K013 Zwei Gedichte von Konstantin Balmont
K13 Два стихотворенія
К. Бальмонта для одного голоса и ф. п. – Deux Poésies de K. Balmont pour chant et piano – Zwei Gedichte von Konstantin Balmont für hohe Stimme und Klavier – Two Poems of Balmont for high voice and piano – Due poesie di Konstantin Balmont per voce acuta e pianoforte
Scored for: a) First editions (original): Sopran, Klavier – (version für chamber orchestra) First song: Flauto I, Clarinetti I. II in Sib, Piano, Soprano Solo, Violino I, Violino II, Violoncello [Flute I., Clarinets I. II in B, Piano, Solo Soprano, Violin I, Violin II, Violoncello] – (version für chamber orchestra) Second song: Flauto I, II, Clarinetti I. II in Sib, Piano, Soprano Solo, Violino I, Violino II, Viola, Violoncello [Flute I. II, Clarinets I. II in B, Piano, Solo Soprano, Violin I, Violin II, Viola, Violoncello]; b) Performance requirements: = a).
Summary: The first song, Незабудочка — цвђточекъ,Graceful Forget-Me-Not, concerns the thoughts of a young girl about her betrothed; in an allegory of nature, a forget-me-not flower at the edge of a meadow. The flower is delicate, blooming only for its lover, and confides in the water and at night in the stars hoping, that her tender voice might be heard by him for whom it was addressed. – The second song, Голубь, The Cock Pigeon, describes the momentary meeting of two people, once again in a nature allegory, using a cock pigeon and a rose. A cock pigeon, white as snow, flies to a house and sees a red rose. He takes it for himself, and the rose is overjoyed. After the pigeon has embraced the rose, he flutters off. The rose complains that the pigeon has forgotten her, and that he may only return one more time.
Source: Both song texts can be found (together with the text for Swjesdoliki , which was later set by Strawinsky) in the collection of poetry, Зеленый вертоградъ, published in 1909 in St Petersburg (Seljony wertograd =The Green Garden ) by Konstantin Balmont. Вертоградъ (today вертоград)is a term for garden in everyday Russian which since that time has become unused and poetic; more specifically, it means a fruit garden (today сад= Sad), and зеленыйis the grammatical equivalent for green. Strawinsky probably did not take the texts from this collection, which contains approximately 200 poems, rather from a pre-publication of 21 poems in 1907 in the September edition of the artistic newspaper Весы (Wessy), which at that time was the most important literary publication of the Russian Symbolists. Balmont (16/6/1867–23/12/1942) achieved great fame in Russia. His works, collected in 10 volumes, have been published since 1908 in Russia, and a translation of a selection of them was made in German in 1921. Together with Alexander Blok and Serge Gorodetzky, he was the leading head of the Russian Symbolists, and towered over both with regard to the poetic power of language. While Gorodetzky came to be highly honoured in post-revolutionary Russia, Balmont emigrated to Paris in 1921. Strawinsky kept no contact with Balmont as little as with Gorodetzky neither in Russia nor later in France. Unlike in the incomprehensible Swjesdoliki, the symbolism of the two poems is comprehensible, and Balmont’s verse configuration is not an ecstasy of sounds. – The rhyme structures of the two three-verse songs, selected by Strawinsky, are not the same. Balmont’s rhyme structure in the forget-me-not song is a cross rhyme (ABAB), in which he constructs the third verse out of the first, but only the rhymes in lines 9 and 11 are synchronised with lines 1 and 3. For the pigeon song, Balmont uses a different rhyme structure for each of the three verses: for the first verse, he uses a mirror form (ABBA), for the second a cross rhyme (ABAB), and for the third, a four-line identical rhyme (AAAA) so that a rhymescheme is created, which corresponds to the drama of the plot.
Translations: Strawinsky claimed in a letter to Ernst Roth of 7th July 1954, that there was no English translation for the Balmont songs, and he suggested Robert Craft for this work. The Russian Music Publishing house brought out the Balmont songs at the latest by 1922 in Russian, French, German and English, and all these translations must have been made in London, because the Balmont songs belong to part of Strawinsky’s package, which Ralph Hawkes bought from Koussewitzky. The English translation was done by Robert Burness, who at that time had translated several of Strawinsky’s works. In that letter to Ernst Roth dated 7th July 1954, in which he explains to the publisher the reasons why and in what context he had produced an instrumental version of the songs, he demands the production of an English translation on the basis that there was only one for the Japan songs and for the “Children’s” songs, but not for the Balmont songs, which only the Russians knew about. He recommends to Craft, who was already involved in the matter, that he completes an English translation under his supervision.Either Strawinsky did not have access to the Burness translation, or he didn’t like it for some reason. He was also naturally anxious to bind Craft financially into the new edition, only that with Craft as translator, he ran the risk that the old translator trauma from the times of Ramuz would be repeated, because Ramuz, like Craft, did not understand Russian at all and was, like the latter, not a polyglot interpreter capable of translating Russian text into English without help.He therefore stayed with the old manner division. For Craft’s new version, Strawinsky translated the meaning and Craft sought to bring this meaning into reasonably good English which suited the music. In spite of this the adjustments to the rhyme and rhythm made by the contemporary translators, M.-D. Calvocoressi for the French, Berthold Feiwel for the German and Robert Burness for the English, are closer to the original than Craft’s version for the English, which presumably is linked to the fact, that in the time before the First World War, the instinct for the realisation of the intricacies of artistic verse was substantially more developed. Calvocoressi, the truest translator of them all, managed to take up almost all the rhyme patterns of the first song, and Feiwel (he also had difficulties with the sound of the second verse, for which he retained the embracing rhyme of the first verse) and Burness did the same. None of them resorted to distorting the speech rhythms, re-arranging the order of parts of the translation between verses or changing the footing. Craft on the other hand inverts the first verse of the second song entirely for example. Where the pigeon is described in the first line of Balmont’s original, Craft has the rose blooming at the window (Craft: on the windowsill the rose; Burness: flew once’ where he saw a tow’r). None of this is in a Balmont original. Balmont’s rhyme scheme is a-b-b-a. Calvocoressi, Feiwel and Burness take on this rhyme scheme, and only Craft uses a-a-b-b. Where Balmont describes the blossom (цветок= blossom; Balmont at no point refers to the rose, always to a red blossom, and the word for red in Russian has the poetic connotation of beautiful) standing at the window in the fourth line (оконцђ= small window), Craft has the pigeon fly to it (Craft:The dove flying to the rose? ; Burness: Nought it held but crimson flow’r ). In Craft’s version, there are also rhythmic and accentual difficulties: in the second line of the second verse of the first song for example, the first suddenly becomes four-footed instead of three-footed. It may be that Craft’s translation, without concern for the original, suits Strawinsky’s melodic line better; but as far as the translation goes, Craft’s version is not a true representation of the original on many fronts, and does not take its interpretation of the song from the meaning of the text. Craft, with the agreement of Strawinsky, rotates the situation even in the first line. Balmont’s version is къ терему припалъ, which means that a male pigeon (the female pigeon is голубка, so therefore it is a pigeon), nestles into a tower house (терем= tower house, at the same time a term for a bower, originally the heated living room and bedroom, later used in the sense of the lady’s bedroom). Calvocoressi simply refers to the pigeon as a bird (l’oiseau) because the correct French word (pigeon male) is too long to be declaimed on the two quavers, A sharp 1-B1. Instead of the tower house, two syllables in the Russian, he uses the words for roof (toit) and has his bird sit “on the roof” (sur le toit). This way, he has the necessary three syllables. Feiwel makes it into a flight to the castle. Burness postpones the word for dove until the next line. The sense of the original is met best by Calvocoressi. He effectively has the bird posture (se poser = set oneself in posture). It sits there in order to look through the window at where the girl, i.e.: the red blossom, is situated. Strawinsky sets this meaning exactly. Strawinsky was a bird-lover and a keen observer, above all of their movements. In his setting, he captures the several jerky motions of the viewing bird exactly. In the 4th line, Balmont describes the red blossom itself. Strawinsky’s melody line changes its character at this point, as up till now it has been linear and rather in the manner of recitative, and it now blossoms into an arch form. The text and music therefore complement each other. Craft turns this around. According to his translation, we must interpret the blossoming as flying, which is coherent but does not correspond to the original. The watchful eye of the bird is now the rose lying in front of the window, which seemingly corresponds to the music as well. We cannot therefore see Craft’s translation of Balmont’s work as one that does justice to the meaning; but one that in fact does entirely the opposite, as it technically creates false ideas in its interpretation.
Construction: First song: a short song with piano in one part and three verses in the form A-B-A1 with indicated formal markings. Second song: a short, through-composed song with piano in the form A-B-C without indicated formal markings.
Structure
I
Незабудочка ‒ цвђточекъ
Hold Vergißmeinnicht
Myosotis, d’amour fleurette
Forget-me-Nots [Burness]
The Flower [Craft]
Quaver =64
(figure4A up to the end of figure A3 = 7 bars [included upbeat] without key signature = bar 1–7)
Незабудочка цвђточекъ …
Myosotis, d’amour fleurette, …
Hold Vergißmeinnicht — Blaublütchen, …
Blue forgetmenot, sweet blossom, … [Burness]
The Forget-me-not is blooming, …[Craft]
Più mosso Quaver = 102
(figure B up to the end of figure C5= 9 bars without key signature = bar 8–16)
Надъ водицей, надъ криницей, …
Et l’eau claire sur les pierres …
Über’m Wellchen, über’m Quellchen, …
O’er the springs and pools of water … [Burness]
Then at night when starlight looks …[Craft]
Tempo I Quaver =84
(figure D up to the end of figure E4=7 bars without key signature = bar 17–23)
Незабудочка цвђточекъ …
Myosotis, d’amour fleurette, …
Hold Vergißmeinnicht — Blaublütchen, …
Blue forgetmenot, my decrest, … [Burness]
The Forget-me-not is blooming, …[Craft]
II
Голубь
Der Täuberich
Le Pigeon
The Dove
Quaver = 104
(19 bars without key signature)
Голубь къ терему припалъ.
L’oiseau sur le toit se pose, …
Täubrich flog ans Schloß heran, …
Flow once’ where he saw a tow’r … [Burness]
On the window sill the rose … [Craft]
Errata / Corrections
Edition 13/16–1
1.) Inner title page: >9instruments< instead of >Chamber Orchestra< [>and Chamber Orchestra<] [pencil].
2.) 2nd front matter legend >Instrumentation<: below Violoncello with pencil >piano<.
3.) p.5, 2nd Song, 1st bar Soprano: last quaver ligature a#1-b1[with natural] instead of a#1-bb 1.
4.) p.6, next to figure C: with pencil >in 12<.
5.) p.18, 1. bar = last but two bars, Flute: semiquaver e2— dotted quaver rest instead of crotchet rest.
Edition 13–2
1.) p.5, bar 7 (bar 1) voice: a phrasing mark should be inserted from the third to the last note of the bar.
2.) p.5, bar 13 (2. system bar 3), Piano Bass 3. system: last (bass clef) semiquaver f instead of f#1.
Style: Both songs are original in the succession of Petruschka, and they do not follow any models. The works are, like many of his subsequent works, miniatures which work towards a compact style and avoid the repetition of word fields. The handling of the declamation not only looks back to the flow of Russian speech, speech rhythm and manner of articulation but also stands to serve the meaning of the text.The influence of the French style had been given up, but diatonicism is retained.For the first time in Strawinsky’s compositional output, the work is constructed using obvious montage structures, in which a few intervallic shapes are fragmented and rearranged combinatorially. Both songs follow the parameters of Balmont’s verses. –
The first song is in three parts as is specified by the poem, and has a range of F sharp1-G2; the first verse is repeated in the third section with dislocated accents (A: bars 1–7; B: bars 8–16; A1: bars 17–23). The two time-signature changes from 4/8 to 3/8 (bar 7) and 2/8 (bar 16) do not disturb the metric flow because they form transitions to new sections at both points. The unchanging mood of the poem corresponds to a unified affect in the music, which contains neither dramatic buildup nor any melodic highpoint, but there is a lighter and more dance-like middle section in comparison with the two block sections. The dynamic range is restrained and moves between piano and pianissimo. Syllabic writing is preferred by the composer, but there are a few rhythmically based melismas. The divisions of the text have an effect on the musical characterisation.The sections which have the same textual content also share an identical soprano motif, while differing sections reflect themselves in motific variation. Strawinsky uses three different melodic phrases which are split into five motifs.These motifs are not developed as rhythmic-melodic cells, but as miniature static blocks grouped next to each other and rearranged. In this rearrangement lies the structural meaning of the Balmont songs. In doing this, Strawinsky connects the spoken rhythm to the meaning of the contents.Inside the range of a seventh for the soprano, there are no large leaps. Basing the song on the A-B-A1 form, Strawinsky uses a mixture of diatonic and chromatic harmony for the A and A1 sections, and for the B section, pentatonicism. The meaning of the text is wide-ranging. The semi-circular movement of the soprano part, which happens twice, corresponds to the blossoming in the text and the wave movement in the middle section certainly refers on the contents of the text. At the end of the song, Strawinsky employs a method of text setting which he had never used before, in that he leaves the voice part unaccompanied, enveloped in a metrically precise sung-speech (quasi parlando ma in tempo ) in order to set the girl’s question of whether her beloved hears her (sweet) voice. –
The second song is also in three parts, as is specified in the poem, and has a range of G1-B2; the first section is repeated in the third section. The 4/4 bar, which lasts throughout, is only shortened once in bar 14 for interpretative reasons to a 3/4 bar; at this point, the composition renounces the traditional emphases of the beats of the bar, with the exceptions of bars 10–12 and 15–18. In this way, the 19 bars attain a clear structural delineation (bars 1–2: instrumental introduction; bars 3–8: first verse [lines 1–4]; bars 8–9 instrumental interlude; bars 10–14: second verse [lines 5–8]; bars 15–18: third verse [lines 9–12]; bar 19: final chord). The entire song is written in a graphically gestural manner and portrays above all the flying and resting movements of the pigeon. Motific relationships, permutations and derivative combinations serve the expression of the text. The song is based on a central motif, which is attached to the pigeon and is so conceived that one can recognise its use, whether the pigeon is taking off, flying, or flying away. The two-bar instrumental prelude has the role of an introductory preface.In the first bar, the pigeon motif depicts the bird taking off, in the second bar, the bird descending from the air, and in the third bar it reaches the tower house and there makes its bird-like rocking movements on the windowsill. After it has reached what it wanted (bar 13), it flies away without delay. Strawinsky’s humour comes across here. He composes it so that the bird not only flies away, but it flies a very long way away. The swirling piano solo, which remains a piano solo in the instrumental version, ends at the beginning of bar 14 with a d#4, a note which at that time was at the very end of the keyboard, and this is the highest note of the song also in the instrumental version. This means that the bird is so far away that it will never return in spite of the subsequent yearning plea of the rose which has to stay behind. In bar 14, Strawinsky changes the meter to 3/4 just for this bar. Here, after the end of the piano solo, the almost parlando secco call of the singer улетђлъ (he flutters away; nowadays улетл) is brought down in register; it now sounds slightly malicious and is the one point in the sung text that is solo without piano, or in the later version, orchestral accompaniment, a technique often used by Strawinsky for scenes of loneliness and abandonment. How exactly Strawinsky tailors the music describing the bird’s flying to reality can be seen by the decrescendo signs: the higher the bird flies and the further away he is, the less it can be heard. Since the decrescendo sign begins on a piano, the final note, the d#4, can be interpreted as the point at which it is gliding and drifting at a distance which is visually inconceivable. This pigeon-motif and its permutations and rotations underpin the entire construction of the song.
Tables of Distribution
First Song |
Second Song |
|
First verse Bar 1= free* Bar 2= line 1 Bar 3= line 1/2 Bar 4= line 2 Bar 5= line 3 Bar 6= line 4 Bar 7= free Second verse Bar 8= line 4 / free Bar 9= line 1 Bar 10= line 2 Bar 11= line 2 Bar 12= line 3 Bar 13= line 3 Bar 14= line 4 Bar 15= line 4 Bar 16= rest Third verse Bar 17= line 1 Bar 18= line 1 Bar 19= line 2 Bar 20= line 2 / 3 Bar 21= line 3 Bar 22= line 4 Bar 23= line 4 |
[First verse] Bar 1= free* Bar 2= free Bar 3= line 1 Bar 4= free / line 2 Bar 5= line 2/ free / line 3 Bar 6= line 3/ free Bar 7= line 4 [Second verse] Bar 8= line 1 Bar 9= free Bar 10= line 1 Bar 11= line 2 Bar 12= line 3 Bar 13= line 3/ free / line3 [Third verse] Bar 14= line 1 Bar 15= line 2 Bar 16= line 3 Bar 17= line 4 Bar 18= free |
* free = introduction, interlude or postlude.
Dedication: First song: Моей матери[Meiner Mutter — To my Mother];Second song: Людмилђ Гавріиловнђ Бђлянкиной[Meiner Schwägerin Ludmilla Beljankin — To my sister-in-law Ludmila Beliankin].
Duration: 2′38″ (1′09″,1′29″) [according to Strawinsky (red)1’02“,1’30“].
Date of origin: Ustilug 1911; orchestrated version: 1954.
First performance: 28th November 1912 in the Small Room of the Moscow Conservatory with A. Sandra-Belling (Soprano) and E. Belling (Piano).
Remarks: Regarding the story of the songs’ composition, we only know what Strawinsky left behind in his memoirs. At the end of the Paris season, he returned to his residence in Ustilug in order to dedicate himself exclusively to the composition of Sacre . In spite of this, he found time aside to write these two melodies on texts by Balmont.Thus, the period of composition is restricted to Summer-Autumn 1911.
History of Origin:
Situationsgeschichte: The pigeon motif was a symbol of identification for the Chlysty movement. When Balmont gave his poem the title ‘Ecstasy of the White Doves’, everyone in the society knew what was meant by the colour, for the ‘white doves’ was the name by which the initiates recognised themselves, and Wertograd was not only the old Russian poetic word for garden, but at the same time the name of the circle in which the people in ecstasy spin around and reach their highest peak.Finally, the Russian wordвертетьstood for ‘to turn’ in Wertograd. It is in any case scarcely possible that Strawinsky selected both songs with knowledge of the background of the sects.Through his choice of texts, he in many innocuous cases removed the originals from their own context and switched them round.The pigeon poem is independent from that which is culturally concealed from the point of view of the Symbolists; it is a very beautiful and also technically well-constructed poem with which Strawinsky apparently empathised not on this Symbolist level, but with its contents.What testifies to this is the love and, what is from the sect’s point of view inexcusable, the wit, with which he manipulates the pigeon motif.
Versions: Both the songs for piano appeared in 1912 in the Russian publishing house of Serge Koussewitsky in a Russian-German-French edition with a Russian-French title page and an artistic cover designed by Bilibin in 1909. The songs must have sold well, because even before the middle of1914, the publishers were printing a second edition which differentiated itself from the first by a correction in the text in the second song and the cover, which was changed to grey.In a new edition of1922, the English translation was added, so that four texts then stood under the sung line, which Strawinsky disliked.The publishers sold approximately500copies of this edition between1922and1938.After the sale of the rights to the publishing house Boosey&Hawkes, the songs were re-issued and printed together with the three Japanese songs in one edition as an arrangement; this was possible because Strawinsky had chosen the same instrumentation for the Japanese songs in the completed orchestration of 1954 as for the Balmont songs for practical performance reasons.The new agreement with the publishers for the Balmont and Japanese songs was settled in contract on 11th May 1955. The printing of the edition of the arrangement was settled in its January 1955. In the run-up to this, Strawinsky had expressed his reservations about the fact that there were too many printed lines of words underneath the sung lines, and asked the publishers in a letter to Ernst Roth of 14th September 1954 to consider a new and different presentation among other things. It seemed to him that just having three lines of text under the sung line was too many because the third line would be too far from the notes themselves. The new print-run printed the soprano line twice and under the first line put the Russian and French texts and under the identical second line, the English and the German texts. It was also necessary to have a main title page which Strawinsky designed with this inscription: Two Poems & Three Japanese Lyrics, which should be in the arrangement edition without being translated, but then the first pages of the >Balmont songs and the Japanese songs carry the former main title along with the translation and the names of all the translators. The edition of the score appeared in 1955 in this form under the plate number B.&H.17701, which was the same for both of the songs; this was supplemented simply by a printed picture of the corresponding outer title-page at that time, in small print and Strawinsky’s name written with >w<. The vocal parts were available for hire. In addition, the arrangement was protected by copyright. The concomitant piano edition came out a year later in 1956 in the same form with a shared plate number, B.&H.18105, and also with a copyright marking. The Musyka publishing house in Moscow published its collection of Strawinsky’s songs with piano in 1968, which also contained the Balmont songs . Neither the original publisher, Serge Koussewitzky and the Russian music publishing house, nor Boosey&Hawkes, who published the later editions, were named. The Russian and French texts were printed in addition.
The instrumental version: Strawinsky arranged certain of his works for chamber orchestra for his own concert evenings with chamber music, among which were the Balmont songs , which he orchestrated in 1954. In doing this, he tried to adhere as closely as possible to the same instrumentation for pragmatic performance purposes. For this reason, the instrumentation of the Balmont songs is identical to that of the Japanese songs .There are no structural differences from the piano original, but he strengthened the contrasts of colour through rewriting the piano part for the instruments. Strawinsky kept the piano in the arrangement, and wrote in metronome markings.
Historical recordings: Hollywood 28th July 1955 with the Soprano Marni Nixon and an unnamed chamber orchestra under the direction of Igor Strawinsky in the 1954 version; Hollywood 24th January 1967, Evelyn Lear (Soprano) and the Columbia Symphony Orchestra in the 1954 version conducted by Robert Craft and under the supervision of Igor Strawinsky.
CD edition: VIII-2/6–7(version for chamber orchestra 1954).
Autograph: The autograph score went from Boosey&Hawkes into the British Library, London.
Copyright: 1947 Copyright assigned to Boosey & Hawkes; 1955 for the Arrangement by Boosey & Hawkes New York; no first print-run from the Russian publishing house bears a copyright mark.
Editions
a) Overview
13–1 1912 Voice-Piano; R-G-F; Russischer Musikverlag Berlin; 9 pp.; R. M. V. 130–131.
13–2 1914 Voice-Piano; R-G-F; Russischer Musikverlag Berlin; 9 pp.; R. M. V. 130–131.
13–2Straw [with corrections].
13–3 (1922) Voice-Piano; R-G-F-E; Russischer Musikverlag Berlin; 9 pp.; R.M.V. 130.349 / 131.350.
13–4 [1955] Voice-Piano; r-d-f-e; Russ. Musikv. / Boos. & Hawk.; 9 pp.; R.M.V. 130.349 / 131.350.
13/16–1 1955 FuSc; R-F + E-G; Boosey & Hawkes London; 20 pp.; B. & H. 17701.
13/16–1Straw ibd. [with annotations].
13/16–1[65] [1965] ibd.
13/16–2 1955 FuSc; R-F+E-G; Boosey & Hawkes London; 20 pp.; B. & H. 17701.
13/16–261 1961 Ges.-Kl.; R-F-E-G; Boosey & Hawkes London; 16 pp.; B. & H. 18105.
13/16–2[65] [1965] ibd.
13–5Alb 1968 Voice-Piano; Moskau; 5 pp.; 5823.
b) Characteristic features
13–1 РОССЇЙСКОЕ МУ [#] Russischer / ЗЫКАЛЬНОЕ НЗ [#] – MUSIK – / ИДАТЕЛЬСТВО. [#] VERLAG G.M.B.H. / ИГОРЬ СТРАВИНСКIЙ [#] IGOR STRAWINSKY / ДВА СТИХОТВОРЕНIЯ [#] DEUX POÉSIES / К. БАЛЬМОНТА [#] DE K. BALMONT / ДЛЯ ОДНОГО ГОЛОСА И Ф. П. [#] pour chant et piano / БЕРЛИНЪ МОСКВА [#] Berlin Moskau / С. ПЕТЕРБУРГА [#] St. Petersburg / И. БИЛИБИНЪ. 1909 [#] I. BILIBIN. 1909 // ИГОРЬ СТРАВИНСКIЙ [#*] IGOR STRAWINSKY / ДВА СТИХОТВОРЕНIЯ [#*] DEUX POÉSIES / К. БАЛЬМОНТА [#*] DE K. BALMONT / Deutscher Text von BERTHOLD FEIWEL [#*] Texte français de M.-D. CALVOCORESSI / Незабудочка цвљьточекъ / Hold Vergissmeinnicht / No 1.** [#] [statement of the range written out in musical notation**] / Myosotis, d’amour fleurette / Голубь / Der Täuberich / No 2.*** [#] [statement of the range written out in musical notation**] / Le Pigeon / Pr.**** M. 1.30 / R. — 60 / [*****] / СОБСТВЕННОСТЬ ДЛЯ ВСЂХЪ СТРАНЪ / 1912 [#] PROPRIÉTÉ DE L’ÉDITEUR POUR TOUS PAYS / РОССІЙСКАГО МУЗЫКАЛЬНАГО [#°°] EDITION RUSSE DE MUSIQUE / ИЗДАТЕЛЬСТВА [#°°] (RUSSISCHER MUSIKVERLAG G.M.B.H.°) / БЕРЛИНЪ МОСКВА — С. ПЕТЕРБУРГЪ [#°°] BERLIN — MOSCOU — St. PÉTERSBOURG / LEIPZIG — LONDRES — NEW-YORK BRUXELLES BREITKOPF & HÄRTEL /°°° MAX ESCHIG PARIS // (Edition chant and piano [library binding] 26.9 x 33.5 (2°[4°]); sung text Russian-German-French; 9 [6] pages + 4 cover pages paper [extravagantly decorated title on the outer page in decorative red script on light beige with stylized instrumentalists playing plucked instrument centred in the middle at the head end and a 5-centimetres wide frame of ornaments and pillars, 3 empty pages] +3 pages front matter [title page, empty page, sung text Russian-German-French] + 3 pages back matter [3 empty pages]; title head Russian-German-French below piece number numbered in Arabic numerals (with dot) and author specified [p. 4:] >No 1. / Незабудочка цвђьточекъ. / К. Бальмонтъ / Hold Vergißmeinnicht. [#] Myosotis, d’amour fleurette. / K. Balmont. [#] K. Balmont. / Deutscher Text von Berthold Feiwel. [#] Texte français de M.-D. Calvocoressi.< [p. 9:] >No 2. / Голубь. / К. Бальмонтъ / Der Täuberich. [#] Le Pigeon. / K. Balmont. [#] K. Balmont. / Deutscher Text von Berthold Feiwel. [#] Texte français de M.-D. Calvocoressi.<; dedications next to piece number flush left [p. 4:] >Моей матери.< [p. 7:] >Людмилђ Гавріиловнђ Бђлянкиной.<; author specified 1st page of the score paginated p. 4 below title section right ragged alignement p. 7 flush right >Игорь Стравинскiй. / Igor Strawinsky.<; legal reservations without Copyright pp. 4, 7 below type area flush left >Russischer Musikverlag, Berlin, Moskau, St. Petersburg< flush right >Eigentum des Verlages.<; plate numbers [1. Lied p. 4–6:] >R. M. V. 130< [2. Lied p. 7–9:] >R. M. V. 131<; end of score dated [pp. 6, 9:] >Oustiloug 1911.<; production indication p. 7 below type area [only] p. 9 flush right as end mark >Stich und Druck von C. G. Röder G.m.b.H., Leipzig.<) // 1912
* Dividing line vertical spanning four lines.
** The song number appears with a four-line bracket open to the right, on the left side, between the opening lines in German and French; on the right side at the end of the distance line points at the same height on the page, there is a statement of the range, f#1 to g2, is given on a system in treble clef without key signature as 2 crotchet notes joined together.
*** The song number appears with a four-line bracket open to the right, on the left side, between the opening lines in German and French; on the right side at the end of the distance line points at the same height on the page, there is a statement of the range, g1 to b2, is given on a system in treble clef without key signature as 2 crotchet notes joined together.
**** Mark and Ruble signs appear under another with a horizontal separating line between them, and the price comes before.
***** Dividing horizontal line of 11.6 cm.
° G.M.B.H. is printed in smaller letters whereas B. and H. are printed below the G. and M.
°° Vignette covering more than three lines, sitting woman playing cymbalom.
°°° Slash original.
13–2 РОССЇЙСКОЕ МУ [#*] RUSSISCHER / ЗЫКАЛЬНОЕ НЗ [#*] — MUSIK — / ДАТЕЛЬСТВО · [#*] VERLAG. G.M.B.H.** / ИГОРЬ СТРАВИНСКIЙ [#*] IGOR STRAWINSKY / +++ [#] +++ / ДВА СТИХОТВОРЕНIЯ [#*] DEUX POÉSIES / К. БАЛЬМОНТА [#*] DE K. BALMONT / ДЛЯ ОДНОГО ГОЛОСА И Ф · П · [#*] pour chant et piano / ++++ [#] ++++ / БЕРЛИНЪ МОСКВА [#] Berlin Moskau / С · ПЕТЕРБУРГЪ [#] St. Petersburg [+] // ИГОРЬ СТРАВИНСКIЙ [#***] IGOR STRAWINSKY / +++ [#] +++ ДВА СТИХОТВОРЕНIЯ [#***] DEUX POÉSIES / К. БАЛЬМОНТА [#***] DE K. BALMONT / Deutscher Text von BERTHOLD FEIWEL [#***] Texte français de M.-D. CALVOCORESSI / Незабудочка цвгьточекъ / No 1.**** Hold Vergissmeinnicht [#] [statement of the range written out in musical notation] / Myosotis d’amour fleurette / Голубь / No 2.***** Der Täuberich / [#] [statement of the range written out in musical notation] / Le Pigeon / Pr.****** M. 1.30 / R._60 / [waagerechter Trennstrich] / СОБСТВЕННОСТЬ ДЛЯ ВСЂХЪ СТРАНЪ / [#] 1914 [#] PROPRIÉTÉ DE L’ÉDITEUR POUR TOUS PAYS / РОССІЙСКАГО МУЗЫКАЛЬНАГО [#°] EDITION RUSSE DE MUSIQUE / ИЗДАТЕЛЬСТВА [#°] (RUSSISCHER MUSIKVERLAG G.M.B.H.°°) / БЕРЛИНЪ – МОСКВА – С. ПЕТЕРБУРГЪ [#°] BERLIN – MOSCOU – St. PÉTERSBOURG / LEIPZIG – LONDRES – NEW-YORK – BRUXELLES BREITKOPF & HÄRTEL /°°° MAX ESCHIG PARIS // (Edition chant and piano [library binding] 26.1 x 33.2 (2°[4°]); sung text Russian-German-French; 9 [6] pages + 4 cover pages thin cardboard middle grey on light grey [front cover title in feather frame 20 x 14.3 with stylized decorative Russian script and normal French writing, 3 empty pages] +3 pages front matter [title page, empty page, sung text in columns Russian-German-French] + 1 page back matter [empty page]; title head as song title numbered in Arabic numerals (with dot) in connection with author and translator specified 1st page of the score paginated p. 4 >No 1. / Незабудочка цвгьточекъ. / К. Бальмонтъ. / Hold Vergißmeinnicht. [#] Myosotis d’amour fleurette. / K. Balmont. [#] K. Balmont. / Deutscher Text von Berthold Feiwel. [#] Texte francais°°°° de M. D. Calvocoressi.< p. 7 > No 2. / Голубь / К. Бальмонтъ. / Der Täuberich [#] Le Pigeon / K. Balmont. [#] K. Balmont. / Deutscher Text von Berthold Feiwel. [#] Texte français de M. D. Calvocoressi.<; dedications next to song number flush left [p. 4:] >Моей матери.< [p. 7:] above piece number flush left >Людмилђ Гавріиловнђ Бђлянкиной.<; author specified below title section p. 4 right flush left p. 7 flush right centred >Игорь Стравинскiй. / Igor Strawinsky<; legal reservation without Copyright below type area pp. 4, 7 flush left >Russischer Musikverlag, Berlin, Moskau, St. Petersburg< flush right >Eigentum des Verlages.<; plate numbers [1. song pp. 4–6:] >R. M. V. 130< [2. song pp. 7–9:] >R. M. V. 131<; end of score dated [pp. 6, 9:] >Oustiloug 1911.<; production indication [only] p. 9 flush right as end mark >Stich und Druck von C. G. Röder G.m.b.H., Leipzig.<) // 1914
* continuous, not fastened simple undecorated line, which divides the area of the feather frame 20 x 14.3 into two equal halves, for the Russian and French texts respectively.
** The smaller M is printed into the G, and the smaller B is printed into the first vertical beam of the H.
*** Dividing horizontal line spanning four lines.
**** The song number appears with a four-line bracket open to the right, on the left side, between the opening lines in German and French; on the right side at the end of the distance line points at the same height on the page, there is a statement of the range, f#1 to g2, is given on a system in treble clef without key signature as 2 crotchet notes joined together.
***** The song number appears with a four-line bracket open to the right, on the left side, between the opening lines in German and French; on the right side at the end of the distance line points at the same height on the page, there is a statement of the range, g1 to b2, is given on a system in treble clef without key signature as 2 crotchet notes joined together.
****** Mark and Ruble signs appear under another with a horizontal separating line between them, and the price comes before.
° Separating publisher’s emblem 1.7 x 1.9 sitting woman playing cimbalom spanning three lines.
°° G.M.B.H. is printed in smaller letters whereas B. and H. are printed below the G. and M.
°°° Slash original.
°°°° original spelling.
+ The Basler copy >62 / STRAW / 156< contains on this page stamps, amongst these prices >Majoration temporaire de 600 %< and >2 F 50<.
++ Dividing horizontal line of 7.1 cm.
+++ Dividing horizontal line of 6.8 cm.
++++ Dividing horizontal line of 5.9 left side Russian, right side French 5.7 cm.
+++++ Dividing horizontal line of 11.6 cm.
13–2Straw
The copy of Strawinsky’s estate contains four corrections.
13/16–1 igor strawinsky / two poems / and / three japanese lyrics / for high voice / and chamber orchestra / full score / boosey & hawkes // Igor Strawinsky / Two Poems / and / Three Japanese Lyrics / for High Voice / and Chamber Orchestra / Full Score / Boosey & Hawkes / London · Paris · Bonn · Capetown · Sydney · Toronto · Buenos Aires · New York // (Full score sewn in red 23,5 x 30,8 (2°); sung text on two systems Russian-French + English-German; 20 [20] pages + 4 cover pages sewn in red brown-red on grey-grün [front cover title, 2 empty pages, page with publisher’s advertisements >Igor Strawinsky* production date >No. 693<] + 4 pages front matter [title page, legend English + duration datan [2½’ + 3½’] English, sung text Balmont in four columns Russian-French-English-German with Autor respectively translator specified between the title of the poem and the poems >К. Бальмонт.< >Texte francais** / de M.-D. Calvocoressi> >English text / by Robert Craft< >Deutscher Text / von Berthold Feiwel<, sung text of the Japanese lyrics in four columns Russian-French-English-German with translator specified between 1st title of the poem and the poem >Русскій текстъ А. Бранта. < >Texte français** de Maurice Delage< >English Text by Robert Burness< >Deutscher Text von Ernst Roth<] without back matter; title head 1st page of the score >Two Poems< p. 8 >Three Japanese Lyrics<; dedications 1st page of the score above title head italic >To my Mother< p. 4 >To my sister-in-law Ludmila Beliankin< p. 8 >To Maurice Delage< p.11 >To Florent Schmitt< p. 19 >To Maurice Ravel<; author specified 1st page of the score paginated p. 1 between piece number and song title flush left >K. BALMONT< flush right >IGOR STRAWINSKY< p. 8 next to song title flush right >IGOR STRAWINSKY<; legal reservations pp.1, 8 below type area flush left >Copyright*** by Edition Russe de Musique (Russischer Musikverlag) / Copyright assigned 1947 to Boosey & Hawkes, Inc., New York, U.S.A. / Copyright arrangement 1955 by Boosey & Hawkes, Inc., New York, U. S. A. / All rights of reproduction in any form reserved< pp. 4, 11, 19 below type area flush left >Copyright arrangement 1955 by Boosey & Hawkes, Inc., New York, U.S.A. [# inside right] All rights reserved<; plate number >B. & H. 17701<; production indication pp. 1, 8 below type area flush right >Printed in England<; end of score dated p. 7 centred >1911 / Orch. version 1954< S. 20 >1913<; end number p. 20 flush right as end mark >1. 55. E<) // (1955)
* Compositions are advertised in two columns without edition numbers and without price information in part multilingual >Pocket Scores° / Partitions de Poche · Taschenpartituren° / Apollon Musagète / Le Baiser de la Fée (The Fairy’s Kiss) / Cantata / Capriccio for Piano and Orchestra / Le Chant du Rossignol (The Song of the / Nightingale) / Concerto in D for String Orchestra / Divertimento / Messe°° / Octet for Wind Instruments / Oedipus Rex / Orpheus / Perséphone / Pétrouchka / Pulcinella Suite / Four Studies for Orchestra / Quatre Etudes pour Orchestre / Vier Etüden für Orchester / Le Sacre du Primtemps°° (The Rite of Spring) / Septet 1953 / Symphonie de Psaumes / Symphony of Psalms / Psalmensymphonie / Symphonies pour°° instruments à vents°°° / Symphonies of Wind Instruments / Symphonien für Blasinstrumente / Piano Solo° / Piano Seul · Klavier zweihändig° / Apollon Musagète / Le Baiser de la Fée (The Fairy’s Kiss) / Le Chant du Rossignol (The Song of the Nightingale) / Marche Chinoise de ”°° Chant du Rossignol ” / Mavra Overture°° / Octet for Wind Instruments (arr. A. Lourié) / Orpheus (arr. L. Spinner) / Serenade en la / Sonate / Symphonies pour instruments à vents<°° / Trois Mouvements de “ Pétrouchka ” / Piano Duets° / Piano à Quatre Mains · Klavier vierhändig° / Pétrouchka / Le Sacre du Printemps (The Rite of Spring) / Two Pianos° / Deux Pianos · Zwei Klaviere° / Capriccio for Piano and Orchestra / Concerto / Madrid / Septet 1953 / Trois Mouvements de “ Pétrouchka ” (Babin) // Violin and Piano° / Violon et Piano · Violine und Klavier° / Airs du Rossignol and Marche Chinoise (Le / Chant du Rossignol) / Ballad (Le Baiser de la Fée) / Divertimento (Le Baiser de la Fée) / Duo Concertant / Danse Russe (Pétrouchka) / Russian Maiden’s Song / Suite after Pergolesi / Violoncello and Piano° / Violoncelle et Piano · Violoncello und Klavier° / Suite italienne (Piatigorsky) / Russian Maiden’s Song (Markevitch) / Chamber Music° / Musique de Chambre · Kammermusik° / Octet for Wind Instruments / Septet 1953 / Three pieces for String Quartet / Vocal Scores° / Partitions Chant et Piano · Klavierauszüge° / Cantata / Le Rossignol / Mavra / Messe°° / Oedipus Rex / Perséphone / Symphonie de Psaumes / The Rake’s Progress / Voice and Piano° / Chant et Piano · Gesang und Klavier° / The Mother’s Song (Mavra) / Le Rossignol / Introduction . Chant du Pedieur° . Air du Rossignol / Paracha’s Song (Mavra) / Russian Maiden’s Song / Two Poems of Balmont / Blue Forget-me-not . The Dove / Trois Poésies de la lyrique japonaise / Akahito . Mazatzuum°° . Tsarajuki°° / Trois petites chansons / La petite . Le Corbeau . Tchitcher-tatcher / Choral Music° / Musique Chorale · Chormusik° / Ave Maria (Latin) S.A.T.B. a cappella / Pater noster (Latin) S.A.T.B. a cappella / Credo (Latin) S.A.T.B. a cappella< [° centre; °° original] spelling]. After London the following places of printing are listed: Paris-Bonn-Capetown-Sydney-Toronto-New York.
** The different spellings, with c or ç, are original.
*** Without a year stated.
13/16–1Straw
The copy of Strawinsky’s estate is on the outer title above name right with >IStr Febr / I955< signed and dated. The copy contains duration indeications: :p. 1 next to song title >The Flower< >1’02“<, p. 4 next to song title >The Dove< >1’30“<, p. 8 next to song title >AKAHITO< >0’40“<, p. 11 next to song title >MAZATSUMI< >1’00“<, p. 19 next to song title >TSARAIUKI< >1’14“<.
13/16–1[65] igor stravinsky / two poems / and / three japanese lyrics / for high voice / and chamber orchestra / full score / boosey & hawkes // Igor Stravinsky / Two Poems / and / Three Japanese Lyrics / for High Voice / and Chamber Orchestra / Full Score / Boosey & Hawkes / London . Paris . Bonn . Johannesburg . Sydney . Toronto . New York // (Full score sewn 24,4 x 31 (2°); sung text on two systems Russian-French + English-German respectively; 20 [20] pages + 4 cover pages brown-red on green-beige [front cover title, 2 empty pages, page with publisher’s advertisements >Igor Stravinsky<* production date >No. 40< [#] >7.65<] + 4 pages front matter [title page, legend >Instrumentation< English + duration datan >Duration< [2½’ + 3½’] English, sung text Balmont in four columns Russian-French-English-German with author– respectively 1st page translator specified between the titles of the poems and the poems >К. Бальмонт.< >Texte francais** / de M.-D. Calvocoressi< >English text / by Robert Craft< >Deutscher Text / von Berthold Feiwel<, sung text of the Japanese words in four columns Russian-French-English-German with translator specified between 1st title of the poem and the poem >Русскій текстъ А. Бранта. < >Texte français** de Maurice Delage< >English Text by Robert Burness< >Deutscher Text von Ernst Roth<] without back matter; title head 1st page of the score >Two Poems< p. 8 >Three Japanese Lyrics<; dedications 1st page of the score above title head italic >To my Mother< p. 4 >To my sister-in-law Ludmila Beliankin< p. 8 >To Maurice Delage< p.11 >To Florent Schmitt< S. 19 >To Maurice Ravel<; author specified 1st page of the score paginated p. 1 below unpunktierter römischer piece number flush left >K. BALMONT< flush right >IGOR STRAVINSKY***< S. 8 next to song title flush right >IGOR STRAWINSKY***<; legal reservations 1st page of the score next to dedication und title head flush left in a text box containing >IMPORTANT NOTICE / The unauthorized copying / of the whole or any part of / this publication is illegal< pp. 1, 8 below type area flush left >Copyright**** by Edition Russe de Musikque (Russischer Musikverlag) / Copyright assigned 1947 to Boosey & Hawkes, Inc., New York, U.S.A. / Copyright arrangement 1955 by Boosey & Hawkes, Inc., New York, U.S.A. / All rights of reproduction in any form reserved< pp. 4, 11, 19 below type area flush left >Copyright arrangement 1955 by Boosey & Hawkes, Inc., New York, U.S.A. [# inside right] All rights reserved<; plate number >B. & H. 17701<; production indication pp. 1, 8 below type area flush right >Printed in England<; end of score dated p. 7 centred >1911 / Orch. version 1954< p. 20 >1913<; without end marks) // [1965]
* Compositions are advertised in two columns without edition numbers, without price information and without specification of places of printig >Operas and Ballets° / Agon [#] Apollon musagète / Le baiser de la fée [#] Le rossignol / Mavra [#] Oedipus rex / Orpheus [#] Perséphone / Pétrouchka [#] Pulcinella / The flood [#] The rake’s progress / The rite of spring° / Symphonic Works° / Abraham and Isaac [#] Capriccio pour piano et orchestre / Concerto en ré (Bâle) [#] Concerto pour piano et orchestre / [#] d’harmonie / Divertimento [#] Greetings°° prelude / Le chant du rossignol [#] Monumentum / Movements for piano and orchestra [#] Quatre études pour orchestre / Suite from Pulcinella [#] Symphonies of wind instruments / Trois petites chansons [#] Two poems and three Japanese lyrics / Two poems of Verlaine [#] Variations in memoriam Aldous Huxley / Instrumental Music° / Double canon [#] Duo concertant / string quartet [#] violin and piano / Epitaphium [#] In memoriam Dylan Thomas / flute, clarinet and harp [#] tenor, string quartet and 4 trombones / Elegy for J.F.K. [#] Octet for wind instruments / mezzo-soprano or baritone [#] flute, clarinet, 2 bassoons, 2 trumpets and / and 3 clarinets [#] 2 trombones / Septet [#] Sérénade en la / clarinet, horn, bassoon, piano, violin, viola [#] piano / and violoncello [#] / Sonate pour piano [#] Three pieces for string quartet / piano [#] string quartet / Three songs from William Shakespeare° / mezzo-soprano, flute, clarinet and viola° / Songs and Song Cycles° / Trois petites chansons [#] Two poems and three Japanese lyrics / Two poems of Verlaine° / Choral Works° / Anthem [#] A sermon, a narrative, and a prayer / Ave Maria [#] Cantata / Canticums Sacrum [#] Credo / J. S. Bach: Choral-Variationen [#] Introitus in memoriam T. S. Eliot / Mass [#] Pater noster / Symphony of psalms [#] Threni / Tres sacrae cantiones°< [° centre centred; °° original mistake in the title].
** The different spellings, with c or ç, are original.
*** Different spelling original.
**** Without a year stated.
13/16–2 igor strawinsky / two poems / and / three japanese lyrics / for high voice / and chamber orchestra / full score / boosey & hawkes // igor strawinsky / two poems / and / three japanese lyrics / for high voice / and chamber orchestra / full score / boosey & hawkes / London . Paris . Bonn . Capetown . Sydney . Toronto . Buenos Aires . New York // Two Poems of Balmont / Незабудочка цвђьточекъ. / К. Бальмонтъ. / Myosotis, d’amour fleurette · Le Pigeon / Texte français de M.-D. Calvocoressi / The Flower The Dove / English text by Robert Craft / Hold Vergissmeinnicht · Der Täuberich / Deutscher Text von Berthold Feiwel / [#] / Three Japanese Lyrics / Akahito; [#] Mazatsumi, [#] Tsaraiuki / Русскій текстъ А. Бранта. / Texte française de Maurice Delage / English text by Robert Burness / Deutscher Text von Ernst Roth / Duration / Two Poems: 2½ mins. / Three Japanese Lyrics: 3½ mins. / Orchestral parts for chamber orchestra are available for hire / B. & H. 18105 // (Edition [library binding and trimmed] 22.8 x 30.5 ([4°]); 20 [20] pages + 4 cover pages thicker paper brown-red on green-beige [front cover title, empty page, page missing, page missing] + 4 pages front matter [1st title page, >Instrumentation< French + >Duration< [2½’ + 3½’] English, 2nd title page with index Balmont songs, index Japanese songs] without back matter; sung texts in four columns Russian-French-English-German; title head 1st page of the score [p. 1:] >TWO POEMS< [p. 8:] >THREE JAPANESE LYRICS<; dedications above title head centre italic p. 1 > To my Mother < above song title in Roman numeral (without dot) >II / TheDove< p. 4 > To my sister-in-law Ludmila Beliankin < above title head p. 9 > To Maurice Delage < above song titles in Roman numeral (without dot) >II / MAZATSUMI< p. 11 > To Florent Schmitt < p. 19 >III/TSARAIUKI< > To Maurice Ravel <; authors specified 1st page of the score paginated p. 1 between title head and song title flush left >K. BALMONT< pp. 1, 8 flush right >IGOR STRAWINSKY<; legal reservation 1st page of the score pp. 1, 8 below type area flush left >Copyright by Edition Russe de Musique (Russischer Musikverlag) / Copyright assigned 1947 to Boosey & Hawkes, Inc., New York, U. S. A. / Copyright arrangement 1955 by Boosey & Hawkes, Inc., New York, U. S .A. / All rights of reproduction in any form reserved< pp. 4, 11, 19 below type area flush left >Copyright arrangement 1955 by Boosey & Hawkes, Inc., New York, U. S .A.< centre inside right >All rights reserved<; plate number >B. & H. 17701<; production indications pp. 1, 8 below type area flush right >Printed in England<; end of score dated p. 7 centred >1911 / Orch. version 1954<, p. 20 >1913<; end mark p. 20 flush right >1. 55. E<) // (1955)
13/16–2(61) igor strawinsky / two poems / and / three japanese lyrics / for high voice and piano / boosey & hawkes // Igor Strawinsky / Two Poems / and / Three Japanese Lyrics / for High Voice and Piano / Boosey & Hawkes / London. Paris. Bonn. Johannesburg. Sydney. Toronto. New York // Two Poems of Balmont / Незабудочка цвђьточекъ. / К. Бальмонтъ. / Myosotis, d’amour fleurette · Le Pegeou / Texte français de M.-D. Calvocoressi / The Flower The Dove / English text by Robert Craft / Hold Vergissmeinnicht · Der Täuberich / Deutscher Text von Berthold Feiwel / Three Japanese Lyrics / Akahito; [#] Mazatsumi, [#] Tsaraiuki / Русскій текстъ А. Бранта. / Texte française de Maurice Delage / English text by Robert Burness / Deutscher Text von Ernst Roth / Duration / Two Poems: 2½ mins. / Three Japanese Lyrics: 3½ mins. / Orchestral parts for chamber orchestra are avaible for hire / B. & H. 18105 // (Edition chant and piano sewn in red 23,2 x 30,5 ([4°]); 16 [14] pages + 4 cover pages thicker paper light tomato red on grey-beige [front cover title, 3 empty pages] + 2 pages front matter [title page, 2nd title page with piece titles] without back matter; sung texts Russian-French-English-German; title head [p. 3:] >TWO POEMS< [p. 9:] >THREE JAPANESE LYRICS<; dedications centre italic above title head p. 3 >To my Mother< above song title p. 6 >To my sister-in-law Ludmila Beliankin< above title head p. 9 >To Maurice Delage< above song title p. 11 >To Florent Schmitt< p. 15 >To Maurice Ravel<; author specified 1st page of the score paginated p. 3 between title head and song number flush left >K. BALMONT< pp. 3, 9 flush right >IGOR STRAWINSKY<; legal reservation pp. 3, 9 below type area flush left >Copyright by Edition Russe de Musique (RUSSISCHER Musikverlag) / Copyright assigned 1947 to Boosey & Hawkes, Inc., New York, U.S.A. / ©* Copyright arrangement 1956 by Boosey & Hawles, Inc., New York, U.S.A.< pp. 6, 11, 15 below type area flush right >All rights reserved< flush left >© Copyright arrangement 1956 by Boosey & Hawles, Inc., New York, U.S.A.< ; plate number >B. & H. 18105<; production indications pp. 3, 9 below type area flush right >Printed in England<; end of score dated [pp. 5, 10] >Oustiloug 1911< [p. 12] >Oustiloug 1912< [pp. 14,16] >Clarens 1913<; end mark p. 16 flush right >6. 61. E.<) // (1961)
* Legal reservation © sign on the left.
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