K035 Concertino

deutsch K035 Concertino

K35 Concertino

pour quartuor à cordes – Concertino in einem Satz für Streichquartett – Concertino for string quartet – Сонцертино – Concertino per quartetto d’archi

Concertino

for 12 instruments – Concertino für zwölf Instrumente – Concertino pour 12 instruments – Concertino per dodoci strumenti

Scored for (Orchestrated version 1952): a) First edition: Flauto, Oboe, Corno Inglese, Clarinetto in A, 2 Fagotti, 2 Trombe in B, Trombone tenore, Trombone basso, Violino obligato*, Violoncello obligato* [Flute, Oboe, English horn, Clarinet in A, 2 Bassoons, 2 Trumpets in B, Tenor trombone, Bass trombone, obligatory Violin, obligatory Violoncello]; b) Aufführungsanforderungen: = a)

* Original spelling.

Choice of instruments (according to Craft): In order to create a programme lasting a whole evening without any idle time, according to Craft, Strawinsky matched the choice of instruments to the instrumentation of pieces that now appeared more often on the programme. The Octet, Mass, Verlaine songs and Concertino therefore used a common pool of instruments. The table also shows that Strawinsky’s (Craft’s) statements should not be taken too literally, because what here is referred to as chamber music turns out to be, when it all comes together, a Symphony Orchestra without percussion featuring solo parts in the strings in addition to a mixed chorus, containing boys voices if possible.

Comparison table

Octet Mass Verlaine Concertino


Flute


Flute I

Flute II


Flute

Oboe I

Oboe II

English horn

Oboe

English horn

Clarinet

Clarinet I

Clarinet II

Clarinet

Bassoon I

Bassoon II

Bassoon I

Bassoon II

Bassoon I

Bassoon II

Horn I

Horn II

Trumpet I

Trumpet II

Trumpet I

Trumpet II

Trumpet I

Trumpet II

Tenor trombone

Tenor trombone I

Tenor trombone II

Tenor trombone

Bass trombone

Bass trombone

Bass trombone

Violin I

Violin II

Viola

Violoncello

Double Bass

Violin

Violoncello


Construction: The Concertino exists in an original version (1920) and an orchestrated version (1952); it is subdivided into three sections and a coda and is a one-movement quartet orchestral piece with a first violin part that is handled soloistically in the original. Structurally, the Concertino is a three-part free Allegro (according to Strawinsky’s sonata [Allegro]) with a solo cadenza section for the first violin as a middle section and a subsequent small coda; it therefore mixes quartet and solo concerto style, which was unusual at least. The work begins with two bitonal nine-note rows linked over one another in C major c1 to d2 (violin, ‘cello) and C sharp minor, C sharp 1 to D sharp 2 (viola), which end in struck chords. This conflict of fast melodic writing and hard sforzato chords as a principle of tension, relaxation and counter-tension dominates the A section. The figures here are not developed but, unchanged, are transformed and varied, being swapped around here and there and with one another like a placing game. In the quartet, the middle section is a longer solo double-stopped violin cadenza which Strawinsky also names as such. It corresponds to the improvisatory structure of the violin music in The Soldier’s Tale , and allows the other string instruments to be added small-voice and later in a percussive manner, partly pizzicato, supporting and regulating the bar as well as having a tendency to condensing the texture. At figure 15, the technique of the A section repeats itself with other mosaic tableaux in which Strawinsky gradually develops the chords which have been retained by the violas and ‘cellos in the violins as repeated chords. He opens up other ways of viewing the music by means of altered rhythmic constructions of identical musical material without the addition of new intervallic combinations according to cubist constructivist technique. In doing so, Strawinsky combines the historical mentality of exposition with the new objective concept of the time into a complete view which enables all possible perspectives and that is characteristic for the time, something which the cubist painters and sculptors were also seeking at that time. In the Concertino , the second A section is just as much an exposition as a reprise in the original sense so that the piece is also a structural innovation. The short coda of 13 bars works with Strawinsky’s characteristic rhythmic principles of alteration and combines the formulae of all the sections. The original introductory quavers of the work are extended to crotchets in the first section of the coda and are made uneven by the insertion of triplets. The relaxing and counter-tensing sforzato beats calm down in the second part of the coda, where the solo violin line is derived from the structure of the cadenza, just like the pizzicato combinations of viola and ‘cello and the tacet in the second violin. The Concertino ends sospirando without the violoncello.

Structures

a) Original version 1920

Minim = 84 (56 bars = figure 41 up to the end of figure 9 7)

Andante Minim = 58 (3 bars = figure 10 1-3)

Tempo I. (3 bars = figure 10 4-6)

Andante Minim = 58 (2 bars = figure 10 7-8)

Cadenza (22 bars figure 11 up to the end of figure 14 4)

Tempo (8 bars figure 13 up to the end of figure 14)

Tempo I. Minim = 84 (21 bars = figure 15 up to the end of figure 18 8)

poco agitato (95 bars figure 19 up to figure 30 3)

Andante Minim = 58 (13 bars figure 30 4up to the end of figure 31 9)

b) Orchestrated version 1952

Crotchet = 168 minim = 84 (55 bars = figure 41 up to the end of figure 9 5)

Meno mosso Crotchet = 104 (3 bars = figure 10 1-3)

Tempo I. Crotchet = 168 (3 bars = figure 10 4-6)

Meno mosso Crotchet = 104 (2 bars = figure 10 7-8+ 27 bars figure 11 up to figure 14 7)

Allargando all. Minim = 84 (3 bars figure 14 8-10)

Tempo I. Minim = 84 (112 bars = figure 15 up to the end of figure 30 4)

Meno mosso Minim = 58 (13 bars figure 31 up to the end of figure 32 6)

Corrections / Errata

Orchestrated version = 35-7 *

1.) p. 3, figure 41, Tenor trombone, quaver: staccato-dot has to be added above the tenuto sign (–).°

2.) p. 3, figure 1 4-5, Tenor trombone: all notes have to be marked with staccato-dots.

3.) p. 6, figure 5 3, Violin solo: 2. value of the quaver ligature has to be marked with a down-bow sign.°

4.) p. 6, figure 5 4: metre marking 2/2 has to be replaced by 4/4.

5.) p. 6, figure 5 4, Flute solo: 1st quaver has to be marked with a tenuto sign (–).

6.) p. 8, figure 12 4, Violoncello solo: crotchet f1 has to be marked with tenuto sign (–) and dot.°

7.) p. 8, figure 313, Violoncello solo: at the beginning of the bar bass clef has to be replaced by treble clef.

8.) p. 14, figure 22 3, Violin solo: 1st quaver a2 instead of a#2.

9.) p. 14, figure 22 6) Violoncello solo: a natural has to be added to 1st crotchet.

10.) p. 14, figure 23 2) 2. Trumpet: a bracket natural has to be added to 4 st quaver c1.°

11.) p. 15, figure 24 5, English horn and 1st Bassoon: crotchet rest-quaver rest-quaver value instead of quaver-quaver value-crotchet rest.

12.) p. 18, figure 29 3, Violoncello solo: C-G-g-f#1 instead of C-G-g-f1.

13.) p. 19, figure 32 1, Violoncello solo: a bracket natural has to be added to g.

* 1953; without corrections in the pocket score.

° Present in the pocket score.

Comparisons: After the Second World War, Strawinsky prepared some of his compositions for orchestral instruments, including the Verlaine Lieder and the Concertino , for the chamber concert commitments which he had been offered, because it seemed clear to him that his corresponding complete oeuvre in this genre was very small, as he expressed in a letter to Roth of Boosey & Hawkes in London of 10 thMarch 1952. There are small differences in the figuring, the metrical make-up and the handling of the building blocks between the original quartet version and the revision for quartet and orchestra with the original title Concertino for Twelve instruments . There is however no change in style, which Strawinsky orchestrated in the manner of The Soldier’s Tale but even more clearly. The differences in figuring are not worth naming. They basically concern some dislocations by a few bars, which result from different metrical bar constructions. These occur fairly frequently however and create analytical problems. There is normally more than just one solution to Strawinsky’s metrical constructions depending on one’s point of view. He makes great use of this in the relationship between the original quartet version and the orchestral version. Figure 7 for example is originally 4 bars in length, but in the original version it is 3 bars long; figure 8 is originally 4 bars, but in the revised version it is 5 bars; figure 9 is originally 7 bars, but the revised version is 5 bars; figure 19 is originally 6 bars but in the revised version is 7; figure 24 is originally 10 bars and figure 26 is originally 12 bars but in the revised version they are both 11 bars long. These alterations, as structurally interesting as they may be in individual cases, are aesthetically inconsequential because in the end, not much has changed. The bar extensions are not caused by changes in meter, Strawinsky was rather using motific reworkings in many cases which may add a bar here and remove one there. The orchestral version and quartet original are not motifically identical in every bar, and they do not completely follow the principal of foreshortening as Strawinsky often employs it; it also cannot be demonstrated accordingly just like that without detailed schematic analysis from case to case. – The original quartet version contains 31 figures and the orchestral 32. The difference is only superficial. Up to the end of figure 29 inclusive, both scores are identical in terms of figures, apart from differences in the inner structure of a bar occasional differences in sequences bar. In the quartet version, figure 30 contains 7 bars, but stretches into the Andante which makes up the coda, something which was certainly a structural error in the figuring, while figure 31 has 9 bars to the end of the score. In the orchestral version, figure 30 only contains 4 bars which however correspond to the 3 bars up to the Andante in the quartet version. The difference of 4 to 3 arises as a result of a different division of bars (quartet: 1st bar 5/4, 2nd bar 5/4, 3rd bar 4/4=14/4 in total; orchestral version: 1st bar 3/4, 2nd bar 3/4, 3rd bar 4/4, 4th bar 4/4=14/4 in total). At the beginning of the Andante in the quartet version, a meno mosso is given in the orchestral version at figure 31. In both versions, the music up to the end is 13 bars long. In the original quartet version, figure 30 extends to bar 4 of the Andante coda while the final 9 bars belong to figure 31, which only has meaning with reference to the string glissando. In the orchestral version on the other hand, figure 31 has 7 bars while the final 6 bars, which make up a single unit to be played, belong to figure 32. In the piece itself, there are (several) further differences in figuring and (often) bar lengths because he makes insertions and divides up the metric units differently.

Style: The Concertino is in the same stylistic area as the Soldier’s Tale , and it is also written in the same period. From the point of view of the history of the quartet, the dominance of the first violin in the Concertino , which is treated more soloistically than the other instruments, is anachronistic so that the composition, apart from its unusual brevity and just as unusual tonal language, must be seen, even more than the Three Pieces for String Quartet, as a curiosity for string quartet than as a work of the repertoire which is to be taken seriously in its period of composition. Strawinsky strengthened the stylistic moment in the orchestral version of 1952 by using the two trombones as a replacement for percussion. He also used the woodwinds to support the wandering violin part and above all made the stylistic origin of the Concertino unmistakable with the trumpet part.

Performance practice: There is an anecdote concerned with the manner of performance that is inextricably linked with the Concertino and which has been attributed to Strawinsky, who was ever ready with a bon mot and had a cutting wit. This story has been further disseminated since Schloezer by both the entire Strawinsky literature as well as the serious Strawinsky literature. On the question about the quality of a performance of the short quartet, he is said to have expressed his enthusiasm for the ensemble with the sentence that they were ‘a real sewing machine’; this implies that they had played precisely and unemotionally and mechanically throughout and thus came very close to his ideal of a performance. This was subsequently called a neoclassical interpretation. There are good reasons to doubt not the sentence itself but the meaning. A precise performance never meant undifferentiated playing for Strawinsky, as any of his own surviving piano performances demonstrate Inside the motor rhythm there are many nuances which run contrary to the idea of any old hammering way; the articulation especially is the particular strength of Strawinsky’s interpretation, and neither his performance nor the composition itself advocates a mechanical style of playing which plays itself. The Concertino is so adorned with performance instructions, dynamic differentiations and agogic moments that any ‘sewing machine interpretation’ can be ruled out. Even making the assumption that Strawinsky even made this doubtful compliment, the exact context in which it was made, the section to which it refers (that was certainly not the entire piece) and the seriousness with which it was intended must be taken into account. Finally, it may also be one of Strawinsky’s typical biting remarks that is not immediately recognisable to the listener, and thus in fact be a criticism.

Dedication: Dedié au quatuor Flonzaley [Dedicated to Quartet Flonzaley]*

* According to White, the hand-written version bears a dedication to André de Caplet.

Duration: Original version 1920: about 6'; Orchestrated version 1952: about 6'20"

Date of origin: Original version 1920: started in Carantec July 1920, completed 24th September 1920 in Garches; Orchestrated version 1952: 1952

First performance: Original version 1920: 3rd November 1920 in New York by the Flonzaley-Quartet (Adolfo Betti, Alfred Pochon, Louis Bailly*, Iwan d'Archambeau); Orchestrated version 1952: 11th November 1952 in Los Angeles by the los angeles chamber symphony orchestra under the direction by Igor Strawinsky

* In 1917, the co-founder and violist Ugo Ara was replaced by Louis Bailly due to the war.

Remarks: Strawinsky’s quartet composition, which he named ‘Concertino’ due to its brevity and soloistic violin part, came into being at Alfred Pochon’s encouragement. Alfred Pochon was the second violinist of the Flonzaley quartet, which was originally from the Vaud and then soon became internationally famous; the group stayed together until 1928 and then dissolved on 24 thApril of that year. In 1917, the co-founder and violist Ugo Ara was replaced by Louis Bailly due to the war. Alfred Pochon is always listed as the leader of the Flonzaley Quartet, both by Strawinsky and in the subsequent Strawinsky literature. This was not in fact the case, it was rather Adolfo Betti, although it does not exclude the possibility that Pochon could have been the head of the ensemble and thus secured the commission of Strawinsky. This is related correctly in Craft’s version of events. The Flonzaley Quartet, also called the Lausanne Quartet, had previously premièred Strawinsky’s Three Pieces for String Quartet and now wished to expand their exclusively classical and romantic repertoire with some modern music. Pochon’s commission was requested by a letter, which bears the date 17th August 1919. At this time, Strawinsky was waiting for Diaghilev’s contract for Pulcinella. Although Strawinsky gave his agreement on 25th February 1920, he had already outlined the first sketches for a new string quartet piece in Autumn 1919, from which at least one sketch was incorporated into the Symphonies of Wind Instruments to the memory of Debussy (flute melody at figure 9). In his answering letter to Pochon, Strawinsky explained that he wanted to write the music and to put down on paper what was going ‘through his head, through his fingers and through his ears’. This sounds a little casual and not grounded in structured work. From the dated sketches, we know that Strawinsky began work in July 1920 in Carantec; he was still occupied with it on 22nd September but completed it on 24th September in Garches.

Situationsgeschichte: An ensemble which is exclusively schooled in the classical sound would not be able to do justice to either the pieces for String Quartet or the Concertino . This was apparently true of the Flonzaley Quartet, which played Strawinsky’s music with all good intentions and with outstanding technical ability, but could not perform it successfully from the point of view of a defined mental conception of string-quartet culture. In 1947, Alfredo Casella discussed the famous ensemble’s artistic incomprehension; classical string quartets are however part of a stylistically clear and defined playing tradition and have a specific and above all historically learned and well read audience, which listens and reacts more critically than any other concert audience. It takes up a change of values with open ears but is less open to experimental pieces than to established works of art. In the context of traditional repertoire of the ‘20s and the subsequent years, Strawinsky’s Pieces for String Quartet represented an insurmountable obstacle. It also emerged that Strawinsky was composing the work in a time of self-imposed abstinence from string instruments; during this time, he avoided the problems associated with strings in favour of wind instruments and did not concern himself with string tradition. The Concertino , as an orchestral piece grounded in string sounds which is based on the sound of a wandering solo violin with percussion accompaniment, could therefore spark little more than an ephemeral interest. Although the Concertino was not a success as a string quartet piece between the two World Wars, both versions later brought him a new regard because they sparked a greater than average interest in the Cologne and Darmstadt circle of young composers, which was gradually moving towards the music of Anton von Webern. Before his serial phase, Strawinsky secured himself, with a piece like the Concertino , the attention of the new generation, whom Hindemith, who was much appreciated by Strawinsky and who was still alive at the time, was absolutely unable to please, much to his chagrin. The younger composers however recognised the among other things pre-aleatoric tendency of this piece. – The revision mark ‘Julia A Burt, N. Y.,’ which is printed only in the original quartet editions and not in the orchestral version, is one of the attempts to avoid illegal print-runs, in relation to which Strawinsky named the Americans Kalmus and Marks in a letter to Roth on 22 ndSeptember 1952 by name. There were always real people behind the names of the editors, but never real editions or revisions. Real editors, arrangers or even collaborators such as Lourié, Dushkin and others who have definitely written or translated with him, were clearly included on the title pages. In the publishing jargon, Strawinsky referred to the quartet version as the Burt version in order to differentiate it from the orchestral version.

Versions: The Concertino was published in 1923 by the Hansen publishers in Copenhagen, who at this point owned a branch in Leipzig and had Schoenberg’s music in their remit. Both first editions of the pocket score (35-1 Aand 35-1 B) were published in 1923 (differences for example: the edition number 2nd line of the front cover title 35-1 A is partly superscript, the > Net. < after > III < is missing). Hansen would have been able to buy up large quantities of Strawinsky’s music from the Russian publishers at the time if they had been prepared to pay the required 18,000 Danish Krone. Several German publishers were constrained by the events after the war and were therefore ready for business. Forberg also sold their rights to the Firebird a short time later to Schott for the same reason. The Russian publishers certainly did not want to sell to Schott under any circumstances, and despite much effort on the part of the latter, they were rejected. The required sum was however too large for Hansen and therefore only the acquisition of the score of the Concertino remained, for which they compensated the Russian publishers with 2,500 Danish Krone according to the contract of 9th April 1923. Arthur Lourié completed the piano reduction for solo piano two years later, and Strawinsky himself also wrote one for four hands which he offered to the publishers on 19th August 1925. Hansen accepted immediately (letter of 24th August 1925) and on 28th September 1925, the completed transcription was in Copenhagen. The printing was straightforward and in April 1926, Strawinsky was occupied with making corrections. The only difference between the American edition and the European editions is the statement of the place of printing. When there was a new edition in 1952, which was in the interests of both parties, there were difficulties with Boosey & Hawkes. Hansen, who held the rights to the Concertino , succeeded however. The new version was not a new work with an identical title which would then have had to belong to Boosey & Hawkes. On 27th November and 5th December 1952, the contract between Hansen and Strawinsky was signed. Strawinsky received 750 dollars and the usual portion of the rights. Strawinsky was working on the first set of corrections in mid-January 1953, he produced the second set in mid-February and the third at the beginning of June. On 12th October 1953, the completed conductor’s score and the pocket score were dispatched to him. One set of parts was also produced. The sales were moderate. The 1956 edition was altered from the American original in terms of typography. A change in publishers did not happen during Strawinsky’s life time.

Production :Ruth Currier choreographed the Concertino in 1955 for the American Dance Festival in New London (Connecticut) together with the three String Quartet pieces under the title The Antagonists.

Historical Recording: Hollywood 26th October 1965 [Orchestrated version 1952], Columbia Chamber Ensemble under the direction by Igor Strawinsky.

CD-Edition: VII-1/2

Autographs: The original manuscript of the quartet version is, along with the piano reduction for four hands, in the Library of Congress, Washington D.C.. The autograph score of the orchestral transcription of 1952 is in the Paul Sacher Foundation, Basel.

Copyright: 1923, 1951 and 1953 by Wilhelm Hansen in Kopenhagen.

Editions

a) Overview

35-1A 1923 PoSc; Hansen Kopenhagen-Leipzig; 15 pp.; 18294; 2359.

35-1B 1923 PoSc; Hansen Kopenhagen-Leipzig; 15 pp.; 18294; 2359.

35-2 1925 PiRe (Lourié); Hansen Kopenhagen-Leipzig; 15 pp.; 18575; 2397.

35-3 [1923] PiRe (Strawinsky); Hansen Kopenhagen-Leipzig; 19 pp.; 18844; 2490.

35-4 1946 PoSc; Hansen Kopenhagen; 15. pp. 8°; 18294; 2359.

35-6 1953 PoSc Orchestra version; Hansen Kopenhagen; 19 pp.; 27104b; 3962b.

    35-6Straw1ibd.

    35-6Straw2 ibd.

35-7 1953 FuSc Orchestra version; Hansen Kopenhagen; 16 pp.; 27104; 3962.

    35-7Straw

35-9 1956 PoSc Quartett; Hansen Kopenhagen; 15 pp.; 27104b; 2359. plate number richtig?

35-11Alb 1968 [Po] Sc; State Publishers Music; 30 pp.; 4546.

35-12AlbSt 1969 Set of parts; Музыка Москва; 5114.

b) Characteristic features

35-1A WILHELM HANSEN EDITION / N o.2359° / [vignette] / IGOR STRAWINSKY / Concertino / pour quatuor à cordes / Partition d'ensemble / [vignette] / EIGENTUM DES VERLEGERS FÜR ALLE LÄNDER – PROPRIÉTÉ POUR TOUS PAYS / AUFFÜHRUNGSRECHT VORBEHALTEN – DROITS DE REPRÉSENTATION RÉSERVÉS / KØBENHAVN & LEIPZIG / WILHELM HANSEN, MUSIK-FORLAG / KRISTIANIA & BERGEN [#] GÖTEBORG - STOCKHOLM - MALMÖ / NORSK MUSIKFORLAG [#] A. B. NORDISKA MUSIKFÖRLAGET / Copyright 1923 by Wilhelm Hansen, Copenhagen / Edited and revised by Julia A. Burt, New York / III Net. // WILHELM HANSEN EDITION / [vignette] / IGOR STRAWINSKY / Concertino / pour quatuor à cordes / Partition d'ensemble / [vignette] / EIGENTUM DES VERLEGERS FÜR ALLE LÄNDER - PROPRIÉTÉ POUR TOUS PAYS / AUFFÜHRUNGSRECHT VORBEHALTEN - DROITS DE REPRÉSENTATION RÉSERVÉS / KØBENHAVN & LEIPZIG / WILHELM HANSEN, MUSIK-FORLAG / KRISTIANIA & BERGEN [#] GÖTEBORG - STOCKHOLM - MALMÖ / NORSK MUSIKFORLAG [#] A. B. NORDISKA MUSIKFÖRLAGET / Copyright 1923 by Wilhelm Hansen, Copenhagen / Edited and revised by Julia A. Burt, New York // (Pocket score stapled 13.7 x 19 (8°); 15 [13] pages + 4 cover pages thicker smoothed paper black on creme [front cover title with vignette 1,6 centre thickened decorative line + vignette 0,8 x 0,8 milkwort black centre centred, 3 empty pages] + 2 pages front matter [title page with vignettes 1,6 centre thickened decorative line 0,8 x 0,8 milkwort black centre centred, empty page] + 1 page back matter [empty page]; title head >Concertino / pour quatuor à cordes<; dedication below title head centre centred italic (partly) spaced out >Dédié au quatuor F l o n z a l e y<; author specified 1st page of the score paginated p. 3 below dedication flush right >Igor Strawinsky<; legal reservations 1st page of the score next to [above and below] subtitle flush left centred >Aufführungsrecht / vorbehalten< below type area flush left >Copyright 1923 by Wilhelm Hansen, Copenhagen.<; fictitious editor specified 1st page of the score below type area below legal reservation flush left italic >Edited and revised by Julia A. Burt, N. Y.<; plate number >18294<; end of score dated p. 15 >Carantec-Garches 1920<; production indication p. 15 below type area flush right >Wilhelm Hansens Nodestik og Tryk, Kjøbenhavn.<) // (1923)

° Second line of the front cover title: Edition number is partly superscript.

35-1B WILHELM HANSEN EDITION / No. 2359 / [vignette] / IGOR STRAWINSKY / Concertino / pour quatuor à cordes / Partition d'ensemble / [vignette] / EIGENTUM DES VERLEGERS FÜR ALLE LÄNDER – PROPRIÉTÉ POUR TOUS PAYS / AUFFÜHRUNGSRECHT VORBEHALTEN – DROITS DE REPRÉSENTATION RÉSERVÉS / KØBENHAVN & LEIPZIG / WILHELM HANSEN, MUSIK-FORLAG / KRISTIANIA & BERGEN [#] GÖTEBORG - STOCKHOLM - MALMÖ / NORSK MUSIKFORLAG [#] A. B. NORDISKA MUSIKFÖRLAGET / Copyright 1923 by Wilhelm Hansen, Copenhagen / Edited and revised by Julia A. Burt, New York / III // WILHELM HANSEN EDITION / [vignette] / IGOR STRAWINSKY / Concertino / pour quatuor à cordes / Partition d'ensemble / [vignette] / EIGENTUM DES VERLEGERS FÜR ALLE LÄNDER - PROPRIÉTÉ POUR TOUS PAYS / AUFFÜHRUNGSRECHT VORBEHALTEN - DROITS DE REPRÉSENTATION RÉSERVÉS / KØBENHAVN & LEIPZIG / WILHELM HANSEN, MUSIK-FORLAG / KRISTIANIA & BERGEN [#] GÖTEBORG - STOCKHOLM - MALMÖ / NORSK MUSIKFORLAG [#] A. B. NORDISKA MUSIKFÖRLAGET / Copyright 1923 by Wilhelm Hansen, Copenhagen / Edited and revised by Julia A. Burt, New York // (Pocket score stapled 13.7 x 19 (8°); 15 [13] pages + 4 cover pages thicker smoothed paper black on cream [front cover title with vignette 1.6 centre thickened decorative line + vignette 0.8 x 0.8 milkwort black centre centred, 3 empty pages] + 2 pages front matter [title page with vignettes 1,6 centre thickened decorative line 0.8 x 0.8 milkwort black centre centred, empty page] + 1 page back matter [empty page]; title head >Concertino / pour quatuor à cordes<; dedication below title head centre centred italic (partly) spaced out >Dédié au quatuor Flonzaley <; author specified 1st page of the score paginated p. 3 below dedication flush right >Igor Strawinsky<; legal reservations 1st page of the score above and below 2. line title head flush left centred >Aufführungsrecht / vorbehalten< below type area flush left >Copyright 1923 by Wilhelm Hansen, Copenhagen.<; fictitious editor specified 1st page of the score below type area below legal reservation flush left italic >Edited and revised by Julia A. Burt, N. Y.<; plate number >18294<; end of score dated p. 15 >Carantec-Garches 1920<; production indication p. 15 below type area flush right as end mark >Wilhelm Hansens Nodestik og Tryk, Kjøbenhavn.<) // (1923)

* The Munich copy (Staatsbibliothek) >8 Mus.pr. 1578< has a red stamp on the front cover page, that stretches diagonally across the type area >Dieses Exemplar darf nicht nach Skandinavien / ausgeführt werden.<

35-2 [Vignette] / WILHELM HANSEN / EDITION / N o. 2397. / IGOR STRAWINSKY / Concertino / pour quatuor à cordes / Pour Piano seul / par / Arthur Lourié / København & Leipzig / Wilhelm Hansen, Musik-Forlag / Oslo & Bergen / Norsk Musik-Forlag / Göteborg - Stockholm - Malmö / A. B. Nordiska Musikförlaget / II [#] Printed in Denmark. // WILHELM HANSEN EDITION / Dédié au quatuor Flonzaley / Concertino / par / Igor Strawinsky / pour quatuor à cordes / Pour Piano seul / par / Arthur Lourié / FORLÆGGERENS EJENDOM FOR ALLE LANDE / KØBENHAVN & LEIPZIG / WILHELM HANSEN, MUSIK-FORLAG / OSLO & BERGEN [#] GÖTEBORG - STOCKHOLM - MALMÖ / NORSK MUSIKFORLAG [#] A. B. NORDISKA MUSIKFÖRLAGET / Copyright 1925 by Wilhelm Hansen, Copenhagen // (Edition for piano [library binding] 23.2 x 30.4 (4° [4°]); 15 [13] pages + 4 cover pages dark green on light green [ decorative outer title in leaf embellishments with a picture 4.8 x 4 of a Viking with a winged helmet blowing a lur at the side of the page looking left , 2 empty pages, page with publisher’s advertisements >JEAN SIBELIUS< without production data] + 2 pages front matter [ornamental title page green with blue as frame 18.8 x 24 in a lattice frame with encircling text >WILHELM HANSEN EDITION.<, empty page] + 1 page back matter [page with publisher’s advertisements >Selim Palmgren< without production data]; title head >Concertino / pour quatuor à cordes<; dedication below title head centre centred (partly) spaced out >Dédié au quatuor Flonzaley <; author specified 1st page of the score paginated p. 3 below title head flush right centred >Igor Strawinsky / arr. Arthur Lourié<; fictitious editor specified 1st page of the score below type area flush right italic >Edited and revised by Julia A. Burt, N. Y.<; legal reservations 1st page of the score next to title head flush left italic >Droits d'exécution réservés< below type area flush left >Copyright 1925 by Wilhelm Hansen, Copenhagen.<; plate number >18575<; end of score dated p. 15 centred >Carantec-Garches / 1920<; production indication p. 15 as end mark flush right >Wilhelm Hansens Nodestik og Tryk, Kjøbenhavn.<) // (1925)

35-3 [Vignette] / WILHELM HANSEN / EDITION / N o.2490. / IGOR STRAWINSKY / Concertino / Réduction pour piano à 4 ms / par l'auteur / København & Leipzig / Wilhelm Hansen, Musik-Forlag / Oslo / Norsk Musik-Forlag / Stockholm / A. B. Nordiska Musikförlaget / Printed in Denmark. / II // WILHELM HANSEN EDITION / Dédié au quatuor Flonzaley / Concertino / par / Igor Strawinsky / 1920 / Réduction pour piano à 4ms / par l'auteur / Eigentum des Verlegers für alle Länder. – Propriété pour tous Pays / Aufführungsrecht vorbehalten. – Droits de Représentation réservés / KØBENHAVN & LEIPZIG / WILHELM HANSEN, MUSIK-FORLAG / OSLO [#] STOCKHOLM / NORSK MUSIKFORLAG [#] A.-B. NORDISKA MUSIKFÖRLAGET / Copyright 1923 by Wilhelm Hansen, Copenhagen / Edited and revised by Julia A. Burt, New York // (Piano reduction for four hands [library binding] 22.5 x 29.2 (4° [Lex. 8°] ); 19 [17] pages + 4 cover pages dark green on light green [ornamental front cover title decorative outer title in leaf embellishments with a picture 4.8 x 4 of a Viking with a winged helmet blowing a lur at the side of the page looking left, 2 empty pages, page with publisher’s advertisements >JEAN SIBELIUS< without production data] + 2 pages front matter [ornamental title page green with blue as frame 18.8 x 23.7 in a lattice frame with encircling text >WILHELM HANSEN EDITION.<, empty page] + 1 page back matter [page with publisher’s advertisements >Selim Palmgren.< without production data]; title head >CONCERTINO / Réduction pour piano à 4 ms. / par l’auteur<; without dedication; author specified 1st page of the score paginated p. 3 below title head flush right centred >IGOR STRAWINSKY / 1920<; fictitious editor specified 1st page of the score below type area flush right italic >Edited and revised by Julia A. Burt, New York.<; legal reservations 1st page of the score above type area next to 3. line title head flush left italic >Droits d'exécution réservés< below type area flush left >Copyright 1923 by Wilhelm Hansen, Copenhagen.<; plate number >18844<; production indication p. 19 as end mark flush right italic >Wilhelm Hansens Nodestik og Tryk, København.<) // (1923)

35-4 WILHELM HANSEN* / EDITION* / Nr. 2359 / IGOR STRAWINSKY / Concertino / pour quatuor à cordes / Partition d'ensemble / [vignette]** / WILHELM HANSEN, MUSIK-FORLAG / KØBENHAVN / III Net. // Wilhelm Hansen Edition / Igor Strawinsky / CONCERTINO / pour quatuor à cordes / Partition d'ensemble / Eigentum des Verlegers für alle Länder – Propriété pour tous pays / Aufführungsrecht vorbehalten – Droits de représentation réservés / København / Wilhelm Hansen, Musik-Forlag / Oslo [#] Stockholm / Norsk Musikforlag A/S [#] A. B. Nordiska Musikförlaget / Copyright 1923 by Wilhelm Hansen, Copenhagen / Edited and revised by Julia A. Burt, New York // (Pocket score stapled 13,8 x 19,1 (8° [8°]); 15 [13] pages + 4 cover pages black on light green grey [ornamental front cover title, 2 empty pages, page with publisher’s advertisements >Taschenpartitur – Miniature score – Lommepartitur<*** without production data] + 2 pages front matter [title page, empty page] + 1 page back matter [empty page]; title head >Concertino / pour quatuor a cordes<; dedication below title head centre italic (partly) spaced out >Dédié au quatuor Flonzaley<; author specified 1st page of the score paginated p. 3 below dedication flush right >IGOR STRAWINSKY<; legal reservations 1st page of the score above type area next to title head and dedication flush left in the text box contained >Det er forbudt Biblioteker, / Skoler, Læseselskaber, For- / eninger lignende at ud- / laane eller udleje dette Værk / uden Forlagets Tilladelse.< below type area flush left >Copyright 1923 by Wilhelm Hansen, Copenhagen.<; fictitious editor specified 1st page of the score below type area below legal reservation flush left italic >Edited and revised by Julia A. Burt, N. Y.<; plate number >18294<; end of score dated p. 15 >Carantec-Garches 1920<; production indications 1st page of the score below type area flush right >1946< p. 15 below type area flush right >Wilhelm Hansens Nodestik og Tryk, København.<) // (1946)

* P rinted at the centre in a system of music 10.8 x 0.9.

** 5 page-width, bold lines of a stave with a total height of 2.7 centimetres.

*** Compositions are advertised without column divisions with price information without fill character (dotted line) from >Alfvén, Hugo> to >Valen, Farteln<, amongst these >Strawinsky, Igor [#] Concertino pour quatuor à cordes [#] Kr. 4, – <.

35-6 WILHELM HANSEN / EDITION° / Nr. 3962 b / STRAVINSKY / CONCERTINO / for 12 instruments / Parts°° / Pocket-Score // WILHELM HANSEN, MUSIK-FORLAG / KØBENHAVN / III Net. // Wilhelm Hansen Edition / CONCERTINO / for 12 instruments / IGOR STRAVINSKY / Arrangement of the original work for a string quartet (1920), / made by Igor Stravinsky in 1952 / Score / Property for all Countries / WILHELM HANSEN, MUSIK-FORLAG, KØBENHAVN / NORSK MUSIKFORLAG A/S, OSLO - A. B. NORDISKA MUSIKFÖRLAGET, STOCKHOLM / WILHELMIANA MUSIKVERLAG, FRANKFURT A. M. / Copyright 1923 – 1951 – 1953 by Wilhelm Hansen, Copenhagen // (Pocket score sewn 13,7 x 19,1 (8° [8°]); 19 [17] pages + 4 cover pages dark green on light green [ornamental front cover title with cover title with a stylized stave on the upper and lower parts of the page, empty page, page with publisher’s advertisements >Taschenpartitur – Miniature score – Lommepartitur<* without production data, page with publisher’s advertisements >Taschenpartitur – Miniature score – Lommepartitur<** without production data + production indication >Printed in Denmark<] + 2 pages front matter [title page, empty page] + 1 page back matter [empty page]; title head >CONCERTINO / for 12 instruments<; duration data 1st page of the score above title head flush left italic >Duration 6 minutes<; author specified 1st page of the score paginated p. 3 below title head flush right centred >Arrangement of the original / work for a string quartet (1920) / made by Igor Stravinsky in 1952<; legal reservations 1st page of the score above type area next to bis below title head flush left justified text in the text box contained >Det er forbudt Biblioteker, Skoler, / Læselskaber, Foreninger eller lig- / nende at udlaane eller udleje dette / Værk uden Forlagets Tilladelse< below type area flush left >Copyright 1923 – 1951 – 1953 by Wilhelm Hansen, Copenhagen. / Forlæggerens Ejendom for alle Lande, Wilhelm Hansen, København.<; plate number >27104b<; production indication p. 19 as end mark >Wilhelm Hansens Nodestik og Tryk, København. 1953<) // 1953

° The first two lines of text are incorporated into the centre of a 10.8cm five-line stave as broad as the lines of text.

°° V ery blackened in the original .

* Compositions are advertised with price information from >Alfvèn, Hugo.< to >Svendsen, Johan S.<;lo Strawinsky not mentioned.

** Compositions are advertised with price information from >Bentzon, Jørgen.< to >Weis, Flemming.<, by Strawinsky >Strawinsky, Igor. Concertino pour quatuor à cordes [#] Kr. 4,50<

35-6 Straw1

Strawinsky’s copy from his estate is on the outer title above the name flush right black with >IStr / nov. / 1959< signed and dated. The copy contains notes on performance written with pencil.

35-6 Straw2

Strawinsky’s undated copy from his estate is next to and below 3rd line publisher in red with >IStr< signed. It contains two corrections.

35-7 WILHELM HANSEN / EDITION / NR. 3962 / STRAVINSKY / CONCERTINO / for 12 instruments / Score / WILHELM HANSEN, MUSIK-FORLAG / KØBENHAVN / III Net. // Wilhelm Hansen Edition / CONCERTINO / for 12 instruments / IGOR STRAVINSKY / Arrangement of the original work for a string quartet (1920), / made by Igor Stravinsky in 1952 / Score / Property for all Countries / WILHELM HANSEN, MUSIK-FORLAG, KØBENHAVN / NORSK MUSIKFORLAG A/S, OSLO - A. B. NORDISKA MUSIKFÖRLAGET, STOCKHOLM / WILHELMIANA MUSIKVERLAG, FRANKFURT A. M. / Copyright 1923 – 1951 – 1953 by Wilhelm Hansen, Copenhagen // (Full score sewn 23.1 x 30.2 (4° [4°]); 18 [16] pages + 4 cover pages thicker paper dark green on light green [ornamental front cover title with a stylized stave on the upper and lower parts of the page, 2 empty pages, page with production indication pagesbelow flush right >Printed in Denmark<] + 2 pages front matter [title page, empty page] + 1 page back matter [empty page]; title head >CONCERTINO / for 12 instruments<; duration data above title head flush left italic > Duration 6 minutes<; author specified 1st page of the score paginated p. 3 below title head flush right centred >Arrangement of the original / work for a string quartet (1920) / made by Igor Stravinsky in 1952<; legal reservations >Copyright 1923 – 1951 - 1953 by Wilhelm Hansen, Copenhagen. / Forlæggerens Ejendom for alle Lande, Wilhelm Hansen, København.<; plate number >27104<; production indication p. 19 as end mark >Wilhelm Hansens Nodestik og Tryk, København. 1953<) // (1953)

35-7 Straw1

Strawinsky’s copy from his estate is on the outer title between >WILHELM HANSEN< and >STRAVINSKY< centre inside right in red with >IStr< signed, but not dated. The copy contains corrections [p. 9, figure 12 5, Trumpets: treble clef instead of bass clef; p. 14, figure 22 3, Violin: natural with brackets should be added to the 1st note (a2); p. 14, figure 22 6, Violoncello: natural with brackets should be added to the 1st note (A); p. 14, figure 23 2, Trumpets: natural with brackets should be added to the last two-note chord of the bar (c1-c2); p. 18, figure 29 3, Violoncello: the highest note of the four-note chord should be f#3 instead of f3; p. 19, figure 32 1, Violin: natural with brackets should be added to the 1st note g] and many notes on performance..

35-7 Straw2

Strawinsky’s copy from hist estate is on the outer title between publisher and >STRAVINSKY< right with mit >IStr / nov / I953< signed and dated. The copy contains notes on performance in red and two corrections.

35-9 WILHELM HANSEN° / EDITION° / Nr. 2359 / IGOR STRAWINSKY / Concertino / pour quatuor à cordes / Partition d'ensemble / [Vignette]** // Wilhelm Hansen Edition / Igor Strawinsky / CONCERTINO / pour quatuor à cordes / Partition d'ensemble / Eigentum des Verlegers für alle Länder – Propriété pour tous pays / Aufführungsrecht vorbehalten – Droits de représentation réservés / Wilhelm Hansen, Musik-Forlag, København / Norsk Musikforlag A/S Oslo – A. B. Nordiska Musikförlaget, Stockholm / Wilhelm Hansen, Musikverlag, Frankfurt a. M. / Copyright 1923–1951 by Wilhelm Hansen, Copenhagen / Edited and revised by Julia A. Burt, New York // (Pocket score stapled 14 x 19 (8°); 15 [13] pages + 4 cover pages dark green on light green [ornamental front cover title, empty page, page with publisher’s advertisements >Taschenpartitur - Miniature score - Lommepartitur<* without production data, page with publisher’s advertisements >Taschenpartitur - Miniature score - Lommepartitur<** without production data + production indication >Printed in Denmark<] + 2 pages front matter [title page, empty page] + 1 page back matter [empty page]; title head >Concertino / pour quatuor à cordes<; dedication below title head centre italic (partly) spaced out >Dédié au quatuor Flonzaley <; author specified 1st page of the score paginated p. 3 below dedication flush right >Igor Strawinsky<; fictitious editor specified 1st page of the score below legal resservation flush left italic >Edited and reserved by Julia A. Burt, N. Y.<; legal reservations 1st page of the score above and next to title head flush left in the text box contained >Det er forbudt Biblioteker, / Skoler, Laeseselskaber, For- / eninger eller lignende et ud- / laane eller udleje dette Vaerk / uden Forlagets Tilladelse.< below type area flush left >Copyright 1923-1951 by Wilhelm Hansen, Copenhagen.<; plate number: 18294; end of score dated p. 15 >Carantec-Garches 1920<; production indication p. 15 below type area flush left >Printed in Denmark< flush right >Wilhelm Hansens Nodestik og Tryk, København 1956<) // 1956

° The first two lines of text are incorporated into the centre of a 10.8cm five-line stave as broad as the lines of text.

* Compositions are advertised without price information from >Alvén Hugo.< to >Poulenc, Francis.<, Strawinsky not mentioned.

** Compositions are advertised without price information from >Purcell, Henry.< to >Weis, Flemming.<, by Strawinsky >Strawinsky, Igor: Concertino pour quatuor à cordes. / — Concertino for 12 Instruments.<.

35-11Alb [Reprint in connection with Concertino, in:] Игорь СТРАВИНСКИЙ / Igor STRAVINSKY / ПЬеСЫ / PIECES / ДЛЯ ДВУХ СКРИПоК, / АЛЬТА И ВИОЛОНЧеЛИ / FOR TWO VIOLINS, / VIOLA AND VIOLONCELLO / ПАРТИТУРА / SCORE / [vignette] / МУЗЫКА MUSIC / МОСКВА · 1968 · MOSCOW // Игорь СТРАВИНСКИЙ / Igor STRAVINSKY / ТРИ ПЬеСЫ / И СоНЦеРТИНо / THREE PIECES / and CONCERTINO / ДЛЯ ДВУХ СКРИПоК, / АЛЬТА И ВИОЛОНЧеЛИ / FOR TWO VIOLINS, / VIOLA AND VIOLONCELLO / Партитура / Score / ИЗДАТЕЛЬСТВО МУЗЫКА / STATE PUBLISHERS MUSIC / Москва · 1968 · Moscow // (Score sewn [library binding] 12,9 x 19,7 ([8°]); 30 [28] pages + 4 cover pages [front cover title in ornamental frame black on white with in a text box containing publisher’s emblem 1 x 1,1 initial >M< with a stylized treble clef form, 2 empty pages, page with price at the top of the page left >25 к.< ] + 2 pages front matter [title page, page with introductory text folding inwards without headline by > В. Киселев<] + 2 pages back matter [page with a Russian translation of the original French playing instructions >ПеРеВоД ИСПоЛНИТеЛЬСКИХ УКАЗАНИЙ<, imprint >Индекс 9–6–I< with billing of names >Редактор Ю. оленев [#] Техн. редактор Н. Корунова / Корректор И. Миронович< and itemized statements of format and origin]; reprint pp. 14-30 ; title head p. 14 Russian-English centred >СоНЦеРТИНо [#] CONCERTINO / (1920)<; dedication above title head centre Russian-English italic >Квартету Флонзале [#] To the Flonzaley Quartett<; without author specified p. 14; plate number >4546<; end of score dated p. 30 right [1st-2nd line ragged alignment, 3rd line centred] >Карантек-Гарш / Carantec-Garches / 1920<; without end marks) // 1968

35-12St [Set of part reprint in connection with Trois piиces pour quatuor à cordes, in:] Игорь СТРАВИНСКИЙ / Igor STRAVINSKY / ПЬеСЫ / PIECES / ДЛЯ ДВУХ СКРИПоК, АЛЬТА / И ВИОЛОНЧеЛИ / FOR TWO VIOLINS, VIOLA / AND VIOLONCELLO / ГОлоСА / PARTS / [vignette] / МУЗЫКА MUSIC / МОСКВА · 1969 · MOSCOW // (set of parts 21.8 x 28 22.,5 x 29 (2° [Lex. 8°]) unsewn in 4 cover pages black on creme white [ornamented front cover page in an ornamented frame with vignette in the text box contained 1.5 x 1.6 Initiale >M< with a stylized treble clef form, 2 empty pages, page with price at the top of the page left >88 к.< + imprint >Индекс 9–6–I< with billing of names >Редактор Ю. оленев [#] Лит. редактор А. Землякова / Техн. редактор В. Соловьева [#] Корректор А. Лавренюк< and itemized statements of format and origin + a one-column introductory text folding inwards >ПРеДИСЛоВИе< by В. Киселев]; pages paginated; reprint >Violino I< pp. 5-10 + 2 pages back matter [page with a Russian translation of the original French playing instructions >ПеРеВоД ИСПоЛНИТеЛЬСКИХ УКАЗАНИЙ<, empty page], >Violino II< pp. 5½-11 + 1 page back matter [empty page], >Viola< pp. 6-11 + 1 page back matter [empty page], >Violoncello< pp. 6-11 + 1 page back matter [empty page]; title head 1st pages of the score Russian-English >СоНЦеРТИНо [#] CONCERTINO<, dedication [exclusively part 1. violin above title head centre Russian-English italic >Квартету Флонзале [#] To the Flonzaley Quartett<; without author specified; plate number >5114<; production indications violin parts p. 5 below type area flush left >2*<; without end marks) // 1969


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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