K060 Concerto in E flat (Dumbarton Oaks)

deutsch K060 Concerto in Es (Dumbarton Oaks)

K60 Concerto en mib (Dumbarton Oaks)

pour orchestre de chambre (Dumbarton Oaks) – Concerto in Es (Dumbarton Oaks) für Kammerorchester – Concerto in E flat (Dumbarton Oaks) for chamber orchestra – Думбартон окс. Концерт для камерного орестра – Concerto in mi bemolle per orchestra da camera (Dumbarton Oaks)

Title: The large country estate with its unusual garden of the patrons, the married Bliss couple, bore the name ‘Dumbarton Oaks’. Dumbarton Oaks was later bequeathed to Harvard University, Washington, and the latter went on to build a library in the grounds which was famous for its various groups of experts.

Scored for: a) First edition: 1 Flauto grande, 1 Clarinetto in Si b, 1 Fagotto, 2 Corni in Fa, Violini I (3), Viole (3), Violoncelli (2), Contrabassi (2) [1 Flute, 1 Clarinet in B b, 1 Bassoon, 2 Horns in F, Violins I (3), Violas (3), Violoncellos (2), Double basses (2); b) Performance requirements: 15 Solo players = Flute, Clarinet in B b*, Bassoon, 2 Horns in F, 3 Solo Violins, 3 Solo Violas, 2 Solo Violoncellos, 2 Solo Double basses

* not E b.

Construction: Strawinsky conceived the chamber concerto Dumbarton Oaks not as a three-movement work, rather as a one-movement piece without movement titles and divided into several sections, with an Intermezzo as its middle section. He therefore found it so difficult with Schott, regarding the part-delivery of his manuscript, which was unavoidable due to time pressure. The separate sections can only be identified by the changes of key signature. All movements (sections) are numbered with Roman numerals and run attacca into one another.



Tempo giusto Quaver = 152 (figure 51 up to the end of figure 27)

L'istesso tempo Quaver = quaver (figure 28 [ attacca forward to figure 29])


Allegretto Quaver = 108 (figure 29 [ attacca from figure 28] up to the end of figure 51 [ attacca forward to figure 52])


Con moto Crotchet = 160 (figure 52 [ attacca from figure 51] up to the end of figure 69)

Poco meno Crotchet = 100 (figure 70 up to the end of figure 73)

Tempo I Crotchet = 160 (figure 74 up to the end of figure 90 6)

Corrections: The correction pages contained many errors which was probably for a large part due to the fact that Strawinsky was weakened by his illness which had returned again, as well as him being under time pressure. In any case, he instructed Nadia Boulanger in his letter of 6th April 1938 only to use the corrected pages of music that had been sent by him. Above all, the string writing was left something to be desired because he was unable to consult Samuel Dushkin and had to ask Jeanne Gautier to take care of the bowing and articulation markings for the violins and violas, which delayed the corrections being sent back to Schott once again, as he apologetically informed Strecker on 28th January 1938. In a letter dated 26th May 1938, he reminded them of the corrections which Strecker had agreed with him on 13th May. In the contributory copy of the conducting score, Strawinsky struck out the Roman Numeral I printed after Violini. Since the concerto does not use First and Second Violins, rather three solo violins, the marking Violini I was a nonsensical error in the orchestral legends.

Style: Dumbarton Oaks is a non-symphonic chamber concerto for soloists and is for 15 instrumentalists; it is indebted to Neo-Classicism which functions as the sum of distinct, characterized instrumental parts, which contain virtuosic and at times brilliant challenges. The chamber-music version uses as a structural model Bach’s Brandenburg Concerti and is defined by its place of and reason for performance.

Dedication: A [ To ] Madame R. [obert] W. [ood] Bliss.*

* According to Strawinsky wish, the dedication should be printed under the title, but this didn’t happen. The printed editions have no dedication.

Dedicatee: Mildred Barnes Bliss (b. 9th September 1879, d. 17th January 1969) had married her stepbrother Robert Woods (b. 5th August 1875, d. 19th April 1962), who was in the diplomatic service, on 14th April 1908. As a result, the large parental fortune was not divided and was to be used, as the couple had no children, predominantly for the promotion of the arts. From 1908 up to 1909 the Blisses were staying in Brussels, there followed periods spent living in Buenos Aires (1909-1912), in Paris (1912-1919), Stockholm (1919-1923), Buenos Aires again (1923-1927), before they returned to Washington and, against the backdrop of that city, erected a stately home with a park designed to extremely high artistic standards which they named Dumbarton Oaks. As they were active as patrons in Parisian concert life, it can safely be assumed that a meeting with Strawinsky took place during this time. The Blisses later began to collect pre-Columbian works of art. All their possessions passed on to scientific American institutions.

Duration: 4' 21" + 4' 14" + 5' 05"*.

* In the contributory copy of the conducting score, Strawinsky corrected the printed duration from 12 minutes to 13 minutes.

Date of origin: Begun in Spring 1937 in Châteaux de Montoux and completed on 29th March 1938 in Paris *.

History of origin: When André Schaeffner asked Strawinsky in 1937 what he was working on, he received the answer, that it was a sort of Brandenburg Concerto. One of Strawinsky’s earliest comments on the work was related by Strecker. He had called on Strawinsky during his journey from Paris to London in November-December 1937 and noted the following in his diary, which was located by Angelika Motzko-Dollmann in an entirely nondescript envelope at Schott Publishers: “In Paris, I met Strawinsky to negotiate with him about his most recent work, a concerto for chamber orchestra. He was alone at home, claimed to be suffering, but he forgot this fact in the course of our energetic discussion. As ever, he was completely caught up in his work and proud of his unprecedentedly sparing, clear score, which he attempted to play to me fairly badly. He was happy when I described it as a Russian Bach and he laid out his plans for completing the already 2/3rds- finished work. He appeared to be stuck however, but gave me the complete section of the M. S. so that he did not have to entrust it to the post. Don’t engrave “the last bar”, he impressed upon me several times, and he later sent a message to London asking for the last sheet back, as he had had a new idea. / My understanding of the clear score made him visibly happy: it must also sound as if one was looking at it with a very strong lorgnette, engraved as clearly as if on glass. He had to go to Naples the following day, and wanted to visit his wife in a sanatorium on the way back and work there for 2 weeks.” Strecker’s information can be placed chronologically. The concert in Naples was on 13th November, according to Goubault, and from 16th to 30th November, Strawinsky stayed with his wife in Sancellemoz. Strawinsky had to hurry the completion greatly and was under additional pressure from the deadline of the anniversary celebrations on 8th May 1938 under pressure and even more from the fact that the date of the première was allegedly brought forward to 1st May. He had reckoned on the deadline for composition running up to July of that year, but confirmed to Mrs. Bliss in a letter of 25th October 1937 that he would meet the deadline for completion on time. This happened, but it was very close. In any case, on 6th April 1938, the corrections were completed although not yet inserted, and they had to be sent to America. The correspondence between Strawinsky and Strecker of Schott publishers is testament to the time pressure and hectic rush that ensued in trying to produce the corrected material correctly by the correct time. Apart from this, Mrs. Bliss, as well as Nadia Boulanger, needed to be satisfied with the music; in the end, everything was for her anniversary. On 3rd January 1938 Strawinsky wrote to Strecker that he had just completed the second movement. He calls it ‘Intermezzo’, therefore giving it a title which was only used as a working title because it was removed again for the printing, but it conveys an insight into the character of the work as Strawinsky conceived it. In spite of the time pressure, the composition was constantly being interrupted by concert engagements. On 27th February, he reported to Strecker from Paris that he was working hurriedly on the third movement but felt unable to name a date for the completion. Strawinsky mentioned approximately three weeks because he had no further commitments apart from a single radio engagement in March and therefore was able to work. Strawinsky kept his word. On 20th March he informed Strecker that he would send him 27 pages and with it four-fifths of the third movement the next day by registered mail. At this point, Strecker already had in his possession the second set of corrections for the first movement and the first corrections of the second movement and Strawinsky asked the publishers to start the production of the parts. In actual fact, Strecker received the promised package on 22nd March 1938 and was very enthusiastic about the piece. While he characterized the first two movements as Classical and rather conservative, what especially impressed him was the third movement as being essential Strawinsky, and informed the composer that he was greatly looking forward to the moment when he would be able to hear the piece. This happened by means of a radio broadcast in Paris, about which he wrote to Strawinsky on 29th July 1938. According to him, the score is, in its economy, one of the most difficult that he had ever seen. Strawinsky himself had heard a broadcast of it by Manuel Rosenthal and was less enthusiastic. The work was apparently not played precisely enough and they should have rehearsed more. Both were probably referring to the same concert.

* In the printed editions, the date of the private première in Dumbarton Oaks on 8th May 1938 is given as the final date of composition.

First performance: Private on 8th Mai 1938 in ‘ Dumbarton Oaks’, Washington, conducted by Nadia Boulanger. It was still during his work on this composition and its corrections that Strawinsky again fell ill with tuberculosis so that, contrary to what was planned, he was unable to conduct the private Washington first performance. Nadia Boulanger, who had set off on a tour of America on 19th January 1938 and was staying in Cambridge, Massachusetts, therefore took over the artistic direction. She must have done her job so well, according to Mildred Bliss who heard the work very often in rehearsals and performances, that no other interpretation came up to its standard. Strawinsky sent her the copies on 6th April 1938 which had just come from the publishers, along with his complicated corrections and further explanations. He then received word about the unusual success of the première (which Boulanger must not have conducted for reasons unknown to him), which was a false report. Strawinsky conducted the first public performance in June 1938 in a series of chamber concerts in Paris, ‘Concerts de la sérénade’ which was founded by the Marquis de Casafuerte. The question of the exclusive rights for Boulanger created problems. Strecker warned Strawinsky that this would be useful for Boulanger, but would shun all other conductors like Koussevitsky or Stokovsky who were interested in the piece. Strawinsky agreed with it.

Remarks: Strawinsky encountered the patrons, the married Bliss couple, at the American première of Jeu de cartes on 27th April 1937 in New York. Robert Bliss, an American diplomat and Mildred Bliss, née Warner, from New York were married in 1908 and were well known patrons of the arts in America. Significantly, the commissioning of the composition, première and purchase of the Autograph score of the Symphony in C came from Mrs. Bliss. Strawinsky visited Dumbarton Oaks and accepted at this opportunity the well paid commission of writing a piece of music for the thirty-year wedding anniversary of the Bliss couple in an orchestration which would be suitable for the spacial specifications of the house.

Significance: This chamber concerto became one of Strawinsky’s most successful instrumental compositions and facilitated his politically forced emigration to America.

Situationsgeschichte: While Strecker and Strawinsky were in agreement in the question of the exclusive rights, they were not regarding the title Dumbarton Oaks. After Strawinsky had mentioned to him in the same letter of 26th May that he wanted not only the E flat but also the subtitle ‘Dumbarton Oaks’ to be included in the publishing contract and that he had changed the contract accordingly, Strecker warned him against it strongly. Strawinsky may have wanted the title agreed because it sounded very mysterious and inspired many questions that were helpful for the marketing, but there were also financial motivations behind it as well. He was intending to stay in business with Bliss, and Mrs. Bliss put even greater value on the naming of their property ‘Dumbarton Oaks’ than on a dedication to their names, which she told Strawinsky. Not to have granted such a strong wish would have been tantamount to an unfriendly act and Mrs. Bliss was forceful enough to act on facts that had not been fully established in that she had already given it as the title in the programme for the private première. Strecker on the other hand was under pressure from National Socialist cultural policy, which was becoming ever more irreconcilable, and did not want to make his position in relation to Strawinsky’s case any more difficult than it already was. The next insoluble problem between Strecker and Strawinsky was the fatal exhibition on ‘Entartete Musik’ in Düsseldorf. For a German publishing house in 1938, an English subtitle for a piece premièred in America and dedicated to a family for which it was probably not possible to prove or to disprove whether they were Jewish or not, as well as the work being by a Russian composer with French citizenship was anything but a commendation. Strawinsky, sensitive enough to observe the publishers’ dichotomy, appealed using additional if rather dubious reasons: Samuel Dushkin, the publishers’ newcomer on the violin, was of the opinion that he, Strawinsky, would now be able to do the same with Dumbarton Oaks as Bach did the Brandenburg Concertos and they would see what would happen with the new ‘Frederick the Great’. Strecker, who naturally knew better, corrected Strawinsky, saying that the title of the Brandenburg Concertos was not made up by Bach and no-one outside America would know where to start with the name ‘Dumbarton Oaks’. They could certainly use the title over there. In Europe however, they would not even be able to say the word correctly and there would be many stupid remarks (this incidentally referred to France, where in connection with the concert in June, they printed something like d’Umbarton Oaks in a newspaper). Strecker did not want to fight on Strawinsky’s behalf so much – the events of the time were catching up with him. Strawinsky’s music was neither to be performed nor sold from 1939. The Strawinsky scores already printed were stored in the cellars at Schott and were able to be used again after 1945. For Schott publishers that was too late, as in 1947, Koussevitsky sold out to Ralph Hawkes, and in 1950 Hawkes signed his contract with Strawinsky.

Versions: For the Concerto Dumbarton Oaks, the piano edition for two pianos, arranged by Strawinsky himself, and the conducting and pocket scores were published in 1938. The corrections to the score were completed by 6th April 1938 at the latest. The completion of the piano transcription took place at the same time as the score was printed, the first movement up to 18th December 1937 at the latest, and the second movement up to 3rd January 1938. On 20th January however, he asked for the copy to be sent back so that he could play through this version with his son before it was finally printed. It is not necessarily a contradiction of dates if he wrote in his letter of 20th March that he had just completed the piano transcription of the second movement. It can be seen from the correspondence that Strawinsky was clearly composing the work in a rough version, and then transcribing it for piano and finally orchestrating it.

Print runs and sales: Only 120 copies of the conducting scorewere produced, in a print run on 12th July 1938. According to plate book no further printing can be traced in the 20th Century, even after Strawinsky’s death, but later. The sets of partsbear the plate number 35384 but no edition number because they were part of the material available to hire. The print runs took place on 1st August 1938 for 50 complete sets, and on 7th July 1966 for 200 violin parts, 150 viola parts, 125 violoncello parts and 100 double bass parts, and again on 16th January 1968 for 300 violin parts, 250 viola parts, 200 ‘cello parts and 150 double bass parts. There were 6 printings of the pocket scoreduring Strawinsky’s lifetime with a total number of 6,100 copies produced (print jobs: 15th September 1938: 1000; 24th July 1951: 800; 21st May 1957: 800; 10th January 1963: 500; 12th January 1965: 1000; 22nd November 1968: 2000). Up to the end of the century, there were 9 further print runs with 10,065 copies in total (21/03/1972: 1,500; 17/05/1973: 1,010; 21/10/1974: 1,500; 17/01/1977: 1,500; 30/09/1980: 1,500; 19/07/1984: 1,100; 20/10/1988: 800 [798]; 09/03/1993: 700 [723+6]; 03/09/1997: 422+6). For the piano version,Schott printed 4 runs during Strawinsky lifetime, running to 1,200 copies in total (print runs: 27th August 1938: 500; 30th August 1951: 300; 6th November 1961: 200; 27th March 1969: 200), and between his death and the end of the century, another 306 copies in two print runs (print runs: 28/02/1977: 200; 18/01/1988: 100 [100+6]). In the first year, Schott sold 88 copies of the piano edition (22 free) and 125 of the pocket score (35 free). It was then that the interruption due to the War occurred. Between the middle of 1956 and the middle of 1969, Schott sold around 200 copies of the piano edition and more than 2,500 of the pocket score. The surviving accounts documentation catalogues subsequent print runs as well as new printings for the piano edition in 1961/62 at 195 copies, and for the pocket score in 1956/57, 800, in 1964/65 1000, and in 1966/67, 1500 copies. Strawinsky received both his contributory copies in September 1938, and his copy of the piano edition on the 9th of that month. In his contributory copy of the conducting score, Strawinsky crossed out the Roman numeral I printed next to Violini. In 1966, Schott publishers arranged a new edition for its series ‘Musik des 20. Jahrhunderts’ (Music of the 20th Century), for which the previous decorative title by Théodore Strawinsky was removed due to the need for a unified design for all the scores included in the series. In 1971, there was a print run of the pocket score by the Russian state publishers in Moscow. The original publishers were named in both the Russian and English prefaces.

Productions: The success of the choreography of the Basel Concerto by Kirstein and Robbins in 1951 caused plans to attempt a similar choreography for Dumbarton Oaks. In an enthusiastic letter from Kirstein of 20th June 1951, which informed Strawinsky of the unusual success of the ballet The Cage, a scenario was put forward to which Agnes de Mille seemed to take like. The ballet was to be performed in the large hall of the country house during an evening party with Mildred Bliss as the host, manager, diplomat, lady and driving force (the woman, the aging woman). Evidently, nothing came of the matter.

Historical Recordings: 29th March 1964 in Hollywood, Members of Columbia Symphony Orchestra conducted by Igor Strawinsky. – The first vinyl recording of Dumbarton Oaks was made between 27th and 30th April 1947 by the Keynote company in New York. Up to that point, Strawinsky was had only a bad tape, a memento with which he had been honoured, together with a recording of the Danses concertantes and which dated back to rehearsals with his friend Vladimir Golschmann in March 1943 for the final serenade concert in the Museum of Modern Art. Strawinsky was not satisfied with the recording by Mary Howard Recordings from New York, which was resident in 37 East 49 Street, and not only for technical reasons. The performance, in his opinion, demonstrated that Golschmann, who was Chief Conductor of the St. Louis Symphony Orchestra, was not familiar with his recent compositions. The distinguished firm Keynote was able to offer Strawinsky completely different provisions. Its president was John Hammond, whom Strawinsky had come to know in 1925 when Koussevitsky took him on at Hammonds house in Gloucester (Massachusetts). The test record promised for 14th May was delayed by a month and was ready in June 1947. Strawinsky became very impatient when the Concerto did not appear in the shops quickly enough and interested parties whom he had befriended had, even in October, to leave America without a copy of the recording. According to Craft, David Hammond was the first guest whom Strawinsky met with in his own house on 3rd June 1949.

CD edition: VI/10-12.

Autograph: The autograph score was bought by Mildred Bliss on Strawinsky’s arrangement and later given to the Library of Congress in Washington.

Copyright: 1938 by B. Schott’s Söhne in Mainz; renewed 1966.


a) Overview


b) Characteristic features

in progress

a) Overview

60-1 1938 VoSc; Schott Mainz; 36 pp.; B·S·S 35561; 2791.

    60-1Straw ibd. [without annotations].

60-2 1938 FuSc; Schott Mainz; 43 pp.; B S S 35383; 2851.

    60-2Straw ibd.

    60-3 Straw

    60-3 [51]-Straw

60-4 (1942) PoSc; [English edition].

60-5Alb 1971 PoSc; ИЗДАТЕЛЬСТВО „МУЗЫКА‟; 51 pp.; 6385.

b) Characteristic features



The copy from Strawinsky’s estate contains no annotations.

60-2 IGOR STRAWINSKY / [vignette] / DUMBARTON OAKS / 8-V-38 / CONCERTO / en mi b / POUR ORCHESTRE DE CHAMBRE/ [Zeichnung] / EDITION SCHOTT 2851 / PARTITION D'ORCHESTRE // IGOR STRAWINSKY / Dumbarton Oaks/ 8 - V - 38/ CONCERTO en mi b / pour orchestre de chambre / [asterisk] / [**] / Partition d'orchestre* Edition Schott 2851 / Parties d'orchestre* en location / Réduction pour deux Pianos* Edition Schott 2791 / Partition de poche* Edition Schott 3527 / [***] / B. SCHOTT'S SÖHNE, MAINZ / London W. 1 [#] Paris [#] New York / 48 Great Marlborough Street [#] 48 Rue de Rome [#] 25 West 45 th Str. NY. City / Schott & Co. Ltd. [#] Editions Max Eschig / [#] Associated Music Publ. Inc. / Imprimé en Allemagne – Printed in Germany // (Full score [library binding] 24.1 x 31 ([4°]); 43 [43] pages + 4 cover pages black on grey-beige [ornamental front cover title with vignette 6.7 x 0.5 a filled-in circle with oblong triangles pointedly falling away 0.4 cm to the left and right + a picture of an ensemble made up of a trumpet, violoncello, horn, bassoon and bows laid over one another with dimensions 10.5 x 8 and in the shape of a circle , 3 empty pages] + 4 pages front matter [title page, empty page, legend >Distribuzione dell' orchestra< Italian + duration data [12'] Italian + authorchip of cover page design italic > Couverture par Théodore Strawinsky<, empty page] + 1 page back matter [empty page]; title head >Concerto en mi b / pour orchestre de chambre<; dedication above title head centre centred italic > Dumbarton Oaks / 8 – V – 1938<; author specified 1st page of the score unpaginated [p. 1] next to movement number in Roman numeral (without dot) >I< flush right centred >Igor Strawinsky / 1937–38<; legal reservations 1st page of the score next to and below dedication flush left centred >Tous droits réservés / Aufführungsrechte vorbehalten< below type area flush left >Copyright 1938 by B. Schott's Söhne, Mainz<; plate number >B·S·S 35383; production indication p. 43 flush right as end mark >Stich u. Druck von B. Schott's Söhne in Mainz<) // (1938)

* fill character (dotted line).

** In a copy in the Paul Sacher Foundation, Basel (formerly owned by Ernest Bour) there is a >N o6<.

*** In Strawnsky’s private copy, there is a stamp >N o23< at this point.




60-4[42] IGOR STRAWINSKY / [vignette] / DUMBARTON OAKS / 8-V-38 / CONCERTO / en mi b / POUR ORCHESTRE DE CHAMBRE/ [Zeichnung] / EDITION SCHOTT 3527 / Printed in England// IGOR STRAWINSKY / Dumbarton Oaks/ 8-V-38/ CONCERTO en mi b / pour orchestre de chambre / [asterisk] / Partition d'orchestre* Edition Schott 2851 / Parties d'orchestre* en location / Réduction pour deux Pianos* Edition Schott 2791 / Partition de poche* Edition Schott 3527 / [°] / London W. 1 [#] Paris [#] New York / 48 Great Marlborough Street [#] 48 Rue de Rome [#] 25 West 45th Str. NY. City / Schott & Co. Ltd. [#] Editions Max Eschig / [#] Associated Music Publ. Inc. / // (Pocket score (8°); 43 [43] pages + 4 pages thicker paper black on grey-beige [front cover title with vignette 4.1 x 0.3 a filled-in circle with oblong triangles pointedly falling away to the left and right + a picture of an ensemble made up of a trumpet, violoncello, horn, bassoon and bows laid over one another with dimensions 6.3 x 5 and in the shape of a circle , 3 empty pages] + 4 pages front matter [title page, empty page, legend >Distribuzione dell’ orchestra< Italian + duration data [12'] Italian + authorchip of cover page design > Couverture par Théodore Strawinsky<, empty page] + 1 page back matter [empty page]; title head >Concerto en mib / pour orchestre de chambre<; dedication 1st page of the score unpaginated [p. 1] above title head centre centred italic > Dumbarton Oaks / 8 – V - 1938; author specified 1st page of the score next to movement number in Roman numeral (without dot) >I< flush right centred >Igor Strawinsky / 1937-38<; legal reservations 1st page of the score next to dedication flush left >Tous droits réservés< below type area flush left >Copyright 1938 by B. Schott's Söhne, Mainz<; plate number >B·S·S 35383; without production indication; without end mark<) // [1942]**

° The copy in the Library of Congress [>M1045 .S913 L6 1942< old number: >1042 .S87 1938b< , which, according to handwritten library notes on the 1st back cover page, was entered on 6th August 1943, contains a round stamp >SCHOTT & C oLONDON< with the price >4/6 / NET< flush right, and at the centre of the bottom of the page, the stamp of the New York firm >Broude Bros. / Music< with its address.

* fill character (dotted line).

** According to Library of Congress Washington, Copy >M1045 .S913 L6 1942< (old number: >1042 .S87 1938b<.

60-5Alb [Reprint in:] И. СТРАВИНСКИЙ / I. STRAVINSKY / КАМЕРНЫЕ / АНСАМБЛН / CHAMBER / ENSEMBLES ПАРТИТУРА / SCORE / [vignette] / МУЗЫКА · MUSIC / МОСКВА · 1971 · MOSCOW // И. СТРАВИНСКИЙ / I. STRAVINSKY / КАМЕРНЫЕ / АНСАМБЛН / CHAMBER / ENSEMBLES ПАРТИТУРА / SCORE / ИЗДАТЕЛЬСТВО МУЗЫКА / STATE PUBLISHERS "MUSIC" / Москва [#] 1971 [#] Moscow // (Pocket score-collected volume [library binding] [Octet + Dumbarton Oaks] 12.8 x 20.3; 94 [91] pages + 4 cover pages black on grey-white [ornamental front cover title page with a wavy black frame and at the head centred and in the centre a miniature lyre + vignette .9 x 1 initiale >M< in treble clef, 3 empty pages] + 3 pages front matter [title page, introductory Russian anonym without headline, introductory English anonym without headline] + 2 pages back matter [summary Russian-English partly in italics >СОДЕРЖАНИЕ / CONTENTS<, imprint >Индекс 9–6–I< with billing of names >Редактор А. Мынов / Техн. редактор Т. Лапшина / Корректор А. Барискин< and itemized statements of format and origin]; reprint p. 44-94; title head Russian-English >ДУМБАРТОН ОКС. # DUMBARTON OAKS / (1937-1938) / Концерт для камерного оркестра<·[#] Concerto for Chamber Orchestra<; movement numbers in Roman numerals (without dot) pp. 44–61 (>I<), pp. 62–71 (>II<), pp. 72–94 (>III<); duration data p. 94 below type area flush right as end mark >Durata: 12 minuti< Italian; without author specified; without legal reservation; plate number >6385<) // 1971

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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