K058 Concerto

deutsch K058 Concerto

K58 Concerto

per due Pianoforti Soli — Concerto für zwei Klaviere — Concerto for two solo pianos — Концерт для двух фортепиано

Construction: The Concerto consists of four movements numbered with Roman numerals, of which the first has no other title apart from the number, and the third movement leads directly into the fourth.

Structure

I

Con moto Crotchet = 108 (236 bars)

II / Notturno

Adagietto Quaver = 69 (114 bars)

III / Quattro variazioni

VAR. I Quaver = 76 (26 bars = bar 1-26 attacca forward)

VAR. II Crotchet = 56 (24 bars = bar 27-50 attacca forward )

VAR. III dotted Crotchet = 96 (30 bars = bar 51-80 attacca forward )

VAR. IV dotted Crotchet = 96 (23 bars = bar 81-103 attacca forward to the next movement)

IV / Preludio e Fuga

Lento Crotchet = 50 (19 bars = bar 1-19 attacca forward to the)

FUGA à 4 voci Crotchet = 66 (79 bars = bar 20-98)

Lo stesso tempo della Fuge nell'inversione (20 bars = bar 99-118)

Largo Crotchet = 44 (9 bars = bar 119-127)

Corrections: According to Craft, the semiquavers before bar 91 of the first movement are not identical to the semiquavers after bar 91 despite their being different in the printed version, because it is a group of triplets, to which Strawinsky originally gave a slower metronome marking; in bar 109, the four semiquaver notes in the upper register of the second piano must be a b, not a; the semiquavers from bar 222-225 do not correspond in terms of their note values to the following semiquavers, rather three equals two must be used; in bar 206, the three semiquaver octaves at the end of the bar of the bottom system are d bflat (so d b- d b 1 ff., not d-d b 1 ff.); in bar 25 of the variation movement, all three notes at the beginnings of the bars in the upper register in the second piano must be semiquavers; in the last bar of the last movement, it must be a d# instead of an e in the upper-register chord in the first piano.

Corrections / Errata

58-1

1.) p. 11, last bar, 2nd Piano, 1st system in treble clef : 4th semiquaver a b 1 instead of a1 (pencil).

2.) Erster Satz Takt 168 Klavier II Diskant bassgeschlüsselt (S. 17, 1. Zeile): Sechzehntel- Dreiergruppe ist von zwei Systemen auf eins umzuschreiben. Unter Wegfall des zweiten Diskantsystems soll die dort notierte letzte Dreiergruppennote F in das erste System hochgesetzt werden.

3.) Erster Satz Takt 206 Klavier II Bass (S. 20 / 2. System, Takt 2): der erste Zweitonakkord der mit einer Achtelpause beginnenden taktletzten Sechzehntelligatur ist statt falsch d-des1 richtig des-des1 zu lesen.

4.) Zweiter Satz Takt 78+79 Klavier II Diskant (S. 33 / 1. System Takt 1): die erste Zweiunddreißigstel-Ligatur von Takt 78 ist von der Pause an bis e1 unter eine eckige Klammer zu setzen und mit einer 6 zu versehen; die zweite Ligatur von Takt 78 f1 bis b1 ist unter eine eckige Klammer zu setzen und mit einer 7 zu versehen; die erste Ligatur von Takt 79 (S. 33 / 1. System Takt 2) des3 bis as ist unter eine eckige Klammer zu setzen und mit einer 6 zu versehen; die zweite Ligatur von Takt 79 f2 bis b1 ist unter eine eckige Klammer zu setzen und mit einer 3 zu versehen; die dritte Ligatur von Takt 79 c2 bis c1 mit der Ziffer 7 ist mit einer eckigen Klammer zu versehen.

5.) Zweiter Satz Takt 83 Klavier II Diskant (S. 33, / 3. System, Takt 6): die durchgehend notierte Ligaturnote lautet b1*.

6.) Dritter Satz Takt 25 Klavier II Diskant (S. 37 / letztes System / mittleres System): die ersten drei Notenwerte sind durch einen zweiten Balken zum durchgezogenen Achtelbalken zu diminuieren.

7.) last movement, last chord, 1st Piano, descant: Instead of the incorrect g-e1-g1-b1, it should be g- d#1-g1-b1. °°

° Strawinsky notes in the margin >si (b)<.

°° Corrections by Strawinsky are already adopted in the test copy, but were not incorporated into the first printing.

Style: The Concerto should be understood as a monochromatic orchestral work in which the mechanistic style of Neue Sachlichkeit is combined with the constructional techniques of neoclassicism and the percussive concept of the piano sound. Strawinsky conceived the sound of the two pianos in this piece as a single united plain of sound and developed a type of construction-kit symphony which handles the thematic and motivic material as a game of juxtaposition in which any section of the theme can go next to any other. This type of formal variation creates a constant rotation of all the motivic and thematic elements around one another, from which more solid and larger thematic connections are highlighted over the course of the composition. The first time that the theme itself appears unfragmented is at the entry of the fugue in the final movement. Up to that point, only splinters of the theme, broken fragments of the motifs and short constructed sections appear, compressed into fragmentary and then into larger combinations until the final result is the formulation of the fugal theme. This process also allows the notable opportunity to write variations on a theme which has not been stated, but which gradually emerges out of the variations themselves. Neither of the two solo instruments unravels itself independently from the other. There is no point at which one soloist is accompanied by the other nor is there ever a moment where one instrument has a solo section; there are also no cadential interludes, rather each bar requires the structural participation of both instruments.

Situationsgeschichte: The piano sound was conceived as a percussive sound throughout the time of the composition of the Concerto. The Concerto is indebted to this conception and the three contemporary demands for the exploitation of all timbral possibilities for the piano, the unification of the two separate piano sound-worlds into one complete pianistic organism which cannot be broken up, and the alienation of the piano sound into a percussive sound are fulfilled.

Dedication: no dedication known.

Duration: about 6' 24" + 4' 31" + 4' 11" + 4' 18".

Date of origin: Between 14. November 1932 and 9. November 1935 in Paris.

First performance: 21th November 1935 in Paris ( Université des Annales, Salle Gaveau), Piano: Igor Strawinsky and his son Sviatoslav Soulima-Strawinsky.

Remarks: Straw insky wanted to have a piece of his own composition which he could perform in cities which did not have their own orchestra, alongside his son, who had become a concert pianist and had renamed himself Sviatoslav Soulima-Stravinsky and later Soulima Strawinsky after his ancestral Count Soulima. The thematic courses between the two instruments are at times so confusing that Strawinsky signified connections by means of lines which run straight across the systems as well as certain emphasis marks, the joining of note-stems and other performance markings. – The composition of the piece proceeded in a highly unit construction system. Strawinsky first composed a few sequences of bars that were completely independent of one another. He then wrote the sections between them over the long period of work on the piece until everything grew together into a complete montage process.

Significance: The Concerto Per Due Pianoforte Soli is seen as Strawinsky’s masterpiece for piano. In no other work of its time is the unification of the sound of two pianos conceived so unconditionally up to the end.

Versions: The original edition was published by the beginning of April 1936 at the latest. Subsequent editions differ from the first edition due to technical printing adjustments in the design. The musical text remained unchanged. For the next edition of 1937 the publishers replaced the emblem of the publishing house in the right hand corner with an oval and gave the back advertisments page a production data (963). The advertisement texts were also extended to include the newly published editions of Jeu de cartes. The first post-war edition was published with a smaller emblem of the publishing house (with dimension reduced from 3.6 x 4.5 to 2.7 x 3.5), and included on the title page the title of the work, which was now in colour, as well as an altered place of the copyright declaration. The production data which appears with the unaltered advertising text up to the decorative Y and boxed format was also removed. The font on the title page was also made thinner so that the name of the composer could be made smaller from 13.5 to 12.5 and the edition marking likewise from 6.4 to 4.6. The colour of the paper was changed from beige into green – blue. The printing of the name of the Mainz – Leipzig branch remained unchanged, despite the fact that Schott was not able to maintain its branch in Leipzig any longer. Over the course of the history of the further editions, the publishers changed the picture on the outer cover to a silver design.

Print runs and sales: Despite the extremely tense cultural and political situation in early 1936, the first edition was not unsuccessful in Germany. Schott had printed 600 copies of it and must have printed 300 more from mid-1937 at the earliest (Schott does not do its calculations in calendar years but from the middle of each year to the middle of the next year). In the year of publication, 272 copies were sold up to the middle of 1936 and 38 were distributed for free. A year later, 137 were sold in addition. The figures then sank to 91 and 54. Up to the middle of 1939, the publishers had sold 900 copies of the first print run and still had the second completely in stock. After the war, the Concerto was one of Strawinsky’s compositions owned by this publishing house that sold well. New print runs were undertaken in 1957 / 58 (500 copies) and 1961 / 62 (600 copies) among others. Between the middle of 1956 and the middle of 1959, 402 copies were sold, between the middle of 1959 and the middle of 1962 486 were sold, and between the middle of 1964 and 1969, 631 copies were sold including 29 free copies. The pre-war edition with Mainz and Leipzig as its general place of publication, was stockpiled and sold after the end of the war, with French visa stamps at first. The copy M 1949/B/1200, which was created in 1949, now belongs to the German Library in Leipzig and bears the following phrase on its back page ‘Visé par la Direction de l’Education Publique / Autorisé par la Direction de l’Information / G. M. Z. F. O.’ The editions with two places of publication, now without a French permission stamp, were sold up to mid-January 1952 at least.13 editions of the Concerto were published in Strawinsky’s lifetime to a total of 6,200 copies, with yearly sales figure that rose from 1952 (print runs 17th March 1936: 600; 20th May 1937: 300; 29th August 1944: 200; 16th March 1948: 300; 25th August 1949: 300; 17th June 1952: 400; 8th July 1950 Motzko-Dollmann: 400; 28th February 1955: 400; 10th July 1958: 500; 1st September 1961: 600; 12th March 1964: 600; 7th September 1965: 800; 21st November 1969: 800), and after his death, another 2 print runs in the old format (22/5/1973: 800; 31/7/1978: 800) and then in a print run on 5/8/1982 (600 copies) with a new (silver-coloured) cover. That the publishers reprinted Strawinsky, who had been classified as a degenerate artist, at the height of the Total War, something that would inevitably invite execution, showed courage and testifies to the knowledge of the directors of the publishers, that the end of the War was soon to come, and to the wish to be prepared themselves as a publishing house for the normalization that was starting to spread. – The small border to the picture on the outer title page, a square standing on an edge with one hand coming out of each side and touching 2-5 stylized keys, was created by Théodore Strawinsky. – In their subsequent editions of Strawinsky’s music, the Moscow publishers included the Concerto in the second of the volumes of his collected piano works in 1968 and conceiled a comment about the original publishers.

Historical Record: Igor Strawinsky and Swiatoslaw Strawinsky / Mono [Pathé-Marconi] / Paris 16. 2. 1938*.

* The discs had already been pressed on 14 March 1938, but were published 13 years later in March 1951 in France under ‘French Columbia LFX 951-952-953’, because Columbia, New York was not yet in a position to transfer 78 thDiscs on to long-playing records, and thus turned down the production. Strawinsky liked this recording especially.

CD edition: VII-2/10-13.

Autograph: Library of Congress, Washington; parts of the neat copy are in the Paul Sacher Stiftung Basel.

Copyright: 1936 by B. Schott’s Söhne in Mainz.

Editions

a) Overview

58-1 1936; Schott Mainz-Leipzig; 58 p.; B·S·S 34657; 2520.

    58-1StrawP ibd. [with annotations].

58-1[37] [1937] ibd.

    58-1[37]Straw ibd. [with annotations].

58-1[49] [1944] ibd.

58-1[53] [1953] ibd.

58-2 1968; Editions Musique Moskau; 63 p.; 6089.

b) Characteristic features

58-1 STRAWINSKY / CONCERTO / PER DUE PIANOFORTI SOLI / [vignette] / EDITION SCHOTT 2520 // Edition Schott No. 2520 / CONCERTO / per due Pianoforti Soli / [asterisk] / Igor Strawinsky / [asterisk] / B. Schott's Söhne, Mainz und Leipzig / [°] / Schott & Co Ltd., 48 Great Marlborough Street, London W. 1 / Editions Max Eschig, Paris [#] for U. S. A.: Assoc. Music Publishers Inc. / 48 Rue de Rome [#] New York / Printed in Germany – Imprimé en Allemagne // (Edition sewn 23 x 30.3 (4° [4°]); 58 [56] pages + 4 cover pages thicker paper black on middle grey [front cover title with vignette 6.5 x 7.2 four piano hands on two, three, four and five black keys arranged in a square emerging out of a counter-rotating rhombus that is divided into black and white and part-shaded, 2 empty pages, page with centre centred publisher’s emblem rectangular 2.4 x 3.8 lion with wheel of Mainz in its paws and with writing encircling >B · SCHOTT’S SÖHNE [#] PER MARE [#] MAINZ UND LEIPZIG [#] ET TERRAS<] + 2 pages front matter [title page, page with (world) premiere data hand-written French printed in line etching >Ce Concerto a été / exécuté par moi et mon / fils, Sviatoslav Soulima- / - Strawinsky pour la pre- / mière fois à l'Université / des Annales à Paris en la / Salle Gaveau, le 21 no- / vembre 1935. / Igor Strawinsky< + 2 pages back matter [empty page, page with publisher’s advertisements >IGOR STRAWINSKY<* without production data]; title head >CONCERTO / per due pianoforti soli<; author specified 1st page of the score unpaginated [p. 3] next to and below movement number numbered in Roman numerals (without dot) >I< flush right centred >Igor Strawinsky / 1935<; legal reservations 1st page of the score next to 1. line title head flush left centred >Tous droits réservés / Aufführungsrechte vorbehalten< below type area flush left >Copyright 1936 by B. Schott's Söhne, Mainz<; plate number >B·S·S 34657<; production indication p. 58 flush right as end mark >Stich u. Druck von B. Schott's Söhne in Mainz<) // (1936)

° Dividing horizontal line of 11.7 cm.

* Ypsilon as fancy letter. In French, the library material is listed without edition number, the material for sale is listed with edition number 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°°°° / Nouvelles 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 / Berceuse de l'oiseau de feu. / Scherzo° 2280 / 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°°° / Belowschale. Russiane Bauernlieder, 4 Chöre für gleiche Stimmen. / Beim Heiland von Tschigissy — Herbst — Der Hecht — Freund Dicksack<. The following places of printing are listed: with Mainz-Leipzig-London-Paris-New York angegeben [° fill character (dotted line); °° the mistake with the accent is original; °°° without fill character (dotted line); °°°° centre centred; * dividing horizontal line of 0.9 cm]. The following places of printing are listed: Mainz-Leipzig-London-Paris-New York.

58-1StrawP

Test printing, re-bound in thick cardboard, has no advert pages (the back pages of the cover are missing) and has no back matter pages. The title of the work is written on the title page >Pianoforti=Soli< instead of >Pianoforti Soli<. In the last bar of the fourth movement in the first piano, the four-note chord minim with fermata on it g-e1-g1-b1, is corrected to g-d#1-g1-b1.

58-1Straw

58-1[37] STRAWINSKY / CONCERTO / PER DUE PIANOFORTI SOLI / [vignette] / EDITION SCHOTT / 2520 // Edition Schott No. 2520 / CONCERTO / per due Pianoforti Soli / [asterisk] / Igor Strawinsky / [asterisk] / B. Schott's Söhne, Mainz und Leipzig / [°] Schott & Co Ltd. 48 Great Marlborough Street, London W. 1 / Editions Max Eschig, Paris [#] for U. S. A.: Assoc. Music Publishers Inc. / 48 Rue de Rome [#] New York / Printed in Germany – Imprimé en Allemagne // (Edition stapled 23.1 x 30.2 (4° [4°]); 58 [56] pages + 4 cover pages thicker paper black on grey-beige [front cover title with vignette 6.4 x 7.1 four piano hands on two, three, four and five black keys arranged in a square emerging out of a counter-rotating rhombus that is divided into black and white and part-shaded, 2 empty pages, page with publisher’s emblem greybeige-black rectangular centre 2.4 x 3.8 lion with wheel of Mainz in its paws and with writing encircling >B · SCHOTT’S SÖHNE [#] PER MARE [#] MAINZ UND LEIPZIG [#] ET TERRAS<] + 2 pages front matter [title page, page with (world) premiere data Strawinskys hand-written French printed in line etching >Ce Concerto a été / exécuté par moi et mon / fils, Sviatoslav Soulima- / - Strawinsky pour la pre- / mière fois à l'Université / des Annales à Paris en la / Salle Gaveau, le 21 no- / vembre 1935. / Igor Strawinsky< + 2 pages back matter [empty page, page with publisher’s advertisements >IGOR STRAWINSKY*< production data >963<]; title head >CONCERTO / per due pianoforti soli<; author specified 1st page of the score unpaginated [p. 3] next to and below movement number numbered in Roman numerals (without dot) >I< flush right centred >Igor Strawinsky / 1935<; legal reservation 1st page of the score below type area flush left >Copyright 1936 by B. Schott's Söhne, Mainz<; plate number >B·S·S 34657; production indication p. 58 as end mark >Stich u. Druck von B. Schott's Söhne in Mainz<) // [1937)

° Dividing (horizontal) line of 0.9 cm.

* Last letter Ypsilon as fancy letter.

** Ypsilon as fancy letter. In French, the library material is listed without edition number, the material for sale is listed with edition number 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°°°° / Nouvelles 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<. Die Niederlassungsfolge ist mit Mainz-Leipzig-London-Paris-New York angegeben [* Dividing (horizontal) line of 0.9 cm; ° fill character (dotted line); °° centre; °°° without fill character (dotted line); °°°° without edition number]. The following places of printing are listed: Mainz-Leipzig-London-Paris-New-York.

58-1[37]Straw

The copy in Strawinsky’s estate is signed >IStr< flush right on the outer title page above the name of the composer. It contains corrections. The adverts have the production data >963<. The copy is stapled.

58-1[53] STRAWINSKY / CONCERTO° / PER° DUE° PIANOFORTI° SOLI° / [vignette] / EDITION SCHOTT / 2520 // Edition Schott No. 2520 / CONCERTO / per due Pianoforti Soli / [asterisk] / Igor Strawinsky / [asterisk] / B. Schott's Söhne, Mainz und Leipzig / [*] / Schott & Co. Ltd., 48 Great Marlborough Street, London W. 1 / Editions Max Eschig, Paris [#] for U. S. A.: Assoc. Music Publishers Inc. / 48 Rue de Rome [#] New York / Printed in Germany – Imprimé en Allemagne // (Edition sewn 23.1 x 30.2 (4° [4°]); 58 [56] pages + 4 cover pages thicker paper black light-orange on grey-beige [front cover title with vignette 6.6 x 7.1 four piano hands on two, three, four and five black keys arranged in a square emerging out of a counter-rotating rhombus that is divided into black and white and part-shaded, 2 empty pages, page with grey-beige black publisher’s emblem oval 3.6 x 4.5 wheel of Mainz in the frame and containing text in bottom half >PER MARE< # >ET TERRAS< left and right centre centred] + 2 pages front matter [title page, page with (world) premiere data Strawinskys hand-written French printed in line etching >Ce Concerto a été / exécuté par moi et mon / fils, Sviatoslav Soulima- / - Strawinsky pour la pre- / mière fois à l'Université / des Annales à Paris en la / Salle Gaveau, le 21 no- / vembre 1935. / Igor Strawinsky< + 2 pages back matter [empty page, page with publisher’s advertisements >IGOR STRAWINSKY*< without production data]; title head >CONCERTO / per due pianoforti soli<; author specified 1st page of the score unpaginated [p. 3] next to and below movement number numbered in Roman numerals (without dot) >I< flush right centred >Igor Strawinsky / 1935<; legal reservations 1st page of the score next to 1. line title head flush left centred >Tous droits réservés / Aufführungsrechte vorbehalten< below type area flush left >Copyright 1936 by B. Schott's Söhne, Mainz<; plate number >B·S·S 34657; production indication p. 58 as end mark >Stich u. Druck von B. Schott's Söhne in Mainz<) // (1953)

° Printed in light orange.

* Dividing horizontal line of 8.7 cm, i.e., column width.

** Ypsilon as fancy letter. In French, the library material is listed without edition number, the material for sale is listed with edition number behind fill character (dotted line) >Feu d’artfice. 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 / Réduction 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°° / Nouvelles 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°°°° / Belowschale. Russiane Bauernlieder. 4 Chöre für gleiche Stimmen. / Beim Heiland von Tschigissy — Herbst — Der Hecht — Freund Dicksack°°°°< [° fill character (dotted line); °° centre; °°° without fill character (dotted line); °°°° without edition number]. The following places of printing are listed: Mainz-Leipzig-London-Paris-New-York.

58-2 Alb Stravinsky* / И. СТРАВИНСКИЙ // IGOR STRAVINSKY / ŒUVRES POUR PIANO / VOLUME / II / EDITIONS MUSIQUE MOSCOU · 1969 // ИГОРЬ СТРАВИНСКИЙ / СОЧИНЕНИЯ ДЛЯ ФОРТЕПИАНО / ТОМ / II / ИЗДАТЕЛЬСТВО МУЗЫКА · МОСКВА · 1969 // [Text on spine:] ИГОРЬ СТРАВИНСКИЙ 2° СОЧИНЕНИЯ ДЛЯ ФОРТЕПИАНО // (Album 1.7 x 21.7 [22.6] x 28.9 [29.5] [Lex 8°]; 212 [212] pages + 4 pages bound in imitation leather [front cover title cream white on black, 2 empty pages red, empty page black with price mark creme white pages above flush left >3 р. 51 к.< + vignette centre centred 1.4 x 1.6 in the text box containing initial >M< with a stylized treble clef form cream white] + 6 pages front matter [empty page red, empty page white, empty page with vignette centre centred 1.4 x 1.6 in the text box containing initial >M< with a stylized treble clef form, title page French, title page Russian, editors specified Russian >Составлние и редакция / А. КОНДРАТЬЕВА и К. СОРОКИНА< French >Complétés et rédigés par / A. KONDRATJEV et K. SOROKINE<] + 6 pages back matter [page with annotation >ПРИМЕЧАНИЯ< with notes about the genesis of the work and dedications Russian, empty page, index >СОДЕРЖАНИЕ< Russian, imprint Russian >Индекс 9-4-4< with billing of names >Редактор А. Бакулов/ Художник В. Антипов/ Худож, редактор А. Головкина/ Техн. редактор С. Белоглазова< and itemized statements of format and origin, empty page, empty page red]; reprint pp. 110-134 (I), 135-146 (II / Notturno), 147-173 (III / Quattro variazioni); title head Russian-French >КОНЦЕРТ [#] CONCERTO / дла двух фортепиано [#] pour deux pianos<; movement titles numbered in Roman numerals without dot with (movements II/III) Italian movement headlines; plate number >6089<; marked sheet below type area flush left p. 2 >2 Стравинский, фортепиано Т. II<, p. 29, 45, 61, 77, 93, 109°°, 125, 141, 157, 173, 189, 193, 201 >3 Стравинский, фортепиано Т. II< continued to >15 Стравинский, фортепиано Т. II<; without author specified, legal reservations and without acknowledging the original publishers on the pages of the score, without end marks) // 1969

° Vertical to text.

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

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


K Cat­a­log: Anno­tated Cat­a­log of Works and Work Edi­tions of Igor Straw­in­sky till 1971, revised version 2014 and ongoing, by Hel­mut Kirch­meyer.
© Hel­mut Kirch­meyer. All rights reserved.
https://kcatalog.org and https://kcatalog.net

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


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