K81 Three Songs from William Shakespeare
Drei Shakespeare-Lieder — Trois chants de William Shakespeare – Tre Canti da William Shakespeare per mezzo soprano, flauto, clarinetto e viola
Scored for: a) First edition title page: Mezzo-Soprano, Flute, Clarinet, Viola; First edition nomenclature on 1st page of the score: Voice, Flute, Clarinet, Viola; b) Performance requirements: Mezzo-Soprano, grand Flute, Clarinet sounds as written, Viola.
Summary: I: This love poem has a title at the beginning, and is difficult to summarize in terms of its content; it begins with the rhetorical question of how music which is pleasing to the ear can cause pain. From there on, thoughts on the relationship of lovers to one another are developed. One cannot accept a hated thing with a light heart, nor should one be with one’s beloved with a heavy heart. Loving partners resonate with one another and one must sense what is meant by what is said and open oneself and not close oneself up. Who is only one, becomes nothing, as the end of the Sonnet describes. – II: The father lies five fathoms below under the bottom of the sea. He will be transformed. His remains will become coral, his eyes pearls and nymphs are around him hourly. – III: The third poem, a strophic song with a recurring refrain, also has, like the first and second poems, an opening title. The refrain contains the evilly intended word ‘Cuckoo’. Whenever the man hears this word, he becomes angry, in the first verse in the surroundings of a blooming landscape of flowers, and in the second surrounded by birds, sheep and a young girl.
Text: I = Shakespeare Sonnet Nr. VIII; II = Shakespeare The Tempest I/2 (Der Sturm I/2 - La Tempête I/2) ; III = Shakespeare Love's Labours's Lost V/2 (Verlorene Liebesmüh' V/2 - Peines d'amour perdues V/2).
Source: The five-volume edition >POETS OF THE / ENGLISH LANGUAGE / Edited by / W.H. AUDEN / and / NORMAN HOLMES PEARSON< was printed in octavo and linen by >The Colonial Press< in the United States in a blank case with a spine printed in gold without writing on the front cover or the back cover apart from a Pegasus emblem on the front page (625 + 564 + 628 + 540 + 630 pages). It was published in September 1950 by the New York publishers >The Viking Press< and on exactly the same day in Canada by >The Macmillan Company of Canada Limited< Publishers. It is lovingly put together. Each of the 5 volumes (I: Medieval / AND / Renaissance / POETS / Langland to Spenser; II: Elizabethan / AND / Jacobean POETS / Marlowe to Marvell; III: Restoration / AND / Augustan / POETS / Milton to Goldsmith; IV: Romantic / POETS / Blake to Poe; V: Victorian / AND / Edwardian / POETS / Tennyson to Yeats) contains an index of the titles and opening lines as well as a short catalogue of the authors with the sources of the poems; the first volume has additional emendations and glosses by E. Talbot Donaldson. The texts of the three Shakespeare songs are taken from the 2nd volume, pages 154 (1st song), 177 (2nd song) and 171-2 (3rd song).
Differences Strawinsky-Auden: [Line / Score text / Auden text]: >I. Musick to hear< / > Sonnets<; 1-2 / no differences; 3 / >receav’st< / > receavst<; 4 / >receav’st< / > receav’st<; 5 / no differences; 6 / Unions / > unions<; 7 / >thee< / > thee,<; 8 / >parts< / > part<; 9 / >string,< / > string< + >another< / > an other<; 10 / >mutual< / > mutuall<; 11 / sier > sire,< / 12 / o. B.; 13 >speachless< / > speechlesse< + >many< / > many,< / 14 / >for< / > to<. >II. Full fadom five< / > The Tempest<* / 1-2 / no differences; 3 / >eies,< / > eyes.< / 4-5 / no differences; 6 / >rich< / > rich,< / 7-9 / no differences. >III. When Dasies pied< / > FROM** Love’s Labour’s Lost<; 1 / >blew< / > blew,< / 2-3 / no differences; 4 / >Do< / > Doe< + >delight.< / > delight,< / 5 >tree< / > tree,<; 6 / >men;< / > men,< / 7-9 / no differences; 10 / >strowes,< / > strawes,< / 11 >ploughmens< / > Ploughmens<; 12 / >Rooks< / [//] > Rookes< / 13 / no differences; 14 / >everie< / > every< / 15-18 / no differences [* italic original; ** no italic original].
Textual errors: The printed score contains an error in the text at figure 9 4(bar 47) of the first song. Instead of “this for the . . .”, the text should read “this to thee . . .”. Strawinsky used the American Auden edition, which was not entirely correct, and made corrections based on the (official) Nonesuch Press edition.
Construction: This work consists of three solo songs numbered with Roman numerals and with the first three English words of the poems used as titles for each ( I. Musick to heare - Musik dem Ohr - Musique à écouter; II. Full fadom five - Fünf Faden tief - Sous cinq brasses; III. When Dasies pied - Wenn Primeln gelb - Lorsque les pâquerettes bigarrées).
Structure
I. Musick to heare (Musik dem Ohr - Musique à écouter)
Quaver = 69 (50 bars = figure 1 up to figure 9)
Poem: Sonnet Nr. VIII (Sonett Nr. VIII - Sonnet Nr. VIII)
II. Full fadom five (Fünf Faden tief - Sous cinc brasses)
Quaver = 112 (1 bar = figure11)
Quaver = 100 (17 bars = figure 1 up to figure 45)
(5 bars = figure 41-5)
Poem : The Tempest I/2 (Der Sturm I/2 - La Tempête I/29)
III. When Dasies pied (Wenn Primeln gelb - Lorsque les pâquerettes bigarrées)
Quaver = 92 ([with upbeat] 54 bars = figure 1 up to figure 9)
Poem: Love's Labours's Lost V/2 (Verlorene Liebesmüh' V/2 - Peines d'amour perdues V/2)
Style: The sonnet, which is the first of the three songs, is 14 lines long, and these are subdivided in the rhyme scheme 3x4 and 1x2 lines, thus resulting in a four-part poem. Strawinsky, by means of the two types of bar, 4/8 and 3/8, transfers the rhyme scheme, A-B-A-B / C-D-C-D / E-F-E-F / G-G, into the metrical structure and he separates the sections of the rhyming sections of the verses with short rests. The voice and the instruments are of equal importance, and he lends to the voice a greater level of movement then in all his previous songs. The meter of the syllables is constantly used to generate the rhythm. The only melismatic constructions are located, corresponding to the interpretation of the text, in bars 46 and 47; the register of the voice part is also defined by the content. The melodic constructions, which are retained throughout and lend interpretative meaning, set the narrowly written melody in relation to a pleasant melodic line which proceeds in leaps with unpleasant or at least neutral contents. The precise establishment of the rows throws up problems. According to Eimert, 24 notes of the introduction can be grouped into eight groups of three notes, because each 1st note appears in both sets of 5. Others do not see this in the same way, because as a result of this, the connection between Word and Note , between Row and Text, is destroyed; they therefore see it as a row of 4, which is however even less logical, because the connection between Word and Note is likewise destroyed, now from the second line onwards. Recalculations have given Eimert’s version of the ten-note prime row as the most reasonable solution, although one must not forget that Strawinsky was mostly composing his material freely at this time and did not intend to set three- or four-note groups for the single lines. Strawinsky also manipulates the rows later always prioritizing the sound. Over the course of the song, the harmonic density increases just as much as the richness of the sound colour. Both run towards the core message in the final two lines, which contain the only melismatic writing. –
Ariel’s song is made up of an unsymmetrically divided three-part structure. Strawinsky’s setting corresponds this in terms of the number of syllables. The first section is a barline-less sequence at a length of 12 crotchets with an additional fermata at the end. Likewise, the second section is separated by a fermata over a rest. Sections two and three are in 3/4 throughout. Strawinsky works contrapuntally with free canonic writing, in which it is characteristic of the composition to normally set the imitations at the beginnings of the lines. The syllabic and melismatic writing interpenetrate one another, a technique which is unusual for Strawinsky’s practice up to this point. What is also unusual for his song settings up to this point is the principle of expressing the text through the method of compacting or thinning out the rhythm where the rhythmic framework is constructed almost serially if he uses them in inversion forms. The prime row is seven notes long, which links in with the seven syllables in each line. If one constructs the row as a scale, this results in an Aeolian minor scale on E flat. The fact that, according to the circle of fifths, E flat minor stands opposite A minor in 7th position, cannot be a coincidence. The final section with the bell-note words is not set serially but tonally as a melodic third, a pictorial setting which remains the exception. The harmonic texture is denser than in the first song, and three- and four-part textures are exploited. There is no structural correspondence in the accompanying parts. The contrapuntal writing compelled Strawinsky to use the same rhythmic frameworks for the melody and accompanying parts. Strawinsky emphasizes the fact that the father rests 5 fathoms deep in the earth with the interval of a fifth. –
The third poem has a clear structure with two verses A-B, each 8 lines long. The rhyme form is a sequence of pairs, and the distribution of the syllables in both verses is identical: 1st verse: A-A-B-B-C-C-D-D with the distribution of syllables: 8-8-8-8-8-8-10-11; 2nd verse: A-A-A-A-B-B-C-C with the distribution of syllables: 8-8-8-8-8-8-10-11. Strawinsky takes this clear formal division and turns the original into a three-part verse form [excluding upbeat] Verse 1 (bars 1-10), refrain (bars 11-22), interlude (bars 23-24) verse 2 (bars 25-34), refrain (bars 35-46), coda (bars 47-53). If one includes the upbeat, which is allowed because the final bar is not shortened to balance it out, the total number of bars must be increased by 1. All the verses are therefore ten bars long in Strawinsky’s version, and all the choruses twelve bars long. The harmonic density of the refrain is lower than that of the verses, and the interlude and coda are set instrumentally in only two parts. Strawinsky therefore abides by his old compositional principle. Form and motif depend on the distribution of the syllables. In spite of the formal connection between the two verses, the setting of the lengths of the lines is handled differently. Strawinsky allows the phases of the text to be dislocated; they are component blocks for him. The music on the other hand is handled as an unchangeable musical framework, in accordance with which the syllables of the text have to be extended. The melismas have only small weight in comparison with the syllabic writing. The manner in which he uses narrowly written and expansive melodic writing corresponds to Strawinsky’s well known motivation. Strawinsky uses as material four different tonal areas which are allotted to certain sections of text. In the setting of the verses, two lines are set to one row. The refrain uses three areas, for which the first section of the refrain corresponds with the first section of the verse. Tonal connections arise from the symmetrical construction of the rows, and are not the result of an intention behind the melodic writing, rather the result of the formation of the material.
Rows: 1st Song: b1-g2-a1-b b1-a b2-c2-b b2-b1-d2-b1-c2-d b2; 2nd Song ( seven-stage, as an Aeolian mode on e b): f1- bb1-e b1-d b2-a b1-[d b1]-c b2-g b1; 3rd Song: f1-g1-b b1-a b1-g1-f1-e b1-d b2-a b1-b b1-a b1-d b2-e b1-a b1-d b.
Score: non-transposing.
Dedication: >Dedicated to EVENINGS ON THE ROOF (Los Angeles)<.
Duration: 2' 31" + 1' 58" + 2' 27".
Date of origin: August-October 1953.
History of origin: In a letter dated 23rd October 1953, Strawinsky wrote to Ernst Roth from Boosey & Hawkes publishers in London that he had just completed three songs for Mezzo-Soprano with trio accompaniment. They were three poems by Shakespeare, one sonnet and two songs from his plays. Strawinsky continued with information regarding the dedicatee and the première that had been arranged with him. According to the subsequent letter from Strawinsky to Roth, which bears the date 2nd November 1953, he announced that the score and piano reduction would be sent off in ten days, so that the publishers would have them in approximately two weeks, that is to say, punctually. The first song was completed on 1st September, the third song on 6th October 1953 . Strawinsky did not date the sketches of the second song. It can be inferred from these details that the period of composition continued up to autumn 1953 at the latest.
Corrections: The publishers received Strawinsky's package (see >History of origin) on time and evidently reacted critically to the text. Strawinsky had used to select the texts the same anthology compiled by Auden and Pearson that he used for the texts for the Cantata (Poets of the English Language). There are errors in this edition that were discovered in the classic land of Shakespeare, England, and these were conveyed to Strawinsky. Strawinsky apologized to Roth in a letter dated 20th November 1953, writing that Auden’s American edition was clearly and unfortunately not entirely free from errors, and that he wanted to make the resulting corrections according to a different, official edition (Nonesuch Press). This did indeed take place, and only ten days later, on 27th November, Strawinsky sent all the corrections in the score and piano reduction back to the publishers. He additionally wrote that all the corrections were by him, as promised, according to the Nonesuch Press edition, and for this reason, the final song bore the title ‘Spring’. Presumably there must have been subsequent further queries, as the third of the Shakespeare songs, as in the edition by Auden and Pearson, remained without a title to the poem as before.
First performance: Los Angeles, 8th March 1954 in the series of the concerts Evenings on the Roof with the mezzosoprano Grace-Lynne Martin conducted by Robert Craft.
Remarks: Evenings on the Roof was a concert club created by Peter Yates in 1937 in Los Angeles. At the time of composition of the Shakespeare Songs, Yates was still the head of the club, but it was conducted by Robert Craft from 1953. Strawinsky regarded the concert club very highly, as he did Yates himself, and wrote in his letter to Ernst Roth dated 23rd October 1953 that this group involved the best musicians of Los Angeles, which he found absolutely marvellous. He wanted to create a testament in its honour, and so he dedicated the Shakespeare Songs to them, at the same time transferring to them the rights for the première. The club changed its name a short time later to ‘Monday Evening Concerts’.
Situationsgeschichte: Strawinsky’s embracing of serial technique, which had begun with the Septet in 1953, was retained with the Shakespeare Songs and was continued with the Memorial Triptych to Dylan Thomas, triggered a wave of analyses with the purpose of discovering, by the evidence of the process used, what type of twelve-tone writing the composer was indebted to. For Strawinsky it was a happy circumstance that the first few of these analyses were completed by the best contemporary experts in this field. Erwin Stein analysed the Septet (1953), Herbert Eimert (who was involved in the early development of twelve-tone technique in theory and in practice), the Shakespeare Songs*, and Hans Keller (1955) the In Memoriam Dylan Thomas. From these, it emerged that Strawinsky did not derive his style from Schoenberg’s twelve-tone technique (Schönbergian musical row), rather he had combined Webern’s model (Webernian structural row) with his own previous compositional techniques. It was characteristic of Eimert and Keller that their interest exclusively concerned row construction and that they only turned their attention to its relationship to the text to the extent that it was of importance to the analysis of the row construction. The three stages of the young Strawinsky’s serial composition - instrumental process, instrumental process exclusively with text, and instrumental process with and without text – were described in this way. For the following works, the analyses were illuminating, and no longer caused any particular sensation because people in the meanwhile had become familiar with the process.
* Herbert Eimert: Die drei Shakespeare-Lieder (1953), in: Musik der Zeit – Strawinsky in Amerika. Eine Schriftenreihe zur zeitgenössischen Musik Heft 12, herausgegeben von Heinrich Lindlar, Boosey & Hawkes Bonn 1955, S. 35-38. Eimert composed as the first German a twelve-tone melody.
Significance: In the Shakespeare Songs, Strawinsky turned his new serial process towards the interpretation of text for the first time. In the Strawinsky literature, it has been mentioned several times that Strawinsky had written no songs since the Four Russian Songs of 1919. He had however set all types of texts. It seemed likely that he would try out the new process instrumentally, as he had done at the time with the Octet for his Neo-Classical style, and then transfer it over to setting language in order to ensure interpretative flexibility. The Shakespeare Songs fulfill this function, the third of which was prized above all in Italy as Strawinsky’s best song at the time and the pictoral and colouristic and musically emphasized lines, including the Cuckoo call, created their own problems for a serial setting. The next step was no less logical of turning the instrumentally and textually tested serial model to a combination of independent instruments, and using instruments as textual accompaniment. This took place in In Memoriam Dylan Thomas , in which he composes out the interval of a third, which is also a (four-note developing) building block in the Shakespeare Songs, in five notes and thus optimally. The late phase being introduced at the time no longer placed any weight on the atmosphere or character of the accompanying parts any longer. The interpretation of the text had reached an especial degree of abstraction that made this redundant. Certain exceptions are classic cases of musical simulations (Bell, Cuckoo), just like the final section of the third song, the announcement of Spring.
Versions: The Three Songs was published in April 1954 by Boosey & Hawkes in London as Full score and Vocal score. The British Library received both editions on 31th April 1954 . A new edition of the vocal score was produced in June 1959. The pocket score followed in March 1955. The British Library received its copy on 29th April 1955, and Strawinsky received his in May 1955. The publishing contract between Strawinsky and Boosey & Hawkes was signed on 28th October 1953.
Historical Records: Hollywood, 13th September 1954, Grace-Lynne Martin (Mezzo-Soprano), Arthur Gleghorn (Flute), Hugo Raimondi (Clarinet), Cecil Figelski (Viola), conducted by Igor Strawinsky; New York, 14th December 1964, Cathy Berberian (Mezzo-Soprano), Columbia Chamber Ensemble conducted by Igor Strawinsky.
CD edition : VIII-2/30-32 (recording from December 14, 1964).
Autograph: Score sketches and parts of a neat copy of the score are in the Paul Sacher Stiftung in Basel. – To this day (2013) the originals have a strong odor (nicotine).
Copyright: 1954 by Boosey & Hawkes, Inc., New York.
Corrections / Errata
The printed score contains an error in the text at figure 94 (bar 47) of the first song. Instead of the incorrect ‘this for thee’, the text should be ‘this to thee’.
Editions
a) Overview
81-1 1954 Dp; e; Boosey & Hawkes London; 11 pp. 2°; B. & H. 17493.
81-1Straw ibd. [with annotations].
81-1[65] [1964] ibd.
81-2 1954 KlA; e; Boosey & Hawkes London; 12 pp. 4°; B. & H. 17494.
81-2Straw 1954 ibd. [initialed].
81-254 1954 ibd.
81-259 1959 ibd.
81-2[65] [1965] ibd.
81-3 1955 Tp; e; Boosey & Hawkes London; 11 pp. 8°; B. & H. 17493; 689.
81-362 1962 ibd.
81-366 1962 ibd.
b) Characteristic features
81-1 igor strawinsky / three songs / from / william shakespeare / full score/ boosey & hawkes // Igor Strawinsky / Three Songs / from / William Shakespeare / 1953 / for Mezzo-Soprano / Flute, Clarinet and Viola / Full Score/ Boosey & Hawkes / London · Paris · Bonn · Capetown · Sydney · Toronto · New York // (Full score sewn in red 23.5 x 31 (2° [4°]); sung text English; 11 [9] pages + 4 cover pages thicker paper tomato red on grey beige [front cover title, 2 empty pages, page with publisher’s advertisements > Igor Strawinsky<* production data >No. 692< [#] >12.53<] + 2 pages front matter [title page, empty page] + 1 page back matter [page with publisher’s advertisements > Igor Strawinsky<** production data >No. 693< [#] >12.53<]; title head >THREE SONGS / from William Shakespeare<; dedication above title head centre partly in italics > Dedicated to EVENING ON THE ROOF ( Los Angeles)<; author specified 1st page of the score paginated p. 3 above, p. 6, 8 below song number in Roman numerals (with dot) centred >IGOR STRAWINSKY / 1953<; legal reservations 1st page of the score below type area pp. 3, p. 6, 8 flush left >Copyright 1954 by Boosey & Hawkes, Inc., New York, U.S.A.< flush right >All rights reserved <; plate number >B. & H. 17493<; production indication 1st page of the score p. 3 below legal reservation centre inside right >Printed in England<; end number p. 11 flush right as end mark >4. 54. E<) // (1954)
* Compositions are advertised in two columns without edition numbers and without price information, 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 three 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°°+°< [° centre; °° 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-New York.
** Compositions are advertised in two columns without edition numbers and without price information, in part multi-lingual >Pocket Scores° / Partitions de Poche · Taschenpartituren° / Apollon Musagète / Le Baiser de la Fée ( The Fairy’s Kiss) / Cantata / Capriccio for Piano and Orchestra/ Le Chant du Rossignol ( The Song of the / Nightingale) / Concerto in D for String Orchestra/ Divertimento / Messe°° / Octet for Wind Instruments / Oedipus Rex / Orpheus / Perséphone / Pétrouchka / Pulcinella Suite/ Four Studies for Orchestra / Quatre Etudes pour Orchestre / Vier Etüden für Orchester / Le Sacre du Primtemps°° ( The Rite of Spring) / Septet 1953 / Symphonie de Psaumes / Symphony of Psalms / Psalmensymphonie / Symphonies pour instruments à vents°° / Symphonies of Wind Instruments / Symphonien für Blasinstrumente / Piano Solo° / Piano Seul · Klavier zweihändig° / Apollon Musagète / Le Baiser de la Fée ( The Fairy’s Kiss) / Le Chant du Rossignol / ( The Song of the Nightingale) / Marche Chinoise de ”°° Chant du Rossignol ” / Mavra Overture°° / Octet for Wind Instruments ( arr. A. Lourié) / Orpheus ( arr. L. Spinner) / Serenade en la / Sonate / Symphonies pour instruments à vents<°° / Trois Mouvements de “ Pétrouchka ” / Piano Duets° / Piano à Quatre Mains · Klavier vierhändig° / Pétrouchka / Le Sacre du Printemps ( The Rite of Spring) / Two Pianos° / Deux Pianos · Zwei Klaviere° / Capriccio for Piano and Orchestra/ Concerto / Madrid / Septet 1953 / Trois Mouvements de “ Pétrouchka ” ( Babin) // Violin and Piano° / Violon et Piano · Violine und Klavier° / Airs du Rossignol and Marche Chinoise ( Le/ Chant du Rossignol) / Ballad ( Le Baiser de la Fée) / Divertimento ( Le Baiser de la Fée) / Duo Concertant / Danse Russe ( Pétrouchka) / Russian Maiden’s Song / Suite after Pergolesi / Violoncello and Piano° / Violoncelle et Piano · Violoncello und Klavier° / Suite italienne ( Piatigorsky) / Russian Maiden’s Song ( Markevitch) / Chamber Music° / Musique de Chambre · Kammermusik° / Octet for Wind Instruments / Septet 1953 / Three pieces for String Quartet/ Vocal Scores° / Partitions Chant et Piano · Klavierauszüge° / Cantata / Le Rossignol / Mavra / Messe°° / Oedipus Rex / Perséphone / Symphonie de Psaumes / The Rake’s Progress / Voice and Piano° / Chant et Piano · Gesang und Klavier° / The Mother’s Song ( Mavra) / Le Rossignol / Introduction . Chant du Pedieur°° . Air du Rossignol / Paracha’s Song ( Mavra) / Russian Maiden’s Song / Two Poems of Balmont / Blue Forget-me-not . The Dove / Trois Poésies de la lyrique japonaise / Akahito . Mazatzuum°° . Tsarajuki°° / Trois petites chansons / La petite . Le Corbeau . Tchitcher-tatcher / Choral Music° / Musique Chorale · Chormusik° / Ave Maria ( Latin) S.A.T.B. a cappella/ Pater noster ( Latin) S.A.T.B. a cappella/ Credo ( Latin) S.A.T.B. a cappella< [° centre; °° original spelling]. After London the following places of printing are listed: Paris -Bonn-Capetown-Sydney-Toronto-New York.
81-1Straw
The copy from Strawinsky’s estate is signed and dated on the front cover title right above name with >IStr. / June 54< and contains information only about the durations: title page below >full score< >7’23“<, p. 5 above 4th (last) system flush right >2’56“<, p. 7 above 4th (last) system flush right >1’57“<, p. 11 above 4th (last) system flush right >2’30“<; no further comments.
81-1[65] igor stravinsky / three songs / from / william shakespeare / full score/ boosey & hawkes // Igor Stravinsky / Three Songs / from / William Shakespeare / 1953 / for Mezzo-Soprano / Flute, Clarinet and Viola / Full Score/ Boosey & Hawkes / London · Paris · Bonn · Capetown · Sydney · Toronto · New York // (Full score [°] 23.4 x 31 (2° [4°]); sung text English; 11 [9] pages + 4 cover pages thicker paper brown red on green beige [front cover title, 2 empty pages, page with publisher’s advertisements >Igor Stravinsky<* production data >No. 40< [#] >7.65<] + 2 pages front matter [title page, empty page] + 1 page back matter [empty page]; dedication above title head centre centred partly in italics > Dedicated to EVENING ON THE ROOF (Los Angeles)<; author specified 1st page of the score paginated p. 3 above, pp. 6, 8 below song number in Roman numerals (with dot) centred >IGOR STRAVINSKY / 1953<; legal reservations 1st page of the score below type area p. 3, p. 6, 8 flush left >Copyright 1954 by Boosey & Hawkes, Inc., New York, U.S.A.< pp. 3, 6 flush right >All rights reserved / Tonsättning förbjudes< p. 8 flush right >All rights reserved<; plate number >B. & H. 17493<; production indication 1st page of the score p. 3, p. 6 below legal reservations flush right >Printed in England<; without end mark) // [1965]
° All examined editions are sewn in later.
* Compositions are advertised in two columns without edition numbers, without price information and without specification of places of printing >Operas and Ballets° / Agon [#] Apollon musagète / Le baiser de la fée [#] Le rossignol / Mavra [#] Oedipus rex / Orpheus [#] Perséphone / Pétrouchka [#] Pulcinella / The flood [#] The rake’s progress / The rite of spring° / Symphonic Works° / Abraham and Isaac [#] Capriccio pour piano et orchestre / Concerto en ré (Bâle) [#] Concerto pour piano et orchestre / [#] d’harmonie / Divertimento [#] Greetings°° prelude / Le chant du rossignol [#] Monumentum / Movements for piano and orchestra [#] Quatre études pour orchestre / Suite from Pulcinella [#] Symphonies of wind instruments / Trois petites chansons [#] Two poems and three Japanese lyrics / Two poems of Verlaine [#] Variations in memoriam Aldous Huxley / Instrumental Music° / Double canon [#] Duo concertant / string quartet [#] violin and piano / Epitaphium [#] In memoriam Dylan Thomas / flute, clarinet and harp [#] tenor, string quartet and 4 trombones / Elegy for J.F.K. [#] Octet for wind instruments / mezzo-soprano or baritone [#] flute, clarinet, 2 bassoons, 2 trumpets and / and 3 clarinets [#] 2 trombones / Septet [#] Sérénade en la / clarinet, horn, bassoon, piano, violin, viola [#] piano / and violoncello [#] / Sonate pour piano [#] Three pieces for string quartet / piano [#] string quartet / Three songs from William Shakespeare° / mezzo-soprano, flute, clarinet and viola° / Songs and Song Cycles° / Trois petites chansons [#] Two poems and three Japanese lyrics / Two poems of Verlaine° / Choral Works° / Anthem [#] A sermon, a narrative, and a prayer / Ave Maria [#] Cantata / Canticum Sacrum [#] Credo / J. S. Bach: Choral-Variationen [#] Introitus in memoriam T. S. Eliot / Mass [#] Pater noster / Symphony of psalms [#] Threni / Tres sacrae cantiones°< [° centre centred; °° original mistake in the title].
81-2 igor strawinsky / three songs / from / william shakespeare / vocal score / boosey & hawkes // Igor Strawinsky / Three Songs / from / William Shakespeare / 1953 / for Mezzo-Soprano / Flute, Clarinet and Viola / Vocal Score/ Boosey & Hawkes / London · Paris · Bonn · Capetown · Sydney · Toronto · New York // (Vocal score sewn in red 23.4 x 31.1 (4° [4°]); sung text English; 12 [11] pages + 4 cover pages thicker paper tomato red on green beige [front cover title, 2 empty pages, page with publisher’s advertisements > Igor Strawinsky<* production data >No. 692< [#] >12.53<] + 1 page front matter [title page] without back matter; title head >THREE SONGS / from William Shakespeare<; dedication 1st page of the score above title head centre centred partly in italics > Dedicated to EVENING ON THE ROOF (Los Angeles)<; author specified 1st page of the score paginated p. 2 next to, p. 6, 8 below song number in Roman numerals (with dot) centred >IGOR STRAWINSKY / 1953<; legal reservations 1st page of the score paginated pp. 2, 6, 8 below type area flush left >Copyright 1954 by Boosey & Hawkes, Inc., New York, U. p. A.< flush right >All rights reserved<; plate number >B. & H. 17494<; production indication 1st page of the score below type area centre inside right below legal reservation >Printed in England<; end number p. 12 flush right >4. 54. E< as end mark) // (1954)
* Compositions are advertised in two columns without edition numbers and without price information, 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 three 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°°+°< [° centre; °° 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-New York.
81-2Straw
The copy from Strawinsky’s estate is on the front cover page above and next to name right with >IStr / Jun. 54< signed and dated and contains no corrections, but in the musical text of the 1st song with pencil notes on performance.
81-254 igor strawinsky / three songs / from / william shakespeare / vocal score / boosey & hawkes // Igor Strawinsky / Three Songs / from / William Shakespeare / 1953 / for Mezzo-Soprano / Flute, Clarinet and Viola / Vocal Score/ Boosey & Hawkes / [*] / London · Paris · Bonn · Capetown · Sydney · Toronto · New York // (Vocal score with chant [library binding (bibliothekseits nachgebunden)] 23.2 x 30.5 (4° [4°]); sung text English; 12 [11] pages + 4 cover pages thicker paper tomato red on greygreen beige [front cover title, 2 empty pages, page with publisher’s advertisements > Igor Strawinsky<** production data >No. 692< [#] >12.53<] + 1 page front matter [title page] without back matter; title head >THREE SONGS / from William Shakespeare<; dedication above title head centre centred partly in italics > Dedicated to EVENING ON THE ROOF (Los Angeles)<; author specified 1st page of the score paginated p. 2 next to, p. 6, 8 below song number in Roman numerals (with dot) flush right centred >IGOR STRAWINSKY / 1953<; legal reservation pp. 2, 6, 8 below type area flush right >All rights reserved< [/] flush left >Copyright 1954 by Boosey & Hawkes, Inc., New York, U.S.A.<; production indication [exclusively] 1st page of the score below type area centre inside right >Printed in England<; plate number >B. & H. 17494<; end number p. 12 flush right as end mark >10. 54. E<) // (1954)
* The copy of the Städtische Musikbibliothek München >2139/55< has on this point flush right a stamp mark >CURRENT PRICE / 4/– NET / BOOSEY & HAWKES, LTD<.
** Compositions are advertised in two columns without edition numbers and without price information, 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-New York.
81-259 igor strawinsky / three songs / from / william shakespeare / vocal score / boosey & hawkes // Igor Strawinsky / Three Songs / from / William Shakespeare / 1953 / for Mezzo-Soprano / Flute, Clarinet and Viola / Vocal Score/ Boosey & Hawkes / London · Paris · Bonn · Capetown · Sydney · Toronto · Buenos Aires · New York // (Vocal score with chant [library binding] 23.2 x 30.5 (4° [4°] ); sung text English; 12 [11] pages + 4 cover pages thicker paper tomato red on greygreen beige [front cover title, 3 empty pages] + 1 page front matter [title page] without back matter; title head >THREE SONGS / from William Shakespeare<; dedication above title head centre partly in italics > Dedicated to EVENINGS ON THE ROOF (Los Angeles)<; author specified 1st page of the score paginated p. 2 next to, p. 6, 8 below song number in Roman numerals (with dot) >I. Musick to heare< >II. Full fadom five< > III. When Dasies pied< flush right centred >IGOR STRAWINSKY / 1953<; legal reservation pp. 2, 6, 8 below type area flush right >All rights reserved< [/] flush left >Copyright 1954 by Boosey & Hawkes, Inc., New York, U.S.A.<; production indication [exclusively] 1st page of the score below type area centre inside right >Printed in England<; plate number >B. & H. 17494<; end number p. 12 flush right as end mark >6. 59. E<) // (1954)
81-2[65] igor stravinsky / three songs / from / william shakespeare / vocal score / boosey & hawkes // Igor Stravinsky / Three Songs / from / William Shakespeare / 1953 / for Mezzo-Soprano / Flute, Clarinet and Viola / Vocal Score / Boosey & Hawkes / London . Paris . Bonn . Johannesburg . Sydney . Toronto . New York // (Vocal score with chant sewn in red 22.9 x 31.2 (4° [4°] ); sung text English; 12 [11] pages + 4 cover pages thicker paper braunred on green beige [front cover title, 2 empty pages, page with publisher’s advertisements >Igor Stravinsky<* production data >No. 40< [#] >7.65<] + 1 page front matter [title page] without back matter; title head >THREE SONGS / from William Shakespeare<; dedication 1st page of the score above title head centre partly in italics > Dedicated to EVENING ON THE ROOF (Los Angeles)<; author specified 1st page of the score paginated p. 2 above und next to, p. 6, 8 below song number in Roman numerals (with dot) >I. Musick to heare< >II. Full fadom five< >III. When Dasies pied< flush right centred >IGOR STRAVINSKY / 1953<; legal reservations 1st page of the score, pp. 6, 8 below type area flush left >Copyright 1954 by Boosey & Hawkes, Inc., New York, U. p. A.< flush right >All rights reserved<; plate number >B. & H. 17494<; production indication 1st page of the score below type area centre inside right >Printed in England<; without end number; without end marks) // [1966]
* Compositions are advertised in two columns without edition numbers, without price information and without specification of places of printing >Operas and Ballets° / Agon [#] Apollon musagète / Le baiser de la fée [#] Le rossignol / Mavra [#] Oedipus rex / Orpheus [#] Perséphone / Pétrouchka [#] Pulcinella / The flood [#] The rake’s progress / The rite of spring° / Symphonic Works° / Abraham and Isaac [#] Capriccio pour piano et orchestre / Concerto en ré (Bâle) [#] Concerto pour piano et orchestre / [#] d’harmonie / Divertimento [#] Greetings°° prelude / Le chant du rossignol [#] Monumentum / Movements for piano and orchestra [#] Quatre études pour orchestre / Suite from Pulcinella [#] Symphonies of wind instruments / Trois petites chansons [#] Two poems and three Japanese lyrics / Two poems of Verlaine [#] Variations in memoriam Aldous Huxley / Instrumental Music° / Double canon [#] Duo concertant / string quartet [#] violin and piano / Epitaphium [#] In memoriam Dylan Thomas / flute, clarinet and harp [#] tenor, string quartet and 4 trombones / Elegy for J.F.K. [#] Octet for wind instruments / mezzo-soprano or baritone [#] flute, clarinet, 2 bassoons, 2 trumpets and / and 3 clarinets [#] 2 trombones / Septet [#] Sérénade en la / clarinet, horn, bassoon, piano, violin, viola [#] piano / and violoncello [#] / Sonate pour piano [#] Three pieces for string quartet / piano [#] string quartet / Three songs from William Shakespeare° / mezzo-soprano, flute, clarinet and viola° / Songs and Song Cycles° / Trois petites chansons [#] Two poems and three Japanese lyrics / Two poems of Verlaine° / Choral Works° / Anthem [#] A sermon, a narrative, and a prayer / Ave Maria [#] Cantata / Canticum Sacrum [#] Credo / J. S. Bach: Choral-Variationen [#] Introitus in memoriam T. S. Eliot / Mass [#] Pater noster / Symphony of psalms [#] Threni / Tres sacrae cantiones°< [° centre centred; °° original mistake in the title].
81-3 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / THREE SONGS / FROM / WILLIAM SHAKESPEARE^ / BOOSEY & HAWKES / No. 689 // HAWKES POCKET SCORES / IGOR STRAWINSKY / THREE SONGS / FROM / WILLIAM SHAKESPEARE / 1953 / for Mezzo-Soprano / Flute, Clarinet and Viola / BOOSEY & HAWKES / LTD. / LONDON · PARIS · BONN · CAPETOWN · SYDNEY · TORONTO · BUENOS AIRES · NEW YORK / NET PRICE / MADE IN ENGLAND // (Pocket score sewn 13.5 x 18.5 (8° [kl. 8° / 4°]); 11 [9] pages + 4 cover pages olive-green on dark beige [front cover title with frame 9.3 x 3.8 dark beige on olive-green, 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 data >No. 582** [#] 6.50**<] + 2 pages front matter [title page, empty page] + 1 page back matter [page with publisher’s advertisements* > HAWKES POCKET SCORES / A comprehensive library of Miniature Scores containing the best-known classical / works, as well as a representative selection of outstanding modern compositions.***< production data > No. 520 [#] 1.49]; dedication 1st page of the score paginated p. 3 above title head centre centred partly in italics > Dedicated toEVENING ON THE ROOF ( Los Angeles)<; author specified p. 3 above pp. 6, 8 below song title below song number in Roman numerals (with dot) [>I. Musick to heare< >II. Full fadom five< >III. When Dasies pied<] flush right centred >IGOR STRAWINSKY / 1953<; legal reservations 1st page of the score below type area flush left >Copyright 1954 by Boosey & Hawkes, Inc., New York, U.S.A.< flush right >All rights reserved<; edition number >689<; plate number >B. & H. 17493; end number p. 11 flush left >3·55 L & B<; production indications 1st page of the score between legal reservations >Printed in England< p. 11 as end mark flush right >Lowe and Brydone (Printers) Limited, London<) // (1955)
^ ^ = 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<. After London the following places of printing are listed: Paris-Bonn-Capetown-Sydney-Toronto-New York [° original spelling; °° original mistake in the title].
** Classical editions from >J. S. Bach< to >Weber< are listed including the titles of their works in four columns under the headline > classical editions<, under the headline >MODERN EDITIONS< the names of contemporary composers are listed without any titles in four columns from >Bela Bartok< to >Arnold van Wyk<, among them >IGOR STRAWINSKY<. The following places of printing are listed: London-Paris-Bonn- Capetown- Sydney-Toronto-New York.
81-362 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / THREE SONGS / FROM / WILLIAM SHAKESPEARE^ / BOOSEY & HAWKES / No. 689 // HAWKES POCKET SCORES / IGOR STRAWINSKY / THREE SONGS / FROM / WILLIAM SHAKESPEARE / 1953 / for Mezzo-Soprano / Flute, Clarinet and Viola / BOOSEY & HAWKES / MUSIC PUBLISHERS Limited / LONDON · PARIS · BONN · johannesburg· SYDNEY · TORONTO · NEW YORK / NET PRICE [#] MADE IN ENGLAND // (Pocket score stapled 13.5 x 18.6 (8° [8°]); 11 [9] pages + 4 cover pages olive-green on beige [front cover title with frame 9.4 x 3.8 beige on olive-green, 2 empty pages, page with publisher’s advertisements >HAWKES POCKET SCORES / An extensive library of miniature scores containing both classical works/ and a representative collection of outstanding modern compositions<* production data >Nr. I6< [#] > I/6I<] + 2 pages front matter [title page, empty page] + 1 page back matter [page with publisher’s advertisements >HAWKES POCKET SCORES / A comprehensive library of Miniature Scores containing the best-known classical / works, as well as a represantative selection of outstanding modern compositions.<** production data >No. 520< [#] >1.49]; title head >THREE SONGS / from William Shakespeare<; dedication above title head centre partly in italics > Dedicated to EVENING ON THE ROOF (Los Angeles)<; author specified 1st page of the score paginated p. 3 above und next to, p. 6, 8 below song number in Roman numerals (with dot) [>I. Musick to heare< >II. Full fadom five< >III. When Dasies pied<] flush right centred >IGOR STRAWINSKY / 1953<; legal reservations pp. 3, 6, 8 below type area flush left >Copyright 1954 by Boosey & Hawkes, Inc., New York, U. S. A.< flush right >All rights reserved<; plate number >B. & H. 17493; end number p. 11 flush left >8·62 L & B<; production indications 1st page of the score below type area between legal reservations centre inside right >Printed in England< p. 11 as end mark flush right >Lowe and Brydone (Printers) Limited, London<) // (1962)
^ ^ = 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 / Symphonies de Psaumes / Threni<. After London the following places of printing are listed: Paris-Bonn-Johannesburg-Sydney-Toronto-New York [without Buenos Aires].
** Classical editions from >J. S. Bach< to >Weber< are listed including the titles of their works in four columns under the headline > classical editions<, under the headline >MODERN EDITIONS< the names of contemporary composers are listed without any titles in four columns from >Bela Bartok< to >Arnold van Wyk<, among them >IGOR STRAWINSKY<. The following places of printing are listed: London-Paris-Bonn-Johannesburg-Sydney-Toronto-Buenos Aires-New York.
81-366 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / THREE SONGS / FROM / WILLIAM SHAKESPEARE^ / BOOSEY & HAWKES / No. 689 // HAWKES POCKET SCORES / IGOR STRAWINSKY / THREE SONGS / FROM / WILLIAM SHAKESPEARE / 1953 / for Mezzo-Soprano / Flute, Clarinet and Viola / BOOSEY & HAWKES / MUSIC PUBLISHERS Limited / LONDON · PARIS · BONN · johannesburg· SYDNEY · TORONTO · NEW YORK / NET PRICE [#] MADE IN ENGLAND // (Pocket score stapled 13.8 x 18.7 (8° [8°]); 11 [9] pages + 4 cover pages olive-green on beige [front cover title with frame 9.4 x 3.8 beige on olive-green, 2 empty pages, page with publisher’s advertisements >HAWKES POCKET SCORES / An extensive library of miniature scores containing both classical works/ and a representative collection of outstanding modern compositions<* production data >Nr. I6< [#] > I/6I<] + 2 pages front matter [title page, empty page] + 1 page back matter [empty page]; title head >THREE SONGS / from William Shakespeare<; dedication above title head centre partly in italics > Dedicated to EVENING ON THE ROOF (Los Angeles)<; author specified 1st page of the score paginated p. 3 above und next to, pp. 6, 8 below song number in Roman numerals (with dot) [>I. Musick to heare< >II. Full fadom five< >III. When Dasies pied<] flush right centred >IGOR STRAWINSKY / 1953<; legal reservations pp. 3, 6, 8 below type area flush left >Copyright 1954 by Boosey & Hawkes, Inc., New York, U. S. A.< flush right >All rights reserved<; plate number >B. & H. 17493; end number p. 11 flush left >11·66 L & B<; production indications 1st page of the score below type area between legal reservations centre inside right >Printed in England< p. 11 as end mark flush right >Lowe and Brydone (Printers) Limited, London<) // (1966)
^ ^ 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 / Symphonies de Psaumes / Threni<. After London the following places of printing are listed: Paris -Bonn-Johannesburg-Sydney-Toronto-New York.
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.
http://www.kcatalog.org and http://www.kcatalog.net