K075 Concerto in D [Basle Concerto]

deutsch K075 Concerto in D [Basler Concerto]

K75 Concerto en Ré

pour orchestre à cordes – Concerto in D [Basler Concerto] für Streichorchester – Concerto in D [Basle Concerto] for string orchestra – Concerto in re per orchestra d’archi

Title: The title ‘Basler Concerto’ clearly comes from Strawinsky himself, who wrote over his collection of sketches ‘ STRING CONCERTO IN D ( BASLER CONCERTO)’.

Scored for: 8 First Violins*, 8 Second Violins*, 6 Violas, 6 Violoncellos**, 4 Double basses** (included 2 Solo Violins, 5 Solo Violas, 5 Solo Violoncellos, 4 Solo Double basses).

* Divided in two and three; if d ivided into three parts, the first and second violins are identical.

** Divided in two.

Sacher-Orchestra: The Basler chamber orchestra, founded by Paul Sacher in November 1926 for performance at events, had an original number of 24 strings (eight first violins, six second violins, four violas, four cellos, two double basses).

Performance practice: The forces written for by Strawinsky led to an inquiry by Sacher after the performance regarding the possibility of a smaller orchestra. There were similar dealings in 1946 with Richard Strauss, who similarly limited his work Metamorphosen, which was written for Sacher, to 23 strings. This enquiry to Strawinsky chiefly concerned the final chord of the first movement, which uses four solo double basses. Strawinsky promised ‘a small sheet with a new arrangement for violoncello and double bass’ (‘une petite feuille indiquant la nouvelle dispositions VC et CB dans le dernier accord’). The idea should also not be excluded that Strawinsky, who was irritated by mediocre performances by deficient ensembles, wished to prevent less-able orchestras from playing his work by calling for four double-basses playing harmonics. The number of 32 players can be seen in a letter from Strawinsky to Sacher. In one case, he has agreed with a larger string orchestra.

Construction: The concerto is in three parts, numbered with Roman numerals; movements II and III also bear additional Italian formal markings (I; II Arioso; III Rondo). All the movements run directly into each other. In the numerous changes of time in the first movement from 6/8 and 9/8 into 4/4 or 3/4 and vice-versa, there are regular proportional tempo markings such as quaver=quaver, dotted crotchet=crotchet, crotchet=dotted crotchet or dotted minim=dotted minim.

Structure

I

Vivace dotted Crotchet = 126 (figure 61 up to the end of figure 26)

Moderato dotted Crotchet = crotchet = 126 (figure 27 up to the end of figure 37)

Con moto Crotchet = 189 quaver = quaver dotted crotchet = 126 tempo Io quaver = quaver (figure 381-3 up to the end of figure 54)

Moderato (figure 55 up to the end of figure 56)

Crotchet = dotted crotchet = 126 Tempo Imo. (figure 57 up to the end of figure 604 [attacca forward to figure 561])

II

Arioso

Andantino Crotchet = 60 (figure 561 [attacca from figure 604] up to figure 265)

poco meno mosso (figure 265 up to figure 65)

a tempo (figure 65 up to figure 694)

poco a poco allarg. (figure 695 [attacca forward to figure 70])

III

Rondo

Allegro Crotchet = 126 (figure 70 [attacca from figure 695] up to the end of figure 98)

Corrections / Errata

Full score 75-1

1.) figure 12, 1st Violins: 1st dotted crotchet b2 has to be marked with an accent (>) (above).

2.) figure 12, Solo-Viola: >ƒ< instead of > mƒ<.

3.) figure 12, Violas: dotted crotchet b1 has to be marked with an accent (>) (below).

4.) figure 52, 1st Violins: a crescendo-sign has to be added between 1st value dotted crotchet f#2 and 2nd value quaver e#2.

5.) figure 62, 1. Violins: two-note chord b1-b2 with bracket has to be marked with an accent (>) (above).

6.) figure 110, 1st Violins: bracket sharp before f#2 has to be added.

7.) figure 110, Violas: natural before 1st note tied f2 has to be added.

8.) figure 131-2: a crescendo-sign has to be added covering the complete bar and ending in 132in a sƒ-sign.

9.) figure 134, Violoncello: natural before 1st note tied c has to be added.

10.) figure 134:, a p-sign from the fourth quaver throughout.

11.) figure 141: a crescendo-sign has to be added covering the complete bar.

12.) figure 143: a sƒ-sign from the fourth quaver.

13.) figure 151: a crescendo-sign has to be added covering the complete bar.

14.) figure 152: a sƒ-sign from the fourth quaver.

15.) figure 154: >accel.< has to be added.

16.) figure 155, 1st Violins: sharp before 1st quaver [f#1] has to be added.

17.) figure 161, Violas, Violoncellos, Double basses: > mƒ< has to be added.

18.) figure 181: a crescendo-sign has to be added covering the complete bar.

19.) figure 215: between Tutti-Violins and Tutti-Violas a >marc. mƒ< should be added with left curly bracket.

20.) figure 212: Tutti-Violins: The tied-over note is made into an f1 by a natural sign.

21.) figure 215, all Strings: >marc. mƒ< has to be added.

22.) figure 221: >dolce / espress.< has to be added.

23.) figure 231: >marc. mƒ< has to be added underneath Violas- and Double bass systems.

24.) figure 232, Violoncello Solo: natural before 1st note tied dotted minim F has to be added.

25.) figure 241: >dolce espress.< has to be added.

26.) figure 243, Viola/Violoncello system Solo: > mp< has to be added.

27.) figure 25 1, Viola/Violoncello systems: > mp< has to be added.

28.) figure 252, 1st Violins: > p< has to be added.

29.) figure 255, Violas: a > pp< marking should be inserted for the second halfh of the bar.

30.) Ziffer 324Violoncellos: flat has to be added to the 1st crotchet for a b[the 1st crotchet should be read a instead of a b].

31.) figure 332, Violoncello: 1st note a instead of a b.

32.) figure 341, 1st Violins: > p< has to be added to the 1st part; >mƒ< has to be added to the other two parts. The same applies to the 2nd Violins.

33.) figure 354: >dolce< has to be added.

34.) figure 361: > mƒ< has to be added.

35.) figure 362: >dolce< has to be added.

36.) figure 441, Violas: >ƒ p< has to be added.

37.) figure 443, Violoncelli: >ƒ p< has to be added.

38.) figure 444: >sim.< has to be added above the six-note chord of the Solo-Violas.

39.) figure 446: Violoncellos: has to be marked with an accent (>).

40.) figure 447, Violas: has to be marked with an accent (>).

41.) figure 451. Violoncelli: has to be marked with an accent (>).

42.) figure 453to4: crescendo-sign has to be added.

43.) figure 464to5: >espressivo< has to be added.

44.) figure 472: descrescendo-sign has to be added.

45.) figure 492: 1stViolins: has to be marked with an accent (>).

46.) figure 573: >ƒ< instead of > mƒ<.

47.) figure 577et sequ.: metronome marking quaver = quaver.

48.) figure 581, Violoncelli + Double basses: >sƒ p sempre< instead of >poco sƒ p sempre<.

49.) figure 581et sequ.: metronome marking quaver = quaver.

50.) figure 582+4: >ƒ< with following >espressivo< instead of >mƒ< with following >espressivo<.

51.) figure 593ff.: metronome marking quaver = quaver.

52.) figure 602: >ƒ< has to be added to the 1st note, >p< to the 2. note.*

53.) figure 604: fermata has to be added.

54.) figure 652 1st/2nd Violins: breath mark after 3rd value has to be added.

55.) figure 653 1st/2nd Violins: breath marks have to be added after 1st and 3rd (tied) values.

56.) figure 695: a >poco a poco allarg.< should be added in, and at the end of the bar, an >Attacca<.

57.) figure 722, 2nd Violins: >sƒ< has to be added to the 1st note, >p< to the 2. note.

58.) figure 723, 1st Violins: >p< has to be removed; >sƒ< has to be added to the 1st note, >p< to the 2. note.

59.) figure 741, Violas: a bracket natural and >p< have to be added to the crotchet e1.

60.) figure 751, Violoncellos the second part of the bar: have to be added a mƒ-sign with following >cant.<.

61.) figure 782, 2nd Violins and Violas: should be added a p-sign with following >accompagnando<.

62.) figure 783, Violoncellos: >p< instead of >mƒ<.

63.) figure 784, 1st Violins: 2. note semiquaver ligature = c#3.

64.) figure 784, Violoncello -Solo: 2nd semiquaver = c#1.

65.) figure 802: between figure 802 and 803 , the addition of a 4-bar extension.

66.) figure 823, 1st Violins: bracket natural has to be added to the 1st crotchet.

67.) figure 824, the semibreve in the 1st violins should be read as a bracketed B flat 1, and the 1st crotchet note in the 2nd violins as a bracketed B natural.

68.) figure 843, Violas: >ƒ< >espress.< have to be added [only] to the both semiquaver.

69.) figure 844, Violas: >sub. p< has to be added.

70.) figure 853-4, Violins: >non cresc.< has to be added.

71.) figure 874, all parts without 1st Violins: >ƒ sub.< has to be added.

72.) figure 885, divided Violoncellos: [only] >{ ƒ<, the decrescende-sign has to be removed.

73.) figure 951, 2. Violins: 2. note of the last ligature e1 instead of eb1.

74.) figure 953, 2. Violins: >sf< has to be added above the 1st note, >p< above the 2nd note of the 1st semiquaver ligature.

75.) figure 954, 1st Violins: >sƒp< instead of >mƒ<.

76.) figure 964 end: additional sheets.

Style: As is often the case with Strawinsky, the Basler Concerto, which belongs to the Neo-Classical movement, is labelled as being in many movements, but is actually conceived as one movement but in many parts, in a large A-B-C form, fast-slow-fast. All the movements therefore run into one another and are not constructed as self-standing sections, but the motific connections and variations lead into one another over and above their identity as separate movements. The minor second is as structurally important as it is motifically cramping. Identical combinations of intervals appear both figuratively, motifically, melodically or in chords; they swap their accents around, move into higher registers, are differently articulated or have different dynamics, are truncated, augmented,, repeated and made to rove between the parts in many different ways. The work is motifically very densely constructed. Working with a craftsman like Sacher, Strawinsky demonstrated all his technical ability. The popular literature often highlights a comparison with the Concerto Dumbarton Oaks, most often to the detriment of the Basler Concerto, which is normally seen as being more lightweight. The addition of woodwind to the strings inevitably makes Dumbarton Oaks much more colourful, and therefore the contrast between distinct chords and motor rhythms in the Basler Concerto is more distinct in the sense of a toccata style. Both concerti work on a Concertino principle, within which the differences in tempo in the Basler Concerto are more dramatic and the motific variations are more meaningful. In the Basler Concerto, the time changes do not follow Strawinsky's normal practice, while they are extreme even by Strawinsky's standards in the concerto Dumbarton Oaks, changing almost every bar. The characterisation of the sections varies between expanded legato, staccato or pizzicato parts, and the repetitions are made colourful through change of register. Furthermore, the Basel String Concerto contains unusual expressive increases in dynamic if one follows Strawinsky's own interpretation.

Dedication: > Dedié à la / Basler Kammerorchester et / son chef Paul Sacher< >String / Concerto / in D / dedicated to the / BASLER KAMMERORCHESTER / and his conductor, Paul Sacher / I. Strawinsky / 1946<*).

* The dedication in French comes from the printed version, and the dedication in English from the autograph score.

Duration: about 5' 23" + 2' 41" + 3' 18".

Date of origin: Hollywood at the beginning of January 1946 up to 8th August 1946*.

* In the printed editions, this end date is also stated for the revised version, although the revision was first produced in 1947.

First performance: 27th January 1947 in Basel with the Basler Kammerorchester conducted by Paul Sacher.

Remarks: The Concerto was created as a commission from Paul Sacher for the celebration of the 20-year existence of the Basel Chamber Orchestra. It was very quickly discovered by choreographers and was choreographed in 1951for the first time in New York ( The Cage).

Significance: The concert re-established links between Europe and Strawinsky after the Second World War. It was the first commission that Strawinsky received and accepted after the war. At the same time, the Basler Concerto was the first new composition to be published by Boosey & Hawkes in London under the general contract between him and Ralph Hawkes.

Versions: The Conducting and Pocket score were published in 1947 by Hawkes & Son in London. The contracts was settled on 28th April, 1947. The catalogue examples of the conductor and pocket score were received by Strawinsky in November 1947 (conductor's score), in January 1948 (pocket score), and by the British Library on 24th September, 1947 (conductor's score). Piano transcriptions or other editions were not published, the orchestral parts were available to hire. The revisions, which exclusively concerned the third movement, were completed by Strawinsky after the première. And they were first published as inserted sheets, but certainly not before March 1949, since the newly inserted sheets were first mentioned by Strawinsky on 20th March 1949 at the latest. The next day, he sent his corrected orchestral score with the inserted sheets, which had been produced in London, along with additional corrections and improvements to London, whose consideration he awaited. If this happened, and that can only be seen from unpublished correspondence with the publishers, then the newly printed correction pages either made up a further third version or the published insert-pages contained both sets of corrections, which must have caused a delay for the delivery because of the new version and new printing and the inevitable difficulty involved with this. It would therefore follow that the London entry stamp for the inserted sheets bear the very late date of 7th July, 1955 and the new reprinted, revised pocket score with two sheets of inserts bear the date July 1953 at the earliest. The insert-sheets were delivered and inserted into the conductor's score by the British Library in London, but were indicated by an asterisk in the catalogue. [H.3992.g.(2.) = conductor's score 1947; H.3992.g.(2*) = sheets bearing revisions inserted into the 1947 conductor's score]. In the manuscripts left behind by Strawinsky, there are two identical scores of this edition. Neither of these was dated by Strawinsky, but was given the title ‘second edition’. In order to ensure accuracy of performance, care was taken with the corrected hire material. The inserted sheets from the libraries were normally stuck into their respective conducting scores from 1947 or 1948 in different ways, some on their own at the end of the score and some stuck over the no-longer-readable old version, as in Strawinsky’s version and as would be practical for a conductor. The sheets were printed for this purpose to correspond to the pages.

Revised version: The alterations, which were made by Strawinsky after the première, only concern the repetition of bars in the third movement. There are no compositional adjustments to the structure. In the original version, the Rondo has 109 bars. In the new version, he repeats: bars 32-34 after bar 34 (from figure 79 3), bars 30-31 after bar 36 using the original bar numbers (bar 40 of the new bar numbers = figure 481), bars 16-18 after bar 99 of the original bar numbers (bar 104 of the new bar numbers = figure at 397) and bars 102-103 of the original bar numbers (bars 110 and 111 of the new bar numbers) after bar 104 of the old bar numbers (bar 112 of the new bar numbers = figure 298). The new version therefore consists of 119 bars. These alterations became possible because the different bar structures can be joined together with one another easily. The printed edition kept the same edition number (plate number) of the original edition. This is also the same for the final date of the work, which is printed in the score as 8th August, 1946, although the corrections, admittedly only marginal ones, were made in 1947 after the first edition had already been published. The British Library in London has stored under signature h.3992.g(2*), a folio-format edition of the conductor's score which also contains the correction sheets with the title ‘revised version’ with the page numbers 25, 25 a, 26, 32 and 33. These should replace the corresponding pages in the printed edition.

Historical Record: Toronto, 29th March 1963, Canadian Broadcasting Corporation Symphony Orchestra, conducted by Igor Strawinsky; the earliest vinyl recording comes from 1949 ( RCA-Victor-Symphony Orchestra).

CD edition: VI/18-20.

Autograph: The original manuscript, which is written in pencil, was transferred to the ownership of Paul Sacher. It is located today in the Paul Sacher Foundation in Basel. A copy of the manuscript, originally in Strawinsky’s estate, is in the Library of Congress in Washington.

Copyright: 1947 by Boosey & Hawkes in London.

Editions

a) Overview

75-1 1947 FuSc; Hawkes & Son London; 32 pp.; B. & H. 16125.

    75-1Straw1 ibd. [with annotations].

    75-1Straw2 ibd. [with annotations].

75-148 1948 ibd.

75-2 1947 PoSc; Boosey & Hawkes London; 32 pp.; B. & H. 16125; 626.

75-3 1953 PoSc rev.; Boosey & Hawkes London; 34 pp.; B. & H. 16125, 626.

75-358 1958 ibd.

75-363 1963 ibd.

75-4 1955 FuSc Extra leavers revised edition; Boosey & Hawkes London; 5 pp.; – .

75-5 [1965] FuSc rev.; Hawkes & Son London; 34 pp.; B. & H. 16125

75-5[65] [1965] ibd.

b) Characteristic features

75-1 Igor Strawinsky / CONCERTO / en Ré° / pour orchestre à cordes/ Partition/ BOOSEY & HAWKES // Igor Strawinsky / CONCERTO / en Ré° / pour orchestre à cordes/ (1946) / Partition/ Hawkes & Son (London) Ltd. / Sole Selling Agents: Boosey & Hawkes, Ltd. / London · New York · Los Angeles · Sydney · Toronto · Cape Town · Paris// (Full score [sewn] 24.7 x 33.3 (2° [4°]); 32 [32] pages + 4 cover pages puce on orange beige [front cover title, 2 empty pages, page with publisher’s advertisements >MUSIC FOR / STRING ORCHESTRA<* production date >No. 371<] + 2 pages front matter [title page, page with duration data >approx: 12 mins.< French-English] + 2 pages back matter [empty page, page with publisher’s advertisements >Classical and Modern Works / for Viola and Violoncello<** production date >No. 444<]; title head >CONCERTO / en RE° / pour orchestre à cordes<; dedication above title head centre centred italic > Dedié à la / Basler Kammerorchester et / son chef Paul Sacher<; author specified 1st page of the score paginated p. 1 above and next movement title numbered in Roman numerals (without dot) >I< flush right centred >IGOR STRAWINSKY / 1946<; legal reservations 1st page of the score below type area flush right >All rights reserved / Tous droits réservés< flush left >Copyright 1947 in U. S. A. by Boosey & Hawkes, Inc. / Copyright for all countries< p. 32 above type area flush left italic > revised version<; production indication 1st page of the score below type area centre inside right >Printed in England<; plate number >B. & H. 16125<; end of score dated p. 32 not centred >Hollywood / August 8th 1946<; end number p. 32 flush left >9. 47. E<; without end mark) // (1947)

° Different spelling original.

* Compositions are advertised from >BÉLA BARTÓK< to >CYRIL SCOTT<; Strawinsky not mentioned. The following places of printing are listed: London-New York-Sydney-Toronto.

** Compositions are advertised under different headings from >Benjamin< to >Strauss, R.; Strawinsky not mentioned. After London the following places of printing are listed: New York-Los Angeles-Sydney-Cape Town-Toronto-Paris.

75-1Straw1

The copy in Stravinsky’s estate is signed and dated >IStrawinsky / Nov. I947< flush right on the outer title page next to and underneath the name >Igor Strawinsky<. Next to > Partition< is in blue >d’orchestre< supplemented, underneath > Partition< framed in black >orch. / score< and blue >stre<. The copy contains on the outer title centre slanted upwards the duration >11’:59“< and is without the revised pages. It is the 1st edition with the musical text pages 1 to 32.

75-1Straw2

The second copy in Stravinsky’s estate is rebound and thread-stitched in beige and brown. It contains a note on performance on the outer front matter above and below the name >Igor Strawinsky / conduction in Roma (RAI) / oct 23 /° 57< [slash original] and contains no corrections. The revised pages 25a and the additional pages are stuck in and on, and the copy has in addition to the usual advertisement [> Igor Strawinsky< Stand >No. 453<] another advertisement [>Chamber Music / In the Catalogue of Boosey and Hawkes< Stand >No. 449< Strawinsky not mentioned].

75-148 Igor Strawinsky / CONCERTO / en Ré/ pour orchestre à cordes/ Partition/ BOOSEY & HAWKES // Igor Strawinsky / CONCERTO / en Ré/ pour orchestre à cordes/ (1946) / Partition/ Hawkes & Son (London) Ltd. / Sole Selling Agents: Boosey & Hawkes, Ltd. / London · New York · Los Angeles · Sydney · Toronto · Cape Town · Paris// (Full score sewn in brown-yellow 24.8 x 33 (2° [4°]); 32 [32] pages + 4 cover pages brown-red on peach-coloured [front cover title, 2 empty pages, page with publisher’s >Édition Russe de Musique / (S. et N. Koussewitzky) / Boosey & Hawkes< advertisement > Igor Strawinsky<* production date >No. 453<] + 2 pages front matter [title page, page with duration data italic [> approx. 12 mins. <] French-English] + 2 pages back matter [empty page, page with publisher’s advertisements >Chamber Music / In the Catalogue of Boosey and Hawkes<** production date >No. 449<]; title head >CONCERTO / en RE / pour orchestre à cordes< ; dedication above title head centre centred italic > Dedié à la / Basler Kammerorchester et / son chef Paul Sacher<; author specified 1st page of the score paginated p. 1 above und next to movement title numbered in Roman numerals (without dot) >I< flush right centred >IGOR STRAWINSKY / 1946<; legal reservations 1st page of the score below type area flush right >All rights reserved / Tous droits réservés< flush left >Copyright 1947 in U. S. A. by Boosey & Hawkes, Inc. / Copyright for all countries<; production indication 1st page of the score below type area centre inside right >Printed in England<; plate number >B. & H. 16125<; end of score dated p. 32 flush right >Hollywood / August 8th 1946<; end number p. 32 flush left >2. 48. E<) // (1948)

* In French, compositions are advertised in two columns without edition numbers and without price informations >Piano seul° / Trois Mouvements de Pétrouchka / Suite de Pétrouchka ( Th. Szántó ) / Marche chinoise de “ Rossignol ” / Sonate pour piano* / Ouverture de “ Mavra ” / Serenade en la / Symphonie*°° pour°° instruments à vent / Octuor pour instruments à vent / Partitions pour piano°* / Le Chant du Rossignol / Apollon Musagète / Le Baiser de la Fée / Orpheus / Piano à quatre mains° / Le* Sacre du Printemps / Pétrouchka / Deux Pianos à quatre mains° / Concerto pour piano* / Capriccio pour piano* et orchestre / Chant et piano°* / Deux Poésies de Balmont / Trois Poésies de la lyrique japonaise / Trois petites chansons / Chanson de Paracha de “ Mavra ” / Introduction, chant du pêcheur, air du / rossignol / Choeur°* / Ave Maria (a cappella) / Credo (a cappella) / Pater noster (a cappella) // Partitions pour chant et piano* / Rossignol. Conte lyrique en 3 actes / Mavra. Opéra bouffe en 1 acte / Œdipus Rex. Opéra-oratorio en 1 acte* / Symphonie de Psaumes / Perséphone / Violon et Piano°* / Suite d’après Pergolesi / Duo Concertant / Airs du Rossignol / Danse Russe / Divertimento / Suite Italienne / Chanson Russe / Violoncelle et Piano°* / Suite Italienne ( Piatigorsky) / Musique de Chambre° / Trois pièces pour quatuor à cordes / Octuor pour instruments à vent / Partitions de poche° / Suite de Pulcinella / Symphonies pour°° instruments à vent / Concerto pour piano* / Chant du Rossignol / Pétrouchka. Ballet / Sacre* du Printemps / Le Baiser de la Fée / Apollon Musagète / Œdipus Rex* / Perséphone / Capriccio* / Divertimento / Quatre Études pour orchestre / Symphonie de Psaumes / Trois pièces pour quatuor à cordes / Octuor pour instruments à vent / Concerto en ré pour orchestre à cordes< [* different spelling original; ° centre centred; °° original spelling]. The following places of printing are listed: London-New York-Sydney-Toronto-Cape Town-Paris-Buenos Aires.

** Strawinsky not mentioned; after London the following places of printing are listed: New York-Los Angeles-Sydney-Cape Town-Toronto-Paris.

75-2 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / CONCERTO EN RÉ / POUR ORCHESTRE À CORDES^ / BOOSEY & HAWKES / No. 626 // HAWKES POCKET SCORES / IGOR STRAWINSKY / CONCERTO EN RÉ / POUR ORCHESTRE À* CORDES / (1946) / BOOSEY & HAWKES / LTD. / LONDON · NEW YORK · LOS ANGELES · SYDNEY · CAPE TOWN · TORONTO · PARIS / NET PRICE / Made in England // (Pocket score stapled 13.5 x 18.6 (8° [8°]); 32 [32] pages + 4 cover pages olivgreen on grey green beige [front cover title with frame 9,6 x 4 grey green beige on olive-green, 2 empty pages, page with publisher’s advertisements >HAWKES POCKET SCORES / The Standard Classical and Outstanding Modern Works./ Primera edición española de partituras de bolsillo de las obras / del repertorio clásico y moderno.<* without production date] + 2 pages front matter [title page, duration data [> Environ 12 minutes.<] French]; without back matter title head >CONCERTO / en RÉ / pour orchestre à cordes<; dedication above title head centre centred italic > Dedié à la / Basler Kammerorchester et / son chef Paul Sacher<; author specified 1st page of the score paginated p. 1 next to movement title numbered in Roman numerals (without dot) >I< flush right centred >IGOR STRAWINSKY / 1946<; legal reservations 1st page of the score below type area flush right >All rights reserved / Tous droits réservés< flush left >Copyright 1947 in U. S. A. by Boosey & Hawkes, Inc. / Copyright for all countries; production indication 1st page of the score below type area centre inside right >Printed in England<; plate number >B. & H. 16125<; end of score dated p. 32 flush right not centred >Hollywood / August 8th 1946<; without end mark) // (1947)

^ ^ Text in frame.

* Classical editions from >J. S. BACH< to >WEBER< are listed including the titles of their works in three columns under the headline > classical WORKs<, Strawinsky not mentioned; under the headline >MODERN WORKS< the names of contemporary composers are listed without any titles in three columns from >BÉLA BARTÓK< to >R. VAUGHAN WILLIAMS<, Strawinsky not mentioned. The following places of printing are listed: London-New York-Sydney-Toronto-Capetown.

75-3 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / CONCERTO EN RÉ / POUR ORCHESTRE À CORDES^ / BOOSEY & HAWKES / No. 626 // HAWKES POCKET SCORES / IGOR STRAWINSKY / CONCERTO EN RÉ / POUR ORCHESTRE Á CORDES / ( Edition Revisée) / BOOSEY & HAWKES / LTD. / LONDON · PARIS · BONN · CAPETOWN · SYDNEY · TORONTO · NEW YORK / NET PRICE / Made in England // (Pocket score stapled 13.6 x 18.7 (8° [8°]); 34 [34] pages + 4 cover pages olive-green on grey beige with frame 9.6 x 4 grey beige on olive-green [front cover title, 2 empty pages, page with publisher’s advertisements >HAWKES POCKET SCORES / A selection of outstanding modern works / from this famous library of classical and contemporary Miniature Scores.<* production date >No. 582< [#] >6.50<] + 2 pages front matter [title page, duration data >Environ 12 minutes.< French] without back matter; title head >CONCERTO / en RÉ** / pour orchestre à cordes<; dedication 1st page of the score above title head centre centred italic > Dedié à la / Basler Kammerorchester et / son chef Paul Sacher<; author specified 1st page of the score paginated p. 1 above und next to movement title numbered in Roman numerals (without dot) >I< flush right centred >IGOR STRAWINSKY / 1946<; legal reservations 1st page of the score below type area flush left >Copyright 1947 in U.S.A. by Boosey & Hawkes, Inc. / Copyright for all countries< flush right >All rights reserved / Tous droits réservés<; plate number >B. & H. 16125<; end of score dated p. 34 not centred >Hollywood / August 8th 1946<; end number p. 34 below type area flush left >7·53 L. & B.<; production indications 1st page of the score below type area centre inside right >Printed in England< p. 34 as end mark flush right >Lowe and Brydone (Printers) Limited, London<) // (1953)

^ ^ = Text in frame.

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

** Accent stands between the two capital letters (printed >R´E< instead of >É<).

75-358 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / CONCERTO EN RÉ / POUR ORCHESTRE À CORDES^ / BOOSEY & HAWKES / No. 626 // HAWKES POCKET SCORES / IGOR STRAWINSKY / CONCERTO EN RÉ / POUR ORCHESTRE Á CORDES / ( Edition Revisée) / BOOSEY & HAWKES / LTD. / LONDON · PARIS · BONN · CAPETOWN · SYDNEY · TORONTO · BUENOS AIRES · NEW YORK / NET PRICE / MADE IN ENGLAND // (Pocket score stapled 13.3 x 17.8 (8° [kl. 8°]); 34 [34] pages + 4 cover pages olive-green on grey beige with frame 9.5 x 4 grey beige on olive-green [front cover title, 2 empty pages, page with publisher’s advertisements* > HAWKES POCKET SCORES/ A selection of outstanding modern works / from this famous library of classical and contemporary Miniature Scores.<* production date >NO. 782< [#] >1.56<] + 2 pages front matter [title page, duration data French > Environ 12 minutes.<]; without back matter; title head >CONCERTO / en RÉ** / pour orchestre à cordes<; dedication above title head centre centred italic > Dedié à la / Basler Kammerorchester et / son chef Paul Sacher<; title head >CONCERTO / en RÉ** / pour orchestre à cordes<; author specified 1st page of the score paginated p. 1 above und next to movement title numbered in Roman numerals (without dot) >I< flush right centred >IGOR STRAWINSKY / 1946<; legal reservations 1st page of the score below type area flush left >Copyright 1947 in U. S. A. by Boosey & Hawkes, Inc. / Copyright for all countries< flush right centred >All rights reserved / Tous droits réservés<; plate number >B. & H. 16125<; end number p. 34 >3 .58 L & B<; end of score dated flush right not centred >Hollywood / August 8th 1946<; production indications 1st page of the score below type area centre inside right >Printed in England< p. 34 flush right as end mark >Lowe and Brydone (Printers) Limited, London<) // (1958)

^ ^ = Text in frame.

* Compositions are advertised in two columns with edition numbers from >Béla Bartók< to >Ralph Vaughan Williams<, amongst these >Igor Strawinsky / 610 Capriccio ( Revised 1949 Edition) / 611 Apollon Musagète ( Revised1947 Edition) / 630 Octet for Wind Instruments/ ( Revised 1952 Edition) / 632 Pulcinella Suite ( Revised1949 Edition) / 637 Symphony of Psalms / 638 The Rite of Spring ( Revised1947 Edition) / 639 Pétrouchka ( Revised1947 Edition) / 640 Orpheus / 651 Œdipus Rex ( Revised1948 Edition) / 652 Perséphone / 655 Mass / 666 Cantata / 672 Symphonies of Wind Instruments / [#] ( Revised1947 Edition) / 679 The Fairy’s Kiss / 682 Septet (1953) / 688 In Memoriam Dylan Thomas (1954)<. After London the following places of printing are listed: Paris-Bonn-Capetown-Sydney-Toronto-Buenos Aires-New York.

** Accent stands between the two capital letters (printed >R´E< instead of >É<).

75-363 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / CONCERTO EN RÉ / POUR ORCHESTRE À CORDES^ / BOOSEY & HAWKES / No. 626 // HAWKES POCKET SCORES / IGOR STRAWINSKY / CONCERTO EN RÉ / POUR ORCHESTRE Á CORDES / (Edition Revisée) / BOOSEY & HAWKES / MUSIC PUBLISHERS LIMITED / LONDON . PARIS .BONN .JOHANNESBURG .SYDNEY .TORONTO .NEW YORK / Made in England / NET PRICE // (Pocket score stapled 13.6 x 18.5 (8° [8°]); 34 [34] pages + 4 cover pages olive-green on grey beige with frame 9.6 x 4 grey beige on olive-green [front cover title, 2 empty pages, page with publisher’s advertisements HAWKES POCKET SCORES / An extensive library of miniature scores containig both classical works/ and a representative collection of outstanding modern compositions<* production date >No. 16< [#] >I/61<] + 2 pages front matter [title page, duration data French >Environ 12 minutes.<]; without back matter; title head >CONCERTO / en RÉ** / pour orchestre à cordes<; dedication above title head centre centred italic > Dedié à la / Basler Kammerorchester et / son chef Paul Sacher<; title head >CONCERTO / en RÉ** / pour orchestre à cordes<; author specified 1st page of the score paginated p. 1 above und next to movement title numbered in Roman numerals (without dot) >I< flush right centred >IGOR STRAWINSKY / 1946<; legal reservations 1st page of the score below type area flush left >Copyright 1947 in U. S. A. by Boosey & Hawkes, Inc. / Copyright for all countries< flush right centred >All rights reserved / Tous droits réservés<; plate number >B. & H. 16125<; end number: >11 .63 L & B<; end of score dated p. 34 flush right not centred >Hollywood / August 8th 1946<; production indications 1st page of the score below type area centre inside right >Printed in England< p. 34 flush right as end mark >Lowe and Brydone (Printers) Limited, London<; London<) // (1963)

^ ^ = Text in frame.

* Compositions are advertised in three columns without edition numbers from >Bach, Johann Sebastian< to >Wagner, Richard<, amongst these >Stravinsky, Igor / Agon / Canticum Sacrum / Le Sacre du Printemps / Monumentum / Movements / Oedipus Rex / Pétrouchka / Symphonie de Psaumes / Threni<. After London the following places of printing are listed: Paris-Bonn-Johannesburg-Sydney-Toronto-New York.

** Accent stands between the two capital letters (printed >R´E< instead of >É<).

75-4 [ extra leavers of revised version] // (Full score leavers of revision (2°); 5 pages; A correction reference on every page flush left revised version; without further comments) // (1955) // The inserted pages were produced separately. In London, they were inserted into the full score, but in the catalogue, they were labelled with an asterisk [H.3992.g.(2.) = Full score 1947; H.3992.g.(2*) = Full score 1947 + inserted pages ] . Normally, they were stuck in at exactly the appropriate point at the corresponding places in the unrevised score. This is presumably also how it was planned.

75-5 Igor Stravinsky / CONCERTO / en Ré/ pour orchestre à cordes/ Partition/ BOOSEY & HAWKES // Igor Stravinsky / CONCERTO / en Ré/ pour orchestre à cordes/ ( Edition Revisée) / Partition/ Hawkes & Son (London) Ltd. / Sole Selling Agents: Boosey & Hawkes, Ltd./ London · Paris · Bonn · Johannesburg · Sydney · Toronto · Buenos Aires · New York// (Full score sewn in red 23.3 x 30.7 (2° [4°]); 34 [34] pages + 4 cover pages dark red auf light grey green [front cover title, 2 empty pages, page with publisher’s advertisements >Igor Stravinsky<* production date >No. 692< [#] >12.53<] + 2 pages front matter [title page, page with duration data centre italic > Durée, Duration: Approx. 12 minutes <]; without back matter; title head >CONCERTO / en RÉ / pour orchestre à cordes<; dedication 1st page of the score above title head centre centred italic > Dedié à la / Basler Kammerorchester et / son chef Paul Sacher<; author specified 1st page of the score paginated p. 1 above und next to movement number in Roman numerals (without dot) >I< flush right centred >IGOR STRAWINSKY / 1946<; legal reservations 1st page of the score below type area flush left >Copyright 1947 by Boosey & Hawkes, Inc. / Revised © version 1961 by Boosey & Hawkes, Inc. / Copyright for all countries<; flush right >All rights reserved / Tous droits réservés<; production indication 1st page of the score below type area inside right >Printed in England<; plate number >B. & H. 16125<; Platten-Nummer >B. & H. 16125<; end of score dated p. 32 flush right >Hollywood / August 8th 1946<; without end marks) // (1961)

* Compositions are advertised in two columns without edition numbers and without prices; they are in part multi-lingual and (randomly) assigned to genres >Stage Works° / Oeuvres Théatrales · Bühnenwerke° / The Rake’s Progress [#] Le Rossignol / Le Libertin Der Wüstling [#] The Nightingale Die Nachtigall / Opera in three acts Opéra en trois actes [#] Musical tale in three acts after Anderson°° / Oper in drei Akten [#] Conte lyrique en trois actes d’apres Anderson°° / [#] Lyrisches Märchen in drei Akten nach Anderson°° / Mavra [#] Oedipus Rex / Opera buffa in one act after Pushkin [#] Opera - Oratorio in two acts after Sophocles / Opéra Buffe en un acte d’apres Pushkin [#] Opéra – Oratorio en deux actes d’apres Sophocle / Oper°° Buffa°° in einem Akt nach Puschkin [#] Opern - Oratorium in zwei Akten nach Sophokles / Persephone [#] Pétrouchka / Melodrama in three parts by André Gide [#] Burlesque in four scenes / Melodramé°° en trois parties d’Andre°° Gide [#] Burlesque en quatre tableaux / Melodrama in drei Teilen von André Gide [#] Burleska°° in vier Bildern / Le Sacre du Printemps [#] Le Chant du Rossignol / The Rite of Spring [#] The Song of the Nightingale / Pictures from pagan Russia in two parts [#] Symphonic poem in three acts / Tableaux de la Russie paienne en deux parties [#] Poème symphonique en trois parties / Bilder aus dem heidnischen Russland in zwei Teilen [#] Symphonische Dichtung in drei Teilen / Pulcinella [#] Apollon Musagète / Ballet with chorus in one act after Pergolesi [#] Ballet in two scenes / Ballet avec chant en un acte d’apres Pergolesi [#] Ballet en deux tableaux / Ballett mit Chor in einem Akt nach Pergolesi [#] Ballett in zwei Bildern / Le Baiser de la Fée [#] Orpheus / Ballet - Allegory in two scenes [#] Ballet in thre scenes / Ballet - Allégorie en deux tableaux [#] Ballet en trois tableaux / Ballet°° - Allegorie in zwei Bildern [#] Ballett in drei Bildern / Symphonic Works° / Oeuvres Symphoniques · Symphonische Werke° / Pétrouchka Suite [#] Apollon Musagète / Pulcinella Suite[#] Symphonies pour°° instruments a°° vents°° / Le Sacre du Printemps [#] Symphonies of Wind Instruments / The Rite of Spring [#] Symphonien für Bläsinsrumente°° / Le Chant du Rossignol [#] Piano Concerto / The Song of the Nightingale [#] Capriccio / Divertimento [#] Quatre Etudes°° pour Orchestra°°/ Orpheus [#] Four Studies for Orchestra/ Symphonie de Psaumes [#] Vier Etüden für Orchester/ Symphony of Psalms [#] Concerto in D ( Basle Concerto) / Psalmensymphonie [#] Messe°° / Voice and Orchestra° / Chant et Orchestre · Gesang und Orchester° / Trois poésies de la Lyrique japonaise [#] Chant du Rossignol (tiré du “Rossignol”) / Three japanese Poems [#] The Nightingale’s Song (from “The Nightingale”) / Trois petites chansons [#] Mephistopheles Lied vom Floh / Three little Songs [#] The Song of the Flea / Two Songs (Paul Verlaine)° / Sagesse · Sleep · Ein dusterer°° Schlummer° / La bonne Chanson · A Moonlight Pallid · Glimmernder mondschein°°+°< [° consecutive, centred lists up to >Orpheus< appearing in the centre and spreading across the columns; °° original spelling; in the opposite column slightly displaced between >Mavra< and the >Burlesque in four scenes<, likewise there is a dislocated line spacing after >Apollon Musagète< in the section for Symphonic Works]. After London the following places of printing are listed: Paris-Bonn-Capetown-Sydney-Toronto-Buenos Aires-New York.

75-5[65] Igor Stravinsky / CONCERTO / en Ré/ pour orchestre à cordes/ ( Edition Revisée) / Partition/ BOOSEY & HAWKES // Igor Stravinsky / CONCERTO / en Ré/ pour orchestre à cordes/ ( Edition Revisée) / Partition/ Boosey & Hawkes/ Music Publishers Limited / London · Paris · Bonn · Johannesburg · Sydney · Toronto · New York// (Full score [library binding] 23.2 x 30.2 (2° [4°]); 34 [34] pages + 4 cover pages dark red on light grey green [front cover title, 2 empty pages, page with publisher’s advertisements >Igor Stravinsky<* production date >No. 40< [#] >7.65<] + 2 pages front matter [title page, page with duration data centre italic > Durée, Duration: Approx. 12 minutes <] without back matter; title head >CONCERTO / en RÉ / pour orchestre à cordes<; dedication 1st page of the score above title head centre centred italic > Dedié à la / Basler Kammerorchester et / son chef Paul Sacher<; author specified 1st page of the score paginated p. 1 above und next to movement number in Roman numerals (without dot) >I< flush right centred >IGOR STRAWINSKY / 1946<; legal reservations 1st page of the score below type area flush left >Copyright 1947 in U.S.A. by Boosey & Hawkes, Inc. / Revised © version 1961 by Boosey & Hawkes, Inc. / Copyright for all countries<; flush right >All rights reserved / Tous droits réservés<; production indication 1st page of the score below type area inside right >Printed in England<; plate number >B. & H. 16125<; end of score dated p. 32 flush right >Hollywood / August 8th 1946<; without end marks) // [1965]

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


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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