K5 Scherzo fantastique
pour grand orchestre (Le vol de l’abeille), Op. 3 — Scherzo fantastique für großes Orchester (Der Bienenflug), Op. 3 — Scherzo fantastique for large orchestra (Le vol de l’abeille), op. 3 – Scherzo fantastico per grande orchestra (“Il volo delle api“), op. 3 - Фантастическое скерцо дла оркестра
Scored for: a) First edition (Schott) legend: Petite Flûte, 3 grandes Flûtes (2. aussi Flûte alto en sol, 3. aussi petite Flûte), 2 Hautbois, Cor anglais, 3 Clarinettes en la (3. aussi Clarinette en ré), Clarinette basse en la, 2 Bassons, Contrebasson, 4 Cors en fa, 2 Trompettes en la, Trompette alto en fa, Cymbales, Celesta, 2 Harpes*, Quatuor des cordes / * La version originale de la partition qui comportait trois harpes été arrangée par le compositeur pour deux harpes // Kleine Flöte, 3 große Flöten, (2. auch Altflöte in G, 3. auch kleine Flöte), 2 Oboen, Englischhorn, 3 Klarinetten in A (3. auch Klarinette in D), Baßklarinette in A, 2 Fagotte, Kontrafagott, 4 Hörner in F, 2 Trompeten in A, Alt-Trompete in F, Becken, Celesta, 2 Harfen* Streicher / * Die ursprüngliche Partitur-Fassung mit drei Harfen wurde vom Komponisten für zwei Harfen eingerichtet [piccolo Flute, 3 Flutes (2. also Alto Flute in G, 3. also piccolo Flute), 2 Oboes, English horn, 3 Clarinets in A (3. also Clarinet in D, Bass Clarinet in A, 2 Bassoons, Contrabassoon, 4 Horns in F, 2 Trumpets in A, Alto Trumpet in F, (Cymbals), Celesta, 3 Harps*, Strings / * The original version of the score with three harps was arranged by the composer for two harps; b) Performance requirements: [4 Flutes = ] 2 piccolo Flutes (2nd piccolo Flute = 3rd Flute), 3 Flutes (2nd Flute = Alto flute; 3rd Flute = 2. piccolo Flute), Alto Flute in G (= 2nd Flute), 2 Oboes, Englisch horn, Piccolo Clarinet in D (= 3rd Clarinet), 3 Clarinets in A (3rd Clarinet = Piccolo Clarinet in D), Bass Clarinet in A, 2 Bassoons, Contrabassoon, 4 Horns in F, 2 Trumpets in A, Alto Trumpet in F, Percussion (Cymbals), Celesta, 3  Harps, Solo Violin, Solo Viola, Solo Violoncello, Strings (1st Violins°, 2nd Violins°°, Violas°, Violoncelli°, Double basses°) [°°°]
* Asterisk in text. All versions are identical with the edition of 1909.
° Divided in two.
°° Divided in three.
[°°°] Nomenclatur in the score is in Italian.
Performance practice: The work is, according to the original score, written without trombones, tuba, timpani and bass drum. Strawinsky’s call for three harps, which was a necessary part of the orchestral trends before 1910 if expensive, need not necessarily be fulfilled nowadays. The marked improvement in harp technique after 1900 caused Strawinsky to call for 2 instead of 3 harps in 1909 (without making any remark). This is possible because the three harps are playing in alternatim mode. With the further development of harp construction and playing technique, the harp parts of the Scherzo Fantastique may even be handled by one instrument alone, and by one very accomplished player. The Eulenburg Edition 8017 EE 6838, which was published after Strawinsky’s death in 1990, gives the scoring for three harps in accordance with the original and does not give the indication ‘alto flute = 2nd flute’ in the list of instruments; rather, it is based on the original Moscow Jurgenson edition of 1909. All editions are identical.
Construction: The Scherzo is a one-movement piece of programmatic music, consisting of three sections which run attacca into each other (Con moto / Moderato assai / Tempo I.)
Con moto dotted crotchet = 80 (figure 111 up to figure 364)
Meno mosso (figure 365 up to figure 368]
Moderato assai crotchet = 60 (figure 37 up to the end of figure 47)
Più mosso dotted crotchet = 96 (figure 48 up to the end of figure 63)
Tempo I. dotted crotchet = 80 (figure 64 up to the end of figure 92)
Accelerando (figure 93 up to figure 942)
Stringendo (figure 943 up to the end of figure 94)
Vivo (figure 951 up to the end of figure 96 )
Source: Maurice Maeterlinck’s book, La Vie des Abeilles, was published in 1901 and had only symbolic-rhetorical, at best philosophical bearings on Strawinsky’s Scherzo Fantastique. Maeterlinck’s book was neither a novel nor a play, nor even a scientific account, but an undeviating mixture of literary and symbolic terminology, scientific terms and philosophical reflection and unsuited to music in this form. The 1901 version was continued with The Life of the Bees, the 1927 version also continued with the Life of the Termites, and in 1930, this work of poetical description of nature was completed with the Life of the Ants. This work served the furthering of a mythical and pantheist world view, which sees men as bees, termites and ants in search of a natural and divine, if unknown, goal. For the Scherzo Fantastique, nothing remains of the ‘fantastical image’ of the life of the bees as the rather hackneyed message of the ‘eternal cycle’ which is reflected in this Scherzo by its A-B-A cyclical form.
Preface in the score: >Remarque préliminaire / (pour le Programme) / Ce morceau est inspiré par un épisode de la vie des abeilles. / La première partie présente le tableau de la vie et de l’activité / de la ruche; la partie centrale, constituée par un mouvement / lent, dépeint le lever du soleil et le vol nuptial de la reine, la lutte / d’amour avec l’époux choisi et la mort de celui-ci. Dans la troi- / sième partie, reprise de la première, nous retrouvons l’activité / paisible de la ruche au travail. Ainsi l’ensemble devient pour / nous, êtres humains, la peinture fantastique d’un cycle éternel. // Vorbemerkung / (für das Programm) / Dem Stück liegt eine Episode aus dem Leben der Bienen zu- / grunde. Der erste Teil gibt ein Bild des regen Treibens im Bienen- / korb; der Mittelteil, der aus einem langsamen Satz besteht, / schildert den Sonnenaufgang und den Hochzeitsflug der Königin, / den Liebeskampf mit dem auserwählten Gemahl und dessen Tod. / Im dritten Teil, der Reprise des ersten, herrscht wieder das fried- / lich-emsige Treiben im Bienenkorb. So wird das Ganze für uns / Menschen zum fantastischen Abbild eines ewigen Kreislaufs.< [This piece is inspired by an episode in the life of the bees. The first section gives an impression of life and activity in the hive. The central section, a slow movement, depicts sunrise and the nuptial flight of the queen bee, the love fight with her chosen mate, and his death. The third section, a reprise of the first, shows the peaceful activity of the hive continuing. Thus (for us human beings) the whole piece becomes the fantastic picture of an eternal cycle.].
Style: The work bears much of the influence of Rimsky-Korsakov’s The Flight of the Bumblebee and consists of a predominantly programmatic mixture of styles of contemporary music against the background of an impressionist, art nouveau style of instrumentation. The section which concerns itself least with the swarms of bees is the central section, which owes much to the ‘Good Friday Music’ from Wagner’s Parsifal, whilst between figures 49-50, Strawinsky’s bees are clearly just smaller versions of Rimsky-Korsakov’s bumblebees. The work favours brighter colours for the depiction of the landscape, and discards darker colours. Even without any knowledge of the programme, an unprepared listener would be able to infer the association with bees or similar animals. That they are flying around, buzzing and swarming becomes obvious above all in the first and third parts, not least as a result of the chromatic runs and chords which flood everything. Alongside the chromaticisms, one can observe various staggered harmonic planes which move across one another.
Dedication: >Посвящается Большому артисту / АЛЕКСАНДРУ ИЛЬИЧУ ЗИЛОТИ< (>Dédié au grand artiste / Alexandre Siloti.<) [To the great artist / Alexander Iljitsch Siloti].
Duration: According to the respective mode of playing between 11‘ 40‘‘ and 16‘ (16’ = score indication).
Date of origin: Ustilug between June 1907 and March 1908.
Problems with the premiere: The dispute around the date of the premiere goes back to White, who did not substantiate it. Michael Druskin gives the date as the 24 January 1909 for the Scherzo and the 9 January 1910 for Fireworks, but he does not say where he gets his dates from. Schneider, who made the difference in dates into a topic of discussion, supports the belief, as it cannot be gleaned explicitly from Strawinsky’s messages, that both works were performed on the same day. Now the following facts are certain: 1. Strawinsky received the commission for The Firebird in 1909; 2. The commission came from Diaghilev, who had heard his music; 3. According to Strawinsky, both works were performed during the winter of 1908/09; 4. Strawinsky had only spoken of the fact that in this winter (he was referring to the winter following the year of Rimsky-Korsakov’s death, so 1908/09) both pieces were a) played for the first time in Siloti concerts, and b) the day of this performance became an important date for the entire future of his career, because his relationship to Diaghilev had begun here. Strawinsky speaks in the singular, referring to both pieces as having been in a single performance and to a single day; however, he is not necessarily talking about a public performance. It is now known that Siloti also arranged concerts that were not public, comparable to the French auditions in the 19th Century. Many works from Strawinsky’s French period were given performances in the private circle of Princess Polignac, which Strawinsky found pleasantly touching. Siloti therefore, on 6th February in the presence of invited guests (among them Diaghilev) and with the particular intention of promoting Russian music, would have played through both of these pieces by the young Strawinsky. Druskin is presumably referring to one of the subsequent public performances. In his correspondence with Schott, Siloti announced that he wanted to perform Fireworks at his house in the winter (he means the winter of 1909/10, because the letter is dated from 9th June. That would probably have been 9th January 1910, which Druskin gives as the date of the premiere.
First performance: The date of the première, 6th February 1909 in St. Petersburg with the Orchestra of the Siloti-Concerts under the direction of Alexander Siloti, is not entirely undisputed. There may have been a private performance before this. A further public performance is registered for 9th January 1910.
Remarks: The Scherzo is, in accordance with the tradition of the time and as is the case with other orchestral works by Strawinsky from that time with the exception of his first Symphony, conceived as programme music and constructed as such. As can be seen from the early correspondence with Rimsky-Korsakov from Ustilug, Strawinsky and his wife had already read Maeterlinck’s 1901 description of the nature of bees and had been very taken with it, especially as Strawinsky himself was a bee-lover. For his original orchestral composition which he took on in St. Petersburg and which was without subject matter, he completed a programme after Liszt’s example (which was highly esteemed by the Russians), which is reported to Rimsky-Korsakov for the first time on 1st July 1907. Rimsky-Korsakov answered, giving suggestions that Strawinsky incorporated, as can be seen in his next letter to his teacher from 23th July 1907. Rimsky-Korsakov wanted to be able to be recognised again in this composition – hence his praise, which was certainly genuine.Regarding the mixture of scientific and artistic speech in Maeterlinck’s book, Strawinsky avoided quoting Maeterlinck in subtitles for the sections of his music, and they therefore have no separate titles; he rather used the title ‘Bees (after Maeterlinck), a fantastical Scherzo’ for his general title for the programme, which is taken from the book, and which was given as a programme note at the première and later printed in the score; it was like this for the first performance. For the repeat performance at the Parisian Opera of 10th January 1917, the programme was taken and elaborated into a ballet of bees. Strawinsky later wanted nothing to do with all of these extra-musical connections. In no other work had he striven for so great a connection between his music and a literary programme as in the case of the Scherzo Fantastique. The reason for this was not the changed aesthetic of 1923; he had, as is seen in his correspondence, discussed the Scherzo in St. Petersburg without the concrete programme of Maeterlinck and in all probability, he was not familiar with the Russian translation of Maeterlinck’s work at that point in time. The correspondence with Rimsky-Korsakov allows us only to conjecture, and does not expressly prove, that he had bees in mind; it is however very probable (as can be seen from the work’s construction) that he conceived of it as programme music: he certainly did not have a definite musical scenario. He formulated this in Ustilug when he read Maeterlinck’s book on bees. These connections were reinterpreted to the effect that the Scherzo Fantastique was intended as ‘pure’ symphonic music and was to have nothing to do either with the ballet of bees of 1917, nor with the programme note in the front of the score. He had presumably been unable to see the Parisian Ballet, as he was ill in Morges, and he explained the presence of the programme note as a result of Maeterlinck’s protest, who had sent him a letter of complaint to Morges after the performance of the Ballet, accusing him of deception. Evidently unaware of the events in Paris, Strawinsky explained further that his work was given the title ‘The Bees’ ‘by someone’ in Paris that Maeterlinck’s name was referred to in the programme. In order to settle the matter, an excerpt from Maeterlinck’s book was taken and published in the front of his score. He did not know however whether this had been done in order to appease Maeterlinck’s (or in fact his own) publisher, who possibly believed, he would be able to market the Scherzo more successfully with a programme, which was certainly not incorrect given the situation at the time. Strawinsky’s version of events is completely false, as is proven by his correspondence with Rimsky-Korsakov and the earlier 1908 edition of the score. That Strawinsky clung so tenaciously to his earlier version is connected with Maeterlinck, who was what the Germans call a ‘Prozesshansel’ [i.e. a litigious person]; everyone was afraid of a worthless, but effortful and costly conflict with him. Maeterlinck died on 6th May 1949 in Nizza, and left the copyright behind. The ageing Strawinsky had often been litigated against, and could not have known in 1959 what the consequences would be from the publishers if he were to let a connection between Maeterlinck’s work and his own early Scherzo stand. Furthermore, that the Scherzo Fantastique is formally a self-standing piece of symphonic music in the manner of Liszt and does not in fact require this programme makes the bee story an addition to the overflowing of autonomous art music, which can be interpreted programmatically.He was also not now so friendly towards bees as he had been previously, because he had read some books about them which overwhelmed him with fear (after reading the work of Fritsch*) and horror (after reading “Is Another World Watching” by Gerald Heard, who was his friend).
For Craft’s publication of the Conservations in 1959, he raised the question of the connection between Maeterlinck’s book and his Scherzo. His answer was as diplomatic as the question itself. He was able to say “no" confidently, because he, as the correspondence proves, had composed the Scherzo whilst still in St. Petersburg, without Maeterlinck’s original. Around the turn of the century however, concertgoers started to want programmatic explanations, and composers were well advised to allow these to occur to them. This might be the solution to the question of the bee programme.
* The name may well have been a mix-up with the significant German bee researcher Karl Ritter von Frisch, who held the Munich professorship for zoology at the time.
Situationsgeschichte: The Scherzo, as a self-standing, brief and mostly brilliant piece of character-music in the style of programme music, enjoyed great popularity in the concert repertoire of Russia at the time. Strawinsky’s Scherzo Fantastique was preceded by the small self-standing Scherzo for piano in 1902, which was a piece written while he was a student. A short time later, he wrote Fireworks, the construction of which is also a programmatic scherzo. The ‘Dance of the Princesses’ at Figure 37f in The Firebird is also constructed as a scherzo, and the traces of this historical Russian development stayed with Strawinsky even during his time in America, where he once again returned to the pre-war Russia of his time with Scherzo à la Russe.
Significance: The Scherzo Fantastique is the last of Strawinsky’s orchestral compositions realized from early sketches under the supervision of Rimsky-Korsakov, and is at the same time, despite the different mixture of styles, his first significant work. The compositional ability and skill in orchestration seen in the Scherzo Fantastique shows that the pupil had completed his training. The stylistic unevenness and small rhythmic and metrical movements of the work allow it to be compared with the following scherzo, Fireworks, to the disadvantage of the Scherzo Fantastique. The public success of the Scherzo Fantastique was always great. Strawinsky owed the support of Diaghilev to this scherzo, in conjunction with Fireworks; Diaghilev was present at the concert on 6th February 1909, and thus Strawinsky was brought to his attention. Under the impression of the Scherzo Fantastique, Diaghilev gave several orchestral commissions to the young Strawinsky, which he completed to Diaghilev’s great satisfaction, so much so that the impresario entrusted him with the composition of the upcoming ballet, L’Oiseau de Feu. Glebow (Asafieff) claims in his book on Strawinsky of 1929 that it was he, Glebow, who first brought Strawinsky to Diaghilew’s attention.
Strawinsky and Ansermet often included the work in the programme, but it was also performed by other conductors, such as Leopold Stokowski. Clemens Krauss in Vienna, where new music was regarded in a very reserved manner, achieved in 1932 such sustained applause that he had to repeat the Scherzo and the Schott publisher, Dr Willy Strecker, reported this in a letter to Strawinsky on 18th February 1932 and expressed great hopes as a result.
Self-appraisal: Strawinsky was still very fond of his Scherzo, even later on. The orchestra was sonorous, and the music lighter than was usual in this that time. There were two or three pretty good ideas in the score, and he specified the flute-and-violin section at figure 63 and the chromatic movement at the end. The phrases became too monotone in their 4+4 division, and he regretted that he did not use the alto flute more.
Versions: As the Symphony had already been taken on for immediate publication by Jurgenson in Moskau, so also was the Scherzo Fantastique, and it was published in 1909. It was available for 5 roubles as a printed orchestral score together with parts and several additional string parts, the price of which ranged from 25 kopeks for the double-bass part, 50 kopeks for the ‘cello part to 75 kopeks for the viola and both violin parts. The First World War and the final expropriation of private publishing houses by Lenin led to considerable difficulties in the distribution of sheet music, whose marketing in the West was managed by the partners J. & W. Chester in London. The lack of materials caused great difficulties for the distribution of the work. There was a lack of parts, and the orchestral score was owned by Diaghilev. The work, evidently after long negotiations, finally went into the ownership of Schott in Mainz/Leipzig, where the pocket-score was produced in the middle of 1931 (the specimen copy in the Library of the British Museum has the date as 10th July 1931). Strecker wrote to Strawinsky about the purchase of the work, which he particularly liked, in a letter of 13th February 1930, and suggested that he wanted Strawinsky to be pleased with the acquisition. Strecker raised the matter of the bee-motif and intended to give the work an appropriate title, which did not happen, certainly due to the intervention of Strawinsky; he had asked Strecker for help in the matter of the new introduction. The print run for the Scherzo fantastique took place on 6th June 1931. The total number of copies to be produced was set at 1,000. For the orchestral material available for hire, an additional 20 harp parts were printed on 17th March. The 2nd print run was on 15th November 1954 and ran to 500 copies, and the 3rd print run was completed on 23th June 1970 with 800 copies. The Eulenburg publication, which appeared after Strawinsky’s death, follows the Jurgenson Urtext. The conducting score and parts have only recently been made available for hire. Grovlez’s piano arrangement, which was published by Jurgenson in 1917 and was for Grovlez the basis for the ballet staging directed by him and choreographed by Léo Staats, appears not to have been accounted for in German libraries so far, but a (subsequently bound) copy was received by the Library of Congress in Washington (>M35 .S< = >unk84197003<). The name Maeterlinck is not mentioned in Grovlez’s transcription, although the programme title ‘Les Abeilles’ appears twice, as a subtitle to the main title on the first page of music and before that on the third of the opening pages in connection with a Russian-French explanatory note together with the details of the première. It may be suggested that this arrangement served as the basis for the ballet version of 1917, which was directed by Gabriel Grovlez and choreographically produced by Léo Staats, and which Maeterlinck saw and caused him to complain to Strawinsky. The pianola version belongs together with Fireworks (which was the earliest pianola arrangement of Strawinsky’s work). He later organised with the American publisher Kalmus, who according to American law is no illegitimate publisher, for an illegal print-run, in which every mention of the original publisher was omitted. Strawinsky himself had been unable to wrest the printing rights from the American or the Russian printers.
Production: Première: „Les Abeilles“, Ballet blanc, 10th January 1917, Théatre National de l’Opéra under the direction of Gabriel Grovlez, Choreographie Léo Staats; Mlle Zambelli (The Queen); Mlle Barbier, H. Laugier, J. Laugier (3 Bees); Mlle Schwarz (The Bumble-bee); Bees and Bumblebees.
The Paris Ballet production of 1917: The scenario of the choreography was entirely indebted to Maeterlinck’s original. According to the description in “Feuilleton du Temps” on 27th January 1917 and translated by Craft into English, Pierre Lalos set the stage as the inside of a beehive, into which the hazy sunlight of a gorgeous summer’s day enters. Hard-working worker bees come and go through the lower entrance of the hive. The Queen bee appears. Immediately, the mates who have been waiting a long time in the neighbouring cells hurry to her. One of these little men follows her flight and caresses her. When he has finally reached his goal, he dies and is immediately thrown out of the hive and forgotten in a moment. In the inside of the hive, everything continues in its usual way. Strawinsky later agreed to this adaptation. The premiere followed rehearsals on 18th and 27th January as well as 4th, 17th and 18th February 1917. The orchestral conductor, Gabriel Grovletz, who took the place of the originally intended conductor, Ernest Ansermet, was the author of the published piano arrangement.
Historical Record: 1st December 1962 in Toronto, Canadian Broadcasting Corporation Symphony Orchestra under the direction of Igor Strawinsky. In May 1915, Peter Warlock and Alvin Langdon Coburn completed an arrangement for Pianola in the Aeolian Hall in London, the boxes of which are believed to be restorable.
CD edition: I-1/24.
Autograph: The autograph is presumed lost.
Copyright: The Jurgenson Edition of 1909 bears the simple Rights and Ownership conditions , as does the Schott Edition of 1931, nevertheless there is no copyright endorsement. In later editions, as in the 1931 print-run by the Schott edition up to the Eulenburg run of 1990, the copyright date is given as the year 1931, and the year 1951 is given as the year of renewed copyright.
Errors, legends, colportages, curiosities, stories
When Strawinsky later related his conflict with Maeterlinck to Paul Claudel, the latter was of the opinion that Maeterlinck had been unusually polite to him, since Maeterlinck had sometimes begun litigation against people who had only said “Bonjour” to him. Strawinsky could be pleased that he had not been sued over the bird section in the Firebird, as Maeterlinck had published his play The Blue Bird (1909) only shortly before.
5-1 1909 FuSc; Jurgenson Moskau; 69 pp.; 32950.
5-2St 1909 set of parts; P. Jurgenson Moskau.
5-3Z-St 1909 additional parts (strings); P. Jurgenson Moskau.
5-4 1917 VoSc [Grovlez]; Jurgenson Moskau; 38831.
5-5 1931 PoSc rev.; Schott Mainz-Leipzig; 69 pp.; 32953; 3501.
5-5Straw 1931 ibd. [without annotations].5-5(54) 1954 ibd.
5-5(70) 1954 ibd.
b) Characteristic features
5-1 Посвящается Большому артисту / АЛЕКСАНДРУ ИЛЬИЧУ ЗИЛОТИ. / Scherzo Fantastique / pour / Grand orchestre / Composé par / Igor Strawinsky. / Partition Rb. 5.— [#] Parties Rb. / Parties supplémentaires: / Viol. I, Viol. II et Viola à 75 c. / V-celle — 50 c. Basso — 25 c. / [ornamental dividing line 7.1 x 0.6*] / 1900 Exposition univers. [#**] „Grand prix“ / de Paris. [#**] et Médaille d'or. / 1896 / Propriété de l'éditeur / P. JURGENSON, / Commissionaire de la Chapelle de la Cour, de la Société Impériale / Musicale russe et du Conservatoire à Moscou. / MOSCOU, [#***] LEIPZIG, / Neglinny pr., 14. [#***] Thalstrasse 19. / St.-Pétersbourg, chez J. Jurgenson | Varsovice, chez E. Wende & Co / Kiew, chez L. Idzikowski. / Imprimerie de musique P. Jurgenson à Moscou. // [title page = front cover title] // Full score [sewn] 26.7 x 33.2 (4° [4°]); 69  pages + 4 cover pages bluish black on gentle light blue [ornamental front cover title, 2 empty pages, page with publisher’s advertisements >Compositions russes pour Grand Orchestre. Suite 1.< >Moscou. P. JURGENSON. Leipzig<**** without production date ] + 2 pages front matter title page, empty page] + 1 page back matter [empty page]; title head >Scherzo fantastique.<; [dedication only appears on the title pages]; author specified 1st page of the score paginated p. 3 below title head flush right >I. STRAWINSKY. Op. 3.<; without legal reservations; plate number >32950<; end of score dated p. 69 >St Petersbourg 1908.<; production indication p. 69 flush right as end mark >Gravé et impr. chez [****] P. Jurgenson à Moscou<) // (1909)
* 3 + 1.1 + 3 = 7.1 x 0.6.** Separating vignette 0.7 x 0.7 double-headed eagle with crown spanning two lines vertically.
*** Ornamental dividing line 0.2 x 0.5 spanning two lines vertically.
**** Compositions are advertised from >Arensky, A.< to >Tschaïkowsky, P.<, Strawinsky not mentioned.
***** Separating vignette 0.3 x 0.4 double-headed eagle with crown spanning one line vertically.
5-2St Set of parts; P. Jurgenson Moskau // ([unidentified]) // 1909
5-3Z-St Additional parts (Strings); P. Jurgenson Moskau // ([unidentified]) // 1909
5-4 Dédié au grand artiste / Alexandre Siloti. / Scherzo Fantastique / pour / Grand orchestre / Composé par / Igor Strawinsky. / Op. 3. / Partition. [#] Parties. / Parties supplémentaires: / Viol. I, Viol. II [#] Viola [#] V-celle et Basso / Réduction pour Piano par / Gabriel Grovlez. / Prix 8 R. — / Tous droits reservés. / P. JURGENSON. / Editeur de Musique / à MOSCOU. / Petrograde, chez J. Jurgenson. | Varsovie & Kiew, chez L. Idzikowski. / Sole Agents for the British Empire / J. & W. Chester, London & Brighton. // Игорь Стравинскій. / Фантастическое скерцо / дла оркестра. / Переложеніе дла фортепіано / ГАБРІЭЛЯ ГРОВЛЭЗА. / [*] / Собственность / Музыкальнаго издательства / П. ЮРГЕНСОНЪ / ВЪ МОСКВЂ. / Петроградъ, у І. Юргенсона. | Варшава и Кіевъ, у Л. Идзиковскаго. // (Piano score [unbound, library binding] 27 x 35 (2° [4°, gr. 4°]); 32  pages + 4 cover pages thicker paper [ornamental front cover title blue on light grey partly in hollow font, 3 empty pages] + 4 pages front matter [title page, empty page, page with text in two columns Russian-French >„ПЧЕЛЫ”< [#] >„LES ABEILLES”.<, premiere data + summary**, empty page] without back matter; title head >Sherzo*** fantastique. / (LES ABEILLES.)<; author specified 1st page of the score paginated p. 5 below title head flush right >IGOR STRAWINSKY. Op. 3.<; arranger specified 1st page of the score below author specified flush left >Réduction par GABRIEL GROVLEZ<; legal reservation 1st page of the score below type area flush left >Propriété de l’éditeur< flush right >P. Jurgenson à Moscou.<; plate number >38831<; production indication p. 32 below type area flush right as end mark [publisher’s emblem crowned double eagle 0.5 x 0.7 with a medallion at the centre] >Gravé et impr. Chez P. Jurgenson à Moscou<) // (1917)
* Double dividing line centre.
** Maeterlinck not mentioned.
*** Original spelling.
5-5 Igor Strawinsky / Scherzo fantastique / pour grande* orchestre ~ für großes Orchester / PARTITUR / [Vignette] / EDITION SCHOTT / No. 3501 // Scherzo fantastique / pour grand* orchestre [#**] für großes Orchester / par [#**] von / Igor Strawinsky [asterisk] / B. Schott's Söhne, Mainz und Leipzig / [°] / Schott & Co. Ltd., London, 48 Great Marlborough Street / Editions Max Eschig, Paris, 48 Rue de Rome / For U.S.A.: Associated Music Publishers Inc., New York / Printed in Germany – Imprimé en Allemagne // [no text on spine] // (Pocket score sewn 0.4 x 13.7 x 18.8 (8°); 69  pages + 4 pages cover pages thicker paper black on light grey grained [front cover title with publisher’s emblem strong orange oval 1.8 x 3.1 lion with wheel of Mainz in the pwas and with writing encircling >PER MARE ET TERRAS<, 2 empty pages, page with publisher’s advertisements >Schott’s Studienpartituren zeitgenössischer Musik<*** production date >778<] + 4 pages front matter [title page, page with preface >Rémarque préliminaire / (pour le Programme)< French + legend**** >Compositions de l’orchestre< French + duration data [>environ 16 minutes<] French, page with preface >Vorbemerkung / (für das Programm)< German + legend**** >Besetzung des Orchesters< German + duration data [>etwa 16 Minuten<] German, page with legal reservations°° centre centred >Alle Rechte vorbehalten. / Tous droits reservés.<] + 1 page back matter [page with publisher’s advertisements >IGOR STRAWINSKY<***** production date >963p<]; title head >Scherzo fantastique.<; author specified 1st page of score without pagination [S. 3] below title head flush right >I. STRAWINSKY. Op. 3.<; 1st page of score without legal reservations; plate number >32953<; production indication p. 69 flush right as end mark >Druck von B. Schott’s Söhne in Mainz<) // (1931)
° Dividing horizontal line of 8.1 cm, i.e. column width.
°° No copyright.
* Original spelling.
*** Compositions are advertised in three columns without edition numbers and without fill character (dotted line) under the headline >Kammermusik< from >Beck, Conrad< to >Wunsch, Hermann<, by Strawinsky >Strawinsky, Igor / Ragtime<, under >Orchesterwerke< from >Albeniz, I.< to >Tansman, Alexander<, by Strawinsky >Strawinsky, Igor / Feuerwerk (Feu d’artifice) / Scherzo fantastique / Feuervogel (L’oiseau de feu) / Suite I für kleines Orchester / Suite II für kleines Orchester<, under >Gesang m. Kammer-Orch.< from >Falla, Manuel de< to >Igor Strawinsky, Igor / Pribautki (Scherzlieder) / Wiegenlieder der Katze<, under >Opern und Ballette< from >Falla, Manuel de< to >Wagner, Richard<, by Strawinsky >Strawinsky, Igor / Die Geschichte vom Soldaten / Reinecke<.
**** Version with 2 Harps [Annotation to >2 Harpes*)< >2 Harfen*)< [without asterisk]: >La version originale de la partition qui comportait trois harpes a été / arrangée par le compositeur pour deux harpes.< + >*) Die ursprüngliche Partitur-Fassung mit drei Harfen wurde vom Komponisten / für zwei Harfen eingerichtet.< [The original score version with three harps was / arranged by the composer for two harps.].
***** Y not in fancy letter; upper double line thickened. In French, the library material is advertised without edition number, the material for sale is advertised with edidion number behind fill character (dotted line) >Feu d’artifice. Fantaisie pour grand orchestre, op. 4 / Partition d'orchestre et Parties d'orchestre (en location) / Partition d'orchestre (format de poche)° 3464 / Réduction pour Piano à 4 mains (O. Singer)° 962 / Scherzo fantastique. Fantaisie pour grand orchestre / Partition d'orchestre et Parties d'orchestre (en location) / Partition d'orchestre (format de poche)° 3501 / Concerto pour Violon et orchestre / Partition d'orchestre et Parties d'orchestre (en location) / Reduction°° pour Violon et Piano° 2190 / L’oiseau de feu. Ballet / Transcription°°° pour Violon et Piano par l'auteur: / Prélude et Ronde des princesses° 2080 / Berceuse° 2081 / Pastorale. Chanson sans paroles pour une voix et quatre / instruments à vent / Partition (avec réduction pour Piano°* 3399 / (Parties en location) / Unterschale. Russische Bauernlieder. 4 Chöre für gleiche Stimmen. / Beim Heiland von Tschigissy – Herbst – Der Hecht – / Freund Dicksack<. After Mainz the following places of printing are listed: Leipzig-London-Paris-New-York [° fill character (dotted line) ; °° the mistake with the accent is original; °°° the singular spelling is original; * missing bracket original].
Strawinsky’s copy is without annotations.
5-5(54) STRAWINSKY / Scherzo fantastique / für großes Orchester / Partitur / [Vignette] / EDITION SCHOTT / 3501 // IGOR STRAWINSKY / Scherzo fantastique / für großes Orchester / [asterisk] / B. Schott's Söhne /° Mainz / Schott & Co. Ltd., London W.1, 48 Great Marlborough Str. / Editions Max Eschig, Paris, 48 Rue de Rome / Associated Music Publishers Inc., New York, 25 West 45 th Str. / Printed in Germany – Imprimé en Allemagne // (Pocket score [library binding] 12,6 x 22,5 (8°); 69  pages + 4 cover pages thicker paper black on hellgrau grained [front cover title with publisher’s emblem orange oval 1.8 x 2.5 wheel of Mainz in a frame containing text in bottom half >PER MARE< [#] >ET TERRAS< left and right, 2 empty pages, page with publisher’s advertisements >Studien-Partituren<* production date >147<] + 4 pages front matter [title page, empty page, page with preface >Vorbemerkung / (für das Programm)< German + >Remarque** préliminaire / (pour le Programme)< French, legend >Orchester-Besetzung< German with asterisk-annotation >*) Die ursprüngliche Partitur-Fassung mit drei Harfen wurde vom Komponisten / für zwei Harfen eingerichtet.< + duration data [>ca. 16 Minuten<] German] + 1 page back matter [page with publisher’s advertisements > Studien-Partituren<*** production date >105<]; title head >Scherzo fantastique<; author specified 1st page of score without pagination [S. 3] below title head flush right >I. STRAWINSKY. Op. 3.<; without legal reservations; plate number [only 1st page of score] >32953<; production indication p. 69 flush right as end mark >Druck und Verlag von B. Schott’s Söhne in Mainz<) // (1954)
° Slash original.
* Compositions are advertised with edition numbers behind fill character (dotted line) under [in a text box] the framed heading >Orchesterwerke< >Strawinsky, Igor / Scherzo fantastique 3501 / Feuerwerk. Brillante / Fantasie 3464 / Symphonie in C 3536 // Strawinsky (Forts.) / Symphonie°° in three / movements 4075 / Der Feuervogel, Suite° 3467 / Suite I für kl. Orchest.° 3469 / Suite II f. kl. Orchest.° 3470 / Concerto in Es für / Kammer-Orchester 3527 / Ragtime für elf Instru- / mente 3468 / Konzert in D für Vio- / line und Orchester 3504 / Pribaoutki. Scherz- / lieder für mittlere / Stimme u. 8 Instrum.° 3465 / Circus-Polka 4274 / Danses concertantes / f. Kammerorchester 4275 / Pas de deux (L'oiseau / bleu) (Tschaikowsky)° 4409<; unter gekastet >Opern, Ballette und / andere szenische Werke< >Strawinsky, Igor / Babel, Kantate 4412 / Die Geschichte vom / Soldaten, gelesen, / gespielt und getanzt 3428 / Das Kartenspiel, / Ballett 3511 / Reinecke, Burleske 3493< [° without fill character (dotted line); °° original spelling].
** Original spelling.
*** Strawinsky not mentioned.
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