Site under construction

This site is under construction and will be completed in the 4th quarter of 2020. It replaces the former catalog at www.kcatalog.org. To see all works and work editions, for now, please visit the Strawinksy catalog at the old location at www.kcatalog.org.



 


K044 Serenade in A

deutsch K044 Serenade in A

K44 Sérénade en La

en quatre mouvements pour piano – Serenade in A in vier Sätzen für Klavier – Серенада в ля в четырех частях для фортепиано – Serenata in la in quattro movimenti per pianoforte

Title: Strawinsky did not initially think of restricting himself to four movements and we know of six that he planned. His ideas for the titles certainly changed in the following way. The first movement was originally to be called Hymne à l’Introduction. In the end Hymne was printed because, as Craft suggests, a four-movement work could hardly have an introduction which was as long or short as all the subsequent movements. The original title in the manuscript in the first printing was at first Serenade and the en la was added later in pencil, probably by one of the engravers at the company commissioned for the job (Delanchy, Dupré & Cie. in Asnière on the Seine). The Hymne has an extra sharp in the key signature. Strawinsky himself explained that the manuscript had been written out by him and his wife. A handwriting comparison attests to this. The entirety of Romanze and the first 15 bars of the Cadenza Finala were written by Strawinsky. The title is unusual. In the ‘20’s, the word ‘cadenza’ would have implied a quasi-improvisatory work with changing tempi and affects. The cadenza in the Serenade is nothing of the sort; on the contrary, the Romanze contains two extremely short cadenzas which are called as such in the original but were then crossed out, presumably out of concern for the title of the last movement, which it would have contradicted by means of the term.

Performance practice: The fact that the official CD version included the Paris recording of the Serenade from 5th and 6th July 1934 in the many works played or conducted by Strawinsky himself, but not his recording of the Piano Sonata has an adequate reason in Strawinsky’s pianistic ability to deliver a performance of this piece, which is not at all easy, in an impressive and internally contrasted manner of playing at a time where they were unable to correct errors with a cut. The recording of the Serenade changed the well-known picture of the mechanistic Neue Sachlichkeit. Strawinsky’s capacity for articulation made it possible to bring such a deep stratification into the work that not much remained of the mechanistic, motoristic, sewing-machine style and other buzzwords. At the same time, it becomes significant that, entirely in opposition to Strawinsky’s claims that everything is contained in the notes, the interpretative details upon which the work depends are not contained in the notes but are of such a nature that they cannot be written in, because there is no set of symbols for that. At the same time, the recording of the Serenade influenced paradigmatic artistic critical editions, in that the comparison of autographs and editions could not proceed on its own any more, but in addition should encompass the original performance in the edition. This was because, with the recording available, the question of what was in the autograph score, what should be taken over and what was in the first edition and whether it was correct or incorrect, forgotten or inserted later, became secondary. The ideal case arises here, that that which constitutes actual music, i.e. the aural result, becomes more important than the printed or written manuscript which brings it into being. Seen in this light, it is not the work but its performance that gains an historical dimension.

Construction: The Serenade is a four-movement, neo-Classical suite under the concept of Neue Sachlichkeit with a light (in comparison with the Sonata ) and discreet motoristic, mechanical impact in the first two movements.

Structure

HYMNE

[81 bars without metronome marking] (crotchet = 58*)

ROMANZA

[80 bars without metronome marking] (quaver = 96)

RONDOLETTO

[129 bars without metronome marking] (crotchet = 92)

CADENZA FINALA

[105 bars without a metronome marking] (crotchet = 84)

* Misprint, this must be dotted crotchet = 58.

Misprints: The many printing errors in the edition of 1926 produced by the Russian publishers and the removal of the fingerings, for whatever reasons, led Strawinsky to push stalwartly for a new printing. He had no real success with this, even when the work was taken on by Boosey & Hawkes from the Russian publishers, since the second printing of the Serenade, still by the Russian publishers, removed some errors but left just as many uncorrected. Boosey & Hawkes produced a new printing for the Serenade as well as for the Sonata; this was something that Strawinsky announced as a new revised printed version and something for which, among other things, Strawinsky produced new fingerings. In a letter to Ernst Roth of 28th July however, he complained, albeit very politely, that all the corrections which he himself had made and which had been sent to the publishers had not been reproduced in the new printing. It can be seen in another letter to Roth of 23rd September 1952 that Roth obviously found nothing in his acts, because in his answer to a long unpublished publisher’s letter from Roth, Strawinsky notes that he himself was in possession of copies of the original editions of the Sonata and Serenade by the Russian publishers into which he had entered the corrections. It must therefore be assumed that Strawinsky’s corrections not being printed came about not as a result of their being suppressed as a result of politics with the publishers, but that they either went missing when they were sent off or else they got caught up in the everyday workings of the publishers and thus was never seen by the editorial department. In Strawinsky’s lifetime, corrected reprintings of the Sonata and the Serenade were never realized. Nine years after Strawinsky’s death, 1980 Soulima Stravinsky published his new edition completed two years earlier of the completely anglicised Serenade in a corrected but not critical edition by Boosey & Hawkes with the result that, instead of one correct version of the Serenade, there are now five that are contentious.

Corrections: In fact, some errors remain in every first edition, whether a composition or a written document. In the case of the Serenade, even the most important were harmless and could be recognised by an intelligent player, with the exception of a few truly non-critical details. Craft was the first to list the most important after Strawinsky’s corrections and Soulima Strawinsky removed most of them in his new edition. The most important printing error is in the first bar of the first movement. The work begins in the upper register descant with a first-inverted chord of F major, goes to the tonic of F major and then back to the first-inversion chord. The printer erroneously put the c in the tonic chord as a d, thus making it into a sixth chord of d minor. This moment returns later several times printed correctly, so the error is easy to correct. In the second chord of the 28th bar, a false B flat has been left in where a G should be. This mistake is not so easy to find but does not destroy the movement. The worst error, the incorrect metronome marking of crotchet = 58 instead of the correct dotted crotchet = 58, was possible to notice without comparison with sketches and was discovered. Another mistake is the false piano sign at bar 31 which should come at bar 30 where the new section begins. All the other mistakes concern errors in the ties. In the second movement, the arpeggiated notes in bars 25 and 26 should be broken. In the third movement, the ties are incorrectly printed. Furthermore, the second note of bar 51 should be a D and not a D flat. The seventh note of the eight-semiquaver figure should go to d flat. This error is not locateable without instruction because both versions sound acceptable, though Strawinsky’s solution is more elegant. In the fourth movement, there are a few errors in dynamics for which Craft claimed were incorrect but which were not corrected in Soulima Strawinsky’s version.

Tables of Errata

Tables in progression

I

1st Copy Strawinsky

First movement

1.) bar 1 (p. 3, 1st system, bar 1) descant: 2nd four-note chord should be quaver f1-a1-c2-f2 instead

of quaver f1-a1-d2-f2.

2.) bar 28 (p. 3, 5th system, bar 5) descant: 2nd three-note chord should be e1-g1-e2 instead of e1-

b1-e2.

3.) bar 30 (p. 3, 5th system): a p -sign should be added.

4.) bar 31 (p. 4, 1st system bar 1): the p -sign should be removed.

5.) bar 34 (p. 4, 1st system, bar 4 descant): a slur should be added to the two c#2-notes.

6.) bar 36 (p. 4, 1st system, bar 6) bass: 1st three-note chord should be G#-A-f# instead of G-A#-f#.

7.) bar 46 (p. 4, 3rd system, bar 4) descant:

8.) bar 60 (p. 5, 2. system, bar 1) bass: the last three notes of the 2nd semiquaver-ligature should be

f-c-A instead of f-d-A.

9.) bar 65 (p. 5, 3rd system, bar 2) bass: natural added to the fourth-from-last note c should be

removed.

10.) bar 65 (p. 5, 3rd system, bar 2):

11.) bar 80-81 (p. 5, 6. system, bar 5+6):

Second movement

1,) bar 5 (p. 6, 3rd system, bar 1) descant: the upper crotchet d#2 of the three-note chord should be

[also] dotted.

2.) bar 5-6 (p. 6, 3rd system, bar 1+2):

3.) bar 7 (p. 6, 3rd system, bar 3) descant: a decrescendo-sign should be added to the 6 triplet-

ligatures.

4.) bar 23 (p. 7, 3rd system, bar 4) descant: the slur between grace-note g1 and essential note g1

should be removed.

5.) bar 25 (p. 7, 4th system, bar 2) descant: the [1st] crotchet g1 should be dotted.

6.) bar 27 (p. 7, 4th system, bass: the crotchet beamed downwards should be a quaver.

7.) bar 41-42 (p. 8, 1st system, bar 6 + 2nd system bar 1) bass: a phrasing mark should be added from the last semiquaver a (bar 41) to the first semiquaver e1 (bar 42); the two staccato-dots should be removed.

8.) bar 51 (p. 8, 4th system, bar 2) descant:

9.) bar 61 (p. 8, 6th system, bar 2) descant: a slur should be added to the two last notes of the ligature beamed upwards c2.

10.) bar 70 (p. 9, 2nd system, bar 1) descant: crotchet two-note chord c1-e1 should be dotted.

11.) bar 74-75 (p. 9, 2nd system, bar 5 / 3rd system, bar 1) descant: the three slurs from the grace-notes

(bar 74 and 75) to the essential notes of the chord (bar 75) should be removed.

Third movement

1.) bar 11 (p. 10, 3rd system, bar 2) descant: phrasing marks should be added to the two lower ligatures f1 to e1 and d1 to c1.

2.) bar 12 (p. 10, 3rd system, bar 3) descant: the lower great phrasing mark should be removed.

3.) bar 51 (p. 12, 4th system, bar 2) bass (written in treble clef): the 2nd semiquaver of the 1st ligatur

should be d1 instead of d b 1; the 1st note of the 2nd ligature remains d b 1.

4.

5.) bar 127 (p. 16, 4th system, bar 3) descant: the natural sign before the crotchet beginning the bar

should be removed.

Fourth movement

1.) bar 1 (p. 17, 1st system, bar 1): mƒ-sign should be added between the both systems (descant I

and descant II).

2.) bar 2 (p. 17, 1st system, bar 2): > p sub.< should be added between the both systems (descant I

and descant II).

3.) bar 9 (p. 17, 2nd system, bar 3) bass: quaver -igature should be e1-c#1-g-e instead of e1-c1-g-e.

4.) bar 13 (p. 17, 2nd system, bar 7) descant: 1st quaver-ligature two-note chord should be a1-c#2

instead of a1-c2.

5.) bar 35 (p. 18, 3rd system, bar 3):

6.) bar 36 (p. 18, 3rd system, bar 4):

7.) bar 67-68 (p. 19, 4th system, bar 5+6) descant:

8.) bar 75 (p. 20, 1st system, bar 1) bass: a natural sign should be added to the last quaver of the bar.

II

2nd copy Strawinsky

First movement

1.) bar 1 (p. 3, 1st system, bar 1) descant: 2nd four-note chord should be quaver f1-a1-c2-f2 instead

of quaver f1-a1-d2-f2.

2.) bar 27 (p. 3, 5th system, bar 4): at the end of the bar a p -sign should be added.

3.) bar 28 (p. 3, 5th system, bar 5) descant: 2nd three-note chord should be e1-g1-e2 instead of e1-

b1-e2.

4.) bar 30 (p. 3, 5th system): a p -sign should be added.

5.) bar 31 (p. 4, 1st system bar 1): the p -sign should be removed.

6.) bar 36 (p. 4, 1st system, bar 6) bass: 1st three-note chord should be G#-A-f# instead of G-A#-f#-

7.) bar 46 (p. 4, 3rd system, bar 4) descant:

8.) bar 60 (p. 5, 2nd system, bar 1) bass: the last three notes of the 2nd semiquaver-ligature should be

f-c-A instead of f-d-A .

9.) bar 63 (p. 5, 2nd system, bar 4, descant): a slur should be added to the two last notes of the ligature

beamed upwards c2.

10.) bar 65 (p. 5, 3rd system, bar 2) bass: natural added to the fourth-from-last note c should be

removed.

12.) bar 65 (p. 5, 3rd system bar 2):

13.) bar 80-81 (p. 5, 6th system bar 5+6):

Second movement

1.) bar 5 (p. 6, 3rd system, bar 1) descant: the upper crotchet d#2 of the three-note chord should be

[also] dotted.

2.) bar 23 (p. 7, 3rd system, bar 4) descant: the slur between grace-note g1 and essential note g1

should be removed.

3.) bar 25 (p. 7, 4. system, bar 2) descant: the [1st] crotchet g1 should be dotted.

4.) bar 41-42 (p. 8, 1st system bar 6 + 2nd system bar 1) bass: a phrasing mark should be added from

the last semiquaver a (bar 41) to the first semiquaver e1 (bar 42); the two staccato-dots should

be removed.

5.) bar 51 (p. 8, 4th system, bar 2) descant:

6.) bar 61 (p. 8, 6th system, bar 2) descant: a slur should be added to the two last notes of the ligature

beamed upwards c2.

7.) bar 70 (p. 9, 2nd system, bar 1) descant: crotchet two-note chord c1-e1 should be dotted.

8.) bar 70 (p. 9, 2nd system, bar 1) descant: a Arpeggio-sign should be added to the [first] chord c1-e1-

a1.

9.) bar 74-75 (p. 9, 2nd system, bar 5 / 3rd system, bar 1) descant: the three slurs from the grace-notes

(bar 74 and 75) to the essential notes of the chord (bar 75) should be removed.

Third movement

1.) bar 11 (p. 10, 3rd system, bar 2) descant: phrasing marks should be added to the two lower

ligatures f1 to e1 and d1 to c1.

2.) bar 12 (p. 10, 3rd system, bar 3) descant: the lower great phrasing mark should be removed.

3.) bar 51 (p. 12, 4th system, bar 2) bass (written in treble clef): the 2nd semiquaver of the 1st ligature

should be d1 instead of d b 1; the 1st note of the 2nd ligature remains d b 1.

4.) bar 127 (p. 16, 4th system, bar 3) descant: the natural sign before the crotchet beginning the bar

should be removed.

Fourth movement

1.) bar 1 (p. 17, 1st system, bar 1):

2.) bar 2 (p. 17, 1st system, bar 2):

3.) bar 9 (p. 17, 2nd system, bar 3) bass: quaver-ligature should be e1-c#1-g-e instead of e1-c1-g-e.

4.) bar 13 (p. 17, 2nd system, bar 7) descant: 1st quaver-ligature two-note chord should be a1-c#2

instead of a1-c2.

5.) bar 35 (p. 18, 3rd system, bar 3):

6.) bar 36 (p. 18, 3rd system, bar 4):.

7.) bar 67-68 (p. 19, 4th system, bar 5+6) descant:

8.) bar 75 (p. 20, 1st system, bar 1) bass: a natural sign should be added to the last quaver of the bar.

III

Edition 1948 Boosey & Hawkes with plate number B. & H. 16303

First movement

1.) bar 1 (p. 3, 1st system, bar 1) descant: 2nd four-note chord should be quaver f1-a1-c2-f2 instead

of quaver f1-a1-d2-f2.

2.) bar 28 (p. 3, 5th system, bar 5) descant: 2nd three-note chord should be quaver e1-a1-e2 instead

of quaver e1-b1-e2.

3.) bar 30 (p. 3, 5th system, bar 7): a p -sign should be added to the bar.

4.) bar 80-81 (p. 5, 6th system, bar 5+6) descant:

Second movement

1.) bar 23 (p. 7, 3rd system, bar 4) descant: the slur between grace-note g1 and essential note g1

should be removed.

2.) bar 74-75 (p. 9, 2nd system, bar 5 / 3rd system bar 1) descant: the three slurs from the grace-notes

(bar 74 and 75) to the essential notes of the chord (bar 75) should be removed.

Third movement

1.) bar 51 (p. 12, 4th system, bar 2) bass: 2. semiquaver should be d1 instead of d b 1.

Fourth movement

1.) bar 1-2 (p. 17, 1st system, bar 1+2):.

2.) bar 35-36 (p. 18, 3rd system, bar 3+4):.

3.) bar 1-2 (p. 20, 1st system, bar 1) bass: round bracket natural should be added to the 4th [last] quaver-ligature f.

Edition Soulima: After Strawinsky’s death, his son Sviatoslav Soulima explained that it was the mentality in the ‘20’s and Strawinsky’s corresponding dread of overinterpretation that made him, if it were feasible, supply no or else as few expressive markings in his piano music as possible. In actual fact, the parts for music at the turn of the century were crammed so full of dynamic, agogic and other expressive markings of that type, that the players at the time complained that they did not know whether to read or play their parts. Behind this was the hidden concept of being able to clarify music with words and additional signs. Strawinsky’s Neue Sachlichkeit went the opposite way becoming devoid of expression which was ironically compared to a sewing machine. In the original version of the Serenade, there are only 18 markings in addition to the notes. For the ‘Hymne’, there are only 11 (f orte sign in bars 1, 15, 51; piano sign in bars 7, 20, 31, 52, 65; crescendo sign in bars 11 and 27; decrescendo sign with piano sign and the instructions secco in bar 76), for the ‘Romanze’ ( forte sign with secco and sord. In bar 4; pedal sign in bar 8; crescendo sign in bar 75 – all refer to the left hand) and three in the ‘Rondoletto’ ( Sforzato sign in bar 27; forte with sub. meno in bar 86; sforzato sign with sub. in bar 88) and two for the Finale ( decrescendo sign with appena and pedal indications in bars 105 and 106). In this counting, the numerous instructions such as holding the keys down without hitting the strings are not included. Soulima’s edition counts just under one-hundred playing instructions for all the pieces. Furthermore, there are also Italian markings for the different movements: Maestoso , Tempo guisto , Allegretto , Andantino , while Strawinsky’s other markings are all anglicised. In this event, Soulima called upon his own pianistic experience of playing with his father, who would certainly not have agreed to such an edition.

Critical Editions:The Critical Edition as the publication of an Urtext was also not without its controversies, and triggered a counter movement that was based on the concept of the necessity of adapting music that was no longer alive to the requirements of its own period. At that time it was still believed that music could be made unmistakable through text and additional characters. In addition, around 1900, composers and arrangers didn't hold history-based text respect. Bruckner was orchestrated according to Wagner, Weingartner composed the horn effects in Beethoven and the 9th symphony was played with three instead of one trombone. Rust turned a two-part, thin musical movement of his ancestor into a full-bodied piano symphony à la Reger with a freely added arrangement, and together with August Schmid-Lindner, Reger himself was responsible for an edition of Bach's Italian Concerto published by Schott in 1916, which featured already on its first sheet music page more instructions than measures. Those 31 bars face 34 instructions, 98 marcato, staccato and tenuto signs and 27 phrasing slurs. In total there are almost 160 entries, not a single one of which can be found in Bach. The piece is also covered with a network of fingerings. This had nothing to do with Franz Liszt's transcriptions, which were made to bring unknown music to the public. Strawinsky's so-called New Objectivity (>Neue Sachlichkeit<) went the opposite way to an alleged expression neediness, which was rumored to be compared to a 'sewing machine' - neediness, in the sense of in need of interpretation. It cannot be ruled out that the Neue Sachlichkeit was indeed meant to be ironic-derogatory and not appreciative.

Style: The first movement has the required solemnity of a hymn and points towards the stasis of Oedipus Rex. The improvisatory virtuosity of the soloist in the second movement can be recognised. It stands in contrast to the motoristic passagework of the semiquaver figures in the bass, which run, restlessly pulsating from bars 1 to 88; they flow onward without rhythmic differentiation in two groups of four in a 2/4-bar and lose their monotony against the top line, which here and there sets a dotted quaver against them. Strawinsky spoke of a held tempo for this movement. He himself played it as a bravura solo piece. The stylization of the dance, if it really is one at all, is so advanced that it can only be recognised allusively in the germinal motif. In the finale, Strawinsky’s ‘guest book’, which is Cadenza Finala in the original version and not Cadenza Finale , Strawinsky has juxtaposed several differently characterised sections one after the other which can be seen as individual signatures, whereby the individual lengths of the separate sections can be laid out as the different lengths of the entries from guest to guest. As a result of this process, the finale of the Suite becomes a Suite in itself.

Dedication: A ma femme [Посвящена жене И. Ф. Стравинского Екатерине Гавриловне Носенко. ] [To my wife] [Dedicated to the wife of I. F. Strawinsky Ekaterina Gawrilowna Nossenko].

Duration: about 2' 56" + 2' 28" + 2' 49" + 2' 50".

Date of origin: 11th April up to 9th. October 1925, completed in Nizza.

History of Origin: The composition of the work began in April 1925, probably in America with the final movement Cadenza Finala (not: Cadenza Finale ), but it was mostly composed in Nice. Craft has compiled all the dates in one article. Work on the sketches began later on 11th April 1925 with the sketches for bars 5 and 6 as well as 21 and 23 of the last movement, from which the question arises as to whether Strawinsky originally planned to use it as the first movement. The work was completed, if one follows the date on the neat copy, on 19th May 1925. Work on the Hymne , for which there is a fair amount of sketch material, was begun on 18th July 1925 with a rough draft of the first 14 bars and bars 36 to the first half of bar 40. He then seems to have worked out the harmonisation in sixths of the opening melody and soon after to have tackled bars 15 to 21 and 27 to 28. Work evidently continued with the sequence of bars 20-51. On July 1925, he completed the music for bar 51 and sketched the next semiquaver section for the left hand. On 3rd August 1925, he completed the piece. Ten days later, on 13th August, he began the Rondoletto. He sketched the final 7 bars and the first theme which was originally in G and not in A. There are six-part chords here because Strawinsky was presumably not yet clear about the overall format of the piece. He later decided on two-part and three-part textures throughout. On 14th August, he sketched 6 bars starting from bar 44, on 15th August, he planned bars 14-27 and on 17th August the second half of bar 48 to bar 52 continuously. He then wrote bars 11-17 and 6-8 again followed by the first 12 bars, for half of which he included a bass part. At the same time, he notated the theme and bass part of bar 59 and composed the upper part in bar 67. Independent of this, he appears to have written bars 47-68 and 79-78 i.e. up to the cadenza, and bars 92 to 102. These sketches are not dated. On 26th September 1925, he had to interrupt work on the composition for a journey to Venice, where he was due to play the Sonata ; this interruption was exacerbated further by his first ideas for Oedipus Rex. The completed plan for the Romanze bears the date 10th October 1925, although it is given as 9th October in the final score. In this way, Strawinsky’s expectation that he would finish the work in October, which he had expressed in a letter to Werner Reinhardt of 1st August 1925 from Nice, had been realised. In the letter, he names neither the title nor the form of the work as he was wont, but refers to it only in connection with Scherchen’s offer of the composition of a symphony, as he wrote that he was otherwise occupied with something that he hoped to complete in October. This can only have been the Serenade . Work on the Serenade gave him no difficulties and he at this time felt at peace and often made trips in his car to the Côte d’Azur.

First performance: 24th November 1925 in Frankfurt am Main with Igor Strawinsky as pianist.

Metronome markings: The technical problem of time that Strawinsky attached to the Serenade is relevant to a great number of similar compositions for which it was a matter of composing down to the second. Strawinsky saw himself as a composer who worked best under time constraints. Balanchine claimed that with a new piece, Strawinsky would think firstly, and it was not rare for him to think exlusively about its duration. There are numerous stories surrounding this. His friend-opponent Suvchinsky suggested as to whether Strawinsky dedicated a copy of Chroniques de ma vie to Mussolini because he was pro-Fascist or simply because he was pleased that the trains ran punctually in Italy under him. In the ‘20’s, Strawinsky saw the key to any interpretation as lying in the metronome marking and he was not slow to almost abuse interpreters who did not, in his opinion, adhere pedantically to the notes and tempo markings which he used so sparingly in the piano works. In fact, he himself was probably the person who adhered least to his printed instructions and performance details when it suited the situation. A small comparison of the metronome markings in the Serenade of the first version of 1926 and the corrected version of 1950 with his own 1934 recording reveals a fluctuation that he vehemently descried in every other interpretation. In addition, it is clear that Strawinsky’s conceptual tempi were often not feasible in reality. His duration estimates tempo markings for pieces that had not yet been completed or performed did not correspond as he told his publishers in several cases, with the real duration which was measured later. In later years, Strawinsky became noticeably milder in this matter because he had learnt to appreciate that an artistic sonic object does not conceal only one possibility for realisation.

Remarks: As Strawinsky related, he had wanted to write a Suite in the context of a night-music of royal patrons of the 18th Century and referred to certain meaningful movements for this music: a Hymn as a form of solemn introduction, a solo movement as a ceremonial homage by the artist to the guests, a dance movement in a held and rhythmically emphasised tempo, as was traditionally a part of suites of the time and finally a sort of Epilogue like a signature with numerous, carefully calligraphic embellishments. In actual fact, the Serenade bears none of the movement names characteristic of the 18th-century Suite and thus anticipates the historically inaccurate attributions of Agon . Instead of the usual instruments appropriate for playing in the open air Strawinsky chose the piano as the solo instrument, presumably because he needed a solo work intended for himself for his reputation as a pianist and because the outward reason for its composition was closely connected to his first journey to America in March 1925. At this point, he received a contract from the gramophone company Brunswick Records to record his works on vinyl, and he recorded the movements Andantino , Moderato , Allegro , Larghetto , Lento und Vivo from Les Cinq Doigts on 14th March. By all reports, this was the first of Strawinsky’s commercial record productions. It was in the context this recording, presumably as a result of the request for cuts or selections from the original which were necessary due to the unalterable time limitations of the discs at that time, the thought came to him of composing a work the length of a single section of which would correspond exactly to the length of a gramophone record. In doing so, he wanted to obviate the dismantling and subsequent adaptation of a work to the length of a disc which would otherwise be unavoidable.

Significance: Few works in the Strawinsky literature cause such a large difference of opinion as the Serenade, which became the first of Strawinsky’s works that was not transcribed for electric piano and which was included in Strawinsky’s commercial vinyl disc production. The extreme value judgements of this work are noticeable, in that one author will judge it as Strawinsky’s best piano work while another will call it his weakest. Technical and compositional effects are not present in the Serenade . What it represents stylistically had been seen in the Octet and only stated in the Sonate and Serenade. The theses bring it to the forefront even more clearly as Schönberg had composed a Serenade two years before; his setting of the Petrarcan Sonnet in the fourth movement contained the first published linear twelve-tone melody. For Strawinsky, Schönberg’s Serenade, along with the Five Pieces for Orchestra , Herzgewächse, Pierrot Lunaire and the later Orchestral Variations, belongs to the five Schönberg compositions which he counted as the composer’s most meaningful artistic achievements. He appreciated other compositions by Schönberg less due to his own proclivity towards Webern’s serial technique after Schönberg’s death, though he revered him throughout.

Versions: In Strawinsky’s lifetime, the original printing did not remain unchanged, but this removal of the errors in a new version with its own plate number was carried out half-heartedly. The contract with the Russian publishers was settled on 21st November 1925 under the Roman numeral contract number VI. Strawinsky received a fixed fee of $1,250, i.e. $250 more than for the Piano Sonata. The version accounted 500 copies for the Serenade as well. The Serenade was published in 1926 with an unprecedented sales success of 532 copies sold. An immediate second version of the Serenade can be assumed. The Serenade, like the Sonata, were the only one of Strawinsky’s compositions of the Russian publishers that were not accounted for single but for editions. A new edition running to 900 copies was in any case approved for 1929. Boosey & Hawkes took on the rights at first under the name of the original publishers, Koussevitsky. The Boosey edition remained identical apart from the later name alteration and a smaller printing format with the 1925 and 1950 editions. The Russian reprint of 1968 followed the error-ridden original of 1926. The separate publishing contracts for the transfer from the Russian publishers to Boosey & Hawkes bear the same dates for both the Serenade and Sonata, 6th November 1950. Since 1980, the Serenade has been distributed exclusively in the Soulima version.

Historical Recordings: Paris, 5th to 7th July 1934 with Igor Strawinsky as pianist.

CD edition: VII-2/6-9 .

Autograph: Paul Sacher Stiftung in Basel.

Copyright: 1926 by Russischer Musikverlag Berlin; 1947 assigned to Boosey & Hawkes New York.

Editions

a) Overview

44-1 1926; Russischer Musikverlag Berlin; 20 pp.; R. M. V. 429.

44-1Straw1 ibd. [with annotations].

44-1Straw2ibd. [with annotations].

44-2 1929 Russischer Musikverlag Berlin; 20 pp.; R. M. V. 468.

44-229ibd.

44-3 (1948); Russischer Musikverlag / Boosey & Hawkes London; 20 pp.; B. & H. 16303.

44-3Strawibd. [with annotations].

44-3541954 ibd.

44-3581958 ibd.

44-3[65][1965] ibd.

44-4Alb 1968; Editions Musique Moskau; 17 pp.; 5064.

b) Characteristic features

44-1 IGOR STRAWINSKY / SÉRÉNADE en LA / EN QUATRE MOUVEMENTS / pour Piano / [vignette] / ÉDITION RUSSE DE MUSIQUE // IGOR STRAWINSKY / SÉRÉNADE en LA / EN QUATRE MOUVEMENTS / pour Piano / Prix: M. 5 / [Vignette] / PROPRIÉTÉ DE L'ÉDITEUR POUR TOUS PAYS. / ÉDITION RUSSE DE MUSIQUE / (RUSSISCHER MUSIKVERLAG G. M. B. H.*) / BERLIN / FONDÉE PAR S. ET N. KOUSSEWITZKY / DÉPOTS: PARIS · LEIPZIG · NEW YORK · LONDRES · BRUXELLES · BARCELONE · MADRID · VIENNE / PARIS / 22, RUE D'ANJOU / S. A. DES GRANDES ÉDITIONS MUSICALES // (Edition unsewn 24.8 x 32 (4° [4°]); 20 [18] pages + 4 cover pages thin cardboard black on creme white (gelbbeige) [front cover title with vignette 0,8 x 0,8 spiralshaped ornament in square, 3 empty pages] + 2 pages front matter [title page with vignette 0,8 x 0,8 spiralshaped ornament in square, empty page] + 4 pages back matter [2 empty pages, page with publisher’s advertisements >LES ŒUVRES / d’IGOR STRAWINSKY<** without production data, empty page]; title head >SÉRÉNADE EN LA<; dedication above title head centre italic > A ma femme <; author specified 1st page of the score paginated p. 3 between title head and unnumbered movement title >HYMNE< flush right centred >Igor Strawinsky / 1925<; fictitious editor specified next to and below title head flush left centred >Edited by / ALBERT SPALDING / New-York<; 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 1926 by Russischer Musikverlag G.M.B.H. Berlin.< flush right partly in italics > 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. 429<; production indication p. 20 flush left centred as end mark >Grav. Imp. Delanchy-Dupré Paris Asnières / 2 et 4, Avenue de la Marne, 1926.<) // 1926

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

** Compositions are advertised >PÉTROUCHKA (BALLET) / PARTITION DE POCHE / RÉDUCTION POUR PIANO A QUATRE MAINS PAR L’AUTEUR / TROIS MOUVEMENTS DE PÉTROUCHKA / TRANSCRIPTION POUR PIANO SOLO PAR L’AUTEUR / rossignol (CONTE LYRIQUE) / RÉDUCTION POUR CHANT ET PIANO PAR L’AUTEUR / [#] (textes russe et français) / INTRODUCTION, CHANT DU PÊCHEUR et AIR DU ROSSIGNOL / [#] tirés du I eracte). / MARCHE CHINOISE. TRANSCRIPTION POUR PIANO SOLO / [#] par THÉODORE SZANTO / CHANT DU ROSSIGNOL (POÈME SYMPHONIQUE) / PARTITION DE POCHE / RÉDUCTION POUR PIANO A DEUX MAINS PAR J. LARMANJAT / LE SACRE DU PRINTEMPS (BALLET) / PARTITION DE POCHE / RÉDUCTION POUR PIANO A QUATRE MAINS PAR L’AUTEUR / PULCINELLA (BALLET) / SUITE DE PULCINELLA pour Petit Orchestre / PARTITION DE POCHE / TROIS PIÈCES POUR QUATUOR A CORDES / PARTIES / PARTITION DE POCHE / OCTUOR POUR INSTRUMENTS A VENT / PARTITION DE POCHE / RÉDUCTION POUR PIANO Á DEUX MAINS PAR A. LOURIÉ / CONCERTO pour Piano et Orchestre d’Harmonie / RÉDUCTION POUR DEUX PIANOS A 4 MAINS PAR L’AUTEUR / SONATE pour Piano / MAVRA OPÉRA EN 1 ACTE / RÉDUCTION POUR CHANT ET PIANO PAR L’AUTEUR / (avec textes russe, français, anglais et allemand) / OUVERTURE POUR PIANO / AIR DE LA MÈRE, POUR CHANT ET PIANO / sur DEUX POÉSIES DE BALMONT / ÉDITION NOUVELLE avec textes russe, français, anglais et allemand. / sur TROIS POÉSIES DE LA LYRIQUE JAPONAISE / ÉDITION NOUVELLE avec textes russe, français et anglais. / TROIS PETITES CHANSONS (Souvenir de mon enfance) / ÉDITION NOUVELLE avec textes russe et français, russe et anglais. / SYMPHONIES D’INSTRUMENTS A VENT / RÉDUCTION POUR PIANO A 2 MAINS. PAR A. LOURIÉ<.

44-1Straw1

Strawinsky’s copy from hist estate contains corrections [see errata tables] and furthermore on the outer title between name and piece title the note >Exemplaire / corrigé pour / l’executance<.

44-1Straw2

Strawinsky’s copy from hist estate contains corrections [see errata tables] and furthermore a very personal note written in Russian „Igor Strawinsky / Friday confession / 9th September 1926 / Nizza“.

44-2 IGOR STRAWINSKY / SÉRÉNADE en LA / EN QUATRE MOUVEMENTS / pour Piano / [Vignette] / ÉDITION RUSSE DE MUSIQUE // IGOR STRAWINSKY / SÉRÉNADE en LA / EN QUATRE MOUVEMENTS / pour Piano / Prix: M. 5 / [vignette] / PROPRIÉtÉ DE L'ÉDITEUR POUR TOUS PAYS. / ÉDITION RUSSE DE MUSIQUE / (RUSSISCHER MUSIKVERLAG G. M. B. H.*) / BERLIN / FONDÉE PAR S. ET N. KOUSSEWITZKY / DÉPOTS: PARIS · LEIPZIG · NEW YORK · LONDRES · BRUXELLES · BARCELONE · MADRID · VIENNE / PARIS / 22, RUE D'ANJOU / S. A. DES GRANDES ÉDITIONS MUSICALES // (Edition unsewn 24.8 x 32 (4° [4°]); 20 [18] pages + 4 cover pages black on creme white (yellow-beige) [front cover title with vignette 0,8 x 0,8 spiralshaped ornament in square, empty page, page with publisher’s >LES ŒUVRES / d’IGOR STRAWINSKY<** without production data, empty page] + 2 pages front matter [title page with vignette 0,8 x 0,8 spiralshaped ornament in square, empty page]; title head >SÉRÉNADE EN LA<; dedication above title head centre centred italic > A ma femme <; author specified 1st page of the score paginated p. 3 between title head and movement title >HYMNE< flush right centred >Igor Strawinsky / 1925<; fictitious editor specified next to und below title head flush left centred >Edited by / ALBERT SPALDING / New-York<; legal reservation 1st page of the score below type area flush left centred >Russischer Musikverlag G.M.B.H. Berlin / (Edition Russe de musique***) / Copyright 1926 by Russischer Musikverlag G.M.B.H. Berlin.< flush right partly in italics > 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. 468<; production indication p. 20 flush left centred as end mark >Grav. Imp. Delanchy-Dupré Paris – Asnières-Paris. / 2. et 4, Avenue de la Marne – XXIX<) // 1929

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

** Compositions are advertised >PÉTROUCHKA (BALLET) / PARTITION DE POCHE / RÉDUCTION POUR PIANO A QUATRE MAINS PAR L’AUTEUR / TROIS MOUVEMENTS DE PÉTROUCHKA / TRANSCRIPTION POUR PIANO SOLO PAR L’AUTEUR / rossignol (CONTE LYRIQUE) / RÉDUCTION POUR CHANT ET PIANO PAR L’AUTEUR / (textes russes et français) / INTRODUCTION, CHANT DU PÈCHEUR et AIR DU ROSSIGNOL< / (tirés du I eracte) / MARCHE CHINOISE, TRANSCRIPTION POUR PIANO SOLO / par THÉODORE SZANTO / CHANT DU ROSSIGNOL (POÈME SYMPHONIQUE) / PARTITION DE POCHE / RÉDUCTION POUR PIANO A QUATRE MAINS PAR J. LARMANJAT / >LE SACRE DU PRINTEMPS (BALLET) / PARTITION DE POCHE / RÉDUCTION POUR PIANO A QUATRE MAINS PAR L’AUTEUR / PULCINELLA (BALLET) / SUITE DE PULCINELLA pour Petit Orchestre / PARTITION DE POCHE / TROIS PIÈCES POUR QUATUOR A CORDES / PARTIES / PARTITION DE POCHE / OCTUOR POUR INSTRUMENTS A VENT / PARTITION DE POCHE / RÉDUCTION POUR PIANO A DEUX MAINS PAR A. LOURIÈ / CONCERTO pour Piano et Orchestre d’Harmonie / RÉDUCTION POUR DUEX PIANOS A 4 MAINS PAR L’AUTEUR / SONATE pour Piano / MAVRA OPÉRA EN 1 ACTE / RÉDUCTION POUR CHANT ET PIANO PAR L’AUTEUR / (avec textes russe, français, anglais et allemand) / OUVERTURE POUR PIANO / AIR DE LA MÈRE, POUR CHANT ET PIANO / sur DEUX POÉSIES DE BALMONT / ÉDITION NOUVELLE avec textes russe, français, anglais et allemand. / sur TROIS POÉSIES DE LA LYRIQUE JAPONAISE / ÉDITION NOUVELLE avec textes russe, français et anglais. / >TROIS PETITES CHANSONS (Souvenir de mon enfance) / ÉDITION NOUVELLE avec textes russe et français, russe et anglais. / SYMPHONIES D’INSTRUMENTS A VENT / RÉDUCTION POUR PIANO A 2 MAINS. PAR A. LOURIÈ<.

*** L owercase lettering original.

44-3 igor strawinsky / sérénade en la / serenade in a / pour piano / édition russe de musique · boosey & hawkes // Igor Strawinsky / Sérénade en La / Serenade in A / en quatre mouvements / pour Piano / [°] Édition Russe de Musique (S. et N. Koussewitzky) · Boosey & Hawkes / London · New York · Sydney · Toronto · Cape Town · Paris · Buenos Aires // (Edition in Umschlag eingelegt 26.6 x 33 (2° [4°]); 20 [18] pages + 4 cover pages 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<] + 2 pages front matter [title page, empty page] without back matter; title head >SÉRÉNADE EN LA<; dedication 1st page of the score above title head centre italic > A ma femme <; author specified 1st page of the score paginated p. 3 between title head and unnumbered movement title >HYMNE< flush right centred >Igor Strawinsky / 1925<; fictitious editor specified 1st page of the score between title head and movement title flush left centred >Edited by / ALBERT SPALDING / New-York<; legal reservation 1st page of the score below type area flush left >Copyright 1926 by Édition Russe de Musique (Russischer Musikverlag) / for all countries. / Copyright assigned 1947 to Boosey & Hawkes, Inc., New York, U.S.A. / All rights of reproduction in any form reserved.<; plate number >B. & H. 16303<; production indication 1st page of the score below plate number flush right >Printed in England.<; end number p. 20 as end mark >H.P.B102.148.<) // (1948)

° Strawinsky’s copy of his estate contains a stamp mark at this point centred >INCREASED PRICE / 5/6 d. / Boosey & Hawkes<.

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

44-3Straw

The corrected copy of Strawinsky’s estate contains on the outer title at the top of the page flush right the note >ISt [#] with some / [#] red pencil / [#] corrections / [#] of old misprints<.

44-354 igor strawinsky / sérénade en la / serenade in a / pour piano / édition russe de musique · boosey & hawkes // Igor Strawinsky / Sérénade en La / Serenade in A / en quatre mouvements / pour Piano / Édition Russe de Musique (S. et N. Koussewitzky) · Boosey & Hawkes / London · Paris · Bonn · Capetown · Sydney · Toronto · New York // (Edition [library binding] 23.8 x 31,2 (2° [4°]); 20 [18] pages + 4 cover pages 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<] + 2 pages front matter [title page, empty page] without back matter; title head >SÉRÉNADE EN LA<; dedication 1st page of the score above title head centre italic > A ma femme <; author specified 1st page of the score paginated p. 3 between title head and unnumbered movement title >HYMNE< flush right centred >Igor Strawinsky / 1925<; fictitious editor specified 1st page of the score between title head and movement title flush left centred >Edited by / ALBERT SPALDING / New-York<; legal reservation 1st page of the score below type area flush left >Copyright 1926 by Édition Russe de Musique (Russischer Musikverlag) / for all countries. / Copyright assigned 1947 to Boosey & Hawkes, Inc., New York, U.S.A. / All rights of reproduction in any form reserved.<; production indication 1st page of the score below Satzspiegel flush right >Printed in England.<; plate number >B. & H. 16303<; end number p. 20 as end mark >2. 54. E<) // (1954)

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

44-358 igor strawinsky / sérénade en la / serenade in a / pour piano / édition russe de musique · boosey & hawkes // Igor Strawinsky / Sérénade en La / Serenade in A / en quatre mouvements / pour Piano / Édition Russe de Musique (S. et N. Koussewitzky) · Boosey & Hawkes / London · Paris · Bonn · Capetown · Sydney · Toronto · Buenos Aires · New York // (Edition [library binding] 23.5 x 30.9 (2° [4°]); 20 [18] pages + 4 cover pages red on grey-beige [front cover title, 3 empty pages] + 2 pages front matter [title page, empty page] without back matter; title head >SÉRÉNADE EN LA<; dedication 1st page of the score above title head centre italic > A ma femme <; author specified 1st page of the score paginated p. 3 between title head and unnumbered movement title >HYMNE< flush right centred >Igor Strawinsky / 1925<; fictitious editor specified 1st page of the score between title head und movement title flush left centred >Edited by / ALBERT SPALDING / New-York<; legal reservation 1st page of the score below type area flush left >Copyright 1926 by Édition Russe de Musique (Russischer Musikverlag) / for all countries. / Copyright assigned 1947 to Boosey & Hawkes, Inc., New York, U.S.A. / All rights of reproduction in any form reserved.<; production indication 1st page of the score below Satzspiegel below plate number flush right >Printed in England.<; plate number >B. & H. 16303<; end number p. 20 flush right as end mark >4. 58. E<) // (1958)

44-3[65] igor stravinsky / sérénade en la / serenade in a / pour piano / édition russe de musique · boosey & hawkes // Igor Stravinsky / Sérénade en La / Serenade in A / en quatre mouvements / pour Piano / Édition Russe de Musique (S. et N. Koussewitzky) Boosey & Hawkes / London. Paris. Bonn. Johannesburg. Sydney. Toronto. New York // (Edition [library binding] 23.3 x 31 (4° [4°]); 20 [18] pages + 4 cover pages dark red on grey green [front cover title, 2 empty pages, page with publisher’s advertisements >Igor Stravinsky<* production data >No. 40< # >7.65<] + 2 pages front matter [title page, empty page] without back matter; title head >SÉRÉNADE EN LA<; dedication 1st page of the score above title head centre centred italic > A ma femme <; author specified 1st page of the score paginated p. 3 between title head and unnumbered movement title >HYMNE< flush right centred >Igor Stravinsky / 1925<; fictitious editor specified 1st page of the score between title head and movement title flush left >Edited by / ALBERT SPALDING / New-York<; legal reservation 1st page of the score above title head flush left in the text box contained >IMPORTANT NOTICE / The unauthorised copying / of the whole or any part of / this publication is illegal< below type area flush left >Copyright 1926 by Édition Russe de Musique (Russischer Musikverlag) / for all countries. / Copyright assigned 1947 to Boosey & Hawkes, Inc., New York, U.S.A. / All rights of reproduction in any form reserved.<; production indication 1st page of the score below type area flush right >Printed in England.<; plate number >B. & H. 16303<; without end mark) // [1965]

* Compositions are advertised in two columns without edition numbers, without price informations 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].

44-4 Alb Stravinsky* / И. СТРАВИНСКИЙ // IGOR STRAVINSKY / ŒUVRES POUR PIANO / VOLUME / I / EDITIONS MUSIQUE MOSCOU · 1968 // ИГОРЬ СТРАВИНСКИЙ / СОЧИНЕНИЯ ДЛЯ ФОРТЕПИАНО / ТОМ / I / ИЗДАТЕЛЬСТВО МУЗЫКА · МОСКВА · 1968 // [Text on spine:] ИГОРЬ СТРАВИНСКИЙ 1° СОЧИНЕНИЯ ДЛЯ ФОРТЕПИАНО // (Album 1.6 x 22 [22.3] x 28.9 [29,4] [Lex 8°]; 143 [143] pages + 4 pages bound in imitation leather [front cover title black on cream white, 2 empty pages red, empty page cream] + 8 pages front matter (including binding sides) [empty page red, empty page white, whole-page portrait of the young Strawinsky facing left, 2 empty pages, title page French, title page Russian, editors specified Russian >Составлние и редакция / А. КОНДРАТЬЕВА и К. СОРОКИНА< French >Complétés et rédigés par / A. KONDRATJEV et K. SOROKINE<] + 7 pages backmatter (included binding sides) [page with annotation >ПРИМЕЧАНИЯ< with notes about the genesis of the work and dedications Russian, index >СОДЕРЖАНИЕ< Russian, imprint Russian >Индекс 9-4-4< with billing of names >Редактор А. Бакулов/ Художник В. Антипов/ Худож .редактор Г. Христиани/ Техн. редактор В. Кичороская< and itemized statements of format and origin, 3 empty pages, empty page red]; reprint [reprinting of the original edition including all printing errors] pp. 102-118; title head Russian-French >СЕРЕНАДА # SERENADE / в ля # en la<; movement title Russian-French numbered in Arabic numerals (without dot) pp. 102-105 (>1 / ГИМН [#] HYMNE<), pp. 106-108 (>2 / РОМАНС [#] ROMANZA<), pp. 109-114 (>3 / РОНДОЛЕТТО [#] RONDOLETTO<), pp. 115-118 (>4 / ФИНАЛЬНАЯ КАДЕНЦИЯ [#] CADENZA FINALA<); plate number >5064<; without legal reservations and acknowledging the original publishers on the pages of the score, without end marks) // 1968

° Vertical to text.

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


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

Print Email

Further Reading

We intend to publish other documents and works by Helmut Kirchmeyer in the near future and will list them here. If you wish to be alerted, please use our contact form and send us a message. Thanks!


Copyright © 2020 Procateo KG