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K007 Fireworks

deutsch K007 Feuerwerk

K7 Feuerwerk

Eine Fantasie für großes Orchester (Op. 4) – Feu d’artifice. Une Fantasie pour grand orchestre, Op. 4 – Fireworks. A fantasy for large orchestra, op. 4 – Феиерверк – Fuochi d’artificio per orchestra op. 4

Scored for: a) First edition (according to nomenclature score): Fl. piccolo, Flauti grandi I / II, 2 Oboi I. II (poi C. Ingl.), 3 Clarinetti in A / I / II / III (poi Cl. basso), 2 Fagotti, 6 Corni in F, 3 Trombe in A, 3 Tromboni tenori e Tuba, Timpani, Triangolo, Piatti, Gran Cassa, Celesta, Campanelli, Arpa I, Arpa II, Arpa III, 16 Violini I, 14 Violini II, 12 Viole, 10 Violoncelli, 8 Contrabbassi* – Subsequent editions according to the prefatory list: 2 Große Flöten, 1 Kleine Flöte, 2 Oboen (2. auch Englisch Horn), 3 Klarinetten in A und B (3. auch Baßklarinette), 2 Fagotte, 6 Hörner in F, 3** Trompeten in A und B, 3 Posaunen, 1 Tuba, Pauken, Schlagzeug (Große Trommel, Becken, Tringel, Glocken), 2 Harfen, Celesta, Streicher [piccolo Flute, 2 Flutes, 2 Oboes I / II (also English horn), 3 Clarinets in A / I / II / III (also Bass clarinet), 2 Bassoons, 6 Horns in F, 3** trumpets in A, 3 tenor trombones, tuba, timpani, percussion (triangle, cymbals, bass drum, campanelli), celesta, 2 harps, strings (16 violins I, 14 violins II, 12 violas, 10 violoncellos, 8 double basses]; b) Performance requirements: Piccolo Flute, 2 Flutes, 2 Oboes (2nd Oboe = English horn), English horn (= 2nd Oboe), 3 Clarinets in A and B (3rd Clarinet = Bass clarinet), Bass clarinet in B (= 3rd Clarinet), 2 Bassoons, 6 Horns in F, 3 Trumpets in A, 3 Tenor trombones, Tuba, Timpani, Percussion (Triangle, Cymbals, Bass drum, Campanelli [Glockenspiel]), Celesta, 2 Harps, Strings (16 1st Violins***, 14 2nd Violins****, 12 Violas****, 10 Violoncelli****, 8 double basses****).

* Original spelling.
** Not 2 as stated in the list of instruments in the early editions.
*** Divided in two.
**** Divided in three.

Performing practice: For his own 1962 recording of the work, Strawinsky changed the d sharp in the 3rd horn and English horn in the first bar after rehearsal figure 30 to a d (notated in the full score as a instead of a sharp). The chromatic step to the oboe and trumpet that results from this correction creates a more convincing impression than that found in the printed score and makes the passage flow more smoothly. This was not a belated alteration designed to improve the piece’s sonorities but an at least interpretative removal of one of the many printing errors that bedevils the composer’s scores. In this particular case the nature of this change can be demonstrated by reference to Otto Singer’s piano reduction of 1924, which already includes this correction.

Construction: A single-movement, ternary-form Scherzo with a programmatical content: Con fuoco, Lento, Allegretto.

Structure

Con fuoco dotted Crotchet = 138 (up to the end of Figure 8)

Lento Crotchet = 69 (Figure 9)

Allegretto Crotchet = 88 Lento / Allegretto / Lento (Figure 10) / Allegretto (Figure 11/12) Piacevole (Figure 13 up to the end of Figure 16)

Tempo I° Crotchet = 138 (Figure 17 up to the end of Figure 29) with accelerando (Figure 30 up to Figure 302)

Presto Crotchet = 160 (Figure 303 up to Figure 307)

Programme: For Russian composers of the turn of the century writing in the Lisztian tradition, it almost went without saying that their instrumental works would include programmes or at least programmatical titles. This did not mean that the work was necessarily interpreted as programme music simply because listeners felt themselves part of a tradition of musical realism. But the ambiguity of a title such as ‘Fireworks’ opened the way to all kinds of interpretation: it could be glossed as fireworks in a literal sense, or it could be regarded, figuratively, as a kind of especially brilliant piece. Unlike the programme that was foisted on the Scherzo fantastique, turning it into a ballet about bees, later changes in aesthetics did not lead to any problems with Fireworks.

Style: Fireworks already reveals the features that are so typical of Strawinsky’s brilliance as an orchestrator. And, like the Scherzo fantastique, it creates a structurally unified impression. Subtitled an orchestral ‘fantasy’, it stands in the tradition of the Russian scherzo, whereas its title and elaboration are directly inspired by Debussy, Ravel and, above all, Dukas’ L’apprenti sorcier [Der Zauberlehrling]. It rests on a four-bar melody that is presented fragmentarily, before being treated in canon and retrograde and finally ending in a recapitulation. The instrumental figures migrate through the various voices in a fine example of durchbrochene Arbeit, or thematic fragmentation. The music has an explosive force, but above all it is individual and no longer seems derivative.

Dedication: >N. und M. Steinberg gewidmet< [Dedicated to N. and M. Steinberg].

Dedicatees: The comment in the preface to the Eulenburg edition of 1985 (column V) In spite of the dedication to the married couple . . . there was little amity between Stravinsky and Steinberg . . . for his part, Stravinsky refused to receive Steinberg when he visited Leningrad in 1962. needs completing. Steinberg, who described the path chosen by Strawinsky as false, which lead to an energetic rebuttal by Strawinsky, attached himself as a composer to Russian Realism and, under Stalin, achieved the position of deputy director of the Leningrad Conservatory, thus named since 1924 before known as St. Petersburg Conservatory. As he died in 1945, he was neither able to receive nor be received. In actual fact, according to the current state of knowledge, the matter took place the other way around. When Strawinsky went to Leningrad in 1962 and conducted the Fairy’s Kiss, Firebird and Fireworks there on 8th (not 9th October), the Russian Union of Artists was requested to invite Rimsky-Korsakov’s daughter Nadeshda, who was still alive, to the concert. Strawinsky was, as the program, which was a homage half to Tchaikovsky and half to Rimsky-Korsakov in order to avoid any conceivable form of provocation, clearly illustrates, greatly concerned with balance and reconciliation. The fact that he conducted the Firebird can be understood as a gesture towards Nadeshda, of whose voice he had been thinking at the time that he was composing the ‘Pastorale’. The old lady, who was six years younger than Strawinsky, in fact declined. It was conveyed to Strawinsky that Nadeshda Steinberg, née Rimsky-Korsakov, had not forgotten the fact that he had not held her husband in high esteem, and she took this as contempt towards her as well. She remained unconciliatory and took no part in the event. Nadeshda* died in 1971, the same year in which Strawinsky died.

* The Russian first name Nadeshda means ‘hope’.

Duration: Approx. 3'39".

Composed at Ustilug between May and, at the latest, 20 June 1908; the instrumentation was reworked in May 1909.

First performance: The work was privately performed on 6 February (not 17 June) 1909 in St. Petersburg. The Ziloti Concert Orchestra was conducted by Alexander Ziloti. The first public performance took place on 9 January 1910 (other sources state that it was on 22 February 1910), again with the Ziloti Concert Orchestra under Alexander Ziloti.

Production: The first staged performance was given by Diaghilev’s Ballets Russes at the Teatro Costanzi in Rome on 12 April 1917, a performance notable chiefly for the fact that the sets, costumes and lighting were the work of the eminent Futurist painter Giacomo Balla. The director was Diaghilev and the conductor Ernest Ansermet. The Bayern State Opera in Munich produced a ballet, Feuilleton by Alan Carter in 1957, in which Fireworks was used, along with other Strawinsky scores (Circus Polka, Ode, Ebony Concerto).

Remarks: Prior to repairing with his wife to his estate at Ustilug in the early summer of 1908, Strawinsky called on his teacher, who was already suffering from the angina pectoris that was shortly to kill him. The Fireworks project came up for discussion, and Rimsky-Korsakov expressed an interest in it. Strawinsky completed the work within the space of six weeks at Ustilug and sent the score to Lyubensk, where Rimsky-Korsakov was staying. But Rimsky was already dead – he had died on 8/21 June 1908. Strawinsky learnt of his death by telegram and shortly afterwards the parcel was returned to him unopened, with a note to the effect that the addressee was deceased. Strawinsky drove to St. Petersburg for the burial. As a result, Fireworks is the first of Strawinsky’s works not to be given Rimsky’s seal of approval. Fireworks was not written for the wedding of its two dedicatees, Nadezhda and Maximilian Steinberg, but was meant to be presented to Rimsky-Korsakov on that occasion and may even have been intended to be performed then, presumably in a piano transcription. The deterioration of Strawinsky’s subsequent relationship with Steinberg is typical of the estrangement that set in between Rimsky-Korsakov’s children and pupils on the one hand and Strawinsky on the other following the older man’s death in 1908. It is an estrangement that began with Rimsky-Korsakov’s rejection of the Gorodetzky songs in 1907 and that ended in incomprehension, jealousy and outright opposition, which hardened themselves to such an extent that the widowed Nadeshda could not to be moved to meet her former friend in old age nor to take part in the gala performance that Strawinsky arranged in 1962 for the occasion of his visit to the Soviet Union. Clearly as a gesture towards Nadeshda and her husband, Strawinsky conducted both Fireworks and Pastorale, which was dedicated to Nadeshda, and which Maximilian Steinberg had performed privately with Strawinsky in Rimsky-Korsakov’s house at that time.– The first performance of Fireworks laid the foundations not only for the hostility between Strawinsky and Glazunov, who soon found himself displaced as one of the leading Russian composers and assigned to a corner seat in the history of music, but also for Strawinsky’s friendship with Diaghilev, whose patronage helped him to become the leading ballet composer of the twentieth century.

What hurt Strawinsky’s feelings above all was the reluctance of Rimsky’s two sons, as he had thought that they were his friends for life and they had appeared as dedicatees on several occasions. Strawinsky later claimed that jealousy in the wake of the worldwide success of the Firebird was an issue. For Glazunov, whose utterances about Strawinsky belong in the horror stories of curiosities amongst music critics, this might indeed be the case. Maximilian Steinberg, however, could find no real connection with the music of Fireworks, which had been co-dedicated to him. Alongside this, without entirely ruling anything else out, the conservativism of Rimsky-Korsakov, which was yielding negative effects in the meanwhile, would even later be strengthened hopelessly by the backwardness of the Communist Russian music aesthetic amongst his pupils and supporters who remained in Russia, and may have ruled out any possibility of agreement. Strawinsky and Steinberg were at first still friendly with one another, especially as Steinberg used Strawinsky’s connections to Diaghilev for his own career but evidently did not hold him in high esteem. Finally, they met once again in 1924 in Paris, where Steinberg heard the Piano Concerto with Strawinsky as soloist, probably at the premiere on 22 May 1924 under Koussevitzky. Steinberg wanted after the concert to give Strawinsky a lecture about his supposedly failed career. Strawinsky rejected this meeting under a pretext and avoided Steinberg. The latter returned to Russiadeeply offended. This was Strawinsky’s last meeting with Rimsky-Korsakov’s circle, apart from the unpleasant meeting with Glazunov in 1935 in Paris, a year before the latter’s death, at which Glazunov’s only greeting to Strawinsky was his raising two fingers.

In his memoirs (which were not written by him), Strawinsky mentions a job from Diaghilev to conduct Fireworks, but also the Firebird in Rome. Strawinsky arrived in Rome at the end of March. The Firebird was performed on 9th, 12th and 15th April, but not on the 27th. Fireworks however was only played on 12th April. In his memoirs, he refers to this as an introductory gala performance, for which he, because the Tsar had abdicated, had orchestrated the Song of the Volga Boatmen instead of the Russian national anthem. Fireworks was not played on this day, at least based on what we know today.

Situationsgeschichte: Fireworkswas, along with the Scherzo fantastique, his first composition arranged for pianola, which was played by Peter Warlock and Alvin Langdon and which was heard in May 1915 in the Aeolian Hall in London, and it also created his relationship to Schott Publishers in Mainz via Siloti. Siloti had performed the piece three times in the space of one year: after the premiere, in a rather private circle, in a public concert on 9 January 1910, and again on 22th January of the same year. Siloti, a pupil of Liszt, widely renowned across Russia as a pianist and conductor, wrote to the director of Schott publishers, Dr Ludwig Strecker, on 9th June 1909 from Vyborg in Finland and sent him the manuscript. Siloti called it a "magnificent and very effective piece in its style as “fine esprit” – a masterwork". He also liked good from a commercial perspective, because it was not too long and thus would not be too expensive to produce. The piece was simple for conductors, not too difficult and lasted 5 to 6 minutes, a result which is not in fact unimportant in terms of historical performance practice, because the tempo of the piece must have been a third slower than is played today. Siloti promises to play it at his home in the winter (which presumably happened on 9th January, which can be established from the dating dispute around Fireworks and Scherzo fantastique) and makes a strong case for performances by Mengelberg and Wood, but includes Nikisch and Mottl. The publisher is naturally somewhat less enthusiastic than Siloti. The work gives him, when he looks at it (he was unable to listen to it), "a somewhat wild impression", almost as "if an entire swarm of wasps were flying around one’s head". What disturbed him even more was the specification of 16 first violins, because this would require an orchestra the size of which was only available in a few places, but which is in fact required in order to balance out the massive use of the winds. Siloti must have pre-empted this, because the publisher conceded that it wouldn’t have to necessarily be 16, but the work demanded an orchestra that went beyond the demands of middle-sized orchestras. Strecker wanted to take it on in the publishers as long as Strawinsky gave up any claim for royalties; they wanted him for “other things” that he would hopefully produce later, and would “then remunerate him accordingly”. Siloti protested against this, and they came to an agreement with a payment of 200 Marks. This presumably happened after consultation with the internationally active Strawinsky, who, as apparently the most significant producer of whisky in Russia, had such a good financial base, that he was not dependent on money and thus was able to wait confidently for a result that was favourable to him in the commercial negotiations with Schott. Siloti was so enthused with the work that he even read the corrections under the pretext that Strawinsky could not be reached by post.

Significance: Fireworks is generally regarded as Strawinsky’s first masterpiece. It received its first performance on the same programme as the Scherzo fantastique, and the occasion proved a momentous one for the composer. Fireworks was no longer a product of the cosily familiar academic scene in St. Petersburg, which helps to explain why it divided opinion in Russia at this time. Glazunov – whom Strawinsky both idolized as a composer and, at the same time, feared as a rival – reputedly commented at the end of the performance ‘No talent, only dissonance’ (the quotation has come down to us only in German >Kein Talent, nur Dissonanz<), but another member of the audience, the ballet reformer Sergey Diaghilev, recognized Strawinsky’s brilliance and offered him his first commission to orchestrate a series of ballets for his forthcoming season. Shortly afterwards this led to the invitation to write The Firebird in place of Anatoly Lyadov. It was, therefore, with the successful first performance of Fireworks that Strawinsky’s career as a composer may be said to have begun. Fireworks and the Scherzo fantastique were also his first works to be arranged for pianola. Peter Warlock (Philip Arnold Heseltine) and Alvin Langdon used to play this arrangement, which was heard at London’s Aeolian Hall in May 1915. And Ziloti’s recommendation of the piece to Schott’s helped to establish the composer’s lasting relations with the Mainz-based publisher.

The Balla experiment: In 1917, the Futurist painter Giacomo Balla developed, as part of Diaghilev’s commission for Fireworks (and the Firebird), a special set and special lighting effects for a performance by the Russian Ballet in Rome that was not danced in the traditional sense. Balla worked with geometric figures of different types made out of translucent material, which were lit from inside at varying speeds with their own rhythms. This was the case for the performance on 12th April 1917 in Teatro Costanzi in Rome. It was, in any case according to the statistics of the Strasbourg catalogue of exhibitions from 1969 (Les Ballets Russes de Serge de Diaghilev. 1909-1929) the only one of the four Italian performance dates in 1917 (9th, 12th, 15th and 27th April) at which Fireworks was performed. Balla’s undertaking was not to be a great success. This must also have been the case, despite enthusiastic coverage by Lista for the revival 50 years later in 1967/68 in Rome. The performance also suffered from technical misfortune as the result of a melted fuse.

Versions: A correct dating of the various editions of the work depends to a large extent on the accuracy of the entries in contemporary library catalogues. Not even the Eulenburg edition of 1985 offers an insight into the history of earlier editions. The orchestral score (6 marks) and parts (10 marks) were published by Schott’s of Mainz in 1910. This edition included the usual reservation of proprietory rights but no copyright notice. The British Library noted that its copy was catalogued on 21 February 1910. The pocket score followed in 1922. It too appeared without a copyright notice. Such a notice is first found in the version for piano for four hands that was published in 1924 and that was prepared not by Strawinsky but by Otto Singer. But Singer must have had a detailed knowledge of the autograph score, which is now believed to be lost, or must have been able to draw on information provided by Strawinsky himself, for otherwise it is impossible to explain the change of the d-sharp to d one bar after Fig. 30, a shift of a minor second that one assumes to be a correction of a printing error and that was to be taken with respect to Strawinsky’s 1962 recording in Herbert Schneider’s commentary in Eulenburg’s new edition of 1985. No later conducting score was published by Schott during Strawinsky’s lifetime, and no parts were available for sale, with the result that performers were dependent on hired material. During the period of National Socialist rule, Schott must have had to store a lot of copies of the work, which had then become unsellable. Sales of these copies resumed after the war. They can be identified from the stamp of the French authorities, who under the terms of the statutes governing the country’s occupation (Mainz was in the French zone) had to authorize the sale of every product of a German publisher. These editions were all in French and German. Not until 1963 did Schott market a pocket score in German alone. Like all other editions of this kind, it was known as a study score in keeping with publishers’ jargon (31pp.; 15 x 23 (4°); pl. no. 28616a; edn. no. 3464). Also known to exist is a pocket score published in 1948 by the International Music Company of New York. In terms of its design and layout it resembles the Schott scores. Like them, it includes no copyright notice and was limited to the American market. Fireworks has often been reprinted and arranged for other instruments. Luck’s Music Library of Michigan reproduced Schott’s conducting score under its own publisher’s number (05949), without naming the original publisher. And R. Mark Rogers transcribed the work for 48 instrumemntal parts of a ‘symphonic band’. This edition was published in 1995 by the Southern Music Company of San Antonio, Texas, with its own copyright notice (no. 78292).

Print runs and sales: For the conducting score that later belonged to the hire material, the 1st print run took place on 18th November 1909 and produced 50 copies, the 2nd print run on 10th March 1911 produced 100, the 3rd on 10th July 1919 likewise 100, and a 4th edition on 13th July 1922 produced a further 200. This 4th edition must have been printed in a smaller format, as, in the engraving book, there appears after the date the classic Quarto format sign, 4°. A pocket score edition was first published in 1924 in a print run of 400 copies (print run: 5th May 1924). There then followed further 7 editions during Strawinsky’s lifetime, with a total of 3,600 copies produced (print runs: 5th November 1926: 500; 25th June 1936: 300; 23rd September 1948: 500; 3rd May 1955: 500; 30th January 1964: 500; 5th December 1967: 500; 14th February 1968: 800). In addition to all these 8 editions, which ran to 4,000 copies altogether, there was also a 9th edition running to 800 copies after Strawinsky’s death (print run: 16th November 1973: 800). In the engraving book, the edition number 3464 is entered separately after the 5th edition of 1955, which is unusual, as an engraving book entry normally begins with the shortened title of the work, the disc number, and if available, the edition number. The engraving book entry for Fireworks is different in this respect, as the pocket-score editions from 1924 and 1926 also have a format marking (8°), which was removed (intentionally or accidentally) for the 1936 and 1948 editions, as the entry for the score of the 4th edition in 1922 contains the quarto format sign. For the sets of orchestral parts, there were 50 copies of the ‘Harmonie’, i.e. the wind parts, produced on 5th January 1910, 300 first violin parts, 250 second violin parts, 200 viola parts, and 150 apiece of the ‘cello and double bass parts. For the print run on 26th June 1914, an additional 100 copies apiece for the violoncelli and double basses were produced, and on 27th June 1919, another 50 parts for the ‘Harmonie’, 200 for the first violins, 250 for the second violins, 120 for the violas, 50 for the violoncelli and 50 for the double basses. The print run on 23rd March 1925 was set aside for the piano transcription by Singer. 500 copies were produced. That was how it finished. It was only in 1995 that there was a 2nd edition (print run 11/3/1995), at which 425 + 6 copies were produced.

Historical recordings: There are three recordings of the work under Strawinsky. The first, with the New York Philharmonic Orchestra, was made in New York’s Carnegie Hall on 28 January 1946. The second is a live recording of the concert on (8 and) 10 October 1962 with the Symphony Orchestra of the Moscow State Philharmonic. And the third was made with the Columbia Symphony Orchestra in New York on 17 December 1963.

CD edition: I–1/25 (1963 recording). The 1946 recording was released in 1999 as part of the nine-part Sony Classical edition The Original Jacket Collection: Stravinsky conducts Stravinsky (SX9K 64136).

Autograph: The manuscript that Strawinsky sent to Schott is now believed to be missing.

Copyright: 1924 for Otto Singer’s piano reduction published by B. Schott’s Söhne of Mainz. Neither the conducting score nor the pocket score has a copyright notice. This also applies to the pocket score of 1963. Only Eulenburg brought out its pocket score in 1985 with a copyright notice added: © 1922, renewed copyright © 1950.

Editions

a) Overview

7-1 (1910) FuSc; Schott Mainz; 31 p.; 28616.

    7-1Straw (1910) non ibd. [with annotations].

7-1[19] [probably 1919] non ibd.

7-2St 1910 Set of parts; Schott London/Mainz.

7-3 1915 Pianola-arrangement; Aeolian London.

7-4 (1924) PoSc; Schott Mainz-Leipzig; 31 p.; 28616.

7-4[26] [1936] ibd.

7-4[36] [1926] ibd.

7-5 (1924) VoSc (Singer); Schott Mainz-Leipzig; 15 p.; 31157; 962.

7-6 [1948] PoSc; Schott Mainz; 31 p.; 28616; 3464.

7-6[55] [1955] ibd.

7-6[64] [1964] ibd.

7-6[67] [1967] ibd.

7-6[68] [1968] ibd.

7-7 1948 PoSc; International Music Company New York; 33 p.; 903.

b) Characteristic features

7-1 N. & M. Steinberg gewidmet. / Igor Strawinsky° / Feuerwerk° / Eine Fantasie° / für° / grosses Orchester° / Partitur netto M. 6.–. [#] Orchesterst. netto M. 10. –. / Aufführungsrecht vorbehalten /°° Eigenthum der Verleger. / SCHOTT & Co [#*] B. SCHOTT'S SÖHNE / LONDON [#*] MAINZ / 157 Regent Street W. [#*] Weihergarten 5. / 48 Great Marlborough Street W. / [#**] / SCHOTT FRÈRES [#*] EDITION SCHOTT / BRÜSSEL [#*] PARIS / 20 Rue Coudenberg. [#*] 13 Rue Laffitte. / Printed in Germany / 28616 // [title page = front cover title without any differentiation of colour.] // (Full score [library binding] 26.8 x 33.5 (2° [4°]); 31 [31] pages + 4 cover pages red on grey grained [ornamental front cover title, 2 empty pages, page with publisher’s advertisements >Morceaux pour Orchestre.<*** >B. SCHOTT’S SÖHNE, MAYENCE< >Aufführungsrecht vorbehalten< without production date] + 2 pages front matter [title page, empty page] + 3 pages back matter [empty pages]; dedication 1st page of score paginated p. 1 above type area centre centred italic >N. und M. Steinberg gewidmet<; title head >FEUERWERK<; author specified 1st page of score below title head flush right centred >Igor Strawinsky, / Op. 4<; without legal reservation; production indication 1st page of score below type area flush left >Stich u. Druck von B. Schott's Söhne in Mainz<; plate number [Titelei:] >28616.< [Notentext:] >28616<; end of score dated p. 31 >Oustiloug 1908.<; without end mark) // (1910)

° Printed in red.
°° Slash original.
* In the middle space of the six- or seven-line publishers’ statements, which are boxed in with decorative frameworks, sized 9.8 x 2.8, there are two corresponding coats of arms printed in, from which it can be assumed that the firms were supplying the English crown and the Grand Duchy of Hessen >PUBLISHERS TO [#] GROSSH. HESS. / KING EDWARD VII. [#] HOFMUSIKVERLEGER<.
** Fill character (line).
*** Compositions from >Andrews, B.< to >Humperdinck, E.< are shown, without Strawinsky being mentioned, in two columns, with a division into five columns showing the forces required, the composer and title, a description of the format, the cost of the score and the cost of the separate parts.

7-1Straw

Judging from its appearance, the copy from Strawinsky’s estate is a pre-edition. The price statements are missing, along with the decorative frames and the coat-of-arms vignettes. The edition contains no comments or corrections and was not dated by Strawinsky, but was signed by him underneath the dedication on the outer title page.

7-1[19] N. & M. Steinberg gewidmet. / Igor Strawinsky / Feuerwerk / Eine Fantasie / für / grosses Orchester / Partitur netto M. 6.–. [#] Orchesterst. netto M. 10. –. / Aufführungsrecht vorbehalten /° Eigentum der Verleger. / MAINZ [#] LEIPZIG°° / B. SCHOTT'S SÖHNE°° / Weihergarten 5. [#] Lindenstr. 16 / SCHOTT & CO. [#*] EDITION SCHOTT PARIS [#] SCHOTT FRÈRES / LONDON [#] BRUXELLES / MAX ESCHIG, 13 Rue Laffitte / 48 Rue de Rome / 63 Conduit St. Regent St.Corner / 48 GreatMarlborough°°° Street [#] 30 Rue St. Jean / 28616. // [title page = front cover title] // (Full score stapled 27.3 x 33.5 (2° [4°]); 31 [31] pages + 4 cover pages black on middle grey grained [front cover title, 2 empty pages, page with publisher’s advertisements >>Moderne Orchester=Werke<*** production date >Nr. 624<] + 2 pages front matter [title page, empty page] + 3 pages back matter [empty pages]; dedication 1st page of score paginated p. 1 above type area centre italic >N. und M. Steinberg gewidmet<; title head >FEUERWERK<; author specified 1st page of score below title head flush right centred >Igor Strawinsky, / Op. 4<; without legal reservation; production indication p. 31 of score below type area flush left >Stich u. Druck von B. Schott's Söhne in Mainz<; plate number [Titelei:] >28616.< [Notentext:] >28616<; end of score dated p. 31 >Oustiloug 1908.<; without end mark) // [probably 1919]

° Printed in red.
°° Slash original.
* In the middle space of the six- or seven-line publishers’ statements, which are boxed in with decorative frameworks, sized 9.8 x 2.8, there are two corresponding coats of arms printed in, from which it can be assumed that the firms were supplying the English crown and the Grand Duchy of Hessen >PUBLISHERS TO [#] GROSSH. HESS. / KING EDWARD VII. [#] HOFMUSIKVERLEGER<.
*** Compositions from >Andrews, B.< to >Humperdinck, E.< are shown, without Strawinsky being mentioned, in two columns, with a division into five columns showing the forces required, the composer and title, a description of the format, the cost of the score and the cost of the separate parts.

7-2St Set of parts; Schott Mainz; (1910); [unidentified].

7-3 [Pianola-Arrangement]; Aeolian London; (1915).

7-4 IGOR STRAWINSKY / FEU D'ARTIFICE / (FEUERWERK) / [Vignette] / PARTITION / B · SCHOTT'S SÖHNE / MAINZ. // Feu d'artifice [#*] Feuerwerk / UNE FANTAISIE [#*] EINE FANTASIE / POUR [#*] FÜR / GRAND ORCHESTRE [#*] GROSSES ORCHESTER / IGOR STRAWINSKY° / MAINZ –– LEIPZIG / [°°] / B. SCHOTT'S SÖHNE / LONDON [#] PARIS [#] BRUXELLES / (SCHOTT & Co.) [#] (MAX ESCHIG) [#] (SCHOTT FRÈRES) // (Pocket score sewn 13.6 x 18.6 (8° [8°]); 31 [31] pages + 4 cover pages thicker paper black on grey beige greying[front cover title with publisher’s emblem orange-coloured round ø 2.2 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 >MODERNE KAMMER=MUSIK<** production date >Nr. 651<] + 2 pages front matter [title page, empty page] + 1 page back matter [page with publisher’s advertisements >ORCHESTERPARTITUREN / IN TASCHENFORMAT / PARTITIONS D'ORCHESTRE / FORMAT DE POCHE<*** without production date]; title head > FEUERWERK<; dedication 1st page of score unpaginated [p. 1] above title head centre centred italic >N. und M. Steinberg gewidmet<; author specified 1st page of score below title head flush right centred >Igor Strawinsky, / Op. 4<; without legal reservatione, without copyright; production indication 1st page of score below type area flush left >Stich u. Druck von B. Schott's Söhne in Mainz.<; plate number >28616<; end of score dated >Oustiloug 1908.<; without end mark) // (1924****)

° Y as decorated Ypsilon.
°° A double, horizontal separating line the same width as the columns of text, 9 cm, with the upper line greatly thickened.
* Dividing vertical line spanning four lines.
** The page of adverts is divided into 7 sections(Trios, Quartette, Quintette, Sextett, Septett, Kammer-Konzerte, Kammer-Orchester), Strawinsky not mentioned.
*** Compositions are advertised by Wagner, Humperdinck and Korngold (Sinfoniette für Orchester) as well as >J. STRAWINSKY / Feuerwerk – Feu d’artifice – für grosses Orchester<.
**** The dating 1922 by the Prussian State Library in the copy >DMS O.54521< needs to be corrected.

7-5 STRAWINSKY / FEU D'ARTIFICE / FEUERWERK / Piano à 4 mains – Klavier zu 4 Händen / (SINGER) / [Vignette] / EDITION SCHOTT / No. 962 // EDITION SCHOTT / No. 962 / FEU D'ARTIFICE / FEUERWERK / UNE FANTASIE [#*] EINE FANTASIE / POUR GRAND ORCHESTRE [#*] FÜR GROSSES ORCHESTER / IGOR STRAWINSKY / OPUS 4 / [Vignette] / Reduction pour Piano à 4 mains / par O. SINGER / B. SCHOTT'S SÖHNE, MAINZ /°° LEIPZIG / [°] / PARIS [#] LONDON [#] BRUXELLES / MAX ESCHIG & Cie. [#] SCHOTT & Co. Ltd. [#] SCHOTT FRÈRES / 48 RUE DE ROME [#] 48 GREAT MARLBOROUGH STREET [#] 30 RUE ST JEAN / Imprimé en Allemagne – Printed in Germany // (Piano reduction for four hands stapled 24.2 x 31 (2° [4°]); 15 [14] pages + 4 cover pages black on grained middle grey [front cover title >· PER MARE ET TERRAS ·< front cover title with publisher’s emblem yellow-orange oval 3.4 x 4.4 wheel of Mainz in a frame containing text >PER MARE< [#] >ET TERRAS< running full circle, page with publisher’s advertisements >AUSGABE / DER MUSIK- [vignette] FREUNDE°°°<** production date >2<, page with publisher’s advertisements >Die grossen Standard-Werke / für den Klavier-Unterricht<*** production date >814<, page with publisher’s advertisements >Studienwerke für Klavier / Musique d’Enseignement pour Piano<**** production date >824<] + 1 page front matter [title page with grey star with five beams and with horizontal hatching 0,7 x 0,7] + 1 page back matter [page with publisher’s advertisements >MODERNE KOMPOSITIONEN / für Klavier zu vier Händen / Compositions modernes pour Piano à quatre mains<***** production date >826<; title head >FEU D’ARTIFICE / (Feuerwerk)<; author and arranger specified 1. and 2. page of the score unpaginated [pp. 2 and 3] between the title head and the part name >SECONDO< >PRIMO< flush right >Igor Strawinsky, Op. 4< flush left >Bearbeitung von Otto Singer<; legal reservation 1st page of score below type area flush left >Copyright 1924 durch B. Schott's Söhne Mainz<; plate number >31157<; production indication p. 15 flush right as end mark >Stich u. Druck von B. Schott's Söhne in Mainz<) // (1924)

° Horizontal double separating line 15.3 cm, i. e. text width, strong with a simple underline].
°° Slash original.
°°° A round vignette ø 2.9 cm of a lady’s head inclined and facing left with text running all the way round it>· AUSGABE · DER · MUSIKFREUNDE<.
* Dividing middle line spanning two lines.
** Compositions are advertised from >JOH. SEB. BACH< to >FELIX MENDELSSOHN=BARTHOLDY<, Strawinsky not mentioned;. The following places of printing are listed: Mainz-Leipzig.
*** The items displayed are a new traditional edition by >Leschetizky-Methode / (Klavierschule)<; >Thümer’s / Neue Etüdenschule< in 26 books; as a supplement to the school of Etudes >Notenmappe / des Klavierschülers<, revised by Lothar Windsperger; >Czerny-Mayer-Mahr / Das Czerny-Studium< in ten books; Strawinsky not mentioned. The following places of printing are listed: Mainz-Leipzig-London-Brüssel-Paris.
**** Compositions are advertised from >Berens, H.< to >Lemoine, H.< as well as, in German-French, the edition by August Schmidt-Lindner of Bach’s Well-Tempered Clavier; Strawinsky not mentioned. The following places of printing are listed: Mainz-Leipzig-London-Brüssel-Paris.
***** Compositions are advertised from >MANUEL DE FALLA.< to >HEINR. KASP. SCHMID.<; Strawinsky not mentioned. The following places of printing are listed: Mainz-Leipzig-London-Brüssel-Paris.

7-6 IGOR STRAWINSKY / FEUERWERK / FEU D'ARTIFICE / PARTITUR / [Vignette] / EDITION SCHOTT / 3464 // Feu d'artifice [#] Feuerwerk / UNE FANTAISIE [#] EINE FANTASIE / POUR [#] FÜR / GRAND ORCHESTRE [#] GROSSES ORCHESTER / IGOR STRAWINSKY* / Partition d'orchestre / MAINZ ~ LEIPZIG / B. SCHOTT'S SÖHNE / LONDON [#] PARIS [#] BRUXELLES / (SCHOTT & Co. Ltd.) [#] (MAX ESCHIG & Cie.) [#] (SCHOTT FRÈRES) // (Pocket score stapled 13.8 x 18.7 (8° [8°]); 31 [31] pages + 4 cover pages black on greybeige [front cover title with publisher’s emblem dark orange-coloured oval 1.9 x 2.4 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 >Schott's Studien-Partituren<** production date >45<] + 2 pages front matter [title page, empty page] + 1 page back matter [page with publisher’s advertisements >MODERNE KAMMER=MUSIK<*** production date >Nr. 651<; title head >FEUERWERK<; dedication above title head centre italic >N. und M. Steinberg gewidmet<; author specified 1st page of score without pagination [p. 1] below title head flush right centred >Igor Strawinsky / Op. 4<; without Copyright, without legal reservation; plate number >28616<; production indication 1st page of score below type area flush left >Stich u. Druck von B. Schott's Söhne in Mainz.<; end of score dated p. 31 >OUSTILOUG 1908.<; without end mark****) // [1948]

* Y in fancy letter.
** Compositions are advertised in three columns under the framed heading >Kammermusik< from >Badings, Henk< to >Windsperger, L.<, amongst these >Strawinsky, Igor, Ragtime<, under the framed heading >Orchesterwerke< from >Albeniz, I.< to >Wunsch, Hermann<, amongst these >Strawinsky, Igor, Feuerwerk / (Feu d'artifice) /° Scherzo / fantastique /° Feuervogel / (L'oiseau de feu) /° Konzert / in D für Viol. u. Orchest. /° / Suite I für kleines Orch. /° / Suite II für kleines Orch. /° / Concerto en mi b für Kam- / merorchester<, under the framed heading >Gesang m. Kammer-Orch.< >Strawinsky, Igor, Pribaoutki / (Scherzlieder) /° Wiegenlieder / der Katze /° Pastorale für / Sopran, Oboe, Engl. Horn, / Klarinette und Fagott<, under the framed heading >Opern und Ballette< from >Falla, Manuel de< to >Wagner, Richard<, amongst these >Strawinsky, Igor, Die Ge- / schichte°° vom Soldaten /° / Reinecke°°° /° Jeu de cartes< [° slash original; °° The letter c in the sch has been misprinted and is thus broken; °°° original spelling].
*** Strawinsky not mentioned. After Mainz the following places of printing are listed: Leipzig-London-Brüssel-Paris.
**** The copy Darmstadt >1170/50< contains p. 31 below type area left framed a printed stamp >Visé par la Direction de l'E. P. / Autorisé par la D. d. l'I. / G. M. Z. F. O.<.

7-6[55] STRAWINSKY / FEUERWERK / FEU D’ARTIFICE / [Vignette] / PARTITUR / EDITION SCHOTT / 3464 // IGOR STRAWINSKY / FEUERWERK / Feu d’artifice / Eine Fantasie für großes Orchester / opus 4 / [asterisk] / Studienpartitur / Edition 3464 / B. SCHOTT'S SÖHNE · MAINZ // [Rückendeckelbeschriftung:] STRAWINSKY FEUERWERK // (Pocket score sewn 0.3 x 15 x 23 (4° [gr. 8°]); 31 [31] pages + 4 cover pages black on grey grained [front cover title with orange-coloured with publisher’s emblem dark orange-coloured oval ø 1.9 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 / zeitgenössischer Orchesterwerke<* production date >45<] + 4 pages front matter [title page, empty page, page with dedication italic >N. und M. Steinberg gewidmet<, legend >ORCHESTER-BESETZUNG< German + duration data [4'] German] + 1 page back matter [page with publisher’s advertisements >STUDIEN - PARTITUREN / zeitgenössischer Orchesterwerke<** production date >105<]; title head >Feuerwerk<; author specified 1st page of score unpaginated [p. 1] below title head flush right >Igor Strawinsky, op. 4<; without legal reservation; plate number [only in connection with production indication]; production indications p. 31 below type area flush left >Printed in Germany< in connection with plate number flush right as end mark >Stich u. Druck B. Schott's Söhne in Mainz 28616a<) // [1955]

* Compositions are advertised in thre columns with edition numbers behind fill character (dotted line) from >HENK BADINGS< to >HEITOR VILLA-LOBOS<, amongst these >IGOR STRAWINSKY / Pastorale für Violine / mit Oboe, Engl. Horn, / Klarinette und Fagott°° 3313 / Pastorale für Sopran, / Oboe, Engl. Horn / Klarinette u. Fagott° 3399 / Wiegenlieder d. Katze / f. tiefe Frauenstimme / und 3 Klarinetten° 3466<[° fill character (dotted line); °° without fill character].
** Compositions are advertised in three columns with edition numbers behind fill character (dotted line) from >WERNER EGK< to >ALEX. TSCHEREPNIN<, amongst these >IGOR STRAWINSKY / Scherzo fantastique° 3501 / Circus-Polka° 4274 / „Feuerwerk“, Fantasie°° 3464 // STRAWINSKY (Fortsetzung) / Symphonie in C° 3536 / Symphony in three / movements° 4075 / „Der Feuervogel“, / Suite (1919)° 3467 / „Der Feuervogel“, / Suite (1945)° 4420< / Vier norwegische Im- / pressionen°°° / Ode (Elegischer Ge- / sang) in 3 Teilen für / kleines Orchester°°° / Suite I für kleines / Orchester° 3469 / Suite II für kleines / Orchester° 3470 / Pas de deux (L’oiseau / bleu) (Tschaikowsky)°°°° 4409 / Concerto in Es (Dum- / barton Oaks) f. Kam- / merorchester° 3527 / Danses concertantes° 4275 / Konzert in D für Vio- / line und Orchester° 3504< [° fill character (dotted line); °° without fill character (dotted line); °°° without fill character (dotted line) and without editions number; °°°° without fill character (dot)].

7-6[64] STRAWINSKY / FEUERWERK / Studien-Partitur / [Vignette] / EDITION SCHOTT / 3464 // IGOR STRAWINSKY / FEUERWERK* / Eine Fantasie für großes Orchester / opus 4 / Studien-Partitur / Edition Schott 3464 / B. SCHOTT'S SÖHNE · MAINZ / Schott & Co. Ltd., London · B. Schott's Söhne (Editions Max Eschig), Paris / Schott Music Corp. (Associated Music Publishers Inc.), New York // [Rückendeckelbeschriftung:] STRAWINSKY . FEUERWERK // (Pocket score sewn 0.3 x 15 x 23 (4° [gr. 8°]); 31 [31] pages + 4 cover pages black on grey grained [front cover title with publisher’s emblem orange-coloured oval ø 1.9 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 / Auswahl zeitgenössischer Orchesterwerke<** production date >40<] + 4 pages front matter [title page, empty page, page with dedication italic >N. und M. Steinberg gewidmet<, legend >ORCHESTER-BESETZUNG< German + duration data [4'] German] + 1 page back matter [page with publisher’s advertisements >STUDIEN - PARTITUREN / Eine Auswahl zeitgenössischer Orchesterwerke<*** production date >105<]; title head >Feuerwerk<; author specified 1st page of score unpaginated [p. 1] below title head flush right >Igor Strawinsky, op. 4<; legal reservation**** 1st page of score below type area flush left >Alle Rechte vorbehalten<; plate number [only] in connection with production indication]; production indications p. 31 below type area flush left >Printed in Germany< in connection with plate number flush right as end mark >Stich u. Druck B. Schott's Söhne in Mainz 28616a<) // [1964]

* In fancy letters italic.
** Compositions are advertised in two columns with edition numbers behind fill character (dotted line) from >HELMUT DEGEN< to >BERND ALOIS ZIMMERMANN<, amongst these >IGOR STRAWINSKY / Babel° 4412 / Circus-Polka° 4274 / Concerto in Es (Dumbarton Oaks) / für Kammerorchester° 3527 / Danses concertantes° 4275 / Der Feuervogel, Ballett-Suite (1945)°° 4420 / Feuerwerk, Fantasie° 3464< [° fill character (dotted line); °°fill character (dot)].
*** Compositions are advertised in three columns with edition numbers behind fill character (dotted line) from >CONRAD BECK< to >BERND ALOIS ZIMMERMANN<, amongst these >IGOR STRAWINSKY / Scherzo fantastique° 3501 / Circus-Polka° 4274 / Feuerwerk, Fantasie°° 3464 / Symphonie in C° 3536 / Symphony / in three movements°° 4075 / Pas de deux / (Tschaikowsky)° 4409 / Der Feuervogel: / Suite 1945° 4420<[° fill character (dotted line); °°fill character (dot)].
**** Without copyright statement.

7-6[67] STRAWINSKY / FEUERWERK / Studien-Partitur / [Vignette] / EDITION SCHOTT / 3464 // IGOR STRAWINSKY / FEUERWERK° / Eine Fantasie für großes Orchester / op. 4 / Studien-Partitur / Edition Schott 3464 / B. SCHOTT'S SÖHNE · MAINZ / SCHOTT & Co., Ltd., London · B. Schott’s Söhne (Editions Max Eschig), Paris / Schott Music Corp. (Associated Music Publishers Inc.,) New York / Printed in Germany // [Text on spine:] STRAWINSKY . FEUERWERK // (Pocket score sewn 0,3 x 14,9 x 22,9 (8° [gr. 8°]); 31 [31] pages + 4 cover pages thicker paper black on grained grey [front cover title with publisher’s emblem orange-coloured oval ø 1.9 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 / Eine Auswahl zeitgenössischer Orchesterwerke** production date >171<] + 4 pages front matter [title page, empty page, dedication >N. und M. Steinberg gewidmet<, legend >ORCHESTER-BESETZUNG< German + duration data [4’] German] + 1 page back matter [page with publisher’s advertisements*** > STUDIEN-PARTITUREN / Eine Auswahl zeitgenössischer Orchesterwerke** production date >105<]; title head >Feuerwerk<; author specified 1st page of score unpaginated [p. 1] below title head flush right >Igor Strawinsky, op. 4<; legal reservation without copyright 1st page of score below type area flush left >Alle Rechte vorbehalten<; without end of score dated p. 31; Plattennummer [only] in connection with production indication p. 31 as end mark >B. Schott's Söhne, Mainz 28616a<; end of score dated >Oustiloug 1908.<; without end mark) // [1967]

* Decorative script.
** Compositions are advertised in two columns with edition numbers behind fill character (dotted line) from >BÉLA BARTÓK< to >BERND ALOIS ZIMMERMANN<, amongst these >IGOR STRAWINSKY / Konzert in D für Violine und / Orchester° 3504 / Pas de deux (L’oiseau bleu) (Tschai- / kowsky)° 4409 / Scenes de Ballet°* / Scherzo fantastique / für großes Orchester° 3501 / Scherzo à la Russe° 4553 / Sinfonie in C° 3536 [°fill character (dotted line); * without fill character (dotted line)].
*** Compositions are advertised in three columns with edition numbers behind fill character (dotted line) from >CONRAD BECK< to >BERND A. ZIMMERMANN<, amongst these >IGOR STRAWINSKY / Scherzo fantastique° 3501 / Circus-Polka° 4274 / Feuerwerk, Fantasie°° 3464 / Symphonie in C° 3536 / Symphony / in three movements°° 4075 / Pas de deux / (Tschaikowsky)° 4409 / Der Feuervogel: / Suite 1945° 4420 [° fill character (dotted line); °° fill character (dot)].

7-6[68] Strawinsky [#] Schott_____ / Feuerwerk / Studien-Partitur / Edition Schott 3464 // Igor Strawinsky / Feuerwerk / Eine Fantasie für großes Orchester / opus 4 / Studienpartitur / Edition Schott 3464 / B. Schott's Söhne· Mainz / Schott & Co. Ltd., London / Schott Music Corp. . New York / Printed in Germany // (Pocket score 15.2 x 23 (8° [gr. 8°]); 31 [31] p. + 4 cover pages thicker paper black on grey grained [front cover title, 2 empty pages, page with publisher’s advertisements >STUDIEN-PARTITUREN / Eine Auswahl zeitgenössischer Orchesterwerke<* production date >171<] + 4 pages front matter [title page, empty page, dedication italic >N. und M. Steinberg gewidmet<, legend >ORCHESTER-BESETZUNG< German + duration German >4 Minuten<] + 1 page back matter [empty page]; title head >Feuerwerk<; author specified 1st page of score unpaginated [p. 1] below title head flush right >Igor Strawinsky / opus 4<; legal reservation 1st page of score below type area flush left >© B. Schott's Söhne, Mainz, 1922<; plate number [only] in connection with production indication p. 31 as end mark >B. Schott's Söhne, Mainz 28616a<) // [1968]°

° The dating is uncertain.
* Compositions are advertised in two columns with edition numbers behind fill character (dotted line) from >BÉLA BARTÓK< to >BERND ALOIS ZIMMERMANN<, amongst these >IGOR STRAWINSKY / Konzert in D für Violine und / Orchewster° 3504 / Pas de deux (L’oiseau bleu) (Tschai- / kowsky)° 4409 / Scenes de Ballet°* / Scherzo fantastique / für großes Orchester° 3501 / Scherzo à la Russe° 4553 / Sinfonie in C° 3536 [°fill character (dotted line); * without fill character (dotted line)].


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

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