K042 Concerto

deutsch K042 Concerto

K42 Concerto

pour Piano suivi d’orchestre d’harmonie – Konzert für Klavier und Bläser – Concerto for piano and wind instruments – Концерт для фортепиано с оркестром – Concerto per pianoforte ed orchestra di armonia

Scored for: a) First edition: Flauto Piccolo, 2 Flauti grandi, 2 Oboi, Corno Inglese, 2 Clarinetti in La, 2 Fagotti (Fag. II. = C. Fag.), 4 Corni in Fa, 4 Trombe in Do, 3 Tromboni, Tuba, Timpani, Contrabassi [Piccolo Flute, 2 Flutes, 2 Oboes, English horn, 2 Clarinets in A, 2 Bassoons (Bass. II. = C.bass.), 4 Horns in F, 4 Trumpets in C, 3 Trombones, Tuba, Timpani, Double basses]; b) Performance requirements: = a)

Construction: The Concerto for piano and wind instruments is an instrumental work in three movements which have roman numerals, metronome markings and Italian performance markings; the work has different sets of figures for each movement and there are no titles for the individual movements.

Structure

I

Largo Quaver = 98 (96-100) (figure 61 up to the end of figure 4) {crotchet = 48}

Allegro Crotchet = 104 (figure 5 up to the end of figure 39)

Più mosso Crotchet = 166 (figure 40 up to the end of figure 44)

Doppio Movimento Quaver = semiquaver (figure 45 up to figure 46 9) {Maestoso crotchet = 48 (Largo del principo)}

II

Larghissimo Semiquaver = 84 (figure 447 up to the end of figure 51) {Largo semiquaver = 84 (a4)}

Cadenza (poco rubato) Quaver = quaver (figure 52 up to the end of figure 53) {L'istesso tempo ma poco rubato / Cadenza (poco rubato)}

Semiquaver = Quaver (figure 54 up to the end of figure 57) {Più Mosso crotchet = 84}

Quaver = Quaver Cadenza (poco rubato) (figure 58)

Crotchet = quaver Doppio valore - tempo primo semiquaver = 84 (figure 59 up to the end of figure 60) {Doppio movimento (Larghissimo semiquaver = 84) crotchet = quaver}

III

Allegro Crotchet = 112 (figure 61 up to figure 68 3) {Allegro crotchet = 104}

2 tied Quaver = crotchet Tempo I o(figure 68 4up to the end of figure 83)

Agitato Crotchet = 120 (figure 84 up to the end of figure 85) {Agitato crotchet = 112-120} VoSc

Lento (figure 86 up to the end of figure 88) {Lento quaver = 96}

Vivo Crotchet = 132 (figure 89) {Stringendo}

{ } = revised version 1950

Corrections / Errata

Full score 42-2

[Corrections red]

1.) p. 1, legend: 4 TROMBE C instead of 4 TROMBE (without C).

2.) p. 1, figure 1 6, 3rd Horn, treble clef: dotted quaver g1 + semiquaver g1 instead of dotted quaver g1 + semiquaver a1.

3.) p. 1, figure 2 1, 3rd Horn, treble clef: quaver g1 + semiquaver g1 instead of quaver b1 + semiquaver b1.

4.) p. 17, figure 23 4, 1. System Piano: quaver f1natural + a1 instead of quaver f#1+a1.

5.) p. 27, figure 37 2+3 , English Horn, treble clef: quaver b-semiquaver g1- semiquaver f#1-semiquaver g1-dotted quaver rest – all notes have a > underneath them.

6.) p. 27, figure 38 2, Piano, 1st system: 1st note es instead of e (red: bE)

7.) p. 32, figure 246, 1st Bassoon, bass clef: g#-g instead of g-g#.

8.) p. 32, figure 246, 1st-2nd Trbe, bass clef: g#-g instead of g-g#; legato slur to the crotchet, sharpened b sharp with the following crotchet without a sharp sign b sharp; instead of: no legato slur to the crotchet note b and no sharp sign, with the following crotchet a sharpened b.

9.) p. 39, figure 54 1: Quaver sign Più mosso = crotchet sign = 84 instead of quaver sign Più mosso.

10.) p. 40, figure 55 15+6, 1st Flute + 1st. Oboe, treble clef: Legato slur to crotchet c2 – bar line – legato slur from crotchet c2 over the bar line to quaver c2 – quaver a2 instead of: legato slur to crotchet c2 – bar line – quaver c2 – quaver a2 = - without legato slur from crotchet c2 over the bar line to quaver c2.

11.) p. 40, figure 56 5: The last octave chord appears as a quaver with a quaver rest instead of a crotchet.

12.) p. 40, figure 56 2+4, 1st Horn, treble clef: a1semiquaver-g#1semiquaver-g#1quaver-g#1crotchet- bar line // bar line-g#1semiquaver-f#1semiquaver-f#1quaver-f#1quaver with legato slurs from 3rd to 4th note, and in addition a slur from the 1st to the 2nd note and an accent mark > above the 1st und the 2nd note.

13.) p. 41, figure 2-157, 1st Oboe: p with subsequent crescendo marking across the bar line continuing up to just before the middle of the bar, then decrescendo up to the bar line.

14.) p. 41, figure 457, 1st Horn (treble clef): a1semiquaver-g1semiquaver-g1quaver-g1crotchet with accent marks > below 1st and 3rd note and slur from 1st to 2nd and 3rd to 4th note instead of a1semiquaver-g1semiquaver-g1quaver-g1crotchet without accent marks > and without slurs from 1st to 2nd note.

15.) p. 41, figure 57 5, 1st Flute: group of quavers c3-a2-b2-c3 with slurs and accents > over the 2 nd note instead of a group of quavers c3-a2-b2-c3 with slurs but withoutaccents.

16.) p. 41, figure 57 4+5, 1st Clarinet, treble clef: e2 crotchet – c2 quaver – e2 quaver – bar line – e2 quaver – c2 quaver – d2 quaver – e2 quaver with the following slurs: from the 1st to 2nd note, from the 3rd note over the bar line to 4th note, from the 5th note extending past the 7th note + an accent > above the 5th note instead of: the notes are identical, but there is no slur from the 1st to the 2nd note and no accent sign.

17.) p. 44, figure 60 6, Double Bass: 1st system quavers e-d with tenuto-sign and slur instead of with staccato without tenuto; 3rd system quavers fl-e b with tenuto-sign and slur instead of with staccato without tenuto.

18.) p. 45, figure 61 1, 2nd Piano, treble clef: all notes have to be removed.

19.) p. 10-750, figure 69, Double Bass: the whole line has to be removed.

20.) p. 51, figure 71 3, Piano treble, descant: 1. crotchet f#1 instead of f1.

21.) p. 51, figure 71 3, Piano, 1st system: 1st note f#1 (#F) instead of f1.

22.) p. 53, figure 75 1-5 , between the systems 1st/2nd Flute, 1st/2nd Oboe, 1st/2nd Clarinet, below system 1st Horn: (figure 75 1 ) s ƒ + decrescendo-sign instead of s ƒ p ; (figure 75 2 ) should be p- sign; (figure 75 3 ) after m ƒ has to be added a decrescendo-sign; (figure 75 4 ) should be p-sign; (figure 75 5 ) all decrescendo-signs should be removed.

23.) p. 55, figure 76 4+5, 1st Piano, treble clef, three-four time: quaver rest – c3 quaver – d3 quaver – f3 quaver – | – f3 crotchet – f3 crotchet with slurs from the 1st to 3rd note + from the 3rd note over the bar line to the 4th note + from the 4th to 5th note; the slurs from the 3rd to 4th and 4 th to 5th notes should be removed.

24.) p. 57, figure 178: It should not be 2nd + 3rd Trombe senza sordine, but 3rd + 4rh.

25.) p. 62, figure 82 1, 1st Horn: p-sign has to be added.

26.) p. 62, figure 82 1, 3rd/4th Trumpet: >(senza)< appears above the 1st trumpet, but makes it tacet.

27.) p. 62, figure 382, 1st Trumpet: Quaver h1-a1-g1-f1 with secco = the last three notes with staccato- dots.

28.) p. 63 /, figure 83 1, 2nd Horn: a p-sign should be added above.

29.) p. 64, figure 84 1: Agitato crotchet = 120 instead of Agitato crotchet = 112-120.

30.) p. 67, figure 187, 1st Flute: 1st note quaver b2 instead of crotchet b2.

31.) p. 67, figure 187, 1st Oboe: note-crescendo-note-decrescendo-note.

32.) p. 68, figure 89 1: Horns { sempre sƒ a stacc. instead of { sempre sƒ .

33.) p. 69, figure 89 last bar: last bar, all instruments underneath the final note in the piano have a final note, upon which there is a staccato dot.

Reduction for 2 Pianos 42-3

1.) figure 12: chord descant dotted quaver +semiquaverl c1-e1-f1 + c1-e1-f1 instead of chord descant dotted quaver + semiquaver c1-e1-f1 + d1-e1-f1 [>c not d<].

2.) figure 4 2: semiquaver-beams have to be added.

3.) S. 45 / figure 266 bass: letter from the wrong font has to be removed.

4.) S. 60 / figure 586, Piano descant: semiquaver beam has to be added.

5.) figure 88 6, Piano bass: semiquaver beam has to be added.

6.) figure 88 3: double chord (violin clef): dotted quaver-semiquaver f1-b1 + e b1- without natural b1 instead of f1-b1 + e b 1-bracket natural b1.

Pocket score (Boosey) 42-4

[Front matter title page: the correction pages ( pp. 2, 6, 11, 21, 27, 34, 38, 44) are indicated ]

1.) p. 2, figure 1 6, 3rd Horn: G instead of a.

2.) p. 2, figure 2 1, 3rd Horn, first both notes: G instead of b.

3.) p. 6, figure 7 1, Trumpets: 1, 2 + 3 instead of 1, 3 + 4.

4.) p. 11, figure 14 3, Piano bass: e b 1 instead of e1.

5.) p. 21, figure 29 1, Trumpets: 1, 2 + 3 instead of 1, 3 + 4.

6.) p. 27, figure 38 2, Piano descant: the highest note of the 1. two-note-chord (1. semiquaver ligature) has to read e b 1 instead of e1; the bracket of the natural (highest note of the 1. two-note-chord, 2. semiquaver ligature) has to be removed.

7.) p. 31, figure 44 6, Piano 1st and 2nd system: double line with >argue< at the page margin.

8.) p. 34 figure 147 | 47 1, Piano descant: phrase mark has to be added from 2. note semiquaver- ligature figure 147 up to 1. note 1. semiquaver-ligature figure 47 1.

9.) p. 38: >no slow< has to be added between system Bassoon and system Contrabassoon.

10.) p. 38, figure 152, Bassoon: phrase mark between 2nd and 3rd note of the 2nd ligature f-A b-G-D has to be removed.

11.) p. 40, figure 55 1: expression mark >Cantabile< has to be added.

12.) p. 44, figure 60 1, 1st Double Bass: staccato-dots have to removed; 2nd Doube bass: without annotation; 3rd Double Bass: staccato-dots have to be removed.

Style: At the beginning of the 1920’s, Strawinsky’s preference to compose for wind ensembles grew. From the Symphony of Wind Instruments to Mavra and the Octet, he experimented with numerous combinations of wind instruments. In the Concerto, he added timpani and double basses to an orchestra consisting of triple woodwind and quadruple brass. The Concerto is his second neo-Classical work after the Octet. It uses a Classical Allegro-movement form, a three-movement structure, variations, polyphonic and contrapuntal techniques as well as bitonal, short archaic gestures, mechanical motor-rhythm tempi and intricate rhythmic figures. This shows that nothing was lost from the experiences of the years since Sacre, and the piece was enriched by traditional techniques, especially from the Classical period. Solo instrument and orchestra are determined by the sounds of percussion.

Dedication: à Madame Nathalie Koussevitzky [To Mrs Nathalie Koussevitzky].

Duration: etwa 7'09" + 7'00" + 5'01".

Date of origin: Biarritz, from the middle of the year 1923 up to 21th April 1924.

First performance: on 22th May 1924, Opera Paris, in the series of concerts Kussewitzky, Igor Strawinsky (piano) conducted by Serge Kussewitzky. A pre-première predated the actual première on 14th May 1924 in the house of Princess de Polignac in Paris, at which Igor Strawinsky played the solo part and Jean Wiener the orchestral part on a second piano. This may have been from Strawinsky’s version for two pianos which had been completed in April. The date can be inferred from a comment of Strawinsky in which he stated that he played his concert 8 days before the actual première in the house of the princess.

Remarks: The Piano Concerto continues the series of compositions, beginning with the Octet, which were abstractly composed and orchestrated subsequently. It was first in the course of his compositional work that Strawinsky came to the conclusion that this composition would be best realized as a piano concerto. He had begun work with the intention of writing a work of dry clarity. Once he had established the forms, he decided on the piano, the sound of which he found to be clear, pure, clean and polyphonically transparent. Against this sound, he wanted to set a similarly dry and polyphonically transparent orchestral sound. For this reason, he thus settled on the wind orchestra, to which he added double basses, presumably because they could play lightly in imitation of the sound of percussion. Letters were sent to Ansermet which indicate the chronological progress of the composition. On 29th July 1923, the piano was confirmed as the solo instrument while Strawinsky had evidently come to the conclusion that the orchestral part would not be a large symphony orchestra but a select group of instruments. In a letter of 23rd February 1924, he advised Ansermet of his work on the third movement and the orchestration of the first, while he at this time had already completed both the composition and orchestration of the second movement. He was working on the piano reduction at the same time. It can be seen from the date on the surviving autograph score that Strawinsky completed the score on 21st April 1924. The work was not composed with the aim of expanding his own repertoire but it was for the first time that he publicly played piano as soloist.

Situationsgeschichte: The Concerto for Piano and Wind Instruments, the Piano Sonata, the Serenade for Piano and the Concerto for Piano and Orchestra ( Capriccio), make up a series of pieces with which it was practical for Strawinsky to earn his living. After the loss of income from his Russian properties, Strawinsky saw himself as being incapable of feeding his eleven-strong family only on the royalties and fees from commissions, especially as his successful works which had been published by Koussevitsky’s Russian music publishing house, enjoyed no copyright protection and thus could be plundered. In this way, the curious situation arose that Strawinsky earned almost nothing from his most successful work, the Firebird ballet, for many years, apart from that which Diaghilev paid him voluntarily. In the first years after the political expropriation debacle, patrons appeared who kept him afloat with regular payments, including the Princess Polignac and Mrs. Errazuriz. This could not continue in the long run. It was clear that composition commissions and the resulting royalties would not be sufficient to support Strawinsky’s civic existence. He ruled out the possibility of his taking on teaching duties: Strawinsky, with the exception of certain private lessons beginning after 1939 in the United States, never taught and never wanted to teach, although he did give introductory seminars at American universities. Lectures would have taken up a great deal of time and brought in little money, so he had to become artistically active in performance, conducting and playing the piano in public. He managed to involve his own works in both of these activities in order to make both the performances and his works more interesting. This source of income did in fact increase; Strawinsky remained on tours for decades and earned a material fortune, although from a spiritual perspective he lost a much greater one from the time wasted, which a man like Strawinsky could have used for more worthy matters. The première of the Piano Concerto was also the beginning of Strawinsky’s career as a pianist, for which he had Serge Koussevitsky, to thank for helping to set him on the right path, as did so many others. Koussevitzky’s fortune was due to his wife Nathalia. He came from poor circumstances and, as a consequence of this, became a (masterful) double bassist, because the St. Petersburg Conservatoire at that time accepted students without any obligation to pay school fees if they chose an underrepresented instrument (at the Conservatoire).It was he who suggested to Strawinsky that he play the solo part himself; this meant additional income then and in the future for the composer, who urgently needed it. At first, Strawinsky hesitated because he did not care about the instrument since the Etudes of 1908. He sourced a copy of the Czerny Studies, began to practise and managed to première his new work as a soloist. He had bad stage fright which led to him almost having a memory lapse at the beginning of the second movement and he was close to giving up. The quick-thinking Koussevitsky helped him out of the fatal situation and the concert went well. From then on, Strawinsky played his piano works himself. He retained the exclusive right to perform the Piano Concerto for five years. The surviving recordings show Strawinsky to be a pianist who above all had strong articulation. The highlight of his playing must be the Parisian recording of the Serenade from 1934. His activity as a pianist on a grand scale spanned a period of approximately 15 years until his emigration to America in 1939. At the same time, he had to create a piano repertoire that was suited to him in order that he would be able to perform an entire concert or else as part of a concert with a classical symphony. These considerations, not exclusively but as a large factor, were what led to the composition of the Capriccio and the two solo works for piano. The solo works however did not extend to a full evening’s programme for piano, but Strawinsky, who almost without exception still played only his own music, was able to bring his solo performances into mixed chamber-music evenings. A decade after the first wave of piano compositions, there followed a wave of transcriptions after he had come to know Samuel Dushkin. He wrote numerous violin editions of his works for general evenings of violin and piano music with the assistance of Dushkin, while additionally contributing original compositions ( Duo Concertant, Suite Italienne) with which both artists went on concert tours for many years.

Significance: The historical significance of the Piano Concerto lies in the new compositional role that Strawinsky allots to the solo instrument. After Brahms, the piano sound, because of his brittle tone, was increasingly repressed in the concerto compositions; the composer’s interest lay in the psychological refinement of the orchestra, the colossal expansion of which gradually came to its peak in the mammoth orchestra of the time around 1900, and the piano was adopted as another orchestral sound among the others. The young Strawinsky did not proceed differently. In the piano concerti of the time, the orchestra overwhelmed the solo instrument, as in the case of Reger, and had the effect of a strange quasi-symphonic poem with piano obligato. The piano concerti of Richard Strauss, Arnold Schönberg or Hans Pfitzner come across rather as mandatory exercises in composition than as original concerti. Composers that were strongly preoccupied with the orchestra, such as Gustav Mahler, Franz Schreker or Paul Gräner, who was highly regarded at that time, wrote no piano concerti at all, and they were accused (though whether correctly or incorrectly remains to be seen), of almost hating the piano. Good critical diagnosticians of the time, such as Alfred Baresel, recognised these connections and described them, and for this reason showed themselves to be taken with Strawinsky’s Piano Concerto. Strawinsky adopted this brittle language and returned the piano to its role as soloist; he avoided not only the opposition between piano and orchestral colour, but consciously developed the orchestra towards the piano sound. To this end, he removed all the strings, apart from the double basses, from the orchestra and adapted the relationship between the piano and orchestral sound to be based on a percussive sound; the resultant skilful unity caused amazement and awe in those who understood what he was doing. Strawinsky’s Piano Concerto therefore stood as a new type of work for the year 1924 which combined older concepts of function with the contemporary ideal of sound as well as the traits of Busoni’s new classical approach, which Strawinsky realized, can be recognised in this connection.

Versions: The rights for the Piano Concerto went to the Russian music publishers owned by the two Koussevitskys in Berlin. The performing material was available to hire from 1924. In the same year, the piano reduction for two pianos was published under the sham editorship of Albert Spalding while a conductor’s score, which was probably available from 1927, was first registered as being published in 1936 but was probably not available to buy or was not sold until 1938. In the first year of publication, 1924, the Russian publishers produced 161 copies of the piano reduction, and up to the end of 1938, 1136 copies in total worldwide. A second edition was published in 1929. The advert page of the 1929 edition includes three more items than the 1924 version. Added are the pocket score of the ballet suite of Pulcinella along with the Overture and Mother’s Aria from Mavra. Taking into consideration the sales figures of 1938, the existence of at least one further edition can be assumed. After Strawinsky’s works which were owned by the Russian publishers had passed to Boosey & Hawkes, the London publishers re-published the piano reduction after the signing of the contract on 6th November 1950, in September 1953 at the latest, and in August 1960, the pocket score followed, for which a further print-run in May 1962 can be verified. Strawinsky received his copy in October 1960 and the British Library received its copy on 27th September 1960. Unlike in the London edition, Spalding’s name was not mentioned in the Russian subsequent printing from1968. After Strawinsky’s death, the full score was again produced in May 1974.

Revised version: The revisions for the Piano Concerto concern remaining printing errors from the first edition and altered Italian performance indications and metronome markings. The piano part is left almost untouched, with the exception of two B flats doubled at the octave at figures 7 and 29. In the orchestral parts, there are a few minor adjustments to the instrumentation which probably were printing errors in the original. Even though the revision bears a later date, Strawinsky had already completed it by the end of the Second World War because he used the corrected material for his performances in the Carnegie Hall in New York on 1st and 2nd February 1945, for which he himself conducted and Beveridge Webster played the piano part. These corrections to the score and instrumental parts, which were also created before the general contract with Boosey & Hawkes, were taken by Ralph Hawkes to London on 1st May 1948. As a result, Strawinsky fell into distress in November because the Boston Symphony Orchestra wanted to perform the work and Strawinsky was afraid that Boosey & Hawkes or their American branch, Galaxy Music Corporation, would send over the old set of parts produced by the Russian music publishers on request. The event is recounted in a letter from Strawinsky to Robert Craft of 10th November 1948. It can reasonably be assumed that he based all his further performances on his corrected version. In the letter to Craft, he makes the observation that the incorporation of the corrections (into the old material that was eventually delivered by the publishers) would make him a lot of trouble. The matter of the revised version and its exact title was broached on 18th October 1950 in a letter to Betty Bean.

Historical recordings: New York 31st March 1950 with Soulima Strawinsky (piano) and the RCA-Victor-Symphony Orchestra under the direction of Igor Strawinsky; New York 13th. May 1964 with Philippe Entremont (piano) and the Columbia Symphony Orchestra under the direction of Igor Strawinsky – After Strawinsky had ended his career as a pianist, his son Sviatoslav, who was then calling himself Soulima, took on this role, and Igor Strawinsky regarded his manner of playing with a critical eye. He judged the recording of the piano concerto of 1947 that Soulima had made with Ferdinand Oubradou (born 1903), to be good on the whole, but found the tempi to be rushed and that the balance among the woodwinds was not maintained, not to mention the poor quality of the vinyl recording from a technical perspective. The first movement in the Aeolian rolls at least was played very quickly. In 1950, Soulima made another vinyl recording, this time with his father conducting.

CD-Edition: V/1-3 [Recording 1964 revised version].

Autograph: The autograph of the orchestral score with annotations is located in the Library of Congress, Washington and an annotated sketched version is in the Paul Sacher Stiftung in Basel.

Copyright: 1924 by Édition Russe de Musique (Russischer Musikverlag); 1947 assigned to Boosey & Hawkes, Inc., New York, U.S.A.

Editions

a) Overview

42-1 1924 VoSc; Russischer Musikverlag Berlin; 62 pp.; R. M. V. 414.

    42-1Straw ibd.

42-1291929 ibd.

    42-129Straw1929 ibd. [dated]

42-2 1936 FuSc; Russischer Musikverlag Berlin; 69 pp.; R. M. V. 607.

    42-2Straw ibd. [dated].

42-3 (1949) VoSc; Russ. Musikverlag Berlin / Boosey & Hawkes London; 69 pp.; B. & H. 16329.

    42-3Strawibd. [with annotations].

42-3531953 ibd.

42-3[68][1968] ibd.

42-4 1960 PoSc rev.; Boosey & Hawkes London; 72 pp.; B. & H. 18766; 724.

    42-4Straw ibd.

42-4621962 ibd.

42-4671967 ibd.

42-5Alb 1969 VoSc; Œuvres pour Piano II / Editions Musique Moscou; 6089.

b) Characteristic Identifications

42-1 à Madame Nathalie Koussevitzky / [°] / IGOR STRAWINSKY / 1923-1924 / CONCERTO / (pour PIANO suivi d'ORCHESTRE d'HARMONIE) / RÉDUCTION POUR DEUX PIANOS / par l'Auteur / [vignette] / PROPRIÉTÉ DE L'ÉDITEUR POUR TOUS PAYS. / ÉDITION RUSSE DE MUSIQUE / (RUSSISCHER MUSIKVERLAG G. M. B. H.*) / FONDÉE PAR S. ET N. KOUSSEWTZKY** / BERLIN MOSCOU LEIPZIG NEW YORK LONDRES BRUXELLES BARCELONE MADRID / PARIS / 22, RUE D'ANJOU / S. A. DES GRANDES ÉDITIONS MUSICALES // [title page = front cover title included misprint] // (Reduction for two pianos [library binding] 26.2 x 34.1 (2° [4°]); 62 [62] pages + 4 cover pages black on creme white [front cover title with vignette 0.8 x 0.8 spiralshaped ornament in square, 2 empty pages, page with publisher’s advertisements >LES ŒUVRES / d’IGOR STRAWINSKY<*** without production data] + 2 pages front matter [title page, empty page] without back matter; title head >CONCERTO / pour Piano suivi d’orchestre / d’harmonie / Réduction pour deux Pianos<; title head >CONCERTO / pour Piano suivi d’orchestre / Réduction pour deux Pianos<; dedication above title head centre >à Madame Nathalie Koussevitzky<; author specified 1st page of the score unpaginated [S. 1] below title head flush right centred >Igor STRAWINSKY / 1923 –1924<; fictitious editor specified next to 2. and 3. line title head flush left centred italic > Edited by/ Albert Spalding/ New - York<; legal reservations 1st page of the score below type area flush left >Russischer Musikverlag G.m.b.H., Berlin / (Édition Russe de Musique) / Copyright 1924 by Russischer Musikverlag G.m.b.H., Berlin< flush right centre above block >Propriété de l'éditeur< flush right block >DROITS D'EXÉCUTION ET DE REPRO- / DUCTION RÉSERVÉS POUR TOUS PAYS<; plate number >R,M,V, 414<; end of score dated p. 62 flush right >BIARRITZ, / AVRIL 1924.<; production indication p. 62 flush left as end mark >Imp. Delanchy-Dupré – Paris-Asnières.) // (1924)

° Dividing horizontal line of 1.7 cm.

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

** Misprint original.

*** Compositions are advertised >PÉTROUCHKA (BALLET) / PARTITION DE POCHE / RÉDUCTION POUR PIANO A QUATRE MAINS PAR L’AUTEUR / TROIS MOUVEMENTS DE PÉTROUCHKA / TRANSCRIPTION POUR PIANO SOLO PAR L’AUTEUR / rossignol(CONTE LYRIQUE) / RÉDUCTION POUR CHANT ET PIANO PAR L’AUTEUR (textes russe et français) / INTRODUCTION, CHANT DU PÈCHEUR et AIR DU ROSSIGNOL / (tirés du I eracte). / MARCHE CHINOISE, TRANSCRIPTION POUR PIANO SOLO / par THÉODORE SZANTO / CHANT DU ROSSIGNOL (POÈME SYMPHONIQUE) / PARTITION DE POCHE / RÉDUCTION POUR PIANO A DEUX MAINS PAR J. LARMANJAT / LE SACRE DU PRINTEMPS (BALLET) / PARTITION DE POCHE / RÉDUCTION POUR PIANO A QUATRE MAINS PAR L’AUTEUR / TROIS PIÈCES POUR QUATUOR A CORDES / PARTIES / PARTITION DE POCHE / OCTUOR POUR INSTRUMENTS A VENT / PARTITION DE POCHE / RÉDUCTION POUR PIANO A DEUX MAINS PAR A. LOURIÉ / CONCERTO POUR PIANO et ORCHESTRE d’HARMONIE / RÉDUCTION POUR DEUX PIANOS A QUATRE MAINS PAR L’AUTEUR / MAVRA OPÉRA EN 1 ACTE / RÉDUCTION POUR CHANT ET PIANO PAR L’AUTEUR avec textes russe, français, anglais et allemand. / OUVERTURE POUR PIANO / AIR DE LA MÈRE, POUR CHANT ET PIANO / sur DEUX POÉSIES DE BALMONT / ÉDITION NOUVELLE avec textes russe, français, anglais et allemand. / sur TROIS POÉSIES DE LA LYRIQUE JAPONAISE / ÉDITION NOUVELLE avec textes russe, français et anglais. / TROIS PETITES CHANSONS (Souvenir de mon enfance) / ÉDITION NOUVELLE avec textes russe et français, russe et anglais.<.

42-1Straw

The copy in Strawinsky’s estate has no annotations. The back pages are missing, and the outer title page is stuck on.

42-129 à Madame Nathalie Koussevitzky/ [°] / IGOR STRAWINSKY / 1923 - 1924 / CONCERTO / (pour PIANO suivi d'ORCHESTRE d'HARMONIE) / RÉDUCTION POUR DEUX PIANOS / par l'Auteur / [Vignette] / PROPRIÉTÉ DE L'ÉDITEUR POUR TOUS PAYS. / ÉDITION RUSSE DE MUSIQUE / (RUSSISCHER MUSIKVERLAG G. M. B. H.*) / FONDÉE PAR S. ET N. KOUSSEWTZKY** / BERLIN MOSCOU LEIPZIG NEW YORK LONDRES BRUXELLES BARCELONE MADRID / PARIS / 22, RUE D'ANJOU / S. A. DES GRANDES ÉDITIONS MUSICALES // [title page = front cover title included misprint] // (Reduction for two pianos sewn 25.8 x 34 (2°); 62 [62] pages + 4 cover pages black on creme white [front cover title with vignette 0.8 x 0.8 spiralshaped ornament in square, 2 empty pages, page with publisher’s advertisements >LES ŒUVRES / d’IGOR STRAWINSKY<*** without production data] + 4 pages front matter [2 empty pages, title page, empty page] + 2 pages back matter [empty pages]; title head >CONCERTO / pour Piano suivi d’orchestre / d’harmonie / Réduction pour deux Pianos<; dedication 1st page of the score unpaginated [S. 1] above title head centre >à Madame Nathalie Koussevitzky<; author specified 1st page of the score below title head flush right centred >Igor STRAWINSKY / 1923-1924<; fictitious editor specified 2. and 3. line title head flush left centred italic >Edited by / ALBERT SPALDING / New-York<; legal reservations 1st page of the score below type area flush left >Russischer Musikverlag G.m.b.H., Berlin / (Édition Russe de Musique° / Copyright 1924 by Russischer Musikverlag G.m.b.H., Berlin< flush right centre above justified text >Propriété de l'éditeur< flush right justified text >DROITS D'EXÉCUTION ET DE REPRO- / DUCTION RÉSERVÉS POUR TOUS PAYS<; plate number >R,M,V, 414<; end of score dated p. 62 flush right centred >BIARRITZ, / AVRIL 1924<; production indication p. 62 flush left as end mark >Imp. Delanchy-Dupré – Asnières-Paris. / 2 et 4, Avenue de la Marne – XXIX<) // (1929)

° Dividing horizontal line of 1.7 cm.

°° Original spelling (without bracket).

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

** Misprint original.

*** Compositions are advertised >PÉTROUCHKA (BALLET) / PARTITION DE POCHE / RÉDUCTION POUR PIANO A QUATRE MAINS PAR L’AUTEUR / TROIS MOUVEMENTS DE PÉTROUCHKA / TRANSCRIPTION POUR PIANO SOLO PAR L’AUTEUR / rossignol(CONTE LYRIQUE) / RÉDUCTION POUR CHANT ET PIANO PAR L’AUTEUR (textes russe et français) / INTRODUCTION, CHANT DU PÈCHEUR et AIR DU ROSSIGNOL / (tirés du I eracte). / MARCHE CHINOISE, TRANSCRIPTION POUR PIANO SOLO / par THÉODORE SZANTO / CHANT DU ROSSIGNOL (POÈME SYMPHONIQUE) / PARTITION DE POCHE / RÉDUCTION POUR PIANO A DEUX MAINS PAR J. LARMANJAT / LE SACRE DU PRINTEMPS (BALLET) / PARTITION DE POCHE / RÉDUCTION POUR PIANO A QUATRE MAINS PAR L’AUTEUR / PULCINELLA (BALLET) / SUITE DE PULCINELLA pour Petit Orchestre / PARTITION DE POCHE / TROIS PIÈCES POUR QUATUOR A CORDES / PARTIES / PARTITION DE POCHE / OCTUOR POUR INSTRUMENTS A VENT / PARTITION DE POCHE / RÉDUCTION POUR PIANO A DEUX MAINS PAR A. LOURIÉ / CONCERTO POUR PIANO et ORCHESTRE d’HARMONIE / RÉDUCTION POUR DEUX PIANOS A QUATRE MAINS PAR L’AUTEUR / SONATE pour Piano / MAVRA OPÉRA EN 1 ACTE / RÉDUCTION POUR CHANT ET PIANO PAR L’AUTEUR avec textes russe, français, anglais et allemand. / OUVERTURE POUR PIANO / AIR DE LA MÈRE, POUR CHANT ET PIANO / sur DEUX POÉSIES DE BALMONT / ÉDITION NOUVELLE avec textes russe, français, anglais et allemand. / sur TROIS POÉSIES DE LA LYRIQUE JAPONAISE / ÉDITION NOUVELLE avec textes russe, français et anglais. / TROIS PETITES CHANSONS (Souvenir de mon enfance) / ÉDITION NOUVELLE avec textes russe et français, russe et anglais. / SYMPHONIES D'INSTRUMENTS A VENT / RÉDUCTION POUR PIANO A 2 MAINS, PAR A. LOURIÉ.<

42-129Straw

The copy in Strawinsky’s estate contains no corrections, but in the middle of the outer title page above the ornament, the date 1929 appears in reference to the 2nd edition.

42-2 IGOR STRAWINSKY / 1923 - 1924 / CONCERTO / (pour PIANO suivi d'ORCHESTRE d'HARMONIE) / PARTITION D'ORCHESTRE / [Vignette] / PROPRIÉtÉ DE L'ÉDITEUR POUR TOUS PAYS. / ÉDITION RUSSE DE MUSIQUE / (RUSSISCHER MUSIKVERLAG G. M. B. H.*) / FONDÉE PAR S. ET N. KOUSSEWITZKY / BERLIN MOSCOU LEIPZIG NEW YORK LONDRES BRUXELLES BARCELONE MADRID / PARIS / 22, RUE D'ANJOU / S. A. DES GRANDES ÉDITIONS MUSICALES // à Madame Nathalie Koussevitzky / [°] / IGOR STRAWINSKY / 1923-1924 / CONCERTO / (pour PIANO suivi d'ORCHESTRE d'HARMONIE) / PARTITION D'ORCHESTRE / [miniatur-vignette] / PROPRIÉtÉ DE L'ÉDITEUR POUR TOUS PAYS. / ÉDITION RUSSE DE MUSIQUE / (RUSSISCHER MUSIKVERLAG G. M. B. H.*) / FONDÉE PAR S. ET N. KOUSSEWITZKY / BERLIN MOSCOU LEIPZIG NEW YORK LONDRES BRUXELLES BARCELONE MADRID / PARIS / 22, RUE D'ANJOU / S. A. DES GRANDES ÉDITIONS MUSICALES / S. I. M. A. G. – Asnières // (Full score** [library binding] 27.8 x 37.3 (2° [gr 4°]); 69 [69] pages + 4 cover pages thick paper black on grey beige [front cover title with vignette 0.8 x 0.8 spiralshaped ornament in square, 3 empty pages] + 2 pages front matter [title page with vignette 0.8 x 0.8 spiralshaped ornament in square, empty page] + 1 page back matter [empty page]; title head >CONCERTO / pour Piano et Orchestre d'Harmonie<; dedication above title head centre >à Madame Nathalie KOUSSEVITZKY<; author specified 1st page of the score paginated p. 1 above and next to numbered movement title in Roman numerals (without dot) >I< flush right centred >IGOR STRAWINSKY / 1923 - 1924<; legal reservations 1st page of the score below type area flush right centred >Copyright 1936 by Russischer Musikverlag, G. m. b. H. Berlin. / Tous droits d'exécution, de reproduction et / d'arrangements réservés pour tous pays.< flush left centred >Propriété de l'Editeur pour tous pays. / Edition Russe de Musique / Russischer Musikverlag G. m. b. H. Berlin.<; plate number >R.M.V. 607<; end of score dated p. 69 italic > Biarritz 21 Août 1924<; production indications p. 69 as end mark flush left >S. I. M. A. G. Asnières - < flush right >GRANDJEAN GRAV.<) // (1936)

° Dividing horizontal line of 1.7 cm.

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

** The London copy >i.105.c. (acquired on 1st September 1954) is complete and not trimmed, but rebound; the London copy >1: i.105.g. (acquired on 15st November 1960) contains numerous handwritten corrections, is trimmed, and the two back pages of the cover are missing.

42-2Straw

The copy from Strawinsky’s estate is on the front cover page below the name flush right centred with >Igor Strawinsky / Paris Sept. 1936< signed and dated.

42-3 igor strawinsky / concerto pour piano / réduction pour deux pianos / édition russe de musique · boosey & hawkes // Igor Strawinsky / Concerto / pour piano suivi d'orchestre d'jarmonie / Concerto / for piano and wind instruments / Réduction pour deux pianos / par l'auteur/ Reduction for two pianos by the composer/ Édition russe de musique (S. et N. Koussewitzky) · Boosey & Hawkes / London · New York · Sydney · Toronto · Capetown · Paris · Buenos Aires // (Piano score for two pianos sewn 26.5 x 33 (2° [4°]); 62 [62] pages + 4 cover pages thicker paper tomato red on dark beige [front cover title, 2 empty pages, page with publisher’s >Édition Russe de Musique / (S. et N. Koussewitzky) / Boosey & Hawkes< advertisements >Igor Strawinsky<* production data >No. 453<] + 2 pages front matter [title page, empty page] without back matter; title head >CONCERTO / pour Piano suivi d’orchestre/ d’harmonie/ Réduction pour deux Pianos<; dedication 1st page of the score unpaginated [p. 1] above title head centre centred >à Madame Nathalie KOUSSEVITZKY<; author specified 1st page of the score below title head flush right centred >Igor STRAWINSKY / 1923 – 1924<; fictitious editor specified 1st page of the score next to subtitle flush left centred italic > Edited by/ Albert Spalding/ New York<; legal reservations 1st page of the score below type area flush left >Copyright 1924 by Edition Russe de Musique (Russischer Musikverlag) / for all countries. / Copyright assigned 1947 to Boosey & Hawkes, Inc., New York, U.S.A. / All rights of reproduction in any form reserved.< flush right >Propriété de l'éditeur.<; plate number >B. & H. 16329<; end of score dated p. 62 flush right centred >BIARRITZ / Avril, 1924.<; end number p. 62 flush right >H.P.B103.148<; production indication 1st page of the score below legal reservation flush right >Printed in England.< // (1949)

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

42-3Straw

The copy in Strawinsky’s estate contains corrections, and on the upper half of the outer title page on the right ending next to the name >igor strawinsky<, the eintry >This copy is my / personal property / IStr / 1949<.

42-353 igor strawinsky / concerto pour piano / réduction pour deux pianos/ édition russe de musique · boosey & hawkes // Igor Strawinsky / Concerto / pour piano suivi d'orchestre d'harmonie / Concerto / for piano and wind instruments / Réduction pour deux pianos/ par l'auteur/ Reduction for two pianos by the composer/ Édition russe de musique (S. et N. Koussewitzky) · Boosey & Hawkes / London · Paris · Bonn · Capetown · Sydney · Toronto · New York // (Reduction for two pianos sewn 26.3 x 33.9 (2° [4°]); 62 [62] pages + 4 cover pages thicker paper brown red on light grey [front cover title, 2 empty pages, page with publisher’s >Édition Russe de Musique / (S. et N. Koussewitzky) / Boosey & Hawkes< advertisements >Igor Strawinsky<* production data >No. 453<] + 2 pages front matter [title page, empty page] without back matter; title head >CONCERTO / pour Piano suivi d'orchestre d'harmonie/ Réduction pour deux Pianos<; dedication above title head >à Madame Nathalie Koussevitzky<; author specified 1st page of the score unpaginated [p. 1] next to and below 2.-3. line title head flush right centred >Igor STRAWINSKY / 1923-1924<; fictitious editor specified 1st page of the score below title head flush left italic centred > Edited by/ Albert Spalding/ New York<; legal reservations 1st page of the score below type area flush left >Copyright 1924 by Edition Russe de Musique (Russischer Musikverlag) / for all countries / Copyright assigned 1947 to Boosey & Hawkes, Inc., New York, U.S.A.< flush left >All rights of reproduction in any form reserved<; plate number >B. & H. 16329<; end of score dated p. 62 >BIARRITZ / Avril, 1924.<; end number p. 62 flush left >9 · 53 L.& B.<; production indications 1st page of the score below type area flush right >Printed in England.< p. 62 flush right as end mark >Lowe and Brydone (Printers) Limited, London<) // (1953)

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

42-3[68] Igor Stravinsky / Concerto / for piano and wind instruments / Two Pianos / Édition Russe de Musique (S. & N. Koussevitzky) / Boosey & Hawkes // Igor Stravinsky / Concerto / for piano and wind instruments / Two pianos / revised 1950 / Édition Russe de Musique (S. et N. Koussevitzky) / Boosey & Hawkes / London · Paris · Bonn · Johannesburg · Sydney · Toronto · New York // (Reduction for two pianos [library binding] 23.3 x 30.9 (2° [4°]); 62 [62] pages + 4 cover pages thicker paper dark red on green beige [front cover title, 2 empty pages, page with publisher’s advertisements >Igor Stravinsky<* production data >No. 40< # >7.65<] + 2 pages front matter [title page, legend >Orchestra< Italian + duration data [20'] Italian] without back matter; title head >CONCERTO / for Piano and Wind Instruments<; dedication above title head centre >à Madame Nathalie Koussevitzky<; author specified 1st page of the score unpaginated [p. 1] below numbered movement title in Roman numerals (without dot) >I< flush right centred >IGOR STRAVINSKY / 1923-1924 / Revised 1950<; legal reservations 1st page of the score next to und below dedication flush right in the text box contained >IMPORTANT NOTICE / The unauthorised copying / of the whole or any part of / this publication is illegal< below type area flush left >Copyright 1924 by Edition Russe de Musique (Russischer Musikverlag) / for all countries. / Copyright assigned 1947 to Boosey & Hawkes, Inc., New York, U.S.A. / All rights of reproduction in any form reserved. / Revised version © Copyright 1960, 1968, by Boosey & Hawkes Inc. New York, U. S. A.<; plate number >B. & H. 16329<; end of score dated p. 62 italic centred >BIARRITZ / Avril, 1924.<; production indications 1st page of the score below type area flush right >Printed in England.<; without end mark) // [1968]

* In French, compositions are advertised in two columns without edition numbers, without price informations and without specification of places of >Operas and Ballets° / Agon [#] Apollon musagète / Le baiser de la fée [#] Le rossignol / Mavra [#] Oedipus rex / Orpheus [#] Perséphone / Pétrouchka [#] Pulcinella / The flood [#] The rake’s progress / The rite of spring° / Symphonic Works° / Abraham and Isaac [#] Capriccio pour piano et orchestre / Concerto en ré (Bâle) [#] Concerto pour piano et orchestre / [#] d’harmonie / Divertimento [#] Greetings°° prelude / Le chant du rossignol [#] Monumentum / Movements for piano and orchestra [#] Quatre études pour orchestre / Suite from Pulcinella [#] Symphonies of wind instruments / Trois petites chansons [#] Two poems and three Japanese lyrics / Two poems of Verlaine [#] Variations in memoriam Aldous Huxley / Instrumental Music° / Double canon [#] Duo concertant / string quartet [#] violin and piano / Epitaphium [#] In memoriam Dylan Thomas / flute, clarinet and harp [#] tenor, string quartet and 4 trombones / Elegy for J.F.K. [#] Octet for wind instruments / mezzo-soprano or baritone [#] flute, clarinet, 2 bassoons, 2 trumpets and / and 3 clarinets [#] 2 trombones / Septet [#] Sérénade en la / clarinet, horn, bassoon, piano, violin, viola [#] piano / and violoncello [#] / Sonate pour piano [#] Three pieces for string quartet / piano [#] string quartet / Three songs from William Shakespeare° / mezzo-soprano, flute, clarinet and viola° / Songs and Song Cycles° / Trois petites chansons [#] Two poems and three Japanese lyrics / Two poems of Verlaine° / Choral Works° / Anthem [#] A sermon, a narrative, and a prayer / Ave Maria [#] Cantata / Canticum Sacrum [#] Credo / J. S. Bach: Choral-Variationen [#] Introitus in memoriam T. S. Eliot / Mass [#] Pater noster / Symphony of psalms [#] Threni / Tres sacrae cantiones°< [° centre centred; °° original mistake in the title].

42-4 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / CONCERTO / FOR PIANO / AND WIND INSTRUMENTS^ / BOOSEY & HAWKES / No. 724 // HAWKES POCKET SCORES / IGOR STRAWINSKY / CONCERTO / FOR PIANO / AND WIND INSTRUMENTS / Revised 1950 / BOOSEY & HAWKES / LTD. / LONDON · PARIS · BONN · CAPE TOWN · SYDNEY · TORONTO · BUENOS AIRES · NEW YORK / NET PRICE [#] MADE IN ENGLAND // (Pocket score fadensewn 13.8 x 18.6 (8° [8°]); 69 [69] pages + 4 cover pages dark green on beige [front cover title with frame 8.4 x 3.3 beige on dark green, 2 empty pages, page with publisher’s advertisements > HAWKES POCKET SCORES/ A selection of outstanding modern works / from this famous library of classical and contemporary Pocket Scores<* production data >NO 782< [#] >I/56<] + 2 pages front matter [title page, legend >ORCHESTRA< Italian + duration data [20'] English] + 1 page back matter [empty page]; title head >CONCERTO / for Piano and Wind Instruments<; dedication above title head centre >à Madame Nathalie Koussevitzky<; author specified 1st page of the score unpaginated [S. 1] above und next to numbered movement title in Roman numeral (without dot) >I< flush right centred >IGOR STRAWINSKY / 1923-1924 / Revised 1950<; legal reservations 1st page of the score below type area flush left >Copyright 1924 by Edition Russe de Musique (Russischer Musikverlag) for all countries / Copyright assigned 1947 to Boosey & Hawkes Inc., New York, U.S.A. / Revised Version © 1960 by Boosey & Hawkes, Inc., New York, U.S.A.< flush right >All rights reserved<; plate number >B. & H. 18766<; end of score dated p. 69 flush right italic >Biarritz 21 Août 1924<; end number p. 69 centre inside left >8 · 60 L & B<; production indications 1st page of the score below type area flush right below legal reservation >Printed in England< p. 69 as end mark flush left >S.I.M.A.G. Asnières -< flush right >GRANDJEAN GRAV. / Lowe & Brydone (Printers) Limited, London<) // (1960)

^ ^ = Text in frame.

* Compositions are advertised in two columns with edition numbers from >Béla Bartók< to >Ralph Vaughan Williams<, by Strawinsky >Igor Strawinsky / 610 Capriccio (Revised I949 Edition) / 611 Apollon Musagète (Revised I947) Edition) / 630 Octet for Wind Instruments / [#] (Revised I952 Edition) / 632 Pulcinella Suite (Revised 1949 Edition) / 637 Symphony of Psalms / 638 The Rite of Spring (Revised I947 Edition) / 639 Pétrouchka (Revised I947 Edition) / 640 Orpheus / 65I Œdipus Rex (Revised I948 Edition) / 652 Perséphone / 655 Mass / 666 Cantata / 672 Symphonies of Wind Instruments / [#] (Revised I947 Edition) / 679 The Fairy’s Kiss / 682 Septet (I953) / 688 In Memoriam Dylan Thomas (I953)<. After London the following places of printing are listed: Paris-Bonn-Capetown-Sydney-Toronto-Buenos Aires-New York angegeben.

42-4Straw

The copy in Strawinsky’s estate contains no entries or corrections.

42-462 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / CONCERTO / FOR PIANO / AND WIND INSTRUMENTS^ / BOOSEY & HAWKES / No. 724 // HAWKES POCKET SCORES / IGOR STRAWINSKY / CONCERTO / FOR PIANO / AND WIND INSTRUMENTS / Revised 1950 / BOOSEY & HAWKES / MUSIC PUBLISHERS Limited / LONDON · PARIS · BONN · JOHANNESBURG · SYDNEY · TORONTO · BUENOS AIRES · NEW YORK / NET PRICE [#] MADE IN ENGLAND // (Pocket score sewn 13.9 x 18.9 (8° [8°]); 69 [69] pages + 4 cover pages dark green on beige [front cover title with frame 8.4 x 3.3 beige on dark green, 2 empty pages, page with publisher’s advertisements >HAWKES POCKET SCORES / An extensive library of miniature scores containing both classical works / and a representative collection of outstanding modern compositions<* production data >No. 16< [#] >I/61<] + 2 pages front matter [title page, legend >ORCHESTRA< Italian + duration data [20'] English] + 1 page back matter [empty page]; title head >CONCERTO / for Piano and Wind Instruments<; dedication: 1st page of the score unpaginated [S. 1] above title head centre centred >à Madame Nathalie Koussevitzky<; author specified 1st page of the score above und next to movement number in Roman numeral (without dot) >I< flush right centred >IGOR STRAWINSKY / 1923-1924 / Revised 1950<; legal reservations 1st page of the score below type area flush left >Copyright 1924 by Edition Russe de Musique (Russischer Musikverlag) for all countries / Copyright assigned 1947 by Boosey & Hawkes Inc., New York, U.S.A. / Revised Version © 1960 by Boosey & Hawkes, Inc., New York, U.S.A.< flush right >All rights reserved<; plate number >B. & H. 18766<; end of score dated p. 69 flush right >Biarritz 21 Août 1924<; end number p. 69 inside left >5 · 62 L & B<; production indications 1st page of the score below type area below legal reservation flush right >Printed in England< p. 69 as end mark flush left >S.I.M.A.G. Asnières -< flush right >GRANDJEAN GRAV. / Lowe & Brydone (Printers) Limited, London<) // (1962)

^ ^ = Text in frame

* Compositions are advertised in three columns without edition numbers from >Bach, Johann Sebastian< to >Wagner, Richard<, by Strawinsky >Stravinsky, Igor / Agon / Canticum Sacrum / Le Sacre du Printemps / Monumentum / Movements / Oedipus Rex / Pétrouchka / Symphonie de Psaumes / Threni<. After London t he following places of printing are listed: Paris-Bonn-Johannesburg-Sydney-Toronto-New York.

42-4 67 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / CONCERTO / FOR PIANO / AND WIND INSTRUMENTS^ / BOOSEY & HAWKES / No. 724 // HAWKES POCKET SCORES / IGOR STRAWINSKY / CONCERTO / FOR PIANO / AND WIND INSTRUMENTS / Revised 1950 / BOOSEY & HAWKES / MUSIC PUBLISHERS Limited / LONDON · PARIS · BONN · JOHANNESBURG · SYDNEY · TORONTO · BUENOS AIRES · NEW YORK / NET PRICE [#] MADE IN ENGLAND // (Pocket score sewn 13.7 x 18.5 (8° [kl. 8° / 8°] ); 69 [69] pages + 4 cover pages dark green on beige [front cover title with frame 8,4 x 3,3 beige on dark green, 2 empty pages, page with publisher’s advertisements >HAWKES POCKET SCORES / An extensive library of miniature scores containing both classical works / and a representative collection of outstanding modern compositions<* production data >No. I6< [#] >I/6I<] + 2 pages front matter [title page, legend >ORCHESTRA< Italian + duration data [20'] English] + 1 page back matter [empty page]; title head >CONCERTO / for Piano and Wind Instruments<; dedication: 1st page of the score unpaqginated [S. 1] above title head centre centred >à Madame Nathalie Koussevitzky<; author specified 1st page of the score above und next to movement number in Roman numeral (without dot) >I< flush right centred >IGOR STRAWINSKY / 1923-1924 / Revised 1950<; legal reservations 1st page of the score below type area flush left >Copyright 1924 by Edition Russe de Musique (Russischer Musikverlag) for all countries / Copyright assigned 1947 by Boosey & Hawkes Inc., New York, U.S.A. / Revised Version © 1960 by Boosey & Hawkes, Inc., New York, U.S.A.< flush right >All rights reserved<; plate number >B. & H. 18766<; end of score dated p. 69 flush right >Biarritz 21 Août 1924<; end number p. 69 inside left >1 · 67 L & B<; production indications 1st page of the score below type area below legal reservation flush right >Printed in England< p. 69 flush left >S.I.M.A.G. Asnières -< flush right as end mark >GRANDJEAN GRAV. / Lowe & Brydone (Printers) Limited, London<) // (1967)

^ ^ = Text in frame

* Compositions are advertised in three columns without edition numbers from >Bach, Johann Sebastian< to >Wagner, Richard<, by Strawinsky >Stravinsky, Igor / Agon / Canticum Sacrum / Le Sacre du Printemps / Monumentum / Movements / Oedipus Rex / Pétrouchka / Symphonie de Psaumes / Threni<. After London t he following places of printing are listed: Paris-Bonn-Johannesburg-Sydney-Toronto-New York.

42-5Alb Stravinsky* / И. СТРАВИНСКИЙ // IGOR STRAVINSKY / ŒUVRES POUR PIANO / VOLUME / II / EDITIONS MUSIQUE MOSCOU · 1969 // ИГОРЬ СТРАВИНСКИЙ / СОЧИНЕНИЯ ДЛЯ ФОРТЕПИАНО / ТОМ / II / ИЗДАТЕЛЬСТВО МУЗЫКА · МОСКВА · 1969 // [Text on spine:] ИГОРЬ СТРАВИНСКИЙ 2° СОЧИНЕНИЯ ДЛЯ ФОРТЕПИАНО // (Album 1.7 x 21.7 [22.6] x 28.9 [29.5] [Lex 8°]; 212 [212] pages + 4 pages bound in imitation leather [front cover title cream white on black, 2 empty pages red, empty page black with price mark creme white pages above flush left >3 р. 51 к.< + vignette centre centred 1.4 x 1.6 in the text box containing initial >M< with a stylized treble clef form cream white] + 6 pages front matter [empty page red, empty page white, empty page with vignette centre centred 1.4 x 1.6 in the text box containing initial >M< with a stylized treble clef form, title page French, title page Russian, editors specified Russian >Составлние и редакция / А. КОНДРАТЬЕВА и К. СОРОКИНА< French >Complétés et rédigés par / A. KONDRATJEV et K. SOROKINE<] + 6 pages back matter [page with annotation >ПРИМЕЧАНИЯ< with notes about the genesis of the work and dedications Russian, empty page, index >СОДЕРЖАНИЕ< Russian, imprint Russian >Индекс 9-4-4< with billing of names >Редактор А. Бакулов/ Художник В. Антипов/ Худож, редактор А. Головкина/ Техн. редактор С. Белоглазова< and itemized statements of format and origin, empty page, empty page red]; reprint pp. 1-25 (I), 26-34 (II), 35-52 (III); title head Russian-French >КОНЦЕРТ [#] CONCERTO / дла фортепиано с оркестром [#] pour piano et orchestre<; numbers in Roman numerals (without dot) as movement titles; plate number 6089; marked sheet below type area flush left p. 2 >2 Стравинский, фортепиано Т. II<, pp. 29, 45, 61, 77, 93, 109°°, 125, 141, 157, 173, 189, 193, 201 >3 Стравинский, фортепиано Т. II< continued to >15 Стравинский, фортепиано Т. II<; without author specified, without legal reservations, without acknowledging the original publishers on the pages of the score, without end marks) // 1969

° Vertical to text.

°° Marked sheet >9< instead of >8< is original, and the marking >9< on p.125 continues with the correct numbering.

* An imprinted, stylized signature risen up in grey-black on black with a first letter the size of the entire page.


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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Das zeitgenössische Wagner-Bild, Siebter Band: Dokumente 1853

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