K24 Trois Histoires pour enfants
pour une voix et piano – Drei Geschichten für Kinder, für Singstimme und Klavier – Three Tales for Children, for voice and piano – Дђтская лђсенка – Tre storie per bambini per voce e pianoforte
Title: All the early editions bear a French but no Russian main title while the songs themselves were supplied and printed with a Russian and a French text from the start.
Scored for: a) Original version and revised version: Голосаъ / Chant, Cопровожденіе / Accompagnement – Chant, Piano [Chant, Accompaniment – Chant, Piano]; Orchestrated version Tilim-bom: Piccolo, 2 Flauti, 2 Oboi, 2 Clarinetti in A, 2 Corni in F, Tromba in C, Timpani, Canto (Song), Violini I, Violini II, Viola, Violoncello, Contrabasso [Piccolo Flute, 2 Flutes, 2 Oboes, 2 Clarinets in A, 2 Horns in F, Trumpet in C, Timpani, Song, Violins I, Violins II, Viola, Violoncello, Double Basses]; b) Performance requirements: Soprano, Piccolo Flute (= 3rd Flute), 3 Flutes (3rd Flute = Piccolo Flute, 2 Oboes, 2 Clarinets in A, 2 Horns in F, Trumpet in C, Timpani G and f, Strings without dividing (First Violins, Second Violins, Violas, Violoncellos, Double basses).
Summary: First song: In a goat pen, fire breaks out. The nanny goat sees the accident and cries for things to extinguish it. The kitten rings the bell to summon help. The pen must be saved from destruction. The hen brings a pail full of water and the cock stands at the pump. Curious onlookers congregate. They must not gape but help to put the fire out. At the end the goat, hen, kitten and chicken sit next to each other in the grass as, tilimbom- tilimbom, the pen has been saved from destruction. – Second song: Geese and swans see an empty field and settle there. They build a bathing trough in order to rid themselves of their vermin. The sparrows bring the wood and the cockroach warms the water which the mouse had brought and in which the louse bathes its daughter. White worms are under the bath mat and a leeing flea breaks its leg. No wonder that all the insects say that they have had enough of bathing. – Third song: There was once an old man and an old woman who had no children. The woman says to the man that he should go into the forest to collect wood. In the forest, the man comes across the bear. The bear challenges the man to a wrestling match. The man fetches his axe and cuts off the bear’s paw, saying that it will serve as a good dinner for tomorrow. The woman begins to skin the paw, to rub it and to clean it. The bear is not happy. He washes himself in the river and makes himself a paw out of linden wood (Ramuz translates the Russian word for linden липа with ‘bouleau’ = birch). He then runs to the old man and sings to him and his wife: “grind, grind, grind, paw made of linden wood. To eat my meat!” The old man hides himself under an upturned kneading trough and the woman does likewise under the dirty washing. The bear forces his way into the hut. Under the upturned trough, the old man’s teeth chatter and in the dirty washing the old woman begins to cough. The bear finds them both and eats them up.
Source: The origins of the texts have not been unequivocally divined so far. The story of the bear Strawinsky took from the collection of fairy tales by Afanassyev. The first text is a miniature ballad, the second is a pribautki and the third mixes speech and singing. The three texts are gathered together despite their differences in genre by an overall childlike horizon of understanding. They are aimed towards childlike fantasy, a sense of morality and a proclivity towards the absurd. In all three songs the animals are the active parties. In the first song, they do things that otherwise only humans are capable of. The nonsense rhymes of the second song without real content make the children laugh. The third song awakes empathy towards the victimized bear.
Translations: The first edition of 1920 was published with Russian and French texts. The French translation was made by Charles-Ferdinand Ramuz and although Strawinsky collaborated with him on it, much of its childish charm, wit and above all the sense of the original is lost. That in the song about the bear the easily carveable timber of the linden becomes a birch, which is one of the pests of the forest, is the least of the problems. The middle section, which is entirely sung and which is so important for the moral claim of the bear, is underplayed and has an indeterminate effect. The meaning of the song exists in its three-level awakening of understanding for the situation of an animal: in the first section of the story bear and man are, from the point of view of the bear, something similar to comrades or decent opponents. This decency is ended by the action of amputation, which the bear was not prepared for. Evil things happen to the bear, who just wanted to have some fun with the old man in that he unexpectedly and maliciously has a paw cut off, without which he is as good as lost in the wild. The goal of the man is to eat the bear, starting with his paw. In the middle section the cooking begins. At the same time, the bear has recovered and understood what must happen. The game has now turned serious. The antagonized animal sets himself on the warpath and against his enemies, for whom he is not a comrade but a roast. He runs to the hut with the fixed intent of turning the tables. He will show them who will eat whom for dinner. In the second section of the story, the final part of the bear song, the cowardliness of the man adds to his perfidiousness. They do not struggle or even run away but just creep under a trough and dirty washing and end up making noise in a very ridiculous manner into the bargain. The courage of the wounded, shocked and now dangerous bear reverses the situation. It is not now the humans that eat the bear, but the bear that eats the humans. Children will take the side of the bear and not the side of the two old people, to whom justice seems to be done. Not much of this background fairytale moral remains in Ramuz’s translation, juxtaposed with the Russian fairytale tradition with heavy, scarcely restrained unconnected sentences. He distorts the meaning of the foreground plot, makes fun of that which is serious or contemplative moralizing, and also misunderstands the terminology. Ramuz finishes the song text with ‘la vielle charogne’, which is as strong as the old carcase, which refers to the old woman. The bear does not need such an unsuitable swear word for children’s ears at all. In the Russian original it is кожа , which means ‘dried out’. The conception is of a scene which portrays the approaching bear who wishes to say: “I will teach you eat my paw, you dried-out old lady.” In the new edition of 1927, Chester publishers supplied an additional English translation by Rosa Newmarch. There was no German translation made in Strawinsky’s lifetime.
Construction: In the original, the three songs are not numbered in order to characterize their lack of interrelation to one another. The Tilimbom song, in the first edition stretching to a length of 36 bars, was extended as a result of the orchestration of 1923 in terms of text and music to 64 bars, double the length of the original. The French and English manner of translating ‘Tilimbom’ is given equal weight next to ‘Tilim-bom’ in the original editions; the spelling without the hyphen insinuated itself. The CD edition prints it with the hyphen, so according to the original. The printed German translation of the title (ducks, swans, geese) departs from the Russian original (geese, swans).
[ Tilim-bom ]
[ Klabum-klabam ]
Тилимъ-бомъ, тилимъ-бомъ, Загорђлся козійдомъ.
Tilimbom, tilimbom, c'est la cloche du feu qui sonne.
Tilimbom°, Tilimboom°, Save the goatshed from its doom!*
[ Klabum-klabam, klabum-klabam, Rettet den Ziegenstall vorm Untergang! ]
Allegro (32 ** bars)
Гуси, лебеди . . .
Les canards, les cygnes, les oies . . .
[Geese and Swans]
[Enten, Schwäne, Gänse°°]
Гуси, лебеди летили, Въ чисто поле залетили, . . .
Les canards, les cygnes, les oies, Qui sont venus de Savoie . . .
[ Geese and swans once flying near the ground . . . ]
[ Gänse und Schwäne, die einmal niedrig über die Felder flogen . . . ]
Crotchet = 132 (22 bars)
[Tale together with Third Song]
CКАЗКА СЪ ПЂСЕНКОЙ
Petite histoire avec une chanson
(Texte français par C. F. Ramuz)
[ Bear's Song ]
[ Der Bär. Eine kleine Geschichte mit einem Lied ]
Жилъбылъ старикъ да старуха, . . .
Il y avait dans le temps . . .
Grince, grince, . . .
[ Knirsch, knirsch, . . . ]
(4 bars 1-4 Introduction)
И вода спитъ, . . .
Dedans, dehors . . .
[ Innen, außen . . . ]
(15 bars 5-19)
[Repeat Bars Takte 1-19]
Grince, grince, grince . . .
[Knirsch, knirsch, knirsch. .]
( The coda is in the form of a repetition of the first four bars 1-4)
[End of narrative text]
Втђпоры старикъ и старуха, . . .
Sous le pétrin renversé . . .
° Original spellinmg.
°° The German printed translation of the title (Enten, Schwäne Gänse) differs from the Russian original (Gänse, Schwäne).
* Translation by Rosa Newmarch.
** [ ] = New version.
Style: These songs for children are in the same world as Les Noces . All three songs are aimed at comprehensibility for children, not only with the text but also musical understanding. Their melody lines either consist of catchy formulae or of permuted declamatory recitation. They are clearly not conceived to be sung by children. There is no interpretation of the text, but the situation, for example the burning of the goat pen represented by glowing, jerking piano passages like flames, is depicted. The piano accompaniment to the first two songs requires a practised pianist in an advanced stage of ability with large hands which can stretch ninths. The third song on the other hand does not have a single section for the piano with more than one part, only an ostinato bass line made up of a two-note motif. –
The Tilim-bom song is made up of four groups of 16 bars in 2/4, each with a four-bar, fanfare-like and very catchy introduction; this introduction represents something like the horn signal of the fire service and also concludes the final phrase. In this way, the form A-A1-A2-A3-B arises, for which B is the four-bar, always identical fanfare refrain which opens each A section as the head of the theme (A: theme head, bars 1-4, transitional phrase bars 5-16; A1: theme head, bars 17-20 = 1-4, transitional phrase bars 21-32; A2: theme head bars 33-36 = 1-4, transitional phrase, bars 37-48; A3: theme head, bars 49-52 = 1-4, transitional phrase, bars 53-60; B as a constituent part as well as the coda of A3 = theme head, bars 61-64 = 1-4). The transitional phrases are made up of repeated or varied single bars of identical character with a very small range of a fifth, g1-d2. Bar 5 is therefore repeated identically in term of notes in the voice part and accompaniment in bars 6 and 7. The atmosphere is excited, the rhythm of the declamation hammering and the melody catchy while the piano accompaniment imitates the movement of flames. There is never a respite. No-one has time, everyone is occupied. It is first at bar 53 that the picture changes. The flickering semiquavers in the upper register of the piano break off. It is over. Once again the horn fanfare is heard. Apart from the effective ending, this seems perhaps to be the departure of the fire service. –
The Geese song is structurally an A-B-A1 form with a modified short coda in pure Russian melodic declamation with downwards fourths. The A section consists of a static sound world of ninth chords in both hands and lasts for 6 bars. Bars 7-12 form the middle section of a separate series of declamations. The sound world is lightened by interval leaps in the left hand. The final section (10 bars, 13-22) takes the music from bars 1, 2 and 4 including the piano accompaniment note-for-note into bars 13, 14 and 16 and slightly varies bar 3 in bar 15 (bar 3: d1-a1-g1-c2*-b1-a1-g1; bar 15: a1-g1-c2*-b1*-a1-g1-b1, * = semiquavers, all the other notes are quavers). Bar 17 corresponds to bar 5 and bars 18 and 20 are repetitions of 17 = bar 5; bar 19 corresponds to bar 4 with the final crotchet divided into two repeating quavers; bar 22 corresponds to bar 6; bar 21 is a tied-over version of bar 22. In bars 17-20, the current sound world of ninths in the style of the B section is broken up in the bass by intervallic leaps. –
The Bear song is constructed in an A-B-C form of which the A and C sections contain non-rhyming spoken text while the middle section is made up of rhyming lines and therefore has a particular narrative weight. The story is told up to meeting the bear before the hut (A), and is sung in the middle section, and then told again in the final section when the old man hides himself for the first time. In the middle section, the soprano melody has no accompaniment in the piano upper register, and the bass line of the 19 2/4 bars consists of a strumming fifth, A flat-D flat, which is repeated 19 times. This fifth is intended absolutely for children to play. One can imagine Strawinsky taking his child before him on his lap at the piano and putting his right hand on A flat and his left hand on D flat, after which he would then perform and sing the pleasant but grisly text about the bear while the child pressed the alternating notes A flat and D flat in a regular 2/4 bar.
Dedication: There is a dedication supplied for these Tales for Children: ‘Pour mon fils cadet’ (‘For my youngest son’). The printed editions have no dedication.
Duration: between 2' and 3'56".
Date of origin: First Song: Morges 22nd May 1917; Second Song: Morges 21st June° 1917; Third Song: Morges 30th December 1915; Orchestrated and revised version Tilimbom: 1923; Version for chamber music 1. and 2. Song: 1954.
* The exact date has not been set.
First performance: Since the works are intended for the family, there was no first performance in the sense of a public concert première. Strawinsky also opposed public performances of his miniature compositions for the family; in spite of this, each first public performance is also a première. The Tales for Children were first taken on at the end of 1920 in Steinway Hall in London by a Miss Baddeley; the orchestral version of the Tilimbom-song was performed on 11th March 1924 in the Liceo in Barcelona with Vera Janakopoulos under the baton of Igor Strawinsky. The première of the chamber-music version took place alongside the première of the Four Songs on 21st February 1955 in the Monday Evening Concerts in Los Angeles under the conductorship of Robert Craft.
Remarks: Nothing is known about the history of the composition process apart from the dates that are given.
Versions: The Tales for Children were published at the end of 1920 by the publishers J. & W. Chester in London in an edition for voice and piano with Russian-French text and a French but not Russian main title. In London, the contributory copy was entered on 1st October 1920. In the same year, there was a version printed with an additional English text. At that time, Strawinsky made the Tilimbom Song, which is doubtless the most meaningful song, into a self-standing composition with orchestral accompaniment, extending it to twice its original length and subsequently translating the new structure back into a song with piano which was published in 1927 as a solo song. At the same time, the publishers included it in this form in a series. There then came a ‘new’ edition of the three songs in 1927, for which the ‘new’ referred exclusively to Tilim-bom, since the other two songs remained unchanged. Strawinsky accepted the fact that the Tilimbom song at the beginning of the series drastically overpowered the other two songs in terms of weight and length. The orchestral version was played but never performed in public. The exemplar which is located in the British Library under the signature >I.492.d.< since 1967, is not a formally published and printed work, rather the photocopy of a manuscript version without the voice part. In Strawinsky’s estate there is a nine-page conductor’s score 21.5 x 29.7 (4°) with the publishers stated as Chester-Hansen and an stuck-on outer-title page without a plate number but with a copyright stamp, ‘Copyright © 1923 for all countries / J & W Chester / edition Wilhelm Hansen London Ltd’. This version was also present after 1956 but cannot have been available to buy in this form. At the same time, Chester-Hansen republished the piano version under the old Chester number, printing the sung text for Tilimbom in Russian-French-English, and in Russian-French for the two other songs. Strawinsky later rejected this and the series of Russian songs and brought together two songs from it into a new four-part Lieder suite Four Songs as a self-standing work*.
>* see K83.
Tilim-bom 1923: The orchestration of the Tilim-bom, which probably took place in the second half [December] 1923 is, presumably together with the chamber-music reworking of the short Pastorale music, has the Brazilian soprano, Vera Janakopoulos to thank for its existence. At this opportunity, Strawinsky doubled the length to 64 bars and gave the work a special weight. The extension was achieved by expanding the text and the connecting bars in between. The extension of the text suggests that the Tilimbom song must originate from Strawinsky himself. The orchestration, which avoids deep winds, sharpens the fire imitation. There is also a letter from Strawinsky to Ansermet of 24th March 1924 from Madrid which can be interpreted. In it, Strawinsky reports on his concert successes in Spain and on his pieces which he had newly orchestrated for Vera Janacopoulos. It is called word for word > a) Tillim-bum° (‘d’etendue° deux fois plus grand et Pastoral accompangnée des 4 bois’) et … <. Craft translated this as >”Tilimbom” (lengthened to twice its size); "Pastorale" (accompanied by 4 woodwinds) <. Up till now the Tilimbom song has been published four times: 1920 as a song with piano (Chester), 1927 as a song with piano in a new edition (Chester),  as a self-standing song with orchestra without connection to the suite, (The Library of the British Museum owns a photographic copy of it from 1967 >I.492.d>), and in 1955 as a chamber-music song (Chester). While Strawinsky completely suppressed the shorter Tilimbom version and replaced it with the extended version in the edition voice and piano of 1927, making this into a new edition, while all versions of the Pastorale exist parallel to one another.
° Original spelling according to Tappolet II/91, letter 242..
Historical recording: 23rd January 1967 and 10th. June 1968 only for the orchestrated version Tilimbomwith the Soprano Evelyn Lear and the Columbia Symphony Orchestraconducted by Robert Craft.
CD edition: VIII-2/38 (only the Tilimbom-Song, orchestrated version).
Autograph: All autograph scores are stored at J. & W. Chester in London and were transferred into the possession of the British Library.
Copyright: 1920 original version Voice-Piano, 1927 new version Voice-Piano, 1955 chamber music version by J. & W. Chester in London.
24-1 1920 Voice-Piano; R-F; Chester London; 11 pp.; J. W. C. 3830.
24-1Straw1 ibd. [with annotations].
24-1Straw2 ibd. [with annotations].
24-1Straw3 ibd. [with annotations].
24-2 1927 Voice-Piano; R-F-E; Chester London; 11 pp.; J. W. C. 3830 1-3.
24-3 1927 Tilimbom Voice-Piano; R-F-E; Chester London; 7 pp.; J. W. C. 3880 1.
24-4 1927 Voice-Piano; R-F-E; Chester London; 11 pp.; J. W. C. 3830 1-3.
24-4Straw ibd. [with annotations].
b) Characteristic features
24-1 IGOR STRAWINSKY/ 3 / HISTOIRES POUR/ EN FAN TS/ MIS EN FRANÇAIS / PAR / C. F. RAMUZ/ PRIX NET FR. 3.75 (2/6) / J. & W. CHESTER, LTD. [#] SEULS DEPOSITAIRES POUR LA FRANCE / [#] ROUART, LEROLLE & C ie , / LONDON: [#] / [#] 29 RUE D'ASTORG, PARIS. / 11, GREAT MARLBOROUGH STREET, W.-1. [#] / [#] SEULS DEPOSITAIRES POUR LA BELGIQUE / GENÈVE: / [#] / MAISON CHESTER [#] / 9-11 PLACE DE LA FUSTERIE [#] / [#] 86 RUE DE LA MONTAGNE, BRUXELLES. / DÉPOSÉ SELON LES TRAITÉS INTERNATIONAUX. / PROPRIÉTÉ POUR TOUS LES PAYS. / TOUS DROITS DE TRADUCTION DE REPRODUCTION ET / D'ARRANGEMENTS RÉSERVÉS. // IGOR STRAWINSKY/ 3 / HISTOIRES POUR/ EN FAN TS/ MIS EN FRANÇAIS / PAR / C. F. RAMUZ/ PRIX NET FR. 3.75 (2/6) / J. & W. CHESTER, LTD. [#] SEULS DEPOSITAIRES POUR LA FRANCE / [#] ROUART, LEROLLE & C ie , / LONDON: [#] / [#] 29 RUE D'ASTORG, PARIS. / 11, GREAT MARLBOROUGH STREET, W.-1. [#] / [#] SEULS DEPOSITAIRES POUR LA BELGIQUE / GENÈVE: / [#] / MAISON CHESTER [#] / 9-11 PLACE DE LA FUSTERIE [#] / [#] 86 RUE DE LA MONTAGNE, BRUXELLES. / DÉPOSÉ SELON LES TRAITÉS INTERNATIONAUX. / PROPRIÉTÉ POUR TOUS LES PAYS. / TOUS DROITS DE DE TRADUCTION DE REPRODUCTION ET / D'ARRANGEMENTS RÉSERVÉS. / ENGRAVED & PRINTED BY C. G. RÖDER, LEIPZIG // Edition chant and piano stapled 22.6 x 30 (4° [Lex. 8° / 4°]); sung texts Russian-French; 7  pages + 4 cover pages [front cover title, 3 empty pages] + 1 page front matter [title page] + 1 page back matter [empty page]; song title Russian-French as title head; author specified below song title flush right centred 1st page of the score paginated pp. 2, 4 >Igor Strawinsky / 1917< p. 7 >Igor Strawinsky / 1915<; translator specified 1st page of the score between song title and author specified flush left centred >Mis en français / par C. F. RAMUZ.<; legal reservations pp. 2, 4, 6, 7 flush left >Copyright 1920 by J. & W. Chester Ltd.< flush right partly in italics >Tous droits réservés. / All rights reserved. <; plate number >J. W. C. 3830<; without end marks) // (1920)
Strawinsky's estate copy consists only of the outside and inside titles and the Tilimbom song. It bears the pencil comment >Pleyelisation / de Tilimbom / IStr < diagonally upwards on the outside title page. Strawinsky included the pianola version in this edition.
Strawinsky's estate copy is complete. The Tilimbom song is covered with annotations and notes. The other two songs are without comments. The copy bears a boxed blue stamp >MAJORATION / TEMPORAIRE / 100% / J. W. C.< on the outside title page under >PRIX NET ... < and is neither signed nor dated.
Strawinsky's estate copy is complete. It bears a boxed blue stamp on the underside of the title page> ROUART, LEROLLE & Cie / MUSIQUE - - ABONNEMENT / 40, Bd Malesherbes - PARIS <, on the inside title between> ENFANTS
24-3 CHESTER / LIBRARY / IGOR STRAWINSKY / TILIMBOM / HISTOIRE POUR ENFANTS / CHANT ET PIANO. / [°] / PRICE 2/- NET. / J. & W. CHESTER L TD // IGOR STRAWINSKY / [°°] / TROIS HISTOIRES POUR ENFANTS / TILIMBOM. LES CANARDS, LES CYGNES, LES OIES . . . / CHANSON DE L'OURS / POUR / CHANT ET PIANO. / J. & W. CHESTER, LTD., / LONDON: II, GREAT MARLBOROUGH STREET, W. I. / [°°°] / FRANCE. [#] BELGIUM. [#] / SWITZERLAND. [#] ITALY. / ROUART, LEROLLE ET CIE., [#] LES EDITIONS MODERNES, [#] REDSCHY FRÈRES, [#] PIZZI UMBERTO, / PARIS. [#] BRUXELLES. / GENÈVE. [#] BOLOGNA. / GERMANY. [#] HOLLAND. [#] CZECHO-SLOVAKIA. [#] SOUTH AMERICA, / HUG & CO., [#] BROEKMANS & VAN POPPEL. [#] HUDEBNI MATICE, [#] IRIBERRI, BELLOCQ & CIA., / LEIPZIG. [#] AMSTERDAM. [#] PRAGUE. [#] BUENOS AIRES. // (Edition chant and piano [library binding] (4°); sung text Russian-French-English; 7  pages + 4 cover pages thinner board black on brown beige [front cover title a full-page Chester Lyre surrounded by a coat of arms black on white with (presumably) the artist’s signature >H J M< # >1914< entered left and flush right at the bottom of the frame<, 2 empty pages, page with publisher’s advertisements >RÉPERTOIRE COLLIGNON. / Arrangements of Old Folk-Songs. <* without production date] + 2 pages front matter [[ornamental title page with a frame of flower tendrils and (presumably) the artist’s signature >H. J. M.< [#] >1922.< entered left and flush right at the bottom of the frame , empty page] + 1 page back matter [page with publisher’s advertisements > ŒUVRES DE / IGOR STRAWINSKY / PUBLIÉES PAR / J. & W. CHESTER, Ltd., LONDRES. <* without production date]; title head >Тилимъ-бомъ [#] Tilim-bom / Дђтская лђсенка [#] Histoire pour enfants< ; translator specified below title head flush left >Mis en français par C. F. Ramuz. / English version by Rosa Newmarch.<; author specified 1st page of the score paginated p. 3 below title head at the height of the 2nd line of the translator’s names flush right >IGOR STRAWINSKY.<; legal reservations 1st page of the score below type area flush left >Copyright MCMXX by J. & W. Chester, Ltd. / New Edition: Copyright MCMXXVII.< flush right centred >Tous droits reserves. / All rights reserved.<; plate number >J. W. C. 3880 1<; without production indication; without end mark) // (1927)
° Dividing horizontal line of 1.5 cm.
°° Double dividing horizontal line of 5.4 cm.
°°° Dividing horizontal line of 4.5 cm.
* Arrangements are advertised by Arnold Bax, Eugène Goossens, Herbert Howells and Guy Weitz as well as by Frank Bridge and John Ireland; Strawinsky not mentioned.
** All works for sale with Chester are advertised in alphabetical order with edition and net price as well as with self-arrangements by Strawinsky marked in bold type behind fill character (dots in groups of three) > Berceuses du chat,suite de chants pour voix de femme et trois clarinettes: / Partition d’ensemble° 6/- net. / Parties° 6/- * / Réduction pour chant et piano par l’auteur**° 2/- / BERCEUSE ET FINALE (“ L’Oiseau de Feu ”): / Arrangement pour orgue de Maurice Besly° 2/- * / CHANT DES BATELIERS SUR LE VOLGA, pour instruments à vent: / Partition et parties° 5/- * / LES CINQ DOIGTS, huit pièces faciles pour piano° 3/- * / CINQ PIECES°° FACILES pour piano à quatre mains (main droite facile)° 3/- * / L’HISTOIRE DU SOLDAT, grande suite: / Arrangement pour piano par l’auteur**° 10/- * / Suite pour clarinette, violon et piano, arrangement par l’auteur**°°° 20/- * / LES NOCES, scènes chorégraphiques russes avec chant: / Réduction pour piano et chant par l’auteur**° 20/- * / L’OISEAU DE FEU, nouvelle suite pour orchestre moyen: / Partition° 40/- * / Parties° 50/- * / PIANO RAG MUSIC pour piano seul° 3/- * / PRIBAOUTKI, chansons plaisantes pour une voix et huit instruments: Partition° 8/- * / Parties° 10/- * / Réduction pour chant et piano par l’auteur**° 4/- * / PULCINELLA, ballet d’après Pergolesi: / Réduction pour piano par l’auteur**° 15/- / QUATRE CHANTS RUSSES, chant et piano° 3/- * / RAG-TIME pour petit orchestre: / Partition° 7/- * / Réduction pour piano par l’auteur**° 4/- * / RENARD, Histoire burlesque en un acte: / Réduction pour piano et chant par l’auteur**° 15/- * / RONDE DES PRINCESSES (“ L’Oiseau de Feu ”): / Arrangement pour orgue de Maurice Besly° 2/- * / TROIS HISTOIRES POUR ENFANTS, chant et piano° 2/6 * / TROIS PIÈCES°° FACILES pour piano à quatre mains (main gauche facile)° 2/6 * / TROIS PIÈCES pour clarinette seul° 3/- *< [° fill character (dots in groups of three); °° original spelling; °°° without fill character (dots in groups of three); * double quotation („); ** bold type].
24-4 EDITION CHESTER / N o155 / IGOR STRAWINSKY / TROIS HISTOIRES POUR ENFANTS / CHANT ET PIANO / [°] / PRICE 3/– NET / J. & W. CHESTER L TD// IGOR STRAWINSKY / [°°] / TROIS HISTOIRES POUR ENFANTS / TILIMBOM. LES CANARDS, LES CYGNES, LES OIES . . . . / CHANSON DE L’OURS / POUR / CHANT ET PIANO. / J. & W. CHESTER, LTD., / LONDON: II, GREAT MARLBOROUGH STREET, W. I. / [°°°] / FRANCE. [#] BELGIUM. [#] SWITZERLAND. [#] ITALY. / ROUART, LEROLLE ET CIE., [#] LES EDITIONS MODERNES, [#] FOETISCH FRÈRES, [#] A. & G. CARISCH & Co. / PARIS. [#] BRUXELLES. [#] LAUSANNE. [#] MILANO. / GERMANY. [#] HOLLAND. [#] CZECHO-SLOVAKIA. [#] SOUTH AMERICA. / HUG & CO., [#] BROEKMANS & VAN POPPEL, [#] HUDEBNI MATICE, [#] IRIBERRI, BELLOCQ & CIA., / LEIPZIG [#] AMSTERDAM. [#] PRAGUE. [#] BUENOS AIRES. // (Edition for chant and piano sewn 24.1 x 30.3 ([4°]); sung texts Russian-French-English [1. song] and Russian-French [2. and 3. song]; 11  pages + 4 cover pages thicker paper black on brown-beige [front cover title a full-page Chester Lyre surrounded by a coat of arms black on white with (presumably) the artist’s signature >H J M< [#] >1914< entered left and flush right at the bottom of the frame , 2 empty pages, page with publisher’s advertisements >RÉPERTOIRE COLLIGNON. / Arrangements of Old Folk-Songs <* without production date] + 2 pages front matter [ornamental front title with frame of flower tendrils with (presumably) the artist’s signature >H. J. M.< [#] >1922< , empty page] + 1st page back matter [page with publisher’s advertisements >ŒUVRES DE / IGOR STRAWINSKY / PUBLIÈES PAR / J. & W. CHESTER, Ltd., LONDRES. <** production date >J.W.C. A14.<]; song title as title head Russian-French (1. song: >Тилимъ-бомъ [#] Tilim-bom / Дђтская лђсенка [#] Histoire pour enfants<; 2. song: >Гуси, лебеди / Les canards, les cygnes, les oies . . . <; 3. song: [Text: >Медвђдь / сказка съ пђсенкой / (По Афанасьеву) / L'ours / PETITE HISTOIRE AVEC UNE CHANSON / (Texte français par C. F. Ramuz)] + >ПЂСЕНКА МЕДВЂДЯ. [#] CHANSON DE L’OURS<]; author specified and translator specified below title head [1. page of the score paginated p. 3:] flush right >IGOR STRAWINSKY< flush left above and next to author specified >Mis en français par C. F. Ramuz. / English version by Rosa Newmarch< [p. 8:] flush right >Igor Strawinsky. / 1917< flush left above and next to 1. line author specified >Mis en français par C. F. Ramuz< [p. 11:] flush right centred >Igor Strawinsky. / 1915< without translator specified; legal reservations 1st page of the score below type area flush left >Copyright MCMXX by J. & W. Chester, Ltd. / New edition: Copyright MCMXXVII< flush right centred >Tous droits reserves. / All rights reserved.<, p. 8, 10 flush left >Copyright 1920 by J. & W. Chester Ltd.< flush right partly in italics p. 8 nicht centred p. 10 centred >Tous droits réservés. / All rights reserved. <; plate numbers 1. song: >J. W. C. 3830 1< 2. song: >J. W. C. 3830 2< 3. song: >J. W. C. 3830 3<; without end of score dated p. 11; without production indication; without end marks) // 
° Dividing line horizontal line or 2.1.
°° Double dividing horizontal line of 5,4 cm.
°°° Dividing horizontal line of 4,5 cm.
* Strawinsky not mentioned.
** All works for sale with Chester are advertised in alphabetical order with edition and net price behind fill character (dots in groups of three) without self-arrangements by Strawinsky marked in bold type > Berceuses du chat,suite de chants pour voix de femme et trois clarinettes: / Petite Partition de poche° 1/6 * / Partition d’ensemble° 6/- net. / Parties° 6/- * / Réduction pour chant et piano par l’auteur**° 2/- / BERCEUSE ET FINALE (“ L’Oiseau de Feu ”): / Arrangement pour orgue de Maurice Besly° 2/- * / CHANT DES BATELIERS SUR LE VOLGA, pour instruments à vent: / Partition et parties° 5/- * / CON QUESTE PAROLINE, pour voix de basse et piano (“ Pulcinella ”)° 2/- * / LES CINQ DOIGTS, huit pièces faciles pour piano° 3/- * / CINQ PIÈCES°° FACILES pour piano à quatre mains (main droite facile)° 3/- * / GAVOTTE ET VARIATIONS pour piano (“ Pulcinella ”)° 2/- * / HISTOIRE DU SOLDAT, Partition intégrale pour piano° 15/- * / Grand Suite: Arrangement pour piano par l’auteur**° 10/- * / LES NOCES, scènes chorégraphiques russes avec chant: / Réduction pour piano et chant par l’auteur**° 20/- * / Petite Partition de poche° 6/- * / L’OISEAU DE FEU, nouvelle suite pour orchestre moyen: / Partition° 40/- * / Petite Partition de poche° 1/6 * / PIANO RAG MUSIC pour piano seul° 3/- * / PRIBAOUTKI, chansons plaisantes pour une voix et huit instruments: / Partition° 10/- * / Parties° 2/- * / Petite Partition de poche° 1/6 * / Réduction pour chant et piano par l’auteur**° 4/- * / PULCINELLA, ballet d’après Pergolesi: / Réduction pour piano par l’auteur**° 15/- / QUATRE CHANTS RUSSES, chant et piano° 3/- * / RAG-TIME pour petit orchestre: / Partition° 7/- * / Petite Partition de poche° 1/6 * / Réduction pour piano par l’auteur**° 4/- * / RENARD, Histoire burlesque en un acte: / Réduction pour piano et chant par l’auteur**° 18/- * / RONDE DES PRINCESSES (“ L’Oiseau de Feu ”): / Arrangement pour orgue de Maurice Besly° 2/- * / SCHERZINO pour piano (“ Pulcinella ”)° 2/- * / SUITE POUR PETIT ORCHESTRE No. 1:°°° / Partition° 15/- * / Petite Partition de poche° 2/6 * / SUITE POUR PETIT ORCHESTRE No. 2:°°° / Partition° 15/- * / Petite Partition de poche° 2/6 * / TROIS HISTOIRES POUR ENFANTS, chant et piano° 2/6 * / TROIS PIÈCES°° FACILES pour piano à quatre mains (main gauche facile)° 2/6 * / TROIS PIÈCES pour clarinette seul° 3/- *< >[° fill character (dots in groups of three); °° original spelling; °°° without fill character (dots in groups of three); * double quotation („); ** bold type].
Strawinsky’s copy of his estate is on the front cover title between medaillon and lyre and the frame exceeding signed with >IStrawinsky<. The copy contains corrections [p. 5, bar 5, descant: the last note should be crotchet g1 instead of a1; p. 5, bar 12: the comma behind last Russian word should be removed].
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