K050 Capriccio

deutsch K050 Capriccio

K50 Capriccio

pour Piano et Orchestre en trois parties – Capriccio für Klavier und Orchester in drei Teilen – Capriccio for piano and orchestra in three parts – Каприччио для фортепиано с оркестром – Capriccio per pianoforte ed orchestra in tre parti

Title: Strawinsky took the title of this piano concerto from Michael Praetorius as synonymous with a fantasy as a free combination of contrapuntal instrumental works. The point in the text to which Strawinsky is referring is located in the second part of the three-part encyclopedia Syntagma musicum, which was published in 1618 and 1619 in a second version ( Capriccio seu Phantasia subitanea: Wenn einer nach seinem eignem plesier vnd gefallen eine Fugam zu tractiren vor sich nimpt / darinnen aber nicht lang imegriret, sondern bald in eine andere fugam, wie es jhme in Sinn kömpt / einfället).That enabled him to have different types of consciously contrasting episodes follow one another. According to Strawinsky, it is this that lends the piece its capricious character, corresponding to its name, which he found developed in an especially masterful way by Carl Maria v. Weber. The title ‘Capriccio’ was used according to general practice in the 16th century in reference to vocal works in the madrigal style, and in the late 16th and still in the 17th century referred not only to fantasies but also to the Ricercar, Canzone, Prelude and Toccata. It was used both for pieces in an imitative style just as much as for those written in a free style without restriction in the choice of instruments.

Scored for: a) First editions: Piccolo, Flauti I / II, Oboi I / II, Corno Inglese, Clarinetti in Si b I / II, Clarinetto Basso in Si b, Fagotti I / II, Corni in F I / II / III / IV, Trombe in Do I / II, Tromboni I / II, Trombone III e Tuba, Timpani, Piano, Concertino (Violino, Viola, Violoncello, C. Basso), Ripieni (Violini, Viole, Violoncelli, C. Bassi) – Piccolo (doubling 3 rdFlute, 2 Flutes, 2 Oboes, Cor Anglais, 2 Clarinets in B b & A (2nd doubling E b Clarinet), Bass Clarinet (doubling 3rd Clarinet), 2 Bassoons, 4 Horns in F, 2 Trumpets in C, 3 Trombones, Tuba, Timpani, Piano, Concertino (Violin, Viola, Cello, Double Bass), Ripieni (Violins, Violas, Cellos, Double Basses; b) Performance requirements: Solo Piano, Piccolo Flute (= 3rd Flute), 3 Flutes (3rd Flute = Piccolo Flute), 2 Oboes, English horn, Piccolo Clarinet in E flat (= 2nd Clarinet), 3 Clarinets (1st Clarinet in B flat and A*; 2nd Clarinet in B flat = Piccolo Clarinet in E flat*; 3rd Clarinet in A* = Bass Clarinet in B flat), Bass Clarinet in B Flat (= 3rd Clarinet), 2 Bassoons, 4 Horns in F, 2 Trumpets in C, 3 Trombones, Tuba, Timpani, Strings Concertino (Violin**, Viola, Violoncello, Double bass), Strings Ripieno (Violins***, Violas****, Violoncellos*****, Double basses).

* Only last movement.

** There is no division into first and second violins.

*** There is no division into first and second violins; briefly divided into two parts for 2 bars at figure 31 4+5.

**** 2 bars figure 31 4+5divided in two.

***** 4 + 4 bars figures 94 1-4+ 96 1-4divided pizzicato in two.

Performance practice: The piano part is satisfying to play, and the mood is happy. The three movements do not continue into each other without breaks due to the small pauses written in to the work, but are still attaccainto one another.

Construction: In the Strawinsky literature, it is mainly the formal intangibility of the Capriccio that is targeted, which is in contrast to the earlier Piano Concerto. Analysis of the work however demonstrates an overarching plan for the Capriccio, which White already recognised in places. The Capriccio is a piano concerto in three parts which lead into one another with Roman numerals for each section; it is very virtuosic and technically gratifying to play. It is neoclassical in style and structurally cannot be classified exactly. The work is a suite-like composition in episodes which functions by means of contrasting sections. Furthermore, it contains all the compositional methods that are typical for Strawinsky from the variational reworking of figures to the constant changing accent. In terms of material, none of these episodes is self-standing; each relies on the others and stretches beyond the boundaries of the movement. Certain of these themes are easy to hear thanks to their characters, such as the string introduction to the first movement which is repeated several times, and which leads upwards diatonically over more than two octaves in demisemiquavers. The material is derived from the germ cells of the third movement into the other movements. The formal variations are of many types. The piano is at the same time a solo, orchestral and accompanying instrument. Its single-note tremoli foreshadow a piano technique which later comes to define the style in the Concerto for Two Pianos. The several flute parts give the piece a bright and sprightly feel. The first movement begins with a two-part introduction (A-B-A-B1) until the end of figure 2, which is also the finale of the movement with its slightly extended coda section (figure 30 to the end). At figures 3, 10, 14, 16 and 19 there is a sequence of apparently independent sections, which use repeating sections and which remind one at certain moments of secondary themes. The second movement stylistically follows the sound world of the baroque slow movement in the style of Bach’s Italian Concerto. The rhapsodic form is in three parts A-B-A1 (A: figure 35 8to the end of figure 38; B: figure 39 to the end of figure 45; A1: figure 46 to the end of the movement) with an extended coda C which leads into the third movement and consists, like its models, of a slow A section and a fast B section. The third movement is a Rondo with an introductory section repeated three times which gives a renewed energy. What is here refered to as the Rondo theme that begins at figure 56. In between, there are sections which are completely different in character. One of them (figure 88) suggests a popular song but without the banal embarrassment which tends to go with it; another is directly taken from Tchaikovsky. White attempted to demonstrate the derivation of the main motif of the third movement from the coda of the Pas de deux of the third scene (‘Sleeping Beauty’) , and this was adopted by other biographers.

Structure

I.

Presto Crotchet = 132 (figure 51 up to figure 11)

Doppio movimento Crotchet = 66 (figure 1 1-4)

Presto Crotchet = 132 (figure 1 5up to the end of figure 1 9)

Doppio Movimento Crotchet = 66 (figure 2 up to figure 13 4)

dotted Quaver = 88 (figure 13 5up to the end of figure 15 4)

Crotchet = 66 Tempo I o (figure 16 up to the end of figure 18*)

Poco più mosso Crotchet = 88 (figure 19 1up to the end of figure 20)

Tempo I o Crotchet = 66 (figure 21 up to the end of figure 29)

Presto Crotchet = 132 (figure 30)

Doppio Movimento Crotchet = 66 (figure 31)

Presto Crotchet = 132 (figure 32)

Doppio movimento Crotchet = 66 (figure 33 up to the end of figure 35 7)

II.

Andante rapsodico Semiquaver = 108 (figure 236 up to the end of figure 38)

Più mosso Semiquaver = 152 = quaver (figure 39 up to the end of figure 45)

Tempo I o Semiquaver = 108 (figure 46 up to the end of figure 51 3)

Figure 50 1-2[ two separate alternations between rubatoand accell.]

III.

Allegro capriccioso ma tempo giùsto Crotchet = 96 (figure 52 up to the end of figure 100 3)

* In the Russian illegal printing, at figure 16 there is the marking >Tempo I Crotchet = 66 (in 4)<

Corrections: The production of the performance materials of the Capriccio took place with an astounding carelessness considering the business situation of the Russian publishers. Strawinsky wrote a horrified letter on the subject to Ansermet (2nd January 1931) and, according to Craft, made a note in his notebook of one-hundred-and-fifty-four errors that were printed, more than could have been included in an errata sheet of at least six pages without it seeming ridiculous. The piano reduction also contained some errors but obviously not on this scale. The errata sheet enclosed with the score lists 23 corrections. In fact, Strawinsky catalogued 155 errors by hand on 14 separate pages for the conducting score from 1930, which is dated >Nice le 5 I 31< and contains the comment in French >Foundes non corrigées / dans la part. d’orch. / du / C apriccio.<.

Corrections / Errata

Full Score Dp 50-3 (Russischer Musikverlag)

1.) figure 51 Violins, Violas, Violoncellos Ripieni: 1st e-notes have to be marked with down-bow

signs*

2.) figure 1 5Ripieni-Violins: Crotchet d1-g#2-d3 instead of crotchet d1-g2-d3.

3.) figure 1 5Ripieni-Double basses: after > s ƒƒ< has to be added a decrescendo sign [>].*

4.) figure 2 4Concertino-Violoncello: f# instead of f.

5.) figure 4 51st Flute: 1st note [c#1] ledger line has to be added.

6.) figure 5 3Concertino-Violoncello: 1st grace-note quaver instead of semiquaver*

7.) figure 5 3Concertino-Violoncello: the first 4 semiquavers have to be marked with a phrase mark.

8.) figure 5 5Concertino-Violoncello: first rest dotted quaver rest instead of quaver rest.

9.) figure 7 1Strings without Concertino-Violin: the accidentals (2 b) have to be added.

10.) figure 7 1: Strings (without Double basses): they have do be marked with down-bow signs*

11.) figure 8 5Piano bass: last semiquaver ligature c-e-c#1 instead of e-c#1.

12.) figure 11 41st Flute: last quaver e#3 instead of c3.

13.) figure 13 2Piano bass: last semiquaver ligature B b-g-d1-A instead of A b-g-d1-A b.

14.) figure 13 4Piano treble: last ligature g2-c2-f#2-e3-d3 instead of g2-c2-f2-e3-d3

15.) figure 14 11st Oboe: key signature (2 b) has to be added; the chain of trills has to be extended.

16.) figure 14 21st Clarinet trill: chain of trills has to be added.

17.) figure 14 3: the legend has to be added

18.) figure 14 31st Oboe: dotted crotchet c1 instead of crotchet c1.

19.) figure 16 1Flutes, legend: grace has to be added.

20.) figure 17 1systems Piccolo and Flutes: the continuous bar line has been removed and has been

replaced by a separate bar line in the piccolo system and a continuous bar line in the Flutes

system.

21.) figure 18 2Viola Concertino: the first two notes of the ligatures [d1] have to be read dotted

semiquaver instead of semiquaver.

22.) figure 23 1Piano bass: 2nd note semiquaver B has to be marked with an accent (wedge).

23.) figure 23 6Piano treble: quarter rest has to be added.*

24.) figure 24 2+32nd Oboe: last quaver [d3] figure 24 2has to be tied to the first semiquaver [d3] figure

24 3.

25.) figure 25 3Ripieni-Violins: the rests crotchet-dotted quaver instead of crotchet-quaver

26.) figure 32 1Violins, Violas, Violoncellos Ripieni: 1st d-notes have to be marked with down-bow

signs*

27.) figure 32 34th Horn: a staccato mark (dot) has to be added crotchet d1.

28.) figure 32 3Concertino-Double bass: Crotchet A b has to be added a staccato mark (dot)

29.) figure 33 4Ripieni-Violins: before accord has to be added >div.<

30.) figure 35 1Horns: before pp-mark has to be added a curly bracket

31.) figure 35 1Concertino-Viola: bracket natural has to be added to the minim b b1.

32.) figure 236 metronom marking: Semiquaver = 108 instead of demisemiquaver = 108**.

33.) figure 236 Concertino-Violoncello + -Double bass: dotted quaver rest instead of quaver rest.

34.) figure 36 31st + 2nd Bassoon: semiquaver beams have to be added 2nd [f2 respectively e2] and

3rd [e2 respectively e2] notes of the 1st ligatures instead of quaver beams.

35.) figure 37 3Ripieni-Violoncellos: 1st Semiquaver ligature e-E instead of e-E b.

36.) figure 37 3Englischhorn / Piano: the misleading placing of the note values should be removed, in

that the last four piano notes should be positioned underneath the last and not the penultimate

note in the cor anglais

37.) figure 37 6Concertino-Violine: bracket natural has to be added to the 4. note (= 1st note of the 2nd

l igature [g1]).

38.) figure 38 21st Flute: phrase mark only from g1 up to d1.

39.) figure 38 41st Flute: phrase mark 1st ligature has to be removed, also the staccato-dots of the

septuplet [not the dots above the two triplets at the end]***

40.) figure 38 4Concertino-Violoncello / Piano: the misleading placing of the second quaver underneath

the second piano semiquaver should be removed, in that the note should be positioned

underneath the third semiquaver.

41.) figure 39 2Piano: 2nd ligatur has to be read as quintuplet, 3rd as triplet combination.

42.) figure 39 31st Bassoon / Bassclarinet: indication >secco – bien articuler< has to be removed

(1.Bassoon) and to move to the system English horn.

43.) figure 40 1Piano (violin clef): next to 2nd. a1-note overlong beams. beams have to be removed.****.

44.) figure 40 2Piano Diskant: 1st hemidemisemiquaver ligature a1-c2-d2-f2 instead of c2-d2-f2.

45.) figure 41 1./2. Clarinet - Bass clarinet legend: between >I/II< and >basso< has to be added >Cl. in

Si b<.

46.) figure 41 1Piano + Concertino-Strings: accidentals ( b) have to be added.

47.) figure 41 3Piano disckant: 2nd (bass clef) note has to be tied to 3rd note (a b).

48.) figure 43 4Bass clarinet legend: >Cl. basso / in Si b< has to be added.

49.) figure 44 1Bass clarinet: c#1 instead of c1.

50.) figure 44 4Piano treble: 3rd triplet ligature, 2nd note has to be added a natural (c2 instead of c#2).

51.) figure 44 7Piano Bass: 4th semiquaver [d1] has to be added a natural with square brackets.

52.) Correction of the legend: an appropriate correction of the legend C. I. is removed here as the

result of a different printing format

53.) figure 45 13rd Horn: Ligature rest-f#1-g#1-g#1 instead of rest-f#1-g1-g1.

54.) figure 45 31st Horn: a breath mark has to be added at the end of the bar.

55.) figure 45 4ripieni Double basses: the marking Rallentando should be removed.

56.) figure 46 2Piano: the misleading alignment of the second bass ligature under the area of the fourth

soprano ligature should be corrected.

57.) figure 46 5English horn: third from last note d b1 instead of d1; the flat of the last note has to be

removed.

58.) figure 47 3Clarinets-Bassoons: chord combination system Bassoons has to be removed and has

to moved to system Clarinets.

59.) figure 47 3Horns: quaver rest has to be added before semiquaver rest; 1st two-note-chord has to

be marked with an accent (>); also the two notes 1st Horn [d2] have to be tied; > sƒ< instead of

>ƒ<.

60.) figure 47 3Piano bass: the last 6 two-note-chords (violin clef, left hand) have to be marked with

accents (>) and have to read as triplets.

61.) figure 48 1Ripieni-Double basses legend: accidentals (4 b) have to be added.

62.) figure 48 1Concertino-Violoncello: > sƒ marcato< instead of >poco meno ƒ<.

63.) figure 48 2Ripieni-Kontrabässe: 1st semiquaver d [natural] instead of d b.

64.) figure 48 31st/2nd Flute: the first two two-notes chords have to be marked with accents (>).

65.) figure 48 3Flute systems: between system has to be added >marc.<*

66.) figure 48 33rd Flute: both nNotes have to be marked with accents (>).

67.) figure 48 3Concertino-Double bass: below the system has to be added >marc.<*****.

68.) figure 48 3Ripieni-Double basses: semibreve rest has to be added.

69.) figure 50 6Piano diskant (bass clef): (befor the eleven notes) hemidemisemiquaver e1 has to be

tied to the quaver e1; the 2nd note [quaver e1] has to be read as dotted quaver.

70.) figure 50 7Piano descant: the tie from the end of the 1st up to the beginning of the 2nd ligature

[bass clef dotted quaver a respectively hemidemisemiquaver a]

71.) figure 51 1Piano bass: both accords have to be added staccato-marks (dots).

72.) figure 51 23rd Piano bass: a natural has to be added to the 2nd note [d1], the natural before the 1.

note has to be removed.

73.) figure 51 31st Flute: the slur between second to the last note quaver g2 and the last note crotchet

g2 has to be removed.*

74.) figure 55 23rd Piano bass: the first notes of the two ligatures [bass clef e, treble clef g1] have to be

marked with accents (>) (blue).

75.) figure 55 33rd Piano descant: 1st two-note-chord ligature g-g1 has to be marked with an accent

(>) (blue).

76.) figure 56 41st/2nd Flute: the ƒ-sign below the semiquaver ligature has to be removed.

77.) figure 57 2Piccolo-Clarinet: 1st note c3 has to be marked with an accent (>); 1st note of the 2nd

ligature g#2 instead of g2.

78.) figure 58 3Viola Concertino: staccato-dot below 1st note dotted quaver c2 had to be removed

[ not noticed by Strawinsky ]

79.) figure 58 4Violin Concertino / Viola Concertino: Mark of an orientation mark that begins at the key

signature in the viola system and ends before the second note a1 in the violin system

80.) figure 60 1Ripieni-Violoncellos / Ripieni-Double basses: key signatures (1 #) have to be added.

81.) figure 60 51st/2nd Flute: 5th note [semiquaver c#3] have to be marked with an accent (wedge).

82.) figure 60 61st/2nd Flute: excluding the first note all seven other notes have to be marked with

accents (wedges).

83.) figure 61 3A-Clarinet: 3rd and 4th semiquaver [g2, as2] have to be marked with accents (wedges).

84.) figure 62 31st Flute: slur to the 1st note [d3] has to be removed.*

85.) figure 62 3Concertino-KontraBass: Quaver notes have to be added bow-up signs

86.) figure 66 2Piccolo-Flute / 1st Flute: between the systems has to be added >colla parte< with left

curtly bracket

87.) figure 66 21st Flute: below the system >rubato tempo< has to be added.

88.) figure 66 2Piano treble: 1st note [f4] semiquarter instead of quarter.

89.) figure 66 2Concertino-Violin: below the system >colla parte< has to be added.

90.) figure 66 4Piano treble: 4th note semiquaver ligature f2 instead of d#2.

91.) figure 68 5Concertino-Viola: last note [violin clef f2] has to be marked with an accent (wedge).

92.) figure 69 1Piano bass: between (bass clef) quarter a (bass) and (violin clef) semiquarter a1

(treble) a semiquarter rest has to be added.

93.) figure 69 1Concertino-Viola 1st semiquaver b1: accent (wedge) instead of staccato mark (dot)

(blue)

94.) figure 69 3Piano bass: the up-bow sign above 1st note of the sextuplet has to be removed°.

95.) figure 71 1Piano descant: phrase mark has to be added from semiquaver rest up to the last

crotchet d2 instead of from semiquaver rest up to last semiquaver-sextuplet note d1.

96.) figure 71 2Piano descant: phrase mark has to be added from semiquaver rest up to the last

crotchet e2 instead of from semiquaver rest up to last semiquaver-sextuplet note f1.

97.) figure 71 3Piano descant: phrase mark has to be added from semiquaver rest up to the last

crotchet f2 instead of from semiquaver rest up to last semiquaver-sextuplet note g#1.

98.) figure 71 3-41st Flute: a phrase mark has to be added from the 1st quaver f#2 in figure 71 3up to

the last quaver b2 in figure 71 4.

99.) figure 71 4Piano Diskant: phrase mark has to be added from semiquaver rest up to the last

crotchet f#1 instead of from semiquaver rest up to last semiquaver-sextuplet note b1.

100.) figure 71 51st Flute: a phrase mark has to be added from the 1st quaver e b2 up to the last quaver

c3 in figure 71 4. °°

101.) figure 72 1Piano treble: last note of the 1st Sextuplet g2 instead of e2.

102.) figure 72 1Concertino-Violin (first system): >arco< has to be removed.

103.) figure 72 1Concertino-Violoncello (first system): >arco< has to be removed.

104.) figure 72 4to 73 1Double bass concertino: indication >sempre poco s ƒ< below system figure 73 1

has to be removed and has to moved to the system figure 72 4.

105.) figure 73 42nd Flute: 1st note crotchet a2 has to be marked with a accent (>); between the 1st

and the 2nd note has to be added a decrescendo-sign.

106.) figure 73 42nd Oboe: above system >expressivo< instead of >expressive<.

107.) figure 73 52nd Oboe: 1st note f1 [f with natural] instead of f b1.

108.) figure 73 62nd Flute: Bar end quaver rest has to be added.°°°.

109.) figure 73 6Bass Clarinet: The s emibreve rest has to be removed.

110.) figure 73 72nd Flute / 1st Oboe: Bar ends quaver rest has to be added.

111.) figure 73 7Bass Clarinet: The s emibreve rest has to be removed.

112.) figure 74 12nd Flute / 1st Oboe: Bar ends quaver rest has to be added.

113.) figure 74 1Bass Clarinet: The s emibreve rest has to be removed.

114.) figure 74 1Piano bass: Bar ends quaver rest has to be added.

115.) figure 74 1Concertino-Violine: 1st note [c1] dotted quaver instead of quaver.

116.) figure 74 3Ripieni-Violas: a flat in brackets has to be added to the repeated note b b2 with °°°°

117.) figure 75 3Ripieni-Violas crotchet b2: up-bow sign instead accent (wedge).°°°°°

118.) figure 76 4Concertino-Violins: 2nd/3rd (slured) notes have to be marked with a decrescendo-

sign.

119.) figure 76 4Concertino-Violas: semiquaver h#2 / quaver h2 instead of semiquaver c#3 / quaver

c3, the both slured notes have to be marked with a decrescendo-sign.

120.) figure 76 5Flutes: >a 2< instead of >n 2<.

121.) figure 76 4A-Clarinet: 3 accents (wedges) instead of 3 staccatos (dots).

122.) figure 76 4Bassoons: 4th note of the 1st semiquaver ligature (f) has to be tied to the following 1st

note of the 2nd semiquaver ligature (f) and have to be marked (also 4th note of the 2 nd

semiquaver ligature f1) with accents (>).

123.) figure 76 4, -Violin Concertino: the crescendo-sign above the 1st note a#2 has to be removed and

replaced by a decrescendo-sign above the 2nd note b2; slures have to be added to the two

notes.

124.) figure 76 4Viola Concertino: a slur has to be added the first two notes a#2 and b2; the first

note [a#2] has to be marked with a staccato-dot.

125.) figure 77 1Piccolo-Flute: last note [quaver c3] accent sign (>) has to be added.

126.) figure 77 1Bassoons: last note [quaver c1] accent sign (>) has to be added.

127.) figure 77 3Piccolo-Flute: Semiquaver e b2 instead of e2 and has to be marked with an accent (>).

128.) figure 77 31st/2nd Flute: 2nd [quaver e3] and last [f#3] note have to be marked with an accent

(>).

129.) figure 77 3Piccolo-Clarinet 1st ligature: 2nd note c#3 quaver instead of semiquaver.

130.) figure 77 3Bassoons: 2nd [quaver e1] and the last [f#1] note have to be marked with an accent

(>).

131.) figure 77 3Violin Concertino: first and last but one note [d#2 and f2] have to be marked with

accents (>); slures have to be added from d#2 to the following note e2 and from f2 to the

following note f#2.

132.) figure 77 3Concertino-Viola: second to last semiquaver f2 has to be added accent sign (>).

133.) figure 77 4 1st/2nd Flute: above system at the beginning of the line on the new page, an > a 2<

not noticed by Strawinsky should be inserted.

134.) figure 77 4Piano descant: the two phrase marks from last two-note-chord figure 77 3have to be

extended up to 1st two-note-chord figure 77 3; 4th semiquaver [semiquaver d2, tied to following

semiquaver d2] has to be marked with staccato-dot; phrase mark has to be added from the 1 st

ligature up to the 1st note of the 2nd ligature.^

135.) figure 77 4Violin Concertino: phrase mark has to be added from 1st note [f#2] to following note

[g2]; the note f#2 has to be marked with an accent (>).

136.) figure 77 4Violas Concertino: phrase mark has to be added from 1st note [f#2] to following note

[g2]; the note f#2 has to be marked with an accent (>).

137.) figure 77 5Piano bass end of the bar: a bass clef has to be added.

138.) figure 78 1has to be read figure 77 4; the numbering needs to be displaced by one bar.

139.) figure 78 2Piano treble: the second to last (bass clef) semiquaver two-note figure a#2-c#3

instead of a#2-h#2.

140.) figure 78 3Concertino-Violin: 1st ligature dotted crotchet g#2 with semiquaver a2 has to be added

a slur.

141.) figure 80 24th Horn: second to last note (a) has to be added an accent mark (>).

142.) figure 82 6Flutes: last note [g3] quaver instead of crotchet.

143.) figure 83 3-5Ripieni-Violas Ripieni: phrase marks have to be added throughout from 3rd up to 4.

and 5th up to 6th semiquaver.

144.) figure 84 6Piccolo-Clarinet: last note semiquaver instead of quaver.

145.) figure 84 61st Clarinet: last note semiquaver instead of quaver.

146.) figure 84 63rd Clarinet: 1st note e2 instead of e b2.

147.) figure 87 5Concertino-Violin: quaver rest + crotchet rest instead of dotted crotchet rest^^

148.) figure 87 5Concertino-Viola: quaver (treble clef) d3 has to be marked with a flageolet signe (°);

quaver rest + crotchet rest instead of dotted crotchet rest

149.) figure 88 12nd Flute: phrase mark has to be added from last note quaver d1 up to figure 88 2.

150.) figure 88 11st Trumpet: >Sola<^^^ instead of >I°<.

151.) figure 88 31st Basson: >I°< has to be removed.

152.) figure 88 41st Trumpet: crotchet d#1 has to be added accent mark (>).

153.) figure 88 51st Trumpet: crotchet d1 has to be added accent mark (>).

154.) figure 89 1Piccolo-Flute: quaver rest has to be added before quaver ligature.

155.) figure 89 51st Bassoon: >I°< has to be removed.

156.) figure 91 2Piano treble: 1st semiquarter ligature note d2 instead of c2.

157.) figure 92 2+3Piccolo-Clarinet: breath marks have to be added after the first quavers [ligature c2].

158.) figure 92 4Piano bass: 2nd ligature-note [d#] semiquaver instead of quaver.

159.) figure 92 5+63rd Clarinet: last note in figure 92 5has to be tied to first note in figure 92 6.

160.) figure 92 5Concertino-Violin: quaver c3 instead of d3.

161.) figure 92 5Concertino-Viola: = figure 92 5Concertino-Violin.

162.) figure 93 11st/2nd Trumpet: two-note figures c1-d1 instead of d1-e1.

163.) figure 93 21st/2nd Trumpet: two-note figure c1-e1 instead of c1-d1.

164.) figure 93 3+4bis figure 94 1+2Piccolo-Clarinete: the 1st notes of the ligatures has to be replaced by

semiquaver rest.

165.) figure 93 4Trombones: >Tuba< between the systems has to be removed.^^^^

166.) figure 93 4Piano treble: 2nd two-tone chord f#1 with bracket sharp / f#2 with bracket sharp

instead of f#1 with bracket sharp / f#2 without bracket sharp.

167.) figure 95 21st Trombone: 2nd quaver a with staccato mark (dot) instead of g without staccato.

168.) figure 96 legend: below system Piccolo-Clarinet has to be added >Cl. La<.

169.) figure 96 1Concertino-Viola: above system has to be added >pizz.<.

170.) figure 96 3Violins Ripieni: phrase mark from the last but two semiquaver f#1 up to last

semiquaver d2 has to be removed.^^^^^

171.) figure 96 3Ripieni-Violas Ripieni: phrase mark from the last but two semiquaver f#1 up to last

semiquaver d2 has to be removed.^^^^^

172.) figure 96 4Clarinet in A: 2nd semiquaver ligature-note e2 instead of e b2.

173.) figure 97 11st/2nd Trumpet: two-note-chord quaver d b1-f1 instead of three-note-chord d b1-e1- b1.

174.) figure 97 3Piccolo-Flute: phrase mark has to be added from fourth last up to third from last note

[semiquaver e3 up to b2].

175.) figure 99 1Ripieni-Violas: above system has to be added >pizz.<.

176.) figure 99 1-3Timpani: quaver rest - quaver d – crotchet rest - quaver G – quaver rest | quaver rest

- quaver d – crotchet rest - quaver G – quaver rest | quaver rest – quaver d – crotchet rest –

crotchet rest.

177.) figure 100 1Oboes: ledger line has to be added (quaver = a#2).

178.) figure 100 1Timpani: 1st quarter [d] staccato sign (dot) has to be added; below the system

>subito ƒ ma non troppo< instead of >subito ƒ<.

179.) figure 100 1Ripieni-Double basses: above system has to be added >pizz.<.

180.) figure 100 21st Clarinet: phrase mark has to be added from 1st note d3 of the last semiquaver

ligature up to following note a2; the note d3 has to be marked with an accent (>).

181.) figure 100 31st Clarinet: phrase mark has to be added from 1st note c3 of the last semiquaver

ligature up to following note a2; the note c3 has to be marked with an accent (>).

* Missing in the (Ego) pocket score.

** In the pocket score, the marking >(in 8)< appears after the metronome marking, not annotated by Strawinsky.

*** In the pocket score, there are [likewise] accent markings > underneath the first 3 notes, annotated by Strawinsky.

**** In the pocket score, triplet and quintuplet markings have been omitted, not annotated by Strawinsky.

***** In the pocket score, there is a sf marking here, not annotated by Strawinsky.

° In the pocket score, there is an accent marking at this point >, not annotated by Strawinsky.

°° In the pocket score there is also a phrasing mark from the second to the third quaver note [d2 to c2], not annotated by Strawinsky.

°°° System 1st Oboe: the quaver rest is correct.

°°° The bracket was printed without the b flat, and Strawinsky corrected it by inserting the b/b flat into the bracket. In the new text, the b flat was not entered, rather the bracket was removed.

°°°°° The wedge has been removed, but the up-bow has not been inserted.

^ The phrasing mark is not notated by Strawinsky in the corrected version of the score.

^ ^ Not specifically notated by Strawinsky, but it appears in the following viola system.

^^^ Not annotated by Strawinsky.

^^^^ The performance marking appearing at this point, >stacc. Poco sf< is not written by Strawinsky in the score.

^^^^^ The down-bow marking above the penultimate note is not written by Strawinsky.

Vocal score 50-4

1.) p. 24, figure 39 2, 3rd System, 1st Piano, 2nd (laste) ligatureLigatur): Semiquaver beams of the

hemidemisemiquavers should be continous.

2.) p. 25, figure 40 2, 2nd system, 1st Piano: The 9th note (a2) should be quaver instead of semiquaver.

Style: The division of ripieno and concertino strings harks back to baroque musical practice, but the music for the soloist is played exclusively between the solo instrument and the orchestra. The mood is cheerful. The capriccio character arises from the succession of contrasting, small episodic forms which can be defined as being from the capriccio via the fantasy and rhapsody up to the rondo in many types according to the form. What is new in the Capriccio is the unusually dense motific working in which everything is derived from everything else and forms a motific puzzle. Strawinsky avoids repeated sections throughout, with only a few exceptions, and instead uses certain short and distinctive motifs one after the other which register briefly and are then subsumed by the maelstrom of runs and accents.The episodic smaller structures can be defined from Capriccio via Fantasy and Rhapsody to Rondo.

Dedication: There is no dedication indicated.

Duration: 16'56" (6'30", 5 01", 5'25").

Date of origin: Nice, about christmas 1928 up to 9. November 1929; the second movement was finished 13 September 1929 in Echarvines, the transcription for piano in January 1930.

First performance: 6th December 1929, Salle Pleyel Paris with Igor Strawinsky as soloist and the Orchestre Symphonique de Paris (76. concert) conducted by Ernest Ansermet. Furthermore, Strawinsky recorded the following concert performances in which he was the pianist: 23 January 1930 Berlin, Klemperer; 30 January 1930, Leipzig, Klemperer; 12 February 1939 Bukarest; 26 February 1930, Prag, Talick; 19 March 1930, Winterthur, Ansermet.

Remarks: The now well-known correspondence gives no information on the motivation of the production. It concerns the disc recordings and the many printing errors. It is reported in Strawinsky’s memoirs, that he felt it necessary in 1928 to write a new piece for his activities as a concert soloist following his fortieth performance of the Concerto for Piano and Winds. He marks the beginning of the composition with ‘Christmas 1928’. All the other dates come from entries in the manuscript. He started at Christmas not with the first movement but the third. Once again, Strawinsky was composing backwards.As usual, Strawinsky retained the performance rights. After the Second World War, the ageing Strawinsky gave up his activities as a pianist and his son Soulima, whose gifts as a pianist were outstanding, stepped into his place, playing for example the Capriccio on 23th July 1948 in Red Rock.

Situationsgeschichte: At the time of composition, the conditions of performance and especially the concept of orchestration had changed for Strawinsky. After the ballet Apollon, the strings once again regained their orchestral role in Strawinsky’s music. It is however not advantageous to be limited to a single piece with an exceptionally sized wind section in a symphonic concert, and send the string section, which is so effective to the audience, from the stage. Not only the ballet Apollon but also the ballet The Fairy’s Kiss had brought him back for good to the string section, and the influences of The Fairy’s Kiss on the new piano concerto in terms of structural connections can be seen from early on. The fact that he orchestrated the Capriccio for a symphony orchestra of standard proportions, although without dividing the violins into firsts and seconds, and that he included the special effect of the concertino group, (which appeared baroque although he did not use it in a baroque manner) made his piece easier to be included in a normal symphonic concert programme and fulfilled his own duty as the soloist and conductor, which served both the dissemination of his music as well as the increase of his income. The more that Strawinsky’s distinctive pieces were juxtaposed instrumentally, the more they started to fall out of standard concert programmes. They emphasized Strawinsky’s originality and his significance in music history, but restricted him to special concerts, mostly in connection with music festivals for new music, something which he later complained about loudly but which in the end was owed to his stylistic development.

Versions: The Russian publishers produced the conductor’s score of Capriccio in 1930, which contained some errors, and the piano reduction for two pianos, which was completed by Strawinsky himself and is overrun with printing errors. The publishing contract was given the Roman numeral XIII and was signed on 28th October 1929. Gabriel Païchadze signed on behalf of the Russian music publishers. Strawinsky received a payment of $3,000 and the usual share of the profits. As a result, the publishers had to pay $500 immediately after the end of the contract, a further $500 on 1st November 1929 and then $250 on the first day of each month for eight months. The success of the sales was small. Between 1931 and 1938, the final year of accounts before the Second World War, scarcely 250 copies of the piano reduction were sold. The conductor’s score was not available to buy but examples remain in private ownership (the copy i.105.e. was bought by the British Library on 11th February 1958). A pocket score was not published and the parts were available to hire. The publishers subsequently printed an errata sheet for the piano reduction, which above all corrects the incorrect key signatures. Whether they were planning something similar for the orchestral score as well or had the corrections inserted into the parts has not been clear so far. An edition with an included catalogue of errata seems not to exist, especially as there was no subsequent edition due to the small sales numbers before the war. None of the editions were distributed further after the end of the general contract between Strawinsky and Ralph Hawkes; there were revised versions instead of this. They began to be published from 1952 in the form of a pocket score and a piano reduction. The publishing contract for the piano edition was signed on 20th June 1952. The revised piano reduction for two pianos came onto the market by mid-June 1952 at the latest. The British Library received its contributory copy on 20th June 1952, and Strawinsky received his in July. He received his free copy of the pocket score in November 1952 and the copy went into the British Library on 28th November 1952. A new edition with the removal of the errors was discussed in mid-June 1966, as can be seen in a letter of 30th June. The conductor’s score was presumably available to hire, as was the version by the Russian music publishers at the time (in Strawinsky’s estate, there is a copy [Basel 62 STRAW 14]).

Revised version: The revised version of 1949 restricted itself to removing printing errors and restoring of omissions that had partly been highlighted in the enclosed errata sheet that made been produced by the Russian publishers. It seems however that new errors had managed to creep in. For example, the revised version of the metronome marking, dotted quaver = 80 instead of 88 at figure 14 1, was called into question by White because it differs too much from the previous tempo, crochet = 66.*

* Despite Strawinsky’s own correction, he insists on the original marking, dotted crotchet equals 88.

Historical recordings: for three days in Paris 8th up to 10th May 1930 with the orchestra Walther Straram, conducted by Ernest Ansermet with Igor Strawinsky as soloist (after a rehearsal period of eight hours in total); New York City 3rd January 1966 with the Columbia Symphony Orchestra, conducted by Robert Craft with Philippe Entremont (Soloist).

Recording with Ansermet: The recording which was made in 1930 with Ansermet and the Straram Orchestra led to much difference of opinion about the manner of the distribution of the music. Since the recording time for a single disc was restricted to just over 3 minutes, a minimum of 5 disc sides were necessary. Ansermet made arrangements for the how the music was to be divided up. Strawinsky did not agree with him however, especially as he had already decided that it would be recorded onto 6 disc sides, as his letter to Ansermet of 16th April 1930 demonstrates. In this letter, he expressed his regret that the Straram Orchestra had other commitments because they only had free slots in May, and thus would not be able to fulfill his main wish of recording the Piano Concerto onto LP. In a letter from Easter Sunday (19th April 1930), he gives Ansermet his own plan for the division of the piece: 1st side: up to figure 21 3inclusive; 2nd side: figure 21 4up to the end of the first movement; 3rd side: the second movement up to the end of figure 45 5; 4th side: figure 46 to the end of the movement and then to figure 53 5; 5 thside: back to the beginning of the 3rd movement at figure 52 but without the held note g2 in the first flute, up to the end of figure 75 4; 6 thside: figure 76 (which begins with a general crochet rest) to the end. Strawinsky was thinking pragmatically. He was taking into account the fact that the division into five sides would be possible but would have negative consequences commercially. In doing this, Strawinsky was certainly concerned about the empty side that would be created in Ansermet’s version; this could even result in an additional piece being used to fill in the gap and would be arranged by the record company so that they would not have to sell empty material. Ansermet on the other hand had reckoned with a recording with a section cut out but took into account Strawinsky’s three-movement structure. For the recording with the Straram Orchestra, who up to that point had not played the Capriccio, there was only eight hours rehearsal time available on the piece.

Ballet productions

1947 Mailand, Teatro alla Scala (choreography; Leonide Massine; stage design: Nikolas Benois)

1957 München, Staatsoper (choreography, stage design and costumes: Alan Carter)

CD-Edition: V/9-11 (Recording New York City 3rd January 1966).

Autographs: The autograph score used to be in the possession of Boosey & Hawkes in London and was given to the British Library in London by Ernst and Kate Henriette Roth; an autograph score of the version for two pianos went into the possession of Nadia Boulanger, from whose estate it passed into the ownership of the National Library of Paris, while another came to the Public Library in New York. The sketch materials are in the Paul Sacher Foundation in Basel.

Copyright: 1947 assigned to Boosey & Hawkes New York; 1952 for the revised versions full score and vocal score by Boosey & Hawkes; the original editions by the Russian Music Publishers from 1930 contain legal reservations but no Copyright marks.

Editions

a) Overview

50-1 1930 VoSc; Russischer Musikverlag Berlin; 48 pp.; R. M. V. 470.

    50-1Straw ibd. [with corrections]

50-2Err [1930] Errata-table; 1 pp.; – .

    50-2Err-Straw ibd. [with annotations]

50-3 1930 FuSc; Russischer Musikverlag Berlin; 109 pp.; R. M. V. 502.

    50-3Straw ibd. [with annotations]

50-4 1952 VoSc; Russischer Musikverlag Berlin / Boosey & Hawkes London; 53 pp.; B. & H. 16990.

    50-4Strawibd. [with corrections]

50-4[65][1952] ibd.

50-5 (1952) PoSc; Hawkes & Son London; 88 pp.; – ; H.P.S. 610.

50-6 [1952] FuSc; Russischer Musikverlag Berlin / Boosey & Hawkes London; 88 pp.; .

50-7Alb 1969 VoSc; Œuvres pour Piano II / Editions Musique Moscou; 6089.

b) Characteristic features

50-1 IGOR STRAWINSKY / CAPRICCIO / ÉDITION RUSSE DE MUSIQUE // IGOR STRAWINSKY / CAPRICCIO / pour Piano et Orchestre / en 3 parties / Réduction pour 2 Pianos à 4 mains / par l'AUTEUR. / Prix: Frs 10.= / RM. 8.=/ ÉDITION RUSSE DE MUSIQUE / RUSSISCHER MUSIKVERLAG (G. M. B. H.*) / FONDÉE PAR S ET N. KOUSSEVITZKY / BERLIN · LEIPZIG · PARIS · MOSCOU · LONDRES · NEW YORK / [°] / Imp. Delanchy-Dupré – Asnières-Paris. / 2 et 4, Avenue de la Marne – XXX // (Reduction for two pianos [library binding] 26.2 x 33.6 (2° [4°]); 48 [48] pages + 4 cover pages black on beige [front cover title, 3 empty pages] + 2 pages front matter [title page, empty page] + 2 pages back matter [2 empty pages]; title head >Capriccio / POUR PIANO et ORCHESTRE / en trois parties<; author specified 1st page of the score paginated p. 1 below title head next to movement number in Roman numeral (with dot) >I.< flush right centred >IGOR STRAWINSKY / 1929<; legal reservations without Copyright 1st page of the score below type area flush left centred >Propriété de l'Editeur pour tous pays. / Edition Russe de Musique. / Russischer Musikverlag G. m. b. H. Berlin.< flush right >Tous droits d'exécution de reproduction / d'arrangements réservés pour tous pays<; plate number >R.M.V. 470<; end of score dated p. 48 >Nice 1929<; production indication p. 48 flush left as end mark partly in italics > Grav. MONSARRAT Bordeaux / Imp. Delanchy-Dupré. Paris-Asnières. / 2 et 4. Avenue de la Marne – XXX) // (1930)

° Dividing horizontal line of 0.5 cm.

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

50-1Straw

50-1Straw2

Stravinsky's estate copy is drawn on the outer title under the name in the center in red with> Igor Stravinsky / Février 1930 <and dated and contains under the title blue underlined the note> Exemplaire corrigé <. Behind the cover page is the printed program announcement of the Paris performance of 6 December 1929, 21 hours (76th Concert of the Monteux Orchestra Symphonique de Paris) with Ansermet and Stravinsky as conductors and soloists. This is followed by a glued Errata directory with an empty back. The blank page behind the inside title contains a glued typewriter card in blue with strike instructions. The copy has a few corrections[p. 3, figure 4 2: At the end of the bar should be a treble clef; p. 5, figure 7 7, 2nd Piano right hand: Last chord should be c#2-c#3 instead of c2-c3; p. 7, figure 10 6, 1st Piano Descant: First note should be c3 instead of f3; p. 19, figure 236, 1st Piano Descant: Trille note should be b instead of b b; p. 23, figure 41 1, 2nd Piano upper system: At the start of the bar should be a bass clef; p. 29, figure 52 1, 2nd Piano upper system: Treble clef semiquaver a2 should be read instead of bass clef semiquaver G; p. 33, figure 63 1, 1st Piano Descant: Semiquaver rest should be between 1st and 2nd (and 3rd and 4th (last note))]

50-2Err CAPRICCIO / ERRATA[#] Igor STRAWINSKY // (1 p. unpaginated 25.7 x 33.6 ([4°]) with empty page as back side; [23 correctiens, 22 of them with notes]; without legal reservation; without plate number; without end marks) // [1930]

50-2Err-Straw

50-3 IGOR STRAWINSKY / CAPRICCIO / PARTITION D'ORCHESTRE / ÉDITION RUSSE DE MUSIQUE // IGOR STRAWINSKY / CAPRICCIO / PARTITION D'ORCHESTRE / ÉDITION RUSSE DE MUSIQUE / RUSSISCHER MUSIKVERLAG (G. M. B. H.*) / FONDÉE PAR S. ET N. KOUSSEVITZKY / BERLIN · LEIPZIG · PARIS · MOSCOU · LONDRES · NEW YORK · BUENOS AIRES / Imp. Delanchy-Dupré - Paris // (Full score [library binding] in einem Schuber 17.6 x 23.7; 109 [109] pages + 4 cover pages cardboard black on blue-grey [front cover title, 3 empty pages] + 2 pages front matter [title page, empty page] + 2 pages back matter [2 empty pages] without Errata list; title head >CAPRICCIO<; author specified 1st page of the score unpaginated [p. 1] below movement number in Roman numeral (without dot) flush right centred partly in italics >IGOR STRAWINSKY / 1929<; legal reservation without Copyright 1st page of the score below type area flush left partly in italics >Propriété de l'Éditeur pour tous pays. / ÉDITION RUSSE de MUSIQUE. / Russischer Musikverlag G. M. B. H. Berlin / Tous droits réservés pour tous pays.<; plate number >R·M·V .502<; production indication p. 109 flush right as end mark >Imp. Delanchy-Dupré. – Paris-Asnières / 2 et 4 Avenue de la Marne – XXX) // (1930)

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

50-3 IGOR STRAWINSKY / CAPRICCIO / PARTITION D'ORCHESTRE / ÉDITION RUSSE DE MUSIQUE // IGOR STRAWINSKY / CAPRICCIO / PARTITION D'ORCHESTRE / ÉDITION RUSSE DE MUSIQUE / RUSSISCHER MUSIKVERLAG (G. M. B. H.*) / FONDÉE PAR S. ET N. KOUSSEVITZKY / BERLIN · LEIPZIG · PARIS · MOSCOU · LONDRES · NEW YORK · BUENOS AIRES / [°] / Imp. Delanchy-Dupré - Paris // (Full score [library binding] 27.5 x 36.8 ([gr. 4°)]; 109 [109] pages + 4 cover pages cardboard black on blue-grey [front cover title, 3 empty pages] + 2 pages front matter [title page, empty page] + 2 pages back matter [2 empty pages] without Errata list; title head >CAPRICCIO<; author specified 1. page of the score unpaginated [p. 1] below movement number in Roman numeral (without dot) >I< flush right centred partly in italics >IGOR STRAWINSKY / 1929<; legal reservation without Copyright 1. page of the score below type area flush left partly in italics >Propriété de l'Éditeur pour tous pays. / ÉDITION RUSSE de MUSIQUE. / Russischer Musikverlag G. M. B. H. Berlin / Tous droits réservés pour tous pays.<; plate number >R·M·V .502<; production indication p. 109 flush right as end mark >Imp. Delanchy-Dupré. – Paris-Asnières / 2 et 4 Avenue de la Marne – XXX) // (1930)

° Dividing line of 0.9 cm.

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

50-3Straw

Strawinsky’s copy of his estate (with corrections and notes on performance) contains a stamp mark at the top of the outer title page centre centred (and on the 1st page of the type area next to title head somehow at an angle >MATERIEL EN LOCATION SEULEMENT / PROPRIÉTÉ DE L’ÉDITEUR<. It is signed beween stamp and name flush right >Igor Strawinsky<. Another stamp on the 1st page of type area >SOCIÉTÉ ANONYME< is below type area of the 1st page right.

50-4 igor strawinsky / capriccio / reduction for two pianos / édition russe de musique · boosey & hawkes // Igor Strawinsky / Capriccio / for Piano and Orchestra / Revised 1949 Version/ Reduction für Two Pianos/ by the Composer/ Edition Russe de Musique (S. & N. Koussewitzky) · Boosey & Hawkes / London · New York · Toronto · Sydney · Capetown · Buenos Aires · Paris · Bonn // (Reduction for two pianos sewn 23.3 x 31 (4° [4°]); 53 [53] pages + 4 cover pages brown-red on grey-beige [front cover title, 2 empty pages, page with publisher’s advertisements > Igor Strawinsky<* production data >No. 453<] + 2 pages front matter [title page, legend >Instrumentation< Italian + duration data [20’] English] + 1 page back matter [page with publisher’s advertisements > Serge Prokofieff< production data >No. 454<]; title head >CAPRICCIO / for Piano and Orchestra<; author specified 1st page of the score paginated p. 1 between title head and movement number in Roman numeral (without dot) >I< flush right centred partly in italics > Igor Strawinsky/ 1929 _ New version 1949<; legal reservations 1st page of the score below type area flush left >Copyright [without the date] by Edition Russe de Musique (S. & N. Koussewitzky) / Copyright assigned 1947 to Boosey & Hawkes, Inc., New York, U.S.A. / Revised version copyright 1952 by Boosey & Hawkes, Inc., New York, U.S.A.< flush right centred >All rights of reproduction / in any form reserved.<; plate number >B. & H. 16990<; production indications 1st page of the score below type area below legal reservation flush right >Printed in England< p. 49 flush right as end mark >GRANDJEAN GRAV.<) // (1952)

* 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<.

50-4Straw

Strawinsky’s copy of his estate (with corrections) is on the outer title above name flush right with pencil >Mistakes, all the same ! / IStr / July I952< signed and dated.

50-4[66] igor stravinsky / capriccio / reduction for two pianos / édition russe de musique · boosey & hawkes // Igor Stravinsky / Capriccio / for Piano and Orchestra / Revised 1949 Version/ Reduction für Two Pianos/ by the Composer/ Édition Russe de Musique (S. & N. Koussewitzky) · Boosey & Hawkes / London . Paris . Bonn . Johannesburg . Sydney . Toronto . New York // (Reduction for two pianos [library binding] 23.4 x 31.1 (4° [4°]); 53 [53] pages + 4 cover pages tomato red on green-grey-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 >Instrumentation< Italian + duration data [20’] English] + 1 page back matter [page with publisher’s advertisements** production data >No. 7d< [#] >4.66<]; title head >CAPRICCIO / for Piano and Orchestra<; author specified 1st page of the score paginated p. 1 between title head and movement number in Roman numeral (without dot) >I< flush right centred partly in italics > Igor StraVinsky/ 1929 New version 1949<; legal reservations 1st page of the score below type area flush left >Copyright [without the date] by Edition Russe de Musique (S. & N. Koussewitzky) / Copyright assigned 1947 to Boosey & Hawkes, Inc., New York, U.S.A. / Revised version copyright 1952 by Boosey & Hawkes, Inc., New York, U.S.A. / Revised version copyright 1952 by Boosey & Hawkes, Inc., New York. U.S.A. < flush right centred >All rights of reproduction / in any form reserved.<; plate number >B. & H. 16990<; production indications 1st page of the score below type area below legal reservation flush right >Printed in England< p. 49 flush right as end mark >GRANDJEAN GRAV.<) // [1966]

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

** Compositions are advertised in two columns under the heading >MUSIC FOR TWO PIANOS< from >Bartók< to >Warrack< , Strawinsky not mentioned; under the heading >CONCERTOS / with orchestral accompaniment arranged for second pianoforte< from >Bartók< to >Tcherepnin< , amongst these >Stravinsky [#] Capriccio / [#] Concerto / [#] Movements<; without specification of places of printing.

50-5 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / CAPRICCIO^ / BOOSEY & HAWKES / No. 610 // HAWKES POCKET SCORES / IGOR STRAWINSKY / CAPRICCIO / FOR PIANO AND ORCHESTRA / REVISED 1949 VERSION / HAWKES & SON (LONDON) LTD. / SOLE AGENTS BOOSEY & HAWKES, LTD. · LONDON / NEW YORK · BONN · PARIS · TORONTO · SYDNEY / CAPE TOWN // [Text on spine:] No. 610 · STRAWINSKY · CAPRICCIO // (Pocket score sewn 0.6 x 13.6 x 18.4 (8° [kl. 8°]); 88 [88] pages + 4 cover pages thicker paper dark green on dark beige [front cover title with frame 9.4 x 3.5 dark 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 Miniature Scores.<* production data >No. 582<] + 2 pages front matter [title page, legend >INSTRUMENTATION< Italian + duration data [20’] German-English-French] + 2 pages back matter [empty pages]; title head >CAPRICCIO<; author specified 1st page of the score unpaginated [p. 1] next to and below movement number in Roman numeral (without dot) >I< flush right centred >IGOR STRAWINSKY / 1929; revised version 1949<; legal reservation 1st page of the score below type area flush left [without the date] >Copyright by Edition Russe de Musique (S. & N. Koussewitzky) / Copyright assigned 1947 to Boosey & Hawkes, Inc. New York / Revised version copyright 1952 by Boosey & Hawkes, Inc. New York<; plate number as edition number [exclusively] 1st page of the score below type area centre >H.P.S. 610<; without end number; production indication p. 88 flush right as end mark >Stich und Druck Universitätsdruckerei H. Stürtz A. G., Würzburg<) // (1952)

^ ^ = Text in frame.

* Compositions are advertised without edition numbers from >BÉLA BARTÓK< to >R. VAUGHAM WILLIAMS<, amongst these >IGOR STRAWINSKY / Apollon Musagète ( Revised1947) / Capriccio for Piano and Orchestra / Chant du Rossignol / Concerto in D for String Orchestra / Divertimento ( Revised1949) / Mass for Chorus and Wind instr. / Octet for Wind Instruments / Œdipus Rex ( Revised1948) / Orpheus / Perséphone ( Revised1947) / Pétrouchka ( Revised1947) / Piano Concerto / Pulcinella Suite ( Revised1949) / Four Studies for Orchestra / The Rite of Spring ( Revised1947) / Symphony of Psalms / Symphonies for° Wind Instruments / Three Pieces for String Quartet< [° original mistake in the title]. After London the following places of printing are listed: New York-Chicago-Los Angeles-Paris-Buenos Aires-Toronto-Capetown-Sydney-Bonn.

** Instead of a plate number, there appears [solely] on the 1 stpage of the score the edition number >H.P.S. 619< below the type area in the centre

50-6 igor strawinsky / capriccio / full score / édition russe de musique · boosey & hawkes // IGOR STRAWINSKY / CAPRICCIO / FOR PIANO AND ORCHESTRA / REVISED 1949 VERSION / FULL SCORE / Edition Russe de Musique (S. N.Koussewitzky · Boosey & Hawkes / London · New York · Toronto · Sydney · Capetown · Buenos Aires · Paris · Bonn // Full score sewn 0.7 x 26.5 x 33 ([4°]); 88 [88] pages + 4 cover pages dark-red on green-beige [front cover title, 3 empty pages] + 2 pages front matter [title page, legend >Instrumentation< Italian] without back matter; title head >CAPRICCIO<; author specified 1st page of the score unpaginated [p. 1] next to and below movement number in Roman numeral (without dot) >I< flush right centred >IGOR STRAWINSKY / 1929, revised version 1949<; legal reservation 1st page of the score below type area flush left >Copyright by Edition Russe de Musique (S. & N. Koussewitzky) / Copyright assigned 1947 to Boosey & Hawkes, Inc. New York / Revised version copyright 1952 by Boosey & Hawkes, Inc. New York< without flush right production data; plate number >B & H 17167<; production indication p. 88 as end mark >Stich und Druck Universitätsdruckerei H. Stürtz A. G. Würzburg<) // [1952]

50-7Alb Stravinsky* / ИГОРЬ СТРАВИНСКИЙ // IGOR STRAVINSKY / ŒUVRES POUR PIANO / VOLUME / II / EDITIONS MUSIQUE MOSCOU · 1969 // ИГОРЬ СТРАВИНСКИЙ / СОЧИНИЕНИЯ ДЛЯ ФОРТЕПИАНО / ТОМ / II / ИЗДАТЕЛЬСТВО МУЗЫКА · МОСКВА · 1969 // [Text on spine:] ИГОРЬ СТРАВИНСКИЙ 2° СОЧИНИЕНИЯ 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 creme white on black, 2 empty pages red, empty page black with price cream white pages above flush left >3 р. 51 к.< + vignette centre centred 1,4 x 1,6 in the text box contained 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 contained initial >M< with with a stylized treble clef form, title page French, title page Russian, editor 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 about the dedications Russian, empty page, index >СОДЕРЖАНИЕ< Russian, imprint Russian > Индекс 9-4-4< with billing of names in italics > 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. 53-73 (I), 74-87 (II), 88-109 (III); title head Russian-French >КАПРИЧЧИО [#] CAPRICCIO / для фортепиано с оркестром [#] pour piano et orchestre<; movement number in Roman numeral (without dot) as movement title; plate number 6089; marked sheet below type area flush left p. 2 >2 Стравинский, фортепиано Т. II<, p. 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 and without acknowledging the original publishers on the pages of the score, without end marks) // 1969

° Vertical to text.

°° The marked sheet >9< instead of >8< is original, the marking with >9< on p. 125 continues correctly.

* A n 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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