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K012 Petrushka

deutsch K012 Petruschka

K12 Петрушка

Потешныя сцены въ 4хъ картинахъ Игоря Стравинскаго и Александра Бенуа – Pétrouchka. Scènes burlesques en quatre tableaux d’Igor Stravinsky et Alexandre Benois – Petruschka. Burleske Szenen in vier Bildern von Igor Strawinsky und Alexandre Benois* – Petrushka. Burlesque in four scenes by Igor Stravinsky and Alexandre Benois – Petrouchka. Scena burlesche in quattro quadri di Igor Strawinsky ed Allessandro Benois.

Trois Mouvements de Pétrouchka. Transcription pour Piano-solo par Igor Strawinsky – Three movements from Petrouchka. Transcription by Igor Strawinsky for piano solo – Tre movimenti da Petrouchka. Trascritti per pianoforte solo da Igor Strawinsky – Drei Sätze aus Petruschka, für Klavier solo übertragen von Igor Strawinsky – Три фрагмента из балета „Петрушка”. Транскрипция дла фортепиано автора*

* According to the publisher’s ideas, the ballet should originally have had an opus number and not have been published in Russian-French, rather in Russian-German; in the test printing without disc number, the opus number was omitted. The first set of corrections, now with disc number, removed the awkward German text at certain points, as well as the title, instructions and explanations, and replaced them with French; they also did not include an opus number

Scored for: a) First editions (Original version Ballet characters): La Ballerine, Pétrouchka, Le Maure, Le vieux Charlatan [The Ballerina, Petrushka, The Moor, The Old Magician]; Les Nourrices (Nounous), Les Cochers, Les Palefreniers, Le Marchand fétard, Les tziganes, Les danseuses de rue, Premier joueur d `orgue, Second joueur d`orgue, Le "Died" (compère de la foire), Le montreur de vues d´optique [The Wet-Nurses, The Coachmen, The Grooms, The Reveling Merchant, The Gypsy Women, The Street Dancers, First Organ-Grinder, Second Organ-Grinder, The "Died" (Master of Ceremonies, The Peepshow Exhibitor]; Masques et travestis [Mummers and Maskers]; Marchands, Marchandes, Officiers, Soldats, Seigneurs, Dames, Enfants, Bonnes, Cosaques, Agents de la Police, Un Montreur d´ours, etc. [Shopkeepers (male and female), Officers, Soldiers, Noblemen, Ladies, Children, Housemaids, Cossacks, Policemen, A Bear-Tamer, etc.]; ~ (Original version Ballet orchestra): 2 Flauti piccolo (Fl. picc. I =– poi Fl. gr. IV, Fl. Picc. II = poi Fl. gr. III), 2 Flauti grandi, 4 Oboi (Ob. IV = poi Corno Inglese), 3 Clarinetti in Si b (poi in La), Clarinetto basso in Si b (poi Clar. IV), 3 Fagotti, Contrafagotto (poi Fag. IV), 4 Corni in F, 2 Pistoni in Si b (poi in La), 2 Trombe in Sib (poi in La, poi Tromba I = Tr. Picc. in Re), 3 Tromboni, Tuba, Timpani, Cassa, Piatti, Tamtam, Triangolo, Tambour de Basque, Tambour militaire (Dans la coulisse), Tambour de Provence (Tambourin; Dans la coulisse), Campanelli, Celesta à 2 et à 4 mains, Piano, 2 Harpes, Xylophone, Quintuor à corde [2 Piccolos (Picc. I = Fl. IV, Picc. II = Fl. III), 2 Flutes, 4 Oboes (Ob. IV = English Horn), 3 Clarinets in B b and A, Bass Clarinet in B b (= Cl. IV), 3 Bassoons, Contrabassoon (= Bass. IV), 4 Horns in F, 2 Cornets in B b and A, 2 Trumpets in B b and A (Tr. I = D Trumpet), 3 Trombones, Tuba, Timpani, Bass Drum, Cymbals, Tam-tam, Triangle, Tambourine, Side Drum (offstage), Long Drum (offstage), Glockenspiel, Celesta (for 2 and 4 hands), Piano, 2 Harps, Xylophone, Strings]; b) Performance requirements (Ballet original version forces): 1 female Solo Dancer, 3 male Solo Dancers, 9 Wet.Nurses, 5 Coachmen, 2 Grooms, Reveling Merchant, 2 Gypsy Women, 2 Street Dancers, 2 Organ-Grinders, 2 male Dancers (Died and Exhibitor), 13 Mummers and Maskers (2 female, 11 male dancers), Extras; ~ (Ballet original version orchestra): [4 Flutes = ] 2 Piccolo Flutes (1st Piccolo Flute = 4th Flute, 2nd Piccolo Flute = 3rd Flute), 4 Flutes (3rd grand Flute = 2nd Piccolo Flute, 4th Flute = 1st Piccolo Flute), 4 Oboes (4st Oboe = English horn), English horn (= 4th Oboe), 4 Clarinets in B b and A (4st Clarinet = Bass Clarinet), Bass Clarinete in B b (= 4th Clarinet), 4 Bassoons (4th Bassoon = Contrabassoon), Contrabasson (= 4th Bassoon), 4 Horns in F, 2 Pistons in B b and A, Piccolo Trumpet in D (= 1st Trumpet), 2 Trumpets in B b and A (1st Trumpet = Piccolo Trumpet), 3 Trombones, Tuba, Timpani, Percussion (Big Drum, Cymbals, Tamtam, Triangel, Tamburine), Glockenspiel, Celesta*, Piano, 2 Harps, Xylophone, 3 Solo Violins, 3 Solo Violas, 4 Solo Violoncellos, Strings (First Violins**, Second Violins***, Violas**, Violoncellos***, Double Basses****); ~ (Offstage): Side Drum, Long Drum; ~ (Ballet Revised version): Piccolo Flute (= 3rd Flute), 3 Flutes (3rd Flute = Piccolo Flute), 2 Oboes, English horn, 3 Clarinets in B b (3rd Clarinet = Bass Clarinet), Bass Clarinet in B b (= 3rd Clarinet), 2 Bassoons, Contrabassoon, 4 Horns in F, 3 Trumpets in C und B b , 3 Trombones, Tuba, Timpani, Percussion (Triangel, Cymbals, Big Drum, Tamburin, Side Drum, Tamtam), Xylophone, Celesta, Harp, Piano, 2 Solo Violins, 6 Solo Violas, 2 Solo Violoncellos, Strings (First Violins****, Second Violins**, Violas**, Violoncellos***, Double Basses***)

* Two players (for two and four hands).

** Divided in three.

*** Divided in two.

**** Divided in four.

Performance practice: For the brass instruments, use metal mutes; the Tambourine is to shake and with the thumbs to rub. The Glockenspiel and the Celesta are notated an octave below concert pitch, the Xylophone is notated at concert pitch.

Summary: The first scene, "Folk Festivities at Shrovetide," takes place in 1830 on a sunny winter morning in St. Petersburg during the Shrovetide Fair, with public merrymaking on the spacious Plaza of the Admiralty. When the curtain goes up, on the left one sees a large shop with a balcony, under which there is a table with an oversized samovar. At center stage is the magician`s little theater and to its right are confectionaries and raree-shows, shows carried out in boxes. In the background one can see wooden carousel horses, big swings, and slides. The colorful crowd walzes around amongst the amusements, and the action focuses on shifting groups of people. Farmers and distinguished folk, drunkards and merchants, women and children, they all mix together. Children flock around the raree-shows, women around the boothes. A group of drunken dancing revelers passes (5)*. An organ-grinder and a female dancer appear in the crowd (9), he grinding away (12) and she dancing and keeping time with a triangle (13). At the very other end of the stage another woman dancer dances to her music-box (15) and the first dancer picks up her triangle again. After a while of playing and dancing simultaneously the organ-grinder and the owner of the music box go away and the dancers` droll contesting is at an end; the Master of Ceremonies continues again with his bombastic praises (17). A group of people dance across the stage (18). In the meantime, two drummers have drawn up to the old magician`s little theater (28) and with their drumming steer the crowd`s attention to his appearance (29). A magic trick causes a scene within a scene to unfold (30-32): The old magician plays on his flute (31) and the inner curtain raises. The crowd spys three genuine puppets of a typical Punch and Judy show : Petrouchka, a Moor, and a ballerina. By playing on his flute the old magician fills them with life (32), and to the great astonishment of the audience they begin to dance (33). It becomes dark and the curtain falls (47; figure 47 is often omitted, in which case the curtain falls at the end of figure 46). – The second scene, "At Petrouchka`s," takes place in Petrouchka`s cell. Its cardboard walls are black and painted with stars and a half-moon. Devilish figures on a gold background adorn the folding doors leading to the ballerina`s room. On one of the walls is a portrait of the wrinkle-faced old magician, a little below that at an angle is the place where Petrouchka hits a hole in an attack of despair. While the curtain is being raised the door to Petrouchka`s room opens bruskly and the brutal kick of a foot propels him onto the stage. Petrouchka falls down and the door closes again behind him. (48). The maltreated Petrouchka, now a real man, hurls out terrible curses (51). Because he is now human and feels more than his two fellow actors the ballerina and Moor do, he suffers from the old magician`s cruelty as well as his own ugliness particularly keenly. He tries to find comfort by loving the ballerina, but when she enters his room (55/56) and countenances his strange behavior and grotesque demeanor she practically flees almost immediately (58), accompanied by Petrouchka`s anguished cries (60). It becomes dark and the curtain falls (61). – The third scene is entitled," At the Moor`s." One sees the Moor in his room on a very low sofa playing with a coconut. His wardrobe is made of paper and painted with flourishing palms and exotic fruits. On the right is a door leading into the ballerina`s room. The Moor is wearing an especially magnificent robe. As sorrowful as Petrouchka has become, and as dumb and vain the ballerina, even more so evil has the Moor become. For the ballerina, the Moor`s splendid costume is enough reason for her to fall in love with him and try to make him love her back. When the Moor has finished his opening dance (65) she appears on the scene (68) and plays the seductress, successfully luring him into a valse where they unite (71); when they finally fall into each other`s arms (76) the jealous Petrouchka appears (77). A skirmish between him and the Moor takes place, during which the ballerina runs away; the Moor finally throws Petrouchka out the door (81). It becomes dark and the curtain falls. – The fourth scene takes place again on the Plaza of the Admiralty; by now it has become evening. The Shrovetide Fair has reached its height. After the curtain goes up (88) the rowdy, cacophonious crowd moves towards the dance of the nursemaids(90). A peasant appears with a bear and the crowd respectfully moves back. The farmer plays his clarinet while the bear trots over the stage (100). Then a reveling merchant draws attention to himself (102). Two gypsy women accompany him, and he amuses himself by throwing banknotes into the crowd. The gypsies dance and the merchant accompanies them on the accordeon (103). Then this little group withdraws (107). A hoast of coachmen and stable-boys appear (108) and dance the dance of the coachmen and stable-boys. The nursemaids soon join them in a new dance (112). Masks illuminated by bengal-lights in the wings appear (117). Death challenges the crowd to enjoy themselves with him. Masked jesters bring forth goats and pigs (120) and those in masks and costumes dance together (122), the rest of the crowd finally joining in (123). While they dance a scream from the little theater pierces the air, and the dancing abruptly stops. Petrouchka comes flying out, followed by the Moor whom the ballerina is trying to hold back (125). The enfuriated Moor attacks Petrouchka, rattles his saber, and Petrouchka crashes to the ground, his head split in two(128). The crowd surrounds the lamenting Petrouchka, who dies. It commences to snow. Someone gets a military policeman to look for the old magician (129). He appears and raises Petrouchka`s dead corpse into the air, tapping on it to show the crowd that it is only a puppet, not a human, and therefore most definitely no murder has kaken place. The crowd disperses (130) and the old magician remains alone on the stage. He drags Petrouchka`s corpse to the little theater (131) when a shadow of Petrouchka appears above it, threatening and scoffing at the old magician and thumbing his nose at him (132). The terrified old magician drops the puppet and flees, looking back in terror. The curtain falls. The set is the same as in the first scene, but here one has the feeling of the evening coming on. This is not the only special effect in this scene; when the masks appear bengal lights shine on them from the wings, and when Petruschka dies it begins to snow and gets darker.- In addition to the notes in the score, there are further and differing explanations about the ballet`s plot in the preface of the original edition. According to this, the old magician hurries to calm down the crowd, and under his hands Petrouchka again becomes a puppet. He asks those standing around him to convince themselves that the head is made of wood and the body filled with clover. When the old magician remains alone on the stage, he is horrified to see the ghost** of Petrouchka hovering over the little theater, threatening him and making mocking grimaces to those who have been sheated by the old magician. – The action takes place before three curtains with different functions: the main curtain, which is raised 32 measures after the beginning and falls 4 measures before the end; a special curtain separating the four scenes, both enabling the plot within a plot to unfold, and the old magician to be shown overdimensionally enthroned on clouds; the third curtain is in front of the old magician`s little theater and opens at the beginning of measure 32.

* The bracketed numbers show the figures in the original score of 1912.

** In the Russian original > тень <, in French > ombre <, in English it should correctly read >shadow<).

Construction: Petrushka is a realistic ballet with a plot in 4 tableaus that run chronologically parallel at times, and that are divided into episode-like, structurally subdivided tableaus (I. Tableau : Народныя* гулянія на масленои** – Fête Populaire de la Semaine Grasse – Volksfest in der Butterwoche – The Shrovetide Fair [with 2nd section: Русская - Danse russe - Russischer Tanz – Russian Dance; II. Tableau: У Петрушки – Chez Pétrouchka - Bei Petruschka – Petrushka's room; III. Tableau: У Арапа – Chez le Maure - Beim Mohren – The Moor's room; IV. Bild: Народныя гулянія на масленой [подъ вечеръ] – Fête Populaire de la Semaine Grasse [vers le soir] – Volksfest in der Butterwoche [gegen Abend] – The Shrovetide Fair [Toward Evening])***

* Russian text in capital letters.

** It should read correctly at this point масленой, and the и instead of the й is a printing error; it was originally МАСЛЕНОИ, and at the parallel place, it is written correctly.

*** Text of the original version: Russian-French, of the revised version [ ] 1946 (1947): English.

Structures

a) Ballet original 1911

КАРТИНА ПЕРВАЯ. НАРОДНЫЯ ГУЛЯНIЯ НА МАСЛЕНОЙ.

Premier Tableau: Fête Populaire de la Semaine Grasse

[Erstes Bild: Volksfest in der Butterwoche]

[First Tableau: The Shrovetide Fair]

Vivace Crotchet = 138 (figure 51 up to figure 3 7)

Poco a poco accelerando e crescendo Minim = minim (figure 3 8up to the end of figure 4)

ЗАНАВЂСЪ

Vorhang

Curtain

figure 4 1

СПЕЦІАЛЬНЫИ ЗАНАВЂСЪ

Zweiter (besonderer) Vorhang

Second (special) Curtain

  at the end of figure 4 9

ПРОХОДИТЪ, ПРИПЛЯСЫВАЯ, НЕБОЛЬШАЯ ТОЛПА ПСДПИВШИХЪ ГУЛЯКЪ.

Passe, en dansant, un groupe d'ivrognes.

Eine Gruppe Betrunkener zieht tanzend vorüber.

A group of drunken revelers passes, dancing.

(figure 5 up to the end of figure 6)

БАЛАГАННЫИ ДЂДЪ СЪ ВЫСОТЫ СВОЕГО БАЛАГАНА ПОТЂШАЕТЪ ТОЛПУ.

Le compère de la foire amuse la foule du haut de son tréteau.

Der Jahrmarktsausrufer vergnügt die Menge von seinem Stand aus.

The Master of Ceremonies entertains the crowd from his booth above.

Stringendo dotted Crotchet = minim = 46 (figure 7 / figure 8 up to figure 8 4)

Come primoa Crotchet = 138 (figure 8 4up to figure 9 2)

ВЪ ТОЛПЂ ПОЯВЛЯЕТСЯ ШАРМАНШИКЪ СЪ УЛИЧНОЙ ТАНЦОВЩИЦЕЙ.

Un jouer d'orgue de Barbaric apparaît dans la foule avec une danseuse.

Ein Orgelspieler, begleitet von einer Tänzerin, erscheint in der Menge.

An Organ-Grinder appears in the crowd with a woman dancer.

Meno mosso Crotchet = 100 (figure 9 3up to the end of figure 9 6)

Stringendo dotted Crotchet = minim = 46 (figure 10 up to figure 11 5)

Come prima Crotchet = 138 (figure 11 6up to the end of figure 11 8)

ШАРМАНЩИКЪ НАЧИНАЕТЪ ИГРАТЬ.

Le joueur d'orgue se met à jouer.

Der Drehorgelspieler beginnt zu orgeln.

The Organ-Grinder begins to play.

Meno mosso Crotchet = 100 (figure 12 up to the end of figure 16)

УЛИЧНАЯ ТАНЦОВЩИЦА ТАНЦУЕТЪ, ОТБИВАЯ ТАКТЪ ТРЕУГОЛЬНИКОМЪ.

La danseuse danse, en marquant la mesure avec triangle.

Die Tänzerin schlägt mit ihrem Triangel den Takt dazu.

The Dancer dances, beating time on the Triangle.

(figure 13 1)

ШАРМАНЩИКЪ, ПРОДЖАЯ ОДНОЙ РУКОЙ ВЕРТЂТЬ ШАРМАНКУ, ДРУГОЮ ИГРАЕТЪ НА КОРНЕТЪ-А-ПИСТОНЂ.

Le joueur d'orgue

Der Drehorgelspieler dreht mit der einen Hand die Kurbel seines Instrumentes, während er mit der anderen das Kornett bläst.

The Organ-Grinder, continuing to turn with one hand, plays the Cornet with the other.

(figure 13 11)

НА ДРУГОМЪ КОНЦЂ СЦЕНЫ ИГРАЕТЪ ЯЩИКЪ СЪ МУЗЫКОЙ, ВОКРУГЪ КОТОРАГО ТАНЦУЕТЪ ДРУГАЯ УЛИЧНАЯ ТАНЦОВЩИЦА.

A l'autre extrémité de la scène joue une caisse à musique autour de laquelle danse une autre danseuse.

Auf der anderen Seite der Bühne tritt ein Spieldosenspieler, um den eine weitere Tänzerin herumtanzt.

At the other end of the stage a Music Box plays, another woman dancer dancing around it.

(figure 15 1)

ПЕРВАЯ ТАНЦОВЩИЦА СНОВА БЬЕТЪ ВЪ ТРЕУГОЛЬНИКЪ.

La première danseuse reprend de nouveau le triangle.

Die erste Tänzerin beginnt aufs neue mit ihrem Triangelspiel.

The first dancer plays the Triangle again.

(figure 16 2)

ШАРМАНЩИКЪ СНОВА ИГРАЕТЪ НА КОРНЕТЪ-А-ПИСТОНЂ.

L'organiste de Barbarie recommence à jouer le cornet.

Der Drehorgelspieler beginnt wieder das Kornett zu blasen.

The Organ-Grinder begins to play the cornet again.

(figure 16 9)

ШАРМАНКА И ЯЩИКЪ СЪ МУЗЫКОЙ ПЕРЕСТАЮТЪ ИГРАТЪ; ВАЛАГАННЫЙ ДЂДЪ СНОВА ПРИВЛЕКАЕТЪ ВНИМАНİЕ ТОЛПЫ.

L'orgue de Barbarie et la caisse à musique cessent de jouer; le compère de la foire reprend son boniment.

Das Drehorgel- und Spieldosenspiel hört auf; der Jahrmarktsausrufer nimmt wieder seine Stelle ein.

The Organ and the Music Box stop playing; the Master of Ceremonies resumes his pitch.

Stringendo dotted Crotchet = minim = 46 (figure 17)

Crotchet = 138 (Come prima) (figure 18 up to the end of figure 21)

ВОЗВРАЩАЕТСЯ ВЕСЕЛАЯ КАМПАНІЯ ГУЛЯКЪ.

La joyeuse bande repasse.

Die fröhliche Truppe kommt zurück.

The merry group returns.

(figure 20 1)

Stringendo dotted Crotchet = Minim = 46 (figure 22 up to figure 23 4)

Crotchet = 138 (Come prima) (figure 23 5up to the end of figure 26)

Crotchet = 138 (Come prima) (figure 27 up to the end of figure 29 11)

ДВА БАРАБАНЩИКА, СТОЯ ПЕРЕДЪ ТЕАТРИКОМЪ, ПРИВЛЕКАЮТЪ ВНИМАНІЕ ТОЛПЫ БАРАБАННЫМЪ БОЕМЪ.

Deux tambours, avançant devant le petit théâtre, attirent l'attention de la foule par leur batterie.

Zwei Trommler nehmen vor dem kleinen Theater Aufstellung und ziehen mit ihrem Trommelwirbel die Aufmerksamkeit der Menge auf sich.

Two drummers, stepping up in front of the little theatre, attract the attention of the crowd by their drumrolls.

(figure 28 3)

ИЗЪ ТЕАТРИКА ПОЯВЛЯЕТСЯ СТАРЫЙ ФОКУСНИКЪ.

Sur le devant du petit théâtre paraît le vieux Charlatan.

Vor dem kleinen Theater erscheint der alte Magier.

At the front of (i.e., from inside) the little theatre appears the Old Magician.

(figure 29 6)

ФОКУСЪ - Le tour de passe-passe - Der Zaubertrick - THE MAGIC TRICK

Lento Crotchet = 50 (figure 30)

ФОКУСНИКЪ ИГРАЕТЪ НА ФЛЕЙТЂ.

Le Charlatan joue de la flûte.

Der Magier spielt die Flöte.

The Magician plays the flute.

Cadenza ad. lib. ma non accel.

(figure 31)

ЗАНАВЂСЪ ТЕАТРИКА РАЗДВИГАЕТСЯ; ТОЛПА ВИДИТЪ ТРИ КУКЛЫ: ПЕТРУШКУ, АРАПА И ВАЛЕРИНУ.

Le rideau du petit théâtre s'écarte et la foule aperçoit trois poupées: Pétrouchka (Guignol), un Maure et une Ballerine.

Der Vorhang des kleinen Theaters öffnet sich und die Menge erblickt drei Puppen: Petruschka, einen Mohren und eine Ballerina.

The curtain of the little theater opens and the crowd sees three puppets: Petrushka (Guignol), a Moor, and a Ballerina.

L'istesso tempo (figure 32)

ФОКУСНИКЪ ОЖИВЛЯЕТЪ ИХЪ ПРИКОСНОВЕНИІЕМЪ СВОЕЙ ФЛЕЙТЫ.

Le Charlatan les anime en les effleurant de sa flûte.

Der Magier bringt sie zum Leben, indem er sie leicht mit der Flöte berührt.

The Magian brings them to life by touching them lightly with his flute.

(figure 32 8)

РУССКАЯ- Danse russe - Russischer Tanz - Russian Dance

ПЕТРУШКА, АРАПЪ И БАЛЕРИНА ДРУЖНО ПУСКАЮТСЯ ВЪ ПЛЯСЪ КЪ ВЕЛИКОМУ УДИЗЛЕНІЮ ВСЂХЪ.

Pétrouchka, le Maure et la Ballerine se mettent à danser à la fois, au grand étonnement du public.

Petruschka, Mohr und Ballerina beginnen auf einmal zum größten Erstaunen der Menge zu tanzen.

Petrushka, the Moor, and the Ballerina suddenly begin to dance, to the great astonishment of the crowd.

Allegro giusto Crotchet = 116 (figure 33 up to the end of figure 46*)

Poco meno (tranquillo) (figure 42 19-22)

pochiss. accel. (figure 42 23)

a tempo (figure 42 24)

rall. (figure 42 25)

Tempo I. (Allegro giusto.) (figure 43 up to the end of figure 46*)

ТЕМНОТА. ЗАНАВЂСЪ ОПУСКАЕТСЯ.

Dunkelheit. Der Vorhang fällt.

Darkness. The curtain falls.

(figure 47 1)

ЗАНАВЂСЪ.

Rideau.

Vorhang.

Curtain.

(end of figure 47 9)

КАРТПНА ВТОРАЯ. У ПЕТРУШКИ.

Second Tableau: Chez Pétrouchka.

Zweites Bild: Bei Petruschka.

Second Tableau: Petrushka's room.

ПРИ ПОДНЯТІИ ЗАНАВЂСА ДВЕРЬ ВЪ КОМНАТКЂ У ПЕТРУШКИ ВНЕЗАПНО ОТВОРЯЕТСЯ; ЧЬЯ-ТО НОГА ГРУБО ЕГО ВЫТАЛКИВАЕТЪ; ПЕТРУШКА ВАЛИТСЯ. ДВЕРЬ ЗА НИМЪ ЗАТВОРЯЕТСЯ.

Au lever du rideau la porte dans la chambre de Pétrouchka s'ouvre brusquement; un pied le pousse en scène; Pétrouchka tombe et la porte se referme sur lui.

Nachdem sich der Vorhang gehoben hat, öffnet sich plötzlich die Türe zur Zelle Petruschkas. Ein Fußtritt befördert ihn auf die Bühne. Petruschka stürzt zu Boden und die Türe schließt sich hinter ihm.

As the curtain rises, the door to Petrushka's room opens suddenly; a foot kicks him onstage; Petrushka falls and the door closes again behind him.

Molto stringendo Crotchet = 100 (figure 48)

Molto meno Crotchet = 50 (figure 49 1-14)

Allegro Crotchet = 76 (figure 49 15up to the end of figure 50)

ПРОКЛЯТІЯ ПЕТРУШКИ.

MalédictiaBs de Pétrouchka.

Petruschkas Flüche.

Petrushka's curses.

Furioso Crotchet = 108 (figure 51)

Adagietto Quaver = 54 (figure 52)

Andantino Crotchet = 84 (figure 53 up to figure 55 6)

ВХОДИТЪ БАЛЕРИНА.

La Ballerine entre.

Die Ballerina betritt die Zelle.

The ballerina enters.

Meno mosso Crotchet = 72 (figure 55 7-8)

Allegro Crotchet = 100 (figure 56 up to the end of figure 58 5)

БАЛЕРИНА УХОДИТЪ.

La Ballerine s'en va.

Die Ballerina geht ab.

The ballerina leaves.

(figure 58 1)

Ad libitum (figure 58 5)

Vivo stringendo (figure 59 1)

Lento (figure 59 1)

Tempo (figure 59 2)

Lento (figure 59 3)

Tempo (figure 59 3up to figure 61 1)

ОТЧАЯНІЕ ПЕТРУШКИ.

Désespoir de Pétrouchka.

Petruschkas Verzweiflung.

Petrushka's despair.

(figure 60 1)

Lento Crotchet = Quaver (figure 61 2)

Cadenza (Lento) [Klarinetten] (figure 61 3)

ТЕМНОТА. ЗАНАВЂСЪ.

Rideau.

Dunkelheit. Vorhang.

Darkness. Curtain.

Più mosso Crotchet = 84 (figure 61 4)

КАРТИНА ТРЕТЬЯ. У АРАПА.

Trosième Tableau: Chez le Maure.

Drittes Bild: Beim Mohren.

Third Tableau: The Moor's room.

[Trommelwirbel auf der Bühne] (figure 62 1)**

Feroce stringendo Crotchet = 144 (figure 62 2)

Meno mosso. Pesante Crotchet = 112 (figure 63)

Sostenuto Crotchet = 48 (figure 64)

ЗАНАВЂСЪ.

Rideau.

Vorhang.

Curtain.

(figure 64 3)

АРАПЪ ТАНЦУЕТЪ.

Le Maure danse.

Der Moor tanzt.

The Moore dances.

(figure 65 1)

Stringendo (figure 66 4)

A tempo (figure 66 5)

Stringendo (figure 66 7)

Tempo del principio Crotchet = 144 (figure 67)

Tranquillo Crotchet = 46 (Come prima) (figure 68)

ПОЯВЛЕНІЕ БАЛЕРИНЫ.

Apparition de la Ballerine.

Die Ballerina erscheint.

Appearance of the Ballerina.

(figure 68 11)

ТАНЕЦЪ БАЛЕРИНЫ. (СЪ КОРНЕТЪ-А-ПИСТОНОМЪ ВЪ РУКАХЪ).

Danse de la Ballerine (Cornet-à-pistons à la maine).

Tanz der Ballerina (mit einem Kornett in der Hand).

Dance of the Ballerina (Cornet in hand).

Allegro Crotchet = 116 (figure 69)

Appassionato (figure 70 2)

Poco meno (figure 70 4)

rall. (figure 70 7)

ВАЛЬСЪ. (БАЛЕРИНА И АРАПЪ.)

Valse / (La Ballerine et le Maure).

Walzer / (Ballerina und Mohr).

WALTZ / (The Ballerina and the Moor).

Lento cantabile Crotchet = 72 (figure 71)

Allegretto Minim = 60 (figure 72 up to the end of figure 73)

Stringendo. (Come prima) Crotchet = 144 (figure 74 1-4)

Lento Crotchet = 72 (figure 74 5-6)

Rall. (figure 74 7)

Tempo di valse. (lento) Crotchet = 72 (figure 75)

АРАПЪ И БАЛЕРИНА ПРИСЛУШИВАЮТСЯ.

Le Maure et la Ballerine prêtent l'oreille.

Mohr und Ballerina spitzen ihre Ohren.

The Moor and the Ballerina prick up their ears.

Vivace Crotchet = 80 (figure 76 up to the end of figure 77)

ПОЯВЛЕНІЕ ПЕТРУШКИ.

Petruschka erscheint.

Apparition de Pétrouchka.

Appearance of Petrushka.

(figure 76 5)

ССОРА АРАПА СЪ ПЕТРУШКОЙ. БАЛЕРИНА ПАДАЕТЪ ВЪ ОБМОРОКЪ.

Kampf zwischen dem Mohren und Petruschka. Die Ballerina fällt in Ohnmacht.

La querelle du Maure avec Pétrouchka. La Ballerine s'évanouit.

The fight between the Moor and Petrushka. The Ballerina faints.

Agitato Crotchet = 100 (figure 78 up to the end of figure 81 8)

АРАПЪ ВЫТАЛКИВАЕТЪ ПЕТРУШКЙ. ТЕМНОТА. ЗАНАВЂСЪ.

Der Mohr drängt Petruschka hinaus. Dunkelheit. Vorhang.

Le Maure pousse Pétrouchka dehors. Rideau.

The Moor throws Petrushka out. Darkness. Curtain.

Figure 81 7-8

КАРТИНА ЧЕТВЕРТАЯ. НАРОДНЫЯ ГУЛЯНІЯ НА МАСЛЕНОЙ. (ПОДЪ. ВЕЧЕРЪ.)

Quatrième Tableau: Fête Populaire de la Semaine Grasse (vers le soir).

Erstes Bild: Volksfest in der Butterwoche (gegen Abend).

First Tableau: The Shrovetide Fair (toward evening).

Poco più mosso Crotchet = 126 (figure 82) [Trommelwirbel auf der Bühne] ***

Con moto Crotchet = 84 (figure 83 up to the end of figure 89)

Занавсъ.

Rideau.

Vorhang.

Curtain.

(figure 88 1)

ТАНЕЦЪ КОРМИЛИЦЪ.

Danse de nounous.

Ammentanz.

The wet-nurses' dance.

Allegretto Minim = 69 (figure 90 up to the end of figure 99 5)

ВХОДИТЪ МУЖИКЪ СЪ МЕДВЂДЕМЪ. ВСЂ. КИДАЮТСЯ ВЪ СТОРОНУ.

Entre un paysan avec un ours. Tout le monde se jette de côté.

Ein Bauer kommt mit seinem Bären. Alle drücken sich zur Seite.

A peasant enters with a bear. Everyone scatters.

(figure 99 5)

МУЖИКЪ ИГРАЕТЪ НА ДУДКЂ_ МЕДВЂДЬ ХОДИТЪ НА ЗАДНИХЪ ЛАПАХЪ.

Le paysan joue du chalumeau - l'ours marche sur ses pattes de derrière.

Der Bauer spielt auf seiner Schalmei - der Bär tanzt auf seinen Hintertatzen.

The peasant plays the pipe. The bear walks on his hind feet.

Crotchet = Crotchet Sostenuto Crotchet = 69 (figure 100)

МУЖИКЪ СЪ МЕДВЂДЕМЪ УДАЛЯЮТСЯ.

Le paysan avec l'ours s'éloignent.

Der Bauer entfernt sich mit seinem Bären.

The peasant and the bear leave.

Tempo del principio Crotchet = 84 (figure 101 up to the end of figure 102)

ВВАЛИВАЕТЪ УХАРЬ-КУПЕЦЪ СЪ ДВУМЯ ЦЫГАНКАМИ. ВЪ РАЗГУЛЬНОМЪ ВЕСЕЛЬИ СВОЕМЪ ОНЪ БРОСАЕТЪ ТОЛПЂ КИПЫ АССИГНАНІИ.

Apparaît un marchand fêtard avec deux tziganes. Débouché, il s'amuse à jeter des billets de banque à la foule.

Auftritt eines ausgelassen feiernden Kaufmanns mit zwei Zigeunerinnen, der sich damit vergnügt, im Vorübergehen Banknoten unter die Menge zu werfen.

A reveling merchant und two gypsy women enter. He irresponsibly amuses himself by throwing bank notes to the crowd.

(figure 102)

ЦЫГАНКИ ТАНЦУЮТЪ. КУПЕЦЪ ИГРАЕТЪ НА ГАРМОНИКЂ.

Les tziganes dansent. Le marchand joue de l'accordéon.

Die Zigeunerinnen tanzen. Der Kaufmann spielt auf der Ziehharmonika.

The gypsy women dance. The merchant plays the Accordion.

Più mosso Crotchet = 126 (figure 103 up to figure 104 14)

Tempo I. Crotchet = 84 (figure 104 15up to the end of figure 105)

Più mosso Crotchet = 126 (figure 106 up to the end of figure 107)

КУПЕЦЪ И ЦЫГАНКИ УДАЛЯЮТСЯ.

Le marchand et les tziganes d'éloignent.

Kaufmann und Zigeuerinnen gehen ab.

The merchant and the gypsy leave.

(figure 107)

ТАНЦЪ КУЧЕРОВЪ И КОНЮХОВЪ.

Danse des chochers et des palefreniers.

Tanz der Kutscher und Stallknechte.

Dance of the coachmen and the grooms.

Moderato Crotchet = 112 (figure 108 up to the end of figure 116)

КОРМИЛИЦЫ ТАНЦУЮТЪ ВМЂСТЂ СЪ КУЧЕРАМИ И КОНЮХАМИ.

Les nounous dansent avec les chochers et les palefreniers.

Die Ammen tanzen mit den Kutschern und den Stallknechten.

The wet-nurse dance with the Coachmen and the grooms.

(figure 112)

РЯЖЕНЫЕ.

Les déguisés.

Die Vermummten [Komödianten].

The mummers.

Crotchet = Crotchet Agitato (figure 117 up to the end of figure 120 8)

ЧОРТЪ (МАСКА) ЗАИГРЫВАЕТЪ СЪ ТОЛПОЙ.

Le diable (masqe) provoque la foule à folâtrer avec lui.

Der Teufel (Maske) fordert die Menge auf, mit ihm fröhlich zu sein.

The Devil (mummer) induces the crowd to frolic with him.

(figure 118 3)

БАЛАГУРСТВО РЯЖЕНЫХЪ. (КОЗЫ СО СВИНЬЕЙ).

Bouffonerie des déguisés (chèvre et porc).

Späße der Verkleideten (Ziege und Ferkel).

Buffonery of the mummers (goat and pig).

(figure 120)

Più mosso dotted Crotchet = Crotchet = 72 (figure 121 up to figure 125 7)

МАСКИ И РЯЖЕНЫЕ ТАНЦУЮТЪ.

Les masques et les travestis dansent.

Die Vermummten und Masken tanzen.

The mummers and the maskers dance.

(figure 122)

ОСТАЛЬНЫЕ ПРИСОЕДИНЯЮТСЯ КЪ ПЛЯСКЂ РЯЖЕНЫХЪ.

Le reste de la foule se joint à la danse des déguisés.

Die übrige Menge schließt sich dem Tanz der Verkleideten an.

Th rest of the crowd joins in the mummer's dance.

(figure 123)

ТОЛПА ПРОДОЛЖАЕТЪ ТАНЦОВАТЬ НЕ ОБРАЩАЯ НИКАКОГО ВНИМАНІЯ НА КРИКИ ДОНОСЯЩІЕСЯ ИЗЪ МАЛЕНЬКАГО ТЕАТРИКА.

La foule continue à danser ne tenant aucun compte des cris qui partent du petit théâtre.

Die Menge tanzt unentwegt weiter, ohne von den Schreien Notiz zu nehmen, die aus dem kleinen Theater dringen.

The crowd continues to dance without taking notice of the cries coming from the little theater.

(figure 125)

Poco allarg. (figure 125 8)

ПЛЯСКА ПРЕКРАЩАЕТСЯ. ПЕТРУШКА ВЫБЂГАЕТЪ ИЗЪ ТЕАТРИКА ПРЕСЛЂДУЕМЫЙ АРАПОМЪ, КОТОРАГО БАЛЕРИНА СТАРАЕТСЯ УДЕРЖАТЬ.

Les danses sont interrompues, Pétrouchka sort du petit théâtre, poursuivi par le Maure que la Ballerine essaie de retenir.

Die Tänze werden jäh unterbrochen. Petruschka stürzt aus dem kleinen Theater, vom Mohren verfolgt, den die Ballerina zurückzuhalten versucht.

The Dances break off. Petrushka dashes from the little theatre, pursued by the Moor, whom the Ballerina tries to restrain.

Meno mosso Crotchet = 100 (figure 125 9up to figure

ВЗБЂШЕННЫЙ АРАПЪ, ЕГО НАСТИГАЕТЪ И УДАРЯЕТЪ СБОЕИ САБЛЕЙ.

Der rasende Mohr holt ihn ein und schlägt mit dem Säbel zu.

Le Maure furieux l'atteint et le frappe de sons sabre.

The furious Moor seizes him and strikes him with his saber.

(figure 128 1)

ПЕТРУШКА ПАДАЕТЪ СЪ ПАЗБИТЫМЪ ЧЕРЕПОМЪ.

Pétrouchka tombe, le crâne fracassé.

Petruschka fällt mit gespaltenem Schädel zu Boden.

Petrushka falls. His head broken.

(figure 128 6)

ТОЛПА ОКРУЖАЕТЪ ПЕТРУШКУ.

Une foule se forme autour de Pétrouchka.

Die Menge umsteht Petruschka.

A crowd forms around Petrushka.

Lento Crotchet = 50 (figure 129 1)

ОНЪ ЖАЛОБНО УМИРАЕТЪ. ПОСЫЛАЮТЪ БУДОЧНИКА ЗА ФОКУСНИКОМЪ.

Klagend stirbt er. Man schickt einen Polizisten nach dem Magier aus.

Il meurt tout en se plaignant. On envoie un soldat de police chercher le Charlatan.

He dies, still moaning. A policeman is sent to look for the Magician.

(figure 129 4)

Più mosso Crotchet = 100 (figure 130 1-6 )

ПРИХОДИТЪ ФОКУСНИКЪ.

Le Charlatan arrive.

Der Magier kommt.

The Magician arrives.

(figure 130 5)

Tempo rubato (figure 130 7-9)

ОНЪ ПОДЫМАЕТЪ ТРУПЪ ПЕТРУШКИ И ТРЯСЕТЪ ЕГО.

Il relève le cadavre de Pétrouchka en le scouant.

Er hebt Petruschkas Leichnam auf und schüttelt ihn.

He picks up Petrushka's corpse shaking it.

(figure 130 7)

Tempo (figure 130 10-11)

НАРОДЪ РАСХОДИТСЯ.

Le public s'écoule.

Die Menge verläuft sich.

The crowd disperses.

Lento Crotchet = 48 (figure 130 12-15)

Minim = dotted Minim = Crotchet 72 (figure 131 up to figure 132 4)

ФОКУСНИКЪ ОСТАЕТСЯ ОДИНЪ НА СЦЕНЂ. ОНЪ ТАЩИТЪ ТРУПЪ ПЕТРУШКИ ВЪ ТЕАТРИКЪ.

Le Charlatan reste seul sur la scène. Il traîne le cadavre de Pétrouchka vers le petit théâtre.

Der Magier verbleibt allein auf der Bühne. Er schleppt Petruschkas Leichnam zum kleinen Theater hin.

The Magician remains alone on the stage. He drags Petrushka's Corpse toward the little theater.

(figure 131 3)

НАДЪ ТЕАТРИКОМЪ ПОЯВЛЯЕТСЯ ТЂНЬ ПЕТРУШКИ, ГРОЗЯЩЯЯ° И ПОКАЗЫВАЮШАЯ ДЛИННЫИ НОСЪ ФОКУСНИКУ.

Au-dessus du petit théâtre apparaît l'ombre de Pétrouchka menaçante, faisant un pied de nez au Charlatan.

Über dem kleinen Theater erscheint der Geist Petruschkas mit Drohgebärde und zeigt dem Magier eine lange Nase.

Above the little theater appears the ghost of Petrushka, menacing, thumbing his nose at the Magician.

(figure 132 1)

ФОКУСНИКЪ ВЪ УЖАСЂ ВЫПУСКАЕТЪ ИЗЪ РУКЪ КУКЛУ-ПЕТРУШКУ И БОЯЗЛИВО ОЗИРАЯСЬ, ПОСПЂШНО УХОДИТЪ.

Le Charlatan effrayé laisse échapper la poupée-Pétrouchka de ses mains et s'en va vite en regardant timidement derrière lui.

Der Magier lässt die Petruschka-Puppe fallen und macht sich schnell davon, während er furchtsam hinter sich zurückblickt.

The terrified Magician lets the Puppet-Petrushka drop from his hands and exits quickly, casting frightened glances over his shoulder.

(figure 132)

ЗАНАВЂСЪ.

Rideau.

Vorhang.

Curtain.

L'istesso tempo (figure 132 5-6)

Molto più lento (figure 132 7-8)

Дли концертнаго исполненія пользоватъся вмсто стр. 150 зтой стр. 150 а.

Bei Aufführung im Konzertsaal ist die Seite 150 durch die Seite 150a zu ersetzen****.

For concert performance, page 150a should be used in place of page 150.

° Original spelling.

* For concert realizations/performance, the work ends with its own final concert chord at figure 46 8. If the stage version is being played, the bar 46 8is omitted, and the music instead jumps to 46 9.

** In the concert version, the drum roll is not played, rather the music continues after 62 2 Feroce stringendo .

*** At this point, there is a missing instruction in the original score for concert performance, which is that the drum roll at figure 62 2should be omitted and the music should proceed directly on to figure 83; unlike the previous example, this drum roll has its own Italian performance marking.

**** For concert performance, the work has a separate concert ending. From the point of view of the practicalities of performance, the music for the concert and ballet music are identical up to and including figure 124, then the figure 125 9up to the end of figure 132 is omitted and figure 125 1-8is replaced by the figure 125 1-9, with which the concert version of the ballet ends. The score is numbered, for the sake of simplicity, using page numbers, and after the last page of the score, 156, there is a page 150a, which should replace the original page 150 in concert performance. The first 6 bars of this replacement page correspond to the last 6 bars of figure 124 and are identical to the first 6 bars of the original page.

b) Revised version

First Part / THE SHROVE-TIDE FAIR

Vivace Crotchet = 138 (figure 51 up to the end of figure 17)

Meno mosso Crotchet = 88 (figure 18)

Tempo Io (figure 19 up to the end of figure 21)

Meno mosso Crotchet = 88 (figure 22)

L'istesso tempo (figure 23 up to the end of figure 29)

Tempo Io (vivace) Crotchet = 138 (figure 30 up to the end of figure 57)

Lento Crotchet = 50 (figure 58 up to the end of figure 59)

Cadenza Poco più mosso Crotchet = 60 (figure 60)

a tempo (figure 61 up to the end of figure 63)

DANSE RUSSE

Allegro giusto Crotchet = 116 (figure 64 up to the end of figure 80 5)

Allargano (figure 80 6)

Meno mosso (figure 81)

Tempo I mo (figure 82 up to the end of figure 92 5unter Auslassung von figure 90 4)*

Second Part / PETROUCHKA

Impetuoso Crotchet = 100 (figure 93 up to the end of figure 94)

Doppio valore Crotchet = 50 (figure 95 up to the end of figure 97)

Più mosso Crotchet = 76 (figure 98 up to the end of figure 101)

Andantino Quaver = 80 (figure 102 up to figure 107 3)

Meno mosso Quaver = 72 (figure 107 4-5)

Allegro Crotchet = 100 (figure 108 up to the end of figure 112)

Vivo stringendo Crotchet = 100 (figure 113 1)

Lento Quaver = 50 (figure 113 2)

Vivo (figure 113 3)

Lento (figure 113 4)

Vivo (figure 114 up to the end of figure 118)

Crotchet = 126 (figure 119)

Third Part / THE BLACKAMOOR

L'istesso tempo Crotchet = 126 (figure 120 up to the end of figure 122)

Sostenuto Quaver = 96 (figure 123 up to the end of figure 126)

Doppio movimento (figure 127 up to the end of figure 129)

Con furore Crotchet = 138 (figure 130 up to the end of figure 131)

Sostenuto Quaver = 96 (figure 132 up to the end of figure 133)

Allegro Crotchet = 116 (figure 134 up to the end of figure 138)

L'istesso tempo (figure 139 1-3)

Poco meno mosso (figure 139 4-6)

VALSE

Lento cantabile Crotchet = 72 (figure 140 up to the end of figure 142)

Alegretto dotted Minim = 60 (figure 143 up to the end of figure 147)

Con furore Crotchet = 138 (figure 148 1-4)

Lento figure 148 5-7)

Lento cantabile (tempo di Valse Crotchet = 72) (figure 149 up to the end of figure 150)

Vivo Crotchet = 160 (figure 151 up to the end of figure 152)

Agitato ma tempo de rigoro (figure 153 up to the end of figure 157)

dotted Crotchet = Crotchet (figure 158 up to the end of figure 159)

Crotchet = 126 (figure 160 [ attacca weiter nach figure 161])

Fourth Part / THE SHROVE-TIDE FAIR / and the death of Petroushka

Tempo giusto Crotchet = 63 (figure 161 up to the end of figure 169)

WET-NURSES' DANCE

Allegretto Crotchet = 116-120 (figure 170 up to the end of figure 187)

PEASANT WITH BEAR

Poco accelerando (figure 188 1)

Tempo giusto Crotchet = 69 (figure 188 2 up to the end of figure 195)

GYPSIES AND A RAKE VENDOR

(figure 196 up to the end of figure 198)

Crotchet = 138 (figure 199 up to the end of figure 204)

Tempo I. Crotchet = 69 (Tempo giusto) (figure 205 up to the end of figure 208)

Crotchet = 138 (figure 209 up to the end of figure 212)

DANCE OF THE COACHMEN

Allegro moderato Crotchet = 112 (figure 213 up to the end of figure 233)

MASQUERADERS

L'istesso tempo ma poco a poco alllegro (figure 234 up to the end of figure 236)

Tempo giusto Crotchet = 132 (figure 237 up to the end of figure 239)

Più mosso. Alla una - Crotchet übergebunden dotted Crotchet = 72 (figure 240 up to the end of figure 246)

L'istesso tempo Minim = 72 (figure 246 up to the end of figure 249)

Tempo di rigore, non accelerando! (figure 250 1-5[unter Auslassung von figure 250 6weiter nach figure 251])**

THE SCUFFLE

Blackamoor and Petrushka

(figure 251)

Meno mosso Crotchet = 100 (figure 252 up to the end of figure 257)

DEATH OF PETRUSHKA

Lento, lamentoso Crotchet = 50 (figure 258 up to the end of figure 259)

POLICE AND THE JUGGLER

Più mosso Crotchet = 100 (figure 260)

L'istesso tempo Crotchet = 50 (figure 262 bius Ende figure 264)

APPARITION OF PETRUSHKA'S DOUBLE

(figure 265 up to the end of figure 267 4)***

* For concert realizations/performance, the work ends with its own final concert chord at figure 90 4. If the stage version is being played, the bar 90 4is omitted, and the music instead jumps to 91.

*** If the stage version is being played, the work ends at figure 267 4 . For concert performance, the work has a separate concert ending at figure 267 5-14 . It is the continuation of bar figure 250 6. The bars at figure 251 to 267 4are omitted.

Corrections: In the newly published revised conducting score from 1948, which is a revision of 1947 edition, errors in the text from the original edition were still included. The Russian text is removed however, but in the French text, there still remain the old errors that had been removed previously. It was only in the pocket-score edition of 1971 that further printing errors were removed.

Usages of foreign material in the piece: 1st tableau: A group of drunkards: Volshebniki’s song (Paschal/Easter song from the governorship of Smolensk) Rimsky-Korsakov collection 1876 No. 47; 1 stscene/act/tableau Street Organ scene: The wooden leg song ( Elle avait un’ jambe de bois ) by Emile Spencer; 1st scene/act/tableau Musical Box scene: Folksongs “On a dark autumn night” and “The beautiful moon floats over the river”, sourced by Andrei Rimsky-Korsakov; 1st tableau Russian Dance – Second Theme: Song of St. John’s Day, Istourine and Dyutsh Collection, 1894; 3rd tableau Dance Duet, first theme: from Joseph Lanner’s “Styrian Dances” Op. 165; 3rd tableau Dance duet, Second theme: from Joseph Lanner’s “The girl from Schönbrunn” Op. 200; 4th tableau Dance of the wet nurses: Folksongs “Over the Piterskaya” (“I was at a festival”) and “Oh, you shadows”, Rimsky-Korsakov collection 1882 and Sverkov collection; 4th tableau: Dance of the coachmen: Folksong “And the snow melts” from Peter Tchaikovsky’s editions of 65 Russian folksongs from 1898 for violin and piano.

Style: Music of contrast between the animatedly human and the stiffly mechanical developed according to the plot, and these contrasts are used depending on the character featured at the time; there are many humorous single scenes in a sort of film-like sequence with a constant conflict between the separate scene and the whole. The choppy nature of Petrushka can be seen in the bitonality of the musical construction; the expression of the marionette-like characters anticipates his later, mechanistic style. The music retains the realistic portrayal of the stage music, but expands the Impressionistic technique of the music of the Firebird by using futuristic segments of noise, leading it to gain the sobriquet ‘Ballet of the Street’.

Dedication*: Александру Бенуа – À Alexandre Benois – Dedicated Alexandre Benois.

* Both versions.

Duration: Original version: depending on staging about 40'; Shortened version: 16'30"; Revised version: 33'47"; Suite: 24'35".

Date of origin: Original version: Clarens Beaulieu / Rom at the end of August/September 1910 up to 26th May 1911 ; Concert ending: Berlin 1911, Revisions: 1912-1913; Revised version: finished Hollywood 14th October 1946; Violin-Transkription Dushkin version: finished Voreppe 17th April 1932.

First performances: Ballet original version: on 13th. June 1911, Paris, Théâtre du C hâtelet with Tamara Karsawina (Ballerina), Vaslav Nijinsky* (Petrushka), Alexandre Orlow (Moor), Enrico Cecchetti (Magician), Boris Romanow (Death); The Ballets Russes de Serge de Diaghilew under the Management of Serge de Diaghilew = Wet-Nurses (Baranowich I, Baranowich II, A. Vasiliewa, M. Vasiliewa , Gachewska, Tchernychewa, Lastchilina, Sazonowa, Biber), Coachmen (Lastchilin, Semenow, Petrow, V. Romanow, Orlik), Grooms (Rosai, A. Molotsow), Merchant (Koussow), Gypsy Women (Schollar, Reisen), Street Dancers (Bronislawa Nijinska, Vassiliewska), First and Second Organ-Grinders (Sergheiew and Kobelew), Died (Romanow), Exhibitor (Ognew), Mummers and Maskers (Larinowa, Kandina, Leontiew, Kremniew, Ulanow, S. Molotsow, Dimitriew, Gouduin, Kotchetowsky, Masslow, Gerassimow, Christapson, Larosow); stage design and costumes: Alexandre Benois (stage built by Boris Anisfeld, costumes sewn by Caffi and Vorobiew), stage direction: Serge Grigoriew, Choreography: Michael Fokine, Conductor: Pierre Monteux; Concert version: 1st March 1914, Casino, Paris, conducted by Pierre Monteux; Revised concert version 1st and 4th Tableau: 22th February 1946, Boston, Symphony Hall with the Bostoner Symphony-Orchestra under the direction of Igor Strawinsky; Revised version Ballet: 23rd October 1954, Chicago, with the ballet ensemble of Anton Dolin under the direction of Igor Strawinsky; Danse Russe for Violin and Piano: 28th October 1932, Berlin, Funkhaus with Samuel Dushkin (Violin) and Igor Strawinsky (Piano)

* According to Strawinsky, Stanislas Idzikovsky was, after Nijinsky (the “high jumper”), the best interpreter of Petrushka of his time.

Remarks: The ballet "Petrouchka" was originally conceived and begun as an orchestral piece for piano and orchestra in the form of a burlesque, scherzo, or concert piece. The piano was to personify a marionette with a gift for life, who angered the orchestra with unexpected pranks.Hence Strawinsky arrived at the title, "Petrouchka." In the concert version concept, what later became the second scene ("At Petrouchka`s") was the first, and the "Danse russe" the second. In the autumn of 1910 Diaghilev visited Strawinsky in Lausanne on Lake Geneva, and found him busy at his piano concerto instead of "Sacre." After hearing the finished part, he convinced Strawinsky to change it into a ballet in the form of marionette-theater. Strawinsky developed the fable with Alexandre Benois, a marionette-theater specialist recommended by Diaghilev. The first movement of the piano concerto became the second ballet scene, and the second movement of the piano concerto became the second part of the first ballet scene. How the story was created is not well known and only incidentally at that. On November 20th, 1910, the day on which Strawinsky wrote the organ-grinder melody, he received the news that Tolstoy had died in Astapowo. This melody later cost him substantial royalties, as it was by the contemporary composer, Emile Spencer, and protected through the Paris editors, Edition Fortin. In any case, the fourth scene still was not in Dhiagilev`s hands by February of 1911. Fokine had no contact with the piece and heard it for the first time when it was completed. "Petrouchka" was a tremendous success, the role of Petrouchka breaching the palette of emotions from sorrow to hate, only meant for a first-rate dancer.

Choreography: What had begun in "The Firebird" choreography was perfected in "Petrouchka," in spite of voices to the contrary: It was a novel concept of ballet, the music and ballet being self-contained, thereby opening new possibilities for dance. Having received the music too late and not having sufficient time to work out the choreographic details as a result, Fokine was at a disadvantage.He had only two orchestra rehearsals. Permanent rhythmical interruptions stemmed from the work`s episodic nature, so he laid out the concept in a psychological way, allowing one scene to grow out of another. This led him to ideas culminating in a kind of emotional metamorphosis. On one side he developed the choreography parallel to the music and fable scaffolding, on the other he at the same time created an introverted Petrouchka and a fully extroverted Moor mirrored in contrasting dances.Therefore he lets Petrouchka dance en dehors and the Moor en dedans, from two different poles. The ballerina, however, is defined as being dumb and insignificant; she dances detachedly, remaining stiff and marionette-like without an individual character. Strawinsky`s multiform levels were carried out on parallel lines through simultaneously running individual scenes, one of Fokine`s finest achievements. All flow of movement in his choreography was fixed and without any deviations. That is why there are no virtuoso dances for dance`s sake in "Petrouchka." Instead, dance is incorporated into a music-movement procedure which allows soloistic achievements only within its bounds. In his own later choreography, Massine used several structurally alleviating ideas, such as placing numbers on the stage so the dancers would know when and where to move, facilitating the musical synchronisation of over one hundred dancers. Roerich and Benois fought to strive for a realistic dance-theater. The main difficulty came from the groups of pedestrians which Benois wanted to be a vivid part of the fair, thereby giving them too much prominence. Like Fokine, he wanted realistic pulsing life on the stage and instructed the actors and dancers to improvise as they thought best during the fair scenes. This was at the expense of the synchronisation of music and movement, angering Strawinsky, who absolutely was not in agreement. To give the impression of the jumble of a real fair Benois brought soldiers and officers costumed from the reign of Tsar Nikolaus I., around 1820, onto the stage, as well as haggling peddlars, well-bred and humble folk, and representatives of all population groups. For the opening night he even had a real carousel installed, complete with small children, and windmills with colorful, rotating wings, boothes with sweets, and the like. Strawinsky was not very happy about this. He believed the movements of the crowd were neglected and should have been synchronised to correlate with the clearly defined requirements of the music. At the same time, Strawinsky did think, and was not the only one who did so, that Fokine`s best creations were the ensemble dances of the nursemaids, coachmen, masks, and the solo numbers.They were the result of continuously renewed efforts to improve and refine. It certainly was not a great loss for the quality of further performances, that when loading the ship for Buenos Aires the props trunk slid from the crane, sinking in the waters. Benois himself had termed the props “museum pieces”. The collaboration between the musician and choreographer did not run as smoothly as it had during the staging of "The Firebird." They had opposing ideas about the characterisations of the old magician and the Moor, still not cleared up by performance time. Strawinsky thought of the old magician as a kind of Hoffmannesque Dr. Caligari, which certainly was suitable for the character. Benois, on the other hand, saw him more as the astrological figure in Rimsky-Korsakov`s "Golden Cockerel," understanding him to be an oriental magician. With this interpretation the material took on a comprehensible folkloristic character, but also meant a rather unobjective shift from romantic origins to oriental mysticism. In addition, Strawinsky perceived the Moor as a barbarian full of brutal ferocity, who was to pace up and down like a tiger in his cell, occasionally growling fiercely. Benois altered this concept by portraying the Moor as being without a spirit, primitive, and nearly feeble-minded, because to him Stavinsky`s interpretation lacked the means for choreographic possibilities in the third scene. Later Strawinsky by-passed the problem by omission in all suite compilations. There the Moor passes his time with a coconut, during which he determines the nut is not empty. He tries to cut it open with his saber, and when this does not work he renders humble obeisance to it, thinking it is superior since it is stronger than he is. This concept is in conflict with Fokine`s choreography of contrasts.

Situationsgeschichte: The ballet scenario has to do with the artist`s conflicting sentiments about the world, an antithesis influenced by German romanticism. Stylistically, the scenario had to do with the artfull-human bashfulness of Petrouchka and the indifferent yet interested onlookers, contrasting with Petrouchka`s rich soul in an unattractive body, the dumb and impudent vapidness of the fascinating ballerina, and the Moor`s splendid looks. By shifting the play to the level of "marionettes," the romantic`s preference in spite of the title role`s pathetic perplexity and destiny, also distance was created together with a romantic irony. This "Petrouchka" model broke off the necessity of knowing about Russian cultural history which is necessary in order to understand the Firebird fable and its music. In addition, Strawinsky`s ballet "Petrouchka" was his most successful endeavor, connecting him with the futurist aesthetic appearing shortly before 1910. Pratella had just released his "Futurist Manifesto" wherein he demanded daily life be incorporated in art. He claimed music was obliged to also employ sounds of the every day, but how that could actually happen he had no idea. Benois, his realism developed by his Russian understanding of the world, most certainly grasped the futurist`s demand that art must represent genuine life. That is just what Fokine`s criticism of "The Firebird" was, a piece where Russian realism meets futuristic naturalism. Regardlessly, put purely and simply, Strawinsky`s construction of a rondo-like sequence of massed sheets of sound and individual fully delineated single episodes has survived over the decades, and in addition has anticipated the collage techniques of the 1960`s. The nickname, Ballet of the Street, comes from Benois and particularly refers to the excellent sound pictures created therein.

Significance: As a character ballet, "Petrouchka" is the high point of the Diaghilev-Fokine new Russian ballet reform.

Versions: The original score was published in 1912 by the Russian Music Publishers under the disc number R. M. V. 127 in the same year as the piano arrangement for four hands, which was republished a year later with a slightly altered design and of which the publishers sold over 1,000 copies up to the end of 1938. The second edition from 1913 is the last piano version from that period that we can date without dispute. The order of the reprintings can be worked out from examining the expansion of the branch offices as well as the amount of Russian text, but the years of publication of the editions with altered titles, which from then on also made reference to the two founders of the publishing house, Serge and Natalia Koussevitzky, cannot be deduced. Since all the correspondence from both the Russian Music Publishers in Berlin and the Röder print office in Leipzig has been destroyed, the datings can only be narrowed down approximately based on surviving presentation copies; research into Koussevitsky could bring new insights in this area. The reprinted edition Basel copy >12 / STRAW / 12< for example has a dedication to Elie Gagnebin with the date April 1922 in the. It must therefore have been published in this year at the latest. A parallel copy must have been published after the founding of the Russian Music Agency in London at the earliest. Most probably, only copies in stock and that had not yet been unbound with other covers were spent. The score contained many errors; the War on its own impeded the production of the new, corrected edition, which had been ready since the middle of 1914 and for which there had been several attempts. The old edition, which was out-of-stock on 16th April 1915 and of which the publishers sold over 2,500 copies up to 1938, was therefore all that was available. Stravinsky put his corrections into the revised edition of 1947, which became a new piece and for which a separate piano reduction was completed; this was published together with the conducting and pocket score in 1948. – The changes made to the version for Pianola were not however incorporated into this version for two hands. Errors in the text from the original edition resurfaced in the 1948 republished, revised edition of the 1947 conducting score. The Russian text was removed, but the old errors in the French text that had previously been removed appear there again. It was only in the pocket-score edition of 1971 that further printing errors were removed. – There were also two excerpts for cornet and trumpet from Petrushka included in the editions of orchestral studies of particularly difficult orchestral passages (Traits difficiles) (RÉPERTOIRE DU CONSERVATOIRE NATIONAL DE PARIS), which were prepared by Alphonse Leduc in 1943 by the Paris Conservatoire with permission from the original publishers. – Strawinsky’s three piano pieces written in 1921 for Arthur Rubinstein were first published in November 1922 under the plate number R. M. V. 400 by the Russian music publishers and were shortly afterwards included in an identical edition under the series number 8003, distributed by Universal Edition. As a result of the general contract, the 1947 edition with the plate number 16301, printed by Boosey & Hawkes in England, was put on the market once again. The old printed versions were obviously used for this, and only the outer and inner title pages were adapted to fit the publisher’s scheme and the plate numbers swapped. There is also no change in the pagination of the three pieces [p. 3-9, 10-17, 18-39], which were reprinted in 1963 by the Moscow state publishers without naming the owner. The commercial success of the piano pieces was considerable. Sales began small with 49 copies in 1922, the year of publication, then increased at times to over 300 copies per year, and in 1926 even to 708 (1926 was in this respect one of Stravinsky’s best years commercially), only to turn downwards after 1933. Between 1922 and 1938, around 4,500 copies were sold. – The five-movement Suite for piano in the Szántó edition was published at the same time as Stravinsky's own transcription, as the disc number R. M. V. 399 and the identical design with address, decorative border and miniature vignette seem to prove. It can be seen from a delivery receipt from the Russian music publishers on 1st February 1923 that the suite (like the score and parts for the string quartet pieces) had been 'just published', which must have been almost at the end of the year, explaining why only eight copies were sold in 1922, the year of publication. From 1924, however, the demand increased dramatically, so that the Suite for four hands by the Hungarian composer and pianist Théodore Szántó, who was especially drawn to the Far East and who died in 1934 at the age of 56, brought the Russian music publishers great commercial success, from which Stravinsky also benefited. More than 2,500 copies may well have been sold up to 1938. The Suite, which incidentally shifts the temporal connections inside the ballet around, was later not reprinted by Boosey and Hawkes, a fate which it shared with the virtuoso violin transcription by Samuel Dushkin of the Danse Russe from 1933 without naming the owner (p. 3: I / FÊTE POPULAIRE DE LA SEMAINE GRASSE; p. 8: II / CHEZ PÉTROUCHKA; p. 16: III / CHEZ LE MAURE; p. 19: IV / DANSE DE LA BALLERINE; p. 20: V / DANSE RUSSE). – Strawinsky was very pleased with the arrangement by Victor Babin, who had formed a piano duet with the pianist Vitya Vronsky, his wife that soon became world-famous. Babin had arranged many piano-duet editions. The Stravinsky arrangements were published in three separate books. At the end of the 60s, there was a series of reprintings by the Moscow State Publishers, who published not only the Petrushka pieces in 1963, but also the original edition of the ballet and the piano reduction in 1967. – Norton & Company in New York published a book edition with commentary in pocket score (octave) format in 1967.

Concert ending: there are several interchangeable sections written in for performances in the concert hall. The first tableau ends at figure 46 8with a separate chord solely for use in concert performance. If the stage version is being performed, bar 46 8is omitted and instead the music continues with 46 9; the drum roll is again omitted at figures 62 and 82 in concert performance; the separate concert ending to the ballet means, practically speaking, that the concert and ballet music are identical up to and including figure 124, then figure 125 9up to the end of figure 132 is omitted, and figure 125 1-8 is replaced by an alternative passage 125 1-9. The concert ending originally had its own disc number R. M. V. 127 a .

Revised version: This version was produced in 1947 and, along with a reduction of the orchestral forces from 68 to 45 players, large adjustments were made to the structure of the original. The reduction of the orchestral forces to triple woodwind was a necessary adjustment to the post-War orchestra, which had consistently been growing smaller. The Glockenspiel was almost entirely left out. The metronome markings were at times changed dramatically, likewise the figuration, while the time signatures and notation became more simple and more clearly laid out. The piano was used to a much greater extent and was given a soloistic role, while the technical possibilities of the strings were exploited in a more expert manner. The old version however is more brilliant, effulgent and more stage-orientated, while the revised version is more suited to the concert hall; there was however a conflict of opinion, as with the Firebird Suites, in which conductors like Monteux and Ansermet, but also Anatol Dorati defended the old suite, and on the other side, Strawinsky backed the new version very energetically.

Petrushka Suite: Strawinsky had at first refused to write a Suite on Petrushka , because the work was for him just as much a ballet as a symphony in its own right. Even the separate ending written for concert performance was not in line with Strawinsky’s convictions, rather it was forced on him with the argument that the final pantomime would be incomprehensible without the plot being illustrated alongside it. Strawinsky’s own recording with the Paris Symphony Orchestra of 1928 was however a shortened recording. On 29th April 1940, he conducted a Suite for Columbia in New York with the New York Philharmonic Orchestra based on the original version, and a short time later added a separate concert ending onto the end of the revised version. This Orchestral Suite of Petrushka is however not an actual suite that was printed in its own right, rather a compromise of logistics and instrumental technique, i.e. which figures from the original score are to be played and which are to be omitted, and there are several versions of these negotiations. The complete first tableau is played first, up to 5 bars after figure 90, or else one starts at figure 58 and ends 5 bars after figure 90. Then from the second tableau figures 95 to 118 should be played, i.e. excluding figure 119. The third section of the Suite starts in the 4th tableau at figure 161, continues up to the final bar of page 164, and then jumps to page 172. Here begins the final section of the concert version, which is omitted for ballet performance. This process can be carried over to the revised version.

Danse Russe transcription: in the matter of the later American editions, there were several transcriptions of the Danse Russe produced between 1936 and 1941. The only authorized edition of this excerpt from the ballet was published in 1933, as a result of an collaboration with Samuel Dushkin, as a virtuoso concert piece for violin and piano under the title Danse Russe . The transcription does not alter the structure of the original, rather it follows it bar-for-bar from figure 33 1up to the end of the tableau at figure 46 8. The violin takes up the numerous instrumental solos in the score, as well as its ornamentation note-for note. The edition was not published again by Boosey & Hawkes.

Cartoon Suite 1956: This is a thirteen-section musical accompaniment to an American cartoon film, which Strawinsky regarded as a mutilation of his score. He only agreed to it because he was promised ten thousand dollars for it, and because the two producers, according to the rights situation in America in the time, would have been able to make the film using his Petrushka music with another arranger without his permission. It was composed in 1956 and recorded on 13th March 1956 in the Warner Brothers Recording Studio on Santa Monica Boulevard in Los Angeles under the baton of Robert Craft. Strawinsky wanted to have nothing to do with this version, and did not allow it to be played or printed any more.

Historical recordings: Paris 1928, Orchestre Symphonique de Paris, shortened ballet version (original) under the direction of Igor Strawinsky; Hollywood 12.-17. February 1960 Ballet revised version with the Columbia Symphony Orchestra under the direction of Igor Strawinsky; New York 29. April 1940 as a suite, according to the original version with the New York Philharmonic Orchestra under the direction of Igor Strawinsky; Hollywood 12.-16. February 1960 as a suite, according to the original version with the Columbia Symphony Orchestra under the direction of Igor Strawinsky; Paris 6. April 1933, Studio Albert, Violin Transcription Danse Russe with the violinist Samuel Dushkin and Igor Strawinsky (piano).

CD edition: I-2/1-15 (Ballet revised version 1960); III/1-11 (Orchestrated Suite revised version).

Autographs: The original manuscript from 1911 was at Boosey & Hawkes in New York and was transferred to the British Library in London; the revised score is located in the Robert Owan Lehmann Foundation, New York; the neat copy of Dushkin’s violin transcription is in the Paul Sacher Foundation, Basel; the location of the autograph of the piano works dedicated to Rubinstein is not certain, although additional sketches are situated in the Paul Sacher Foundation. The neat copy of the three Rubinstein pieces as well as of the revised Petrushka score in the Paul Sacher Foundation, Basel.

Copyright: 1922 by Russischer Musikverlag G.m.b.H. Berlin (Three pieces and Suite according to Szántó); 1947 Copyright translated to Boosey & Hawkes, Inc., New York, U.S.A.; 1948 for the revised version* by Boosey & Hawkes, Inc., New York, U.S.A.

* The original version was published with the rights reservation, but without a copyright mark.

Editions

a) Overview

12-1 1912 FuSc; Russischer Musikverlag Berlin-Moskau; 156 pp.; R. M. V. 127.

    12-1Straw ibd.

12-2Err 1912 Errata sheet.

    12-2Err-Straw ibd.

12-3 1912 FuSc [corrected]; Russischer Musikverlag Berlin-Moskau; 156 pp.; R. M. V. 127.

12-4 1912 PiSc; Russischer Musikverlag Berlin-Moskau; 84 pp.; R.M.V. 150.

12-5 1913 VoSc for 2 Pianos; Russischer Musikverlag Berlin; 84 pp.; Pl.-Nr. R. M. V. 150.

12-5[19] [1919] ibd.

    12-5[19]-Straw ibd.

12-6 [1921] PoSc; Russischer Musikverlag Berlin; 156 pp.; R. M. V. 348.

12-7 (1922) Suite Piano [Szántó]; Russischer Musikverlag Berlin; 25 pp.; R. M. V. 399.

12-8 (1922) 3 movements Piano; Russischer Musikverlag Moskau-Berlin; 39 pp.; R. M. V. 400.

    12-8Straw1 ibd.

    12-8Straw2 ibd.

12-8 [ 27 ] 1927 ibd.

12-9 (1925) Dance of the ballerine (three-part female voices), Breitkopf U.S.A. [unidentified].

12-10 (1925) Dance of the coachmen and nurses (female voices), Breitkopf U.S.A. [unidentified].

12-11 [1933] PoSc; Kalmus New York; 156 pp.; Ed.-Nr. 79.

12-12 1933 Danse russe Violin-Piano [Dushkin]; Russ. Musikverlag Berlin-Moskau; 8 pp.; R.M.V. 565.

12-13 1935 Danse Russe Piano (Sucra); Fassio New York [unidentified].

12-14 1936 Danse Russe Piano (Sucra); Marks New York; 10619-8 [unidentified].

12-15 1941 Danse Russe Piano (Albert / Ruland); Marks NY; 11 pp.; Pl.-Nr. 11266-10 [unidentified].

12-16 1941 Chez Petrouchka Piano (Block); Marks NY; 9 pp.; 11507-7; 11507.

12-17 1941 Danse de la Foire Piano (Block); Marks NY; 9 pp.; 11508-6; 11508.

12-18Alb 1941 Chez Petroushka Piano (Block) in: Album of Igor Stravinsky ; Marks; 7 pp.; 11507-7.

12-19Alb 1941 Danse de la Foire Piano (Sucra) in: Album of Igor Stravinsky ; Marks; 6 pp.; 11508-6.

12-20Alb 1941 Danse Russe Piano (Sucra) in: Album of Igor Stravinsky ; Marks; 8 pp.; 10619-8.

12-21 1941 Danse russe Piano (Guenther); E. B. Marks New York; 11 pp. [unidentified].

12-22 1941 Danse russe PiSc (E. Maddy); Marks; 11. pp.

12-23St 1941 Danse russe (Transcription for orchestra) Guenther; Marks.

12-24 1942 Danse Russe Condensed Score Full Band (Goldman); Marks New York.

12-25 1942 Danse Russe Cond. Sc. Symphonic Band (Goldman); Marks New York; 8 pp.; 11688-72.

12-26 1942 Danse Russe Condensed Score Full und Symphonic Band (Goldman); Marks New York.

12-26EST 1942 Danse Russe Extra parts (Goldman); Marks New York.

12-27 [1940 or 1943] PoSc; Boosey & Hawkes London; 152 pp.; – ; 574.

12-28 1943 Study for orchestra Kornett (Foveau); Leduc Paris; A. L. 20,213.

12-29 1943 Study for orchestra Trumpet (Foveau); Leduc Paris; A. L. 20,280.

12-30 [1946] PoSc; Pro Arte Publications New York; 156 pp.; P. M. pp. 99 [unidentified].

12-31 (1948) 3 movements Piano; Russ. Musikverlag / Boosey & Hawkes; 39 pp.; B. & H. 16301.

12-32 [1948] FuSc rev.; Russischer Musikverlag Boosey & Hawkes; 172 pp.; B. & H. 16236.

    12-32Straw ibd.

12-3265 1965 ibd.

    12-3265-Straw ibd.

12-33 1948 PiSc rev.; Russischer Musikverlag - Boosey & Hawkes London; 84 pp.; B. & H. 16381.

12-34 [1948] PoSc Ballett rev.; Boosey & Hawkes London; 172 pp.; B. & H. 16236; 639.

    12-34Straw1 ibd. [with annotations].

    12-34Straw2 ibd. [with annotations].

12-3450 (1950) ibd.

12-3456 (1956) ibd.

12-3457 (1956) ibd.

12-3461 (1961) ibd.

12-3469 (1969) ibd.

12-3471 (1971) ibd.

12-35 [1949] Danse Russe Vilin-Piano (Dushkin); Russ. Musikv. / B. & H.; 8 pp.; B. & H. 16888.

12-35[66] [1966] ibd.

12-36 1953 Two Pianos 1. Russian Dance (Babin); Boosey & Hawkes London; 12 pp.; 17288 a.

12-3654 1954 ibd.

12-37 1953 Two Pianos 2. Petrouchka (Babin); Boosey & Hawkes London; 13 pp.; B. & H. 17288 b.

12-38 1953 Two Pianos 3. the shrove-tide fair; Boosey & Hawkes London; 31 pp.; B. & H. 17288 c.

12-39 1963 PoSc; Editions Musicales Moskau; 172 pp.; Ì. 30057 Ã .

12-40 1963 3 movements Piano [Petruschka]; Moskau; 39 pp.; 30378.

12-41 1967 PiSc ; Editions d'etat musique Moscou; 71 pp.; 2986.

12-42 1967 PoSc; Norton Company New York; 217 pp.; – .

12-43Alb 1967 3 movements Piano; Editions d’etat Musique Moskau; 37 pp.; 5064.

12-44 [1971] 3 movements Piano; International Music Company New York; 39 pp.; – .

b) Characteristic features

12-1 ИГОРЬ СТРАВИНСКIЙ / ПЕТРУШКА / ПОТГЬШНЫА СЦЕНЫ ВЪ 4 хъКАРТИХЪ / И ГОРА СТРАВИНСКАГО И АЛЕКСАНДРА БЕНУА / ПАРТИТУРА / РОССЇЙСКОЕ МУЗЫКАЛЬНОЕ ИЗДАТЕЛЬСТВО · БЕРЛИНЪ · МОСКВА · С-ПЕТЕРБУРГЬ · // IGOR STRAWINSKY / PÉTROUCHKA / SCÈNES BURLESQUES EN 4 TABLEAUX / D'IGOR STRAWINSKY et ALEXANDRE BENOIS / PARTITION / DROIT D'EXÉCUTION RÉSERVÉ. / СОБСТВЕННОСТЬ ДЛЯ ВСЂХЪ СТРАНЪ [#] 1912 [#] PROPRIÉTÉ DE L'ÉDITEUR POUR TOUS PAYS / РОССІЙСКАГО МУЗЫКАЛЬНАГО [#*] ÉDITION RUSSE DE MUSIQUE / ИЗДАТЕЛЬСТВА [#*] (RUSSISCHER MUSIKVERLAG G.M.B.H.)** / БЕРЛИНЪ – МОСКВА – С. ПЕТЕРБУРГЪ [#*] BERLIN – MOSCOU – ST. PÉTERSBOURG / LEIPZIG – LONDRES – NEW-YORK – BRUXELLES BREITKOPF & HÄRTEL /*** MAX ESCHIG PARIS // (Full score [library binding; cardboard] 26.5 x 33.5 (2° [4°]); movement and title texts Russian-French; 156 [150] pages + 4 cover pages black on dark beige [front cover title Old Russian Zierschrift in feather frame, 3 empty pages] + 8 pages front matter [ornamental title page in feather frame with separating vignette*, empty page, page with dedication centre handwritten-Russian printed in line etching > Александру Бенуа < + not quasi-handwritten flush left French >À ALEXANDRE BENOIS<, empty page, page with (world) premiere data French, summary Russian >„ПЕТРУШКА“ / Потђшныя сцены въ 4 картинахъ.< + summary French >„PÉTROUCHKA“ / Scènes burlesques en 4 tableaux.<, preface Russian >ОБЩЕЕ ЗАМЂЧАНIЕ.< + preface French >REMARQUE GÉNÉRALE.<, legend [without headline] Italian] + 4 pages back matter [4 empty pages]; title head Russian-French >ПЕТРУШКА. [#] PETROUCHKA<; author specified 1st page of the score paginated p. 7 below act title >НАРОДНЫЯ ГУЛЯНІЯ НА МАСЛЕНОЙ. [#] FÊTE POPULAIRE DE LA SEMAINE GRASSE.< flush right centred >Игорь Стравинскій. / Igor Strawinsky.<; legal reservation 1st page of the score between act title and author specified flush left >Droit d’exécution réservé.< below type area flush left >propriÉtÉ de l'Éditeur pour tous pays.< flush right >„ÉDITION RUSSE DE MUSIQUE“ (RUSSISCHER MUSIKVERLAG G. m. b. H.) / BERLIN, MOSCOU, ST-PÉTERBOURG<; plate number >R. M. V. 127<; end of score dated >ROMÉ 13/26 MAI 1911<) // (1912)****

* Three-line separating vignette 1,6 x 1,9 sitting woman playing cymbalom.

** G.M.B.H. is printed in smaller letters whereas B. and H. are printed below the G. and M.

*** Slash original.

**** On this page, in the copy London >h.3992< with receipt stamp 6. 5. 1912 the Errata table 25 x 32 is pasted.

12-1Straw

Strawinsky’s copy from his estate is below the name flush right in Russian script with flush right starting in the frame >Igor Strawinsky< signed.

12-2Err Erratum / Dans la musique // (paginated pages 1-4 print text with 156 corrections + 1 annotation at the end of p. 4 > NB. pages 139 140 141 142 143 pour tous les instruments à vent et cuivre lire IV. et non pas VI. dans le nomenclatur.<; plate number >R.M.V. 127<.

12-2ErrStraw

12-3 IGOR STRAWINSKY/ PÉTROUCHKA / SCÈNES BURLESQUES EN 4 TABLEAUX / D'IGOR STRAWINSKY et ALEXANDRE BENOIS / PARTITION D'ORCHESTRE / ÉDITION RUSSE DE MUSIQUE, BERLIN - MOSCOU - ST. PÉTERSBOURG // IGOR STRAWINSKY / PÉTROUCHKA / SCÈNES BURLESQUES EN 4 TABLEAUX / d'IGOR STRAWINSKY et ALEXANDRE BENOIS / PARTITION D'ORCHESTRE / DROIT D'EXÉCUTION RÉSERVÉ. / СОБСТВЕННОСТЬ ДЛЯ ВСЂХЪ СТРАНЪ [#] 1912 [#] PROPRIÉTÉ DE L'ÉDITEUR POUR TOUS PAYS / РОССІЙСКАГО МУЗЫКАЛЬНАГО [#*] ÉDITION RUSSE DE MUSIQUE / ИЗДАТЕЛЬСТВА [#*] (RUSSISCHER MUSIKVERLAG G.M.B.H.)** / БЕРЛИНЪ – МОСКВА – С. ПЕТЕРБУРГЪ [#*] BERLIN - MOSCOU - ST. PÉTERSBOURG / LEIPZIG - LONDRES - NEW-YORK - BRUXELLES BREITKOPF & HÄRTEL /*** MAX ESCHIG PARIS // (Full score [library binding] 26.2 x 33.3 (2° [4°]); 156 [150] pages + 4 cover pages thick paper veined dark grey on grey beige [ornamental cover page, 3 empty pages] + 8 pages front matter [ornamental title page in feather frame, empty page, page with (word) premiere data French, summary Russian-French, Russian-French, legend Italian, page with dedication handwritten-Russian printed in line etching + French printed in standard type Александру Бенуа - / À ALEXANDRE BENOIS, empty page] + 2 pages back matter [empty pages]; author specified 1st page of the score paginated p. 7 below title flush right >Игорь Стравинскій. / Igor Strawinsky.<; legal reservations 1st page of the score below title flush left >DROIT D'EXÉCUTION RÉSERVÉ< below type area production data flush right/flush left >PROPRIÉTÉ DE L'ÉDITEUR POUR TOUS PAYS.< >ÉDITION RUSSE DE MUSIQUE, BERLIN - MOSCOU - St. PETERBOURG<; plate number >R. M. V. 127<; end of score dated >ROMÉ 13/26 MAI 1911<) // 1912

* Three-line separating vignette.

** G.M.B.H. is printed in smaller letters whereas B. and H. are printed below the G. and M.

*** Slash original.

12-4 IGOR STRAWINSKY / PÉTROUCHKA / SCÈNES BURLESQUES EN 4 TABLEAUX / D'IGOR STRAWINSKY et ALEXANDRE BENOIS / RÉDUCTION POUR PIANO À QUATRE MAINS / ÉDITION RUSSE DE MUSIQUE, BERLIN – MOSCOU – ST. PÉTERSBOURG // IGOR STRAWINSKY / PÉTROUCHKA / SCÈNES BURLESQUES EN 4 TABLEAUX / D'IGOR STRAWINSKY et ALEXANDRE BENOIS / RÉDUCTION POUR PIANO À QUATRE MAINS PAR L'AUTEUR / DROIT D'EXÉCUTION RÉSERVÉ. / СОБСТВЕННОСТЬ ДЛЯ ВСЂХЪ СТРАНЪ [#] 1912 [#] PROPRIÉTÉ DE L'ÉDITEUR POUR TOUS PAYS / РОССІЙСКАГО МУЗЫКАЛЬНАГО [#*] ÉDITION RUSSE DE MUSIQUE / ИЗДАТЕЛЬСТВА [#*] (RUSSISCHER MUSIKVERLAG G. M. B. H.**) / БЕРЛИНЪ – МОСКВА – С. ПЕТЕРБУРГЪ [#*] BERLIN – MOSCOU – ST. PÉTERSBOURG / LEIPZIG – LONDRES – NEW-YORK – BRUXELLES BREITKOPF & HÄRTEL /*** MAX ESCHIG PARIS // (Reduction for two pianos [°] [library binding] 27.3 x 33.3 (2° [4°] ); movement and title texts Russian-French; 84 [78] pages + 4 cover pages black on beige [ornamental front cover title in feather frame, 3 empty pages] + 8 pages front matter [title page in ornamental feather frame with vignette 1.6 x 1.9 publisher’s emblem sitting woman playing cymbalom, empty page, page with (world) premiere data French, summary Russian >„ПЕТРУШКА“ / Потђшныя сцены въ 4 картинахъ.< + summary French >„PÉTROUCHKA“ / Scènes burlesques en 4 tableaux.<, preface Russian >ОБЩЕЕ ЗАМЂЧАНIЕ.< + preface French >REMARQUE GÉNÉRALE.<, empty page, page with dedication handwritten-Russian printed in line etching + standard typeface French > Александру Бенуа - / [at the bottom of the page flush left] À ALEXANDRE BENOIS<, empty page] without back matter; title head >ПЕТРУШКА. [#] PÉTROUCHKA.<; author specified 1st page of the score paginated p. 7 below act title >НАРОДНЫЯ ГУЛЯНІЯ НА МАСЛЕНОЙ. [#] FÊTE POPULAIRE DE LA SEMAINE GRASSE< flush right centred >Игорь Стравинскій. / Igor Strawinsky. <; legal reservations 1st page of the score above type area between movement title and author specified flush left >Droit d'execution réservé.< below type area flush left >PROPRIÉTÉ DE L'ÉDITEUR POUR TOUS PAYS.< flush right >„ÉDITION RUSSE DE MUSIQUE“ / BERLIN, MOSCOU, ST. PÉTERSBOURG.<; plate number >R. M. V. 150<; end of score dated >ROME 1911.<; production indication S. 84 flush right as end mark >Imp. C. G. Röder, Leipzig.< // (1912)

° The accessible editions have been rebound and trimmed.

* Vignette spanning three lines.

** G.M.B.H. is printed in smaller letters whereas B. and H. are printed below the G. and M.

*** Slash original.

12-5 IGOR STRAWINSKY/ PÉTROUCHKA / SCÈNES BURLESQUES EN 4 TABLEAUX / D'IGOR STRAWINSKY et ALEXANDRE BENOIS / RÉDUCTION POUR PIANO À QUATRES MAINS / PAR L'AUTEUR / ÉDITION RUSSE DE MUSIQUE, BERLIN – MOSCOU – St. PÉTERSBURG // IGOR STRAWINSKY / PÉTROUCHKA / SCÈNES BURLESQUES EN 4 TABLEAUX / D'IGOR STRAWINSKY et ALEXANDRE BENOIS / RÉDUCTION POUR PIANO À QUATRE MAINS PAR L'AUTEUR / TOUS DROITS D'EXÉCUTION RÉSERVÈS. / СОБСТВЕННОСТЬ ДЛЯ ВСЂХЪ СТРАНЪ [#] 1913 [#] ROPRIÉTÉ DE L’ÉDITEUR POUR TOUS PAYS / РОССIЙСКАГО МУЗЫКАЛЬНАГО [#*] ÉDITION RUSSE DE MUSIQUE / ИЗДАТЕЛЬСТВА [#*] (RUSSISCHER MUSIKVERLAG G. M. B. H.**) / БЕРЛИНЪ – МОСКВА – С. ПЕТЕРБУРГЪ [#*] BERLIN – MOSCOU – St. PÉTERSBURG / LEIPZIG – LONDRES – NEW-YORK – BRUXELLES BREITKOPF & HÄRTEL /° MAX ESCHIG PARIS // (Reduction for piano for four hands cardboard bound 27 x 33 (2° [4°]); movement and title texts Russian-French; 84 [78] pages + 4 cover pages black on beige [front cover title in ornamental feather frame, 3 empty pages] + 2 pages (empty pages) + 8 pages front matter [title page in ornamental feather frame with separating vignette spanning three lines 1.6 x 1.9 publisher’s emblem sitting woman playing cymbalom, empty page, page with (world) premiere data >PÉTROUCHKA< French, summary Russian-French, preface [information of scenery] Russian >ОБЩЕЕ ЗАМЂЧАНIЕ.< French >REMARQUE GÉNÉRALE.<, empty page, page with dedication handwritten-Russian printed in line etching [centre] > Александру Бенуа < / [at the bottom of the page not quasi-handwritten French flush left] >À ALEXANDRE BENOIS<, empty page] + 2 pages back matter [empty pages] + 2 pages (empty pages); title head >ПЕТРУШКА. [#] PÉTROUCHKA.<; author specified 1st page of the score paginated p. 7 below act title >КАРТИНА ПЕРВАЯ. [#] PREMIER TABLEAU. / >НАРОДНЫЯ ГУЛЯНІЯ НА [#] FÊTE POPULAIRE DE LA / МАСЛЕНОЙ. [#] SEMAINE GRASSE< flush right centred >Игорь Стравинскій. / Igor Strawinsky. <; legal reservations 1st page of the score above type area between movement and author specified flush left >Droit d'execution réservé.< below type area flush left >PROPRIÉTÉ DE L'ÉDITEUR POUR TOUS PAYS.< flush right centred >„EDITION RUSSE DE MUSIQUE“ (RUSSISCHER MUSIKVERLAG G. m. b. H.) / BERLIN, MOSCOU, ST. PETERSBOURG.<; plate number >R. M. V. 150<; end of score dated p. 84 >ROME MAI 1911.<; production indication S. 84 flush right as end mark >Imp. C. G. Röder, Leipzig.< // 1913

° Slash original.

* Separating vignette.

** G.M.B.H. is printed in smaller letters whereas B. and H. are printed below the G. and M.

12-5[19] IGOR STRAWINSKY/ PÉTROUCHKA / SCÈNES BURLESQUES EN 4 TABLEAUX / D’IGOR STRAWINSKY et ALEXANDRE BENOIS / RÉDUCTION POUR PIANO À QUATRE MAINS / PAR L’AUTEUR / ÉDITION RUSSE DE MUSIQUE – LEIPZIG – MOSCOU – LONDRES / MUSIQUE RUSSE, 3 RUE DE MOSCOU // IGOR STRAWINSKY / PÉTROUCHKA / SCÈNES BURLESQUES EN 4 TABLEAUX / D’IGOR STRAWINSKY et ALEXANDRE BENOIS / RÉDUCTION POUR PIANO À QUATRE MAINS PAR L’AUTEUR / TOUS DROITS D’ÉXECUTION RÉSERVÉS. / ÉDITION RUSSE DE MUSIQUE / [#*] (RUSSISCHER MUSIKVERLAG G. M.B.H.**) / (FONDÉE PAR S. ET N. KOUSSEWITZKY.) / BERLIN. MOSCOU. LEIPZIG. NEW-YORK. LONDRES. / POUR LA FRANCE ET SES COLONIES: MUSIQUE RUSSE, PARIS , 3 RUE DE MOSCOU.*** // (Reduction for piano for four hands [library binding] 26.5 x 33.3 ([4°]); movement and title texts Russian-French; 84 [78] pages + 4 cover pages black on dark beige [front cover title in ornamental feather frame, 3 empty pages] + 8 pages front matter [title page in ornamental feather frame, empty page, page with (world) premiere data French, summary Russian-French, preface Russian >ОБЩЕЕ ЗАМЂЧАНIЕ. < French >REMARQUE GÉNÉRALE.<, empty page, dedication handwritten-Russian printed in line etching [centre] >Александру Бенуа <, French [at the bottom of the page flush left] >A ALEXANDRE BENOIS<, empty page] + 2 pages back matter [empty pages]; title head >ПЕТРУШКА. [#] PÉTROUCHKA.<; author specified 1st page of the score paginated p. 7 below act title flush right centred >Игорь Стравинскій. / Igor Strawinsky.<; legal reservations 1st page of the score above type area between movement title and author specified flush left >Droit d'execution réservé.< below type area flush left >PROPRIÉTÉ DE L'ÉDITEUR POUR TOUS PAYS.< flush right centred >„ÉDITION RUSSE DE MUSIQUE“ (RUSSISCHER MUSIKVERLAG G. m. b. H.) / BERLIN, MOSCOU, ST. PETERSBOURG.<; plate number >R. M. V. 150<; end of score dated >ROME MAI 1911.<; production indication p. 84 flush right as end mark >Imp. C. G. Röder, Leipzig.< // [1919]

* Separating vignette covering thre lines 1.6 x 1.8 sitting woman playing cymbalom.

** G.M.B.H. is printed in smaller letters whereas B. and H. are printed below the G. and M.

*** Strawinsky’s copy of his estate contains at this point two centre below stamps >Il est interdit d’importer cet exemplaire en / France, Grande Bretagne et les Etat Unis.< and >This copy may not be imported into the / British Empire and the United States.<.

12-5Straw

Strawinsyk’s copy from his estate is rebound, neither signed nor dated and without own errata-list. It contains many notes on performance and corrections (red, blue, pencil). The misprints in the Russian and French preface are marked.

12-5[19]-Straw

Strawinsky’s copy from his estate contains notes on performance with pencil and on the front cover page between piece title and imprint slanted upwards an entry written in pencil right centred >King Alfonse / 1919 / Madrid<.

12-6 IGOR STRAWINSKY/ PÉTROUCHKA / SCÈNES BURLESQUES EN 4 TABLEAUX / D'IGOR STRAWINSKY et ALEXANDRE BENOIS / PARTITION / EDITION RUSSE DE MUSIQUE / FONDÉE PAR S. ET N. KOUSSEWITZKY* // IGOR STRAWINSKY / PÉTROUCHKA / SCÈNES BURLESQUES EN 4 TABLEAUX / D'IGOR STRAWINSKY et ALEXANDRE BENOIS / PARTITION EDITION DE POCHE / PROPRIÉTÉ DE L'ÉDITEUR POUR TOUS PAYS. / [vignette] / EDITION RUSSE DE MUSIQUE / FONDÉE PAR S. ET N. KOUSSEWITZKY / BERLIN. MOSCOU. LEIPZIG. NEW-YORK. / POUR LA FRANCE ET SES COLONIES: MUSIQUE RUSSE, PARIS, 3, RUE DE MOSCOU. / POUR L'ANGLETERRE ET SES COLONIES: THE RUSSIAN MUSIC AGENCY, LONDRES W. 1, 34, PERCY ST.* // [without text on spine] // (Pocket scorer stapled 14.5 x 20.6 x 1 (8° [kl. 8°]); movement and title texts Russian-French; 156 [150] pages + 4 cover pages thin paperboard black on beige [front cover title in ornamental feather frame, 3 empty pages] + 2 pages front matter [title page in ornamental feather frame with vignette 0.5 x 0.6 publisher’s emblem sitting woman playing cymbalom, legend [without headline] Italian-French mixed] without back matter; title head >ПЕТРУШКА.< [#] >PÉTROUCHKA.<; without dedication; author specified 1st page of the score paginated page 7 below movement title >КАРТИНА ПЕРВАЯ.< [‚] >PREMIER TABLEAU< / >НАРОДНЫЯ ГУЛЯНIЯ НА МАСЛЕНОИ.< >FÊTE POPULAIRE DE LA SEMAINE GRASSE.< flush right centred >Игорь Стравинскій. / Igor Strawinsky. <;legal reservations 1st page of the score below movement title [above type area] flush left >DROIT D'EXECUTION RESERVÉ.< below type area flush left >PROPRIETÉ DE L'ÉDITEUR POUR TOUS PAYS.< flush right >édition russe de musique, Berlin - moscou<; plate number [only] 1st page of the score >R. M. V. 348<; end of score dated p. 156 >ROME 13/26 MAI 1911.<; without end mark; without production indication) // (1921)

* The [library bound] Munich copy >4 Mus.pr. 4659< contains on the front cover title and on the title page of the front matter below the feather frame centre a stamp mark >Il est interdit d'importer cet exemplaire en / France, Grande Bretagne et les Etat Unis. / This copy my not be imported into the / British Empire and the United States.<.

12-7 IGOR STRAWINSKY/ SUITE / DE CINQ PIÈCES TIRÉE DU BALLET / PÉTROUCHKA / ET TRANSCRITE POUR PIANO À DEUX MAINS / PAR / THÉODORE SZÁNTÓ / [vignette] / PROPRIÉTÉ DE L'ÉDITEUR POUR TOUS PAYS / ÉDITION RUSSE DE MUSIQUE / (RUSSISCHER MUSIKVERLAG G. M. B. H. *) / FONDÉE PAR S. ET N. KOUSSEWITZKY / BERLIN MOSCOU LEIPZIG NEW-YORK PARIS LONDRES BRUXELLES // (Edition not sewn 26 x 34 (2° [4°]); 25 [23] pages + 2 pages front matter [title page in ornamental feather frame and centre centred publisher’s emblem 1 x 1.3 sitting woman playing cymbalom, empty page] + 1 page back matter [empty page]; title head >SUITE DE CINQ PIÈCES TIRÉE DU BALLET / PÉTROUCHKA<; author specified 1st page of the score paginated p. 3 centre above title head >IGOR STRAWINSKY<; arranger specified in connection with title head flush right not centred >/ et transcrite par THÉODORE SZÁNTÓ / (1922)<; legal reservation 1st page of the score below type area flush left >Russischer Musikverlag G. m. b. H. Berlin / (Edition Russe de Musique) / Copyright 1922 by Russischer Musikverlag G. m. b. H. Berlin< flush right >Propriété de l'éditeur pour tous pays<; plate number >R. M. V. 399<; production indication as end mark S. 25 below type area flush right >Stich und Druck von C. G. Röder G.m.b.H., Leipzig.<) // (1922) [1923]**

* G.M.B.H. is printed in smaller letters whereas B. and H. are printed below the G. and M.

** Dating according to Preußische Staatsbibliothek (Berlin).

12-8 IGOR STRAWINSKY / TROIS MOUVEMENTS / DE / PÉTROUCHKA / TRANSCRIPTION POUR PIANO-SOLO / PAR L'AUTEUR / ÉDITION RUSSE DE MUSIQUE [*] // IGOR STRAWINSKY / TROIS MOUVEMENTS / DE / PÉTROUCHKA / TRANSCRIPTION POUR PIANO-SOLO / PAR L'AUTEUR / [vignette] / PROPRIÉTÉ DE L'ÉDITEUR POUR TOUS PAYS / ÉDITION RUSSE DE MUSIQUE / (RUSSISCHER MUSIKVERLAG G.M.B.H.**) / FONDÉE PAR S. ET N. KOUSSEWITZKY / BERLIN [#] MOSCOU [#] LEIPZIG [#] NEW-YORK / POUR LA FRANCE ET SES COLONIES: MUSIQUE RUSSE, PARIS, 3. RUE DE MOSCOU / POUR L'ANGLETERRE ET SES COLONIES: THE RUSSIAN MUSIC AGENCY, LONDRES W. I, 34 PERCY STREET. // (Edition [library binding] 26.5 x 33.4 (2° [4°]); 39 [37] pages + 4 cover pages black on grey [front cover title in ornamental feather frame, 2 empty pages, page with publisher’s advertisements >LES ŒUVRES / D’IGOR STRAWINSKY<*** production date >1<] + 2 pages front matter [title page in ornamental feather frame with vignette 0,6 x 0,8 publisher’s emblem sitting woman playing cymbalom, empty page] + 1 page back matter [empty page]; title head >Trois Mouvements de Pétrouchka< / >Transcription pour piano-solo par l’auteur<; dedication 1st page of the score paginated p. 3 above title head centre >A Arthur Rubinstein<; author specified 1st page of the score below piece title Russian-French flush right centred >Igor Strawinsky / 1911-1921<; fictitious editor specified 1st page of the score between dedication and title head flush left >Edited by F. H. Schneider<; legal reservations 1st page of the score below type area flush left >Copyright 1922 by Russischer Musikverlag G.m.b.H., Berlin / Russischer Musikverlag G.m.b.H., Berlin-Leipzig< flush right >Propriété de l'éditeur pour tous pays; plate number: R. M. V. 400; end of score dated p. 39 >Anglet, 1921.<; without end mark) // (1922)

* The copy Berlin >Dms 193679< contains below the feather frame centre a stamp mark >Il est interdit d’importer cet exemplaire en / France, Grande Bretagne et les Etat Unis. / This copy may not be imported into the / British Empire and the United States.< I n the English text, the reference to France missing.

** G.M.B.H. is printed in smaller letters whereas B. and H. are printed below the G. and M.

*** Compositions are advertised laid out >PÉTROUCHKA (BALLET) / PARTITION DE POCHE / RÉDUCTION POUR PIANO À QUATRE MAINS PAR L’AUTEUR / „TROIS MOUVEMENTS DE PÉTROUCHKA“. / TRANSCRIPTION POUR PIANO-SOLO PAR L’AUTEUR / ROSSIGNOL (CONTE LYRIQUE) / RÉDUCTION POUR CHANT ET PIANO PAR L’AUTEUR / „MARCHE CHINOISE“. TRANSCRIPTION POUR PIANO-SOLO / [#] PAR THÉODORE SZÁNTÓ / „CHANT DU ROSSIGNOL“. (POÈME SYMPHONIQUE) / PARTITION DE POCHE / LE SACRE DU PRINTEMPS (BALLET) / PARTITION DE POCHE / RÉDUCTION POUR PIANO À QUATRE MAINS PAR L’AUTEUR / [°] / TROIS PIÈCES POUR QUATUOR À CORDES / PARTITION DE POCHE / [°] / POUR CHANT ET PIANO:°° / DEUX POÉSIES DE BALMONT / ÉDITION NOUVELLE AVEC TEXTE RUSSE, FRANÇAIS, ANGLAIS ET ALLEMAND / TROIS POÉSIES DE LA LYRIQUE JAPONAISE / ÉDITION NOUVELLE AVEC TEXTE RUSSE, FRANÇAIS ET ANGLAIS / TROIS PETITES CHANSONS (SOUVENIR DE MON ENFANCE) / ÉDITION NOUVELLE AVEC TEXTE RUSSE ET FRANÇAIS, RUSSE ET ANGLAIS / [°°°] / ÉDITION RUSSE DE MUSIQUE< [° dividing (horizontal) 4 cm line. ; °° line centre ; °°° dividing (horizontal) 5.7 cm line].

12-8Straw1

12-8Straw2

12-8[27] IGOR STRAWINSKY / TROIS MOUVEMENTS / DE / PÉTROUCHKA / TRANSCRIPTION POUR PIANO-SOLO / PAR L'AUTEUR / ÉDITION RUSSE DE MUSIQUE // IGOR STRAWINSKY / TROIS MOUVEMENTS / DE / PÉTROUCHKA / TRANSCRIPTION POUR PIANO-SOLO / PAR L'AUTEUR / [vignette] / ÉDITION RUSSE DE MUSIQUE / (RUSSISCHER MUSIKVERLAG G. M. B. H.*) / FONDÉE PAR S. ET N. KOUSSEWITZKY / MOSCOU. BERLIN. LEIPZIG. PARIS . LONDRES. / BRUXELLES. MADRID. BARCELONA. NEW-YORK. // (Edition [library binding] 26.3 x 33.2 (2° [4°]); 39 [37] pages [pp. 3-9, 10-17, 18-39] + 4 cover pages black on beige [front cover title, 3 empty pages] + 2 pages front matter [title page with vignette 1 x 1.2 publisher’s emblem sitting woman in crown-like frame playing cymbalom, empty page] + 1 page back matter; title head >Trois Mouvements de Pétrouchka / Transcription pour piano-solo par l'auteur<; dedication above title head centre >A Arthur Rubinstein<; author specified 1st page of the score paginated p. 3 below movement title numbered in Roman numeral (without dot) >I / „ Русская “ [#] Danse russe< Russian-French flush right centred >Igor Strawinsky / 1911-1921<; fictitious editor specified 1st page of the score between dedication and title head flush left >dited** by F. H. Schneider<; legal reservations 1st page of the score below type area flush left >Copyright 1922 by Russischer Musikverlag G. m. b. H., Berlin / Russischer Musikverlag G.m.b.H.,Berlin-Leipzig< flush right >Propriété l'éditeur pour tous pays<; plate number >R.M.V. 400<; end of score dated p. 39 >Anglet, 1921<; production indication p. 39 flush left as end mark >Imp. Delanchy-Dupré – Paris-Asnières / 2 et 4, Avenue de la Marne – 1927<) / (1927)

* G.M.B.H. is printed in smaller letters whereas B. and H. are printed below the G. and M.

** Original spelling. The capital E is missing (this is a mistake, cut off or not properly inked).

12-9 BREITKOPF / CHORUSSES FOR FEMALE VOICES / DANCE OF THE BALLERINE, / three part Chorus // [not identified]

12-10 BREITKOPF / CHORUSSES FOR FEMALE VOICES / DANCE OF THE COACHMEN AND NURSES, three / part Chorus // [not identified]

12-11 KALMUS MINIATURE / ORCHESTRA SCORES / No. 79 / IGOR / STRAWINSKY* / PETROUSHKA / EDWIN F. KALMUS / PUBLISHER OF MUSIC / NEW YORK. N. Y. // KALMUS MINIATURE / ORCHESTRA SCORES / IGOR / STRAVINSKY* / PETROUSHKA / A Burlesque in four scenes / No. 79 / E. F. KALMUS ORCHESTRA SCORES / Printed in U. S. A. // (Pocket score [library binding] 15.8 x 22.4 ([8 °]); 156 [148] pages + 4 cover pages dark green on light green [front cover title, 3 empty pages] 2 pages front matter [title page in ornamental frame, page with introductory text > PETRUSHKA < English without author specified + overview of the succession of scenes with 8 note examples in the form of incipits English + duration data [33’] English] without back matter; title head >PETRUSHKA / A Burlesque in four scenes<; author specified 1st page of the score paginated p. 7 below title head flush right >Igor Stravinsky*<; without legal reservation; without plate number; without end mark) // [1933]

* Original spelling.

12-12 IGOR STRAWINSKY / DANSE RUSSE / EDITION RUSSE DE MUSIQUE // [°] / IGOR STRAWINSKY / DANSE RUSSE / Transcription pour Violon et Piano / par l'AUTEUR et S. DUSHKIN / Prix: RM. 2.50 / [#] Frs. 3.= / EDITION RUSSE DE MUSIQUE / Russischer MUSIKVERLAG (G. M. B. H.*) / FONDÉE PAR S. ET N. KOUSSEVITZKY / BERLIN · LEIPZIG · PARIS · MOSCOU · LONDRES · NEW YORK · BUENOS AIRES / [°°] / S. I. M. G. - Asnières-Paris, / 2 et 4, Avenue de la Marne – XXXIII // (Edition for violin and piano [library binding] 27 x 34 (2° [4°]); 8 [6] pages + 4 cover pages thicker paper black on dirty beige [front cover title, 3 empty pages] + 2 pages front matter [title page, empty page] without back matter + violin part [above type area centre >VIOLON< in identical layout] 3 [3] pages without front matter + 1 page back matter [empty page]; title head >DANSE RUSSE<; authors specified 1st page of the score paginated p. 1 below title head flush right >IGOR STRAWINSKY< flush left centred >Transcription pour Violon et Piano / par l'Auteur et S. Dushkin<; legal reservations 1st page of the score below type area flush left centred >Propriété de l'Editeur pour tous pays. / Edition Russe de Musique / Russischer Musikverlag G. m. b. H. Berlin.< flush right centred >Copyright 1933 by Russischer Musikverlag G. m. b. H. Berlin. / Tous droits d'exécution, de reproduction et / d'arrangements réservés pour tous pays.<; plate number >R. M. V. 565<; production indication S. 8 flush left [part p. 3: >S. I. M. A. G. Asnières Paris<] centred >S. I. M. A. G. - Asnières-Paris. / 2 et 4, Avenue de la Marne – XXXIII< flush right as end mark >GRANDJEAN GRAV.< // 1933

° The London copy >h.3992.o.(6.)< (purchased on 15. June 1968 by the library) contains above title page flush right a stamp mark >HOMMAGE DE L’ÉDITEUR<.

°° Dividing horizontal line of 0,8.

* G.M.B.H. is printed in smaller letters whereas B. and H. are printed below the G. and M.

12-13 1935 Danse Russe transcription for piano (Luis Sucra); A. Fassio New York [unidentified].

12-14 1936 Danse Russe transcription for piano (Luis Sucra); Edward B. Marks Music Corporation New York; Pl.-Nr. 10619-8 [unidentified].

12-15 1941 Danse Russe transcription for piano (Alfred G. Albert / Harold L. Ruland); Edward B. Marks New York; 11 S.; Pl.-Nr. 11266-10 [unidentified].

12-16 No. 11507 / CHEZ PETROUCHKA / From “PETROUSHKA” / [#*] 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. // (Transcription for piano not sewn 23 x 30.3 (4° [4°]); 9 [7] 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<**] + 1 page front matter [empty page] 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 > CHEZ PETROUCHKA / From / “PETROUSHKA”; author and arranger specified 1st page of the score paginated p. 3 below title head flush right >IGOR STRAVINSKY< flush left centred >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 >11507-7<; 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) without division into columns >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 TRIBESfrom “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<.

*** P ianist at a grand piano with the lid raised .

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

12-17 No. 11508 / DANSE DE LA FOIRE / From “PETROUSHKA” / [#*] 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. // (Transcription for piano not sewn 23 x 30.3 (4° [4°]); 8 [6] 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 und without back matter; title head >DANSE DE LA FOIRE / From “PETROUSHKA”; author and arranger 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 >11508-6<; 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) without division into columns >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 TRIBESfrom “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<.

12-18Alb Chez Petroushka / From / Petroushka // ([in:] CONTEMPORARY MASTERPIECES · ALBUM No. 9 / ALBUM OF / IGOR STRAVINSKY / MASTERPIECES / [Porträt] / 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; 87 [85] pages + 4 cover pages dark light-orange on cream [front cover title laid out with portrait photo 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) // (6 pp. [pp. 3-9], arranger specified 1st page of the score paginated p. 3 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 >11507-7<; without end marks) // 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.

12-19Alb DANSE DE LA FOIRE / From / “PETROUCHKA“ // ([in:] CONTEMPORARY MASTERPIECES · ALBUM No. 9 / ALBUM OF / IGOR STRAVINSKY / MASTERPIECES / [Porträt] / 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; 87 [85] pages + 4 cover pages dark light-orange on cream [front cover title laid out with portrait photo 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) // (6 S. [S. 10-15], arranger specified 1st page of the score paginated p. 6 below title head flush left centred italic > Arranged by / FREDERICK BLOCK <; author specified between 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 >11508-6<; without end marks) // 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.

12-20Alb DANSE RUSSE / (From / PETROUCHKA) // ([in:] CONTEMPORARY MASTERPIECES · ALBUM No. 9 / ALBUM OF / IGOR STRAVINSKY / MASTERPIECES / [Porträt] / 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; 87 [85] pages + 4 cover pages dark light-orange on cream on creme [front cover title laid out with portrait photo 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) // (8 pp. [pp. 16-23], arranger specified 1st page of the score paginated p. 16 below title head flush left centred >Revised and edited/ by LUIS SUCRA<; author specified between arranger specified flush right >By I. STRAWINSKY<; legal reservation with production indication 1st page of the score below type area centre centred partly in italics > Copyright MCMXXXV by A. Fassio, New York, N. Y. / Copyright assigned MCMXLI by Edward B. Marks Music Music Corporation.<; plate number >10619-8<; without production indication; without end marks) // 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.

12-21 1941 Danse russe transcription for four hands (Felix Guenther); E. B. Marks New York; 11 S. // [unidentified].

12-22 1941 Danse russe (Transcription for orchestra Felix Guenther, edited by E. Maddy); Vocal score; E. B. Marks Music Corporation; 11. S. // [unidentified].

12-23St 1941 Danse russe (Transcription for orchestra Felix Guenther, edited by E. Maddy) set of parts [to 12-22]; E. B. Marks Music Corporation // [unidentified].

12-24 1942 Danse russe (Richard Franko Goldman) // [Arrangement for Full Band and Symphonic Band with Conductor's Condensed Score and set of parts // [unidentified*]

* Set of parts unidentified, Condensed score probably the same as 12-25.

12-25 Modern Contemporary Composers Series for Band / DANSE RUSSE / (From “PETROUCHKA”) / By IGOR STRAWINSKY / ARRANGED FOR / FULL and SYMPHONIC BAND / by / RICHARD FRANKO GOLDMAN / FULL BAND With Conductor's Score [*] 3.50 / SYMPHONIC BAND With Conductor's Score [*] 5.50 / CONDUCTOR'S SCORE [*] .75 / EXTRA PARTS [*] .30 / EDWARD B. MARKS MUSIC CORPORATION / RCA BUILDING [#] RADIO CITY, N. Y. // (Conductor’ score with set of parts for Symphonic Band >SYMPHONIC BAND With Conductor’s Score<** [library binding] 23.5 x 30.5 (4° [4°]); 8 [8] pages + 2 pages front matter [ornamental front cover*** thick paper dark on light, page with introductory text >DANSE RUSSE< English signed > The Editors < + legend in two columns >FULL [#] SYMPHONIC [#] FULL [#] SYMPHONIC / 1 Conductor [#] 1 [#] 1 [#] 3rd Bb Cornet [#] 2 / 1 1st C Flute [#] 1 [#] 1 1st Bb Trumpet [#] 1 / 1 2nd C Flute [#] 2 [#] 1 2nd Bb Trumpet [#] 1 / 1 Piccolo in C [#] 1 [#] 1 1st Eb Horn [#] 1 / 1 Db Piccolo [#] 1 [#] 1 2nd Eb Horn [#] 1 / 1 1st Oboe [#] 1 [#] 1 3rd Eb Horn [#] 1 / 1 2nd Oboe [#] 1 [#] 1 4st Eb Horn [#] 1 / 1 English Horn [#] 1 [#] 1 1st Horn In F [#] 1 / 1 1st Bassoon [#] 1 [#] 1 2nd Horn In F [#] 1 / 1 2nd Bassoon [#] 1 [#] 1 3rd Horn In F [#] 1 / 1 Eb Clarinet [#] 1 [#] 1 4st Horn In F [#] 1 / 1 Bb Solo Clarinet [#] 2 [#] 1 Baritone T.C. [#] 1 / 2 1st Clarinet [#] 4 [#] 1 Baritone B.C. [#] 2 / 2 2nd Clarinet [#] 4 [#] 1 1st Trombone [#] 2 / 2 3rd Clarinet [#] 4 [#] 1 2nd Trombone [#] 1 / 1 Eb Alto Clarinet [#] 1 [#] 1 3rd Trombone [#] 1 / 1 Bb Bass Clarinet [#] 1 [#] 1 String Bass [#] 1 / 1 1st Eb Alto Saxophone [#] 2 [#] 2 Basses or Tuba [#] 4 / 1 2nd Eb Alto Saxophone [#] 1 [#] 1 Xylophone [#] 1 / 1 Bb Tenor Saxophone [#] 1 [#] 1 Tympani [#] 1 / 1 Eb Bariton Saxophone [#] 1 [#] 1 Glockenspiel [#] 1 / 1 Bass Sax & Contrabass Clar. [#] 1 [#] 1 Bass Drum, Tambourin [#] 1 / 2 Solo & 1st Bb Cornet [#] 3 [#] 1 Snare Drum, Triangle [# 1 / 1 2nd Bb Cornet [#] 2<] + 2 pages back matter [empty page, page with publisher’s advertisements >CONCERT BAND MUSIC<**** without production date]; title head >DANSE RUSSE / (From “PETROUCHKA”)<; authors specified 1st page of the score unpaginated [p. 1] below title head flush right >IGOR STRAWINSKY< next to and below 2. line title head flush left centred >Arranged by / RICHARD FRANKO GOLDMAN<; reference to the edition 1st page of the score above type area flush left >CONDUCTOR’S CONDENSED SCORE<; legal reservation in connection with production indication 1st page of the score below type area centre >Copyright, MCMXLII by Edward B. Marks Music Corporation / All Rights Reserved [#] Made in U. S. A. / Performance Rights Licensed by B. M. I.<; plate number >11688-72<; without end marks) // (1942)

* Fill character (small horizontal lines).

** Set of parts unidentified.

*** The title page has a grey and white border running diagonally from bottom to top with the title of the series printed white on grey > moderm contemporary composers <.

**** Compositions are advertised without column divisions under the heading >CONTEMPORARY COMPOSERS SERIES / FULL BAND $3.50 (Each) [#] SYMPHONIC BAND $5.50 (Each) / TITLE [#] COMPOSER [#] ARRANGED BY< from >AN AMERICAN COMPOSER< to >P. YODER<, amongst these >BERCEUSE AND FINALE (From the [#] I. STRAWINSKY [#] R. F. GOLDMAN< / “Firebird”)< [#] [#] / / >DANSE RUSSE (From “Petrouchka”) [#] I. STRAWINSKY [#] R. F. GOLDMAN<. Under the the three other headings Strawinsky not mentioned.

12-26 1942 Danse russe (Richard Franko Goldman) // [Arrangement für Full Band and Symphonic Band with Conductor's Condensed Score without set of parts // [unidentified].

12-26ESt 1942 Danse russe (Richard Franko Goldman) // additional parts to [probably] 25-25 [Full Band enlargement into Symphonic Band] // [unidentified].

12-27 HAWKES POCKET SCORES / ^IGOR STRAVINSKY / PETROUSHKA / A BURLESQUE IN FOUR SCENES / BOOSEY & HAWKES / No. 574 // HAWKES POCKET SCORES / IGOR STRAVINSKY / PETROUSHKA / A BURLESQUE IN FOUR SCENES^ / BOOSEY & HAWKES / LTD / LONDON [#] NEW YORK [#] SYDNEY [#] TORONTO [#] CAPETOWN / 295 Regent Street [#] 43 West 23 rdStreet [#] 250 Pitt Street [#] 10a Shutter Street [#] 84 Loop Street / Broude Bros. / Music / 115 57 St. R. V. C. // (Pocket score 17.7 x 26 (8° [Lex. 8°]); 152 [150] pages + 4 cover pages blue on grey-beige veined [front cover title with frame, 2 empty pages, page with publisher’s advertisements >HAWKES POCKET SCORES / MODERN WORKS<* without production date] + 2 pages front matter [title page, empty page] without back matter; title head >PETROUSHKA / A Burlesque in Four Scenes<; author specified 1st page of the score paginated p. 3 below title head flush right >Igor Stravinsky<; without legal reservation; edition number as plate number >B. & H. No. 574<; without production indication; without end marks) // (1943 [1940])

* Works of Strawinsky are advertised with edition number and price information >573 IGOR STRAVINSKY, Fire Bird Suite° 2.00 / 574 IGOR STRAVINSKY, Petroushka° 3.00< [° Fill character (dotted line).

12-28 1943 Study for orchestra Cornett (Eugène Foveau) Nr. 1 S. 1, Répertoire du Conservatoire National de Paris; Alphons Leduc Paris; 26,2 x 34,4 (2° [4°]); Pl.-Nr. A. L. 20,213

12-29 1943 Study for orchestra Trumpet (Eugène Foveau) 2. Faszikel Nr. 9 S. 4, Répertoire du Conservatoire National de Paris; Alphons Leduc Paris; 26,2 x 34,4 (2° [4°]); Pl.-Nr. A. L. 20,280

12-30 1946] Pocket score; Pro Arte Publications New York; 156 S.; P. M. S. 99 [unidentified].

12-31 igor strawinsky / trois mouvements / de pétrouchka / piano seul / édition russe de musique · boosey & hawkes // Igor Strawinsky / Trois Mouvements / de Pétrouchka / Transcription pour piano seul / par l'auteur / Édition Russe de Musique (S. et N. Koussewitzky) · Boosey & Hawkes / London · New York · Sydney · Toronto · Cape Town · Paris · Buenos Aires // (Edition stapled 26.7 x 33 (2° [4°]); movement title below movement number numbered in Roman numal (without dot) Russian-French; 39 [37] pages + 4 cover pages tomato red auf grey beige [front cover title, 2 empty pages, page with publisher’s >Édition Russe de Musique / (S. et N. Koussewitzky) / Boosey & Hawkes< advertisements > Igor Strawinsky <* production date >No. 453<] + 2 pages front matter [title page, empty page] + 1 page back matter [empty page]; title head >Trois Mouvements de Pétrouchka / Transcription pour piano-solo par l’auteur<; dedication above title head centre >A Arthur Rubinstein<; fictitious editor specified between dedication and title head flush left >Edited by F. H. Schneider<; author specified 1st page of the score paginated p. 3 below movement title >I / „ Русская“ [#] Danse russe< flush right centred >Igor Strawinsky / 1911-1921<; legal reservations 1st page of the score below type area flush left >Copyright 1922 by Édition Russe de Musique (RUSSISCHER Musikverlag) / for all countries. / Copyright assigned 1947 to Boosey & Hawkes, Inc., New York, U.S.A. / All rights of reproduction in any form reserved.< flush right >Propriété de l'éditeur pour tous pays<; plate number >B. & H. 16301<; end of score dated p. 39 >Anglet, 1921.<; production indication 1st page of the score below type area below legal reservation flush right >Printed in England.<; end number S. 39 flush right >H.P.B107.148.<) // [1948]

* In French, compositions are advertised in two columns without edition numbers and without price information >Piano seul° / Trois Mouvements de Pétrouchka / Suite de Pétrouchka ( Th. Szántó ) / Marche chinoise de “ Rossignol ” / Sonate pour piano* / Ouverture de “ Mavra ” / Serenade en la / Symphonie*°° pour°° instruments à vent / Octuor pour instruments à vent / Partitions pour piano°* / Le Chant du Rossignol / Apollon Musagète / Le Baiser de la Fée / Orpheus / Piano à quatre mains° / Le* Sacre du Printemps / Pétrouchka / Deux Pianos à quatre mains° / Concerto pour piano* / Capriccio pour piano* et orchestre / Chant et piano°* / Deux Poésies de Balmont / Trois Poésies de la lyrique japonaise / Trois petites chansons / Chanson de Paracha de “ Mavra ” / Introduction, chant du pêcheur, air du / rossignol / Choeur°* / Ave Maria (a cappella) / Credo (a cappella) / Pater noster (a cappella) // Partitions pour chant et piano* / Rossignol. Conte lyrique en 3 actes / Mavra. Opéra bouffe en 1 acte / Œdipus Rex. Opéra-oratorio en 1 acte* / Symphonie de Psaumes / Perséphone / Violon et Piano°* / Suite d’après Pergolesi / Duo Concertant / Airs du Rossignol / Danse Russe / Divertimento / Suite Italienne / Chanson Russe / Violoncelle et Piano°* / Suite Italienne ( Piatigorsky ) / Musique de Chambre° / Trois pièces pour quatuor à cordes / Octuor pour instruments à vent / Partitions de poche° / Suite de Pulcinella / Symphonies pour°° instruments à vent / Concerto pour piano* / Chant du Rossignol / Pétrouchka. Ballet / Sacre* du Printemps / Le Baiser de la Fée / Apollon Musagète / Œdipus Rex* / Perséphone / Capriccio* / Divertimento / Quatre Études pour orchestre / Symphonie de Psaumes / Trois pièces pour quatuor à cordes / Octuor pour instruments à vent / Concerto en ré pour orchestre à cordes< [* different spellings original; ° centre centred; °° original spelling]. The following places of printing are listed: London-New York-Sydney-Toronto-Cape Town-Paris-Buenos Aires<.

12-32 igor strawinsky / petrouchka / full score / revised 1947 version / édition russe de musique · boosey & hawkes // Igor Strawinsky / Petrouchka / Burlesque in Four Scenes / (Scènes Burlesques en quatre Tableaux) / by / Igor Strawinsky and Alexandre Benois / Full Score / revised 1947 version / Édition Russe de Musique (S. et N. Koussewitzky) · Boosey & Hawkes / London · New York · Sydney · Toronto · Cape Town · Paris · Buenos Aires // (Full score [library binding] 26.5 x 33.3 (2° [4°]); movement titles and titles English, 172 [172] pages + 4 cover pages thick paper red on grey-green [front cover title, 2 empty pages, page with publisher’s >Édition Russe de Musique / (S. et N. Koussewitzky) / Boosey & Hawkes< advertisements > Igor Strawinsky <* production date >No. 453<] + 8 pages front matter [title page, page with legal reservations centred >Copyright by Édition Russe de Musique (Russischer Musikverlag) for all countries / Copyright assigned 1947 to Boosey & Hawkes, Inc., New York, U.S.A. / New version copyright 1948 by Boosey & Hawkes, Inc., New York, U.S.A. / Copyright for all Countries< centred italic > All rights of theatrical, radio, television performance, mechanical reproduction / in any form whatsoever (including film), translation of the libretto, of the / complete work or parts thereof are strictly reserved <, page with dedication handwritten Russian printed in line etching + not handwritten flush left French centre centred >Александру Бенуа / A Alexandre Benois<; role characterisation + summary “PETROUCHKA” English + „PÉTROUCHKA“ French, summary >General Remarks< English + >REMARQUE GÉNÉRALE< French, (world) premiere data French + legend >Instrumentation< English-French + duration data [42’] English-French, empty page] without back matter; title head >PETROUCHKA<; author specified 1st page of the score paginated p. 1 between title head and movement title flush right >Igor Strawinsky<; legal reservations 1st page of the score below type area flush left >Copyright by Édition Russe de Musique (Russischer Musikverlag) for all countries / Copyright assigned 1947 to Boosey & Hawkes, Inc., New York, U. S. A. / New version copyright 1948 by Boosey & Hawkes, Inc., New York, U. S. A.< [#] inside right >All rights of reproduction in any form reserved< flush right >All rights reserved / Tous droits réservés< <; production indication 1st page of the score below type area above legal reservation centre inside right >Printed in England<; plate number >B. & H. 16236<; end of score dated p. 172 >I. Strawinsky. Hollywood, 1946<; without end mark) // (1948)

* In French, compositions are advertised in two columns without edition numbers and without price information >Piano seul° / Trois Mouvements de Pétrouchka / Suite de Pétrouchka ( Th. Szántó ) / Marche chinoise de “ Rossignol ” / Sonate pour piano* / Ouverture de “ Mavra ” / Serenade en la / Symphonie*°° pour°° instruments à vent / Octuor pour instruments à vent / Partitions pour piano°* / Le Chant du Rossignol / Apollon Musagète / Le Baiser de la Fée / Orpheus / Piano à quatre mains° / Le* Sacre du Printemps / Pétrouchka / Deux Pianos à quatre mains° / Concerto pour piano* / Capriccio pour piano* et orchestre / Chant et piano°* / Deux Poésies de Balmont / Trois Poésies de la lyrique japonaise / Trois petites chansons / Chanson de Paracha de “ Mavra ” / Introduction, chant du pêcheur, air du / rossignol / Choeur°* / Ave Maria (a cappella) / Credo (a cappella) / Pater noster (a cappella) // Partitions pour chant et piano* / Rossignol. Conte lyrique en 3 actes / Mavra. Opéra bouffe en 1 acte / Œdipus Rex. Opéra-oratorio en 1 acte* / Symphonie de Psaumes / Perséphone / Violon et Piano°* / Suite d’après Pergolesi / Duo Concertant / Airs du Rossignol / Danse Russe / Divertimento / Suite Italienne / Chanson Russe / Violoncelle et Piano°* / Suite Italienne ( Piatigorsky ) / Musique de Chambre° / Trois pièces pour quatuor à cordes / Octuor pour instruments à vent / Partitions de poche° / Suite de Pulcinella / Symphonies pour°° instruments à vent / Concerto pour piano* / Chant du Rossignol / Pétrouchka. Ballet / Sacre* du Printemps / Le Baiser de la Fée / Apollon Musagète / Œdipus Rex* / Perséphone / Capriccio* / Divertimento / Quatre Études pour orchestre / Symphonie de Psaumes / Trois pièces pour quatuor à cordes / Octuor pour instruments à vent / Concerto en ré pour orchestre à cordes< [* different spelling original; ° centre centred; °° spelling original]. The following places of printing are listed: London-New York-Sydney-Toronto-Cape Town-Paris-Buenos Aires.

12-32Straw

Strawinsky’s copy from his estate is on the outer title at the top of the page with >IStrawinsky< signed. The copy contains note on performance and corrections [1.) Legend >Instrumentation<: From Triangle to Xylophone = 2 players; 2.) figure 219 (p. 13) 2nd Clarinet: a natural should be added to the quaver f#1; 3.) Ziff 191 (p. 13): tempo marking >quaver = quaver< should be removed; 4.) figure 30 1+2(p. 19) Piano descant: the two quaver three-note chords before and after the bar-line should be e1-d2-e2 instead of d1-d2-e2; 5.) figure 118 3(S. 73) 1st Trumpet: semiquaver rest at the beginning of the bar; 6.) figure 2222 (S. 141) Bassoons: 7.) figure 2222 (S. 141) both systems Trumpets: the notes should be removed and replaced by semibreve rest].

12-3265 Igor Stravinsky / Petrouchka / Full Score / revised 1947 version / édition russe de musique · boosey & hawkes / [*] // Igor Stravinsky / Petrouchka / Burlesque in Four Scenes / (Scènes Burlesques en quatre Tableaux) / by / Igor Stravinsky and Alexandre Benois / Full Score / revised 1947 version / [**] / édition russe de musique · boosey & hawkes // [without text on spine] // (Full score sewn 1.3 x 27 x 33 (2°); movement titles and titles English, 172 [172] pages + 4 cover pages thicker paper brown-red on grey beige [front cover title, 3 empty pages] + 8 pages front matter [title page, page with legal reservations centre centred >Copyright 1912 by Edition Russe de Musique (Russischer Musikverlag) for all countries / Copyright assigned 1947 to Boosey & Hawkes, Inc., New York, U.S.A. / New version copyright 1948 by Boosey & Hawkes, Inc., New York, U.S.A. / Copyright for all Countries< centred italic > All rights of theatrical, radio, television performance, mechanical reproduction / in any form whatsoever (including film), of the / complete work or parts thereof are strictly reserved / Reprinted with corrections 1965<, page with dedication >A Alexandre Benois<, empty page, r ole characterisation English and French, preface >General Remarkes< English and >REMARQUE GÉNÉRALE< French, (world) premiere data French + legend >Instrumentation< English-French + duration data [42’] English-French, empty page] without back matter; title head >PETROUCHKA<; author specified 1st page of the score paginated p. 1 next to and below act title >First Part / THE SHROVE – TIDE FAIR< flush right centred >Igor Stravinsky / Revised 1947<; legal reservations 1st page of the score below type area flush left >Copyright 1912 by Edition Russe de Musique (Russischer Musikverlag) for all countries / Copyright assigned 1947 to Boosey & Hawkes, Inc., New York, U. S. A. / New version copyright 1948 by Boosey & Hawkes, Inc., New York, U. S. A. / Copyright for all Countries< centre inside right >All rights of reproduction in any form reserved< flush right >All rights reserved / Tous droits réservés< <; production indicatione 1st page of the score below type area above legal reservation centred flush right halbcentre >Printed in England< S. 172 below type area flush left >Printed by Lowe and Brydone (Printers) Limited, London<; plate number >B. & H. 16236<; end of score dated p. 172 >I. Strawinsky. Hollywood, 1946<; end number p. 172 inside right as end mark >7 · 65 L & B<; without end mark) // (1965)

* At this point, Strawinsky’s personal copy of his estate contains the stick-on printed text >Boosey & Hawkes / RENTAL DEPARTMENT / 30 West 57 St., New York 19, N. Y.<.

** At this point, Strawinsky’s personal copy of his estate contains an oval red stamp mark >Boosey & Hawkes LTD / HIRE LIBRARY / 295, REGENT ST. LONDON W 1<.

12-3265-Straw

Strawinsky’s copy bears annotations on the outer title at the top of the page centre >Corrected I965< and flush right >N Y # /<. The copy contains notes in red and with pencil on performance pencil, and corrections only in the Fourth Tableaux [p. 147, figure 1222, Bassoons: instead of semibreve rest should be read two-note chord quaver b-e1 + crotchet rest + quaber rest, the crotchet d#2 (upper trumpet system) should be removed]. T he Russian preface text is removed, however, in the French text, the old errors that had previously been removed there still remain *.

* It was only in the pocket-score edition of 1971 that further printing errors were removed.

12-33 igor strawinsky / petrouchka / piano duet / revised 1947 version / édition russe de musique · boosey & hawkes // Igor Strawinsky / Petrouchka / Burlesque in Four Scenes / ( Scènes Burlesques en quatre Tableaux ) / by / Igor Strawinsky and Alexandre Benois / Reduction for piano duet / ( Réduction pour piano à quatre mains ) / by Igor Strawinsky / revised 1947 version / Édition Russe de Musique (S. et N. Koussewitzky) · Boosey & Hawkes / London · New York · Sydney · Toronto · Cape Town · Paris · Buenos Aires // (Piano reduction for four hands [library binding] 26.5 x 32.6 (2° [4°]); movement titles and titles English-French, 84 [78] pages + 4 cover pages thicker paper red on greygrün [front cover title, 2 empty pages, page with publisher’s >Édition Russe de Musique / (S. et N. Koussewitzky) / Boosey & Hawkes< advertisements > Igor Strawinsky <* production date >No. 453<] + 6 pages front matter [title page, page with legal reservations centred partly in italics >Copyright by Édition Russe de Musique (RUSSISCHER Musikverlag) for all countries / Printed by arrangement, Boosey & Hawkes, Inc., New York. U.S.A. / New version copyright 1948 by Boosey & Hawkes, Inc., New York, U.S.A. / Copyright for all Countries< / > All rights of theatrical, radio, television performance, mechanical reproduction / in any form whatsoever (including film), translation of the libretto, of the / complete work or parts thereof are strictly reserved <, page with dedication handwritten Russian printed in line etching + not handwritten flush left French Александру Бенуа / À ALEXANDRE BENOIS, role characterisation English+ role characterisation French, summary >General Remarks< English + summary >REMARQUE GÉNÉRALE< French, (world) premiere data French] without back matter; title head >PETROUCHKA< [#] >PÉTROUCHKA<; author specified 1st page of the score paginated p. 7 below scene title >First Scene [#] Premier Tableau / THE SHROVE-TIDE FAIR [#] FÊTE POPULAIRE DE LA SEMAINE GRASSE< flush right >Igor Strawinsky<; legal reservations 1st page of the score below type area flush left-flush right >Copyright by Edition Russe de Musique (RUSSISCHER Musikverlag) for all countries [#] All rights reserved / Printed by arrangement, by Boosey & Hawkes, Inc., New York, U. S. A. [#] Tous droits réservés / New version copyright 1948 by Boosey & Hawkes, Inc., New York, U. S. A. [#] All rights of reproduction in any form reserved<; production indication 1st page of the score below type area below legal reservation flush left >Printed in England<; plate number >B. & H. 16381<; without end of score dated p. 84; end number S. 84 flush right as end mark >L & B. 7 /48<**) // (1948)

* In French, compositions are advertised in two columns without edition numbers and without price information >Piano seul° / Trois Mouvements de Pétrouchka / Suite de Pétrouchka ( Th. Szántó ) / Marche chinoise de “ Rossignol ” / Sonate pour piano* / Ouverture de “ Mavra ” / Serenade en la / Symphonie*°° pour°° instruments à vent / Octuor pour instruments à vent / Partitions pour piano°* / Le Chant du Rossignol / Apollon Musagète / Le Baiser de la Fée / Orpheus / Piano à quatre mains° / Le* Sacre du Printemps / Pétrouchka / Deux Pianos à quatre mains° / Concerto pour piano* / Capriccio pour piano* et orchestre / Chant et piano°* / Deux Poésies de Balmont / Trois Poésies de la lyrique japonaise / Trois petites chansons / Chanson de Paracha de “ Mavra ” / Introduction, chant du pêcheur, air du / rossignol / Choeur°* / Ave Maria (a cappella) / Credo (a cappella) / Pater noster (a cappella) // Partitions pour chant et piano* / Rossignol. Conte lyrique en 3 actes / Mavra. Opéra bouffe en 1 acte / Œdipus Rex. Opéra-oratorio en 1 acte* / Symphonie de Psaumes / Perséphone / Violon et Piano°* / Suite d’après Pergolesi / Duo Concertant / Airs du Rossignol / Danse Russe / Divertimento / Suite Italienne / Chanson Russe / Violoncelle et Piano°* / Suite Italienne ( Piatigorsky ) / Musique de Chambre° / Trois pièces pour quatuor à cordes / Octuor pour instruments à vent / Partitions de poche° / Suite de Pulcinella / Symphonies pour°° instruments à vent / Concerto pour piano* / Chant du Rossignol / Pétrouchka. Ballet / Sacre* du Printemps / Le Baiser de la Fée / Apollon Musagète / Œdipus Rex* / Perséphone / Capriccio* / Divertimento / Quatre Études pour orchestre / Symphonie de Psaumes / Trois pièces pour quatuor à cordes / Octuor pour instruments à vent / Concerto en ré pour orchestre à cordes< [* different spelling original; ° centre centred; °° original spelling]. The following places of printing are listed: London-New York-Sydney-Toronto-Cape Town-Paris-Buenos Aires.

** Slash original.

12-34 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / PETROUCHKA / REVISED 1947 VERSION^ / BOOSEY & HAWKES / No. 639 // HAWKES POCKET SCORES / IGOR STRAWINSKY / PETROUCHKA / Burlesque in Four Scenes / (Scènes Burlesques en quatre Tableaux) / by / Igor Strawinsky and Alexandre Benois / Revised 1947 version / BOOSEY & HAWKES / LTD. / LONDON · NEW YORK · LOS ANGELES · SYDNEY · CAPE TOWN · TORONTO · PARIS / NET PRICE / MADE IN ENGLAND // (Pocket score sewn 13.6 x 18.8 (8° [8°]); 172 [172] pages + 4 cover pages olive-green on grey beige [front cover title with frame 9.6 x 3.8 grey beige on olive-green, 2 empty pages, page with publisher’s advertisements >HAWKES POCKET SCORES / The Standard Classical and Outstanding Modern Works. / Primera edición española de partituras de bolsillo de las obras / del repertorio clásico y moderno <* production date >LB 29I/43<°] + 8 pages front matter [title page, page with legal reservations centre centred >Copyright by Édition Russe de Musique (Russischer Musikverlag) for all countries / Printed by arrangement, Boosey & Hawkes, Inc., New York. / New version copyright 1948 by Boosey & Hawkes, Inc., New York, U.S.A. / Copyright for all Countries< justified text centre italic > All rights of theatrical, radio, television performance, mechanical reproduction / in any form whatsoever (including film), translation of the libretto, of the / complete work or parts thereof are strictly reserved <, page with dedication centre centred handwritten printed in line etching Russian + not handwritten French >Александру Бенуа / À Alexandre Benois<, page with summary English “PETROUCHKA” + French „PÉTROUCHKA“, page with preface English >General Remarks< + French >Remarque Générale<, (world) premiere data French, legend >Instrumentation< English-French + duration data [42'] English-French, empty page] without back matter; title head >PETROUCHKA<; author specified 1st page of the score paginated p. next to 1st line act title >First Part / THE SHROVE-TIDE FAIR< flush right >Igor Strawinsky<; legal reservations 1st page of the score below type area flush left >Copyright by Édition Russe de Musique (Russischer Musikverlag) for all countries / Printed by arrangement– Boosey & Hawkes, Inc., New York, U. S. A. / New version copyright 1948 by Boosey & Hawkes, Inc., New York, U. S. A.< [#] >All rights of reproduction in any form reserved< flush right >All rights reserved / Tous droits réservés<; production indication 1st page of the score below type area above legal reservation centre inside right >Printed in England<; plate number >B. & H. 16236<; end of score dated p. 172 >I. Strawinsky, Hollywood, 1946<; without end mark) // (1948)

^ ^ = Text in frame.

° Slash original.

* Classical editions from >J. S. BACH< to >WEBER< are listed including the titles of their works in three columns under the headline > CLASSICAL WORKS<, Strawinsky not mentioned; under the headline >MODERN WORKS< the names of contemporary composers are listed without any titles in four columns from >BÉLA BARTÓK< to >R. VAUGHAN WILLIAMS<, Strawinsky not mentioned. The following places of printing are listed: London-New York-Los Angeles-Sydney-Toronto-Capetown-Paris.

12-34Straw1

Strawinsky’s copy from his estate is signed and dated on the outer title between 1st line and frame right with >IStr / June, 48< . The copy contains corrections in the musical text [p. 115, figure 181 2, 1st and 2nd Flute: the last two notes should be semiquavers, not quavers; p. 141 figure 1222, Bassoon: instead semibreve rest shoul be read two-note chord b-e1 + crotchet rest + quaver rest , and in the part of Trumpets should be d#2 (Trumpets 1/2) and d#1 (Trumpet 3) removed and replaced by crotchet rest]. In the French preface only the first misprint is corrected. In the English legend from Triangle to Xylophone >2 players< is inserted with square bracket.

12-34Straw2

Strawinsky’s copy of his estate is signed with >IStr< on the outer title below frame. The copy contains corrections and the duration indication for the page 169 >0’30“<, p. 171 for the pages 170/171 >1’44<below the type area p. 169 right.

12-3450 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / PETROUCHKA / REVISED 1947 VERSION^ / BOOSEY & HAWKES / No. 639 // HAWKES POCKET SCORES / IGOR STRAWINSKY / PETROUCHKA / Burlesque in Four Scenes / (Scènes Burlesques en quatre Tableaux) / by / Igor Strawinsky and Alexandre Benois / Revised 1947 version / BOOSEY & HAWKES / LTD. / LONDON · NEW YORK · LOS ANGELES · SYDNEY · CAPE TOWN · TORONTO PARIS / NET PRICE / MADE IN ENGLAND // (Pocket score [library binding] 13.6 x 18.8 (8° [8°]); 172 [172] pages + 4 cover pages olive-green auf grey beige [front cover title with frame 9.6 x 3.8 grey beige auf olive-green, 2 empty pages, page with publisher’s advertisements >HAWKES POCKET SCORES / A comprehensive library of Miniature Scores containing the best-known classical / works, as well as a representative selection of outstanding modern compositions. <* production date >No. 520< [#] >1.49<] + 8 pages front matter [title page, page with legal reservations centre centred >Copyright by Édition Russe de Musique (Russischer Musikverlag) for all countries / Printed by arrangement, Boosey & Hawkes, Inc., New York. / New version copyright 1948 by Boosey & Hawkes, Inc., New York, U.S.A. / Copyright for all Countries< justified text centre italic > All rights of theatrical, radio, television performance, mechanical reproduction / in any form whatsoever (including film), translation of the libretto, of the / complete work or parts thereof are strictly reserved <, page with dedication centre centred handwritten printed in line etching Russian + not handwritten French Александру Бенуа / À Alexandre Benois, page with role characterisation below piece title English >“PETROUCHKA” / (Burlesque in 4 scenes)< + French >„PÉTROUCHKA“ / Scènes burlesques en 4 tableaux<, page with preface >General Remarks< English + >Remarque Générale< French, (world) premiere data French, legend >Instrumentation< English + French + duration data [42'] English-French, empty page] without back matter; title head >PETROUCHKA<; author specified 1st page of the score paginated p. 1 next to 1st line act title >First Part / THE SHROVE-TIDE FAIR< flush right >Igor Strawinsky<; legal reservations 1st page of the score below type area flush left >Copyright by Édition Russe de Musique (Russischer Musikverlag) for all countries / Printed by arrangement– Boosey & Hawkes, Inc. New York, U. S. A. / New version copyright 1948 by Boosey & Hawkes, Inc., New York, U. S. A.< [#] >All rights of reproduction in any form reserved< flush right >All rights reserved / Tous droits réservés<; plate number >B. & H. 16236<; end of score dated p. 172 >I.Strawinsky, Hollywood, 1946<; end number p. 172 flush left >4 · 50 L. & B.<; production indication 1st page of the score below type area above legal reservation centre inside right >Printed in England< p. 172 as end mark >Lowe and Brydone Printers Limited, London<) // (1948)

^ ^ = Text in frame.

° Slash original.

** Classical editions from >J. S. BACH< to >WEBER< are listed including the titles of their works in four columns under the headline > CLASSICAL EDITIONS <, under the headline >MODERN EDITIONS< the names of contemporary composers are listed without any titles in four columns from >BÉLA BARTÓK< to >WEBER<, among them >IGOR STRAWINSKY<. The order of the places of printing is London-New York-Chicago-Los Angeles-Toronto-Buenos Aires-Capetown-Sydney- [ pasted over ] .

12-3456 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / PETROUCHKA / REVISED 1947 VERSION^ / BOOSEY & HAWKES / No. 639 // HAWKES POCKET SCORES / IGOR STRAWINSKY / PETROUCHKA / Burlesque in Four Scenes / (Scènes Burlesques en quatre Tableaux) / by / Igor Strawinsky and Alexandre Benois / Revised 1947 version / BOOSEY & HAWKES / LTD. / LONDON · PARIS · BONN · CAPETOWN · SYDNEY · TORONTO · BUENOS AIRES · NEW YORK / NET PRICE / MADE IN ENGLAND // [Text on spine:] No. 639 IGOR STRAWINSKY · PETROUCHKA // (Pocket score sewn 1.2 x 13.6 x 18.8 (8° [8°]); 172 [172] pages + 4 cover pages olive-green auf grey beige [front cover title with frame 9.6 x 3.8 grey beige auf olive-green, 2 empty pages, page with publisher’s advertisements >HAWKES POCKET SCORES / A selection of outstanding modern works / from this famous library of classical and contemporary Miniature Scores. < production date >No. 382** [#] 6.50<] + 8 pages front matter [title page, page with legal reservations centre centred >Copyright by Édition Russe de Musique (Russischer Musikverlag) for all countries / Printed by arrangement, Boosey & Hawkes, Inc., New York. / New version copyright 1948 by Boosey & Hawkes, Inc., New York, U.S.A. / Copyright for all Countries< justified text centre italic > All rights of theatrical, radio, television performance, mechanical reproduction / in any form whatsoever (including film), translation of the libretto, of the / complete work or parts thereof are strictly reserved <, page with dedication centre centred handwritten printed in line etching Russian + not handwritten French Александру Бенуа / À Alexandre Benois, page with summary English-French, page with preface English >General Remarks< + French >Remarque Générale<, (world) premiere data French, legend >Instrumentation< English-French + duration data [42'] English-French, empty page] without back matter; title head >PETROUCHKA<; author specified 1st page of the score paginated p. 1 next to 1st line act title >First Part / THE SHROVE-TIDE FAIR< flush right >Igor Strawinsky<; legal reservations 1st page of the score below type area flush left >Copyright by Édition Russe de Musique (Russischer Musikverlag) for all countries / Printed by arrangement– Boosey & Hawkes, Inc. New York, U. S. A. / New version copyright 1948 by Boosey & Hawkes, Inc., New York, U. S. A.< [#] >All rights of reproduction in any form reserved< flush right >All rights reserved / Tous droits réservés<; plate number >B. & H. 16236<; end of score dated p. 172 >I.Strawinsky, Hollywood, 1946<; end number S. 172 flush left >4· 56 L & B< production indication 1st page of the score below type area above legal reservation centre inside right >Printed in England< S. 172 flush right as end mark >Lowe and Brydone (Printers) Limited, London<) // (1956)

^ ^ = text in frame.

* Compositions are advertised in three columns without edition numbers from >BÉLA BARTÓK< to >R. VAUGHAN WILLIAMS<, amongst these >IGOR STRAWINSKY / Apollon Musagète (Revised 1947) / Capriccio for Piano and Orchestra / Chant du Rossignol / Concerto in D for String Orchestra / Divertimento (Revised 1949) / Mass for Chorus and Wind instr.° / Octet for Wind Instruments° / Œdipus Rex (Revised 1948) / Orpheus / Perséphone (Revised 1947) / Pétrouchka (Revised 1947) / Piano Concerto / Pulcinella Suite (Revised 1949) / Four Studies for Orchestra / The Rite of Spring (Revised 1947) / Symphony of Psalms / Symphonies for° Wind Instruments / Three Pieces for String Quartet<. After London the following places of printing are listed: Paris-Bonn-Capetown-Sydney-Toronto- New York [° original spelling; °° original mistake in the title; production date in all the accessible copies almost unreadable smudged ] .

12-3457 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / PETROUCHKA / REVISED 1947 VERSION^ / BOOSEY & HAWKES / No. 639 // HAWKES POCKET SCORES / IGOR STRAWINSKY / PETROUCHKA / Burlesque in Four Scenes / (Scènes Burlesques en quatre Tableaux) / by / Igor Strawinsky and Alexandre Benois / Revised 1947 version / BOOSEY & HAWKES / LTD. / LONDON · PARIS · BONN · CAPETOWN · SYDNEY · TORONTO · BUENOS AIRES · NEW YORK / NET PRICE / MADE IN ENGLAND // [Text on spine:] No. 639 IGOR STRAWINSKY · PETROUCHKA // (Pocket score sewn 1.2 1.6 x 13.6 x 18.8 18.7 (8° [8°]); 172 [172] pages + 4 cover pages olive-green auf grey beige [front cover title with frame 9.6 x 3.8 grey beige auf olive-green, 2 empty pages, page with publisher’s advertisements > Hawkes Pocket Scores / A selection of outstanding modern works / from this famous library of classical and contemporary Miniature Scores . < production date >No. 382** NO 782 [#] 6.50< I.56] + 8 pages front matter [title page, page with legal reservations centre centred >Copyright by Édition Russe de Musique (Russischer Musikverlag) for all countries / Printed by arrangement, Boosey & Hawkes, Inc., New York. / New version copyright 1948 by Boosey & Hawkes, Inc., New York, U.S.A. / Copyright for all Countries< justified text centre italic > All rights of theatrical, radio, television performance, mechanical reproduction / in any form whatsoever (including film), translation of the libretto, of the / complete work or parts thereof are strictly reserved <, page with dedication centre centred handwritten printed in line etching Russian + not handwritten French Александру Бенуа / À Alexandre Benois, page with summary English + French, page with preface English >General Remarks< + French >Remarque Générale<, (world) premiere data French, legend >Instrumentation< English + French + duration data [42'] English-French, empty page] without back matter; title head >PETROUCHKA<; author specified 1st page of the score paginated p. 1 next to 1st line act title >First Part / THE SHROVE-TIDE FAIR< flush right >Igor Strawinsky<; legal reservations 1. page of the score below type area flush left >Copyright by Édition Russe de Musique (Russischer Musikverlag) for all countries / Printed by arrangement– Boosey & Hawkes, Inc. New York, U. S. A. / New version copyright 1948 by Boosey & Hawkes, Inc., New York, U. S. A.< [#] >All rights of reproduction in any form reserved< flush right >All rights reserved / Tous droits réservés<; plate number >B. & H. 16236<; end of score dated p. 172 >I.Strawinsky, Hollywood, 1946<; end number p. 172 flush left >3 · 57 L & B< production indication 1st page of the score below type area above legal reservation centre inside right >Printed in England< p. 172 flush right as end mark >Lowe and Brydone (Printers) Limited, London<) // (1957)

^ ^ = Text in frame.

* Compositions are advertised in two columns with edition numbers from >Béla Bartók< to >Ralph Vaughan Williams<, amongst these >Igor Strawinsky / 610 Capriccio ( Revised 1947 Edition ) / 611 Apollon Musagète ( Revised 1947 Edition ) / 630 Octet for Wind Instruments / [#] ( Revised 1952 Edition ) / 632 Pulcinella Suite ( Revised 1949 Edition ) / 637 Symphony of Psalms / 638 The Rite of Spring ( Revised 1947 Edition ) / 639 Pétrouchka ( Revised 1947 Edition ) / 640 Orpheus / 651 Œdipus Rex ( Revised 1948 Edition ) / 652 Perséphone° / 655 Mass / 666 Cantata / 672 Symphonies of Wind Instruments [#] ( Revised 1947 Edition ) / 679 The Fairy’s Kiss / 682 Septet (1953) / 688 In Memoriam Dylan Thomas (1954)<. After London the following places of printing are listed: Paris-Bonn-Capetown-Sydney-Toronto-Buenos Aires-New York [° original spelling (without dating).

12-3461 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / PETROUCHKA / REVISED 1947 VERSION^ / BOOSEY & HAWKES / No. 639 // HAWKES POCKET SCORES / IGOR STRAWINSKY / PETROUCHKA / Burlesque in Four Scenes / (Scènes Burlesques en quatre Tableaux) / by / Igor Strawinsky and Alexandre Benois / Revised 1947 version / BOOSEY & HAWKES / LTD. / LONDON · PARIS · BONN · JOHANNESBURG · SYDNEY · TORONTO · BUENOS AIRES · NEW YORK / NET PRICE / MADE IN ENGLAND // [Text on spine:] No. 639 IGOR STRAWINSKY · PETROUCHKA // (Pocket score sewn 1.2 x 13.8 x 18.6 (8° [8”]); 172 [172] pages + 4 cover pages olive-green on dark-beige [front cover title with frame 9.6 x 3.8 dark-beige auf olive-green, 2 empty pages, page with publisher’s advertisements > Hawkes Pocket Scores / A selection of outstanding modern works / from this famous library of classical and contemporary Pocket Scores<* production date >NO 782< [#] >I.56<] + 8 pages front matter [title page, page with legal reservations centre centred >Copyright by Édition Russe de Musique (Russischer Musikverlag) for all countries / Printed by arrangement, Boosey & Hawkes, Inc., New York. / New version copyright 1948 by Boosey & Hawkes, Inc., New York, U.S.A. / Copyright for all Countries< justified text centre italic > All rights of theatrical, radio, television performance, mechanical reproduction / in any form whatsoever (including film), translation of the libretto, of the / complete work or parts thereof are strictly reserved <, page with dedication centre centred handwritten Russian printed in line etching + not handwritten French >Александру Бенуа / À Alexandre Benois<, page with role characterisation English-French >“PETROUCHKA” / (Burlesque in 4 scenes)< >„PÉTROUCHKA“ / Scènes burlesques en 4 tableaux<, page with preface English >General Remarks< + French >Remarque Générale<, (world) premiere data French, legend >Instrumentation< English + French + duration data [42'] English + French, empty page] without back matter; title head >PETROUCHKA<; author specified 1st page of the score paginated p. 1 next to 1st line act title >First Part / THE SHROVE-TIDE FAIR< flush right >Igor Strawinsky<; legal reservations 1st page of the score below type area flush left >Copyright by Édition Russe de Musique (Russischer Musikverlag) for all countries / Printed by arrangement– Boosey & Hawkes, Inc. New York, U. S. A. / New version copyright 1948 by Boosey & Hawkes, Inc., New York, U. S. A.< [#] >All rights of reproduction in any form reserved< flush right >All rights reserved / Tous droits réservés<; plate number >B. & H. 16236<; end of score dated p. 172 >I.Strawinsky, Hollywood, 1946<; end number p. 172 below type area flush left >1 · 61 L & B<; production indication 1st page of the score below type area above legal reservation centre inside right >Printed in England< p. 172 as end mark ><Lowe and Brydone (Printers) Limited, London) // (1961)

^ ^ = text in frame.

* Compositions are advertised in two columns with edition numbers from >BÉLA BARTÓK< to >RALPH VAUGHAN WILLIAMS<, an Strawinsky-Werken >IGOR STRAWINSKY / 610 Capriccio ( Revised 1949 Edition ) / 611 Apollon Musagète ( Revised 1947 Edition ) / 630 Octet for Wind Instruments / ( Revised 1952 Edition ) / 632 Pulcinella Suite ( Revised 1949 Edition ) / 637 Symphony of Psalms / 638 The Rite of Spring ( Revised 1947 Edition ) / 639 Pétrouchka ( Revised 1947 Edition ) / 640 Orpheus / 651 Œdipus Rex ( Revised 1948 Edition ) / 652 Perséphone / 655 Mass / 666 Cantata / 672 Symphonies of Wind Instruments / ( Revised 1947 Edition ) / 679 The Fairy’s Kiss / 682 Septet (1953) / 688 In Memoriam Dylan Thomas (1954)<. After London the following places of printing are listed: Paris-Bonn Capetown-Sydney-Toronto-Buenos Aires-New York .

12-3469 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / PETROUCHKA / REVISED 1947 VERSION^ / BOOSEY & HAWKES / No. 639 // HAWKES POCKET SCORES / IGOR STRAWINSKY / PETROUCHKA / Burlesque in Four Scenes / (Scènes Burlesques en quatre Tableaux) / by / Igor Strawinsky and Alexandre Benois / Revised 1947 version / BOOSEY & HAWKES / MUSIC PUBLISHERS LIMITED / LONDON · PARIS · BONN · JOHANNESBURG · SYDNEY · TORONTO · NEW YORK / NET PRICE / MADE IN ENGLAND // [Text on spine:] No. 639 IGOR STRAWINSKY · PETROUCHKA // (Pocket score sewn 1.3 x 13.9 x 19 (8° [8”] ); 172 [172] pages + 4 cover pages olive-green auf green-beige [front cover title with frame 9.6 x 3.7 green-beige auf olive-green, 2 empty pages, page with publisher’s advertisements >HAWKES POCKET SCORES / The following list is but a selection of the many items included in this extensive library of miniature scores / containing both classical works and an ever increasing collection of outstanding modern compositions. A / complete catalogue of Hawkes Pocket Scores is available on request.<* production date >No. 16< [#] >1.66<] + 8 pages front matter [title page, page with legal reservations centre centred >Copyright by Édition Russe de Musique (RUSSISCHER Musikverlag) for all countries / Printed by arrangement, Boosey & Hawkes, Inc., New York. / New version copyright 1948 by Boosey & Hawkes, Inc., New York, U.S.A. / Copyright for all Countries< justified text centre italic > All rights of theatrical, radio, television performance, mechanical reproduction / in any form whatsoever (including film), translation of the libretto, of the / complete work or parts thereof are strictly reserved <, page with dedication centre centred handwritten-Russian printed in line etching + not handwritten French Александру Бенуа / À Alexandre Benois, page with summary >“PETROUCHKA” English + „PÉTROUCHKA” French, page with preface >General Remarks< English + >Remarque Générale< French, (world) premiere data French, legend >Instrumentation< English-French + duration data [42'] English-French, empty page] without back matter; title head >Petrouchka<; author specified 1st page of the score paginated p. 1 next to act number >First Part< flush right >Igor Strawinsky<; legal reservations 1st page of the score below type area flush left >Copyright by Édition Russe de Musique (RUSSISCHER Musikverlag) for all countries / Printed by arrangement– Boosey & Hawkes, Inc. New York, U. S. A. / New version copyright 1948 by Boosey & Hawkes, Inc., New York, U. S. A.< centre inside right >All rights of reproduction in any form reserved< flush right >All rights reserved / Tous droits réservés<; plate number >B. & H. 16236<; end of score dated p. 172 >I.Strawinsky, Hollywood, 1946<; production indications 1st page of the score below type area above legal reservation centre inside right >Printed in England< p. 172 below type area flush left >M.P.7.69< flush right as end mark > Printed by The Markham Press Ltd., Surbiton, Surrey <) // (1969)

^ ^ = Txt in frame.

° Slash original.

* Compositions are advertised in three columns without specification of places of printing and without edition numbers from >Bach, Johann Sebastian< to >Tchaikovsky, Peter<, amongst these >Stravinsky, Igor / Abraham and Isaac / Agon / Apollon musagète / Concerto in D / The flood / Introitus / Oedipus rex / Orpheus / Perséphone / Pétrouchka / Piano concerto / Pulcinella suite / The rake’s progress / The rite of spring / Le rossignol / A sermon, a narrative and a prayer / Symphonie de psaumes / Symphonies of wind instruments / Threni / Variations<.

12-3471 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / PETROUCHKA / REVISED 1947 VERSION^ / BOOSEY & HAWKES / No. 639 // HAWKES POCKET SCORES / IGOR STRAWINSKY / PETROUCHKA / Burlesque in Four Scenes / (Scènes Burlesques en quatre Tableaux) / by / Igor Strawinsky and Alexandre Benois / Revised 1947 version / BOOSEY & HAWKES / MUSIC PUBLISHERS LIMITED / LONDON · PARIS · BONN · JOHANNESBURG · SYDNEY · TORONTO · NEW YORK / NET PRICE / MADE IN ENGLAND // [Text on spine:] No. 639 IGOR STRAWINSKY · PETROUCHKA // (Pocket score sewn 1.3 x 139 x 19 (8° [8°]); 172 [172] pages + 4 cover pages olive-green on green [front cover title with frame 9.6 x 3.7 green beige on olive-green, 2 empty pages, page withe publisher’s advertissement >HAWKES POCKET SCORES / The following list is but a selection of the many items included in this extensive library of miniature scores / containing both classical works and an ever increasing collection of outstanding modern compositions. A / complete catalogue of Hawkes Pocket Scores is available on request.<* production data >No. 16< [#] >1.66<] + 8 pages front matter [title page, page with legal reservations centre centred >Copyright by Édition Russe de Musique (Russischer Musikverlag) for all countries / Printed by arrangement, Boosey & Hawkes, Inc., New York. / New version copyright 1948 by Boosey & Hawkes, Inc., New York, U.S.A. / Copyright for all Countries< justified text centre italic > All rights of theatrical, radio, television performance, mechanical reproduction / in any form whatsoever (including film), translation of the libretto, of the / complete work or parts thereof are strictly reserved <, page with dedication centre centred hand-written printed in line etching Russian + standard type face French Александру Бенуа / À Alexandre Benois, page with summary >“PETROUCHKA” English + „PÉTROUCHKA” French, page with preface >General Remarks< English + >Remarque Générale< French, page with (world) premiere data French, legend >Instrumentation< English-French + duration [42'] English-French, empty page] without back matter; title head >Petrouchka<; autor specified 1st page of the score paginated p. 1 next to act number >First Part< flush right >Igor Strawinsky<; legal reservation 1st page of the score below type area flush left >Copyright by Édition Russe de Musique (Russischer Musikverlag) for all countries / Printed by arrangement– Boosey & Hawkes, Inc. New York, U. S. A. / New version copyright 1948 by Boosey & Hawkes, Inc., New York, U. S. A.< centre inside right >All rights of reproduction in any form reserved< flush right >All rights reserved / Tous droits réservés<; platte number >B. & H. 16236<; end of score dated p. 172 >I.Strawinsky, Hollywood, 1946<; production indications 1st page of score below type area above legal reservation centre inside right >Printed in England< p. 172 below type area flush left >M.P.8.71< flush right as end mark >Printed by The Markham Press Ltd., Surbiton, Surrey<) // (1971)

° Slash original.

* Compositions are advertised in three columns without specification of places of printing and without edition numbers from >Bach, Johann Sebastian< to >Tchaikovsky, Peter<, amongst these >Stravinsky, Igor / Abraham and Isaac / Agon / Apollon musagète / Concerto in D / The flood / Introitus / Oedipus rex / Orpheus / Perséphone / Pétrouchka / Piano concerto / Pulcinella suite / The rake’s progress / The rite of spring / Le rossignol / A sermon, a narrative and a prayer / Symphonie de psaumes / Symphonies of wind instruments / Threni / Variations<. Es ist keine Niederlassungsfolge angegeben.

12-35 igor strawinsky / danse russe / pour Violon et Piano / éditions russe de musique . boosey & hawkes // Igor Strawinsky / Danse Russe / Transcription pour violon et piano / par l'Auteur et S. Dushkin / Édition Russe de Musique (S. & N. Koussewitzky) . Boosey & Hawkes / London. New York. Sydney. Toronto. Cape Town. Paris. Buenos Aires // (Edition violin and piano sewn 23.5 x 31 (2° [4°]) with violin part enclosed; 8 [8] pages + 4 cover pages thick paper brown-red on grey-beige [front cover title, 3 empty pages] + 2 pages front matter [title page, empty page] + 2 pages back matter [2 empty pages] + 3 [3] pages violin part >VIOLON< in identical Text + 1 page back matter [empty page]; title head >DANSE RUSSE<; authors specified score and part 1st page of the score paginated p. 1 below title head flush right >IGOR STRAWINSKY< flush left >Transcription pour Violon et Piano / par l'Auteur et S. Dushkin<; legal reservations 1st page of the score below type area flush left >Copyrigth 1933 by Edition Russe de Musique (RUSSISCHER Musikverlag) / Printed by arrangement with Edition Russe de Musique / Boosey & Hawkes Inc., New York, U.S.A.< flush right centred >Tous droits d'exécution de reproduction / et d'arrangements réservés pour tous pays<; plate number >B. & H. 16.888<; production indications 1st page of the score below type area below legal reservation flush right >MADE IN FRANCE< p. 8 [part p. 3] as end mark flush left >Imp. «LA LYRE» – Paris. / Imprimé en France< flush right as end mark >GRANDJEAN GRAV.<) // [1949]

12-35[66] igor stravinsky / danse russe / pour Violon et Piano / éditions russe de musique . boosey & hawkes // Igor Strawinsky / Danse Russe / Transcription pour violon et piano / par l'Auteur et S. Dushkin / Édition Russe de Musique (S. & N. Koussewitzky). Boosey & Hawkes / London . Paris . Bonn . Johannesburg . Sydney . Toronto . New York // (Edition violin and piano [library binding] 22,6 x 30 (2° [Lex. 8°/4°]) with violin part enclosed 22.3 x 30. 8 [8] pages + 4 cover pages thicker paper brown-red on grey-beige [front cover title, 2 empty pages, page with publisher’s advertisements >Igor Stravinsky<* production date >No. 40< [#] >7.65<] + 2 pages front matter [title page, empty page] + 2 pages back matter [page with publisher’s advertisements >MUSIC FOR VIOLIN<** production date >No. 20a< [#] >4.66<, empty page] + 3 [3] pages violin part in identical text and layout with name of the instrument centre between author specified and type area >VIOLON< + 1 page back matter [empty page]; title head >DANSE RUSSE<; authors specified score + part 1st page of the score paginated p. 1 below title head flush right >IGOR STRAVINSKY< flush left centred >Transcription pour Violon et Piano / par l'Auteur et S. Dushkin<; legal reservations 1st page of the score below type area flush left >Copyright 1933 by Edition Russe de Musique (RUSSISCHER Musikverlag) / Copyright assigned 1947 to Boosey & Hawkes, Inc. for all countries< flush right >All rights reserved<; plate number >B. & H. 16.888<; production indications 1st page of the score below type area below legal reservation flush right >Printed in England<; without end mark) // [1966]

* Compositions are advertised in two columns without edition numbers, without price information and without specification of places of printing >Operas and Ballets° / Agon [#] Apollon musagète / Le baiser de la fée [#] Le rossignol / Mavra [#] Oedipus rex / Orpheus [#] Perséphone / Pétrouchka [#] Pulcinella / The flood [#] The rake’s progress / The rite of spring° / Symphonic Works° / Abraham and Isaac [#] Capriccio pour piano et orchestre / Concerto en ré (Bâle) [#] Concerto pour piano et orchestre / [#] d’harmonie / Divertimento [#] Greetings°° prelude / Le chant du rossignol [#] Monumentum / Movements for piano and orchestra [#] Quatre études pour orchestre / Suite from Pulcinella [#] Symphonies of wind instruments / Trois petites chansons [#] Two poems and three Japanese lyrics / Two poems of Verlaine [#] Variations in memoriam Aldous Huxley / Instrumental Music° / Double canon [#] Duo concertant / string quartet [#] violin and piano / Epitaphium [#] In memoriam Dylan Thomas / flute, clarinet and harp [#] tenor, string quartet and 4 trombones / Elegy for J.F.K. [#] Octet for wind instruments / mezzo-soprano or baritone [#] flute, clarinet, 2 bassoons, 2 trumpets and / and 3 clarinets [#] 2 trombones / Septet [#] Sérénade en la / clarinet, horn, bassoon, piano, violin, viola [#] piano / and violoncello [#] / Sonate pour piano [#] Three pieces for string quartet / piano [#] string quartet / Three songs from William Shakespeare° / mezzo-soprano, flute, clarinet and viola° / Songs and Song Cycles° / Trois petites chansons [#] Two poems and three Japanese lyrics / Two poems of Verlaine° / Choral Works° / Anthem [#] A sermon, a narrative, and a prayer / Ave Maria [#] Cantata / Canticum sSacrum [#] Credo / J. S. Bach: Choral-Variationen [#] Introitus in memoriam T. S. Eliot / Mass [#] Pater noster / Symphony of psalms [#] Threni / Tres sacrae cantiones°< [° centre centred; °° original mistake in the title].

** Compositions are advertised in two columns without specification of places of printing and without edition numbers under the heading >Tutors and Studies< from >Hawkes< to >Loder<, Strawinsky not mentioned; without heading from >Bach< to >Isaye<, amongst these >Stravinsky [#] Duo concertant<.

12-36 igor strawinsky / three movements / from petrouchka / C 1 russian dance / 2 petrouchka / 3 the shrove-tide fair / two pianos, four hands / édition russe de musique · boosey & hawkes // Igor Strawinsky / Three Movements / from Petrouchka / C 1 Russian Dance / 2 Petrouchka / 3 The Shrove-tide Fair / Arranged for Two Pianos, Four Hands / Édition Russe de Musique (S. et N. Koussewitzky) · Boosey & Hawkes / London · Paris · Bonn · Capetown · Sydney · Toronto · New York // (Edition for two pianos [library binding] 22.7 x 30.4 (4°); 12 [10] pages + 4 cover pages tomato-red on beige-grey [front cover title, 2 empty pages, page with publisher’s >Édition Russe de Musique / (S. et N. Koussewitzky) / Boosey & Hawkes< advertisements > Igor Strawinsky <* production date >No. 453<] + 2 pages front matter [title page, empty page] without back matter + 2. exemplar; title head >Three Movements from Petrouchka<; author specified 1st page of the score paginated p. 3 above, next to and below movement title numbered in Roman numeral (with dot) >I. RUSSIAN DANCE< flush right centred >IGOR STRAWINSKY / Two Piano version / by VICTOR BABIN<; legal reservations 1st page of the score below type area flush left >Copyright 1922 by Édition Russe de Musique (RUSSISCHER Musikverlag) / This arrangement Copyright 1953 by Boosey & Hawkes, Inc., New York< flush right >All rights reserved<; production indication 1st page of the score below type area below legal reservation flush right >Printed in England<; plate number >B. & H. 17288 a <; end number S. 12 flush right as Endevemerk >5.53. E<) // (1953)

* In French, compositions are advertised in two columns without edition numbers and without price information >Piano seul° / Trois Mouvements de Pétrouchka / Suite de Pétrouchka ( Th. Szántó ) / Marche chinoise de “ Rossignol ” / Sonate pour piano* / Ouverture de “ Mavra ” / Serenade en la / Symphonie*°° pour°° instruments à vent / Octuor pour instruments à vent / Partitions pour piano°* / Le Chant du Rossignol / Apollon Musagète / Le Baiser de la Fée / Orpheus / Piano à quatre mains° / Le* Sacre du Printemps / Pétrouchka / Deux Pianos à quatre mains° / Concerto pour piano* / Capriccio pour piano* et orchestre / Chant et piano°* / Deux Poésies de Balmont / Trois Poésies de la lyrique japonaise / Trois petites chansons / Chanson de Paracha de “ Mavra ” / Introduction, chant du pêcheur, air du / rossignol / Choeur°* / Ave Maria (a cappella) / Credo (a cappella) / Pater noster (a cappella) // Partitions pour chant et piano* / Rossignol. Conte lyrique en 3 actes / Mavra. Opéra bouffe en 1 acte / Œdipus Rex. Opéra-oratorio en 1 acte* / Symphonie de Psaumes / Perséphone / Violon et Piano°* / Suite d’après Pergolesi / Duo Concertant / Airs du Rossignol / Danse Russe / Divertimento / Suite Italienne / Chanson Russe / Violoncelle et Piano°* / Suite Italienne ( Piatigorsky ) / Musique de Chambre° / Trois pièces pour quatuor à cordes / Octuor pour instruments à vent / Partitions de poche° / Suite de Pulcinella / Symphonies pour°° instruments à vent / Concerto pour piano* / Chant du Rossignol / Pétrouchka. Ballet / Sacre* du Printemps / Le Baiser de la Fée / Apollon Musagète / Œdipus Rex* / Perséphone / Capriccio* / Divertimento / Quatre Études pour orchestre / Symphonie de Psaumes / Trois pièces pour quatuor à cordes / Octuor pour instruments à vent / Concerto en ré pour orchestre à cordes< [* different spelling original; ° centre centred; °° original spelling]. The following places of printing are listed: London-Paris-Bonn-Capetown-Sydney-Toronto-New York.

12-38 igor strawinsky / three movements / from petrouchka / 1 russian dance / 2 petrouchka / C 3 the shrove-tide fair / two pianos, four hands / édition russe de musique · boosey & hawkes // Igor Strawinsky / Three Movements / from Petrouchka / 1 Russian Dance / 2 Petrouchka / C 3 The Shrove-tide Fair / Arranged for Two Pianos, Four Hands / by Victor Babin / Édition Russe de Musique (S. et N. Koussewitzky) · Boosey & Hawkes / London · Paris · Bonn · Capetown · Sydney · Toronto · New York // (Edition for two pianos [library binding] 23,5 x 31,1 (2° [4°]); 31 [30] pages + 4 cover pages tomato-red auf beige-grey [front cover title, 2 empty pages, page with publisher’s advertisements >Igor Strawinsky<* production date >No. 453<] + 1 page front matter [title page] + 1 page back matter [page with publisher’s advertisements > Two Pianos <** production date >No. 506< + 2. Exemplar; title head >Three Movements from Petrouchka<; author and arranger specified 1st page of the score paginated p. 2 above, next to and below movement title numbered in Roman numeral (with dot) >III. THE SHROVE-TIDE FAIR<l flush right centred >IGOR STRAWINSKY / Two Piano version / by VICTOR BABIN<; legal reservations 1st page of the score below type area flush left >Copyright 1922 by Édition Russe de Musique (RUSSISCHER Musikverlag) / This arrangement Copyright 1953 by Boosey & Hawkes, Inc., New York< flush right >All rights reserved<; production indication 1st page of the score below type area below legal reservation centre inside right >Printed in England<; plate number >B. & H. 17288 c<; end number p. 31 flush left >5. 53. E<) // (1953)

* In French, compositions are advertised in two columns without edition numbers and without price information >Piano seul° / Trois Mouvements de Pétrouchka / Suite de Pétrouchka ( Th. Szántó ) / Marche chinoise de “ Rossignol ” / Sonate pour piano* / Ouverture de “ Mavra ” / Serenade en la / Symphonie*°° pour°° instruments à vent / Octuor pour instruments à vent / Partitions pour piano°* / Le Chant du Rossignol / Apollon Musagète / Le Baiser de la Fée / Orpheus / Piano à quatre mains° / Le* Sacre du Printemps / Pétrouchka / Deux Pianos à quatre mains° / Concerto pour piano* / Capriccio pour piano* et orchestre / Chant et piano°* / Deux Poésies de Balmont / Trois Poésies de la lyrique japonaise / Trois petites chansons / Chanson de Paracha de “ Mavra ” / Introduction, chant du pêcheur, air du / rossignol / Choeur°* / Ave Maria (a cappella) / Credo (a cappella) / Pater noster (a cappella) // Partitions pour chant et piano* / Rossignol. Conte lyrique en 3 actes / Mavra. Opéra bouffe en 1 acte / Œdipus Rex. Opéra-oratorio en 1 acte* / Symphonie de Psaumes / Perséphone / Violon et Piano°* / Suite d’après Pergolesi / Duo Concertant / Airs du Rossignol / Danse Russe / Divertimento / Suite Italienne / Chanson Russe / Violoncelle et Piano°* / Suite Italienne ( Piatigorsky ) / Musique de Chambre° / Trois pièces pour quatuor à cordes / Octuor pour instruments à vent / Partitions de poche° / Suite de Pulcinella / Symphonies pour°° instruments à vent / Concerto pour piano* / Chant du Rossignol / Pétrouchka. Ballet / Sacre* du Printemps / Le Baiser de la Fée / Apollon Musagète / Œdipus Rex* / Perséphone / Capriccio* / Divertimento / Quatre Études pour orchestre / Symphonie de Psaumes / Trois pièces pour quatuor à cordes / Octuor pour instruments à vent / Concerto en ré pour orchestre à cordes< [* different spellings original; ° centre centred; °° original spelling]. The following places of printing are listed: London-Paris-Bonn-Capetown-Sydney-Toronto-New York.

** Compositions are advertised from >ARENSKY, A.< to >WEBER-WEINGARTNER<, amongst these >STRAWINSKY: Piano Concerto<. After London the following places of printing are listed: Paris-Bonn-Capetown-Sydney-Toronto-New York.

12-40 И. СТРАВИНСКИЙ / ТРИ / ФРАГМЕНТА / из балета „ПЕТРУШКА“ / ТРАНСКРИПЦИЯ / ДЛЯ ФОРТЕПИАНО АВТОРА / МУЗГИЗ 1963 // И. СТРАВИНСКИЙ / ТРИ / ФРАГМЕНТА / из балета „ПЕТРУШКА“ / ТРАНСКРИПЦИЯ / ДЛЯ ФОРТЕПИАНО / АВТОРА / ГОСУДАРCTВЕННОЕ МУЗЫКАЛЬНОЕ ИЗДАТЕЛЬСТВО / Москва 1963 // (Edition [library binding] 21.7 x 28.9 (4° [Lex. 8°]); 39 [37] pages + 4 cover pages green on beige [ornamental front cover title with visual character, 2 empty pages, page with price >50 к< + plate number >30378 ф.< + publisher’s advertisements >ГОСУДАРCTВЕННОЕ МУЗЫКАЛЬНОЕ ИЗДАТЕЛЬСТВО / Вытла и выхобим в свем / ФОРТЕПЬЯННЯ ЛИТЕРАТУРА<]* production date >15—62<] + 2 pages front matter [title page, empty page] + 1 page back matter [imprint >Редактор К. Сорокин / Техн. редактор В. Митюшкина]; title head >ТРИ ФРАГМЕНТА / из балета „ПЕТРУШКА“<; dedication above title head centre italic > Артуру Рубин ш тейну <; author specified 1st page of the score paginated p. 3 below movement title numbered in Arabic numeral (with dot) >1. Русская< flush left-flush right >Транскрипция для автора< [#] >И. Стравинский<; without legal reservations; plate number >30378<; without end mark) // 1963

* Names and works of composers are displayed in two columns divided in 4 sections, Strawinsky not mentioned.

12-43Alb Stravinsky* / И. СТРАВИНСКИЙ // IGOR STRAVINSKY / ŒUVRES POUR PIANO / VOLUME / I / EDITIONS MUSIQUE MOSCOU · 1968 // ИГОРЬ СТРАВИНСКИЙ / СОЧИНЕНИЯ ДЛЯ ФОРТЕПИАНО / ТОМ / I / ИЗДАТЕЛЬСТВО МУЗЫКА · МОСКВА · 1968 // [Text on spine:] ИГОРЬ СТРАВИНСКИЙ 1° СОЧИНЕНИЯ ДЛЯ ФОРТЕПИАНО // (Album 1.6 x 22 [22.3] x 28.9 [29,4] [Lex 8°]; 143 [143] pages + 4 pages bound in imitation leather [front cover title black on cream white, 2 empty pages red, empty page cream] + 8 pages front matter (including binding sides) [empty page red, empty page white, whole-page portrait of the young Strawinsky facing left, 2 empty pages, title page French, title page Russian, editors specified Russian >Составлние и редакция / А. КОНДРАТЬЕВА и К. СОРОКИНА< French >Complétés et rédigés par / A. KONDRATJEV et K. SOROKINE<] + 7 pages backmatter (included binding sides) [page with annotation >ПРИМЕЧАНИЯ< with notes about the genesis of the work and dedications Russian, index >СОДЕРЖАНИЕ< Russian, imprint Russian >Индекс 9-4-4< with billing of names >Редактор А. Бакулов / Художник В. Антипов / Худож . редактор Г. Христиани / Техн. редактор В. Кичороская < and itemized statements of format and origin, 3 empty pages, empty page red]; imprint Russian >Индекс 9-4-4< with billing of names >Редактор А. Бакулов / Худоæник В. Антипов / Худоæ . редактор Г. Христиани / Техн. редактор В. Кичороская < and itemized statements of format and origin, 3 empty pages, empty page red]; reprint pp. 46-83; title head >ТРИ ФРАГМЕНТА [#] TROIS MOUVEMENTS / из балета „Петрушка“ [#] de „Petrouchka“ / Транскрипция дла фортепиано автора [#] Transcription pour piano-sol par l’auteur<; Russian-Frenche piece title numbered in Arabic numeral (without dot) pp. 46-53 (>1 / РУССКАЯ [#] DANSE RUSSE<), pp. 54-61 (>2 / У ПЕТРУШКИ [#] CHEZ PÉTROUCHKA<), pp. 62-83 (>3 / МАСЛЯНИЦА [#] LA SEMAINE GRASSE<); plate number >5064<; without legal reservations; without acknowledging the original publishers on the pages of the score; without end marks) // 1968

° Vertical to text.

* A n imprinted, stylized signature risen up in grey-black on black with a first letter the size of the entire page.


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

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