K010 Der Feuervogel

K10 Жаръ – птица

Сказка-балет в 2-х картинах. - L’oiseau de feu. Conte dansé en deux tableaux. Composé d’après le conte national russe par M. Fokine — Der Feuervogel. Ballett in zwei Bildern, von Michael Fokin nach einem russischen Volksmärchen — The Firebird. Fairy story ballet in two scenes, composed after the Russian national fairy story by M. Fokine* — L’Uccello di fuoco , favola danzata in due quadri. Da una favola nazionale russa, di Michele Fokine

* The translation of the title into numerous foreign languages was evidently fun for Strawinsky; in his estate, there is a note on which he notated translations in 8 languages, including Finnish, and in his printed conducting score, he added a further two in his handwriting.

Titles: First Suite 1911:Сюита из сказки-балета Жаръ-птица. – Suite tirée du conte dansé "L'oiseau de feu" [ ]; Second Suite 1919: Suite de l'Oiseau de feu (réorchestrée par l'auteur en 1919) pour orchestre [Suite aus Feuervogel (reorchestriert vom Autor 1919) für Orchester]; Third Suite 1945: Firebird Ballet Suite for orchestra 1945

Scored for: a) First editions (Ballet original Characters and Forces): L’Oiseau de Feu, La Belle Tsarévna, Ivan Tsarévitch, Kastsche l’immortel, 12 Princesses, Figuration [The Firebird, The beautiful Zarevna, Ivan Tsarevich, Kastchei the Immortal, 12 Princess’s, Extras (Enchanted Princesses, Petrified Warriors, Young men, wives of Kaschtschei, Female Inderin, Kastchei’s Retinue, Kikimores, Boliboschki, two-headed monsters ) ]; ~ (Ballet original Orchestra): 2 Flauti piccoli (I. II. poi Fl. Gr. III), 2 Flauti grandi, 3 Oboi, Corno Inglese, 3 Clarinetti in A (I. II. III. poi Cl. picc. In D), Clarinetto basso in B, 3 Fagotti (I. II. III. poi Contrafagotto II), Contrafagotto, 4 Corni in F, 3 Trombe in A, 3 Tromboni e Tuba, Timpani, Triangolo, Tambour de Basque, Piatti, Gr. Cassa, Tam-tam, Campanelli, Xylophon, Celesta, Piano, 3 Arpe, 16 Violini I, 16 Violini II, 14 Viole, 8 Violoncelli, 6 Contrabassi; sur la scène: 3 Trombe in A, 2 Tube ten. in B, 2 Tube bassi in F, 2 Campane [2 Piccolo Flutes (I. II. also Fl. Gr. III), 2 Flutes, 3 Oboes, English horn, 3 Clarinets in A (I. II. III. also Picc. Cl. in D), Bass Clarinet in B b , 3 Bassoons (I. II. III. also Contrabassoon II), Contrabassoon, 4 Horns in F, 3 Trumpets in A, 3 Trombones and Tuba, Timpani, Triangle, Tambourine, Cymbals, Big Drum, Tam-tam, Glockenspiel, Xylophone, Celesta, Piano, 3 Harps, 16 Violins I, 16 Violins II, 14 Violas, 8 Violoncellos, 6 Double Basses; offstage: 3 Trumpets in A, 2 Tubas tenors in B b , 2 Tubas basses in F, 2 Bells]; b) Performance requirements: (Ballet original): [4 Flutes =] 2 Piccolo Flutes (2. Piccolo Flute = 3. Flute), 3 Flutes (3rd Flute = 2nd Piccolo Flute), 3 Oboes*, English horn, Piccolo Clarinet (= 3rd Clarinet), 3 Clarinets in A and B b (3rd Clarinet = Piccolo Clarinet in D), Bass clarinet in B b , 3 Bassoons (3rd Bassoon = 2nd Contrabassoon), 2 Contrabassoons (2nd Contrabassoon = 3rd Bassoon), 4 Horns in F, 2 Wagnertubas, 3 Trumpets in A and B b , 3 Trombones, Tuba, 2 Timpani, Percussion (Triangle, Tambourin, Cymbals**, Big Drum, Tam-tam, Glockenspiel), Xylophone, Celesta, Piano, 3 Harps, Solo Violin, Solo Viola, 6 Solo Violoncellos, 2 Solo Double Basses, 16 First Violins***, 16 Second Violins***, 14 Violas***, 8 Violoncellos***, 6 Double Basses****; offstage: 3 Trumpets in A, 2 Tubas tenors in B b , 2 Tubas basses in F, 2 Bells; 1st Firebird Suite 1911 = Ballet original; 2nd Firebird Suite 1919: Piccolo Flute (= 2nd Flute), 2 Flutes (2nd Flute = Piccolo Flute), 2 Oboes, 2 Clarinets in A, 2 Bassoons, 4 Horns in F, 2 Trumpets in C, 3 Trombones, Tuba, Timpani, Percussion (Big Drum, Cymbals, Side Drum, Tambourine, Triangle, Xylophon), Piano, Harp, Solo-Violin, 2 Solo-Violas, Solo-Violoncello, 2 Solo-Kontrabässe, Strings (First Violins****, Second Violins****, Violas****, Violoncellos*****, Double Basses***); 3rd Firebird Suite 1945 = 2nd Firebird Suite 1919 (55 Players)

* Not 2.

** Two players.

*** Divided in four.

**** Divided in three.

***** Divided in two.

Summary: Introduction (1). First Scene : vitch has lost his way in the forest while hunting for the Firebird. He leaps over a wall and finds himself (transformation) in Kastchei’s magic garden in front of an apple tree full of golden fruit (2). The Firebird appears, and vitch tries to catch it (3). The Firebird circles the apple tree and plucks one of the golden fruits (4). As it does this, vitch succeeds in catching the Firebird (5). Its imploring pleas mollify Ivan, who sets it free. In thanks for this, the Firebird gives him one of its golden feathers. If Ivan gets into any danger at any time, he is to throw it into the air and help will be given to him. The Firebird leaves the garden – vitch remains there (6). Out of the palace come thirteen princesses who are held captive by Kastchei. They use the night for their secret playing, and dance around the tree with the golden apples, each one plucking one apple (7), and then begin a ball game with them (8). Ivan observes them secretly for a while and then reveals himself. When they become aware of him, they break off their game in shock. They soon lose their fear and embarrassment, and they allow him to dance a Round Dance (Khorovod = an ancient Slavic Round Dance) with them (9). vitch and the beautiful Zarevna, one of the princesses, recognise their love for one another (10). As signals announce the nearing morning, the princesses fearfully leave the garden and return to the palace (11). Ivan is overpowered by his love and his daring. Although the beautiful Zarevna warns him not to enter the palace, saying that he will be destroyed by the demon Kastchei, he tries to leap the palace gate. While he is infiltrating the palace, a fairy-like peal of bells sounds. Kastchei’s giant guards appear and take him prisoner (12). Kastchei appears. Full of malevolent joy, he begins a conversation with Ivan, the course of which brings him into a fearful rage. He pays no attention to Ivan’s intercessions for the Princesses. vitch, like the previous people who tried to break into the palace, is also to be turned into stone. While Kastchei begins the incantation, Ivan uses the golden feather left him by the Firebird for his rescue in greatest need. He throws it into the air (13). The Firebird appears (14) and forces Kastchei’s entourage to dance (15), which eventually flows into an infernal dance orgy and all the participants at the end sink to the ground exhausted (16). In the meanwhile, Kastchei has hurried to the golden apple tree, as a small box is concealed there in a hollow; in the box is an egg, and the egg contains Kastchei’s immortality. The Firebird’s magic lullaby however puts Kastchei to sleep (17), and when he awakes from his stupefaction, it is too late for him, as the Firebird has betrayed the secret of Kastchei’s immortality to vitsch. Ivan takes the box and shatters the egg; at that moment, Kastchei loses his life and magical power in past and present. Kastchei, who appeared immortal because his life-force was not stored inside him, meaning that any attack on his person would be unsuccessful, dies. It becomes dark (18). Second Act : when it becomes light again, Kastchei’s magical garden and palace have disappeared and the knights that had been transformed into demons or turned into stone are disenchanted and become men again. In their midst stand, forever united, vitch and the beautiful Zarevna. Once again, the Firebird can be seen on the stage, which is resplendent with light and full of rejoicing, and then the curtain falls (19).

Source: The scenario was created by Michael Fokine, who connected together the two originally separate groups of sagas of the Immortal Kastchei and the Firebird , creating a new legend out of it. He kept the Russian topic of Kastchei as a symbol of fear, but reinterpreted the symbol of the Firebird, in that he transformed the Russian dream symbol into the destruction of ones greatest, forbidden wishes; the Firebird is the dialectical antithesis of Kastchei, so that both figures are placed into a dramaturgically effective conflict between good and evil. What remained was a three-part construction: the fighting man (vitch), who, with the help of the supernatural forces of good (the Firebird), destroys the supernatural evil (Kastchei). Of the old Firebird myth, which does not equate itself uncommented with the forces of good, very little remains. Nevertheless, something of the old symbolic value of the two subjects reappears in the timelessness of the bare portrayal of the plot, which was mixed with Christian concepts and all political ideologies of the day, as he managed to present universally relevant events from human life dramatically on stage. vitch, young and burning for action, hunts the Firebird, i.e. he is tangled up in his youthful dreams and his wishes. He catches the Firebird, but is not able to rid himself of his moral responsibilities. He lets the Firebird free, and of his own free will, and this therefore gives up his excluding dreams. The Firebird on the other hand, hands over one of his feathers to him, similarly voluntarily. The magic of which the Russian proverb speaks, that he who holds the feather (of the Firebird) will receive misfortune, is broken by this. Ivan’s conduct forces the Firebird into partnership with him as a moral gift in return, and the latter in the Russian fairy tale is nothing but a dead thing that one wants to own and for the ownership of which people commit crimes. With an act of mutual gratitude and a sequence of voluntary decisions that balance one another, the pact between vitch and the Firebird is settled. It is from this point on that the struggle between the Firebird and Kastchei becomes inevitable through the Firebird’s dutiful bond to vitch. Of the large number of unachieved dreams, a single dream remains, but this one is imbued with a magical power that promised success, because it was achieved without violence as the result of a natural act. What it wishes to achieve is immediately shown by Ivan’s struggle against Kastchei for the beloved princess, the natural and therefore favourable struggle of the youth against fear of existence, longing and love. The dream, embodied by the feather, reveals to him his thoughts in the form of the thirteen princesses. It follows him and eventually overpowers Kastchei, i.e. he achieves a victory over himself. In this profound fable, the Christian world of symbols Strawinsky’s is no stronger in his operatic works than the atheist world of his teacher Rimsky-Korsakov, but it eventually has its effect on the dualism of Good and Evil and the voluntary renunciation made out of pity and reverence. Not everything in the libretto was written by Fokine. The final coronation scene was Strawinsky’s idea, not Fokine’s. This explains the dysfunctional proportions of the work, as the second Act follows an extended scene with many numbers, while the second Act is in reality not more than a single number.

Construction: The ballet consists of 19 plot sections, all of which have subtitles, but they are not numbered; they are in the form of self-standing musical numbers. The original score is, like the piano reduction, written in Russian and French. The 1st Firebird Suite from 1919 is made up of 5 ballet numbers which are in Arabic script in the Index and in the musical text in Roman numerals; they have subtitles for the sections which relate to the plot and which are in Russian and French, have separate sets of figures for each number, and some have metronome markings. They have their own transitions and the orchestration is identical to the original. The 2nd Firebird Suite 1919 consists of either 4 or 7 pieces (depending on one’s method of counting) that are not numbered, and across the titles and separate sets of figures for each number. There are subtitles for the numbers, but no instructions for the choreography or scenery apart from those which can be gleaned from the titles of the movements. If one counts the movements using the titles, there are 7 sections to the Suite, but if one counts using the sets of figures stretching across the separate numbers, there are 4 sections to the Suite. The 3rd Firebird Suite 1945 is made up of 10 titled, distinct sections, which are not through-numbered, have no choreographical instructions. Of these, 5 are identical to the 2nd Firebird Concert Suite . The allocation of the roles of the movements, which have small changes in the orchestration from the Second Suite, is in most cases evident from the title. The score contains exact instructions for cuts, as well as the playing of single numbers. The piano reduction, which was completed by Strawinsky himself, differs in many details of the layout of the original printed score. In the original, separated sections of the plot were put together under one subtitle, and some Italian tempo markings are changed. The metronome markings are swapped, the figuring is different, being reduced from 209 to 208 figures.

Structures

a) Ballet (Full Score Original)

[1.] ВСТУПЛЕНІЕ (Introduction – Introduktion – Introduction)

Molto moderato Quaver = 108 (figure ¹1 up to figure ²⁰1)

I КАРТИНА - I Tableau - Erstes Bild - Scene One

[2.] ЗАКОЛДОВАННЫЙ САДЪ КАЩЕЯ (Le jardin enchanté de Kastchei – Kastscheis verzauberter Garten – Kashchei's Enchanted Garden)

(figure 1 ¹up to figure 1 ³)

[ Curtain at figure 1 ¹ ]

L’istesso Crotchet = Crotchet (figure 1 ⁴ up to the end of figure 2 )

[3.] ПОЯВЛЕНІЕ ЖАРЪ-ПТИЦЫ, ПРЕСЛЂДУЕМОЙ ИВАНОМЪ ЦАРЕВИЧЕМЪ (Apparition de l'oiseau de feu, poursuivi par Ivan Tsarevitch – Erscheinen des Feuervogels, verfolgt von Iwan Zarewitsch – Appearance of the Firebird pursued by Ivan Tsarevich)

Allegro assai Crotchet = 144 (figure 3 up to the end of figure 5)

Molto moderato Crotchet = 54 (figure 6)

Vivo Minim = 88 (figure 7 up to the end of figure 13)

[4.] ПЛЯСЪ ЖАРЪ-ПТИЦЫ (Danse de l'oiseau de feu – Tanz des Feuervogels – Dance of the Firebird)

Allegro rapace dotted Crotchet = 80 (figure 14 up to the end of figure 21)

Allegro Minim = 69 (figure 22 ¹)

[5.]ПЛЕНЕНІЕ ИВАНОМЪ ЦАРЕВИЧЕМЪ ЖАРЪ-ПТИЦЫ (Capture de l'oiseau de feu par Ivan Tsarevitch – Fang des Feuervogels durch Iwan Zarewitsch – Ivan Tsarevich Captures the Firebird)

[without Metronom marking] (figure 22 ²up to the end of figure 27)

poco a poco rallen. (figure 28)

[6.] МОЛЬБЫ ЖАРЪ-ПТИЦЫ (Supplications de l'oiseau de feu – Bitten des Feuervogels – Supplication of the Firebird)

Adagio Quaver = 112 (figure 29 up to the end of figure 32)

Allegretto [without metronom marking] (figure 33 up to the end of figure 37)

Adagio Quaver = 112 (figure 38 up to figure 39 ⁶)

Tempo rubato (figure 39 ^6-8)

Tempo I (figure 40)

Vivo [without metronom marking] (figure 41)

Moderato Crotchet = 72 (figure 42)

Vivo Crotchet = 144 (figure 43)

L'istesso temp (Moderato Crotchet = 72) (figure 44)

Meno mosso Crotchet = 54 (figure 45 up to the end of figure 47)

[7.] ПОЯВЛЕНІЕ ТРИНАДЦАТИ ЗАЧАРОВАННЫХЪ ЦАРЕВЕНЪ (Apparition des treize princesses enchantées – Erscheinen der dreizehn verzauberten Prinzessinnen – Appearance of Thirteen Enchanted Princesses)

(figure 48 up to the end of figure 51)

Cadenza (figure 52)

Più mosso Crotchet = 84 (figure 53 up to the end of figure 54)

[8.] ИГРА ЦАРЕВЕНЪ ЗОЛОТЫМИ ЯБЛОЧКАМИ (Jeu des princesses avec les pommes d'or – Spiel der Prinzessinnen mit den goldenen Äpfeln – The Princess' Game with the Golden Apples)

(Scherzo)

Allegretto Crotchet = 84 (figure 55 up to the end of figure 70)

[9.] ВНЕЗАПНОЕ ПОЯВЛЕНІЕ ИВАНА ЦАРЕВИЧА (Brusque apparition d'Ivan Tsarevitch – Plötzliches Erscheinen des Iwan Zarewitsch – Sudden Appearance of Ivan Tsarevich)

Lento assai Crotchet = 52 (figure 71 up to the end of figure 74)

[10.] ХОРОВОДЪ ЦАРЕВЕНЪ (Corovd (Ronde) des princesses – Corovod (Reigen) der Prinzessinnen – The Princess' Khorovod (Round Dance)

Moderato Crotchet = 72 (figure 75 up to the end of figure 76)

Più mosso Crotchet = 92 (figure 77 up to the end of figure 79)

Poco meno (figure 80)

Moderato Crotchet = 72 (figure 81)

Più mosso Crotchet = 92 (figure 82 up to the end of figure 86)

Lento [without metronom marking] (figure 87 up to the end of figure 88)

[11.] НАСТУПЛЕНІЕ УТРА (Lever du jour – Tagesanbruch – Daybreak)

Più mosso Crotchet = 80 (figure 89 up to the end of figure 94)

Largamente assai (figure 95 ¹)

Stringendo (figure 95 ²)

Andante lamentoso Crotchet = 50 (figure 96)

Âòîðæåí³å Èâàíà Öàðåâè÷à âú çàìîêú Êàùåÿ (Ivan Tsarévitch pénètre dans le Palais de Kastchei - Prinz Iwan dringt in Kastscheis Palast ein - Prince Ivan penetrantes Kastchei’s palace)

Vivo assai Crotchet = 120 (figure 97)

[12.] ВОЛШЕБНЫЕ ПЕРЕЗВОНЫ, ПОЯВЛЕНІЕ ЧУДОВИЩЪ-СЛУГЪ КАЩЕЕВЫХЪ И ПЛЂНЕНІЕ ЦАРЕВИЧА (Carillon féérique, apparition des Monstres-gardiens de Kastchei et capture d'Ivan Tsarewitch – Feenhaftes Glockenläuten, Erscheinen von Kastscheis Riesenwachen und Gefangennahme des Iwan Zarewitsch – Magic Carillon; Appearance of Kashchei''s Guardian Monsters; Capture of Ivan Tsarevich)

Allegro Minim = 120 (figure 98 up to the end of figure 102)

Meno mosso (Tempo giusto) dotted Minim = 80 (figure 103 up to the end of figure 105)

[13.] ВЫХОДЪ КАЩЕЯ-БЕЭСМЕРТНАГО (Arrivée de Kastchei l'immortel – Ankunft des unsterblichen Kastschei – Arrival of Kastchei the Immortal)

Sostenuto dotted Minim = Crotchet (figure 106 up to the end of figure 109)

РАЗГОВОРЪ КАЩЕЯ СЪ ИВАНОМЪ ЦАРЕВИЧЕМЪ (Dialogue de Kastchei avec Ivan Tsarevitch - Kastschei, Gespräch mit Iwan Zarewitsch - Dialogue of Kastchei with Ivan Tsarevich)

Poco meno mosso Crotchet = 63 (figure 110 up to the end of figure 111)

Presto, Feroce Crotchet = 168 (figure 112 up to the end of figure 113)

Tempo I Crotchet = 63 (figure 114)

ЗАСТУПНИЧЕСТВО ЦАРЕВЕНЪ (Intercession des princesses - Fürsprache der Prinzessinnen – Intercession of the Princesses)

Andantino dolente Quaver = 100 (figure 115 up to the end of figure 116)

Largo Crotchet = 50 (figure 117 ¹up to 117 ⁶)

Più mosso Crotchet = 76 (figure 117 ⁶up to the end of figure 118)

[14.] ПОЯВЛЕНІЕ ЖАРЪ-ПТИЦЫ (Apparition de l'oiseau de feu – Erscheinen des Feuervogels – Appearance of the Firebird)

Allegro Crotchet =152 (figure 119 up to the end of figure 125)

[15.] ПЛЯСКА КАЩЕЕВЫХЪ СЛУГЪ ПОДЪ ЧАРАМИ ЖАРЪ-ПТИЦЫ (Danse de la suite de Kastchei enchantée par l'oiseau de feu – Tanz des vom Feuervogel verzauberten Gefolges Kastscheis – Dance of Kashchei's Retinue under the Firebird's Spell)

Allegro Crotchet = 152 (figure 126 up to the end of figure 132)

[16.] ПОГАНЫЙ ПЛЯСЪ КАЩЕЕВА ЦАРСТВА (Danse infernale de tous les sujets de Kastchei – Höllentanz aller Untertanen Kastscheis – Infernal Dance of all Kastchei’s Subjects)

Allegro feroce Crotchet = 168 (figure 133 up to the end of figure 149)

Poco più sostenuto Crotchet = 152 (figure 150 up to the end of figure 152)

Poco a poco accelerando (figure 153)

Poco più mosso (figure 154 up to the end of figure 156)

Più mosso (Tempo I) Crotchet = 168 (figure 157 up to the end of figure 164)

Tempo I Crotchet = 168 (figure 165 up to the end of figure 168)

Più mosso Minim = dotted Minim (figure 169 up to the end of figure 181)

Andante Crotchet = 60 (figure 182)

[17.] КОЛЫВЕЛЬНАЯ (ЖАРЪ-ПТИЦА.) (Berceuse (l'oiseau de feu) – Wiegenlied (Feuervogel) – Lullaby (Firebird)

Tempo I (Andante) (figure 183 up to the end of figure 187)

[18 . ] ПРОБУЖДЕНИЕ КАЩЕЯ (Réveil de Kastchei – Kastscheis Erwachen – Kastchei’s Awakening)

(figure 188 ^1-5)

Poco a poco stringendo (figure 188 ^6-8)

Con moto Crotchet = 138 (figure 189)

Adagio Crotchet = 46 (figure 190 up to the end of 194)

Più mosso Quaver = Crotchet = 92 (figure 191 up to the end of figure 192)

СМЕРТЬ КАЩЕЯ (Mort de Kastchei - Tod Kastscheis - Kashchei's Death)

(figure 193 ^1-4)

ПОЛНЫЙ МРАКЪ (Profondes tenèbres - Tiefe Dunkelheit - Profound Darkness)

(figure 193 ⁵up to the end of figure 196)

II КАРТИНА - II Tableau - Zweites Bild - Scene Two

[19.] ИСЧЕЗНОВЕНІЕ КАЩЕЕВА ЦАРСТВА, ОЖИВЛЕНІЕ ОКАМЕНЂЛЫХЪ ВОИНОВЪ, ВСЕОБЩЕЕ ЛИКОВАНІЕ (Disparition du palais et des sortilèges de Kastchei, animation des chevaliers petrifiés. Allegresse génerale – Verschwinden des Palastes und der Verzauberungen Kastscheis, Belebung der versteinerten Ritter. Allgemeiner Jubel – Disappearance of the Palace and Dissolution of Kashchei's Enchantments; Animation of the Petrified Warriors; General Thanksgiving)

Lento maestoso Minim = 54 (figure 196 up to the end of figure 201)

Più mosso (figure 202)

Allegro non troppo Crotchet = 208 (figure 202 up to the end of figure 205)

Doppio valore Crotchet = 104 Maestoso (figure 206 up to the end of 207)

Poco a poco allargando (figure 208)

Molto pesante Minim = 60 (figure 209 up to the end of figure 209 ⁸)

[Curtain at figure 209 ^6-8]

b) 1st Firebird Suite 1911

I.

Вступленіе. - Заколдованный садъ Кашея и пляска Жарь-Птицы. - Introduction. Jardin enchanté de Kastcheï et danse de l'oiseau de feu

[Ballet figure 5-20 ⁵]

II.

Мольбы Жарь-Птицы - Supplication de l'oiseau de feu

[Ballet figure 29-40 ⁶]

III.

Игра царевень золотыми яблочками - Jeu des princesses avec les pommes d'or

[Ballet figure 55-70 ¹⁴]

IV.

Хороводь царевенъ - Ronde des princesses – Khorovode

[Ballet figure 75-87 ¹⁹]

V.

Поганый плясъ Кащеева царства- Danse infernale du roi Kastcheï

[Ballet figure 133-182 ¹]

c) 2nd Firebird Suite 1919****

[1 = 1] Introduction

Crotchet = 108 (up to the end of figure 5)

[2 = 1] L'oiseau de feu et sa danse

Crotchet = 152 (figure 6 up to the end of figure 8)

[3 = 1] Variation de l'oiseau de feu

Crotchet = 76 (figure 9 up to the end of figure 18)

[4 = 2] Ronde des princesses / KHOROVODE

Crotchet = 72 (figure 1 up to the end of figure 14 ³)

Crotchet = 72 (figure ⁷1 up to the end of figure 1)

Crotchet = 92 (figure 2 up to figure 5 ²)

Poco meno mosso (figure 5 ³up to the end of figure 5 ⁶)

Crotchet = 72 (figure 6)

Crotchet = 92 (figure 7 up to the end of figure 12)

Lento Crotchet = 58 (environ) (figure 13 up to the end of figure 14)

[5 = 3] Danse infernale du roi Kastchëi

(figure 1 up to the end of figure 39*)

Crotchet = 168 (figure 1 up to the end of figure 28)

Più mosso dotted Minim = (figure 29 up to the end of figure 39*)

Andante * Crotchet = 60 (figure 39 ⁵up to the end of figure 39 ¹²)

[6 = 4] Berceuse

Andante Crotchet = 60 (figure ²1 up to the end of figure 10 ⁶)

[7 = 4] Final

(figure 11 up to the end of figure 20 ⁸

Lento maestoso Crotchet** = 54 (figure 11 up to the end of figure 15)

Più mosso (figure 16)

Allegro ma non troppe Crotchet = 20*** (figure 17 up to the end of figure 18)

Doppio valore Crotchet = 104 Maestoso (figure 19 up to figure 19 ¹²)

Poco a poco allargando (figure 19 ^13-18 )

Molto pesante Minim = 60 (figure 20)

* If the Berceuse that follows is not to be played, the work ends at figure 39 ⁴; failing this, figure 39 ⁴ is omitted and the gap is filled by an eight-bar ending at figure 39 ⁵ (figure 39 ⁵up to the end of figure 39 ¹²= Andante Crotchet = 62), which (already in the tempo of the Berceuse ) leads into the Berceuse .

** The note value (here a filled note is presumably incorrect or smudged and should be a minim (hollow note).

*** Printing error of omission, should presumably be 208.

**** Corrections according to Clinton F. Nieweg:

--- begin corrections ---

[ 1= 1] Introduction

Crotchet Quaver = 108 (up to the end of figure 5) The Crotchet shown in the Chester publication is one of the thousands of mistakes in that edition.

[ 2 = 1] L’oiseau de feu et sa danse

Crotchet = 152 (figure 6 up to the end of figure 8)

[ 3 = 1] Variation de l’oiseau de feu

Dotted Crotchet = 76 (figure 9 up to the end of figure 18

[ 4 = 2] Ronde des princesses / KHOROVODE

Crotchet = 72 (figure 1 up to the end of figure 14 ³ ) These are not from the Orchestra edition. It is confusing to have them here, as the details are shown below.

Crotchet = 72 (figure ⁷ 1 up to the end of figure 1)

Crotchet = 92 (figure 2 up to figure 5 ² )

Poco meno mosso (figure 5 ³ up to the end of figure 5 ⁶ )

Crotchet = 72 (figure 6 up to the end of figure 6)

Crotchet = 92 (figure 7 up to the end of figure 12)

Lento Crotchet = 58 (environ) (figure 13 up to the end of figure 14)

[ 5 = 3] Danse infernale du roi Kastchëi

(figure 1 up to the end of figure 39*)

Crotchet = 168 (figure 1 up to the end of figure 28 ⁴ ) 4 ^th measure

Più mosso dotted Minim = (figure 29 up to the end of figure 39 * ) * should read **

Full Score also has the note filled in so the engraver must have used a Crotchet.

Andante * Crotchet = 60 (figure 39 ⁵ up to the end of figure 39 ¹² )

[ 6 = 4] Berceuse

Andante Crotchet = 60 (figure ² 1 up to the end of figure 10 ⁶ )

[ 7 = 4] Final

(figure 11 up to the end of figure 20 ⁸

Lento maestoso Crotchet** = 54 (figure 11 up to the end of figure 15)

Più mosso (figure 16)

Allegro ma non tropp o Crotchet = 20*** (figure 17 up to the end of figure 18)

Doppio valore dotted Crotchet = 104 Maestoso (figure 19 up to figure 19 ¹² ) There are only 4 measures to Poco a poco allargando Should read ⁴ This section is in 7 beats to a measure.

Poco a poco allargando (figure 19 ^{13 –18} ) should read ^5-6

Molto pesante Minim = 60 (figure 20)

* If the Berceuse that follows is not to be played, the work ends at figure 39 ⁴ ; failing this, figure 39 ⁴ is omitted and the gap is filled by an eight-bar ending at figure 39 ⁵ (figure 39 ⁵ up to the end of figure 39 ¹² = Andante Crotchet = 62), which (already in the tempo of the Berceuse ) leads into the Berceuse .

** The note value (here a filled note is presumably incorrect or smudged and should be a minim (hollow note).

*** Printing error of omission, should presumably be 208. The 208 does show in my copy of the Chester / Schott Full Score.

--- end corrections ---

d) 3rd Firebird Suite 1945

INTRODUCTION

Crotchet = 108 (figure ⁴1 up to the end of figure 5)

PRELUDE AND DANCE / of the Firebird

Crotchet = 152 (figure 6 up to the end of figure 8)

VARIATIONS / (Firebird)

Tempo giusto dotted Crotchet = 76 (figure 9 up to the end of figure 18*)

PANTOMIME I

L'istesso tempo Crotchet = 76 (figure 19 up to the end of figure 20)

PAS DE DEUX / Firebird and Ivan Tsarevitch

(figure 22 up to the end of figure 33)

Adagio Quaver = 112 (figure 22 up to the end of figure 25)

Allegretto Crotchet = 84 (figure 26 up to the end of figure 30)

Adagio Quaver = 112 (figure 31 up to the end of figure 33**)

PANTOMIME II

Vivo Crotchet = 132 (figure 34 up to the end of figure 36)

SCHERZO / Dance of the Princesses

Allegretto Crotchet = 84 (figure 37 up to the end of figure 60***)

PANTOMIME III

Lento Crotchet = 66 (figure 62 up to the end of figure 68)

RONDO / Chorovod

(figure 69 up to the end of figure 86)

Moderato Crotchet = 72 (figure 69 up to the end of figure 71)

Più mosso Crotchet = 92 (figure 72 up to the end of figure 75 ²)

Modearto Crotchet = 72 (figure 75 ³up to the end of figure 77)

Più mosso Crotchet = 92 (figure 78 up to the end of figure 83)

Lento Crotchet = 58 (circa) (figure 84 up to the end of figure 86)

INFERNAL DANCE

(figure 87 up to the end of figure 149****)

Vivo Crotchet = 152 (figure 87 up to figure 131 ⁴)

Presto dotted Minim = 82 (figure 131 ⁵= ¹132 up to the end of figure 149****)

LULLABY / Firebird

Andante Crotchet = 60 (figure 150 up to the end of figure 159*****)

FINAL HYMN

(figure 160 up to the end of figure 175 ⁸)

Lento maestoso Minim = 54 (figure 160 up to the end of figure 165)

Allegro (non troppo) Crotchet = 208 (figure 167 up to the end of figure 171)

Doppio valore Crotchet = 104

Maestoso (figure 172 up to the end of figure 174)

Molto pesante Minim = 60 (figure 175)

* If the Pantomime I that follows is not to be played, the number ends at figure 18 ⁵; otherwise figure 18 ⁵ is skipped and the transition into the Pantomime is made from figure 18 ⁴onwards.

** If the Pantomime II that follows is not to be played, the number ends at figure 33 ⁷; otherwise figure 33 ^{4 up to 7} is skipped and the transition into the Pantomime is made from figure 33 ⁴onwards.

*** If the Pantomime III that follows is not to be played, the number ends at figure 60 ¹¹; otherwise figure 60 ^{5 up to 11} is omitted and instead 60 ⁴ is played with a separate 3-bar ending (figure 61), which leads into the Pantomime .

**** If the Berceuse (or Lullaby ) that follows is not to be played, the number ends at figure 147 ⁴, otherwise 147 ⁴ is omitted and instead 147 ³ is played with a separate 8-bar ending (figure 148 up to the end of figure 149 = Andante Crotchet = 60) , which (already in the tempo of the Lullaby ) leads into the Berceuse .

***** If the subsequent Finale is not to be played, the number ends at figure 158 ¹⁰ having omitted figure 158 ^1-3, otherwise after having played figure 157, there then follow figures 158 ^1-3 and 158 ¹¹⁺¹², in order to effect a 6-bar transition into the Finale .

e) Vocal Score

[1.] ВСТУПЛЕНІЕ INTRODUCTION Molto moderato Quaver = 108 (figure ¹1 up to figure ²⁰1) – I КАРТИНА. I TABLEAU. [2.] ЗАКОЛДОВАННЫЙ САДЪ КАЩЕЯ. LE JARDIN ENCHANTÉ DE KASTCHEI. (figure 1 ¹up to figure 1 ³) [Curtain at figure 1 ¹ ] – Crotchet = Crotchet [without metronom marking] (figure 1 ⁴up to the end of figure 2). [3.] ПОЯВЛЕНІЕ ЖАРЪ-ПТИЦЫ, ПРЕСЛЂДУЕМОЙ ИВАНОМЪ ЦАРЕВИЧЕМЪ. APPARITION DE L'OISEAU DE FEU, POURSUIVI PAR IVAN TSAREVITCH. – Allegro molto Crotchet = 144 (figure 3 up to the end of figure 5) – Molto moderato Crotchet = 54 (figure 6) – Vivo Minim = 88 (figure 7 up to the end of figure 13). [4.] ПЛЯСЪ ЖАРЪ-ПТИЦЫ. DANSE DE L’OISEAU DE FEU. – Allegro rapace Crotchet = 60 (figure 14 up to the end of figure 21). [5.] ПЛЂНЕНІЕ ИВАНОМЪ ЦАРЕВИЧЕМЪ ЖАРЪ-ПТИЦЫ. CAPTURE DE L’OISEAU DE FEU PAR IVAN TSAREVITCH. – Vivo assai Minim = 69 (figure 22 up to the end of figure 27) – dolce (figure 28). [6.] МОЛЬБЫ ЖАРЪ-ПТИЦЫ. SUPPLICATIONS DE L’OISEAU DE FEU. Adagio [without metronom marking] (figure 29 up to the end of figure 32) – Allegretto Crotchet = 84 (figure 33 up to the end of figure 37) – Tempo I. / passionato [without metronom marking] ( figure 38 up to the end of figure 40) Vivo [without metronom marking] (figure 41 up to figure 42 ¹) – Moderato Crotchet = 72 (figure 42 ²up to the end of figure 42) – Vivo Crotchet = 144 (figure 43) – L'istesso tempo (Moderato Crotchet = 72 (figure 44) – Meno mosso [without metronom marking] (figure 45 up to the end of figure 47). [7.] ПОЯВЛЕНІЕ ТРИНАДЦАТИ ЗАЧАРОВАННЫХЪ ЦАРЕВЕНЪ. APPARITION DES TREIZE PRINCESSES ENCHANTÈES. – Lento assai Crotchet = 46 (figure 48 up to the end of figure 52) – Più mosso Crotchet = 84 (figure 53 up to the end of figure 54). [8.] ИГРА ЦАРЕВЕНЪ ЗОЛОТЫМИ ЯБЛОЧКАМИ. JEU DE PRINCESSES AVEC LES POMMES D’OR. – (Scherzo) – Allegretto Crotchet = 84 (figure 55 up to the end of figure 59) – Con tenerezza [without metronom marking] (figure 60 up to the end of figure 70). [9.] ВНЕЗАПНОЕ ПОЯВЛЕНІЕ ИВАНА ЦАРЕВИЧА. BRUSQUE APPARITION D‘IVAN TSAREVITCH. – Lento assai [without metronom marking] (figure 71 up to the end of figure 74). [10.] ХОРОВОДЪ ЦАРЕВЕНЪ. COROVOD (RONDE) DES PRINCESSES. – Moderato Crotchet = 72 (figure 75 up to the end of figure 76) – Più mosso Crotchet = 92 (figure 77 up to the end of figure 80) – Moderato Crotchet = 72 (figure 81) – Più mosso Crotchet = 92 (figure 82 up to the end of figure 86) – Lento [without metronom marking] (figure 87 up to the end of figure 88). [11.] НАСТУПЛЕНІЕ УТРА. LEVER DU JOUR. – Più mosso Crotchet = 80 (figure 89 up to the end of figure 90) – Con moto Crotchet = 80 (figure 91 up to the end of figure 95) – Andante lamentoso [without metronom marking] (figure 96) – Vivo assai Crotchet = 120 (figure 97) – Вторженіе Ивана Царевича въ замокъ Кащея. Ivan Tsarévitch pénètre dans le Palais de Castchei. [12.] ВОЛШЕБНЫЕ ПЕРЕЗВОНЫ, ПОЯВЛЕНІЕ ЧУДОВИЩЪ-СЛУГЪ КАЩЕЕВЫХЪ И ПЛЂНЕНІЕ ЦАРЕВИЧА. CARILLON FÉÉRIQUE, APPARITION DES MONSTRES-GARDIENS DE KASTCHEI ET CAPTURE D'IVAN TSAREWITCH. – [without tempo marking] [Crotchet = Minim]° Semibreve = 60 (figure 98 up to the end of figure 102) – Poco meno dotted Minim = 80 (figure 103 up to the end of figure 105) – Adagio Minim = Crotchet (figure 106). [13.] ВЫХОДЪ КАЩЕЯ-БЕЗСМЕРТНАГО, РАЗГОВОРЪ СЪ ИВАНОМЪ ЦАРЕВИЧЕМЪ. ЗАСТУПНИЧЕСТВО ЦАРЕВЕНЪ. ARRIVÉE DE KASTCHEI L’IMMORTEL, SON DIALOGUE AVEC IVAN TSAREVITCH. INTERCESSION DES PRINCESSES. – [without tempo marking] [without metronom marking] (figure 107 up to the end of figure 109) – Con maligna gioia Crotchet = 63 (figure 110 up to the end of figure 111) – Allegro feroce Crotchet = 168 (figure 112 up to the end of figure 113) – Meno mosso. (List. tempo.) Crotchet = 63 (figure 114) – Andantino dolente Quaver = 100 (figure 115 up to the end of figure 116) – Adagio mistico Crotchet = 50 (figure 117 up to the end of figure 118). [14.] ПОЯВЛЕНІЕ ЖАРЪ-ПТИЦЫ. APPARITION DE L'OISEAU DE FEU. – Allegro Crotchet =152 (figure 119 up to the end of figure 125). [15.] ПЛЯСКА КАЩЕЕВЫХЪ СЛУГЪ ПОДЪ ЧАРАМИ ЖАРЪ-ПТИЦЫ. DANSE DE LA SUITE DE KASTCHEI ENCHANTÉE PAR L’OISEAU DE FEU. – Scherzando Crotchet = Crotchet (figure 126 up to the end of figure 132). [16.] ПОГАНЫЙ ПЛЯСЪ КАЩЕЕВА ЦАРСТВА. DANSE INFERNALE DE TOUS LES SUJETS DE KASTCHEI. – Crotchet = Crotchet Allegro feroce (figure 133 up to the end of figure 149) – Poco meno mosso [without metronom marking] (figure 150 up to the end of figure 164) – Più mosso [Agitato] [without metronom marking] (figure 165 up to the end of figure 168) – Più mosso [without metronom marking] (figure 169 up to the end of figure 170) – dotted Minim = Semibreve Vivace (figure 171 up to the end of figure 177) – Presto stringendo [without metronom marking] (figure 178 up to the end of figure 181) – Andante Crotchet = 60 (figure 182). [17.] КОЛЫВЕЛЬНАЯ. (ЖАРЪ-ПТИЦА). BERCEUSE. (L'OISEAU DE FEU.) – Andante Crotchet = 60 (figure 183 up to the end of figure 187). [18.] СМЕРТЬ КАЩЕЯ. MORT DE KASTCHEI. – Moderato [without metronom marking] (figure 188) – Poco più (figure 189) – Sostenuto mystico Crotchet = 46 (figure 190) – Con moto Crotchet = 92 (figure 191 up to the end of figure 194) – ПОЛНЫЙ МРАКЪ. PROFONDS TÉNÈBRES. (figure 193 ^4-5). [19.] II КАРТИНА. II TABLEAU. ИСЧЕЗНОВЕНІЕ КАЩЕЕВА ЦАРСТВА, ОЖИВЛЕНІЕ ОКАМЕНЂЛЫХЪ ВОИНОВЪ, ВСЕОБЩЕЕ ЛИКОВАНІЕ. DISPARITION DU PALAIS ET DES SORTILÈGES DE KASTCHEI, ANIMATION DES CHAVALIERS PETRIFIÉS. ALLEGRESSE GÉNERALE. – Sostenuto Crotchet = 72 (figure 195) – Lento maestoso Minim = 54 (figure 196 up to the end of figure 200) – Poco più mosso Minim = 60 (figure 201) – Allegro non troppo Minim = 104 (Crotchet = 208) (figure 202 up to the end of figure 204) – Molto pesante e meno mosso [without metronom marking] (figure 205 up to the end of figure 207) – Tempo I. (figure 208). – [without curtain marking].

° Square bracket original.

Corrections / Errata

Scherzo (Dushkin) 10-25

1.) p. [2], 3rd system, 1st bar, Piano bass, fingering: 3 instead of 4 (pencil).

2.) p. 3, 1st system, 4th bar, Piano bass: a bracket should be added to the 2nd note of the 1st semiquaver ligature c2 ist mit einem.

3.) p. 3, 1st system, 3rd bar, Piano descant: last but one semiquaver c#3 instead of c3 (ink).

4.) p. 3, 1. system, 4th bar, Piano bass: 2nd semiquaver c1 instead of c#1 (ink).

5.) p. 4, 2nd system, 2nd bar, Piano bass, fingering: 5. semiquaver 5 instead of 1.

6.) p. 6, 1st system, 1st bar, Piano descant: 2nd two-note chord semiquaver a1-d2 should be a single note semiquaver a1 instead of two-note chord a1-d2; bass (written in treble clef): 1st semiquaver g1 instead of a1 (pencil).

7.) p. 6, 1st system, Piano descant, 1st semiquaver chord, last ligature: two-note chord semiquaver d2-a2 should be a single note semiquaver a2 instead of two-note chord d2-a2.

8.) p. 6, 5th system, 3rd bar, Piano bass (written in treble clef): the 2nd note of the quaver ligature should be g1 instead of b1 (blue).

9.) p. 6, 5. system, 4. bar, Piano descant, 2nd chord: before the f2 in the 2nd chord, which already has a natural, there should be a natural sign in brackets.

10.) p. 7, 1st system, 2nd bar Piano descant: 1st. two-note chord e2-a ^b 2 instead of e2-a2 (pencil).

11.) p. 7, 4th system, 2nd and + 3rd bar, Piano descant: all demisemiquare ligatures should be semiquaver ligatures.

Style: Strawinsky’s music corresponds to Fokine’s three-level concept of the Firebird, Kastchei and the Prince, with music written and divided into three levels which subtly represents the living spaces in the plot inhabited by the characters; the colourfulness of the dream world is achieved by means of an oriental texture of emphasised neutral intervals, such as minor seconds, sequences of whole tones, tritone movement, parallel augmented movement in triads, movement in fifths and ninth chords, underlined by brightly, fizzing colours in the woodwinds, harp, celesta, xylophone and string tremoli ; Kastchei’s menacing world is conjured up using chromaticisms, diminished tone colours and pentatonic writing, made even stronger by the eerie, horrible orchestral colours discovered in the Romantic period, such as trombone- and idiosyncratically written woodwind lines, or strings being played col legno . Ivan’s bright world is represented by gently audible, quintessentially Russian diatonic intonation figures, melodic lines in fourths and condensed rhythmic writing of folkloristic origin. The coloration of structure and movement through the conflict of the separate sound worlds corresponds faithfully to the plot or interprets it and enables the listener, with a knowledge of the literary material of the plot and the compositional setting, to follow the events on stage, even if they cannot be seen. The manner in which Strawinsky’s music registers every change in the situation, all the feelings of the peoples’ souls, in the motifs and mirrors them in their variations, allows new combinations to be created using of the main soundworlds, such as the chromatic brightening of the Russian diatonicism when the Firebird encounters Ivan, and chromatic darkening of the Russian diatonicism when Kastchei encounters Ivan. There are also changes to Kastchei’s world in his encounter with the fairy-tale, oriental luxuriousness of the Firebird, and these all turn, in the context of this new style, a simple piece of ballet music into a milestone in musical history.

Dedications: Ballett: Дорогому другу Андрею Римскому-Корсакову [ To the dear friend Andrej Rimsky-Korssakow]- A ANDRÉ RIMSKY-KORSAKOW. [To André Rimsky-Korsakow]; 2. Feuervogel-Suite 1919: Ernest Ansermet, dem Orchestre de la Suisse Romande und seinem Komitee*; Klavierauszug 1918: Wladimir Yuschin (nach Craft); Violin-Transkription 1929: Dédié à Paul Kochanski [Zugeeignet Paul Kochanski]

* The printed editions have no dedication mark.

Duration: Ballett: about 45'; 1st Firebird Suite 1911: about 21'; 2nd Firebird Suite 1919: about 26'; 3rd Firebird 1945: about 28'

Date of origin: Ballett: St. Petersburg November 1909 up to 18. May 1910; 1st Firebird Suite 1911: 1910-1911; 2nd Firebird Suite 1919: Morges October 1918 up to March 1919 [November 1918 up to April 1919]; 3rd Firebird Suite 1945: in the middle of 1945 (finished 25. June 1945)

First performances: Ballett: 25. June 1910, Paris, Téâtre National de L'Opéra with Tamara Karsawina (Firebird), Michael Fokine (Iwan Zarewitsch), Vera Antonowa Fokina (The beautiful Zarewna), Bulgakow ( Kastchei the Immortal), Les Ballets Russes de Serge de Diaghilew, costumes by Léon Bakst (Firebird, Beautiful Zarewna) and Alexandre Golowin, costumes produced by Caffi, with the scenery painted by Sapounov and Charbey by Alexandre Golowin, Stage direction: Serge Grigoriew, Choreography: Michael Fokine, conducted by Gabriel Pierné; 1. Firebird Suite 1911: probably 4. September 1913, London, Qeen’s Hall, Queen’s Hall Orchestra conducted by Sir Henry Wood; 2. Firebird Suite 1919: 12. April 1919, Geneva, Victoria-Hall, Orchestre de la Suisse Romande, conducted by Ernest Ansermet; 3. Firebird Suite 1945 scenic: 24. October 1945, New York, Metropolitan Opera House, with Alicia Markowa (Firebird), Anton Dolin (Iwan Zarewitsch), Diana Adams (Zarewna), John Taras (Kaschtschei), costumes, décore and stage design by Marc Chagall, Choreography by Adolph Bolm, conducted by Jascha Horenstein; Berceuse Violin Piano (Dushkin-Fassung): probably 13. March 1933, London, British Broadcasting Corporation (B.B.C.) with Samuel Dushkin (Violin) and Igor Strawinsky (Piano).

The references of the sources: Strawinsky's ballet is, in terms of content and composition, indebted to Rimsky-Korsakof's opera Unhold Ohneseele (or Kaschtei the Immortal ), which was premiered by students at the St. Petersburg Conservatory on 27th March 1905. Rimsky-Korsakof's librettist, Petrovski, transformed Kaschtei into a symbol for the inhuman man, whose possibilities for gaining power are dependent on the further dehumanising of his own flesh and blood, namely his daughter, or, even more, a symbol for the inhumanity as a whole. When she is shattered by the knowing pity that is mounted upon her by the oppressed, it also shatters Kaschtei and he dies. The political parallel with the uneasy years around 1905 was easy to make. The actual victor in this game against the Tsar and the rule of the Tsars is obviously the Russian people, who overturned the status quo : it is the suppressed people that show sympathy against the suppressor and draw out every tear with which Kastchei’s life trickles away. What Strawinsky did not incorporate, and what as a result ensured that his ballet was a timeless statement, was the foreground reference to contemporary political events. Furthermore, even stronger, influences in the orchestration and structure came from Rimsky-Korsakov’s opera The Golden Cockerel , which was completed in 1907 while Strawinsky was still a student, and in which the human world is represented by diatonicism and the enchanted world of magic by oriental-sounding chromaticism. Devices of this and a similar type are, incidentally, centuries old in opera and ballet music. Works such as Sadko and Mlada have also left traces on the Firebird , as the dramaturgy or the importences that the separate numbers have received.

Folklore: In numbers 3, 6, 9, 10 and 19, original Russian folksongs are incorporated which Strawinsky took exclusively from Rimsky-Korsakov’s editions. For numbers 3, 6 and 9, it is the song Steppe of Mosdok = Oh you Steppe, my Steppe from: Nikolai Rimsky-Korsakov: 40 Russian Folksongs, collected by T. Filippov, 1882, Nr. 11; for numbers 10 and 19 it was the two songs: no. 79 In the Garden and no. 21 Did not the pines rustle at the gate = At the gate a pine tree sways from the Nikolai Rimsky-Korsakov collection: 100 Russian National Songs, Op. 24, 1876.

Remarks: Ballet: After Diaghilev had heard the première of Fireworks on 6th February 1909 (the date is not entirely certain), he recognised in Strawinsky, with whom he was distantly related, a composer who would likely have a great influence on the future of music. He gave him at first a few orchestration commissions ( Kobold by Grieg, 2 numbers from Les Sylphides ) which Strawinsky produced with such resplendent success for the performances in Paris on 19th May and 2nd June 1909 that Diaghilev, who due to Lyadov’s very slow work rate* was now under extreme time pressure, asked him to undertake the composition of the ballet The Firebird . The process was set in motion by Diaghilev in the early part of 1909 and it was developed by Fokine for his own choreography. Fokine would happily have had Nicolai Tsherepnin as the composer, but Diaghilev gave the commission to his old theory teacher Lyadov, who took too much time for the work, did not manage it, and was therefore evidently not unhappy when the burden of composition was removed from him. Strawinsky broke off from work on his opera The Nightingale and started work in November at the family dacha of Rimsky-Korsakov outside St. Petersburg, where he started writing the first bars of the introduction. A title page of the scenario from autumn 1909 only featured one act with an apotheosis. In December, he again found himself in St. Petersburg and was in such a great hurry to complete it that he was able to finish the composition in March 1910, and the subsequent orchestration a few weeks later; he sent the score to Paris by the middle of May. The final corrections bear the date 18th May 1910. – Suites : The first suite was created with the intention of bringing numbers from the Firebird into the concert hall and, through the Suite, to stimulate demand for the ballet. – The composition of the second Suite was connected to the disappropriation of the Moscow Publishers Jurgenson by the Communists. Since Jurgenson was not able to sell the ballet outside Russia, and as the first Suite could not be choreographed and was thus not a valid replacement for the ballet due to its drastically shortened contents, Strawinsky required a new publishing house and a version that took into account the changed situation shortly after the First World War. It had to portray the plot more effectively than the fragmentary First Suite, and had to take into account the realities of musical performance of the time with smaller orchestral forces. The idea also stretches far back. In a letter to Jurgenson dated 24th July 1914, Strawinsky was already toying with the idea of a fragmentary orchestral reduction of his project, so that orchestras with smaller forces would be able to perform at least sections of the Firebird . The Berceuse published in 1914 was the first step in this direction. The Finale did not come to fruition during his time with Jurgenson, but was not abandoned, as the Second Firebird Suite shows. By the beginning of April 1919, he had completed the difficult task of re-orchestrating the Firebird Suite. The score was sent to Chester Publishers in London. In the meanwhile, Jurgenson had created a gateway to the West with the Leipzig publishers, Robert Forberg, which neither Strawinsky nor Chester nor Schott were aware of. Strawinsky and both publishing houses would go on to lose a trial in Leipzig. As a result of this, the Suite had to be taken back, and this resulted in a quarrel between Strawinsky and the director of Chester, Henry (Harry) Kling. – The third Firebird Suite was written in 1945 for a new choreography by Adolph Bolm. Strawinsky had to rework the new music to the Firebird so that it regained a plot that could be danced to. Strawinsky referred back to both his other Suites, adopted the simplified orchestration, and arranged the score for 55 players. Leeds Music Corporation acted as the publishers, with whom there would soon be legal difficulties. The staged première was not the artistic success that would satisfy the performers, owing to an error-ridden printed edition. – The unfortunate mess concerning the publishers of the work and its reproductions was brought to an end by Schott publishers in Mainz as they gradually bought up all the rights to the Firebird music.

* Lyadov suffered from depressions.

Situationsgeschichte of Ballet reform: Under Tsar Alexander II, Ivan Alexandrovitch Vsevoloshki, as director of the Imperial St. Petersburg Mariinsky Theatre, ended the state theatre monopoly in 1881, thus allowing for the first time private companies to offer concert and theatre performances. As a prerequisite for the beginning of an entirely new Russian era of Ballet, out of which the first things to come were the great Tchaikovsky ballets, he did away with the position of the official ballet composer in 1886. As a result, the music gained a different significance, but the plots of the performances, which lasted over two-and-a-half hours, rather resembled, with their pomp, grandiosity, their scenery with a host of non-dancing extras and their expressionlessness, those of a Grand French opera by Meyerbeer. The great Russian dance reform, comparable to Wagner’s reform of opera, at the turn between the 19th Century and 20th Century, was an achievement made above all by Michael Fokine, who made the Firebird into a cornerstone of the recent history of ballet. Fokine did not shun the formal or formalist dance tradition of the 19th century, but he reworked the formulae into comprehensible sections of the plot so skilfully that they lost their formulaic quality and became dramaturgically compelling. In this way, a meaningful plot was eventually created, which was not only for the purpose of offering opportunities for dancing. The Grand Pas de deux between vitsch and the beautiful Zarevna for example evoked one of the basic forms of Classical ballet, the extended solo number of the Prima ballerina, in which she demonstrates all her artistry and uses a partner, who up to that point had not had any other function than to support her so that she does not fall. The Pas de deux was an alibi constructed as an excuse for an essential grandiose solo performance and in it is comparable to an instrumental cadenza in which violins and pianists detach themselves from the orchestra for a moment in order to show themselves to their audience as artists. The Pas de deux in the Firebird ended this tradition. It is a real dance for two partners, and comes at a moment in which the plot not only allows it but demands it. When the prince and princess meet each other and learn to love one another, that the two should dance together is no longer a contrived formula, but a constituent part of a meaningfully realized plot, independent of the Classical Pas de deux form consisting of Introduction (Duo), Variation I (Allegro = Male solo), Variation II (Adagio = Female solo), Coda (Duo). It is, in accordance with the plot, a genuine dance duet between two equally important partners, of whom neither the one nor the other enjoys an actual higher renown, but they find a choreographical unity together. In the year of the première, this was the most remarked-upon step in ballet day-to-day, the new way and the reform that came to fruition through the narrow collaboration of music, choreography and greater new ideas of ballet, when they were given the creative opportunity to develop as a result of Diaghilev’s unparalleled talent for organization. Diaghilev did not originally come from the point of view of the music and certainly not from dance, rather, like Strawinsky, from jurisprudence and then from visual arts. He represented French Impressionism and Symbolism on the Russian front and as a result made himself suspicious to the Conservatives based around Rimsky-Korsakov, whose pupil he was. He soon had to leave the St. Petersburg Conservatoire again. In 1898 he founded the soon-to-be-famous newspaper the World of Art , which became the centre of attention in that field, which was up in arms against the realistic aesthetic in art. Diaghilev’s organizational skill was one-of-a-kind, and when he dissolved his art circle in 1905, he built up his epoch-defining ballet troupe, the Ballets Russes , which he was able to turn into the most important societal event in the Parisian season from 1910. Diaghilev’s skill lay in sniffing out talent; he only engaged in fundamental artistic questions of principle in certain matters. He allowed the artists to work freely according to their ideas and contented himself with ensuring their material existence. As all the obligations, commissions and ideas came from him and rested on his shoulders as the man in charge, the appearance of the Ballet Russes had a real vigour in the history of ideas that would not have been achievable as a result of good achievements in dance and music alone. It was in this way that the ballet reform that was Diaghilev’s and his troupe’s historical achievement came to fruition. For Fokine, his meeting with Strawinsky arranged by Diaghilev was predestined. Strawinsky was composing inside the framework of the possibilities set out by Fokine and sought neither to achieve musical self-flattery at the cost of meaning nor to superimpose opera effects, as was the case with Tchaikovsky, onto a ballet plot, as it was necessary to synchronize music with forms of movement. Fokine for his part bowed to Strawinsky, in that he gave up his own demand that the music adapt absolutely to suit the choreography in order to create one organism. Musical peculiarities however did still play a large role. There never before had been a ballet score of such rhythmic complexity. Up to that point, the dancers were used to fairly simple, almost schematically constructed metrical and rhythmic sequences of music. They corresponded to the general formulaic nature of the ballet-music tradition and created no particular problems for the dancing by their own intrinsic character. Even difficult music was only given to expert dancers. Now, on the other hand, a work of art was created with the Firebird which, from the fascination inspired by its musical invention and the profundity of its inner relationships, became a great piece of music, and thus claimed its own place in its history. The dancers also had to rethink things, and when contemporary observers spoke of many tears flowing during the rehearsal period, this was the result of this new style of multi-layered rhythmic writing that was Strawinsky’s first personal contribution to the history of New Music.

Significance: The music of the Firebird , measured by the amount of public applause, was an work of art in itself and as a prototype for Strawinsky’s new style of ballet was the composer’s most successful work ever, even if due to the wrangling over the rights that was to arise a short time later, there was no financial reward. The statistics seem to show that Strawinsky’s Firebird is next to Tchaikovsky’s Swan Lake as the most often played ballet of the 20th Century. The ballet is indebted for its place in history to the characteristics of its music, orchestration and choreography, but on one level, also to the coincidence that conspired to make Strawinsky the composer, because the model for the piece, Rimsky Korsakov’s Golden Cockerel , was first heard in France, after the Firebird had already become part of the repertoire. This is how Strawinsky came for many years to be associated with the idea that he was the person that perfected the art of Russian orchestration.

Versions: The rights to the Firebird went to the Moscow publishers, Jurgenson. They published the piano reduction in 1911 (1910 according to Strawinsky) of the score (not the ballet version, which remained hire material), i.e. the piece that would later be called the 1 ^st Firebird Suite. In addition, there was no set of parts available to purchase. One year later, so in 1912, they published the Berceuse as a self-standing, now very rare piece for orchestra (London h.3992.u.2.), and in 1913 as crowd pullers as part of a two-volume series Trio Russes , the Berceuse and Ronde des princesses for piano trio in an arrangement by Alexander Krein, editions from which only the Berceuse is only traceable in London (: h.3992i.1.). Due to the altered political situation, Jurgenson was no longer able to act for Strawinsky. Still towards the end of the First World War in 1917, the Ronde des princesses was transcribed for organ by Clarence Dickinson, and then in 1922 in two volumes, the Berceuse and Finale and again the Rondo were transcribed by Maurice Besly, who specialised in organ transcription. The Düsseldorf composer Oskar Gottlieb Blarr, well known in Germany for his faithful organ transcriptions, among other things, examined Besly's work and described it as "conspicuously inaccurate", while emphasizing Stott's transcriptions (Cantique, see no. 51). For example, the sustained tones in the treble are missing at the figures 16, 17 and 18. The tragedy of the 2nd Firebird Suite occurred between 1921 and 1924; it was published by Chester in London, but after the trial was lost, it was not allowed to be sold on its own without Forberg’s permission. The conducting score, instrumental parts, expanded instrumental parts and several pocket-score editions, which are formatted slightly differently, fell under this judgement. There are several copies of this edition that can be traced, because Chester and Forberg made an arrangement on 19th May 1927. Chester bore the costs of the trial, and paid to Forberg 50 % of the copies already sold and 60% of any copies sold in the future, but could not sell any more of his printed editions. In which order these were published cannot be established. Presumably, Chester first offered the French pocket score having already published the conducting score and the orchestral parts that were available to buy, made the material only for hire, and then completed an English version with the same conditions. Whether Chester withdrew the pocket score with the announcement of the orchestral material being available for sale after they had lost the trial can only be established to a certain extent. In any case, there is a line about parts for sale and additional part material that is printed only in the French-titled conducting edition and the pocket-score edition that goes with it. A replacement page, 65b, was inserted into the conducting score which enabled the transition from the end of the Infernal Dance to the Berceuse. This replacement page is printed into the pocket scores, meaning that these are one page longer, 78 pages in comparison with the 77 pages of the conducting score. Schott publishers’ interest in the Firebird was great, and unlike Forberg in Leipzig, they also possessed sufficient financial wherewithal. Forberg did hold the rights, but had less to sell because they could scarcely produce anything. The situation with the Firebird had therefore gone completely wrong, although the piano reduction had apparently been made accessible again by Forberg in 1920, with acknowledgement to Jurgenson (Moscow and Leipzig). This edition was included by Universal Edition, Vienna in their catalogue under the number 7806. There was however still a second, presumably later edition on the market that removed the reference to Jurgenson and only named Forberg. In 1929, Schott made an arrangement with Forberg and published with their permission the two violin transcriptions by Kochanski. The Berceuse , dedicated to Kochanski, had 4 editions during Strawinsky’s lifetime with 2,300 copies printed in total, and the 2nd edition was printed in the same year as the first edition (print runs: 27th August 1929=600; 19th November 1929: 400; 11th December 1930: 800; 14th November 1949: 500); after Strawinsky’s death there were 3 further editions up to the end of the century with an additional 557 copies printed in total (print runs: 7th June 1971: 200; 4/9/1978: 200; 14/4/1990: 100 [151 + 6]). The Ronde des princesses , which is dedicated to Kochanski, was printed in somewhat smaller numbers. Schott printed 5 editions in Strawinsky’s lifetime, with 2,100 copies printed in total, of which the 2nd edition also took place in the same year as that of the first edition (print runs: 29th August 1929: 600; 19 ^thNovember 1929: 400; 18th June 1931: 300; 3rd August 1948: 400; 14th January 1970: 400). There then followed from Strawinsky’s death up to the end of the century 2 editions with only another 237 copies printed (print runs: 12/9/1991: 100 [125 + 6]; 5/7/1996: 100 [105 + 6]). In the same year, there was another printing in Moscow of the 1st Firebird Suite which, according to the Russian understanding of it, was not an illegal printing because the rights belonged to Jurgenson and their sale to Forberg was not recognized. Jurgenson in the meanwhile had been transformed into the Russian State publishers. Between 1932 and 1937, Schott continued with an entire sequence of transcriptions. The critical date was the 18th July 1933. On this day, Schott took over the rights to the Firebird from Forberg because Forberg had fallen into economic difficulties and, ‘ bowing to its need ’ had to split itself from its titles which it had won by prosecution in order to redevelop itself. All editions published before this key date bear a mark of permission from Forberg , and in all after this day, it does not appear. After the violin transcriptions dedicated to Kochanski came the violin transcriptions by Dushkin and the piano transcriptions by Guido Agosti and F. Willms. The surviving two sets of corrections for Dushkin’s violin’s transcriptions of the Berceuse were completed by Strawinsky on 13th December 1931. The 3rd page of the piano part is so full of corrections that the page looks as if Strawinsky had corrected more than he left untouched. The version for violin and piano of the Berceuse , Ronde des princesses and the Scherzo (according to Kochanski and Dushkin) were sold alongside one another. The Dushkin version of the Berceuse was first printed in 1932 with a print run of 800 copies (print run: 17th January 1932: 800). During Strawinsky’s lifetime, there then followed 4 further editions (print runs: 28th October 1937: 300; 12th November 1946: 300; 21th June 1955: 300; 13th May 1969: 200), so that 1,900 copies were printed in total. After Strawinsky’s death, there followed up to the end of the century 3 print runs which printed a total of 474 copies (print runs: 18/5/1979: 200; 4/4/1990: 100 (135); 5/6/1995: 100 (133 = 6). Dushkin’s version of the Scherzo was first printed in 1933. During Strawinsky’s lifetime it was printed in 3 print runs of 1,400, and after his death was given a new cover (print runs 2nd February 1933: 800; 10th December 1951: 300; 15th October 1965: 300 and 19/1/1977: 300; 25/11/1983: 300). Aside from free copies given away, Schott barely sold 240 or 220 copies up to 1939. After the War as well, the sales figures were not high. Schott had 120 copies of the Berceuse left in stock on 30 ^thJune 1965, and another 15 copies of the Scherzo . There were 5 editions of Agosti’s transcription made in Strawinsky’s lifetime (print runs: 17th November 1934: 600; 3rd August 1948: 400; 17th April 1952: 300; 17th April 1959: 300; 15 ^thSeptember 1965: 300) with a total of 1,900 copies, and between his death and the end of the century, there were 4 editions (print runs: 5/1975: 300; 25/3/1980: 300; 13/10/1986: 300; 11/9/1990: 300 [323+6]), producing a further 1,229 copies. The last two editions were published with a new cover. The original edition was published by the middle of March 1937 at the latest with a new set of adverts, a splitting process which makes the dating of the new binding rate for the surviving engraving books more difficult, even impossible. Both transcriptions by Willms, the Berceuse and Ronde des Princesses were published in 1937 in a first edition of 600 copies. 1,700 copies of the Berceuse were printed during Strawinsky’s lifetime in 4 editions in total (print runs: 18th February 1937: 600; 3rd August 1948: 400; 3rd September 1953: 400; 8th February 1962: 300). A fifth edition of 300 copies was run on 28/7/1972 and a 6th as ”Quasi Nova Nachdruck nach vielen Jahren” [Quasi Nova reprint after many years], as it was described in the engraving books, on 11/3/1993 for 400 copies (416 + 6) copies. The Ronde des Princesses had 6 editions in Strawinsky’s lifetime, with 2,200 copies printed in total (print runs: 18th February 1937: 600; 14th February 1944: 200; 3rd August: 500; 22nd May 1953: 300; 11 March 1958: 300; 22nd March 1962: 300). Here as well the print job was striking and indicative of the situation. After Strawinsky’s death, there were 4 editions up to the end of the century, with 946 copies printed in total; the penultimate one gained a new cover (print runs: 6/6/1972: 300; 23/6/1980: 300; 25/1/1989: 120 [140]; 28 July 1993: 150 [100+6]). - In 1973, Schott publishers published a competing edition of the same pieces that Agosti had transcribed, and they were even printed in the same order. A comparison of the two editions not with the orchestral score but with the piano reduction of the Firebird produced by Igor Strawinsky himself, shows their different objectives. - The first print run for the piano reduction after the transfer of the rights to Schott in Mainz took place with a print run of 300 copies on 5th August 1936. The new crisis began with the cultural politics of National Socialism, which put the director of Schott into a quandary between their patriotic ideals on the one hand and their financial interests, artistic sanity and friendship with Strawinsky on the other. All attempts to keep Strawinsky in the German playing schedules failed. In the end, there was little else that the publishers could do other than to put the copies of Strawinsky’s music that had now become unsellable into storage and to hope for better times. When these times came after 1945, the old editions were sold off. They are easily recognizable by the French permission stamps that had to be printed on them in the years of the French inspection authorities. The subsequent print run of 250 copies, seven years later to the day (5th August 1943) grants an insight into the politics of the editorial staff. At this point in time, Strawinsky was in Germany and thus, in the countries possessed by Germany, was unsellable. All the playing houses were closed, and the War was recognized as being lost by those in the know. It could not be spoken aloud. Those who actually did speak it aloud in spite of this were denounced and ended up at the gallows for “undermining military morale”. The fact that Schott started at this point to stock up on their inventory of Strawinsky and stored them in the cellar until a new time allowed them to be sold, shows the appraisal of the situation as concerned the War and the politics of the time by the Strecker brothers. For others outside Schott’s specific area, this phenomenon can also be observed, i.e. that they were making structural predictions regarding how the collapse of the dictatorship at the time that the Nazis were at the height of their power would occur. After the War, 6 further print runs with a total of 2,000 copies printed were made up to the time of Strawinsky’s death (print runs: 26th October 1948: 300; 5th November 1952: 300; 11th March 1957: 300; 1st September 1961: 300; 19th October 1964: 400; 12th November 1968: 400).The subsequent 4 editions after Strawinsky’s death up to the end of the century alternate between 300 and 400 copies produced (print runs 14/1/1974: 400; 28/5/1980: 300; 23/7/1985: 400; 7/1/1991:350 [304+6]). In the meantime, Strawinsky had completed his Third Firebird Suite and come to an agreement about it with the American publishing firm, Leeds Music Corporation, in New York. The basic contract was signed on 18th December 1946 and the new work was already published by the next year. Leeds sold around 1,200 pocket scores between 1947 and 1963. This score was also transferred to the ownership of Schott. Schott printed 50 copies of the first edition of the conducting score of the 3rd Firebird Suite of 1945 in 1954 under the edition number 37, in 1966, 300 copies in a 2nd edition, and in 1988, now after Strawinsky’s death, 100 (150) in a 3rd edition (print runs: 18th May 1954, 17th February 1966 and, with a new cover, 21/12/1988). A conducting score of the Firebird Suite under an altered plate number (41478) was produced with a print run of 50 copies on 22nd February 1974, so after Strawinsky’s death. The situation evidently remained the same up to the end of the century. It was part of the hire material and not available for sale. The pocket score of the 3rd Firebird Suite from 1945, edition number 4420, was published from 1955 in 6 editions, with 5,800 copies produced in total during Strawinsky’s lifetime (print runs: 3rd May 1955: 1,200; 15th January 1960: 600; 20th October 1961: 1,000; 22nd April 1964: 1,000: 10th July 1967: 800; 23rd July 1969: 1,200). After Strawinsky’s death, there were a further 4,500 copies produced in 4 print runs (print runs: 6/6/1972: 1,200; 9/9/1974: 1,200; 6/6/1980: 1000; 23/2/1983: 1,100). At the end of 1947, Leeds published its John Klenner hit, Summer Moon , sung by the darling of the public at the time, Perry Como, which Strawinsky brought up at the trial, not because it was derived from the Ronde des Princesses , but because the first edition was printed in such a way that the impression was given that Strawinsky was also the composer of the hit. It was stored in London under the signature H.786.c.(4.) , an edition of the original [entry 4th December 1947] under H.786.c.(5.) , the new version produced without delay by Leeds to avoid responsibilities [entry 29th December 1947], and under E.1500.b.(16.) the set of orchestral parts belonging to the arrangements by Lou Singer [entry 6th April 1948]. The trial made the headlines in the United States, but it did not bring Strawinsky what he had hoped for. Strawinsky was entitled, as a result of a contract signed on 28th May 1947, to 2 cents of the sales of every copy sold. Leeds scarcely sold 100 copies in the first three years, 1947 to 1949, and between 1950 and 1963, they sold the same number again. The 400 cents, i.e. 4 dollars, which was his entire income in 17 years from the hit made him, according to German currency, 3 Marks between 1947 and 1949, and between 1950 and 1963, around 50 Pfennigs per year. Discounting the various illegal printings, all the editions printed without Schott emblems came before 19th May 1953. This is also true for the 3rd Firebird Suite. One must be careful with the term ‘illegal printing’. ‘Illegal printings’ are based on European concepts of morals and not American copyright laws. Strawinsky’s works were outside legal jurisdiction because a Russian could not register a copyright, and furthermore works composed by non-Russians remained unprotected by the Berne Convention in America. The subsequent printing of Strawinsky’s music restricted itself to a few scores ( Piano Studies , Firebird , Petrushka , Sacre , Simple Pieces , Five Fingers ) as well as to arrangements of a few excerpts from these and from the Soldier’s Tale , the Opera Le Rossignol and the symphonic poem from this, Chant du Rossignol , from which commercial success was promised. Kalmus however also reprinted composers such as Debussy, Grieg, Rimsky-Korsakov, Ippolitov-Ivanov and even Richard Strauss ( Till Eulenspiegel ) and protected itself principally with the printed statement that products of this type could not be sold in Europe (‘This copy is not to be sold in the countries of the Berne Copyright Convention’). The later justification by the publisher that the aim of the reprintings was that they had wanted to ensure that the earlier versions of the two first ballets, which Strawinsky had decided to abandon but which were artistically better, remained accessible to contemporaries and research, was a feeble attempt to justify their behaviour, because it was in reality a question of money, but it was in fact not at all entirely false. The first edition goes back to the year 1915 when George Copeland at Homeyer in Boston transcribed the Berceuse from the Firebird . The same piece was transcribed again by Charles Repper, then in the same year by Clarence Dickinson, and was then also transcribed for organ in 1928 by J. T. Quarles. Quarles’s transcription, which also contains instructions for the registrations, was certainly played, as handwritten interpretative markings in one of the few surviving copies in the Multnomah Country Library in Portland/Oregon prove. The later arrangers were people such as Gerard Alphenaar, Frederick Block, David J. Grunes, Max Hirschfeld, Paul Kay, the indefatigable Quinto Maganini and Gregory Stone, who were mainly working in the late 30’s and early 40’s and of whom some restricted themselves the insertion of fingering markings. Marks put a series of piano transcriptions onto the market in the 1941 Kaleidoscope edition, and compiled some of them, including several piano transcriptions of the Firebird , in a volume of collected piano works dedicated to Strawinsky; Maganini’s arrangements of the Berceuse in the New York edition ‘Musicus’ from 1941 was expanded in 1945 with different combinations, and together with the new arrangements (Flute & Piano, Violin & Piano, Viola & Piano, Flute, Oboe, Clarinet and Bassoon along with the corresponding scores and sets of parts available either as a packet or separately) were further sold under copyright protection. Nine arrangements of the Ronde des Princesses had previously been put on the market in 1942. The Fassio editions were taken on by Marks. As well as the Kaleidoscope edition, there were series such as the ‘Edition Musicus’ and ‘Pro Arte’, in which the same pieces were reprinted again and again. Evidently, the Berceuse and the Dance/Ronde des Princesses from the Firebird , as well as the Danse russe from Petruschka , enjoyed unstinting popularity. It can also not be ruled out that yet more editions of this type will appear over the course of time. Even the Russian printing of the original edition of the conducting score from 1964 (Государственное музыкальное издательство Москва ; 172 S. Folio[p.??]) may have been published without permission. – The Paris Conservatoire arranged through Alphone Leduc editions of orchestral studies ( REPERTOIRE DU CONSERVATOIRE NATIONAL DE PARIS ) in 1943 with the permission of the original publishers in which especially difficult orchestral excerpts were gathered together ( Traits difficiles ). In the selections for bassoon, cornet, trumpet and trombone stored in the National Library in Paris, there are excerpts from the Firebird , Petrushka , Sacre , the Soldier’s Tale and Pulcinella .

* Strawinsky also later reconciled with Forberg Publishers. Horst von Roebel sent him a case of wine along with his happy returns for his 75 ^thand 80 ^thbirthdays, and Strawinsky thanked him very politely and happily on 5 ^thFebruary 1963.

Historical recordings: Paris 1927, Berceuse and Finale from the Ballet-Suite 1911 with the Paris’ Symphony-Orchestra under the direction of Igor Strawinsky; Paris 1933, Scherzo and Berceuse for Violin and Piano with Samuel Dushkin and Igor Strawinsky; New York 28th January 1946 Ballet Suite 1945 without the connecting interludes with the New York Philharmonic Orchestra under the direction of Igor Strawinsky; Hollywood 23.-25. January 1961 Ballet version 1910 with the Columbia Symphony Orchestra under the direction of Igor Strawinsky; Hollywood 18th January 1967 Ballet Suite Version 1945 with the Columbia Symphony Orchestra under the direction of Igor Strawinsky

CD edition: I-1/1-22 (Ballet recording 1961); III/23-34 (Suite version 1945, recording 1967).

Autographs: The oil millionaire Jean Bartholoni (who evidently also composed; in any case, the première of the 2nd Firebird Suite on 12th April 1919 under Ansermet was preceded by the première of an orchestral composition La Nuit céde au Jour , a composition by Bartholoni, whose first names were not given) acquired the manuscript of the ballet score for 8.000 Francs from the composer and sent it in 1920 to the Conservatoire in Geneva, which had been founded by his family. A facsimile of the autograph was made in colour as an edition de luxe and given a critical and musicological appendix (Minkoff edition). – The autograph score of the 2nd Firebird Suite from 1919 is located in the Bibliothèque Nationale in Paris from which Berceuse and Finale are missing. – The Paul Sacher Stiftung in Basel is in possession of sections from the 3rd Firebird Suite. – The originals of the two piano reductions from 1910 and 1918 as well as the Kochanski transcription are stored in the Pierpont Morgan Library in New York.

Copyright: 1934 Agosti-Transcription by Schott-Verlag Mainz; 1946 Suite III by Leeds Music Corporation; 1947 Suite III by Leeds Music Corporation, RKO Bldg., Radio City, New York.

Editions

a) Overview

10-1 (1911) [1910] Ballet VoSc; Jurgenson Moskau; 70 pp.; 34903-34919.

10-2 1911 Suite 1911 FuSc; Jurgenson Moskau; 99 pp.; 35965.

10-3 1912 Berceuse FuSc; Jurgenson Moskau; 7 pp.; 34920 ^a.

10-4 1913 Berceuse Trio; [Alex. Krein]; Jurgenson Moskau; 5 pp.; 36471; ¹ 22.

10-5 1913 Ronde des princesses Trio; [Alex. Krein]; Jurgenson Moskau; [unidentified].

10-6 1915 Berceuse Kl. (Copeland); Charles W. Homeyer Boston; 3 pp.; C.W.H. 141-2.

10-7 1917 Ronde des princesses Orgel [Dickinson]; Gray New York; 7 pp.; H. R. Series Nr. 2.

10-8 1917 Berceuse Kl. (Repper); Boston Music Company; 3 pp.

10-9 [ ] Ballett KlA; Jurgenson-Forberg Moskau-Leipzig; 70 pp.; 34903-34919.

10-10 [ ] Ballett KlA; Forberg Leipzig; 70 pp.; 34903-34919.

10-11 1921 FuSc 2nd Suite; Chester London; 77 S.; J. W. C. 17.

10-12 ^St 1921 Set of parts [unidentified ] .

10-12 ^St-Ex 1921 Additional parts [unidentified ] .

10-13 1921 PoSc 2. Suite; Chester London; 77 S.; J. W. C. 17.

10-14 1922 Ronde des princesses Orgel (Besly); Chester London; 7 pp.; J. & W. C. 3032.

10-15 1922 Berceuse and Final Orgel (Besly); Chester London; 8 pp.; J. & W. C. 3033.

10-16 [1924] Suite 1919 PoSc; Chester London; 78 pp.; J. W. C. 17.

10-17 [1926] Suite 1919 PoSc; Chester London / Schott Mainz; 78 pp.; J. W. C. 17.

10-18 [1926] Suite 1919 PoSc; Chester London.; 78 pp.; J. W. C. 17.

10-19 1928 Berceuse Orgel (Quarles); Boston; 5. pp.; B. M. Co. 7084-3 [unidentified ] .

10-20 (1929) Prélude etc. Violin-Piano (Strawinsky); Schott Mainz-Leipzig; 7 pp.; 32373; 2080.

10-21 (1929) Berceuse Violin-Piano (Strawinsky); Schott Mainz-Leipzig; 7 pp.; 32374; 2081.

  10-21 ^[49] [1949] ibd.

10-22 1929 FuSc 1st Suite; Editions d'Etat Москва ; 99 pp.; 35965; A-30594.

10-23 1932 Berceuse Violin-Piano (Dushkin; Schott Mainz-Leipzig; 4 pp. 31; B·S·S 33324; 2186.

10-24 [1932] PoSc 2nd Suite; Kalmus New York; 78 pp.; 41.

    10-24 ^Straw ibd.

10-25 1933 Scherzo Violin-Piano (Dushkin; Schott Mainz-Leipzig; 7 pp.; B ^.S ^.S 33683; 2250.

    10-25 ^Straw ibd.].

  10-25 ⁽⁵¹⁾ (1951) ibd.

10-26 1934 Piano (Agosti); Schott Mainz-Leipzig; 26; B.S.S 34118 bis 34120; 2378.

  10-26 ^[48] [1948] ibd.

10-27 1935 Supplication of the Firebird Violin-Piano (Grunes); Edition A. Fassio; 6. pp. [unidentified].

10-28 1937 Berceuse Piano (Willms); Schott Mainz; 5 pp.; B.S.S 34986; 2547.

10-29 1937 Ronde des Princesses Piano (Willms); Schott Mainz; 7 pp.; B.S.S 34985; 2548.

  10-29 ^[48][1948] ibd.

10-30 1938 Ronde des princesses Piano (Kay); Axelrod Prov.; 6 pp.; A. M. 513-4; 513 [unidentified].

10-31 1940 Berceuse Strings FuSc (Maganini); Edition Musicus New York; 3. pp.; without Pl.-Nr.

10-32 1940 Berceuse Strings FuSc with set of parts (Maganini) [unidentified].

  10-32 ^St 1940 Berceuse Strings additional parts (Maganini) [unidentified].

10-33 1936 Piano Score, Schott

10-34 1940 Berceuse FuSc-PSc (Maganini) [unidentified].

10-35 1941 Scherzo Jeux des princesses Piano (Block); Marks New York; 7 pp.; 11503-5; 11503.

10-36 1941 Supplications Piano (Block); Marks New York; 7 pp.; 11514-6; 11514.

10-37 1941 Berceuse and Finale Piano (Block); Marks New York; 6 pp.; 11516-4; 11516.

10-38 1941 Danse infernale Piano (Block); Marks New York; 14 pp.; 11517-12; 11517.

10-39 ^Alb 1941 Jeux des princesses Piano (Block) in Album of / Igor Stravinsky ; Marks; 5 pp.; 11503-5.

10-40 ^Alb 1941 Supplications Piano (Block) in Album of / Igor Stravinsky ; Marks; 7 pp.; 11514-6.

10-41 ^Alb 1941 Ronde des princesses Piano (Strawinsky) in Album of / Igor Stravinsky ; Marks; 4 pp.; – .

10-42 ^Alb 1941 Berceuse and Finale Piano (Block) in Album of / Igor Stravinsky ; Marks; 4 pp.; 11516-4.

10-43 1941 Berceuse and Finale Full Band FuSc-PSc (Arrangement Goldman), Marks.

10-44 1941 Berceuse and Finale Symphonic Band FuSc-PSc (Arrangement Goldman), Marks.

10-45 1941 Berceuse and Finale Full Band/Symphonic Band FuSc-PSc (Arrang. Goldman), Marks.

10-46 1941 Berceuse and Finale additional parts Symphonic Band (Arrangement Goldman), Marks.

10-47 1942 Ronde des princesses Violinl-Piano; Edition Musicus New York [unidentified].

10-48 1942 Ronde des princesses Flute-Piano; Edition Musicus New York [unidentified].

10-49 1942 Ronde des princesses Oboe-Piano (Maganini); Edition Musicus NY; 7 pp. [unidentified].

10-50 1942 Ronde des princesses Violin-Viola-Piano; Edition Musicus New York [unidentified].

10-51 1942 Ronde des princesses Oboe-Clarinet-Piano; Edition Musicus New York [unidentified].

10-52 1942 Ronde des princesses Oboe-Bassoon-Piano; Edition Musicus New York [unidentified].

10-53 1942 Ronde des princesses Flute-Viola-Piano; Edition Musicus New York [unidentified].

10-54 1942 Ronde des princesses Flute-Clarinet-Piano; Edition Musicus New York [unidentified].

10-55 1942 Ronde des princesses Flute-Bassoon-Piano.; Edition Musicus New York [unidentified].

10-56 1943 Study for orchestra Bassoon (Dhèrin); Leduc Paris; A. L. 20,262.

10-57 1943 Study for orchestra Trumpet (Foveau); Leduc Paris; A. L. 20,280.

10-58 1945 Berceuse Violin-Piano (Maganini; Forst); Edition Musicus New York [unidentified].

10-59 1945 Berceuse Viola-Piano (Maganini; Forst); Edition Musicus New York [unidentified].

10-60 1945 Berceuse Flute-Piano (Maganini); Edition Musicus New York [unidentified].

10-61 1945 Berceuse Oboe-Piano (Maganini); Edition Musicus New York [unidentified].

10-62 1940 Berceuse FuSc Streichorchester (Ma ganini); Edition Musicus NY; 3 pp. [unidentified].

10-63 1945 Berceuse FuSc + parts (Maganini); Edition Musicus New York [unidentified].

10-64 ^St 1945 Berceuse Parts (Maganini); Edition Musicus New York [unidentified].

10-65 (1947) PoSc 3rd Suite; Leeds New York; 119 pp.; – .

10-66 1947 (Summer Moon); E; Leeds Music Corporation New York; 5 pp.; – .

10-67 1947 (Summer Moon) [rev.]; E; Leeds Music Corporation New York; 5 pp.; – .

10-68 ^St 1948 (Summer Moon) Parts; Leeds Music Corporation New York; 5 pp.; – .

10-69 [1950] PoSc Ballet Original; Broude Brothers New York; 180 pp.; B.B. 50.

10-70 1952 PiSc; Schott Mainz; 70 S.; B·S·S 34726; 3279.

10-71 ^L [1954] Dp (Leihmaterial) 3. Suite; Schott / Leeds; 134 pp.; 38597.

  10-71 ^L-Straw ibd.

10-72 1955 Suite 1945 Tp; Schott Mainz; 134 S.; B·S·S 38597; 4420.

10-73 [1954] Suite 1945 Dp; Schott Mainz; 180 S.; 73

b) Characteristic features

10-1 ЖАРЪ–ПТИЦА* / СКАЗКА–БАЛЕТЪ ВЪ 2–хъ КАРТИНАХЪ. / Составилъ по русской народной сказкђ Михаилъ Фокинъ. / МУЗЫКА / Игоря Стравинскаго. / Фортепіано въ 2 руки. / [°] / L'OISEAU DE FEU* / CONTE DANSÉ EN 2 TABLEAUX. / Composé d'après le conte national russe par M. Fokine. / MUSIQUE DE / Igor Strawinsky. / Piano à 2 mains. / [vignette] / Собственность издателя [#**] Propriété de l'éditeur / П. ЮРГЕНСОНА.* [#**] P. Jurgenson.* / МОСКВА | ЛЕЙПЦИГЬ. [#**] MOSCOU. | LEIPZIG / С.-Петербургъ, у I. Юргенсона. | Варшава у з. венле и К ^о. / Кіевь. у Л. Идзиковскаго. // ЖАРЪ–ПТИЦА* / СКАЗКА–БАЛЕТЪ ВЪ 2–хъ КАРТИНАХЪ. / Составклъ по русской народнойсказкђ Михаилъ Фокинъ. / МУЗЫКА / Игоря Стравинскаго. / Фортепіано въ 2 руки. / L'OISEAU DE FEU* / CONTE DANSÉ EN 2 TABLEAUX. / Composé d'après le conte national russe par M. Fokine. / MUSIQUE DE / Igor Strawinsky. / Piano à 2 mains. / [vignette] / Собственность издателя [#**] Propriété de l'éditeur / П. ЮРГЕНСОНА.* [#**] P. Jurgenson.* / МОСКВА | ЛЕЙПЦИГЪ. [#**] MOSCOU. | LEIPZIG. / С.-Петербургъ, у I. Юргенсона. | Варшава у з. венле и К ^о. / Кіевъ. у Л. Идзиковскаго. [ ^x] // (Vocal score [library binding] 22.2 x 30.2 (2° [4°]); 70 [66] pp. + 4 cover pages transparent parchment black-red on cream-white [front cover title with vignette 0.7 x 0.9 double-headed eagle with inlaid oval bearing the letters >J< and a little lower >P< (>PJ<), 2 empty pages, page with vignette 1.8 x 3.8 at the top of the page flush left a harp with the monogrammed letters >PJ< + the price at the bottom of the page flush right >Prix 4 Rb. 50 k.<] + 6 pages front matter [title page black red on creme white with vignette 0.7 x 0.9 double-headed eagle with inlaid oval bearing the letters >J< and a little lower >P< (>PJ<), empty page, page with dedication handwritten printed in line etching Russian centre > Дорогому другу Андрею Римскому-Корсакову < printed French at the bottom of the page flush left >A ANDRÉ RIMSKY-KORSAKOW<; empty page, list of persons in Russian with the address where the score and the parts can be purchased, list of persons in French with the address where the score and the parts can be purchased] + 2 pages back matter [empty pages]; title head >ЖАРЪ ПТИЦА / L’OISEAU DE FEU<; without author specified; legal reservations without Copyright 1st page of the score paginated p. 5 below type area flush left >Propriété de l'éditeur< flush right >P. Jurgenson à Leipzic et Moscou<; plate numbers >34903< to >34919<***; end of score dated p. 70 centred >S ^{t .}Pétérsbourg / 1910<; production indication S. 70 flush right as end mark >Gravé et impr. chez [#]**** P. Jurgenson à Moscou<) // (1911) [1910]

° Decorated dividing horizontal line of 5.9 x 0.2 cm.

* Printed in red.

** Dividing vertical line of 1.9 cm covering three lines and ending in three pointed tips up and down.

*** The plate numbers, 17 in rising order, may stretch across movements as they refer to pages: >34903< [pp. 5-6], >34904< [pp. 7-11], >34905< [pp. 12-15], >34906< [pp. 16-17], >34907< [pp. 18-23], >34908< [pp. 24-31], >34909< [pp. 32], >34910< [pp. 33-36], >34911< [pp. 37-38], >34912< [pp. 39-42], >34913< [pp. 43-46], >34914< [pp. 47], >34915< [pp. 48-50], >34916< [pp. 51-62], >34917< [pp. 63-64], >34918< [pp. 65-66], <34919< [pp. 67-70].

**** Vignette 0.5 x 0.7 small coat of arms crowned double eagle. [ ^x] The London copy, which was bought on 1st August 1913 and to which the original cover is missing, has a stamp >SOLE AGENTS FOR THE / UNITED KINGDOM: / BREITKOPF & HÄRTEL, / LONDON< at this place; the Berlin copy bears the stamp mark >1911<.

10-2 Сюита изъ сказки-балета / ЖАРЪ-ПТИЦА / Игоря Стравинскаго. / № 1. Вступленiе—Заколдованный садъ Кащея и пляска Жаръ-Птицы. / „ 2. Мольбы Жаръ-Птицы. / „ 3. Игра царевнъ золотыми яблочками. / „ 4. Хороводъ царевенъ. / „ 5. Поганый длясъ Кащеева царства. / [vignette] / Suite, tirée du conte dansé / L'OISEAU DE FEU / DE / Igor Strawinsky. / N o1. Introduction. — Jardin enchanté de Kastcheї et danse de l'oiseau de feu. / „ 2. Supplications de l'oiseau de feu. / „ 3. Jeu des princesses avec les pommes d'or. / „ 4. Ronde des princesses. / „ 5. Danse infernale de tous les sujets de Kastcheї. / Partition d'orchestre Rb. 8.– [#] Parties d'orchestre. / Aufführungsrecht vorbehalten / [vignette] / Собственность издателя [#*] Propriété de l'éditeur / П. ЮРГЕНСОНА. [#**] P. JURGENSON. / МОСКВА. | ЛЕІПЦИГЪ. [#**] MOSCOU. | LEIPZIG. / С.-Петербургъ, ч | I. Юргенсона. | Варшава, и Кiевъ, у Л. Идзиковскаго. / [°] // (Full score [library binding] 26 x 33.2 (2° [4°]); 99 [95] pages + 4 cover pages [***] + 4 pages front matter [title page with decorated line 5.4 x 0.3 + vignette centre 0.7 x 0.9 double-headed eagle with inlaid oval bearing the letters >J< and a little lower >P< >PJ<, page with production indication >Нотопечатня П. Юргенсона въ Москвђ.<, legend >Nomenclature des instruments.< Italian, empty page] + 1 page back matter [empty page]; title head >Сюита изъ сказки—балета [#] Suite tirée du conte—dansé / „ЖАРЪ ПТИЦА“ [#] „L’OISEAU DE FEU“<; without dedication; without author specified; legal reservation 1st page of the score paginated p. 5 below type area flush left >Propriété de l'éditeur<; plate number >35965<; without end of score dated; production indication 1st page of the score below type area flush right >P. Jurgenson à Leipsic et Moscou.< S. 99 flush right as end mark >Нотопечатня [****] П. Юргенсона въ Москвђ.<) // (1911)

° At this place, in the (probably unique) copy (without cover) >DMS 151085< in the formerly >Preußische Staatsbibliothek< is next to the imprint a round red stamp mark >Geschenk des Verlages< and below with red pencil the date >1912<.

* Separated by the lower half of the vignette.

** Dividing vertical line of 1.9 cm covering three lines and ending in three pointed tips up and down.

*** The copy Berlin >DMS 151085< is library bound and without cover pages.

**** Vignette 0.3 x 0.4 small coat of arms crowned double eagle.

10-4 TRIOS RUSSES. / Compositions modernes russes, transcrites / pour Violon, Violoncello et Piano. / PAR / Alex. Krein. / No. [#*] No. / 1. . . . [#] 12. . . . / . . . . [#] 22. Strawinsky, I. Berceuse („L'oiseau de feu“). / Колыбельная („Жаръ-птица“). . . / 23. ^__ Corovod (ronde des princesses). / Xoроводъ царевенъ („Жаръ-птица“). / . . . [#] 25. . . . / P. JURGENSON / Editeur de Musique / à MOSCOU. / Petrograde, chez J. Jurgenson. | Varsovie & Kiew, chez I. Idzikowski / Tous droits reservés. / Sole Agents for the British Empire / J. & W. Chester, London & Brighton / Prix 4 Rb, 50 cop.// (Score with parts violin and violoncello [library binding] 25.5 x 22.5 (2° [8° / gr. 8°]) ; 5 [3] pages + 2 pages front matter [title page black on dirty-beige, page with publisher’s advertisements >Trios, Quatuors, Quintettes etc. / TRANSCRIPTIONS.<° without production date] + 2 pages violin part [page of the score, empty page] + 2 pages violoncello part [page of the score, empty page] + 1 page back matter [page with publisher’s advertisements (Strawinsky not mentioned]; title head >Berceuse / tirée du conte-dansé „L'oiseau de feu.“, author specified 1st pages of the score paginated p. 3 [parts: paginated p. 1] below title head centre >IGOR STRAWINSKY.<; arranger specified 1st page of the scoren below author specified flush right >Transcr. par A. KREIN.<; edition number flush left >¹ 22.<; Instrumentenbezeichnung [exclusively parts] centre below author specified >Violon.< >Violoncelle.< ; legal reservations without Copyright [exclusively score and violin part] 1st pages of the score below type area flush left >Propriéte de l’éditeur< flush right [violin part as end mark] >P. Jurgenson à Moscou.<; plate number >36471<; production indication as end mark S. 5 [violoncello part paginated p. 1] >Gravé et impr. chez #*** P. Jurgenson à Moscou.<)**** // (1913)

° In French compositions are advertised with price information in Russian from >Bach, J. S.< to >Wurm, G.<; Strawinsky not mentioned.

* The title page is also a Catalogue index in two columns, the first containing numbers 1 to 11 and the second 12 to 25. Stravinsky appears under the numbers 22 (Berceuse) and 23 (Corovod).

** Coat-of-arms Jurgenson miniature vignette with double-headed eagle and one letter in the center of the plate.

**** The London copy has a price stamp on the title page that was cut short by the binding.

10-5 TRIOS RUSSES. / Compositions modernes russes, transcrites / pour Violon, Violoncello et Piano. / PAR / Alex. Krein. / No. [#*] No. / 1. . . . [#] 12. . . . / . . . . [#] 22. Strawinsky, I. Berceuse („L'oiseau de feu“). / Колыбельная („Жаръ-птица“). . . / 23. ^__ Corovod (ronde des princesses). / Xoроводъ царевенъ („Жаръ-птица“). / . . . [#] 25. . . . / P. JURGENSON / Editeur de Musique / à MOSCOU. / Petrograde, chez J. Jurgenson. | Varsovie & Kiew, chez I. Idzikowski / Tous droits reservés. / Sole Agents for the British Empire / J. & W. Chester, London & Brighton / Prix 4 Rb, 50 cop.// [Berceuse] // [unidentified] // 1913

10-6 Berceuse transcription for piano (George Copeland); Charles W. Homeyer Boston; 3 S.; Pl.-Nr. C.W.H. 141-2 [unidentified] // 1915

10-7 HISTORICAL RECITAL SERIES / FOR THE ORGAN / [°] / CLARENCE DICKINSON / CONTENTS / 1* . . . / — 2 RONDE DES PRINCESSES** Igor Strawinsky / 3 . . . / . . . / 27 . . . / PRICE, SIXTY CENTS EACH NUMBER / NEW YORK ·.· THE H. W. GRAY COMPANY / 2 WEST 45 ^THSTREET / SOLE AGENTS FOR NOVELLO & CO., Ltd. // (Edition with registration in the score [library binding] 25.7 x 33.3 (4° [4°]); 7 [5] pages + 2 pages front matter [double-framed title black on light grey green, page with publisher’s advertisements >NOVELLO’S VOCAL ALBUMS<*** without production date] + 2 pages back matter [page with publisher’s advertisements >SUCCESSFUL / SACRED SONGS / RECENTLY PUBLISHED<*** without production date, page with publisher’s advertisements >SOME SUCCESSFUL SONGS<*** without production date]; title head >Ronde des Princesses / from / "The Bird of Fire"<; statement of the registration above, next to and below 3. line title head flush left >Sw. Soft strings / Gt. Diap.II or French Horn / Ch. Flute Celeste / Ped. Ged. 16’ to Sw.<; author specified in connection with editor specified 1st page of the score paginated p. 3 below title head flush right partly in italics >IGOR STRAWINSKY / Edited by Clarence Dickinson <; legal reservation 1st page of the score below type area centre >Copyright, 1917, by The H. W. Gray Co.<; edition number below type area flush left >Historical Recital Series N ^o 2< S. 4-7; note 1st page of the score below type area flush left indented > Note: An historical commentary suitable for use with the numbers in this series will be found in “Excursions / in Musical History” by Clarence and Helen A. Dickinson.<; without plate number; without production indication; without end mark) // 1917

° Double dividing.

* The title page contains the index of the series. The title of the work, distance points and the composer appear after the number. There are 27 titles on the page. The Dickinson transcription appears under number 2.

** Fill character (dotted line).

*** Strawinsky not mentioned.

10-8 Berceuse transcription for piano (Charles Repper); Boston Music Company; 3 S. [unidentified] // 1917

10-9 ЖАРЪ–ПТИЦА / СКАЗКА–БАЛЕТЪ ВЪ 2–хъ КАРТИНАХЪ. / Составилъ по русской народной сказк Михаилъ Фокинъ. / МУЗЫКА / Игоря Стравинскаго. / Фортепіано въ 2 руки. / [vignette] / L'OISEAU DE FEU / CONTE DANSÉ EN 2 TABLEAUX / Composé d'après le conte national russe par M. Fokine. / MUSIQUE DE / IGOR STRAWINSKY. / Piano à 2 mains. / P. JURGENSON [#] ROB. FORBERG / LEIPZIG / Talstrasse 19. / [centre centred aboveklebter Aufdruck:] In die Universal-Edition aufgenommen: / U.-E. Nr. 7806 // [title page = front cover title without Aufdruck Universal-Edition] // (Vocal score for two hands [library binding]* 23.2 x 30.2 (4° [4°]); 70 [66] pages + 4 cover pages [front cover title with ornamental bar 7 x 0,2 centre, 3 empty pages] + 6 pages front matter [title page, empty page, page with dedication handwritten printed in line etching > Дорогому другу Андрею Римскому-Корсакову < at the bottom of the page flush left French >A ANDRÉ RIMSKY-KORSAKOW<, empty page, page with (world) premiere data Russian + address where the score can be purchased Russian**, page with (world) premiere data French + address where the score can be purchased French**] + 2 pages back matter [empty pages]; title head >ЖАРЪ ПТИЦА / L'OISEAU DE FEU< ; without author specified; legal reservations without Copyright 1st page of the score paginated p. 5 below type area flush left >Propriété de l'éditeur< flush right >P. Jurgenson à Leipsic et Moscou.<; plate numbers >34903< to >34919<**; end of score dated p. 70 centred >S ^t Pétérsbourg / 1910<; without production indication; without end mark) // (+1920)

* The only publicly available copy (access currently blocked) in all of the evaluated reference libraries is located at the Musikbibliothek of the City of Leipzig derived from the possession of the former Musikbibliothek Peters under the signature >3: 1868 <. Under removal of the cover pages and with library binding copy was cut to 22.9 x 29.8. Another copy is privately owned.

** The edition gives at this point the Russian address of the original publisher, Jurgenson, in Moscow >Kolpaschny,9< [>Москва, Колиачный пер., 9.<]. The different spelling (>p< French, >и< instead of >п< Russian) is original.

*** The plate numbers, 17 in rising order, may stretch across movements as they refer to pages: >34903< [pp. 5-6], >34904< [pp. 7-11], >34905< [pp. 12-15], >34906< [pp. 16-17], >34907< [pp. 18-23], >34908< [pp. 24-31], >34909< [pp. 32], >34910< [pp. 33-36], >34911< [pp. 37-38], >34912< [pp. 39-42], >34913< [pp. 43-46], >34914< [pp. 47], >34915< [pp. 48-50], >34916< [pp. 51-62], >34917< [pp. 63-64], >34918< [pp. 65-66], <34919< [pp. 67-70].

10-10 ЖАРЪ–ПТИЦА / СКАЗКА–БАЛЕТЪ ВЪ 2–хъ КАРТИНАХЪ. / Составилъ по русской народной сказкђ Михаилъ Фокинъ. / МУЗЫКА / Игоря Стравинскаго. / Фортепіано въ 2 руки. / [vignette] / L'OISEAU DE FEU / CONTE DANSÉ EN 2 TABLEAUX / Composé d'après le conte national russe par M. Fokine / MUSIQUE DE / IGOR STRAWINSKY / Piano à 2 mains / ROB. FORBERG / LEIPZIG / Talstrasse 19. // [title page = front cover title] // [without text on spine] // (Vocal score fort wo hands sewn 0,5 x 23,4 x 30,5 (4° [4°]); movement titles and titles Russian-French; 70 [66] pages + 4 cover pages black on grey veined [front cover title with ornamental bar 7 x 0,1 centre, 3 empty pages] + 6 pages front matter [title page, empty page, page with dedication Russian handwritten printed in line etching centre centred > Дорогому другу Андрею Римскому-Корсакову < + French at the bottom of the page flush left >A ANDRÉ RIMSKY-KORSAKOW.<, empty page, page with (world) premiere data + address where the score can be purchased Russian*, page with (world) premiere data + address where the score can be purchased French*] + 2 pages back matter [empty pages]; without author specified; legal reservations without Copyright 1st page of the score unpaginated [p. 5] below type area flush left >Propriété de l'éditeur< flush right >P. Jurgenson à Leipsic et Moscou<; plate numbers >34903< to >34919<**; end of score dated p. 70 centred >S ^t Pétérsbourg / 1910<; without production indication; without end mark) //

* The Russian address of the original publisher, Jurgenson in Moscow >Kolpaschny,9< [>Москва, Колиачный пер., 9.<], was retained, and the previous [see 10-9] different way of writing (>p< in the French, >и< instead of >п< in the Russian Text) Jurgenson-Forberg Edition was corrected.

** The plate numbers, 17 in rising order, may stretch across movements as they refer to pages: >34903< [pp. 5-6], >34904< [pp. 7-11], >34905< [pp. 12-15], >34906< [pp. 16-17], >34907< [pp. 18-23], >34908< [pp. 24-31], >34909< [pp. 32], >34910< [pp. 33-36], >34911< [pp. 37-38], >34912< [pp. 39-42], >34913< [pp. 43-46], >34914< [pp. 47], >34915< [pp. 48-50], >34916< [pp. 51-62], >34917< [pp. 63-64], >34918< [pp. 65-66], <34919< [pp. 67-70].

10-11 IGOR STRAWINSKY / SUITE DE / L'OISEAU DE FEU / (réorchestrée par l'auteur en 1919) / POUR / ORCHESTRE / J. & W. CHESTER, Ltd. / LONDON: / 11 GREAT MARLBOROUGH STREET W.-1. // IGOR STRAWINSKY / SUITE DE / L'OISEAU DE FEU / (réorchestrée par l'auteur en 1919) / POUR / ORCHESTRE / PARTITION D'ORCHESTRE / 40/- (Fr. 60.-) Net. / PARTIES D'ORCHESTRE / 50/- (Fr. 75.-) Net. / PARTIES SUPPLÈMENTAIRES / Chaque 5/- (Fr. 7.50) Net. / J. & W. CHESTER, Ltd. / 11 GREAT MARLBOROUGH STREET, LONDON. W.-1. / 9-11, PLACE DE LA FUSTERIE, GÉNEVE. / Déposé selon les traités internationaux. [#] Editeurs propriétaires pour tous les pays. / Tous droits de traduction, de reproduction, et d'arrangement réservés. / Seuls Dépositaires pour la France: [#] Seuls Depositaires* pour la Belgique: / ROUART, LEROLLE et Cie. [#] MAISON CHESTER, / 29 Rue d'Astorg, PARIS [#] 86 Rue de la Montagne, BRUXELLES / Engraved and Printed in Italy / Copyrigt 1920, by J. & W. Chester, Ltd // (Full score sewn 29.4 x 39 (2° [gr. 4°]); 77 [77] pages + 4 cover pages thicker paper black on veined grey [front cover title, 3 empty pages] + 2 pages front matter [title page, legend >Orchestre< French + index of rols Italian] + 1 page back matter [production indication >S. A. STAMPERIA ITALIANA DI MUSICA. MILANO.<]; title head >Suite de L’OISEAU DE FEU / RÉORCHESTRÉE PAR L’AUTEUR EN 1919<; author specified 1st page of the score paginated p. 1 between 2. line title head and movement title flush right italic > IGOR STRAWINSKY <; legal reservation 1st page of the score below type area flush left italic > Copyright 1920 by J. & W. Chester, Ltd. < >Tous droits réservés.<; plate number >J.W.C. 17<; without end marks) // (1921)

* The mistake with the accent is original.

10-12^St Set of parts [unidentified].

10-12 ^St-Ex Additional parts [unidentified].

10-13 IGOR STRAWINSKY / [°] / SUITE DE / L'OISEAU DE FEU / ( Réorchestrée par l'auteur en 1919) / POUR / ORCHESTRE / J. & W. CHESTER, Ltd. / LONDON: / 11 GREAT MARLBOROUGH STREET W.-1. // IGOR STRAWINSKY / [°°] / SUITE DE / L'OISEAU DE FEU / (Réorchestrée par l'auteur en 1919) / POUR / ORCHESTRE / Partition d'orchestre / 40/- (Fr. 60.-) Net. / Partition format de poche / 8/- (Fr. 12 -) Net. / Parties d'orchestre / en location / J. & W. CHESTER, Ltd. / 11 GREAT MARLBOROUGH STREET, LONDON. W.-1. / Déposé selon les traités internationaux. [#] Editeurs propriétaires pour tous les pays. / [°°°] / Tous droits de traduction, de reproduction, et d'arrangement réservés. / [°°°] / Engraved and Printed in England // (Pocket score sewn; 77 [77] pages + 4 cover pages thicker paper black on grey veined [front cover title, 3 empty pages] + 2 pages front matter [Innentitelei, legend >Orchestre< French + Personenangabe italienisch] + 1 page back matter [production indication >S. A. STAMPERIA ITALIANA DI MUSICA. MILANO.<]; title head >Suite de L’OISEAU DE FEU / RÉORCHESTRÉE PAR L’AUTEUR EN 1919<; Autorenangabe 1. Notentextseite paginiert S. 1 zwischen 2. Zeile Kopftitel und Satzangabe rechtsbündig kursiv > IGOR STRAWINSKY <; Rechtsschutzvorbehalt 1. Notentextseite unterhalb Notenspiegel linksbündig kursiv > Copyright 1920 by J. & W. Chester, Ltd. < >Tous droits réservés.<; Platten-Nummer >J.W.C. 17<; ohne Endevermerke) // (1921)

°° Dividing horizontal line of 2 cm.

°°° Dividing horizontal line of 1.1 cm.

10-14 CHESTER / LIBRARY / IGOR STRAWINSKY / L’OISEAU DE FEU / 1. RONDE DES PRINCESSES. / 2. BERCEUSE AND FINALE. / ARRANGED FOR ORGAN / BY / MAURICE BESLY. / [°] / PRICE; EACH 2/- (FR 3.00) NET. / J. & W. CHESTER, LTD // IGOR STRAWINSKY / [°°] / L’OISEAU DE FEU / TWO EXCERPTS / ARRANGED FOR THE / ORGAN / BY / MAURICE BESLY / 1. Ronde des Princesses. [#] 2. Berceuse and Finale. / [°°°] / J. & CHESTER, LTD., / LONDON: 11, GREAT MARLBOROUGH STREET, W.-1. / Déposé selon les traites internationaux [#] Propriété pour tous les pays. / Tous droits de traduction, de reproduction, et d'arrangement réservés. / Seuls Dépositaires pour la France: [#] Seuls Dépositaires pour la Belgique: / ROUART, LEROLLE ET CIE., [#] MAISON CHESTER, / 29, RUE D'ASTORG, PARIS. [#] 86, RUE DE LA MONTAGNE, BRUXELLES. / [°°°°] / Engraved and Printed in England. / Copyright, MCMXXII., by J. & W. Chester, Ltd. // (Edition without registration but with score-related orchestration specifications unsewn 25.7 x 33.6 (2° [4°]); 7 [5] pages + 4 cover pages black on delicate bluish [front cover title with a full-page Chester Lyre surrounded by a coat of arms black on delicate bluish-greenish with (presumably) the artist’s signature >H J M< # >1914< entered left and flush right at the bottom of the frame , 2 empty pages, page with publisher’s advertisements >Compositions for the Organ.<* without production date] + 2 pages front matter [title page, empty page] + 1 page back matter [page with publisher’s advertisements >FAVORITE TRANSCRIPTIONS FOR / THE ORGAN / BY / ARTHUR BOYSE, F.R.C.O.<* without production date]; title head >RONDE DES PRINCESSES / From “L'OISEAU DE FEU”; author specified 1st page of the score paginated p. 3 below title head flush right >IGOR STRAWINSKY.<; arranger soecified 1st page of the score above and below author specified flush left centred >Arranged for organ by / MAURICE BESLY.<; note on performance 1st page of the score below type area >The notes on instrumentation refer to Strawinsky’s score and not to organ registration which is left to the discretion of the performer.<; legal reservations 1st page of the score below note on performance flush left >Copyright 1922 by J. & W. Chester.< flush right >All Rights reserved. / Tous droits réservés.<; plate number >J. & W. C. 3032<; without end mark S. 7) // 1922

° Dividing (horizontal) 1.5 cm line.

°° Double dividing (horizontal) 7.2 cm line.

°°° Dividing (horizontal) 5.9 cm line.

°°°° Dividing (horizontal) 3.3 cm line.

* Works are advertised in two columns with net price information (s. [#] d.) behind fill character (dots in groups of three) by Boyse, Diggle, Fricker, Gigout, Grey, Hackett, // Holbrooke, Honegger, Järnefelt, Jongen, Kühmstedt, Maleingreen, Marshall, >Strawinsky, Igor. – “L’Oiseau / de Feu” (Maurice Besly) [°] 2 0 / Berceuse et Finale from “L’Oiseau / de Feu” (Maurice Besly) [°] 2 0< and Walker [° fill character (dots in groups of three)].

** 8 volumes with editions of classical compositions are shown; Strawinsky not mentioned.

10-15 IGOR STRAWINSKY / [°] / L'OISEAU DE FEU / TWO EXCERPTS / ARRANGED FOR THE / ORGAN / BY / MAURICE BESLY / 1. Ronde des Princesses. [#] 2. Berceuse and Finale. / [°°] / J. & CHESTER, LTD., / LONDON: 11, GREAT MARLBOROUGH STREET, W.-1. / Déposé selon les traites internationaux Propriété pour tous les pays. / Tous droits de traduction, de reproduction, et d'arrangement réservés. / Seuls Dépositaires pour la France: [#] Seuls Dépositaires pour la Belgique: / ROUART, LEROLLE ET CIE., [#] MAISON CHESTER, / 29, RUE D'ASTORG, PARIS. [#] 86, RUE DE LA MONTAGNE, BRUXELLES. / [°°°] / Engraved and Printed in England. / Copyright, MCMXXII., by J. & W. Chester, Ltd. // (Edition without registration, instruments are named [library binding] 25.5 x 33.1 (2° [4°]); 8 [7] pages + 1 page front matter [title page] without back matter]; title head >BERCEUSE AND FINALE / From “L'OISEAU DE FEU”; author specified 1st page of the score paginated p. 3 below title head flush right >IGOR STRAWINSKY.<; arranger specified 1st page of the score above and below author specified flush left centred >Arranged for organ by / MAURICE BESLY.<; note on performance 1st page of the score below type area >The notes on instrumentation refer to Strawinsky’s score and not to organ registration which is left to the discretion of the performer.<; legal reservations 1st page of the score below type area flush left >Copyright 1922 by J. & W. Chester.< flush right >All Rights reserved. / Tous droits réservés.<; plate number >J. & W. C. 3033<; without end mark S. 8) // 1922

° Double dividing horizontal line of 7.1 cm.

°° Dividing horizontal line 5.8 cm.

°°° Dividing horizontal line 3.2 cm.

10-16 IGOR STRAWINSKY / [°] / SUITE DE / L'OISEAU DE FEU / (Réorchestrée par l'auteur en 1919) / POUR / ORCHESTRE / J. & W. CHESTER Ltd., / LONDON: / 11 Great Marlborough Street, W. 1. [ / *] // IGOR STRAWINSKY / SUITE FROM / L'OISEAU DE FEU / (Reorchestrated by the Composer 1919) / FOR / ORCHESTRA / Miniature Score, / Price 8/- net / (Revised Price) / Orchestral material on hire / J. & W. CHESTER Ltd., / 11 Great Marlborough Street, London, W. 1. / Déposé selon les traités internationaux. [#] Editeurs propriétaires pour tous les pays. / Tous droits de traduction, de reproduction, et d'arrangement réservés. // (Pocket score sewn 13.7 x 18.8 (8° [8°]); 78 [78] pages + 4 cover pages thicker paper black on light greying with tendency to discolouration to grey-brown [front cover title, 2 empty pages, page with price centre centred >Price 8/- net / (Revised Price)<] + 2 pages front matter [title page, legend >ORCHESTRE< English + duration data [20’] English + production indication >PRINTED BY BRADFORD AND DICKENS, DRAYTON HOUSE, LONDON, W.C. I<] + 2 pages back matter [page with publisher’s advertisements >Symphonic orchestral works / available in miniature score form<*** without production date, page with publisher’s advertisements >Symphonic orchestral works / available in miniature score form<**** without production date]; title head >Suite from L’OISEAU DE FEU / REORCHESTRATED BY THE COMPOSER, 1919<: author specified 1st page of the score paginated p. 1 between title head and movement title flush right italic >IGOR STRAWINSKY.<; legal reservations 1st page of the score below type area flush left >Tous droits réservés.< flush right italic > Copyright 1920 by J. & W. Chester, Ltd. <; plate number >J. W. C. 17<; without end marks) // (1924)

° Dividing horizontal line of 2.9 cm.

°° Dividing horizontal line of 2.1 cm.

* In the Münchner copy >8 Mus.pr. 1163< a stamp mark >B.SCHOTT'S SÖHNE, MAINZ / Edition No. 3467<.

** In the Münchner copy >8 Mus.pr. 1163< a stamp mark >B.SCHOTT'S SÖHNE, MAINZ<.

*** Compositions are advertised from >BERNERS, LORD< to >JONGEN, J.; Strawinsky not mentioned.

**** Compositions are advertised from >LUTYENS, E.< to >STRAVINSKY, I. [#] / Histoire du Soldat. / Les Noces. / Ragtime. / Renard. / Suite from L’Oiseau de / Feu (1919). / Suite No. I for Small Orchestra. / Suite No. 2 for Small Orchestra.<.

10-17 IGOR STRAWINSKY / L’OISEAU DE FEU / MINIATURE SCORE / J. & W. CHESTER, Ltd. / London / [°] // IGOR STRAWINSKY / [°°] / SUITE FROM / L’OISEAU DE FEU / (Reorchestrated by the composer, 1919) / for / ORCHESTRA / FULL SCORE / Material available on hire / [°°°] / J. & W. Chester, LTD. [#] B. SCHOTT'S SOEHNE / II GREAT MARLBOROUGH STREET, LONDON , W.I. [#] Weihergarten, 5, MAINZ. / Engraved and printed in England / Copyright I920, by J. & W. Chester, Ltd. // [without text on spine] // (Pocket score sewn 0.6 x 13.7 x 19 (8° [8°]); 78 [78] pages + 4 cover pages white on middle red [front cover title, 2 empty pages, page with publisher’s advertisements >Symphonic orchestral works / available in miniature score form<* without production date] + 2 pages front matter [title page, legend >ORCHESTRE< French] without back matter; title head partly in italics >Suite de L’OISEAU DE FEU / RÉORCHESTRÉE PAR L’AUTEUR EN 1919 <; author specified 1st page of the score paginated p. 1 between title head und movement title >Introduction< flush right italic > IGOR STRAWINSKY <; legal reservations 1st page of the score below type area flush left >Tous droits réservés.< flush right italic > Copyright 1920 by J. & W. Chester, Ltd. <; plate number >J. W. C. 17<**; without end marks S. 78) // [1926]

° Copies delivered via Schott have the Revolver stamp >EDITION SCHOTT Nr. 3467< at the bottom of the page.

°° Dividing horozontal line of 2.9 cm centrally a little bit thickening.

°°° Dividing horozontal line of 3.5 cm centrally a little bit thickening.

* Compositions are advertised (without columns) from >BERKELEY, L.< to >STRAVINSKY, I. [#] The Firebird Suite (1919) / " [#] Suites Nos. 1 and 2<.

** p. 13 only >J. W. C.<.

10-18 IGOR STRAWINSKY / [°] / SUITE FROM / L’OISEAU DE FEU / (Reorchestrated by the composer, 1919) / FOR / ORCHESTRA / J. & W. CHESTER, Ltd., / LONDON: / 11 Great Marlborough Street, W. 1. / [*] // IGOR STRAWINSKY / [°°] / SUITE FROM / L’OISEAU DE FEU / (Reorchestrated by the composer, 1919) / FOR / ORCHESTRA / Miniature Score , / Price 8/- net / (Revised Price) / Orchestral material available on hire / J. & W. CHESTER Ltd., / 11 Great Marlborough Street, London, W. 1. / Déposé selon les traités internationaux. [#] Editeurs propriétaires pour tous les pays. / Tous droits de traduction, de reproduction, et d'arrangement réservés. // [without spine on text] // (Pocket score sewn 0.6 x 13.7 x 18.9 (8° [8°]); 78 [78] pages + 4 cover pages thicker paper black on grey cloudy structured [front cover title, 2 empty pages, page with price and dividing (horizontal) 2,9 cm line above and below centre centred >Price 8/- net / (Revised Price)<] + 2 pages front matter [title page, legend >INSTRUMENTATION< English + duration data [20'] English + production indication >PRINTED BY BRADFORD AND DICKENS, DAYTON HOUSE, LONDON, W.C.I< + 2 pages back matter [page with publisher’s advertisements >SYMPHONIC ORCHESTRAL WORKS / AVAILABLE IN MINIATURE SCORE FORM<** without production date, page with publisher’s advertisements >SYMPHONIC ORCHESTRAL WORKS / AVAILABLE IN MINIATURE SCORE FORM<*** without production date] without back matter; title head partly in italics >Suite from L’OISEAU DE FEU / REORCHESTRATED BY THE COMPOSER, 1919<; author specified 1st page of the score paginated p. 1 between title head and movement title >Introduction< flush right italic > IGOR STRAWINSKY <; legal reservations 1st page of the score below type area flush left >Tous droits réservés< flush right italic > Copyright 1920 by J. & W. Chester, Ltd .<; plate number >J. W. C. 17<; without end marks) // [1926]

° Dividing horizontal line of 2.9 cm.

°° Dividing horizontal line of 2 cm.

* Copies delivered via Schott have the Revolver stamp >EDITION SCHOTT Nr. 3467< at the bottom of the page.

** Compositions are advertised (without columns) from >BERNERS, LORD< to >JONGEN, J.; Strawinsky not mentioned.

*** Compositions are advertised (without columns) from >LUTYENS, E.< to >STRAVINSKY, I. [#] / Histoire du Soldat. / " [#] Les Noces. / " [#] Ragtime. / " [#] Renard. / " [#] Suite from L’Oiseau de Feu (1919). / " [#] Suite No. I for Small Orchestra. / " [#] Suite No. 2 for Small Orchestra.<.

10-19 1928 Berceuse Orgeltranskription (J. T. Quarles); The Boston Music Company; 5. S. 26 x 30 (4° [Lex. 8° / 4°]); Pl.-Nr. B. M. Co. 7084-3 [unidentified].

10-20 STRAWINSKY* / Prélude et Ronde des princesses / L’oiseau de feu** / VIOLON ET PIANO [vignette]** / EDITION SCHOTT No. 2080 // Edition Schott No. 2081 / Prélude et Ronde des princesses / tirés du Ballet »L'Oiseau de feu« / [Asterisk] / Igor Strawinsky / [asterisk] / Transcription pour / Violon et Piano / par l'auteur / B. SCHOTT'S SÖHNE, MAINZ / [°] / LEIPZIG [#] LONDON [#] BRUXELLES [#] PARIS / B. SCHOTT'S SÖHNE [#] SCHOTT & Co. Ltd. [#] SCHOTT FRÈRES [#] EDITIONS MAX ESCHIG / LINDENSTR. 16/18 [#] 48 GR. MARLBOROUGH STR. [#] 30 RUE ST. JEAN [#] 48 RUE DE ROME / Imprimé en Allemagne – Printed in Germany // (Edition for violin and piano [°°] 24.3 x 30.9 (2° [4°]); 7 [6] pages + 4 cover pages black-red on yellow-beige [front cover title with vignette 1.3 x 1.7 stylised bird (viewed from thr front) facing right, 2 empty pages, page with publisher’s emblem rectangular 2.4 x 3.8 lion with wheel of Mainz in its paws and with writing encircling >PER MARE / MAINZ UND LEIPZIG / ET TERRAS / B · SCHOTT’S SÖHNE<] + 1 page front matter [title page] + 1 page back matter [page with publisher’s advertisements >IGOR STRAWINSKY<*** production date >959<] + 4 [2] pages enclosede violin part in identical layout with front cover >Igor Strawinsky / Prélude et Ronde des Princesses / <L’Oiseau de Feu> / Violino / Edition Schott No. 2080< and 1 page back matter [page with publisher’s advertisements >KREISSLER< production date >935<]; title head >Prélude et Ronde des princesses / (L’Oiseau de Feu)<; dedication 1st page of the score unpaginated [p. 2] above piece title centre italic > Dédié à Paul Kochanski <; author specified 1st page of the score below title head flush right centred >Igor Strawinsky / (1910-1926)<; legal reservations 1st page of the score between dedication and title head flush left centred >Aufführungsrechte vorbehalten / Tous droits réservés< below type area flush left >Mit Genehmigung des Verlages P. Jurgenson, Leipzig<; plate number >32373<; production indication p. 7 [part: p. 3] as end mark flush right >Druck von B. Schott's Söhne in Mainz<) // (1929)

° Double dividing horizontal line of 16.2 cm, i.e. almost column width and with thickened upper line.

°° All the accessible copies are library or privately bound and strongly clipped.

* A much thickened i-dot over the >I<.

** Printed in red.

*** Y as ornament letter. In French compositions are advertised with edition numbers behind fill character (dotted line) >Feu d’artifice. Fantaisie pour grand orchestre, op. 4 / Partition d’orchestre <format de poche>° 3464 / Réduction pour Piano à 4 mains (O. Singer)° 962 / <Parties d’orchestre en location> / [°°] / L’oiseau de feu. Ballet / Transcriptions pour Violon et Piano par l’auteur: / Prélude et Ronde des princesses° 2080 / Berceuse° 2081 / [°°] / Pastorale. Chanson sans paroles pour une voix et quatre / instruments à vent / Partition <avec réduction pour Piano>° 3399 / <Parties en location>< [° fill character (dotted line); °° Asterisk]. After Mainz the following places of printing are listing: Leipzig-London-Brüssel-Paris.

10-21 [Berceuse violin-piano] (1929) [unidentified].

10-21 ^[49] I. STRAWINSKY / L’oiseau de feu / BERCEUSE* / VIOLON ET PIANO / [vignette]* / EDITION SCHOTT No. 2081 // IGOR STRAWINSKY° / L’OISEAU DE FEU / Feuervogel [#] Fire Bird / BALLET / [Asterisk] / PIANO°° [#] Edition Schott°° / No.°° / Berceuse** 2547 / Ronde des Princesses** 2548 / Transcription de Concert: / Danse infernale, Berceuse et Finale / par Guido Agosti** 2378 / VIOLON ET PIANO / Nouvelles Transcriptions par l'auteur et S. Dushkin: / Berceuse** 2186 / Scherzo** 2250 / Transcriptions par l'auteur: / Prélude et Ronde des princesses** 2080 / Berceuse** 2081 / [°°°] / Partition de Piano** 3279 / B. SCHOTT'S SÖHNE [***] SCHOTT & Co. Ltd. / MAINZ: Weihergarten 5 [***] London W. 1: 48 Great Marlborough Str. / Paris: Editions Max Eschig [***] New-York: 25 West 45 th Street / 48 Rue de Rome [***] Associated Music Publishers Inc. / Printed in Germany – Imprimé en Allemagne // (Edition violin and piano stapled 22.8 x 30 (2° [Lex. 8° / 4°]); 4 [3] pages + 4 cover pages black orange-red on beige [front cover title with vignette 1.3 x 1.7 stylised bird (viewed from thr front) facing right, 2 empty pages, page with centre centred black publisher’s emblem oval 2,8 x 3 wheel of Mainz in a frame containing text in bottom half >PER MARE< [#] >ET TERRAS< left and right + 1 page front matter [title page] without back matter + 1 page enclosed violin part unpaginated with 1 page back matter [page with publisher’s advertisements >IGOR STRAWINSKY<**** production date >24<]; title head >BERCEUSE / (L’Oiseau de Feu)<; dedication above title head italic > Dédié à Paul Kochanski <; author specified 1st page of the score unpaginated [p. 2] [part: unpaginated [p. 1]] below title head flush right centred >Igor Strawinsky / (1910-1926)<; legal reservations 1st page of the scoren below type area flush left >Mit Genehmigung der Firma Rob. Forberg, Leipzig as Rechtsnachfolgerin des Original-Verlegers.<; name of the instrument [only] part next to dedication flush le ft >Violino<; plate number >32374<; production indication last page of the score unpaginated [p. 4] [part: 1st page of the score] as end mark flush right >Stich u. Druck von B. Schott's Söhne in Mainz<; [printed] statement of permission [only] score last page of the score below type area flush left centred in a text box containing >Visé par la Direction de l'Education Publique / Autorisé par la Direction de l'Information / G. M. Z. F. O.<) // [1949]

° With Ypsilon as ornament letter.

°° >No.< appears centred below >Edition Schott<, and both lines together have the same point size as the >PIANO< that precedes it in the same line height.

°°° Dividing horizontal line of 1.0.

* Printed in orange red.

** Fill character (dotted line).

*** Dividing publisher’s emblem round ø 2 cm wheel of Mainz in a frame containing text in bottom half >PER MARE< [#] >ET TERRAS< left and right, spanning more the fouer lines.

**** In French, the library material is advertised without edition numbers, the compositions for sale are advertised with edition numbers behind fill character (dotted line) >Concerto per due Pianoforti soli° 2520 / Feu d'artifice. Fantaisie pour grand orchestre, opus 4 / Partition d'orchestre et Parties d'orchestre (en location) / Partition d'orchestre (format de poche)° 3464 / Réduction pour Piano à 4 mains (O. Singer)° 962 / Scherzo fantastique. Fantaisie pour grand orchestre / Partition d'orchestre et Parties d'orchestre (en location) / Partition d'orchestre (format de poche)° 3501 / Symphonie en Ut pour grand orchestre / Partition d'orchestre et Parties d'orchestre (en location) / Partition d'orchestre (format de poche)° 3536 / Concerto pour Violon et orchestre / Partition d'orchestre et Parties d'orchestre (en location) / Partition d'orchestre (format de poche)° 3504 / Réduction pour Violon et Piano° 2190 / Jeu de cartes. Ballet / Partition d'orchestre et Parties d'orchestre (en location) / Partition d'orchestre (format de poche)° 3511 / Partition de Piano° 3296 / L'oiseau de feu. Ballet / Partition de Piano° 3279 / Piano: / Berceuse° 2547 / Ronde des princesses° 2548 / Danse infernale, Berceuse et Finale (Transcription par Guido Agosti)° 2378 / Violon et Piano: / Berceuse (Transcription par l'auteur)° 2081 / Prélude et Ronde des princesses °°°Transcription par l'auteur)° 2080 / Berceuse (Transcription par l'auteur et Dushkin)° 2186 / Scherzo (Transcription par l'auteur et Dushkin)° 2280) / Pastorale. Chanson sans paroles / Chant et Piano° 2295 / Chant et 4 instruments à vent° [#] Partition°° 3399 / [#] Parties (en location) / Violon et Piano (par Strawinsky et Dushkin)° 2294 / Violon et 4 instruments à vent° [#] Partition°° 3313 / [#] Parties (en location) / Belowschale. Russiane Bauernlieder. 4 Chöre für gleiche Stimmen. / Beim Heiland von Tschigissy – Herbst – Der Hecht – Freund Dicksack< [° fill character (dotted line); °° without fill character (dotted line); °°° missing round bracket original].

10-22 Игорь Стравинский / Igor Strawinsky / СЮНТА ИЗ СКАЗКИ–БАЛЕТА / ЖАР–ПТИЦА / SUITE, TIRÉE DU CONTE DANSÉ/ L'OISEAU DE FEU / дла оркестра / pour Orchestre / Партитура. [#] Partition / РСФСР [#*] / RSFSR / МУЗЫКАЛЬНЫЙ СЕКТОР [#*] SECTION MUSICALE / ГОСУДАРСТВЕННОГО ИЗД–ВА [#*] DES EDITIONS D'ETAT / МОСКВА, НЕГЛИННЫЙ ПР. 14 [#°°] J [#*] R [#°°] MOSCOU, NEGLINNY PR. 14 / N ^o9850–26 Л. [#] 1929 [#] 11. 26 р. // Игорь Стравинский / Igor Strawinsky / СЮНТА ИЗ СКАЗКИ–БАЛЕТА / ЖАР–ПТИЦА / SUITE, TIRÉE DU CONTE DANSÉ / L'OISEAU DE FEU / 1. Вступление–Заколдованный сад Кащея [#] 3. Игра даревен золотыми яблочками / и пляска Жар-Птицы [#] Jeu des princesses avec les pommes d'or / Introduction–Jardin enchanté de Kastcheï [#] / 4. Хоровод царевен / et danse de l'oiseau de feu / Ronde des princesses / 2. Мольбы Жар–Птицы [#] / 5. Моганый дляс Кащеева царства / Supplication de l'oiseau de feu [#] Danse infernale de tous les sujets de Kastcheï / дла оркестра [#] pour Orchestre / Партитура. [#] Partition/ МУЗЫКАЛЬНЫЙ СЕКТОР [#] SECTION MUSICALE / ГОСУДАРСТВЕННОГО ИЗДАТЕЛЬСТВО [#] DES EDITIONS D'ETAT / МОСКВА [#] 1929 [#] MOSCOU // (Full score [library binding] 27 x 34.2 (2° [4°]); movement titles and titles Russian-French; 99 [95] pages + 4 cover pages thick paper grey-blue on light grey-blue [front cover title with ornamental frame, empty page, 2 pages with publisher’s advertisements >СОИННИЯ [#] WERKE VON / И. МЯСКОВСКОГО [#] N. MIASKOWSKY<]*** without production date + 4 pages front matter [title page, empty page, legend >Nomenclature des instruments.< Italian, empty page] + 1 page back matter [empty page]; title head >Сюнта из сказки – балета [#] Suite tirée du conte – dansé / „ЖАР–ПТИЦА” [#] „L’OISEAU DE FEU” / <; without author specified 1st page of the score paginated p. 5; without legal reservation; plate number >35965<; production indications [only] 1st page of the score displaced laterally to the right next to plate number >34920 [#] M.9850 Г< p. 99 flush left >Москва. Главлит N ^oA-30594. Тир 200 зкз< flush right as end mark >Нотопечагня Гиза колпаун. 13.<) // 1929

* The separation is made by means of a treble clef spanning four lines.

** Between the text and the foot of the treble clef, there is an ornament and with the letters >J< and >R< on the left and right sides respectively.

*** Works are advertised Op. 1 bis Op. 12 and (with identical main title) Op. 13 bis Op. 27.

10-23 STRAWINSKY / BERCEUSE* / tirée du Ballet / L'oiseau de feu / [vignette] / Nouvelle Transcription pour / VIOLON ET PIANO / par / I. STRAWINSKY** et S. DUSHKIN / EDITION SCHOTT No. 2186 // IGOR STRAWINSKY / L'OISEAU DE FEU / BALLET / [Asterisk] / Transcriptions pour Violon et Piano / par l'auteur: / Edition Schott / No. / Prélude et Ronde des princesses*** 2080 / Berceuse*** 2081 / [°] / Nouvelle Transcription pour Violon et Piano / par I. Strawinsky et S. Dushkin / Edition Schott / No. / Berceuse*** 2186 / B. SCHOTT'S SÖHNE [#]**** SCHOTT & C., LTD. / MAINZ und LEIPZIG [#]**** LONDON W. 1, 48 Great Marlborough Str / Paris: Editions Max Eschig [#]**** New-York: 25 West 45th St. NY. City / 48 Rue de Rome et 1, Rue de Madrid [#]**** Associated Music Publishers Inc. / Tous droits d'édition, d'exécution publique, de traduction, de reproduction et d'arrangements réservés. / Imprimé en Allemagne – Printed in Germany // (Edition for violin and piano stapled 24.3 x 31 (4° [4°]) with piano part enclosed; 1 [1] page Violinstimme + 4 cover pages black with orange red on dirty-yellow [front cover title with uncolured vignette 1.2 x 1.7 stylised bird facing right, 2 empty pages, page with publisher’s advertisements >IGOR STRAWINSKY**<***** production date >963<] + 2 pages front matter [title page, empty page] + 1 page back matter [page with publisher’s advertisements >S. DUSHKIN / COMPOSITIONS ET TRANSCRIPTIONS / VIOLON ET PIANO<****** production date >798<] + 4 [3] pages score + 1 page front matter [title page centre centred >BERCEUSE / Tirée du Ballet «L'oiseau de Feu» – Aus dem Ballett „Der Feuervogel“< flush left centred >Transcription pour Violon et Piano / par l'auteur et S. Dushkin< flush right >Igor Strawinsky< centre centred >Piano<]; legal reservations [score and part in identical layout] 1st page of the score above type area next to and above title head flush left centred >Aufführungsrechte vorbehalten / Tous droits réservés< below type area flush left >Copyright 1932 by B. Schott's Söhne, Mainz / Mit Genehmigung der Firma Rob. Forberg, Leipzig as Rechtsnachfolgerin des Original-Verlegers.<; title head [part and score] >BERCEUSE / Tirée du Ballet «L'oiseau de Feu» – Aus dem Ballett „Der Feuervogel“<; author specified [part und score in identical layout] 1st page of the score unpaginated score [p. 2] above type area flush right >Igor Strawinsky< below title head [violin part: between title head and name of the instrument >Violino<] flush left centred >Transcription pour Violon et Piano / par l'auteur et S. Dushkin<; plate number >B·S·S 33324<; production indication [only] violin part flush right as end mark >Stich u. Druck von B. Schott's Söhne in Mainz<) // (1932)

° Dividing horizontal line of 0.9 cm.

* Printed in orange red.

** Last letter Ypsilon as fancy letter.

*** Fill character (dotted line).

**** Dividing publisher’s emblem round ø 2.1 cm wheel of Mainz in a frame containing text >PER MARE< [#] >ET TERRAS< left and right, spanning more than four lines.

***** In French, the library material is advertised without edition numbers, the compositions for sale are advertised with edition numbers behind fill character (dotted line) >Feu d'artifice. Fantaisie pour grand orchestre, op. 4 / Partition d’orchestre et Parties d’orchestre <en location> / Partition d’orchestre <format de poche>° 3464 / Réduction pour Piano à 4 mains (O. Singer) ° 962 / Scherzo fantastique. Fantaisie pour grand orchestre / Partition d’orchestre et Parties d’orchestre <en location> / Partition d’orchestre <format de poche>° 3501 / Concerto pour Violon et orchestre / Partition d’orchestre et Parties d’orchestre <en location> / Partition d’orchestre <format de poche>° 3504 / Reduction pour Violon et Piano° 2190 / L’oiseau de feu. Ballet / Transcriptions pour Violon et Piano par l’auteur : / Prélude et Ronde des princesses° 2080 / Berceuse° 2081 / Berceuse de l’oiseau de feu. / Nouvelle transcription pour Violon et Piano / par l’auteur et S. Dushkin ° 2186 / Pastorale. Chanson sans paroles pour une voix et quatre / instruments à vent / Partition <avec réduction pour Piano>° 3399 / <Parties en location> / Belowschale. Russiane Bauernlieder. 4 Chöre für gleiche Stimmen. / Beim Heiland von Tischigissy — Herbst — Der Hecht — Freund Dicksack [° fill character (dotted line)]. After Mainz the following places of printing are listed: Leipzig-London-Brüssel-Paris.

****** Strawinsky not mentioned.

10-23^Straw

Strawinskys Nachlaßexemplar enthält auf der 1. Notentextseite seitenoberhalb rechts die Anmerkung: >Bitte 2 ^teKorrektur / sofort nach Paris / mir zu senden / Istrawinsky / Hannover / den I3 XII 3I< / >Avec les corrections / IStr<. Der Name wurde in >Igor Stravinsky< überklebt. Die angebrachten Korrekturen sind sehr zahlreich und überziehen ganze Violinstrecken.

10-24 KALMUS MINIATURE / ORCHESTRA SCORES / No. 41 / IGOR / STRAVINSKY / FIRE-BIRD Suite / (Suite de l’Oiseau de Feu) / E. F. KALMUS ORCHESTRA / SCORES, INC. / NEW YORK CITY // KALMUS MINIATURE / ORCHESTRA SCORES / [vignette*] / IGOR / STRAVINSKY / FIRE BIRD Suite / (Suite de l’Oiseau de Feu) / Re-orchestrated by the composer in 1919 / [vignette*] / Copyright 1932 by / E. F. KALMUS ORCHESTRA SCORES / INCORPORATED / 209 W. 57th Street, New York / Printed in U. S. A. // (Pocket score sewn 13,4 x 18,4 ([kl. 8°]); 78 [78] pages + 4 cover pages black-blue on light grey [ decorative front cover title in a frame 0.5 cm with oval sections of text encircled by ornaments, 2 empty pages, page with publisher’s advertisements >KALMUS MINIATURE ORCHESTRA SCORES<** without production date] + 4 pages front matter [empty page, page with photo 6.8 x 10 looking straight ahead, title page in ornamental frame 11 x 15 = 0.9 horizontal 0.8 vertical, index > FIRE BIRD SUITE < >The Suite is divided into six section< with opening lines] + 2 pages back matter [empty pages]; title head >FIRE BIRD SUITE / ( Suite de l’Oiseau de Feu )<; author specified 1st page of the score below title head paginated p. 1 flush right >Igor Stravinsky<; without legal reservation; without plate number; without production indication; without end mark) // (1932)

* Dividing horizontal line of 7.6.

** Compositions are advertised from >BEETHOVEN< to >WEBER<, amongst these >STRAUSS, RICHARD* / No. 40, Till Eulenspiegel / STRAWINSKY* / No. 41, Fire-Bird Suite< >* This copy is not to be sold in countries / of the Berne Copyright Convention.<

10-24^Straw

Strawinsky hat in seinem Nachlaßexemplar mit anderer, nämlich durchgehender Bezifferung seine Fassung für 1945 umgeschrieben. Die Seitenzahl erhöht sich dadurch auf 77. Das Exemplar ist ohne Außentitel und nachgeheftet.

10-25 STRAWINSKY / Scherzo* / tiré du Ballet / L'oiseau de feu / [vignette] / Transcription pour Violon et Piano / par / I. STRAWINSKY et S. DUSHKIN / EDITION SCHOTT No. 2250 // IGOR STRAWINSKY** / L'OISEAU DE FEU / BALLET / [Asterisk] / Transcriptions pour Violon et Piano / par l'auteur: / [#] Edition Schott / [#] No. / Prélude et Ronde des princesses*** No. 2080 / Berceuse*** 2081 / [°°°] / Nouvelle Transcription pour Violon et Piano / par I. Strawinsky et S. Dushkin / [#] Edition Schott / [#] No. / Berceuse*** 2186 / Scherzo*** 2250 / B. SCHOTT'S SÖHNE [#°] SCHOTT & Co., LTD. / MAINZ und LEIPZIG [#°] LONDON W. 1, 48 Great Marlborough Str / Paris: Editions Max Eschig [#°] New-York: 25 West 45th St. NY. City / 48 Rue de Rome et 1, Rue de Madrid [#°] Associated Music Publishers Inc. / Tous droits d'édition, d'exécution publique, de traduction, de reproduction et d'arrangements réservés. / Imprimé en Allemagne – Printed in Germany / [°°] // (Edition for violin and piano stapled 24,2 x 31 (2° [4°]); 7 [6] pages + 4 cover pages [front cover title with vignette 1,2 x 1,6 stylised bird (viewed from thr front) facing right, 2 empty pages, page with publisher’s advertisements >IGOR STRAWINSKY<**** production date >963<] + 1 page front matter [title page with separating vignette°] + 1 page back matter [page with publisher’s advertisements >S. DUSHKIN<***** production date >798<] + 3 [2] pages violin part 24 x 31 enclosed [front matter title page >Violino / SCHERZO / Tiré du Ballet «L'oiseau de Feu» ~ Aus dem Ballett „Der Feuervogel“ / [flush left centred] Transcription pour Violon et Piano / par l’auteur et S. Dushkin [flush right] Igor Strawinsky<, 1st page of the score unpaginated [p. 2] identical to the score in terms of text but not in terms of layout + name of the instrument above type area between author specified >Violino<, 2. page of the score paginated p. 3, page with publisher’s advertisements >Successes [#] Welterfolg / Succès<***** production date >1072<]; title head >SCHERZO / Tiré du Ballet «L’oiseau de Feu» ~ Aus dem Ballett „Der Feuervogel“<; author specified 1st page of the score unpaginated [p. 2] below title head flush left centred >Transcription pour Violon et Piano / par l'auteur et S. Dushkin< / flush right [part without line break] >Igor Strawinsky<; legal reservation 1st page of the score above and next to 1. line title head flush left centred >Aufführungsrecht vorbehalten / Tous droits réservés< below type area flush left >Copyright 1933 by B. Schott's Söhne, Mainz / Mit Genehmigung der Firma Rob. Forberg, Leipzig als Rechtsnachfolgerin des Original - Verlegers<; plate number >B·S·S 33683<; production indication S. 7 flush right as end mark >Stich u. Druck von B. Schott's Söhne in Mainz<) // 1933

° Dividing publisher’s emblem round ø 2.1 cm wheel of Mainz in a frame containing text >PER MARE< [#] >ET TERRAS< left and right.

°° The copy of the Musikwissenschaftliches Institut der Freien Universität Berlin >A 8725.255< contains a framed stamp mark >Vom Verlage überreicht< at this point at the bottom of the page centre.

°°° Dividing horizontal line of 0.9 cm.

* Printed in red.

** Last letter Ypsilon as fancy letter.

*** Fill character (dotted line).

**** Y as fancy letter. In French, the library material is advertised without edition numbers, the compositions for sale are advertised with edition numbers behind fill character (dotted line) >Feu d’artifice. Fantaisie pour grand orchestre, op. 4 / Partition d'orchestre et Parties d'orchestre <en location> / Partition d'orchestre <format de poche>° 3464 / Réduction pour Piano à 4 mains (O. Singer)° 962 / Scherzo fantastique. Fantaisie pour grand orchestre / Partition d'orchestre et Parties d'orchestre <en location> / Partition d'orchestre <format de poche>° 3501 / Concerto pour Violon et orchestre / Partition d'orchestre et Parties d'orchestre <en location> / Partition d'orchestre <format de poche>° 3504 / Reduction°° pour Violon et Piano° 2190 / L’oiseau de feu. Ballet / Transcriptions pour Violon et Piano par l'auteur: / Prélude et Ronde des princesses° 2080 / Berceuse° 2081 / Berceuse de l’oiseau de feu. / Nouvelle°° Transcription°° pour Violon et Piano / par l'auteur et S. Dushkin° 2186 / Scherzo de l’oiseau de feu. / Transcription pour Violon et Piano par / l'auteur et S. Dushkin ° 2250 / Pastorale. Chanson sans paroles pour une voix et quatre / instruments à vent / Partition <avec réduction pour Piano>° 3399 / Parties <en location> / Belowschale. Russiane Bauernlieder. 4 Chöre für gleiche Stimmen. / Beim Heiland von Tschigissy – Herbst – Der Hecht – Freund Dicksack<. After Mainz the following places of printing are listed: Leipzig-London-Brüssel-Paris angegnext to [° fill character (dotted line); °° original spelling].

***** 32 consecutively numbered transcriptions for violin and piano with price information behind fill character (dotted line) by Samuel Dushkin are advertised from >No. 1 C. ARTOK< to >31 I. STRAWINSKY° Berceuse <L’oiseau de feu>° 2.— / 32 —° Scherzo <L’oiseau de feu>° 2.—< as well as Dushkin’s piano reduction of a violin concerto in D-major by Boccherini along with compositions of >BLAIR FAIRCHILD< from the Dushkin repertoire [° fill character (dotted line)].

***** Compositions and transcriptions for violin and piano with Noten-Incipits are advertised from >Fr. Kreisler< to >Fiocco<, Strawinsky not mentioned.

10-25^Straw

Strawinskys Nachlaßexemplar ist ohne Violinstimme und auf dem Außentitel rechts neben dem Werktitel in rot ohne Datierung mit >IStr< abgezeichnet. Es enthält Korrekturen [S. 17, Ziffer 27 ²soll gestrichen werden; desgleichen Ziffer 27 ⁷; offensichtlich desgleichen Ziffern ¹28 und 28 ¹; desgleichen S. 26, Ziffer 54 ²⁺³; S. 26: die Baßnoten von Ziffer 54 ⁴sollen zusammen mit den ersten 3 Noten von Ziffer 54 ⁵als Sechzehntel-Septole angezeichnet werden] und aufführungspraktische Eintragungen, die allerdings nur bis S. 26 reichen.

10-25⁽⁵¹⁾ STRAWINSKY / L'oiseau de feu / SCHERZO* / VIOLON ET PIANO/ EDITION SCHOTT 2250 // IGOR STRAWINSKY** / L'OISEAU DE FEU / BALLET / Feuervogel [#] Fire Bird / [Asterisk] / PIANO°° [#] Edition Schott / [#] No. / Berceuse° 2547 / Ronde des Princesses° 2548 / Transcription de Concert:°° / Danse infernale, Berceuse et Finale / par Guido Agosti° 2378 / VIOLON ET PIANO°°/ Nouvelles Transcriptions par l’sauteur et S. Dushkin: / Berceuse° 2186 / Scherzo° 2250/ Transcriptions par l’auteur: / Prélude et Ronde des princesses° 2080 / Berceuse° 2081 / Partition de Piano° 3279 / B. SCHOTT'S SÖHNE [#***] SCHOTT & C0., Ltd. / MAINZ: Weihergarten 5 [#***] LONDON W. 1: 48 Great Marlborough Str / Paris: Editions Max Eschig [#***] New-York: 25 West 45 ^thStreet / 48 Rue de Rome [#***] Associated Music Publishers Inc. / Printed in Germany – Imprimé en Allemagne // (Edition violin and piano [library binding] 24 x 31 (4° [4°]); 7 [6] pages + 4 cover pages [front cover title without vignette, 2 empty pages, page with publisher’s advertisements > Igor Strawinsky <**** production date >24<] + 1 page front matter [title page with separating vignette***] + 1 page back matter + 3 [2] pages violin part enclosed with 1 page front matter [title page > Violino°°° / Igor Strawinsky / SCHERZO/ Tiré du Ballet «L’oiseau de Feu» ~ Aus dem Ballett „Der Feuervogel“ / B. SCHOTT’S SÖHNE, MAINZ / Printed in Germany<] and 1 page back matter [page with publisher’s advertisements >ERFOLGREICHE WERKE / Grands Succès [#] Great Successes / VIOLINE & PIANO<***** production date >22<]; score and part in identical layout; title head >SCHERZO / Tiré du Ballet «L’oiseau de Feu» ~ Aus dem Ballett „Der Feuervogel“<; authors specified 1st pages of the score unpaginated [S. 2] below title head flush left centred >Transcription pour Violon et Piano / par l'auteur et S. Dushkin< / flush right >Igor Strawinsky<; name of the instrument [only] part 1st page of the score above title head flush left underlined > Violino<; legal reservation 1st page of the score below type area flush left >Copyright 1933 by B. Schott’s Söhne, Mainz / Mit Genehmigung der Firma Rob. Forberg, Leipzig als Rechtsnachfolgerin des Original - Verlegers<; plate number >B·S·S 33683<; production indication score p. 7 [part: p. 3 flush right as end mark >Stich u. Druck von B. Schott's Söhne in Mainz<) // (1951)

* Printed in red.

** Last letter Ypsilon as fancy letter.

° Fill character (dotted line).

°° Centre.

°°° At the top of the page flush left, the following text of the title page is centre.

*** Dividing publisher’s emblem round ø 2.2 cm wheel of Mainz in a frame containing text >PER MARE< [#] >ET TERRAS< left and right, spanning more than four lines.

**** In French, the library material is advertised without edition numbers, the compositions for sale are advertised with edition numbers behind fill character (dotted line) >Concerto per due Pianoforti soli 2520 / Feu d'artifice. Fantaisie pour grand orchestre, opus 4 / Partition d'orchestre et Parties d'orchestre (en location) / Partition d'orchestre (format de poche) 3464 / Réduction pour Piano à 4 mains (O. Singer) 962 / Scherzo fantastique. Fantaisie pour grand orchestre / Partition d'orchestre et Parties d'orchestre (en location) / Partition d'orchestre (format de poche) 3501 / Symphonie en Ut pour grand orchestre / Partition d'orchestre et Parties d'orchestre (en location) / Partition d'orchestre (format de poche) 3536 / Concerto pour Violon et orchestre / Partition d'orchestre et Parties d'orchestre (en location) / Partition d'orchestre (format de poche) 3504 / Réduction pour Violon et Piano 2190 / Jeu de cartes. Ballet / Partition d'orchestre et Parties d'orchestre (en location) / Partition d'orchestre (format de poche) 3511 / Partition de Piano 3296 / L'oiseau de feu. Ballet / Partition de Piano 3279 / Piano: / Berceuse 2547 / Ronde des princesses 2548 / Danse infernale, Berceuse et Finale (Transcription par Guido Agosti) 2378 / Violon et Piano: / Berceuse (Transcription par l'auteur) 2081 / Prélude et Ronde des princesses° Transcription par l'auteur) 2080 / Berceuse (Transcription par l'auteur et Dushkin) 2186 / Scherzo (Transcription par l'auteur et Dushkin) 2280) / Pastorale. Chanson sans paroles / Chant et Piano 2295 / Chant et 4 instruments à vent°° [#] Partition°°° 3399 / [#] Parties (en location) / Violon et Piano (par Strawinsky et Dushkin) 2294 / Violon et 4 instruments à vent°° [#] Partition°°° 3313 / Parties (en location) / Belowschale. Russiane Bauernlieder. 4 Chöre für gleiche Stimmen. / Beim Heiland von Tschigissy – Herbst – Der Hecht – Freund Dicksack< [° missing round bracket original; °° fill character (dotted line); °°° without fill character (dotted line)].

***** Strawinsky not mentioned.

10-26 STRAWINSKY / Danse infernale,* / Berceuse et Final* / tiré du Ballet / L'oiseau de feu / [vignette] / Transcriptions pour Piano / par / GUIDO AGOSTI / EDITION SCHOTT No. 2378 // IGOR STRAWINSKY° / L'OISEAU DE FEU / BALLET / [Asterisk] / DANSE INFERNALE / BERCEUSE / FINAL / [Asterisk] / Transcriptions pour Piano / par / GUIDO AGOSTI / B. SCHOTT'S SÖHNE [#**] SCHOTT & Co., LTD. / MAINZ und LEIPZIG [#**] LONDON W. 1, 48 Great Marlborough Str*** / [°°] [#**] [°°] / Paris: Editions Max Eschig [#**] New-York: 25 West 45th St. NY. City / 48 Rue de Rome et 1, Rue de Madrid [#**] Associated Music Publishers Inc. / Tous droits d'édition, d'exécution publique, de traduction, de reproduction et d'arrangements réservés. / Imprimé en Allemagne – Printed in Germany //. (Edition for piano stapled 23 x 30.3 (4° [4°]); 26 [24] pages + 4 cover pages black with red on yellow beige [front cover title with vignette 0.7 x 1.6 stylised bird facing right, 2 empty pages, empty page with with centre centred publisher’s emblem rectangular 2.4 x 3.8 lion with wheel of Mainz in its paws and with writing encircling >B · SCHOTT’S SÖHNE [#] PER MARE [#] MAINZ UND LEIPZIG [#] ET TERRAS<] + 2 pages front matter [title page, page with dedication handwritten printed in line etching >Questa trascripione e dedicata alla memoria di / Ferruccio Busoni. / GuidoAgosti/ (Fonte dei Marini, agosto – Berlino, ottobre 1928.)<] + 2 pages back matter [empty page, page with publisher’s advertisements >IGOR STRAWINSKY<**** production date >963<]; title head >L'OISEAU DE FEU< with movement title [1. page of the score:] >Danse infernale du roi Kastcheï< p. 17: >Berceuse< p. 20: >Finale<; authors specified 1st page of the score unpaginated [p. 3] above type area flush right >Igor Strawinsky< below subtitle flush left centred >Transcription par / Guido Agosti<; legal reservations 1st page of the score above main title flush left centred >Tous droits réservés / Aufführungsrecht vorbehalten< below type area flush left >Copyright 1934 by B. Schott's Söhne, Mainz<; plate numbers [Danse infernale pp. 3-16:] >B·S·S 34118<, [Berceuse pp. 17-19:] >B·S·S 34119< [Final pp. 20-26:] >B·S·S 34120<; production indication p. 26 flush right as end mark >Stich u. Druck B. Schott's Söhne in Mainz<) / (1934)

° Ypsilon as fancy letter.

°° Dividing horizontal line of 0.4 cm line.

* Printed in red; >Final< in later editions corrected as >Finale<; advertisement back matter: >Finale<.

** A round separating publisher’s emblem ø 2.2 covering more than four lines lion with wheel of Mainz in the frame in its paws and containing text >PER MARE< # >ET TERRAS< left and right.

*** As superscript.

**** Y as fancy letter. In French, the library material is advertised without edition numbers, the compositions for sale are advertised with edition numbers behind fill character (dotted line) >Feu d’artifice. Fantaisie pour grand orchestre, op. 4 / Partition d'orchestre et Parties d'orchestre <en location> / Partition d'orchestre <format de poche>° 3464 / Réduction pour Piano à 4 mains (O. Singer)° 962 / Scherzo fantastique. Fantaisie pour grand orchestre / Partition d'orchestre et Parties d'orchestre <en location> / Partition d'orchestre <format de poche>° 3501 / Concerto pour Violon et orchestre / Partition d'orchestre et Parties d'orchestre <en location> / Partition d'orchestre <format de poche>° 3504 / Reduction°°° pour Violon et Piano° 2190 / L’oiseau de feu <Der Feuervogel>. Ballet, Partition de piano°°° 3279 / Transcriptions pour Piano par Guido Agosti: / Danse infernale, Berceuse et Finale° 2378 / Transcriptions pour Violon et Piano par l'auteur: / Prélude et Ronde des princesses° 2080 / Berceuse° 2081 / Nouvelle°°° Transcription°°° pour Violon et Piano par / l'auteur et S. Dushkin / Berceuse° 2186 / Scherzo° 2280 / Pastorale. Chanson sans paroles / Chant et Piano° 2295 / Chant et 4 instruments à vent° Partition 3399 / Parties <en location> / Violon et Piano <par Strawinsky et Dushkin>° 2294 / Violon et 4 instruments à vent <Oboe, Corno inglese, / Clarinetto in la, Fagotto>° Partition°° 3313 / Parties°°° / Belowschale. Russiane Bauernlieder, 4 Chöre für gleiche Stimmen. / Beim Heiland von Tschigissy – Herbst – Der Hecht – Freund Dicksack<. After Mainz the following places of printing are listed: Leipzig-London-Brüssel-Paris [° fill character (dotted line); °° without fill character (dotted line); °°° original spelling;].

10-26 ^[48] I. STRAWINSKY / L'oiseau de feu / Danse infernale*, / Berceuse et Finale* / Transcription pour Piano / par / GUIDO AGOSTI / [vignette*] / EDITION SCHOTT 2378 // IGOR STRAWINSKY° / L'OISEAU DE FEU / Feuervogel [#] Fire Bird / Ballet / [Asterisk] / PIANO°°+ [#] Edition Schott°° / No.°° / Berceuse** 2547 / Ronde des Princesses** 2548 / Transcription de Concert: / Danse infernale, Berceuse et Finale/ par Guido Agosti** 2378/ VIOLON ET PIANO+ / Nouvelles Transcriptions par l'auteur et S. Dushkin: / Berceuse** 2186 / Scherzo** 2250 / Transcriptions par l'auteur: / Prélude et Ronde des princesses** 2080 / Berceuse** 2081 / [°°] / Partition de Piano** 3279 / B. SCHOTT'S SÖHNE [***] SCHOTT & Co. Ltd. / MAINZ: Weihergarten 5 [***] London W. 1: 48 Great Marlborough Str. / Paris: Editions Max Eschig [***] New-York: 25 West 45th Street / 48 Rue de Rome [***] Associated Music Publishers Inc. / Printed in Germany – Imprimé en Allemagne // (Edition for pino [library binding] 23 x 30.2 (2° [4°]); 26 [26] pages + 4 cover pages black-orange on light beige [front cover title with vignette light orange 1.4 x 1.7 stylised bird facing right, 2 empty pages, empty page with publisher’s emblem black oval 2.8 x 3.6 wheel of Mainz in a frame containing text in bottom half >PER MARE< [#] >ET TERRAS< left and right ] + 2 pages front matter [title page, 2 pages front matter [title page, page with dedication handwritten printed in line etching > Questa trascripione e dedicata alla memoria di / Ferruccio Busoni. / GuidoAgosti / (Fonte dei Marini, agosto – Berlino, ottobre 1928.) <] + 2 pages back matter [empty page, page with publisher’s advertisements >IGOR STRAWINSKY<**** without production date + French statement of permission); title head >L' OISEAU DE FEU< with movement title [1. page of the score:] >Danse infernale du roi Kastcheï< p. 17: >Berceuse< p. 20: >Finale<; arranger specified 1st page of the score below movement title flush left centred >Transcription par / Guido Agosti<; author specified 1st page of the score unpaginated [S. 3] below arranger specified flush right >Igor Strawinsky<; legal reservation 1st page of the score below type area flush left >Copyright 1934 by B. Schott's Söhne, Mainz<; plate numbern [Danse infernale [pp. 3] -16:] >B·S·S 34118< [Berceuse pp. 17-19:] >B·S·S 34119< [Finale pp. 21-26:] >B·S·S 34120<; [printed] statement of permission advertisements below framed advertising block flush left in a text box containing centred >G. M. Z. F. O. / Visa No 5930 de la Direction de l’Education Publique / AUTORISATION No 2440 de la Direction de l’Information<) production indication p. 26 flush right as end mark >Stich u. Druck von B. Schott's Söhne in Mainz<) // [1948]

+ centre.

° Ypsilon as fancy letter.

°° >No.< appears centred below >Edition Schott<, and both lines together have the same point size as the >PIANO< that precedes it in the same line height.

°°° Dividing horizontal line of 0.9 cm.

* Printed in red.

** Fill character (dotted line).

*** A round separating vignette ø 2.2 wheel of Mainz in a frame containing text in bottom half >PER MARE< [#] >ET TERRAS< left and right.

**** In French, the library material is advertised without edition numbers, the compositions for sale are advertised with edition numbers behind fill character (dotted line) >Concerto per due Pianoforti soli° 2520 / Feu d'artifice. Fantaisie pour grand orchestre, opus 4 / Partition d'orchestre et Parties d'orchestre (en location) / Partition d'orchestre (format de poche)° 3464 / Réduction pour Piano à 4 mains (O. Singer)° 962 / Scherzo fantastique. Fantaisie pour grand orchestre / Partition d'orchestre et Parties d'orchestre (en location) / Partition d'orchestre (format de poche)° 3501 / Symphonie en Ut pour grand orchestre / Partition d'orchestre et Parties d'orchestre (en location) / Partition d'orchestre (format de poche)° 3536 / Concerto pour Violon et orchestre / Partition d'orchestre et Parties d'orchestre (en location) / Partition d'orchestre (format de poche)° 3504 / Réduction pour Violon et Piano° 2190 / Jeu de cartes. Ballet / Partition d'orchestre et Parties d'orchestre (en location) / Partition d'orchestre (format de poche)° 3511 / Partition de Piano° 3296 / L'oiseau de feu. Ballet / Partition de Piano° 3279 / Piano: / Berceuse° 2547 / Ronde des princesses° 2548 / Danse infernale, Berceuse et Finale (Transcription par Guido Agosti) 2378 / Violon et Piano: / Berceuse (Transcription par l'auteur)° 2081 / Prélude et Ronde des princesses°° Transcription par l'auteur)° 2080 / Berceuse (Transcription par l'auteur et Dushkin)° 2186 / Scherzo (Transcription par l'auteur et Dushkin)° 2280) / Pastorale. Chanson sans paroles / Chant et Piano° 2295 / Chant et 4 instruments à vent°° [#] 3399 / [#] Parties (en location) / Violon et Piano (par Strawinsky et Dushkin)° 2294 / Violon et 4 instruments à vent° Partition 3313 / [#] Parties (en location) / Belowschale. Russiane Bauernlieder. 4 Chöre für gleiche Stimmen. / Beim Heiland von Tschigissy – Herbst – Der Hecht – Freund Dicksack< [° fill character (dotted line); °° missing round bracket original].

10-27 1935 Supplication of the Firebird Transcription violin and piano (David J. Grunes); Edition A. Fassio; 6. S. [unidentified].

10-29^[48] Strawinsky / L'oiseau de feu / Ronde des Princesses* / PIANO / [vignette*] / EDITION SCHOTT No. 2548 // IGOR STRAWINSKY** / L'OISEAU DE FEU / Feuervogel [#] Fire Bird / Ballet / [Asterisk] / PIANO [#] Edition Schott / No.*** / Berceuse [****] 2547 / Ronde des Princesses [****] 2548 / Transcription de Concert / Danse infernale, Berceuse et Finale / par GUIDO AGOSTI [****] 2378 / VIOLON ET PIANO / Nouvelles Transcriptions par l'auteur et S. Dushkin: / Berceuse [****] 2186 / Scherzo [****] 2250 / Transcriptions par l'auteur: / Prélude et Ronde des princesses [****] 2080 / Berceuse [****] 2081 / Partition de Piano [****] 3279 / B. SCHOTT'S SÖHNE [******] SCHOTT & CO. Ltd. / MAINZ: Weihergarten 5 [******] London W. 1: 48 Great Marlborough Str. / Paris: Editions Max Eschig [******] New-York: 25 West 45 th Street / 48 Rue de Rome [******] Associated Music Publishers Inc. / Printed in Germany – Imprimé en Allemagne // (Edition stapled 22.8 x 29.8 (4° [Lex. 8°]); 7 [6] pages + 4 cover pages thicker paper black light orange on auf peach-coloured linen structured [front cover title with light orange vignette 1.3 x 1.7 stylised bird facing right, 2 empty pages, empty page with black publisher’s emblem oval 2.8 x 3.5 wheel of Mainz in a frame containing text in bottom half >PER MARE< [#] >ET TERRAS< left and right] + 1 page front matter [title page] + 1 page back matter [page with publisher’s advertisements >IGOR STRAWINSKY<***** without production date]; title head >Ronde des princesses / L’oiseau de feu<; authors specified 1st page of the score unpaginated [S. 2] below title head flush right >Igor Strawinsky< flush left >arr. par F. Willms<; legal reservation 1st page of the score below type area flush left >Copyright 1937 by B. Schott's Söhne, Mainz<; plate number >B·S·S 34985<; printed French statement of permission advertising page below advertising block left centred framed >Visé par la Direction de l'Education Publique / Autorisé par la Direction de l'Information / G. M. Z. F. O.<; production indication p. 7 flush right as end mark >Stich u. Druck von B. Schott's Söhne in Mainz<) // [1948]

* Printed in light orange red.

** Y as fancy letter.

*** >No.< appears centred below >Edition Schott<, and both lines together have the same point size as the >PIANO< that precedes it in the same line height.

**** fill character (dotted line).

***** In French, the library material is advertised without edition numbers, the compositions for sale are advertised with edition numbers behind fill character (dotted line) >Concerto per due Pianoforti soli° 2520 / Feu d'artifice. Fantaisie pour grand orchestre, opus 4 / Partition d'orchestre et Parties d'orchestre (en location) / Partition d'orchestre (format de poche)° 3464 / Réduction pour Piano à 4 mains (O. Singer)° 962 / Scherzo fantastique. Fantaisie pour grand orchestre / Partition d'orchestre et Parties d'orchestre (en location) / Partition d'orchestre (format de poche)° 3501 / Symphonie en Ut pour grand orchestre / Partition d'orchestre et Parties d'orchestre (en location) / Partition d'orchestre (format de poche)° 3536 / Concerto pour Violon et orchestre / Partition d'orchestre et Parties d'orchestre (en location) / Partition d'orchestre (format de poche)° 3504 / Réduction pour Violon et Piano° 2190 / Jeu de cartes. Ballet / Partition d'orchestre et Parties d'orchestre (en location) / Partition d'orchestre (format de poche)° 3511 / Partition de Piano° 3296 / L'oiseau de feu. Ballet / Partition de Piano° 3279 / Piano: / Berceuse° 2547 / Ronde des princesses° 2548 / Danse infernale, Berceuse et Finale (Transcription par Guido Agosti)° 2378 / Violon et Piano: / Berceuse (Transcription par l'auteur)° 2081 / Prélude et Ronde des princesses °°Transcription par l'auteur)° 2080 / Berceuse (Transcription par l'auteur et Dushkin)° 2186 / Scherzo (Transcription par l'auteur et Dushkin)° 2280) / Pastorale. Chanson sans paroles / Chant et Piano° 2295 / Chant et 4 instruments à vent° Partition 3399 / [#] Parties (en location) / Violon et Piano (par Strawinsky et Dushkin)° 2294 / Violon et 4 instruments à vent° Partition 3313 / [#] Parties (en location) / Unterschale. Russiche Bauernlieder. 4 Chöre für gleiche Stimmen. / Beim Heiland von Tschigissy – Herbst – Der Hecht – Freund Dicksack< [° missing round bracket original; ° fill character (dotted line)].

****** Publisher’s divided emblem without colour round ø 2,2 spanning four lines wheel of Mainz in a frame containing text in bottom half >PER MARE< [#] >ET TERRAS< left and right].

10-30 1938 Ronde des princesses Transcription for Piano (Paul Kay); Axelrod-Music Providence; 6 S.; Pl.-Nr. A. M. 513-4; Ed.-Nr. 513 [unidentified].

10-31 1940 Berceuse / Transcription for strings / Full score (Quinto Maganini); Edition Musicus New York; 3. S. 23,2 x 29,2 (4°); without Pl.-Nr. [unidentified].

10-32 1940 Berceuse / Transckription for strings / Full score with set of parts (Quinto Maganini) [unidentified].

10-32^St 1940 Berceuse / Transkription for strings / additional parts (Quinto Maganini) [unidentified].

10-34 1940 Berceuse / Transkription for strings / Conductor’s score (Quinto Maganini) [unidentified].

10-35 No. 11503 / SCHERZO / (JEUX DES PRINCESSES) / From “L'OISEAU DE FEU” / (THE FIREBIRD) / [#*] For / [#*] PIANO SOLO / [#*] by / [#*] IGOR STRAVINSKY / Price 50c net / EDWARD B. MARKS MUSIC COPRPORATION / RCA Building · Radio City / NEW YORK / PRINTED IN U.S.A. // (Edition not sewn 23 x 30.3 (4° [4°]); 7 [5] pages + cover [ornamental front cover title in wine-red with two ornamental text backgrounds decorated with bows on the left of the page 18 x 9.5 (16) + 10 (11) x 3 (3.9), gold on a wine-red background, 2 empty pages, page with publisher’s advertisements >FAMOUS COMPOSITIONS FOR PIANO SOLO / By / IGOR STRAVINSKY<**] without front matter + 1 page back matter [page with publisher’s advertisements >KALEIDOSCOPE [vignette***] EDITION / A NEW SERIES OF MUSIC FOR PIANO BY CONTEMPORARY COMPOSERS / PART ONE<**** without production date]; title head >SCHERZO /Jeux des Princesses) / From “L'OISEAU DE FEU” / (THE FIREBIRD); / authors specified 1st page of the score paginated p. 3 below title head flush right >IGOR STRAVINSKY< flush left >Arranged by / FREDERICK BLOCK<; legal reservation 1st page of the score below type area centre >Copyright MCMXLI by Edward B. Marks Music Corporation. / [inside left] All Rights Reserved.<; production indication 1st page of the score below type area below 1. line legal reservation inside right >Printed in U. S. A.<; plate number >11503-5<; without end mark) // (1941)

* On the left side of the page, the publisher’s emblem spanning four to five lines 1.9 x 3.1 (in a semicircular arch in a four-line system running in left and out flush right:] >KALEIDOSCOPE< / [vignette 1.4 x 2.1 Pianist at a grand piano with a raised lid] / [a standard sentence in a five-line system running in left and out flush right:] >EDITION<.

** 17 compositions are advertised with edition numbers and price information behind fill character (dotted line) >11507 CHEZ PETROUSHKA from “Petroushka” $ .60 / 11508 DANSE DE LA FOIRE from “Petroushka” .60 / 10619 DANSE RUSSE from “Petroushka” .60 / 11510 DANSE DES ADOLESCENTS from “Sacre du Printemps” .50 / 11509 Ronde PriNtaniere “Sacre du Printemps” .50 / 11506 Tourneys of the rival TRIBES from “Sacre du Printemps” .50 / 11504 DEVILS DANCE from “Tale of the Soldier” (Histoire du Soldat) .50 / 11516 BERCEUSE AND FINALE from “Firebird” (Oiseau de Feu) .50 / 11517 DANSE INFERNALE from “Firebird” .75 / 11534 RONDE DES PRINCESSES from “Firebird” .60 / 11503 SCHERZO from “Firebird” .50 / 11514 SUPPLICATION from “Firebird” .60 / 11502 MARCHE CHINOISE from “Chant du Rossignol” .75 / 11518 CHANT DU ROSSIGNOL from “Rossignol” .50 / 11515 PASTORALE .50 / 11505 NAPOLITANA from “Suite of 5 Pieces” .50 / 10342 ETUDE Op. 7, No. 4 (F# Major) .60<

*** Pianist at a grand piano with a raised lid.

**** Compositions are advertised in alphabetical order from >I. Albeniz< to >E. Lecuona<, Strawinsky not mentioned.

10-36 No. 11514 / SUPPLICATIONS / From “L'OISEAU DE FEU” / (THE FIREBIRD) / [#*] For / [#*] PIANO SOLO / [#*] by / [#*] IGOR STRAVINSKY / Price 60c net / EDWARD B. MARKS MUSIC COPRPORATION / RCA Building · Radio City / NEW YORK / PRINTED IN U.S.A. // (Edition not sewn 23 x 30.3 (4° [4°]); 8 [6] pages + cover [ornamental front cover title in wine-red with two ornamental text backgrounds decorated with bows on the left of the page 18 x 9.5 (16) + 10 (11) x 3 (3.9), gold on a wine-red background, 2 empty pages, page with publisher’s advertisements >FAMOUS COMPOSITIONS FOR PIANO SOLO / By / IGOR STRAVINSKY<**] + 2 pages front matter [empty pages] without back matter; title head >SUPPLICATIONS / From “L'OISEAU DE FEU” / The Firebird<; authors specified 1st page of the score paginated p. 3 below title head flush right >IGOR STRAVINSKY< flush left >Arranged by / FREDERICK BLOCK<; legal reservation 1st page of the score below type area centre >Copyright MCMXLI by Edward B. Marks Music Corporation. / [inside left] All Rights Reserved.<; production indication 1st page of the score below type area below 1. line legal reservation inside right >Printed in U. S. A.<; plate number >11514-6<; without end mark) // (1941)

* On the left side of the page, the publisher’s emblem spanning four to five lines 1.9 x 3.1 (in a semicircular arch in a four-line system running in left and out flush right:] >KALEIDOSCOPE< / [vignette 1.4 x 2.1 Pianist at a grand piano with a raised lid] / [a standard sentence in a five-line system running in left and out flush right:] >EDITION<.

** 17 compositions are advertised with edition numbers and price information behind fill character (dotted line) >11507 CHEZ PETROUSHKA from “Petroushka” $ .60 / 11508 DANSE DE LA FOIRE from “Petroushka” .60 / 10619 DANSE RUSSE from “Petroushka” .60 / 11510 DANSE DES ADOLESCENTS from “Sacre du Printemps” .50 / 11509 Ronde PriNtaniere “Sacre du Printemps” .50 / 11506 Tourneys of the rival TRIBES from “Sacre du Printemps” .50 / 11504 DEVILS DANCE from “Tale of the Soldier” (Histoire du Soldat) .50 / 11516 BERCEUSE AND FINALE from “Firebird” (Oiseau de Feu) .50 / 11517 DANSE INFERNALE from “Firebird” .75 / 11534 RONDE DES PRINCESSES from “Firebird” .60 / 11503 SCHERZO from “Firebird” .50 / 11514 SUPPLICATION from “Firebird” .60 / 11502 MARCHE CHINOISE from “Chant du Rossignol” .75 / 11518 CHANT DU ROSSIGNOL from “Rossignol” .50 / 11515 PASTORALE .50 / 11505 NAPOLITANA from “Suite of 5 Pieces” .50 / 10342 ETUDE Op. 7, No. 4 (F# Major) .60<.

10-37 No. 11516 / BERCEUSE AND FINALE / From “L'OISEAU DE FEU” / (THE FIREBIRD) / [#*] For / [#*] PIANO SOLO / [#*] by / [#*] IGOR STRAVINSKY / Price 50c net / EDWARD B. MARKS MUSIC COPRPORATION / RCA Building · Radio City / NEW YORK / PRINTED IN U.S.A. // (Edition not sewn 23 x 30.3 (4° [4°]); 6 [4] pages + cover [ornamental front cover title in wine-red with two ornamental text backgrounds decorated with bows on the left of the page 18 x 9.5 (16) + 10 (11) x 3 (3.9), gold on a wine-red background, 2 empty pages, page with publisher’s advertisements >FAMOUS COMPOSITIONS FOR PIANO SOLO / By / IGOR STRAVINSKY<**] without front matter without back matter; title head >BERCEUSE AND FINALE / From “L'OISEAU DE FEU”; authors specified 1st page of the score paginated p. 3 below title head flush right >IGOR STRAVINSKY< flush left italic >Arranged by / FREDERICK BLOCK<; legal reservation 1st page of the score below type area centre >Copyright MCMXLI by Edward B. Marks Music Corporation. / [inside left] All Rights Reserved.<; production indication 1st page of the score below type area below 1. line legal reservation inside right >Printed in U. S. A.<; plate number >11516-4<; without end mark) // (1941)

* On the left side of the page, the publisher’s emblem spanning four to five lines 1.9 x 3.1 (in a semicircular arch in a four-line system running in left and out flush right:] >KALEIDOSCOPE< / [vignette 1.4 x 2.1 Pianist at a grand piano with a raised lid] / [a standard sentence in a five-line system running in left and out flush right:] >EDITION<.

** 17 compositions are advertised with edition numbers and price information behind fill character (dotted line) >11507 CHEZ PETROUSHKA from “Petroushka” $ .60 / 11508 DANSE DE LA FOIRE from “Petroushka” .60 / 10619 DANSE RUSSE from “Petroushka” .60 / 11510 DANSE DES ADOLESCENTS from “Sacre du Printemps” .50 / 11509 Ronde PriNtaniere “Sacre du Printemps” .50 / 11506 Tourneys of the rival TRIBES from “Sacre du Printemps” .50 / 11504 DEVILS DANCE from “Tale of the Soldier” (Histoire du Soldat) .50 / 11516 BERCEUSE AND FINALE from “Firebird” (Oiseau de Feu) .50 / 11517 DANSE INFERNALE from “Firebird” .75 / 11534 RONDE DES PRINCESSES from “Firebird” .60 / 11503 SCHERZO from “Firebird” .50 / 11514 SUPPLICATION from “Firebird” .60 / 11502 MARCHE CHINOISE from “Chant du Rossignol” .75 / 11518 CHANT DU ROSSIGNOL from “Rossignol” .50 / 11515 PASTORALE .50 / 11505 NAPOLITANA from “Suite of 5 Pieces” .50 / 10342 ETUDE Op. 7, No. 4 (F# Major) .60<.

10-38 No. 11517 / DANSE INFERNALE / From “L'OISEAU DE FEU” / (THE FIREBIRD) / [#*] For / [#*] PIANO SOLO / [#*] by / [#*] IGOR STRAVINSKY / Price 75c net / EDWARD B. MARKS MUSIC COPRPORATION / RCA Building · Radio City / NEW YORK / PRINTED IN U. S. A. // (Edition not sewn 23 x 30.3 (4°); 14 [12] pages + 4 cover pages [ornamental front cover title in wine-red with two ornamental text backgrounds decorated with bows on the left of the page 18 x 9.5 (16) + 10 (11) x 3 (3.9), gold on a wine-red background, 2 empty pages, page with publisher’s advertisements >FAMOUS COMPOSITIONS FOR PIANO SOLO / By / IGOR STRAVINSKY<**] without front matter; without back matter; title head >DANSE INFERNALE / From “L'OISEAU DE FEU” / (THE FIREBIRD); authors specified 1st page of the score paginated p. 3 below title head flush right >IGOR STRAVINSKY< flush left italic >Arranged by / FREDERICK BLOCK<; legal reservation 1st page of the score below type area centre >Copyright MCMXLI by Edward B. Marks Music Corporation. / [inside left] All Rights Reserved.<; production indication 1st page of the score below type area below 1. line legal reservation inside right >Printed in U. S. A.<; plate number >11517-12<; without end mark) // (1941)

* On the left side of the page, the publisher’s emblem spanning four to five lines 1.9 x 3.1 (in a semicircular arch in a four-line system running in left and out flush right:] >KALEIDOSCOPE< / [vignette 1.4 x 2.1 Pianist at a grand piano with a raised lid] / [a standard sentence in a five-line system running in left and out flush right:] >EDITION<.

** 17 compositions are advertised with edition numbers and price information behind fill character (dotted line) >11507 CHEZ PETROUSHKA from “Petroushka” $ .60 / 11508 DANSE DE LA FOIRE from “Petroushka” .60 / 10619 DANSE RUSSE from “Petroushka” .60 / 11510 DANSE DES ADOLESCENTS from “Sacre du Printemps” .50 / 11509 Ronde PriNtaniere “Sacre du Printemps” .50 / 11506 Tourneys of the rival TRIBES from “Sacre du Printemps” .50 / 11504 DEVILS DANCE from “Tale of the Soldier” (Histoire du Soldat) .50 / 11516 BERCEUSE AND FINALE from “Firebird” (Oiseau de Feu) .50 / 11517 DANSE INFERNALE from “Firebird” .75 / 11534 RONDE DES PRINCESSES from “Firebird” .60 / 11503 SCHERZO from “Firebird” .50 / 11514 SUPPLICATION from “Firebird” .60 / 11502 MARCHE CHINOISE from “Chant du Rossignol” .75 / 11518 CHANT DU ROSSIGNOL from “Rossignol” .50 / 11515 PASTORALE .50 / 11505 NAPOLITANA from “Suite of 5 Pieces” .50 / 10342 ETUDE Op. 7, No. 4 (F# Major) .60<.

10-39^Alb SCHERZO / (Jeux des Princesses) / From L’OISEAU DE FEU (FIREBIRD) // ([in:] CONTEMPORARY MASTERPIECES · ALBUM No. 9 / ALBUM OF / IGOR STRAVINSKY / MASTERPIECES / [photo] / SELECTED COMPOSITIONS for PIANO SOLO / PRICE $1.00 NET / MADE / IN U.S.A. / EDWARD B. MARKS MUSIC CORPORATION · RCA BLDG. · RADIO CITY · NEW YORK; [library binding] 87 [85] pages + 4 cover pages black light orange on cream [front cover titel laid out with photo of Strawinsky facing left, 2 empty pages, page with publisher’s advertisements >ALBUMS OF CONTEMPORARY MASTERPIECES<* without production date] + 1 page back matter [page with publisher’s advertisements >KALEIDOSCOPE EDITION / A NEW SERIES FOR PIANO BY CONTEMPORARY COMPOSERS<** without production date) // (5 p. [pp. 57-61], arranger specified 1st page of the score paginated p. 57 below title head flush left centred >Arranged by / FREDERICK BLOCK<; author specified below arranger specified flush right >IGOR STRAVINSKY<; legal reservation with production indication 1st page of the score below type area centre >Copyright MCMXLI by Edward B. Marks Music Corporation. / All Rights reserved. [#] Printed in U. S. A.<; plate number >11503-5<; without end mark S. 61e) // 1941

* 6 Albums are advertised (Albeniz, Debussy, Dohnányi, Rachmaninoff, Ravel, Scriabine).

** Compositions are advertised under the heading >PART ONE< by Albeniz, Borodin, Bortkiewitz, Chabrier, Chavarri, Debussy, Dohnanyi, Dukas, Enescu, de Falla, Faure, Granados. Gliere, Holmes, Ippolitow-Iwanow, Juon, Lareglia, Lecuosa; Strawinsky not mentiond.

10-40^Alb Supplications / From “L’OISEAU DE FEU” / The Firebird // ([in:] CONTEMPORARY MASTERPIECES · ALBUM No. 9 / ALBUM OF / IGOR STRAVINSKY / MASTERPIECES / [photo] / SELECTED COMPOSITIONS for PIANO SOLO / PRICE $1.00 NET / MADE / IN U.S.A. / EDWARD B. MARKS MUSIC CORPORATION · RCA BLDG. · RADIO CITY · NEW YORK; [library binding] 87 [85] pages + 4 cover pages black-light orange red on cream [front cover title laid out with photo of Strawinsky facing left, 2 empty pages, page with publisher’s advertisements >ALBUMS OF CONTEMPORARY MASTERPIECES<* without production date] + 1 page back matter [page with publisher’s advertisements >KALEIDOSCOPE EDITION / A NEW SERIES FOR PIANO BY CONTEMPORARY COMPOSERS<** without production date) // (7 p. [pp. 62-67], arranger specified 1st page of the score paginated p. 45 below title head flush left centred >Arranged by / FREDERICK BLOCK<; author specified below arranger specified flush right >IGOR STRAVINSKY<; legal reservation with production indication 1st page of the score below type area centre >Copyright MCMXLI by Edward B. Marks Music Corporation. / All Rights reserved. [#] Printed in U. S. A.<; plate number >11514-6<; without end mark S. 67) // 1941

* 6 Albums are advertised (Albeniz, Debussy, Dohnányi, Rachmaninoff, Ravel, Scriabine).

** Compositions are advertised in columns under the heading >PART ONE< by Albeniz, Borodin, Bortkiewitz, Chabrier, Chavarri, Debussy, Dohnanyi, Dukas, Enescu, de Falla, Faure, Granados. Gliere, Holmes, Ippolitow-Iwanow, Juon, Lareglia, Lecuosa; Strawinsky not mentioned.

10-41^Alb Ronde des Princesses / (From Ballet “Firebird” // ([in:] CONTEMPORARY MASTERPIECES · ALBUM No. 9 / ALBUM OF / IGOR STRAVINSKY / MASTERPIECES / [photo] / SELECTED COMPOSITIONS for PIANO SOLO / PRICE $1.00 NET / MADE / IN U.S.A. / EDWARD B. MARKS MUSIC CORPORATION · RCA BLDG. · RADIO CITY · NEW YORK; [library binding] 87 [85] pages + 4 cover pages black light orange-red on cream [front cover title with photo of Strawinsky facing left, 2 empty pages, page with publisher’s advertisements >ALBUMS OF CONTEMPORARY MASTERPIECES<* without production date] + 1 page back matter [page with publisher’s advertisements >KALEIDOSCOPE EDITION / A NEW SERIES FOR PIANO BY CONTEMPORARY COMPOSERS<** without production date) // (5 p. [pp. 68-71], author specified 1st page of the score paginated p. 68 next to and below title head flush right centred >By / IGOR STRAWINSKY<; without legal reservation; without production indication<; without plate number; without end mark p. 71) // 1941

* 6 Albums are advertised (Albeniz, Debussy, Dohnányi, Rachmaninoff, Ravel, Scriabine).

** Compositions are advertised in columns under the heading >PART ONE< by Albeniz, Borodin, Bortkiewitz, Chabrier, Chavarri, Debussy, Dohnanyi, Dukas, Enescu, de Falla, Faure, Granados. Gliere, Holmes, Ippolitow-Iwanow, Juon, Lareglia, Lecuosa; Strawinsky not mentioned.

10-42^Alb BERCEUSE AND FINALE / From “L’OISEAU DE FEU” // ([in:] CONTEMPORARY MASTERPIECES · ALBUM No. 9 / ALBUM OF / IGOR STRAVINSKY / MASTERPIECES / [photo] / SELECTED COMPOSITIONS for PIANO SOLO / PRICE $1.00 NET / MADE / IN U.S.A. / EDWARD B. MARKS MUSIC CORPORATION · RCA BLDG. · RADIO CITY · NEW YORK; [library binding] 87 [85] pages + 4 cover pages black light orange-red on cream [front cover title with photo of Strawinsky facing left, 2 empty pages, page with publisher’s advertisements >ALBUMS OF CONTEMPORARY MASTERPIECES<* without production date] + 1 page back matter [page with publisher’s advertisements >KALEIDOSCOPE EDITION / A NEW SERIES FOR PIANO BY CONTEMPORARY COMPOSERS<** without production date) // (4 p. [pp. 84-87], arranger specified 1st page of the score paginated p. 45 below title head flush left centred italic > Arranged by / FREDERICK BLOCK <; author specified next to arranger specified flush right >IGOR STRAVINSKY<; legal reservation with production indication 1st page of the score below type area centre >Copyright MCMXLI by Edward B. Marks Music Corporation. / All Rights reserved. [#] Printed in U. S. A.<; plate number >11516-4<; without end mark S. 87) // 1941

* 6 Albums are advertised (Albeniz, Debussy, Dohnányi, Rachmaninoff, Ravel, Scriabine).

** Compositions are advertised in columns under the heading >PART ONE< by Albeniz, Borodin, Bortkiewitz, Chabrier, Chavarri, Debussy, Dohnanyi, Dukas, Enescu, de Falla, Faure, Granados. Gliere, Holmes, Ippolitow-Iwanow, Juon, Lareglia, Lecuosa; Strawinsky not mentioned.

10-47 1942 Ronde des princesses Transcription Violin-Piano; Edition Musicus New York [unidentified].

10-48 1942 Ronde des princesses Transcription Flute-Piano; Edition Musicus New York [unidentified].

10-49 1942 Ronde des princesses Transcription Oboe-Piano (Quinto Maganini); Edition Musicus New York; 7 S. [unidentified].

10-50 1942 Ronde des princesses Transcription Violin-Viola-Piano; Edition Musicus New York [unidentified].

10-51 1942 Ronde des princesses Transcription Oboe-Clarinet-Piano; Edition Musicus New York [unidentified].

10-52 1942 Ronde des princesses Transcription Oboe-Bassoon-Piano; Edition Musicus New York [unidentified].

10-53 1942 Ronde des princesses Transcription Flute-Viola-Piano; Edition Musicus New York [unidentified].

10-54 1942 Ronde des princesses Transcription Flute-Clarinet-Piano; Edition Musicus New York [unidentified].

10-55 1942 Ronde des princesses Transcription Flute-Bassoon-Piano; Edition Musicus New York [unidentified].

10-56 1943 Study for orchestra Bassoon (Gustave Dhèrin) Nr. 7 p. 4, Répertoire du Conservatoire National de Paris; Alphons Leduc Paris; 26,2 x 34,4 (2° [4°]); Pl.-Nr. A. L. 20,262.

10-57 1943 Study for orchestra Trumpet (Eugène Foveau) 2. Faszikel Nr. 7 p. 2, Répertoire du Conservatoire National de Paris; Alphons Leduc Paris; 26,2 x 34,4 (2° [4°]); Pl.-Nr. A. L. 20,280.

10-58 1945 Berceuse Transcription Violin-Piano (Quinto Maganin); Edition Musicus New York [unidentified].

10-59 1945 Berceuse Transcription Viola-Piano (Quinto Maganini; Viola part: Rudolf Forst); Edition Musicus New York [unidentified].

10-60 1945 Berceuse Transcription Flute-Piano; (Quinto Maganini); Edition Musicus New York [unidentified].

10-61 1945 Berceuse Transcription Oboe-Piano (Quinto Maganini); Edition Musicus New York [unidentified].

10-62 1945 Berceuse Transcription string orchestra full score (Quinto Maganini); Edition Musicus New York; 3 S. 23,5 x 29,5 (4° [Lex. 8°]) [unidentified].

10-63 1945 Berceuse Transcription string orchestra full score with set of parts (Quinto Maganini); Edition Musicus New York [unidentified].

10-64^St 1945 Berceuse Transcription string orchestra full score individual parts (Quinto Maganini); Edition Musicus New York [unidentified].

10-65 LEEDS ORCHESTRA SCORES / Igor Stravinsky / FIREBIRD / BALLET SUITE / for regular orchestra / NEW VERSION/ augmented and revised / by the author / in / 1945 / 2.50 / in U. S. A. / LEEDS MUSIC CORPORATION // Igor Stravinsky / FIREBIRD BALLET SUITE / for regular orchestra / NEW VERSION / augmented and revised / by the author / in / 1945 / Orchestration * / Woodwinds: [#**] 1 Piano / 2 Flutes (incl. Piccolo) [#**] 1 Harp / 2 Oboes [#**] Percussion: / 2 Clarinets [#**] Timpani / 2 Bassoons [#**] Bass-Drum & Cymbas / Brasses: [#**] Snare-Drum / 4 Horns [#**] Tambourine / 2 Trumpets [#**] Triangle / 3 Trombones & 1 Tuba [#**] Xylophone / String Quintette / [***] Copyright 1947 by / LEEDS MUSIC CORPORATION / RADIO CITY · New York // (Pocket score sewn 14,1 x 21,1 (8° [8°]); 119 [119] pages + 4 cover pages thicker paper creme-white on tomato-red [front cover title, Stravinsky-Photo with inscription under the picture >Igor Stravinsky<, empty page, page with publisher’s advertisement >LEEDS AM-RUS ORCHESTRA SCORES / Authentic scores of major Soviet-Russian works . . . / The only scores approved by the composers themselves!<] + 1 page front matter [title page] without back matter; title head >FIREBIRD BALLET SUITE<; author specified 1st page of the score unpaginated [S. 1] next to and below movement title >INTRODUCTION< flush right centred >By / IGOR STRAVINSKY<; legal reservation 1st page of the score centre in connection withVerbindung mit Herstellungshinweis >Copyright 1946 by Leeds Music Corporation / Copyright 1947 by Leeds Music Corporation, RKO Bldg. Radio City, New York, N. Y. / International Copyright Secured< [#]>Made in U. S. A.< [#] >All rights reserved<; without plate number; without end marks) // (1947)

° Compositions are advertised without division into columns with price information >DIMITRI SHOSTAKOVICH< to >IGOR STRAVINSKY / Firebird Ballet Suite 2.50<.

* Title page text up to here centre centred (oder up to this point) center centered.

** Orchestra legend in dual column display flush left.

*** Title page text from here centre centred.

10-66 SUMMER / MOON / LEEDS / CONCERT / SONGS / Lyric by / JOHN KLENNER / Music by / IGOR STRAVINSKY / FIFTY CENTS / IN U. S. A. / KEY OF Bb (Bb-Eb) / [a one-line, 2.9 mm long system of music in treble clef with a key signature of B flat major/g minor and 2 minims B flat-E flat 2 without bar lines, which show the range of the voice] / LEEDS MUSIC CORPORATION / RADIO CITY, NEW YORK // (Edition chant-piano with specification of the chords above the notation of the voice [library binding] 22.4 x 35 (4° [4° / gr. 4°]) sung text English; 5 [3] pages + 4 cover pages linen structured thicker paper red rown on light blue, 2 empty pages, page with publisher’s coloured advertisements >Leeds Concert Songs / A DISTINGUISHED LIST OF OUTSTANDING / COMPOSITIONS BY A GROUP OF AMERICA’S / BEST-KNOWN AND BEST-LOVED COMPOSERS.<* without production date] without front matter + 1 page back matter [empty page]; title head >SUMMER MOON<; authors specified 1st page of the score unpaginated [S. 3] below title head flush right centred >Music by / IGOR STRAVINSKY< flush left centred >Lyric by / JOHN KLENNER<; legal reservations in connection with production indication 1st page of the score below type area centre centred >Copyright 1946 by Leeds Music Corporation / Copyright 1947 by LEEDS MUSIC CORPORATION, RKO Bldg., Radio City, New York, N. Y./ Copyright 1948 by LEEDS MUSIC CORPORATION RKO Bldg., Radio City, New York, N. Y. / for the entire world including Canada and Australasia, but excluding the rest of the British Empire and Europe. / Copyright 1947 by LEEDS MUSIC, LTD., 21 Denmark Street, London, W.C. 2 / for the British Empire (excluding Canada and Australasia) and Europe. / International Copyright Secured [#] Made in U. S. A. [#] All Rights Reserved<; plate number >L 503 - 3<; without end mark) // (1947)

* Compositions are advertised under the heading >SECULAR SONGS< from >ADDINSSEL, RICHARD< to >WRAGG, RUSSEL<, Strawinsky not mentioned; under the heading >SACRED SONGS< from >BRANSEN, WALTER< to >YOUSE, GLAD ROBINSON<, Strawinsky not mentioned.

10-67 Adapted from the FIREBIRD SUITE of IGOR STRAVINSKY / SUMMER MOON / Lyric by JOHN KLENNER / Music by IGOR STRAVINSKY / [portrait] / Sincerely° / Perry Como° / Leeds°° Music°° / CORPORATION / NEW YORK · CHICAGO · HOLLYWOOD · LONDON // (Song edition [library binding] (4° [4° / gr. 4°]); 5 [3] pages + 2 pages front matter cover-like [title page laid out white on dark blue with photo page-width x 25.3 Perry Como facing right, page with publisher’s advertisements laid out >Cherish The Musical Memories Of A Great Film<* without production date ] + 1 page back matter [page with publisher’s advertisements coloured laid out >Contemporary Piano Compositions / By Outstanding Compossers< organized in genres with price marks]; title head >SUMMER MOON<; reference to range below title head centre >Key of Bb (Bb-Eb)<; authors specified 1st page of the score unpaginated [S. 3] next to and below reference to range flush right centred >Music by / IGOR STRAVINSKY< flush left centred >Lyric by / JOHN KLENNER<; legal reservations in connection with production indication 1st page of the score below type area centre centred >Copyright 1946 by Leeds Music Corporation / Copyright 1947 by LEEDS MUSIC CORPORATION, RKO Bldg., Radio City, New York, N. Y./ Copyright 1948 by LEEDS MUSIC CORPORATION RKO Bldg., Radio City, New York, N. Y. / for the entire world including Canada and Australasia, but excluding the rest of the British Empire and Europe. / Copyright 1947 by LEEDS MUSIC, LTD., 21 Denmark Street, London, W.C. 2 / for the British Empire (excluding Canada and Australasia) and Europe. / International Copyright Secured [#] Made in U. S. A. [#] All Rights Reserved< [°°°]; plate number >L 503 - 3<; without end mark) // (1947)

° Signed quasi-handwritten script italic.

°° Quasi-handwritten script.

* Advertised >SOUVENIR ALBUM / CLASSIC PIANO GEMS< with piano-film-arrangements of works by Rachmaninoff, Beethoven, Wagner and Chopin, Strawinsky not mentioned.

** Strawinsky not mentioned.

10-69 THE / FIREBIRD / BALLET* // THE FIREBIRD BALLET / L'OISEAU DE FEU / CONTE DANSÉ EN 2 TABLEAUX. / Composé d'après le conte national russe par M. Fokine. / MUSIQUE DE / IGOR STRAVINSKY / BROUDE BROTHERS · NEW YORK // (Pocket score linen cover with gold tooling 19.8 (20,2) x 27 (27.5) (8° [Lex. 8°]); 180 [172] pages + 4 cover pages [ornamental front cover title, 3 empty pages] + 8 pages front matter [title page, empty page, page with dedication handwritten Russian printed in line etching > Дорогому другу Андрею Римскому-Корсакову / French A ANDRÉ RIMSKY-KORSAKOW .<; (world) premiere data Russian, (world) premiere data French, legend Italian [with French headline], Index, empty page]; without author specified; without legal reservation; production indications 1st page of the score paginated p. 9 below type area flush left >Broude Brothers / New York< flush right >Printed in U.S.A.<; plate number >B.B. 50<; without end marks) // [1950]

* Then there are two majuscules B, one located below the other, with an offset to the right. They are crossed by the upper line of a small golden hatchment that has no emblems.

10-71^L [°] Igor Stravinsky / Firebird Ballet Suite / for orchestra / New Version 1945 / [Asterisk] // Score / Orchestral parts on hire / B. SCHOTT’S SÖHNE · MAINZ / for USA: Leeds Music Corporation, New York / Printed in Germany< // (Hire material [library binding] 26.6 x 32.5 ([4°]); 134 [134] pages + without cover pages [° + empty] + 2 pages front matter [title page, legend >Orchestration< English + duration [28’] English] without back matter; title head >FIREBIRD BALLET SUITE<; author specified 1st page of the score unpaginated [p. 1] below title head rigfht flush centred >Igor Stravinsky / (1945)<; legal reservation 1st page of the score below type area lflush left >Copyright 1946 by Leeds Music Corporation / Copyright 1947 by Leeds Music Corporation, RKO Bldg., Radio City, New York<; plate number >B·S·S 38597<; without end marks p. 134] // [1954]

° Pasted form: >IGOR STRAVINSKY / Firebird Ballet-Suite / Leihmaterial unverkäufliches Eigentum von / B. SCHOTT’S SÖHNE · MAINZ<.

10-71^L-Straw

Strawinsky’s unsigned and undated copy contains corrections in red and many notes on performance with pencil.

10-72 Igor Strawinsky / [°] / L’Oiseau de Feu / [°] / (Ballet) / Der Feuervogel / The Firebird / Partition d’orchestre / Edition Schott 6461 / Schott // L’Oiseau de Feu / Der Feuervogel / The Firebird / conte dansé en 2 tableaux / Composé d’après le conte national russe par M. Fokine / Musique de / IGOR STRAWINSKY / Partition d’orchestre / Edition Schott 6461 / B. SCHOTT’S SÖHNE · MAINZ / Schott & Co. Ltd., London · Schott Music Corp., New York / Printed in Germany // [without text on spine] // (Full score sewn 1.5 x 26.5 x 33 (2° [4°]); 180 [172] pages + 4 cover pages black on veined grey [front cover title, 3 empty pages] + 8 pages front matter [title page, page with legal reservations at the bottom of the page centre justified text not centred >Die Aufführung des gesamten Werkes oder von Teilen da- / raus ist without vorherige Zustimmung des Verlages nicht ge- / stattet. / Abschreiben, Kopieren oder sonstiges Vervielfältigen, / gleichviel durch welches Verfahren und in welchem Um- / fang, ist verboten.<, dedicationsseite >A André Rimsky-Korsakow<, empty page, (world) premiere data French, legend >Nomenclature des instruments< French without duration data, index >Index< French with page numbers, empty page] without back matter; title head >L’oiseau de feu<; author specified 1st page of the score unpaginated [p. 9] between title head and movement title >Introduction< flush right >Igor Strawinsky<; legal reservation 1st page of the score below type area flush left >© B. Schott’s Söhne, Mainz, 1933<; plate number [only] in connection with production indication p. 180 below type area flush right as end mark >Verlag: B. Schott’s Söhne, Mainz 40610<) // (1955)

° Dividing horizontal line of 13.5 cm.

10-73 STRAWINSKY / Der Feuervogel / L'oiseau de feu / Ballett-Suite – Suite de ballet / 1945 / [vignette] / EDITION SCHOTT / 4420 // IGOR STRAVINSKY / Firebird Ballet Suite / for orchestra / 1945 / [Asterisk] / For U.S.A. [#] For other countries / Leeds Music Corporation [#] B. Schott's Söhne, Mainz / New York [#] Schott & Co., Ltd., London // [Text on spine:] STRAWINSKY · DER FEUERVOGEL // (Pocket score sewn 0.9 x 13.8 x 18.7 (8° [8°]); 134 [134] pages + 4 pages thicker paper black on veined grey [front cover title with publisher’s emblem orange oval 2.4 x 3 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** >105<] + 2 pages front matter [title page, legend >Orchestration< English + duration data [28'] English] without back matter; title head >FIREBIRD BALLET SUITE<; author specified 1st page of the score unpaginated [p. 1] between title head and movement title >INTRODUCTION< flush right centred >Igor Stravinsky / (1945)<; legal reservation 1st page of the score below type area flush left >Copyright 1946 by Leeds Music Corporation / Copyright 1947 by Leeds Music Corporation; RKO Bldg., Radio City, New York<; plate number [1. page of the score:] >B·S·S 38597a< [pp. 2-134:] >B·S·S 38597<; production indications p. 134 below type area flush left >Printed in Germany< flush right as end mark >Druck und Verlag von B. Schott’s Söhne in Mainz) // (1954)

* 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 // Ed. Schott / 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 edition number and without fill character (dotted line); °°°° fill character (dot)].

** Around half of the production date cut off by publisher.

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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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