K087 J. S. Bach: Choral-Variations

deutsch K087 J. S. Bach: Choral-Variationen

K87 J. S. Bach: Choral-Variationen

über das Weihnachtslied „Vom Himmel hoch da komm’ ich her“, für Chor und Orchester gesetzt von Igor Strawinsky – J. S. Bach: Choral Variations on the German Christmas carol “Vom Himmel hoch” – J. S. Bach: Variations chorales sur le chant de Noël: Du haut du ciel je viens ici, arrangement d’après J.-S. Bach pour chœur mixte et orchestre – J. S. Bach: Variazioni corali sul canto natalizio “Vom Himmel hoch da komm’ ich her“, trascrizione per coro ed orchestra di Igor Strawinsky

Scored for*: a) First edition: 2 Flauti, 2 Oboi, Corno inglese, 2 Fagotti, Contrafagotto, 3 Trombe in Do, 3 Tromboni, Arpa, Viole, Contrabassi [2 Flutes, 2 Oboes, English horn, 2 Bassoons, Contrabassoon, 3 Trumpets in C, 3 Trombones, Harp, Violas, Double basses]; b) Performance requirements: mixed choir in four-parts (Soprano**, Alto, Tenor**, Bass**), 2 Flutes, English horn, 2 Bassoons, Contrabassoon, 3 Trumpets in C, 2 Tenor trombones, Bass trombone, Harp, 3 Solo Double basses, Strings*** (Violas, Double basses).

* Using individual singers/players in sections.

** Single register at times in two parts in octaves.

*** Divided in two.

Source: The basis of the composition used by Strawinsky was > Einige canonische Veränderungen über das Weynacht-Lied “Vom Himmel hoch da komm’ ich her” vor die Orgel mit 2 Clavieren und dem Pedal< by Johann Sebastian Bach, which was published in 1748. Bach wrote the choral variations on a Christmas carol (Schmieder’s Bach-Werke-Verzeichnis 769) in 1746 to 1747 for the reason of his entry into the Sozietät der Musikalischen Wissenschaften (Corresponding Society of Musical Sciences) founded by Mizler, which took place in June 1747. Mizler’s Society was not an official scholarly society in the sense of an Academy collegiate think tank, rather the realization of a personal idea of Mizler’s. According to a letter from the German Bach researcher Hans-Joachim Schulze dated 25th March 2002, Strawinsky took the opening Chorale from the final chorale of the second Cantata of the Christmas Oratorio, however not in the original version in G major (4/4 or 12/8 bars, choirs of strings and the voice parts interchanging with the woodwinds), but from a later edition, which at that time had not been identified, the Breitkopf edition of 1787, which was prepared as the fourth and final part of the publication of an edition of the four-part chorales of Kirnberger and then finally carried out by Carl Philipp Emanuel Bach (or rather ‘the publishers’). The work appears there under the number 343. The Breitkopf edition was reprinted again and again complete or in part from 1831 onwards. Which of these subsequent editions usually containing 371 chorales formed the basis for Strawinsky, is essentially unimportant due to the similarity of the editions. Strawinsky transposed the chorale into C major, kept the outer parts unaltered, retained some of the inner parts and swapped round other bits of them. Furthermore, he expanded the music. Bach’s canonic variations begin, without the opening chorale, with the first variation. Bach’s work is, with the exception of the fourth variation, which is in four parts, in three parts throughout, and the chorale theme is transferred into the pedal part and the canonic variations into the two manuals as well as the pedal part.

Construction: The Choral Variations consist of an introductory chorale theme and five canonic variations.

Structure

Choral

[3 trumpets, 2 tenor trombones, bass trombone]

Crotchet = 82

    (8 bars)

Var. I

In canone all' Ottava

[ Tutti without brass; 3 solo double basses; undivided strings ]

dotted Crotchet = 66

    (18 bars)

Var. II

Alio modo in canone alla Quinta

[ mixed choir in three parts (soprano*, alto, bass*); oboe, english horn, bassoon, 2 trumpets, 2 tenor trombones, violas split into two parts ]

Crotchet = 88

    (23 bars)

Var. III

In canone alla Settina

[ mixed choir in two parts (soprano, tenor); 2 flutes; oboe, english horn, bassoon, trumpet, tenor trombone, harp, strings (violas split into two parts, double basses ]

Quaver = 102

    (27 bars)

Var. IV

In canone all' Ottava per augmentationem

[ mixed choir in three parts (alto, tenor**, bass); 2 flutes; 2 bassoons, contrabassoon, 2 trumpets, 3 trombones, strings split into two ]

Quaver = 80

    (42 bars)

Var. V

L'altra sorte dei canone al rovescio:

1. alla Sesta, 2. alla Terza, 3. alla Seconda, 4. alla Nona

[ mixed choir in four parts; tutti without solo double basses ]

Crotchet = 104

    (56 bars)

* Bars 21-23 split into two parts in octave.

** Apart from bars 25, 39 and 40, divided into two in octaves throughout.

Style: Strawinsky was only able to employ such canonical techniques that appear in the music of Bach’s Variations. Some of them Bach however could not use because it would not have been allowed for him, according to the compositional ideas of his time, to depart from the canonical two-, three- or four-part texture selected in a certain variation and to turn it into a three-, four- or even five-part texture. Strawinsky did not have to submit to such strictures, and so he changed throughout the direction of the music and the number of parts in order to create more canons. Similarly, this is also true for the contrasts of tensions that has been established in the literature. Bach stays in the area of C major. The baroque conception of the unity of the Affekt allows for no unmotivated mutatio per tonum but recognises contrast, but not however dialectical tension. Strawinsky was also not tied to this. He begins in C major, moves to G major in the second variation, seeks out the most extreme of foreign tonalities, D flat major, returns to the dominant, G major, and ends in the final tonality of C major. This sort of tonal structure is untypical for the Baroque, not even taking into account the fact that it would have been completely impossible due to the just temperament of the organ, as this would have resulted in Wolf notes in D flat major. Similarly, Strawinsky was not only aiming for colour, but for a build-up of tension. It is only in the final variation that it reaches a tutti, similarly for the entrance of all four voice parts in the chorus, which previously only enters in two and three parts. This process is also a form of way of conceiving music, which was invented by modern ears in the 19th Century, featuring at the climax section in the fugue. Apart from the dialectic tonalities, the composition of more parts in comparison with the original and the changing state of the voice parts, which is dependant on the colours and tension, Strawinsky adds the choir to Variations II-V, who sing piano in a restrained manner and divide the variations, depending on the various verses, into 4 choral sections, interludes, preludes and postludes. Bach’s original basically remains untouched, and the highest and lowest parts are unaltered. There are additional elements in the voice parts that are derived from Bach’s many-part development, for which Bach’s consistency in the number of parts striving for a unity of Affekt is given up by Strawinsky for the purposes of interpretation. Strawinsky’s version behaves towards Bach’s original like hermeneutics towards a text: Bach’s choral variations are for Strawinsky the theme which he interprets by revealing everything that is still hidden in it. There should have been a specific title thought up for this process. In the second variation for example, he has the four sections of the chorale theme played in inversion in the brass in the introduction and in the three interludes. This Canon alla quinta inferiora is interpreted by Strawinsky as being the rhythmic connection in quavers and crotchets to the crotchets and minims of Bach’s Cantus firmus and the quavers and semiquavers of Bach’s canonic rhythmic writing. Strawinsky’s orchestration also serves to define the style. The direct, sharp staccati destroy Bach’s legato flow, a technique which Strawinsky certainly came to know through Webern’s orchestration of the Ricercar, and together with the displaced accentuation, allows the listener to hear Bach illuminated by Strawinsky, in a substantially more characteristic fashion than in Pulcinella. The 12/8 meter of the First Variation for example is broken up into groups of six with two accents per bar and at the same time sets against it a rhythm in groups of four with the Cantus firmus. Strawinsky in this way enabled himself to rearticulate Bach’s passages in such a way that they make the original conception disappear at certain moments such as with pointed syncopations where they at least would have made some impact, for example in the Fourth variation, where he additionally transforms extended organ lines into a dialogue of instrumental sound. These comments have different effects in the various sections. The few changes to the chorale theme are scarcely of any significance, and the same is true for the changes in the fourth variation, which is compositionally less appropriate to the structurally density of the original. Bach’s ornamentation is effectively written out by Strawinsky. The exception to this is the trills to be started from above, which he in some cases gives a grace note afterwards.

Sung text: Strawinsky demanded that the Choral Variations be sung in German ‘everywhere’, and he wrote the dedication to Craft and his final remark in the score in German. He himself did not stick by this (as was also the case for Renard, which should actually only be sung in Russian), as he allowed the Variations to be sung in Israel in English.

Dedication: > Robert Craft gewidmet < [Robert Craft dedicated].

Duration: 10' 32".

Date of origin: begun in New York 29th December 1955, finished Hollywood 2nd February 1956 [or Good Friday 1956].

History of origin: The dates of composition were made known by Robert Craft. The First Variation was written on 29th December 1955 in New York, the Second shortly afterwards, and Variations 3-5 and the opening Chorale between 20th January and 2th February 1956 in Hollywood. These dates however contradict two letters from Strawinsky to Nadia Boulanger, which can be read in such a way as to show that the Variations were actually completed shortly before Good Friday (30th March) 1956.

First performance: 27th May 1956 in Ojai, California, as part of the Ojai Music Festival under the direction of Robert Craft.

Remarks: Strawinsky required a composition to extend the programme for the première of Canticum Sacrum in one of his concerts, and it needed to be written in such a way that it would not overshadow the main composition from the point of view of the audience at the première. In this respect, he composed the Choral Variations ‘ Mit der Genehmigung des Meisters’ (‘with the master’s permission’), as he self-deprecatingly signed his manuscript in German, and chose for it the same instrumentation as for the Canticum Sacrum. The composition of the work caused him more effort than he had expected.

Situationsgeschichte: Idiosyncratically significant and as a result much-discussed orchestrations of Bach’s works were written by many contemporary masters, such as Schönberg and Webern among others. Strawinsky found himself in possession of a copy of Webern’s orchestration of Bach’s Ricercar and was clearly so excited by the pointillist techniques used by Webern to adapt and interpret the original ,that he wanted to send Boulanger a copy straight away. He certainly gained a real excitement for his own arrangement from this work.

Significance: After Pulcinella, the Choral-Variationen are Strawinsky’s artistically most important foreign work, which, like Pulcinella, cannot be counted solely as an arrangement.

Versions: The publishing contract with Boosey & Hawkes was settled on 22nd May 1956. The conducting and pocket scores were published in the same year. The conducting score was printed in August. The British Library received its contributory copy on 31st August 1956. The pocket score was made available at the perfect time, for Christmas in December. In the British Library, the contributory copy was given in on the 12th of this month. The pocket score was made as a study score, in that it contained a short preface in three languages and a critical version of Bach’s original was printed in the lowest of three systems in the score, to allow the reader of the score to compare Bach’s version to Strawinsky’s. As a result, the pocket score bears a different disc number to the conducting score, and instead of 39, it has 51 pages.

Historical Recording: 30th March 1963 in Toronto, Massey Hall, Festival Singers of Toronto (Choral training: Elmer Iseler*), Canadian Broadcasting Corporation Symphony Orchestra conducted by Igor Strawinsky.

* The German pronunciation is erroneous at one point (p. 28, variation IV, bar 8). It has to be sung >her< instead of incorrectly >här<.

CD edition: XI-1/1-6.

Autograph: Autograph score not ascertained.

Copyright: 1956 by Boosey & Hawkes Inc.

Editions

a) Overview

87-1 1956 FuSc; d; Boosey & Hawkes London; 39 pp. (4°); B. & H. 18242.

87-2 1956 PoSc; d; Boosey & Hawkes London; 51 pp. 8°; B. & H. 18284; 695.

    87-2 62 (1962) ibd.

b) Characteristic features

87-1 Igor Strawinsky / J. S. Bach / Choral-Variationen / above das Weihnachtslied / “Vom Himmel hoch da komm' ich her” / full score/ Boosey & Hawkes // Igor Strawinsky / J. S. Bach / Choral-Variationen / above das Weihnachtslied / “ Vom Himmel hoch da komm' ich her” / for mixed chorus and orchestra/ pour choeur mixte et orchestre/ für gemischten Chor und Orchester/ Full Score/ Boosey & Hawkes / London · Paris · Bonn · Capetown · Sydney · Toronto · Buenos Aires · New York // (Full score [library binding] 23 x 30.9 (4° [4°]); sung text German; 39 [39] pages + 4 cover pages thicker paper dark blue on light grey-blue [front cover title, 2 empty pages, page with publisher’s advertisements > Igor Strawinsky<* production date >Nr. 692< [#] >12. 53<] + 2 pages front matter [title page, legend >Orchestra< Italian + duration data >ca. 25 min.< Italian] + 3 pages back matter [page with publisher’s advertisements >Symphonic Music / Selected Works for/ Soli, Chorus and Orchestra<** production date >No. 741< [#] >11. 55<, page with publisher’s advertisements >Symphonic Music / A Selection from the/ Classical Repertory<*** production date >No. 745< [#] >11. 55<, page with publisher’s advertisements > Igor Strawinsky<**** production date >No. 693< [#] >12. 53<; title head in connection with author specified 1st page of the score without pagination [p.1] centre centred >J. S. BACH: CHORAL-VARIATIONEN / über das Weihnachtslied / Vom Himmel hoch da komm’ ich her< flush right centred >für Chor und Orchester / gesetzt von / IGOR STRAWINSKY<; dedication above title head centre italic > Robert Craft gewidmet<; legal reservations 1st page of the score below type area flush left >Copyright © 1956 by Boosey & Hawkes Inc .< flush right >All rights reserved<; plate number >B. & H. 18242<; production indication 1st page of the score below legal reservation flush right >Printed in England<; end number p. 39 flush left as end mark >8. 56. E.<) // (1956)

* 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-Buenos Aires-New York.

** Compositions are advertised in two columns without edition numbers from >J. S. Bach< to >Leslie Woodgate<, amongst these >Igor Strawinsky / Cantata for Soprano and Tenor Soli, Female Chorus,/ Two Flutes, Oboe, English Horn( doubling Oboe 2) / and Violoncello / Mass for Chorus and Double Wind Quintet / Symphony of Psalms ( Revised 1948) / for Soli, Chorus and Orchestra<. 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 from >Tommaso Albinoni< to >Carl Maria von Weber<; Strawinsky not mentioned. 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/ 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-Buenos Aires-New York.

87-2 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / J. S. BACH: / CHORAL-VARIATIONEN^ / BOOSEY & HAWKES / No. 695 // HAWKES POCKET SCORES / IGOR STRAWINSKY / J. S. BACH: / CHORAL-VARIATIONEN / über das Weihnachtslied / “Vom Himmel hoch da komm' ich her” / BOOSEY & HAWKES / LTD. / LONDON · PARIS · BONN · CAPETOWN · SYDNEY · TORONTO · BUENOS AIRES · NEW YORK / NET PRICE / MADE IN ENGLAND // [no text on spine] // (Pocket score sewn 0.4 x 13.7 x 18.6 (8° [8°]); sung text German; 51 [51] pages + 4 cover pages thicker paper olive-green on dark beige with frame 9.5 x 3.8 dark beige on olive-green [front cover title, 3 empty pages] + 4 pages front matter [title page*, legend >Orchestra< Italian + duration data [> ca. 15 min.<] English, 2 pages introduction English + German- / -German + French without author specified and without translator specified] + 1 page back matter [empty page]; title head >J. S. BACH: CHORAL-VARIATIONEN / über das Weihnachtslied / Vom Himmel hoch da komm’ ich her<; dedication above title head centre italic > Robert Craft gewidmet<; author specified 1st page of the score paginated p. 1 below title head above, next to and below piece title >Choral< flush right centred >für Chor und Orchester / gesetzt von / IGOR STRAWINSKY<; legal reservations 1st page of the score below type area flush left >Copyright © 1956 by Boosey & Hawkes, Inc.< flush right >All rights reserved<; plate number >B. & H. 18284<; end number p. 51 flush left >12·56 L & B<; production indication 1st page of the score below legal reservation flush right >Printed in England< p. 51 flush right as end mark >Lowe and Brydone (Printers) Limited, London<) // (1956)

^ ^ = Text in frame.

* Unlike in the conducting score, the specification for the mixed choir is missing.

87-2 62 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / J. S. BACH: / CHORAL-VARIATIONEN^ / BOOSEY & HAWKES / No. 695 // HAWKES POCKET SCORES / IGOR STRAWINSKY / J. S. BACH: / CHORAL-VARIATIONEN / über das Weihnachtslied / "Vom Himmel hoch da komm' ich her" / BOOSEY & HAWKES / MUSIC PUBLISHERS LIMITED / LONDON · PARIS · BONN · JOHANNESBURG · SYDNEY · TORONTO · NEW YORK / NET PRICE / MADE IN ENGLAND // (Pocket score sewn 13.6 x 18.6 (8° [8°]); sung text German; 51 [51] pages + 4 cover pages thicker paper olive-green on dark beige with frame 9.5 x 3.8 dark beige on olive-green [front cover title, 3 empty pages] + 4 pages front matter [title page*, legend >Orchestra< Italian + duration data [> ca. 15 min.<] English, 2 pages introduction English + German- / -German + French without author specified and without translator specified] + 1 page back matter [empty page]; title head >J. S. BACH: CHORAL-VARIATIONEN / über das Weihnachtslied / Vom Himmel hoch da komm’ ich her<; dedication above title head centre italic > Robert Craft gewidmet<; author specified 1st page of the score paginated p. 1 below title head above, next to and below piece title >Choral< flush right centred >für Chor und Orchester / gesetzt von / IGOR STRAWINSKY<; legal reservations 1st page of the score below type area flush left >Copyright © 1956 by Boosey & Hawkes, Inc.< flush right >All rights reserved<; plate number >B. & H. 18284<; end number p. 51 flush left >5·62 L & B<; production indications 1st page of the score below legal reservation flush right >Printed in England< S. 51 flush right as end mark >Lowe and Brydone (Printers) Limited, London<) // (1962)

^ ^ = Text in frame.

* Unlike in the conducting score, the specification for the mixed choir is missing.


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