I dedicate this book in deep gratitude to my wife Dr. med. Eva Maria Kirchmeyer, née Berke, who supported my work ideally and materially over many decades.
In 1947 Eric Walter White published a Strawinsky Biography that was translated into German in 1950. In an Appendix A he attached a small, eight page long catalog of works with a total of 75 numbers, that went through 1948 (Mass).
When in 1958 I put in a catalog of works as Appendix for my book on Strawinsky, I could only follow White’s numbering to No. 25 because in the meantime the chronological order of several works had emerged differently.
My ergographic catalog comprised 50 pages fine print and ranged to No. 88 (Agon). I favor the ergographic method of incorporating biography and monograph in a catalog of works. White adopted this method in his follow-up biography of 1966 which is fundamental to date.
White differed from his own numbering and created a new list, without integrating it into the system of a catalog of works. We corresponded about this, and White wrote to me that basically he did not mean to create a catalog of works, nor did he intend to do so in the future. In the meantime, my numeration had been adopted by many libraries, among them the Bayerische Staatsbibliothek in Munich. For this reason I was strongly advised against changing the old numbering from 1958 for a completed, new, all works containing catalog of works that proceeds to Strawinsky’s death.
Thus I continued the numbering from Nr. 89 (Threni) to Nr. 110 (Preludien and Fugen). The few newly discovered compositions - including derivative works from earlier times which as derivatives were always outside the regular catalog - were collected in an addendum N1 to N37.
2. Numbering Method
Since Strawinsky defies conventional cataloging criteria, any method for organizing his works might be challenged. Strawinsky’s way to repeatedly rework, reposition, and revise a single work, sometimes for over 40 years, makes any cataloging method run into aporia at some point.
Thus I follow – with a few well-founded exceptions - the dates of publication and assign all related pieces to one number. Among the exceptions is for instance the KANON. Strawinsky attached greatest importance to composing that piece following a Russian folklore song and not the same folklore song that he at the time integrated in the Firebird.
Beyond that, Strawinsky thought of his transcriptions for piano rather as arrangements for piano than as transcriptions and counted some of them among his concert literature. With the continuation part I abandoned the separation of original work and derivative work that was introduced by White. It does not make sense any more, especially for Strawinsky's late works.
Apart from the early instrumentations all derivative works became - in one way or another - compositions of their own. This especially holds for the later derivations. It would also not be convincing to list the Choral-Variationen or the Monumentum in an Appendix as derivative works, while at the same time denying a ballet such as Pulcinella the same status. Because, if nothing else, the task was to retrace the convoluted publication history, separate editions were assigned to the main number, and listed by publication date, as far as this can still be determined. The blue stamp used by the former library of the British Museum in London was particularly useful for this purpose.
Only publications available for purchase, or formerly available for purchase, not hired materials, were registered. For several reasons, an already started extension for hired materials had to be abandoned. For one, hire material is only limited available, since it is not collected, but destroyed after usage; then, in many cases where there are new score editions the old hire material with handwritten corrections continues to be in use; finally, vice versa, there are enhancements to the hire material without that there would be a new print right away. Sets of parts of unverifiable issues were recorded when they were available for sale, and when the possibility of reissuance or the existence in a library not used for the directory cannot be excluded. This also holds for the complementary sets of parts as customary before 1914.
The documentation concludes with 1971, the year of Strawinsky's death. However, with some works, such as the Klavier-Etueden, the documentation concludes at an earlier date. This was done for pieces whose edition situation cannot be verified beyond doubt and for which one can conclude with good reason that in-between editions have been published, possibly even through an alien publishing house. That way the possibility of continuing in a correct numerical order stays intact.
The method for the identification of the print works was simple, wearisome, time-consuming and above all – since I never used any public or other external funding for my work – pricey, as I was scanning the reference libraries and those with a usually high share of original publications.
My most important reference libraries were the Strawinsky-Archiv of the Paul Sacher Foundation in Basel, the Preussische Staatsbibliothek in Berlin, the Bibliothek des Internationalen Musikinstituts in Darmstadt, the Deutsche Bücherei in Leipzig, the Musikbibliothek of the City of Leipzig, the British Library in London, the Bayerische Staatsbibliothek in Munich, the Musikbibliothek of the City of Munich, the Bibliotheque National in Paris and the Library of Congress in Washington, DC.
Furthermore, I was able to exploit the collections of the Case Western University in Cleveland, the Cornell University in Ithaca, the Curtis Institute of Music in Philadelphia, the Multnomah County Library in Portland, the Peabody Institute of The John Hopkins University in Baltimore, the Public Library in Boston, the Temple University in Philadelphia, the Emporia State University, the University of California in Los Angeles, Stanford University, the University of Illinois at Urbana-Champaign, Auburn University, and the University of Missouri. Thanks to the time-consuming efforts of the then head of the Department of Military Music of the German Bundeswehr Lieutenant-Colonel Kurt Ringelmann, I received in addition the opportunity to access the usually hard to get to archives of the American Armed Forces in Washington and Fort Myers in Virginia to investigate the Strawinsky holdings there. My working libraries were the Musikbibliothek of the City of Duesseldorf and the Universitätsbibliothek Duesseldorf.
The present catalog of works differs from the hitherto existing type because it contains categories that up to now have been banned from catalogs of works, such as notes related to performances including information about roles and playing times, editions with their sales result, short analyses, information on biographical assignments or historical performances, which, referred to the classical music period of the 19th century in most cases would not have been feasible to identify anyway.
For future catalogs of works, these additions will probably become mandatory. They help both the musicologist and the antiquarian to time editions and to estimate their value; they help the performing musician - for himself or his ensemble - to identify performance options of a work in advance; they help the librarian to properly expand their collection, and they help the music pedagogue and the general user to quickly and comprehensively familiarize themselves with the intellectual world of a particular work.
In addition, performances supervised by the composer himself and later documented can no longer be disregarded for future complete editions as source, at least not inasmuch they adjust errors in the latest printed versions, which is the case with Strawinsky.
This directory searches for a methodologically new way to represent a historically and philosophically significant artist and his work by connecting biographical, analytical, historical, performance practical and subject bibliographical investigations as a method of a merged documentation and interpretation of works.
5. Spelling of Names and Titles
The problem of spelling of the name Strawinsky has been expounded.
Beyond the older Cyrillic notation Игорь Стравинскій and the newer Игор Стравинский there are only two ways of writing his name that are authorized by Strawinsky: one is Igor Stravinsky, and the other one is Igor Strawinsky. All other notations (Strawinskij, Strawinski, Stravinskij, Stravinski) were neither authorized by the holder of the name nor supported by original print issues.
The fact that the Romance languages other than the Russian and the German language do not know the w and that the Anglo-American languages pronounce the w differently did not play a role in the twenties. With very few exceptions, those happened almost exclusively at Chester and London, the name was printed placarded with w. To date, the Italians print w (Roman Vlad) like the Germans do. The same holds for the French-speaking Swiss (Tappolet). The v-spelling came up relatively late in connection with the general Americanization.
Strawinsky, who in general was rather indifferent about it, has weighed in on this many times, and remained himself till 1956 explicitly with the w-spelling also in the English speaking area. Therefore, until then, all Boosey-editions write w. Even the early American editions have left it at w. Only after 1956 Strawinsky adapted the v-spelling.
It is not impossible that after the death of Erwin Stein Strawinsky was pushed out of nationalistic reasons of prestige. He said diplomatically, since his works were published by an English publishing house, one should write his name according to the English pronunciation. In other words, if they do not appear in an English publishing house, the spelling should remain with w.
Today, Strawinsky's works can only legitimately be published by English and German publishing houses.
Much more evocative are the disputes over the proper transfer of other Russian composers’ and authors' names. Whether it is mandatory to write (German) Tchaikovsky or (French) Tchaikowsky or (English) Tchaikovski or, as recently enjoined even on elementary music libraries, ³ajkovskij with the insertion of letters that are not provided in the Latin alphabet, is first and foremost a Slavonic (Slawonic) problem and not primarily a musicological problem and as a side issue it should not become a main issue.
For decades, the Russian names, depending on the country, have been used with customary transcriptions and were well understood. To standardize those at the expense of variety and vitality of languages and cultures might be a justified scientific concern. Nevertheless, each author must decide for himself whether the postulated transcription rules for the Russian language should have priority over, for example, the self-reflected decision of a Russian, how he would like to be called and written in Western Europe.
However, it is reasonable to demand that a name in the commented text of a book is spelled not in different ways but consistently throughout. Thus, one should previously establish its specific spelling. This catalog of works uses the German spelling that at the same time is the spelling that was used at the time of the creation of the works and that was customary in the found text outputs. Thus, the catalog uses the spelling Tschaikowsky and Mussorgsky, which also happens to be the way of spelling in more recent German publications. But even that rule cannot be applied without exception. Many Russian names, for example names of dancers, are transcribed in French and English, but might never have been transcribed into German. Which spelling should now be the "right" one cannot be determined. Artist names, especially first names, are sometimes written differently in the very same program text. There is Frederic next to Frederick and Idzikowsky next to Idzikovsky and Idsikowsky and Stanislas next to Stanislaw.
Probably already then the authors of the program did not know for sure how to spell the name of the artist correctly. Or typographical errors have crept in, while today nobody can say what at the time the intended spelling and what the typographical error was.
In the case of the Russian poet Gorodetzky the original spelling is generally inconsistent. In the German part of the original editions Gorodezky stands next to Gorodetzki. In editions later than 1960, his name is spelled Gorodetzky. English and French writing uses Gorodetski, Strawinsky’s (French) dedication to the poet is aimed at Gorodetsky. After 1960 the British texts use the spelling Gorodetzky. I followed the spelling of the name as used in the latest publications during Strawinsky’s lifetime, i.e., Gorodetzky, which is consistent with the otherwise used y-spelling.
In the case of the name Rimsky-Korssakow I had to choose between a notation with single or double s. Today, there is a tendency to spell the name Korsakov; but I decided to continue using the old spelling Korssakow because most Russians pronounce the Russian letter ñ = s sharp, and pronounced the s in Korssakow sharp during his lifetime. Most translators in this catalog used the spelling Korsakov though.
c) Orthographic Differences
At first glance the orthographic differences in the spelling of the same name or title in this book might be confusing. But since the title of an edition is always used in the exact same way as it was used in the original work, and since the original spelling depending on the orthography of the time changed, the spelling of a Russian title of a work or a citation from an edition prior to 1914 will look different from one later than 1945. Various characters gradually disappeared from the typeface due to the Russian orthography reform. With Strawinsky they survived. Strawinsky would use characters such as Ђ, ђ, and the hard signs Ъ and ъ as well as the letters І and і. The modern Russian writing does not know these characters anymore and uses И instead of І or и instead of і.
d) Serge de Diaghilew
Among one of the national spelling peculiarities is the French custom of providing Serge Diaghilew with the aristocratic title de, a title unknown in the czardom. In fact, Diaghilew was (and so was Strawinsky with whom he was distantly related) part of the Russian aristocracy. Unlike customary in France, Germany, Austria or Hungaria in Russia nobility is a status and not a title, unless you are a prince, a count, or a baron.
6. Date of Birth
Compared to the dispute about correct spelling, the dispute over Strawinsky’s correct birth date is rather of tragicomic nature. According to the Russian calendar, Strawinsky was born on June 5, 1882. Thus, following the Gregorian calendar, his date of birth is June 17, 1882. Because the Russian calendar is permanently wrong - it was abolished in the state of Russia in the early twenties and remains only valid within the Russian-orthodox church - it deviates from the Gregorian calendar one additional day in each century. Thus June 5, 1982 is June 18, 1982; June 5, 2082 is June 19, 2082. Strawinsky made his trenchant-funny remarks about this, which were sometimes misunderstood. In the literature it often says that he celebrated his birthday on June 18. In reality, Strawinsky did not celebrate his birthday, but, as was common in classic Catholicism, the name day of his patron Saint Igor. The 5th of June, the day Strawinsky was born, is Julian the day of Igor, and that is why Strawinsky obtained the name Igor as his first name. According to the Julian-Russian calendar and in comparison to the Gregorian calendar, this religious holiday shifts in fact one day forward in each century. Thus, converting his name day in the twentieth century to the Gregorian calendar, he had consequently to celebrate it on June 18. But this has no effect on his actual birth date, which is June 5, 1882 and thus, according to Gregorian calculation of times, remains on June 17, 1882.
Directions for Use
Directions for Use
Up to No. 88, the numbering of works follows the directory of 1958. The works after 1958 are counted up without distinction between works and adaptations. Compositions that became known after 1958 are numbered separately in an addendum, the same way as the new detected early derivative works. For the purpose of facilitating the historic placement of those numbers the respective year of creation is provided in square brackets.
The titles follow, both in text and language, the printed editions which were authorized by Strawinsky at the time, regardless of autographic information or letter accounts. It only happened once that such a title contained an error, namely, with the title of the opera Die Nachtigall. In its first print, as a result of a mis-translation of the original French title Le Rossignol it appeared without article. The article was added at the next opportunity though.
The linguistic sequence of the titles gives the order of their appearance. This in turn leads to a non-schematic linguistic hierarchy, changing with each work, while at the same time it allows an insight into the history of the titles of the works.
Unauthenticated translations are placed last or are set in square brackets. Titles for which no authorized translations exist are displayed according to their customariness. When some languages add amendments that are missing in others, title transfers also vary depending on the language and the template that was used for the translation. In addition to the titles in Russian, French, German, and English, the catalogue also includes the Italian versions where it seemed historically appropriate, as well as the authentic Hebrew version for Abraham and Isaac.
The information about durations is not taken from the sometimes problematic score information but it follows the tempos Strawinsky has chosen in his own sound recordings that are available in the CD edition. Only in the absence of such a self-interpretation by Strawinsky the score information is displayed with an annotation.
The dedication note complies with the notes in the printed versions. It displays the original text and the original order. Known but unreleased dedications are provided along with the sources. Non-original broadcasts and explanatory notes are enclosed in square brackets or in small print notes.
The origins-category has the purpose to provide keyword-like time frame information at a glance and as historic grid.
6. First performance
Only confirmed dates are included. Wherever a date for the premiere is missing, this date is either unknown or disputed. Adjusted dates have been confirmed through exclusionary identification of dates.
Incorporated analyses and form typological assignments have been specifically made for this directory of works. Some go back to supplements of the record series WERGO that I founded. Several have been evaluated in my graduate and doctoral seminars. Whenever external analyses were used or considered (Belajew, Craft, Eimert, Glebov, Jarustowski, Keller, Stein, Strawinsky, Tarushkin, Vlad, White, etc.), it will be noted at that particular text passage.
Publications using foreign notations such as Cyrillic or Greek are not transcribed but cited in their original form, apart from some justified individual cases and except of titles in those few cases where the foreign terms at least established themselves to some extent. This ensures the correct pronunciation, which can only occur when using the original typeface. A potential Germanization is usually accompanied by a pronunciation explanation.
9. Sound Records
Listed are those prevalent recordings that derive from Strawinsky himself and are available on solid sound recording media and available for purchase. Other recordings are only included if their date of publication is certain and they were published before 1971.
To increase the practical usefulness of the catalogue, there is, whenever possible, a reference to the CD edition as issued by Sony starting in 1991 as complete edition of all of Strawinsky’s own recorded compositions in a re-publication of the LP edition 1981/82, editorially revised and with expanded content, comprising 22 compact discs released with English-German-French supplements. (Igor Stravinsky / The Recorded Legacy / L'Œuvre Intégral Enregistré / Das klingende Vermächtnis / SMK 46291** [I: Ballette Band 1]; SMK 46292** [II: Ballette Band 2]; SMK 46293 [III: Ballett-Suiten]; SMK 46294* [IV: Symphonien / Proben und Gespräche]; SMK 46295 [V: Konzerte]; SMK 46296 [VI: Kleine Meisterwerke]; SMK 46297* [VII: Kammermusik und Historische Aufnahmen]; SMK 46298* [VIII: Opern]; SMK 46299* [IX: Der Wüstling]; SMK 46300* [X: Oratorium und Melodram]; SMK 46301* [XI: Geistliche Werke]; SMK 46302 [XII: Craft-Aufnahmen]). The supplements are part of the sources of the directory.
* Double Cassette.
** Three Cassette.
11. Note Samples
For practical reasons, no note samples or composition incipits have been included in this edition.
Since the size formats commonly used by libraries and publishers, ranging from folio (2°) to quarto (4°) and octavo (8°) - even with consideration of intermediate sizes - only deliver a rough idea of the appearance of a score, and in addition have been developed for different reasons and different print works, the width and depth for each of the scores have been measured in centimeters and are noted in this catalog.
Millimeter-sized differences have to be accepted as many copies have been cropped and pages adjusted. Minimal differences can also occur depending on the measuring points (from the top of the page or from the bottom of the page). In case of multiple copies, naturally, the larger measurement will be listed. However, to not entirely ignore the traditional way of measuring books, you find the traditional measures in round brackets after the centimeter specification of the Strawinsky-title as used by the British Library. In addition, you find it in square brackets following the today's German style.
13. Letter Formats
a) Superscript numbers and letters in connection with a score number
Superscript numbers stand for:
1. Bar measures are only used in connection with score numbers. If the superscript number stands in front of the score number, then one has to count backwards (Example: 365 = 5th bar after score 36; 336 = 3rd bar before number 36).
2. Time measures in connection with a catalog number (Example: 47-659 = from "Oedipus Rex" (K47), published as pocket score by Boosey & Hawkes (6) in the year 1959. This method allows adding new-found editions without changing the system.
Italics are used:
1. for the separation of main and secondary titles within the preliminaries *
2. for the citation of original texts
3. for the use of an original individual word
4. for the subject directory that is part of the main index
* does not apply to the Russian original preliminaries
c) Small caps
Small caps are used:
1. for the distinction of work titles in original writing from non-original writing as well as for names of institutions in original writing and non-original writing (Example: SYMPHONIES D'INSTRUMENTS À VENT or BLÄSERSYMPHONIEN or FEUERVOGEL-Prozeß; BOSTON SYMPHONY ORCHESTRA, but Boston’s Symphonic Orchestra).
2. for the work directory that is part of the main index
d) Quotation marks
Quotation marks are used:
1. for citation of original texts in non-original form (translations) or in second hand versions
2. for putting emphasis on individual words
Round brackets are used in a conventional way.
Square brackets contain
1. brief explanatory notes from the author, usually in order to comment on name or word abbreviations (Example: B.[eatae] M. [ariae] V.[irginis]) oder M.[onsieur]*).
2. in the preliminaries of the works they contain the unauthenticated transcriptions.
3. in the determination of format the more detailed German notes
4. for page counting, the number of actual music pages in relation to the pagination (Example: 12 -3 ... 156  = according to pagination, the score has 156 pages, of which 6 are not music pages.)
5. in the catalog of publications they are used in order to label uncertain dates, in the Appendix of the catalog of works (KN numbers) they enclose the date of creation.
* in this case in order to avoid an in literature frequently encountered confusion with a seemingly abbreviated first name
f) Abbreviations and Letters
Apart from standard abbreviations abbreviations have been omitted. For this reason, a separate list of abbreviations was not necessary. For references,
14. Color Identification
The identification and description of colors of cover pages have to be understood as approximations, however, all color descriptions have been made by the same person.
The dates of publication are based on information from scores, from the BLUE ownership stamp of the British Library, from the plate books, from the Strawinsky estate, from dated private copies - as far as I could access them, from letters unequivocally dated, as well as on conclusions drawn from comparing the advertisements. There is going to be lots to add.
Often it is not sufficient to simply use the date of the print run in order to date the appearance of a score, especially not in case of many editions. After the WWII and the sovereignity of the Federal Republic of Germany publications such as the ones of the Schott-Verlag Mainz were subject to control through French authorities. The Deutsches Historisches Institut Paris (Institut Historique Allemand) has been so kind as to inform me that the dates of the date stamps have not been determined yet. Two directorates were authorized to use date stamps: the Direction de l’Education Publique (DEP) and the Direction de l’Information (DI). Both directorates were subordinated to the Administrateur Générale Adjoint of the military government in the French-occupied zone (Gouvernement militaire de la zone française d’occupation = G.M.Z.F.O.). They also shared responsibilities with respect to cultural-political issues and due to the usual scuffle about competencies — as almost unavoidable in such constellations – the approval processes were, as a rule, considerably delayed. Thus it is safe to assume that dates might not be exact, provided they can be determined at all. It might be possible to make time assignments for those stamps with consecutive numbers, however, this would require access to the Archives in Colmar (Archives de l’occupation française) where the records of the French occupation are stored. In case of publications with a non-numbered stamp, a more precise time assignment is rather impossible, unless there was a way to match a non-numbered stamp to a specific time frame. However, whenever a score carries a printed French stamp it is certain that it has delivered past 1945 (not necessarily been printed though).
16. Characteristic Features
In order to identify unique scores the catalog lists outer and inner cover titles verbatim including regular fonts and original italic fonts with text decorations such as underlines. Line breaks are marked by /. The depiction of other characteristics such as spacings, sizes, proportions and others, have been omitted. With this method, the illustration of the layout can only be clear to a limited extent. If for example at 11-4 the main title appeared as ‘La lune blanche . . . / (LA BONNE CHANSON)’, then the subtitle would appear larger than the main title, although in the original, the lower-case text was printed more than twice as large as the upper-case text. All texts that are part of the score such as main title, dedication, real or alleged publisher, author, legal reservations, market sheets, production indications, and the like are included as printed in the original, embraced by > <. Pages with Strawinsky advertisements are also cited verbatim, whereas the same production date does not necessarily always refer to an identical advertizing page.
The catalog index combines people, subject and work directories. The distinction is made through the print style. The people directory is set in regular font, the subject directory in italic font, and the work directory in small caps. Numbers refer to work numbers, not to pages. For the work directory, the respective main number has been omitted. Specifications from the chapters about versions, historical recordings and editions have not been carried over to the index. This does not hold for proper names of persons and titles of works.
This catalog of works is based on the following fundamental publications, among others:
Craft, Robert: Selected Correspondance, 3 Bände, Faber & Faber 1982, 1984, 1985 London; Craft: Avec Stravinsky, Editions du Rocher, Monaco 1958; Craft: Strawinsky, Albert Langen / Georg Müller Verlag, München o. J. ; Craft: Glimpses of a Life, St. Martin's Press, New York 1993; Craft: Strawinsky. Einblicke in sein Leben, Atlantis Musikbuch-Verlag, Zürich / Mainz 2000; Druskin, Michail: Strawinsky, Reclam Verlag, Leipzig 1976; Goubault, Christian: Igor Stravinsky, Editions Champion, Musichamp l'essentiel 5, Paris 1991; Jarustowski, Boris: ИгорьСтавинский, краткий очерк жизни и творчества. Музыка Москва 1964; Jarustowski: Igor Strawinsky, Henschelverlag, Berlin 1966; Kirchmeyer, Helmut: Igor Strawinsky. Zeitgeschichte im Persönlichkeitsbild, Bosse-Verlag, Regensburg 1958; Les Ballets Russes de Serge de Diaghilev [Ausstellungskatalog Straßburg 1969]; Strawinsky. Sein Nachlaß. Sein Bild., Publikation aus Anlaß der gleichnamigen Ausstellung im Kunstmuseum Basel, 6. Juni bis 9. September 1984, Kunstmuseum Basel in Zusammenarbeit mit der Paul Sacher Stiftung Basel, Basel 1984; Musik der Zeit. Eine Schriftenreihe zur zeitgenössischen Musik, herausgegeben von Heinrich Lindlar, Hefte 1 und 12 (Bonn 1952 und1955); Schaeffner, André: Strawinsky, Edition Rieder, Paris 1931, 1938; Siohan, Robert: Igor Strawinsky in Selbstzeugnissen und Bilddokumenten, Rowohlt 1960 - Originalausgabe: Stravinsky, Editions du Seuil, Paris 1959; Strawinsky, Igor: Chroniques de ma vie, Les editions Denoël, 2 Bände 1935, 1936 - deutsche Ausgabe als: Erinnerungen, Atlantis-Verlag, Zürich-Berlin 1937, zusammen mit der Musikalischen Poetik als: Leben und Werk, Atlantis-Verlag und Schott-Verlag, Zürich-Mainz 1957; Strawinsky: Poetique musicale, Harvard University Press, Cambridge 1942 - J. B. Janin, Paris 1945 - Editions Le Bon Plaisir (revidierte Ausgabe), Paris 1956 - deutsche Ausgabe Schott-Verlag, Mainz 1949, zusammen mit den Lebenserinnerungen als: Leben und Werk, Atlantis-Verlag und Schott-Verlag, Zürich-Mainz 1957; Tappolet, Claude: Correspondance Ansermet-Strawinsky (1914-1967), Edition complète, 3 Bände, Georg Edition, Genf 1990; Tarushkin, Richard: Stravinsky and the Russian Traditions, Oxford University Press, 2 Bände Universität Kalifornien 1996; Vlad, Roman: Stravinsky, Oxford University Press, London 1960, Second Edition 1967; Vlad: Strawinsky, Piccola Biblioteca Einaudi, Turin 1958, 1973, 1983; Walsh, Ralph: The music of Stravinsky, Routhledge 1987; White, Eric Walter: Stravinsky. A Critical Survey, John Lehmann, London 1947 - White: Strawinsky, Claassen Verlag, Hamburg 1950 - White: Stravinsky. The Composer and his works, Faber & Faber, London 1966, 1986; Stravinsky in Conversation with Robert Craft, USA 1958 Penguin Books Ltd. Harmondsworth, Middlesex; Strawinsky / Craft: Dialogues and A Diary, Doubleday, New York 1963; Faber & Faber, London 1968; Strawinsky / Craft: Expositions and Developments, Doubleday New York, Faber and Faber, 1962*. Weitere benutzte Literatur wird am jeweiligen Ort verzeichnet. Die eingesehenen musikwissenschaftlichen Standardnachschlagewerke (Hofmeister, Riemann-Lexikon, Musik in Geschichte und Gegenwart, Grove, National Union Catalogue, die veröffentlichten und zum Teil in das Internet eingestellten Kataloge der British Library und der Münchner Staatsbibliothek etc.) dürfen als bekannt vorausgesetzt werden. Die benutzte CD-Ausgabe der Werke Strawinskys wurde bereits unter II, 10 verzeichnet. Die Reihenaufstellungen beruhen überwiegend auf den Nachweisen Roman Vlads, die in meiner Korrespondenz mit Vlad bei in der Literatur unterschiedlichen Auffassungen noch einmal bestätigt worden sind. Die Charakterisierung der Fachpartien erfolgte in Abstimmung mit Prof. Dr. Heinz Scholz.
* these editions differ, for example does the American addition not include the appendices
Letter of Thanks
Letter of Thanks
For valuable advice with analyses and specific investigations I would like to thank my former doctoral candidates and graduate students Christian Banasik, Dr. Christian Blüggel, Elisabeth Eichenberg, Dr. Stefan Jürging, Simone Kaster, Christian Klutinus, Dunja Kohde, Yonne Kohde, Sabrina Martin, Dr. Reinhard Raue and Stefan Schreiber. For notes, suggestions, support and research I would like to thank Prof. Dr. Ursula Eckart-Bäcker †, Prof. Oskar Gottlieb Blarr, Prof. Fritz Eßmann, Prof. Rosa Fain, Udo Falkner, Tatjana Gerasimowa, Dr. Detlef Gojowy †, Rita Grasemann, Prof. Dr. Rudolf Heinz, Generalmusikdirektor Prof. Lutz Herbig, Prof. Paul Heuser, Dr. Jürgen Hocker, Prof. Karlheinrich Hodes, Monsignore Hans A. Hutmacher †, Dr. Sherry Jones, Prof. Ernst Kindermann, Dr. Eva Maria Kirchmeyer, Annekatrin Krãtschmer-Grafton, Prof. Dr. Helmut Loos, Prof. Dr. Christoph-Hellmut Mahling †, Dr. Stepan Naumovich, Prof. Heinz Odenthal †, Prof. Dr. Lothar Prox, Ferdinand Pzosch, Studiendirektor Franz Josef Reitz, Prof. Dr. Albrecht Riethmüller, Oberstleutnant Kurt Ringelmann, Rechtsanwalt Stefan P. L. Romansky †, Studiendirektor Hans-Hubert Schieffer, Prof. Dr. Winfried Schrammek, Prof. Dr. Heinz Scholz †, Pfarrer Dr. Joseph Schuh, Prof. Dr. Hans-Joachim Schulze, Studiendirektor Dr. Johannes Schwermer, Prof. Dr. Josef Schwermer, Bibliotheksdirektor Marcus Stark, Oberstudienrätin Monika Stark, Paul Struck, Generalmusikdirektor Prof. Wolfgang Trommer, Studiendirektor Helmut Trott, Roman Vlad †, Dr. Solomo Wainstein †, Eric Walter White † and Alfred Zachertz. I would like to thank Dr. Hannelore Umbreit for her proofreading work. I would like to thank Steve Cork of the British Library in London, Herrn Loras Schissel of the Library of Congress in Washington, Frau Beth Kelly of the Music Library of Cornell University in Ithaca, Frau Elizabeth Walker of Curtis Institute of Music in Philadelphia, Frau Diane O. Ota of the Public Library in Boston, Herrn Carl Mariani of the Case Western Reserve University in Cleveland, Herrn Edwin A. Quist of the Peabody Institute of the Johns Hopkins University in Baltimore, Herrn Rodney Rolfs of the University of Southern California in Los Angeles, Herrn Steve Hanschu of the William Allen White Library in Emporia, Herrn Horst Klitzing of the Goethe-Museum in Düsseldorf, Frau Dr. Daniela Kneißl of the Institut Historique Allemand in Paris. I would like to thank Herrn Michael Ressler of the United States Marine Band in Washington DC, Frau Laura Lineberger of the United States Army Band in Virginia and particularly Herrn Joe Tersero of the United States Air Force Band in Washington DC. I would like to thank Frau Regina Busch from Vienna, who gave me access to the Strawinsky- datings of Leopold Spinner, and Frau Catherine C. Rivers of the Koussevitzky archive of the Library of Congress in Washington. A special thanks goes to Herrn Dr. Ulrich Mosch and Herrn Carlos Chanfón of the Paul Sacher Stiftung Basel, Herrn Dr. Helmut Hell of the Bayerischen Staatsbibliothek in Munich, Herrn Dr. Hartmut Schaefer of the former Preußischen Staatsbibliothek in Berlin, Herrn Konrad Foerster of the Städtische Musikbibliothek Munich, Frau Brigitte Geyer of the Städtische Musikbibliothek Leipzig, Herrn Dr. Andreas Sopart of the Archiv des Verlagshauses Breitkopf & Härtel in Wiesbaden, Herrn Dr. Reinhold Dusella and Herrn Niefind of the Verlagshaus Boosey & Hawkes in Hamburg, Frau Angelika Motzko-Dollmann of the Verlagshaus Schott in Mainz, Herrn Wilhelm Schlüter, Frau Brigitte Niepoth, Frau Claudia Mayer-Haase of the Internationalen Musikinstitut in Darmstadt and a special thanks to Herrn Jürgen Krebber of the same institute as well as Frau Jutta Scholl of the Musikbibliothek der Stadt Düsseldorf. I would like to thank the music library of the conservatory of St. Petersburg as well as the universities in St. Petersburg and Moscow. I would like to include a special thanks for the great friendliness and helpfulness with which most libraries have received and supported me. In this regard, I would like to specifically mention the British Library in London and the Bibliothèque nationale in Paris as well as the Archiv der Hamburgischen Staatsoper. Dr. Dieter Klose of the Reclam publishing house in Stuttgart first inspired me to extend the detailed approach to Firebird, Petruschka and Sacre that I had put forward in the 1974 Reclam edition of my book “Strawinskys russische Ballette” (Stravinsky’s Russian Ballets) to all of Stravinski’s works, for which I owe him a debt of gratitude. I would like to thank the former chairman of the commission for Kunstgeschichte, Literatur- und Musikwissenschaft of the Sächsische Akademie der Wissenschaften zu Leipzig, Herrn Prof. Dr. Ernst Ullmann †, who filed the commission proposal to publish this catalog of works through the Sächsische Akademie der Wissenschaften. I would also like to thank the president of the Academy, Herrn Prof. Dr. Gotthard Lerchner †, who officially assigned me this task on behalf of the Academy, and I would like to express a special thanks to Herrn Michael Hübner, whose tireless support and help went far beyond a regular supervision of a manuscript and without whom the publication of the first edition of this catalog with the commissioned and very accommodating Hirzel-Verlag Stuttgart/Leipzig neither in its quality nor at this time (2002) would not have been possible. Today, twelve years later, I am overjoyed to be able to express my special thanks again, this time to my daugther Angelika who - with love, creativity and professional expertise - has taken on the publication of the electronic version of this catalog.
Düsseldorf, Third Sunday in Advent, December 14, 2014, H. K.
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