K080 Septett 1953

K80 Septet 1953

for Clarinet, Horn, Bassoon, Piano, Violin, Viola and Violoncello – Septett 1953 für Klarinette, Horn, Fagott, Klavier, Violine, Viola und Violoncello – Septuor pour clarinette, cor, basson, piano, violon, alto et violoncelle – Settimio 1953 per clarinetto, corno, fagotto, pianoforte, violino, viola e violoncello

Scored for: a) First edition: Clarinetto in La, Corno in Fa, Fagotto, Piano, Violino, Viola, Violoncello – Clarinet [in A], Horn [in F], Bassoon, Piano, Violin, Viola, Violoncello*; b) Performance requirements: = a).

* The English term is, without naming the pitches, a part of the main title.

Construction: The Septet is a chamber-music piece numbered with Roman numerals and in two movements, the second of which is subdivided into a Passacaglia with 9 Variations and a Gigue, which are labelled as such in the score. The Gigue is constructed from the eight-note row of the Passacaglia in twenty-one permutations, with which Strawinsky built up four fugues on top of and behind one another.

Structure

I

Crotchet = 88 (87 bars = figure ⁷1 up to the end of figure 14⁷)

  (29 bars [3 #] = figure ⁷1 up to the end of figure 3¹⁰

  (25 bars [without accidental] = figure 4 up to the end of figure 8⁷)

  (7 bars [3 #] = figure 9)

  (26 bars [without accidental] = figure 10 up to the end of figure 13⁵)

Meno mosso Crotchet = 69 (7 bars = figure 14)

II

Passacaglia Circa Crotchet = 60 ([with upbeat] 82 bars = figure ⁹15 up to the end of figure 23⁹)

Gigue Quaver = 112-116 (189 bars [21 Rows] = figure ⁴24 up to the end of figure 60⁶)

  (90 bars [10 rows] = figure ⁴24 up to the end of figure 39⁷)

  (49 bars [6 rows] = figure 40 up to the [fermata-]end of figure 49 ⁴)

  (50 bars [5 rows] = figure 50 up to the [fermata-]end of figure 60⁶)

* The upbeat is one crotchet in length, but the final bar is unshortened.

Rows: The (22) rows used in the Gigue are printed before their corresponding sections in the score.

Corrections / Errata

Full score 80-1

1.) figure ¹1, Strings: all phrase marks have to be removed (pencil)*.

2.) figure 3 ¹, Viola: last note two-note-chord semiquaver a1-d2 instead of one-note semiquaver d2 (red)°.

3.) figure 9⁶ ( ²10), Violin, Viola: the phrase mark between 1st and 2nd note has to be removed.

4.) figure 9⁷ (¹10), Strings (Violin, Viola, Violoncello): the phrase marks between 1st and 2nd note have to be removed.

5.) figure 18⁸, Clarinet: fermata has to be added last note.

6.) figure 19⁵ Violoncello: expression mark >pizz.< without brackets. (pencil)**.

7.) figure 30¹: indications >piano< and >dolce< have to be added (red)**.

8.) ¹36 Clarinet: semiquaver rest has to be added after the 1st note c3 and before the last note a2; 36¹ Clarinet: semiquaver rest has to be added after the 1st note a1 (pencil, red)°°.

9.) figure¹40: fermata has to be added at the end of the bar. (pencil)°°°.

10.) figure 48¹: > pp< has to be added. (pencil)***.

11.) figure 49⁴: fermata has to be added at the end of the bar. (pencil)****.

12.) figure 56^1,2,3,4 Horn: the first three into the next bar tied notes have to be marked with accents (>) (pencil)***.

13.) figure 60^1-2, Bassoon: the into the next bar tied note has to be marked with an accent (>) (pencil) ***.

14.) figure 60² Horn: the into the next bar tied note has to be marked with an accent (>) (pencil)***.

15.) figure 60^{2 + 4}, Violin: ƒ p-sign >FP< has to be added***.

° Corrected in the pocket score; the new note is joined to the preceding note below by a phrasing mark.

°° = **, Observing this entry would cause the 6/16 bar to be turned into an (incorrect) 8/16 bar.

°°° = **, Correction were likewise made in Strawinsky’s pocket score.

* Not corrected In the pocket scores.

** Omitted in the pocket score.

*** In the pocket score not marked.

**** Not marked In the pocket score, but later corrected.

Stein’s analysis: Erwin Stein’s analysis caused a sensation. It was published in the early part of 1954 on four pages in Nr. 31 of the publishers’ newspaper, edited by Anthony Gishford >TEMPO / A QUARTERLY REVIEW OF MODERN MUSIC< under the title >STRAVINSKY’S SEPTET / (1953) / for Clarinet, Horn Bassoon, Piano, Violin & Violoncello / An Analysis / by Erwin Stein< on pages 7-10. Stein’s analysis is written dryly and discusses the technical connections without rhetorical appendage. He made a serial analysis of the rows of the large-scale form and laid with it the groundwork for a separate, in-depth motific analysis to come. Stein delivered several musical examples, but gave no indications of the figures. The first movement he did not analyse, because the technique was known. For the 9 variations of the following Passacaglia which run into one another, he demonstrated the serial connections between the rows. The separations can be recognized at the figures entered by Strawinsky 15 to 23. The theme that begins with the last 8 bars of figure 14 defines the entire movement, and in variations 1, 4 and 7 a two-part contrapuntal passage cannot be derived directly from this. This theme that is built out of unusually large intervals is in the style of Webern’s orchestration of the Ricercar from Bach’s Musical Offering (which Strawinsky had studied), distributed between several instruments; it covers a range of more than two octaves. In the variations, it is restricted to narrow bass intervals. The upper parts form canonic structures consisting of prime, inversion, retrograde and retrograde inversion in the style of Schönberg’s techniques; Strawinsky’s row is not twelve-tone, but sixteen-tone however, and furthermore does not adhere to the intervals from the theme or its rhythm, but exclusively to the sequence of notes. The canonic structures on the other hand depart from Classical and pre-Classical conceptions, as the parts do not enter after one another but at the same time. In the 1st variation, the piano and ‘cello play the theme, the horn imitates with a different rhythm, while the clarinet and bassoon set a two-part counterpart against it. In the 2nd variation, the theme is given to the violoncello. The upper parts play canons at the octave (violin), fifth (viola) and at the minor seventh (clarinet). They end where the violoncello has played half of the theme. The canonic structures in the second section of the theme are taken on by the bassoon (canon at the minor seventh) and once again by the clarinet (at the octave), while the horn plays an inversion of the row. The third variation assigns the passacaglia theme, made up of large intervals, alternately between the woodwinds and strings. The piano accompanies with a sequence of different types of two-part canonic structures in demisemiquaver figurations in: prime row and inversion; retrograde and retrograde inversion; retrograde and inversion of the retrograde; and finally once again the prime row and its inversion. The retrograde inversion begins with the same note with which the inversion ends; in this particular case, it is the note B flat. The inversion of the retrograde begins with the same note as the retrograde, i.e. the last note of the theme; in this case, it is the note A. While the woodwinds complete the theme of the Passacaglia, the violin and viola play it in retrograde and in inversion. The 4th variation is a repeat of the 1st variation. The two-part counterpoint uses all three woodwind parts from now on, and the canon at the octave previously given to the horn is now taken by the violin. The viola part added here plays an inversion of the theme at the minor second. In the 5th variation, Strawinsky puts the Passacaglia theme into the piano part and has certain notes of it doubled by the bassoon, horn and ‘cello. Semiquaver figures form an accompaniment made up from all four versions of the row: prime, retrograde inversion, retrograde and inversion. In the 6th variation, the woodwinds play the theme, and the strings add a canon which is independent of the bars of the woodwind theme. The 7th variation is a variation of the 4th variation with another canonic part added in the horn. The 8th variation is the most multi-layered of all of them. Every instrument plays a different version of the theme. Clarinet, bassoon, piano and ‘cello play the prime row, but each with their own rhythm; against this, the horn takes on the inversion, the viola the retrograde and the violin the retrograde inversion. Strawinsky finishes the Passacaglia with a 9th Variation. Its theme is now distributed among the wind instruments, while the viola and ‘cello share the retrograde inversion. Stein labels the Gigue, constructed as a four-part fugue, the 3rd movement; Strawinsky marks it with the Roman numeral II, and therefore saw the Septet as being in two sections with the second movement being a derivation of the Prelude and Fugue in an archaic structure (Prelude = variation movement; Gigue = Fugue). The theme of the four fugues was, according to Stein, who also gives no figure references in the Gigue, developed from the theme of the 1st movement and thus gains structural significance. The first fugue [fig. ⁴24 = across the whole piece 23 ¹⁰] is in three parts. Its subject is stated by the viola, which the violin answers at the fifth and the violoncello at the octave, and it is then repeated by the piano [fig. 32]. It is developed from an eight-note row with the polar centres E and A. Strawinsky had the sequence of notes in the row and their various changes over the course of the Gigue printed in the score itself. Over the piano repetitions, Strawinsky constructed a double fugue for wind trio from the same basic notes, but with differing individual rhythms [fig. ³32 to the end of fig. 39]. The first part of the Gigue ends here. The (metro-architectonically balanced) second section of the Gigue was constructed even more skillfully by Strawinsky than the first section. The material from the rows for the 2nd section is identical to that in the 1st movement, but it is used in inversion. Again, it is a three-part string fugue, followed by a double fugue for piano and winds [fig. 40-49 ⁴; fig. 49 ³up to the end of the movement and the Septet at fig. 60 ⁶]. The three-quaver rhythm of the wind fugue crosses over with the six-semiquaver rhythm of the Gigue. The winds play the fugue subject both in retrograde and in inversion, and the stretto, which happens three times and with which the Gigue ends, leads back to the prime row via an inversion of the inversion.

Style: The Septet embodies three different forms of composition, for which each one corresponds to one of the three main structural sections. The first movement can, as with all the others, be described as a neo-Classical orchestral work. It resembles the chamber concerto Dumbarton Oaks. If one were to speculate that a commission was made by the dedicatee, then one would expect a similar work to Dumbarton Oaks and Strawinsky to have begun in this manner. The Passacaglia and Gigue leave the Neo-Classical stylistic area. The Passacaglia develops a simple, contrapuntal versatility, like the Ricercare of the Cantata. The second part of the second movement, the Gigue, is constructed serially.

Dedication: Dedicated to the Dumbarton Oaks Research Library and Collection.

Duration: about 3'20" + 4'35" + 3'51".

Date of origin: July 1952 up to February 1953.

First performance: 23rd January 1954 in Dumbarton Oaks, Washington, under the direction of Igor Strawinsky.

Remarks: The two-movement form has been reinterpreted several times as a three-movement form, so that the two dance movements were regarded as separate movements, but this contradicts what is in the score. – If one uses the vehemence of his red correction lines to guess at the amount of annoyance generated by the insensitive, unprofessional allocation of works to genre titles, then Strawinsky must have got fairly agitated about the 5 mistakes in the advert page printed at the end of the conducting score. The Symphonic Poem The Song of the Nightingale was entered under the works for the stage, the Mass and Apollon under the Symphonic Works and The Song of the Nightingale, arranged for voice and piano from the opera Le Rossignol, under ‘Voice and Orchestra’, and they still had not been translated with foreign-language texts. For the Symphonies of Wind Instruments as well, he had given it to them as Symphonies ‘of’ Wind Instruments and not ‘for’ Wind Instruments, Strawinsky took a red pencil, with which he corrected the incorrect foreign words: ‘Bläsinstrumente’ instead of ‘Blasinstrumente’ and ‘vents’ instead of ‘vent’, as if they were not even worthy of noticing. There is a powerful red line in a convex semicircle on the right lower part of the page running from ‘Stage works ‘up to under ‘Le Chant du Rossignol’ with a question mark at the bottom of the line; he also underlined ‘Symphonic Works’ with a line running vertically downards between the rubrics and rightwards sagging under ‘Mass’ with a question mark at the edge. There is a similar underlining under ‘Voice and Orchestra’ with a vertical downwards line running between the rubriks and rightwards sagging under ‘Chant du Rossignol...’ and another question mark at the edge; all these were Strawinsky’s commentary on the matter. After >Apollon Musagète< he added the missing (English) final >s< of >Apollon Musagètes< and put a round bracket at the corresponding place for the genre, and he crossed out the >pour< in >Symphonies pour instruments a vents< and wrote an English >of< above the >Instruments<. This clearly did not achieve much as the publishers continued using this advert and only much later did they replace it with a more up-to-date version.

Significance: The Septet is the densest material that Strawinsky had written up to that point with the inclusion of a row not restricted to twelve notes in the Webernian sense, according to the Cologne Eimert School. – Just as Strawinsky had introduced the new stylistic direction of Neo-Classicism thirty years before with a chamber work, the Octet of 1923, so he also began his long series of his serially composed works with the chamber-music work, the Septet, in 1953. While The Rake’s Progress signified the endpoint of his Neo-Classical mindset and the Cantata played the role of a transitional work from the one direction to the other, Strawinsky’s mature style begins with the Septet, which, without any cabalistic intention, embodies religiously motivated Ordo music. The Septet condenses in itself the transitional period: the first movement is neo-Classical in the sense of The Rake’s Progress, the Passacaglia peels off from this, like the skilful counterpoint of the Cantata, and announces a new way, while the Gigue shows with its even more skilful serial workmanship the direction in which the new path is finally to lead.

Situationsgeschichte: Situation history: Only a few of Strawinsky’s works have set the cat amongst the pigeons amongst the experts as much as his Septet, after their voices, which in Germany were predicting shortly before the publication of the work that Strawinsky’s compositional method would make a turn towards serial row technique sooner or later inevitable, were not taken seriously and were even dismissed. Above all, the contentious ideology dialectically represented by Theodor Wiesengrund-Adorno and his flock of students, even if it was for good reasons contested, to want to prove Schönberg as being progress par excellence and Strawinsky as being regression, had survived as a virtual concept outside of musico-historical reality, especially as Strawinsky was not indebted to Schönberg, rather to Webern. With the analysis by Stein, one of the best twelve-tone analysts of all, who at the time had brought to public attention Schönberg’s process in a historically defining article on the new formal principles in the July/August 1924 edition of the Viennese Musik Blätter des Anbruch and was now concerning himself with Strawinsky in Boosey & Hawkes Publishers, not only was Adorno’s contested Antipodean construction shattered, but Schönberg’s ideologically superiority also began to totter because the very young composers started looking towards Webern instead. This was therefore the reason why they attempted to prove to the contrary that the so-called Webern Renaissance was untrue. With Strawinsky’s short greeting printed in the Webern book in the Eimert-Stockhausen series in the Viennese Universal Edition The Row (>die reihe<), which was instigated by Eimert, who was the founder of the first electronic studio at the Northwest-German Radio, Cologne, the alliance and companionship between the young man and the old man was set in stone. Strawinsky remained a serial composer until his death, which was tantamount to a rejection of any sort of commercial composition.

Versions: The publishing contract between Strawinsky and Boosey & Hawkes was signed on 28th April 1953. The full score of the Septet was published immediately (printed December 1953) after its completion in 1953 by Boosey & Hawkes alongside a version for two pianos completed by Strawinsky himself. The British Library received both editions on 31st December 1953. The pocket score was published in February 1954 with what has been proved to be a new edition in May 1955. Strawinsky received the contributory copy for this in February 1954, and the British Library dates it more precisely at 13th February 1954.

Historical recordings: New York 27th January 1954; 27th Oktober 1965 in Hollywood with the Columbia Chamber Ensemble under the direction of Igor Strawinsky.

CD edition: VII-1/8-10 (recording 1965).

Autograph: Paul Sacher Stiftung Basel.

Copyright: 1951 by Boosey & Hawkes.

Editions

a) Overview

80-1 1953 FuSc; Boosey & Hawkes London; 29 pp.; B. & H. 17447.

    80-1^Straw1 ibd. [with corrections and annotations].

    80-1^Straw2 ibd. [with annotations].

    80-1^Straw3 ibd. [without annotations].

80-2 1953 VoSc 2 Pianos; Boosey & Hawkes London; 24 pp.; B. & H. 17448.

80-3 1954 PoSc; Boosey & Hawkes London; 29 pp.; B. & H. 17447; 682.

    80-3^Straw 1954 ibd. [with annotations].

  80-3⁵⁵ 1955 ibd.

  80-3⁶⁵ 1965 ibd.

80-4^St 1954 Set of parts; Boosey & Hawkes London; B. & H. 17475.

b) Characteristic features

80-1 igor strawinsky / septet / full score/ boosey & hawkes // Igor Strawinsky / Septet / 1953 / for Clarinet, Horn, Bassoon, / Piano, Violin, Viola and Violoncello / Full Score/ Boosey & Hawkes / London · Paris · Bonn · Capetown · Sydney · Toronto · New York // (Full score sewn in red 23.4 x 31 (2° [4°]); 29 [29] pages + 4 cover pages thicker paper tomato red on green beige [front cover title, 2 empty pages, page with publisher’s advertisements >Igor Strawinsky<* production data >No. 693< [#] >12.53<] + 2 pages front matter [title page, empty page] + 1 page back matter [page with publisher’s advertisements >Igor Strawinsky<** production data >No. 692< [#] >12.53<]; title head >SEPTET / 1953<; dedication above title head centre italic > Dedicated to the Dumbarton Oaks Research Library and Collection<; author specified 1st page of the score paginated p. 1 next to movement number numbered in Roman numeral (without dot) >I< flush right >IGOR STRAWINSKY<; legal reservations 1st page of the score below type area flush left >Copyright 1953 by Boosey & Hawkes, Inc., New York.< flush right >All rights reserved<; plate number >B. & H. 17447<; production indication 1st page of the score below type area centre inside right >Printed in England<; end number p. 29 flush left as end mark >12. 53. E<) // (1953)

* Compositions are advertised in two columns without edition numbers und 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; °°° original mistake in the title]. After London the 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 and (randomly) to genres >Stage Works° / Oeuvres Théatrales · Bühnenwerke° / The Rake’s Progress [#] Le Rossignol / Le Libertin Der Wüstling [#] The Nightingale Die Nachtigall / Opera in three acts Opéra en trois actes [#] Musical tale in three acts after Anderson°° / Oper in drei Akten [#] Conte lyrique en trois actes d’apres Anderson°° / [#] Lyrisches Märchen in drei Akten nach Anderson°° / Mavra [#] Oedipus Rex / Opera buffa in one act after Pushkin [#] Opera - Oratorio in two acts after Sophocles / Opéra Buffe en un acte d’apres Pushkin [#] Opéra – Oratorio en deux actes d’apres Sophocle / Oper°° Buffa°° in einem Akt nach Puschkin [#] Opern - Oratorium in zwei Akten nach Sophokles / Persephone [#] Pétrouchka / Melodrama in three parts by André Gide [#] Burlesque in four scenes / Melodramé°° en trois parties d’Andre°° Gide [#] Burlesque en quatre tableaux / Melodrama in drei Teilen von André Gide [#] Burleska°° in vier Bildern / Le Sacre du Printemps [#] Le Chant du Rossignol / The Rite of Spring [#] The Song of the Nightingale / Pictures from pagan Russia in two parts [#] Symphonic poem in three acts / Tableaux de la Russie paienne en deux parties [#] Poème symphonique en trois parties / Bilder aus dem heidnischen Russland in zwei Teilen [#] Symphonische Dichtung in drei Teilen / Pulcinella [#] Apollon Musagète / Ballet with chorus in one act after Pergolesi [#] Ballet in two scenes / Ballet avec chant en un acte d’apres Pergolesi [#] Ballet en deux tableaux / Ballett mit Chor in einem Akt nach Pergolesi [#] Ballett in zwei Bildern / Le Baiser de la Fée [#] Orpheus / Ballet - Allegory in two scenes [#] Ballet in 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°°+°< [° running across all columns centre, continued to >Orpheus< centred; °° 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.

80-1^Straw1

The copy from Strawinsky’s estate is signed and dated >IStr Dec 30 /1953< flush right at the top of the cover page. It contains an advertisement corrected (see >Remarks<) in red and corrections in pencil for figure 10: Stravinsky crossed out the 2 x 2 quaver notes and the preceding crotchet rest and replaced them with a crotchet rest with 2 quavers marked with > without a ligature + 2 quavers marked with > with a ligature. On the inner title page (above, next to and below > Full Score<), there are statements of duration >1. 2:55 / 2. 3:55 / 3. 3:10<.

80-1^Straw2

The copy contains many performance notes (in red), and on p. 1 next to the main heading, the date >Recorded Oct 27/°65 COLUMBIA< [° slash original].

80-1^Straw3

The (not signed or dated) copy contains only few performance notes.

80-2 igor strawinsky / septet / reduction for two pianos/ boosey & hawkes // Igor Strawinsky / Septet / 1953 / for Clarinet, Horn, Bassoon, / Piano, Violin, Viola and Violoncello / Reduction for Two Pianos/ Boosey & Hawkes / London · Paris · Bonn · Capetown · Sydney · Toronto · New York // (Piano reduction for two pianos sewn 23.5 x 31 (4° [4°]); 24 [24] pages with 2. copy enclosed sewn + 4 cover pages light tomato red on grey beige [front cover title, 2 empty pages, page with publisher’s advertisements > Igor Strawinsky<* production data >No. 693< [#] >12.53<] + 2 pages front matter [title page, empty page] + 2 pages back matter [page with publisher’s advertisements > Igor Strawinsky<** production data >No. 692< [#] >12.53<, page with publisher’s > Édition Russe de Musique/ (S. & N. Koussewitzky) / Boosey & Hawkes< advertisements > Serge Prokofieff< production data >No. 713< [#] >7 · 53<]; title head >SEPTET / 1953<; dedication above title head centre centred italic > Dedicated to the Dumbarton Oaks Research and Library<; author specified 1st page of the score paginated p. 1 next to movement number (without dot) >I< flush right >IGOR STRAWINSKY<; legal reservations 1st page of the score below type area flush left >Copyright 1953 by Boosey & Hawkes, Inc., New York.< flush right >All rights reserved <; plate number >B. & H. 17448<; production indication 1st page of the score below type area inside right >Printed in England<; without end mark) // (1953)

* Compositions are advertised in two columns without edition numbers und 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; °°° original mistake in the title]. 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 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°°+°< [° across columns centre, subsequent lists up to >Orpheus< centred; °° original spelling; In the opposite column slightly displaced between >Mavra< and the >Burlesque in four scenes<, likewise there is a dislocated line spacing after >Apollon Musagète< in the section for Symphonic Works]. After London the following places of printing are listed: Paris-Bonn-Capetown-Sydney-Toronto-New York.

80-3 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / SEPTET^ / BOOSEY & HAWKES / No. 682 // HAWKES POCKET SCORES / IGOR STRAWINSKY / SEPTET / 1953 / for Clarinet, Horn, Bassoon, / Piano, Violin, Viola and Violoncello / BOOSEY & HAWKES / LTD. / LONDON · PARIS · BONN · CAPETOWN · SYDNEY · TORONTO · NEW YORK / MADE IN ENGLAND / NET PRICE // (Pocket score sewn 13.5 x 18.7 (8° [8°]); 29 [29] pages + 4 cover pages olive-green on dark beige [front cover title with frame 9.1 x 3.8 dark beige on olive-green, 2 empty pages, page with publisher’s advertisements* >HAWKES POCKET SCORES / A selection of outstanding modern works/ from this famous library of classical and contemporary Miniature Scores.<* production data >No. 582 [#] 6.50<] + 2 pages front matter [title page, empty page] + 1 page back matter [page with publisher’s advertisements* >HAWKES POCKET SCORES / A comprehensive library of Miniature Scores containing the best-known classical / works, as well as a representative selection of outstanding modern compositions.<** production data >No. 520 [#] 1.49<]; title head > Septet/ 1953<; dedication 1st page of the score paginated p. 1 above title head centre centred italic > Dedicated to the Dumbarton Oaks Research Library and Collection<; author specified 1st page of the score next to movement number numbered in Roman numeral (without dot) >I< flush right >IGOR STRAWINSKY<; legal reservations 1st page of the score below type area flush right >All rights reserved< [/] flush left >Copyright 1953 by Boosey & Hawkes, Inc., New York.<; plate number >B. & H. 17447<; end number p. 29 flush left >2 · 54 L. & B.<; production indications 1st page of the score halbcentre between legal reservations >Printed in England< p. 29 as end mark flush right >Lowe and Brydone (Printers) Limited, London) // (1954)

^ ^ = Text in frame.

* Compositions are advertised in three columns without edition numbers from >BÉLA BARTÓK< to >R. VAUGHAN WILLIAMS<, amongst these-Werken >IGOR STRAWINSKY / Apollon Musagète ( Revised1947) / Capriccio for Piano and Orchestra / Chant du Rossignol / Concerto in D for String Orchestra / Divertimento ( Revised1949) / Mass for Chorus and Wind instr.° / Octet for Wind Instruments° / Œdipus Rex ( Revised1948) / Orpheus / Perséphone ( Revised1947) / Pétrouchka ( Revised1947) / Piano Concerto / Pulcinella Suite ( Revised1949) / Four Studies for Orchestra / The Rite of Spring ( Revised1947) / Symphony of Psalms / Symphonies for°° Wind Instruments° / Three Pieces for String Quartet< [° original spelling; °° original mistake in the title]. After London the following places of printing are listed: Paris-Bonn-Capetown-Sydney-Toronto- New York.

** Classical editions from >J. S. BACHh< to >WEBER< are listed including the titles of their works in four columns under the headline > classical editions<, under the headline >MODERN EDITIONS< the names of contemporary composers are listed without any titles in four columns from >Bela Bartok< to >Arnold van Wyk<, amongst these >IGOR STRAWINSKY<. The order of the places of printing is London-Paris-Bonn-Capetown-Sydney-Toronto-New York.

80-3^Straw

Strawinsky’s copy of his estate is on the cover page between >HAWKES POCKET SCORES< and the frame flush right signed and dated >IStr febr./° 54< [° slash original].

80-3⁵⁵ HAWKES POCKET SCORES / ^IGOR STRAWINSKY / SEPTET^ / BOOSEY & HAWKES / No. 682 // HAWKES POCKET SCORES / IGOR STRAWINSKY / SEPTET / 1953 / for Clarinet, Horn, Bassoon, / Piano, Violin, Viola and Violoncello / BOOSEY & HAWKES / LTD. / LONDON · PARIS · BONN · CAPETOWN · SYDNEY · TORONTO · BUENOS AIRES · NEW YORK / NET PRICE / MADE IN ENGLAND // (Pocket score stapled 13.8 x 18.7 (8° [8°]); 29 [29] pages + 4 cover pages olive-green on dark beige with [front cover title with frame 9.1 x 3.8 dark beige on olive-green, 2 empty pages, page with publisher’s advertisements >HAWKES POCKET SCORES / A selection of outstanding modern works/ from this famous library of classical and contemporary Miniature Scores.<* production data >No. 382 [#] 6.50<]< + 2 pages front matter [title page, empty page] + 1 page back matter [page with publisher’s advertisements* >HAWKES POCKET SCORES / A comprehensive library of Miniature Scores containing the best-known classical / works, as well as a representative selection of outstanding modern compositions.<** production data >No. 520< [#] >1.49<]; title head > Septet/ 1953<; dedication 1st page of the score paginated p. 1 above title head centre centred italic > Dedicated to the Dumbarton Oaks Research Library and Collection<; author specified 1st page of the score next to movement number (without dot) >I< flush right >IGOR STRAWINSKY<; legal reservations 1st page of the score below type area flush left >Copyright 1953 by Boosey & Hawkes, Inc., New York.< flush right >All rights reserved<; plate number >B. & H. 17447<; end number p. 29 flush left >5·55 L & B<; production indications 1st page of the score below type area centre inside right >Printed in England< p. 29 flush right as end mark >Lowe and Brydone (Printers) Limited, London) // (1955)

^ ^ = Text in frame.

* Compositions are advertised in three columns without edition numbers from >BÉLA BARTÓK< to >R. VAUGHAN WILLIAMS<, amongst these >IGOR STRAWINSKY / Apollon Musagète ( Revised1947) / Capriccio for Piano and Orchestra / Chant du Rossignol / Concerto in D for String Orchestra / Divertimento ( Revised1949) / Mass for Chorus and Wind instr.° / Octet for Wind Instruments° / Œdipus Rex ( Revised1948) / Orpheus / Perséphone ( Revised1947) / Pétrouchka ( Revised1947) / Piano Concerto / Pulcinella Suite ( Revised1949) / Four Studies for Orchestra / The Rite of Spring ( Revised1947) / Symphony of Psalms / Symphonies for°° Wind Instruments° / Three Pieces for String Quartet< [° original spelling; °° original mistake in the title]. After London the following places of printing are listed: Paris-Bonn-Capetown-Sydney-Toronto- New York.

** Classical editions from >J. S. BACH< to >WEBER< are listed including the titles of their works in four columns under the headline > classical editions<, under the headline >MODERN EDITIONS< the names of contemporary composers are listed without any titles in four columns from >Bela Bartok< to >Arnold van Wyk<, among them >IGOR STRAWINSKY<. The order of the places of printing is London-Paris-Bonn-Capetown-Sydney-Toronto-New York.

80-3⁶⁵ HAWKES POCKET SCORES / ^IGOR STRAWINSKY / SEPTET^ / BOOSEY & HAWKES / No. 682 // HAWKES POCKET SCORES / IGOR STRAWINSKY / SEPTET / 1953 / for Clarinet, Horn, Bassoon, / Piano, Violin, Viola and Violoncello / BOOSEY & HAWKES / MUSIC PUBLISHERS LILITED / LONDON · PARIS · BONN · JOHANNESBURG · SYDNEY · TORONTO · NEW YORK / NET PRICE / MADE IN ENGLAND // (Pocket score stapled 13.6 x 18.7 (8° [8°]); 29 [29] pages + 4 cover pages olive-green on beige with [front cover title with frame 9.1 x 3.8 beige on olive-green, 2 empty pages, page with publisher’s advertisements >HAWKES POCKET SCORES / An extensive library of miniature scores containing both classical works / and a representative selection of outstanding modern compositions<* production data >No. I6 [#] I.6I<]< + 2 pages front matter [title page, empty page] + 1 page back matter [empty page] title head > Septet/ 1953<; dedication 1st page of the score paginated p. 1 above title head centre italic > Dedicated to the Dumbarton Oaks Research Library and Collection<; author specified 1st page of the score next to movement number (without dot) >I< flush right >IGOR STRAWINSKY<; legal reservations 1st page of the score below type area flush left >Copyright 1953 by Boosey & Hawkes, Inc., New York.< flush right >All rights reserved<; plate number >B. & H. 17447<; end number p. 29 flush left >5·65 L & B<; production indications 1st page of the score below type area centre inside right >Printed in England< p. 29 flush right as end mark >Lowe and Brydone (Printers) Limited, London) // (1965)

^ ^= Text in frame.

* Compositions are advertised in three columns without edition numbers from >Bach, Johann Sebastian< to >Wagner, Richard<, amongst these >Stravinsky, Igor / Agon / Canticum Sacrum / Le Sacre du Printemps / Monumentum / Movements / Oedipus Rex / Pétrouchka / Symphonie de Psaumes / Threni<. After London the following places of printing are listed: Paris-Bonn-Johannesburg-Sydney-Toronto-New York.

80-4^St igor strawinsky / septet / boosey & hawkes // (set of parts 22.3 x 29.8 ([Lex 8°]) + 4 cover pages [front cover title light red on light beige, 2 empty pages, page with publisher’s advertisements > Igor Strawinsky<* without production data]; piano part 10 [10] pages without front matter + 2 pages back matter [2 pages with text identical publisher’s advertisements > Igor Strawinsky<* without production data], clarinet-, Basson-, Violin-, Viola-, Violoncello-part 4 [4] pages each without front and back matter, Horn part 3 [3] pages without front matter + 1 page back matter [page with publisher’s advertisements > Igor Strawinsky<* without production data]; title head >SEPTET / 1953<; dedication above title head centre italic > Dedicated to the Dumbarton Oaks Research Library and Collection<; the names of the instruments (>Clarinetto in La< >Corno in Fa< >Fagotto< >Piano<>Violino< >Viola< >Violoncello<) below title head flush left; author specified 1st page of the score paginated p. 1 between the names of the instruments and movement number in Roman numeral (without dot) flush right >IGOR STRAWINSKY<; legal reservations 1st page of the score above type area above and next to dedication and title head flush left >“THIS COPY MAY NOT BE SOLD OR / USED FOR PERFORMANCE OUTSIDE / THE U.S.A. FOR ALL TERRITORY OUT- / SIDE THE U.S.A. APPLICATION MUST / BE MADE TO BOOSEY AND HAWKES / MUSIC PUBLISHERS Limited, 295 / REGENT STREET, LONDON, W.1.“ below type area flush right >All rights reserved< / flush left >Copyright 1953 by Boosey & Hawkes, Inc., New York<; plate number >B. & H. 17475<; production indication 1st page of the score below type area centre inside right >Printed in U.S.A.<; parts in identical text; end number as end mark [exclusively] on piano part p. 10 >12. 53. E<) // [1954]

* Compositions are advertised in two columns without edition numbers, without price information and without specification of places of printing, 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; °°° original mistake in the title].

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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.
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