K029 Soldier’s Tale

deutsch K029 Geschichte vom Soldaten

K29 Histoire du Soldat*

A réciter, jouer et danser. Texte de C. F. Ramuz – Geschichte vom Soldaten. Zu lesen, zu spielen und zu tanzen, in zwei Teiln. Text von Charles-Ferdinand Ramuz; freie [deutsche] Nachdichtung von Hans Reinhart – Soldier’s Tale. To be read, played and danced. In two parts. English Version by Rosa Newmarch – ИСТОРИЯ СОЛДАТА. Сказка о беглот солдате и черте, читаемая, играемая и танцуемая. В двух частях – Storia di soldato. Da essere letta, rappresentata e danzata in due parti. Testo di Charles-Ferdinand Ramuz

* Not L’Histoire du Soldat . The version with an article harks back to the concert suite Grande Suite de L’histoire du Soldat, where, given the structural understanding of the French language, a definite article is called for in genitive case. The title as printed on the interior page appears correctly without article.

Scored for: a) First edition (Roles): Story-teller (not acted but spoken); soldier, devil (acting roles); princess (pantomime); ~ (Instruments): Clarinetto in La e B b , Fagotto, Cornet à pistons in A e Si b , Trombone (Tenore e Basso), Batterie* (Tambourine de Basque, Cymbal**, Triangle, 1 Caisse claire, 1 Caisse claire sans timbre petite taille, 1 Caisse claire sans timbre grand taille, Grosse Caisse), Violino, Contrabasso [Clarinet in A and B b , Bassoon, Cornet, Trombone (Tenor and Bass), Percussion* (Tambourine = Timbrel, Cymbal**, Triangle, Side drum, Side drum without snares hight size, Side drum without snares great size, Big Drum), Violin, Double Bass]; b) Performance requirements: = a)

* 1 player.

** Cymbal mounted on the bass (big) drum.

Orchestral layout: The positioning of the orchestra is strictly laid down. Graphically, a roughly equal-sided triangle is formed with the conductor on top, violin, double-bass and trombone positioned on the left, and on the right-hand side the percussion, trumpet and clarinet, with the basic line seen from the conductor’s position, i.e. from left to right, trombone, bassoon and clarinet. The drums are to be played with hardened felt mallets. The great drum is positioned on the left, the great military drum on the right of the percussionist, the two remaining drums in front of him, the smaller of the two somewhat closer to the player.

Performance practice: The list of percussion printed in the prefatory list of instruments is occasionally misleading. 1 military drum is called for, as well as 2 military drums of different sizes without snares (Caisses claires sans timbre de taille différante = Side drums of different sizes without snares), which are defined as with petite taille and grande taille. At the opening of the Philharmonia pocket score editions, there is a comprehensive table of all the various percussion instruments required in the work.

Playing technique notes according to the Austrian Philharmonia Edition 1925

(French-German-English)*

Marche du soldat / Marsch des Soldaten / The Soldier's march

Figure 31 Tambour sans timbre [Trommel ohne Schmarrsaite – Side drum without snare].

Figure 11 (Tambour sans timbre): *) [note =] *) Baguette en jonc à tête en capoc [*) [Anmerkung =] *)

Rohrstäbchen mit Kopf aus Kapok – *) [note =] *) Cane stick with fibre head].

Figure 7 1(Batt.): Tamb. de Basque / Caisse claire sans timbre, grande taille / Grosse Caisse

[Tamburin, Große Rührtrommel ohne Schnarrsaite, Große Trommel – Tambourine, Large

side-drum without snare, bass-drum].

Figure 8 1(Batt.): *) [note =] *) Tenir dans la main droite une baguette en jonc à tête en capoc et se

servire de celle-ci pour frapper le tambour de basque et la caisse claire; dans la main

gauche – la mailloche pour frapper la grosse caisse [*) [Anmerkung =] *) Man halte in der

rechten Hand einen Rohrschlägel aus Kapok und bediene sich dessen, um das Tamburin und

die Trommel zu schlagen, in der linken Hand den Holzschlägel für die große Trommel – *)

[note =] *) Right hand: a cane stick with fibre knop, used for the tambourine and the side-drum;

left hand: stick° for the bass drum].

Figure 10 1(T. de B. / C. cl. / Gr. C.): *) [note =] *) Pour les baguettes et leur distribution comme ci-

dessus [*) [Anmerkung =] *) Bezüglich der Schlägel und ihrer Verteilung siehe oben – *)

[note =] *) For use of sticks see above].

Figure 414 [(reading text):] *) [Anmerkung =] *) Pour la reprise de la marche pendant la lecture qui

précède la 2 ème scène [*) [Anmerkung =] *) Bei der Wiederholung des Marsches bei der 2.

Szene – [(reading text):] *) [note =] *) For the repetition of the March during the reading which

precedes Scene II]

Musique de la 1ère scène / Musik der 1. Szene / Music to scene I

[with negative results]

Musique de la 1ème scène / Musik der 2. Szene / Music to scene II

[with negative results]

Musique de la 3ème scène / Musik der 3. Szene / Music to scene III

[with negative results]

2ème Partie / 2. Teil / Part II

Marche du soldat / Marsch des Soldaten / The Soldier's march

Figure 31 (Tambour sans timbre / Grosse Caisse): baguette en jonc / à tête en capoc [Rohrschlägel

mit Kopf aus Kapok – Cane stick with fibre head].

Figure 2 1(T. s. t. / T. d. B. / Gr. C.): *) [note =] *) M. dr. = bagu. en jonc à tête en capoc pour le Tmb.

de B. et le Tmb. s. timbre / M. g. = mailloche pour la G. C. [*) [Anmerkung =] Rechte Hand =

Rohrstäbchen mit Kopf aus Kapok für Tambour de Basque und Tambour sans timbre / Linke

Hand = Holzschlägel für die Große Trommel – *) [note =] *) Right hand = Cane stick with fibre

head / Left hand = Drumstick with leather head° for he bass-drum].

Figure 8 4(C. cl.): C. cl. grande taille (bag. en capoc) [Große Rührtrommel (Schlägel mit Kapok) –

Large side-drum (Stick with fibre)]

Marche Royale / Der Königsmarsch / The Royal March

Figure 91 (Cornet à pistons): mais moins fort que les bois [Aber schwächer als die Holzbläser – But

Less marked than wood-wind].

Figure 91 (Cymbale / et Grosse Caisse): (bois) / mailloche [Holz / Holzschlägel – Wood / Drumstick

with leather head°].

Figure 11 (G. C.): bag. à tête / en capoc [Schlägel mit Kopf aus Kapok – Stick with fibre head].

Figure 1 1/2*) Au milieu [note =] *) de la membrane [In der Mitte [Anmerkung =] *) des Fells –

Centre [note =] *) of head°°].

Figure 1 1/2*) Au bord [note =] *) de la membrane [Am Randes [Anmerkung =] *] des Fells – At the rim

[note =] *) of the head°°].

Figure 3 1(Grosse Caisse): mailloche [Holzschlägel – Drumstick with leather head°].

Figure 3 2(C. cl. gr. t.): bag. en capoc [Schlägel mit Kapok – Stick with fibre].

Figure 4 2+3(Gr. C.): bag. à tête en capoc [Schlägel mit Kopf aus Kapok – Stick with fibre head] (1.

Note:) au milieu [In der Mitte des Fells – Centre of head°°] (2. Note): au bord [Am Randes des

Fells – At the rim of the head°°].

Figure 5 2(C. B.): laissez vibrer [Klingen lassen! – Allow to vibrato].

Figure 6 3(C. cl. gr. t. / Gr. C.): bag. en capoc [Schlägel mit Kapok – Stick with fibre].

Figure 8 1(Vl.): jeté [Mit springendem Bogen – Springing bow].

Figure 8 6(Gr. C.): mailloche [Holzschlägel – Drumstick with leather head°].

Figure 8 7C. cl. gr. t.): bag. en capoc [Schlägel mit Kapok – Stick with fibre].

Figure 8 7(Vl.): grand / détaché [Mit großem Détaché – Detached].

Figure 10 1: Piatti (bois) [Becken (Holz) – Cymbals (wood)].

Figure 10 1(Gr. C.): mailloche [Holzschlägel – Drumstick with leather head°].

Figure 10 5(Gr. C.): milieu [/] bord *) bag. à tête en capoc [note =] *) au bord et au milieu de la

membrane, comme plus haut. [In der Mitte / Am Rande *) Schlägel mit Kopf aus Kapok

[Anmerkung =] *] In der Mitte und am Rande des Fells, wie oben – Centre [/] At the rim * Stick

with fibre head [note =] *) Centre and rim of head°° as above].

Figure 15 1(C. cl. s. t. / gr. t. / Gr. C.): mailloche / bag. à tête en capoc [Holzschlägel / Schlägel mit

Kopf aus Kapok – Drumstick with leather head° / Stick with fibre head].

Figure 15 3(Gr. C.): (au bord et au milieu, comme plus haut) [Am Rande und in der Mitte, wie oben –

Centre and rim as above].

Figure 15 6(C. cl. s. t. / gr. t.): bag. en capoc [Schlägel mit Kapok – Stick with fibre].

Figure 16 1(C. à P.): (mais moins fort que le bois [Aber schwächer als die Holzbläser – But less

Marked than wood-wind].

Figure 16 2(Piatti): (bois) [Holz – Wood].

Figure 16 5(Gr. C.): bag. en capoc [Schlägel mit Kapok – Stick with fibre].

Figure 17 4(Gr. C.): mailloche [Holzschlägel – Drumstick with leather head°].

Figure 17 4: Piatti (bois) [Becken (Holz) – Cymbals (wood)].

Figure 17 7(C. cl. s. t. / gr. t.): bag. en capoc [Schlägel mit Kapok – Stick with fibre].

Figure 19 1(C. cl. s. t. / gr. t.): mailloche [Holzschlägel – Drumstick with leather head°].

Figure 19 2(C. cl. s. t. / gr. t.): bag. en capoc [Schlägel mit Kapok – Stick with fibre].

Figure 19 4(C. cl. s. t. / gr. t.): bag. en capoc [Schlägel mit Kapok – Stick with fibre].

Figure 20 1: Cymb. (bois) [Becken (Holz) – Cymbals (wood)].

Figure 20 1(Gr. C.): mailloche [Holzschlägel – Drumstick with leather head°].

Petit concert / Kleines Konzert / The little Concert

Figure 11 3(Gr. C.): bag. en capoc [Schlägel mit Kapok – Stick with fibre].

Figure 11 4(Gr. C.): Gr. C. au bord [Am Rande – At the rim].

Figure 12 1(Gr. C.): au milieu [In der Mitte – Centre].

Figure 13 6(Vl.): (2. Note:) glissez avec l’archet de / toute sa longueur [Glissando mit der ganzen

Länge des Bogens – Glissando, full lenght of bow].

Figure 14 1(Vl.): (3. Note:) accompagnando (en peu velouté) [Begleitend, ein wenig verschleiert –

Accompagnando (slightly velvety)].

Figure 14 4(Vl.): (2. Note:) glissez avec / toute l’archet [Glissando mit ganzem Bogen – Glissando, full

bow].

Figure 15 6(T. s. t. / Gr. C.): mailloche [Holzschlägel – Drumstick with leather head°].

Figure 16 3(T. s. t. / Gr. C.): *) [Note =] *) Comme plus haut, au bord et au milieu de la membrane

(bag. à tête en capoc [*) [Anmerkung =] *) Wie oben, am Rande und in der Mitte des Fells

(Schlägel mit Kopf aus Kapok) – *) [Note =] *) As above, at rim and centre of head (stick with

fibre head)].

Figure 17 1(Vl.): du talon [Am Frosch – At the heel].

Figure 18 2(Vl.): du talon [Am Frosch – At the heel].

Figure 23 1(C. B.): secco (très court) [secco (sehr kurz) – secco (very short)].

Figure 23 2(Vl.): rependre l’archet [Mit Bogen – Arco].

Figure 27 4(T. s. t. / Gr. C.): bag. en capoc [Schlägel mit Kapok – Stick with fibre].

Figure 27 4(T. s. t. / Gr. C.): étouffez [Abdämpfen – Damp].

Trois danses / Drei Tänze / Three dances

Figure 51 (Caisse claire sans timbre / grande taille / Grosse Caisse): *) [Anmerkung =] *) Remarque

générale pour la percussion de TANGO / L’exécutant tient la mailloche (de la Gr. C.) dans sa

main gauche et dans sa main droite une baguette / à tête de capoc (avec la manche en jonc.)

Les notes avec les queues en haut appartiennent à la main / droite (c. à. d. à la baguette en

capoc), celles avec les queues en bas, à la main gauche (c. à. d. à la / mailloche). La cymbale

(fixée à la Gr. C.) est légèrement frappée au bord , seulement par le manche / en jonc de la

baguette en capoc. Pour la disposition des tambours consultez la page consacrée à la dis- /

position de l’orchestre [*) [Anmerkung =] *) Allgemeine Bemerkung für das Schlagwerk beim

Tango: Der Spieler hält den Schlägel (der großen Trommel) in der linken Hand und in der

Rechten ein Rohrstäbchen mit Kopf aus Kapok. Die nach oben gestielten Noten gehören für

die rechte Hand (d. h. für den weichen Schlägel), die nach unten gestielten Noten für die linke

Hand (d. h. für den gewöhnlichen Schlägel). Das Becken (befestigt an der großen Trommel)

wird leicht am Rand geschlagen (nur mit dem Rohrstäbchen des Schlägels mit dem Kopf aus

Kapok). Über die Aufstellung der Trommeln siehe Seite II, auf welcher die Anordnung des

Orchesters angegeben ist. – *) [note =] *) General direction for the percussion in the Tango:

The performer holds the stick for the bass drum in his left hand, and a cane stick with fibre

head in his right. The notes with upward stems to be played by the right hand (i. e. the fibre

stick), those with downward stems by the left (i. e. the bass drum stick). The cymbal (attached

to the bass drum) to be struck lightly at the rim, and with the cane handle of the fibre stick

only. For the arrangement of the drums consult the page dealing with the arrangement of the

orchestra (see page II).

Figure 31 (Violino): au talon [Am Frosch – At the heel].

Figure 1 1(Vl.): tout l’archet [Ganzer Bogen – Full lenght of bow].

Figure 4 1(Vl.): * Glissez avec l’archet de toute sa longueur jusqu’au signe x / Sur la corde Ré jusqu’au

même signe x [note =] * Exception faite des endroits marqués par le „saltando" [*

Glissando mit der ganzen Länge des Bogens bis zum Zeichen x / Auf der D-Saite bis zum

gleichen Zeichen [Anmerkung =] * Ausgenommen die Stellen, die mit „saltando" bezeichnet

sind – * Glissando, full lenght of bow to the signe x / On the D string to the same sign [note =]

* Except the passages marked “saltando”].

Figure 5 4(Vl.): manière / d’exécution [Art der Ausführung – Manner of performance].

Figure 7 8(Cymb.): laissez vibrer [Klingen lassen! – Allow to vibrate].

Figure 8 1(Vl.): *) Glissez avec l’archet de toute sa longueur jusqu’au signe x [note =] *) Exception

faite des endroits marqués par le „saltando" [*) Glissando mit der ganzen Länge des Bogens

bis zum Zeichen x / [Anmerkung =] *) Ausgenommen die Stellen, die mit „saltando" bezeichnet

sind – *) Glissando, full lenght of bow to the signe x / [note =] *) Except the passages marked

“saltando”].

Figure 9 2(Vl.): (2. Noten:) Du milieu de l’archet jusqu’au signe x [Bogenmitte bis zum Zeichen x –

Centre of bow to the signe x].

Figure 12 4(Vl.): sur la touche [Auf dem Griffbrett – On the finger board]. / glissez avec l’archet de

Toute sa / longueur [Glissando mit der ganzen Länge des Bogens – Glissando, full lenght of

bow].

Figure 13 1(Vl.): court, du talon [Kurz, am Frosch – Short, at the heel].

Figure 24 1(Triangle / Tamb. de basque / Caisse cl. / (sans timbre) / Gr. C.): *) [note =] *) Toute cette

percussion est (légèrement) frappée avec la tringle du triangle. Le triangel est tenu de la

/ main gauche de l’éxecutant°°°; à sa droite, se trouvent (très prés) l’un en face de l’autre, la

C. cl. et le Tamb. / de basque (posés de champ, ce qui est plus commode pour l’exécutant;)

,à°°° sa gauche la Grosse caisse. [ *) [Anmerkung =] *) Das ganze Schlagwerk wird (leicht) mit

dem Stäbchen des Triangels geschlagen. Der Spieler hält den Triangel in der linken Hand;

rechts von ihm sind sehr nahe aneinander die Trommel und das Tamburin (auf die Kante

gestellt, was für den Spieler bequem ist), zu seiner Linken die große Trommel – *) [Note =] *)

All these percussion instruments are lightly struck with the triangel beater. The triangle is held

by the performer’s left hand; at his right, very close at hand and facing each other side-drum

and tambourine (conveniently placed in an upright position); at his left the bass drum].

Figure 32 1(C. B.): laissez vibrer [Klingen lassen! – Allow to vibrate].

Figure 33 1(2 C. cl. / sans / timbre): *) [note =] *) La G. C. se trouve à gauche et les 2 C. cl. juste en

face de l’exécutant, et très près l’une de l’autre. / Frappez ces instruments avec une

baguette à tête de capoc que l’exécutant tiens dans sa main gauche. / Dans sa main droite il

tient une baguette mince à petite tête en éponge (qui’il luis faudrait tenir prête / pour le N o34 +

[*) [Anmerkung =] *) Die große Trommel befindet sich links und die 2 kleinen Trommeln genau

vor dem Spieler, und sehr nahe aneinander. Man schlage diese Instrumente mit einem

Schlägel mit Kopf aus Kapok, den der Spieler in der linken Hand hält. In der rechten hält er ein

kleines Stäbchen mit kleinem Schwammkopf (das er für No. 34 +vorbereitet halten muß) – *)

[note =] *) The bass drum is on the player’s left and the 2 side-drums directly in front of the

performer, very close to each other. These instruments to be struck with a stick with fibre

head, held in the player’s left hand. In his right hand he holds a thin stick with sponge head, to

be held in readiness for No. 34 +].

Figure 34 1(2 C. cl. / sans / timbre): **) [note =] **) Exécuter avec la bag. a tête d’éponge don’t

l’exécutant prendra soin de tenir la tête tournée en bas et de / la manier rien qu’ avec°°° les

doigts (le bras restant parfaitemente°°° immobile) de façon à donner au rythme / une allure

mécanique et précise [**] [Anmerkung =] **) Ausführen mit Schwammschlägel, wobei der

Spieler darauf achte, daß der Kopf nach unten gehalten sei, so daß er nur mit mit den Fingern

bewegt wird (der Arm hat völlig ruhig zu bleiben) um dem Rhythmus den Ausdruck

mechanischer Präzision zu geben – **) [note =] **) To be played with the sponge stick, which

the performer must care to hold with the head downwards and to wield the fingers only (the

arm remaining perfectly rigid), in order to give the rhythm a mechanical and précis character].

Danse du diable / Tanz des Teufels / The devil’s dance

Figure 31 (2 Caisses claires / sans timbre / grande taille): *) bag. en feutre dur [note =] *) Placez ces

deux instruments de champ, très près l’une de l’autre de façon à pouvoir manier /

alsément la baguette (m. dr.) entre leurs membranes dans le mouvement indiqué. [*) Schlägel

mit hartem Filz [Anmerkung =] *) Man stelle diese beiden Instrumente auf die Kante, sehr

nahe aneinander, so daß der Schlägel [rechte Hand] leicht zwischen ihren Fellen im

angegebenen Tempo bewegt werden kann – *] Hard felt stick [note =] *) These two

instruments to be placed upright, very close together, to facilitate the handling of the stick

(right hand) between the two heads in the movements indicated].

Figure 3 11(2 C. cl. / s. t. / Gr. C.): bag. en jonc, tête / en capoc [Rohrschlägel, Kopf aus Kapok – Cane

stick, fibre head].

Figure 5 4(Gr. C.): bag. en jonc, à tête en capoc [Rohrschlägel, mit Kopf aus Kapok – Cane stick, with

fibre head].

Figure 5 6(Gr. C.): au bord [Am Rande – At the rim].

Figure 6 1(Gr. C.): au milieu [In der Mitte – Centre].

Figure 7 2(Trb.): préparez la sourdine [Dämpfer vorbereiten – Prepare mute].

Figure 9 1+3(Vl.): du talon [Am Frosch – At the heel].

Figure 10 11(Tmb. / s. t. / Gr. C.): mailloche [Holzschlägel – Drumstick with leather head°].

Petit choral / Kleiner Choral / The little choral

[with negative results]

Couplet du diable / Des Teufels Lied / The devil’s song

Bar 14 (Tmb. / à t.): bag. en bois [Holzschlägel – drumstick].

Bar 17 (Gr. C.): mailloche [Holzschlägel – Drumstick with leather head°].

Bar 31 (C. cl. / s. t.): petite taille [Kleine Rührtrommel – Small side-drum].

Bar 31 (Gr. C.): mailloche [Holzschlägel – Drumstick with leather head°].

Bar 33 (C. cl. / s. t.): (bag. à / capoc) [Schlägel mit Kapok – Stick with fibre].

Bar 33 (Gr. C.): mailloche [Holzschlägel – Drumstick with leather head°].

Bar 37/38 (C. cl. / s. t.): C. cl. avec corde [Trommel mit Schnarrsaite – Side drum with snare].

Bar 39 (C. cl. / s. t. = C. cl. avec corde): (bag. en bois [Holzschlägel – Drumstick].

Grand choral / Großer Choral / Great choral

[ with negative results ]

Marche triomphale du diable / Triumphmarsch des Teufels / Triumphal march of the devil

Figure 31 (Grosse Caisse): au bord [Am Rande – At the rim].

Figure 21 (Grosse Caisse): (1st Note:) au milieu [In der Mitte – Centre].

Figure 1 1(Vl.): trés court, du talon [Sehr kurz, am Frosch – Very short, at the heel].

Figure 1 1(C. B.): (3rd Note:) trés sec [Sehr hart – Very sharp].

Figure 1 2(C. B.): (2nd Note:) trés sec [Sehr hart – Very sharp].

Figure 1 4(Tamb. et 2 C. cl. + Gr. C.): Les queues en haut pour la m. d., les queues en bas pour la

Main gauche [Nach oben gestielte Noten gelten für die rechte, nach unten gestielte für die

linke Hand – Upward stems for the right hand, downward stems for the left].

Figure 2 1(Tamb. et 2 C. cl. + Gr. C.): Bag. à feutre dur [Schlägel mit hartem Filz – Hard felt stick].

Figure 2 2petite [Kleine Trommel – Small side-drum].

Figure 2 9(Gr. C.): mailloche [Holzschlägel – Drumstick with leather head°].

Figure 3 1(Gr. C.): Bag. à feutre dur [Schlägel mit hartem Filz – Hard felt stick].

Figure 3 2(Tamb. et 2 C. cl.): (1. Note): Petite [Kleine Trommel – Small side-drum].

Figure 3 10(Gr. C.): G. C. au bord [Am Rande – At the rim].

Figure 3 11(Gr. C.): (3rd Note): au milieu [In der Mitte – Centre].

Figure 6 3(Gr. C.): au bord [Am Rande – At the rim].

Figure 6 4(Gr. C.): au milieu [In der Mitte – Centre].

Figure 7 1(Vl.): (trés court, du talon) [Sehr kurz, am Frosch – Very short, at the heel].

Figure 7 1(C. B.): (3rd Note:) trés sec [Sehr hart – Very sharp].

Figure 7 2(C. B.): (2nd Note:) trés sec [Sehr hart – Very sharp].

Figure 7 4(Tamb. et 2 C. cl. + Gr. C.): Les queues en haut pour / la m. d., les queues en / bas pour la

main gauche [Nach oben gestielte Noten gelten für die rechte, nach unten gestielte für die

linke Hand – Upward stems for the right hand, downward stems for the left].

Figure 8 1(Tamb. et 2 C. cl. + Gr. C.): Bag. à feutre dur [Schlägel mit hartem Filz – Hard felt stick].

Figure 13 3(Tamb. et 2 C. cl. + Gr. C.): Bag. à tête en feutre dur [Schlägel mit Kopf aus hartem Filz –

Hard felt stick].

* In the Philharmonia Edition also Italian.

° Meaning wooden drumstick.

°° Drumhead.

°°° Original spelling, in the preface correctly spelled.

+ No. = figure.

Dream vision: Strawinsky has explained that some of his works were inspired by dreams. The probably most famous example for such inspiration is his brass octet, but the only melody that came to him straight from a dream is to be found in ‘Soldier’s Tale’. The short piece consisting only of five notes occurring in bars 54 to 56 of the small concert (no. 13 1-3) was noted down by Hermann Scherchen in his Teacher’s Guide to Conducting (p. 68) because the very same five notes Strawinsky heard in his dream are to be found at the beginning of the Dies irae, the Catholic-Tridentine Requiem Mass. He explained further that in this dream he had not just heard the music but also seen the person playing it. ‘A young gypsy woman sat by the side of the road. She held a child in her lap to whom she played a melody on her violin. The motif she kept repeating called for the full length of the bow. The child was pleased with the music and happily clapped its small hands together. I was happy too, especially about remembering how the melody went. I was so pleased, I included it in the Petit Concert immediately.’ In his composition this melody line is associated with another image. The gypsy woman becomes a soldier, the child a princess. In later years Strawinsky repeatedly had recourse to the dreams he experienced. It is remarkable that such dreams or visions only haunted him when he composed works that became turning points in the history of music.

Summary: (Version Hans Reinhart): [First part:] The scene shows a river bank along which a soldier is marching towards some unknown destination, which - geographically speaking - does not exist; it is called Denezy in French and Wallenstadt in German and Lode in English. The soldier has got 15 days’ leave from his regiment (prelude = soldier’s march). He sits down to play a tune on his fiddle, his only piece of property. The devil appears in the shape of an old man. He has with him a butterfly net. He asks the soldier to give him his fiddle. The soldier refuses (music of the first scene). – The devil offers the soldier a magic book in return. After initial resistings hesitation the soldier agrees. Thereupon the devil invites the soldier to his house, saying that he wants to learn how to play the fiddle. Again the soldier is unsure, he only has 14 days holidays after all, but then the prospect of a good meal and a comfortable ride in the carriage makes him agree to the deal. But what he thinks are three days turn out to be three years. Back in his village the soldier (in Reinhart’s version he is called Sepp) recognises he has been tricked and curses the devil, who in the meantime has changed into the shape of a cattle-dealer and is expecting the soldier in the middle of the street (music of 2nd scene). – The soldier recognises the devil and wants to run him down with the bajonet. He talks about returning to his regiment and admitting to his absence. The devil explains to him that he would most certainly be court-martialled and put to death. Referring to the book which the soldier has in his rucksack , the devil forces him into a kind of hypnosis, then asks him to put off his soldier’s garb and put on civilian clothing. The soldier becomes a tradesman and financial magnate. Everybody envies him. He possesses everything but yet feels dead inside; for there is no love for him and he is lonely and forlorn. The devil reappears as an old woman. The soldier throws the magic book away, the devil picks it up and offers him a deal by which he would get back his tornister and fiddle. The price has not yet been named. But the fiddle remains mute when he tries to play it - he throws it away. (Music of the 3rd scene). – [Second part:] The soldier continues on his way to Denezy (Wallenstadt, Lode), where he will never arrive, since he is no longer the person he was at the outset. In an inn along the way he hears of the Princess’ illness and the promise of the King to make her the wife of the man who can cure her. The soldier is of good cheer and goes to see the King (King’s March). – The devil explains to the soldier that the only means by which the Princess may be cured is his violin, now no longer in his possession. On the advice of the reader that only he who gives up all his riches may escape the devil, because as long as he possessed even a penny he would remain in the devil’s claws, the soldier begins a seemingly hopeless game of cards with the devil with lots of drink flowing. While the soldier is losing one game after another and with each game all his belongings, he yet succeeds in making the devil so drunk that he is able to steal the violin from him. The soldier tries out his ‘new’ old instrument by playing a small concert (Petit Concèrt). – He is brought before the sickbed of the Princess and plays for her until she is well again (three dances).- While he and the Princess embrace, the devil crawls in on all fours to snatch the violin from him. At first, the soldier succeeds in fending him off with the bow, while the Princess is seeking protections behind his back. But since the devil does not leave off, the soldier begins to play for him. The devil, on hearing the tune, is unable to leave off dancing and continues until he breaks down with exhaustion (The Devil’s Dance). – The Princess and the soldier drag the devil behind the scenes. Then they fall into each other’s arms while a chorale is heard giving thanks for her salvation. – The devil reappears, interrupts the love scene and curses the soldier. As soon as the latter wishes to cross a certain invisible borderline, he will come and throw him into hell’s flames and the Princess will become ill again (Devil’s couplet). – During the continued love scene the warning is heard: Nobody can be who he was and who he is at the same time. Happiness that is past cannot be added to present happiness (great chorale). – The Princess talks the soldier into homesickness. He plays with the idea of having his old mother live with them in the castle. Soldier and Princess get as far as the border post. While the soldier continues further on his way, crossing the border with his eyes on the village church, the Princess remains behind. The devil appears with the violin of the soldier and plays. The soldier lowers his head and is about to follow the devil. Warning voices from behind the scene are not able to stop him.

Source: The source for the Strawinsky/Ramuz libretto is No. 154 (No. 91 in the original register) of Afanassjew’s collection of Russian folk tales (Народные русские сказки ) entitled ‘The Deserter and the Devil’. Since his father’s library contained a copy of the collection Strawinsky was likely to be familiar with the story: A soldier requests leave which is granted to him. He sets out on his way and takes a rest by the banks of a small river, where he takes out his violin and very quietly plays a tune, after having put three rusks in the brook to soften. Suddenly, the devil in the shape of an old man stands beside him and wishes him good-day. The unsuspecting soldier returns the greeting, calling him a good man, whereupon the devil makes a face. The old man offers the soldier a book in exchange for his violin. The soldier, who is unable to read or write, refuses. But anyone can read in the devil’s book. When the soldier has convinced himself of this, he happily agrees to the exchange. The Evil One tries to play the violin but cannot, and therefore asks the soldier to be his guest for three days, to teach him the grounds of violin-playing. Again, the soldier refuses. Three days are too long. In three days he could be closer to his home by a long stretch. The devil tempts him by offering him a carriage for his return home. While the soldier is still thinking about the offer, he fishes his rusks from the water to eat them. The devil stops him. The soldier’s food was worth nothing, he says, and offers him white bread, red meat, vodka and other delicacies from his own supply. Now the soldier agrees to stay with the unknown old man and teachs him. After three days he wishes to return to his village and the Evil One accords his wish. With devilish speed he brings him to his village, and, after the soldier ensures him that it is really his village, he bids him good-bye and the soldier turns to greet his friends and relations. But from them he learns that he has been away for three years instead of three days, that his holiday is long past and his regiment would look upon him as a deserter. The soldier is ravaged by fears and does not know what to do. Not even brandy tastes good any more. He walks a short way from the village and thinks, and when he calls out aloud that this was the devil’s work, the Evil One stands beside him again. He tells the soldier not to be despondent, after all, life in the regiment was not enviable. He would help his luck along by making a good tradesman of him. The soldier agrees and the devil obtains for him a big store in the capital where many valuable goods are sold. He then bids him good-bye again. He was to go through three times nine countries to the three times tenth realm, where there was a king whose beautiful daughter, Marja by name, whom he wished to torment. The tradesman-turned soldier meanwhile is so successful in business, that envy rises among his competitors, whose custom is dwindling on account of the soldier’s cleverness. They get together to ask him who he was and whether he was even allowed to trade here. In order to gain time, the soldier pretends to be extraordinarily busy and asks them to return on the next day, when he would answer their questions. Meanwhile he collects all his money, leaves his shop and follows the devil to the three-times-tenth-realm. When asked where he comes from at the town gate he pretends to be a doctor come to cure the Princess who was very ill. The king promises to let him marry his daughter if he can fulfil his claim. The soldier asks for three sets of cards, three bottles of sweet wine, three bottles of red-hot spiritus, three pounds of nuts, three pounds of lead shot and three pounds of candles. He himself goes to buy a violin. In the evening he enters the Princess’ chamber, lights the candles and begins to drink and play his violin. On the last chime of midnight the devil appears and greets the soldier. Asked what he is drinking, the soldier says it is kvass. The devil wants to join him in his drinking and the soldier hands him a glass of red-hot spiritus. The devil’s eyes nearly leave his eye-sockets, and he needs something to quench the firebrand. Under the pretence that he is offering nuts, the soldier gives the devil lead-shot to eat. The devil cracks the shot and breaks all his teeth. The Princess, freed from the devil’s torment for that night, sleeps soundly. The second night is the same as the first. Before the third night the soldier asks the king to have a 50 puds (1 pud equals approx. 16.381 kg) heavy iron tongs made and also three canes, one of copper, one of iron and one of tin. All this is done. Again, the Evil One appears. He sees the tongs and asks what it is for. The soldier explains it was a tool to straighten crooked fingers. He had been taken into employment by the king as a violin teacher, but had to straighten the musicians fingers first, as they were all crooked, like those of his guest. The devil looks at his crooked fingers and believes it is for this reason he still cannot play the violin. He calls the soldier brother and asks him to straighten his fingers. The soldier fixes the devil’s hands with tongs and begins to ‘play’ to him with the metal canes in punishment for having made him into a tradesman. The devil begs to be freed and promises not to come nearer the Palace than about 30 werst (approx. 1.067km) ever. The soldier however does not leave off his beating. The devil makes his escape and his parting words to the soldier are that he would yet get him, even if he married the Princess. As soon as he would put more than 30 werst between himself and the town, he would come and fetch him away. The soldier marries the Princess, accedes to the throne after his father-in-law’s death and rules over the entire realm. After many years he - while taking a walk in the castle grounds with his wife - comments on the beauty of the gardens. His wife thereupon tells him of another, much more beautiful garden 30 werst outside town. They go to see it in a carriage. The soldier has hardly set foot on the ground outside the carriage, when the Evil One appears. Had he forgotten his words, is the question he puts to the former soldier. Now it was his own foolhardiness that had given him over to the devil’s power forever. The soldier remains calm. It seemed to be his fate after all, he replies. Could he say farewell to his wife at least? The devil permits this but urges him to hurry. – As a rule, the devil in rich Russian folklore is depicted as the duped one rather than the victor and on occasion he is used to disguise the horrific military drill in the Russian Army of the 19th century which led to numerous desertions. The tragic ‘Soldier’s Tale’ also has its roots in the world of the Russian military and the everyday reality of desertion for which it was difficult to find a poetic garb. The ending of the tale leaves everything open - the story does not really end, it breaks off. In the original only the soldier descends from the carriage, not the queen, and the carriage is standing on the border, as the garden begins exactly 30 werst outside of the town. The devil appears only after the soldier’s foot has touched the ground and the soldier is not even frightened to see him. What would happen if he, by pretending to say good-bye to his wife, remounts the carriage and retreats back from the banned area? Why should the devil win in just this of all stories, when he has already behaved clumsily and acted stupidly (as in the drinking scene) and is quite obviously no match for the clever soldier who has learnt a lot from him! - Ramuz and Strawinsky have taken the roguish element out of the ‘Soldier’s Tale’ and added another traditional Russian folk tale element by introducing the sale of the fiddle thus opening the tale up for a depth psychological interpretation which satisfied both the aristocratic sense of honour in Strawinsky and the homegrown Trotzkyist attitude of the writer from the Vaud. By introducing his dream or vision Strawinsky also bestowed upon the piece a metaphysical aspect. Only beings having a soul can play the violin. The soldier, however, has sold his soul for money, without yet knowing to whom. He becomes rich and powerful but loses his self in the process. While in the Russian folk tale the soldier finds his family again and the people in his village warn him about the consequences of his involuntary desertion, he is not recognised by his friends, nor by his wife and mother in the Ramuz/Stravinsky version - not because they are afraid of ghosts, but because the man before them is no longer the man they knew. He therefore cannot cure the Princess, whose illness is lack of love. He needs his violin. But the devil has taken possession of it. The reader, his only real friend in this version of the tale, tells him about himself. As long as he still owns money from the sale of his soul, he cannot retrieve his violin. He must not even give away the money as an act of charity or of desperation, but must lose it and become as poor as he was before. The action must be rolled up backwards. There is only one way in which to achieve this which moreover seems to suit the Russian mentality, namely by gambling, which from a Christian point of view always entails a meeting with the devil, no matter which way the story ends. Thus the soldier loses all his money which has made him rich but brought him nothing else. With each win, however, the devil loses and the soldier may take the violin away from him, once he is in a drunken stupor. By playing for the sick Princess, the soldier may breathe soul into her by means of the soul of the violin, thus bringing her back to life. The devil on the other hand cannot bear living souls, and is forced into a kind of convulsive dance when the soldier plays for him trying to ward off his attempts at stealing his soul anew. Thus the story ends. The devil may instal as many border posts as he likes, he will achieve nothing. Crossing a border is an act of the free will, borne out by rational action. The turn in the story towards a tragic ending did not come as a surprise to the modern literary world of pre-war Europe. Ramuz uses the Bluebeard epic following Bela Bálasz’ concept for Bartok’s opera. The curious wife, not satisfied with the happiness she enjoys, begins to dig up her husband’s past to find out what happened before she came into his life, brings the past back to life poisoning her present and destroying her life. In Ramuz’ rendering of the story it was the Princess herself who wants him to return to the past; it is not the soldier who feels homesick or perhaps wants to show everyone that he has made his fortune abroad. It is his wife who puts the idea in his head with the same insistence used by Judith in Bartok’s opera, forcing the Duke to open the most dangerous but hauntingly-mysterious seventh door. The soldier is quite contented with his existence as Prince Consort. All he wants to do is to embrace his wife. The Princess, however, refuses herself to him as long as he does not agree to their joint return to the past. The soldier has no choice left: If he goes, hell awaits him, which is to say, a life without love. If he does not go, his wife will turn away from him. Both of them leave together, but really only the soldier crosses the border markings, while his wife remains standing at a safe distance; she does not follow the soldier even when he beckons her to him. Here the catastrophe sets in. The soldier is again betrayed. His wife has, for whatever reason, sent him straight to hell. Ramuz’ directing comment at the end of the work, depicting the soldier as following the devil with his head bowed (a baissé la tête) and showing not the least resistance despite the warning calls from behind the scene, shows how demoralised he really is. Despite the fact that he has freed himself from the fangs of evil in the past, he does not want to go on. He is beyond caring about which side of the border post he may find himself. The image of a soulless devil, driving the soldier ahead of him while playing the violin is an invention of Reinhart, the director, and has a powerful effect on stage, although it is nowhere to be found in Ramuz’ original and indeed contradicts the logic of the narrative; but with only seven instruments available for the finale it is impossible to do without the most important one. And if one is willing to identify the soul of the soldier with the violin now in possession of the devil, it evidently makes (scenic) sense. Soldier’s Tale does not entail a moral. Strawinsky refused a translation into English when he detected Anglo-Saxon sentimental and moralistic undertones. The teaching of reason says that a human being may not return to the past nor run ahead to a future without leaving his present, thereby forfeiting it. This conviction was anchored deeply in Strawinsky’s thinking and is strongly present in his - often criticised - attitude towards old music. Viewed thus, both author and composer complemented each other in an artistically stringent work which met with great success. Strawinsky’s reaction to Les Editions des Cahiers Vaudois’ omission of his name from their publication of the libretto in 1920 was therefore one of great annoyance. In a letter dated 20 thAugust 1920 he remarks with unusual sharpness on the fact that his work on the piece was in no way restricted to the composition of the music, but had also had a determinable effect on the scenarium. Without his - i.e. Strawinsky’s co-authorship the piece would not have become what it was today even in its literary form.

Construction: The stage work consists of two series of independent yet interrelated spoken scenes and thirteen musical scenes individually lettered and (with the exception of numbers 10 and 11) individually figured (but not numbered) with the march scene repeated several time ([1.] March du soldat – Marsch des Soldaten – The soldier’s march; [2.] Musique de la 1 ère scène – Musik der 1. Szene – Music to scene I; [3.] Musique de la 2 ème scène – Musik der 2. Szene – Music to scene II; [4.] Musique de la 3 ème scène – Musik der 3. Szene – Music to scene III; [5.] March du soldat – Marsch des Soldaten – The soldier’s march; [6.] Marche royale – Der Königsmarsch – The royal march; [7] Petit concert – Kleines Konzert – The little concert; [8.] Trois danses:Tango, Valse, Ragtime – Drei Tänze: Tango, Walzer, Ragtime – Three dances: Tango, Waltz, Ragtime; [9.] Danse du diable – Tanz des Teufels – The devil’s dance; [10.*] Petit choral – Kleiner Choral – The little choral; [11.*] Couplet du diable – Des Teufels Lied – The devil’s song; [12.] Grand choral – Großer Choral – Great choral; [13.] Triumphmarsch des Teufels); I = [1] - [4], II = [5] - [13]. – The concert suite is a reduced orchestral suite divided by metronome speeds with separate headings and numbered sections (I Marche du Soldat - II Le Violon du Soldat - III Marche royale - IV Petit concert - V Trois Danses [Tango - Valse - Ragtime] - VI Danse du Diable - VII Choral - VIII Marche triomphale du Diable).

* Without figures.

Structures

a) Stage version:

1 ère PARTIE / 1. Teil / Part I

MARCHE DU SOLDAT / Airs de marche

MARSCH DES SOLDATEN / Marschmelodien

THE SOLDIER'S MARCH / Marching-Tunes

Instruments: Tutti (Clarinet and Cornet in A) with rhythmically scanning speech

Crotchet = 112 (99 bars* = figure 31 up to figure 15 4)

[figure 1 5, 4 3, 9 3, 13 2Lecture (rhythmée) – Vorlesung (rhythmisch) – Reading

(rhythmic)]

[figure 14 4Le rideau se lève. La musique (Batterie continue. Le décor

représente les bords d'un ruisseau. Le soldat entre en scène – Der Vorhang

öffnet sich. Andauernde Musik (Schlagwerk). Die Szenerie gibt das Ufer eines

Baches wieder. Der Soldat tritt auf. – The curtain rises. The music (Batterie)

continues. The scene shows the banks of a stream. Enter the Soldier.]

[figure 15 1Le soldat s'arrête – Der Soldat steht still – The soldier stops]

[Dialogues]

MUSIQUE DE LA 1 ère SCÈNE

MUSIK DER 1. SZENE

MUSIC TO SCENE I

Instruments: Tutti without Percussion (Clarinet and Cornet in A)

Crotchet = 100 (figure 61 up to figure 17 9)

Le soldat, accordant le violon: "On voit c'est du bon marché il faut tout le temps l'accorder" . . . – Der Soldat, die Geige stimmend: "Wertlose War', die niemand nimmt. Die Geige ist total verstimmt." – The soldier**, tuning the fiddle: ,,'Tis a cheap and gimerack thing, and out of tune in every string" . . .]

[figure 5 1Le rideau se baisse – Der Vorhang fällt – The curtain falls]

[figure 5 7Le rideau se lève – Vorhang auf – Curtain goes up]

[figure 7 1Le diable paraît – Der Teufel erscheint – The Devil appears)

[figure 11 1Le diable se cache – Der Teufel versteckt sich – The Devil hides

himself)

[figure 17 1Le diable s'approche du soldat par derrière – Der Teufel pirscht

sich von hinten an den Soldaten heran – The Devil approaches the Soldier

from behind)

[figure 17 6Le diable pose la main sur l'épaule du soldat – Im letzten Takte

legt der Teufel die Hand auf die Schulter des Soldaten, der erschrocken

auffährt – Here the Devil steps up to the Soldier who springs up in alarm]

MARCHE DU SOLDAT / Airs de marche

MARSCH DES SOLDATEN / Marschmelodien

THE SOLDIER'S MARCH / Marching-Tunes

Instruments: Tutti (Clarinet and Cornet in B)

Crotchet = 112 (99 bars* = figure 31 up to figure 15 4)

[Dialogues]

MUSIQUE DE LA 2 ème SCÈNE

MUSIK DER 2. SZENE

MUSIC TO SCENE II

Instruments: Clarinet, Bassoon, Cornet, Violin, Double Bass

La musique commence immédiatement après la phrase de la lecture: Et à présent qu'est-ce que je vais faire? répétée pour 3 ème fois – Die Musik beginnt unmittelbar nach der 3. Wiederholung der Worte: ,,Was soll ich jetzt tun? – The music begins immediately after the sentence in the reading: "And now I ask you, what am I do to? (repeated twice)

Lento Crotchet = 48 quaver = quaver (43 bars = figure 51 up to figure 5 10)

[Bühnen-Dialoge]

Musique de la fin de la 2 ème Scène – Schlußmusik der 2. Szene – Music for the close of Scene II

(9 bars figure 6 1up to the end of figure 6 10)

[figure 6 7Le rideau se baisse – Der Vorhang fällt – The curtain falls]

MUSIQUE DE LA 3 ème SCÈNE

MUSIK DER 3. SZENE

MUSIC TO SCENE III

Instruments: Bassoon, Trombone, Violin, Double Bass

Le Soldat jette de toutes ses forces le violon dans la coulisse, puis: – Der Soldat schmeißt die Geige in die Kulisse, hierauf: – The Soldier throws the fiddle with all his might into the wings, then:

Crotchet = 100 (32 bars without figures)

[bar 17 Le soldat déchire le livre – Der Soldat zerreißt das Buch – The Soldier

tears the book into pieces]

[bar 30 Le rideau tombe – Der Vorhang fällt – The curtain falls]

2 ème PARTIE / 2. Teil / Part II

MARCHE DU SOLDAT / Airs de marche

MARSCH DES SOLDATEN / Marschmelodien

THE SOLDIER'S MARCH / Marching-Tunes

Instruments: Tutti with rhythmically scanning speech

Crotchet = 112 (46 bars* + Repetition of the March + 27 bars = figure 31 up to figure 4 11+ Marschwiederholung + figure 5 1up to figure 9 3)

[figure 3 3, 5 1Lecture (rhythmée) – Vorlesung (rhythmisch) – Reading

(rhythmic) between end of figure 4 11and beginning of figure 5 [Le lecteur continue . . . li ne le sait pas luis même . . . etc. / . . . jusqu'a avec le sac en moins et les choses dedans. – Der Vorleser fährt fort . . . Ein kurzes Glück . . . etc. / . . . bis man hat den Sack – doch der ist leer. – The reader continues from . . . He does not know himself . . . etc. . . . until minus the sack and all it bore + La Musique de la Marche reprend.– Wiederholung des Marsches. – Repetition of the March]

MARCHE ROYALE

DER KÖNIGSMARSCH

THE ROYAL MARCH

Instruments: Tutti (Clarinet and Cornet in B)

Lecteur: Nouveau coup de poing: ,,ou je vais? ja vais chez le Roi!'' / Vorleser: "Zum König! Könnt Ihr denn noch fragen'' / Reader: New blews with the fist: “Where am I going? Going to see the King!”

Crotchet = 112 (139 bars = figure 91 up to figure 20 10)

[figure 14 1Le rideau se lève / Vorhang auf / The Curtain rises – On voit une

chambre du palais. Le diable en tenue de violoniste mondain. / Man sieht

einen Saal im Palast. Der Teufel steht als Geigenvirtuose verkleidet da. / On

sees a room in a palace. The Devil is there dressed as a Virtuoso Violonist

[figure 19 1Le rideau se baisse – Der Vorhang fällt – The curtain falls]

Le Soldat: Ah! c'est comme ça, Eh bien, tiens! . . . tiens . . . tiens . . . / Le Lecteur: Tu reprends ton bien. / Der Soldat: In die Gurgel diesen Resten / Der Vorleser: Wer zuletzt lacht, lacht am besten / The Soldier: That's right. There . . . ''tis down / The Reader: . . . take back your own

PETIT CONCERT

KLEINES KONZERT

THE LITTLE CONCERT

Instruments: Tutti (Clarinet and Cornet in A)

Crotchet = 120 (149 bars = figure 41 up to figure 29 7)

[figure 22 1 Lecture: Mademoiselle, à présent on peut le dire . . . / Vorlesung: Mein Fräulein mit dem Honigmund / Reading: Princess, you now may be quite reasured . . .

TROIS DANSES

DREI TÄNZE

THREE DANCES

TANGO

Instruments: Clarinet in A, Violin, Percussion

Crotchet = 80 about (59 bars = figure 51 up to figure 7 8)

[figure 1 5Le rideau se lève / Vorhang auf! / The curtain rises]

[figure 1 8Le soldat entre en scène / Der Soldat tritt auf / The soldier enters]

[figure 3 4La princesse se lève du lit / Die Prinzessin erhebt sich vom Lager /

The Princess rises from her couch]

[figure 4 1Elle danse / Sie tanzt / She begins to dance]

Poco più mosso Crotchet = 92-96 (14 bars = figure 8 1up to figure 9 8)

VALSE / WALZER / WALTZ

Instruments: Clarinet in A, Bassoon, Cornet in A, Violin, Double Bass

Quaver = crotchet = 184-192 (114 bars = figure 10 1up to figure 23 6)

RAGTIME

Instruments: Percussion, Violin, Double Bass

= Quaver° (93 bars = figure 24 1up to figure 37 12)

[figure 37 10Le rideau se baisse et se lève de nouveau / Der Vorhang fällt und

hebt sich wieder / The Curtain falls and then rises again]

DANSE DU DIABLE

TANZ DES TEUFELS

THE DEVIL'S DANCE

Instruments: Tutti (Clarinet and Cornet in B)

Allegro Crotchet = 138 (73 bars = figure 41 up to figure 10 12)

[after figure 10 12 Après cette danse où le Diable épuisé tombe à terre sur un

signe du Soldat, la Princesse prend le Diable par une patte et à eux deux ils le

traînent dans la coulisse. Ils reviennent au milieu de la scène et tombent dans

les bras l'un de l'autre sous les sons du ,,Petit Choral'' qui suit. / Mit Schluß

des Tanzes fällt der Teufel erschöpft zu Boden. Der Soldat nimmt die

Prinzessin bei der Hand. Man sieht, daß sie keine Furcht mehr hat. Dann, auf

ein Zeichen des Soldaten, packt sie den Teufel bei einer seiner Tatzen, und

zu zweien schleifen sie ihn hinter die Kulisse. Sie kommen wieder und fallen

sich inmitten der Bühne in die Arme. Einsatz des kleinen Chorals. / At the end

of this dance, when the Devil falls down exhausted, at a sign from the Scddier

the Princess takes the Devil by one paw, and between them they drag him off

the stage. They return, take up their position in the centre of the stage and fall

each other's arms to the strains of the "Little Choral" which follows.]

PETIT CHORAL

KLEINER CHORAL

THE LITTLE CHORAL

Instruments: Tutti without Percussion (Clarinet and Cornet in A)

[ Continuation (Enchaînez) without a pause]

Largo Crotchet = 54 (8 bars unnumbered)

[fefore bar 1 Embrassement / Umarmung / the embrace]

COUPLET DU DIABLE

DES TEUFELS LIED

THE DEVIL'S SONG

Instruments: Tutti without Clarinet and Bassoon (Cornet in B) with rhythmically

scanning speech

Crotchet = 120-126 (39 bars unnumbered)

[after bar 39 Le Diable disparaît. Le Soldat et pa princesse se tiennent

toujours embrassés / Der Teufel verschwindet. Soldat und Prinzessin halten sich noch immer umschlungen / The Devil disappears. The Soldier and the Princess are still ambraced]

GRAND CHORAL

GROSSER CHORAL

GREAT CHORAL

Instruments: Tutti without Percussion (Clarinet and Cornet in A)

[before bar 1 note: Les parties lues sont intercalées entre les reprises du

Choral / Die Vorlesung wird durch Wiederholungen des Chorals unterbrochen

/ The reading is interrupted by repetitions of the Choral]

Largo Crotchet = 54 (29 bars = figure 41 up to figure 4 9)

[figure 1 1"Man soll zu dem, was man besitzt, nicht das Besessne fügen

wollen."]

[figure 2 2Un bonheur est tout le bonheur, deux, c'est comme s'ils n'existstent

plus / ,,Drum sei der Augenblick genützt. Das größte Glück gerät ins Rollen''

/ But one joy at a time, two cancel one another]

[figure 3 1,,Rufst du ein zweites dir herzu, verlassen beide dich im Nu'']

[bar 3 7raconte moi, raconte moi un peu de toi / ,,Nun hab' ich alles . . . von

deiner Seele!'' / About your past, I'd like to hear]

[bar 4 5loin, bien loin, et j'ai oublié le chemin / ,,Es war einmal . . . geblieben sein?'' / Mother dwelt in a villagecot, the road to which I've quite forgot]

MARCHE TRIOMPHALE DU DIABLE

TRIUMPHMARSCH DES TEUFELS

TRIUMPHAL MARCH OF THE DEVIL

Instruments: Tutti (Clarinet and Cornet in B)

Crotchet = 112 (29 bars =[figure 31 up to[figure 7 13)

[Figure 17 1Le rideau tombe lentement / Der Vorhang fällt langsam / The curtain falls slowly]

° No further indication.

* The total number of bars cannot be stated exactly, as it is up to the director as to how long he has the soldiers, who appear at figure 14 4, march (on the spot) for; the score contains, at the 4th bar, 6 bars with fermate lunga ad lib.

** D ifferent capitalisation original.

b) Concert Suite

I

Marche du Soldat

Crotchet = 112 (90 bars)

II

Le Violon du Soldat

Crotchet = 100 (106 bars)

III

Marche royale

Crotchet = 112 (140 bars)

IV

Petit concert

Crotchet = 120 (148 bars)

V

Trois Danses

TANGO.

Crotchet = 80 environ (59 bars)

Poco più mosso Crotchet = 92-96 (14 bars)

VALSE.

Crotchet = 184-192 (111 bars)

RAGTIME.

Crotchet = Quaver (93 bars)

VI

Danse du Diable

Allegro Crotchet = 138 (73 bars)

VII

Choral

Largo Crotchet = 54 (32 bars)

VIII

Marche triomphale du Diable

Crotchet = 112 (114 bars)

c) Trio

I

The Soldier’s March

II

The Soldier’s Violin

III

The Little Concert

IV

Tango, Waltz, Ragtime

V

The Devil’s Dance

Style: The speaker is not just a story-teller but also announces, reads and reports, admonishes and draws morals. He gets involved in the action (office scene), moves the action forward (court scene) and even intrudes in it (card game scene). Almost every scene has a different structure. It seems that Strawinksy sought to avoid formal repetitions or at least to restrict them to a minimum. There is a close relationship between words and music. The music helps to clarify situations and by repetition of musical motifs and echoes sets free associations of action even where there is a standstill, but does not express contextual meanings confined to language. Whether the corresponding and all-inclusive motifs are meant to awaken pictorial associations must remain an open question. The same applies to the choice of the three dances which in those days would have served as a societal factor helping to determine the degree of education of the soldier and the state of mind of the Princess. All three dances carry sexual-erotic connotations: The waltz, being the first dance where man and woman (the latter usually fashionably wearing a low-necked dress) were allowed to touch and the man moreover to embrace his dance-partner; the tango came into fashion in Europe around 1910/11 but originated in Argentina; it was officially declared immoral and notorious, as it permitted the lower parts of the body of the partners to touch and finally, the ragtime, whose origin was seen in the folklore of the black people and which through Strawinsky was first introduced to classical, meaning artfully composed, music. Here, rhythm is frequently detached from the melodic line. Strawinsky wrote a number of rhythmic models consisting of quavers and semiquavers which - like isorhythmic miniatures - keep recurring and may be easily joined together or combined in other way because of their simple structure. These rhythmic figures, exchangeable as they are, may be superimposed on the most varied melodic models. Therefore, not one rhythm in this piece of music is related to a specific melody and vice versa. But in the ‘Kleines Konzert’ for example, Strawinsky lets several rhythmic models be sounded at the same time without their losing their independence as intact rhythmic figures. – In Strawinsky literature the ragtime element in his music has popularised the notion that he was greatly influenced by jazz music. The composer himself did not think so and stylistic and historic analysis underpins his statement. What fascinated him about ragtime (which incidentally he did not identify with jazz) was merely the phenomenon of syncopation which he carried into almost all of his compositions. The introductory soldier’s march for example may be fitted to the A - B - A1 form plus coda only with decided reservations. Similar reservations are called for regarding the riverside music of the first scene, which does not really fit the scholastic pattern of A - B - A1 plus coda, whereby the musical linking phrases leading to the following section are part of Strawinsky’s principle of avoiding traditional formal associations and concentrating on elements of form; the pastoral music of the 2 ndscene is in two parts with widely spread correspondences within the 43 bars; the music of the third scene consists of a shortened and in parts slightly varied repetition of the musical material of the first, because the soldier marching here is no longer the man of the first scene who still had hopes of returning home; the king’s march with the conspicuous fanfares is in the form of a rondo A - B - A1 - C - A2. The march is not a grotesque but is stylistically made to fit in with the whole. The seriousness of the tale of the soldier does not permit parodistic elements and any form of critical attitude or interpretation of society would have run counter to Strawinksy’s idea of art. The ‘Kleine Konzert’ is structured like an arch or vault and follows a retrograde motion in five parts with a separate central point in each section A - B - C - B1 - A1; the three dances, tango (A - B - A1 - B + C), waltz (A - B - A1 - C) and ragtime (A - B - A1 - B1 - A) are developed from the specific features of their kind and are played on the violin by the soldier to changing accompaniment. They do not form a suite in the strict sense, with three independent pieces following one upon the other, but a compositional whole with increasing intensity towards a fortissimo ending in the ragtime. That is why they blend one into the other and are not individually numbered but arranged in continuous numbering whereby a kind of transitional grouping and re-grouping of instruments prepares the following dance. All dances are subject to specific ordering by means of bar notation, an order broken up again and again by intentional rearranging on the part of the composer. Individual bars are developed as variations of previous ones, joined to make up chains of variations, whole complexes are rearranged and repeated, as it were, verbatim; the dance of the devil does not follow any formal plan but is represented by a four-part serial movement extending beyond the numbered passages including widely-spread recurrences of sections of the ‘Kleine Konzert’. Moreover, part III is worked out as a permutation of part I. Part I therefore is the only original section of the composition, which, together with part II is developed from a toccata-like construct of interchanging chords over a driving rhythm, the connection of which is broken in parts II and IV. The devil now dances to the tune of the soldier who once played the ‘Kleine Konzert’ and is now again calling the tune. The devil. growing exhausted, dances one last repetitive pattern; the few bars of the small chorale reduces the sound to that of a travelling actors’ show. The devil has been driven away, the lovers are in each other’s arms and the chorale expresses gratitude. Neither chorale in the work is meant as a parody. Rather, Strawinsky composed in the style of the brass section which he preferred at the time and fitted the small scene to the other numbers of his stage play. The structure becomes recognisable as Luther’s ‘Ein feste Burg ist unser Gott’; the devil’s couplet at times runs in two parts without numbering, with two independent fanfare-bars acting as axis and turning point at the centre above a monotonous, repeated triad in the strings. The term ‘couplet’ was neither used by Strawinsky in the modern sense of a cabaret song nor in the older one of cheerful operetta with a witty refrain, but is meant as an interim as it was in Lully’s time, but here used to lead from one chorale to the other. Since the devil has no ear for music, he cannot sing; as he was duped, anger had made him lose his power of speech. All that is left is a pressed, violent, isorhythmic form of speech consisting of threats with interspersed instrumental references to the march of the soldier. The couplet ends with a vengeful gargling sound which the French original [ro-ti-(rr)ra] and the English translation [r(rr)oasts!] transport more effectively than the German [auf der Stell’]; the great chorale is based on the traditional four-part choral mode but set in scene as a melodramatic preparatory piece ushering in the catastrophe; the final triumphant march of the devil is divided into three parts, whereby parts two and three are not developed independently but as reduced reprises of part one within the meaning of a formal pattern (A - A1 - A2). The march tune harks back to the introductory march, but is in retrograde motion thus ending with a dissolution of musical sound into disharmonious noise, where in the beginning it had developed into musical harmony from noise.

Dedication: À Werner Reinhart [To Werner Reinhart].

Duration: Stage version: according to the directorial concept about 35’ until 1 hour; Concert Suite: 23’32“; Trio: about 25’.

Date of origin: Stage version: Morges February [April] until September [using earlier sketchbooks begun for other works left incompleted dating back to 1915] 1918; Trio: Morges November 1918 until to autumn 1919; Concert Suite: finished 1st December 1918.

First performance: Original version: Saturday, 28th September 1918, Théâtre de Lausanne with Elie Gagnebin (Speaker), Gabriel Rosset (Soldier), Jean Villard (Devil = speaking part), Georges Pitoéff (Devil = p laying and dancing role), Ludmila Pitoéff (Princess), Fernand Closset (Violin), Fricke (Double Bass), Edmond Allegra (Clarinet), de Boir (Bassoon), Schöldlin (Cornet à pistons), Miene (Trombone), Jacobi (Percussion); Stage design and costumes: René Auberjonois, conducted by Ernest Ansermet; Printed version as the first German performance: 20th June 1923 in Frankfurt am Main, among others with Carl Ebert (Speaker), Paul Hindemith (Violin), Stage design and costumes: René Auberjonois; Conductor: Hermann Scherchen; Concert version (Suite): Tuesday, 20th June 1920, London, Wigmore Hall, conducted by Ernest Ansermet; Trio: 8th November 1919, Lausanne, Conservatorium, with José Porta (Violin), Edmond Allegra (Clarinet) and José Iturbi (Piano).

Remarks: Soldier’s Tale is Strawinsky’s first composition where the construction and the commission of the work are independent of each other and therefore the interchangeability between music and plot can be demonstrated. In one of his essays, Robert Craft noted that numerous sketches stem from a time of Strawinksy’s life where the theatre project had not been anticipated, they were written down but not completed, for anticipated other works which for some reason could not be executed. Included are specific sections which later contributed to the success of ‘Soldier’s Tale’. The earliest sketches date back to 1915, but most of them were composed in 1916. The piece (Études et Cadences) was planned around the end of 1915 or the beginning of 1916 but never realised. One of its motifs was inserted into the music for scene one two bars before fig. 6 and two bars before fig. 9. The greatest part of the music for the second scene was sketched 1916. Some of it already had its final form. The history of ‘Soldier’s Tale’ is moreover connected with the abandoned Rubinstein project, music that was to re-create André Gide’s ‘Antonius and Cleopatra’ (after Shakespeare’s Play). Strawinsky had worked on this dedicatedly from June through to December 1917. When the project failed due to exorbitant financial demands, he left the music already composed by 1917, including fanfares, marches and dance tunes to be included later in ‘Soldier’s Tale’. Central melodic elements of the work as it is known today were part of this material, such for example a central motif from the soldier’s march which was developed from an oriental dance originally set for three trumpets, military drums and great drum. Russian folk tunes were also included. The musical theme at fig. 11 of the music written for the first scene is taken from a rather popular Russian folk tune. The coda of the tango was composed on 16th March, the ‘Petit Concert’ on 10th August, the triumphal march of the devil on 26th August and the devil’s couplet in September 1918. The small chorale was probably the last piece to be composed. The new stage work’s development was adventurous enough. The war had destroyed the existence of many artists now isolated in Switzerland. The circles of Ansermet, Ramuz, Auberjonois and Strawinsky therefore joined in planning a travelling stage play with a miniature ensemble and a much reduced orchestra. It was intended to travel from place to place with a show, to earn money. Originally, only one violin was to be used. The project grew at first, then threatened to collapse for lack of funding (and due to exorbitant costs). When the problems culminated, Werner Reinhart stepped in. Still, there was only one performance in all, since all members of the ensemble came down with influenza. Strawinsky recomposed the piece and in its final version it was premièred by Scherchen in Frankfurt on 20th June 1923. From this day onward ‘Soldier’s Tale’ began its victorious travels first through Germany, where the philosophical background of the action met with particular interest, but also raised a strong polemical reaction. Strawinsky preferred Reinhart’s poetical re-telling of the stage play to Ramuz’ original. – The piece, published in 1924, does not correspond to the original piece with a very few exceptions. Immediately after its first performance Strawinksy began extensive corrections, a process that was to take more than five years, hardly left a single bar of the original score in place and which resulted not only in changes to the orchestration but partly also to the composition itself, which permits us to speak of a re-composition. Only the river bank scene and the tango remained as in the original, as Robert Craft is able to show in his own study of the piece.

Significance: Soldier’s Tale is regarded as one of the central works of the century. It laid the foundations for what was later to be called New Music Theatre, as it would no longer be fitted into traditional categories or descriptive terms. Moreover, it ran counter to any previous concept of expression in music. Whoever wished to approach music history with traded down terms of style or school called this new musical form - its highly complex interior structure notwithstanding - by the name of neo-primitivism, thus creating a new compositional category.

Versions: The world première version of ‘Soldier’s Tale’ never appeared in print. As regards successive performances, Strawinsky corrected essential aspects of the composition and transferred these to the fragmentary concert version, from which he extrapolated a suite for violin and piano which later became a suite for clarinet, violin and piano. This piano trio appeared at J. W. Chester publishers in 1920 and was the first printed edition of the piece. The editors published a set of orchestral parts which did not survive in any of the large libraries of the world, followed by piano reduction and a full conducting score, and, in 1925 a pocket score. The subsequent editions differ on occasion by the subdivisions of the generously included trilingual interior title leaf. None of these French/German editions contained the complete libretto, merely the subtitles and brief cues. The complete literary text by Ramuz in connection with the score and an English translation by Michael Flanders and Kitty Black of 1955 appeared only in 1987 after Strawinsky’s death as an authorised, revised copy (John Carewe, ed.). The unauthorised reprints put on the market by Marks in New York also included the ‘Devil’s Dance’. The recording no. 11504-3 appeared in 1941 in the Caleidoscope Edition with a version of the Devil’s Dance for piano solo. Arranged by Gregory Stone, the piece is one of fifteen others combined in the same year in a selection of piano pieces by Strawinsky (Contemporary Masterpieces/Album No. 9/Igor Strawinsky/Selected Compositions for Piano) by Marks. The Devil’s Dance appears as No. 8 (p. 41 f.) – In the context of the Orchestral Studies Edition prepared by Alphonse Leduc (Répértoire du Conservatoire National de Paris) under the auspices of the Paris Conservatory with the permission of the original publishers in 1943 containing particularly difficult orchestral passages (traits difficiles) an excerpt for bassoon from ‘Soldier’s Tale’ is included.

Historical recordings: Paris 1932 (Marcel Darrieux: Violin; Boussagol*: Double Bass; Emile Godeau: Clarinet; Gustave Dherin: Bassoon; Eugène Foveau: Trumpet; Raphaël Delbos: Trombone; Jean Paul Morel: Percussion) under the direction of Igor Strawinsky (Suite); New York 27th January 1954 (David Oppenheim: Clarinet; Loren Glickman: Bassoon; Robert Nagel: Trumpet; Erwin Price: Trombone; Alfred Howard: Percussion; Alexander Schneider: Violin; Julius Levine: Double Bass) under the direction of Igor Strawinsky; 1960 with Jacques Toja (Soldier), Robert Manuel (Devil), Serge Baudo (sound effects), Jean Davy, François Vibert and the Columbia Chamber Ensemble under the direction of Igor Strawinsky; Hollywood 10.-13. October 1961 with members of the Columbia Chamber Ensemble (Roy d'Antonio: Clarinet; Don Christlieb: Bassoon; Charles Brady: Trumpet; Robert Marsteller: Trombone; William Kraft: Percussion; Israel Baker: Violin; Richard Kelly: Double Bass) under the direction of Igor Strawinsky (Suite).

* stage name of Alphonse-Joseph Delmas.

CD-Edition: I-3/6-14 (Recording Suite 1961).

Autograph: The manuscript score was bequeathed to Werner Reinhart who donated it to the Rychenberg Foundation in Winterthur, where it is kept today in the town library under sig dep RS 75, 1918. The autograph of the trio version is also in the collection of the Town Library of Winterthur (signature dep RS 76).

Copyright: 1924 by J. & W. Chester.

Editions

a) Overview

29-1 1920 Trio; Chester London; 28 pp.; J. W. C. 222.

    29-1Straw ibd. [with annotations].

29-2 (1924) FuSc; Chester London; 60 pp.; J.W.C. 44.

    29-2 Straw ibd. [with annotations].

29-2St [1924] set of parts [unidentified].

29-3 (1924) Piano [Strawinsky]; Chester London; 50 pp.; J. & W. C. 2080.

    29-3Straw ibd..

29-4 1924 VoSc; f-e-d; Chester London; 61 pp.; J. & W. C. 9712.

    29-4 Straw ibd..

29-5 (1925) PoSc; Philharmonia Wien; 68 pp.; W.Ph.V. 294 J.W.C. 44 b<; 294.

29-6 [1925] PoSc; Chester London; 68 pp.; W.Ph.V. 294 J.W.C. 44 b<; 294.

    29-6Straw ibd..

29-7 1929 Valse Piano; Chester London; 3 pp.; J. & W. C. (2181).

29-8 1929 Valse Piano; Neues Klavierbuch III; Schott Mainz; 2 pp.; 32272.

29-9 1941 Teufelstanz Piano (Stone); Marks New York; 5 pp. 4°; 11504-3; 11504 [unidentified].

29-9Alb 1941 Teufelstanz Piano (Stone); Marks New York; 3 pp.

29-10 1943 Study for orchestra Bassoon (Dhèrin); Leduc Paris; A. L. 20,262.

29-11 [63] [1963] Trio; Chester-Hansen; 28 pp.; J.W.C. 222.

29-14 [1971] Trio; International Music Company New York; 28 pp.; – ; 1548.

b) Characteristics identifications

29-1 CHESTER / LIBRARY / IGOR STRAWINSKY / SUITE DE / L’HISTOIRE DU SOLDAT / CLARINETTE, VIOLON ET PIANO / [+] / PRICE 20/– (Fr. 30.–) NET / J. & W. CHESTER L TD // IGOR STRAWINSKY/ Suite / de / l'Histoire du Soldat / pour / Clarinette, Violon et Piano / (arrangée par l'auteur) / Marche du Soldat° / Le violon du Soldat° / Petit concert° / Tango, Valse, Rag° / La danse du Diable° / J. & W. CHESTER, LTD. [#***] SEULS DEPOSITAIRES POUR LA FRANCE°° / LONDON:° [#***] ROUART, LEROLLE & C IE°°/ 11 GREAT MARLBOROUGH STREET, W.-1° [#***] 29 RUE D'ASTORG, PARIS°° / GENÈVE:° [#] SEULS DEPOSITAIRES POUR LA BELGIQUE°° / 9-11 PLACE DE LA FUSTERIE° [#] / Déposé selon les traités internationaux° [#***] MAISON CHESTER°° / Propriété pour tous les pays – Tous droits de traduction de° [#] / reproduction et d'arrangement réservés° [#] 86 RUE DE LA MONTAGNE, BRUXELLES°° / [°°°] / Engraved and printed by Breitkopf & Härtel, Leipzig // (Edition for trio [library binding] 26.4 x 32.6 (2° [4°]) with enclosed violin and clarinet part; movement titles and titles French; 28 [27] pages + 4 cover pages thin cardboard black on orange beige cloudy structure [ornamental front cover title in full-page Chester Lyre surrounded by a coat of arms, 3 empty pages] + 1 page front matter [title page] without back matter + 13 [12] pages violin part [title >Violon. / Suite / de l’Histoire du Soldat / pour Clarinette, Violon et Piano / (arrangée par l’auteur) Dédiée à Monsieur Werner Reinhart. / I. Marche du Soldat.< + 3 empty pages as back matter] + 9 [8] pages clarinet part [title >Clarinette. / Suite / de l’Histoire du Soldat / pour Clarinette, Violon et Piano / (arrangée par l’auteur) Dédiée à Monsieur Werner Reinhart. / I. Marche du Soldat. / Printed in England****< with 1 empty page as back matter]; part names >Violon < and >Clarinette.< between dedication and movement title; title head >Suite / de l’Histoire du Soldat / pour Clarinette, Violon et Piano / (arrangée par l’auteur)<; dedication below title head centre italic > Dédiée à Monsieur Werner Reinhart. <; author specified 1st page of the score paginated p. 2 below movement title >I. Marche du Soldat.< flush right centred >Igor Strawinsky. / 1918.<; legal reservations 1st page of the score below type area flush left >Copyright 1920 by J. & W. Chester, Ltd.< flush right centred partly in italics >Tous droits réservés. / All rights reserved. <; plate number score >J. W. C. 222 (P o )< violin part >J. W. C. 222 (Viol.)< clarinet part >J. W. C. 222 (Clar.)<; production indication [exclusively:] score p. 28 flush right as end mark in a text box contained >B. & H.<) // (1920)

+ Dividing horizontal line of 1.8 cm.

° Printed left.

°° Printed right.

°°° Dividing horizontal line of 2.7 cm.

* Asterisk original.

** Printed flush left.

*** Dividing vertical line, spanning six lines .

**** Production indication only on the cover of the clarinet part.

29-1Straw

Strawinsky’s copy of his estate is at the top of the front cover title outside the frame right >Igor Strawinsky / Carantic 1921< signed and dated.

29-2 CHESTER / LIBRARY / IGOR STRAWINSKY / HISTOIRE DU SOLDAT / [+] / PARTITION D'ORCHESTRE / [+] / PRICE 63/- NET. / J. & W. CHESTER L TD// IGOR STRAWINSKY / [°] / HISTOIRE DU SOLDAT / LUE, JOUÉ ET DANSÉE / EN DEUX PARTIES / TEXTE DE / C. F. RAMUZ. / [°°] / MATÉRIEL D'ORCHESTRE EN LOCATION. / [°°°] / J. & W. CHESTER, Ltd., / 11. Great Marlborough Street, London, W. 1. // (Full score* [library binding] 27 x 37.2 (2°); 60 [60] pages + 4 pages cardboard black on brown-grey [ornamental front cover title with Chester Lyre, 3 empty pages] + 8 pages front matter [title page, empty page, page with dedication italic > À WERNER REINHART <, page with legal reservations French-English-German centre italic > Tous droits d’exécution, de traduction, de reproduction et d’arrange- / ments réservés. / La possession de cette partition ne donne aucun droit de / représentation, de location ou de vente-conformément à la loi, ce droit / reste réservé à l’auteur ou à ses représentants. Pour traiter des / représentations, de la location de la partition et des parties d’orchestre, / etc., s’adresser à J. & W. Chester, Ltd., Éditeurs-Propriétaires pour tous / pays, 11, Great Marlborough Street, Londres, W. 1. La copie des parties / d’orchestre de cette œuvre est interdite et sera poursuivie comme / contrefaçon. / [#] / All rights reserved under International Copyright Laws. / The possession of this Score does not give any rights, either of / performance, hire, or sale, all such rights belonging to the Author or his / representatives. All arrangements as to performance, hire of material, / etc., must be made with the publishers, J. & W. Chester, Ltd., 11, Great / Marlborough Street, London, W. 1. Any person or persons making / unauthorised copies or duplicates of Score or Parts of this work, or any / portion thereof, render themselves liable to heavy damages. / [#] / Alle Rechte der Aufführung, der Übersetzung, der Reproduktion and / Einrichtung vorbehalten. / Der Besitz des Klavierauszuges gibt gesetzlich weder zu / Aufführungen, noch zum Verkauf, noch zur Vermietung die Befugnis. / Diese Rechte bleiben einzig dem Autor and seinen Rechtsnachfolgern / vorbehalten. Das Aufführungsrecht kann nur durch die Firma, J. &. W. / Chester, Ltd., Verleger für alle Länder, 11, Great Marlborough Street, London, W. 1, erworben werden. / Abschrift des Orchestermaterias ist verboten and wird gerichtlich / verfolgt. < (world) premiere data French, empty page, page with legends >COMPOSITION DE L'ORCHESTRE.< + >DISPOSITION DE L'ORCHESTRE.< + >DISPOSITION DES INSTRUMENTS À PERCUSSION / DANS LEUR JEU D'ENSEMBLE.<, empty page,] + 2 pages back matter [empty pages]; title head >HISTOIRE DU SOLDAT<; authors specified 1st page of the score unpaginated [p. 1] below movement title >MARCHE DU SOLDAT / (“AIIRS DR MARCHE<” flush left centred >Texte de / C. F. Ramuz< flush right centred >Musique de / IGOR STRAWINSKY<; legal reservation 1st page of the score below type area flush left >MCMXXIV by J. & W. Chester Ltd.<; plate number >J. W. C. 44<; marked sheet below type area flush left from B to J (>B< [p. 1], >C< p. 9, >D< p. 17, >E< p. 25, >F< p. 33, >G< p. 41, >H< p. 49, >J< p. 57); end of score dated p. 60 italic > Morges 1918 <; without production indication; without end mark) // (1924)

29-2Straw

29-2St Set of parts // [1924] // J.W.C. 44a [unidentified].

29-3 IGOR STRAWINSKY / GRANDE SUITE / DE / L'HISTOIRE DU SOLDAT / LONDON: / J.& W. CHESTER, LTD., / 11, GREAT MARLBOROUGH STREET, W. 1. // IGOR STRAWINSKY / 1918 / [°] / GRANDE SUITE / DE / L'histoire du Soldat / ARRANGEMENT POUR PIANO PAR L'AUTEUR / [°°] / Prix 10s. (Fr. 15.00) net. / [°°] / J. & W. CHESTER, LTD., / LONDON: 11, GREAT MARLBOROUGH STREET, W.-1. / Déposé selon les traités internationaux. [#] Propriété pour tous les pays. / Tous droits de traduction, de reproduction, et d'arrangement réservés. / Seuls Dépositaires pour la France: [#] Seuls Dépositaires pour la Belgique: / ROUART, LEROLLE ET CIE., [#] MAISON CHESTER, / 29, RUE D'ASTORG, PARIS. [#] 86, RUE DE LA MONTAGNE, BRUXELLES. / [°°°] / Engraved and Printed in England. / Copyright MCMXXII., by J. & W. Chester, Ltd. // (Reduction for piano sewn 24 x 30,5 (4° [4°]); 50 [50] pages + 4 cover pages thicker paper black on hellbeige [front cover title, 3 empty pages] + 4 pages front matter [title page, empty page, index with >TABLE< French, empty page] + 2 pages back matter [2 empty pages]; title head >HISTOIRE DU SOLDAT / GRANDE SUITE<; author specified 1st page of the score paginated p. 1 below movement title in Roman numerals [without dot] >I / Marche du Soldat< flush right centred >IGOR STRAWINSKY / 1918<; legal reservation 1st page of the score below type area flush left >Copyright 1922 by J. & W. Chester. Ltd.< flush right >Tous droits réservés<; plate number >J. & W. C. 2080<; without marked sheet; end of score dated p. 50 italic > Morges, 1918. <; without end mark) // (1922)

° Double dividing horizontal line of 6.5 cm.

°° Dividing horizontal line of 6.5 cm.

°°° Dividing horizontal line of 3.2 cm.

29-3Straw

Strawinsyk’s copy of his estate is on the front cover page below name right centred >I Strawinsky / Nov. I922 / Biarritz< black signed and dated.

29-4 IGOR STRAVINSKY / HISTOIRE DU SOLDAT / J. & W. CHESTER LTD., LONDON // IGOR STRAVINSKY / [°] / HISTOIRE DU SOLDAT / LUE, JOUÉE ET DANSÉE / EN DEUX PARTIOES / TEXTE DE / C. F. RAMUZ. / [°°] / MATÉRIEL D’ORCHESTRE EN LOCATION / [°°°] / J. & W. CHESTER LTD., Eagle Court, London, E.C.I / LONDON // (Vocal score sewn 0.6 x 26.,1 x 36.,7 [spine without text] ([gr. 4°]); 60 [60] pages + 4 cover pages black on beige [front cover title, 3 empty pages] + 4 pages front matter [title page, Uraufführungsangaben, legend >COMPOSITION DE L’ORCHESTRE< + arrangement of the orchestra >DISPOSITION DE L’ORCHESTRE< + >DISPOSITION DES INSTRUMENTS À PERCUSSION / DANS LEUR JEU D’ENSEMBLE<, empty page] without back matter; title head >HISTOIRE DU SOLDAT<; author specified 1st page of the score unpaginated [p. 1] below movement title >MARCHE DU SOLDAT< flush right centred >Musique de / IGOR STRAVINSKY< flush left >Text de / C. F. RAMUZ<; legal reservation 1st page of the score below type area flush left >Copyright MCMXXIV by J. & W. Chester Ltd. < flush right >All rights reserved<; plate number >J. W. C. 44<; end of score dated p. 60 italic > Morges, 1918 .<; production indication 1st page of the score below legal reservation flush right >Printed in England< p. 60 between plate number and end of score dated >Lowe and Brydone (Printers) Limited, London<; without end marks) // [1924].

° Double dividing horizontal line of 5 cm.

°° Dividing horizontal line of 5.9 cm.

°°° Dividing horizontal line of 6.,2 cm.

29-4Straw

Strawinsyk’s copy of his estate is on the front cover page at the top of the page right >Igor Strawinsky / 21 Août I924< signed and dated. It is without corrections.

29-5 PHILHARMONIA / PARTITUREN · SCORES · PARTITIONS / STRAWINSKY / L'HISTOIRE DU SOLDAT / DIE GESCHICHTE VOM SOLDATEN / THE SOLDIER'S TALE / No. 294 / WIENER PHILHARMONISCHER VERLAG / [vignette] // PHILHARMONIA / PARTITUREN · SCORES · PARTITIONS / [°] / À Werner Reinhart / IGOR STRAWINSKY / HISTOIRE DU SOLDAT / Lue, jouée et dansée . . . Texte de C. F. RAMUZ / GESCHICHTE VOM SOLDATEN / THE SOLDIER'S TALE / Deutsche Übertragung von Hans Reinhart / English version by Rosa Newmarch / [vignette] / Eigentum des Verlages / J. & W. CHESTER, LTD., LONDON / und mit dessen Genehmigung in die / „PHILHARMONIA“-Partiturensammlung aufgenommen / [asterisk] / Copyright 1924 by J. & W. CHESTER, Ltd. / Aufführungsrecht vorbehalten – Performing rights reserved – Droits d'exécution réservés / No. 294 / [°] / WIENER PHILHARMONISCHER VERLAG A. G. / WIEN 1925 // [text on spine:] >No. 294 STRAWINSKY L’HISTOIRE DU SOLDAT< // (Pocket score sewn 13,5 x 18,5 (8° [kl. 8°/8°]); speaking texts French-German-English; 68 [68] pages + 4 cover pages black on grey [front cover title in a decorative circular ornamental frame width 2 cm, with a circular vignette ø 1.7 cm of plucked instruments and a stylized face as the middle point in a rounded, centred triangular frame like a coat of arms 3x3 at the centre of the ornament at the bottom, and the initials >W< >PH< >V< arranged at the points of a star , page with publisher’s advertisements >PHILHARMONIA / TASCHEN-PARTITUREN / MINIATURE SCORES /°° PARTITIONS DE POCHE <* without production date, page with publisher’s advertisements >PHILHARMONIA / TASCHEN - PARTITUREN / MINIATURE SCORES /°° PARTITIONS DE POCHE <** without production date, page with publisher’s advertisements >PHILHARMONIA / TASCHEN-PARTITUREN / MINIATURE SCORES /°° PARTITIONS DE POCHE <*** without production date] + [10] 8 pages front matter [empty page, picture page >Le Diable < signed >René A< with picture caption flush right italic > René Auberjonois fec. <, title page with centre centred circular vignette ø 2 cm of plucked instruments and a stylized face as the middle point, legends French-German-English-Italian >Disposition de l’orchestre< >Anordnung des Orchesters< / >Arrangement of the orchestra< >Distribuzione dell’orchestra< + French-German-English-Italian >Disposition des instruments à percussion< >Anordnung des Schlagwerkes< / >Arrangement of the percussion instruments< / >Distribuzione degl’istrumenti a percussione< + legal reservations French-German-English >Tous droits d’exécution, de traduction, de reproduction et d’arrangements réservés. Pour traiter des / représentations, de la location de la partition et des parties d’orchestre etc., s’adresser à J. & W. Chester / Ltd., 11, Great Marlborough Street, Londres, W. 1.< / >Alle Aufführungs-, Übersetzungsrechte usw. vorbehalten. Das Aufführungsrecht kann nur durch die / Firma J. & W. Chester, Ltd., 11, Great Marlborough Street, London, W. 1, erworben werden.< / >All rights reserved under International Copyright Laws. All arrangements as to performance, hire / of material, etc., must be made with the publishers, J. & W. Chester, Ltd., 11, Great Marlborough Street, London, W. 1.<, 3 [2 ½] pages introductory text in three columns German-English-French without author specified and without headline****, 3 pages legend in four columns oblong [1/3 page] French-German-English-Italian >Composition de l’orchestre< >Orchesterbesetzung< >The Orchestra< >Orchestre< with notes on performance French-German-English-Italian >Notes< >Anmerkungen< >Notes< >Annotazioni<] without back matter; title head >HISTOIRE DU SOLDAT / GESCHICHTE VOM SOLDATEN /°° THE SOLDIER’S TALE<; author specified 1st page of the score paginated p. 1 below movement titleen flush right centred >Igor Strawinsky / (* 1882)<; legal reservations 1st page of the score below type area flush left italic > Copyright 1924 by J. & W. Chester Ltd. < flush right partly in italics >Droits d'exécution réservés / Aufführungsrecht vorbehalten / Performing rights strictly reserved < ; plate numbers [text:] >W.Ph.V. 294< [notes:] >W.Ph.V. 294 J.W.C. 44 b<; note 1st page of the score between legal reservation and plate number centre >In die „Philharmonia“ Partiturensammlung aufgenommen<; end of score dated italic p. 68 > Morges, 1918 <; without end mark) // (1925)

° Dividing horizontal line of 8.8 cm, i.e., text width, centrally thickening to 0.1 cm.

°° Slash original.

* Compositions are advertised in two columns with edition numbers from >J. S. BACH< to >FLOTOW<; Strawinsky not mentioned.

** Compositions are advertised in two columns with edition numbers from >HAYDN< to >RIMSKY-KORSAKOW<; Strawinsky not mentioned.

*** Compositions are advertised in two columns with edition numbers from >ROSSINI< to >WEBER<, amongst these >STRAWINSKY / 291 Ragtime / 292 Berceuses du chat (in Vorb.) / 293 Pribautki (in Vorb.)<. Below the advert is centre centred the production indication >Gesellschaft für graphische Industrie, Wien VI.<.

**** With Strawinsky’s incorrect date of birth >geb. 23. Mai 1882<.

29-6 MINIATURE SCORE. / CHESTER / LIBRARY / IGOR STRAWINSKY / HISTOIRE DU SOLDAT / PRICE 4/°- NET / J. & W. CHESTER LTD / LONDON: 11, GREAT MARLBOROUGH STREET, W. 1. // IGOR STRAWINSKY / [°°] / HISTOIRE DU SOLDAT / LUE, JOUÉE ET DANSÉE / EN DEUX PARTIES / TEXTE DE C. F. RAMUZ / Deutsche Übertragung von [#] English version by / HANS REINHART [#] ROSA NEWMARCH / [°°°] / J. & W. CHESTER LTD. / LONDON: 11, GREAT MARLBOROUGH STREET, LONDON, W. 1 / Printed in Austria // (Pocket score [library binding] 13.7 x 19.2 (8° [8°]); speaking texts French-German-English; 68 [68] pages + 4 cover pages black on reddish-beige [laid out front cover title in Chester-Lyra, 2 empty pages, page with publisher’s advertisements >Handbook of Miniature / Orchestral and Chamber / MUSIC SCORES<] without production date] + 10 pages front matter [empty page, image page 9.8 x 12.7 >Le Diable< signed >René A< with picture caption flush right italic >René Auberjonois fec.<, title page, Arrangement of the orchestra >Disposition de l’orchestre* /° Anordnung des Orchesters* / Arrangement of the orchestra* /° Distribuzione dell’orchestra*< French-German-English-Italian + Arrangement of the percussion instruments >Disposition des instruments à percussion* /° Anordnung des Schlagwerkes* / Arrangement of the percussion instruments* / Distribuzione degl’istrumenti a percussione*< French-German-English-Italian + legal reservations French-German-English >Tous droits d’exécution, de traduction, de reproduction et d’arrangements réservés. Pour traiter des / représentations, de la location de la partition et des parties d’orchestre etc., s’adresser à J. & W. Chester / Ltd., 11, Great Marlborough Street, Londres, W. 1.< [#] >Alle Aufführungs-, Übersetzungsrechte usw. vorbehalten. Das Aufführungsrecht kann nur durch die / Firma J. & W. Chester, Ltd., 11, Great Marlborough Street, London, W. 1, erworben werden.< [#] >All rights reserved under International Copyright Laws. All arrangements as to performance, hire / of material, etc., must be made with the publishers, J. & W. Chester, Ltd., 11, Great Marlborough Street, London W. 1.<, 3 pages introductory text** in three columns without headlines German-English-French without author specified, 3 pages legend in four columns oblong French-German-English-Italian >Composition de l'orchestre /° Orchesterbesetzung /° The Orchestra /° Orchestra< with notes on performance French-German-English-Italian >Notes /° Anmerkungen /° Notes /° Annotazioni<] without back matter; title head >HISTOIRE DU SOLDAT / GESCHICHTE VOM SOLDATEN /* THE SOLDIER’S TALE<; author specified 1st page of the score paginated p. 1 below movement title flush right centred >Igor Strawinsky / (* 1882)<; legal reservations 1st page of the score below type area flush left italic >Copyright 1924 by J. & W. Chester Ltd.< flush right partly in italics >Droits d'exécution réservés / Aufführungsrecht vorbehalten / Performing rights strictly reserved<; plate numbers [text:] >W.Ph.V. 294< [notes:] >W.Ph.V. 294 J.W.C. 44b<; marked sheet all eight pages below type area flush left B to J (>B< p. 1, >C< p. 9, >D< p. 17, >E< p. 25, >F< p. 33, >G< p. 41, >H< p. 49, >J< p. 57); annotation 1st page of the score below type area centre >In die „Philharmonia“ Partiturensammlung aufgenommen<; end of score dated p. 68 italic >Morges, 1918<; production indication p. 68 flush right as end mark >Weag.<) // [1925]

° Slash original.

°° Dividing horizontal line of 2 cm.

°°° Dividing horizontal line of 1.6 cm.

* Asterisk note >*) voir pg. 6; siehe p. 6; see pg. 6; vedi pg. 6<.

** * With Strawinsky’s incorrect date of birth >geb. 23. Mai 1882<.

*** Slash original.

29-6Straw

Strawinsky’s copy of his estate is on the front cover title in the frame to and the frame exceeding between Medaillon and Lyre right >Igor Strawinsky< signed. It contains notes on performance.

29-7 CHESTER / LIBRARY / IGOR STRAWINSKY / VALSE / (HISTORIE DU SOLDAT) / PIANO SOLO / [°] / PRICE 1/6 NET / J. & W. CHESTER L TD// IGOR STRAWINSKY / VALSE / FROM / HISTOIRE DU SOLDAT / FOR / PIANOFORTE SOLO / J. & W. CHESTER, LTD., / LONDON: II, GREAT MARLBOROUGH STREET, W. I. / FRANCE. [#] BELGIUM. [#] SWITZERLAND. [#] ITALY. / ROUART, LEROLLE ET CIE., [#] LES EDITIONS MODERNES, [#] REDSCHY FRERES, [#] 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 [library binding] 24 x 30.8 (2° [4°]); 3 [2] pages + 4 cover pages black on light grey veined [ornamental front cover title 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 >EDUCATIONAL ALBUMS / IN THE / CHESTER EDITION.<* without production date] + 1 page front matter [laid out title page] + 1 page back matter [empty page, page with publisher’s advertisements >ŒUVRES DE / IGOR STRAWINSKY / PUBLIÉES PAR / J. & W. CHESTER, Ltd. LONDRES.<** without production date]; title head >VALSE<; author specified 1st page of the score paginated p. 2 below title head flush right centred >IGOR STRAWINSKY / (1918)<; legal reservations 1st page of the score below type area flush left >Copyright XMCMXXII by J. & W. Chester Ltd.< flush right centred >All rights reserved / Tous droits réservés<; plate number [p. 2:] >J. & W. C. (2181)< [p. 3:] >J. & W. C. 2181<; without production indication; without end marks) // (1929***)

° Dividing horizontal line of 1.6 cm.

* Compositions are advertised with prices (Shilling and Dimes) behind fill character (dots in groups of three from >Ashton, A.< to >Z’lica.<, amongst these >Stravinsky, I. Les Cinq Doights. / Eight Easy Pieces on five / Notes (m.e.)° 3 0< [° >m. e.< = m. = moderateley; e. = easy].

* 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 group(s) of three); °° original spelling; °°° without fill character (dots in groups of three); * double quotation („); ** bold print].

*** Dating according to Preußische Staatsbibliothek.

29-8 >Valse< // ([in:] DAS NEUE / KLAVIERBUCH / Vol. III / albeniz / beck / benjamin / copland / haas / hindemith / honegger / jarnach / reutter / cyril scott / slavenski / strawinsky / tansman / toch / wiener / windsperger / edition schott / no. 1402 // Das neue Klavierbuch / The New Piano-Book – Le Nouveau Livre de Piano / Eine Sammlung von Klavierstücken / zeitgenössischer Komponisten / herausgegeben von / H. Autenrieth-Schleußner / [Vignette publisher‘s emblem lion with wheel of Mainz in its paws in a round ø 2.1 cm frame containing text >PER MARE< >ET TERRAS< left and right] / B. Schott´s Söhne, Mainz / [°] / Leipzig /* London /* Brüssel /* Paris / Imprimé en Allemagne – Printed in Germany // (Reprint pp. 4-5; titel head >Das neue Klavierbuch / The new Piano Book ~ Le nouveau Livre de Piano / Band III / Valse<; author specified 1st page of the score unpaginated [p. 4] below title head flush right >Igor Strawinsky<; legal reservation in connection with acknowledging of the original publishers 1st page of the score below type area flush left >* Aus: L‘histoire du soldat / Mit Genehmigung des Verlages J. & W. Chester, Ltd. London / Copyright 1924 by J. & W. Chester, London< flush right partly in italics ragged alignment >Alle Rechte vorbehalten / Tous droits réservés / All rights reserved<; plate number >32272<; without end mark p. 5) // (1929)

° Double dividing line horizontal broad as the lines of text.

* Slash original.

29-9 1941 The Devil’s Dance, piano (Gregory Stone); Kaleidoscope Edition Edward Marks New York; 5 p. 23,3 x 29,8 (4° [Lex. 8°]); Pl.-Nr. 11504-3; Ed.-Nr. 11504 [unidentified].

29-9Alb >The Devil’s Dance / From / The Soldiers Tale / (L’Histoire Du Soldat)< // ([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 portrait photo 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 pp. [pp. 41-43], arranger specified 1st page of the score paginated p. 41 next to 3./4. line title head flush left centred >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. p. A.<; plate number >11504 - 3<; without end marks) // 1941

* 6 Albums are advertised (Albeniz, Debussy, Dohnányi, Rachmaninoff, Ravel, Scriabine) ; Strawinsky not mentioned.

** Compositions are advertised under 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; Strawinsky not mentioned.

29-10 1943 Study for orchestra Bassoon (Gustave Dhèrin) Nr. 3 p. 2; Répertoire du Conservatoire National de Paris; Alphons Leduc Paris; 26,2 x 34,4 (2° [4°]); Pl.-Nr. A. L. 20,262

29-11[63] IGOR STRAVINSKY / SUITE FROM / L'HISTORIE DU SOLDAT / CLARINET, VIOLIN AND PIANO / [°] / J. & W. CHESTER L TD// SUITE / from / L'Histoire du Soldat / by / IGOR STRAVINSKY / for clarinet, violin and piano / (arranged by the composer) / Marche du Soldat / Le violon du Soldat / Petit concert / Tango-Valse-Rag / La danse du Diable / NORSK MUSIKFORLAG A/S [#*] WILHELM HANSEN, MUSIK-FORLAG / OSLO [#*] COPENHAGEN / A. B. NORDISKA MUSIKFORLAGET [#*] WILHELMIANA MUSIKVERLAG / STOCKHOLM [#*] FRANKFURT a. M. / Printed in England // (Trio stapled 24,1 x 30,5 (2°); 28 [27] pages + 4 cover pages black on cloudly grey [ornamental front cover title 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 >IGOR STRAWINSKY / Over 25 years ago the House of Chester was the first English music publishing house to / recognise the importance of, and to issue in their own edition, the compositions of this / world famous composer. / It will be noted that these works contain many of his most important contributions / to music of this century.<** without production date] + 1 page front matter [title page] without back matter + 13 [12] pages violin part stapled with 1 page front matter as title identical with score + name of the instrument >Violin< between title head and movement title flush left without production indication and 3 pages back matter [2 empty pages, page with publisher’s advertisements >SELECTED WORKS FOR THE VIOLIN / in the / CHESTER EDITION<*** without production date] + 9 [8] pages clarinet part stapled with 1 page front matter as title identical with score + name of the instrument >Clarinet< next to 3. line title head and movement title flush left with production indication and 3 pages back matter [2 empty pages, page with publisher’s advertisements >SELECTED WORKS for wind instruments<**** without production date]; title head >Suite / from l’Histoire du Soldat / for clarinet, violin and piano / (arranged by the composer)<; dedication above title head centre italic >Dédié à Monsieur Werner Reinhart<; author specified 1st page of the score paginated p. 2 below movement title numbered in Roman numerals (with dot) >I. Marche du Soldat< flush right centred >Igor Stravinsky / 1918<; legal reservations 1st page of the score below type area flush left >Copyright 1920 by J. & W. Chester, Ltd.< flush right [clarinet part: ragged alignment] partly in italics >Tous droits réservés. / All rights reserved.<; plate number: [piano part:] J. W. C. 222 (P o), [violins part:] J. W. C. 222 (Viol.), [clarinet part:] J. W. C. 222 (Clar); production indication [exclusively] clarinet part 1st page of the score below type area centre >Printed in England< [exclusively] score p. 28 flush right with a text box containing as end mark >B. & H.<) // (1963*****)

° Dividing horizontal line of 1.7 cm.

* A round separating vignette covering more than four lines, consisting of letters ø 3.1 cm >J< through a >W< into a >C< with the line of text >J. & W. CHESTER LTD< running three-quarters around above it, with >LONDON<, separated on both sides by full stops, underneath.

** Compositions are advertised in alphabetical order of works with fill character (dots in group(s) of two), without edition numbers and without price information >A SELECTED LIST OF WORKS / Berceuse du Chat° Four Songs for Contralto and Three Clarinets / *° Miniature Score / *° Voice and Piano / Berceuse and Finale (L’Oiseau de Feu)°° Arranged by M. Besly. Organ / Les Cinq Doigts—Eight easy pieces° Piano Solo / Cinq Pieces Faciles (Right hand,°° easy)° Piano Four Hands / L’Histoire°° du Soldat° To be read, played, and danced. Miniature Score / *° Vocal Score / * Suite arranged by the Composer for / [#] Violin, Clarinet, and Piano / Les Noces—Ballet with Chorus° Miniature Score / *° Vocal Score / L’Oiseau de Feu (1919)—Suite from the Ballet° Miniature Score / Piano Rag Music° Piano Solo / Pribaoutki for Medium Voice and Eight Instruments° Miniature Score / *° Voice and Piano / Pulcinella, Ballet after Pergolesi° Piano Score / Quatre Chants Russe°° for Medium Voice° Voice and Piano / Ragtime for Chamber Orchestra° Miniature Score / * arranged by the Composer° Piano Solo / Renard—A Burlesque in one act° Miniature Score / * Vocal Score / Ronde des Princesses (L’Oiseau de feu)°° Arranged by M. Besly. Organ / Song of the Haulers on the Volga, arranged for Wind Instruments. Score and Parts / Trois Histoires pour Enfants for Medium Voice° Voice and Piano / separately: Tilimbom—with orchestral accompaniment. / Trois Pieces Faciles (Left Hand Easy)° Piano Four Hands / Trois Pieces° Solo Clarinet< / > All Orchestral Materias are available on Hire from the Chester Orchestral Hire Library. < [° fill character (dots in groups of two); °° original spelling; * double quotation („)].

*** Compositions are advertised in two columns under the heading >SOLO VIOLON< from > Berkeley , L. < to > Purcell, H. <, Strawinsky not mentioned; under the heading >VIOLON AND PIANO< from > Alexander, A. < to > Zimmermann, L. <, Strawinsky not mentioned; under the heading >DUETS< from > Collings, G. A. < to > Seiber, M. <, Strawinsky not mentioned.

**** Compositions are advertised behind fill character (dots in groups of two) without prices under the heading >SOLOS WITH PIANO< from von >BACH, J. S.< to >TCHAIKOVSKY<, amongst these >STRAVINSKY, I.° Three Pieces–—Clarinet Solo°<; under the heading >CHAMBER MUSIC< from >CONSTANT, M.< to >SZALOWSKY, A.<, Strawinsky not mentioned [° fill character (dots in groups of two].

***** D ating according to the German National Library in Leipzig. It corresponds to the Hofmeister cataloguing. The former Prussian State Library dates it as 1966.

29-14 STRAVINSKY / L’HISTOIRE / DU SOLDAT / (The Soldier’s Tale) / FOR VIOLIN, CLARINET AND PIANO (arranged by the composer) / [Vignette] / INTERNATIONAL MUSIC COMPANY / New York City // STRAVINSKY / L’HISTOIRE / DU SOLDAT / (The Soldier’s Tale) / FOR VIOLIN, CLARINET AND PIANO (arranged by the composer) / SCORE / [Vignette] / Nr. 1548 / INTERNATIONAL MUSIC COMPANY / 509 FIFTH AVENUE [#] NEW YORK CITY / Printed inU. p. A.* // (Trio [library binding] 22.8 x 29.4 (2°[Lex. 8°]); score 28 [27] pages with violin and clarinet part enclosed + 4 cover pages black on shiny grained in middle-green [ornamental front cover title in a decorated frame with vignette 3 x 1.5 shiled-like tendril with cone in the middle, 2 empty pages, page with publisher’s advertisements >CHAMBER< [round vignette] >MUSIC<** production date >No. 5<] + 1 page front matter [ornamental framed title page] without back matter + violin part 13 [12] pages with 1 page front matter [ornamental framed title >STRAVINSKY / L’HISTOIRE / DU SOLDAT / (The Soldier’s Tale) / FOR VIOLIN, CLARINET AND PIANO (arranged by the composer) / VIOLIN / [vignette] / Nr. 1548 / INTERNATIONAL MUSIC COMPANY / 509 FIFTH AVENUE [#] NEW YORK CITY / Printed inU. p. A.*] and 1 page back matter [page with publisher’s advertisements >VIOLIN< [round vignette] >MUSIC<** production date >No. 2< + clarinet part 9 [8] pages with 1 page front matter [ornamental framed title >STRAVINSKY / L’HISTOIRE / DU SOLDAT / (The Soldier’s Tale) / FOR VIOLIN, CLARINET AND PIANO (arranged by the composer) / CLARINET / [vignette] / Nr. 1548 / INTERNATIONAL MUSIC COMPANY / 509 FIFTH AVENUE [#] NEW YORK CITY / Printed inU. S. A.*] and 1 page back matter [page with publisher’s advertisements >CLARINET AND< [round vignette] >SAXOPHONE MUSIC<** production date >No. 7<]; title head >SUITE FROM “L’HISTOIRE DU SOLDAT“ / for Clarinet, Violin and Piano<; dedication above title head centre italic > Dedicated to Mr. Werner Reinhart <; author specified 1st page of the score paginated p. 2 below title head flush left italic > Arranged by the composer < / flush right >IGOR STRAVINSKY<; legal reservations 1st page of the score below type area centre >Published by International Music Company, New York City<) // [1971]

* L ine outside the ornamental border.

** Strawinsky not mentioned.


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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