K073 Symphonie in drei Sätzen

K73 Symphony in three movements

Symphonie in drei Sätzen – Symphonie en trois mouvements – Симфония в трех частях – Sinfonia in tre movimenti

* ‘three’ and ‘movements’ are, according to Strawinsky’s letters, mostly written in capital letters in the current English Strawinsky literature of today; the printed editions on the other hand give the number and the noun in lower-case letters almost without exception.

Title: Strawinsky was not happy with the title, because it could have caused misunderstandings which would be inevitable as, by the term ‘Symphony’, he understood nothing more than an orchestral piece. He therefore later stated that it would have been better to have called the work ‘Three Symphonic Movements’ instead of ‘Symphony’. The different contracts and preliminary contracts prove how arduous the process of settling on a title was for Strawinsky. At first, the title was ‘Concert Overture’, then it was changed to ‘Symphony Overture’ before the final printed title was published. In a telephone note of 20th August 1945, he referred only to ‘Symphony’, and in a letter to Gretl Urban of 30th August 1945 to ‘Symphony in Three Movements’. What appears to come from a further letter of 6th September 1945 to Gretl Urban is that the title in the contract must originally have stood as ‘Symphony in three parts’. After his letter of 30th August, there probably came back to him a return enquiry from the publishers concerning the title. Strawinsky explained that the title ‘Symphony in Three Movements’ was preferable and excused the use of the word ‘parts’, which was at the time still uncorrected, with the explanation that he must have been very distracted when he used this word.

Scored for: a) First edition: 1 Flauto piccolo, 2 Flauti grandi, 2 Oboi, 2 Clarinetti in Si b e La / 2. anchi Clarinetto basso, 2 Fagotti, 1 Contrafagotto, 4 Corni in Fa, 3 Trombe in Do, 3 Tromboni, 1 Tuba, Timpani, Batteria, Piano, Arpa, Archi [Piccolo Flute, 2 Flutes, 2 Oboes, 2 Clarinets in B b and A / 2. also Bass Clarinet, 2 Bassoons, 1 Contrabassoon, 4 Horns in F, 3 Trumpets in C, 3 Trombones, 1 Tuba, Timpani, Percussion, Piano, Harp, Strings; b) Performance requirements: Piccolo Flute, 2 Flutes, 2 Oboes, 3 Clarinets in A and B b (3rd Clarinet = Bass Clarinet), Bass Clarinet in B b (= 3rd Clarinet), 2 Bassoons, 1 Contrabassoon, 4 Horns in F, 3 Trumpets in C, 3 Trombones, 1 Tuba, Timpani, Percussion (Big Drum), Piano, Harp, 4 Solo Violins, Solo Viola, 2 Solo Violoncellos, Strings (First Violins*, Second Violins*, Violas**, Violoncellos**, Double Basses**).

* Divided in three.

** Divided in two.

Score: Only in the 2nd movement are there A clarinets, otherwise they are in B flat; in the 2nd movement, there is no bass clarinet; there are 3 bass clarinets at the end of the 3rd movement; the second violins are often divided into two parts. The printed score contains Arabic figures, for which figure 1 begins at bar 1 of the Symphony. Strawinsky himself gave it bar numbers but not figures, as can be seen from the sketches and particell pages, in which he enters the bar numbers in red and at the edge notates the identical units of bars in order to avoid having to write it out again. Bars 261-266 thus correspond to bars 146-151. Strawinsky wrote these numbers in a table at the beginning of page 13 of the short score, and continued writing at bar 357. In later scores, he abandoned figuring completely and instead used only bar numbers in single-bar numbering or in groups of five.

Construction: The Symphony in three movements is a suite-like orchestral work constructed from several episodes that are arranged sequentially; it has three sequences bound together by recurring groups of figures with a seven-bar interlude between the second and third movement which is led into attacca and which runs on attacca into the next movement. The first movement is not numbered but has metronome markings. The second movement is numbered and has the marking Andante, at the end of which stands the Interlude. The third movement is numbered and has the marking Con moto. The Symphony in three movements has so far not been convincingly analyzed. It has not even been possible to come to a consensus as to whether the Symphony is a Symphony and not a concerto in disguise, especially as it is certain that Strawinsky originally planned, not a piano concerto, but a concerto with obligato piano. In any case, Strawinsky understood the term ‘Symphony’ not in the dialectical Classical sense, rather as a synonym for ‘orchestral work’. Structurally, the work has two contrasting blocks, according to White. The first block is tutti orchestra with the tempo marking crotchet = 160 and the piano included as part of the orchestral forces, while the other block is made up of combinations of chamber orchestra and concertino instrument with a soloistic piano part and the tempo marking crotchet = 80. Seen in this way, the first movement has a structure A1-B1-A2-B2-A3, for which A2 and B2 are shortened repeats of A1 and B1, and A3 is a coda which is an extended version of the three introductory bars of A1. According to Ingolf Dahl, who transcribed several of Strawinsky’s compositions for piano, the movement is in three sections in which two tutti sections are placed around one solo section. According to Roman Vlad, the music is developed from a three-note motif g-b flat-g1, which is varied and developed or chordally condensed, and which forms sequences of bars whose summation is the movement and the Symphony. The second movement is constructed somewhat more clearly in the style of a Da Capo aria, A-B-A1. The third movement with its sequence of episodes however does not fall into a structurally precise classification, as labels such as Scherzo or Finale or a combination of the two do not provide an explanation of the form.

Structure

[I]

Crotchet = 160 = minim = 60 (figure 1¹ up to the end of figure 33 ⁵)

Crotchet = crotchet (figure 34 up to the end of figure 37⁴)

Minim = crotchet = crotchet = 80 (figure 38 up to the end of figure 87⁴)

Quaver = crotchet = 160 (figure 88 up to the end of figure 96⁴)

Minim = crotchet = crotchet = 80 (figure 97 up to the end of figure 104#⁴)

Crotchet = minim = 80 (figure 105 up to the end of figure 111⁷)

II

Andante Quaver = 76 (figure 112 up to figure 125¹)

Più mosso (figure 125²up to the end of figure 134³)

Tempo I Quaver = 76 (figure 135 up to the end of figure 139⁴[ attacca forward to figure 140])

Interlude

L'istesso tempo Quaver = 76 ([attacca from figure 139⁴] figure 140 up to the end of figure 141⁴[ attacca forward to figure 142])

III

Con moto Crotchet = 108 ([ attacca from figure 141⁴] figure 142 up to the end of figure 147⁵)

Più presto Crotchet = 144 (figure 148 up to the end of figure 163³)

Meno mosso (Con moto) Crotchet = 108 (figure 164 up to the end of figure 167⁴)

L'istesso tempo, tranquillo (figure 168 up to figure 169⁴)

Alla breve Minim = 80 (figure 169⁵up to the end of figure 181³)

Agitato ma sempre l'istesso tempo (figure 182 up to the end of figure 195⁴)

Style: The unsettled story of the composition process is recognizable in the style which takes on elements of early Strawinsky from the pre-Classical time. Entire sections, and not just from the first movement, could come from the ballet Sacre in terms of instrumentation, while others can be compared to the Firebird and Petrushka. Overtones of the Soldier’s Tale can also be heard, likewise from Jeu de Cartes. The strings are used both percussively as well as Cantabile, and likewise the piano is used soloistically as well as a part of the orchestra etc. From this point of view the Symphony has no unified and uninterrupted scale, unlike other works by Strawinsky. So many different compositional moments appear in the piece that it seems as if Strawinsky had for all purposes bound together several sketches into one single piece, but this time to a greater extent than usual. In fact, Strawinsky, by his own explanation, moved so far to musical and programmatic terrain, that every hermeneutically orientated interpreter has an abundance of material available. Strawinsky had then to interrupt himself, because it suddenly became clear to him that he was on the best route to abandoning his musical aesthetic for the sake of music which explains its contents, which in the end only proves the state of need to explain the work that he had reached.

Dedication: >Dedicated to the New York Philharmonic Symphony Society<.

Date of origin: between 1942 and August 1945.

History of origin: The history of the composition is spread and up to this day not clarified. The first movement was begun on 15/06/1942 at the latest and was completed on 15/10/1942. Strawinsky must have produced additional material at the beginning of the year. Alexander Tansman reports that he heard Strawinsky playing the piano at the beginning of 1942 and rediscovered something of this later in the first movement of the Symphony. It also appeared as if Strawinsky had in mind an orchestral work with solo piano. One year later, Franz Werfel encouraged him to attempt to write music to his novel, Das Lied der Bernadette, but the film project failed. In spite of this, Strawinsky completed a film scene on the Appearance of the Virgin Mary. It was included in the Symphony as the trio of the second movement. The Symphony as an official commission must have been arranged by the banker Arthur Sachs, in peacetime 1945 a co-owner of the Bank Goldman, Sachs & Co., who approximately twenty years before (1924) had visited Strawinsky on behalf of the New York Philharmonic in Biarritz and conveyed to him their invitation for him to conduct them in February 1925. According to this information, Strawinsky must have had in mind a three-movement piano-concerto work by then and already completed plans for all three movements which he incorporated after the successful commission of an orchestral symphony. That should in any case not to be brought into the history of the composition of the second movement, because one would then try with this interpretation to trace the entire work back to a reworked piano concerto. Strawinsky was also working on other pieces at this time, for example an instrumental rearrangement of Le Sacre du Printemps, of which nothing was realized apart from the ‘Sacred Dance’ at the end of the ballet. The traces of this work can be heard in the Symphony. On 20/08/1945, Strawinsky telephoned Gretl Urban and informed her of the completion of the Symphony. At the same time, he also asked for the rest of the fee negotiated in the contract of $1,500; this was $1,000, because he had already received $500. Of the intervening time, little is known.

Duration: CD: 21'17".

First performance: 24th January 1946 in the Carnegie Hall New York with the New York Philharmonic Orchestra under the direction of Igor Strawinsky.

War Symphony Programme: Strawinsky’s programmatic explanations allude to the events of the Second World War, through which Strawinsky had to suffer. He explained the Symphony in three movements as a being a progression of despair and hope into which images of the War were included, as he had experienced them from films. Accordingly, the first movement was written under the influence of the events in China. The tactic of scorched earth was included in this, but there were also images of simple life. The middle section of the first movement, for clarinet, piano and strings, up to figure 69 was constructed by him as a sequence of instrumental episodes to accompany a film sequence in which the Chinese were shown working in their fields. Strawinsky explained that each separate point of his music was connected to a picture from a war film, > not in a general or ideological, but specific< sense. Strawinsky went on to explain that his music accompanied these pictures quite objectively without its expressing his own feelings on the subject or opinion of the matter. He himself later recognized the connections for the last movement. The beginning was, in a style difficult to explain, partly a reaction to images of soldiers marching in a goose-step. The snappy march rhythm, the orchestration for brass and the grotesque crescendo in the tuba connect to these > abhorrent pictures<. Each episode was linked to a certain picture of the War by Strawinsky until he even came to call his Symphony > war symphony<. The static nature at the beginning of the Fugue must have a comic effect because it represents > the overturned arrogance of the Germans when their machine failed<. The exposition of the fugue and the end of the Symphony is linked to the advance of the Allies and the fact that in the Finale instead of having the sixth chords on C as one would expect, he puts them onto D, is an expression of his exceptional joy at the victory of the Allies. One rhythm (quaver-quaver rest-quaver rest-quaver-quaver rest-quaver-quaver-quaver rest) from the rumba rhythm in the timpani in the introduction to the first movement becomes a symbol of the war machine. Not even the interaction between the piano and harp lies outside the story of the War. The Fugue is the turning point at which the National Socialist war machine collapses and it is also for this reason alone that the piano and harp appear together and alone. In spite of this, the Symphony in three movements was not conceived programmatically. > Composers combine notes. That is all.< How the terrestrial events were translated by composers into music, it > is not for them to say<.

Situationsgeschichte: The explanation of the programme must be understood in the context of the situation of the time. In the general euphoria arising from the War having been won by the Americans in Europe, Strawinsky wanted to pledge himself increased awareness for his music for the first larger work to be premièred by him. Strawinsky had already had unpleasant experiences with National Socialist Germany before power was seized in 1933 when he encountered some trigger-happy SA people in a Munich restaurant in 1932 and received no help from the police there because such a thing was part of daily life at the time. With this experience, he lived through the events in Paris until he saw himself pictured in the Düsseldorf exhibition Entartete Musik; he opposed this without success, and in doing so, learning that many of his friends had split themselves into both camps, some in to that of the hunted, the others on the side of the hunter. As a result, Strawinsky differentiated clearly and very exactly in all of his written documents between Germany and National Socialism. His Jewish son-in-law (Mandelstam) was murdered by the Nationalsocialists and his son Théodore was arrested as a Russian by the French after the outbreak of war in their attempt to demonstrate their obedience , and was only set free several days later after the intervention of the Swiss authorities, half-starved and half-frozen. Soulima was later arrested by the French as a collaborator. His offence was trying to seek permission to give a few piano evenings in Germany through (failed) procuring by Strecker of Schott publishers. This time, Strawinsky had to ask Darius Milhaud, who was himself not in favour, to help his son, which succeeded. The fact that Strawinsky was one of the few notable emigrants not to return to Europe after the War, but to stay in his protective country of asylum, says everything about his feelings. On 28th December 1945, he received American citizenship. The Symphony in three movements with its four-year compositional history covers the events of the War from 1942 to 1945 like no other work. In this respect, it in fact became a War Symphony without any coarse ulterior motives. His programmatic explanations should certainly not liquidate the neo-Classical musical aesthetic, but should draw attention to the fact that deep sensibilities can stand behind modern Constructivist Art. Music written using a montage process can in the end express a great deal because, with great skill, everything can be read into it. One must take into account that Strawinsky, in relation to interpretations about the delayed start of the fugue, suspiciously approaches the hermeneutical outgrowths in the style of a Laura Rappoldi-Kahrer or Marie Schlesinger-Stephani, whom he once had fought against so passionately, or even those of a Russian Marxist musical interpretation, which to him turned out to be a result of a stupid vocabulary of concepts. In any case, he referred to images of war which had impressed themselves upon him, and did not mention having portrayed them. He referred to feelings that the pictures of the War caused in him and to what was connected with these; he did not refer to the having set these in music as his opinion. In this way he was able to announce the programme and, playing on the tide of rising emotions, strive for the contemporary success in North America which he had been deprived of so far, without wasting one word about the montage processes which in fact dominate the Symphony regardless of the programme.

Versions: Strawinsky did not complete a piano version of the Symphony in three movements. The rights went at first to Associated Music Publishers in New York. The contract was signed on 15/02/1945 with an agreement from 27/08/1945. The fee, which Strawinsky received, was intended for the work and the première. While he had expected the first printing to be of the pocket scores, for which a requirement seems to have existed, the publishers printed a conducting score in June 1946 which was much too large in Strawinsky’s opinion and for which there was not space on the conductor’s desk; the pages were also printed on paper that was too thick so that it could not be turned easily while conducting. According to his very disappointed letter to Gretl Urban of 27/06/1946, it must have been not so much a printed score as an overlarge photocopy on thick copying paper, of which no copy can be found in European libraries. He assumed, he went on, that this edition was a provisional printing and he expected that there would be a correct edition in the near future, which Schott but only delivered in 1951. The required pocket-score edition then came in the same year, 1946, and Associated Music Publishers printed 1045 copies, of which in the publishing half year 180 were sold and 125 were given away for free. Up to the middle of June 1947, the publishers sold a further 361 copies and gave away 9.

Print runs: Schott in Mainz, who took over the rights from Associated Music Publishers, produced 620 copies (print runs: 31st July 1951: 120; 10th July 1967: 500) of the conducting score (which, like the orchestral parts, was available to hire) up to the end of the century in 2 print runs, both in Strawinsky’s lifetime. There were 5,500 copies of the pocket scoreprinted in 7 runs and again after Strawinsky’s death until the end of the century a further 4,700 copies in 5 print runs (print runs 12th December 1951: 1,000; 20th March 1955: 800; 2nd August 1957: 800; 6th December 1961: 800; 9th November 1962: 1,100; 10th August 1965: 1,000; 17th November 1967: 1,000 and 20/02/1974: 800; 06/10/1976: 1,000; 08/01/1980: 1,000; 23/03/1983: 1,100; 24/06/1987: 800). Schott sold around 2,500 pocket scores between the middle of 1956 and the middle of 1969. The pocket score was later included in the Eulenburg score collection.

Historical recordings: New York 28th January 1946 with the New York Philharmonic Orchestra under the direction of Igor Strawinsky; Hollywood 1st February 1961 with the columbia symphony orchestra under the direction of Igor Strawinsky.

CD edition: IV-2/1-3 (Recording 1961).

Autograph: The autograph score is in the Public Library of New York. 33 pages of the short-score version with 111 pages of sketches were transferred from the estate to the Paul Sacher Foundation in Basel.

Copyright: 1946 by Associated Music Publishers, Inc., New York.

Editions

a) Overview

73-1 1946 PoSc; Associated Music Publishers; 120 pp.; A. M. P. 194545.

    73-1 ^Straw [1946] ibd. [with correction].

  73-1 ^[50] [1950] ibd.

73-2 1951 PoSc; Schott Mainz; 96 pp.; B·S·S 37675; 4075.

  73-2^[55] ibd.

  73-2^[57] ibd.

  73-2^[61] ibd.

  73-2^[65] ibd.

  73-2^[67] ibd.

73-3 1951 FuSc; Schott Mainz; 96 pp.; 37675; 99.

    73-3^Straw ibd. [with correction].

  73-3 ⁽⁶⁷⁾ (1961) ibd.

73-4 [1966] PoSc Edition Eulenburg; Schott Mainz; 96 pp.; B·S·S 37675; 574.

73-5 1967 FuSc; Москва; 94 pp.; 4194.

b) Characteristic features

73-1 Igor Stravinsky / Symphony/ IN THREE MOVEMENTS / for orchestra / [vignette] / Miniature Score [#]* $4.00 / ASSOCIATED MUSIC PUBLISHERS, INC. / New York / Printed in U. S. A. // Igor Stravinsky / Symphony/ IN THREE MOVEMENTS / for orchestra / [vignette] / ASSOCIATED MUSIC PUBLISHERS, INC. / New York / Printed in U. S. A. // (Pocket score sewn 15.2 x 22.8 (8° [gr. 8°]); 120 [118] pages + 4 cover pages thicker paper black on grey-beige [front cover title with centre centred vignette 5,2 x 5,7 female head facing the audience crowned with a lyra centre on stage with raised curtain, 3 empty pages] + 2 pages front matter [title page, empty page] without back matter; title head >S ymphonY /in Three Movements<; dedication below title head centre italic > Dedicated to the New York Philharmonic Symphony Society<; author specified 1st page of the score paginated p. 3 below dedication flush right partly in italics >Igor Stravinsky (1945)<; legal reservation 1st page of the score below type area centre >Copyright, 1946, by Associated Music Publishers, Inc.<; production indication 1st page of the score below type area next to legal reservation flush right >Printed in U.S.A.<; plate number [exclusively] 1st page of the score next to legal reservation flush left >A.M.P. 194545<; without end mark) // (1946)

* Fill character (dotted line).

73-1^Straw

Stravinsky’s copy from his estate is signed and dated at the top of the page flush right >I. Strawinsky / August 1946<. The 1st movement is corrected: [>[note sign] crotchet = 180 ([note sign] Minim = 80) < instead of >[note sign] crotchet = 180 ([note sign] Crotchet = 180)<; 1st movement, p. 56, figure 97 ², Bass clarinet: 2nd quaver shouild be e#1 instead of e1; p. 59, figure 109 ⁶, Violoncelli and Double basses: it shouild be ¦ instead of m ¦ heißen, the same applies to p. 61, figure 109 ¹; 1st movement, p. 63, figure 111 ¹, Double basses: > ¦¦ stacc< instead of m ¦ , Bassoons: ppsub<, the same applies to Contrabassoon, the same applies to Horns, Violoncelli and Basses s ¦ pp instead of s ¦ p ; 111 ²1st/2nd and 3rd/4th Horns: at the end of the bar should be a breathing mark; 111 ³1st/2nd Flutes, 1st/2nd Oboes, 1st/2nd Clarinets: should be ppinstead of p, the same applies to the strings; 3rd movement, p. 87, figure 151 ³, 2nd Trumpet: 1st quaver should be g ^b1 instead of g1].

73-1^[50] Igor Stravinsky / Symphony/ IN THREE MOVEMENTS / for orchestra / [vignette] / Miniature Score [#] $4.00 / ASSOCIATED MUSIC PUBLISHERS, INC. / New York / Printed in U. S. A. // Igor Stravinsky / Symphony/ IN THREE MOVEMENTS / for orchestra / [vignette] / ASSOCIATED MUSIC PUBLISHERS, INC. / New York / Printed in U. S. A. // (Pocket score [library binding] 15 x 22,8 (8° [gr. 8°]); 120 [118] pages + 4 cover pages thicker paper black on grey-beige [front cover title with vignette centre centred 5.2 x 5.7 female head facing the audience crowned with a lyra centre on stage with raised curtain, 2 empty pages, page with publisher’s advertisements >BY / IGOR STRAVINSKY / for<* without production data] + 2 pages front matter [title page, empty page] without back matter; title head > Symphonie/ in Three Movements<; dedication below title head centre italic > Dedicated to the New York Philharmonic Symphony Society<; author specified 1st page of the score paginated p. 3 below dedication flush right partly in italics >Igor Stravinsky (1945)<; legal reservation 1st page of the score below type area centre >Copyright, 1946, by Associated Music Publishers, Inc.<; production indication 1st page of the score below type area next to legal reservation flush right >Printed in U. S. A.<; plate number [exclusively 1st page of the score next to legal reservation flush left] >A.M.P. 194545<; without end mark) // [1950]

* Compositions are advertised columns with prices behind fill character (dotted line) >PIANO SOLO°° / Circus Polka° $1.00 / TWO PIANOS FOUR HANDS°° / Scherzo à la Russe° $2.50 / Circus Polka (Stravinsky-Babin)° $2.00 / Sonata° $2.50 / Danses Concertantes (Stravinsky-Dahl)° $3.50 / VIOLIN°° / Circus Polka° $1.00 / Élegie (violin or viola) unaccompanied° $1.25 / Berceuse from “The Firebird” (Stravinsky-Dushkin) ° $1.00 / Pastorale (Stravinsky-Dushkin)° $1.00 / MINIATURE SCORES°° / Danse Sacrale from “Sacre du Printemps”° $2.00 / Four Norwegian Moods° $1.75 / Ode° $2.00 / Scènes de Ballet° $2.50 / Scherzo à la Russe° $1.25 / Symphony in Three Movements° $4.00 / ASSOCIATED MUSIC PUBLISHERS, Inc. / 25 West 45th Street / New York 19, N. Y.< [° fill character (dotted line) ; °° centre].

73-2 IGOR STRAWINSKY / Symphony / in three movements / for Orchestra / SCORE / [vignette] / EDITION SCHOTT / 4075 // Symphony/ in three movements / for orchestra / by / Igor Strawinsky / 1945 / Scorc° / (orchestral parts on hire) / B. SCHOTT'S SÖHNE /* MAINZ / [°°] / Schott & Co. Ltd., London W.1 [#] Editions Max Eschig, Paris [#] Assoc. Music Publ. Inc., New-York. / 48 Great Marlborough Street [#] 48 Rue de Rome [#] 25 West 45 th Str. / Printed in Germany – Imprimé en Allemagne // [Text on spine:] STRAWINSKY [#] SYMPHONY // (Pocket score sewn 0.7 x 14 x 18.7 ([8°]); 96 [94] pages + 4 cover pages thicker paper light grey on grey veined [front cover title with orange coloured publisher’s emblem oval 1.9 x 2 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<** without production data] + 2 pages front matter [title page, legend italic > Instrumenti< + duration data [24'] Italian] without back matter; title head >Symphony in three movements<; dedication above title head centre >Dedicated to the New York Philharmonic Symphony Society<; author specified 1st page of the score unpaginated [p. 3] below title head flush right centred >Igor Strawinsky / 1945<; legal reservation 1st page of the score below type area flush left >Copyright 1946, by Associated Music Publishers, Inc. New York<; plate number [1. page of the score:] >B·S·S 37675 ^a< [pp.4-96:] >B·S·S 37675<; production indication p. 96 flush right as end mark >Druck u. Verlag von B. Schott's Söhne, Mainz<) // [1951]

° Th e >e< is printed badly so that looks like a >c<.

°° D ividing horizontal line of 8.4 cm, i.e. column width .

* Slash original.

** Compositions are advertised in three columns with edition numbers behind fill character (dotted line) under the heading in a text box >Orchesterwerke< from >Albeniz, Isaac< to >Wunsch, Hermann<, amongst these >Strawinsky, Igor / Scherzo fantastique° 3501 / Feuerwerk. Brillante / Fantasie° 3464 / Symphonie in C° 3536 / Symphonie* in three / movements° 4075 / Der Feuervogel, Suite°° 3467 / Suite I für kl. Orchest.°° 3469 / Suite II f. kl. Orchest.°° 3470 / Concerto in Es für / Kammer-Orchester° 3527 / Ragtime für elf Instru- / mente° 3458 / Konzert in D für Vio- / line und Orchester° 3504 / Pastorale für Sopran, / Oboe, Englishhorn, / Klarinette und Fagott°° 3399 / Pribaoutki. Scherz- / lieder für mittlere / Stimme u. 8 Instrum.°° 3465 / Wiegenlieder d. Katze / f. tiefe Frauenstimme / und 3 Klarinetten° 3466<; under the heading in a text box >Opern und Ballette< from >Falla, Manuel de< to > Strawinsky, Igor / Die Geschichte vom / Soldaten, gelesen, / gespielt und getanzt° 3428 / Das Kartenspiel, / Ballett° 3511 / Reinecke, Burleske° 3493 [° fill character (dotted line) ; °° without fill character (dotted line) ; * original spelling].

73-2^[55] STRAWINSKY / Symphony in three movements / for Orchestra / Score / [vignette] / EDITION SCHOTT / 4075 // Symphony/ in three movements / for orchestra / by / Igor Strawinsky / 1945 / Score° / (Orchestral parts on hire) / B. SCHOTT'S SÖHNE /* MAINZ / [**] / Schott & Co. Ltd., London W. 1 [#] Editions Max Eschig, Paris [#] Assoc. Music Publ. Inc., New-York. / 48 Great Marlborough Street [#] 48 Rue de Rome [#] 1 West 47 th Str. / Printed in Germany – Imprimé en Allemagne // [Text on spine:] STRAWINSKY SYMPHONY // (Pocket score sewn 0.8 x 13.7 x 18.9 (8°); 96 [94] pages + 4 cover pages thicker paper black on grey veined [front cover title with orange coloured publisher’s emblem oval 1.9 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 / zeitgenössischer Orchesterwerke<*** production data >105<] + 2 pages front matter [title page, legend italic > Instrumenti< Italian + duration data [24'] Italian] without back matter; title head >Symphony in three movements<; dedication above title head centre >Dedicated to the New York Philharmonic Symphony Society<; author specified 1st page of the score unpaginated [p. 3] below title head flush right centred >Igor Strawinsky / 1945<; legal reservation 1st page of the score below type area flush left >Copyright; 1946, by Associated Music Publishers, Inc., New York<; plate number [1. page:] >B·S·S 37675 ^a< [pp. 4-96:] >B·S·S 37675<; production indication p. 96 flush right as end mark >Druck u. Verlag von B. Schott's Söhne, Mainz<) // [1955]

°° The >e< is printed badly printed so that looks like a >c<.

* Slash original.

°° D ividing horizontal line of 8.4 cm, i.e. column width .

*** Compositions are advertised in three columns with edition numbers behind fill character (dotted line) from >WERNER EGK< to >ALEX. TSCHEREPNIN<, amongst these >IGOR STRAWINSKY / Scherzo fantastique° 3501 / Circus-Polka° 4274 / „Feuerwerk“, Fantasie°° 3464 // STRAWINSKY (Fortsetzung) / Symphonie in C° 3536 / Symphony in three / movements° 4075 / „Der Feuervogel“, / Suite (1919)° 3467 / „Der Feuervogel“, / Suite (1945)° 4420 / Vier norwegische Im- / pressionen°°° / Ode. Elegischer Ge- / sang) in 3 Teilen für / kleines Orchester°°° / Suite I für kleines / Orchester° 3469 / Suite II für kleines / Orchester° 3470 / Pas de deux (L’oiseau / bleu) (Tschaikowsky) °°°° 4409 / Concerto in Es (Dum- / barton Oaks) f. Kam- / merorchester° 3527 / Danses concertantes° 4275 / Konzert in D für Vio- / line und Orchester° 3504< [° fill character (dotted line) ; °° without fill character (dotted line) ; °°° without fill character (dotted line) and without edition number; °°°° behind fill character (dot].

73-3 IGOR STRAWINSKY* / Symphony / in three movements / for Orchestra / SCORE / [vignette] / EDITION SCHOTT / 4075 // Symphony/ in three movements / for orchestra / by / Igor Strawinsky / 1945 / Score / (Orchestral parts on hire) / B. SCHOTT'S SÖHNE /* MAINZ / Schott & Co. Ltd., London W. 1 [#] Editions Max Eschig, Paris [#] Assoc. Music Publ. Inc., New-York / 48 Great Marlborough Street [#] 48 Rue de Rome [#] 25 West 45 th Str. / Printed in Germany – Imprimé en Allemagne // (Full score sewn 25.4 x 32.1 (8°); 96 [94] pages + 4 cover pages thicker paper black on grey veined [front cover title with orange coloured publisher’s emblem orange oval 3.7 x 4.6 wheel of Mainz in a frame without text, 3 empty pages] + 2 pages front matter [title page, legend >Instrumenti< Italian + duration data [24'] Italian] without back matter; title head >Symphony in three movements<; dedication 1st page of the score unpaginated [p. 3] above title head centre centred >Dedicated to the New York Philharmonic Symphony Society<; author specified 1st page of the score below title head flush right centred >Igor Stravinsky / (1945)<; legal reservation 1st page of the score below type area flush left >Copyright, 1946, by Associated Music Publishers, Inc., New York<; plate number >B·S·S 37675<; production indication p. 96 flush right as end mark >Druck u. Verlag von B. Schott's Söhne in Mainz<) // (1951)

* Slash original.

73-3 ⁽⁶⁷⁾ IGOR STRAWINSKY* / Symphony / in three movements / Score / [vignette] / EDITION SCHOTT / 99 // Symphony/ in three movements / for orchestra / by / Igor Strawinsky / 1945 / Score / (Orchestral parts on hire) / B. SCHOTT'S SÖHNE /° MAINZ / Schott & Co. Ltd., London W. 1 [#]·Editions Max Eschig, Paris [#] Assoc. Music Publ. Inc., New-York / 48 Great Marlborough Street [#] 48 Rue de Rome [#] 25 West 48 th Str. // (Full score sewn 26.3 x 32.9 (2°[4°]); 96 [94] pages + 4 cover pages thicker paper black on light grey veined [front cover title with publisher’s emblem light orange oval centre centred 3.7 x 4.6 with wheel of Mainz in the frame and containing text in bottom half >PER MARE< [#] >ET TERRAS< left and right, 3 empty pages] + 2 pages front matter [title page, legend italic > Instrumenti< Italian + duration data [24’] Italian] without back matter; title head >Symphony in three movements<; dedication above title head centre >Dedicated to the New York Philharmonic Symphony Society<; author specified 1st page of the score unpaginated [p. 3] below title head flush right centred >Igor Stravinsky* / 1945<; legal reservation 1st page of the score below type area flush left >Copyright, 1946, by Associated Music Publishers, Inc. New York<; plate number > B·S·S 37675<; production indication p. 96 flush right as end mark >Druck und Verlag von B. Schott's Söhne in Mainz<) // (1967)

* Different spelling original.

° Slash original.

73-3^Straw

Strawinsky’s copy from his estate is on the front cover title page between name and piece title right in red with >IStr< signed and contains on the first page of the type are [p. 3] below the title head centre behind the metronome marking >[crotchet-sign] = 160< the annotation with pencil >[minim-sign = 80, now in I96I I take [minim-sign] = 96<.

73-3 ⁽⁶⁷⁾ STRAVINSKY* / Symphony in three movements / Score / [vignette] / EDITION SCHOTT / 99 // IGOR STRAWINSKY* / Symphony in three movements / for orchestra / (1945) / Score / Edition Schott 99 / 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 / Printed in Germany // (Full score sewn [without text on spine] 0.7 x 26.5 x 33 (2°); 96 [94] pages + 4 cover pages thicker paper black on light grey veined [front cover title with dark orange coloured publisher’s emblem oval 3.7 x 4.6 wheel of Mainz in a frame with and containing text in bottom half >PER MARE< [#] >ET TERRAS< left and right, 3 empty pages] + 2 pages front matter [title page, legend >ISTRUMENTI<° Italian + duration data [24’] Italian] without back matter; title head >Symphony in three movements<; dedication above title head centre >Dedicated to the New York Philharmonic Symphony Society<; author specified 1st page of the score unpaginated [p. 3] below title head flush right centred >Igor Stravinsky / 1945<**; legal reservation 1st page of the score below type area flush left >© 1946 Associated Music Publishers, Inc., New York< flush right >© assigned to B. Schott's Söhne, Mainz<; plate number [exclusively] in connection with production indication p. 96 as end mark >Verlag: B. Schott's Söhne, Mainz 37675<) // (1967)

° Original spelling.

* Different spelling original.

73-4 Edition Eulenburg / [*] / No. 574 / STRAWINSKY / Symphony / in three Movements / [vignette] / Ernst Eulenburg Ltd., / London — Zürich — Mainz — New York / Printed in England** // Edition Eulenburg / [***] / SYMPHONY / in three movements / by / IGOR STRAWINSKY / Incorporated in the Eulenburg Edition / by permission of B. Schott's Söhne, Mainz / [vignette] / Ernst Eulenburg Ltd. London, W. 1 / Edition Eulenburg G.m.b.H. Zürich / Ernst Eulenburg & Co., G.m.b.H., Mainz / Edition Eulenburg Inc., New York // [text on spine] No. 574. STRAWINSKY – SYMPHONY IN THREE MOVEMENTS // (Pocket score sewn 0.5 x 13.6 x 18.6 (8°); 96 [94] pages + 4 cover pages thicker paper black on yellow orange [front cover title in a broad wavy ornamental frame 0.8 x 10.3 x 16 with vignette 1.3 x 2 Lyre-like ornament with 2 letter ‘E’s appearing above, set over and into one another in a quasi-handwritten font , 2 empty pages, page with publisher’s advertisements >EULENBURG MINIATURE SCORES / bound in half-leather with composer’s portraits****< without production data] + 2 pages front matter [title page in a broad wavy ornamental frame 0.5 x 10.8 x 15.3 with vignette 1.4 x 2.2 Lyre-like ornament with 2 letter ‘E’s appearing above, set over and into one another in a quasi-handwritten font , legend > Instrumenti< Italian + duration data [24’] Italian + production indication >PRINTED BY THE SOHO PRESS, LONDON, W. I.<] without back matter; title head >Symphony in three movements<; dedication above title head centre >Dedicated to the New York Philharmonic Symphony Society<; author specified 1st page of the score unpaginated [p. 3] below title head flush right centred >Igor Stravinsky / *1882<; legal reservation 1st page of the score below type area flush left >Copyright; 1946, by Associated Music Publishers, Inc. New York<; plate number [pp. 3 -37, 39-48, 50-94:] >B ^.S ^.S 37675< [p. 38:] >B ^.S ^.S 3767< [p. 49:] without plate number; without end mark p. 96) // (1966)°

° According to Deutsche Bücherei Leipzig.

* Dividing horizontal line of 7.8 thickend on 0.1 centre.

** Outside the decorative frame.

*** A simple dividing line (9.8 cm) the breadth of the frame of the inner.

**** Compositions are advertised from >BACH< to >Tschaikowsky<; Strawinsky not mentioned.

73-5 И. СТРАВИНСКИЙ / I. STRAVINSKY / СИМФОНИЯ / в трех частях / SYMPHONY / in three movements / ПАРТИТУРА / SCORE / [vignette] / МУЗЫКА ^.MUSIC / МОСКВА ^.1967 ^.MOSCOW // И. СТРАВИНСКИЙ / I. STRAVINSKY / СИМФОНИЯ / в трех частях / SYMPHONY / in three movements / ПАРТИТУРА / SCORE / ИЗДАТЕЛЬСТВО МУЗЫКА / STATE PUBLISHERS MUSIC / МОСКВА 1967 · MOSCOW // (Full score sewn 22 x 28.6 ([Lex 8°]); 96 [94] pages + 4 cover pages black on cream white [front cover title in ornamental frame with vignette 1.2 x 1.4 initial >M< with a stylized treble clef form cream white in black justified text, 2 empty pages, page with imprint >Индекс 9—5—1< Russian with billing of names >Редактор В. Струков [#] Лит. редактор Л. давтян / Техн. редактор В. Кичоровская [#] Корректор Н. Маковская< and itemized statements of format and origin] + 2 pages front matter [title page, legend >ORCHESTRA< Italian + introductory text without headline Russian without acknowledging the author] without back matter; title head >СИМФОНИЯ [#] SYMPHONY / В ТРЕХ ЧАСТЯХ / IN THREE MOVEMENTS<; dedication above title head centre centred italic >Посвящается Нью Йоркскому Филармоническоту ситфоническоту обществу/ Dedicated to the New York Philharmonic Symphony Society<; author specified 1st page of the score paginated p. 3 below title head next to movement number >I< flush right >И. СРАВИНСКИЙ / I. STRAVINSKY<; without legal reservation; plate number >4194<; without production indication; without end mark) // 1967

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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.
http://www.kcatalog.org and http://www.kcatalog.net