavra. Opéra bouffe en 1 acte / Œdipus Rex. Opéra-oratorio en 1 acte* / Symphonie de Psaumes / Perséphone / Violon et Piano°* / Suite d’après Pergolesi / Duo Concertant / Airs du Rossignol / Danse Russe / Divertimento / Suite Italienne / Chanson Russe / Violoncelle et Piano°* / Suite Italienne ( Piatigorsky) / Musique de Chambre° / Trois pièces pour quatuor à cordes / Octuor pour instruments à vent / Partitions de poche° / Suite de Pulcinella / Symphonies pour°° instruments à vent / Concerto pour piano* / Chant du Rossignol / Pétrouchka. Ballet / Sacre* du Printemps / Le Baiser de la Fée / Apollon Musagète / Œdipus Rex* / Perséphone / Capriccio* / Divertimento / Quatre Études pour orchestre / Symphonie de Psaumes / Trois pièces pour quatuor à cordes / Octuor pour instruments à vent / Concerto en ré pour orchestre à cordes< [* different spellings original; ° centre centred; °° original spelling]. The following places of print ing are listed: London-New York-Sydney-Toronto-Cape Town-Paris-Buenos Aires.

** The copy München Städtische Musikbibliothek >95/145027< contains a stamp mark >CURRENT PRICE / 8/6 NET / BOOSEY & HAWKES, LTD.<

43-452 igor strawinsky / sonate / pour piano/ édition russe de musique · boosey & hawkes // Igor Strawinsky / Sonate / pour piano/ (1924)/ Édition Russe de Musique (S. et N. Koussewitzky) ·Boosey & Hawkes / London · New York · Sydney · Toronto · Capetown · Paris · Buenos Aires // (Edition [library binding] 22.7 x 29.6 (4° [Lex. 8°]); 19 [18] pages + 4 cover pages tomato red on grey beige [front cover title, 2 empty pages, page with publisher’s >Édition Russe de Musique / (S. et N. Koussewitzky) / Boosey & Hawkes< advertisements > Igor Strawinsky<* production data >No. 453<] + 1 page front matter [title page**] + 1 page back matter [page with publisher’s >Édition Russe de Musique / (S. et N. Koussewitzky) / Boosey & Hawkes< advertisements > Serge Prokofieff< production data >No. 454< ]; title head >SONATE<; dedication 1st page of the score paginated p. 2 above title head centre italic > Dédiée à Madame la Princesse Edmond de Polignac<; author specified 1st page of the score next to and below movement number in Roman numerals (without dot) >I< flush right >Igor STRAWINSKY / 1924>; fictitious editor specified 1st page of the score above and next to movement number flush left >Edited by / ALBERT SPALDING _ New-York<; legal reservations 1st page of the score below type area flush left >Copyright 1925 by Édition Russe de Musique (Russischer Musikverlag) for all countries / Printed by arrangement Boosey & Hawkes, Inc., New York< flush right centred partly in italics >Propriété de l'Editeur pour tous pays. / Tous droits d'exécution, de reproduction / et d'arrangements réservés pour tous pays.<; production indication 1st page of the score below legal reservation flush left >Printed in England<; plate number >B. & H. 16498<; end number p. 19 flush left >10·52·E<; without end mark) // (1952)

* In French, compositions are advertised in two columns without edition numbers and without price informations >Piano seul° / Trois Mouvements de Pétrouchka / Suite de Pétrouchka ( Th. Szántó) / Marche chinoise de “ Rossignol ” / Sonate pour piano* / Ouverture de “ Mavra ” / Serenade en la / Symphonie*°° pour°° instruments à vent / Octuor pour instruments à vent / Partitions pour piano°* / Le Chant du Rossignol / Apollon Musagète / Le Baiser de la Fée / Orpheus / Piano à quatre mains° / Le* Sacre du Printemps / Pétrouchka / Deux Pianos à quatre mains° / Concerto pour piano* / Capriccio pour piano* et orchestre / Chant et piano°* / Deux Poésies de Balmont / Trois Poésies de la lyrique japonaise / Trois petites chansons / Chanson de Paracha de “ Mavra ” / Introduction, chant du pêcheur, air du / rossignol / Choeur°* / Ave Maria (a cappella) / Credo (a cappella) / Pater noster (a cappella) // Partitions pour chant et piano* / Rossignol. Conte lyrique en 3 actes / Mavra. Opéra bouffe en 1 acte / Œdipus Rex. Opéra-oratorio en 1 acte* / Symphonie de Psaumes / Perséphone / Violon et Piano°* / Suite d’après Pergolesi / Duo Concertant / Airs du Rossignol / Danse Russe / Divertimento / Suite Italienne / Chanson Russe / Violoncelle et Piano°* / Suite Italienne ( Piatigorsky) / Musique de Chambre° / Trois pièces pour quatuor à cordes / Octuor pour instruments à vent / Partitions de poche° / Suite de Pulcinella / Symphonies pour°° instruments à vent / Concerto pour piano* / Chant du Rossignol / Pétrouchka. Ballet / Sacre* du Printemps / Le Baiser de la Fée / Apollon Musagète / Œdipus Rex* / Perséphone / Capriccio* / Divertimento / Quatre Études pour orchestre / Symphonie de Psaumes / Trois pièces pour quatuor à cordes / Octuor pour instruments à vent / Concerto en ré pour orchestre à cordes< [* different spellings original; ° centre centred; °° original spelling]. The following places of print are listed: London-New York-Sydney-Toronto-Cape Town-Paris-Buenos Aires.

43-5Alb Stravinsky* / И. СТРАВИНСКИЙ // IGOR STRAVINSKY / ŒUVRES POUR PIANO / VOLUME / I / EDITIONS MUSIQUE MOSCOU · 1968 // ИГОРЬ СТРАВИНСКИЙ / СОЧИНЕНИЯ ДЛЯ ФОРТЕПИАНО / ТОМ / I / ИЗДАТЕЛЬСТВО МУЗЫКА · МОСКВА · 1968 // [Text on spine:] ИГОРЬ СТРАВИНСКИЙ 1° СОЧИНЕНИЯ ДЛЯ ФОРТЕПИАНО // (Album 1.6 x 22 [22.3] x 28.9 [29,4] [Lex 8°]; 143 [143] pages + 4 pages bound in imitation leather [front cover title black on cream white, 2 empty pages red, empty page cream] + 8 pages front matter (including binding sides) [empty page red, empty page white, whole-page portrait of the young Strawinsky facing left, 2 empty pages, title page French, title page Russian, editors specified Russian >Составлние и редакция / А. КОНДРАТЬЕВА и К. СОРОКИНА< French >Complétés et rédigés par / A. KONDRATJEV et K. SOROKINE<] + 7 pages backmatter (included binding sides) [page with annotation >ПРИМЕЧАНИЯ< with notes about the genesis of the work and dedications Russian, index >СОДЕРЖАНИЕ< Russian, imprint Russian >Индекс 9-4-4< with billing of names >Редактор А. Бакулов/ Художник В. Антипов/ Худож .редактор Г. Христиани/ Техн. редактор В. Кичороская< and itemized statements of format and origin, 3 empty pages, empty page red]; reprint of the 2nd (corrected) edition pp. 1-19; title head Russian-French pp. 84-101; title head Russian-French >СОНАТА # SONATE<; movements numbered in Arabic numerals (without dot) pp. 84-90 (>1<), p. 91-95 (>2<), pp. 96-101 (>3<); plate number >5064<; without legal reservations and acknowledging the original publishers on the pages of the score, without end marks) // 1968

° Vertical to text.

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


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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