K049 The Fairy’s Kiss

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deutsch K049 Der Kuß der Fee

K49 Le baiser de la fée

Ballet-Allégorie en quatre tableaux, inspiré par la muse de Tchaikovski – Der Kuß der Fee. Allegorisches Ballett in vier Bildern, eingegeben durch die Muse [nach Musik] von Tschaikowsky – The Fairy’s Kiss. Allegorical ballet in four scenes, inspired by the Muse of Chaikovsky – Поцелуй феи. Балет в четырех сценах – Le Bacio della Fata. Balletto allegorico in quattro quadri di Strawinsky. Ispirato alla musica di Tchaikowsky

Title of the Concert Suite: Divertimento. Suite Symphonique Divertimento. Symphonische Suite Divertimento. Symphonic suite for orchestra Divertimento. Suite sinfonica

Scored for: a) First edition: Personnages / Une fée, un jeune homme, sa fiancée, la mère de l’enfant, les esprits de la fée, paysans, paysannes, musiciens de la fête, les compagnes de la fiancée / Instrumentation / Ottavino (anche Flauto 3), 2 Flauti, 2 Oboi, Corno Inglese, 2 Clarinetti in Si b e La, Clarinetto Basso in Si b (anche Clarinetto 3), 2 Fagotti, 4 Corni in Fa, 3 Trombe in Do, 3 Tromboni, Tuba, Timpani, Gran Cassa, Arpa, Violini I, Violini II, Viole, Violoncelli, Contrabassi [Characters: A fairy, a joung man, his fiancée, the child’s mother, the fairy’s attendant sprites, peasants, musicians at the fête, friends of the fiancée / Piccolo Flute (also 3rd Flute), 2 Flutes, 2 Oboes, English horn, 2 Clarinets in B b e La, Bass clarinet (also 3rd Clarinet), 2 Bassoons, 4 Horns in F, 3 Trumpets in Do, 3 Trombones, Tuba, Timpani, Big drum, Harp, Violins I, Violins II, Violas, Violoncellos, Double basses]; b) Performance requirements: Orchestra (Ballet and Suite): Piccolo Flute (= 3rd Flute), 3 Flutes (3rd Flute = Piccolo Flute), 2 Oboes, English horn, 3 Clarinets in B und A (3rd Clarinet = Bass clarinet), Bass clarinet in Es (= 3rd Clarinet), 2 Bassoons, 4 Horns in F, 3 Trumpets in C, 3 Trombones, Tuba, Timpani, Big drum, Harp, 2 Solo Violins, Solo Viola, Solo Violoncello, Strings* (First Violins, Second Violins, Violas, Violoncellos, Double basses).

* Not divided.

Preface: The version for piano of the ballet, which was printed in 1928, contains next to the list of performers, an explanation of the plot in three parts, the dedication, a brief general preface in French which was replaced in the later revised pocket-score edition by an extensive trilingual list of the contents (English-French-German). It is kept uncertain for Strawinsky’s circumstances, because it did not want to take the freedom for a staging indebted to Tchaikovsky away from the choreographer, but also not want to prevent the exact observation of the prefatory instructions. Both prefaces appear only in the ballet edition.

Summary: A mother, hunted by spirits in a snowstorm, is separated from her child, a boy. A fairy kisses him. A couple of farmers coming past find the little child and take him home (1st scene = Prologue). Eighteen years have passed. The foundling dances at a church consecration festival with his bride. When he is alone, the fairy comes to him disguised as a gipsy lady, reads his palm, and promises him luck. She leads him to a mill (2nd scene). Inside the mill, the man finds his bride in a circle of her female friends. The fairy disappears again. The lovers dance with one another. The bride then goes to put on her wedding dress. The husband stays back alone (3rd scene). The fairy enters disguised as the bride. When the man passionately approaches who appears to be his bride, she reveals her true identity. It is too late however for the man. He can no longer escape. She abducts him into the realm of the Blessed and kisses the soles of his feet there under the song of her lullaby (4th scene = epilogue).

Source: The plot is based on the fairy tale ‘ Ilsjumfruen ’ (Ice maiden) from the collection Historien by Hans Christian Andersen from 1862. The ice virgin is not a fairy, but a man-hating glacier queen, the personification of the trauma of every mountain goer who exists only for killing and, as it is in the German translation, ‘Zermalmen’ (crushing). The story tells how the widow of a post servant and her small son Rudi, accompanied by two chamois hunters, walk to Grindelwald to see the widow’s father at a time of newly fallen snow, and they fall into a concealed crevasse. She lies there dead, but Rudi is rescued by the two hunters and brought to safety. Despite many attempts, the ice maiden does not succeed at first in taking possession of the child. The child, Rudi, becomes a highly regarded hunter and mountain climber, who falls in love with Babette, the rich daughter of a miller, and whose hand he in fact wins after an audacious feat of mountain climbing. On the evening of their wedding, he rows his wife at her request to a small island on Lake Geneva opposite Chillon. There the boat gets loose. When the young man tries to get it back, he goes under and drowns. The glacier queen kisses him again, thus ensuring that he belongs to her for all time. For Strawinsky, Andersen’s Ilsjumfruen was nothing more than a store of material out of which he created a completely different ballet scenario in terms of content. He destroyed Andersen’s message, clothed in fairy-tale form, without a trace. Andersen’s story bases its meaning in the post-Romantic conception of Love, which always finds its highest grace only in early death at the height of mutual feeling. In chapter XIV, ‘Faces in the Night’, Babette dreams that she has already been married for many years to Rudi and that she has been led away from her home by ‘magic’ by his rival, a young Englishman, ‘Ever upwards!’, as it is in the original text. When the young lady understands what has happened to her, she wishes that she had died back at her wedding day and commits suicide. Her broken-hearted prayer is the key to Andersen’s story: ‘Oh, if only I had died at my wedding day, my happiest day! Lord, my God, that would be a mercy, an unspeakable happiness! Then the best thing would have happened that could have happened to me and Rudi. No-one knows their future.’ In the story, it is Rudi who dies in the lake on the day of his wedding. In the final chapter, Babette calls for God that he may enlighten her mind because she does not understand his ways. God then grants to her the mercy of his clear sight: her dream was the future that she would have had from now on. She asked God for the best for herself and Rudi, and God granted her request by having Rudi die and saving her from the later break-up of their marriage and the subsequent mortal sin of suicide. All this was revealed to her in an interpretative dream. Chapter XV, titled ‘End’, completes the story with this revelation; it is more than a simple fairy tale and dies away in the tranquility of wistful memory. The kiss of the ice virgin, which Strawinsky focuses even into the title, was rather secondary for Andersen and only the poetical representation of the breath of death. Strawinsky made this original into a crudely horror and solemn story. All concrete names and indications are removed so that the story seems to play out in a mystical surrounding, offering a sort of unrealism without becoming a fairy tale. For Strawinsky, the fairy’s kiss is a kiss of tenderness like a good-luck kiss, a present for life. At the end, the young man dies, going against his will to the enchanting fairy, like Tannhäuser to the loving Venus in the Hörselberg. The ballet also closes with a cinematic setting. This had nothing to do with Andersen’s fairy tale in terms of meaning and depth. Strawinsky later recognized this and also mentioned in his memoirs that he did not use anything more than single moments from the original story and as such, he did not use the original. That the scene was set in a mill is no surprise. In earlier times mills, especially windmills, which, dependent on the wind, could only be put into operation during the daytime, were often banished to outside the walls of a small town due to the unavoidable amount of noise they made. It cannot be ruled out that some millers also used their mills for the nocturnal carrying out of shady transactions and as a meeting point for the sort of scoundrels that preferred the dark. Rumours quickly turned into spine-chilling ghost stories.

Stage conception: Strawinsky sought to give the plot symbolic references which would serve him in the composition of a work as a reverence to Tchaikovsky. The young man is to be Tchaikovsky and the fairy the Muse that kisses him. Strawinsky never committed to the contradiction in the plot. He gave free rein to the designer and choreographer, but secretly hoped that they would go in the direction of Apollo and its rediscovered Classical ballet form. Depending on the scene, he imagined the fantastical element as a white ballet dance in white ballet skirts, the pastoral element from as a realistic Swiss landscape with a dance in costumes in the fashion of the first tourists set aside in favour of farmers’ costumes in the style of the traditional theatre. He was under time pressure due to the matter of the deadline upon which the fee payment depended, and had to make a great effort to complete the music and orchestration according to the contract. He therefore only saw the set for the first time shortly before the première and was not satisfied with it.

Construction: The ballet consists of five separately titled sections to be played without breaks, but is in 4 scenes with the 3rd scene subdivided. The through-figured score contains, apart from a Valse (2nd scene, figure 78f), a Pas de deux (3rd scene, figure 158f) and a section bearing the title Scène (3rd scene, figure 205f), no choreographical indications, nor any suggestions for the scenes or set, although there are exact markings regarding the raising and lowering of the curtain (I. Berceuse de la tempéte - The Lullaby in the Storm - Wiegenlied im Sturm – Колыбельная в бурю; II. Une fête au village - A Village Fête - Kirchweihfest – Сельский праздник; III. Au moulin - By the Mill - Bei der Mьhle – На мельнице; IV. Berceuse des demeures Éternelles - Epilogue / Berceuse of the Eternal Dwellings - Die Gefilde der Seligen – Эпилог. Колыбельная страны вне времени и пространства) . The French titles are only included in the preface for the revised score.

Structures

Ballet with the allocation Divertimento [ ] and vocal score-choreography { }

Premier Tableau – First scene ** (Erstes Bild) [Divertimento numbered in Roman numeral (with dot) >I. < as well has stating with the title of the piece]

Berceuse de la tempéte * – The Lullaby in the Storm *** – (Wiegenlied im Sturm) [Title of the Divertimento >I. Sinfonia < ]

Prologue ** (Vorspiel)

Andante Crotchet = 70 (up to the end of figure 1) [ with identical figures to the Divertimento ]

Pochissimo più mosso Crotchet = 80 (figure 2) [ with identical figures to the Divertimento ]

Tempo Io Crotchet = 70 (figure 3 up to the end of figure 10) [with identical figures to the Divertimento]

(Curtain at the end of figure 3 = 3 6; this indication is omitted for the Divertimento)

{figure 4 1 Une femme berçant son enfant marche à travers la tempête – Eine Frau, ihr Kind wiegend, eilt durch den Sturm – A mother, lulling her child, struggles through the storm}

{figure 8 4 Apparaissant les Esprits de la Fée – Es erscheinen die Geister der Fee – The Fairy‘s attendant sprites appear}

Allo sostenuto Crotchet = 120-126 (figure 11 up to the end of figure 36) [ with identical figures to the Divertimento up to the end of figure 26; figure 27ff. is omitted for the Divertimento]

{figure 11 1 Les Esprits poursuivent la femme – Die Geister verfolgen die Frau – The sprites pursue the mother}

{figure 22 1 Ils la séparent de son enfant et l‘emmènent – Sie trennen sie von ihrem Kind und nehmen es an sich – They separate her from the infant and carry him off}

{figure 27 1 Apparition de la Fée – Die Fee erscheint – The Fairy herself appears}

{figure 27 3 en dehors – nach draußen in the forefront}

{figure 30 1 Elle s’approche de l‘enfant – Sie nähert sich dem Kind – She approaches the child}

{figure 32 1 Elle l’entoure de tendresse – Sie umgibt es mit Zärtlichkeit – She enfolds him with her tenderness}

Poco meno (figure 37 up to the end of figure 39) [is omitted for the Divertimento]

Andante Crotchet = 70 (figure 40 up to the end of figure 41) [figuring of the Divertimento: 27/28]

{figure 40 1 La Fée s’eloigne en donnant un baiser sur le front de l’enfant. L’enfant abandonné seul sur la scène – Die Fee entfernt sich, nachdem sie das Kind auf die Stirn geküßt hat. Das Kind bleibt allein auf der Bühne zurück – Then she kisses him on the forehead and goes away. Now he is alone}

Vivace agitato Crotchet = 132 (figure 42 up to the end of figure 50 attacca forward to figure 51)

{figure 42 2 Passent les paysans, . . . – Vorübergehende Bauern . . . – Country folk, passing, . . . }

[Figuring of the Divertimento: 29-37, the continuation after figure 38 is likewise attacca ]

(Curtain at figure 49 1[ this indication is omitted for the Divertimento figure 37])

Deuxième Tableau – Second scene ** (Zweites Bild) [Divertimento numbered in Roman numeral (with dot) >II. < on the same line as the title of the piece]

Une fête au village* – A Village Fête** – (Kirchweihfest) [Divertimento title > II. Danses suisses< ]

Tempo giusto Crotchet = 104 (figure 51 [from the end of figure 50 the music proceeds attacca ] up to the end of figure 74) [figuring of the Divertimento: 38 up to the end of figure 60]

(Curtain at figure 62 2[ this indication is omitted for the Divertimento figure 49 2])

{figure 63 1 Passent Danses . . . – Bauerntänze sind im Gange, . . . – A peasant dance is in progress, . . . }

L'istesso tempo (figure 75 up to the end of figure 77) [figuring of the Divertimento: 61 up to the end of figure 63]

VALSE / Poco più lento Crotchet = 60 (figure 78 up to the end of figure 88) [figuring of the Divertimento: 64 up to the end of figure 74]

Tempo Io Crotchet = 104 (figure 89 up to the end of figure 96 = 96 7) [figuring of the Divertimento: 75 up to the end of figure 82 = 82 5]

{figure 94 1 Les musiciens et la foule . . . – Die Musiker und die Menge . . . – The musicians and the crowd . . . }

Doppio movimento Crotchet = Quaver = 104 (figure 97) [is omitted for the Divertimento]

Più mosso Crotchet = 120-126 (figure 98 up to the end of figure 101) [is omitted for the Divertimento]

{figure 98 1 La Fée sous l’aspect . . . – Die Fee nähert sich . . . – The Fairy approaches him . . . }

Tempo agitato ma giusto Crotchet = 132 (figure 102 up to the end of figure 116 + repeat of the eight bars of figure 110/111) [is omitted for the Divertimento]

{figure 102 1 La bohémienne danse . . . . – Die Zigeunerin tanzt . . . – The gipsy woman dances, . . . }

{figure 109 1 La bohémienne entretient . . . – Die Zigeunerin spricht . . . – The gipsy woman talks . . . }

Meno mosso Crotchet = 100 (figure 116) [is omitted for the Divertimento]

Ancora meno mosso / Tranquillo Crotchet = 88 (figure 117 up to the end of figure 119 attacca forward

to figure 120) [is omitted for the Divertimento]

{figure 117 1 La bohémienne emmène le Jeune homme vers sa financée. – Die Zigeunerin führt den jungen Mann zu seiner Braut. – The gipsy woman leads the young man to his fiancée.}

(Curtain at figure 119 2)

Troisième Tableau – Third scene ** (Drittes Bild) [Divertimento römisch >III. < und >IV. < numbered as well has stating with the title of the piece]

Au moulin* – By the Mill** – (Bei der Mühle) [Divertimento-Titel > III. Scherzo < and > IV. Pas de deux<]

Moderato Crotchet = 88 (figure 120 [from the end of figure 119 attacca ] up to the end of figure 130 [Divertimento figure 83 up to the end of figure 84]

Più mosso Crotchet = 108 (figure 131) [Divertimento figure 85]

{figure 131 1 Jeune homme . . . – Der junge Mann, . . . – Guided by the Fairy, the young man . . . }

(Curtain at figure 131 1[ this indication is omitted for the Divertimento figure 85 1])

Allegretto grazioso Crotchet = 126 (figure 132 up to the end of figure 142) [Divertimento figure 86 up to the end of figure 96°]

rigoroso Crotchet = Quaver Doppio movimento (figure 143 up to the end of figure 145) [Divertimento figure 97 up to the end of figure 99]

Allegretto grazioso (figure 146 up to the end of figure 157) [Divertimento figure 100 up to the end of figure 110 4 °]

PAS DE DEUX (figure 158 up to the end of figure 204)

A. ENTRÉE {figure 158 1 Le Jeune Homme – Der junge Mann – The young man}

Moderato Crotchet = 63 (figure 158 up to the end of figure 165) [is omitted for the Divertimento]

B. ADAGIO (figure 166 up to figure 174 5) [Divertimento section A] { Le Jeune Homme et sa

Fiancée – Der Junge Mann und seine Braut – The young man and his fiancée}

Crotchet = 58 (figure 166 up to the end of figure 169) [Divertimento figure 110 5= 6111°° up to the end of figure 113°]

Poco più mosso Crotchet = 63 (figure 170 up to figure 172 3) [Divertimento figure 114 up to figure 116 3]

Tempo Io Crotchet = 58 (figure 172 4= figure 1173 up to figure 174 2) [Divertimento figure 116 4= 1117 up to figure 118 2]

Poco più mosso Crotchet = 63 (figure 174 3-5) [Divertimento figure 118 3-5]

C. VARIATION (figure 175 up to the end of figure 180) [Divertimento section B] {175 1

La Fiancée – Die Braut – The Fiancée}

Poco rubato (figure 175 1-2) [Divertimento figure 119 1-2]

Allegretto grazioso Crotchet = 120 (figure 175 3up to the end of figure 180 8with a

repeat of Figure 180 1-4) [Divertimento: figure 119 3up to the end of figure 1 24 8with a

repeat of figure 124 1-4]

D. CODA (figure 181 up to the end of figure 204) [Divertimento section C] { Le Jeune

Homme, sa Fiancée et les Compagnes – Der Junge Mann, seine Braut und ihre

Gefährtinnen – The young man, his fiancée and the friends}

Presto Crotchet = 180 (figure 181 up to the end of figure 202) [Divertimento figure 125 up to the end of figure 145]

Tranquillo (figure 203 up to the end of figure 204 7[Divertimento figure 146 + 147 14-10]

{figure 203 2 La Fiancée s’éloigne pour se revêtir de son voile de mariée. Ses compagnes la suivent. – Die Braut entfernt sich, um ihren Brautschleier anzulegen. Ihre Gefährtinnen folgen ihr. – The fiancée goes with her friends to put on her wedding veil.}

{figure 204 3 Le Jeune Homme reste seul. – Der junge Mann bleibt allein zurück. – The young man is left alone . }

SCENE (figure 205 up to the end of figure 214) [is omitted for the Divertimento]

{ Apparait la Fée . . . qui le portera vers les demeures éternelles . . . – Die Fee erscheint, . . . Sie wird ihn in die Gefilde der Seligen entrücken. . . . – The Fairy appears, . . . Now she will bear him away to a land beyond time°°° . . . }

Andante non tanto Crotchet = 76 (figure 205 up to the end of figure 212)

Più lento Crotchet = 54 (figure 213 up to the end of figure 214)

(Curtain at figure 213 1)

Quatrième Tableau (Épilogue) – Fourth scene ** (Viertes Bild) [entfällt für das Divertimento]

Berceuse des demeures Éternelles* – Epilogue / Berceuse of the Eternal Dwellings** – (Die Gefilde der Seligen)

L'istesso tempo Crotchet = 54 (figure 215 up to the end of figure 219)

Andante non tanto Crotchet = 76 (figure 220 up to the end of figure 222)

(Curtain at figure 222 1)

{between the end of figure 222 and figure 223 1 Les Esprits de la Fée . . . – Die Geister der Fee . . . – The Fairy’s attendant sprites . . . }

L'istesso tempo Crotchet = 76 (figure 223 up to the end of figure 227 = 227 12)

(Curtain at figure 227 9)

* The French title is not in the printed revised score, only in the list of contents printed on pages IV/V.

** The English title in the printed revised score.

*** The English title is not in the printed revised score, only in the list of contents printed on page IV.

° With adjustments from the ballet score.

°° Start of Divertimento Nr. IV

°°° Strawinsky does not appear to have agreed to this English formulation. In any case, he made a correction to the text ‘The lullaby of the Land beyond time and place’ in his handwritten documents, changing it to ‘The lullaby of the Eternal Dwellings [‘v’ in German text];. The phrase ‘Eternal Dwellings’ as a correct translation for ‘Gefilde der Seligen’ can be found in the heading to the fourth scene in the revised score.

Corrections / Errata

Full Score 3-1 Straw1

1.) p. 1 bar 2, figure 51 Descant last chord: b b 1-e2 instead of c2-e2.

2.) p. 8 figure 21 1Bass: 1st note of the 2nd semiquaver ligature c instead of d.

3.) p. 11 figure 5+429 Bass: At the beginning of both bars, the two-note chord should be deleted and replaced by a quaver rest.

4.) p. 11 figure 29 4Descant last but one semiquaver: the note has to be added a natural (f1 instead of f#1).

5.) p. 11 figure 30 1Descant: A bar line should be drawn after the first bass-clef two-note chord so that figure 29 is 5 instead of 4 bars long.

6.) p. 12 figure 32 3Descant highest note of the last chord: g#1 instead of g1.

7.) p. 12 figure 32 5Descant: The quavers with downward tails should read: quaver rest - quaver c#1 -quaver rest; in the bass, the two note chord E-e should in fact be: dotted crotchet E beamed upwards with a quaver rest and a quaver with a downward tail with a dotted crotchet rest.

8.) p. 14 figure 42 1: below 2nd chord has to be added ¦ .

9.) p. 14 figure 42 2: between the systems below the last chord has to be added >sim.<.

10.) p. 20, figure 63 3: ‘Homme’ instead of ‘homme’; the same on p. 29, fig. 824: the same on p. 30 fig. 954 ; the same on p. 31, fig. 102 3: the same on p. 33, fig. 102 2:and fig. 102 3: the same on p. 35, fig. 117 1: the same on p. 39, fig. 131 1.

11.) p. 30 figure 98 1> Piu mossoViertel = 120-126< should be inserted; the same on p. 39 figure 131 1.

12.) p. 33 figure 108 1+22 Bass: the notes e b instead of e.

13.) p. 35 figure 116 1-2: >Meno mosso, Viertel = 120< instead of >meno mosso<.

14.) p. 35 figure 117 1above tempo indication: >Ancora meno mosso Viertel = 88<

15.) p. 49 figure 165 1: should be inserted > p dolce<.

16.) p. 49 figure 165 7: ¦¦ instead of ¦ .

17.) p. 52 figure 170 1Descant: 1st two-note chord of the 2nd semiquaver ligature b-c1 instead of c1-d1.

18.) p. 53 figure 173 1Descant: 3rd quaver ligature b-b1 instead of b b -b b 1.

19.) p. 54 figure 1178 1Bass A phrasing mark should be drawn from the third-last note (F#) to the second quaver note (d).

20.) p. 54 figure 177 1Bass: Phrasing mark over the semiquaver ligature.

21.) p. 54 figure 178 1+2Descant: A >poco rall.< should be added from the end of the bar up to the start of the next bar; an >a tempo< should be added at the end of the bar of figure 178 2.

22.) p. 63 figure 212 5Diskant: A >poco rall.< should be added from the end of the bar up to the start of the next bar; an >a tempo< should be added at the end of the bar of figure 178 2.

23.) p. 63 figure 213 9 Bass: the minim with the upward tail should be an f# instead of an f.

24.) p. 64 figure 218 2Bass: The two-note minim chord with a downward tail, f-f1 should be dotted.

25.) p. 64 figure 218 3Bass part in treble clef: The crotchet with a downward tale and without ledger lines should be a b b .

26.) p. 66 figure 225 2 Descant: minim a b 2 shoud have a dot.

Full Score 3-1 Straw2

1.) p. 9 figure 24 6Bass, written in treble clef: a natural enclosed in round brackets has to be added to the last crotchet (e1).

2.) p. 16 figure 49 5the lower two-note chord: a natural should be added to the c-note (crotchet f#1-c2).

3.) p. 18 figure 55 4Bass quaver two-note combination D-A: The 2nd combination should be removed, and the first should be a crotchet instead of a quaver.

4.) p. 31 figure 1015 Bass 1st crotchet two-note chord: a natural enclosed in brackets has to be added to c1.

5.) p. 33 figure 1 108 Descant: the last minim chord should be f#1-f#2 instead of f1-f2.

6.) p. 31 figure 109 1Bass: the phrasing mark to the 1st note minim E b should be removed.

7.) p. 31 figure 109 2Bass: the lower minim should be a semibreve (e b ).

8.) S. 31 Ziffer 109 3Bass: A natural sign should be added before the fifth quaver with an upward tail, (a instead of a b ).

9.) p. 31 figure 109 6Descant: The upper note of the 2nd two-note chord in the 1st quaver group that is beamed downwards should be an e b , not an f #1 (a-e b 1); Bass: the 2nd crotchet should be c b instead of c.

10.) p. 36 figure 119 1: All the notes should be tied over to the 1st note of the following bar, and correspondingly 4 ties should be added.

11.) p. 46 figure 156 5Upper part: the d2 should be a crotchet with a quaver rest following it; in addition, a quaver rest with a crotchet e3 following it should also be entered into the bar.

12.) p. 46 figure 157 3: The uppermost note in the last three-note chord should (again) be b b 1; the semiquaver group should read f#3-f#2-d3-b2 instead of f #3-d3-f#2-f#1, and notes 1-2 and 3-4 should have phrasing marks added to them.

13.) p. 53 figure 174 1Bass: The dot after the second c2 crotchet should be removed.

14.) p. 54 figure 176 3Descant last chord: g1 should be added (e1-g1-c#2 instead of e1-c#2).

14.) p. 54 figure 176 3Descant last chord: g1 should be added (e1-g1-c#2 instead of e1-c#2).

15.) p. 54 figure 178 3Bass: the last three-note chord should be f-b b -d b 1 instead of f-h-d1.

16.) p. 55 figure 179 6Diskant: the third from last semiquaver should be d3.

17.) p. 55 figure 180 3: The uppermost note in the three-note chord should (again) be b b flat 1.

18.) p. 58 figure 192 3Discant: the last two-note chord should be g1-c2 instead of g1-b1.

19.) p. 59 figure 200 2Bass: the lower note of the 1st two-note chord should be read D.

20.) p. 60 figure 201 2-3: The last three-note chord in the bar of 201 2should be tied over to the first one in bar 201 3.

Violin-Transkription Dushkin 3-2 Straw

1.) p.15, 3rd system, bar 1: All parts should be read c2 instead of c#2; the same on p. 16, 1st system, bar 2, Piano Descant.

2.) p. 17, 1st system, Bass 3rd bar: The 2nd two-note chord should be moved to the last beat of the bar, and the quaver rest that is there should be moved to the original position of the two-note chord.

3.) p. 24, 3rd system, 4th bar Deskant: The 1st note of the ligature should be read b b 2 instead of b2.

4.) p. 27, 2nd system, Bass written in violin clef, last chord: The lowest note should be read b b instead of b.

5.) p. 27, 3rd system, 3rd bar, Bass: The bass note should be moved to the end, and the quaver note should then be moved to the original position of the bass note.

6.) p. 27, 3rd system, 5th bar, Bass; The quaver d should be a crotchet and tied over to the lower note of the chord, whilst the quaver rest should be removed.

7.) p. 32, 4th system, 2nd bar, Bass: The semiquaver ligature-note should be b (with natural).

8.) p. 32, 4th system, 3rd bar, Violin part: The 1st demisemiquaver of the 2nd demisemiquaver-ligature should be a b 2 instead of a2.

9.) p. 35, 3rd system, 3rd bar, Descant: A bracket natural should be added to the top note of the 1st two-note chord.

10.) p. 37, 1st system, 2. Takt, Bass: The 2nd note (e b 1) should be a semiquaver instead of quaver.

11.) p. 44, 4th system, 6th bar, Descant: The Glissando should continue to the e3.

Divertimento Full Score 3-3Straw

[in progress]

Overview, corrections written with pencil [49-1 Straw1, 1st page of the back matter flush right]

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Style: Apart from the edition of Pulcinella , which is predominantly instrumentally independent, numerous isolated miniature fragments from Tchaikovsky are constantly repeated in the style of a mosaic and stuck together with other particular musical ingredients. The style of the motific development, such as the concept as the work as a white ballet, corresponds to the style of Apollo . Strawinsky retaines this technique, greatly reduced, for his next ballet, Jeu de Cartes . While this latter ballet is a piece characterized by its wit, with a plot that can be followed intellectually, the Fairy’s Kiss creates an at times sentimental pathos which is not to everyone’s taste. The work exists historically about half a century after Tchaikovsky’s style and imitates Russian pseudo-Romanticism with Biedermeier influences in a style only partly recognizable as that of Strawinsky. The music suffers contradiction in the Western world and agreement only in parts in the Eastern world. The incorporation of the fragments takes place in contextual relation to the plot. The composition as a whole is constructed with the same technical care and finesse as in any other published work by Strawinsky. Apart from the sparse choreographical instructions in the score, the plot can be followed fairly logically across the selected songs and piano pieces by Tchaikovsky. The Prologue begins with the mother, who is followed by spirits, from whom her child is taken. The basis for this is Tchaikovsky’s song, Op. 54,No. 10, “Lullaby in a storm”, after Alexei Plechtscheyev. The text depicts a mother who carefully brings her child home safely through a storm with much praying and pleading. In Andersen’s version, the mother dies, and the child is taken away by the death-bringing Ice Queen; in Strawinsky’s version, the Fairy (the Muse) kisses it as a proof of love, and thus fatefully guarantees his future. The actual song enters in a rocking 3/4 rhythm directly after the raising of the curtain at figure 2 in the solo flute, but it can be heard 13 bars previously, motifically reworked in the solo oboe, and the entire ballet opens with a distortion technique typical of Strawinsky in a flow of quavers of equal value that is melodically identical to bar 1. The use of the flute here (1st and 2nd flute two octaves apart, proceeding in parallel) is already anticipated. At the end of figure 6, the apparition of the spirit makes itself visible, and the music becomes more and more threatening; in the middle of figure 8, the lullaby melody of the mother breaks in for the first time. This melody becomes more and more fragmentary and falls silent at the end. At the end of figure 10, Fate has reached the mother and child. The melody that now follows at the end of figure 11 (which does not come from Tchaikovsky, but from Strawinsky and later becomes a main motif in the Ballade scene), represents the Fairy, who now takes the place of the Mother and this is probably why she is assigned the 1st Flute. – The 2nd scene begins with a depiction of Swiss country life. Strawinsky naturally used for this scene not the “Danse russe”, but a Humoresque for piano by Tchaikovsky from Opus 10 that had been recommended to him. The Swiss dance music, which despite this sounds very Russian, begins before the raising of the curtain right at the beginning of the scene at figure 51, dominating the scene until the end of figure 74, although it is framed by small entries in between.

Collages (Tchaikovsky): Strawinsky compiled his mosaic of quotations exclusively from Tchaikovsky’s piano works and songs, because he did not want to use already by Tchaikovsky instrumented music. In spite of this, echoes can still be heard from the Symphonies, above all the 5th Symphony, and from the theme of Tonski’s narration from Pique Dame . At least 12 piano pieces and 5 songs can be traced as the basis for this work, from which Strawinsky took melodies, themes, motifs and fragments. The earlier Strawinsky literature, which is based on André Schaeffner, worked on the basis for a long time that the ballet was a collage made up exclusively of music by Tchaikovsky, and that only one phrase at figure 14 was an original contribution by Strawinsky. Vlad was of the opinion that there were only two of these contributions at the most. Strawinsky later contradicted them and for his part published a list showing the melodic fragments written solely by him, as well as specifying their exact locations. According to this, what is original to Strawinsky is: the melody at figure 2; the music at figures 11 and 27; the development of the entire string quartet and the writing at the beginning of the second scene at figure 51 1; the music at figures 70, 99 and 108, in which at figure 108 he imitates Tchaikovsky’s Fée Carabosse and the Entr’acte symphonique from Sleeping Beauty ; the beginning of the third scene is also an imitation of the Entr’acte symphonique from Sleeping Beauty ; the rhythmic development of one of Tchaikovsky’s piano pieces in the second bar of figure 134; the imitation of the famous variation from Sleeping Beauty at figure 158; the harp part to the melody in the second and third bars of figure 166; the cadenza at figure 168; the variations at figure 175; the coda at figure 181; the horn solo at the end of the Epilogue. Strawinsky identified as written by Tchaikovsky: The lullaby at the beginning (Op.54/10); a motif at figures 18 and 23 ( Winter evening Op. 54/7); the beginning of the second scene ( Humoreske Op. 10/2* = figure 51 1); figure 63 ( The Muzhik plays the Harmonica ); figure 73; Natha-Valse Op. 51/4*; figure 131; the melody in the 2nd and 3rd bars of figure 166; figure 205 ( Only he who knows longing Op. 6/6). For the music at figure 21 3(also at figure 37 according to White), Strawinsky did not specify its origin. It is noteworthy that Strawinsky also incorporated song settings by Tchaikovsky that are more easily relevant to the plot, including two poems from the Op. 54 series of childrens’ songs on poems by Pletshtcheyev, a social-revolutionary poet who was condemned to death in 1849 and then had his sentence commuted to lifelong exile [* proposed by Benois, ditto Rêverie du soir (Evening reverie) Op. 19/1, Scherzo humoristique Op. 19/2, Feuillet d ' Album Op. 19/3, Au village Op. 40/7, Valse de salon Op. 51/1, Polka peu dansante Op. 51/2].

Dedication: Dedicace / Je dédie ce ballet à la mémoire de Pierre Tchaikovsky en apparentant sa Muse à cette fée et c'est en cela qu'il devient une allégorie. Cette muse l'a également marqué de son baiser fatal dont la mystérieuse empreinte se fait ressentir sur toute l'oeuvre du grand artiste. / Igor Strawinsky / (1928) - Widmung / Ich widme dieses Ballett dem Andenken an Peter Tschaikowsky, indem ich seine Muse mit der Fee in Beziehung gesetzt und auf diese Weise das Ballett zu einer Allegorie gemacht habe. Auch ihn hat die Muse mit einem Schicksalskuß gezeichnet, dessen geheimnisvoller Abdruck im ganzen Werk des großen Künstlers zu spüren ist. / Igor Strawinsky / (1928)* - Dedication / I dedicate this ballet of the memory of Peter Chaikovsky by relating the Fairy to his Muse, and in this way the ballet becomes an allegory, the Muse having similarly branded Chaikovsky with her fatal kiss, whose mysterious imprint made itself felt in all this great artist's work / Igor Strawinsky (1928)**. – Посвящение / Посвящаю этот балет памяти Петра Илъича Чайковского. Балет имеет аллегорический смысл - ведь муза Чайковского сродни той фее. Подобно фее, муза отметила Чайковского своим поцелуем, печать которого лежит на всех творениях великого художника. / Игорь Стравинский / (1928) ***

* German tranlation by Monika Stark.

** English tranlation by Eric Walter White.

*** Russian text according to Pocket score 1971.

Duration: Ballet: 8' 14" (First scene), 11' 18" (Second scene), 6' 55" (Third scene without Pas de deux), 1' 34" (Third scene Pas de deux Entrée), 3' 02" (3. Bild Pas de deux Adagio), 1' 21" (Third scene Pas de deux Variation), 2' 11" (Third scene Pas de deux Coda), 4' 49" (Scene), 6'16" (Fourth scene); Divertimento: 20'

Date of origin: Ballet First version: begun in Talloires in April 1928, completed in Nice on 30th October 1928 ; Vocal score: finished in December 1928 ; Divertimento First version: 1928-1934; Ballet Revised version: 1950; Divertimento Revised version: 1949

First performance: Ballet: 27th November 1928, Salle Garnier, Opéra Paris, Ida Rubinstein (Fairy), Anatole Vilzak (young man), Ludmilla Shollar (Fiancée), Ensemble les ballets de madame ida rubinstein , mit dem Bühnenbild von Alexandre Benois in der Choreographie von Bronislawa Nijinska, conductetd by Igor Strawinsky

1928 choreography: The serious Strawinsky literature mostly holds the view that the enmity of the experts and critics, which was basically driven by personal motives, against Bronislava Nijinska would prevent a reconstruction of the choreography and staging of 1928. In Paris, the work was performed only once in 1928 after the première, a statement for those voices that found Nijinska’s choreography uninspiring in this case, the set simple, and Rubinstein’s dance performance inadequate. Unlike Diaghilev, who basically restricted his role to an administrative one while also applying his expert and very instinctive artistic knowledge, Rubinstein’s ballet served her as a vehicle for self-promotion in dance. She still reserved the solo roles for herself as prima ballerina even though she could not physically manage them any longer. Her portrayal of the Fairy in Strawinsky’s ballet must have been pretty unsatisfactory.

Effect: There is no other work by Strawinsky in which both friend and enemy of the composer were so united in their negative appraisal as with the Fairy’s Kiss . Even a specialist such as Eric Walther White, whose attitude towards Strawinsky the man and the composer was friendly and uncritical rather than mean and insidious, had only pejorative things to say about the ballet. The Divertimento version, in which the music and stage plot must be separated, bears no comparison with the other concert suites. In the French popular biographical writing, the ballet The Fairy’s Kiss (along with Jeu de Cartes ) is characterized as a superficial musical loan from the Romantic period, and he was accused of opulence and false magic. Jarustovky, certainly not enthusiastic about late serial Strawinsky, saw this differently, presumably for Tchaikovsky’s sake and for reasons of Eastern-orientated political reason. For him, the collage technique is masterful, a statement which can be seen to be correct. Diaghilev’s and Suvchinsky’s judgments were devastating. Even taking into account personal motives (For Diaghilev, the annoyance of having been accused by Strawinsky of having written for a different ballet troupe than his; for Suvchinsky the annoyance of having been deposed, as an intimate friend, by a competitor, Lourié) , there is still enough negative critical substance left over to validate them. In his letter to Serge Lifar dated 27th November 1928, which is always quoted in connection with this matter, so under the fresh impression of the Parisian première, Diaghilev complains of the terrible headaches which this ‘awful thing’ caused him, which he had already seen, namely ‘boring, maudlin, badly chosen Tchaikovsky’. He described the orchestration as ‘ostensibly’ masterful, as it sounded ‘vapid’ and the entire thing lacked vitality. The only positive moment was in the Pas de deux and the coda, which is written in the style of Apollo . He could not describe what took place on stage. In his raging disappointment, which climaxed in his final observation that Strawinsky had ‘lost himself to his dear God and lucre’, he becomes unintentionally witty: the first scene depicted Swiss mountains, the second scene a Swiss village with Swiss dances, the third scene a Swiss mill, and the fourth scene again (Swiss) mountains and glaciers. He then goes on to condemn Bronia’s (Nijinska’s) choreography. It contained no sparks of inspiration and not a single movement was thought through. Benois’s design was also reminiscent of the opera in Monte Carlo. After only 5 performances, 2 of which were in Paris, Ida Rubinstein withdrew the ballet from the repertoire.

Lourié’s influence: It was Pierre Suvchinsky who is believed to have decoded the secret events in Strawinsky’s life in a conversation passed on by Craft. He reduced everything to the one thing: Lourié’s influence. Suvchinsky claimed (without further justification) that Strawinsky had never stood for a self-standing aesthetic in his life, and that he was only a genial craftsman who had been corrupted by the ideals of Lourié (which were in his opinion objectively false). In Suvchinsky’s words, Lourié had domesticated the “wildness” in Strawinsky and thus ruined him as an artistic phenomenon. Strawinsky’s own ideas concerning Gounod, Bellini, Beethoven, Verdi, Wagner, Delibes, which were sometimes very strange, were similarly blamed on Lourié, although they had however been represented by Suvchinsky as one of the three authors of Musikalische Poetik. It had likewise been Lourié who is said to have kindled his enthusiasm for Delibes, whose traces can be found in “The Fairy’s Kiss”. These strange ideas that Strawinsky should have expressed were later subtly refuted in his dialogues with Craft.

Remarks: In competition with Diaghilev, who represented the idea of pure dance, Ida Rubinstein’s company had grown since 1911 in Paris, if with only very small artistic weight; it found its own artistic style in a rather baroque-sounding aim to please the masses and as a result moved back towards strictly Classical dance. Diaghilev, like Rubinstein, was also on the search for good ballet works; unlike him, she was not good at discovering them and did not cause any new developments. She wrote into music history with Debussy’s Le Martyre de Saint-Sébastien and two works by Strawinsky, Le Baiser de la Fée and Perséphone , all three being works commissioned by Rubinstein. Set designers such as Bakst and Benois worked for her, likewise significant choreographers such as Fokine and Nijinska. At the end of 1927, she came to know Strawinsky’s Apollon Musagète , the last production that Strawinsky completed with Diaghilev. She would have liked to have had the piece for her troupe, which did not happen due to binding contractual restrictions already in place. She therefore, as a very rich lady, asked Strawinsky for a completely new ballet and offered him the sum of 7,500 dollars. Strawinsky agreed. When Benois heard that Strawinsky and Ida ‘Lvovna’ had basically come to an agreement, he wrote an overjoyed letter to Strawinsky on 12th December 1927, which already contained very specific suggestions on possible pieces by Tchaikovsky that he could use. The letter further shows that Benois, whose contribution to the ballet later always was suppressed, was the real inventor of this idea. He was already coming to recognize the problems of adapting symphonic movements, because their distortion by Strawinsky would lead to a disruption of both styles, and not to unity. He therefore suggested to the composer some of the short piano works that Tchaikovsky had composed in great quantity. According to this, he had in mind miniature thematic workings on many levels, and also what later critics of ballet took offence at when they were of the opinion that it was not possible for the combination of numerous, miniature fragments to form a large structure. Benois refutes this allegation in the fore in that he points towards the musical coherence of the sets of series used. Strawinsky liked Benois’s ideas of taking up Tchaikovsky’s music and making it into something new. The theme and scenario had been left to him, and for his part he gave the set designer and choreographer every freedom. There then followed the search for suitable subject matter, which he found in Andersen, to whom Tchaikovsky was also indebted in many compositions. It was in April 1928 however that Strawinsky began work on the composition and fell under time pressure due to the agreements that he had to meet. He had to have delivered half of the completed score by 31st August in order to be able to make his claim for half of the agreed fee to be paid. The second part of the score had to follow in an even shorter time period after that in order to ensure the première in November 1928. The situation was becoming tense, but he met all the deadlines punctually so that the première was able to take place as planned. From the sketches for the piano version, it can be construed that Strawinsky originally wanted to name the work La Vierge des Glaciées . He then crossed out the title, which corresponds to Andersen’s original, with wavy lines and replaced it with the final title. Whether in this action is contained the consideration that he felt he had departed a long way from Andersen’s original must remain speculation.

Significane: The ballet the Fairy’s Kiss is the first consistently realized collage-work of the 20th Century.

Versions: The lack of commercial success is surely the reason why the Russian Music Publishers did not publish the original version of the ballet as a orchestral score or pocket score, but only offered it as hire material, contenting themselves with the publication of the piano version essentially required for performances in 1928. The contract with the Russian Music Publishers was signed under the Roman numeral XI on 16 thMarch 1929, although the first edition was published in 1928. It was countersigned by Paichadze. In 1928, 63 copies were produced, and up to 1938 around 300. Strawinsky did not receive a set fee, but only his usual share, presumably because Helena Rubinstein had already paid his fee. All the printed versions therefore relate to either the revised edition of 1950 (this is also true for the Russian edition brought out in the year of Strawinsky’s death, 1971) or the Divertimento , which was subtitled ‘Symphonic Suite’, and which was however first published in a transcription for violin and piano (Dushkin’s version) in 1934, before it was published four years later at the beginning of 1938 as an orchestral score (Stravinsky received his copy on 7 thFebruary 1938, but not a single copy of was sold thereafter). It was later revised before the ballet version. The Violin Divertimento sold even worse than the piano reduction of the ballet. In 1938 two copies were sold, and in 1939, ten. The edition for violin, which was produced together with Jeanne Gautier in 1947 and which bears the English title Ballad , was likewise based on already plans very long in existence from 1934 under the collaboration with Dushkin. In Strawinsky’s estate, the printed banners, bearing the date 19 thMarch 1934, with the disc number R. M. V. 594 still survive. The work was probably not published because Strawinsky was planning a series or a suite. This is suggested by the Roman numeral III, which appears above the banner. For the final printing of the ballet score by Boosey & Hawkes, considerable problems arose. There were only a few copies in existence, and these were also written badly, and a replacement for the original with corrections entered in it was being sought, but was not found. The publishers were at first hoping for the musical material from Paris, because the opera had the ballet in its repertoire. Strawinsky’s original manuscript remained in Switzerland, a transfer not being possible in the uncertain climate of the time. In November 1948, when the preparations for the printing were intended to begin, Strawinsky knew of only three copies: one was at the Paris opera, one at Boosey & Hawkes in London, and one presumably at Boosey & Hawkes in New York. Strawinsky himself no longer owned any editions. The matter became even more complicated however, when Strawinsky had to confirm on Boxing Day 1948 that the copy which was to serve as the basis for the engraving in London (the score was engraved in France), was clearly not identical, even though it had been taken from the same original. As is commonplace in the theatre however, various handwritten changes had been entered from performance to performance and from company to company, which resulted in two versions from two copies. Strawinsky did not want to leave it to be proofread by the correctors at the publishers, preferring to do the comparison of the scores himself. In October 1950, the printing was still not completed. On 31st January 1952, Strawinsky confirmed the entry of the corrections in the printed material. In his letter of response, he only specified the anglicization of the structural names, which were originally French, but avoided further choreographic instructions. The matter then continued until the end of 1952. Strawinsky received his copy in November 1952, and it was only in January 1953, strictly speaking a quarter of a century after the composition, that the pocket score went on the market. He received his copy of this in January 1953. The Divertimento was therefore revised before the actual ballet score, because Strawinsky on 4th July 1947, the day on which he sent an urgent request to Hawkes to put all his efforts into the highly important printing of his ballet score, which up to that point had never been published, had received the (printed) score of the Divertimento together with the (printed) orchestral scores of Pulcinella , Mavra and the Pulcinella Suite from his library which had remained in Paris. Strawinsky received his copy of the new edition of the revised Divertimento version on 8th September 1951. The publishing contract with Boosey & Hawkes for the ballet, the Divertimento and the Ballad version, was signed on 6th November 1950.

Transcriptions

Divertimento: The Divertimento , Suite Symphonique is a concert version so cleverly put together from the ballet that Boosey & Hawkes publishers was able to use the same printing plates for the revised versions, with only a few exceptions, and only had to enter changes in the figures. Both published editions, the Ballet and the Suite, therefore bear the same disc number, B. & H. 16669. The orchestration was also kept unchanged, with the exception of one note in both flutes in figure 95 1of the Divertimento , which is figure 133 1in the Ballet. Although the instrumental legends in the revised Suite version, which were retained in French, only list B-flat clarinets, these instruments change, as they do at times in the Ballet, into A. The process of the composition of the Divertimento , up to the final completed and named version, was ended in 1934, having begun in 1928. Strawinsky assembled his Symphonic Suite exclusively using music from the first three scenes of the ballet. The Lullaby in the Storm turns into a Sinfonia which only uses the music from the ballet up to figure 26, omits figures 27-39, and continues with the ballet music up to the end of the scene at figure 50. The Church Consecration Festival in the 2nd scene bears the title Danses suisses (Swiss Dances) and is retained in the Divertimento up to the 5th bar of figure 97. Figure 97 is 7 bars long in the Ballet, the last two of which Strawinsky removed in the Divertimento , ending the number in the 5th bar with a general pause. This is the only point at which the music has a pause between numbers, as in the ballet, all the scenes are connected attacca to one another or without a pause by means of connecting passages. In the relationship between the ballet score and the score of the Divertimento , the figuring is altered. The third scene, ‘At the Mill’ covers both the third number ( Scherzo ) and the last, fourth number ( Pas de deux ) of the Divertimento . Of the 83 bars between figures 120 and 130, the prelude before the curtain rises in the Ballet, he transfers over only the 17 bars between figures 120 and 121 as figures 83-84 in the Divertimento . figures 122-130 in the Ballet score were removed by Strawinsky. In the Divertimento , it then continues with figure 131, which is used up to figure 139 as figures 85-94, unchanged with one exception. This exception concerns a further difference in the figuring. Figure 132 in the Ballet score is made into two figures, 86 and 87, in the Divertimento , without the loss of any bars. In relation to the ballet score, figure 87 comes at figure 132 2, so that figure 86 is only 3 bars long. These differences in figuring may possibly, as this point seems to show, be the result of corrections made in the ballet score. Since Strawinsky removed figures 140 7-9and 141 in the ballet score, which take up an entire page in the printed score (pocket score p.90), he had to create a transition from the preceding page to the subsequent one (89 to 91), which begins right at the head of the page with figure 142 (figure 96 in the Divertimento ). He uses the first 6 bars of figure 140 of the ballet in the structurally unchanged, but differently orchestrated version of figure 133 1-6 , and leaves out the two flute quavers at the beginning of the system. With this process, he creates for the Divertimento a seamless transition from 6 bars at figure 95 to after figure 96 in the Divertimento , which is figure 140 6to 142 1in the ballet score. The subsequent figures 142-153 in the ballet correspond to figures 96-107 in the Divertimento . figure 108 in the Divertimento is made up from the first 4 bars of figure 154 and the last two bars of figure 155. The removed sections (figure 154 7-9and 155 1-4) again make up exactly one printed side (page 98; it would come in the Divertimento between pages 77 and 78). Strawinsky remained keen to produce his Divertimento version as cheaply as possible for the publishers, precisely taking into account the page divisions of the original ballet score. The transition into the 4 thmovement of the Divertimento happens in the middle of figure 110 of the Divertimento . In the ballet score, figure 157 is the transition into the Pas de deux which begins with a separate section of introductory music that Strawinsky removed in order to lead directly into the Adagio . He felt it necessary to use alphanumeric figuring which is different in the two scores, and which only retains the Classical Pas de deux form in the Ballet score (Ballet: A. Entrée, B. Adagio, C. Variation, D. Coda; Divertimento : A. Adagio, B. Variation, C. Coda), presumably however including the first 4 bars of figure 157 so that the positions on the page would not need to be changed. These therefore form the final bars of page 99 in the ballet score, and the Adagio begins conveniently with the beginning of page 106. In the score of the Divertimento on the other hand, the presumably erroneous figuring, the incorrect alphanumerical change from B to A for the Adagio , was removed at this point and not reinserted, so that the fourth movement now begins at bar 5 of figure 110, which corresponds to the first bar of figure 166 in the ballet score. In figure 122 bars 1-2 in the Divertimento score (figure 178 bars 1-2 in the Ballet), the performance markings poco rall. and a Tempo have been removed. The final alteration concerns the end. This is at figure 204 of the ballet score, to which Strawinsky has added a prefatory chord for 3 bars and a corresponding partly reverse five-bar final chord. This is the concert ending of the suite version. Apart from these 8 bars, Strawinsky made no compositional changes of any kind in the Divertimento from the Ballet original. – The Divertimento was revised in 1949.

Comparative table Ballet – Suite Divertimento

Suite Ballet

Figure

I. Sinfonia = First scene Prologue ( The Lullaby in the Storm )

1-26 1-26

27-37 40-50

II. Danses russes = Second scene ( A Village Fête )

38-82 51-96

III. Scherzo = Third scene ( By the Mill )

83-84 120-121

85-94 131-139

95 133 1-6

96-107 142-153

108 154 1-4+ 155 5-6

109 156

110 1-4157 1-4

IV. Pas de deux = Third scene ( By the Mill )

110 5-10166

111-146 167-203

147 1-3

147 4-10204 1-7

147 11-13

Fourth scene ( Epilog )

(unfit for comparative study)

Violin Transcription Strawinsky-Dushkin 1934: If the Divertimento was written as a drastically shortened concert version of the ballet score, then Dushkin’s transcription for violin of 1934, which was printed without figures, is not a version true to the notes of the original, but shortens the Divertimento version from the original 1,020 bars to 738 (I:251:207; II:345:209; III:178:161; IV:260:262). Of the shortenings, the third movement was affected the least (it lost only 17 bars of the prelude), the second was the most affected with a quarter of its music removed (Stravinsky removed among other things the complete Valse ), and the fourth movement was not touched at all. As a result, the performance markings and tempo markings of the specific sections do not correspond in every case to the original. As in the Divertimento , all the movements proceed Enchainez directly into one another.

I Sinfonia (Score pages 1-14; Violin part pages 1-5)

Andante crotchet = 60 (bar 1-64)

All° sostenuto crotchet = 100 (bar 66-178)

Andante crotchet = 60 (bar 179-190)

Vivace crotchet = 138 (bar 191-256)

II Danses suisses (Score pages 15-23; Violin part pages 6-8)

Tempo giusto crotchet = 104 (bar 191-256)

III Scherzo (Score pages 24-31; Violin part pages 9-11)

Allegretto grazioso crotchet = 126 (bar 1-74)

Crotchet = crotchet Doppio movimento (bar 75-94)

Quaver = crotchet Tempo I° (bar 95-161)

IV Pas de deux (Score pages 32-44; Violin part pages 12-15)

a) Adagio

Viertel = 58 (bar 1-23)

Poco più mosso crotchet = 63 (bar 24-34)

Tempo I° (bar 35-44)

b) Variation

Allegretto grazioso crotchet = 120 (bar 45-84)

c) Coda

Presto crotchet = 160 (bar 85-256)

Comparative table Divertimento – Dushkin Transcription

Transcription Divertimento

Bar Figure

I. Sinfonia (pages 1-14)

1-91 61-14 6*

92-97 14 1-6

98 14 7**

99-120 15 1-17 6***

121 18 1+2

122-256 18 3-37 8

II. Danses suisses (pages 15-23)

1-154 38 3-57 4

155-200 75 3-81 5

201 —

202-203 82 2-3

204 —

205 82 3

206-209 82 2-5°

III. Scherzo (pages 24-31)

1-161 85-110 4

IV. Pas de deux (pages 32-44

a) Adagio ( pages 32-35

1-44 6111 (=110 5) - 118 5

b) Variation ( pages 36-38

45-73 119 1-123 7

74 124 1=120 1

75 120 2

76-79 124 1-124 4

80-81 124 5°°

82-84 124 6-8

c) Coda ( pages 39)

85-101 125 1-126 3

102 126 5°°°

103-198 126 6-141 2

199 141 4^

200 141 5

201 141 7^^

202-211 141 8-142 6^^^

212-241 142 7-146 8

242 147 1(= 145 1)

243 147 2(= 145 4)

244 147 3(= 145 5)

245-258 147 4-15

* Omitted.

** e instead of es.

*** 17 6= 5/8-time (original: 2/8-time).

° 82 4and 82 5are changed.

°° 2/4-time of the original has been pulled apart in 3/8-time + 4/8-time.

°°° 126 4Omitted.

^ 141 3Omitted.

^^ 141 6Omitted.

^^^ Last note e instead of f.

Violin Transcription Strawinsky-Gautier 1947: Unlike Dushkin’s transcription, which basically follows the Divertimento , the transcription by Jeanne Gautier from 1947 restricts itself to a single fragment of the ballet score with the scene figure 101f, which is one of the sections completed by Strawinsky but not taken into the Divertimento at the time. He had already made preliminary sketches for Dushkin in 1934, but never prepared them to play or print, and dug them up 13 years later for Jeanne Gautier. Strawinsky was indebted to Gautier because she, as Dushkin was not available, had come to the rescue in providing violin-specific technical advice for the composition of Dumbarton Oaks . Presumably in order to avoid being in competition with the substantially more challenging Dushkin transcription, but also from the basic self-interest of the composer of having more and especially, different sections of his ballet score transcribed, the scene was chosen that comes at the end of the second scene and portrays the entrance of the gipsy girl and the young man, who has been enchanted by the Fairy, pleads with her to let him make the girl his wife. The transcription by Gautier therefore did not replace Dushkin’s transcription of the Divertimento . Both pieces are complete in themselves and also inhabit different worlds in terms of violin style. Dushkin’s transcription is written in a much more virtuosic, expansive and brilliant manner. Gautier’s Ballade on the other hand has a more simple effect, perhaps even more homespun in terms of both violin technique as well in terms of time span. This is presumably because Dushkin was doubtless the violinist who, with hindsight, was the more important, who would expect more from himself and from whom one would expect more from than from Jeanne Gautier. At 101 bars rather than the 89 bars of the original, the length of the Ballad , which is printed using the figures 1-16, is somewhat longer than the scene in the ballet score itself. The differences lie in the piano introduction in bars 1-7, which is shortened from eight to seven bars but with the length of time is doubled, in the three bars 44-46 especially as well as in the seven bars 68-74, which Strawinsky used as a repeating variation, while bar 67 (figure 111 4in the original) was only displaced. This practical process demonstrates Strawinsky’s computer-like construction techniques of moving back and forth complete, small sections which are adapted to fit by making small changes, and which are welded together like compositional monades. The transcription process is based on the technique of transferring selected melodic orchestral parts into the solo violin part. Very rarely do they appear in the piano accompaniment, which plays around the violin. Strawinsky even avoided, with good reason, the virtuosic technique brought in by Dushkin of playing fast runs from note to note displaced by an octave. For his variants, he used the plethora of instrumental sounds in the orchestral score and the large number of possibilities connected with this. The Ballade should, from the point of view of the publishers, originally have been called ‘ Tzigane Song ’, which cannot easily translated without gender as Zigeuner-Lied , but in German it is better translated as ‘ Lied der Zigeunerin ’. The title was, regarding the well considered choreography of a solo female dancer as the gipsy girl, not very appropriate; on the other hand, a solo transcription of this section for a chordal instrument with a predominantly accompanying function made sense by all means. By the Ballade title, Strawinsky meant the French conception of the Ballade at the end of the 19th Century. At this time, the opera ballade had especially developed as a genre in its own right, a type of refrain piece with an exotic effect, the characteristics of which apply to this transcription of the ballet scene from the point of view of the plot. The most famous model for this was the newly popular (‘Magic) Bells’ Aria from the second Act of Lakmé by Léon Delibes, which was premièred on 14th April 1883 in Paris: Adventurousness, Exoticism, games involving clothing, Legend. Even the guide to the mill was covered by this term. If Strawinsky called his gipsy scene, in which the Fairy appears as a dancer dressed as a gipsy girl according to the fulfilled prediction and then leads the young man to the mill, a Ballade ,it was because he used the term in the interpretation of the form in its French sense. In doing so, he was also able to pay homage to Delibes once, whom he had come to appreciate greatly since he had met Lourié and whose influence can be perceived in many respects on the entire ballet.

Original / Transcription

111 1/ 111 1

111 2/ 111 2

111 3/ 111 3

111 4/ —

112 1/ 112 1

112 2/ 112 2

112 3/ 112 3

112 4/ 112 4

113 1/ 111 1

113 2/ 113 2

113 3/ 113 3

— / 111 4

— / 112 1

— / 112 2

— / 112 3

— / 112 4

— / 113 1

— / 113 2

— / 113 3

113 4/ 113 5

113 5/ 113 5

113 5/ 113 5

Comparative table Ballad – Gautier Transcription

Transcription Ballet

Orchestral parts

Bar (figure) figure

1 tacet [Piano Prelude] 101 1*

2 tacet [Piano Prelude] 101 3**

3 tacet [Piano Prelude] 101 2-3***

4 tacet [Piano Prelude] 101 2°

5 tacet [Piano Prelude] 101 5-6°

6 tacet [Piano Prelude] 101 3**

7 tacet [Piano Prelude] 101 8°°

8 (1) Oboe 102 1

9 Oboe / 1st Violins 102 2

10-11 1st Violines 102 3-4

12-13, 14 (2), 15 1. Bassoon 103 1-4

16 Flutes / tacet 103 1

17 1st Flute 104 1

18 tacet / 1st Bassoon 104 2

19 (3) Flutes 104 3

20 1st Violine 104 4

21-24 1st Flute 105 1-4

25 (4) tacet [Piano: Strings] 105 5

26-30 1st Oboe 106 1-5

31 (5) 1st Oboe / 1st Clarinet 107 1

32 1st Clarinet 107 2

33 1st Clarinet / Oboes 107 3

34 Oboes / Violins 107 4

35-36 Violins 107 5-6

37 (6) Violoncello / 2. Clarinet [Piano: Strings 108 1

38 2. Clarinet 108 2

39 1st Violin / tacet / English horn 108 3

40 Violoncello + Clarinets. [Piano: Bassoons] 108 4°°°

41 Clarinets 108 5°°°

42 (7) 1st Bassoon / 2. Oboe 108 6^

43 1st Bassoon 108 7^^

44 1st Bassoon 108 6^

45 1st Bassoon / Violas 108 7

46 1st Bassoon / Strings 108 7

47 (8), 48-51 English horn 109 1-5

52, 53 (9), 54-55 1st Horn 109 6-110 1-3

56 1st Horn / 1st Violins 110 4

57-58 1st Violins 111 1-2

59 (10) 1st Violins / 1st Horn 111 3^^^

60-62 1st Horn 112 1-3

63 1st Horn / Oboes 112 4

64 Oboes 113 1

65 (11). 66 Piccolo -Flute 113 2-3

67 English horn 111 4

68-69 English horn 112 1-2

70 1st Horn 112 3

71 (12) 1st Horn / 1st Violins 112 4

72 1st Oboe 113 1

73 English horn 113 2

74 Oboes 113 3

75-76 1st Violins 113 4-5

77 (13) English horn 114 1

78 English horn / 1st Violins 114 2

79-82, 83 (14), 84-86 1st Violins 114 3-115 5

87-89 tacet [Piano: Woodwinds] 116 1-3

90 (15) Bass Clarinet 117 1

91 2nd Clarinet [Piano: Viola, 2nd Clarinet] 117 2

92-93 Bass Clarinet^^^^ 117 2-4

94-95, 96 (16), 07-101 1st Flute 118 1-119 4

* The seven bars of the piano prelude are put together from the eight bars from figure 101 in the original. The original 2/4 bar is extended to a 4/4 bar in the transcription.

** The original combination of dotted crotchet + quaver is extended to the a minim of the same overall value in the transcription.

*** W ithout the original final chord.

° T he original quaver is extended to a crotchet.

°° Only the final chord.

°°° Bar 40 is extended from 2/4 in the original to 4/4 by incorporating the first two crotchets of the following bar in the original; as a result, bar 41 is shortened from 4/4 in the original to 2/4; furthermore, there are no structural alterations to figure 108 4-5with respect to bars 40/41.

^ A small alteration from the original in the fourth crotchet of the bar.

^^ A small alteration from the original and the bar is shortened to a 3/4 bar.

^^^ The final bar of figure 111 (111 4) is omitted, but is inserted as bar 67; the transition to the continuation which occurs from bar 59 to bar 60, from figure 111 3to figure 112 1, is made by the expansion of the leap of a fourth into a leap of a fifth..

^^^^ A ltered motif in the bass clarinet.

Revised versions: Strawinsky revised the Divertimento in 1949 and the ballet score in 1950. Since the ballet score and the Divertimento version cannot be differentiated from one another apart from the shortening of the latter, the revisions are the same for both works in the corresponding sections (insofar as they were adopted in the Divertimento ). Furthermore, where other (minimal) differences appear (in the figuring or at a performance marking, not in the structurally defined alpha-numerical new figuring in the Pas de deux ), these must have been subsequent corrections with a retrospective relevance to the orchestral score. The revision is scarcely worth mentioning. It consists first of the anglicization of the original French title including the titles of the scenes, and thereafter in the instruction given by Da Capo lines to repeat every 4 bars of figures 110-111 as well as the first 4 of the 8 bars of figure 180. The musical and instrumental improvements concern the addition of a second flute part at figure 23 and second violin, viola and double bass parts at figure 42; the solo tuba part previously marked p accompagnando at figure 85 now has the playing instruction marcato in poco sfp ; at figure 158f, introducing the Pas de deux , Strawinsky relaxes the accompanying semiquavers in the clarinets and (from figure 160f) in the bassoons by occasionally leaving out a note here and there; at the beginning of figure 165, the violas play for 3 bars on 2 strings; the horn and trumpet notes at figure 186 were rewritten from dotted crotchet into dotted quavers and at the same time received two concluding G major chords.

Historical Recordings: Mexiko city September 1940, victor symphony orchestra conducted by Igor Strawinsky ( divertimento ); Cleveland 11th December 1955, cleveland symphony orchestra conducted by Igor Strawinsky; Hollywood September 1947, rca-victor symphony orchestra conducted by Igor Strawinsky ( divertimento ); Hollywood 19. - 20. August 1963, columbia symphony orchestra conducted by Igor Strawinsky (Ballet)

CD edition: II-2/14-22; D ivertimento not contained.

Autograph: Paul Sacher Stiftung Basel.

Copyright: 1928 Ballet original edition by Russischer Musikverlag; 1952 Ballet Revised version by Boosey & Hawkes; 1938 Divertimento by Russischer Musikverlag; 1950 Divertimento Revised version by Boosey & Hawkes; 1934 Divertimento Transcription for Violin and piano by Russischer Musikverlag; 1951 Ballad by Boosey & Hawkes.

Editions

a) Overview

49-1 1928 Ballet VoSc; Russischer Musikverlag Berlin; 66 pp.; M. V. 455.

    49-1Straw1 ibd. [with annotations].

    49-1Straw2 ibd. [with annotations].

49-2 1934 Divertimento Vl.-Piano; Russ. Musikverlag Berlin; 44 pp.; R.M.V. 592, 593, 595, 596.

    49-2Straw 1934 ibd. [with annotations].

49-3 1938 Divertimento FuSc; Russischer Musikverlag Berlin; 100 pp.; R.M.V. 642.

    49-3Straw ibd. [with annotations].

49-4 1951 Divertimento PoSc rev.; Boosey & Hawkes London; 100 pp.; B. & H. 16669; 665.

    49-4Straw ibd. [with annotations].

49-4521952 ibd.

49-5 1952 Divertimento Vl.-Pi.; Russ. Musikv. / Boosey & Hawkes London; 44 pp.; B. & H. 17269.

49-6 1951 Ballad; Vl.-Piano. [Gautier]; Boosey & Hawkes London; 7 pp.; B. & H. 17816.

49-7 1952 Ballett FuSc rev.; Russ. Musikv. / Boosey & Hawkes London; 144 pp.; B. & H. 16669.

    49-7Straw ibd. [with annotations].

49-7B 1951 Divert. FuSc rev.; Russ. Musikv. / Boosey & Hawkes London; 100 pp.; B. & H. 16669.

49-8 1953 Ballet PoSc Rev.; Boosey & Hawkes London; 144 pp.; B. & H. 16669; 679.

49-8[65] [1965] ibd.

49-9 1954 Ballet VoSc rev.; Russ. Musikverlag Boosey & Hawkes London; 66 pp.; B. & H. 17561.

49-9[65] [1965] ibd.

49-9[70] [1970] ibd.

49-10 1963 Divertimento Vl.-Piano; Муэгиэ Москва; 48 pp.; М. 30667 Г.<.

49-11 1971 Ballet; Издательство Музыка Москва 143 pp.; 5874.

b) Characteristic features

49-1 IGOR STRAWINSKY / Le Baiser de la Fée / ÉDITION RUSSE DE MUSIQUE // IGOR STRAWINSKY / LE BAISER DE LA FÉE / Ballet-Allégorie en 4 Tableaux / DE / IGOR STRAWINSKY / INSPIRÉ PAR / la Muse de Tchaïkowsky / Prix: RM. 10. = / Frs. 12. =* / ÉDITION RUSSE DE MUSIQUE / RUSSISCHER MUSIKVERLAG (G. M. B. H.**) / FONDÉE PAR S. ET N. KOUSSEVITZKY / BERLIN · LEIPZIG · PARIS · MOSCOU · LONDRES · BARCELONA · NEW YORK / [°] / Imp. Delanchy-Duprès – Paris-Asnières / 2 et 4, Avenue de la Marne // (Vocal score for two hands sewn 26.5 x 34.5 (2° [4°]); 66 [66] pages + 4 cover pages anthracit on creme white [front cover title in a simple frame, 3 empty pages] + 4 pages front matter [title page, empty page, page with the complete title of the work and list of assiciated persons >PERSONNAGES< + summary >ARGUMENT< French + dedication >DÉDICACE: / Je dédie ce ballet à la mémoire de Pierre Tchaïkovsky en apparentant sa / Muse à cette fée et c'est en cela que ce ballet devient une allégorie. Cette / muse l'a également marqué de son baiser fatal dont la mystérieuse empreinte se / fait ressentir sur toute l'œuvre du grand artiste.< French + general preliminary note >REMARQUE GÉNÉRALE / Les indications strictes et précises pour les apparitions et les actions des / personnages du ballet qu'on trouvera dans ma partition formerant la base fixe du / travail du metteur en scène de la pièce. Par contre le vague et l'imprécis de mes / indications concernant les lieux et l'époque de l'action donneront au peintre du / cadre décoratif et au metteur en scène la liberté nécessaire pour la construction / d'un spectacle chorégraphique émanant directement du caractère et du style de / la musique. / IGOR STRAWINSKY. / 1928.< French, empty page]; title head >LE BAISER DE LA FÉE<; author specified 1st page of the score paginated p. 1 below title head between act title >PREMIER TABLEAU / (PROLOGUE)< and movement title >Berceuse de la tempête< flush right centred >IGOR STRAWINSKY / 1928<; legal reservations 1st page of the score below type area flush left centred >Russischer Musikverlag G. m. b. H. Berlin / Edition Russe de Musique / Copyright 1928 by Russischer Musikverlag G. m. b. H. Berlin< flush right >Tous droits d'exécution de reproduction / et d'arrangements réservés pour tous pays. / Propriété de l'Editeur pour tous pays.<; plate number >R. M. V. 455<; production indications p. 66 below type area flush left >Imp. Delanchy-Dupré – Paris-Asnières. / 2 et 4, Avenue de la Marne – XXVIII< flush right >GRANDJEAN GRAV.<) // 1928

° Dividing horizontal line of 0.7 cm.

* The prices in different currencies are set below one another.

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

49-1Straw1

The front cover page of Strawinsky’s copy is between name an piece title black handwritten signed and dated centred >Igor Strawinsky / fin Decembre / 1928<. Below with pencil >Exemplaire avec / quelques petites / fouches corrigées<. The inner title page contains flush right between >Ballet-Allegorie . . .< to below >Tchaikowsky< dates of performances in Russian. The copy contains many corrections.

49-1Straw2

Strawinsky’s copy of his estate (with corrections and many notes on performance) contains on the outer title between name and piece title the reference >Exemplaire qui servit / au DIVERTIMENTO/ p. Violon et Piano<. It is neither signed nor dated.

49-2 IGOR STRAWINSKY / DIVERTIMENTO / Transcription pour Violon et Piano / par l'AUTEUR et S. DUSHKIN / ÉDITION RUSSE DE MUSIQUE // IGOR STRAWINSKY / DIVERTIMENTO / pour Orchestre / inspiré par la Muse de Pierre Tchaïkovsky / Transcription pour Violon et Piano / par l'AUTEUR et S. DUSHKIN / Prix RM 12. = / FRS 12. = * / ÉDITION RUSSE DE MUSIQUE / RUSSISCHER MUSIKVERLAG (G. M. B. H.)** / FONDÉE PAR S. ET N. KOUSSEVITZKY / BERLIN · LEIPZIG · PARIS · MOSCOU · LONDRES · NEW YORK · BUENOS AIRES / [°] / S. I. M. A. G. - Asnières-Paris. / 2 et 4, Avenue de la Marne - XXXIV / [#***] // (Edition for violin and piano [library binding] 26.7 x 34 (2° [4°]); 44 [44] pages + 4 cover pages thin cardboard black on strong middle blue [front cover title, 3 empty pages] + 2 pages front matter [title page, empty page] + 2 pages back matter [empty pages] + 15 [15] pages violin part sewn 26.6 x 33.9 (2° [4°]) with cover [4 empty pages] + 1 page back matter [empty page]; title head >DIVERTIMENTO / pour Violon et Piano<; author specified and collaborator specified 1st page of the score paginated p. 1, pp. 15, 24, 32 [part paginated p. 1, p. 6, p. 9, p. 12] below movement title numbered in Roman numeral (without dot) >I Sinfonia< flush right centred >IGOR STRAWINSKY / 1928-34< flush left centred >Arrangé pour Violon et Piano / par l'Auteur et S. Dushkin<; legal reservations 1st page of the score below type area flush left centred >Russicher***** Musikverlag G. m. b. H. Berlin / Edition Russe de Musique / Copyright 1934 by Russischer Musikverlag G. m. b. H. Berlin< flush right centred >Tous droits d'exécution, de reproduction et / d'arrangements réservés pour tous pays / Propriété de l'Editeur pour tous pays<; plate numbers: >R.M.V. 592< [pp. 1-14= >I / Sinfonia<], >R.M.V. 593< [pp. 15-23= >II / Danses suisses<], >R.M.V. 595< [pp. 24-31= >III / Scherzo<], >R.M.V. 596< [pp. 32-44= >IV / Pas de deux<]; production indications as end marks p. 44 [part p. 15] flush left >S.I.M.A.G. Asnières - Paris< flush right >GRANDJEAN GRAV.<; violin part on the allocated pages [pp. 1-5, 6-8, 9-11, 12-15] text identical with score) // (1934)

° Dividing horizontal line of 0.8 cm.

* T he prices in different currencies are set below one another.

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

*** The London copy, which was acquired purchased by the library on 15th June 1968, has a stamp >INCREASED PRICE / 12/6 d. / BOOSEY & HAWKES LTD.< appearing flush right at the bottom of the page, and the Munich copy >2 Mus.pr. 10266< has the stamp >Dieses Werk unterliegt nicht der / Preissenkung nach dem Auslande.< at the bottom of the front cover page.

**** Misprint >Russicher< [only in the score, not in the part] instead of >Russischer<.

49-2Straw

The front cover page of Strawinsky’s copy is between >IGOR STRAWINSKY< and >DIVERTIMENTO< is handwritten signed and dated centred >IStr / 23. Dec. / 1934<. The copy has many corrections and notes on performance and is without the violin part. In the estate however, there is a violin part without its own cover which was presumably inserted.

49-3 IGOR STRAWINSKY / DIVERTIMENTO / PARTITION d'ORCHESTRE / EDITION RUSSE DE MUSIQUE // IGOR STRAWINSKY / DIVERTIMENTO / PARTITION d'ORCHESTRE / EDITION RUSSE DE MUSIQUE / RUSSISCHER MUSIKVERLAG (G. M. B. H.)* / FONDÉE PAR S. ET N. KOUSSEVITZKY / BERLIN · LEIPZIG · PARIS · MOSCOU · LONDRES · NEW YORK · BUENOS AIRES / [°] / S. I. M. A. G. - Asnières- // (Full score [library binding°°] 27.4 x 36.5 (2° [gr. 4°]); 100 [100] pages + 4 cover pages thicker paper black on middle brown beige [front cover title, empty page, [missing°°°] , [missing°°°] ] + 2 pages front matter [title page, empty page] + 2 pages back matter [empty pages]; title head >DIVERTIMENTO / SUITE SYMPHONIQUE<; author specified 1st page of the score paginated p. 1 between title head and movement title numbered in Roman numerals (with dot) >I. SINFONIA< flush right centred partly in italics >IGOR STRAWINSKY / 1934< ; legal reservations 1st page of the score below type area flush left centred >Propriété de l'Editeur pour tous pays / EDITION RUSSE DE MUSIQUE / Russischer Musikverlag G. m. b. H., Berlin< flush right centred >Copyright 1938 by Russischer Musikverlag G. m. b. H. Berlin / Tous droits d'exécution, de reproduction / et d'arrangements réservés pour tous pays<; plate number >R. M. V. 642<; production indications p. 100 flush left >S. I. M. A. G. - Asnières< flush right as end mark >GRANDJEAN Grav.<) // (1938)

° Dividing horizontal line of 0,9 cm line.

°° The copy in Strawinsky’s estate has the remains of some stitching, meaning that a stitched binding is probable.

°°° It can be assumed from the empty pages.

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

49-3Straw

The front cover page of Strawinsky’s copy is next to >IGOR STRAWINSKY< until >DIVERTIMENTO< handwritten signed and dated centred partly underlined > Revisedan / corrected / version / IStrawinsky / Hollywood, Calif. / September / 1947< and between >IGOR STRAWINSKY< and >DIVERTIMENTO< centre >Igor Strawinsky / Paris / le 7 fevrier /°38< [slash original].

49-4 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / DIVERTIMENTO^ / BOOSEY & HAWKES / No. 665 // HAWKES POCKET SCORES / IGOR STRAWINSKY / DIVERTIMENTO / SUITE DU BALLET / „LE BAISER DE LA FÉE" / Nouvelle 1949 Version / BOOSEY & HAWKES / LTD / LONDON · NEW YORK · LOS ANGELES · SYDNEY · CAPETOWN · PARIS · BONN / NET PRICE / MADE IN ENGLAND // [spine:] >No. 665 STRAWINSKY · DIVERTIMENTO< // (Pocket score sewn 0.8 x 13.6 x 18.6 ([8°]); 100 [100] pages + 4 cover pages dark green on brown beige [front cover title with frame 9.4 x 3.7 brown beige on dark 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 data >No. 582< [#] >6.50<] + 2 pages front matter [title page, legend >Instruments d'Orchestre< French + duration data [20'] French] + 2 pages back matter [empty page, 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 data >No. 520< [#] >I.49<]; title head >DIVERTIMENTO / SUITE SYMPHONIQUE<; author specified 1st page of the score unpaginated [p. 1] between title head and movement title numbered in Roman numerals (with dot) >I. SINFONIA< flush right centred partly in italics >IGOR STRAWINSKY / 1934 / (Révision 1949) <; legal reservation 1st page of the score below type area flush left >Copyright 1938 by Edition Russe de Musique [#] All rights of reproduction in any form reserved. / Sole Agents for all countries Boosey & Hawkes, Inc., New York, U. S. A. / Revised version copyright 1950 by Boosey & Hawkes, Inc., New York, U. S. A.<; plate number >B. & H. 16669<; end number p. 100 flush left >7 · 51 L. & B.<; production indications title page + 1st page of the score below type area >MADE IN ENGLAND< p. 100 flush right as end mark >LOWE AND BRYDONE PRINTERS Limited, LONDON<) // (1951)

^ ^ Text in frame.

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

** Classical editions from >J. S. BACHh< 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: New York-Chicago-Los Angeles-Toronto-Buenos Aires- Capetown-Sydney-Paris

49-4Straw

The front cover page of Strawinsky’s copy is at the top of the page between >HAWKES POCKET SCORES< and frame flush right handwritten signed and dated >IStr Sept 8 /°51< [° slash original] and contains corrections [p. 60 figure 85 71st and 2nd Violins: the natural before the 1st notes instead of before the 3rd notes (red); p. 80 figure 110 2-3: the tempo indication Quaver = 120 before the beginning of the 3rd bar instead of before the 2nd bar; p. 80 figure 119 1-2: note on performance (Rubato poco a poco in tempo)].

49-452 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / DIVERTIMENTO^ / BOOSEY & HAWKES / No. 665 // HAWKES POCKET SCORES / IGOR STRAWINSKY / DIVERTIMENTO / SUITE DU BALLET / „LE BAISER DE LA FÉE" / Nouvelle 1949 Version / BOOSEY & HAWKES / LTD / LONDON .NEW YORK .TORONTO .SYDNEY .CAPETOWN .PARIS .BONN / NET PRICE / MADE IN ENGLAND // [Text on spine:] No. 665 STRAWINSKY · DIVERTIMENTO // (Pocket score sewn 0.7 x 13.7 x 18.8 ([8°]); 100 [100] pages + 4 cover pages dark green on dark beige [front cover title with frame 9.4 x 3.7 dark beige on dark 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 data >No. 582< [#] >6.50<] + 2 pages front matter [title page, legend >Instruments d’Orchestre< French + duration data [20'] French] + 2 pages back matter [empty page, 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 data >No. 520< [#] >I.49<]; title head >DIVERTIMENTO / SUITE SYMPHONIQUE<; author specified 1st page of the score unpaginated [p. 1] above and next to movement title numbered in Roman numerals (with dot) >I. SINFONIA< flush right centred partly in italics >IGOR STRAWINSKY / 1934 / (Révision 1949) <; legal reservations 1st page of the score below type area flush left >Copyright 1938 by Edition Russe de Musique / Sole Agents for all countries Boosey & Hawkes, Inc., New York, U.S.A. / Revised version copyright 1950 by Boosey & Hawkes, Inc., New York, U.S.A.< flush right >All rights of reproduction in any form reserved.<; plate number >B. & H. 16669<; without end of score dated p. 100; end number p. 100 flush left >1·52 L. & B.<; production indications 1st page of the score below type area below legal reservation centre inside right >MADE IN ENGLAND< p. 100 flush right as end mark >Lowe and Brydone (Printers) Limited, London<) // (1952)

^ ^ Text in frame.

* Compositions are advertised in three columns without edition numbers from >BÉLA BARTÓK< to >R. VAUGHAN WILLIAMS<, amongst these >IGOR STRAWINSKY / Apollon Musagète ( Revised 1947) / Capriccio for Piano and Orchestra / Chant du Rossignol / Concerto in D for String Orchestra / Divertimento ( Revised 1949) / Mass for Chorus and Wind instr.° / Octet for Wind Instruments° / Œdipus Rex ( Revised 1948) / Orpheus / Perséphone ( Revised 1947) / Pétrouchka ( Revised 1947) / Piano Concerto / Pulcinella Suite ( Revised 1949) / F our° 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-New York-Toronto-Sydney-Capetown-Buenos Aires-Paris-Bonn [° 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 <, Strawinsky not mentioned; under the headline >MODERN EDITIONS< the names of contemporary composers are listed without any titles in four columns from >BÉLA BARTÓK< to >R. VAUGHAN WILLIAMS<, amongst these >IGOR STRAWINSKY<. The following places of printing are listed: London-New York- Toronto -Sydney-Capetown-Buenos Aires-Paris-Bonn.

49-5 igor strawinsky / divertimento / violin and piano / éditions russe de musique · boosey & hawkes // Igor Strawinsky / Divertimento / for Orchestra / inspired by Tschaikowsky's Muse / Transcribed for Violin and Piano / by the Composer and S. Dushkin / Édition Russe de Musique (S. et N. Koussewitzky) ·Bossey & Hawkes / London · New York · Toronto · Sydney · Capetown · Buenos Aires · Paris · Bonn // (Edition violin and piano sewn in red 23.4 x 31.1 (4° [4°]) with violin part enclosed; 44 [44] pages + 4 cover pages tomato red on grey-green beige [front cover title, 2 empty pages, page with publisher’s >Édition Russe de Musique / (S. et N. Koussewitzky) / Boosey & Hawkes< advertisements > Igor Strawinsky <* production data >No. 453<] + 2 pages front matter [title page, empty page] + 2 pages back matter [page with publisher’s >Édition Russe de Musique / (S. et N. Koussewitzky) / Boosey & Hawkes< advertisements > Serge Prokofieff < production data >No. 454<, page with publisher’s >Édition A. Gutheil / (S. et N. Koussewitzky) / Boosey & Hawkes< advertisements > Serge Rachmaninoff < production data >No. 461<] + 15 [15] pages violin part sewn in white 23.1 x 31 without front matter + 1 page back matter [page with publisher’s > Boosey & Hawkes < advertisements >Symphonic Music / Solo String Instruments / with Orchestra <** production data >No. 535<; title head >DIVERTIMENTO / POUR Violon et Piano<; authors specified 1st page of the score paginated p. 1 below movement title numbered in Roman numerals (without dot) >I / Sinfonia< [part: between movement title and part name >VIOLON< flush right centred >IGOR STRAWINSKY / 1928-34< flush left centred >Arrangé pour Violon et Piano / par l'Auteur et S. Duskin<; legal reservations pp. 1, 15, 24, 32 [part: pp. 1, 6, 9, 12] below type area flush left >Copyright 1934 by Edition Russe de Musique (Russischer Musikverlag) for all countries / Printed by arrangement Boosey & Hawkes, Inc., New York / All rights of reproduction in any form reserved<; plate number >B. & H. 17269<; production indication 1st page of the score score and part below type area flush right >Printed in England<; end number [exclusively score] p. 44) flush right >12. 52. E<) // (1952)

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

** Compositions are advertised under the heading >Violin< from >BÉLA BARTÓK< bis >ARNOLD VAN WYK<, Strawinsky not mentioned; below the heading >Viola< from > BÉLA BARTÓK< to >HERBERT HOWELLS<, Strawinsky not mentioned; under the heading >VioloNcello< from >FREDERICK DELIUS< to >HAYDN WOOD <, Strawinsky not mentioned. After London the following places of printing are listed: New York-Toronto-Sydney-Capetown-Buenos Aires-Paris-Bonn.

49-6 igor stravinsky* / ballad / violin and piano / boosey & hawkes // Igor Strawinsky* / Ballad / from / “The Fairy's Kiss” / The violin part established / in collaboration with / Jeanne Gautier / Boosey & Hawkes, Ltd. / London · New York · Sydney · Toronto · Capetown · Paris · Buenos Aires · Bonn // (Edition violine and piano [library binding] 23.5 x 30.7 (4° [4°]); 7 [7] pages + 4 cover pages tomato red on green beige [front cover title, 2 empty pages, page with publisher’s >Édition Russe de Musique / (S. et N. Koussewitzky) / Boosey & Hawkes< advertisements > Igor Strawinsky <** production data >No. 453<] without front matter, without back matter + 4 [2] pages violin part 23.5 x 30.6 (4° [4°]) enclosed [title page score identical, 2 pages of the score, page with publisher’s advertisements > Serge Prokofieff < production data >No. 454<]; title head >BALLAD / for Violin and Piano / from “The Fairy’s Kiss”<; part name >Violin< 1st page of the score part paginated p. 2 above type area centre; author specified 1st page of the score paginated p. 1 [part: paginated p. 2] below title head flush right >IGOR STRAWINSKY>; collaborator specified 1st page of the score below title head flush left centred >The Violin part established / in collaboration with / JEANNE GAUTIER<; legal reservations 1st page of the score below type area flush left >Copyright 1951 by Boosey & Hawkes Inc., New York< flush right >All rights reserved<; production indication 1st page of the score below type area centre inside right >Printed in England<; plate number >B. & H. 17816<; end number [only] violin part p. 3 flush right as end mark >6. 51. E<) // (1951)

* D ifferent spelling original .

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

49-7 igor strawinsky / the fairy's kiss / le baiser de la fée / full score / revised 1950 version / édition russe de musique .boosey & hawkes // Igor Strawinsky / THE FAIRY'S KISS / LE BAISER DE LA FÉE / Ballet in Four Scenes / Full Score / Revised 1950 version / Édition Russe de Musique (S. et N. Koussewitzky) .Boosey & Hawkes / London .New York .Toronto .Sydney .Capetown .Buenos Aires .Paris .Bonn // [without text on spine] // (Full score sewn 1.4 x 27 x 37.4 (2° [gr. 4°]); 144 [144] pages + 4 cover pages thicker paper tomato red on grey-beige [front cover title, 2 empty pages, page with publisher’s >Édition Russe de Musique / (S. et N. Koussewitzky) / Boosey & Hawkes< advertisements > Igor Strawinsky <* production data >No. 453<] + 6 pages front matter [title page, page with legal reservations centre centred >Copyright 1928 by Édition Russe de Musique / New Edition copyright 1952 by Boosey & Hawkes, Inc. New York, U.S.A.< centre justified text italic > All rights of theatrical, radio, television performance, / mechanical reproduction in any form whatsoever / (including film), translation of the libretto, of the / complete work or parts thereof are strictly reserved. <, 2 pages summary >The Fairy’s Kiss< >Le Baiser de la Fée< English-French // >Der Kuss der Fee< French-German, page with dedication italic > Dedicace / Je dédie ce ballet à la mémoire de Pierre Tchaikovsky en / apparentant sa Muse à cette fée et c'est en cela qu'il devient / une allégorie. Cette muse l'a également marqué de son baiser / fatal dont la mystérieuse empreinte se fait ressentir / sur toute l'œuvre du grand artiste. / Igor Strawinsky / (1928) <, page with index of rols English >Characters< French >Personnages< German >Personnen<** + legend >Instrumentation< Italian + duration data English-French-German with English [>45 minutes< ] + 2 pages back matter [page with publisher’s >Édition Russe de Musique / (S. et N. Koussewitzky) / Boosey & Hawkes< advertisements > Serge Prokofieff < production data >No. 454<, page with publisher’s >Édition A. Gutheil / (S. et N. Koussewitzky) / Boosey & Hawkes< advertisements > Serge Rachmaninoff < production data >No. 461<]; title head >THE FAIRY’S KISS / ("LE BAISER DE LA FÉE) / Ballet in four Scenes <; author specified 1st page of the score paginated p. 1 above and next to scene title >FIRST SCENE< flush right centred partly in italics >IGOR STRAWINSKY / 1928. Revised 1950 <; legal reservations 1st page of the score below type area flush left >Copyright 1928 by Edition Russe de Musique / Sole Agents for all countries Boosey & Hawkes, Inc., New York, U.S.A. / New Edition copyright 1952 by Boosey & Hawkes, Inc., New York, U.S.A.< flush right centred >All rights of reproduction / in any form reserved<; production indication 1st page of the score below type area centre inside right above plate number >Printed in England<; plate number >B. & H. 16669<; end number p. 144 flush right as end mark >11. 52. E<) // (1952)

* Mistake [>Personnen< instead of >Personen<] original.

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

49-7Straw

Strawinsky‘s copy from his estate contains corrections and is on the outer title page above >igor strawinsky< flush right with >IStr / Janv /° 53< [° slash original] handwritten centred in blue signed and dated. Above the publisher’s details, there is a pencil marking >Berceuse of the / Eternal Dwelling play / 6 ‘ 10 “<.The inner title page states the performance duration times, likewise in pencil >1 stside 20:20 / 2 ndside 24:43< [probably the annotation relates to a gramophone record edition] die sich vermutlich auf eine Schallplattenausgabe beziehen and contains flush right and on a slant an index of errors >In String’ / p. 100 / p. 136 horns + fl. / p. 99 harp / p. 92 2 ndvlno. / p. 78 timing / p. 33 “<.

49-7B igor strawinsky / divertimento / partition d’orchestre / édition russse de musique . boosey & hawkes // Igor Strawinsky / Divertimento / Suite du Ballet / “Le Baiser de la Fée” / Partition d’Orchestre / Édition Russe de Musique (S. et N. Koussewitzky), Boosey & Hawkes / London, New York, Sydney, Toronto, Capetown, Paris, Buenos Aires // (Full score [library binding] 26.5 x 34.4 (2° [4°]); 100 [100] pages + 4 cover pages [front cover title dark red on grey green beige, empty page, (3th and 4th are missing)] + 2 pages front matter [title page, legend >Instruments d’Orchestre< French + duration data [20’] French] + 2 pages back matter [page with publisher’s >Édition Russe de Musique / (S. et N. Koussewitzky) / Boosey & Hawkes< advertisements > Serge Prokofieff < production data >No. 454<, page with publisher’s >Édition A. Gutheil / (S. et N. Koussewitzky) / Boosey & Hawkes< advertisements > Serge Rachmaninoff < production data >No. 461<]; title head >DIVERTIMENTO / SUITE SYMPHONIQUE<, author specified 1st page of the score paginated p. 1 above and next to movement title numbered in Roman numerals (with dot) >I. SINFONIA< centred partly in italics >IGOR STRAWINSKY / 1934 (Révision) 1949 <; legal reservations 1st page of the score below type area flush left >Copyright 1938 by Edition Russe de Musique / Sole Agents for all countries Boosey & Hawkes, Inc., New York, U.S.A. / Revised version copyright 1950 by Boosey & Hawkes, Inc., New York, U.S.A.< flush right >All rights of reproduction in any form reserved.<; plate number >B. & H. 16669<; production indication 1st page of the score below type area centre inside right italic > Made in France <;without end mark<) // (1951)

* Only a single copy of the revised conductor’s score can be located at this time. It went out of the inventory of the former America House in Berlin into the City Music Library in Berlin (>I 53. 4713<). It has been rebound, the cover pages, and therefore the front cover titles, are missing, and the paper has been trimmed so much that the text has been removed in places. The edition was not available in the Work Catalogue of 2002 and has now subsequently been entered under 7B in order to preserve the numbering system already adopted.

49-8 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / THE FAIRY'S KISS / LE BAISER DE LA FÉE^ / BOOSEY & HAWKES / No. 679 // HAWKES POCKET SCORES / IGOR / STRAWINSKY / THE FAIRY'S KISS / LE BAISER DE LA FÉE / Ballet in Four Scenes / Revised 1950 version / BOOSEY & HAWKES / LTD. / LONDON NEW YORK TORONTO · SYDNEY · CAPETOWN · PARIS · BONN / NET PRICE / MADE IN ENGLAND // [Text on spine:] No. 679 STRAWINSKY · THE FAIRY'S KISS< // (Pocket score sewn 1 x 17.5 x 25.3 (8° [Lex. 8°]); 144 [144] pages + 4. cover pages thicker paper olive-green on dark beige [front cover title with frame 10.4 x 5 dark 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 data >No. 582< [#] >6.50<] + 6 pages [4. and 5. page paginated in Roman numerals] front matter [title page, page with legal reservations centred >Copyright 1928 by Édition Russe de Musique / New Edition copyright 1952 by Boosey & Hawkes, Inc. New York, U.S.A.< justified text italic > All rights of theatrical, radio, television performance / mechanical reproduction in any form whatsoever / (including film), translation of the libretto, of the / complete work or parts thereof are strictly reserved. <, page with dedication > Dedicace / Je dédie ce ballet à la mémoire de Pierre Tchaikovsky en / apparentant sa Muse à cette fee° et c'est en cela qu'il / devient une allégorie. Cette muse l'a également / marqué de son baiser fatal dont la mystérieuse empreinte / se fait ressentir sur toute l'œuvre du grand artiste °° . / Igor Strawinsky / (1928) <, 2 pages paginated p. IV + V summary English-French // French-German, page with index of rols >CHARACTERS< >PERSONNAGES< >PERSONEN< English-French-German + legend Italian with English headline + duration data English-French-German with English [>45 minutes< ] data] + 2 pages back matter [empty page, 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 data >No. 520< [#] >1.49<]; title head >THE FAIRY’S KISS / ("LE BAISER DE LA FÉE) / Ballet in four Scenes <; author specified 1st page of the score paginated p. 1 above and next to scene title >FIRST SCENE< flush right centred partly in italics >IGOR STRAWINSKY / 1928. Revised 1950 <; legal reservations 1st page of the score below type area flush left >Copyright 1928 by Edition Russe de Musique / Sole Agents for all countries Boosey & Hawkes, Inc., New York, U.S.A. / New Edition copyright 1952 by Boosey & Hawkes, Inc., New York, U.S.A.< flush right centred >All rights of reproduction / in any form reserved<; plate number >B. & H. 16669<; end number p. 144 flush left >1.53 L.&.B.<; production indications 1st page of the score below type area centre inside right above plate number >Printed in England< p. 144 flush right as end mark >Lowe and Brydone (Printers) Limited, London<) // (1953)

^ ^ = Text in frame.

° The mistake with the accent is original.

°° In the original, there is an empty space instead of the letter >i<.

* 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-New York-Toronto-Sydney-Capetown-Buenos Aires-Paris-Bonn [° 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<. The following places of printing are listed: London-New York-Toronto- Sydney-Capetown-Buenos Aires-Paris-Bonn.

** The mistake with the accent is original.

°° In the original, there is an empty space instead of the letter >i<.

49-8[65] AWKES POCKET SCORES / ^IGOR STRAVINSKY / THE FAIRY'S KISS / LE BAISER DE LA FÉE^ / BOOSEY & HAWKES / No. 679 // HAWKES POCKET SCORES / IGOR / STRAVINSKY / THE FAIRY'S KISS / LE BAISER DE LA FÉE / Ballet in Four Scenes / Revised 1950 version / BOOSEY & HAWKES / MUSIC PUBLISHERS Limited / LONDON · PARIS · BONN · JOHANNESBURG · SYDNEY · TORONTO · NEW YORK / NET PRICE / MADE IN ENGLAND // [spine:] No. 679 STRAWINSKY · THE FAIRY'S KISS // (Pocket score [library binding] 18.3 x 26 (8° [Lex. 8°]); 144 [144] pages + 4. cover pages thick paper olive-green on dark beige [front cover title with frame 9.5 x 4.3 dark beige on olive-green, 2 empty pages, page with publisher’s advertisements >Igor Stravinsky<* production data >No. 40< [#] >7.65<] + 6 pages front matter [title page, page with legal reservations partly in italics >Copyright 1928 by Édition Russe de Musique / New Edition copyright 1952 by Boosey & Hawkes, Inc. New York, U.S.A. / [#] / All rights of theatrical, radio, television performance / mechanical reproduction in any form whatsoever / (including film), translation of the libretto, of the / complete work or parts thereof are strictly reserved. <, page with dedication > Dedicace / Je dédie ce ballet à la mémoire de Pierre Tchaikovsky en / apparentant sa Muse à cette fee** et c'est en cela qu'il / devient une allégorie. Cette muse l'a également / marqué de son baiser fatal dont la mystérieuse empreinte / se fait ressentir sur toute l'œuvre du grand artiste***. / Igor Strawinsky / (1928) <, 2 pages summary English-French / French-German, page with index of rols >CHARACTERS< >PERSONNAGES< >PERSONEN< English-French-German + legend >Instrumentation< Italian + duration data English-French-German with English [>45 minutes< ] data] + 2 pages back matter [empty page, 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 data >No. 520< [#] >1.49<]; title head >THE FAIRY’S KISS / ("LE BAISER DE LA FÉE) / Ballet in four Scenes <; author specified 1st page of the score paginated p. 1 between title head and scene title flush right centred partly in italics >IGOR STRAVINSKY / 1928. Revised 1950 <; legal reservations 1st page of the score next to title head flush left in the text box contained >IMPORTANT NOTICE / The unauthorized copying / of the whole or any part of / this publication is illegal< below type area flush left >Copyright 1928 by Edition Russe de Musique / Sole Agents for all countries Boosey & Hawkes, Inc., New York, U.S.A. / New Edition copyright 1952 by Boosey & Hawkes, Inc., New York, U.S.A.< flush right >All rights of reproduction / in any form reserved<; plate number >B. & H. 16669<; without end number; production indication 1st page of the score below type area centre inside right >Printed in England<) // [1965]

^ ^= text in frame.

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

** The mistake with the accent is original.

°° In the original, there is an empty space instead of the letter >i<.

**** 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-New York-Toronto- Sydney-Capetown-Buenos Aires-Paris-Bonn.

49-9 igor strawinsky / the fairy’s kiss / le baiser de la fée / piano reduction / revised 1950 version / édition russe de musique · boosey & hawkes // Igor Strawinsky / The Fairy’s Kiss / Le Baiser de la Fée / Ballet in Four Scenes / Piano Reduction / revised 1950 version / Édition Russe de Musique (S. et N. Koussewitzky) · Boosey & Hawkes / London · Paris · Bonn · Capetown · Sydney · Toronto · New York // (Piano redaction [library binding] 23 x 30.1 (2° [4°]); 66 [66] pages + 4 cover pages red on grey-green [front cover title, 2 empty pages, page with publisher’s advertisements > Igor Strawinsky <* production data >No. 693< [#] >12.53<] + 6 pages front matter [title page, page with legal reservations centred >Copyright 1928 by Edition Russe de Musique / Copyright assigned 1947 to Boosey & Hawkes, Inc., New York / New Edition copyright 1954 by Boosey & Hawkes, Inc., New York U.S.A.< italic justified text > All rights of theatrical, radio, television performance, / mechanical reproduction in any form whatsoever / (including film), translation of the libretto , of the / complete work or parts thereof are strictly reserved. <, page with dedication French >Dedicace / Je dédie ce ballet à la mémoire de Pierre Tchaïkovsky en / apparentant sa Muse à cette fée et c'est en cela que ce ballet devient / une allégorie. Cette muse l'a également marqué de son baiser / fatal dont la mystérieuse empreinte se fait ressentir sur / toute l'œuvre du grand artiste. / Igor Strawinsky / (1928)<, catalogue of rols >Characters< >Personnages< >Personen< English-French-German + legend >Instrumentation< Italian + duration data [45’] English-French-German, 2 pages index English-Fre- / nch-German] without back matter; title head >THE FAIRY’S KISS / (LE BAISER DE LA FÉE)<; author specified 1st page of the score paginated p. 1 below act title >PREMIER TABLEAU / (PROLOGUE)< flush right centred >IGOR STRAWINSKY / 1928, Revised 1950<; legal reservation 1st page of the score below type area flush left >Copyright 1928 by Edition Russe de Musique / Copyright assigned 1947 to Boosey & Hawkes, Inc., New York, U.S.A. / New Edition copyright 1954 by Boosey & Hawkes, Inc., New York, U.S.A. / All rights of reproduction in any form reserved<; plate number >B. & H. 17561<; end number p. 66 below type area centre inside right >6·54 L.& B.<; production indication 1st page of the score below type area centre inside right >Printed in England< p. 66 below type area flush left >Lowe and Brydone (Printers) Limited, London< flush right as end mark >GRANDJEAN GRAV.< // (1954)

* Compositions are advertised in two columns without edition numbers und without price information, in part multi-lingual >Pocket Scores° / Partitions de Poche · Taschenpartituren° / Apollon Musagète / Le Baiser de la Fée ( The Fairy’s Kiss ) / Cantata / Capriccio for Piano and Orchestra / Le Chant du Rossignol ( The Song of the / Nightingale ) / Concerto in D for String Orchestra / Divertimento / Messe°° / Octet for Wind Instruments / Oedipus Rex / Orpheus / Perséphone / Pétrouchka / Pulcinella Suite / Four Studies for Orchestra / Quatre Etudes pour Orchestre / Vier Etüden für Orchester / Le Sacre du Primtemps°° ( The Rite of Spring ) / Septet 1953 / Symphonie de Psaumes / Symphony of Psalms / Psalmensymphonie / Symphonies pour°° instruments à vents°°° / Symphonies of Wind Instruments / Symphonien für Blasinstrumente / Piano Solo° / Piano Seul · Klavier zweihändig° / Apollon Musagète / Le Baiser de la Fée ( The Fairy’s Kiss ) / Le Chant du Rossignol ( The Song of the Nightingale ) / Marche Chinoise de ”°° Chant du Rossignol ” / Mavra Overture °° / Octet for Wind Instruments ( arr. A. Lourié ) / Orpheus ( arr. L. Spinner ) / Serenade en la / Sonate / Symphonies pour instruments à vents<°° / Trois Mouvements de “ Pétrouchka ” / Piano Duets° / Piano à Quatre Mains · Klavier vierhändig° / Pétrouchka / Le Sacre du Printemps ( The Rite of Spring ) / Two Pianos° / Deux Pianos · Zwei Klaviere° / Capriccio for Piano and Orchestra / Concerto / Madrid / Septet 1953 / Trois Mouvements de “ Pétrouchka ” ( Babin ) // Violin and Piano° / Violon et Piano · Violine und Klavier° / Airs du Rossignol and Marche Chinoise ( Le / Chant du Rossignol ) / Ballad ( Le Baiser de la Fée ) / Divertimento ( Le Baiser de la Fée ) / Duo Concertant / Danse Russe ( Pétrouchka ) / Russian Maiden’s Song / Suite after Pergolesi / Violoncello and Piano° / Violoncelle et Piano · Violoncello und Klavier° / Suite italienne ( Piatigorsky ) / Russian Maiden’s Song ( Markevitch ) / Chamber Music° / Musique de Chambre · Kammermusik° / Octet for Wind Instruments / Septet 1953 / Three pieces for String Quartet / Vocal Scores° / Partitions Chant et Piano · Klavierauszüge° / Cantata / Le Rossignol / Mavra / Messe°° / Oedipus Rex / Perséphone / Symphonie de Psaumes / The Rake’s Progress / Voice and Piano° / Chant et Piano · Gesang und Klavier° / The Mother’s Song ( Mavra ) / Le Rossignol / Introduction . Chant du Pedieur° . Air du Rossignol / Paracha’s Song ( Mavra ) / Russian Maiden’s Song / Two Poems of Balmont / Blue Forget-me-not . The Dove / Trois Poésies de la lyrique japonaise / Akahito . Mazatzuum°° . Tsarajuki°° / Trois petites chansons / La petite . Le Corbeau . Tchitcher-tatcher / Choral Music° / Musique Chorale · Chormusik° / Ave Maria ( Latin ) S.A.T.B. a cappella / Pater noster ( Latin ) S.A.T.B. a cappella / Credo ( Latin ) S.A.T.B. a cappella < [° centre; °° original spelling]. After London the following places of printing are listed: Paris-Bonn-Capetown-Sydney-Toronto-New York.

49-9[65] igor strawinsky / the fairy’s kiss / le baiser de la fée / piano reduction / revised 1950 version / édition russe de musique · boosey & hawkes // Igor Strawinsky / The Fairy’s Kiss / Le Baiser de la Fée / Ballet in Four Scenes / Piano Reduction / revised 1950 version / Édition Russe de Musique (S. et N. Koussewitzky) · Boosey & Hawkes / London · Paris · Bonn · Johannesburg · Sydney · Toronto · New York // (Piano reduction 22.5 x 30.5 (2° [4°]); 66 [66] pages + 4 cover pages red on grey-grün [front cover title, 2 empty pages, page with publisher’s advertisements >Igor Stravinsky<* production data >No. 40< [#] >7.65<] + 6 pages front matter [title page, page with legal reservations centred >Copyright 1928 by Edition Russe de Musique / Copyright assigned 1947 to Boosey & Hawkes, Inc., New York / New Edition copyright 1954 by Boosey & Hawkes, Inc., New York U. S. A.< italic justified text > All rights of theatrical, radio, television performance, / mechanical reproduction in any form whatsoever / (including film), translation of the libretto , of the / complete work or parts thereof are strictly reserved. <, page with dedication French >DÉDICACE: / Je dédie ce ballet à la mémoire de Pierre Tchaïkovsky en / apparentant sa Muse à cette fée et c'est en cela que ce ballet devient / une allégorie. Cette muse l'a également marqué de son baiser / fatal dont la mystérieuse empreinte se fait ressentir sur / toute l'œuvre du grand artiste. / Igor Strawinsky / (1828)<, catalogue of rols >Characters< >Personnages< >Personen< English-French-German + legend >Instrumentation< Italian + duration data [45’] English-French-German, 2 pages index English-Fre- / nch-German] without back matter; title head >THE FAIRY’S KISS / (LE BAISER DE LA FÉE)<; author specified 1st page of the score paginated p. 1 between act title and movement title flush right centred >IGOR STRAWINSKY / 1928, Revised 1950<; legal reservations next to title head flush left in the text box contained >IMPORTANT NOTICE / The unauthorized copying / of the whole or any part of / this publication is illegal< below type area flush left >Copyright 1928 by Edition Russe de Musique / Copyright assigned 1947 to Boosey & Hawkes, Inc., New York, U.S.A. / New Edition copyright 1954 by Boosey & Hawkes, Inc., New York U. S. A. / All rights of reproduction in any form reserved<; plate number >B. & H. 17561<; production indication 1st page of the score below type area centre inside right >Printed in England< p. 66 belowhlb type area flush right as end mark >GRANDJEAN GRAV.< // [1965]

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

49-10 КОНЦЕРТНыЙ РЕПЕРТУАР / СКРИПАЧА / ^И. СТРАВИНСКИЙ / ДИВЕРТИСМЕИТ / ОБРАБОТКА / ДЛЯ СКРИПКИ / И ФОРТЕПИАНО / [vignette]^ / МУЗГИЗ · 1963 // И. СТРАВИНСКИЙ / ДИВЕРТИСМЕИТ / О бработка / дла скрипки и фортепиано / автора и С. Душкина / ГОсУдАРСтвеННОе МУЗЫКАльНОЕ ИздАтельство / Москва 1963 // (Edition for violin and piano stapled 21.8 x 28.8 (4° [Lex. 8°]); 48 [46] p. + 4 cover pages black-white on white middle-blue [ornamental front cover title with frame 11.8 x 17.2 with vignette white middle-blue 0.7 x 1.6 treble clef on a musical system in a stylized body of a violin which is speckled in middle-blue, 2 empty pages, page with publisher’s advertisements >ГОсУдАРСтвеННОе МУЗЫКАльНОЕ ИздАтельство<* production data >19-63< + price with plate number >83 К. [#] 30667-г< + imprint Russian with billing of names >Редактор С. Сапожников [#] Техн. редактор С. торгман< and itemized statements of format and origin] + 2 pages front matter [title page, empty page] without back matter + violin part enclosed stapled 18 [17] pages with 1 page front matter [title page >скрипка<] without back matter; title head >ДИВЕРТИСМЕИТ<; author specified 1st page of the score paginated p. 3 [part: paginated p. 2] below movement title numbered in Roman numerals (without dot) >I / Увертюра< flush right >И. СТРАВИНСКИЙ / (соч . 1928 – 1934)<; arranger specified above and next to [part: between movement title and] author specified flush left >Обработка дла скрипки и / фортепиано автора и С. Душкина<; imprint [exclusively part] below arranger specified flush left >Редакция В. Гольдштейна<; without legal reservation; plate number >М. 30667 Г.<; without end mark) // 1963

^ ^ = Text in frame.

* Three pedagogical and artistic main rubriks appear here in two columns, and beneath the (second) main rubrik >КОНЦЕРТНыЙ РЕПЕРТУАР< under >Проиэведения малой формы< compositions from >Владигеров П. < to >Стравинский И. Дивертисмент / Стравинский И. Пастораль; Русский та- / нец<.

49-11 ИГОРЬ СТРАВИНСКИЙ / IGOR STRAVINSKY / Поцелуй феи / THE FAIRY’S KISS / Балет в четырех сценах / Ballet in Four Scenes / ПАРТИТУРА / SCORE / МУЗЫКА MUSIK / МОСКВА · 1971 · MOSCOW // ИГОРЬ СТРАВИНСКИЙ / IGOR STRAVINSKY / Поцелуй феи. / THE FAIRY’S KISS / Балет в четырех сценах / Ballet in Four Scenes / ПАРТИТУРА / SCORE / ИздАтельство МузыкА / STATE PUBLISHERS MUSIC / Москва 1971 Moscow // [Text on spine:] > И. СТРАВИНСКИЙ · Поцелуй феи < // (Pocket score bound 1.2 x 17.5 [16,5] x 22 [21] (4° [8°]); 143 [143] pages + 4 pages cardboard cover black on white [front cover title ornamental frame, 2 empty pages, page with centre centred vignette made up of letters 0.9 x 0.9*] + 4 cover pages + 8 pages front matter, exclusively 6. page numbered in Roman numerals >VI< [title page, page with introductory text Russian >ОТ РЕДАКЦИИ< with the name of the publishers Boosey & Hawkes, page with dedication > Посв Я ющение / Посвящаю этот балет памяти Петра Илъича Чайковского . Балет имеет аллегорический смысл – ведь муза Чайковского сродни той фее. Подобно фее, муза отметила Чайковского своим поцелуем , печать которого ле ж ит на всех творениях великого худо ж ника . / Игорь Стравинский / (1928 ) <, empty page, 2 pages summary Russian >СОДЕРЖАНИЕ БАЛЕТА<, page with index of rols Russian >ДЕЙСТВУЮЩИЕ ЛИЦА<, 1 page legend Russian-Italian with headline Russian-English >СОСТАВ ОРКЕСТРА / ORCHESTRA< + duration data [45'] Russian-French] + 1 page back matter [List of scenes + extensive details of the publishers imprint Russian >Индекс 9­5­1<]; author specified 1st page of the score paginated p. 1 below work title flush right >Игорь СТРАВИНСКИЙ / Igor STRAVINSKY<; without legal reservation; plate number >5874<; index-note: 9-5-1) // 1971

* Possibly with a price sticker on the top of the page left >2 р.07 к. <.


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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