K025 Five Easy Pieces

deutsch K025 Fünf leichte Stücke

K25 Cinq pièces faciles

pour piano à quatre mains, main droit facile – Five Easy Pieces for piano duet, right hand easy — Fünf leichte Stücke für Klavier vierhändig, mit leichtem Prima-Part – Пять легких пьес для фортепиано в четыре руки (левая партия легкая) – Cinque pezzi per pianoforte a quattro mani, con la prima parte facilissima

Construction: Five Short Pieces for Piano Duet (with Roman numerals and headings) with a very easy primo part throughout.

Structure

I. / Andante

Crotchet = 76 (23 bars)

II. / Española

dotted Crotchet = 54 (49 bars)

III. / Balalaïka

Crotchet = 168 (63 bars)

IV. / Napolitana

dotted Crotchet = 138 (78 bars)

V. / Galop (124 bars)

Crotchet = 126 (bar 1 up to bar 44)

Trio (bars 45 up to 64 with repeated sections of bars 49-56 and 57-64 including first- and

second-time bars) bars 55/56 und 63/64)

Galopo da capo. (repetition bar 1 up to bar 44)

Style: Other than in the three-part piano series of an earlier date with its grotesque moods, the first four pieces appear to have a very earnest character, while the final ‘gallop’, a kind of chaser, is approaching again the grotesque. That would be the reason why Strawinsky removed the Galop from this series in the later orchestrated version, adding it in to the other, and why he named the earlier-composed suite No. 2 and the later-composed Suite No. 1.

The short introductory “Andante” suggests a lugubrious musical tapping improvisation. An octave melody, arising out of a note held for 4 bars before returning to it, restricted to mezzo piano throughout, vaults over monotonous bass figures with the character of an ostinato.

The numerous arpeggios in the “Española” suggest the sound of a full guitar, which creates a rushing, colourful backdrop for the still, secretive melody above it, in which many accented single notes correspond to the plucking sound of the instrument.

This creates a great contrast in humility to the effect of the pianistic representation of the balalaika in the 3rd piece “Balalaïka”. The main melody does not reach further than the interval of a 6th. Strawinsky manages to capture the essence of this famous Russian musical instrument in the atmosphere. The simplicity of the technical methods used in the melody part correspond to the dully fading, melancholically monotonous but at the same time marked accompaniment in the Secondo part, which represent the plucked sound of the “balalaïka”, an instrument that is limited in its technical possibilities.

Amongst the four still movements, the “Napolitana” is the happiest and least problematic piece. It is a lively, bubbly movement with a serene atmosphere, and it creates the transition to the grotesque “Galop”, a movement which is stylistically completely different and with which the series ends. It forms a truly sparkling finale in both piano suites and also later in the 2 orchestral suites.

In the piano series, it has the effect of a sobering, cold shower after the several preceding melancholic pieces that are so full of ideas. It is carefree, strident circus music full of wit and brilliant harmonic, melodic and rhythmic ideas which appear as contradictions (and it is supposedly a caricature of a Galop by Jacques Offenbach). Strawinsky himself understood the “Galop” as a caricature of the Folies-Bergères of Paris.

Dedication: >à Madame Eugenia Errazuriz - Hommage très respectueux<*.

* Only Henn editions, not Chester editions.

Duration: about 1' 04" (Andante), 0' 50" (Española), 0' 42" (Balalaïka), 1' 00" (Napolitana), 1' 48" (Galop).

Date of origin: Morges between April 1916 and mid 1917.

History of origin: The five pieces were composed at different times and not in the order in which they are printed today, although Strawinsky’s memoirs contain a corresponding chronology referring to the summer and autumn of 1916 but without stating that the composition was a gift to his children. It is possible that first notes or sketches and constructive ideas for the pieces reach back to the year 1913. Obviously, Strawinksy held high hopes for the composition and moreover derived great enjoyment from its composition. Otherwise neither the rather exclusive fee he asked for, nor the lovingly calligraphed and coloured manuscripts and the energy invested in sending the pieces to the dedicatees but also to his friends and acquaintances (for example Torrefranca); after all it was practically the first time that the composer of orchestral and ballet music presented a composition that could also be performed in domestic circles. The “Española” was written after his trip to Spain in 1916, so in April at the earliest, and was composed the earliest in the set. The “Napolitana” was the next piece to be written, in the following year, when he had returned from his journey to Naples. As he was still staying in Rome on 27th April, and went from there to Naples two weeks later before spending a further week in Rome before his return to Switzerland, the “Española” cannot have been completed before the second half of May 1917. Only then did the “Balalaïka” and “Galop” appear. The final piece to be written was the “Andante”, which now begins the set.

Première: 22nd April 1918, Salle du Conservatoirein Lausanne by Nino Rossi and Ernest Ansermet.

Remarks: Four children were born during Strawinsky’s marriage with Jekaterina Nossenko: Théodore (1907), Ludmila (1908, died in 1938), Sviatoslav Soulima (1910) and Maria Milena (1914). The two older children had made such good progress at the piano that Strawinsky wrote five small piano duets for them; the subtitle ‘easy’ applies to the descant or primo part only, for it moves mainly within the five tones most easily reached by a child’s fingers, and both hands are moving in octaves except for the fourth piece which aside from the melody line consists of a single long-held note. The accompanying bass part or secondo is anything but easy: It calls for a skilled pianist, otherwise the pieces lose their specific atmosphere.

Strawinsky naturally needed protection in this period, which was a very tough time for him. His friend Thyrwitt from the English embassy in Rome, who would later become Lord Berners, received a list of names and numerous copies for distribution in Italy with a sending date of 4th August 1917. In some cases, Strawinsky made the joke of decorating his communications individually. For example, he sent to Lady Odescalchi a copy with the address written syllabically in notes and taking into account long and short words. – In a letter dated 18th December 1917 from Strawinsky to Alfred Cortot, who at the time was engaged in the Ministry of Culture in Paris, two packages are discussed. The first was intended for Mme Errazuriz and contains the manuscripts of the Study for Pianola as well as the sketchbooks for the series of 5 pieces, and the other was for André Gide and contained the sketchbook for the series of 3 pieces and probably the autograph of the series of 5.

Orchestration: Between 1917 and 1925 Strawinsky orchestrated both series and published them in the form of a double-suite consisting of two times four pieces with Suite II (see K38) appearing before Suite I (see K45).

Versions: Like the ‘Trois Pièces Faciles’, the ‘Cinque Pièces Faciles’ were published by the Genevan publisher Adolphe Henn. He had a first edition of 1000 copies printed and sold 216 in all until 27 November 1919, when the copyright went to J. W. Chester Publishers in London. A further 55 were handed out free of charge. The recipients of the free are known by name. Henn paid an extra 500 fr. to Strawinsky by 25 July according to an agreement made on 26 January 1917. In addition, Henn printed a luxury edition of 5 copies only, costing twice as much as the normal edition (1 fr instead of 0.5 fr) of which there does not seen to be a single surviving copy, for the only printed copy from the Strawinsky Estate which found its way to the Paul Sacher Foundation, proved to be a specimen copy. J. W. Chester Publishers took over the remaining 700 copies of the edition on 29th November 1919. A remnant of 29 copies seems to have stayed with Adolphe Henn, or else had been previously commissioned. The five pieces belonged to a takeover package from Adolphe Henn Publishers, for which Otto Kling of J. W. Chester’s paid a total of ten thousand francs in two instalments to Strawinsky on the basis of a contract dated 7th December 1919. Probably in 1925, J. W. Chester Publishers printed a new edition and later another with an anglicised title and without any reference to the original publisher Adolphe Henn, i.e. the original Henn-copyright of 1917 had then been transcribed to J. W. Chester. The series of five pieces had been printed in a slightly larger format than the earlier three pieces, even by A. Henn, while J. W. Chester seems to have placed greater weight on a unified appearance of the two editions. When J. W. Chester Publishers were taken over by the Swedish Hansen Publishers, the pieces continued to appear without any changes, other than that Strawinsky’s name appeared in anglicised spelling. The ‘Cinque Pièces’ were re-printed in Moscow in 1968. In 1948, Gregory Stone published a version of the Napolitana for brass sextet (flute, oboe, 2 clarinets in B, horn in F, bassoon) in Hollywood under his own copyright, and the Omega Music Edition New York under the responsibility of Gerard Alphenaar around 1949 published an American reprint of the entire series.

Historical Recording: none traceable.

CD edition: only as orchestral version.

Autograph: The autograph seems to still unknown; Strawinsky made various presents to friends and supporters. Thus Mrs. Errazuriz received the complete sketchbook for Three Pieces and André Gide, who has already got the sketches of the Trois pièces faciles possibly got also the autograph. The reference to what could possibly have been an autograph in a letter (to Alfred Cortot dated 18th December 1917) may also have meant that it was a copy or a re-print, as, unlike in Mrs Errazuriz’ case, this was not expressly stated.

Copyright: 1917 by Ad. Henn, Genève; 1917 by J.&.W.Chester, Ltd.

Editions

a) Overview

25-1 1917 Special edition; Henn Genf; 19 pp.; A. 72(1 to 5) H.

25-2 1917 Henn Genf; 19 pp.; A. 72(1 to 5) H.

25-3 [1925] Chester London; 19 pp.; J.W.C. 2909 1-5; 137.

25-3 [ ] ibd.

25-4[52] Chester London; 19 pp.; J.W.C. 2909 1-5.

25-5Alb 1941 Napolitana Piano (Stone); Marks; 3 pp.; 11505-3 Marks.

25-6 1948 Napolitana (Bl.-Sextett (Stone); Abbey Music Company Hollywood; 5 pp.; – .

25-7 1949; Omega Music Edition New York; 19 p. (8°); GA-1002 [unidentified].

b) Characteristic features

25-1 1917 Special edition; Ad. Henn Genf; 19 p. obl. 8°; A. 72(1 bis 5) H. // [unidentified]

25-2 IGOR STRAWINSKY / CINQ PIÈCES FACILES / POUR / PIANO A QUATRE MAINS / (MAIN DROITE FACILE) / ANDANTE [#] ESPAÑOLA / BALALAÏKA [#] NAPOLITANA / GALOP / [section of text on the left side:] Edition AD.° HENN, GENÈVE. / Copyright 1917 by Ad.° Henn. / Net Fr. 2.50 / [section of text at the same height on the right side:] Propriété de l'auteur pour tous pays. / Tous droits d'exécution, de reproduction / et d'arrangement réservés pour tous / pays, y compris le Danemark, la Suéde / et la Norvège / [°°] // IGOR STRAWINSKY / [+] / CINQ PIÈCES FACILES / POUR / PIANO A QUATRE MAINS / (MAIN DROITE FACILE) / ANDANTE [#] ESPAÑOLA / BALALAÏKA [#] NAPOLITANA / GALOP [*] // ANDANTE [#] ESPAÑOLA / BALALAÏKA [#] NAPOLITANA / GALOP // (Piano edition [library binding] 30.6 x 22.9 oblong (obl. 8° [quer gr. 8°]); 19 [18] pages + 4 cover pages black on dark beige [front cover title in a simple box frame black, 2 empty pages, page with publisher’s advertisements >DU MÊME AUTEUR<* and publisher’s emblem below centre**] + 5 pages front matter [title page, empty page, second title page, empty page, page with dedication manually written printed in line etching >A Madame Eugenia Errazuriz / Hommage très respectueux / Igor Strawinsky<] + 1 page back matter [empty page]; title head >Cinq Pièces faciles / pour Piano à quatre mains / (Main droite facile)<; author specified 1st page of the score paginated p. 2, p. 3 next to, pp. 4, 5, 8, 9, 10, 11, 16,17 below piece title numbered in Roman numeral (with dot) >I. / Andante.< >II. / Española.< >III. / Balalaïka.< >IV. / Napolitana.< >V. / Galop.< flush right centred >IGOR STRAWINSKY. / 1917.<; legal reservation below type area flush left p. 3 >Edition Ad. Henn, Genève. / Copyright 1917 by Ad. Henn.< p. 5, 9, 11, 17 >Copyright 1917 by A. Henn.< flush right [exclusively] p. 3 ragged alignment >Tous droits d'exécution, d'arrangement et de reproduction réservés / pour tous pays, y compris le Danemark, la Suède et la Norvège. / [indented centred:] Propriété de l'auteur pour tous pays.<; plate numbers [p. 2-3] >A. 72(1) H.<, [p. 4-7] >A. 72(2) H.<, [p. 8-9] >A. 72(3) H.<, [p. 10-15] >A. 72(4) H.<, [p. 16-19] >A. 72(5) H.<; p. 19 publisher’s vignette as end mark**) // (1917)

° Different spelling original.

°° The copy in what was formerly the Prussian State Library, >DMS O. 54303<, contains a stamp >COPYRIGHT / for all Countries. / [wavy line] / J. & W. CHESTER, Ltd.< inside and outside the frame underneath the section on the left, with the statement of place cut of.

* Compositions are advertised laid out >TROIS PIÈCES FACILES pour PIANO A QUATRE MAINS. / (MAIN GAUCHE FACILE.) / SOUS PRESSE: / PRIBAOUTKI, CHANSONS PLAISANTES pour une voix et huit instruments, mises en français / par C.-F. RAMUZ. / a) PARTITION D'ENSEMBLE et PARTIES. }° Avec textes / b) RÉDUCTION pour CHANT et PIANO par l'AUTEUR. }° russe et français. / BERCEUSES DU CHAT, SUITE DE CHANTS pour une voix de femme et trois clarinettes, / mises en français par C.-F. RAMUZ. / a) PARTITION D'ENSEMBLE et PARTIES. }° Avec textes / b) RÉDUCTION pour CHANT et PIANO par l'AUTEUR. }° russe et français. / RENARD, HISTOIRE BURLESQUE EN UN ACTE, pour quatre voix d'hommes et orchestre de / chambre, mise en français par C.-F. RAMUZ. / a) PARTITION D'ENSEMBLE et PARTIES. }° Avec textes / b) RÉDUCTION pour CHANT et PIANO par l'AUTEUR. }° russe et français. / Edition AD. HENN — GENÈVE. [#] Propriété de l'auteur pour tous pays. / [**]< [° the curly bracket, which is two-lines tall, encompasses the lines beginning with a) and b)].

** A black, filled-in inner circle ø 1 cm in an outer circle ø 1.7 cm with a section of text in the outer circle [bottom] 4 dots [bottom left] >EDITION< [upper left] >ADOLPHE< [upper right] >HENN< [bottom right] >GENEVE<, centre printed.

25-3 Edition Chester, No. 137.* / IGOR STRAWINSKY / CINQ PIÈCES FACILES / POUR / PIANO A QUATRE MAINS / (MAIN DROITE FACILE) / ANDANTE [#] ESPAÑOLA / BALALAÏKA [#] NAPOLITANA / GALOP / LONDON: / J. & CHESTER, LTD., [#] / PRICE 2/- NET. / 11, GREAT MARLBOROUGH STREET, W.1. // IGOR STRAWINSKY / CINQ PIÈCES FACILES / POUR / PIANO A QUATRE MAINS / (MAIN DROITE FACILE) / ANDANTE [#] ESPAÑOLA / BALALAÏKA [#] NAPOLITANA / GALOP // // ANDANTE [#] ESPAÑOLA / BALALAÏKA [#] NAPOLITANA / GALOP // (Piano edition [sewn]** 31.4 x 24.4 oblong (obl. 8°); 19 [18] pages + 4 cover pages black on brown beige [front cover title simple framed, 3 empty pages] + 5 pages front matter [title page, empty page, second title page, empty page, page with dedication manually written in line etching >A Madame Eugenia Errazuriz / Hommage très respectueux / Igor Strawinsky<] + 1 page back matter [page with publisher’s advertisements >Handbook of Miniature / ORCHESTRAL AND CHAMBER / MUSIC SCORES / Complete List of Published Miniature Scores with a / THEMATIC LIST / of Classical Orchestral and Chamber Works. / Preface by SIR HENRY J. WOOD / Price, 1 p. post free.< without production date]; title head >Cinq Pièces faciles / pour piano à quatre mains / (Main droit facile)<; author specified 1st page of the score paginated p. 2, p. 3 next to, pp. 4, 5, 8, 9, 10, 11, 16,17 below piece titles numbered in Roman numeral (with dot) >I. / Andante.< >II. / Española.< >III. / Balalaïka. < >IV. / Napolitana.< >V. / Galop.< flush right centred >Igor Strawinsky. / 1917.<; legal reservation pp. 3, 5, 9, 11, 17 below type area flush left >Copyright 1917 by J. & W. Chester, Ltd< p. >Copyright 1917 by A. Henn.< on the right ragged margin [exclusively] p. 3 >Tous droits d'exécution, d'arrangement, et de reproduction réservés / pour tous pays, y compris le Danemark, la Suède et la Norvège.<; plate numbers [Andante pp. 2-3] >J. W. C. 2909 1<, [Española pp. 4-7] >J. W. C. 2909 2<, [Balalaïka pp. 8-9] >J. W. C. 2909 3<, [Napolitana pp. 10-15] >J. W. C. 2909 4<, [Galop pp. 16-19] >J. W. C. 2909 5<; without end mark) // [1925]

* flush left outside the frame.

** All the accessible copies are rebound.

25-3 [ ] Edition Chester, No. 137.* / IGOR STRAWINSKY / CINQ PIÈCES FACILES / POUR / PIANO A QUATRE MAINS / (MAIN DROITE FACILE) / ANDANTE [#] ESPAÑOLA / BALALAÏKA [#] NAPOLITANA / GALOP / LONDON: / J. & CHESTER, LTD., [#] / PRICE 2/- NET. / 11, GREAT MARLBOROUGH STREET, W.1. // IGOR STRAWINSKY / CINQ PIÈCES FACILES / POUR / PIANO A QUATRE MAINS / (MAIN DROITE FACILE) / ANDANTE [#] ESPAÑOLA / BALALAÏKA [#] NAPOLITANA / GALOP // ANDANTE [#] ESPAÑOLA / BALALAÏKA [#] NAPOLITANA / GALOP // (Piano edition sewn 31.4 x 24.3 oblong (obl. 8°); 19 [18] pages + 4 cover pages black on brown beige [front cover title simple framed 28.1 x 20.5, 2 empty pages, page with publisher’s advertisements > ŒUVRES DE / MANUEL DE FALLA / Publiées par J. & W. CHESTER, Ltd. < without production date] + 5 pages front matter [title page, empty page, second title page, empty page, page with dedication manually written in line etching >A Madame Eugenia Errazuriz / Hommage très respectueux / Igor Strawinsky<] + 1 page back matter [page with publisher’s advertisements > LES GRANDS SUCCES DES / BALLETS RUSSES <** without production date]; title head >Cinq Pièces faciles / pour piano à quatre mains / (Main droit facile)<; author specified 1. page of the score paginated p. 2, p. 3 next to, pp. 4, 5, 8, 9, 10, 11, 16,17 below piece titles numbered in Roman numeral (with dot) >I. / Andante.< >II. / Española.< >III. / Balalaïka. < >IV. / Napolitana.< >V. / Galop.< flush right centred >Igor Strawinsky. / 1917.<; legal reservation pp. 3, 5, 9, 11, 17 below type area flush left >Copyright 1917 by J. & W. Chester, Ltd< p. >Copyright 1917 by A. Henn.< on the right ragged margin [exclusively] p. 3 >Tous droits d'exécution, d'arrangement, et de reproduction réservés / pour tous pays, y compris le Danemark, la Suède et la Norvège.<; plate numbers [Andante pp. 2-3] >J. W. C. 2909 1<, [Española pp. 4-7] >J. W. C. 2909 2<, [Balalaïka pp. 8-9] >J. W. C. 2909 3<, [Napolitana pp. 10-15] >J. W. C. 2909 4<, [Galop pp. 16-19] >J. W. C. 2909 5<; without end mark) // [ ]

* flush left outside the frame.

** Piano scores are advertised from >ROSSINI-RESPIGHI<, >MANUEL DE FALLA< and >IGOR STRAWINSKY / Pulcinella (d’après Pergolesi). / Partition pour piano seul° 15 s . 0 d . net. / Renard. / Partition pour chant et piano° 15 s . 0 d . net.< [° = fill character (dots in groups of three)].

25-4[52] IGOR STRAWINSKY* / FIVE EASY PIECES / FOR / PIANO DUET / (RIGHT HAND EASY) / ANDANTE ESPAÑOLA BALALAÏKA NAPOLITANA / GALOP / °LONDON: / °J. & W. CHESTER, LTD., [#] °°PRICE 4/- NET. / °11, GREAT MARLBOROUGH STREET, W.1. [#] °°(Revised Price) // [title page = front cover title] // (Piano edition stapled 28 x 20.1 oblong (obl. 8° [quer 8°]); 19 [18] pages + 4 cover pages thicker paper black on grey cloudy structure [front cover title, 2 empty pages, page with publisher’s advertisements >SELECTED WORKS / for / PIANO DUET<* without production date] + 1 page front matter [title page] + 1 page back matter [empty page]; title head >Five Easy Pieces / For Piano Duet<; without dedications; author specified p. 2[1st page of the score paginated]/3) next to, p. 4/5, 8/9, 10/11, 16/17) below piece titles numbered in Roman numeral (with dot)flush right centred >Igor Strawinsky* / 1917.<; legal reservation below type area pp. 3, 5, 9, 11, 17 flush left >Copyright 1917 by J. & W. Chester, Ltd.< [exclusively] p. 3 flush right >Tous droits d'exécution, d'arrangement, et de reproduction réservés / pour tous pays, y compris le Danemark, la Suède et la Norvège<; plate numbers pp. 2-3 [>I. / Andante.<] >J.W.C. 2909 1<, pp. 4-7 [>II. / Española<] >J.W.C. 2909 2<, pp. 8-9 [>III. / Balalaïka.<] >J.W.C. 2909 3<, pp. 10-15 [>IV. / Napolitana.<] >J.W.C. 2909 4<, pp. 16-19 [>V. / Galop.<] >J.W.C. 2909 5<; production indication [exclusively] p. 3 below legal reservation flush left >Printed in England<; without end marks) // (1952)

° Section of text on the left side.

°° Section of text on the right side.

* Different spelling original.

** Compositions are advertised from >Lord Berners< to >G. Tailleferre< [A. Casella, M. de Falla, A. Jarnefelt, J. Jongen, G. F. Malipiero, F. Poulenc, I. Stravinsky], amongst these >I. Stravinsky° [#] THREE PIECES (Easy Bass Part) / [#] FIVE PIECES (Easy Treble Part)<.

25-5Alb NAPOLITANA // ([in:] CONTEMPORARY MASTERPIECES · ALBUM No. 9 / ALBUM OF / IGOR STRAVINSKY / MASTERPIECES / [Porträt] / SELECTED COMPOSITIONS for PIANO SOLO / PRICE $1.00 NET / MADE / IN U.S.A. / EDWARD B. MARKS MUSIC CORPORATION · RCA BLDG. · RADIO CITY · NEW YORK; 87 [85] pages + 4 cover pages black light-orange on creme [laid out front cover title with whole-page portrait of the young Strawinsky facing left, 2 empty pages, page with publisher’s advertisements >ALBUMS OF CONTEMPORARY MASTERPIECES<* without production date] + 1 page back matter [page with publisher’s advertisements >KALEIDOSCOPE EDITION / A NEW SERIES FOR PIANO BY CONTEMPORARY COMPOSERS<** without production date) // (3 p. [p. 27-29], arranger specified 1st page of the score paginated p. 27 below title head flush left centred italic >Arranged by / GREGORY STONE<; author specified below arranger specified flush right >IGOR STRAVINSKY<; legal reservation with production indication 1st page of the score below type area centre >Copyright MCMXLI by Edward B. Marks Music Corporation. / All Rights reserved. [#] Printed in U. S. A.<; plate number >11505-3<; without end marks) // 1941

* 6 Albums are advertised (Albeniz, Debussy, Dohnányi, Rachmaninoff, Ravel, Scriabine).

** Compositions are advertised under the headline >PART ONE< by Albeniz, Borodin, Bortkiewitz, Chabrier, Chavarri, Debussy, Dohnanyi, Dukas, Enescu, de Falla, Faure, Granados. Gliere, Holmes, Ippolitow-Iwanow, Juon, Lareglia, Lecuosa; Strawinsky not mentioned.

25-6 IGOR STRAVINSKY / NAPOLITANA / (Wood Wind Sextette with Score) / Arranged by / GREGORY STONE / [vignette] / * 11.2 x 7.5] / 2.00 / ABBEY MUSIC COMPANY, Inc. / 6533 Hollywood Blvd., Hollywood 28, California / Copy // (Score not sewn with set of parts 22.5 x 30.5 (4° [4°]); 5 [4] pages without cover + 1 page front matter [front cover title brown on cream white in a brown-white decorative frame with a pale brown vignette 11.2 x 7.5 Lyre vertically above a writing roller draped in the form of a St. Andrew’s Cross, angled diagonally downwards and half-opened on both sides, above a quill angled diagonally upwards and the price appearing flush right in italics in a thickened quaver notehead beamed upwards] + 1 page back matter [page with publisher’s advertisements >Order From Your Dealer Or Direct / ABBEY MUSIC COMPANY, INC. / 6533 HOLLYWOOD BOULEVARD, HOLLYWOOD 28, CALIFORNIA< in ornamental frame*] + 6 x 1 page part unpaginated with empty back page; name of the instrument below title head flush left >FLUTE< >OBOE< >1st CLARINET in B b < >2nd CLARINET in B b < >HORN in F< >BASSON<; title head [score and set of parts] >NAPOLITANA / (Wood Wind Sextette with Score)<; author specified in connection with arranger specified 1st page of the score paginated p. 2 score next to and below [parts: below] subtitle flush right centred partly in italics >IGOR STRAVINSKY / Arr. by Gregory Stone<; legal reservation in connection with production indication [score + parts] 1st page of the score below type area centre centred >Copyright 1948 by Abbey Music Co., Inc., 6533 Hollywood Blvd., Hollywood 28, Calif. / International Copyright Secured [#] Made in U. S. A. [#] All Rights Reserved<; pagination [exclusively score] pages of the score 2 continued to 4 below type area flush left italic >Napolitana 4<; without plate number; without end mark) // (1948)

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