K086 Canticum Sacrum zu Ehren des Namens des heiligen Markus
K86 Canticum Sacrum
Ad Honorem Sancti Marci Nominis for tenor and baritone soli, chorus and orchestra – Canticum Sacrum zu Ehren des Namens des heiligen Markus für Tenor– und Bariton-Solo, Chor und Orchester – Canticum Sacrum pour ténor et baryton soli, chœur et orchestre, sur des textes en latin des deux Testaments – Canticum Sacrum. Ad Honorem Sancti Marci Nominis. Per tenore e baritono solisti, coro ed orchestra su testi latinidei due Testamenti
Scored for: First edition front matter legend: Flauto, 2 Oboi, Corno inglese, 2 Fagotti, Contrafagotto, 3 Trombe in Do, Tromba bassa in Do, 2 Tromboni tenori, Trombone basso, Trombone contrabasso, Arpa, Organo, Viole, Contrabassi [Flute, 2 Oboes, Cor anglais, 2 Bassoons, Contrabassoon, 3 Trumpets in C, Bass Trumpet in C, 2 Tenor Trombones, Bass Trombone, Contrabass Trombone, Harp, Organ, Violas, Double Basses]; Score nomenclature: Tenore Solo, Baritono Solo, Coro (Discanti, Alti, Tenori, Bassi) [Solo Tenor, Solo Bariton, Chorus (Discanti, Alti, Tenori, Bassi); b) Performance requirements: Solo Tenor, Solo Bariton, fourt-part mixed chorus (Sopranos****, Altos****, Tenors, Basses), Flute, 2 Oboes, Cor anglais, 2 Bassoons, Contrabassoon, 3 Trumpets in C, Bass Trumpet in C, 2 Tenor Trombones, Bass Trombone, Contrabass Trombone, Harp, Organ*, 3 Solo-Double Basses, Violas**, Double Basses***.
* Two manuals, Pedal 32'.
** Divided in two, in three or in four.
*** Divided in two.
**** Boys’ voices should be employed.
Performance practice: The Canticum Sacrum is conceived for performance in a large, stone Catholic Church with the large echo. For this reason, the faster passages are either interrupted by rests or preceded by rests, so that nothing is playing during the time for the echo; otherwise, these passages are orchestrated with such small groups of instruments that the length of the echo is neglible. In Surge, aquilo, the metronome markings must be heeded, because otherwise the final effect will not be achieved. Rests for the breaths and the phrasing are already marked into the score. In order to support the chorus, Strawinsky allows the sung parts to be supported by violas divided into three or four parts at certain points (bars 116-129 + their repeat three times; bars 218-236 four times; bars 274-280 four times), but this is only if the chorus is as weak in terms of intonation to necessitate this support or if the acoustic situation makes it essential. The close stacking of intervals of a second make the performance of this piece extremely challenging for the chorus; the same is true for the chorus part in Caritas. The intervals are difficult to execute and can only be sung by trained and experienced choral singers. Apart from this, each of the three chorus parts has such an individual rhythm that Strawinsky originally wanted to give each part its own bar lines in order to make sense of the individual rhythms. In the Spes section, the chorus, which duets antiphonally set against the duet of soloists, must consist of no more than 4 singers. Strawinsky’s necessary choral support in the violas in the Fides section must be removed if the choir is of sufficient quality because the viola accompaniment disturbs the balance of the sound. The organ part contains no instructions for the registration. Independent of Strawinsky’s conception that Canticum Sacrum belongs in a church setting, the realization came to him that it was not at all suitable for the traditional concert repertoire for a symphonic concert and the work would only suffer in this arena. He decided that it should be performed by chamber-music societies and, with regard to his American circumstances, by universities.
Summary: On a connected matter, the text contains a message based on the apostolic mission. After the dedication, Strawinsky begins with the task of the apostolic mission as it is given according to Mark (Movement I). Strawinsky has God the Father speak from the Song of Love, who invites his friends into his wonderful garden, where they will become drunk on Love. That is a literary flashback to that which had already happened before the apostolic mission, namely God’s invitation to Man to enter into his Eternal Kingdom (Movement II). At the centre of the Cantata are the Three Christian Virtues: Faith (fides), Hope (Spes) and Charity (Caritas), of which Strawinsky changed the order into Love, Hope and Faith. The first of God’s Ten Commandments, which Strawinsky’s extends with the Word of St. John, is to love God with one’s whole heart, so that everyone who loves is born from God. Whatever happens, that the soul hopes for the Lord and even trusts in him when prostrate (Movement III). Strawinsky uses a statement from the 9th chapter of St. Mark’s Gospel that everything becomes possible to those who believe, in this case a father cries for help for his child and simultaneously he begs to help his unbelieve (Movement IV). The Cantata ends with the sober affirmation that the disciples preached the Gospel everywhere, and that Christ stood by their side and empowered their deeds with signs (Movement V).
Source: With the exception of the dedication, which is a retranslation into Latin by Ernst Krenek, all the original Latin texts are taken from the Old and New Testaments in the Vulgata translation. They were selected by Strawinsky himself and compiled as a unified religious idea. Movement I is taken from the Gospel according to Mark, XVI, Book 7, movement II from the Canticum canticorum IV, Book 16, movement III from Deuteronomy (Moses V) VI,5 and the first Letter of the Apostles, John Book 4, Verse 7, Psalms CXXV,1 (Qui confidunt…) and CXXX, 4-5; movements 4 and 5 are again taken from St. Mark’s Gospel.
Translation: The English translation given in the score comes from the King James Bible, approved in England in 1611. This was the official English translation of the Vulgata which was revised in 1881 and 1885. The German translation of unknown origin given in the Strawinsky CD edition is very problematic and, at times, theologically incorrect. In the Latin prefatory text, the incipit of the final sentence ‘Illi’ is misprinted as ‘Ille’.
Construction: Canticum Sacrum is a spiritual concerto for solo and chorus in five movements with a self-standing introduction and formal symmetry constructed in a symbolic fashion; it has no figures but has bar numbers throughout for the 359 (not 344) bars, including repeats and cuts. The choral movements I and V, themselves both in five sections, correspond in terms of opposition, and movements II and IV likewise correspond as solo movements identified by rows for lyric tenor (II) and dramatic baritone (IV). The middle movement (III), which is polarized around A and has a twelve-tone ritornello, is the three-part centre and has its own five-part middle section for tenor, baritone and chorus, which is enclosed by two choral movements. It may be the case that the five-part nature of the Canticum Sacrum, which continues into the sectional division of the work, can be explained by the five-part model of a cathedral, with the extensive middle movement of the work as a mirror of the higher middle tower of San Marco, as Heinrich Lindlar has postulated with outline sketches. The nature of the resulting formally symmetrical assignments of the movements will have to remain speculation without analytical proof, defined by their relationship as building blocks under one another. Heinrich Lindlar was the first musicologist to highlight the link between Strawinsky’s music and the religiousness in his life, also in his ostensibly secular works ( Zur-Sakralmusik Igor Strawinskys, Bosse Publishers Regensburg 1957) and is quoted appreciatively in the relevant works by Roman Vlad. –
The short dedication ( Dedicatio) was created according to the needs of the royal performance and is a two-voice herald’s call by the two solo singers, whose voices are accompanied by 4 trombones like trumpets. There is a reciprocal inner relationship between the voices and the trombone parts. –
The first actual section, Euntes in mundum, is built up by means of its strophic form and is written as a harmonic movement with a dance-like character. It is linked to the Dedicatio by the note D in the upper voice part, which is the final note of the Prologue and first note of Euntes. Strawinsky fragmented the text into three sections and made each of the final words of a phrase of text into the beginning word of the next phrase, thus creating three sections of meaning: to go out into the world in its entirety, to spread the Gospel, and to teach the Gospel to all creation. He separates the three verses that are written in this way by nine-bar instrumental interludes, so that in the context of the five sections of the overall form, a five-part structure is also created in the first section. While the three verses are through-composed, the two interludes are musically identical. No part crosses another or enters into a foreign register either above or below. The chorus music is set syllabically throughout the first verse (with one exception), and in the second verse, it has narrow two-note melismas and in the third verse, wide two-note melismas. –
The second movement, Surge, aquilo, is an peculiar movement in the work and there have been several observations made about its technical processes. It is in itself atypical in terms of the overall style of the Canticum. It is a separate and lyrically homophonic concert aria for the tenor in a dramatic context. The movement links homophony with polyphony and serialism. –
The third movement, Ad Tres Virtutes Hortationes, follows Strawinsky’s well practised procedure, a constructed form in its own style acting as a miniature inserted into a large form: a small cantata inside a large cantata. It is made up of three sections, Caritas, Spes and Fides, corresponding to the three Christian Virtues, Faith, Hope and Charity. The two outer sections, canonic choral sections, frame the antiphonal middle section for soloists and chorus. Caritas follows the form A-B-B and begins with an orchestral introduction and a new tone row in the form of a passacaglia theme played by the organ, which also defines the structure of the fourth movement. The subsequent section for orchestra uses the most different transformations of the row. The same is true for the three-voice chorus section for soprano, alto and tenor and its two-voice accompaniment in the trumpet and bass trumpet. The unusual nature of this section arises from the use of individual rhythms in every chorus part which allows the voices to float together and should probably be counted as one of his most meaningful moments of textual characterization. The choral section is repeated with identical notes but a different text. The middle section, Spes, is again in five parts with an organ ritornello as an introduction, but also reflects the large form in the small form. The movement has an antiphonal structure and divides the text, according to church practice for antiphony, into two groups of voices: the two soloists, Tenor and Bass, and the Soprano and Alto chorus parts, without either group singing the words of the other. What is inconsistent with church practice, however, is that the text does not run from one group into the other, rather every group sings its own text and is interrupted by the text of the others. Separate texts with an overriding sense are entwined with one another and create a sense of continuous meaning but without grammatical or linguistic coherence. The sections of text are restricted by the music which is essentially identical. The form A-B-A1-B1-A2 is used for the 5 sung sections (without organ ritornello). The A sections are sung by the soloists, the B sections by female or boy’s chorus. Both chorus parts are composed contrapuntally by means of row construction. The second choral entry only takes on the structure of the first choral entry in the first movement and the row is subsequently manipulated. For the soloists’ duet, the values of the ritornello are halved, and for the choral duet, they are halved again to a crotchet. Each section has a different rhythmic model and a distinctive, different orchestration which certainly enables the listener to hear through the piece. The final section, Fides, begins again with the six-bar organ ritornello, which is followed by a brief woodwind entry, playing the original trombone triplet motif in its inversion in bassoon and double-bass. The following choral call, ‘ Credidi’, accompanied by the bass trumpet, is sounded five times. The rests in the choral unisons, used for dramatic effect, create a singular effect, and this section has been characterized as flowing in a peculiar manner. The final 6 bars of the movement are a repeat of the organ ritornello for strings without organ. The final note, an A, is the same as the first note of the movement. –
The penultimate movement, the Latin title of which, Brevis Motus Cantilenae can be translated as ‘Short, sung Scripture reading’, is in three parts in the form A-B-A1. The first section consists of an instrumental introduction and baritone solo section of an almost arioso or recitative style with echo effects in the chorus sounding afterwards. The second is a four-part, unaccompanied choral canon and the third a varied repeat of the baritone solo section with a coda. The choral canon has its rhythmic model in the instrumental introduction and plays a contrasting role. The choral parts are each derived from one of the original themes. The third section consists of a three-section baritone solo which is interrupted twice by rests. The coda (retrograde inversion) is constructed in the manner of a Classical interrupted subject which passes downwards from the baritone part via the oboe, 1st Bassoon, 2nd Bassoon to the organ. –
The final movement Illi autem (without Amen) is in retrograde and structurally identical to the first movement Euntes (A2-B-A1-B-A). This holds as much for the large-scale form of the sections as for the interludes, but for the pitch, rather for the rhythmic construction, which is so contrived that it can be developed in both directions. In any case, Strawinsky had to incorporate the Amen into the reversion, which is again an artful, reworked repeat of the inverted opening of the first movement.
Structure
Dedicatio
(Dedication - Widmung - Dédicace)
[Scored for: Tenor Baritone Solo / Trombones]
Minim = 66-69 (bar 1-9)
Urbi Venetiae . . .
(To the City of Venice . . . - Der Stadt Vendig . . . - À la ville de Venise . . .)
I
Euntes in mundum
(Go ye into all the world - Gehet hin - Allez partout le monde)
[Scored for: Chorus / Orchestra]
Crotchet = 116 (bar 10-16)
Euntes . . .
(Go ye . . . - Gehet . . . - Allez . . .)
Poco meno mosso Crotchet = 108 (bar 17-25)
Tempo Io Crotchet = 116 (bar 26-31)
. . . in mundum . . .
(. . . into all the world . . . - . . . in alle Welt . . . - . . . partout le monde . . .)
Poco meno mosso Crotchet = 108 (bar 32-40)
Tempo Io Crotchet = 116 (bar 41-45)
praedicate . . .
(and preach . . . - und prediget . . . - et prêchez . . .)
II
Surge, aquilo
(Awake, O north wind . . . - Steh auf, Nordwind . . . - Lève-toi, aquilon)
[Scored for: Tenor / Flute, English horn, 2 Solo Double basses]
Quaver = 92 (bar 46-93)
III
Ad Tres Virtutes Hortationes
(To the three Christian virtues - An die drei christlichen Tugenden – À les trois vertus religieuses)
[Scored for: Soloists / Chorus / Orchestra]
CARITAS
(Charity - Liebe - Le Charté)
Crotchet = 108 (bar 94-129bis [attacca subito forward to bar 130])
Diliges . . .
(Thout chalt . . . - Und du sollst . . . - Tu aimeras . . .)
SPES
(Hope - Hoffnung - L'espérance)
Crotchet = 108 (bar 130-147)
Crotchet = quaver = 108 [Soli; Tenor Trombone: (dotted quaver = 72)] (bar 148-153)
Qui confidunt . . .
(They that truth . . . - Die auf den Herrn hoffen . . . - Ceux qui se confient . . .)
Quaver = 144 [(Coro); tacet: (dotted quaver = 72); Tenor Trombone: dotted quaver = crotchet = 72)] (bar 154-162)
Sustinuit . . .
(My soul doth wait . . . - Ich harre . . . - J'espère . . .)
Quaver = 108 (bar 163-168)
Non commovebitur . . .
(. . . which cannot be removed . . . - . . . werden nicht fallen . . . - elle ne chancelle point . . .)
Quaver = 144 = [(Coro); Tenor Trombone: (dotted quaver = crotchet = 72)] (bar 169-177)
Speravit . . .
(My soul waithed . . . - Meine Seele wartet . . . - Mon âme compte . . .)
Quaver = 108 [Coro; Tenor Trombone crotchet = dotted quaver = 72] (bar 178-183 [attacca subito forward to bar 184])
Qui habitat . . .
( . . . but abideth . . . - . . . sondern ewig bleiben . . . - . . . elle est affernie . . .
FIDES
(Faith - Glaube - La Foi)
Crotchet = 108 (bar 184-190)
Crotchet = crotchet = minim = 84 (bar 191-203)
Crotchet triplet = quaver = 162 = crotchet = ca. 80 (bar 204-236)
Credidi . . .
(I believed . . . - Ich glaube . . . - J'avais confidence . . . )
Crotchet = crotchet = quaver = 160(-162) (bar 237-243)
Tempo Io Crotchet = 108 (bar 244-249)
IV
Brevis Motus Cantilenae
(Short sung reading of the Scripture - Kurze gesungene Schriftverlesung*))
[Scored for: Baritone / Orchestra]
Crotchet = 88 (bar 250-273)
Jesus autem ait . . .
(Jesus said . . . - Jesus aber sprach . . . - Jésus lui dit . . .)
Più agitato Crotchet = 96 (bar 274-278)
Et continuo . . .
(And straightway . . . - Alsbald . . . - Aussitôt)
Doppiamento lento Quaver = 96 (bar 279-294 [bar 281-294 crotchet = 88 quasi rubato discreto])
Cum lacrimis . . .
(eith tears . . . - [unter Tränen . . .*] - [avec des larmes* . . .])
Meno mosso Crotchet = 60 (bar 295-306)
. . . [ad]juva . . .
(help . . . - hilf . . . - viens au . . .)
V
Illi autem profecti
(And they went forth - Sie aber gingen aus - Et ils s'en allèrent)
[Besetzung: Chor / Orchester]
Crotchet = 116 (bar 307-311)
Illi autem . . .
(And they . . . - Sie aber . . . Et ils . . .)
Poco meno mosso Crotchet = 108 (bar 312-320)
Tempo Io Crotchet = 116 (Takt 321-326)
Domino . . .
(the Lord . . . - Und der Herr . . . - Le Seigneur . . .)
Poco meno mosso Crotchet = 108 (bar 327-335)
Tempo Io Crotchet = 116 (bar 336-341)
. . . sequentibus signis.
(. . . with signs following. - . . . durch die nachfolgenden Zeichen. - . . . par les miracles qui l'accompagnaient.)
Adagio Crotchet = 66 (bar [342-345***])
Amen.
* No original translation available.
** Word not translated in the semi-official CD-text.
Rows: Modal Rows of the first movement: d3-a2-g2-f2-e2-/ e2-d2-c1-bb1 / a1-g1-f1 / c1-b / A-G-F-E-D-C; Tenor-Solo Surge, aquilo: ab1-g1-f2-d2-f#1-e2-eb2-db2-bb1-c2-b1-a1.
Historical analysis: Robert Craft: A concert for Saint Mark, Score, December 1956 Nr. 18, pp. 35-51.
Style: The Surge, aquilo in the Canticum Sacrum is a typical example of Strawinsky’s early row technique. He works diatonically, developing the row by means of a rotational process and he does not base the thematic material on the row, rather he develops the row from the theme and sets sections of the row around tonally polarized centres. He also rejects all forms of automatism of the row, in that he repeats sections of the row so that the serialism always goes hand in hand with non-serialism and, in the old sense, the harmonic intervals do not arise from a chordal process, rather as a result of a constructivist process. An explanation of Surge, aquilo is also an explanation of compositional procedural techniques which can be seen from different viewpoints but are simplified by the brevity of the movement at a length of only 47 bars. The Canticum Sacrum has often been analysed carefully, firstly by Erwin Stein, then by Robert Craft. Strawinsky quite clearly used techniques to draw out the meaning of the text, including in the instrumental music. The long, held notes at in mundum and in mundum universum are a part of this just as much as the herald’s trumpets in the Dedicatio or his linking the music to the text from St. John’s Gospel with the music to the text of Moses in the Caritas section. The crossings of the parts between the reversion row in the tenor and the inverted row in the baritone in the Spes section in the second bar of the entry are striking. Whether it has a Christian significance remains unclear. The fifth setting of Credidi in the Fides section indicates Strawinsky’s personal beliefs. The change of character of the music at the word for tears ‘ lacrymis’ in the 4th movement is significant. The four repetitions of ‘I believe’ ( credo) at the end of the final baritone solo of the 4th movement and the fourt invocations of ‘Help me’ ( adjuva) immediately afterwards are also significant moments. The transition into joy is unmistakable at the beginning of the 5th movement. This reversion to the music of the 1st movement enhances the meaning of the text. A theological consideration of Strawinsky certainly illuminates the background to this work. The 1st movement states the mission and has a forward-looking character; in the 5th movement, the mission is completed and so has a retrospective character. In this way, the Word returns to God. Accordingly, Strawinsky has the music of the 5th movement proceed as a reversion from its form in the 1st movement. Whether the occasionally noticeable numerical relationships signify a cryptographical meaning or whether they arise as an added result of the composition process can not be seen from examination of the evidence. The four-part trumpet section, which is heard at the Apostolic Mission scene in movement I and which enables its delivery to the four Gospel writers, is part of this, and represents also the four points of the compass, the directions in which the mission must proceed. The cantata is colourful in a chamber-music style and is rich in figuration; it is, with the exception of the lyrical tenor aria Surge, aquilo, strongly dramatic.
Dedication * : Dedicatio / Urbi Venetiae, in laude Sancti sui Presidis, / Beati Marci Apostoli. - Dedication / To the City of Venice, in praise of its / Patron Saint, the Blessed Mark, Apostle. [Widmung / Der Stadt Venedig, zum Lobe ihres Schutzpatrons, / des heiligen Apostels Markus.] – [Dédicace / A la ville de Venise, à la louange de son Patron, / Saint Marc, l'Apôtre.].
* The dedication is sung as the 1st part of the piece.
Duration: about 0' 41" (Dedicatio) + 1' 37" + 2' 42" + 8' 02" + 3' 05" + 1'48".
Date of origin: The composition process was probably started with sketches and preparatory work on the text at the very end of 1954, but was mainly composed in 1955; the score and piano reduction were both completed by 25th November 1955 at the latest.
First performance: 13th September 1956, Church San Marco in Venice, Tenor Richard Lewis and Bariton Gérard Souzay, conducted by Igor Strawinsky.
Remarks: The Canticum Sacrum was originally conceived as a short Passion according to St. Mark and was announced as such by Strawinsky. Ten months before the beginning of the Venetian biennial Film Festival of 1955, the plan was suggested to Strawinsky that he compose a religious work for 1956 which could be premièred in the Cathedral of San Marco. Strawinsky was enthusiastic about the project and proposed a short Passion according to St. Mark. This plan was received with enthusiasm by the organizers and commissioners but was abandoned by Strawinsky, who had mentioned a Via Crucis which he was to compose for Venice in a letter to Nabokov of 11th February 1955; this was presumably because he had included a selfstanding Via Crucis central movement in the Cantata that he had completed shortly before and he did not want to repeat himself. A few moments in the second movement remain from the old idea of the Via Crucis and the Passion which were necessary in the development of the concept behind the Canticum Sacrum as an explanation of the apostolic concept of mission. On 14th May 1955 he settled on the final title. In the sketches, Strawinsky wrote Charitas instead of Caritas.
Significance: The Canticum Sacrum is one of the several pieces which occupies an exceptional position in Strawinsky’s catalogue of works. The Canticum Sacrum eschews the monochrome nature of the earlier Cantata as well as its sense of being self-contained, something which is achieved through the use of repeated sections in favour of a chamber-music, polychrome language. He also avoids repeats that are not theologically meaningful. Strawinsky achieves structural cohesion by means of the row construction.
Versions: As in all the late works, no further editions for the Canticum Sacrum have been published apart from the conducting score, the parts (available to hire), piano reduction and pocket score. The piano reduction was published in June 1956. The British Library received its copy on 18th July 1956. The pocket score was published in October 1956 with subsequent new versions of July 1957 and August 1962. The British Library received its contributory copy on 3rd November 1956. The conducting score was presumably printed in the same month as the pocket score because the entry of the copy in London was recorded as being on 2nd November 1956. The transcription for organ by Giselher Klebe of Surge, aquilo, Op.60 was first published in 1972, after Strawinsky’s death. The publishing contract was signed on 22nd May 1956.
Historical Record: Hollywood 19th Juni 1957, Richard Robinson (tenor), Howard Chitjian (bariton), Los Angeles Festival Symphony Orchestra and Corus, conducted by Igor Strawinsky.
CD edition: XI-2/1-6.
Autograph: The autograph of the score is located in the Signora Adriana Panni collection in the Accademia Filarmonicain Rom; the pencil autograph score of the piano reduction is in the Library of Congress in Washington D.C..
Copyright: 1956 by Boosey & Hawkes New York.
Editions
a) Overview
86-1 1956 VoSc; l; Boosey & Hawkes London; 30 pp.; B. & H. 18169.
86-1[65]1965 ibd.
86-2 1956 FuSc; l; Boosey & Hawkes London; 40 pp.; B. & H. 18168.
86-2Straw ibd. [signed and dated, without annotations].
86-3 1956 PoSc; l; Boosey & Hawkes London; 40 pp.; B. & H. 18168; 691.
86-357 1957 ibd.
86-362 1962 ibd.
86-366 1966 ibd.
a) Characteristic features
86-1 IGOR STRAWINSKY / CANTICUM SACRUM / [picture] / Vocal Score / BOOSEY & HAWKES // Igor Strawinsky / Canticum Sacrum / ad honorem / Sancti Marci / nominis / for tenor and baritone soli, chorus and orchestra / Vocal Score / by the composer / London · Paris · Bonn · Capetown · Sydney · Toronto · Buenos Aires · New York // Vocal score sewn in black in black 23.5 x 31 (4° [4°]); sung text Latin; 30 [30] pages + 4 cover pages thicker paper black on crème white [ornamental front cover title with drawing in pointillist technique 12.8 x 12.4 St. Mark’s lion initialed >Th. S.<, 2 empty pages, page with publisher’s advertisements >Igor Strawinsky<* production data >No. 692< [#] >12.53<] + 4 pages front matter [title page, empty page, legend >Orchestra< Italian + duration data [>about 17 minutes<] + authorchip of cover page design italic > Cover design by Theodore Strawinsky<, text set to music Latin-English] + 2 pages back matter [empty page, page with publisher’s advertisements >Igor Strawinsky<** production data >Nr. 693< [#] >12.53<]; title head >CANTICUM SACRUM / AD HONOREM / SANCTI MARCI NOMINIS<; author specified 1st page of the score paginated page 3 above and next to movement title >Dedicatio< flush right centred >IGOR STRAWINSKY / 1955<; legal reservation 1st page of the score below type area flush right >All rights reserved< flush left >Copyright © 1956 by Boosey & Hawkes, Inc., New York<; production indication 1st page of the score below type area between legal reservation and plate number centre inside right >Printed in England<; plate number >B. & H. 18169<; end number p. 30 flush right >6. 56. E.<;) // (1956)
* Compositions are advertised in two columns without edition numbers and without price information, in part multi-lingual and assigned (randomly) 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.
** 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/ Credo ( Latin) S.A.T.B. a cappella/ Pater noster ( Latin) S.A.T.B. a cappella< [° centre; °° original spelling]. After London the following places of printing are listed: Paris-Bonn-Capetown-Sydney-Toronto-Buenos Aires-New York.
86-1[65] IGOR STRAVINSKY / CANTICUM SACRUM / [picture] / Vocal Score/ BOOSEY & HAWKES // Igor Stravinsky / Canticum Sacrum / ad honorem / Sancti Marci / nominis / for tenor and baritone soli, chorus and orchestra/ Vocal Score/ by the composer/ Boosey & Hawkes London . Paris . Bonn . Johannesburg . Sydney . Toronto . New York // (Vocal score [library binding] 23.5 x 30.9 (4° [4°]); sung text Latin; 30 [30] pages + 4 cover pages thicker paper black on creme white with drawing in pointillist technique 12.8 x 12.4 St. Mark’s lion initialed >Th. S.<, 2 empty pages, page with publisher’s advertisements >Igor Stravinsky<* production data >No. 40< [#] >7.65<] + 4 pages front matter [title page, empty page, legend >Orchestra< Italian + duration data [>about 17 minutes<] + authorchip of cover page design italic > Cover design by Theodore Stravinsky<, text set to music Latin-English] + 2 pages back matter [empty pages]; title head >CANTICUM SACRUM / AD HONOREM / SANCTI MARCI NOMINIS<; author specified 1st page of the score paginated page 1 above and next to movement title >Dedicatio< flush right centred >IGOR STRAWINSKY / 1955<; legal reservations 1st page of the score next to title head flush left in the text box contained >IMPORTANT NOTICE / The unauthorized copying / of the whole or any part of / this publication is illegal< below type area flush right >All rights reserved / Tonsättning förbjudes< flush left >Copyright © 1956 by Boosey & Hawkes, Inc., New York<; production indication 1st page of the score below type area below legal reservation flush right >Printed in England<; plate number >B. & H. 18169<; without end marks) // [1965]
* 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].
86-2 IGOR STRAWINSKY / CANTICUM SACRUM / [Zeichnung] / Full Score/ BOOSEY & HAWKES // Igor Strawinsky / Canticum Sacrum / ad honorem / Sancti Marci / nominis / for tenor and baritone soli, chorus and orchestra/ Full Score/ Boosey & Hawkes / London Paris Bonn Capetown Sydney .Toronto Buenos Aires New York // (Full score [library binding] 25 x 33.3 (2° [4°]); sung text Latin; 40 [37] pages + 4 cover pages about thicker paper black on creme white [ornamental front cover title with drawing in pointillist technique 12.8 x 12.6 St. Mark’s lion initialed >Th. S.<, 3 empty pages] + 3 pages front matter [title page, legend >Orchestra< Italian + duration data [>about 17 minutes<] English + authorchip of cover page design italic > Cover drawing by Theodore Strawinsky<, text set to music Latin-English + dedication Latin-English >Dedicatio / Urbi Venetiae, in laude Sancti sui Presidis, / Beati Marci Apostoli. / Dedication / To the City of Venice in praise of its / Patron Saint, the Blessed Mark, Apostle.<] without back matter; author specified 1st page of the score paginated p. 4 next to movement title >Dedicatio< centred >IGOR STRAWINSKY / 1955<; legal reservations 1st page of the score below type area flush left >© 1956 by Boosey & Hawkes, Inc., New York< flush right >All rights reserved<; production indication 1st page of the score below type area centre inside right >Printed in England<; plate number >B. & H. 18168<; without end marks) // (1956)
86-2Straw
Strawinsky’s copy is on the front cover title next to his name flush right signed and dated >Str Venice / Aug/°56< and without annotations [° slash original]. The end line of the r here, which is characteristic of Strawinsky, is written in such a way that it forms a dividing line between Venice and the time specification. The initials are exactly as large as the two lines that appear adjacent. The copy contains no further entries. The back sides of the cover are missing.
86-3 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / CANTICUM SACRUM^ / BOOSEY & HAWKES / No. 691 // HAWKES POCKET SCORES / IGOR STRAWINSKY / CANTICUM SACRUM / AD HONOREM / SANCTI MARCI / NOMINIS / for tenor and baritone soli, chorus and orchestra/ BOOSEY & HAWKES / LTD. / LONDON · PARIS · BONN · CAPETOWN · SYDNEY · TORONTO · BUENOS AIRES · NEW YORK / NET PRICE / MADE IN ENGLAND // (Pocket score stapled 13.7 x 18.5 (8° [kl. 8° / 8°]); sung text Latin; 40 [37] pages + 4 cover pages dark green on dark beige [front cover title with frame 9.4 x 3.7 dark beige on dark green, 3 empty pages] + 3 pages front matter [title page, legend >ORCHESTRA< Italian + duration data > about 17 minutes< English, text set to music printed in two columns Latin-English] without back matter; title head > Canticum Sacrum / Ad Honorem / Sancti Marci / Nominis<; author specified 1st page of the score paginated p. 4 next to and below movement title* >Dedicatio< flush right centred >IGOR STRAWINSKY / 1955 <; legal reservations below type area [flush right:] pp. 4, 5 [centre inside right:] pp. 13, 16, 29, 34 >All rights reserved< flush left [pp. 4, 5, 13, 16, 29, 34] >Copyright © 1956 by Boosey & Hawkes, Inc., New York< plate number >B. & H. 18168<; end number p. 40 flush left >10·56 L & B<; production indications 1st page of the score below type area centre inside right >Printed in England< p. 40 as end mark flush right >Lowe and Brydone (Printers) Limited, London<) // (1956)
^ ^ = Text in frame.
* Apart from the >Dedicatio< the titles of the movements are numbered using Roman numerals (without dot) on a separate line.
86-357 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / CANTICUM SACRUM^ / BOOSEY & HAWKES / No. 691 // HAWKES POCKET SCORES / IGOR STRAWINSKY / CANTICUM SACRUM / AD HONOREM / SANCTI MARCI / NOMINIS / for tenor and baritone soli, chorus and orchestra/ BOOSEY & HAWKES / LTD. / LONDON · PARIS · BONN · CAPETOWN · SYDNEY · TORONTO · BUENOS AIRES · NEW YORK / NET PRICE / MADE IN ENGLAND // (Pocket score stapled 13.7 x 18.7 (8° [8°]); sung text Latin; 40 [37] pages + 4 cover pages olive-green on dark beige [front cover title with frame 9.4 x 3.7 dark beige on olive-green, 3 empty pages] + 3 pages front matter [title page, legend >ORCHESTRA< Italian + duration data > about 17 minutes< English, text set to music printed in two columns Latin-English] without back matter; title head > Canticum Sacrum / Ad Honorem / Sancti Marci / Nominis<; author specified 1st page of the score paginated p. 4 next to and below movement title* >Dedicatio< flush right centred >IGOR STRAWINSKY / 1955 <; legal reservations below type area [flush right:] pp. 4, 5 [centre inside right:] pp. 13, 16, 29, 34 >All rights reserved< flush left [pp. 4, 5, 13, 16, 29, 34] >Copyright © 1956 by Boosey & Hawkes, Inc., New York< plate number >B. & H. 18168<; end number p. 40 flush left >7·57 L & B<; production indications 1st page of the score below type area centre inside right >Printed in England< p. 40 as end mark flush right >Lowe and Brydone (Printers) Limited, London<) // (1957)
^ ^ = Text in frame.
* Apart from the >Dedicatio< the titles of the movements are numbered using Roman numerals (without dot) on a separate line.
86-362 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / CANTICUM SACRUM^ / BOOSEY & HAWKES / No. 691 // HAWKES POCKET SCORES / IGOR STRAWINSKY / CANTICUM SACRUM / AD HONOREM / SANCTI MARCI / NOMINIS / for tenor and baritone soli, chorus and orchestra/ BOOSEY & HAWKES / MUSIC PUBLISHERS Limited / LONDON · PARIS · BONN · JOHANNESBURG · SYDNEY · TORONTO · NEW YORK / NET PRICE / MADE IN ENGLAND // (Pocket score stapled 13,6 x 18,7 (8° [8°]); sung text Latin; 40 [37] pages + 4 cover pages dark green on beige [front cover title with frame 9.4 x 3.7 beige on dark green, 3 empty pages] + 3 pages front matter [title page, legend >ORCHESTRA< Italian + duration data >about 17 minutes< English, text set to music printed in two columns Latin-English] without back matter; title head > Canticum Sacrum / Ad Honorem / Sancti Marci / Nominis<; author specified 1st page of the score paginated p. 4 next to and below movement title* >Dedicatio< flush right centred >IGOR STRAWINSKY / 1955 <; legal reservations below type area [flush right:] pp. 4, 5 [centre inside right:] pp. 13, 16, 29, 34 >All rights reserved< flush left [pp. 4, 5, 13, 16, 29, 34] >Copyright © 1956 by Boosey & Hawkes, Inc., New York<; plate number >B. & H. 18168<; end number p. 40 flush left >8·62 L & B<; production indications 1st page of the score below type area centre inside right >Printed in England< p. 40 as end mark flush right >Lowe and Brydone (Printers) Limited, London<) // (1962)
^ ^ = Text in frame.
* Apart from the >Dedicatio< the titles of the movements are numbered using Roman numerals (without dot) on a separate line.
86-366 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / CANTICUM SACRUM^ / BOOSEY & HAWKES / No. 691 // HAWKES POCKET SCORES / IGOR STRAWINSKY / CANTICUM SACRUM / AD HONOREM / SANCTI MARCI / NOMINIS / for tenor and baritone soli, chorus and orchestra/ BOOSEY & HAWKES / MUSIC PUBLISHERS Limited / LONDON · PARIS · BONN · JOHANNESBURG · SYDNEY · TORONTO · NEW YORK / NET PRICE / MADE IN ENGLAND // (Pocket score stapled 13.5 x 18.2 (8° [kl. 8°]); sung text Latin; 40 [37] pages + 4 cover pages olive-green on dark beige [front cover title with frame 9.4 x 3.7 dark beige on olive-green, 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 data >Nr. I6< [#] >I/6I<] + 3 pages front matter [title page, legend >ORCHESTRA< Italian + duration data > about 17 minutes< English, text set to music printed in two columns Latin-English] without back matter; title head > Canticum Sacrum / Ad Honorem / Sancti Marci / Nominis<; author specified 1st page of the score paginated p. 4 next to and below movement title* >Dedicatio< flush right centred >IGOR STRAWINSKY / 1955 <; legal reservations below type area flush left pp. 4, 5, 13, 16, 29, 34 >Copyright © 1956 by Boosey & Hawkes, Inc., New York< flush right ppp. 4, 5 centre inside right pp. 13, 16, 29, 34 >All rights reserved<; plate number >B. & H. 18168<; end number p. 40 flush left >4·66 L & B<; production indications 1st page of the score below type area centre inside right >Printed in England< p. 40 as end mark flush right >Lowe and Brydone (Printers) Limited, London<) // (1966)
* Apart from the >Dedicatio< the titles of the movements are numbered using Roman numerals (without dot) on a separate line.
** Compositions are advertised in three columns without edition numbers from >Bach, Johann Sebastian< bis >Wagner, Richard<, amongst these >Stravinsky, Igor< without edition numbers >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.
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