K053 Concerto in D

deutsch K053 Konzert in D

K53 Concerto en Ré

pour violon et orchestre – Konzert in D für Violine und Orchester – Concerto in D for violin and orchestra – Концерт ре мажор для скрипки с оркестром – Concerto in re per violino ed orchestra

Scored for: a) First edition: Flauto piccolo, 2 Flauti grandi, 2 Oboi, Corno inglese, Clarinetto piccolo in mi b, 2 Clarinetti in La (1°: anche in si b), 3 Fagotti (3°: anche Contrafagotto), 4 Corni in Fa, 3 Trombe in Do, 3 Tromboni (3°: Trombone basso), Tuba, Timpani, Violini I (8), Violini II (8), Viole (6), Violoncelli (4), Contrabassi (4) [Piccolo Flute, 2 Flutes, 2 Oboes, English horn, Piccolo Clarinet in E flat, 2 Clarinets in A (1st also in B flat), 3 Bassoons (3rd also Contrabassoon), 4 Horns in F, 3 Trumpets in C, 3 Trombones (3rd: Bass Trombone), Tuba, Timpani, Violins I (8), Violins II (8), Violas (6), Violoncellos (4), Double Basses (4)]; b) Performance requirements: Solo-Violin; Piccolo Flute, 2 Flutes, 2 Oboes, English horn, Piccolo Clarinet in E flat, 2 Clarinets (1st Clarinet in A and B flat, 2nd Clarinet in B flat), 3 Bassoons (3rd Bassoon = Contrabassoon), Contrabassoon (= 3rd Bassoon), 4 Horns in F, 3 Trumpets in C, 2 Tenor Trombones, Bass Trombone, Tuba, 3 Timpani, Big Drum*, Strings (8 First Violins*** included 2 Solo Violins, 8 Second Violins, 6 Violas** included Solo Viola, 4 Violoncellos*** included 2 Solo Violoncellos, 4 Double Basses* included Solo Double Bass).

* This is not stated in the instrumental legend printed at the front; required for the 19 bars of figures 123 and 124 in the scores.

** Divided in two.

*** Divided in three.

Construction: in four movements without a solo cadenza; the movements are numbered with Roman numerals and have Italian indications for their forms.

Structure

I

Toccata Crotchet = 96 (figure 21 up to the end of figure 50)

II

Aria I (figure 251 up to the end of figure 76)

Crotchet = 116 (figure 251 up to the end of figure 61)

Più mosso Minim = 76 (figure 62 up to the end of figure 71)

Tempo I Crotchet = 116 (figure 72 up to the end of figure 76)

III

Aria II (figure 77 up to the end of figure 85)

Tempo Quaver = 48 (figure 77 up to the end of figure 80)

Poco più mosso Quaver = 60 (figure 81 up to the end of figure 82)

Tempo I Quaver = 48 (figure 83 up to the end of figure 85)

IV

Capriccio (figure 86 up to figure 135 8)

Tempo Quaver = 120 (figure 86 up to the end of figure 102)

Poco più tranquillo (figure 103 up to the end of figure 118)

Subito più mosso Quaver = 152 (figure 119 up to the end of figure 122)

Presto Quaver = 200 (figure 123 up to the end of figure 135)

Corrections / Errata

Vocal score 53-1

1.) p. 3, figure 21: should be >Tempo Viertel = 120< instead of >Tempo Viertel = 96<.

2.) p. 5, figure 13 3descant: the (last) semiquaver should be d b 2 instead of d2.

3.) p. 5, figure 15 1bass: 2nd quaver should be b b instead of b.

4.) p. 7, figure 21 3descant: the last quaver (the last but one of the bar) should be a1 instead of a#1.

6.) p. 14, figure 471 Bass: The lowest note of the four three-tone chords is explicitly A. [The prefix of the natural sign would not have been necessary because the humiliation sign of the previous measure no longer applies to a new measure. The same applies to p. 14, number 543. Here, a natural parenthesis is used to ensure that the first note of the sixteenth ligature is actually read e2.].

7.) p. 14, figure 54 3: see 6.).

10.) p. 22, figure 83 3, descant: 2nd chord of the ligature should be g2-f3 instead of g2-f#3.

11.) p. 29, figure 109 2: the last note of the bar semiquaver f#1 should be a demisemiquaver.

13.) p. 35, 2132: Bass: the two-note chord should be E#-e# instead of E-e.

14.) p. 35, 132 4, descant: a natural sign in brackets should be added to the last note c1.

Full score 53-2

1.) p. 26, figure 62 1: Tempo minim = 96 instead of minim = 76.

2.) p. 34, figure 76 5, Solo-Violin: the slur from minim to 1st semiquaver b should be removed.

3.) p. 35, figure 77 1: Tempo quaver = 62 instead of quaver = 48.

4.) p. 37, figure 81 1: Tempo quaver = 92 instead of quaver = 60.

5.) p. 38, figure 82 3, Viola: instead of semibreve f#1 should be crotchet g#1 with slur to semiquaver g#1, followed by dotted quaver rest + 2 crotchet rests.

6.) p. 40 figure 86 1: Tempo quaver = 132-134 instead of quaver = 120.

7.) p. 48 figure 102 2: 2nd note A-Clarinet d b 3 instead of d3.

8.) p. 65 figure 134 3, 1st Trombone: at the beginning of the bar semiquaver c1 followed by semiquaver rest + 2 quaver rests instead of semibreve rest.

Style: The Violin Concerto is a virtuoso work written in a chamber-music style with a strong structural proximity to music of the eighteenth century. For its motific working, Strawinsky developed a sort of key chord as a central idea which precedes each movement. If Dushkin’s memoirs are to be believed, then it was only by a very small chance that the actual three-note key chord of the Violin Concerto (d1-e2-a3) came into being. When Strawinsky produced a bit of paper at a meal with Dushkin in Paris in the Winter of 1931 on which he had notated this chord in order to enquire whether it was playable, Dushkin answered with a blunt ‘No’, to which Strawinsky answered ‘Quel dommage’ (‘What a shame’). Dushkin changed his mind hours later after he had found that the eleventh was in fact relatively easy to play on the instrument, and he called Strawinsky immediately with his revised opinion. In accordance with the concertino style, the instrumental forces are handled to create interaction between the solo violin and constantly changing instrumental groups which are altered after a few bars; they are occasionally even taken back to a single accompanying instrument to make a duet, for example, a bassoon (figures 94 and 114) or an instrumental group such as the violoncelli (figure 72 2f). Accordingly, there are relatively few tutti moments, and the violin finds itself in dialogue with a select small group of instruments for the majority of the time; it is at times just as much bound to the orchestra as it is free from it. The structural use of motifs moves around in the style of the classical technique of fragmented thematic material working through all the parts. The trumpet thirds from figure 1 1, for example, become thirds in the oboes at figure 1 5, which are taken up by the solo violin as a motif at figure 3 1and again at figure 10 5as a combination of thirds. As a neo-Classical work it is strongly under the stylistic influence of the Capriccio, the title of which it also takes in the final movement, and the work points towards the sprightliness of the forthcoming ballet Jeu de cartes. Echoes of the rhythmic impulse of the Soldier’s Tale and Sacre can be detected at times, and dance elements can be heard, as well as the study of Bach’s music in the two arias. –

Structurally, the first movement is in an A-B-A form without the underlying sonata principle that certain writers have tried to extrapolate from it, despite the fact that its title, ‘Toccata’, seems to suggest against this. The first section extends to the end of figure 19. The solo violin enters with a modified repetition of the orchestral key chord at figure 2 and takes up the introductory theme, firstly in one part, and after a development with differently structured material beginning at figure 11, in the actual two-voice version in thirds. If one tries to find in this a combination of theme and counter-theme in the Classical or even pre-Classical sense, the issue of tension and countertension inside a serial process immediately arises; using this process, the composer basically works with the method of total interweaving of the motific material between the separate instrumental groups, but also between the separate sections between the figures, so that all the musical material appears throughout. The middle section, which must be called the development section in a sonata-form interpretation, spans from figure 20 to the end of figure 35 and introduces different distributions of note values while retaining the basic rhythmic impulse. These are significantly contrasting but constructed using the rhythmic frameworks of the A section. The final section is a varied repeat of the first A section. –

The first aria also consists of three sections in an A-B-B1-A1 form. It begins at figures 50 7and 251 respectively. Characteristically, Strawinsky counts the introductory construction of the key chord, which is not repeated again, in the figuring of the first movement. The A section extends until the end of figure 58, the two-part B section spans from figure 59 to the end of 61 and speeds up from figure 62 to the end of figure 71, and the shortened final section is from figure 72 to the end of 76. –

The three-part form of the short second aria is in a different mould. The key chord is structurally important and appears three times at the beginning, three times receiving a different continuation which is noticeably absent in the middle section. This therefore results in three versions of the A form, A1-A2-A3 (figures 77-78,79-82,83-85). –

For the fourth, happy and virtuosic Capriccio movement, different structural schemata can be postulated which are all justified, but also contradictory, so that it is understandable as to why the Strawinsky literature has mostly overlooked this matter. The coda at figure 119 can be seen as being in three parts (A-A1-B) or in two parts (A-A1), depending upon how one sees the structure, and one can read into it an approximate pre-Classical sonata form. Probably the closest definition of the structure of the movement is a three-part Rondo form with two-part coda. This begins at figure 86 with the key chord, which is this time unfolded melodically, and the main theme enters at figure 87; this is followed by several variations which also introduce new motific material and which are sequentially linked to the central theme. This process is repeated in a shortened version without the original key chord at figure 93; it happens once again, this time with the melodic version of the key chord from figure 107 and the reprise of the theme which follows at figure 108, but with differently constructed sequences. The movement ends with a faster coda-like final section from figure 119 which leads into a presto coda at figure 123.

Dedication: Cette oeuvre a été créée sous / ma direction le 23 octobre 1931 / au concert du Rundfunk de Berlin / par Samuel Dushkin auquel / je garde une reconnaissance pro- / fonde et une grande admiration / pour la valeur hautement ar- / tistique de son jeu / Igor Strawinsky* [This work was given under / my direction on 23rd October 1931 / in the concert at the broadcasting of Berlin / by Samuel Dushkin for whom / I feel deep grati- / tude and grand admiration / for the high value arti- / stique of his playing / Igor Strawinsky].

* Handwritten printed in line etching.

Duration: about 5'33" + 4'09" + 5'08 + 5'55".

Date of origin: Started of the beginning 1931 in Nice, finished on 25th September 1931 in Voreppe.

History of origin: Although it is assumed that Strawinsky began work on this piece in Nice at the beginning of 1931, the first sketch for the Violin Concerto is found on a bill from Brack’s Doelen Hotel in Amsterdam from November 1930; strictly speaking, the date of the bill does not necessarily signify the starting date of the composition. The first two movements were finished in Nice and sections of the third movement were also written there. By 30th March, the first movement was complete and Strawinsky was starting on the neat copy of the piano reduction. On 20th May 1931, he had completed the second movement. In the summer of 1931, Strawinsky relocated to Voreppe en Isère. He finished the third movement there on 10th June 1931. The representative for Schott worked in a very prompt fashion for their part. In a letter of 18th May to Strecker, Strawinsky expressed his hope that the printing had already begun and as early as 7th June 1931 he sent back the corrections for the first movement to Schott. At this point, the second movement had gone to the publishers. He sent the third movement of the version for violin and piano on 15th June and the final section on 12th September. The sending of the first movement of the orchestral score was planned for the beginning of August. Schott also worked very quickly here, because Strawinsky already sent back the corrections for the first movement with his delivery of the second movement of the orchestral score. The entire score bears the date of completion “Voreppe (Isère) la Vironnière, 13/25. Sept. 1931”, and he first decided to have subtitles for the movements on about 15th September in order to give the listeners a preliminary idea of the character of each movement. In his letter to Strecker of 5th October 1931, Strawinsky confirmed receipt of the second set of corrections for the piano reduction. On 9th October, he sent the second set of corrections for the fourth movement of the piano reduction, the first and second sets of corrections for the third and fourth movements of the full score, and the manuscript for the last pages of the fourth movement to Schott. Dushkin was responsible for sending off the final score. Fingerings and bowing markings should only appear in the piano reduction and not in the orchestral score. This also refers to the solo part of the Concerto which was to be played by Dushkin, but not to the part of the solo violin in the fourth movement, which was taken on by the leader of the orchestra. Before the Berlin première, which was postponed from 9th to 23rd October, Strawinsky stayed in Oslo for a concert and wished to have the corrected and completed printing sent there, so that he could familiarise himself with everything before the première.

First performance: 23rd October 1931, Berlin, Haus des Rundfunks, with the violinist Samuel Dushkin and the Funkorchester under the direction of Igor Strawinsky.

Remarks: Willi Strecker, the director of the Schott publishing house in Mainz, had asked Strawinsky for a violin concerto as a favour for his protégé Samuel Dushkin. Strawinsky was at first unwilling because as a pianist, he was only familiar with the sound of the violin as orchestral colour and had not trusted himself to write any solo works. Strawinsky enquired of Paul Hindemith, whom he highly regarded and who was the violist in the Amar quartet, as to what he made of the situation, and Hindemith replied, saying that his lack of knowledge of specific string technique would not be a disadvantage, rather an advantage for him because there would not be the danger that he would fall into the standard violinist’s routine; he therefore consulted Dushkin as a technical advisor, as had been recommended to him by Strecker, and applied himself to the violin concerto. He received the formal commission for the work from Dushkin’s adoptive father, the American composer Blaire Fairchild. Strawinsky and Dushkin met for the first time in early 1931 in Wiesbaden. Strawinsky was so taken by Duskhin’s advice that he not only drew attention to him in the preface printed in the score, which was almost even a dedication, but even wrote another solo work for him, the Duo Concertant (which was not published by Schott, since Strawinsky was tied to the Russian music publisher in Berlin); he arranged several works that were popular with the public from his early works for violin and piano for a tour together with him, and apart from this, for all of the works produced in this way, he made an acknowledgement of his appreciation for Dushkin’s collaboration on the violin parts on the respective first pages of the arrangements. Dushkin further received the sole right of performance for the Violin Concerto for two years. Strawinsky began to study classical violin concerti in order to gather possibilities for comparison.

Situationsgeschichte: The Violin Concerto departs too much from the conventional virtuoso concerto to attain widespread popularity. As a violin concerto, it is a genre in itself, and this was presumably also the reason for the difficulties during the première. The Berlin Radio Orchestra must have played unusually badly, so badly that Paul Hindemith, while still in the concert hall, loudly expressed his shock after the performance.

Productions: In 1941, George Balanchine choreographed the Violin Concerto as a ballet after a vinyl recording under the title “Balustrade for a small Corps de ballet” by Basil’s Original Ballet Russe in New York; scenery and costumes were by Pavel Tchelitchev. The prima ballerina was Tamara Toumanova, for whom the second aria was arranged as a solo dance. Strawinsky expressed his enthusiasm for the production and Tchelitchev, and called it one of the best ever conceptions of any of his works. Balanchine, on Strawinsky’s advice, designed the choreography as a series of dialogues which run in a complementary fashion to the music, and in doing so he restructured the orchestration of the score into moving tableaux.

Versions: The rights to the Violin Concerto went to Schott, rewarding Strecker’s efforts towards the realization of the composition. Parallel to producing the neat copy of the orchestral score, Strawinsky made the piano reduction for violin and piano. Before the contract between Strawinsky and Schott was signed, there were several negotiations between Schott and the Russian publishers, to whom Strawinsky was bound materially and morally. The Russian publishers, represented by Gabriel Païchadze, gave the decision to Strawinsky and Strecker in the end. Strecker thanked Païchadze for this in a detailed letter of justification of 9th December 1930, after the composer and Mainz publishers had joined forces. Before the contract went a letter of explanation written by Strecker assigning the rights to Strawinsky of 24th December 1930, in which the transfer of the rights for solo performance was given to Samuel Dushkin until 31st December 1932. According to the contract, Strawinsky received $7.000, $1.500 up to 1st April 1931, a further $1.500 dollars upon delivery of the manuscript, and the remaining $4,000 in eight instalments of $500 as a performance fee for eight public performances to be conducted by Strawinsky. Aside from that, he received a 10% cut of the sales of the printed music. Furthermore, the recording rights to record the work remained with Strawinsky. Finally, the publishers must inevitably remove the stipulation present in the normal contract “The publishers alone retained the right to make or have made additions, cuts, and alterations to the work and to the title, as well as to publish any edition, arrangement or reworking in dramatic or narrative form”.

Print runs: The piano reduction was first published in 1931 ((the date of the entry stamp in London: 22nd October 1931 h.3992.e.(3.), and here the outer pages are missing). They published 9 editions during Strawinsky’s lifetime, with 4,200 copies produced in total (print runs: 16th October 1931: 400; 16th December 1931: 400; 7th July 1947: 500; 8th August 1949: 400; 24th April 1957: 400; 4th July 1958: 400; 15th January 1964: 400; 4th April 1966: 500; 26th June 1969: 800). Between Strawinsky’s death and the end of the century, there were an additional 3 editions, producing 2,200 copies in total (21/09/1973: 800; 24.01.1979: 800; 08/03/1983: 600), and the last edition of 1983 had a new cover. There were 6 editions of the pocket score of the Violin Concerto during Strawinsky’s lifetime, producing 4,200 copies in total (7th November 1931: 1000; 27th February 1952: 600; 22nd November 1956: 500; 25th January 1961: 500; 31th May 1963: 600; 23rd December 1970: 1000); from his death up to the end of the century, there were a further 3 editions published, producing 3,800 copies, of which the last edition had a new cover (16/11/1973: 1000; 8/3/1978: 1000; 5/7/1983: 800). 333 piano reductions and 268 pocket scores were sold up to 30th June 1932 and 45 piano reductions and 56 pocket scores were given out as complimentary copies. Up to the middle of 1939, sales encompassed a further 218 piano reductions and 355 pocket scores, including the published complimentary copies, so that by the outbreak of the war, approximately 25% of the first printing of the two piano reductions and approximately 30% of the first edition of the pocket score was in storage. Of the conducting score, which belonged to the hire material, there were 100 copies produced on 7th December 1931, 300 on 18th December 1968, and between Strawinsky’s death and the end of the century, another 100 copies dated 14th March 1991. All the verifiable parts up to the end of the century were printed inside Strawinsky’s lifetime: 60 sets for winds, 400 for the first violins, 300 for the second violins, 300 for the violas, 200 for the ‘celli and 200 for the double basses in a print run on 18th November 1931, 200 for violoncelli and 300 for the second violins in a print run on 5th September 1963, 200 for the double basses in a print run on 15th December 1962, and 60 sets for the woodwind, 300 for the first violins and 300 for the violas in a print run on 29th January 1969. In the plate book, the print run from 1963 comes before that of 1962. After the Second World War, there were unchanged new editions of the piano reduction and pocket score but with a different location for the publishers. In the 13 years between the middles of 1956 and 1969, Schott printed more than 400 copies of the piano reduction and more than 1000 of the pocket score. In 1969, Schott published a conductor’s edition. Aside from these, David Oistrach created an edition in Moscow for violin and piano, the solo part for which he had arranged himself. Page 19 was misprinted in this version as page 20. In 1968, Schott also published a conducting score.

Historical recordings: Paris 28th and 29th October 1932, Salle Pleyel, with Samuel Dushkin and the Orchestra Lamoureux under the direction of Igor Strawinsky; Hollywood 29. and 30. June 1960 with Isaac Stern and the Columbia Symphony Orchestra under the direction of Igor Strawinsky*

* In later years from 1961 onwards, Strawinsky took the tempo faster and replaced crotchet = 96 with crotchet = 104.

CD edition: V/12-15.

Autograph: According to Strawinsky’s idiosyncrasy that he would not leave his autograph scores with the publishers, Schott gave him back the original according to his express wish. It is located today in the Paul Sacher Foundation in Basel.

Copyright: 1931 and 1959 by B. Schott’s Söhne in Mainz.

Editions

a) Overview

53-1 1931 VoSc; Schott Mainz-Leipzig; 39 pp.; 32956; 2190.

    53-1Strawibd. [with annotations].

53-1[47-49]ibd.

53-2 1931 FuSc; Schott Mainz-Leipzig; 66 pp.; B·S·S 33103.

    53-2Straw1ibd. [with annotations].

    53-2Straw2ibd. [with annotations].

    53-2Straw3ibd. [with annotations].

53-3 1931 PoSc; Schott Mainz-Leipzig; 66 pp.; 33103; 3504.

    53-3Strawibd. [with annotations].

53-3[52](1952) ibd.

53-3(56) (1958) ibd.

53-4 (1959) VoSc; Schott Mainz; 39 pp.; 32956; 2190.

53-5 1966 VoSc Violin-Piano [Oistrach]; Издательство Музыка Москва ; 34 p.; 2295.

53-6 (1968) FuSc; Schott Mainz; 68 pp.; 33000; 49.

b) Characteristic features

53-1 STRAWINSKY / CONCERTO* / en Ré / VIOLON & ORCHESTRE / PARTITION VIOLON & PIANO • KLAVIER AUSZUG / EDITION SCHOTT No. 2190 // Edition Schott No. 2190 / Concerto en Ré / pour Violon et Orchestre / par / Igor Strawinsky / [asterisk] / Partition / Violon & Piano / B. Schott's Söhne, Mainz und Leipzig / [°°] / Schott & Co. Ltd., London, 48 Great Marlborough Street / For U. S. A.: Associated Music Publishers Inc., New-York / Pour la France: Edition Russe de Musique, Paris / Printed in Germany – Imprimé en Allemagne // (Edition violin-piano [library binding] 24.2 x 31 (4° [4°]); 35 [33] pages + 4 cover pages black on yellow beige [front cover title, 2 empty pages, empty page with publisher’s emblem rectangular 2.4 x 3.8 lion with wheel of Mainz in its paws and writing encircling >PER MARE / MAINZ UND LEIPZIG / ET TERRAS / B · SCHOTT’S SÖHNE<] + 6 pages front matter [title page, page with legal reservations centre centred >Tous droits réservés / Aufführungsrechte vorbehalten / Copyright 1931 by B. Schott's Söhne, Mainz<, page with (world) premiere data manually written printed in line etching >Cette oeuvre a été créée sous / ma direction le 23 octobre 1931 / au concert du Rundfunk de Berlin / par Samuel Dushkin auquel / je garde une reconnaissance pro- / fonde et une grande admiration / pour la valeur hautement ar- / tistique de son jeu / Igor Strawinsky<, empty page, movement index >[#] pag. / I. Toccata*** 3 / II. Aria I*** 14 / III. Aria II*** 20 / IV Capriccio*** 24<, legend >Distribuzione dell’ orchestra< Italian without duration data] + 1 page back matter [page publisher’s advertisements >IGOR STRAWINSKY<** production data >963<] + 14 [13] pages violin-part enclosed with 1 page front matter [title page >Concerto en Ré / pour Violon et Orchestre / Igor Strawinsky°° / 1931°° / Violino<] + 2 pages back matter [empty page, page with publisher’s advertisements >NEUE VIOLIN~MUSIK<*** production data >1035<]; title head >Concerto en Ré / pour Violon et Orchestre<; name of the instrument [exclusively part] below title head above movement number in Roman numeral (without dot) >I< centre >VIOLINO<; movement title >Toccata< [score:] below centre movement number flush left at the height of the author specified 1. line [part:] between name of the instrument and movement number flush left; author specified 1st page of the score unpaginated [p. 3] part unpaginated [p. 2] next to and below [flush left] movement title >Toccata< flush right centred >Igor Strawinsky / 1931< [part: above and next to name of the instrument] flush left centred >Réduction pour Violon et Piano / par l'auteur<; collaborator specified 1st page of the score below type area flush left >Violin part in collaboration with Samuel Dushkin<; legal reservations 1st page of the score below type area flush left below collaborator specified >Copyright 1931 by B. Schott's Söhne, Mainz< flush right centred >Aufführungsrechte vorbehalten / Tous droits réservés<; plate number >B·S·S 32956<; without end of score dated; production indication p. 39 [part: p. 14] flush right as end mark >Stich u. Druck von B. Schott's Söhne in Mainz<) // (1931)

° Divided horizontal line of 9.9 cm.

°° Flush right centred.

* Printed in red.

** Y as fancy letter. In French, the library material is advertised without column divisions full-page without edition numbers, the compositions for sale are advertised with edition numbers behind fill character (dotted line) >Feu d’artifice. Fantaisie pour grand orchestre, op. 4 / Partition d'orchestre et Parties d'orchestre <en location> / Partition d'orchestre <format de poche>° 3464 / Réduction pour Piano à 4 mains (O. Singer)° 962 / Scherzo fantastique. Fantaisie pour grand orchestre / Partition d'orchestre et Parties d'orchestre <en location> / Partition d'orchestre <format de poche>° 3501 / Concerto pour Violon et orchestre / Partition d'orchestre et Parties d'orchestre <en location> / Partition d'orchestre <format de poche>° 3504 / Reduction°°° pour Violon et Piano° 2190 / L’oiseau de feu. <Der Feuervogel>. Ballet / Transcriptions pour Violon et Piano par l'auteur: / Prélude et Ronde des princesses° 2080 / Berceuse° 2081 / Berceuse de l’oiseau de feu / Nouvelle Transcription pour Violon et Piano/ par l’auteur et S. Dushkin° 2186 / Pastorale. Chanson sans paroles pour une voix et quatre / instruments à vent / Partition <avec réduction pour Piano<° 3399 / Parties <en location> / Unterschale. Russische Bauernlieder, 4 Chöre für gleiche Stimmen. / Beim Heiland von Tschigissy – Herbst – Der Hecht – Freund Dicksack<. After Mainz the following places of printing are listed: Leipzig-London-Paris angegeben [° fill character (dotted line); °° without fill character (dotted line); °°° original spelling].

53-1Straw

Strawinsky’s copy is re-bound and without front matter, without back matter and without part, but with front cover pages. The front cover title page is above the name flush right signed >Igor Strawinsky<. Strawinsky behind the fourth line of the front cover page centred hand-written noted >Exemplaire doigté et / modifié pour les / exécutions en publie. / IStr<.

53-1 [49] STRAWINSKY / CONCERTO* / en Ré / VIOLON & ORCHESTRE / PARTITION VIOLON & PIANO • KLAVIERAUSZUG / EDITION SCHOTT 2190 // Edition Schott 2190 / Concerto en Ré / pour Violon et Orchestre / par / Igor Strawinsky / [asterisk] / Partition / Violon & Piano / B. Schott's Söhne /** Mainz / Schott & Co. Ltd., London, 48 Great Marlborough Street / For U. S. A.: Associated Music Publishers Inc., New-York / Pour la France: Edition Russe de Musique, Paris / Printed in Germany – Imprimé en Allemagne // (Vocal score violin and piano sewn 23 x 30.2 ([4°]) with violin part enclosed; 35 [33] pages + 4 cover pages black-orange on beige [front cover title, 2 empty pages, empty page with publisher’s emblem black-white oval 3.6 x 4.6 wheel of Mainz in a frame containing text in bottom half >PER MARE< [#] >ET TERRAS< left and right ] + 6 pages front matter [title page, page with legal reservation centre centred >Tous droits réservés / Aufführungsrechte vorbehalten / Copyright 1931 by B. Schott's Söhne, Mainz<, page with (world) premiere data manually handwritten in line etching >Cette oeuvre a été créée sous / ma direction le 23 octobre 1931 / au concert du Rundfunk de Berlin / par Samuel Dushkin auquel / je garde une reconnaissance pro- / fonde et une grande admiration / pour la valeur hautement ar- / tistique de son jeu / Igor Strawinsky<, empty page, movement index >[#] pag. / I. Toccata*** 3 / II. Aria I*** 14 / III. Aria II*** 20 / IV Capriccio*** 24<, legend >Distribuzione dell’ orchestra< Italian without duration data] + 1 page back matter [page with publisher’s advertisements >Igor Strawinsky<**** without production data] + violin part 14 [13] pages stapled 22.6 x 30.2 + 1 page front matter [title page > Violino / Igor Strawinsky / Concerto en Ré / B. Schott's Söhne /** Mainz / Printed in Germany – Imprimé en Allemagne] + 2 pages back matter [empty page, page with publisher’s advertisements >Ausgewählte Musik für Violine<***** production data >12<]; title head >Concerto en Ré / pour Violon et Orchestre< [part: >Concerto en Ré / pour Violon et Orchestre / Violino<]; author specified 1st page of the score score unpaginated [p. 3] part unpaginated [p. 2] score between title head and movement number in Roman numeral (without dot) >I< [part: next to 3. line title head] flush left centred >Réduction pour Violon et Piano / par l’auteur< next to and below movement number [part: between 3. line title head and movement number] flush right centred >Igor Strawinsky / 1931<; collaborator specified 1st page of the score score and part below type area flush left >Violin part in collaboration with Samuel Dushkin<; legal reservation 1st page of the score below type area flush left >Copyright 1931 by B. Schott's Söhne, Mainz<; plate number >B·S·S 32956<; production indication p. 35 flush right as end mark >Stich u. Druck von B. Schott's Söhne in Mainz<) // [1949]

* Orange.

** Slash original.

*** Fill character (dotted line).

**** Y as fancy letter. In French, the library material is advertised without column divisions full-page without edition numbers, the compositions for sale are advertised with edition numbers behind fill character (dotted line) >Feu d’artifice. Fantaisie pour grand orchestre, op. 4 / Partition d'orchestre et Parties d'orchestre <en location> / Partition d'orchestre <format de poche>° 3464 / Réduction pour Piano à 4 mains (O. Singer)° 962 / Scherzo fantastique. Fantaisie pour grand orchestre / Partition d'orchestre et Parties d'orchestre <en location> / Partition d'orchestre <format de poche>° 3501 / Concerto pour Violon et orchestre / Partition d'orchestre et Parties d'orchestre <en location> / Partition d'orchestre <format de poche>° 3504 / Reduction°° pour Violon et Piano° 2190 / Concerto per due Pianoforti soli° 2520 / L’oiseau de feu <Der Feuervogel> Ballet / PIANO°°°° / Berceuse° 2547 / Ronde des princesses° 2548 / Transcription par Guido Agosti: / Danse infernale, Berceuse et Finale° 2378 / VIOLON ET PIANO°°°° / Nouvelle Transcriptions par l'auteur et S. Dushkin: / Berceuse° 2186 / Scherzo° 2280 / Transcriptions par l'auteur: / Prélude et Ronde des princesses° 2080 / Berceuse° 2081 / Partition de Piano° 3279 / / Jeu de cartes, Ballet / Partition d’orchestre et Parties d’orchestre <en location> / Partition d’orchestre <format de poche>° 3511 / Partition de Piano° 3296 / Pastorale. Chanson sans paroles / Chant et Piano° 2295 / Chant et 4 instruments à vent° Partition°° 3399 / Parties <en location> / Violon et Piano <par Strawinsky et Dushkin>° 2294 / Violon et 4 instruments à vent <Oboe, Corno inglese, / Clarinetto in la, Fagotto>° Partition°° 3313 / Parties°°° / Unterschale. Russische Bauernlieder, 4 Chöre für gleiche Stimmen. / Beim Heiland von Tschigissy — Herbst — Der Hecht — Freund Dicksack<. The following places of printing are listed: Mainz-Leipzig-London-Paris-New York [°fill character (dotted line); °° the mistake with the accent is original ; °°° without fill character (dotted line); °°°° centre centred].

***** Compositions are advertised in two columns with edition numbers behind fill character (dotted line) under the heading >KONZERTE< from >Albinoni, T.,< to >Vivaldi-Kreisler (im Stile von Vivaldi),<, amongst these >Strawinsky, I., Concerto D dur°* 2190<; under the heading >SONATEN< from >Andreae, V.,< to >Teleman, G. Ph.,<, Strawinsky not mentioned; under the heading >VERSCHIEDENE STÜCKE< from >Albeniz, I.,< to >Stürmer, Br.,<, amongst these >Strawinsky, L.°°*, Prélude et Rondeau des Princesses aus / „Feuervogel“* 2080 / – Berceuse aus „Feuervogel“* 2081 / – Scherzo aus „Feuervogel“* 2250 / – Pastorale* 2294< [* fill character (dotted line); ° original (>Dur<) spelling; °° original mistake >L.,< in the first name]. Place of printing (only) Mainz.

53-2 Igor Strawinsky / Concerto / pour Violon et Orchestre / Partition d'Orchestre / [*] / [Vignette] / [**] / B. Schott's Söhne, Mainz // Concerto en Ré / pour Violon et Orchestre / par / Igor Strawinsky / [Asterisk] / Partition d'Orchestre / [*] / [**] / B. Schott's Söhne, Mainz und Leipzig / / Schott & Co. Ltd., London, 48 Great Marlborough Street / For U. S. A.: Associated Music Publishers Inc., New York / Pour la France: Edition Russe de Musique, Paris / Printed in Germany – Imprimé en Allemagne // (Full score [library binding] 24.2 x 31 (2° [4°]); 66 [64] pages + 4 cover pages black on veined light grey [ front cover title with publisher’s emblem light orange oval 3.4 x 4.7 lion with wheel of Mainz in its paws and writing encircling >* PER MARE ET TERRAS *<, 3 empty pages] + 6 pages front matter [title page without emblem, page with legal reservation centre centred >Tous droits réservés / Aufführungsrechte vorbehalten / Copyright 1931 by B. Schott's Söhne, Mainz<, page with (world) premiere data manually handwritten in line etching >Cette oeuvre a été créée sous / ma direction le 23 octobre 1931 / au concert du Rundfunk de Berlin /par Samuel Dushkin auquel / je garde une reconnaissance pro- / fonde et une grande admiration / pour la valeur hautement ar- / tistique de son jeu / Igor Strawinsky<, empty page, movement index, legend >Distribuzione dell' orchestra< Italian + duration >ca. 22 Min.< without headline] + 2 pages back matter [empty page, page with publisher’s advertisements >IGOR STRAWINSKY°<**** production data >963<]; title head >Concerto en Ré / pour Violin et Orchestre<; author specified 1. page of the score unpaginated [p. 3] next to and below movement number in Roman numeral (without dot) >I< flush right centred >Igor Strawinsky / 1931<; collaborator specified 1. page of the score below type area flush left >Violin part in collaboration with Samuel Dushkin<; legal reservations 1. page of the score below collaborator specified >Copyright 1931 by B. Schott's Söhne, Mainz< below type area flush right centred >Aufführungsrechte vorbehalten / Tous droits réservés<; plate number >B.S.S 33000<; production indication p. 66 flush right as end mark >Stich u. Druck von B. Schott's Söhne in Mainz<) // (1931)

° Ypsilon as fancy letter.

* At this point in Strawinsky’s copy, there is a stamp >N o25<.

** At this point in Strawinsky’s copy, there is centre a framed stamp > Leihmaterial/ unveräußerliches Eigentum des Verlages / B. Schott's Söhne, Mainz<.

*** Dividing horizontal line of 9.9 cm, i.e. column width.

**** >Feu d’artifice. Fantaisie pour grand orchestre, op. 4 / Partition d’orchestre et Parties d’orchestre <en location> / Partition d’orchestre format de poche* 3464 / Réduction pour Piano à 4 mains (O. Singer)* 962 / Scherzo fantastique. Fantaisie pour grand orchestre / Partition d'orchestre et Parties d'orchestre <en location> / Partition d'orchestre <format de poche>* 3501 / Concerto pour Violon et orchestre / Partition d'orchestre et Parties d'orchestre <en location> / Reduction° pour Violon et Piano* 2190 / L’oiseau de feu. Ballet / Transcriptions pour Violon et Piano par l’auteur: / Prélude et Ronde des princesses* 2080 / Berceuse* 2081 / Pastorale. Chanson sans paroles pour une voix et quatre / instruments à vent / Partition <avec réduction° pour Piano>* 3399 / <Parties en location> / Unterschale. Russische Bauernlieder. 4 Chöre für gleiche Stimmen. / Beim Heiland von Tschigissy — Herbst — Der Hecht — Freund Dicksack< [° differents accents original; * fill character (dotted line)]. After Mainz the following places of printing are listed: Leipzig-London-Paris.

53-2Straw1

The copy is complete and contains both corrections and performance-related entries. It is signed >Igor Strawinsky< above the >Igor Strawinsky< that appears flush right on the outer title page. The figuring is correct. The copy is part of the hire material produced by the publishers. Next to the main heading, there appears an underlined entry >I tape it now (1961) / faster: crotchet [written as the symbol of the note] = 104<. The copy contains on the front cover page and the title page behind >Partition d’orchestre< the number 25.

53-2Straw2

The copy is signed >IStr< above the name >Igor Strawinsky< on the outer title page. The figuring is correct, and the printing errors have been corrected. The copy contains the correction of a moment in the clarinet.

53-2Straw3

This copy is presumably a preliminary copy produced for the purpose of making corrections and is not a copy intended to be sold. The edition has no outer titles, and has as its front the inner titles and a page with the index and orchestra list. The cover consists of 4 empty pages. The copy has two empty pages that do not belong to the original with a few comments on the first page, and it is signed and dated >Igor Strawinsky / 23 oct I93I / Berlin< on the upper part of the page. The Y in the signature shows a passing whim of Stravinsky, as he draws the tail of the letter all the way down to finish under >Berlin<. Figure 109, which should come at figure 108 8, is missing. The copy contains notes on performance and corrections.

53-3 Igor Strawinsky / Concerto / pour Violon et Orchestre / [vignette] / EDITION SCHOTT / No. 3504 // Concerto en Ré / pour Violon et Orchestre / par / Igor Strawinsky / [asterisk] / Partition d'Orchestre / B. Schott's Söhne, Mainz und Leipzig / [°] / Schott & Co. Ltd., London, 48 Great Marlborough Street / For U. S. A.: Associated Music Publishers Inc., New York / Pour la France: Edition Russe de Musique, Paris / Printed in Germany – Imprimé en Allemagne // (Pocket score sewn 13.5 x 18.7 (8° [8°]); 66 [64] pages + 4 cover pages black on light grey veined [front cover title with publisher’s emblem orange oval 1.8 x 2.6 lion with wheel of Mainz in its paws in a frame containing text >PER MARE< >ET TERRAS< running full circle , 2 empty pages, page with publisher’s advertisements >Schott’s Studienpartituren zeitgenössischer Musik<* production data >778<] + 6 pages front matter [title page, page with legal reservation centre >Tous droits réservés / Aufführungsrechte vorbehalten / Copyright 1931 by B. Schott’s Söhne, Mainz<, page with (world) premiere data handwritten printed in line etching >Cette oeuvre a été créée sous / ma direction le 23 octobre 1931 / au concert du Rundfunk de Berlin / par Samuel Dushkin auquel / je garde une reconnaissance pro- / fonde et une grande admiration / pour la valeur hautement ar- / tistique de son jeu / Igor Strawinsky<**, empty page, movement index >Concerto en Ré / [#] pag. / I Toccata*** 3 / II Aria I*** 23 / III Aria II*** 35 / IV Capriccio*** 40<, legend >Distribuzione dell’ orchestra< Italian without duration data] + 2 pages back matter [empty page, page with publisher’s advertisements > IGOR STRAWINSKY<**** production data >963p<]; without fingering and bowing markings for the solo violin; title head >Concerto en Ré / pour Violon et Orchestre<; author specified 1st page of the score unpaginated [p. 3] next to movement number in Roman numeral (without dot) >I< flush right centred >Igor Strawinsky / 1931<; collaborator specified 1st page of the score below type area flush left >Violin part in collaboration with Samuel Dushkin<; legal reservations 1st page of the score below collaborator specified flush left >Copyright 1931 by B. Schott's Söhne, Mainz< flush right centred >Aufführungsrechte vorbehalten / Tous droits réservés<; plate number >33103<; production indication p. 66 flush right as end mark >Stich u. Druck von B. Schott's Söhne in Mainz<) // (1931)

° Dividing horizontal line of 8.1 cm, i.e. column width.

* Compositions are advertising in three columns without edition numbers under the underlined heading > Kammermusik< from >Beck, Conrad< to >Wunsch, Hermann<, amongst these >Strawinsky, Igor / Ragtime<; under the underlined heading > Orchesterwerke< from >Albeniz, I.< to >Tansmann, Alexander<, amongst these >Strawinsky, Igor / Feuerwerk (Feu d’artifice) / Scherzo fantastique / Feuervogel (L’oiseau de feu) / Konzert in D für Violine und / Orchester / Suite I für kleines Orchester / Suite II für kleines Orchester<; under the underlined heading > Gesang m. Kammer-Orch.< from >Falla, Manuel de< to >Strawinsky, Igor / Pribautki (Scherzlieder) / Wiegenlieder der Katze<, under the underlined heading > Opern und Ballette< from >Falla, Manuel de< to >Wagner, Richard<, amongst these >Strawinsky, Igor / >Die Geschichte vom Soldaten / Reinecke<. The following places of printing are listed: Mainz-Leipzig.

** The copy in the Library of the British Museum in London >Hirsch M.579. <, today in the inventory of the British Library in London, contains a dedication >To Herr Hirsch< on this page above the printed handwriting, and under it Strawinsky’s original signature with the date >Igor Strawinsky / Frankfurt a/M / 8 Nov 31.<.

*** Fill character (dotted line).

53-3Straw

53-3(52) IGOR STRAWINSKY / Concerto en Ré / pour Violon et Orchestre / Partition d'Orchestre / PARTITUR / [vignette] / EDITION SCHOTT / 3504 // Concerto en Ré / pour Violon et Orchestre / par / Igor Strawinsky / [asterisk] / Partition d'Orchestre / B. Schott's Söhne, Mainz und Leipzig / [°] / Schott & Co. Ltd., London, 48 Great Marlborough Street / For U. S. A.: Associated Music Publishers Inc., New-York / Pour la France: Edition Russe de Musique, Paris / Printed in Germany – Imprimé en Allemagne // [spine:] >STRAWINSKY CONCERTO EN RÉ< // (Pocket score sewn 0.4 x 13.5 x 18.6 (8° [8°]); 66 [64] pages + 4 cover pages black on light grey veined [front cover title with publisher’s emblem orange oval 1.9 x 2.5 wheel of Mainz in a frame containing text in bottom half >PER MARE< [#] >ET TERRAS< left and right , 2 empty pages, page with publisher’s advertisements >Studien-Partituren<* without production data] + 6 pages front matter [title page, page with legal reservation centre centred >Tous droits réservés / Aufführungsrechte vorbehalten / Copyright 1931 by B. Schott's Söhne, Mainz<, page with (world) premiere data manually written printed in line etching >Cette oeuvre a été créée sous / ma direction le 23 octobre 1931 / au concert du Rundfunk de Berlin / par Samuel Dushkin auquel / je garde une reconnaissance pro- / fonde et une grande admiration / pour la valeur hautement ar- / tistique de son jeu / Igor Strawinsky<, empty page, movement index >Concerto en Ré / [#] pag. / I Toccata** 3 / II Aria I** 23 / III Aria II** 35 / IV Capriccio** 40<, legend >Distribuzione dell’ orchestra< Italian + duration data without headline >ca. 22 Min.<] + 2 pages back matter [empty page, page with publisher’s advertisements >Studien-Partituren<*** without production data]; without fingering or bowing markings for the solo violin; title head >Concerto en Ré / pour Violon et Orchestre<; author specified 1st page of the score unpaginated [p. 3] next to and below movement number in Roman numeral (without dot) >I< flush right centred >Igor Strawinsky / 1931<; collaborator specified 1st page of the score below type area flush left >Violin part in collaboration with Samuel Dushkin<; legal reservation 1st page of the score below collaborator specified >Copyright 1931 by B. Schott's Söhne, Mainz<; plate number [exclusively 1st page of the score p. [3], pp. 9, 12, 25, 33, 41, 49, 57, 65:] >B·S·S 33103<; production indication p. 66 flush right as end mark >Stich u. Druck von B. Schott's Söhne in Mainz<) // (1952)

° Dividing horizontal line of 5,8 cm, , i.e. column width .

* Compositions are advertised in three columns with edition numbers behind fill character (dotted line) under the framed heading >Orchesterwerke< from Albeniz, Isaac< to >Wunsch, Hermann<, amongst these >Strawinsky, Igor / Scherzo fantastique° 3501 / Feuerwerk. Brillante / Fantasie° 3464 / Symphonie in C° 3536 / Symphonie°°° in three / movements° 4075 / Der Feuervogel, Suite°° 3467 / Suite I für kl. Orchester°° 3469 / Suite II f. kl. Orchester°° 3470 / Concerto in Es für / Kammer-Orchester° 3527 / Ragtime für elf Instru- / mente° 3468 / Konzert in D für Vio- / line und Orchester° 3504 / Pastorale für Sopran, / Oboe, Englishhorn, / Klarinette und Fagott°° 3399 / Pribaoutki. Scherz- / lieder für mittlere / Stimme u. 8 Instrum.°° 3465 / Wiegenlieder d. Katze / f. tiefe Frauenstimme / und 3 Klarinetten° 3466<; under the framed heading >Opern und Ballette< from >Falla, Manuel de< to >Strawinsky, Igor / Die Geschichte vom / Soldaten, gelesen, / gespielt und getanzt° 3428 / Das Kartenspiel, / Ballett° 3511 / Reinecke, Burleske° 3493< [°fill character (dotted line) ; °° without fill character (dotted line) ; °°° original spelling].

** fill character (dotted line).

*** Compositions are advertised in three columns with edition-numbers behind fill character (dotted line) under the framed heading >Kammermusik< from >Bach, J. S.< to >Windsperger, Lothar<; Strawinsky not mentioned.

53-3[56] Strawinsky/ Concerto en Ré / pour Violon et Orchestre / Partition d'Orchestre / [vignette] / EDITION SCHOTT / 3504 // Concerto en Ré / pour Violon et Orchestre / par / Igor Strawinsky / [asterisk] / Partition d'Orchestre / B. Schott's Söhne, Mainz und Leipzig / [°] / Schott & Co. Ltd., London, 48 Great Marlborough Street / For U. S. A.: Associated Music Publishers Inc., New-York / Pour la France: Edition Russe de Musique, Paris / Printed in Germany – Imprimé en Allemagne // [Text on spine:] >STRAWINSKY CONCERTO EN RÉ< // (Pocket score sewn 0.6 x 13.9 x 18.8 (8°); 66 [64] pages + 4 cover pages thicker paper black on light grey veined [front cover title with publisher’s emblem orange oval 1.9 x 2.5 wheel of Mainz in a frame containing text in bottom half >PER MARE< [#] >ET TERRAS< left and right , 2 empty pages, page with publisher’s advertisements >STUDIEN-PARTITUREN / zeitgenössischer Orchesterwerke<* production data >105<] + 6 pages front matter [title page, page with legal reservation centre centred >Tous droits réservés / Aufführungsrechte vorbehalten / Copyright 1931 by B. Schott's Söhne, Mainz<, page with dedication manually written printed in line etching >Cette oeuvre a été créée sous / ma direction le 23 octobre 1931 / au concert du Rundfunk de Berlin / par Samuel Dushkin auquel / je garde une reconnaissance pro- / fonde et une grande admiration / pour la valeur hautement ar- / tistique de son jeu / Igor Strawinsky<, empty page, movement index >Concerto en Ré / [#] pag. / I Toccata** 3 / II Aria I** 23 / III Aria II** 35 / IV Capriccio** 40<, legend >Distribuzione dell' orchestra< Italian + duration data without headline >ca. 22 Min.<] + 2 pages back matter [empty page; page with publisher’s advertisements*** >STUDIEN-PARTITUREN / zeitgenössischer Kammermusik< production data >45<]; without fingering or bowing markings for the solo violin; title head >Concerto en Ré / pour Violon et Orchestre<; author specified 1st page of the score unpaginated [p. 3] next to and below movement number in Roman numeral (without dot) >I< flush right centred >Igor Strawinsky / 1931<; collaborator specified 1st page of the score below type area flush left >Violin part in collaboration with Samuel Dushkin<; legal reservation 1st page of the score below collaborator specified >Copyright 1931 by B. Schott's Söhne, Mainz<; plate number [exclusively 1st page of the score p. [3], pp. 9, 12, 25, 33, 41, 49, 57, 65] >B·S·S 33103<; production indication p. 66 flush right as end mark >Stich u. Druck von B. Schott's Söhne in Mainz) // [1956]

° Dividing horizontal line of 5,8 cm, i.e., column width.

* Compositions are advertised in three columns with edition numbers behind fill character (dotted line) from >WERNER EGK< to >ALEX. TSCHEREPNIN<, amongst these >IGOR STRAWINSKY / Scherzo fantastique° 3501 / Circus-Polka° 4274 / „Feuerwerk“, Fantasie°° 3464 // Ed. Schott / STRAWINSKY (Fortsetzung) / Symphonie in C° 3536 / Symphonie in three / movements° 4075 / „Der Feuervogel“, / Suite (1919)° 3467 / „Der Feuervogel“, / Suite (1945)° 4420 / Vier norwegische Im- / pressionen°°° / Ode (Elegischer Ge- / sang in 3 Teilen für / kleines Orchester°°° / Suite I für kleines / Orchester° 3469 / Suite II für kleines / Orchester° 3470 / Pas de deux (L’oiseau / bleu) (Tschaikowsky)°°°° 4409 / Concerto in Es (Dum- / barton Oaks) f. Kam- / merorchester° 3527 / Danses concertantes° 4275 / Konzert in D für Vio- / line und Orchester° 3504 [° Fill character (dotted line) ; °° without fill character (dotted line); °°° without edition numbers and without fill character (dotted line); °°°° fill character (dot)].

** Fill character (dotted line).

*** Compositions are advertised in three columns with edition numbers behind fill character (dotted line) from >HENK BADINGS< to >HEITOR VILLA-LOBOS<, amongst these >IGOR STRAWINSKY / Pastorale für Violine / mit Oboe, Engl. Horn, / Klarinette und Fagott°° 3313 / Pastorale für Sopran / Oboe, Engl. Horn, / Klarinette u. Fagott° 3399 / Wiegenlieder d. Katze / f. tiefe Frauenstimme / und 3 Klarinetten° 3466< [° fill character (dotted line); °° without fill character (dotted line)].

53-5 И. СТРАВИНСКИЙ / КОНЦЕРТ / ДЛЯ СКРИПКИ С ОРКЕСТРОМ / ПЕРЕЛОЖЕНИЕ ДЛЯ СКРИПКИ И ФОРТЕПИАНО АВТОРА / [vignette] // И. СТРАВИНСКИЙ / I. STRAVINSKY / КОНЦЕРТ ● CONCERTO / ДЛЯ СКРИПКИ С ОРКЕСТРОМ / FOR VIOLIN AND ORCHESTRA / ПЕРЕЛОЖЕНИЕ ДЛЯ СКРИПКИ И ФОРТЕПИАНО АВТОРА / ARRANGED FOR VIOLIN AND PIANO BY THE COMPOSER / РЕДАКЦИЯ ПАРТИИ СКРИПКИ Д. Ф. ОЙСТРАХА / VIOLIN PART EDITED BY DAVID OISTRAKH / ИЗДАТЕЛЬСТВО МУЗЫКА · STATES PUBLISHERS MUSIC / МОСКВА . 1966 . MOSCOU // (Edition violin-piano [library binding] 26.5 x 33.9 (2° [4°]) with violin part enclosed 26 x 33.5 (2° [4°]); 34 [33]* pages + 4 cover pages thicker paper yellow-grey on black-brown [front cover title with vignette 1 x 1 in the text box contained treble clef, 2 empty pages, page with price at the top of the page flush left >98 к.< + imprint >Индекс 9–6–2< with billing of names >Редактор М. Лалинов [#] Художник В. Антипов / Худож, редактор Г. Христиане [#] Техн. редактор Ю. Вязьмина / Корректор Е. Вуличков< and itemized statements of format and origin] + 1 page front matter [title page] + 2 pages back matter [empty page, page with price >98 k<] + 14 [13] pages violin part° + 1 page front matter [empty page] without back matter; author specified 1st page of the score paginated p. 2 between title head and movement title flush right >И. СТРАВИНСКИЙ / I. Stravinsky / 1931< flush left >Переложение дла скрипки и фортепиано автора / Arraned** for Violin and Piano by the Composer< below type area flush left >В клавире партия скрипки приведена по первому нзданню 1931 года (редакция С. Душкина)< violin part 1st page of the score paginated p. 2 between title head and movement title flush right >И. СТРАВИНСКИЙ / I. Stravinsky / 1931< flush left >Редакция партии скрипки Д. Ф. Ойстраха / Violin Part Edited by David Oistrakh< below type area flush left >В клавире партия скрипки приведена по первому / нзданню 1931 года (редакция С. Душкина)<; without legal reservation; without acknowledgement of the original publisher; plate number >2295<; without end mark) // 1966

° An Errata table is pasted into the London copy >h.3992.b.(1.)< (inside the score: >h. 3992.s<) behind the violin part.

* Page 19 misprinted as page 20.

** Misprint original.

53-6 STRAWINSKY / Concerto en ré / pour Violon et Orchestre / Partition d'Orchestre / [vignette] / EDITION SCHOTT / 49 // IGOR STRAWINSKY / Concerto en ré / pour Violon et Orchestre / (1931) / Violon part in collaboration with Samuel Dushkin / Partition d'Orchestre / Edition Schott 49 / B. SCHOTT'S SÖHNE · MAINZ / Schott & Co. Ltd., London · B. Schott's Söhne (Editions Max Eschig), Paris / Schott Music Corp. (Associated Music Publishers Inc.), New York / Printed in Germany // [without text on spine] // (Full score sewn 0.5 x 26.7 x 33 (2°); 68 [64] pages + 4 cover pages black on grey veined [front cover title with publisher’s emblem grey in dark orange oval 2,7 x 3,5 wheel of Mainz in a frame containing text in bottom half >PER MARE [#] ET TERRAS< left and right , 3 empty pages] + 4 pages front matter [title page, empty page, page with (world) premiere data manually written printed in line etching >Cette oeuvre a été créée sous / ma direction le 23 octobre 1931 / au concert du Rundfunk de Berlin / par Samuel Dushkin auquel / je garde une reconnaissance pro- / fonde et une grande admiration / pour la valeur hautement ar- / tistique de son jeu / Igor Strawinsky<, page with legend >ISTRUMENTI< Italian + duration data [22'] Italian] without back matter; title head >Concerto en ré<; author specified 1st page of the score unpaginated [p. 5] next to and below movement number in Roman numeral (without dot) >I< flush right centred >Igor Strawinsky / (1931)<; legal reservation 1st page of the score below type area flush left >© B. Schott's Söhne, Mainz, 1931 / © renewed 1959<; plate number [exclusively] as end mark p. 68 flush right >B. Schott's Söhne, Mainz 33000<) // (1968*)

* Dating according to the information in the German National Library 1969; Hofmeister also gives this date. The printing was carried out by the publishers on 18th December 1968.


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

Print Email

Further Reading

weitere Online-Dokumente von Helmut Kirchmeyer

Das zeitgenössische Wagner-Bild, Siebter Band: Dokumente 1853

aus: Situationsgeschichte der Musikkritik und des musikalischen Pressewesens in Deutschland dargestellt vom Ausgange des 18. bis zum Beginn des 20. Jahrhunderts


Copyright © 2021 Procateo KG