K026 The Song of the Nightingale

deutsch K026 Der Gesang der Nachtigall

K26 Chant du Rossignol

Poème symphonique pour orchestre – Пђсня соловья. Симфоническая поэма для оркестра – Der Gesang der Nachtigall. Symphonische Dichtung für Orchester – The Song of the Nightingale. Symphonic Poem for orchestra – Il Canto dell’ usignuolo. Poema sinfonico per orchestra

Scored for: a) First edition: 2 Flûtes, 2 Hautbois, 2 Clarinettes, 2 Bassons, 4 Cors, 3 Trompettes, 3 Trombones, Tuba, Timbales, Batterie, Céleste, Piano, 2 Harpes, Cordes [2 Flutes, 2 Oboes, 2 Clarinets, 2 Bassoons, 4 Horns, 2 Trumpets, 3 Trombones, Tuba, Timpani, Percussion, Celesta, Piano, 2 Harps, Strings]; b) Performance requirements: Piccolo flute (= 2nd Flute), 2 Flutes (2nd Flute = Piccolo Flute), 2 Oboes (2nd Oboe = English horn), English horn (= 2nd Oboe), Piccolo Clarinet in E b (= 2nd Clarinet), 2 Clarinets in A and B b (2nd Clarinet = Piccolo Clarinet in E b ), 2 Bassoons, 4 Horns in F, 3 Trumpets in C, 3 Trombones, Tuba, Timpani, Percussion (Triangle, Tambourin, Snare drum, Big drum, Cymbals, Tam-tam), Celesta, Piano, 2 Harps, 2 Solo Violins, 2 Solo Violas, 2 Solo Violoncellos, 2 Solo Double basses, Strings (First Violins*, Second Violins**, Violas*, Violoncellos***, Double basses**)

* Divided in four.

** Divided in two.

*** Divided in three.

Programme: Strawinsky designed his own three-part scenario for his symphonic poem, a scenario which was given in the first programme booklet and was later printed in French in a more detailed manner as an ‘ Argument’ in the piano reduction. [ Premier tableau: Le palais de l'empereur de Chine. / Deuxième tableau: Les deux rossignols. / Troisième tableau: Maladie et guérison de l'empereur de Chine. ] The three act-like movements are not given in the printed version of the symphonic poem but they are in the piano version. The texts are for the most part taken word-for-word from Andersen’s original. The first section portrays the festivities in the palace of the Emperor of China. The second concerns the two nightingales while the third section depicts the illness and recovery of the Emperor by the artful song of the nightingale.

Argument

I

La Fête au Palais de l'Empereur de Chine

Pour recevoir l'oiseau chanteur, on avait fait des préparatifs extraordinaires. Les murs et les carreaux de porcelaine brillaient aux rayons de cent mille lampes d'or, les fleurs les plus éclatantes, avec les plus belles clochettes, garnissaient les corridors. Avec tout le mouvement qu'on se donnait, il s'établit un double courant d'air qui mit en branle toutes les clochettes. . . On place le Rossignol sur une baguette dorée. Et une MARCHE CHINOISE marque l'entrée de l'Empereur.

II

Les deux Rossignols

Le Rossignol chanta d'une manière si admirable que les larmes en vinrent aux yeux de l'Empereur. . . . Les laquais et les valets de chambre eux-mêmes manifestèrent la plus vive satisfaction, ce qui n'est pas peu dire, car ce sont les gens les plus difficiles à satisfaire. . . . Arrivent des envoyés de l'Empereur du Japon, porteurs du Rossignol mécanique . . dès qu'on eut remonté le mecanisme, il se mit à chanter un morceau, en même temps qu'on voyait remuer sa queue sur laquelle étincelaient l'or et l'argent . . Il eut autant de succès que l'autre et plaisait d'avantage aux yeux. . Mais où était le Rossignol véritable? Personne n'avait remarqué qu'il s'était envolé par la fenêtre. . On entend la chanson du pêcheure, qui a retrouvé son ami.

III

Maladie et guérison de l'Empereur de Chine

Le pauvre Empereur pouvait à peine respirer. Il ouvrit les yeux et viel la Mort qui s'était mis sur la tête sa couronne d'or, et tenait d'une main son sabre, de l'autre son riche chapeau. Tout autour, dans les plis des grands rideaux de velours, il aperçut des têtes bizarres . . . c'étaint les bonnes et les mauvaises actions de l'Empereur. . . Elles lui racontèrent bien des choes qui lui fit couler la sueur du front. . . . L'oiseau mécanique refusait de chanter. Alors se fit entendre près de la fenêtre, le chant du petit Rossignol. Grâce au charme de sa voix, les visions devenaient de plus en plus pâles . . . la Mort même écoutait en disant: continue, petit Rossignol . . . Elle donnait à mesure chaque joyau pour une chanson . . . et s'évanouit par la fenêtre comme un brouillard froid en blanc. . . L'empereur fut pris d'un sommeil calme et bienfaisant, le soleil brillait à travers la fenêtre lorsqu'il se réveilla fort et guéri. MARCHE FUNÈBRE, les courtisans entrèrent pour voir une dernière fois leur défunt Empereure . . . Et voilà qu'ils restaient tout ébahis, mais l'Empereur leur dit tout bonnement: „Bonjour!“ – Le pêcheur, que l'oiseau a rejoint, chante de nouveau sa chanson.

(Extrait du conte „Le Rossignol“ de Andersen)

Construction: The Song of the Nightingale is a one-movement orchestral piece without indications of the different sections; it does have a metronome marking but is without time signature or Italian markings until the Chinese March and the Songs of the Nightingales. In the text in the piano reduction only, and not the printed programme text in the full score, the first section goes up to figure 37. The third section begins at figure 71. Of the 98 figures in the score, approximately 74 figures appear, reorchestrated, at different places, with the exception of the second and third acts of the opera score (figures 41-39, 44-49, 55-60, 63-74, 77-79, 81, 92-98); the remaining, available musical material that was used was newly composed or had been changed compositionally, not just only in terms of orchestration. Strawinsky, in order to avoid the break in style of the opera, only used parts of Acts Two and Three and only the Fisherman’s Song from Act One, but in the version of Act Two. In the opera score, the Chinese March ends when the emperor gives a sign at figure 81: this figure was omitted in the symphonic poem. He changed however the order of the sections. He made the first bar of figure 82 into three bars by inserting additional bar lines without altering the music or values. This sequence of bars begins the Song of the Nightingale in the opera, but in the symphonic poem, it comes at the end of the Chinese March. The Song of the Nightingale begins here originally at figures 82 2(=38 4). The Song of the Fisherman in Act One is differently orchestrated in its repeat in Act 2 and is extended at figures 9 7-9by a separate, final section, something that was later abandoned by Strawinsky and which he did not use in the Symphonic Poem. - Strawinsky begins the Symphonic Poem with the ’draughts’ music from Act II (figures 1-12 = figures 51-62 and 16-17 = 64-65), but replaces the 9 bars of the cook’s explanation that Nightingale is a small, unimpressive animal and certainly does not glitter with gold (original Lento figure 63) by means of a recomposed Nightingale song ( Andantino figure s 13-15) of 15 bars duration. As in the operatic original, the Chinese March joins on directly (figures 18-37 = 66-80). The first part ends at this point. The second section begins at figure 38 with the coloratura Song of the Nightingale but then goes against expectations and not like the operatic version to the play of the mechanical nightingale but puts between the two scenes the majority of the ’draughts’ music by adapting the opening and the ending (figures 44-54), which gives this moment a new meaning: no longer is it simply musical noise about nothing, as it is in the opera, but now it is an atmospheric reproduction of our expectation of that which is coming, and after the song is finished, it is an excited statement of the sublime which has just been expressed. Strawinsky avoided the humorous or grotesque exaggeration, that is present in the opera (to the satisfaction of the directors and choreographers) as well as with specifying the numbers of Courants d’air . Without whishing to speak of the opera as of a storm in a teacup any longer the idea of a possible Symphonic Poem came into question. Strawinsky sets the entry of the Japanese ambassadors (figure 58) and the short playing scene of the mechanical nightingale (figure 58) at the end of the repeat of the ’draughts’ music. The second section ends with the Song of the Fisherman (figure 68). The third section opens with the introduction music to Act Three of the opera, but the voices of the ghosts which torture the terminally ill Emperor are removed. The Nightingale returns (figure 81) and sings the Emperor back to life. Strawinsky takes up the music of the ceremonial procession (figure 92) and the third section closes with a fragmentary and fairly short repeat of the Song of the Fisherman (figure 96). - The numbering of the bars in the opera and Symphonic Poem is different. One figure in the opera often corresponds to two in the symphonic poem so that the numberings always overlap. In the Symphonic Poem, there are no figures containing up to 16 bars. The number of bars here exceeds 5-7 very rarely. There are also places where the music is dislocated by the fact that some barlines were omitted in the original, but these were amended in the Symphonic Poem, and are obvious from the bar lengths. In addition, there is the fact that Strawinsky further simplified the metric divisions of the opera, which were not very complicated in the first place. The new compositions or far-reaching changes especially affect the part of the Nightingale, for which he took sections from different entries of the Nightingale and put them together into new images by adding new intervallic constructions. The progression of keys is changed throughout, especially when he had to take into account the cuts and reconstructions that he had already made.

Structure

Presto Crotchet = 144

(figure 41 up to the end of figure 12 7)

Andantino Quaver = 76

(figure 13 up to the end of figure 15 5)

Tempo I

(figure 16 up to figure 17 3)

Molto pesante Crotchet = 66

(figure 17 4-5)

Rall.

(figure 17 6)

Marche chinoise [#] Китайскій маршъ

Crotchet = 72

(figure 18 up to the end of figure 24 9)

Poco più mosso Crotchet = 108

(figure 25 up to the end of figure 27 6)

Rall. triplet quaver = three quaver ligature

(figure 25 2)

A tempo Crotchet = 108

(figure 25 3ff.)

Crotchet = 108 = dotted crotchet = 72

(figure 28 up to the end of figure 30 6)

Tempo giusto Crotchet = 108

(figure 31 up to the end of figure 34 6)

Crotchet = 108 sempre semiquaver = semiquaver

(figure 35 up to figure 36 5)

Rubatissimo

(figure 36 6)

a tempo

(figure 37 1-6)

Quaver = Quaver

(figure 37 7-8)

Crotchet = 66 circa

(figure 38 1-3)

Chant du Rossignol [#] Пђсня соловья

Cadenza

(figure 38 4)

Adagio Crotchet = 46 quaver = 92

(figure 39)

Quaver = 72

(figure 40)

a tempo

(figure 41 up to figure 42 3)

Quaver = 92

(figure 42 4up to the end of figure 43 4)

Presto Crotchet = 144

(figure 44 up to the end of figure 54 6)

Vivace Minim = 76

(figure 55 up to the end of figure 57 4)

Jeu du rossignol mécanique [#] Игра искусственнаго Cоловья

Moderato Crotchet = 60

(figure 58 up to the end of figure 62 5)

Pochissimo più largo

(figure 63 up to the end of figure 67 7)

Larghetto Crotchet = 56

(figure 68 up to the end of figure 70 7)

Molto ritmico Quaver = 120

(figure 71 up to the end of figure 76 6)

Maestoso e piano Crotchet = 60

(figure 77 up to the end of figure 79 7)

rall.

(figure 77 3)

a tempo

(figure 77 4)

Poco più mosso Crotchet = 68

(figure 80 up to the end of figure 81 5)

Crotchet = 46 quaver = 92

(figure 82)

Quaver = 96

(figure 83)

Calme

(figure 84)

Quaver = 120 più mosso

(figure 85 up to the end of figure 87 4)

Più tranquillo Quaver = 92

(figure 88)

Encore plus calme

(figure 89 up to the end of figure 91 6)

Pianissimo Minim = 40-42

(figure 92 up to figure 95 4)

Molto allargando

(figure 95 5-7)

Tranquillo Quaver = 54

(figure 96 up to the end of figure 98 8)

Comparison table Symphonic Poem – Opera

[‚Draughts’ music]

4-11 51 1-4

1 1-251 5-6

1 3-752 1-5

2 1-653 1-6

3 1-954 1-9

4 1-7 55 1-7

5 1-556 1-5*

5 6-1057 1-5

6 1-357 6-8

6 4-6**57 9

7 1-458 1-4

8 1-458 5-8

9 1-659 1-6

10 1-2 59 7-8

10 3-660 1-4

11 1-761 1-7

12 1-762 1-7

13 1-5&

14 1-5&

15 1-5&

16 1-664 1-6

17 1-3 64 7-9

17 465 1

17 565 2+4

17 665 5

[Chinese March]

18 1-6 66 1-5

19 1-266 7-8

19 3-567 1-3

20 1-567 4-8

21 1-768 1-7

22 1-3 69 1-3

22 4-970 1-6

23 1-871 1-8

24 1-972 1-9

25 1-273 1***

25 3-873 2-7

25 9-1073 8

26 1 74 1

26 2-674 2-5

26 774 6

27 1-375 1-3

27 4-575 4

27 6 75 5

28 1-775 6-12

29 1-475 13-16

29 5-776 1-3

30 1-676 4-9

31 1-677 1-6

32 1-677 7-12

33 1-6 78 1-6

34 1-678 7-12

35 1-679 1-6

36 1-579 7-11

36 580 1

37 1-8 80 2-9

38 1-382 1****

[End of the First part]

[Song of the Nightingale****]

38 4 82 1

39 1-8***** 83 1-4

40 1-7 &

41 1-8 &

42 1-8 &

43 1-4 &

[Repeat of the ‚Draughts’ music]

44 41-9= 3& (54 1-9)

45 1-7= 4 1-7(55 1-7)

46 1-5= 5 1-5(56 1-5*)

47 1-5= 5 6-10(57 1-5)

48 1-6= 6 1-6** (57 6-8+ 57 9)

49 1-4= 7 1-4(58 1-4)

50 1-4= 8 1-4(58 5-8)

51 1-6= 9 1-6(59 1-6)

52 1-6***** = 10 1-10(59 7-8-5+ 60 1-4)

53 1-7= 11 1-7(61 1-7)

54 1-6° = 12 1-6(62 1-6)

[ Entry of the Japanese ambassadors]

55 1-691 1-6

56 1-691 7-12

57 1-491 13-16

[ Play of the mechanical nightingale]

58 1-692 1-6

59 1-392 7-9

59 4-693 1-3

60 1-693 4-9

61 1-6&

62 1-5&

63 1-496 1-4

64 1-496 5-8

65 1-597 1-5

66 1-497 6-9

67 4-598 1-7

[Song of the fisherman]

62 1-599 1-5= I. Akt 8

69 1-399 6-8= I. Akt 8

69 4-6100 1-3= I. Akt 9

70 1-6100 4-9= I. Akt 9

[End of the Second part]

71 1-5101 1-5

72 1-4102 1-4

73 1-4103 1-4

74 1-4103 5-8

75 1-6&

76 1-6&

77 1-4106 1-4

78 1-8106 5-12

79 1-7107 1-7

80 1-4&

80 4-5110 4

81 1111 1

81 2111 4

81 3111 5

82 1-7&

83 1-7&

84 1-7&

85 1-5&

86 1-7&

87 1-4&

88 1-4125 1-4

89 1-4&

90 1-4&

91 1-5&

[Cortège]

92 1-8129 1-8

93 1-7130 1-7

94 1-8131 1-8

95 1-4°°° 132 1-4

95 5132 5+6

95 76-7132 7-8

[Song of the fisherman]

96 1-10133 1-10

97 1-5134 1-5

98 1-5134 6-10

98 6°°°

98 7-8134 11-12

& = Newly composed, reworked and compositionally much altered from the original.

* 56 6removed.

** 6 5is 6 3 and 6 4combined; 6 6is 6 2and 6 3combined.

*** Bar line error.

**** In the opera score, the Chinese March ends with the Emperor’s signal at figure 81. Strawinsky skips this figure in the Symphonic Poem. He does however change the classification of the piece. He turns the 1st bar of figure 82 into 3 bars in the Symphonic Poem by introducing new bar lines but without changing the music or note values. This sequence of bars starts off the Song of the Nightingale in the opera, but in the Symphonic Poem however, it comes at the end of the Chinese March. In the original version, the Song of the Nightingale begins at figure 82 2= 38 4.

° 12 7= 62 7is not repeated.

°° The Song of the Fisherman in the Act I of the opera is differently orchestrated from its reprise in Act III, and has added a separate last-time bar at figure 9 7-9which does not reappear later and which Strawinsky did not use in the Symphonic Poem.

°°° Pieced together using material from figure 134 in which the bar lines have been reworked.

Corrections: The e rrata sheet gives ten corrections in a table with page numbers and figures, but limits itself to the correct version without contributing to comparable versions [p. 37, figure 37, 2nd and 3rd bar (bassoons); p. 38, no figure (bassoons); p. 10, figure 7, no time signature (double basses); p. 33, figure 33, no time signature (double basses); p. 41, figure 42, 4th bar (double basses) // p. 47, figure 49, no time signature (double basses); p. 54, figure 58, no time signature (solo violoncello I, violoncellos, solo double bass I, double basses); p. 55, no figure, 2. Takt (solo violoncello II, solo double bass II); p. 62, figure 63, no time signature (bassoons); p. 65, figure 68, no time signature (first and second violins, violas].

Style: The production of a Symphonic Poem as a shortened version of an opera requires the reworking of vocal parts into instrumental parts and thus changes to the orchestration at a fundamental level. Furthermore, events that could only be understood onstage had to either be made structurally comprehensible or else removed. Protracted dialogues were shortened, and events that took place several times were distilled into a single event. Strawinsky made use of all of these possibilities and, essentially, reset Andersen afresh in the form of a Symphonic Poem.

The Symphonic Poem Le Chant du Rossignol is different from the opera in terms of its continuity of style in the course of the scenes and, as a ballet with the compositional style of the symphonic literature. It conjures up a colourful image similar to Petrushka but with a Chinese colour to it. In terms of form, it stands in the Russian tradition of symphonic poems as well as the tradition of short Scherzi, as they were very successful in Russia before the First World War. – Strawinsky worked the voice parts of the opera into instrumental parts and took them into not only the orchestration but also the structure. He shortened, added repeats ’draughts’ music, united separate scenes (the entries of the Nightingales) and removed any lapses in style. He of course rethought early ideas on instrumentation which he had removed for the operatic version, especially the trumpets in the Chinese March being replaced by bassoons. Strawinsky put Andersen’s thoughts of conflict at the very centre of the work to a much greater extent than in the opera by the manner and extent of his shortenings and reconstructions and thereby came closer to the heart of Andersen’s message without renouncing his idea of the power of music triumphing over death. From the evidence stated here, the Symphonic Poem is clearly a completely new piece. The new instrumentation did not mean that he was any less successful in his intentions. That Strawinsky reduced the size of the orchestra is a less important point than the gradual but also integral change in his style of orchestral composition. Strawinsky transformed the extrovert, radiant orchestra of the opera into an inward-looking, intimate chamber orchestra and orchestrated the work within carefully worked-out frameworks that are characteristic of the symphonic literature. The incorporation of the vocal parts into the orchestra is to the credit of the stylistic unification of the work. The resounding ‘ Les Noces effect’ of the ’draughts’ scene lost its characteristic deafening effect and it was adapted to the style of the symphonic poem in the same way as to the Chinese March, which has a more muted, but no less characteristic instrumentation. It is known from the Strawinsky literature that the received original version sounded different to the published original. In the Chinese March, the bassoons rather than the trumpets were most prominent. In the Symphonic Poem, Strawinsky returned to the previous instrumentation and had clearly rethought it. In any case, he reintroduced the bassoons in the March; he also avoided certain instrumental combinations from the opera. The mechanical nightingale does not twang with the oboe any more, but is covered by a flute and as a result, does not sound so sharp as with all mechanisms. The overpowering voice parts are not consistently assigned to a specific orchestral colour, but are occasionally replaced in colourful ways. The voice of the Nightingale is particullary well suited to the flute, but appears in many other orchestral instruments, even in the violins. The voice of the Fisherman is always in the trumpet however.Whilst it can be heard throughout the 3-act opera, Strawinsky uses it in the Symphonic Poem only in the 2nd and at the end of the 3rd section. The memorable melody comes from the 1st Act of the opera, but is used in the Symphonic Poem in the version of the 2nd Act, so that it can be established that the Symphonic Poem refers only to the 2nd and 3rd Acts, and not to Act 1, although the material from the song comes from act 1.

Dedication: no dedication known.

Duration: 18’42”.

Date of origin: Morges [presumably December 1916] up to 4th April 1917.

First performance: a) As concert: The first concert performance of Le Chant du Rossignolhad been premièred on Saturday, 6th December, 1919, in the Victoria Hallof Geneva with the Orchestre de la Suisse Romandeconducted by Ernest Ansermet. The première took place at the fourth subscription concert as the third and penultimate item on the programme. The concert began at 8.30pm with Berlioz’s Symphonie Fantastique as it was the fiftieth anniversary of the composer’s death and after the interval, the Introduction to the Third Act of Ariane et Barbe-Bleu by Paul Dukas was performed. The concert ended with the Polotsvian Dances from Prince Igor by Borodin. Next to the note about the première, the programme contained the word ‘inédit’ (‘unpublished’), and bore the subtitle, which was later omitted, so that the audience in Geneva would be able to familiarise themselves with the symphonic poem as programme music. – b) Stage performance: The staged première in France: Tuesday, 18th May 1920 in Paris, Théâtre National de l'Opéra,dedicated exclusively to Strawinsky with Tamara Karsawina (Nightingale), Stanislas Idzikowski (Mechanical Nightingal), Lydia Sokolowa (Death), Serge Grigoriew (Emperor), Les Ballets Russes de Serge de Diaghilew, with set and costumes by Henri Matisse, under the direction of Serge Grigoriew, in the choreography by Leonide Massine, conducted by Ernest Ansermet, who repeated the new work Pulcinellaand after Le Chant du Rossignolthe performance ended with Petrushka. The programme booklet did not mention The Song of the Nightingale as a première, rather Pulcinellaas a new work (‘ Création ’).– The staged première in England (London, Friday, 16. July 1920, in the Royal Opera de Covent Garden)with the same cast as in Paris featured The Song of the Nightingale as the second item of three ballet numbers after Respighi’s edition of Cimarosa’s Le Astuzie Femminiliand before Rimsky-Korsakov’s Soleil de Nuit (Minuit) , a balletic compilation on old Russian themes with no plot which had been premièred on 20th December, 1920 in Geneva with Ansermet conducting.

Remarks: The composition, better: The fast rate of composition for the writing of the Symphonic Poem Le Chant du Rossignol, which, according to a letter from the conductor Fritz Reiner to Strawinsky of 17th January, 1943, was a favourite of Bela Bartók, is connected to the wish of Diaghilev at that time to re-choreograph the unsuccessful ballet-opera Le Rossignolas a ballet. Diaghilev submitted his offer in Winter 1916/17, when Strawinsky was severely ill with intercostal neuralgia and Diaghilev visited him in the capacity of a friend in Morges during his convalescence. Strawinsky was not enthusiastic about the plan and instead offered Diaghilev the compilation of selected sections of the opera, reworked into a self-standing symphonic poem, to be set to choreography, in case Diaghilev thought it fit to use as a ballet. Diaghilev agreed to this. That was how Strawinsky himself explained the connections. According to this, it was not Diaghilev who commissioned the Symphonic Poem, he was rather the reason for Strawinsky’s completing the work at greater speed, although he at that time was stringing Diaghilev along and in actual fact wanted to keep him away from the choreography of the opera; since Diaghilev was planning to prepare the choreography of the Symphonic Poem in 1918, Strawinsky had been holding himself back without enthusiasm. He had composed the Symphonic Poem for the concert hall, not the theatre, and was barely interested in a stage production, which seemed pointless to him, despite the involvement of Matisse and Massine. For him, The Song of the Nightingale was too subtly crafted for a staged version and its static character contradicted a setting with a fast-moving character. All of these points went back to Strawinsky himself. A letter from Diaghilev from Rome on 17th December 1916 shows in any case that Diaghilev was already occupied with the planning of it and told Strawinsky’s wife that Strawinsky need not make himself suffer unduly as he would be unable to devote his attention to the piece before 25th February 1917. He goes on that the chief of the Ballet not thought of a new version of the opera with newly designed scenario with far-reaching changes, but rather thought of reworking the cadences, while Strawinsky could complete the orchestration later. Craft above all has challenged Strawinsky’s version of the dates. According to the documents in his essay on mistakes in Strawinsky, he asserts that the meeting between Diaghilev and Strawinsky which led to the commission of the Symphonic Poem must have taken place in 1916 in Santander and not in Morges in 1917. Presumably, Strawinsky had already been working for a long time on the Symphonic Poem in his manner and would have had a feasible amount of time in which to complete the neat copy for inspection when he offered Diaghilew the work in such an obviously short period of time, otherwise Diaghilew’s letter from Rome would have been superfluous. The orchestral score bears the date of completion 4th April 1917. Thus Strawinsky was also writing Les Noces in parallel.

Significance: Straw insky certainly composed his Symphonic Poem on Andersen’s fairy-tale afresh in hindsight. The exceptional position of the Symphonic Poem in relation to the opera reveals the differences involved in the change between two genres. The stage work, which should actually be dramatic, is lyrical and written for effect for large stretches, running emptily without plot or musically show, but never actually dramatic. The Symphonic Poem on the other hand holds back on the lyrical parts somewhat, amphasising the visual scenes very strongly and linking the music to the programmatic ideas. It certainly does not become more dramatic, rather more efficiently related to the plot because the visual effects, just like the lyrical interludes with which the opera scenes are joined together, stand in the foreground with regard to the demands of the plot. Even the catchy melody of the Fisherman’s Song loses its contextual framework.

Productions: Strawinsky said at every possible opportunity that the ballet project was an emergency solution for him which he in reality had always rejected. The Symphonic Poem was not composed or orchestrated as a ballet, rather as a symphonic work in the form of chamber-music for the concert hall and was not intended to be staged. Diaghilev originally planned a futuristic choreography and since 1917 had been in contact with the Futurist Fortunato Depero on this matter. The project failed. The costumes and decorations which had been already designed and which consisted of Chinese masks and cylindrical sleeves and hats among other things, were eventually not accessible because the artist had left debts with his landlady and she compensated herself by taking apart these items and selling them off. The fact that the première of the Symphonic Poem took place as a concert would have pleased Strawinsky greatly. He could not however get away from the choreography. Massine took over the choreography and Matisse the costumes and set in 1920. The production was successful. Matisse’s set was, like Massine’s choreography, highly renowned. The Matisse production demonstrated great refinement through the use of impressive colours and strongly contrasting characterisation of the performers characters, while Massine’s choreography demonstrated great imagination. At the centre, there was a burlesque cortège. As with the operatic version of Le Rossignol, the production materials for Le Chant du Rossignolwere destroyed in the First World War. Subsequent productions: 1925 Paris, Théâtre Gaïté-Lyrique (Balanchine with Diaghilew, Nightingale: Alicia Markowa); 1927 London, Princess Theatre (Balanchine, Nightingale: Alicia Markowa); 1929 Berlin, Städtische Oper (Lizzie Maudrick); 1968 München (John Cranko).

Versions: The orchestral and pocket scores were produced by Russian music publishers in 1921 at Röder in Leipzig but they were presumably delivered early in the year (at the latest by the middle of 1922). It can be seen from a packing slip from the Russian Music Publishers from 3rd February 1922 that the scores of Sacreand Chant du Rossignolhad >soeben erschienen< (just been published). Craft suggests that the score was printed in 1922. The entry stamp in the British Library bears h.3992 and 16th February 1922 for the conductor’s score. Strawinsky had himself received his copy two days earlier on 14th February. The traditional delays in the delivering of contributed copies, taking into account the standard, long drawn-out printing and the fact that the date was early in the year, lead us to assume that the printing was probably completed in 1922 but was not definitely printed exclusively in that year. The original copyright dates suggest that the printing took place at the beginning of 1921 but was delayed into 1922. The distribution of the scores was in any case carried out in 1922. The question still remains as to whether this concerns the conducting or pocket score here. The London copy is a conductor’s score in folio format. The score was either not sold at all or else sold on only a few occasions. There is no copy of the pocket score in London. The library example c.133.i.(1.) is a sold copy from 1960. In 1922, the publishers sold 234 copies and a further 39 copies until March 1923. Up to 1927, the year of publication of the piano reduction, the publishers give the sales of the pocket score as running to almost 900 since 1923. By the end of 1938, almost 300 were sold. There were therefore two or probably even three print runs because the Russian publishers normally worked at a level of 500 copies for each run. The pocket score was definitely published in two versions, both were printed by Röder in Leipzig: one was destined exclusively for the British Empire and the United States, the other for all other countries and thus was not to be sold in either the United states or the British Empire. The sales of the piano score in 1927 ran to 150. Between 1928 and 1938, the sales fell to less than 200. The orchestral score RM.V.343 contains numerous errors for which the publishing house later printed an e rrata sheet to be inserted into the score. It seems to have been produced in a hurry as the care taken with the other sheets of errata seems to be lacking in this instance. This demonstrates the pell-mell of pages and figures and the restriction to the correct version without link to the comparable original.* - The French composer, Jacques Larmanjat, should have completed the piano edition which he was working on with his wife for the Pleyel Company. Strawinsky made considerable corrections and Larmanjat may possibly have taken these corrections on in his own version. Strawinsky was always very sensitive in this area. He was not able to check over the contents afterwards because he had once again moved house and did not have the documents to hand but expressly suggested to Oeberg in a letter of 28th September 1924 that the piano reduction had been produced by his own hand, in so far his assertion is correct. He mentioned to Ansermet on 2nd October from Nizza that among other things, he was occupied with the revision of Lamanjat’s version. Strawinsky in the end saw this work as his own, and Larmanjat’s name was omitted in the piano reduction, printed in Paris in 1926. The piano edition was probably not delivered in this year but at the beginning of 1927. The pocket score was newly designed in 1949 by Boosey & Hawkes and was one of the early Strawinsky publications by the publishing house after the acquisition of Strawinsky interests from the Russischer MusikverlagKussewitzky’s by Boosey & Hawkes. Although The Song of the Nightingale was published by the Russian music publishers and contained many printing errors, but there is no revised edition mentioned by him, but always new editions of the previous ones with the errata removed and with different statements of Rights reservation and printings of the title. The Copyright is given as 1922, although the original edition is marked as 1921.

* The sheet gives ten corrections in a table with page numbers and figures (pp.37 [Fig. 37], 38 [Fig. -], 10 [Fig. 7], 33 [Fig. 33], 41 [Fig. 42], 47 [Fig 49], 54 [Fig. 58], 55 [Fig. -], 62 [Fig. 65], 64 [Fig. 68]), but limits itself to the correct version without contributing to comparable versions.

Historical recordings: Hollywood 23rd January 1967 with the Columbia Symphony Orchestraconducted by Robert Craft under the supervision of Igor Strawinsky.

CD edition: XII/1.

Autograph: The neat copy of the orchestral score is in the Paul Sacher Foundation, Basel. A sketchbook was sold in July 1968 at Sotheby’s in London for several thousand dollars.

Copyright: 1921 by Russischer Musikverlag Berlin (Full score and Pocket score); 1927 by Russischer Musikverlag Berlin (Vocal score). The more recent editions bear a historical Copyright mark from 1922 by Hawkes & Son which does not correspond with the original.

Editions

a) Overview

26-1 (1921) FuSc; Russischer Musikverlag Berlin; 83 pp.; R. M. V. 343.

    26-1Straw ibd. [with annotations]

26-2Err [1922] Errata.; Russischer Musikverlag Berlin; 1 p.; R. M. V. 343.

26-3A (1922) PoSc; Russischer Musikverlag Berlin; 83 pp.; R. M. V. 343 b.

    26-3A-Straw ibd. [without annotations].

26-3B (1922) PoSc; Russischer Musikverlag Berlin; 83 pp.; R. M. V. 343 b.

26-4 (1926 [1927]) VoSc; Russischer Musikverlag Berlin; 34 pp.; R.M.V. 422.

26-5 (1941) Marche chinoise [Block], Piano; Marks New York; 8 pp.; 11502-8.

26-5Alb 1941 Marche chinoise [Block] Piano; Marks New York; 8 pp.; 11502 – 8.

26-6 (1949) FuSc; Boosey & Hawkes London; 83 pp.; B. & H. 116312.

26-7 (1949) PoSc; Boosey & Hawkes London; 83 pp.; B. & H. 116312; 633.

26-7601960) ibd.

26-7661966) ibd.

26-8 1966 VoSc; Boosey & Hawkes London; 34 pp.; B. & H. 19412.

26-8[+66] [+1966] ibd.

b) Characteristic features

26-1 IGOR STRAWINSKY/ CHANT DU ROSSIGNOL / POÈME SYMPHONIQUE / POUR ORCHESTRE / PARTITION / EDITION RUSSE DE MUSIQUE / (FONDÉE PAR S. ET N. KOUSSEWITZKY) / BERLIN. LEIPZIG . LONDRES. MOSCOU. NEW YORK. PARIS // IGOR STRAWINSKY / CHANT DU ROSSIGNOL / POÈME SYMPHONIQUE / POUR ORCHESTRE / PARTITION / TOUTS DROITS D'EXÉCUTION / [Vignette] / PROPRIÉTÉ DE L'ÉDITEUR POUR TOUS PAYS / EDITION RUSSE DE MUSIQUE (RUSSISCHER MUSIKVERLAG G. M. B. H.*) / (FONDÉE PAR S. ET N. KOUSSEWITZKY) / BERLIN MOSCOU LEIPZIG NEW–YORK / POUR LA FRANCE ET SES COLONIES: MUSIQUE RUSSE, PARIS, 3 RUE DE MOSCOU / POUR L'ANGLETERRE ET SES COLONIES: THE RUSSIAN MUSIC AGENCY, LONDRES W. I, 34 PERCY STREET // (Full score [library binding] 26 x 33.6 (2° [4°]); movements and titles French-Russian; 83 [81] pages + 4 cover pages cardboard black on dirty beige [front cover title in ornamental feather frame, 3 empty pages] + 4 pages front matter [2 empty pages, title page with vignette 1 x 1.2 sitting women playing cymbalom, empty page] + 3 pages back matter [3 empty pages]; title head in connection with author specified 1st page of the score paginated p. 3 flush left-flush right centred >Igor Strawinsky [#**] игорь*** Стравинскiй / Chant du Rossignol [#**] Пђсня соловья / poème symphonique pour orchestre [#**] симфоническая поэма для оркестра <; legal reservations 1st page of the score below type area flush left >Copyright 1921 by Russischer Musik-Verlag° G.m.b.H., Berlin. / Édition Russe de Musique (Russischer Musikverlag°)< flush right >Propriété de l'Éditeur pour tous pays. / Tous droits d'exécution réservés.<; plate number >R. M. V. 343<; production indication p. 83 flush right as end mark >Stich and Druck von C. G. Röder G.m.b.H., Leipzig.<) // (1921)

* G.M.B.H. is printed in smaller letters whereas B. and H. are printed below the G. and M.

** Dividing vertical line, spanning three lines.

*** The lowercase lettering of the Christian name is original.

° Different spelling original.

26-1Straw

Strawinsky’s copy from his estate is signed and dated >Igor Strawinsky / Biarritz / I, Fevr. 1922< on the front cover title at the bottom of the top inside up to outside the ornamental feather frame. On the outer title page under >PARTITION<, the word >d’orchestre< has been added in the centre by hand. The copy contains performance-related entries and a list of errata printed and pasted in on one of the sheets subsequently bound in.

26-2Err

Errata / I. Strawinsky, / „ Chant du Rossignol. / Partition / d’ orchestre. // (4 pages unpaginated [empty page, 2 pages each with five corrections in notation, empty page]; plate number [only 2nd page] centre italic > R.M.V. 343 <; without other data).

26-3A IGOR STRAWINSKY/ CHANT DU ROSSIGNOL / POÈME SYMPHONIQUE / POUR ORCHESTRE / PARTITION / ÉDITION RUSSE DE MUSIQUE / (RUSSISCHER MUSIKVERLAG G. M. B. H.*) / FONDÉE PAR S. ET N. KOUSSEWITZKY / BERLIN MOSCOU LEIPZIG NEW YORK LONDRES / BRUXELLES BARCELONA MADRID / PARIS, 22 RUE D'ANJOU 22 / S. A. DES GRANDES ÉDITIONS MUSICALES // IGOR STRAWINSKY / CHANT DU ROSSIGNOL / POÈME SYMPHONIQUE / POUR ORCHESTRE / PARTITION / TOUS DROITS D'EXÉCUTION POUR TOUS PAYS / [Vignette] / PROPRIÉTÉ DE L'ÉDITEUR POUR TOUS PAYS / ÉDITION RUSSE DE MUSIQUE / (RUSSISCHER MUSIKVERLAG G. M. B. H.*) / FONDÉE PAR S. ET N. KOUSSEWITZKY / BERLIN MOSCOU LEIPZIG NEW YORK LONDRES / BRUXELLES BARCELONA MADRID / PARIS, 22 RUE D'ANJOU 22 / S. A. DES GRANDES ÉDITIONS MUSICALES // (Pocket score stapled 15 x 21.1 (8° [8°]); movements and titles French-Russian; 83 [81] pages + 4 cover pages thicker paper black on light orange [front cover title in ornamental feather frame, 2 empty pages, page with publisher’s advertisements >LES ŒUVRES / d’IGOR STRAWINSKY<** production date >No 2<] + 2 pages front matter [title page with vignette 0.5 x 0.6 sitting women playing cymbalom, empty page] + 1 pages back matter [empty page]; author specified in connection with title of the piece 1st page of the score paginated p. 3 flush left-flush right centred >Igor Strawinsky [#***] Игорь Стравинскiй / Chant du Rossignol [#***] Пђсня соловья / poème symphonique pour orchestre [#***] симфоническая поэма для оркестра <; legal reservations 1st page of the score below type area flush left >Copyright 1921 by Russischer Musik-Verlag° G.m.b.H., Berlin. / Édition Russe de Musique / (Russischer Musikverlag°)< flush right >Propriété de l'Éditeur pour tous pays. / Tous droits d'exécution réservés.<; plate number >R. M. V. 343 b; production indication p. 83 flush right as end mark >Stich and Druck von C. G. Röder G.m.b.H., Leipzig.<) // (1921)

* Standard typeface.

** Compositions are (without columns) advertised without edition numbers and without price information >PÉTROUCHKA (BALLET) / PARTITION DE POCHE / RÉDUCTION POUR PIANO A QUATRE MAINS PAR L’AUTEUR / TROIS MOUVEMENTS DE PÉTROUCHKA / TRANSCRIPTION POUR PIANO SOLO PAR L’AUTEUR / rossignol(CONTE LYRIQUE) / RÉDUCTION POUR CHANT ET PIANO PAR L’AUTEUR / ( textes russe et français) / INTRODUCTION. CHANT DU PÊCHEUR et AIR DU ROSSIGNOL / tirés du I eracte). / MARCHE CHINOISE. TRANSCRIPTION POUR PIANO SOLO / par THÉODORE SZANTO / CHANT DU ROSSIGNOL (POEME SYMPHONIQUE) / PARTITION DE POCHE / RÉDUCTION POUR PIANO A DEUX MAINS PAR J. LARMANJAT / LE SACRE DU PRINTEMPS (BALLET) / PARTITION DE POCHE / RÉDUCTION POUR PIANO A QUATRE MAINS PAR L’AUTEUR / TROIS PIÈCES POUR QUATUOR A CORDES / PARTIES / PARTITION DE POCHE / OCTUOR POUR INSTRUMENTS A VENT / PARTITION DE POCHE / RÉDUCTION POUR PIANO A DEUX MAINS PAR A. LOURIÉ / CONCERTO pour Piano et Orchestre d’Harmonie / RÉDUCTION POUR DEUX PIANOS A 4 MAINS PAR L’AUTEUR / MAVRA OPÉRA EN I ACTE / RÉDUCTION POUR CHANT ET PIANO PAR L’AUTEUR / (avec textes russe, français, anglais et allemand) / sur DEUX POÉSIES DE BALMONT / ÉDITION NOUVELLE avec textes russe, français, anglais et allemand. / sur TROIS POÉSIES DE LA LYRIQUE JAPONAISE / ÉDITION NOUVELLE avec textes russe, français et anglais. / TROIS PETITES CHANSONS (Souvenir de mon enfance) / ÉDITION NOUVELLE avec textes russe et français, russe et anglais.<.

*** Dividing vertical line, spanning three lines.

° Different spelling original.

26-3AStraw

The copy from Strawinsky’s estate is signed >Igor Strawinsky< between the underlined name and the title of the work starting at the middle and proceeding to the right across the ornamental feather frame with a spirited final line that continues a long way, finishing far under the title of the work. It contains no further entries and has no list of errata.

26-3B IGOR STRAWINSKY/ CHANT DU ROSSIGNOL / POÈME SYMPHONIQUE / POUR ORCHESTRE / PARTITION / EDITION RUSSE DE MUSIQUE / (FONDÉE PAR S. ET N. KOUSSEWITZKY) / BERLIN. LEIPZIG. LONDRES. MOSCOU. NEW YORK. PARIS [°] // IGOR STRAWINSKY / CHANT DU ROSSIGNOL / POÈME SYMPHONIQUE / POUR ORCHESTRE / PARTITION / TOUTS DROITS D'EXÉCUTION RÉSERVÉS / [Vignette] / PROPRIÉTÉ DE L'ÉDITEUR POUR TOUS PAYS / ÉDITION RUSSE DE MUSIQUE (RUSSISCHER MUSIKVERLAG G.M.B.H.**) / FONDÉE PAR S. ET N. KOUSSEWITZKY / BERLIN MOSCOU LEIPZIG NEW-YORK / POUR LA FRANCE ET SES COLONIES: MUSIQUE RUSSE, PARIS, 3 RUE DE MOSCOU / POUR L'ANGLETERRE ET SES COLONIES: THE RUSSIAN MUSIC AGENCY, LONDRES W. I, 34 PERCY STREET [°}// (Pocket score [library binding] 14.6 x 21.1 (8° [8°]); 83 [81] pages + 4 cover pages thicker paper black on light orange [front cover title in ornamental feather frame, 3 empty pages] + 2 pages front matter [title page with vignette 0.5 x 0.6 sitting women playing cymbalom , empty page] + 1 page back matter [empty page]; title head in connection with author specified 1st page of the score paginated p. 3 flush left-flush right centred >Igor Strawinsky [#***] игорь стравинскiй / Chant du Rossignol [#***] Пђсня соловья / poème symphonique pour orchestre [#***] симфоническая поэма для оркестра< ; legal reservations 1st page of the score below type area flush left >Copyright 1921 by Russischer Musik-Verlag° G.m.b.H., Berlin. / Édition Russe de Musique / (Russischer Musikverlag°)< flush right >Propriété de l'Éditeur pour tous pays. / Tous droits d'exécution réservés.<; plate number [exclusively] 1st page of the score >R. M. V. 343 b; production indication p. 17 flush right as end mark >Stich and Druck von C. G. Röder G.m.b.H., Leipzig.<) // (1921)

° The front cover title page and the front matter title page of the Münchner copy >4 Mus.pr. 4658< bears below ornamental feather frame centre a stamp mark >Il est interdit d'importer cet exemplaire en / France, Grande Bretagne et les Etat Unis. / This copy may not be imported into the / British Empire and the United States.<

* G.M.B.H. is printed in smaller letters whereas B. and H. are printed below the G. and M.

*** Dividing vertical line, spanning three lines.

° Different spelling original.

26-4 IGOR STRAWINSKY / CHANT DU ROSSIGNOL / Réduction pour Piano à 2 mains / par l'Auteur. / ÉDITION RUSSE DE MUSIQUE // IGOR STRAWINSKY / CHANT DU ROSSIGNOL / Poème Symphonique / en trois parties / Réduction pour Piano à 2 mains / par l'Auteur. / ÉDITION RUSSE DE MUSIQUE / (RUSSISCHER MUSIKVERLAG G.M.B.H.*) / FONDÉE PAR S. ET N. KOUSSEWITZKY / BERLIN · LEIPZIG · PARIS · MOSCOU · LONDRES · BARCELONA · NEW YORK // (Piano score Klavierauszug stapled 25.6 x 32.9 (2° [4°] ); 34 [34] pages + 4 cover pages thicker paper black on matt orange [front cover title, 3 empty pages] + 2 pages front matter [title page, summary >ARGUMENT< French + premiere data French] without back matter; title head >CHANT DU ROSSIGNOL<; author specified 1st page of the score paginated p. 1 below movement title flush right >IGOR STRAWINSKY<; fictitious editor specified 1st page of the score next to author specified flush left >Edited-by Albert Spalding New York)**; legal reservations 1st page of the score below type area flush left partly in italics centred > Copyright by Russicher*** Musikverlag Berlin 1927 / Russicher*** Musikverlag G.M.B.H. Berlin / Edition Russe de Musique< flush right >Propriété de l'éditeur pour tous pays / DROITS D'EXÉCUTION ET DE REPRO- / DUCTION RÉSERVÉS POUR TOUS PAYS<; plate number >R.M.V. 422<; production indication p. 34 flush right centred as end mark >Imp. Delanchy-Dupré – Paris-Asnières. / 2 et 4. Avenue de la Marne – XXVI<) // (1926 [1927])

* G.M.B.H. is printed in smaller letters whereas B. and H. are printed below the G. and M.

** The hyphen and single bracket are original

*** Misprint (>Russicher< instead of >Russischer<) original.

26-5 No. 11502 / MACHE CHINOISE / From “LE CHANT DU ROSSIGNOL” / [#*] For / [#*] PIANO SOLO / [#*] by / [#*] IGOR STRAVINSKY / Price 75c net / EDWARD B. MARKS MUSIC COPRPORATION / RCA Building · Radio City / NEW YORK / PRINTED IN U. S. A. // (Reduction for piano [library binding] 23.3 x 30.4 (4° [4°] ); 10 [8] pages + 4 cover pages [ ornamental front cover page in wine-red with two ornamental text backgrounds decorated with bows on the left of the page 18 x 9.5 (16) + 10 (11) x 3 (3,9), gold on a wine-red background , 2 empty pages, page with publisher’s advertisements >FAMOUS COMPOSITIONS FOR PIANO SOLO / By / IGOR STRAVINSKY<**] without front matter and without back matter; title head >MACHE CHINOISE / From “LE CHANT DU ROSSIGNOL”<; author specified 1st page of the score paginated p. 3 below title head flush right >IGOR STRAVINSKY< flush left italic > Arranged by / FREDERICK BLOCK <; legal reservation 1st page of the score below type area centre >Copyright MCMXLI by Edward B. Marks Music Corporation. / [inside left] All Rights Reserved.<; production indication 1st page of the score below type area below 1. line legal reservation inside right >Printed in U. S. A.<; plate number >11502-8<; without end mark) // (1941)

* On the left side of the page, the publisher’s emblem spanning four to five lines 1.9 x 3.1 (in a semicircular arch in a four-line system running in left and out flush right:] >KALEIDOSCOPE< / [vignette 1.4 x 2.1 Pianist at a grand piano with a raised lid] / [a standard sentence in a five-line system running in left and out flush right:] >EDITION<.

** 17 Compositions are advertising with edition numbers and price information behind fill character (dotted line) >11507 CHEZ PETROUSHKA from “Petrouska” $ .60 / 11508 DANSE DE LA FOIRE from “Petroushka” .60 / 10619 DANSE RUSSE from “Petroushka” .60 / 11510 DANSE DES ADOLESCENTS from “Sacre du Printemps” .50 / 11509 Ronde Pritaniere“Sacre du Printemps” .50 / 11506 Tourneys of the rival TRIBES“Sacre du Printemps” .50 / 11504 DEVILS DANCE from “Tale of the Soldier” (Histoire du Soldat) .50 / 11516 BERCEUSE AND FINALE from “Firebird” (Oiseau de Feu) .50 / 11517 DANSE INFERNALE from “Firebird” .75 / 11534 RONDE DES PRINCESSES from “Firebird” .60 / 11503 SCHERZO from “Firebird” .50 / 11514 SUPPLICATION from “Firebird” .60 / 11502 MARCHE CHINOISE from “Chant du Rossignol” .75 / 11518 CHANT DU ROSSIGNOL from “Rossignol” .50 / 11515 PASTORALE .50 / 11505 NAPOLITANA from “Suite of 5 Pieces” .50 / 10342 ETUDE Op. 7, No. 4 (F# Major) .60<

26-5Alb >MARCHE CHINOISE / From / “LE CHANT DU ROSSIGNOL“)< // ([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 red on cream [laid out front cover title with Strawinskys portrait left 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) // (8 pp. [pp. 44-51], arranger specified 1st page of the score paginated p. 44 below title head flush left italic centred > Arranged by / frederick block <; author specified below title head next to 2. line 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 >11502 - 8<; without end marks) // 1941

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

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

26-6 igor strawinsky / chant du rossignol / partition / édition russe de musique . boosey & hawkes // Igor Strawinsky / Chant du Rossignol / Poème symphonique / pour orchestre / Partition · Full Score / Édition Russe de Musique (S. ét N. Koussewitzky · Boosey & Hawkes / London · New York · Sydney · Toronto · Cape Town · Paris Buenos Aires // [without text on spine] // Full score sewn 0.6 x 26.6 x 33.1 (2° [4°] ); movement and title indications French-Russian; 83 [81] pages + 4 cover pages tomato red on grey green [front cover title, 2 empty pages, page with publisher’s >Édition Russe de Musique / (S. et N. Koussewitzky) / Boosey & Hawkes< advertisement >Igor Strawinsky<* production date 453] + 2 pages front matter [title page, legend >Orchestre< French + duration data [20'] French] + 1 page back matter [empty page]; author specified in connection with title head 1st page of the score paginated p. 3 left-flush right centred >Igor Strawinsky [#**] игорь стравинскiй / Chant du Rossignol [#**] Пђсня соловья / poème symphonique pour orchestre [#**] симфоническая поэма для оркестра< ; fictitious editor specified 1st page of the score below title head flush right >Edited by F. H. Schneider<; legal reservation 1st page of the score below type area flush left >Copyright 1921 by Edition Russe de Musique (Russischer Musikverlag) / for all countries. / Printed by arrangement, Boosey & Hawkes, Inc., New York, U.S.A. / All rights of reproduction in any form reserved.< flush right >Propriété de l'Éditeur pour tous pays. / Tous droits d'exécution réservés.<; plate number >B & H 16312<; production indication in connection with end mark p. 83 flush right >Printed in England / H.P. B709. 448<) // (1949)

* In French, compositions are advertised in two columns without edition numbers and without price information >Piano seul° / Trois Mouvements de Pétrouchka / Suite de Pétrouchka ( Th. Szántó ) / Marche chinoise de “ Rossignol ” / Sonate pour piano* / Ouverture de “ Mavra ” / Serenade en la / Symphonie*°° pour°° instruments à vent / Octuor pour instruments à vent / Partitions pour piano°* / Le Chant du Rossignol / Apollon Musagète / Le Baiser de la Fée / Orpheus / Piano à quatre mains° / Le* Sacre du Printemps / Pétrouchka / Deux Pianos à quatre mains° / Concerto pour piano* / Capriccio pour piano* et orchestre / Chant et piano°* / Deux Poésies de Balmont / Trois Poésies de la lyrique japonaise / Trois petites chansons / Chanson de Paracha de “ Mavra ” / Introduction, chant du pêcheur, air du / rossignol / Choeur°* / Ave Maria (a cappella) / Credo (a cappella) / Pater noster (a cappella) // Partitions pour chant et piano* / Rossignol. Conte lyrique en 3 actes / Mavra. Opéra bouffe en 1 acte / Œdipus Rex. Opéra-oratorio en 1 acte* / Symphonie de Psaumes / Perséphone / Violon et Piano°* / Suite d’après Pergolesi / Duo Concertant / Airs du Rossignol / Danse Russe / Divertimento / Suite Italienne / Chanson Russe / Violoncelle et Piano°* / Suite Italienne ( Piatigorsky ) / Musique de Chambre° / Trois pièces pour quatuor à cordes / Octuor pour instruments à vent / Partitions de poche° / Suite de Pulcinella / Symphonies pour°° instruments à vent / Concerto pour piano* / Chant du Rossignol / Pétrouchka. Ballet / Sacre* du Printemps / Le Baiser de la Fée / Apollon Musagète / Œdipus Rex* / Perséphone / Capriccio* / Divertimento / Quatre Études pour orchestre / Symphonie de Psaumes / Trois pièces pour quatuor à cordes / Octuor pour instruments à vent / Concerto en ré pour orchestre à cordes< [* different spelling original; ° centre centred; °° spelling original]. The following places of printing are listed: London-New York-Sydney-Toronto-Cape Town-Paris-Buenos Aires.

** Dividing vertical line spanning three lines.

26-7 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / CHANT DU ROSSIGNOL / POÈME SYMPHONIQUE^ / BOOSEY & HAWKES / No. 633 // HAWKES POCKET SCORES / IGOR STRAWINSKY / CHANT / DU ROSSIGNOL / POÈME SYMPHONIQUE / BOOSEY & HAWKES / LTD. / LONDON · NEW YORK · LOS ANGELES · SYDNEY · CAPE TOWN · TORONTO · PARIS / NET PRICE / MADE IN ENGLAND // [spine:] No. 633 STRAWINSKY CHANT DU ROSSIGNOL // (Pocket score sewn 0.5 x 13.8 x 18.6 (8° [8°] ); Satz- and Titelangaben French-Russian; 83 [81] pages + 4 cover pages olive-green on dark beige [front cover title with frame 9.6 x 4 dark beige on olive-green, 2 empty pages, page with publisher’s advertisements >HAWKES POCKET SCORES / The production dateard Classical and Outstanding Modern Works. / Primera edición española de partituras de bolsillo de las obras / del repertorio clásico y moderno .<* without production date] + 2 pages front matter [title page, legend >Orchestre< French + duration data [20'] French] + 1 page back matter [empty page]; author specified in connection with title head 1st page of the score paginated p. 3 links-flush right centred >Igor Strawinsky [#**] игорь стравинскiй / Chant du Rossignol [#**] Пђсня соловья / poème symphonique pour orchestre [#**] симфоническая поэма для оркестра< ; fictitious editor specified 1st page of the score below title head flush right >Edited by F. H. Schneider<; legal reservation 1st page of the score below type area flush left >Copyright 1921 by Edition Russe de Musique (Russischer Musikverlag) / for all countries. / Printed by arrangement, Boosey & Hawkes, Inc., New York, U.S.A. / All rights of reproduction in any form reserved.< flush right>Propriété de l'Éditeur pour tous pays. / Tous droits d'exécution réservés.<; plate number >B & H 16312<; production indication in connection with end mark p. 83 flush right >Printed in England / H.P. B709, 448<) // (1949)

^ ^ = text in frame.

* Classical editions from >J. S. BACH< to >WEBER< are listed including the titles of their works in three columns under the heading > classical WORKs<, Strawinsky not mentioned; under the heading >MODERN WORKS< the names of contemporary composers are listed without any titles in three columns from >BÉLA BARTÓK< to >R. VAUGHAN WILLIAMS<, Strawinsky not mentioned. The following places of printing are listed: London-New York-Sydney-Toronto-Capetown.

** Dividing vertical line, spanning three lines.

26-760 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / CHANT DU ROSSIGNOL / POÈME SYMPHONIQUE^ / BOOSEY & HAWKES / No. 633 // HAWKES POCKET SCORES / IGOR STRAWINSKY / CHANT / DU ROSSIGNOL / POÈME SYMPHONIQUE / BOOSEY & HAWKES / LTD. / LONDON · PARIS · BONN · CAPETOWN · SYDNEY · TORONTO · BUENOS AIRES · NEW YORK / NET PRICE / MADE IN ENGLAND // (Pocket score sewn 13.7 x 18.5 (8° [kl. 8° / 8°] ); 83 [81] pages + 4 cover pages olive-green on beige [front cover title with frame 9,5 x 4 beige on olive-green, 2 empty pages, page with publisher’s advertisements > Hawkes Pocket Scores / A further selection of outstanding modern works / from this famous library of classical and contemporary Pocket Scores<* production date >No. 787< # >1.56<] + 2 pages front matter [title page, legend >Orchestre< French + duration data [20'] French] + 1 page back matter [empty page]; title head in connection with author specified 1st page of the score paginated p. 3 >Igor Strawinsky [#**] игорь стравинскiй / Chant du Rossignol [#**] Пђсня соловья / poème symphonique pour orchestre [#**] симфоническая поэма для оркестра< ; fictitious editor specified 1st page of the score below title head flush right >Edited by F. H. Schneider<; legal reservations 1st page of the score below type area flush left >Copyright 1921 by Edition Russe de Musique (Russischer Musikverlag) / for all countries. / Printed by arrangement, Boosey & Hawkes, Inc., New York, U.S.A. / All rights of reproduction in any form reserved.< flush right >Propriété de l'Éditeur pour tous pays. / Tous droits d'exécution réservés.<; plate number >B. & H. 16312<; end marks p. 83 flush left >8 · 60 L & B< flush right below production indication >H.P. B709. 448<; production indications p. 83 below type area flush right >Printed in England.<; p. 83 below end mark flush right >Lowe and Brydone (Printers) Limited, London<) // (1960)

^ ^ = Text in frame.

* Compositions are advertised in two columns with edition numbers from >Béla Bartók< to >Jaromir Weinberger<, amongst these >Igor Strawinsky / 626 Concerto in D for String Orchestra (1946) / 631 Four Studies for Orchestra / 633 Le Chant du Rossignol Symphonic Poem / 634 Three Pieces for String Quartet / 665 Divertimento<. After London the following places of printing are listed: Paris-Bonn-Capetown-Sydney-Toronto-Buenos Aires-New York.

** Dividing vertical line, spanning three lines.

26-766 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / CHANT DU ROSSIGNOL / POÈME SYMPHONIQUE^ / BOOSEY & HAWKES / No. 633 // HAWKES POCKET SCORES / IGOR STRAWINSKY / CHANT / DU ROSSIGNOL / POÈME SYMPHONIQUE / BOOSEY & HAWKES / MUSIC PUBLISHERS Limited / LONDON · PARIS · BONN · JOHANNESBURG · SYDNEY · TORONTO · NEW YORK // (Pocket score sewn 13.7 x 18.7 (8° [8°] ); movements and titles French-Russian; 83 [81] pages + 4 cover pages dark green on dark beige [front cover title with frame dark beige on dark green 9,6 x 4, 2 empty pages, page with publisher’s advertisements >HAWKES POCKET SCORES / The following list is but a selection of the many items included in this extensive library of miniature scores / containing both classical works and an ever increasing collection of outstanding modern compositions. A / complete catalogue of Hawkes Pocket Scores is available on request.<* production date >No. 16< [#] >1.66< ] ] + 2 pages front matter [title page, legend >Orchestre< French + duration data [20'] French] + 1 page back matter [empty page]; author specified in connection with title head 1st page of the score paginated p. 3 links-flush right centred >Igor Strawinsky [#**] игорь стравинскiй / Chant du Rossignol [#**] Пђсня соловья / poème symphonique pour orchestre [#**] симфоническая поэма для оркестра< ; fictitious editor specified 1st page of the score above type area below title head flush right >Edited by F. H. Schneider<; legal reservations 1st page of the score below type area flush left >Copyright 1921 by Edition Russe de Musique (Russischer Musikverlag) / for all countries. / Printed by arrangement, Boosey & Hawkes Inc., New York, U.S.A. / All rights of reproduction in any form reserved.< flush right >Propriété de l'Éditeur pour tous pays. / Tous droits d'exécution réservés.<; plate number >B & H 16312<; end mark p. 83 below type area flush left >8·66 L & B<; production indication as end mark p. 83 flush right >Printed in England / H.P. B709. 448 / Lowe and Brydone (Printers) Limited, London<) // (1966)

^ ^ = Text in frame.

** Dividing vertical line, spanning three lines.

* Compositions are advertised in three columns without edition numbers and without specification of places of printing from >Bach, Johann Sebastian< to >Tchaikovsky, Peter<, amongst these >Stravinsky, Igor / Abraham and Isaac / Agon / Apollon musagète / Concerto in D / The flood / Introitus / Oedipus rex / Orpheus / Perséphone / Pétrouchka / Piano concerto / Pulcinella suite / The rake’s progress / The rite of spring / Le rossignol / A sermon, a narrative and a prayer / Symphonie de psaumes / Symphonies of wind instruments / Threni / Variations<.

26-8 IGOR STRAVINSKY / CHANT DU ROSSIGNOL / Reduction for Piano Solo / by the Composer / BOOSEY & HAWKES // IGOR STRAVINSKY / CHANT DU ROSSIGNOL / Symphonic poem in three parts / Reduction for Piano Solo / by the Composer / Boosey & Hawkes / Music Publishers Limited / London · Paris · Bonn · Johannesburg · Sydney · Toronto · New York // (Piano score [library binding] 23.1 x 30.9 (2° [4°]); 34 [34] pages + 4 cover pages thicker paper tomato red on grey green beige [front cover title, 2 empty pages, page with publisher’s advertisements >Igor Stravinsky<* production date >No. 40< [#] >7.65<] + 2 pages front matter [title page, summary French + premiere data French] without back matter; title head >CHANT DU ROSSIGNOL<; author specified 1st page of the score paginated p. 2 below title head flush right >IGOR STRAVINSKY<; fictitious editor specified 1st page of the score below author specified flush left >(Edited-by Albert Spalding New York)<; legal reservations 1st page of the score below type area flush left >Copyright 1927 by Russischer Musikverlag G.m.b.h.** (Edition Russe de Musique). / Copyright assigned 1947 to Boosey & Hawkes Inc. for all countries.< flush right >All rights reserved<; production indication 1st page of the score below type area below legal reservation flush right >Printed in England<; plate number >B. & H.19412<; end mark p. 34 flush right >2.66.E.<) // 1966

* 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].

** The error in capitalization ( >h.< instead of >H.<) is original.

26-8[66+] IGOR STRAVINSKY / CHANT DU ROSSIGNOL / Reduction for Piano Solo / by the Composer / BOOSEY & HAWKES // IGOR STRAVINSKY / CHANT DU ROSSIGNOL / Symphonic poem in three parts / Reduction for Piano Solo / by the Composer / Boosey & Hawkes / Music Publishers Limited / London · Paris · Bonn · Johannesburg · Sydney · Toronto · New York // (Piano score [library binding] 23.3 x 31 (2° [4°] ); 34 [34] pages + 4 cover pages thicker paper dark red on light green-grey [front cover title, 2 empty pages, page with publisher’s advertisements >Igor Stravinsky<* production date >No. 40< [#] >7.65<] + 2 pages front matter [title page, summary >Argument< French + (world) premiere data French] without back matter; title head >CHANT DU ROSSIGNOL<; author specified 1st page of the score unpaginated [p. 1] below movement title in Roman numerals flush right >IGOR STRAVINSKY<; fictitious editor specified 1st page of the score below author specified flush left >(Edited-by Albert Spalding New-York)<; legal reservations 1st page of the score above title head flush right with a text box containing >IMPORTANT NOTICE / The unauthorized copying / of the whole or any part of / this publication is illegal< below type area flush left >Copyright 1927 by Russischer Musikverlag G.m.b.h.** (Edition Russe de Musique). / Copyright assigned 1947 to Boosey & Hawkes Inc. for all countries.< flush right >All rights reserved<; production indication 1st page of the score below type area below legal reservation flush right >Printed in England<; plate number >B. & H.19412<; without end marks<) // [+1966]

* 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].

** The error in capitalization ( >h.< instead of >H.<) is original.


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

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