K051 Four Studies

deutsch K051 Vier Etüden

K51 Quatre études

pour orchestre – Vier Etüden für Orchester – Four Studies for Orchestra – Quattro studi per orchestra

Scored for*: a) First editions (Nomenclature): Fl. Piccolo, 3 Fl. grandi, 3 Oboi, Corno-ingl., Clar. In Si b, Piccolo in mi b, 2 Clarin. in la, Clar. Bass. in Si b, 2 Fagotti, Corni in F 1-4, 3 Trombe in Do, 2 Tromboni, Tuba, Piano, Arpa, Timpani, Violini I, Violini II, Viole, Violoncelli, C-bassi – ~ (Legend): 3 Flûtes (3° petite flûte), 3 Hautbois (3° cor anglais), Clarinette en mi b (E b), 2 Clarinettes en si b (B b) et la (A), Clarinette basse, 2 Bassons, 4 Cors, 3 Trompettes, 2 Trombones, Tuba, Piano, Harpe, Timbales, Cordes [Piccolo Flute, 3 Flutes, 3 Oboes, English horn, Piccolo Clarinet in E flat, Clarinet in B flat, 2 Clarinets in A, Bass Clarinet in B flat, 2 Bassoons, 4 Horns in F, 3 Trumpets in C, 2 Trombones, Tuba, Piano, Harp, Timpani, Strings (Violins I, Violins II, Violas, Violoncellos, Double Basses]; b) Performance requirements: Piccolo Flute (= 3rd Flute), 3 Flutes (3rd Flute = Piccolo Flute), 3 Oboes (3rd Oboe = English horn), English horn (= 3rd Oboe), Piccolo Clarinet in E flat, 2 Clarinets in B flat and A, Bass Clarinet in B flat, 2 Bassoons, 4 Horns in F, 4 Trumpets in C, 4 Trombones, Tuba, Piano, Harp, Timpani, Violins I, Violins II, Violas, Violoncellos, Double Basses.

* The list of orchestration is a comprehensive list of the instruments required for the performance of all the orchestral studies. There is no tutti since each Study is scored differently.

Performance practice: In the 4th Study at figure 9, there are 4 trombones included rather than 3. The tuba has a four-bar solo with upbeat at figure 12 2and then appears for two bars together with 2 trombones at figure 154. It is certainly possible that this single moment at which 4 trombones but no tuba is required indicates that the lowest trombone part is in fact intended to be a tuba part and this makes sense from the context. In the corrections for the manuscript, Strawinsky however corrected the printed number of 3 trumpets to 4 and 2 trombones to 4.

Construction: The orchestral version of the first three Studies corresponds to the originals with a few small alterations. – Alongside the title ‘Danse’ and the metronome marking, the first Study gains the tempo marking Con moto; Strawinsky made no further changes. –

Further to the title ‘Excentrique’ and the metronome marking, the second Study gains the tempo marking Moderato but the several metronomic divisions in the Allegro section of bars 21-31 are removed and the piece is 5 bars longer than the string quartet original (67 bars rather than 62 in the original). This extension occurs solely in bars 32-53 in the original = bars 32-58 in the orchestral version (figure 5 3 – end of figure 8) and consists of the direct repetition of four bars of the original 37-40 (orchestral version bars 37-40 = figures 6 1-4) with a different instrumentation made more pointed by the inclusion of the piccolo and flute (orchestral version bars 41-44 = bars 6 5-8), likewise for the division of the 9/8-bar 53 into a 6/8- and 3/8 (original: bar 53; orchestral version: bars 57-58 = figures 8 6-7). –

Alongside the title and metronome marking, the third Study ‘Cantique’ gains the tempo indication Largo. Furthermore, it is 5 bars longer (51 bars rather than 46 in the original) as a result of an alteration of meter which does not affect the duration of performance in comparison to the string quartet version. The opening section is altered by 1 bar and the final section by 4 bars.
At the beginning of the opening section, two bars are divided into three because Strawinsky rewrote the triplet minims as tied crotchets and thus a 3/2-bar was turned into a 6/4-bar. In the final section, three identical points are affected by a similar process (original bar 38 = orchestral version 16, original bar 41 = orchestral version figure 6 4, original bar 44 = orchestral version 7 1). The changing of the 3/2-bar into a 6/4-bar leads inevitably into a general pause for a complete bar. The same goes for the final bar, which is likewise rewritten as two bars. –

The statements about the fourth study are not possible on account of the subject and the lacking of sources.

Comparison Original – Orchestra version (without movement 4)

I
Crotchet = 126 (48 bars)
II
(62 bars)
Crotchet = 76 (bars 1–15)
Allegro dotted Crotchet = 76 (bars 16–17)
Tempo I Crotchet = 76 (bars 18–20)
Allegro dotted Crotchet = 76 (bars 21–22)
dotted Crotchet = 76; Crotchet = 112–116 (bar 23)
dotted Crotchet = 76 (bars 24–25)
Crotchet = 112–116 (bars 26–31)
Tempo I Crotchet = 76 (bars 32–53)
Allegro dotted Crotchet = 76 (bar 54)
Tempo I Crotchet = 76 (bars 55–60)
Allegro dotted Crotchet = 76 (bars 61–62)
III
Minim = 40 (46 bars)
I Danse
Con moto Crotchet = 126 (48 bars; 5 Figures)
II Excentrique
(67 bars; 9 Figures)
Moderato Crotchet = 76 (Figures 61–19 = bars 1–15)
Più mosso dotted Crotchet = 76 (Figures 21–2 = bars 16–17)
a tempo dotted Crotchet = 76 (Figures 23–5 = bars 18–20)
Più mosso dotted Crotchet =76 (Figures 33- 46= bars 21–31)



Tempo I Crotchet = 76 (Figures 51- 87 =Bars 32–58)
Allegro dotted Crotchet = 76 (Figure 91 = bar 59)
Tempo I0 Crotchet = 76 (Figure 92–97 = bars 60–65)
Allegro dotted Crotchet = 76 (Figure 98–9 = bars 66–67)
III Cantique
Largo minim = 40 (51 bars; 7 Figures)

Structure

The structure of the first three Studies corresponds to the originals with a few small changes (No. 19).

I

DANSE

Con moto Crotchet = 126 (figure 101 up to the end of figure 5 10)

[Tutti without Clarinets, without 2. Bassoon, without Trumpets, without Trombones, without Tuba]

II

EXCENTRIQUE

Moderato Crotchet = 76 (figure 61 up to the end of figure 1)

Più mosso dotted* Crotchet = 76 (figure 2 1-2)

A tempo dotted* Crotchet = 76 (figure 2 3-5)

Più mosso dotted* Crotchet = 76 (figure 3 up to the end of figure 4) 1-2)

Tempo Io Crotchet = 76 (figure 5 up to the end of figure 8)

Allegro dotted* Crotchet = 76 / crotchet = dotted crotchet (figure 9 1)

Tempo Io Crotchet = 76 (figure 9 2-7)

Allegro dotted* Crotchet = 76 / crotchet = dotted crotchet (figure 9 8-9)

[Tutti without 2. grande Flute, without Piccolo Clarinet, without 2. Clarinet, without 3./4. Trumpet, without 3. Trombone, without Timpani, without Harp, without Double basses]

III

CANTIQUE

Largo Minim = 40 (figure 81 up to the end of figure 7 5)

[Tutti, without Piccolo Flute, but with 3. grande Flute, without Piccolo Clarinet, without Horns, without Trumpets, without Trombones, without Tuba, without Timpani, without Piano, without Harp]

IV

Madrid

Allegro con moto Crotchet = 132 (figure 122** up to the end of figure 18 5)

[Tutti without English horn, but with 3. Oboe, without Bass Clarinet, without Harp]

* Original version.

** Figure 1 is missing.

Style: Strawinsky orchestrated the first movement on a very large scale, the second movement differentiated as chamber music, the third antiphonally between wind and strings and in the fourth, he sought to achieve conflict between fragments of sound whirling around one another with a Spanish atmosphere. The instrumentation takes the different types of movement into consideration and allows a colouristic development of the original. Strawinsky gives the four-note melody of the first movement in the original to the high woodwind throughout, thus lending it to the euphonious effect of a bagpipe dance. The eccentricity of the clown in the second movement can be clearly heard in the constant alternation between solo textures and small groups of instruments. He replaces the broken chords with glissandi in the piano. The Dies Irae overtones in the third movement, which Strawinsky could just as well have named ‘Hymnus’ rather than ‘Cantique’, are heard in the woodwind. The 1952 revision led to differences in orchestration in the third movement between the later revised and the earlier original versions.

Dedication: The original edition of the String Quartet of the first three Studies was dedicated to Ernest Ansermet while the Pianola version was dedicated to Eugenia Errazuriz; the orchestral version of the Studies however does not bear a dedication.

Duration: 10' 06" (1' 04", 2' 19", 4' 16", 2' 27").

Date of origin: Morges 1914 to 2nd October 1928. This information goes back to White; the printed orchestral score gives the year of completion as 1929. The first three studies were orchestrated between 1914 and 1918 in Morges and the work was completed with the 4th study in Nice on 2nd October 1928.

First performance: The première took place on 7th November 1930 under the auspices of Funk-Stunde Berlin. Before the interval, Ansermet conducted Händel’s Concerto Grosso No. 6 in G minor and Haydn’s first London Symphony in C major. After the interval, Strawinsky played the solo part of his Capriccio for piano and orchestra with the Berliner Funk-Orchester under Ansermet’s direction. The première of the Studies then followed, despite the fact that the work had not yet been printed and the performance had to be played from the manuscript materials. Ansermet finished with Debussy’s La Mer. According to Goubault, Strawinsky conducted on 16th November 1928 ( Paris, Théâtre des Champs-Elysées, with the L’Orchestre symphonique de Paris) only the fourth Etude Madrid. – The American première was conducted by Robert Craft together with other works by Strawinsky on 20th November 1949 in New York’s Carnegie Hall. The concert made him a loss of three thousand dollars.

Remarks: Nothing is known about the history of the composition of these works. Strawinsky presumably undertook the revisions in 1952 in order to create a version free from printing errors and not solely to protect his copyright. With the old material, the Studies had not been performable for any more.

Versions: The Russian Publishers only published the orchestral version of the Studies in 1930 which, like the score of the Capriccio which was printed at the same time, was riddled with printing errors. There were obviously incompetent printers on the job in Paris at that time. It says a great deal that the score was not sold. An exemplar >h.3992.r<, acquired on 30th November 1967, is stored in the British Library. The contract, bearing the Roman numeral XII, valid both for the Four Studies for Orchestra as for the Three Little Songs (from the recollections of my childhood) was signed by Gabriel Païchadze on 5th April 1930 in Paris and by Strawinsky on 7th April in Nice. Boosey & Hawkes produced a pocket score of this edition in 1948 which was on the market until the end of April 1948. Nothing more of the non-revised edition was published at that time. In 1952, Strawinsky revised the score, removing the printing errors. This edition was first published in the year of Strawinsky’s death, 1971, both as a conducting score and as a pocket score. The parts were available to hire. A piano version was never completed, which is something that was unusual for Strawinsky’s practice, with the exception of the fourth orchestral piece, the self-standing Study for Pianola, which Strawinsky included in the Studies for Orchestra in order to rescue them as a composition in its publicity. This transcription was for two pianos, produced by Strawinsky’s son Soulima and was published by Boosey & Hawkes in 1951; the contract for it was settled on 6th November 1950. It was not produced from the original pianola version, rather as a piano reduction from the orchestral version and must be appraised as such. John Stott produced an organ version, published in late autumn 1968, of the Cantique, a piece which certainly suggested itself for such treatment, in a series of several organ transcriptions by him.*

* In the Strawinsky literature, there are occasional references to an article “Confusion and Error” published by Norman Del Mar in the October edition of the Boosey house newspaper “Score” in 1957. It is quite general in scope, and concerns itself with a selection of printing mistakes and errors, not only in the Strawinsky scores. It is not systematic in character. It is what is called "Lesefutter" in journalist jargon.

Revised version: The first print run of the Quatre Etudes pour Orchestre may be the edition of Strawinsky’s music that is most plagued by printing errors. In the revision of this error-riddled score, there was almost not a single page that did not contain some objection. Although Strawinsky had already completed the revision by 1952, it took more than a decade before there was a new printing. The time was becoming ripe for a decision by the time of a letter to Stuart Pope of 10th April 1964, when Strawinsky sent an old edition to the publishers with his own corrections and indicated a different instrumentation in the third movement which would make it more easily possible to retain the new protective copyright. In any case, it took seven years before the publishers had the new edition published.

Transcription for Organ: Stott’s transcription of the third piece, which retained the title of the orchestral version, Cantique, was published at the beginning of November 1968. The contributory copy in the British Library bears the date of entry 12th November 1968. The publication was released so as to coincide with the Christmas sales. Boosey & Hawkes produced a series, ‘Music for Organ’, which was designed with a black, white and green title page which was graphically modern in appearance and for which Stott was working. The back page of advertisements of the original edition, with a class number of 30 11.64, explains the different products in the series. The third movement of the work for string quartet was very well suited to an organ transcription with its peaceful flow and religious atmosphere, especially as Strawinsky had never written for the organ and so there are no original works for it by him. In the church works for which there is an organ part, such as the Canticum Sacrum, the parts are limited to the simplest manner of composition which has almost nothing to do with the organ culture and regards the organ as an unsubtle instrument. Stott’s transcription is also conceived in a simple manner and thus is accessible even to beginners, an indication of the target market for which the organ series was intended. A two-manual organ with pedals is required. Stott compared the string quartet with the orchestral version and gives playing instructions on the inside title-page. He adopted the rhythmic notation of the orchestral version and recommended a flute and string registration for the string quartet version. For those with access to a larger organ, Stott included suggestions from the original instrumentation of the orchestral version. For an organ without swell pedal, the unrealizable dynamic markings should be reinterpreted agogically.

Dr John Robert Walmsley Stott (London, 27th April 1921 to 27th July 2011, Lingfield, Surrey) is regarded (alongside William Temple) as the leading personality of the evangelical movement, which after the Second World War grew strongly inside the Anglican-Protestant church, and not just in England. The son of a noble atheist London doctor and an Anglican mother, he took up the study of theology in 1939, became a priest and worked mainly in the Third World. He left behind more than fifty books. Breitkopf & Härtel also represented Stott.

Table of corrections

work in progress

Historical recording: Toronto 29th November up to 1st December 1962, Massey Hall, Canadian Broadcasting Corporation Symphony Orchestra under the direction of Igor Strawinsky.

CD edition: VI/29-32.

Autograph: The manuscript of the orchestral score was included in Strawinsky’s estate and was given to the Library of Congress in Washington.

Copyright: 1947 assigned to Boosey & Hawkes, Inc., New York. The original edition by the Russian publishers however carries only one rights reservation notice and no copyright entry (the copyright statement in the revised edition of 1971, backdated to 1930 for the Russian publishers, does not correspond to the historical findings; the piano transcription by Soulima Strawinsky by Boosey & Hawkes, New York is from 1951; 1968 for Stott’s organ transkription by Boosey & Hawkes, Inc.; 1971 for the revised versions 1952 by Boosey & Hawkes Inc. Music Publishers

Editions

a) Overview

51-1 1930 FuSc; Russischer Musikverlag Berlin; 51 pp.; R. M. V. 500.

    51-1Straw ibd. [with corrections].

51-2 (1948) PoSc; Boosey & Hawkes London; 51 pp.; B. & H. 16309; 631.

    51-2Strawibd. [with annotations].

51-3 1951 Piano (Madrid) [Soulima Strawinsky]; Boosey & Hawkes London; 10 pp.; B. & H. 17006.

51-3511951 ibd.

51-3[65][1965] ibd.

51-4 1968 Organ (Cantique) [Stott]; Boosey & Hawkes London; 4 pp.; B. & H. 19611.

51-5 1971 FuSc rev.; Boosey & Hawkes London; 51 pp.; 16309.

51-6 1971 PoSc rev.; Boosey & Hawkes London; 51 pp.; B. & H. 16309; 631.

b) Characteristic features

51-1 [°] // IGOR STRAWINSKY / [°°] / Quatre Études pour orchestre / PARTITION D'ORCHESTRE / ÉDITION RUSSE DE MUSIQUE // [title page = front cover title] // (Full score [library binding] 27.5 x 35.7 (2° [gr. 4°]); 51 [51] pages + 4 cover pages thin cardboard black on light grey [front cover title, 3 empty pages + 2 pages front matter [title page, empty page] + 3 pages back matter [empty pages]; title head >QUATRE ÉTUDES POUR ORCHESTRE<; author specified 1st page of the score unpaginated [p. 1] below movement title numbered in Roman numeral (without dot) flush right centred >IGOR STRAWINSKY / 1914 - 1929<; legal reservations [without Copyright] 1st page of the score below type area flush left >Propriété de l'Éditeur pour tous pays. / Édition Russe de Musique./ Russischer Musikverlag G. M. B. H. Berlin.< flush right >Tous droits d'éxécution, de reproduction, de trans- / cription et d'adaptation réservés pour tous pays.<; plate number >R-M-V-500<; production indication p. 51 below type area flush right as end mark >Imp. Delanchy Duprè — Paris-Asnières. / 2 et 4 [*] Avenue de la Marne — XXX.<) // (1930)

° In the copy in Strawinsky’s estate, >revised score / received 12.5.64< appears on the page bound in before the front cover page, almost certainly a small allusion to the fact that the revised version that had been left undone by the publishers for twelve years.

° ° In the copy in Strawinsky’s estate, the statement >Corrected / and revised copy / IStr / Jan/52< appears at this point.

* Figure 4 appears inverted.

51-1Straw

The copy in Strawinsky’s estate is on the outer title above and ending next to piece title flush right in red with >Corrected / and revised copy / IStr / Jan/° 52< [° slash original] signed and dated and bears on the 1st back matter page at the top of the page right the annotation >revised score / __________ / received I2 . 5 · 64.<. The copy contains stuck-in insertions, on which he entered his corrections for the revised version. Furthermore, the fourth piece, ‘Madrid’ has bar numbers inserted through to 112.

51-2 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / QUATRE ÉTUDES / POUR ORCHESTRE^ / BOOSEY & HAWKES / No. 631 // HAWKES POCKET SCORES / IGOR STRAWINSKY / QUATRE ÉTUDES / POUR ORCHESTRE / BOOSEY & HAWKES / LTD. / LONDON · NEW YORK · LOS ANGELES · SYDNEY · CAPE TOWN · TORONTO · PARIS / NET PRICE / Made in England // (Pocket score stapled 13.6 x 18.5 (8° [kl. 8° / 8°] ); 51 [51] pages + 4 cover pages dark green on dark beige [front cover title with frame 9.4 x 3.9 dark beige on dark green, 2 empty pages, page with publisher’s advertisements >HAWKES POCKET SCORES / The Standard Classical and Outstanding Modern Works./ Primera edición española de partituras de bolsillo de las obras / del repertorio clásico y moderno.<* without production data] + 2 pages front matter [title page, legend >Orchestre< French with duration data [12'] French] + 3 pages back matter [3 empty pages]; title head >QUATRE ÉTUDES POUR ORCHESTRE<; author specified 1st page of the score unpaginated [p. 1] below movement title numbered in Roman numerals (without dot) >I / DANSE< flush right centred >IGOR STRAWINSKY / 1914-1929<; legal reservations 1st page of the score below type area flush left >Copyright by Édition 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 >Tous droits d'exécution, de réproduction, de trans- / cription et d'adaptation réservés pour tous pays.<; plate number >B. & H. 16309<; end number p. 51 flush right as end mark >H.P. A9284.148<) // (1948)

^ ^ = Text in frame.

** Classical editions from >J. S. BACH< to >WEBER< are listed including the titles of their works in three columns under the headline > classical WORKs<, under the headline >MODERN WORKS< the names of contemporary composers are listed without any titles in three columns from >BELA BARTOK< to >R. VAUGHAN WILLIAMS<, amongst these >IGOR STRAWINSKY<. The order of the places of printing is London-New York-Sydney-Toronto-Capetown.

51-2Straw

The copy in Stravinsky’s estate is signed >IStr< on the outer title page between >HAWKES POCKET SCORES< and the text frame on the right and inside the frame area, and has a price stamp >$2.50< on the upper part of the page flush right. In the orchestra list, he corrects the size of the trumpet section from three to four, and the trombone section similarly from two to four. There are also further performance-related entries and only a few hints regarding corrections.

51-3 igor strawinsky / madrid / two pianos/ boosey & hawkes // Igor Strawinsky / Madrid / from / Four Studies for Orchestra / (Quatre Études pour Orchestre)/ Transcription for two pianos/ by/ Soulima Strawinsky / Boosey & Hawkes, Ltd. / London · New York · Sydney · Toronto · Cape Town · Paris · Buenos Aires · Bonn // (Edition stapled 23.5 x 31 (2° [4°] ); 10 [10] pages + 4 cover pages thicker paper rau brown red on grey green [front cover title, 2 empty pages, page with publisher’s >Edition 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 + 2. Exemplar enclosed; title head >MADRID<; author specified in connection with arranger specified 1st page of the score paginated p. 1 below title head flush right centred >IGOR STRAWINSKY / Transcription for Two Pianos / by SOULIMA STRAWINSKY<; legal reservations 1st page of the score below type area flush left >Copyright 1951 in U.S.A. by Boosey & Hawkes Inc., New York / Copyright for all countries< flush right >All rights reserved<; production indication 1st page of the score below type area centre inside right >Printed in England<; plate number >B. & H. 17006<; end number p. 10 flush left >2. 51. E<) // (1951)


* 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<.

51-351 igor strawinsky / madrid / two pianos / boosey & hawkes // Igor Strawinsky / Madrid / from / Four Studies for Orchestra / (Quatre Études pour Orchestre) / Transcription for two pianos / by/ Soulima Strawinsky / Boosey & Hawkes, Ltd. / London · New York · Sydney · Toronto · Cape Town · Paris · Buenos Aires · Bonn // Klavierausgabe [library binding*] 23.7 x 30.5 (4° [4°]; 10 [10] pages + 4 cover pages thicker paper rau brownred on grey green [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 + 2. Exemplar enclosed 10 [10] pages + 2. pages front matter [title page with identical text, empty page]; title head >MADRID<; author specified 1st page of the score paginated p. 1 below title head flush right centred >IGOR STRAWINSKY / Transcription for Two Pianos / by SOULIMA STRAWINSKY<; legal reservations 1st page of the score below type area flush left >Copyright 1951 in U. S. A. by Boosey & Hawkes Inc., New York / Copyright for all countries< flush right >All rights reserved<; production indication 1st page of the score below type area right centre >Printed in England<; plate number >B. & H. 17006<; end number as end mark p. 10 flush left >11. 51. E<) // (1951)


° It can be seen from the condition of the holes that the cover was stapled.

* 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<.

51-3[65] igor stravinsky / madrid / two pianos/ boosey & hawkes // Igor Stravinsky / Madrid / from / Four Studies for Orchestra / ( Quatre Études pour Orchestre) / Transcription for two pianos/ by/ Soulima Stravinsky / Boosey & Hawkes. Ltd. / London . Paris . Bonn . Johannesburg . Sydney . Toronto . New York // (Edition [library binding] 23.4 x 31 (4°); 10 [10] pages + 4 cover pages thicker paper tomato red on light green-grey [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, empty page] without back matter + 2nd Exemplar enclosed without cover 10 [10] pages; title head >MADRID<; author specified 1st page of the score paginated page 1 below title head flush right centred >IGOR STRAVINSKY / Transcription for Two Pianos / by SOULIMA STRAVINSKY<; legal reservations 1st page of the score above and next to title head flush left in the text box contained >IMPORTANT NOTICE / The unauthorized copying / of the whole or any part of / this publication is illegal< below type area flush left >Copyright 1951 in U. S. A. by Boosey & Hawkes Inc., New York / Copyright for all countries< flush right >All rights reserved<; production indication 1st page of the score below type area centre inside right >Printed in England<; plate number >B. & H. 17006<; without end marks) // [1965]

* In French, compositions are advertised in two columns without edition numbers and without price information >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].

51-4 IGOR* STRAVINSKY** / CANTIQUE Transcribed by John Stott / ^MUSIC FOR ORGAN / BOOSEY & HAWKES^ // IGOR STRAVINSKY / CANTIQUE / transcribed for organ by / JOHN STOTT / [***] / Boosey & Hawkes / Music Publishers Limited / London· Paris· Bonn· Johannesburg· Sydney· Toronto· NewYork // (Edition for organ [library binding] 23 x 30.5 (4° [4°] ); 4 [3] pages + 4 cover pages black on white and white on glossy dark green [fcolourful title on the front page of the cover with a coloured background 19.2 x 26.3, 2 empty pages, page with publisher’s advertisements >MUSIC FOR ORGAN<**** production data >No. 30< [#] >11.64<]***** + 1 page front matter [empty page] without back matter; title head >CANTIQUE<; author specified 1st page of the score paginated p. 2 below title head flush right centred >IGOR STRAVINSKY / Transcribed by John Stott<; legal reservations 1st page of the score below type area flush right >All rights reserved< / flush left >© 1968 by Boosey & Hawkes Inc.< production indication 1st page of the score below type area flush right below legal reservation >Printed in England<; plate number >B. & H. 19611<; without end mark) // (1968)

^ ^ Text in coloured frame.

* Set lengthways.

** Front cover title laid out.

*** 10 lines of text as a commentary on his transcription, written by >J.S.<.

**** Compositions are advertised under the heading >Original compositions< from >Frank Bridge< to >Nicholas Maw<, under the heading >Arrangements and transcriptions< from >Stephen Adams< to >Arthur Sullivan<; Strawinsky not mentioned.

***** The copy of the Städtischen Musikbibliothek München >95/181124< contains at the bottom of the page flush left centred a stamp mark >CURRENT PRICE / 5/- NET / BOOSEY & HAWKES LTB<.

51-5 Igor Stravinsky / QUATRE ETUDES / POUR ORCHESTRE / Révision 1952 / Full score/ Boosey & Hawkes// Igor Stravinsky / QUATRE ETUDES / POUR ORCHESTRE / Révision 1952 / Full score/ Boosey & Hawkes / Music Publishers Limited / London · Paris · Bonn · Johannesburg · Sydney · Toronto · New York // I p. 1 - 9 DANSE / II 10 - 20 EXCENTRIQUE / III 21 - 25 CANTIQUE / IV 26 - 51 MADRID* / * Publié avec l'autorisation de "The AEOLIAN C oL td", LONDON. // (Full score [library binding] 23.5 x 30 (4° [Lex. 8° / 4°] ); 51 [51] pages + 4 cover pages thicker paper tomato red on light grey green [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 >Orchestre< French + duration data [12’] French] + 1 page back matter [empty page]; title head >QUATRE ETUDES POUR ORCHESTRE<; author specified 1st page of the score unpaginated [p. 1] below movement title flush right centred >IGOR STRAVINSKY / (1914-1929) / revised 1952<; legal reservations 1st page of the score below type area flush left >Copyright 1930 by Edition Russe de Musique (Russischer Musikverlag) / Copyright assigned 1947 to Boosey & Hawkes Inc., for all countries / Revised version © Copyright 1971 by Boosey & Hawkes Music Publishers Ltd.< flush right >All rights reserved< p. 26 below type area flush left as a comment on the title of the piece >MADRID*< with Asterisk >* Publié avec l'autorisation de "THE AEOLIAN C oL td", London.<; production indication 1st page of the score below type area below legal reservation flush right >Printed in England<; plate number >B. & H. 16309<; without end marks) // (1971)

* Compositions are advertised in two columns without edition numbers, without price information and without specification of places of printing >Operas and Ballets° / Agon [#] Apollon musagète / Le baiser de la fée [#] Le rossignol / Mavra [#] Oedipus rex / Orpheus [#] Perséphone / Pétrouchka [#] Pulcinella / The flood [#] The rake’s progress / The rite of spring° / Symphonic Works° / Abraham and Isaac [#] Capriccio pour piano et orchestre / Concerto en ré (Bâle) [#] Concerto pour piano et orchestre / [#] d’harmonie / Divertimento [#] Greetings°° prelude / Le chant du rossignol [#] Monumentum / Movements for piano and orchestra [#] Quatre études pour orchestre / Suite from Pulcinella [#] Symphonies of wind instruments / Trois petites chansons [#] Two poems and three Japanese lyrics / Two poems of Verlaine [#] Variations in memoriam Aldous Huxley / Instrumental Music° / Double canon [#] Duo concertant / string quartet [#] violin and piano / Epitaphium [#] In memoriam Dylan Thomas / flute, clarinet and harp [#] tenor, string quartet and 4 trombones / Elegy for J.F.K. [#] Octet for wind instruments / mezzo-soprano or baritone [#] flute, clarinet, 2 bassoons, 2 trumpets and / and 3 clarinets [#] 2 trombones / Septet [#] Sérénade en la / clarinet, horn, bassoon, piano, violin, viola [#] piano / and violoncello [#] / Sonate pour piano [#] Three pieces for string quartet / piano [#] string quartet / Three songs from William Shakespeare° / mezzo-soprano, flute, clarinet and viola° / Songs and Song Cycles° / Trois petites chansons [#] Two poems and three Japanese lyrics / Two poems of Verlaine° / Choral Works° / Anthem [#] A sermon, a narrative, and a prayer / Ave Maria [#] Cantata / Canticum 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].

51-6 HAWKES POCKET SCORES / ^IGOR STRAVINSKY / QUATRE ÉTUDES / POUR ORCHESTRE^ / BOOSEY & HAWKES / No. 631 // HAWKES POCKET SCORES / IGOR STRAVINSKY / QUATRE ÉTUDES / POUR ORCHESTRE / Revision 1952 / BOOSEY & HAWKES / MUSIC PUBLISHERS Limited / LONDON · PARIS · BONN · JOHANNESBURG · SYDNEY · TORONTO · NEW YORK / Made in England[#] NET PRICE // (Pocket score [library binding] 13.9 x 18.8 (8° [8°] ); 51 [51] pages + 4 cover pages olive-green on green beige [front cover title with frame 9.6 x 3.8 green beige on olive-green, 2 empty pages, page with publisher’s advertisements >HAWKES POCKET SCORES / The following list is but a selection of the many items included in this extensive library of miniature scores / containing both classical works and an ever increasing collection of outstanding modern compositions. A / complete catalogue of Hawkes Pocket Scores is available on request.<* production data >No. 16< [#] >1.66<] + 2 pages front matter [title page, legend >Orchestre< French + duration data [12'] French] + 1 page back matter [empty page]; title head >QUATRE ÉTUDES POUR ORCHESTRE<; author specified 1st page of the score paginated p. 1 below movement title numbered in Roman numerals (without dot) >I / DANSE< flush right centred >IGOR STRAVINSKY / 1914-1929 / revised 1952<; legal reservations 1st page of the score below type area flush left >Copyright 1930 by Edition Russe de Musique (Russischer Musikverlag) / Copyright assigned 1947 to Boosey & Hawkes Inc., for all countries / Revised version © Copyright 1971 by Boosey & Hawkes Music Publishers Ltd.< flush right >All rights reserved< p. 26 below type area flush left as a comment on the title of the piece >MADRID*< with Asterisk >* Publié avec l'autorisation de "THE AEOLIAN C oL td", London.<; production indication 1st page of the score below type area below legal reservation flush right >Printed in England<; plate number >B. & H. 16309<; without end number; without end mark) // (1971)

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


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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