K017 Three Little Songs (from the recollections of my childhood)K017 Drei kleine Lieder. Erinnerungen an meine Kindheit
K17 Три Пђсенки [Tri Pessenki]
(изъ воспоминаній юношескихъ годовъ) для голоса и фортепіано - Three Little Songs (from the recollections of my childhood) for voice and piano — Trois petites chansons (Souvenirs de mon enfance) pour voix et piano - Drei kleine Lieder. Erinnerungen an meine Kindheit für Singstimme und Klavier – Tre piccole canzoni (Ricordi della mia infanzia) per canto e pianoforte
Title: The present fashion of discussing the Three Little Songs clearly refers back to the French version which was published in 1922, after the Russian version of 1914. Neither the adjective ‘little’ (' petit' , ' klein ') nor the possessive pronoun ‘my’ (' mon' , ' mein' ) are in the Russian or Russian-English first editions of 1914 and 1922 respectively. On the other hand, at this time, the ambiguous preposition изъ (today из = from) was removed so that the version Three Little Songs. Recollections of my Childhood came out of Three Songs from the Recollections of my Childhood . Since the Russian-French-English chamber-orchestra version of 1934, the title remained in the above form, which has become the accepted version.
Scored for: a) First edition: Голоса, Фортепіано [Voice, Piano]; b) Orchestrated version*: [Flute, 2 Oboes, 2 Clarinets in B flat, 2 Bassoons, Strings (First Violins, Second Violins, Violas, Violoncellos)].
* The list gives the catalogue of all instruments to be used; the songs themselves have different individual orchestrations.
Performance practice: The voice part can be sung by children due to its formulaic repeating structure, with the exception of one or two bars in the 3rd song, but this is not the case for the piano accompaniment, which demands grown-up pianists' hands, as well as the ability to make inner parts audible.
Summary: The songs are textually and musically targeted at the age that they are intended for. – The story of a magpie being warned to fly to the firs is told to the eldest son, who already has a developed sense of reason . It does this however and smashes its little head. The narrator patches up the pitiful little animal with a small piece of band. The song warns of unconsidered rash things and at the same time conveys feelings of compassion and aid. – The tale of two rooks is told to the girl named Mika, who is a year younger. The first rook dries its feathers on a bridge, while the other washes itself under the bridge. The narrator catches both by the tail. He throws the rook on the bridge, who just wants to dry its feathers, back into the brook in order to wash it well; he throws the rook under the bridge, which is washing itself, on to the bridge in order to dry it. The theme of washing oneself clean and carefully drying oneself can be portrayed funnily and educationally in a family around which the tuberculosis epidemic was going without naming the serious cause (the Strawinsky family was ill with tuberculosis, first the father came back from hospital treatment and was still very weak, the mother would die from this illness and also little Mika, which is the pet-name of the girl to whom the father sings this story, would be killed by it at the age of 30 on 30th November 1938. Extreme cleanliness, despite the father’s tobacco smoke, is more than just fun). Most importantly, nothing bad happens to the animals apart from that they are teased a little. Conversely, bathing alone is not enough. Afterwards one must dry oneself correctly. The story is intended as a didactic, educational story for a child, and the child understands what is meant. – The third song is a Pribautka that uses exclusively onomatopoeic rhymes, using only correspondingly suitable words against to one another. Finally, the third child is still too small to have more serious verses offered to him. The humour lies in the rapid narration of tongue-twisting rhymes for the sake of themselves. Strawinsky took the three texts from collections of Russian folk songs. The sources were not named.
Translation: The English translation was made by Robert Burness and the French by Charles-Ferdinand Ramuz. The translator of the very late German translation remains anonymous. The French translation was carried out under Strawinsky's supervision. Instead of painting with sounds, the English and German translators invent a plot for the third song that is not suitable for children and rather gruesome , which cannot be found in either the Russian original or French translation. The title word (Jackdaw) does not appear in the original text (Russian nonsense word чичеръ-ячеръ ).
Construction: The Recollections of my Childhood are three short songs with piano of differing duration based on Russian folk texts numbered with three Roman and later Arabic numbers; they have a metronome marking, and are conceived for children (1st song: 7 notes are used g1-f2; 2nd song: 7 notes used f1-e2; 3rd song: 12 notes used f sharp-g2) with separate performance instructions Russian-Italian, respectively (in the 3rd song) Russian-French. Their lengths are 15, 38 (without repeat) and 18 bars respectively, with only slightly blurred, clear tonalities of E flat major, F major and E major.
La petitE pie.
Сороченька . . .
Pieau nid, tchi, tchi, tchi, . . .
Magpie, Magpie! Tchee! Tchee! Tchee!
Elster, Elster! Armes Ding!
(E flat major) Умђренно crotchet = 100 Ma non troppo (15 bars 2/4-time)
Ђдe какъ то я на мостъ . . .
Sur le pont un jour passant, . . .
On the bridge one day a rook . . .
Auf der Brücke eine Krähe . . .
(F major) Cкоро crotchet = 120 Allegro (38 bars [4 + 12 + 12] with repeat sign
[Tutti without Flute, without Oboes]
Чичеръ-ячеръ . . .
Tchitcher-Jatcher . . .
Caw, Caw! Jackdaw, . . .
Dohle, Dohle, Dohle, . . .
(E major) Празднично minim = 72 Festoyant (18 bars, 1-9, 11-18 = 4/4-time, 10 = 3/3-
Corrections / Errata
1.) 2nd song, p. 7, figure 12 3[ 213] Double basses: shoud be crotchets B b -f instead of minim rest.
2.) 2nd song, p. 7, figure 12 4[ 113] Double basses: shoud be crotchets B b -A instead of minim rest.
3.) 2nd song, p. 7, figure 13 3, 1st Bassoon: last quaver should be g instead of a.
4.) 3rd song, p. 11, next to subtitle of the song left. figure 22: Tempo indication >Circa Crotchet = 138<.
Style: There is tonal song melody not necessarily of Russian origin. It has nothing to do with the realistic Russian spoken melody of an older style nor does it belong to the stylistic area of Les Noces. The forms of melody are, as is also the case in the later songs for children, clearly structured and assume no intellectual capacity in the listener. There are no noticeable changes of meter - spoken or artistic - apart from in the 3rd song for a single bar of four crotchets to three crotchets and no instrumental or declamatory problems. Strawinsky broke up the symmetry for the first time in the later orchestral version, extending the pieces and changing their characters.
The 1st song is divided into three sections based on the text: the magpie is warned, the magpie does not obey and has an accident, the magpie’s wound is dressed. Every section consists of 4 bars, each of which has 2 bars of melody and 2 bars of repeat; all three sections are different but they are written in relation to one another, and the conclusion of the third section appears independently. The work is structurally an A-B-B1-C-C1-D-D1-A-E form. The piano plays the introduction with a dissonant, warning E flat major with a fermata. This draws attention to what is to come, and at the same time conveys emotionally that something joyless could probably happen. Bars 2 and 3 are the warning in the text not to fly to the place where the magpie does in fact fly, and they then bring the start of a pure and happy E flat major melody which is also known outside Russia , that repeats (bars 4-5) and then depicts the disobedience of the animal and its misfortune with a noticeable dislocation by a semitone (bars 6-7, also repeated at bars 8-9). The next 4 bars are a sort of melodic quaver recitation on g1, separated twice by a quaver b1, and they console without distraction with the successful dressing. The sung text breaks off abruptly. One does not know at the end whether the magpie will survive. At its place, the threatening opening fermata chord in the piano is heard once again, and the father, Igor Strawinsky, would have made it very exciting at this point. The final, redeeming music however then comes with the chord on the upbeat, a pure E flat major without a third. Everything is now clear. The magpie will survive; all is well again, and the child has certainly understood the moral of this story.
A four-bar, preludial piano introduction with 3 almost identical repeated bars leads into the 2nd song, which has two sections of 12 bars with a completely different character, and a bar of transitional material at the beginning of the story. Structurally, it is an A-B-B1 form, for which the solo part is identical in terms of structure and notes, and the transition from B to B1is completed by interpreting the text in the piano accompaniment. In this way, the form elucidates the almost-identity of the interchangeable events. The animal is caught once on the bridge and thrown off once again, and then it is caught under the bridge and thrown up again. The piece finishes with a repeat sign into the bargain, for which its counterpart is missing and which is written despite the fact that there are no more verses to come. Behind this is the idea that the fun, if it is in fact fun, can be repeated, since there are enough rooks on the bridge and rooks under the bridge. At the beginning of the song, bar 5 interrupts the preludial introduction with equal, static double chords. The rook is resting on the bridge. In the middle of bar 9 however, it is captured and sent up. In four parts and impressionistically constructed, upward-leading block chords show how the animal is collected up. The chords once again move downwards, as is suitable for the image. Once again, the character of the accompaniment is altered. Heavy, block-like sounds over 4 bars in the soprano register become a monotonous combination of broken thirds and an accompanying circular motion, while from the lower register, fifths and then sixths similarly rise up rhythmically in quavers. Corresponding to the three-part nature of the piano accompaniment, the voice part is characterised in its way. 4 bars with diatonic passing notes and 4 bars of combination of broken chords and diatonicism, only with an upward movement, follow 4 bars of broken tonic chords. The song then proceeds with the rook under the bridge. The melody does not change; only the piano accompaniment is brought into inversion. Formally, the section is constructed in 4 + 4 + 4 bars. The first, static 4 bars remain slightly altered, and in the end, it is almost the same procedure, of catching the rook on or under the bridge. In the next 8 bars however, the piano accompaniment is in contrary motion to the first section. Where the blocks rise in the first section, they now fall, and where they fell previously, they rise.
The 3rd song is structured using 14 bars of song in an A-B-A1 form and 4 bars of chordal postlude in the style of a toccata, and it develops textually suggested structural moments which cannot be found in the preceding songs, such as transposing material, truncation and rhythmic displacement. A two-bar melodic group of peaceful, moving and easily singable forte sections is repeated. The piano accompaniment frames it with heavy, at times six-part chords. There then follows a two-part piano section with gently flowing movement in the piano part and a solo vocal melody in the 6th bar, which proceeds in a very unusually chromatic fashion. The four-bar middle section is made up exclusively of accompanying crotchet notes with dense chordal blocks in the piano. The 4 bars of the A1 section add a melody, displaced by two crotchets and constructionally shortened, to the piano accompaniment, which is identical in terms of notes, in a massive chordal surrounding, which is now fortissimo . The postlude peaks in a triple forte .
Dedication: First song: Сынку Светику [To the little son Swetik*]; Second song: Дочке Минуше [To the daughter Minuscha**]; Third song: Сынку Фебику [To the little son Fedik***].
* Sviatoslav Soulima.
** Ludmilla, nickname Minuscha.
*** Théodore, nickname Fedik.
Duration: a) Piano version: about 1'30"; b) Orchestrated version: 3'04".
Date of origin: a) Piano version: Ustilug 1906 up to 1913; b) Orchestrated version: Nizza December 1929 up to January 1930 (in the middle of 1932).
First performance: On the 23rd April 1915 in the Small Room of the St. Petersburg Conservatory with Z. Lody and I. Miklashevskaya (Piano), Strawinsky forebode the public performances, as can be seen from a letter from Vladimir Dershanovsky to Strawinsky of 15th May 1914 from Moscow. The orchestral version, which was intended for a French film which never came to fruition, was not performed publicly at the time. It was also not to be found on any of his own concert programs.
Remarks: The compositional history reaches back into Strawinsky's time as a student with Rimsky-Korsakov. The same is true for the Three Little Songs, which were originally written in 1906 for typical music-student entertainments as short improvisations and later brought into their final form as songs with piano in Ustilug: the first song between the 6th and 19th October 1913, the third in October-November of the same year. Strawinsky used such melodies for later, even larger, serious compositions. The marcato melody of the third song was used in this way for the Scherzo of his E flat major Symphony as an understandably ironic indication of its origin to the listeners of the time. The second song bears no date, but the end date of the composition of the first edition gives the time of completion as the year 1913 and Clarens as the place of completion, although he wrote in his memoirs that he wrote the pieces in Ustilug, when he was too weak after his illness to begin any extended works. The songs were intended for his three children, Sviatoslav Soulima (born 14th March 1907), Ludmilla (born 1908) and Théodore (born 23.September 1910 in Lausanne), from which we get the number three as well as the reasonable presumption that the second piece was written before and not after the third. The fourth child, Maria Milena, had not yet been born.
Significance: These three works were intended for the family, written by the father for his children; Strawinsky, who was later said to associate well with children, sung and played these pieces at the piano to his children, had them take part, explained the songs to them and certainly also improvised further, imitated gestures and movements and in doing so pulled faces and also had them play single accompanying notes themselves. All three are easily singable and catchy (the piano accompaniments however are not so), and develop in tried-and-trusted melodic and declamatory forms.
Versions: The history of the editions mostly straightforward. The work was published first (dated, as is usual for many Russian editions) in 1914 in an exclusively Russian landscape format edition by the Russian music publishers, which was printed and engraved by Röder in Leipzig; the Russian publishers at the time had registered offices in Berlin, Moscow and St. Petersburg, and was represented in Brussels by Breitkopf & Härtel, and in Paris by Max Eschig. The following edition is undated, but Strawinsky entered the date 1917 into his private copy. This may refer to the second printing. With the distribution of the songs to France and England, the sung texts, which up to that point had only be in Russian, were published in Russian-French and Russian-English as well. In the French version, the title vignette is above, and in the English version inside, the statement of the publisher. The songs had separate plate numbers 234-236. Röder also printed the Russian-French edition, translated by Ramuz, which, according to a catalogue of the Bayern State Library, must have been published by 1922 at the latest and the previous plate numbers were increased by the plate number 342 in six figures [(234) 342; (235) 342; (236) 342] and the copyright reservation extended. The new version, also printed by Röder under the edition number 8030 and taken up by the Austrian Universal Edition, received the then standard nine-figure plate numbers [(234) 342.353; (235) 342.354; (236) 342.355], which the Russian-English edition of 1922, translated by Robert Burness, also had; this latter edition also retained the original landscape format, as did all the other editions. The distribution of the Russian-English edition took place up to 15th May 1922 at the latest, as the stamp on the contributory copy in the Library of the British Museum (Signature: c 915/6) indicates. The French translation by Charles-Ferdinand Ramuz, printed in between the original Russian text and the English translation by Burness, can first be found in the chamber-orchestra edition, which was produced as a conducting score of 1934 in a folio format under copyright in Paris; Strawinsky had taken on with the orchestration of the individual songs between 25th December 1929 and 4th January 1930 as an extended chamber version, and which was then printed as a final transcription. All three songs received an identical plate number, R. M. V. 518. The trilingual edition was published in three versions. The first version can be recognised by its at-points misprinted copyright reservation on the 1st page of musical text ('Copyrig ht' instead of 'Copyright'). In the second version, the mistake is removed by sticking over it, and in the final version, by a new typesetting. Strawinsky owned the edition in which the text has had something stuck over it, and into which he inserted his corrections on page 3. The publishing contract belonging to this was signed under the Roman numeral XII in connection with the agreements for the Quatre étudeson 5th April 1930 in Paris by Païchadze and countersigned on 7th April by Strawinsky in Nice. The Russian publishers apparently sold more than 770 copies up to 1938. With the transfer of the rights to Boosey & Hawkes, the London publishers only brought out the old French-English edition of the songs with piano while retaining the landscape format with a new design, but without the original Russian text. It was printed under the plate number 16307 in an edition which had no alterations made to it during Strawinsky's lifetime, but later contained advertisements. The first edition came onto the market by 1955 at the latest, as the record of entry in the Munich Music Library shows. The contractual arrangements were settled on 22nd May 1956. The orchestral version was not reprinted by Boosey and Hawkes. Therefore there exists no revised version as with other pieces that were published by the Russian music publishers.
Orchestrated version: In 1929, Strawinsky, who was living in Nice at the time, was approached to produce the music for a French film, the title of which Strawinsky did not name, which was a cartoon. He took his songs from the previous 16 years and orchestrated them for chamber orchestra with double woodwind and string parts but without brass and percussion; he substantially extended these originally short pieces, at times even trebling their length, the first from 15 to 51 bars, the second from 40 to 59 bars, and the third from 18 to 29 bars. He altered the previously simple song structures and made them ready for concert performance. The fact that he changed the keys, the second song from E flat major to F major, the third from F major to E flat major, was only the smallest issue. He also added short instrumental introductions to all three songs, interrupting the even flow of the simple melodic lines by inserting rests, and incorporated atmospheric elements in the interludes. The time of composition can be deduced from the surviving dating: 25th/26th December 1929 for the first song, 29th December 1929 for the second and 4th January 1930 for the third. There are indications that the final completion of the Suite was in 1933, so shortly before the printing. Strawinsky himself named this date; this probably cannot match up, as can be seen from the publishing correspondence. Strawinsky wrote to Païchadze of the Russian music publishers on 29th March 1931 that he would have to change the title for practical reasons, as he was no longer thinking in categories, which are given in the title of the manuscript. This can only be read as whether the publishers were already in possession of the printed manuscript, which bore a title referring to a cartoon, which Strawinsky did not want in the end, unless Strawinsky had reported a schedule to the publishers, which would be very unusual for his manner. On 7th April 1932, Strawinsky reported in a further letter to Païchadze concerning the corrections for the orchestral transcription (and about the completion of the Our Father composition), and on 20th July 1932 regarding the completion of the song corrections. This must have been the latest time at which he must have finally handed over the Suite.
Historical recording : non traceable.
CD edition: not included.
Autograph: British Library London.
Copyright: 1934 by Russischer Musikverlag in Berlin; 1947 assigned to Boosey & Hawkes; none of the editions before 1934 have a copyright mark.
17-1 1914 Voice-Piano; R; Russischer Musikverlag Berlin; 7 pp.; R. M. V. 234-236.
17-1Straw ibd. [with annotations].
17-1 ibd. Г. М. 308 И. М.
17-1-Straw ibd. [with annotations]. Г. М. 308 И. М.
17-5A 1934 FuSc; R-F-E; Russischer Musikverlag Berlin; 14 pp.; R. M. V. 518.
17-5B 1934 FuSc; R-F-E; Russischer Musikverlag Berlin; 14 pp.; R. M. V. 518.
17-5 B-Straw ibd. [with annotations].
17-6 1947 Voice-Piano; R-F; Russ. Musikverlag / Boosey & Hawkes; 7 pp.; B. & H. 16307.
b) Characteristic features
17-1ИГОРЬ СТРАВИНСКИЙ / ТРИ ПЂСЕНКИ / (ИЗ ВОСПОМИНАНИЙ ЮНОШЕСКИХ ГОДОВ) / ДЛЯ ГОЛОСА И Ф.–П. / РОССЯЙСКОЕ МУЗЫКАЛЬНОЕ / ИЗДАТЕЛЬСТВО · БЕРЛИНЪ ·МОСКВА ·С. ПЕТЕРБУРГЪ // ИГОРЬ СТРАВИНСКІЙ / ТРИ ПЂСЕНКИ / (ИЗЪ ВОСПОМИНАНЯЙ ЮНОШЕСКИХЪ ГОДОВЪ) / ДЛЯ / ГОЛОСА И Ф.–П. / N o1. СРОЧЕНЬКА [#*] / N o2. ВОРОНА [#**] PR. M. –90*** / R. –40*** / N o3. ЧИЧЕРЪ ЯЧЕРЪ [#*] / ПРАВА ИСПОЛНЕНІЯ СОХРАНЯЮТСЯ. / DROIT D'EXECUTION RÉSERVÉ. / СОБСТВЕННОСТЬ ДЛЯ ВСЂХЪ СТРАНЪ [#] 1914 [#] PROPRIÉTÉ DE L'ÉDITEUR POUR TOUS PAYS / РОССІЙСКАГО МУЗЫКАЛЬНАГО [#]**** ÉDITION RUSSE DE MUSIQUE / ИЗДАТЕЛЬСТВА [#]**** (RUSSISCHER MUSIKVERLAG G.M.B.H.*****) / БЕРЛИНЪ – МОСКВА – С. ПЕТЕРБУРГЪ [#]**** BREITKOPF & HÄRTEL /****** MAX ESCHIG PARIS******* // (Vocal score with chant sewn 26.7 x 20 oblong (obl. 8° [quer Lex. 8°]); sung texts Russian; 7  pages + 4 cover pages thicker paper dark grey on light grey [front cover title in ornamental feather frame, 3 empty pages] + 1 page front matter [title page in ornamental feather frame with vignette 0,9 x 1 publisher’s emblem sitting woman playing cymbalom] + 1 page back matter [empty page]; dedication hand-written Russian printed in line etching above title head centre [p. 2:] > Сынку Светику < [p. 3:] > Дочке Минуше < [p. 6:] > Сынку Фебику <; title head as underlined song title next to song number numbered in Roman numerals (with dot) flush left p. 2 p., p. 3, p. 6; author specified [only] 1st page of the score paginated p. 2 below piece number flush right >Игорь Стравинскій. <; legal reservations without Copyright 1st page of the score above Russian song title next to dedication flush left >Tous droits d'exécution réservés. / Права исполненія сохраняются . < below type area flush left >Russischer Musikverlag, G.m.b.H., Berlin, Moskau, St. Petersburg.< flush right >Eigentum des Verlags für alle Länder.<; plate numbers [p. 2:] >R. M. V. 234< [pp. 3-5:] >R. M. V. 235< [pp. 6-7:] >R. M. V. 236<; end of score dated p. 7 >Clarens 1913.<; production indication p. 7 flush right as end mark >Stich und Druck von C. G. Röder G.m.b.H., Leipzig.<) // 1914
* Fill character (dotted line).
** Fill character (dotted line) and middle parts of a three-line bracket facing right.
*** The price in Rubles is printed under the price in Marks, and there is a fill character (dotted line) between the currency symbol and the price.
**** Vignette 0.8 x 1 publisher’s emblem spanning 3 lines sitting woman playing cymbalom.
***** G.M.B.H. is printed in smaller letters whereas B. and H. are printed below the G. and M.
****** Slash original.
******* On the right next to the publisher’s legal notice, there is a red stamp with a double circle with a diameter 1 cm inside 2 cm >Geschenk des Verlags<.
Strawinsky ’ s copy contains annotations.
17-1ИГОРЬ СТРАВИНСКИЙ / ТРИ ПЕСЕНКИ / (ИЗ ВОСПОМИНАНИЙ ЮНОШЕСКИХ ГОДОВ) / ДЛЯ ГОЛОСА И Ф.–П. / [°] / Р. С. Ф. С. Р. / ПРОИЗВОДСТВЕННЫЙ ПОДОТДЕЛ / МУЗЫКАЛЬНОГО ОГДЕЛА Н. К. n. / Москва-Петроград. / 1-ая Государственнат Нотопечатня Муа. Огд. Н. К. n. // (Vocal score [library binding] 25.1 x 17 oblong (obl. 8° [quer Lex. 8°]); sung texts Russian; 7  pages + 1 page front matter [title page] + 1 page back matter [empty page]; title head as song number numbered in Roman numerals (with dot) above type area centre below [p. 2 > СРОЧЕНЬКА. <] respectively next to [p. 3 > ВОРОНА.< p. 6 > ЧИЧЕР-ЯЧЕР. <] flush left underlined Russian song title; dedications above song numbers centre hand-written Russian printed in line etching above song title [p. 2:] > Сынку Светику < [p. 3:] > Дочке Минуше < [p. 6:] > Сынку Фебику <; author specified [only] 1st page of the score paginated p. 2 below song number flush right >Игорь Стравинскій. <; without legal reservation; plate number >Г. М. 308 И. М. <; without end of score dated; without production indication; without end marks) // 
° Dividing horizontal line of 2.7 cm.
17-5A IGOR STRAWINSKY / TROIS PETITES CHANSONS / PARTITION D'ORCHESTRE / ÉDITION RUSSE DE MUSIQUE // IGOR STRAWINSKY / TROIS PETITES CHANSONS / (SOUVENIR DE MON ENFANCE) / Transcription / pour chant et petit orchestre / PARTITION D'ORCHESTRE / ÉDITION RUSSE DE MUSIQUE / RUSSISCHER MUSIKVERLAG (G. M. B. H.*) / FONDÉE PAR S. ET N. KOUSSEVITZKY / BERLIN · LEIPZIG · PARIS · MOSCOU · LONDRES · NEW YORK · BUEONOS AIRES / [°] / S. I. M. A. G. - Asnières-Paris. / 2 et 4, Avenue de la Marne - XXXIV // (Full score sewn 26.6 x 34.1 (2° [4°]); sung text Russian-French-English; 14  pages + 4 cover pages thinner cardboard black on yellow brown-beige [front cover title, 3 empty pages] + 2 pages front matter [title page, empty page] + 4 pages back matter [empty pages]; title head >ТРИ ПЂСЕНКИ / ИЗЪ ВОСПОМИНАНЯЙ ЮНОШЕСКИХЪ ГОДОВЪ / Trois petites Chansons [**] Three Songs / (SOUVENIR DE MON ENFANCE) [**] (FROM THE RECOLLECTIONS OF CHILDHOOD)< author specified 1st page of the score paginated p. 1 next to and below song number numbered in Roman numeral (without dot) >I / Сороченька / La petite Pie [***] The Magpie< flush right centred >IGOR STRAWINSKY / 1913 - 1930<; translator specified 1st page of the score next to and below song number flush left partly in italics >Traduit en francais*** par C. F. Ramuz / English version by Robert Burness <; legal reservations [only] 1st page of the score below type area flush left >Copyrig ht**** 1934 by Russischer Musikverlag G.m.b.H. Berlin< flush right centred >Tous droits d'exécution, de reproduction et / d'arrangements réservés pour tous pays / Propriété de l'Editeur pour tous pays.<; plate number >R.M.V. 518<; production indication p. 14 below type area flush left centred >S. I. M. G. - Asnières-Paris. / 2 et 4, Avenue de la Marne — XXXIV< flush right as end mark >GRANDJEAN Grav.<) // 1934
° dividing (horizontal) line of 0.9 cm.
* G.M.B.H. is printed in smaller letters whereas B. and H. are printed below the G. and M.
** Two-line, vertical, winding dividing line.
*** One-line vertical, winding dividing line.
**** Original spelling (see 17-5 B).
17-5B = 17-5A
with legal reservation pasted over (see 17-5 B-Straw).
Strawinsky’s copy of his estate is on the front cover title above, next to and below name black with >IStrawinsky< signed, but not dated. Next to name slanted upwards left the note with pencil >My personal / copy IStr.<. The original legal reservation is pasted over with >Russischer Musikverlag G. m. b. H. Berlin / Edition Russe de Musique / Copyright 1934 by Russischer Musikverlag G. m. b. H. Berlin.< (text centred) überklebt. The figured copy contains a few corrections in red.
17-6 igor strawinsky / trois petites chansons / (souvenir de mon enfance) / [*] / édition russe de musique · boosey & hawkes // (Edition [library binding] oblong 26.7 x 20.3 [obl. 8° [quer Lex. 8°]); sung texts Russian-French; 7  pages + front cover black on white without title page + 1 page back matter [empty page]; title head as piece title flush left p. 2 > СОРОЧЕНЬКА. / LA PETITE PIE.< p. 3 > BОРОНА. LE CORBEAU.< p. 6 >ЧИЧЕРЪ-ЯЧЕРЪ. / Tchitcher-Iatcher.<; dedications above title numbers centre hand-written Russian printed in line etching (in italics) p. 2 > Сынку Светику < p. 3 > Дочке Минуше < p. 6 > Сынку Фебику <; author specified [only] 1st page of the score paginated p. 2 below centrally arranged song number in Roman numeral (with dot) >I.< flush right centred >Иигорь Стравинскій. / Igor Strawinsky.<; legal reservations [only] 1st page of the score above type area next to dedication flush left >Tous droits d'exécution réservés. / Права исполненія сохраняются. < below type area flush left in connection with translator specified >Traduction française par C.-F. Ramuz / Copyright by Édition Russe de Musique (RUSSISCHER Musikverlag) / Copyright assigned 1947 to Boosey & Hawkes, Inc., New York, U.S.A. / All rights of reproduction in any form reserved.<; plate number >B. & H. 16307<; production indication [only] 1st page of the score below type area flush right >Printed in England<; end of score dated p. 7 >Clarens 1918.<; without end marks) // (1947)
* The copy in the Städtische Musikbibliothek München >95104022< contains flush right a stamp mark at this point >Current Price / 3/6 NET / BOOSEY & HAWKES LTD.<.
17-6 igor strawinsky / trois petites chansons / (souvenir de mon enfance) / édition russe de musique · boosey & hawkes // (Edition [library binding] oblong 26.7 x 20.3 (obl. 8° [quer Lex. 8°]); sung texts Russian-French; 7  pages + title black on white + 1 page back matter [page with publisher’s advertisements >Igor Stravinsky<* production date >No. 40< [#] >7.65<]; title head as piece title flush left p. 2 > СОРОЧЕНЬКА. / LA PETITE PIE.< p. 3 > BОрОНА. LE CORBEAU.< p. 6 >ЧИЧЕРЪ-ЯЧЕРЪ. / Tchitcher-Iatcher.<; dedications above title numbers centre hand-written Russian printed in line etching (in italics) p. 2 > Сынку Светику < p. 3 > Дочке Минуше < p. 6 > Сынку Фебику <; author specified [only] 1st page of the score paginated p. 2 below centrally arranged song number in Roman numeral (with dot) >I.< flush right centred >Иигорь Стравинскій. / Igor Strawinsky.<; legal reservations [only] 1st page of the score above type area next to dedication flush left >Tous droits d'exécution réservés. / Права исполненія сохраняются.< below type area flush left in connection with translator specified >Traduction française par C.-F. Ramuz / Copyright by Édition Russe de Musique (RUSSISCHER Musikverlag) / Copyright assigned 1947 to Boosey & Hawkes, Inc., New York, U.S.A. / All rights of reproduction in any form reserved.<; plate number >B. & H. 16307<; production indication [only] 1st page of the score below type area flush right >Printed in England<; end of score dated p. 7 >Clarens 1918.<; without end marks) // 
* Compositions are advertised in two columns without edition numbers, without price information and without specification of places of printing >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 / Canticum
sSacrum [#] 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].
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.
https://kcatalog.org and https://kcatalog.net