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K015 The Rite of Spring

deutsch K015 Das Frühlingsopfer

K15 Le Sacre du Printemps

Tableaux de la Russie paienne, en deux parties d’Igor Strawinsky et Nicolas Roerich* – Весна священная. Картины языческой Руси в двух частях – Das Frühlingsopfer. Bilder des heidnischen Rußland, in zwei Teilen von Igor Strawinsky und Nicolas Roerich – The Rite of Spring. Scenes of pagan Russia in two parts by Igor Strawinsky and Nicolas Roerich – La Sagra della primavera. Quadri della Russia pagana in due parti, di Igor Strawinsky e Nicola Roerich

* According to the French style of presentation in the printed editions, the translation of ‘Roerich’ was naturalized; originally it must have been ‘Rerich’ or (scientific transcription currently for the purpose of retranscribability) ‘Rjorich’.

Title: The different translations do not reproduce the exact meaning of the Russian title. This is also true for ‘Sacred Spring’ and ‘Holy Spring’. Strawinsky’s suggestion for the translated title, ‘Coronation of Spring’ was not adopted. The French translation was made by Léon Bakst. In the German, next to what is now the standard translation ‘ Frühlingsopfer ’, the German version which comes closest to the Russian original, ‘ Frühlingsweihe ’ or even better, ‘ Weihe des Frühlings ’, is in use. The original Russian title only appeared in the manuscript and not in the printed manuscript because the work was only ever published with the French, and later the English title, but never with the Russian main title, although it did contain the Russian titles for the sections. A Russian title page was produced for the first time in 1965 for the illegal Russian edition by the Moscow publishers, Editions Musique . Incidentally, the titles were reworked inside the score. The ‘Evocation of the Ancestors’ was originally given as Purification du Sol instead of Evocation des ancêtres . This change must have been made over a very short period of time, because the old version was in the orchestral score, and in the piano reduction, which was published a few months after the orchestral score, the new version is given.

Scored for: Ballet (Forces): The Chosen One, The Oldest and Wisest One ; men and women of different ages; –

Ballet (Orchestra): 3 Flauti grandi (3° anche 2° Fl. Picc.), Flauto piccolo, Flauto alto, 4 Oboi (4° anche 2° Cor. Ingl.), Corno inglese, Clarinetto piccolo in Re e Mi b, 3 Clarinetti in Si b e La (3° anche 2° Cl. Basso), Clarinetto basso in Si b, 4 Fagotti (4° anche 2° Contrafag.), Contrafagotto, 8 Corni in Fa (7° e 8° anche Tube tenori in Si b ), Tromba piccola in Re, 4 Trombe in Do (4° anche Tromba bassa in Mi b ), 3 Tromboni, 2 Tube bassi, Timpani*, Batteria (Gran cassa, Tam-tam, Triangolo, Tamburo di Basque, Guero, Piatti a2, Piatti antichi in La b e Si b), Archi –

3 Flûtes (3 e aussi 2 e petite Flûte), 1 Flûte alto en sol, 4 Hautbois (4 e aussi 2 e Cor Anglais), 1 Cor Anglais, 1 Petite Clarinette en ré et mi b, 3 Clarinettes (3 e aussi 2 e Clarinette basse) en si b et la, 1 Clarinette basse en si b, 4 Bassons (4 e aussi 2 e Contrebasson), 1 Contrebasson, 8 Cors en fa (7 e et 8 e aussi Tubas ténors en si b, 1 Petite Trompette en ré, 4 Trompettes en ut ( 4 e aussi Trompette basse en mi b, 3 Trombones, 2 Tubas, Timbales*, Grosse Caisse, Tam-Tam, Triangle, Tambour de basque, Guero, Crash, Cymbales antiques en la b et si b Cordes –

3 Flutes (3rd also 2nd Piccolo Flute, 1 Alto Flute in G, 4 Oboes (4th also 2nd English horn), English horn, Piccolo Clarinet in D and E b, 3 Clarinets in B b and A (3rd also 2nd Bass Clarinet), Bass Clarinet in Si b, 4 Bassoons (4th also 2nd Contrabassoon), Contrabassoon, 8 Horns in F (7th and 8th also Tenor Tubas in B b), Piccolo Trumpet in D, 4 Trumpets in C (4th also Bass Trumpet in E b), 3 Trombones, 2 Bass Tubas, Timpani*, Percussion (Bass Drum, Tam-tam, Triangle, Tambourine, Rape, Crash Cymbals, Antique Cymbals en A b and B b, Strings; –

b) Performance requirements (Forces): 1 male solo dancer, 1 female solo dancer, (25 male dancers, 21 female dancers); –

Performance reuqirements (Orchestra): [5 Flutes = ] 2 Piccolo Flutes (2nd Piccolo Flute = 3rd Flute), 3 Flutes (3rd Flute = 2nd Piccolo Flute), Alto Flute in G, 4 Oboes (4th Oboe = 2nd English Horn), 2 English Horns (2nd English Horn = 4th Oboe), [4 Clarinets = ] Piccolo Clarinet in D (changing to Clarinet in E b), 3 Clarinets in B b and A (3rd Clarinet = 2nd Bass Clarinet), 2 Bass Clarinets in B b (2nd Bass Clarinet = 3rd Clarinet), 4 Bassons (4th Bassoon = 2nd Contrabassoon), 2 Contrabassoons (2nd Contrabassoon = 4th Bassoon), 8 Horns in F (7th./8th Horn = Wagnertuben in B b), [5 Trumpets = ] Piccolo Trumpet in D, 4 Trumpets in C (4th Trumpet = Bass Trumpet), Bass Trumpet in E b (= 4th Trumpet), 3 Trombones, 2 Wagnertuben in B b (= 7th/8th Horn), 2 Bass Tubas, 5 Timpani*, Percussion (Bass Drum, Tamtam, Triangle, Tambourine, Rape, Crash Cymbals, Antique Cymbals in A b and B b,), 4 Solo Violins, 6 Solo Violas, 5 Solo Violoncellos, 6 Solo Double Basses, Strings (First Violins**, Second Violins***, Violas****, Violoncellos*****, Double Basses*****); ~ ( Orchestra Danse Sacrale): [5 Flutes = ] 2 Piccolo Flutes (2nd Piccolo Flute = 3rd grand Flute), 3 grand Flutes (3rd great Flute = 2nd Piccolo Flute), Alto Flute, 4 Oboes, English Horn, Piccolo Clarinet in E b, 3 Clarinets in B b, Bass Clarinets in B b, 4 Bassoons, Contrabassoon), 8 Horns in F, 2 Wagnertuben in B b, 4 Trumpets in C, Bass Trumpet in E b, 3 Trombones, 2 Tubas, Timpani, Percussion (Bass Drum, Tamtam, Triangle, Tambourine, Rape, Crash Cymbals, Antique Cymbals in A b and B b), Strings (First Violins*****, Second Violins*****, Violas******, Violoncellos******, Double Basses).

* 2 esecutori – 2 exécutants – 2 players for two separate complete sets of timpani, consisting of a high tympanus for high B flat, two middle and two low timpani.

** Divided into eight.

*** Divided into seven.

**** Divided into six.

***** Divided into three.

****** Divided into two.

Performance practice: >Each of the two timpani parts is complete. It is understood that each note is to be played by one player only, except where otherwise indicated. The smallest combination comprises five timpani: one very small (for the high B), two small and two large timpani.<

Summary: Unlike in the Firebird and Petrushka, there is no plot conventionally written out in the score, only choreographic instructions relating to the events instead of the story, which is assumed to be already known. Strawinsky wanted to depict the " Vision of a great heathen ritual; old, wise men sit in a circle and watch the death dance of a young girl who is to be sacrificed in order to please the God of Spring ". In order to facilitate the reworking of the symphonic concept onto a choreographic one, the story was further developed with Nikolas Roerich. What is regarded as the contents of the ballet can be seen in the letter that Roerich went on to write to Diaghilev: "The first scene should set us at the foot of a sacred hill, in a lush plain where Slavic tribes are gathered in order to carry out the Spring rituals. In this scene, an old witch appears who predicts the future; here there is abduction and marriage; Round Dances. Then follows the most solemn moment. The wise old man is brought from the village in order to imprint his sacred kiss on the newly blooming Earth; and during this solemn event, the crowd is gripped by a mystical shiver. After an outpouring of earthly joy, the Second Scene leads us into a heavenly mystery. Virgins dance in circles on the hill between enchanted rocks, before they chose the sacrifice they intend to offer up, who will straightaway dance her final dance in front of the aged men clad in bearskin. The Greybeards then dedicate the victim to the God Yarilo ".

Score: There were several versions of the orchestration from the beginning phase up to the final version. The piccolo tympani and piccolo trumpet were originally intended to be in E. Even without this, it was difficult to locate the large number of special instruments required in the work which are not normally required in a standard orchestra, according to the place of performance. When Pierre Monteux, who had become principal conductor of the San Francisco Symphony Orchestra in 1936, was preparing for the much-admired première in 1939, he was very happy to be able to convey to Strawinsky in a letter dated 5th February 1939, that he had managed to find instruments such as tuba, bass trumpet, contrabassoon, G flute, bass clarinet and Guiro (Guero, Rape), which did not usually feature in the San Francisco Symphony Orchestra, despite great difficulty.

Construction: Sacre, which is in two parts, consists of a one-part continuous sequence of Round Dances with pictoral titles describing the contents, and a final solo number. The first section takes place in the morning and the day, and the second section during the night. [Première Partie (L'Adoration de la terre): Introduction / Les Augures printaniers. Danses des adolescentes / Jeu du rapt / Rondes printanières / Jeu des cités rivales / Cortège du Sage / Le Sage / Danse de la Terre; Seconde Partie (Le Sacrifice): Introduction / Cercles mystérieux des adolescentes / Glorification de l'Élue / Evocation des Ancêtres / Action rituelle des Ancêtres / Danse Sacrale (l'Élue) – *Часть первая. Поцђлуй земли / Вступленіе / Весеннія гаданія. Пляски щеголныхъ** / Игра умыканія / Вешніе хороводы / Игра двухъ городовъ*** / Шествіе Старђйшаго-Мудрђйшаго / Поцђлуй земли (Старђйшій-Мудрђйшій****) / Выплясываніе земли / Часть вторая. Великая жертва / Вступленіе / Тайные***** игры дђвушекъ [-] хожденіе по кругамъ / Величаніе° пзбранной / Взываніе къ праотцамъ / Великая°° священная пляска. Избранница°°° - First Part (Adoration of the Earth): Introduction/ The Augurs of Spring: Dances of the Young Girls / Ritual of Abduction / Spring Rounds / Ritual of the Rival Tribes / Procession of the Sage / The Sage / Dance of the Earth; Second Part (The Sacrifice): Introduction / Mystic Circles of the Young Girls / Glorification of the Chosen One / Evocation of the Ancestors / Ritual Action of the Ancestors / Sacrificial Dance (The Chosen One) - Erster Teil (Die Anbetung der Erde): Introduktion / Die Frühlingsauguren: Tänze der jungen Mädchen / Spiel der Entführung / Frühlingsreigen / Spiel der wetteifernden Städte / Auftritt des weisen Alten / Der weise Alte / Anbetung der Erde / Tanz der Erde; Zweiter Teil (Das Opfer): Introduktion / Geheimnisvolle Kreise der Mädchen / Verherrlichung der Auserwählten / Anrufung der Ahnen / Weihevolle Ahnenfeier / Heiliger Tanz].

* The original is predominantly in capital letters; numerous print errors, some presumably through worn-out letters.

** Original: ЩЕГОЛПХЪ.

*** Original: ГОРО ДОВЪ.

**** Original: Мудрђйшій.

***** Original: ТАЙНЫ.

° Original: ВЕЛПКАЯ.

°° Original: ВЕЛПКАЯ.

°°° Original: Initial И as П printed.

Structure

PREMIÈRE PARTIE.

L'ADORATION DE LA TERRE

ЧАСТЬ ПЕРВАЯ

ПОЦЂЛУЙ ЗЕМЛИ.

FIRST PART

A KISS OF THE EARTH

[Erster Teil. Die Anbetung der Erde]

Introduction.

Вступленіе.

Introduction

[Introduktion]

Lento Crotchet = 50 tempo rubato

(figure 11 up to figure 31)

Più mosso Crotchet = 66

(figure 32 up to the end of figure 11)

Tempo I Crotchet = 50

(figure 121 up to the end of figure 1210 )

LES AUGURES PRINTANIERS. DANSES DES ADOLESCENTES:

ВЕСЕННІАЯ ГАЛАНІАЯ. ПЛЯСКИ ЩЕГОЛИХЪ.

THE AUGURS OF SPRING

DANCES OF THE YOUNG GIRLS

[Die Frühlingsauguren: Tänze der jungen Mädchen]

Tempo giusto Minim = 50

(figure 13 up to the end of figure 364 )

JEU DU RAPT.

ИГРА УМЫКАНІЯ.

RITUAL OF ABDUCTION

[Spiel der Entführung]

Presto dotted Crotchet = 132

(figure 37 up to the end of figure 4716

RONDES PRINTANIERES.

ВЕШНІЕ ХОРОВОДЫ.

SPRING ROUNDS

[Frühlingsreigen]

Tranquillo Crotchet = 108

(figure 481-6 )

Sostenuto e pesante = Crotchet = 80

(figure 49 up to the end of figure 556 )

Tranquillo Crotchet = 108

(figure 56 up to the end of figure 568 )

JEU DES CITES RIVALES.

ИГРА ДВУХЪ ГОРО ДОВЪ

RITUAL OF THE RIVAL TRIBES

Spiel der wetteifernden Städte

Molto allegro Crotchet = 168

(figure 57 up to the end of figure 663 )

CORTÈGE DU SAGE.

ШЕСТВІЕ СТАРЂЙШАГО-МУДРЂЙШАГО.

PROCESSION OF THE SAGE [PROCESSION OF THE OLDEST AND WISEST ONE]

[Auftritt des weisen Alten]

(figure 67-711 )

ADORATION DE LA TERRE. [Le Sage.]

ПОЦЂЛУЙ ЗЕМЛИ. [CТАРЂЙШЙ-МУДРЂЙШЙ.]

ADORATION OF THE EARTH (The Sage) [THE KISS OF THE EARTH

(The Oldest and Wisest One)]

[Die Anbetung der Erde (Der weise Alte)]

Lento Crotchet = 42

(figure 712-4 )

DANSE DE LA TERRE

ВЫПЛЯСЫВАНІЕ ЗЕМЛИ.

DANCE OF THE EARTH [THE DANCING OUT OF THE EARTH]

[Tanz der Erde]

Prestissimo Crotchet = 168

(figure 72 up to the end of figure 786 )

SECONDE PARTIE.

LE SACRIFICE.

ЧАСТЬ ВТРАЯ.

ВЕЛИКАЯ ЖЕРТВА.

SECOND PART

THE SACRIFICE [THE EXALTED SACRIFICE]

[Zweiter Teil

Das Opfer]

Introduction.

Вступленіе.

Introduction

[Introduktion]

Largo Crotchet = 48

(figure 79 up to the end of figure 886 )

Più mosso Crotchet = 60

(figure 891-4 )

Tempo I Crotchet = 48

(figure 90 up to the end of figure 904 )

CERCLES MYSTERIEUX DES ADOLESCENTES.

ТАЙНЫ ЙГРЫ ДЂВУШЕКЪ ХОЖДЕИІЕ ПО КРУГАМЪ.

MYSTIC CIRCLES OF THE YOUNG GIRLS [MYSTIC CIRCLE OF THE YOUNG GIRLS]

[Geheimnisvolle Kreise der Mädchen]

Andante con moto Crotchet = 60

(figure 91 up to the end of figure 924 )

Più mosso Crotchet = 80

(figure 93 up to the end of figure 964 )

Tempo I Crotchet = 60

(figure 97 up to figure 1031 )

Crotchet = 120

(figure 1032 )

GLORIFICATION DE L'ÉLUE.

ВЕЛПЧАНІЕ ИЗБРАННОЙ.°°

GLORIFICATION OF THE CHOSEN ONE [THE NAMING AND HONORING OF THE CHOSEN ONE]

[Verherrlichung der Auserwählten]

Vivo 2 tied quavers Quaver = 144

(figure 104 up to figure 1162)

Molto allargando

(figure 1163)

a tempo

(figure 1171 up to the end of figure 1204)

EVOCATION DES ANCÊTRES.

ВЗЫВАНІЕ КЪ ПРАОТЦАМЪ.

EVOCATION OF THE ANCESTORS

[Anrufung der Ahnen]

Quaver = crotchet

(figure 121 up to the end of figure 1275 )

Lento Crotchet = 52

(figure 128 [= 1281 ])

ACTION RITUELLE DES ANCÊTRES.

ДЂЙСТВО СТАРЦЕВЪ-ЧЕЛОВЂЧЬИХЪ ПРАОТЦЕВЪ.

RITUAL ACTION OF THE ANCESTORS

[Weihevolle Ahnenfeier]

Crotchet = 52

(figure 129 up to the end of figure 1415 )

DANSE SACRALE. L'ELUE.°

ВЕЛИКАЯ°°° СВЯЩЕННАЯ ПЛЯСКА. ПЗБРАННИЦА.

SACRIFICIAL DANCE (THE CHOSEN ONE)

[Heiliger Tanz. Die Auserwählte]

Quaver = 126

(figure 142 up to the end of figure 1483 )

Semiquaver = semiquaver

(figure 149 up to the end of figure 1665 )

[Figure 1664: accelerando e cresc.]

Semiquaver = semiquaver

(figure 167 up to the end of figure 1733 )

Quaver = crotchet = 126

(figure 174 up to the end of 1795 )

Crotchet = quaver = 126

(figure 180 up to the end of figure 1854 )

Crotchet = quaver = 126

(figure 186 up to the end of figure 2014 )

° original.

°° ПЗБРАННОЙ = misprint.

°°° ВЕЛПКАЯ = misprint.

Corrections/ Errata*

Full Score 15-5 [1st copy]

1.) p. 6, figure 8 1, Piccolo Clarinet: should be read >sim< instead of dim.<.

2.) p. 22, figure 31 1, 1. Piccolo Flute: the 1st semiquaver should be bb1 instead of a1.

3.). p. 26, figure 39 2, above 1st Solo Violin: glissando détaché should be removed.

4.) p. 31, figure 41 2, Horns 1-4: it should be e1 with natural instead of b1.

5.) p. 54, figure 63, 3rd Trombone: it should be tenor clef instead of bass clef.

6.) p. 55, figure 63 14, 3rd/4th Trumpet: minim rest + crotchet rest + two-note chord quaver f2-a2 instead of semibreve rest.

7.) p. 85, figure 103 1, Piccolo Trumpet: should be cis2-h2-c2 ci2 instead of triplets f2-es2-e2 f2.

8.) p. 85, figure 103 2, 2nd Timpani: 1st note es instead of e.

9.) p. 85, figure 103 2, 2nd Violincello: the 1st note of the two-note chord should be G instead of Gis.

10.) p. 92, figure 3 113, 2nd Flute: quaver e2 + quaver rest + 2 crotchet rests instead of semibreve

rest.

14.) p. 99, figure 122 1 : = 14.) figure 122 1 .

15.) p. 101, figure 124 4 : = 14.) figure 122 1 .

16.) p. 105, figure 133 1-3 Violas: figure 133 1 b b 1-(rhombus)d b 2 instead of f1-(rhombus)a b 1, figure 133 3

removed; Violoncellos: figure 133 1 a b 1-(rhombus)d b 2 instead of e b 1-(rhombus)a b 1, figure 133 3

removed.

Full Score 15-5 [2nd copy]

1.) p. 10, figure 2 12, 2nd Piccolo: 1st note should be g#1 instead of g1.

2.) p. 28, figure 37 4, 1st/2nd Flute: last note should be f#3 instead of d#3.

3.) p. 41, figure 53 2+4, 5th Horn: should be read a b 1 instead of a1.

4.) p. 41, figure 53 4, 3rd Trumpet: should be read g b 1 and f b 1 instead of g1 and f1.

6.) p. 60, figure 70 1, 2nd Violin: the 5th note should be bb.

7.) p. 60, figure 70 1, Basses: 1st note should be A b instead of A.

8.) p. 61, figure 2 71, 2nd Trumpet: should be read f#1 instead of g#1.

9.) p. 63, figure 72 7, 2nd Horn: should be a1 instead of a#1.

10.) p. 111, figure 140 4, 1st Bass clarinet: 1st note should be e b 2 instead of e2.

11.) p. 111, figure 141 2, Bass clarinet: 2. note should be d b instead of d1.

12.) p. 117, figure 155 4, Violas: die 1st note should be e b 2.

13.) p. 117, figure 156 2, Violas: the 1st two-note chord should be e b 2-f#2 instead of e2-f2.

14.) p. 117, figure 157 1+2, 1st Trumpet: the last note of the bar 157 1 and the 1st note figure 157 2 should

be f#1 instead of f1.

15.) p. 119, figure 161 2, Solo Violin: the last note of the ligature should be a3 instead of f3.

16.) p. 122, figure 1 167, Bass trombone tenor clef: the middle note of the tree-note chord should be

b b 1 instead of b1.

17.) p. 130, figure 181 1, 2nd Piccolo: the last note has to be removed, both Piccolo-Flutes should play

d3.

18.) p. 131, figure 1 182, Double basses: 1st note should be B b instead of B.

19.) p. 131, figure 183 2, Piccolo trumpet: note should be c#1 instead of c1.

20.) p. 132, figure 184 1, 3rd Trumpet: 3rd note should be a1 instead of a#1.

22.) p. 132, figure 184 3, 6th Horn: should be read B b instead of B.

26.) p. 133, figure 2 186, 6th Horn: should be B b instead of B.

29.) p. 133, figure 1 186, Violoncelli: should be read quaver f1-e b 1-e b 1-f1 instead of quaver B b + quaver

with crotchet rest.

30.) p. 133, figure 1 186, Double basses: the crotchet rest shoul be replaced by quaver B b + quaver rest.

31.) p. 134, figure 188 2, 2nd Tuba: the semibreve rest has to be replaced by quaver C + dotted

crotchet rest.

Pocket Score 15-6

1.) p. 52, figure 62 2, Tenor trombone: both times b1 to be read as b b .

2.) p. 74, figure 77 7, Legend: Piccolo clarinet in D, not in E.

3.) p. 106-107, figure 134: should be c1 (with natural) instead of c b 1.

4.) S.116, figure 2 153, Flute: should be a3 instead of f3.

5.) S.116, figure 2 153, Alto flute: should be d3 instead of d b 3.

6.) p. 125 figure 172 4, Trombones: tenor clef has to be replaced by bass clef.

7.) p. 125 figure 173, Trombones, end of the bar: bass clef has to be replaced by tenor clef.

8.) p. 130 figure 180 1, 1st/2nd Flute: should be d3 instead of e3.

Pocket score 15-13 (Danse sacrale) [red]:

1.) p. 26, figure 30 4 2. Violins: 1st three-note chord c1-e b 1-b1 instead of c1-e1-b1.

2.) p. 26, figure 30 5 2. Violins: 1st. three-note chord c1-e b 1-b1 instead of c1-e1-b1.

3.) p. 27, figure 31 4 2. Violins: 1st. three-note chord c1-e b 1-b1 instead of c1-e1-b1.

4.) p. 50, figure 59 5 1st/2nd/3rd Clarinets: the last theree-note chord e b 2-e b 2-g b 2 instead of e b 2-e b 2-

g2.

5.) p. 50, figure 601 1st/2nd/3rd Clarinets: a natural should be added to the highest note g2 of the 1st

quaver three-note chord, the same applies to figure 603; the same applies to figure 604.

Style: The ballet, which consists predominantly of symbolic structures of events, allows no simple and transparent correspondence between image and music in terms of musical size as in the Firebird and Petrushka. There are no motifs assigned to people. The plot is played out on a large scale, and the music tends towards noise, creating the atmosphere from scene to scene: happiness in the first section, and bleak threat in the second. The breaking up of the tonal unity into an iridescent whole made up of different forms and figures corresponds to the interweaving of groups gravitating away from and merging back into one another. It is the rhythm that defines the character of the scene, and it becomes the motif bearer; peacefully flowing movement in the pastoral passages, Nocturnes and lyrical Intermezzi, excitement at the place where quarrel, happy at first, is sought and found, and hectic activity which can be scarcely be restrained made up of fragmented meters when the game turns savage and heads towards its end. Typical rhythms crystallize out of the contrast between Man and Nature, which is revealed in the first part as an erotic game between Man and Woman, and they form exclusively in relation to this work, significant male and female soundworlds. The heavy, almost mechanically stiff, aggressively constructed figures stand in contrast to soft and vague frameworks in many parts. For the rhythm as a mirror of the world, Strawinsky constructed, alongside motific echoes and even the incorporation of folksongs, a sequence of miniature themes of often only four notes, which, anticipating Les Noces, are combined, mixed together and varied. By playing the different rhythmic, motific blocks contrapuntally against one another, Strawinsky turns the music into a type of polyphony which was unknown up to this point in its originality. The stratification of the motifs into primitive chords creates figures which are essentially rhythmic noise, because he handles them in a manner contrary to the conventional compositional dogma and no longer treats them as dissonances to be resolved. This is intensified by the introduction of the percussion, which in the orchestra for Sacre for the first time in the more recent history of the orchestra, became not only an equal instrumental family alongside the woodwind, brass and strings, but even came to define the basic sound of the music and dominate the other, traditionally dominant instrumental families. Even the string instruments try to sound as much as possible like percussion instruments. Tiny connections between motific splinters prevent the instruments from singing out melodically (which would probably have to the formation of cantilenas), shatter pauses and tear up meters. The instruments play in their extreme registers, preferring above all bright, shrieking, spiky combinations, a short, staccato, dry, even dull sound which had nothing in common with the orchestral sheen of the day. Strawinsky turned the relationships on their head in that he used the most complicated orchestra in music history for the creation of almost the simplest, monotonous, primitive formulations of sound conceivable. –

I/1 (Introduction): The introduction to the First Part, based on a Lithuanian folksong, is intended to depict the beginning of Spring. Wideness, silence and melancholy resonate in its melody. With the entry of the oboe sextuplets and the held horn notes, the depiction gains an almost Impressionist vividness. The outbreak of the Spring sun is a great moment. It gradually wakes up all Nature. Inside the sound of the full orchestra, the kaleidoscopic noise of Spring begins, the rustling of the leaves and the harmonically consonant and dissonant play of different types of birdsong. –

I/2 (The Augurs of Spring. Dances of the Young Girls): the end of the introduction already thematically prepares the dance of the girls. It is the young men however who dominate the scene at first. The stiff rhythm with its heavy chords and accents has made the Rite of Spring iconic. Walt Disney used it in his film, Fantasia, rich in fantasy with crashing, high-erupting jets of flame from pre-historic volcanoes. This stiff rhythmic framework, which here represents the male element, approaches with its motor rhythm the thought of musical gymnastics and physical action. This is soon joined by the female element. The fluttering and swelling up and down of the lines suggests the girls calling with many voices and conveys the impression of happy entertainment with games and jokes. In one (still) light, happy and changeable enjoyment, the groups of the young men and women join together and provoke, tease and entice one another. –

I/3 (Mock Abduction) The mood changes completely. The young men become aggressive and the women flee. This game is repeated several times. The middle point is where the male action is, while accompanying violin figures depict the female reaction, the flight. –

I/4 (Spring Round Dances): The Spring Round Dances are in Rondo form. Male and female forces are now united. Round dances are assigned to the separate groups ; Strawinsky at first begins these dances in groups before joining them together as the sign of erotic copulation. As before, the many melodic ideas approach archaic topics. Pure minor, the interval of a fourth, repetitions, permutations and lethargic sound colour point towards a type of melody which Strawinsky could have become familiar with in the North of Russia in particular. The construction of tiers of polyrhythmically staggered progressions of different keys which are played over one another results in a many-voiced texture which suggests the image of many groups calling chaotically to one another. –

I/5 (Games of the Rival Tribes): The competing games of the tribes are the first dynamic climax of the ballet. Complicated rhythms and stiff rhythmic models, which dissolve in complex formations, characterize the movement, a sign of the fact that it belongs to the men to whom these constructions are assigned in the Rite of Spring . Strawinsky essentially characterizes the games themselves by means of registral connections and melodic imitations. With small departures, a motific line is played in different registral groups, and shortly after it is followed in imitation by another in the same process. In this way, Strawinsky illustrates the games of the genders against each other and with each other. One follows the other (imitation) or is ahead of it; one does it the same way as the other (registral connections in the orchestration). The rise in tension of the dynamic signifies the rising ferocity of the competing games up to the total exhaustion of their strength. –

I/6 (Procession of the Wise Elder): The games carry on until the entrance of the wise elder interrupts them. The music adopts a lethargic processional character which is completely different. The friendly games are at an end. –

I/7 (Adoration of the Earth): These four bars to which this scene is limited, gesturally imitate the bowing motion of the Wise Elder, who inclines himself to the Earth. –

I/8 (Dance of the Earth): The Prestissimo music of the Dance of the Earth brings the relatively short, but nonetheless emphatic final climax. It is violent music, savage, brilliant and rough and defined as masculine from the timbre in the context of the ballet. As with all other dynamic climaxes in the Rite of Spring, the build-up is based on the principle of a short figure constantly repeating until practically a trance effect is reached. At this and at similar points, Strawinsky introduces his more recent technique of ostinato composition into the music. He gives the impression of the Archaic by means of the superimposition of different tonalities. What is especially well known at this point is the rising whole-tone scale which is played by the Bass Clarinet, continued in the trumpet and then taken further in the Aeolian mode in the strings. The result is a notably idiosyncratic texture which gives its imprint to this section and others like it. –

II/1 (Introduction): The melancholy introduction to the Second Part of the ballet represents daybreak, while still in the dawn, the young people begin their games. In the context of the bleak background of the piece as a whole, the lyricism of this section is an exception. The music has the character of a Pastorale or Nocturne and is written structurally in the style of a song. –

II/2 (Mystical Circles of the Young Girls): The mystical circles of the young girls surround the virgin who has been selected for the Dance of Death. The motific working in the section is made up from circle figures which form further circle figures through corresponding combinations and repetitions, so the subject matter of this music depicts the entangling of circle formations. Once again, the motific working of this section is simplified down to a single motif which expresses a multitude of things through diverse variations, and which points back to the original cause of the idea of secretly interweaving in itself hidden strengths. The scene flows in eleven crotchet beats. –

II/3 (Glorification of the Chosen Victim): The Glorification of the Chosen Victim is a round dance which begins after a few call motifs and in which a large mass of people circle around the victim, who at first stands stationary in the middle of them. The complexion of the music changes from one bar to the next; it sounds stiff, mythical, savage and cold. There is no longer pulsing life, only archaic magic, secrecy and fear. The rhythm hammers, the motifs are repeated in the ostinato, episodes follow one after another constructed like a rondo, the meter changes from bar to bar, accompanying and percussive figures are pitted against one another, the instrumentation is devoid of colour, and everything triumphs in noise. The unusual orchestral forces used in this number is only surpassed in the Finale of the ballet. –

II/4 (Summoning of the Ancestors): The relatively short scene of the Summoning of the Ancestors intensifies the atmosphere of bleak threat. Heavy, stiff chords of noise convey the inapproachable nature of this ritual which rejects any compassion, and which has made a mystery from its separate formulations, in the narrowness of which the game, which is tragic for an outsider, continues on. –

II/5 (Ritual of the Ancestors): The Ritual of the Ancestors, as the penultimate number in the ballet, consists predominantly of compressed, ritualistic figures, catchy in their brevity. They rise up out of a network of stiff rhythmic frameworks, from which the only light sense of relaxation comes from the occasional shattering change from one meter to another. The music proceeds directly from this movement into the Danse Sacrale without transition. –

II/6 (Sacrificial Dance) The Danse sacrale, originally intended by Strawinsky as the first section of the piece conceived as a symphony, forms the conclusion and climax of the entire composition. The hectic nature of the events is mirrored outwardly in the constant changes of meter. Scarcely two consecutive bars in this section have the same time signature. In crashing noises, smaller and smaller splinters of motifs are piled up. At the same time, the ritualistic and structurally spasmodic movements involved in the heathen act of sacrifice become visible, avoiding any sort of melodic connection and surrendering any straightforward sense of flow or movement. The breakdown of any clear representation in the music corresponds to the atrociousness of the human sacrifice, so that this extensive dance is at the same time a piece of interpretation with a pejorative expression about heathen spiritual savagery.

Dedication: > Николаю Константиновичу Рериху À Nicolas Roerich [Dedicated to Nicolas Roerich].

Duration: 14'24" [2'56", 3'04", 1'17", 3'05", 2'00", 0'42", 0'25", 1'15"], 16'48" [3'42", 2'52", 1'37", 0'44", 3'18", 4'35"].

Date of origin: Ustilug / Talaschkino / Clarens May-June 1910 up to 8th respectively 29th March 1913.

History of origin: From earlier versions, it can be assumed that Strawinsky was considering the idea of a symphony during his work on the Firebird, when he had a vision in Spring 1910 in which he saw a circle of old men surrounding a young girl who was dancing as a sacrificial offering to death in order to please the God of Spring in the hope that he will be merciful. He collaborated with Roerich, brought Diaghilev on board, and began work on the sketches in July 1911 after the completion of Petrushka on the Talashkino estate (at Smolensk), which belonged to his patron Princess Tenishev. It was here that Roerich’s scenario, which was sent to Diaghilev, was formulated, and which today is used as the description of the content of the ballet. Back in Ustilug, he began the new ballet with the composition of the ‘Augurs of Spring’ scene from the first part and continued until Autumn 1911, when he went to Clarens, up to the ‘Spring Round Dances’. In Clarens, he continued work and before Christmas completed the first part, including the introduction, which he wrote as the last section. In the following Spring 1912, he had written up to the ‘Glorification of the Chosen Victim’ and then slowed the speed of composition because he heard from Diaghilev of the necessity for the première to be moved from 1912 to 1913. He returned to Ustilug and worked on, visiting Paris and London in Summer 1912, and he completed the ‘Sacrifical Dance’, the ‘ Danse Sacrale ’, hindered by terrible toothache, on 17th November. The final section of the score to be written was the introduction to the Second Part. The autograph score bears the date of completion 8th March 1913. The message that Strawinsky inserted figures 86 to 88 on 29th March 1913, so after the actual completion of the score, was relayed by White and can be traced back to André Schaeffner. Craft finds evidence against this by observing from the published sketch material that only the four bars before figure 86 can have been added at this point.

First performance: Ballett : 29.* May 1913, Paris, Théâtre des Champs-Élysées with Maria Piltz (Chosen One), the Ensemble Les Ballets Russes de Serge de Diaghilew, the costumes and the stage design by Nicolas Roerich, Stage direction: Serge Grigoriew, Choreography: Vaslav Nijinsky, conducted by Pierre Monteux; concertant: world concert premiere: 5 OS**/18 NS*** February 1914; Moscow, the Great Hall of the Assembly of the Nobility (Zal Blagorodnogo Sobraniia), now the Columned Hall (Kolonnyi zal); Orkestr Kusevitskogo (Koussevitzky Orchestra); Serge Koussevitzky, conductor; second performance: 12 OS/25 NS February 1914; St. Petersburg, Hall of the Assembly of the Gentry (Zal Dvorianskogo Sobraniia), now the Great Hall of the Philharmonia (Bolshoi zal Filarmonii); Orkestr Kusevitskogo (Koussevitzky Orchestra); Serge Koussevitzky, conductor. The first performance in France took place 5th April 1914, in Paris, Casino.

* Not 28th May 1913. The confusion surrounding the date which appears here and there in the literature can presumably be traced back to the open general rehearsal, which took place on 28th May: Sacre was performed again on 2nd, 4th, 6th and 13th June.

* Julian calendar.

** Gregorian calendar.

Remarks: Strawinsky gave permission for closed concert performances, through which the work gained public exposure, as well as a part performance of the First Part on its own. For Ansermet, who performed the First Part and the Introduction to the Second Part, he came up with a short concert ending, which allows the ballet to end after the second introduction. It was not published. The editions of Sacre published after 1928 should bear the edition name Schneider. The intention for this was to create some small protection against the American practice of illegal printing allowed by the American legislators. Strawinsky did not expect much success from this. In fact, it was Kalmus who reprinted without proper permission. The première in Paris led to one of the largest theatre scandals in music history, and also became violent. A description of it forms a separate, extended episode in almost every biography of Strawinsky. Strawinsky’s, Diaghilev’s and Cocteau’s nocturnal journey through the Bois de Boulogne in connection with the scandal, which was originated by Jean Cocteau and became popular everywhere afterwards as an over-sentimental side story, clearly never took place but was a journalistic invention by Cocteau.

Situationsgeschichte: The agitated commotion at the time around the criticism of the ballet was huge. The author and composer were accused of sadism, and in the Twenties, much reasoning power was used to demonstrate this by the critics, while the hideousness of the plot of the Rite of Spring was transferred onto New Music in general and onto Strawinsky especially. In reality, for the creative minds involved in creating and mounting the work, it was a question of bringing life and death into perspective as inseparable parts of one cycle and thus allowing us to recognize that life only springs out of death, and the rebirth of life out of the sacrifice of an individual must be understood where necessary for the collective group. This was a timeless idea. The artistic embodiment of which was attributed for good reason to the Scythians into Heathen Russia, who, on the threshold of spiritual consciousness, would embody the atavistic original state of those who first became men. This must also have been the reason why the ritual begins with a Lithuanian folksong, as Lithuania was the last part of the East to be converted to Christianity and the connection of Lithuania with the Scythians and Paganism would have been an inevitable for the Russians at the time. In the years before the First World War, there were also sectarian groups of pagan or pagan-Christian origin in Russia, which occasionally became politically significant. Just Gorodetzky had shed new light on the old world of rituals through the results of his research. His volume of poetry Yar was on everyone’s lips, even Strawinsky was very well acquainted with it. The goddess of Spring, Yarilo, who was brought in by Strawinsky, or presumably rather by the specialist on paganism Roerich, had been newly revivified at this opportunity. The sacrifical death of the girl is therefore only a symbol for a certain form of human behaviour which could become an aspect of the functional life of a community, true to the word of the Bible, that the seed is planted into the earth and must die in order to bear fruit. As a result, the sacrifice takes place during the night because those sacrificing themselves enter into the dark earth like the seed. The round dances offer the best representation of this concept from a choreographic standpoint. The flashback to the barbarity of prehistory thematically justifies a build-up of sound consisting of noises and sounds in the outer limits of the instruments’ extreme registers, which finally makes music history a futuristic mirror of the present. Russian Communist musical sociology on the other hand regards the Rite of Spring as a middle-class flashback. It calls into question every progression of humans in reference to the eternal cycle of nature, which cannot be interrupted, and refutes the claim that the ‘powers of spiritual progress’ have power over the ‘strength of human nature and the inherent instincts’.

Significance: The Rite of Spring cannot be measured by the usual yardsticks of musical value. It became a work of the century, which combines artistic mastery with a new system with historically far-reaching effects and which forced music history into another path. It introduced the concept of organized musical noise and made the percussion into an instrumental family on the same level of importance as the other instrumental groups, stood against the harmonic style that had been predominant up to that point with its rhythmically defined style made up of regular, but above all irregular rhythms with constantly changing accents, and with this force, created a different type of listening, and redefined the relationship between the individual and the group as well as between the artist and listener. The Rite of Spring was no longer just the fruit of a genial talent, but an expression of a new idea of composition. For many conductors, the Rite of Spring is regarded as the most difficult score in terms of execution due to its complicated rhythmic writing.

Choreography: The main idea behind Nijinsky’s choreography was to create a detailed realization of Strawinsky’s rhythmic writing in movement. Nijinsky interpreted lengths of notes, accents, volumes and the timbre of the notes in gestures, expressed accelerando and ritardando by means of a gymnastic system of bowing and stretching movements of the knee and lifting and lowering of the heel, for which he was indebted to the Eurhythmic Émile Jaques-Dalcroze, who was very famous at the time and from whom Diaghilev and Nijinsky asked for advice for the realization of Strawinsky’s complicated rhythmic writing. What appeared to be choreographic respect for Strawinsky’s score was in reality the realization of a systematically executed parallelism of music and gesture but with a lack of play moment or counterpoint between the two, as a stereotypical repeat of the same movement was a drawback, because, as the critics argued, the visual perception of repeated chords or motifs, apart from as perceived aurally, led to the audience to become weary of it. Strawinsky in fact rejected Nijinsky’s choreography. It created the effect of effortful work without purpose or goal and not as a pictoral representation. With the split of the homosexual friendship between Diaghilev and Nijinsky as a result of Nijinsky’s marriage to Romola Pulsky, Strawinsky’s ballet music also disappeared from the plan for the time being along with Nijinsky’s choreography.

Reintroduction using Massine’s choreography in 1920: Leonide Massine’s new choreography remained the official choreography of the Russian ballet until Diaghilev’s death. Massine developed a formal and almost abstract ballet which eschewed emotional content and both historical concepts and those reaching into pre-history. As a result, the critics criticized his production. In all beautiful details, Massine resolved the musical connections visually and thus destroyed the harmony of music and movement. Strawinsky accepted his choreography without being enthusiastic about it.

More recent directors’ choreographies: The Berlin staging by Mary Wigman of 24th September 1957 at the Theater des Westens with Dore Hoyer as the prima ballerina did not use pagan Russia as the setting and thus freed the ballet from its origin. Similarly, Béjart also removed the Russian element. His Brussels production of 9th December 1959 depicted Sacre as the ‘awakening of human love in all its carnality’ and had nothing more in common with the original. Strawinsky pretended not to have seen the production, but to have learnt from competent parties that it was very bad and then spread this around. This is what Strawinsky wrote in a letter to Rufina Ampenov dated 3rd September 1968. It was probably a mix-up or a hole in his memory, or even a fiction in order to not have to give his opinion about Béjart and Boulez (with whom he was in a fight) directly, as it is testified to that he saw the Béjart staging of Sacre, Les Noces and Renard in Paris on 5th June 1966 together with Robert Craft. It must have been repellent to him, otherwise his observation that the performance would have been better suited to the Folies-Bergères than the Paris Opera, which was said to a journalist, does not make sense. Kenneth Macmillan made his London choreography of the Rite of Spring of 8th May 1962 into a manifesto of a post-nuclear rebirth of life.

Disney film, 1941: In 1941, Walt Disney made the most singular visual version of the Rite of Spring to be made up to that point, when he used Strawinsky’s music for the prehistoric section of his film Fantasia. Disney dropped Strawinsky’s and Roerich’s original idea of Spring as the ever-renewing rebirth of nature and relocated it to the beginning of the world at the primeval birth of the Earth, when life developed from a volcano world and with the deadly struggle of behemoths of that time, who were unable to adjust to the climatic change in their world and died out. Disney did not need to shorten Strawinsky’s music, although he did reorder certain sections.

Versions: The printing of the four-hand piano version was started in January 1913. The edition was planned for the end of May, so before the date of the première. The second printing was published on 1st January 1914. Up to that point, Strawinsky already had time to make a few simplifications which were not incorporated. He sent the orchestral version to Berlin at the beginning of 1920, but continued to correct it further after that. The dispatch of the conducting score took place in February 1922, and for the pocket score in May 1922 (not 1921). It can be seen from a packing slip from the Russian Music Publishers from 3rd February 1922 that the scores of Sacre and Chant du Rossignol had >soeben erschienen< (just been published). The conducting score was definitely part of the hire material: copies have so far only been found in London and in Strawinsky’s estate. Both scores contained errors, so that Strawinsky was pressing for an errata sheet to be included with both scores. The errata list was immediately newly corrected by Strawinsky. A reprinting of the parts could not be considered due to the costs, which meant that all the corrections had to be entered again and again over a long period into the old sets of parts. They had to wait for eight years for the reprinting of the pocket score. In January 1926, there were further corrections. In August 1930, the new printing of the pocket score was published. The Russian music publishers sold more than 600 copies of the piano version between 1923 and 1938 and more than 2,000 pocket scores. The conducting score, which was published at the beginning of 1922 (the London contributory copy i.105 was entered on 16th February 1922), was clearly never sold, but was part of the hire material. The American edition of 1933 is one of the notorious and illegal Kalmus printings. The later 1930 edition by the Russian Music Publishers was printed without the Russian inside title. A further Kalmus pocket score edition was entered into the Library of Congress on 20th August 1943. Two years before this, in 1941, Edward B. Marks seized possession of selected numbers from Sacre in his Kaleidoscope piano editions (‘Game of the Rival Tribes’, ‘The Augurs of Spring’, ‘Dances of the Young Girls’), which Frederick Block reworked into piano transcriptions that were demanding but playable for an advanced pianist. The Marks editions are not consistently designed. Minor editorial discrepancies point towards them being produced at different times, which is also the case for the page of adverts at the end, which in the first example reaches up to Lecuona (set with a broader line spacing and decorative box frames with a seed left free), and in the other example (printed narrower and with filled decorative box frames and an additional composition) up to Levenson, although both times, the same title, >PART ONE<, is used. The titles change between uppercase and lowercase, and the text is italic the first version, and not italic in the other version. The Danse des adolescentes was also included by the New York Publishers in the same year in an anthology which was made up exclusively of 15 transcriptions of small works that had not been authorised by Strawinsky (Contemporary Masterpieces / Album No. 9 / Igor Strawinsky / Selected Compositions for Piano), and which was designed with a photo of Strawinsky and cost one dollar. – An excerpt for bassoon from Sacre was also included in an edition of orchestral studies of especially difficult orchestral excerpts ( Traits difficiles ), produced by the Paris Conservatoire with permission from the original publishers in 1943 by Alphonse Leduc (Répertoire du Conservatoire National de Paris). – In the middle of 1948, Boosey & Hawkes reprinted the score (the publishing contract for the revised version was signed on 20th June 1952); Strawinsky was unhappy about this, because they had neglected to ask him for corrections. He refused to refer to it as a new edition because he had only removed printing errors. He presumably adopted this attitude because he was planning an actual revision and rewriting the Danse sacrale, and wanted to hold back the title ‘revision’ for this. The original Russian titles and scene titles were still included. They were neither modernised nor corrected. The Boosey edition of 1965, which was called ‘corrected’ and was printed again in Russia in the same year, is in fact the edition that Strawinsky had been hoping for in 1948. The corrections had been incorporated into it, but it contains other errors, as Craft has demonstrated. In 1943, Strawinsky had begun work on an in-depth reworking of the score, but this did not go beyond the Danse sacrale, which was substantially changed, above all in the woodwind parts. He rewrote the string parts. The score, which was completed in Santa Barbara on 1st December 1943, was published in 1945. He agreed with Associated Music Publishers upon the publication of the Danse Sacrale as a separate, reorchestrated and corrected piece. The contract was settled on 21st September 1944. The printing ran to 1,015 copies, of which 206 copies were sold up to the middle of 1947, and 136 were given away for free. The work was never published again during Strawinsky’s lifetime. The rights went to Boosey & Hawkes after Strawinsky’s death. The Boosey pocket-score edition of 1965 in quarto format, which was called ‘corrected’, was then printed in the same year in Russia. An arrangement by John Kirkpatrick, Versions pour piano à deux mains: Etude pour les accords tirés de Sacre du Printemps was not part of editions themselves; it was a transcription based on the Danse sacrale dated 7th November 1928 in Paris, of which there is a photocopy in the National Library in Paris.

Correction history: The history of Sacre du Printemps is an almost immense series of unending corrections of errors and revisions, of which an adequate description up to 1950 would fill the length of an entire book. Indeed, scarcely anyone would be sufficiently well versed in it that he could seriously claim that this or that version is original or not original, rather corrected, or not corrected but recomposed, and so on. For this reason, in the case of Sacre, the sketches are of importance. Strawinsky forbade their publication in 1964, but then changed his mind, so that they could be published by Boosey & Hawkes in 1969. Robert Craft went on to write a report about them which he published in his collection of letters as Appendix D in the 1st volume.

Analysis: The title of the book Analyse zu Igor Strawinskys <<Sacre du Printemps>> by Horst Scharschuch, which was published by Bosse publishers in Regensburg as Forschungsbeiträge zur Musikwissenschaft / Band VIII (Research Contributions to Musicology / Volume VIII), is misleading with respect to its content. The 244-page volume in typewritten left-justified text on quickly yellowing paper is in fact a history of the creation of leading-note music on the basis of the work of Hermann Erpf and only concerned itself with Strawinsky peripherally. The work, originally an unprinted dissertation from Muenster from 1955 arose out of an analysis of Wagner’s Tristan und Isolde, and is regarded as a criticism of Ernst Kurth’s book on Romantic harmony. Scharschuch developed a system of terms which circled in itself and with its own way of notating music which one has to learn beforehand; it has its own terms for functions and gradations and its own series of signs. With these devices, he uncovers structures of leading-note music from the early Netherlands up to the present, which he then applied to Sacre on pages 180-210, but they could also apply to any other composition. The analysis is schematically and structurally carried out, section for section and bar for bar, and attempts to establish the function of every single note in the music: ‘The Analysis demonstrates that the basis of Sacre is a simple, tonal cadence with a 4-time repeating dom [=dominant] tone row in Part I and a dom frame in Part II, which are techniques which were already in place in the 15th Century. As well as in the cadence, Strawins- / ky is also bound to tradition in the formation of musical structures... / The point at the end of the introduction, that the use of the leading note inside a work must appear relatively rarely, has no validity in Sacre. This composition raises the Expressive in the music of the 19th Century to its most extreme by means of an almost uninterrupted sequence of leading-note music, the tension of which is further increased by means of additional leading notes...//... It is noticeable in Sacre that complicated sounds are placed inside a simple cadence. Through this, the ambiguous musical structures become identificable, for which a clearly noticeable cadence, as is often the case in Tristan, would be impossible. On top of this technique described above, there is in addition to the extreme tension of the vertical, i.e. sound, a strongly contrasting sense of peace in the horizontal, i.e. the cadence. One finds an analogous process in certain of the Préludes by Debussy (...) in which he builds his new musical structures into the simplest cadenzas possible and leaves their specific function untouched for a long time, before he replaces it with another. This allows the ear time to accustom itself to foreign ideas. This technique can be found in all times in all new composers* / The analysis of Sacre gives confirmation that the work was written from the functional musical consciousness of the 19th Century with its tendency towards semitone progressions. The musical structures are complicated up to the most extreme possible limits of tonal comprehension. In its harmonic development, the next step means the disengagement of 3Klang and Cadence, i.e. chaos. This was carried out by certain new composers in the 2nd decade of this century, until Schoenberg invented the principle of the linear row, from which chaos gained a solid, rational order, in which music, function and 3Klang structure are consciously negated. Even if leading-note music does also appear in so-called late-Romantic music after Sacre, with this piece, which exhausts the last possibilities of 3klang- and function-bound leading-note music, the end is reached, for the time being, of the history of leading-note music, which begins with Mozart and the origins of which can be traced back to the first 6 ♯[sharpened 6th ] chord from around 1400 ** .’

* Original >Neutöner<. The term >Neutöner< (‘New composer’) has a derogatory, at times contemptuous connotation in the German.

** pp. 209-210.

Historical recordings: Paris 27. June 1928, Orchestre Symphonique de Parisunder the direction of Igor Strawinsky; New York City 19. April 1940, New York Symphony Orchestraunder the direction of Igor Strawinsky; New York City 5./6. January 1960, Columbia Symphony Orchestraunder the direction of Igor Strawinsky [with the revision version of the Danse sacrale].

CD edition: I-2/16-29.

Autograph: The autograph score kept by Boosey & Hawkes was given back to Strawinsky for his 80 th birthday. There were disputes in 1920 about this score, because Strawinsky regarded it as his own property and wanted to sell it in his years of financial need after the First World War in order to live. The working manuscript of Part I of the score was in André Meyer’s collection in Paris, and this was entered into the National Library in Paris; Théodore Strawinsky owns another manuscript; an orchestral score from 1922 with markings in Strawinsky’s hand on almost every page and a complete, new version of pages 112 to 114 passed from Strawinsky’s estate into the Paul Sacher Stiftung in Basel. The Danse sacrale is in the National Library in Paris.

Copyright: 1921 by Russischer Musikverlag Berlin (Pocket score); 1945 by Associated Music Publishers New York (Pocket score); Copyright 1947 assigned to Boosey & Hawkes London; the early editions have no copyright.

Errors, legends, colportages, curiosities, stories

The story of the nightly ride of Diaghilev, Strawinsky and Cocteau through the Bois de Boulogne connected with the Sacre world premiere and the Sacre scandal, was, according to Strawinsky, an invention of Cocteau. This ride never took place.

a) Overview

15-1 1913 VoSc; Russischer Musikverlag Berlin; 89 pp.; R. M. V. 196.

15-1Straw1 ibd. [with annotations].

15-1Straw2 ibd. [without annotations].

15-2 [1914] VoScA (corrected) for four hands; Russischer Musikverlag Berlin; 89 pp.; R. M. V. 196.

15-3 1922 FuSc; Russischer Musikverlag Berlin; 139 pp.; R. M. V. 197.

15-3Straw.

15-4 1922 PoSc; Russischer Musikverlag Berlin; 139 pp.; R. M. V. 197 b.

15-4Straw1.

15-4Straw2.

15-5Err 1922 Errata Sheet to 15-3 and 15-4.

15-6 [1924] PoSc (reprint); Russischer Musikverlag Berlin; 139 pp.; R. M. V. 197 b.

15-6Straw ibd. [with annotations].

15-7 [1933] PoSc; Kalmus New York City; 139 pp.; – ; 78.

15-8 1941 Tourneys Of Rival Tribes Kl. [Block]; Marks New York; 7 pp.; 11506-5; 11506.

15-9 1941 Rondes Printannieres Kl. [Block]; Marks New York; 2 pp.; 11509-2.

15-10 1941 Dances of the Young Girls Kl. [Block]; Marks New York; 7 pp.; 11510-5; 11510.

12-11Alb 1941 Dances of the Young Girls Kl. [Block]; Marks New York; 5 pp.

15-12 1943 Orchesterstudie Bassoon (Dhèrin); Alphons Leduc Paris; A. L. 20,262.

15-13 1945 Danse sacrale PoSc; Associated Music Publishers New York; 52 pp.; – .

   15-13Straw ibd.

15-14 1948 PoSc; Boosey & Hawkes London; 139 pp.; B. & H. 16333; 638.

15-1453 (1953) ibd.

15-1454 (1954) ibd.

15-1456 (1956) ibd.

15-1457 (1957) ibd.

15-1460 (1960) ibd.

15-1461 (1961) ibd.

15-15 1948 FuSc rev.; Boosey & Hawkes London; 139 pp.; B. & H. 16333.

15-15Straw ibd. [with annotations].

15-15Err

15-15[64] ibd.

15-16 1965 PoSc; Editions Musique Москва ; 160 pp. 4°; Pl.-Nr. 1501.

b) Characteristic features

15-1 IGOR STRAWINSKY/ LE SACRE DU PRINTEMPS / TABLEAUX DE LA RUSSIE PAÏENNE EN DEUX PARTIES / D'IGOR STRAWINSKY et NICOLAS ROERICH / RÉDUCTION POUR PIANO À QUATRE MAINS / PAR L'AUTEUR / ÉDITION RUSSE DE MUSIQUE, BERLIN - MOSCOU - ST. PÉTERSBOURG // IGOR STRAWINSKY / LE SACRE DU PRINTEMPS / TABLEAUX DE LA RUSSIE PAÏENNE EN DEUX PARTIES / D'IGOR STRAWINSKY et NICOLAS ROERICH / RÉDUCTION POUR PIANO À QUATRE MAINS PAR L'AUTEUR / DROIT D'EXÉCUTION RÉSERVÉ. / СОБСТВЕННОСТЬ ДЛЯ ВСЂХЪ СТРАНЪ [#] 1913 [#] 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 //, page with dedication handwritten-Russian printed in line etching centre centred > Николаю Константиновичу / Рериху < French at the bottom of the page flush left >À Nicolas Roerich<, empty page] + 1 page back matter [empty page]; title head**** >ЧАСТЬ ПЕРВАЯ. [#] PREMIÈRE PARTIE. / ПОЦЂЛУЙ ЗЕМЛИ. [#] L'ADORATION DE LA TERRE / [°] [#] [°] / Вступленіе. [#] Introduction.<; author specified 1st page of the score paginated p. 9 above below movement title flush right centred >Igor Strawinsky. / 1912-1913<; legal reservations [without copyright] 1st page of the score above type area lush left >Droit d'exécution réservé.< below type area flush left >Russischer Musikverlag, Berlin, Moskau, St. Petersburg.< flush right >Eigentum des Verlags.<; plate number >R. M. V. 196<; end of score dated p. 89 >Clarens 1913.<; production indication S. 89 flush right as end mark >Stich und Druck von C. G. Röder, GmbH., Leipzig.<) // 1913

* Miniature coat-of-arms vignette spanning two lines.

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

*** Slash original.

**** Instead, the statement is printed in parallel in Russian and French on th 1st page of the score in three lines underneath the titles to the part, piece and movement.

15-1Straw1

The copy of Strawinsky s estate contains the dated dedication >A notre chère Missia, notre / chère et fidele amie en toutes affection / Igor Strawinsky / Paris 30/V / 1913< und a correction (page 69, first piano, 2nd bar, stave 3:) > sim. Et not dim. <.

15-1Straw2

This copy, which comes from his estate, contains neither corrections nor any other sort of annotation.

15-3 [missing] // [*STRAVINSKY / LE SACRE DU PRINTEMPS. / PARTITION D’ORCHESTRE] // IGOR STRAWINSKY / LE SACRE DU PRINTEMPS / TABLEAUX DE LA RUSSIE PAÏENNE EN DEUX PARTIES / D’IGOR STRAWINSKY et NICOLAS ROERICH / PARTITION D'ORCHESTRE / TOUS DROITS D'EXÉCUTION RÉSERVÉS / [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. 1., 34 PERCY STREET // (Full score [missing] 29.5 x 42.8 (2° [2°]); 139 [137] pages + [***] + 2 pages front matter [title page in ornamental feather frame with vignette 1 x 1.2 publisher’s emblem sitting woman playing cymbalom, empty page] + 2 pages back matter [empty pages];title head >ЧАСТЬ ПЕРВАЯ. [#] PREMIÈRE PARTIE. / ПОЦЂЛУЙ ЗЕМЛИ. [#] L'ADORATION DE LA TERRE / [°] [#] [°] / Вступленіе. [#] Introduction. <; author specified 1st page of the score paginated p. 3 below title flush right >Igor Strawinsky.<; legal reservations 1st page of the score below type area flush left >Copyright 1921 by Russischer Musik-Verlag G. m. b. H., Berlin. / Édition Russe de Musique Berlin, Moscou, St. Petersbourg.< flush right >Propriété de l'Éditeur pour tous pays.<; plate number >R. M. V. 197<; without production indication; without end mark) // (1921)

* The imprint on the back cover of the London copy is >i.105< (the contributory copy was received on 16th February 1922). It is a red-brown cloth binding on cardboard with a brown-beige water pattern, made presumably by the library, which is also where the unusual dimensions and the spelling of Strawinsky’s name with a ‘v’, which would have been unusual for the Russian Music Publishers, comes from. The copy in Strawinsky’s estate should be classified as 30 x 39.5.

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

*** In London and in Strawinsky’s copy, the front cover title is lost.

15-3Straw

The original binding of the copy from Strawinsky’s estate has been replaced by a heavy cloth binding with the inscription >LE SACRE / DU / PRINTEMPS<. On th inner title page, there is a blue, centred stamp > Unverkäufliches Leih-Material / Eigentum des Verlegers < in the centre above the decorative feather frame, and even higher up and flush right, another blue, centred stamp > MATÉRIEL EN LOCATION SEULEMENT / PROPRIÉTÉ DE L’EDITEUR <.

15-4 IGOR STRAWINSKY/ LE SACRE DU PRINTEMPS / TABLEAUX DE LA RUSSIE PAÏENNE EN DEUX PARTIES / D'IGOR STRAWINSKY et NICOLAS ROERICH / PARTITION D'ORCHESTRE / EDITION RUSSE DE MUSIQUE / (FONDÉE PAR S. ET N. KOUSSEWITZKY) / BERLIN. LEIPZIG. LONDRES. MOSCOU. NEW-YORK. PARIS. *// IGOR STRAWINSKY / LE SACRE DU PRINTEMPS / TABLEAUX DE LA RUSSIE PAÏENNE EN DEUX PARTIES / D'GOR STRAWINSKY et NICOLAS ROERICH / PARTITION D'ORCHESTRE / TOUS DROITS D'EXÉCUTION RÉSERVÉS / [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 *// (Pocket score sewn 15 x 21.1 (8° [8°]); 139 [137] pages + 4 cover pages thicker paper black on orangebeige [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, empty page] + 1 page back matter [empty page]; without dedication; title head >ЧАСТЬ ПЕРВАЯ. [#] PREMIÈRE PARTIE. / ПОЦЂЛУЙ ЗЕМЛИ. [#] L'ADORATION DE LA TERRE / [°] [#] [°] / Вступленіе. [#] Introduction.< ; author specified 1st page of the score paginated p. 3 below movement title flush right >Igor Strawinsky.<; [***]; without fictitious editor specified; legal reservations 1st page of the score above type area below movement title flush left >Droit d'exécution réservé.< below type area flush left >Copyright 1921 by Russischer Musikverlag G.m.b.H., Berlin. / ÉditionRusse de Musique Berlin, Moscou, St. Petersbourg.< flush right >Propriété de l'Éditeur pour tous pays.<; plate number [exclusively on the 1st page of the score] >R. M. V. 197 b <; without end of score dated; without production indication; without end mark) // [1922]

* The copy in Strawinsky’s estate contains the stamp > MATERIEL EN LOCATION, SEULEMENT / PROPRIETÉ DE L’ÉDITEUR < on p.3 flush right on the upper part of the page and centred; the Munich copy >4 Mus.pr. 4660< has the stamp > Il est inderdit 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.< on the outer and inner title pages, as well as on p.3.

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

*** In the copy in Craft’s estate, the statement of the name of the supposed editor is stamped in above the name of the composer, >Edited by F. H. Schneider<. It is dated >V. Soudeikina 1928< and contains numerous corrections. Soudeikina’s copy has no back cover pages, and as a result, no advert pages. At the bottom of the titles on the outer title page, outside the feather frame, there is an oval publisher’s or sale stamp >GOODWIN & TABB (1924) LTD. 34, PERCY St., W 1.<.

15-4Straw1

Strawinsky’s copy is signed and dated on the front cover title above the feather frame >Igor Strawinsky / Paris Juin I922< and contains corrections.

15-4Straw2

Strawinsky’s copy is inscribed on the front cover title above the feather frame >V. Soudeikine / I928< and contains a few annotations with pencil.

15-5Err

Le Sacre du Printemps° / Igor Strawinsky°° / Errata°°° // (Errata sheet, 3 pages paginated, 79 komplexes of errata partly with notes, without plate number, without production indication, without end marks) // [1922]

° Centre italic.

°° Flush right italic.

°°° Centre italic underlined.

15-6 IGOR STRAWINSKY/ LE SACRE DU PRINTEMPS / TABLEAUX DE LA RUSSIE PAÏENNE EN DEUX PARTIES / D'IGOR STRAWINSKY et NICOLAS ROERICH / PARTITION D'ORCHESTRE / [vignette] / PROPRIÉTÉ DE L'ÉDITEUR POUR TOUS PAYS / TOUS DROITS D'EXÉCUTION RÉSERVÉS / [vignette] / ÉDITION RUSSE DE MUSIQUE / (RUSSISCHER MUSIKVERLAG G. M. B. H.*) / (FONDÉE PAR S. ET N. KOUSSEWITZKY) / BERLIN, MOSCOU, LEIPZIG, NEW-YORK, LONDRES, / PARIS / 22, RUE D’ANJOU, 22 7 S. A. DES GRANDES ÉDITIONS MUSICALES // [title page in ornamental feather frame = front cover title without underlining] // (Pocket score sewn 14.6 x 20.5 (8° [8°]); 139 [137] pages + 4 cover pages thicker paper black on orange beige [front cover title in ornamental feather frame, 2 empty pages, page with publisher’s advertisements >LES ŒUVRES / d’IGOR STRAWINSKY / PARTITIONS DE POCHE<** without production date] + 2 pages front matter [title page im umlaufenden ornamental feather frame with vignette 0.8 x 0.9 publisher’s emblem sitting woman playing cymbalom, empty page] + 1 page back matter [empty page]; title head >ЧАСТЬ ПЕРВАЯ. [#] PREMIÈRE PARTIE. / ПОЦЂЛУЙ ЗЕМЛИ. [#] L'ADORATION DE LA TERRE / [°] [#] [°] / Вступленіе. [#] Introduction.< ; without dedication; author specified 1st page of the score paginated p. 3 below fictitious editor specified flush right >Igor Strawinsky.<; fictitious editor specified 1. legal reservation 1st page of the score below movement title flush right >Edited by F. H. Schneider<; legal reservations 1st page of the score below movement title flush left >Droit d'exécution réservé.< below type area flush left >Copyright 1921 by Russischer Musikverlag G.m.b.H., Berlin. / Édition Russe de Musique Berlin, Moscou, St. Petersbourg.< flush right >Propriété de l'Éditeur pour tous pays.<; plate number [exclusively 1st page of the score] >R. M. V. 197 b <; without end of score dated; without production indication; without end mark) // [1924]

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

** Compositions are advertised >CHANT DU ROSSIGNOL / (POÈME SYMPHONIQUE) / [Asterisk] / OCTUOR / POUR INSTRUMENTS A VENT / [Asterisk] / PÉTROUCHKA (BALLET) / [Asterisk] / LE SACRE DU PRINTEMPS / (BALLET) / [Asterisk] / SUITE DE PULCINELLA / POUR PETIT ORCHESTRA / [Asterisk] / TROIS PIÈCES / POUR QUATUOR A CORDES<.

15-6Straw

The copy from Strawinsky's estate is signed but not dated on the front cover page between name and piece title inside right >IStr< and contains 8 corrections.

15-8 No. 11506 / Tourneys Of Rival Tribes / From “LE SACRE DU PRINTEMPS” / [#*] For / [#*] PIANO SOLO / [#*] by / [#*] IGOR STRAVINSKY / Price 50c net / EDWARD B. MARKS MUSIC COPRPORATION / RCA Building · Radio City / NEW YORK / PRINTED IN U. S. A. // (Klavierausgabe 23.3 x 29.8 Air Force 23,3 x 30,4 (4° [4°]); 7 [5] + 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 >Tourneys Of Rival Tribes / From “Le Sacre Du Printemps”<; author and arranger specified 1st page of the score unpaginated 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 >11506-5<; without end mark) // (1941)

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

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

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

**** Compositions are advertised from >I. Albeniz< to > B. Levenson<; Strawinsky not mentioned.

15-9 No. 11509 / RONDE PRINTANIERE / From “LE SACRE DU PRINTEMPS” / [#*] For / [#*] PIANO SOLO / [#*] by / [#*] IGOR STRAVINSKY / Price 50c net / EDWARD B. MARKS MUSIC COPRPORATION / RCA Building · Radio City / NEW YORK / PRINTED IN U. S. A. // (Edition 23.3 x 29,8 Air Force 23,3 x 30,4 (4° [4°]); 2 pages unpaginated + 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] + 1 page back matter [empty page]; title head >RONDE PRINTANIERE / From “LE SACRE DU PRINTEMPS”<; author and arranger specified 1st page of the score unpaginated 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 >11509-2<; 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] / [standard typeface] in a five-line system running in left and out flush right:] >EDITION<.

** 17 compositions are advertised with edition numbers and price information behind fill character (dotted line) >11507 CHEZ PETROUSHKA from “Petrouska” $ .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 Pritaniere“Sacre du Printemps” .50 / 11506 Tourneys of the rival TRIBES“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<.

15-10 No. 11510 / DANSE DES ADOLESCENTES / From “LE SACRE DU PRINTEMPS” / [#*] For / [#*] PIANO SOLO / [#*] by / [#*] IGOR STRAVINSKY / Price 50c net / EDWARD B. MARKS MUSIC COPRPORATION / RCA Building · Radio City / NEW YORK / PRINTED IN U. S. A. // (Klavierausgabe 23,3 x 29,8 Air Force 23,3 x 30,4 (4° [4°]); 7 [5] 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] + 1 page back matter [page with publisher’s advertisements >KALEIDOSCOPE [vignette***] EDITION / A NEW SERIES OF MUSIC FOR PIANO BY CONTEMPORARY COMPOSERS / PART TWO<**** without production date]; title head >DANSE DES ADOLESCENTES / From “LE SACRE DU PRINTEMPS”<; author 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. Zeile legal reservation inside right >Printed in U. S. A.<; plate number >11510-5<; without end mark) // (1941)

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

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

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

**** Compositions are advertised from >B. Levenson< to >H. Villa-Lobos<; Strawinsky not mentioned.

15-11Alb >DANSE DES ADOLESCENTS / From “LE SACRE DU PRINTEMPS“)< // ([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 black 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) // (5 pp. [pp. 52-56], arranger specified 1st page of the score paginated p. 52 below title head flush left centred italic > Arranged by / frederick block <; author specified below title head next to 2. line 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 >11510 - 5<; without end marks) // 1941

* 6 Albums are advertised (Albeniz, Debussy, Dohnányi, Rachmaninoff, Ravel, Scriabine) ; Strawinsky not mentioned.

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

15-12 1943 Orchestral study Bassoon (Gustave Dhèrin) Nr. 4 p. 2, Répertoire du Conservatoire National de Paris, Alphons Leduc Paris; 26,2 x 34,4 (2° [4°]); Pl.-Nr. A. L. 20,262

15-13 Igor Stravinsky / Le Sacre du Printemps / DANSE SACRALE / for orchestra / Revised Version = 1943 / [vignette] / Miniature Score [*] $ 2.00 / ASSOCIATED MUSIC PUBLISHERS, INC. / New York / Printed in U.S.A. // Igor Stravinsky / Le Sacre du Printemps / DANSE SACRALE / for orchestra / Revised Version = 1943 / [vignette] / ASSOCIATED MUSIC PUBLISHERS, INC. / New York / Printed in U.S.A. // (Pocket score stapled 14.9 x 22.3 ([8°]); 52 [50] pages + 4 cover pages royal blue on dark beige [front cover title with vignette 5,2 x 5,7 female head crowned with a lyra centre on stage with raised curtain, 2 empty pages, empty page with AMP-Music-Vignette**] + 2 pages front matter [title page with vignette 5,2 x 5,7 female head crowned with a lyra centre on stage with raised curtain, empty page] without back matter; title head >Le Sacre du Printemps / DANSE SACRALE<; author specified 1st page of the score unpaginated [p. 3] below title flush right centred partly in italics >Igor Stravinsky / Revised Version - 1943 <; legal reservation 1st page of the score below type area centre >Copyright 1945 by Associated Music Publishers, Inc.<; production indication 1st page of the score below type area flush right >Printed in U. S. A.<; without plate number; without end mark) // (1945)

* Fill character (dotted line).

** „The word >Music< stands against the letter >P< vertically underneath the bulge and has as a syllable the same font size as half thesingle letter.”

15-13Straw

Strawinsky’s copy of his estate is signed and dated on the front cover title above the name flush right in black >Igor Strawinsky / Hollywood / Dec/°45< [slash original] and contains a note next to >for orchestra< below the >1943< in red >IStra / 26 / pages 27 / 50<. The copy contains corrections.

15-14 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / LE SACRE DU PRINTEMPS^ / BOOSEY & HAWKES / No. 638 // HAWKES POCKET SCORES / IGOR / STRAWINSKY / LE SACRE / DU PRINTEMPS / TABLEAUX DE LA RUSSIE PAÏENNE / EN DEUX PARTIES / D'IGOR STRAWINSKY ET NICOLAS ROERICH / BOOSEY & HAWKES / LTD. / London New York Los Angeles Sydney Cape town Toronto Paris/ MADE IN ENGLAND [#] NET PRICE // (Pocket score [library binding] 17.4 x 24.8 (8° [gr. 8°]); 139 [137] pages + 4 cover pages dark green on brown beige [front cover title with frame 10.7 x 5 brown beige on dark green, empty page, [missing], [missing] ] + 2 pages front matter [title page, legend French + duration data [33’] French + an instruction for the manner of playing the percussion with a correction at figure 39 French + an instruction for the manner of playing the percussion with a correction at figure 39English] + 1 page back matter [empty page]; score texts Russian-French; title head >ЧАСТЬ ПЕРВАЯ. [#] PREMIÈRE PARTIE. / ПОЦЂЛУЙ ЗЕМЛИ. [#] L'ADORATION DE LA TERRE / [°] [#] [°] / Вступленіе. [#] Introduction.< ; author specified 1st page of the score paginated p. 3 below fictitious editor specified flush right >Igor Strawinsky.<; fictitious editor specified 1st page of the score below movement title flush left >Edited by F. H. Schneider<; legal reservations 1st page of the score between movement title and fictitious editor specified flush left italic > Droit d’exécution réservé < below type area flush left >Copyright 1921 by Édition Russe de Musique (Russischer Musikverlag) for all countries. / Printed by arrangement, 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. 16333<; production indication 1st page of the score below type area below legal reservation flush right >Printed in England.<; end mark S. 139 flush right >H.P. B735. 448<) // [1948]

^ ^ = Text in frame.

° Fill character (line) and Dividing horizontal line of 0,8 cm as fill character.

15-1454 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / THE RITE OF SPRING / (LE SACRE DU PRINTEMPS)^ / BOOSEY & HAWKES / No. 638 // HAWKES POCKET SCORES / IGOR / STRAWINSKY / THE RITE / OF SPRING / PICTURES FROM PAGAN RUSSIA / IN TWO PARTS / BY IGOR STRAWINSKY AND NICOLAS ROERICH / [Asterisk] / LE SACRE / DU PRINTEMPS / TABLEAUX DE LA RUSSIE PAÏENNE / EN DEUX PARTIES / D'IGOR STRAWINSKY ET NICOLAS ROERICH / BOOSEY & HAWKES / LTD. / LONDON · NEW YORK · TORONTO · SYDNEY · CAPETOWN · PARIS · BONN / NET PRICE / MADE IN ENGLAND // [Text on spine:] No. 639 STRAWINSKY · THE RITE OF SPRING // (Pocket score sewn 0.7 x 17.5 x 25 (8° [gr. 8° / Lex. 8°]); 139 [137] pages + 4 cover pages olive-green on beige [front cover title with frame 10,7 x 5 beige on olive-green, 2 empty pages, page with publisher’s advertisements >HAWKES POCKET SCORES / A selection of outstanding modern works / from this famous library of classical and contemporary Miniature Scores. <* production date >No. 582< [#] >6.50<] + 2 pages front matter [title page, legend >Orchestre< French + duration data [33’] French + an instruction for the manner of playing the percussion with a correction at figure 39 French + an instruction for the manner of playing the percussion with a correction at figure 39 English] + 1 page back matter [page with publisher’s advertisements >HAWKES POCKET SCORES / A comprehensive library of Miniature Scores containing the best-known classical / works, as well as a representative selection of outstanding modern compositions. <** production date >No. 520< [#] >1.49<]; score texts Russian-French; title head >ЧАСТЬ ПЕРВАЯ. [#] PREMIÈRE PARTIE. / ПОЦЂЛУЙ ЗЕМЛИ. [#] L'ADORATION DE LA TERRE / [°] [#] [°] / Вступленіе. [#] Introduction.< ; author specified 1st page of the score paginated p. 3 below fictitious editor specified flush right >Igor Strawinsky.<; fictitious editor specified 1st page of the score below movement title flush left >Edited by F. H. Schneider<; legal reservations 1st page of the score between movement title und fictitious editor specified flush left italic > Droit d’exécution réservé < below type area flush left >Copyright 1921 by Édition Russe de Musique (Russischer Musikverlag) for all countries. / Printed by arrangement, 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. 16333<; end number p. 139 flush left >9 · 54 L. & B.<; production indications 1st page of the score below type area below legal reservation and plate number flush right >Printed in England.< p. 139 flush right as end mark >Lowe and Brydone (Printers) Limited, London<) // (1954)

^ ^ text in frame.

° Fill character (line) and Dividing horizontal line of 0,8 cm as fill character.

* 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<; the following places of printing are listed: London-Paris-Bonn- Capetown- Sydney-Toronto- New York [° original spelling; °° original mistake in the title].

** 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 >ARNOLD VAN WYK<, amongst these >IGOR STRAWINSKY<. T he following places of printing are listed: London - Paris-Bonn - Capetown- Sydney -Toronto-New York .

15-1456 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / THE RITE OF SPRING / (LE SACRE DU PRINTEMPS)^ / BOOSEY & HAWKES / No. 638 // HAWKES POCKET SCORES / IGOR / STRAWINSKY / THE RITE / OF SPRING / PICTURES FROM PAGAN RUSSIA / IN TWO PARTS / BY IGOR STRAWINSKY AND NICOLAS ROERICH / [Asterisk] / LE SACRE / DU PRINTEMPS / TABLEAUX DE LA RUSSIE PAÏENNE / EN DEUX PARTIES / D'IGOR STRAWINSKY ET NICOLAS ROERICH / BOOSEY & HAWKES / LTD. / LONDON · NEW YORK · TORONTO · SYDNEY · CAPETOWN · PARIS · BONN / NET PRICE / MADE IN ENGLAND // [Text on spine:] No. 639 STRAWINSKY · THE RITE OF SPRING // (Pocket score sewn 0.7 x 17.5 x 25 (8° [gr. 8° / Lex. 8°]); 139 [137] pages + 4 cover pages olive-green on beige [front cover title with frame 10.7 x 5 beige on olive-green, 2 empty pages, page with publisher’s advertisements >HAWKES POCKET SCORES / A selection of outstanding modern works / from this famous library of classical and contemporary Miniature Scores. <* production date >No. 582< [#] >6.50<] + 2 pages front matter [title page, legend >Orchestre< French + duration data [33’] French + an instruction for the manner of playing the percussion with a correction at figure 39 French + an instruction for the manner of playing the percussion with a correction at figure 39 English] + 1 page back matter [page with publisher’s advertisements >HAWKES POCKET SCORES / A comprehensive library of Miniature Scores containing the best-known classical / works, as well as a representative selection of outstanding modern compositions. <** production date >No. 520< [#] >1.49<]; score texts Russian-French; title head >ЧАСТЬ ПЕРВАЯ. [#] PREMIÈRE PARTIE. / ПОЦЂЛУЙ ЗЕМЛИ. [#] L'ADORATION DE LA TERRE / [°] [#] [°] / Вступленіе. [#] Introduction. <; author specified 1st page of the score paginated p. 3 below fictitious editor specified flush right >Igor Strawinsky.<; fictitious editor specified 1st page of the score below movement title flush left >Edited by F. H. Schneider<; legal reservations 1st page of the score between movement title und fictitious editor specified flush left italic > Droit d’exécution réservé < below type area flush left >Copyright 1921 by Édition Russe de Musique (Russischer Musikverlag) for all countries. / Printed by arrangement, 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. 16333<; end number p. 139 flush left >4 · 56 L. & B.<; production indications 1st page of the score below type area below legal reservation and plate number flush right >Printed in England.< p. 139 flush right as end mark >Lowe and Brydone (Printers) Limited, London<) // (1956)

° Fill character (line) and Dividing horizontal line of 0,8 cm as fill character.

* 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<; the following places of printing are listed: London-Paris-Bonn- Capetown- Sydney-Toronto- New York [° original spelling; °° original mistake in the title].

** 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 >ARNOLD VAN WYK<, amongst these >IGOR STRAWINSKY<. T he following places of printing are listed: London - Paris-Bonn - Capetown- Sydney -Toronto-New York .

15-1457 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / THE RITE OF SPRING / (LE SACRE DU PRINTEMPS)^ / BOOSEY & HAWKES / No. 638 // HAWKES POCKET SCORES / IGOR / STRAWINSKY / THE RITE / OF SPRING / PICTURES FROM PAGAN RUSSIA / IN TWO PARTS / BY IGOR STRAWINSKY AND NICOLAS ROERICH / [Asterisk] / LE SACRE / DU PRINTEMPS / TABLEAUX DE LA RUSSIE PAÏENNE / EN DEUX PARTIES / D'IGOR STRAWINSKY ET NICOLAS ROERICH / BOOSEY & HAWKES / LTD. / LONDON · PARIS · BONN · CAPETOWN · SYDNEY · TORONTO · BUENOS AIRES · NEW YORK / NET PRICE / MADE IN ENGLAND // [Text on spine:] No. 638 STRAWINSKY · THE RITE OF SPRING // (Pocket score sewn 1 x 17.7 x 25.3 (8° [Lex. 8°] ); 139 [137] pages + 4 cover pages olive-green on beige [front cover title with frame 10.7 x 5 beige on olive-green, 2 empty pages, page with publisher’s advertisements > Hawkes Pocket Scores / A selection of outstanding modern works / from this famous library of classical and contemporary Pocket Scores<* production date >NO. 782< [#] >I.56<] + 2 pages front matter [title page, legend >Orchestre< French + duration data [33’] French + an instruction for the manner of playing the percussion with a correction at figure 39 French + an instruction for the manner of playing the percussion with a correction at figure 39 English] + 1 page back matter [page with publisher’s advertisements >HAWKES POCKET SCORES / A comprehensive library of Miniature Scores containing the best-known classical / works, as well as a representative selection of outstanding modern compositions. <** production date >No. 520< [#] >1.49<]; score texts Russian-French; title head >ЧАСТЬ ПЕРВАЯ. [#] PREMIÈRE PARTIE. / ПОЦЂЛУЙ ЗЕМЛИ. [#] L'ADORATION DE LA TERRE / [°] [#] [°] / Вступленіе. [#] Introduction. <; author specified 1st page of the score paginated p. 3 below fictitious editor specified flush right >Igor Strawinsky.<; fictitious editor specified 1st page of the score between legal reservation and author specified flush left >Edited by F. H. Schneider<; legal reservations 1st page of the score between movement title und fictitious editor specified flush left italic > Droit d’exécution réservé < below type area flush left >Copyright 1921 by Édition Russe de Musique ( Russischer Musikverlag) for all countries°° / Printed by arrangement, 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. 16333<; end number p. 139 flush left >7 · 57 L & B<; production indications 1st page of the score below type area below legal reservation and plate number flush right >Printed in England.< p. 139 flush right as end mark >Lowe and Brydone (Printers) Limited, London<) // (1957)

° Dividing horizontal line of 0.8 cm.

°° The letter >s< is not completely printed.

* Compositions are advertised in two columns with edition numbers from >Béla Bartók< to >Ralph Vaughan Williams<, amongst these >Igor Strawinsky / 6I0 Capriccio ( Revised I949 Edition ) / 6II Apollon Musagète ( Revised I947) Edition ) / 630 Octet for Wind Instruments / [#] ( Revised I952 Edition ) / 632 Pulcinella Suite ( Revised 1949 Edition ) / 637 Symphony of Psalms / 638 The Rite of Spring ( Revised I947 Edition ) / 639 Pétrouchka ( Revised I947 Edition ) / 640 Orpheus / 65I Œdipus Rex ( Revised I948 Edition ) / 652 Perséphone / 655 Mass / 666 Cantata / 672 Symphonies of Wind Instruments / [#] ( Revised I947 Edition ) / 679 The Fairy’s Kiss / 682 Septet (I953) / 688 In Memoriam Dylan Thomas (I954)<. After London the following places of printing are listed: Paris-Bonn-Capetown-Sydney-Toronto-Buenos Aires-New York.

** Classical editions from >J. S. BACH< to >WEBER< are listed including the titles of their works in four columns under the headline > classical editions<, under the headline >MODERN EDITIONS< the names of contemporary composers are listed without any titles in four columns from >BÉLA BARTÓK< to >ARNOLD VAN WYK<, amongst these >IGOR STRAWINSKY<. The following places of printing are listed: London-Paris-Bonn- Capetown- Sydney-Toronto-New York.

15-1460 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / THE RITE /OF SPRING / (LE SACRE DU PRINTEMPS) / BOOSEY & HAWKES / No. 638 // HAWKES POCKET SCORES / IGOR / STRAWINSKY / THE RITE / OF SPRING / PICTURES FROM PAGAN RUSSIA / IN TWO PARTS / BY IGOR STRAWINSKY AND NICOLAS ROERICH / [Asterisk] / LE SACRE / DU PRINTEMPS / TABLEAUX DE LA RUSSIE PA ÏENNE / EN DEUX PARTIES / D'IGOR STRAWINSKY ET NICOLAS ROERICH / BOOSEY & HAWKES / LTD. / London · Paris · Bonn · Johannesburg · Sydney · Toronto · Buenos Aires · New York / NET PRICE / MADE IN ENGLAND // [spine:] No. 638 STRAWINSKY · THE RITE OF SPRING // (Pocket score sewn 1 x 17.8 x 25.3 (8° [Lex. 8°]); 139 [137] pages + 4 cover pages olive-green on dark beige [front cover title with frame 10.7 x 5 dark beige on olive-green, 3 empty pages] + 2 pages front matter [title page, legend >Orchestre< French + duration data [33'] French + an instruction for the manner of playing the percussion with a correction at figure 39 French + an instruction for the manner of playing the percussion with a correction at figure 39 English] + 1 page back matter [empty page]; score etxts Russian-French; title head >ЧАСТЬ ПЕРВАЯ. [#] PREMIÈRE PARTIE. / ПОЦЂЛУЙ ЗЕМЛИ. [#] L'ADORATION DE LA TERRE / [°] [#] [°] / Вступленіе. [#] Introduction. <; author specified 1st page of the score paginated p. 3 above type area flush right >Igor Strawinsky.<; fictitious editor specified 1st page of the score above author specified flush left >Edited by F. H. Schneider<; legal reservations 1st page of the score between movement title >Вступленіе. [#] Introduction.< and fictitious editor specified flush left >Droit d'exécution réservé< below type area flush left >Copyright 1921 by Édition Russe de Musique (Russischer Musikverlag) for all countries / Printed by arrangement, 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. 16333<; end number S. 139 flush left >11·60 L & B<; production indications 1st page of the score below type area below plate number flush right >Printed in England< S. 139 flush right as end mark >Lowe and Brydone (Printers) Limited, London<) // (1960)

^ ^ = Text in frame.

° Fill character (line) and Dividing horizontal line of 0,8 cm as fill character.

15-1461 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / THE RITE OF SPRING / (LE SACRE DU PRINTEMPS)^ / BOOSEY & HAWKES / No. 638 // HAWKES POCKET SCORES / IGOR / STRAWINSKY / THE RITE / OF SPRING / PICTURES FROM PAGAN RUSSIA / IN TWO PARTS / BY IGOR STRAWINSKY AND NICOLAS ROERICH / [Asterisk] / LE SACRE / DU PRINTEMPS / TABLEAUX DE LA RUSSIE PAÏENNE / EN DEUX PARTIES / D'IGOR STRAWINSKY ET NICOLAS ROERICH / BOOSEY & HAWKES / LTD. / LONDON · NEW YORK · TORONTO · SYDNEY · CAPETOWN · PARIS · BONN / NET PRICE / MADE IN ENGLAND // [Rückendeckelbeschriftung] No. 639 STRAWINSKY · THE RITE OF SPRING // (Pocket score sewn 0.7 x 17.5 x 25 (8° [gr. 8° / Lex. 8°]); 139 [137] pages + 4 cover pages olive-green on beige [front cover title with frame 10,7 x 5 beige on olive-green, 3 empty pages] + 2 pages front matter [title page, legend >Orchestre< French + duration data [33’] French + an instruction for the manner of playing the percussion with a correction at figure 39 French + an instruction for the manner of playing the percussion with a correction at figure 39 English] + 1 page back matter [empty page]; score texts Russian-French; title head >ЧАСТЬ ПЕРВАЯ. [#] PREMIÈRE PARTIE. / ПОЦЂЛУЙ ЗЕМЛИ. [#] L'ADORATION DE LA TERRE / [°] [#] [°] / Вступленіе. [#] Introduction. <; author specified 1st page of the score paginated p. 3 below fictitious editor specified flush right >Igor Strawinsky.<; fictitious editor specified 1st page of the score below movement title flush left >Edited by F. H. Schneider<; legal reservations 1st page of the score between movement title and fictitious editor specified flush left >Droit d’exécution réservé< below type area flush left >Copyright 1921 by Édition Russe de Musique (Russischer Musikverlag) for all countries. / Printed by arrangement, 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. 16333<; end number S. 139 flush left >1 · 61 L. & B.<; production indications 1st page of the score below type area below legal reservation and plate number flush right >Printed in England.< S. 139 flush right as end mark >Lowe and Brydone (Printers) Limited, London.<) // (1954)

^ ^ Text in frame.

° Fill character (line) and Dividing horizontal line of 0,8 cm as fill character.

15-15 igor strawinsky / le sacre / du printemps / partition / édition russe de musique · boosey & hawkes // Igor Strawinsky / Le Sacre du Printemps / The Rite of Spring / Tableaux de la Russie païenne en deux parties / Pictures of pagan Russia in two parts / par · by / Igor Strawinsky et Nicolas Roerich / Partition · Full Score / Édition Russe de Musique (S. et N. Koussewitzky · Boosey & Hawkes / London · New York · Sydney · Toronto · Cape Town · Paris · Buenos Aires // (Full score sewn 27.1 x 37.3 (2° [gr. 4°]); 139 [137] pages + 4 cover pages dark orange on light 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, legend >Orchestre< French + duration data [33’] French + an instruction for the manner of playing the percussion with a correction at figure 39 French-English] + 1 page back matter [empty page]; title head >ЧАСТЬ ПЕРВАЯ. [#] PREMIÈRE PARTIE. / ПОЦЂЛУЙ ЗЕМЛИ. [#] L'ADORATION DE LA TERRE / [°] [#] [°] / Вступленіе. [#] Introduction. <; author specified 1st page of the score paginated p. 3 below fictitious editor specified flush right >Igor Strawinsky.<; fictitious editor specified 1st page of the score below legal reservation flush left >Edited by F. H. Schneider<; legal reservations 1st page of the score below Russian-French movement title flush left >Droit d’exécution réservé< below type area flush left >Copyright 1921 by Édition Russe de Musique (Russischer Musikverlag) for all countries. / Printed by arrangement, 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.<; production indication 1st page of the score below type area below legal reservation and plate number flush right >Printed in England.<; plate number >B. & H. 16333<; without end of score dated; end mark S. 139 flush right >H.P. B735. 448<) // (1948)

° Fill character (line) and Dividing horizontal line of 0,8 cm as fill character.

* 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:end number London-New York-Sydney-Toronto-Cape Town-Paris-Buenos Aires<.

15-15Err IGOR STRAWINSKY / LE SACRE DU PRINTEMPS (The Rite of Spring) / ERRATA LIST//

15-15Straw1

Strawinsky’s copy is undated and unsigned and without cover pages. It contains corrections and performance notes.

15-15[64] Igor Stravinsky / The Rite of Spring / Le Sacre du Printemps / Full Score / revised 1947 version / édition russe de musique . boosey & hawkes // Igor Stravinsky / The Rite of Spring / Le Sacre du Printemps / Pictures from pagan Russia in two parts / by Igor Stravinsky and Nicolas Roerich / Full Score / revised 1947 version / Reprinted with corrections 1965 / Édition Russe de Musique (S. et N. Koussewitzky) · Boosey & Hawkes / London · Paris · Bonn · Johannesburg · Sydney · Toronto · New York // (Full score [library binding] 26.5 x 36 (2° [gr. 4°]); movement titles and titles Russian-French; 139 [137] pages + 4 cover pages thick paper tomato red on grey green beige [front cover title, 2 empty pages, page with publisher’s advertisements production date >No. 8A< [#] >5.64<] + 2 pages front matter [title page, legend French + duration data [33'] French + Errata zu Ziff. 39 und 41 French-English] + 1 page back matter [empty page]; author specified 1st page of the score paginated p. 3 below title flush right >Igor Strawinsky / Revised 1947<; fictitious editor specified >Edited by F. H. Schneider<; legal reservation 1st page of the score below type area flush left >Copyright 1921 by Édition Russe de Musique (Russischer Musikverlag) / Copyright assigned 1947 to Boosey & Hawkes Inc. for all countries. / All rights of reproduction in any form reserved. / Droit d'exécution reservé / Propriété de l'Éditeur pour tous pays.<; production indication production date >Printed in England<; plate number >B. & H. 16333<; end mark S. 139 production date >H.P. B735.448<) // (1965)

15-16 И. СТРАВИНСКИЙ / I. STRAWINSKY / ВЕСНА СВЯЩЕННАЯ / LE SACRE DU PRINTEMPS / ПАРТИТУРА / PARTITION / [vignette] / МУЗЫКА · MUSIQUE / МОСКВА · 1965 · MOSCOU // И. СТРАВИНСКИЙ / I. STRAWINSKY / ВЕСНА СВЯЩЕННАЯ / LE SACRE DU PRINTEMPS / Картины языческой Руси в двух частях / И. Cтравинского и Н. Рериха / Tableaux de la Russie paїenne en deux parties / d'Igor Strawinsky et Nicolas Roerich / ПАРТИТУРА / PARTITION / ИЗДАТЕЛЬСТВО «МУЗЫКА» / EDITIONS «MUSIQUE» / МОСКВА 1965 MOSCOU // (Score bound 22.5 x 29.5 (4° [Lex. 8°]); 160 [160] pages + 4 cover pages cardboard black on beige brownish grey [front cover title in ornamental frame with publisher’s emblem 1.7 x 1.7 initial >M< with a stylized treble clef form, 2 empty pages, page with price at the top of the page flush left >2 р. 78 к.< + publisher’s emblem 2 x 2 initial >M< with a stylized treble clef form] + 8 pages paginated in Roman numerals ([I] to VII) front matter [title page, empty page, 5 pages III-VII preface >ПРЕДИСЛОВИЕ< in two columns Russian by >Б. ЯРУСТОВСКИЙ<, legend Russian-Italian >СОСТАВ ОРКЕСТРА / ORCHESTRA < with playing instructions Russian] + 2 pages back matter [empty page with 3 corrections >ОПЕЧАТКИ<, imprint with billing of names >Редактор С. Павчинский. [#] Лит. редактор И. Супинская. [#] Техн. редактор М. Ильина.< and itemized statements of format and origin]; without dedication; title head Russian-French >ВЕСНА СВЯЩЕННАЯ [#] LE SACRE DU PRINTEMS*<; author specified 1st page of the score below movement title flush right >Игорь Стравинский / Igor Strawinsky<; without legal reservations; plate number >1501<; without production indication; without end mark) // 1965

* The printing error is original.

15-17 STRAVINSKY / THE RITE OF SPRING / (Le Sacre du Printemps) / Pictures of Pagan Russia / SCORE / [vignette] / No. 3082 / INTERNATIONAL MUSIC COMPANY / 511 FIFTH AVENUE [#] NEW YORK CITY / Printed in U.S.A. // (Full score [library binding] 21.2 x 27.8 ([Lex. 8]°); 160 [160] pages + 4 cover pages black on dark raspberry coloured [front cover title page in a decorative frame with ornamental vignette like a ram’s head , 3 empty pages] + 1 page front matter [introductory text > Preface < by >E. LEE FAIRLEY<] + 1 page back matter [page with publisher’s advertisements >ORCHESTRA SCORES<* production date >No. 93-77<]; title head English-Russian-French >THE RITE OF SPRING / PART I / WORSHIPPING THE EARTH / ВЕСНА СВЯЩЕННАЯ [#] LE SACRE DU PRINTEMPS / ЧАСТЬ ПЕРВАЯ [#] PREMIÈRE PARTIE / ПОЦЕЛУЙ ЗЕМЛИ [#] L’ADORATION DE LA TERRE<, author specified 1st page of the score paginated p. 1 below Russian-English movement title flush right centred >Игорь Стравинский / Igor Strawinsky< ; legal reservation 1st page of the score below type area centre centred >Copyright 1970 by International Music Company / a division of IMC Music Corporation, New York City / International Copyright Secured<; without plate number; without end mark) // [1970]

* Compositions are advertised with price information without fill character (dotted line) under the headline >FULL SCORES< >STRAVINSKY, Igor / The Rite of Spring. (Le Sacre du Printemps) 6.50<, under the headline >STUDY SIZE SCORES< >STRAVINSKY, Igor / Op.4. Fireworks. Fantasy for Orchestra 2.00<.


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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