K089 Threni

deutsch K089 Threni

K89 Threni

id est lamentationes Jeremiae prophetae for soprano, contralto, 2 tenors, bass and basso profondo soli, mixed chorus and orchestra – Threni. Lamentationen des Propheten Jeremias für Sopran, Alt, 2 Tenöre, 2 Bässe, gemischter Chor und Orchester – Threni pour soprano, contralto, deux ténors, basse et basse profonde, chœur mixte et orchestre – Threni. Lamentazioni del Profeta Geremia per soprano, contralto, due tenori, basso e basso profondo, coro misto ed orchestra

Scored for: a) First Edition orchestra° : 2 Flutes, 2 Oboes, Cors Anglais, 2 Clarinets in B b, A, (2nd doubling Alto Clarinet in F), Bass Clarinet, Sarrusophone, [4 Horns in F°°], 3 Trombones (alto, tenor, bass), Contralto Bugle (Flugelhorn)°°° in B b, Tuba, Timpani, Tam-tam, Piano, Celesta, Harp, Strings – b) Performance requirements: Solo Soprano, Solo Alto Contralto), 2 Solo Tenors, Solo Bass, Solo Basso profondo, mixed chorus in five parts (Soprano, First Alto, Second Alto, Tenor, Bass), 2 grand Flutes, 2 Oboes, English horn, 2 Clarinets in A and B b (2nd Clarinet = Alto Clarinet), Alto Clarinet (= 2nd Clarinet), Bass Clarinet, Sarrusophone, 4 Horns in F, Alto Trombone, Tenor Trombone, Bass Trombone, Flügelhorn, Tuba, Timpani, Tam-tam, Piano, Strings (Violin I, Violin II*, Viola, Violoncello, Double Bass).

° According to legend.

°° Only according to score.

°°° Original spelling.

* Divided in two.

Performance practice: The list of orchestration in the printed score is incomplete. Since the clarinets and flugelhorn are notated in C, the information given for the instruments (Clarinets in B flat and A, Alto clarinet in F, Flugelhorn in B flat) are superfluous. On the other hand, the four horns in F, written out as in the parts (in F), are not listed as such. Strawinsky left them as the only transposing instruments but expressly did not write the clarinets in transposing parts for the purpose of easier readability; in the orchestral parts, they were transposed back. The reason why he made an exception of the horns is not revealed in a letter to Ernst Roth of 11th February 1958. Strawinsky knew that there would be problems with the low C in the bass clarinet because the note could not be reached on a normal bass clarinet. In America, a special key had been developed a while before which had been standard in Germany. Strawinsky mentioned this to Roth. By ‘bugle contralto’, he meant a flugelhorn that sounds somewhat softer than a trumpet, which is notated in C, and by ‘tuba’, he meant a ‘bass saxhorn’. Instead of the sarrusophone, which is scarcely used in German military music and never used in German art music, he originally specified a contrabassoon. In the original instrumental version, nine woodwind instruments would have stood against nine brass instruments. In replacing the contrabassoon with a sarrusophone in the bass register, it looks like having the balance of wind and brass instruments. Strawinsky presumably swapped the instruments due to the lighter dialogue between contrabassoon and bass clarinet and with it the need for the greater flexibility of the sarrusophone. The sarrusophone, a type of metal oboe, is in spite of its construction from a thin sheet of brass due to its double reed a woodwind instrument. Strawinsky regarded it as well as a woodwind instrument based on its sound. In the orchestral list for Threni, it was inserted between the bass clarinet and trombones at the point where the omitted horns should be, but in the score, it is given between the bass clarinet and horns as a replacement for the bassoon but sometimes above the alto clarinet.

Source: The text is made up of three excerpts from the Lamentations of the Prophet Jeremiah from the Old Testament which were compiled by Strawinsky. The prefatory text gives sections from the psalms that are not set to music.

Construction: The score of Threni, which does not have figures but has bar numbers, is a three-part cantata for solo, choir and orchestra at a length of 419 bars with an introduction preceding it which is not labeled as such. The official number of bars does not match up to the actual number as the two Diphonies as well as the introduction to the fifth Elegy are counted as two bars and one bar respectively in the numbering. In the numbering in relation to the lengths of the bars, the number of bars must be increased by 8 for the first Diphony and 6 for the second. In the introduction (16 quavers) it cannot be given for certain due to a lack of bar divisions. Threni is in three movements, something which is taken from the text. The first is in a five-part structure, A-B-A1-B1-A2, with its own introduction, which sets the text of the title (bars 1-18): A sets the letter ‘Aleph’ (bars 19-61), B the letter ‘Beth’ (bars 62-67), A1 the letter He (bars 68-107), B1 the letter Caph (bars 108-113) and A2 the letter Res (bars 114-165). The second section is divided into three sections according to meaning ‘Querimonia’, ‘Sensus Spei’ and ‘Solacium’ (‘Querimonia’: bars 166-193; ‘Sensus spei’: bars 194-321; ‘Solacium’: bars 322-383). The third section is in two parts (bars 385-404 and 405-419) with an announcement of prayer (bar 384) in the two basses.

Structure

Crotchet = 60 (bar 1-18)

DE ELEGIA PRIMA

[ALEPH]

(crotchet = 60) (bar 19-22)

(stesso crotchet) (bar 23-26)

3/8-triplet ligature = 3/8 ligature (quaver = 180) (bar 27-34)

Quomodo sedet

3/8-triplet ligature = 3/8 ligature (quaver = 180) (bar 35-41)

domina gentium

(stesso quaver) (bar 42-61)

Quomodo sedet

[BETH]

(crotchet = 60) (bar 62-65)

Diphona I

Mesto minim = 46 (bar 66-67)

Plorans ploravit

[HE]

crotchet = 58-60 (bar 68-72)

stesso crotchet = 60 (bar 73-75)

3/8-triplet ligature = 3/8 ligature (quaver = 180) (bar 76-79)

Facti sunt hostes

Crotchet = 60 (bar 80-81)

3/8-triplet ligature = 3/8 ligature (quaver = 180) (bar 81-87)

Quia Dominus (bar 82-87)

(stesso quaver) (bar 88-107)

Facti sunt hostes

[CAPH]

crotchet = 58-60 (bar 108-111)

Diphona II

Mesto minim = 46 (bar 112-113)

Vide, Domine,

[RES(H)]

crotchet = 58-60 (bar 114-119)

crotchet = 60 (bar 120-122)

3/8-triplet ligature = 3/8 ligature (quaver = 180) (bar 123-132)

Vide, Domine,

crotchet = 60 (bar 133-134)

3/8-triplet ligature = 3/8 ligature (quaver = 180) (bar 135-141)

Foris interficit

(stesso quaver) (bar 142-165)

Vide, Domine,

DE ELEGIA TERTIA

1. Querimonia

[ALEPH]

crotchet = 56 (circa)) (bar 166)

crotchet = crotchet (bar 167-172)

Monodia Ego vir videns

[BETH]

sempre stesso tempo (bar 173)

crotchet = crotchet (bar 174-178)

Canon a 2 Vetustam fecit

[VAU]

sempre stesso tempo (bar 179)

crotchet = crotchet (bar 180-187)

Canon a 3 Et fregit ad numerum

[ZAÏN]

sempre stesso tempo (bar 188)

crotchet = Halbe (bar 189)

Canon a 4, duplex Recordare paupertatis

m inim = crotchet (bar 190)

crotchet = minim (bar 191)

Memoria memor ero

minim = crotchet (bar 192)

c rotchet = minim (bar 193)

Haec recollens

2. SeNsus spei

[HETH]

quaver = 208 (crotchet = 104) (bar 194)

(bar 195-203)

Misericordiae Domini

[TETH]

stesso quaver = 208 (bar 204-216)

(bar 205-216)

Bonus est Dominus

[LAMED]

stesso quaver = 208 (bar 217-230)

(bar 218-230)

Ut contereret sub pedibus eis

[NUN]

subito lento crotchet = 60 (bar 231-238)

Scrutemur vias nostras

3/8-triplet ligature = 3/8 ligature (crotchet = 90) (bar 239-245)

Nos inique egimus

[SAMECH]

crotchet = 120 (bar 246-259)

Operuisti in furore

[AIN]

crotchet = 90 (bar 260-281)

(bar 262-281)

Oculo[u]s * me

[TSADE]

crotchet = 60 (bar 282-309)

(bar 283-309)

Venatione ceperunt

[COPH]

crotchet = 60 (bar 310-321)

Invocavi momentum

3. Solacium

[RES(H)]

c rotchet = 60 (bar 322)

crotchet = 3/8 ligature (bar 323-326)

Judicasti, Domine

crotchet = 60 (bar 327-328)

crotchet = 3/8 ligature (bar 329-334)

Vidisti Domine

crotchet = 60 (bar 335-336)

crotchet = 3/8 ligature (bar 337-342)

Vidisti omnem furorem

crotchet = 60 (bar 343)

[SIN]

Poco meno mosso crotchet = 54 (bar 344)

c rotchet = crotchet (= 54) (bar 345-357)

Audisti opprobrium eorum

[THAU]

m inim = 92 (bar 358-359)

crotchet = crotchet = 184 (bar 360-366)

Reddes eis vicem

minim = 92 (bar 367-368)

crotchet = crotchet = 184 (bar 369-375)

Dabis eis scutum cordi

minim = 92 (bar 376-377)

crotchet = crotchet = 184 (bar 378-383)

Persequeris in furore

DE ELEGIA QUINTA

c rotchet = ca 50 (bar 384)

Oratio Jeremiae Prophetae

crotchet = 50 (bar 385-387)

(bar 386-390)

Recordare, Domine

q uaver = quaver (bar 388-390)

quaver = quaver (bar 391-393)

(bar 392-404)

Tu autem, Domine

q uaver = quaver (bar 394-404)

Meno mosso crotchet = 40 (bar 405-419)

Converte nos

* In the text being set, the word is twice (bars 263 and 264) set incorrectly as >Oculos< instead of the correct >Oculus<.

Row: d#1-g#1-g1-a#1-c#2-a1-d2-b1-e1-c2-f1-f#1. – The row has been debated for some time since Threni uses different forms of the row in the introduction. In response to Roman Vlad, Strawinsky explained that the prime row is first stated in the soprano part at the announcement of the beginning of the Lamentations, i.e. bar 5. What comes before it is a series of derivations.

Style: Threni is an exclusively serial composition. The text is set over variants of the row. The realization of the text is at the same time an analysis of the work, which surpasses technical categories and cryptographic pictorial content. The audience at the première had in front of them an analysis of the rows by Roman Vlad based on Strawinsky’s indications. The Threni represent a cosmos of sophisticated variations of colour by means of small ensembles that are used in constantly different combinations. Each of the numerous mixtures of tone colour, some of which only last for a few bars, cannot be repeated, just as history is a constant succession of small events without the possibility of their being undone. Even the inclusion of a setting of Jeremiah’s alphanumerical numbering, which is normal in all settings of this text, cannot be repeated, not even at the number of the calls: Aleph (bars 19-22): eight times; Beth (bars 62-65): twelve times; He (bars 68-72): thirteen times; Caph (bars 108-111): nine times; Res (bars 114-119): four times. This refers to the first section. In the ‘Querimonia’, the setting of the letters mostly develops in the space of a single bar with an identical ensemble but with different chords for the call. In ‘Sensus Spei’, long, held counterpoint of varying construction is used for the setting of the letters; in the ‘Solacium’, a single call is accompanied by the orchestra interspersed by stretto repeats of itself and the final Oratio is constructed in such a way that it does not require the alphabetical sequence. Threni is therefore one of the most colourful, glorious and spiritual compositions that Strawinsky ever wrote. As a sum of his church-music interpretations, Strawinsky gathers together all the meaningful processes possible. The serial technique is no hindrance for him. For Strawinsky, the row is a figure of order but not something that constricts him or exists for its own sake. He displaces, repeats, inverts, omits and adds when it appears necessary for the sake of characterization. Since the significant moments of Strawinsky’s music sometimes occur in the smallest range of notes, he does not need expansive tonal plateaus. A repetition of an interval, a chromatic sequence, a wide leap is enough to suggest textual relationships. Throughout the course of his life, Strawinsky developed compositional formulae which could be re-used and re-assigned according to their content. Characteristic musical figures are also used, the effects on the mind of which have been undisputed for centuries. They can all be found and support the meaning of the text in Strawinsky’s headstrong theological approach.

Dedication: >Dem Norddeutschen Rundfunk gewidmet< [Dedicated to the Norddeutscher Rundfunk].

Duration: Score: 35'; CD: 29' 51" (Incipit: 0' 54", Elegia prima: 7' 43", Elegia tertia: 18' 05", Elegia quinta: 3' 09").

Date of origin: Hollywood March 1958.

History of origin* >

* see Chapter ‚Remarks’.

First performance*: 23rd September 1958, Sala della Scuole Grander di San Rocco, Venice, conducted by Igor Strawinsky.

* The première was dedicated to Alessandro Piovesan’s memory.

Remarks: Threni was commissioned by Hamburg Radio which, like the Hamburg Opera, had made a great effort with Strawinsky‘s music, to the extent that Strawinsky eventually celebrated his official 80th birthday in Hamburg, despite several other invitations elsewhere. He sent the first completed 24 pages to David Adams of the publishers Boosey & Hawkes on 1st January 1958. Pages 25 to 50 inclusive followed on 28th January, pages 51 to 66 on 5th February, pages 67 to 82 on 26th February and the final pages, 83 to 90 on 26th March 1958. He sent new versions of pages 51 and 52 to Adams with the request that he replace these pages in the old version with the new ones and that he destroy the old sheets. The publishers were in a great hurry with the printing. Strawinsky had already sent corrections on 3rd April 1958 and pushed for a speedy completion of the orchestral material. On 20th April, he discovered further mistakes on pages 27, 37-38 and 55 which he requested be removed. Strawinsky was in such a hurry with the corrections because he was going to leave Hollywood for Europe on 20th July and wanted to have completed everything that he had been working on by that point. He learnt of the death of Erwin Stein ( 17th July 1958) on this journey, which affected him greatly. Likewise, the death of Alessandro Piovesan, whom he had known since the première of his opera The Rake’s Progress, at this time shook greatly, and Strawinsky dedicated the première of the Threni to Piovesan’s memory.

Situationsgeschichte: Strawinsky gladly accepted the flattery that he received from Pierre Boulez. Boulez was bringing Strawinsky’s works to performance and in doing so was strengthening his self-assurance that he would be regarded as someone worthy in the eyes of the younger generation as well. All went well up to the Parisian performance of Threni on 14th November 1958. The relationship subsequently worsened on Strawinsky’s side to such an extent that he eventually would not even receive Boulez any more and rather had his wife to represent him. Strawinsky, who had been profoundly affected by the events in Paris, broke relations simultaneously with Boulez and with Paris. He explained that he did not want to appear in Paris as an artist again and kept his word. The facts were that, contrary to his written agreement with Strawinsky, Pierre Boulez prepared a performance, which Strawinsky was going to conduct, so badly that the performance as well as the first rehearsal was a failure; he also presented him with an incapable, and completely under-coached choir which could not cope with his works and made mistakes throughout the entire performance. He even faced a certain amount of laughter from the French audience after the performance. The press that was favourable to Boulez, with Antoine Goléa at its head, spoke out against Strawinsky yet did not waste a single word criticizing Boulez.; Boulez, contrary to his agreement and despite a year-long, nerve-fraying dispute, was not prepared to repudiate the press, who were inaccurate, and to explain that Strawinsky, who was not a great or superior conductor, had been put in front of an unprepared and, in the case of the choir, incapable ensemble. That Boulez would not admit that the failure of the performance should not be attributed to the work itself or the musical direction, was something that Strawinsky could not tolerate any longer. The possibility that such a polemically minded man as Boulez could have no genuine interest in a piece with such exclusively religious intentions as Threni was presumably something that Strawinsky not had registered. He assumed from his experience with other non-religious interpreters of his works that at least a certain level was guaranteed, at least in matters of technical accomplishment. When Boulez’s derogatory and unpleasant comments about Strawinsky’s Variations were made known to Strawinsky, the relationship between the two was finally destroyed, probably to Boulez’s surprise. Strawinsky wanted nothing more to do with Boulez.

Significance: Threni is seen as a work that is on the one hand brittle, dry and difficult to understand but on the other hand it is regarded as Strawinsky’s most meaningful piece of church music and thus one of the most valuable musical works of the 20th Century.

Versions: The publishing contract with Boosey & Hawkes was settled on 22nd May 1958. The choral score, conducting score, piano reduction and pocket score of Threni were all published in 1958. In spite of the number of contradictory disc numbers, the piano reduction and conducting score were printed in September and the pocket score in October, while the copy of the vocal parts was entered into the British Library in London on 27th June 1958 (conducting score: 23rd October). Erwin Stein produced the piano reduction. It was his last piece of work for Strawinsky and he did not live to see its publication.

Historical Record: New York City 5th/6th January 1959, Bethany Beardslee (Soprano), Beatrice Krebs (Mezzo-Soprano), William Lewis (Tenor), Jame Wainner (Tenor), Mac Morgan (Baritone), Robert Oliver (Bass), The Schola Cantorum (Choirmaster: Hugh Ross), Columbia Symphony Orchestra conducted by Igor Strawinsky.

CD edition: XI-2/12-15.

Autograph: The score is located in the Oberlin College Library, Oberlin, Ohio in America.

Copyright: 1958 by Boosey & Co. Ltd.

Editions

a) Overview

89-11958 ChSc; L; Boosey & Hawkes London; 20 pp.; B. & H. 18446.

89-21958 FuSc; L; Boosey & Hawkes London; 70 pp.; B. & H. 18438.

89-31958 VoSc; L; Boosey & Hawkes London; 52 pp.; B. & H. 18445.

89-3[65][1965] ibid.

89-41958 PoSc; L; Boosey & Hawkes London; 70 pp.; B. & H. 18438; 709.

89-4601960 ibid.

89-4651965 ibid.

b) Characteristic features

89-1[without front cover title] // [without title page] // (Choral score sewn 17.5 x 25.7 (8°); sung text Latin; 20 [20] pages without Umschlag, without front matter, without back matter; title head >Choral Score / THRENI / ID EST / LAMENTATIONES / JEREMIÆ PROPHETÆ<; author specified 1st page of the score unpaginated [p. 1] below title head flush right >IGOR STRAWINSKY<; legal reservations 1st page of the score below type area flush left >© 1958 by Boosey & Co. Ltd.< flush right >All rights reserved<; production indication 1st page of the score below legal reservation flush right >Printed in England<; plate number >B & H 18446<; end of score dated p. 20 italic > 21 - III - 58<; without end marks) // (1958)

89-2IGOR STRAVINSKY* / THRENI / id est** / Lamentationes Jeremiae Prophetae** / [Zeichnung] / BOOSEY & HAWKES // IGOR STRAWINSKY* / THRENI / id est/ Lamentationes Jeremiae Prophetae / for soli, mixed chorus and orchestra/ Full Score/ Boosey & Hawkes / London · Paris · Bonn · Capetown · Sydney · Toronto · New York // (Full score [library binding] 26 x 34.5 (2°[4°]); sung text Latin; 70 [70] pages + 4 cover pages thicker paper black on creme white [ornamental front cover title with a picture of a heap of rubble containing a stylized sequence of letters (Jerusalem) in modern Hebrew initialled with >Th. S.<, 3 empty pages] + 4 pages front matter [title page, legends >Orchestration< >Soloists< English + duration data [35’] English + authorchip of cover page design> Cover designed by Theodore Strawinsky<, 2 pages sung text Latin-English] without back matter; dedication above title head centre centred italic > Dem Norddeutschen Rundfunk gewidmet<; title head >THRENI / ID EST / LAMENTATIONES / JEREMIÆ PROPHETÆ<; author specified 1st page of the score paginated p. 1 below title head flush right centred >IGOR STRAWINSKY / 1957-1958<; without translator specified; legal reservations 1st page of the score below type area flush left >© 1958 by Boosey & Co., Ltd.< flush right >All rights reserved<; production indication 1st page of the score below type area centre >Printed in England<; plate number >B. & H. 18438<; end of score dated >21 – III – 58<; end number p. 70 flush left >9.58. E<) // (1958)

* Different spelling (v/w) original.

** quasi-handwritten script unitalic.

89-3 IGOR STRAVINSKY* / THRENI / id est / Lamentationes Jeremiae Prophetae / [picture] / BOOSEY & HAWKES // IGOR STRAWINSKY* / THRENI / id est/ Lamentationes Jeremiae Prophetae / for soli, mixed chorus and orchestra/ Vocal Score/ by/ Erwin Stein/ Boosey & Hawkes / London · Paris · Bonn · Capetown · Sydney · Toronto · New York // (Vocal score with chant sewn 23.5 x 30.8; sung text Latin; 52 [52] pages + 4 cover pages black on white [ornamental front cover title with a picture of a heap of rubble containing a stylized sequence of letters (Jerusalem) in modern Hebrew initialled with >Th. S.<, 3 empty pages] + 4 pages front matter [title page, legends >Orchestration< English >Soloists< English + duration data [35’] English + authorchip of cover page design > Cover designed by Theodore Strawinsky<, 2 pages sung text Latin-English] without back matter; title head >THRENI / ID EST / LAMENTATIONES / JEREMIÆ PROPHETÆ<, dedication 1st page of the score paginated p. 1 above title head centre centred italic > Dem Norddeutschen Rundfunk gewidmet<; author specified 1st page of the score below title head flush right centred >IGOR STRAWINSKY / 1957-1958<; without translator specified; legal reservations 1st page of the score below type area flush left >© 1958 by Boosey & Co., Ltd.< flush right >All rights reserved<; production indication 1st page of the score below type area centre >Printed in England<; plate number >B. & H. 18445<; end number p. 52 flush right as end mark >9.58. E<) // (1958)

* different spelling (v/w) original.

89-3[65] IGOR STRAVINSKY / THRENI / id est / Lamentationes Jeremiae Prophetae / [Zeichnung] / BOOSEY & HAWKES // IGOR STRAVINSKY / THRENI / id est/ Lamentationes Jeremiae Prophetae / for soli, mixed chorus and orchestra/ Vocal Score/ by/ Erwin Stein/ Boosey & Hawkes / Music Publishers Limited / London · Paris · Bonn · Johannesburg · Sydney · Toronto · New York// (Vocal score with chant sewn 23.1 x 30.6; sung text Latin; 52 [52] pages + 4 cover pages black on white [ornamental front cover title with a picture of a heap of rubble containing a stylized sequence of letters (Jerusalem) in modern Hebrew initialled with >Th. S.<, 2 empty pages, page with publisher’s advertisements >Igor Stravinsky<* production data >No. 40< [#] >7.65<] + 4 pages front matter [title page, legends >Orchestration< English + >Soloists< English + duration data [35’] English + authorchip of cover page design > Cover designed by Theodore Strawinsky<, 2 pages sung text Latin-English] without back matter; title head >THRENI / ID EST / LAMENTATIONES / JEREMIÆ PROPHETÆ<, dedication 1st page of the score paginated p. 1 above title head centre centred italic > Dem Norddeutschen Rundfunk gewidmet<; author specified 1st page of the score below title head flush right centred >IGOR STRAVINSKY / 1957-1958<; without translator specified; legal reservations 1st page of the score next to title head und dedication 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 left >© 1958 by Boosey & Co., Ltd.< flush right >All rights reserved<; production indication 1st page of the score below type area below legal reservation flush right >Printed in England<; plate number >B. & H. 18445<; without end marks) // [1965]

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

89-4 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / THRENI^ / BOOSEY & HAWKES / No. 709 // HAWKES POCKET SCORES / IGOR STRAWINSKY / THRENI / id' est / Lamentationes Jeremiae Prophetae / for Soli, mixed chorus and orchestra / BOOSEY & HAWKES / LTD. / LONDON · PARIS · BONN · CAPETOWN · SYDNEY · TORONTO · BUENOS AIRES · NEW YORK / NET PRICE [#] MADE IN ENGLAND // (Pocket score sewn 13.6 x 18.7; sung text Latin; 70 [70] pages + 4 cover pages thicker paper dark green on beige [front cover title with frame 9.4 x 3.7 beige on dark green, 3 empty pages] + 4 pages front matter [title page, legends >Orchestration< English + >Soloists< English-Italian + duration data [35'] English, 2 pages (pp. III + IV) sung text Latin-English] + 2 pages back matter [2 empty pages]; title head >THRENI / ID EST / LAMENTATIONES / JEREMIÆ PROPHETÆ<; dedication above title head centre italic > Dem Norddeutschen Rundfunk gewidmet<; author specified 1st page of the score paginated p. 1 below Titel flush right centred >IGOR STRAWINSKY / 1957-1958<; without translator specified; legal reservations 1st page of the score below type area flush left >© 1958 by Boosey & Co., Ltd.< flush right >All rights reserved<; plate number >B. & H. 18438<; end of score dated p. 70 >21 - III - 58<; end number p. 70 flush left >10 · 58 L & B<; production indications 1st page of the score below type area centre >Printed in England< p. 70 as end mark flush right >Lowe and Brydone (Printers) Limited, London<) // (1958)

89-460 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / THRENI^ / BOOSEY & HAWKES / No. 709 // HAWKES POCKET SCORES / IGOR STRAWINSKY / THRENI / id' est / Lamentationes Jeremiae Prophetae / for Soli, mixed chorus and orchestra / BOOSEY & HAWKES / LTD. / LONDON· PARIS · BONN · CAPETOWN · SYDNEY · TORONTO · BUENOS AIRES · NEW YORK / NET PRICE [#] MADE IN ENGLAND // [without text on spine] // (Pocket score sewn 0.6 x 3.7 x 18.7 (8°); sung text Latin; 70 [70] pages + 4 cover pages thicker paper dark green on beige [front cover title with frame 9.4 x 3.7 beige on dark green, 3 empty pages] + 4 pages front matter [title page, legends >Orchestration< English + >Soloists< English-Italian + duration data [35'] English, 2 pages sung text Latin-English] + 2 pages back matter [2 empty pages]; title head >THRENI / ID EST / LAMENTATIONES / JEREMIÆ PROPHETÆ<; dedication above title head centre italic > Dem Norddeutschen Rundfunk gewidmet<; author specified 1st page of the score paginated p. 1 below title head flush right centred >IGOR STRAWINSKY / 1957-1958<; without translator specified; legal reservations 1st page of the score below type area flush left >© 1958 by Boosey & Co., Ltd.< flush right >All rights reserved<; plate number >B. & H. 18438<; end of score dated p. 70 >21 - III - 58<; end number p. 70 flush left >5 · 60 L & B<; production indications 1st page of the score below type area centre >Printed in England< p. 70 as end mark flush right >Lowe and Brydone (Printers) Limited, London<) // (1960)

89-465HAWKES POCKET SCORES / ^IGOR STRAWINSKY / THRENI^ / BOOSEY & HAWKES / No. 709 // HAWKES POCKET SCORES / IGOR STRAWINSKY / THRENI / id' est / Lamentationes / Jeremiae Prophetae / for Soli, mixed chorus and orchestra / BOOSEY & HAWKES / LTD. / LONDON · PARIS · BONN · JOHANNESBURG · SYDNEY · TORONTO · NEW YORK / MADE IN ENGLAND [#] NET PRICE // (Pocket score [library binding] 13.9 x 18.7 (8°); sung text Latin; 70 [70] pages + 4 cover pages thicker paper olive-green on dark beige [front cover title with frame 9.5 x 3.7 dark beige on olive-green, empty page, [missing], [missing] ] + 4 pages front matter [title page, legends >Orchestration< English + >Soloists< mixed English-Italian + duration data [35'] English, 2 pages sung text in two columns Latin-English] + 2 pages back matter [empty pages]; title head >THRENI / ID EST / LAMENTATIONES / JEREMIÆ PROPHETÆ<; dedication 1st page of the score paginated p. 1 above title head centre centred italic > Dem Norddeutschen Rundfunk gewidmet<; author specified 1st page of the score below title head flush right centred >IGOR STRAWINSKY / 1957-1958<; without translator specified; legal reservations 1st page of the score below type area flush left >© 1958 by Boosey & Co., Ltd.< flush right >All rights reserved<; plate number >B. & H. 18438<; end of score dated >21-III-58<; end number p. 70 flush left >5·65 L & B<; production indications 1st page of the score below type area below legal reservation centre centred >Printed in England< p. 70 flush right as end mark >Lowe and Brydone (Printers) Limited, London<) // (1965)


K Cat­a­log: Anno­tated Cat­a­log of Works and Work Edi­tions of Igor Straw­in­sky till 1971, revised version 2014 and ongoing, by Hel­mut Kirch­meyer.
© Hel­mut Kirch­meyer. All rights reserved.
https://kcatalog.org and https://kcatalog.net

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