K048 Apollon Musagetes

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deutsch K048 Apollo Musagetes

K48 Apollon Musagète

Ballet en deux tableaux pour orchestre à cordes – Apollo Musagetes. Ballett in zwei Bildern für Streichorchester – Apollon Musagetes. Ballet in two scenes for string orchestra – Apollon Musagète. Balletto in due quadri per orchestra d’archi

Title: The additional title ‘musagète’ which was later to become a source of annoyance to the composer, is a rendering into French of the mythologically traded Greek addition to the name of Apollo μουσαγέτης with the meaning ‘leader of the muses’. Later Strawinsky did without the double-name which, however, was retained in all printed versions of the work. When it was determined which of the names originally in French and Russian were to be anglicised in the course of negotiations for the general publishing rights with Ralph Hawkes 1950, Strawinsky refused a translation only in the case of the French original title. The anglicisation ‘Leader of the Muses’ which began in America and seems to have originated by Balanchine was not authorised by Strawinsky and did not prevail.

Scored for: a) First edition: Personnages / Apollon, Deux Déesses, Terpsichore, Calliope, Polyhymnia / Orchestre à cordes [Characters / Apoll, Two Godess, Terpsichore, Calliope, Polyhymnia / String orchestra; b) Performance requirements: Apoll, Leto, Two Godess, Terpsichore, Calliope, Polyhymnia, 2 Solo Violins, 2 Solo Violas, Solo Double bass, 8 First Violins*, 8 Second Violins*, 6 Violas*, 4 First Violoncellos*, 4 Second Violoncellos*, 4 Double basses* (34 player included Soloists).

* Strawinsky wrote in the numbers in his personal copy of the ballet score by hand; the printed editions give no information about the number of strings that he wanted.

Summary:

The action moves differently, depending on whether Strawinsky’s or Balanchine’s imagination leads the way. –

According to the scenarium as published by Strawinsky as a programme introduction in 1928, the ballet begins with a prologue, depicting the birth of Apollo in an idealised landscape at the foot of the Olymp. Leto gives birth to Apollo. Two nymphs receive him, wrap him into a white veil, gird him with a golden belt and feed him on nectar and ambrosia. Then they accompany him to the seat of the gods. End of prologue. Apollo is left on his own on the stage and dances (variation). Calliope, Polyhymnia and Terpsichore appear. Apollo blesses each of them with a specific gift. Thus Calliope becomes the muse of poetic art and, Polyhymnia the muse of the art of expressive movement, Terpsichore the muse of dance (pas d’action). In the following the muses display their art to the god (three variations). Apollo receives the three muses with a dance in their honour (second variation of the Apollo). But Terpsichore is nearest to him, combining both poetry and the art of expressive movement in her person, and thus finds a place of honour beside the god (pas de deux). The other two muses form part of the company and join up with Apollo and Terpsichore in a dance (coda). The ballet closes with an apotheosis. Apollo leads the three muses with Terpsichore preceding to Mount Parnassus which will be their abode from now on. –

Balanchine’s choreography results in changes to Strawinsky’s course of action in various places. Leto does not give birth to Apollo in an idealised pastural landscape but in the darkness of the night on top of a lit up rock. When she disappears again in the darkness of the night, Apollo appears at the foot of the mountain attempting to free himself from his swaddling bands. Two servants want to assist him. With a concentrated effort he finally succeeds in freeing himself without any help. Now the servants hand him a lute, not a lyra or kithara, and Apollo learns how to play it. Then the muses appear; Apollo bestows upon each of them a special gift: Writing board, music and lyra. Then they dance to show what and who they are, and what they can do with their gifts. But Apollo finally turns away from both Calliope and Polyhymnia. Only when Terpsichore begins her dance does his spirit recognise her. So he himself dances the Pas de Deux with her, which begins with Balanchine’s projecting the image of God the Father as depicted by Michelangelo who lets life flow into Adam through his outstretched finger, but here using the medium of dance upon Apollo and Terpsichore. The other muses come to join them. Apollo hides his head in their hands. After the last dance Apollo finds himself dragged as in a trance towards Mount Parnassus. The muses follow him. Leto sinks into the arms of her servants.

Source: According to Greek mythology Apollo and his twin sister Artemis were born as children of Zeus and Leto on the island of Delos. Their birth took place in darkness, as Hera had sworn that Leto should not give birth in sunlight. Nymphs wrap him into swaddling clothes, Themis fed him on nectar and ambrosia. But he burst out of his infant garb and immediately became a youth strong in build. His attributes were the kithara (ᾈπόλλων κιθαρῳδός = Apollon Kitharodos) and the bow and arrow (ὁ τελέσϕορος = the far-hitting one). With him, music and dance arrived at the Olymp. Apollo, also called Phoebus, is the god of pure heavenly light. He announces to the human race the will of Zeus and punishes those disobeying him. He makes blight and sickness appear and removes them again. He is the god of prophecy, the guardian of poetry and especially of music, hence the descriptive name ‘leader of the muses’.

Construction: ‘Apollo’ is poor of action, a so-called ‘white’ ballet (ballet blanc) aimed at movement, not action. Void of any conflict it is given in two pictures with ten scenes with choreographic instructions forming the headings and without numbering.

Structure

[I.]

Premier Tableau

(prologue)

NAISSANCE D'APOLLON

Largo crotchet = 54 (figure 51 up to the end of figure 6 4)

RIDEAU [Curtain*] (figure 4 6)

Apollon vient au monde (figure 6 1)

Allegro minim = 100 (figure 7 1up to the end of figure 14 8)

Apparition de deux déesses (figure 7 1)

Tempo I crotchet = 54 (figure 15 1up to the end of figure 19 6)

Second Tableau

[II.]

VARIATION D'APOLLON

(Apollon et les Muses)

Quaver = 66 (figure 20)

L'istesso tempo quaver = 66 (figure 21 1up to the end of figure 23 9)

Apparition de Calliope, Polymnie et Terpsichore (figure 23 4)

[III.]

PAS D'ACTION

Apollon et les trois Muses: Calliope, Polymnie et Terpsichore

Moderato crotchet = 80 (figure 24 1up to the end of figure 38 12)

[IV.]

VARIATION DE CALLIOPE

(l'Alexandrin)**

Allegretto dotted crotchet = 92 (figure 39 1 up to the end of figure 43 11)

[V.]

VARIATION POLYMNIE

Allegro crotchet = 108 (figure 44 1up to the end of figure 51 10)

[VI.]

VARIATION TERPSICHORE

Allegretto quaver = 92 (figure 52 1up to the end of figure 57 7)

[VII.]

VARIATION D'APOLLON

Lento crotchet = 54 (figure 58 1up to the end of figure 63 7)

[VIII.]

PAS DE DEUX

Apollon et Terpsichore

Adagio quaver = 84 (figure 64 1up to the end of figure 70 6)

[IX.]

CODA

(Apollon et les Muses)

Vivo crotchet = 76 (figure 71 1up to the end of figure 85 7)

Agitato crotchet = dotted crotchet = 168 (figure 86 1up to the end of figure 95 6[ with the 26 bars from figure 89 1up to figure 92 6repeated ])

[X.]

APOTHÉOSE D'APOLLON

Largo e tranquillo crotchet = 54 (figure 96 1up to the end of figure 101 8)

* The curtain fall is not specifically marked in the score.

** Strawinsky sets a line from Boileau to this dance: ‘ Que toujours dans vos vers le sens coupant les mots / Suspende l’hémistiche et marque le repas. /’ (Boileau) [In your verse, the sense always cuts the words. / Hang a halfline onto it and mark the gap.].

Corrections: The available editions contain mistakes. In the piano reduction there were four that were so unbearable to Strawinsky that he had an errata sheet included in the very first edition. Concerned are bars 4 and 5 of the 4th system on page 4 (fig. 12, 2-3) where the last quaver of bar 4 (in the bass clef) was erroneously preceded by a changing g-clef thus not only moving the entire following passage upward by a third but also leading it out of the ambitus of the first piano. The error probably happened when the passage was transferred from the score where this clef applies to three quavers, but the notation is correct. The second error is found in the third system of the third bar on page 11 (fig. 33, 1). Here the second quaver was not resolved from D-flat to D. The third error concerns bars 1 and 2 in six-eight time of the 1st system of page 13 (fig. 39, 1-2) where not only the bar division is wrong, making a six-eight full bar out of a three-eight upbeat, but where this error causes the final quaver to be lengthened by 2 quaver rests plus a dotted crotchet instead of only two quaver rests, as the full bar time of six-eight would not otherwise have been reached. Accidentally, this happens just at the beginning of Calliope’s variation (l’alexandrin). In the final one on page 25 4th system bars 4 and 5 or more correctly, bars 4 - 6 (fig. 73, 4-6) a whole bar was left out (fig 73,5), which is now included.*

* Bass clef, key signature 4 #. Top staff 1st part: tied crotchet c#1, quaver with natural b, tied crotchet b; top staff system 2nd part: crotchet g#, quaver c#, crotchet B, quaver c#, changing treble clef; bottom staff: dotted minim two-note-chord E-e.

Corrections / Errata

Full score 48-4 – 48-6 ( revision edition )

1) Figure 38, First Violin, last quaver ligature: e2-d2-c#2-b1 instead of d2-c#2-b1-a1*.

2).Figure 20, Solo Violin, 3. System, last notes: dotted quaver d2 – dotted quaver c#2 instead of dotted quaver d2 – dotted semiquaver c#2.

3) Figure 43 1(p. 28) system all Violas: Viola clef instead of treble clef.

4) Figure 72 1(p. 52) system all Violas: last but one accord quaver e#2-a2 instead of quaver e2-a2.

* Corrected in the revision edition.

Style: The ‘passive’ action is here juxtaposed by a string orchestra of homogeneous sound which does not admit of percussive elements, even by strings. Strawinsky’s compositional method treated the violoncelli like violins, dividing them into two groups. This absence of conflict is mirrored in a long, streaming flow of melody, an unusual occurrence in Strawinsky’s work considering his previous compositions. What in an ordinary orchestral setting would be contrasting instrumental colours is here replaced by dynamic contrasts, a method he had hitherto applied only once before in the instrumentation of the Pulcinella duet, where he had a pianissimo double bass accompany a fortissimo trombone. Strawinsky further derived from this absence of conflict the necessity to forego any dissonant or harsh sound structures, giving the impression that he had returned to tonality, composed only in major keys with the exception of the final chord which is a minor and that he had forgotten all of his previous works. Apart from differentiation within individual voice groups, Strawinsky uses proportions, a special instrumental ‘question and answer’ play with metrical patterns derived from forms of poetry and contemporaneous, but diverging, time sequences. The entire ballet is proportioned exactly to the last second following either a three part Lied form A-B-A1 or else that of the equally divided form A and B. The only exception is the apotheosis which structurally occupies a special position similar to that of the prologue, to which many of the characteristics peculiar to ballet do not apply. The structural equality A - B - B - A is reserved for the two solo dances of Apollo, the dance of Terpsichore and both of the Pas de Deux. Strawinsky is here using formality to proportion the action. Only in the Apollo variations string instruments are used in solo passages throughout or else they are given specific ornaments, such as trills, probably to indicate the only persona really playing the leading part. The brilliant, majestic character of the chords given to Apollo symbolise the power of this high-ranking god in antique hierarchy, the juxtaposed, compensating rhythmic figures, the ambiguity of a power that may bring life, or death. All of Apollos appearances are superscribed sustained. Compositional characterisation of the muses is not via the musical ‘language’ of the motifs but via their attributes. Calliope (Καλλιόπη = the beautiful voiced one), mother of Orpheus, with the mythological attributes of the waxen board and pen Strawinsky seeks to understand metrically. The subtitle of her variation ‘The Alexandrine’ (l’alexandrin) with a quotation by Boileau points to the transposition of a verse of twelve - in case of a feminine ending thirteen - syllables with stresses on the 6th and 12th syllables respectively and a caesura after the 6th syllable in keeping with the music. The form of the verse is presented during the first four bars and then, in Strawinsky’s peculiar manner, condensed and permutated. Iambic and other metres follow. The Calliope variation is least influenced by Apollonian gesture. Polyhymnia (Πολύμνια = she who has many hymns, actually the muse of lyrical poetry) by Strawinsky is characterised as the muse of expressive gesture. Her variation is a dance consisting of rapid swirling and sparkling movements which continue to the end without stopping after two failed attempts at achieving Apollonian calm. Terpsichore’s variation (Τερψιχόρα = the roundel-happy one) is a charming, finely-wrought allegretto with the punctuated rhythms characterising Apollo showing that she is closest to him. The characterising elements appear in mixed form where Apollo and the muses meet. The pas d’action unites 4 different tempi (= 4 persons participating at the same time). Strawinsky presents the main theme both augmented and diminished at the same time and has a third line intone a canon above it all.

Dedication: >Voici cet ‘Apollon’, dit ‘Musagète’, c.á.d.[*], qui amène la Musa Ver’Igor< [Here is Apollo, named Musagetes, so to speak, who leads the Muse Ver’Igor]. The dedication is only found in one of Strawinsky’s scores and was not published. A number of Strawinksy’s compositions between 1923 and 1930 only seem to bear no dedication, as their secret inspiration was his lover, Vera Soudeikina, who in this dedication by linking together their two names Vera and Igor is declared to have been led to him by Apollo himself.

* [c’est-à-dire].

Duration: between 28' 37" and 30'.

Date of origin: Nizza 16th July 1927 up to 21th January 1928; the revised version was completed on or shortly before 26th September 1947. The sketches are dated to the most precise extent possible.

History of Origin: It had for some time been an idea of Strawinsky to compose a stage work based on Greek mythology. He developed not only the idea and the scenarium but even the choreographic markings entirely on his own, where choreographic movement for the most part was no longer determined by any action on stage. He began work on the ballet on 16th July 1927, when he wrote down the chord denoting the birth of Apollo on the back of the score for ‘Oedipus Rex’. We can reconstruct the development of the composition by following the dating of the sketches Strawinsky made. On 21st January 1928 Strawinsky had completed the work and a day later he played the composition to Diaghilev and the then 24-year-old Balanchine in Nizza. Both were enthusiastic but there were differences with Diaghilev concerning the Terpsichore variation which however did not necessarily have anything to do with either Strawinsky or his ballet.

First performance: 27th April 1928, in the Chamber-Music Room of the Library of Congress in Washington D.C., with Ruth Page (Terpsichore), Elise Reiman (Polyhymnia), Adolph Bolm (Apollo), the set and costumes by Nicolai Remisow with choreography by Adolph Bolm, with the Strings of the Philadelphia Symphony Orchestra , conducted by Hans Kindler; the historically more important first European performance took place on 12th June 1928 in the Théâtre Sarah-Bernhardt in Paris with Alexandra Davilowa (Terpsichore), Liubow Tchernitschewa, Felia Dubrowska, as well as Serge Lifar (Apollo) with the Ensemble of the Ballets Russes de Serge de Diaghilew , with costumes and set by André Bauchant, directed by Serge Grigoriew, with the choreography of George Balanchine and under the direction of Igor Strawinsky.

Remarks: In June 1927 the Library of Congress in Washington ordered a ballet composition from Strawinsky to be premièred at the Festival of Contemporary Music financed by the American art sponsor Elisabeth Sprague Coolidge in the following year, where only works specially composed for the Festival were to be performed. No conditions as to form or content were imposed. Performance time was however restricted to thirty minutes, and the relatively small stage had to be considered.

Significance: As one of the main neo-classicistic works composed by Strawinsky Apollon Musagète became generic in the good and the bad sense of the term. At the same time, due to Balanchine, the ballet marks the beginning of neoclassicistic choreography tending towards the abstract and thus confirmed, as it were belatedly, the position of Francis Poulenc’s Les Biches (Monte Carlo 1924, libretto by Jean Cocteau), a composer highly estimated by Strawinsky. Moreover, Apollon Musagète remains the first ballet of historic importance premièred in the United States of America. The contemporary American press spoke about it as the beginning of American dancing like a ‘chamber style’ perceived as an exceptional event in the provinces outside from New York.

Choreography: The original choreography by Bolm on a much too small stage did not leave a lasting impression while that of Balanchine became very famous. The then 24-year-old dancer realised during the work on Apollon Musagète that sounds have a relationship one with the other, like colours do, and that this relationship may be shown in expressive movement. While Strawinsky had strictly adhered to the imaginary world of Greek mythology and represented Apollo as a form of divine light, and moreover sought to establish a connection to Christian faith which practice he had resumed by this time (there were Russian orthodox crosses drawn on the autograph) with Apollo seen as Sol invictus, a parallel to Jesus Christ (25th December is the feast day of both). Balanchine on the other hand took all divine attributes away from Apollo, and in the course of his further development as choregrapher he not even permitted Apollo to rise to Mount Parnassus. The lute Balanchine ascribes to him instead of kithara or lyre represents more of a societal but - in Western culture at least - never a mystical role and is not just external to this basic difference. The choreography seeks to show how Apollo matures, a process completing itself in the individual scenes and to this end depicting the interplay between Apollo and Terpsichore, as the two spiritually related figures and their teacher-student relationship. The young god is still awkward and clumsy, becomes swiftly more self-assured, learns to play his lute and becomes a master who is then able to pass on his art to others. In the end, Apollo and the muses merge into one spiritual entity and rise up to Mount Parnassus (earlier version) or remain embracing one another unmovingly (later version). In the year of Balanchine’s abstract Agon-choreography Balanchine did wholly without sets or costumes for Apollo. Bare of any mythological or mystifying background, Apollo appears as an excellent dancer in a gym suit, going through his paces. After Strawinsky’s death and shortly before his own, Balanchine removed whole passages from the Apollon ballet, including the entire prologue and the figure of Leto. The original choreography had been particularly arranged to suit Serge Lifar, who for years was the ideal personification of this role.

Versions: A piano reduction and conductor’s score were published by the Russian Music Editors in 1928. An errata sheet followed immediately, but was not considered in the subsequent editions because there was no 2nd edition. The Errata list with four expensively printed corrections, as the date of purchase by the Library of the British Museum (3rd January 1929), the piano reduction (>h.3993.b.(5.<), the outer title is missing) and the errata sheet prove, was already in existence in 1928. Whether the sheet was supplied with all copies or only in later copies remains unclear. There are in any case several editions without an errata sheet inserted or bound in, for example the 1928 inventoried copy >DMS 210671< in the Prussian State Library or the second copy that arrived later (1959) >DMS 254302< or the copy in Basel >62 / STRAW / 9<. All these copies were library bound (re-bound) and trimmed to format. The Errata sheets were on the part of the library normally bound in before the 1st page of music (London; Leipzig) or stuck in (Darmstadt). – Performance materials were available on loan. The publishing contract was concluded on 25th February 1928, it bore the no. IX. Strawinsky did not receive a fixed sum as payment or fee, but declared himself satisfied with proportional payments. The conductor’s score was obviously not for sale but still some copies have survived. Initially, the piano reduction sold well. 221 copies were sold of the first edition, of the second a proud 138. Then, despite the increasing recognition and fame of the work, the number of copies sold fell considerably. In the four years between 1930 and 1933 only 139 copies were sold, as many as in 1929 alone, and in the five years between 1934 and 1938 only 71 copies were bought world-wide. A pocket score of this latest version was not published. After the takeover of the Russian Music Publishers by Ralph Hawkes neither of the two editions were published any more, but replaced by a revised edition in 1947, completed in mid-September of that year. The publishing contract between Strawinsky and Boosey & Hawkes was concluded only on 6th November 1950, when the new editions, pocket score and full score had already been published. According to editorial details the pocket score was printed in February, the full score in March of 1949. A complimentary copy of the full conductor’s score was received at the British Library, London, on 17th September 1949. The new orchestral material was only available on loan, but seems to have become available earlier than the printed full scores. Joseph Szigeti’s reworking for violin solo for the first Apollo variation (which in any case is introduced by a solo violin) appeared during the first half of 1958 for the American market; the necessary contract had been concluded between Strawinsky and Boosey & Hawkes on 29th March 1957. A third of the revenue therefore went to Szigeti, two thirds to Strawinsky. The American complimentary copy for England arrived at the British Library on 9th May 1958.

Revised version: The revised new version of Apollon Musagète was completed on 26th September 1947 at the latest. The number of changes compared with the original were comparatively few, while Strawinsky’s later intentions for further corrections (clearer dotted rhythms in some bars; more strictly metrical notation of violin cadences, changes in assigning holds) never found their way into any of the later printed versions, but clearly formed his own interpretations of his work. He did realise, however, the metrical settings in the repetition of the A part of the first section from quaver = 72 to quaver = 54 (fig. 15 1), a slowing down benefiting the overall proportion of the passage; also, less pronounced, he altered the speed at the agitato of the coda (fig. 86 1) from dotted quaver = 160 to dotted quaver = 168. The only structural change was the repetition of the 26 bars from fig. 89 1to fig. 92.6 of the coda. This does not really structurally alter the composition, however, as merely the interior proportions of the coda are altered, similarly to the effect of the changes in metrical settings for the prologue. All other changes did not interfere with the structure but concerned performing and technical aspects like bowing, phrasing, dynamics and accents.

Historical recordings: New York 1st April 1950, RCA-Victor-Orchestra under the direction of Igor Strawinsky; New York City, 29th Juny 1964, Columbia Symphony Orchestra under the direction of Igor Strawinsky; New York 11th December 1964, Columbia Symphony Orchestra under the direction of Igor Strawinsky.

CD edition: II-1/1-10 (Recording New York 29th. Juny 1964).

Autograph: The original score is in the Library of Congress, Washington D.C. A manuscript of the piano version is at Boosey & Hawkes in London, and another was transferred from the collection of Dr. Paul Sacher in Pratteln, Basel into the Paul Sacher Stiftung, Basel.

Copyright: 1928 by Russischer Musikverlag Berlin; 1949 revised version by Boosey & Hawkes New York; 1958 Violin-Transcription Szigeti.

Editions

a) Overview

48-1 1928 VoSc; Russischer Musikverlag Berlin; 32 pp.; R.M.V. 441.

48-2 Err [1928] Errata sheet at VoSc; Russischer Musikverlag Berlin; 1 p.; R.M.V. 441.

48-3 [1928] VoSc = 48-1 + 48-2; Russischer Musikverlag Berlin; R.M.V. 441.

48-4 1928 FuSc; Russischer Musikverlag Berlin; 67 pp.; R.M.V. 442.

    48-4 Straw ibd. [with annotations].

48-4 St [no known at present].

48-5 1949 VoSc rev.; Boosey & Hawkes London; 39 pp.; B. & H. 16213; 611.

    48-5 Straw 1949 ibd. [without annotations].

48-5 55 1955 ibd.

48-5 63 1963 ibd.

48-5 67 [1966] ibd.

48-6 1949 FuSc rev.; Boosey & Hawkes London; 39 pp.; B. & H. 16213.

    48-6Straw1949 ibd.

48-6[71]ibd.

48-7 (1958) Vl.-Pi. (Apollo-Variation) [Szigeti}; Boosey & Hawkes New York; 3 p.; B. S. I. 77.

48-8 [1987] VoSc rev.; Boosey & Hawkes London; 32 pp.; B. & H. 18753.

b) Characteristic features

48-1 IGOR STRAWINSKY / Apollon Musagète / Ballet en deux Tableaux / ÉDITION RUSSE DE MUSIQUE // IGOR STRAWINSKY / APOLLON MUSAGÈTE / Ballet en deux Tableaux / Réduction pour Piano à 2 mains / par l'AUTEUR. / Prix: RM. 6.~ [*] / 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-Dupré – Paris-Asnières / 2 et 4, Avenue de la Marne – (1928)*** // (Piano reduction stapled 26.6 x 34.1 (2° [4°]); 32 [32] pages + 4 Cover pages black on cream white [front cover title, 3 empty pages] + 2 pages front matter [title page, empty page] + 2 pages back matter [2 empty pages]; title head >APOLLON-MUSAGÈTE / BALLET EN DEUX TABLEAUX<; author specified 1st page of the score p. 1 above and next to scene title >Naissance d’Apollon< flush right centred >IGOR STRAWINSKY / 1927<; 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 1928 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 number >R. M. V. 441<; production indication p. 32 flush left >Imp. Delanchy-Dupré – Paris-Asnières. / 2 et 4, Avenue de la Marne – XXVIII< flush right as end mark >GRANDJEAN GRAV.<) // 1928

° Dividing horizontal line of 0.7 cm.

* The copy in the British Library >h.3992.b.(5.)< contains a stamp mark at this point >8 frs<.

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

*** The copy in the British Library >h.3992.b.(5.)< contains a stamp mark at this point >Majoration 400%<.

48-2 Err Apollon-Musagète [#] STRAWINSKY / ERRATA / R. M. V. 441 // (Errata sheet 25 x 32.4 (2° [4°]); 1 page without pagination with 4 corrections) // [1928]

48-3 = 1928 Piano reduction [48-1] + [1928] Errata sheet [48-2]

48-4 [°] / IGOR STRAWINSKY / Apollon Musagète/ Ballet en deux Tableaux/ PARTITION D'ORCHESTRE / EDITION RUSSE DE MUSIQUE / Russischer Musikverlag (G. M. B. H.)*/ FONDÉE PAR N. ET SERGE KOUSSEVITZKY / BERLIN · LEIPZIG · PARIS · MOSCOU · LONDRES · BARCELONA · NEW YORK / [**] / Imp. Delanchy-Dupré – Paris-Asnières / 2 et 4, Avenue de la Marne – (1928) // [Title page = front cover title] // (Full score [library binding] 26.5 x 34.2 (2° [4°]); 67 [67] pages + 4 cover pages black on light grey [front cover title, 3 empty pages] + 2 pages front matter [title page, empty page] + 3 pages back matter [empty pages]; title head >APOLLON–MUSAGÈTE / BALLET EN DEUX TABLEAUX<; author specified 1st page of the score without pagination [p. 1] above and below scene title >Naissance d’Apollon< flush right centred >IGOR STRAWINSKY / 1928<; 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 1928 by Russischer Musikverlag G. m. b. H. Berlin.< flush right centred >Tous droits d'exécution, de reproduction et / d'arrangements réservés pour tous pays.<; plate number >R.M.V. 442<; without production indication; without end mark) // 1928

° The copy Strawinsky s contains a stamp mark at this point, see 48-4Straw.

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

** Dividing horizontal line of 0.8 cm.

48-4 Straw

Stamp mark [only] a t the top of the front cover page centre centred >MATERIEL EN LOCATION SEULEMENT / PROPRIÉTÉ DE L’ÉDITEUR<. The numbers of the instrumental forces 8 / 8 / 6 / 4 / 4 / 4 are written in pencil on the left with each number next to the instrument names of the first group of systems p. [1]. The copy is signed above author specified next to >PREMIER TABLEAU< handwritten >my personal copy / IStr< and contained many notes on performance.

48-4 St Set of parts // [unidentified]

48-5 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / APOLLON MUSAGÈTE / Revised 1947 VERSION^ / BOOSEY & HAWKES / No. 6II // HAWKES POCKET SCORES / IGOR STRAWINSKY / APOLLON MUSAGÈTE / Ballet en deux Tableaux / Ballet in Two Scenes / Revised 1947 version / BOOSEY & HAWKES / LTD / LONDON · NEW YORK · LOS ANGELES · SYDNEY · CAPETOWN · TORONTO · PARIS / NET PRICE / MADE IN ENGLAND // (Pocket score sewn 13.8 x 18.7 (8° [8°]); 39 [39] pages + 4 cover pages thicker paper dark green on dark beige [front cover title with frame 9.6 x 3.9 dark beige on dark green, 2 empty pages, page with publisher’s advertisements >HAWKES POCKET SCORES / A comprehensive library of Miniature Scores containing the best-known classical / works, as well as a representative selection of outstanding modern compositions.<* production date >No. 520 [#] I.49] + 2 pages front matter [title page, index of roles italic > Personnages< French + legend >Orchestre à cordes—String Orchestra< French-English + duration data [30'] French-English + legal reservation centre centred >Copyright 1928 by Édition Russe de Musique (Russischer Musikverlag) / Revised version copyright in U.S.A. by Boosey & Hawkes Inc., / New York< centre >Copyright for all countries< centre centred italic > All rights of theatrical, radio, television performance, mechanical / reproduction in any form whatsoever (including film) of the / complete ballet or parts thereof are strictly reserved<] + 1 page° back matter [empty page]; title head >APOLLON MUSAGÈTE / BALLET EN DEUX TABLEAUX<; author specified 1st page of the score p. 1 above and next to scene title >NAISSANCE D’APOLLON< flush right centred >IGOR STRAWINSKY / 1928 / Revised 1947<; legal reservation 1st page of the score below type area flush left >Copyright 1928 by Édition Russe de Musique (Russischer Musikverlag) for all countries. / Printed by arrangement, Boosey & Hawkes, Inc., New York. / Revised Edition Copyright 1949 in U.S.A. by Boosey & Hawkes, Inc., New York.< flush right centred >All rights of reproduction / in any form reserved<; plate number >B. & H. 16213<; end mark p. 39 flush left >2·49 L. & B. <**; production indications 1st page of the score below type area centre inside right >Printend in England< p. 39 flush right as end mark >LOWE & BRYDONE PRINTERS LTD., LONDON<) // (1949)

^ ^ Text in frame.

° Original.

* Classical editions from >J. S. BACH< to >WEBER< are listed including the titles of their works in four columns under the headline > classical editions<, under the headline >MODERN EDITIONS< the names of contemporary composers are listed without any titles in four columns from >Bela Bartok< to >Arnold van Wyk<, amongst these >IGOR STRAWINSKY<. T he following places of printing are listed: London -New York-Chicago-Los Angeles-Toronto-Buenos Aires-Capetown-Sydney-Paris angegeben.

** The 9 is inverted and stands on its head.

48-5 Straw

Strawinsky’s copy from his musical collection (Sacher Stiftung Basel >IS / PM / 132<) contains no annotations.

48-555 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / APOLLON MUSAGÈTE / Revised 1947 VERSION^ / BOOSEY & HAWKES / No. 6II // HAWKES POCKET SCORES / IGOR STRAWINSKY / APOLLON MUSAGÈTE / Ballet en deux Tableaux / Ballet in Two Scenes / Revised 1947 version / BOOSEY & HAWKES / LTD. / LONDON · PARIS · BONN · CAPETOWN · SYDNEY · TORONTO · BUENOS AIRES · NEW YORK / NET PRICE / MADE IN ENGLAND // (Pocket score stapled 13.8 x 18.7 (8° [8°]); 39 [39] pages + 4 cover pages thicker paper dark green on dark beige [front cover title with frame 9.6 x 3.8 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 date >No. 582< [#] >6.50<] + 2 pages front matter [title page, index of roles italic > Personnages< French + Legend >Orchestre à cordes—String Orchestra< French-Englich + duration data [30'] French-English + legal reservation justified text centre >Copyright 1928 by Édition Russe de Musique (Russischer Musikverlag) / Revised version copyright in U.S.A. by Boosey & Hawkes Inc., / New York< centre >Copyright for all countries< centre centred italic > All rights of theatrical, radio, television performance, mechanical / reproduction in any form whatsoever (including film) of the / complete ballet or parts thereof are strictly reserved<] + 1 page° back matter [page with publisher’s advertisements >HAWKES POCKET SCORES / A comprehensive library of Miniature Scores containing the best-known classical / works, as well as a representative selection of outstanding modern compositions.<** production date >No. 520< [#] >1.49<]; title head >APOLLON MUSAGETE° / BALLET EN DEUX TABLEAUX<; author specified 1st page of the score p. 1 above and next to scene title flush right centred >IGOR STRAWINSKY / 1928 / Revised 1947<; legal reservation 1st page of the score below type area flush left >Copyright 1928 by Édition Russe de Musique (Russischer Musikverlag) for all countries. / Printed by arrangement, Boosey & Hawkes, Inc., New York. / Revised Edition Copyright 1949 in U.S.A. by Boosey & Hawkes, Inc., New York.< flush right centred >All rights of reproduction / in any form reserved<; production indication 1st page of the score below type area centre inside right >Printed in England<; plate number >B. & H. 16213<; end number S. 39 flush left >9·55 L & B <; production indicatione 1st page of the score below type area centre inside right >Printend in England< S. 39 flush right as end mark >Lowe and Brydone (Printers) Limited, London<) // (1955)

^ ^ Text in frame.

° Different spelling original.

* Compositions are advertised in three columns without edition numbers from >BÉLA BARTÓK< to >R. VAUGHAN WILLIAMS<, amongst these >IGOR STRAWINSKY / Apollon Musagète ( Revised1947) / Capriccio for Piano and Orchestra / Chant du Rossignol / Concerto in D for String Orchestra / Divertimento ( Revised1949) / Mass for Chorus and Wind instr.° / Octet for Wind Instruments° / Œdipus Rex ( Revised1948) / Orpheus / Perséphone ( Revised1947) / Pétrouchka ( Revised1947) / Piano Concerto / Pulcinella Suite ( Revised1949) / Four Studies for Orchestra / The Rite of Spring ( Revised1947) / Symphony of Psalms / Symphonies for°° Wind Instruments° / Three Pieces for String Quartet<. After London the following places of printing are listed: Paris-Bonn-Capetown-Sydney-Toronto- New York [° original spelling; °° original mistake in the title].

** 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 >Bela Bartok< to >Arnold van Wyk<, amongst these >IGOR STRAWINSKY<. T he following places of printing are listed: London-Paris-Bonn-Capetown-Sydney-Toronto-New York.

48-5 63 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / APOLLON MUSAGÈTE / REVISED 1947 VERSION^ / BOOSEY & HAWKES / No. 6II // HAWKES POCKET SCORES / IGOR STRAWINSKY / APOLLON MUSAGÈTE / Ballet en deux Tableaux / Ballet in Two Scenes / Revised 1947 version / BOOSEY & HAWKES / MUSIC PUBLISHERS LIMITED / LONDON · PARIS · BONN · JOHANNESBURG · SYDNEY · TORONTO · NEW YORK / NET PRICE / MADE IN ENGLAND // (Pocket score stapled 13.7 x 18.7 (8° [8°]); 39 [39] pages + 4 Cover pages thicker paper dark green on dark beige [front cover title with frame 9.6 x 3.8 dark beige on dark green, 2 empty pages, page with publisher’s advertisements >HAWKES POCKET SCORES / An extensive library of miniature scores containing both classical / and a representative collection of outstanding modern compositions<* production date >No. I6< [#] >I/6I<] + 2 pages front matter [title page, index of roles italic > Personnages< French + legend >Orchestre à cordes—String Orchestra< French-English + duration data [30'] French-English + legal reservation justified text centre >Copyright 1928 by Édition Russe de Musique (Russischer Musikverlag) / Revised version copyright in U.S.A. by Boosey & Hawkes Inc., / New York< centre >Copyright for all countries< centre centred italic > All rights of theatrical, radio, television performance, mechanical / reproduction in any form whatsoever (including film) of the / complete ballet or parts thereof are strictly reserved<] + 1 Seite back matter [page with publisher’s advertisements >HAWKES POCKET SCORES / A comprehensive library of Miniature Scores containing the best-known classical / works, as well as a representative selection of outstanding modern compositions.<** production date >No. 520< [#] >1.49<]; title head >APOLLON MUSAGETE° / BALLET EN DEUX TABLEAUX<; author specified 1st page of the score p. 1 above and next to scene title >NAISSANCE D’APOLLON< flush right centred >IGOR STRAWINSKY / 1928 / Revised 1947<; legal reservation 1st page of the score below type area flush left >Copyright 1928 by Édition Russe de Musique (Russischer Musikverlag) for all countries. / Printed by arrangement, Boosey & Hawkes, Inc., New York. / Revised Edition Copyright 1949 in U.S.A. by Boosey & Hawkes, Inc., New York.< flush right centred >All rights of reproduction / in any form reserved<; plate number >B. & H. 16213<; end number p. 39 flush left >11·63 L & B <; production indications 1st page of the score below type area centre inside right >Printed in England< p. 39 flush right as end mark >Lowe and Brydone (Printers) Limited, London<) // (1963)

^ ^ Text in frame.

° Different spelling original.

* Compositions are advertised in three columns without edition numbers from >Bach, Johann Sebastian< to >Wagner, Richard<, amongst these >Stravinsky, Igor / Agon / Canticum Sacrum / Le Sacre du Printemps / Monumentum / Movements / Oedipus Rex / Pétrouchka / Symphonie de Psaumes / Threni<. After London the places of printing are listed: Paris-Bonn-Johannesburg-Sydney-Toronto-New York.

** Classical editions from >J. S. BACH< to >WEBER< are listed including the titles of their works in four columns under the headline > classical editions<, under the headline >MODERN EDITIONS< the names of contemporary composers are listed without any titles in four columns from >Bela Bartok< to >Arnold van Wyk<, amongst these >IGOR STRAWINSKY<. The following places of printing are listed: London- Paris-Bonn - Johannesburg-Sydney -Toronto-Buenos Aires-New York .

48-5 67 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / APOLLON MUSAGÈTE / REVISED 1947 VERSION^ / BOOSEY & HAWKES / No. 6II // HAWKES POCKET SCORES / IGOR STRAWINSKY / APOLLON MUSAGÈTE / Ballet en deux Tableaux / Ballet in Two Scenes / Revised 1947 version / BOOSEY & HAWKES / MUSIC PUBLISHERS LIMITED / LONDON · PARIS · BONN · JOHANNESBURG · SYDNEY · TORONTO · NEW YORK / NET PRICE / MADE IN ENGLAND // (Pocket score stapled 13.7 x 18.7 (8° [8°]); 39 [39] pages + 4 cover pages thicker paper dark green on dark beige [front cover title with frame 9.6 x 3.8 dark beige on dark green, 2 empty pages, page with publisher’s advertisements >HAWKES POCKET SCORES / An extensive library of miniature scores containing both classical / and a representative collection of outstanding modern compositions<* production date >No. I6< [#] >I/6I<] + 2 pages front matter [title page, index of roles italic > Personnages< French + legend >Orchestre à cordes—String Orchestra< French-English + duration data [30'] French-English + legal reservation justified text centre >Copyright 1928 by Édition Russe de Musique (Russischer Musikverlag) / Revised version copyright in U.S.A. by Boosey & Hawkes Inc., / New York< centre >Copyright for all countries< centre centred italic > All rights of theatrical, radio, television performance, mechanical / reproduction in any form whatsoever (including film) of the / complete ballet or parts thereof are strictly reserved<] + 1 page back matter [empty page]; title head >APOLLON MUSAGETE° / BALLET EN DEUX TABLEAUX<; author specified 1st page of the score p. 1 above and next to scene title >NAISSANCE D’APOLLON< flush right centred >IGOR STRAWINSKY / 1928 / Revised 1947<; legal reservation 1st page of the score below type area flush left >Copyright 1928 by Édition Russe de Musique (Russischer Musikverlag) for all countries. / Printed by arrangement, Boosey & Hawkes, Inc., New York. / Revised Edition Copyright 1949 in U.S.A. by Boosey & Hawkes, Inc., New York,< flush right centred >All rights of reproduction / in any form reserved<; plate number >B. & H. 16213<; end number p. 39 flush left >7·67 L & B <; production indications 1st page of the score below type area inside right >Printed in England< p. 39 flush right as end mark >Lowe and Brydone (Printers) Limited, London<) // (1967)

^ ^ Text in frame.

° Different spelling original.

* Compositions are advertised in three columns without edition numbers from >Bach, Johann Sebastian< to >Wagner, Richard<, amongst these >Stravinsky, Igor / Agon / Canticum Sacrum / Le Sacre du Printemps / Monumentum / Movements / Oedipus Rex / Pétrouchka / Symphonie de Psaumes / Threni<. After London the places of printing are listed: Paris-Bonn-Johannesburg-Sydney-Toronto-New York.

48-5 [68] HAWKES POCKET SCORES / ^IGOR STRAVINSKY / APOLLON MUSAGETE° / Revised 1947 VERSION^ / BOOSEY & HAWKES / No. 611 // HAWKES POCKET SCORES / IGOR STRAVINSKY / APOLLON MUSAGÈTE° / Ballet en deux Tableaux / Ballet in Two Scenes / Revised 1947 version / BOOSEY & HAWKES / MUSIC PUBLISHERS LIMITED / LONDON · PARIS · BONN · JOHANNESBURG · SYDNEY · TORONTO · NEW YORK / NET PRICE / MADE IN ENGLAND // (Pocket score stapled 14 x 19.1 (8° [8°]); 39 [39] pages + 4 cover pages thicker paper olive-green on dark beige [front cover title with frame 9.7 x 3.9 dark beige on olive-green, 2 empty pages, page with publisher’s advertisements >HAWKES POCKET SCORES / The following list is but a selection of the many items included in this extensive library of miniature scores / containing both classical works and an ever increasing collection of outstanding modern compositions. A / complete catalogue of Hawkes Pocket Scores is available on request.<* production date >No. 16< [#] >1.66<] + 2 pages front matter [title page, index of roles italic > Personnages< French + legend >Orchestre à cordes—String Orchestra< French-English + duration data [30'] French-English + legal reservation justified text centre >Copyright 1928 by Édition Russe de Musique (Russischer Musikverlag) / Revised version copyright in U.S.A. by Boosey & Hawkes Inc., / New York< centre >Copyright for all countries< centre centred italic > All rights of theatrical, radio, television performance, mechanical / reproduction in any form whatsoever (including film) of the / complete ballet or parts thereof are strictly reserved<] + 1 page back matter [empty page]; title head >APOLLON MUSAGETE / BALLET EN DEUX TABLEAUX<; author specified 1st page of the score p. 1 above and next to scene title >NAISSANCE D’APOLLON< flush right centred >Igor Stravinsky / 1928 / Revised 1947<; legal reservation 1st page of the score below type area flush left >Copyright 1928 by Édition Russe de Musique (Russischer Musikverlag) for all countries. / Printed by arrangement, Boosey & Hawkes, Inc., New York. / Revised Edition Copyright 1949 in U.S.A. by Boosey & Hawkes, Inc., New York,< flush right centred >All rights of reproduction / in any form reserved<; plate number >B. & H. 16213<; production indication 1st page of the score below type area inside right >Printed in England<; without end mark) // [1968]

^ ^ Text in frame.

° Different spelling original.

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

48-6 igor strawinsky / apollon musagète / partition d'orchestre / édition russe de musique · boosey & hawkes // Igor Strawinsky / Apollon Musagète / Ballet en Deux Tableaux / Ballet in Two Scenes / Partition d'Orchestre · Full Score / Version Revisée 1947 Revised Version / 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 32.8 (2° [4°]); 39 [39] pages + 4 cover pages tomato red on grey green [front cover title, 2 empty pages, page with publisher’s >Edition Russe de Musique / (S. et N. Koussewitzky) / Boosey & Hawkes< advertisements > Igor Strawinsky<°] + 2 pages front matter [title page, list of roles > Personnages< French + legend French-English without headline + duration data French-English [>30 minutes<] + legal reservation centred >Copyright 1928 by Édition Russe de Musique (Russischer Musikverlag) / Revised version copyright 1949 in U.S.A. by Boosey & Hawkes Inc., New York. / Copyright for all countries< / zentriert kursiv > All rights of theatrical, radio, television, performance, mechanical reproduction in any/ form whatsoever (including film) of the complete ballet or/ parts thereof are strictly reserved.<] + 1 page back matter [empty page]; title head >APOLLON MUSAGÈTE / BALLET EN DEUX TABLEAUX<; author specified 1st page of the score above and next to movement title >NAISSANCE D’APOLLON< flush right centred >IGOR STRAWINSKY / 1928 / Revised 1947<; legal reservation 1. page of the score below type area >Copyright 1928 by Édition Russe de Musique (Russischer Musikverlag) for all countries. / Printed by arrangement, Boosey & Hawkes, Inc., New York. / Revised Edition Copyright 1949 in U.S.A. by Boosey & Hawkes, Inc., New York.< flush right centred >All rights of reproduction / in any form reserved<; plate number >B. & H. 16213<; end number: >3·49·L. & B.<) // 1949

* 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.

48-6 Straw

The copy from Strawinsky’s estate is signed with >IStrawinsky< on the front cover page at the top of the page right.

48-6 [71] Igor Strawinsky / Apollon Musagète / Ballet en Deux Tableaux/ Ballet in Two Scenes / Partition d'Orchestre· Full Score/ Version Revisée 1947 Revised Version / Édition Russe de Musique (S. et N. Koussewitzky) . Boosey & Hawkes // Igor Strawinsky / Apollon Musagète / Ballet en Deux Tableaux/ Ballet in Two Scenes/ Partition d'Orchestre· Full Score/ Version Revisée 1947 Revised Version / Édition Russe de Musique (S. et N. Koussewitzky) . Boosey & Hawkes / London . Paris . Bonn . Johannesburg . Sydney . Toronto . New York // (Full score [library binding] 23.3 x 30.9 (2° [4°]); 39 [39] pages + 4 cover pages burgund red on grey green [front cover title, 2 empty pages, page with publisher’s advertisements >Igor Stravinsky<* production date >No. 40< [#] >7.65<] + 2 pages front matter [title page, index of rols > Personnes< French + legend >Orchestre à cordes — String Orchestra< French-English + duration data [30’] French-English + legal reservation justified text centre >Copyright 1928 by Édition Russe de Musique (Russischer Musikverlag) / Revised version copyright in U.S.A. by Boosey & Hawkes Inc., / New York< centre >Copyright for all countries< centre centred italic > All rights of theatrical, radio, television performance, mechanical / reproduction in any form whatsoever (including film) of the / complete ballet or parts thereof are strictly reserved< zentriert >Copyright 1928 by Édition Russe de Musique (Russischer Musikverlag) / Revised version Copyright 1949 in U.S.A. by Boosey and Hawkes, Inc., New York. / Copyright for all countries< [#] centred italic > All rights of theatrical, radio, television performance, mechanical reproduction in any / form whatsoever (including film) of the complete ballet or / parts thereof are strictly reserved.<] + 3 pages back matter [empty page, page with publisher’s advertisements >SYMPHONIC MUSIC<** production date >No. 8< [#] >2/71<, page with publisher’s advertisements >SYMPHONIC MUSIC<*** production date >No. 8a< [#] >2/71<]; title head >APOLLON MUSAGÈTE / BALLET EN DEUX TABLEAUX<; author specified 1st page of the score p. 1 above and next to scene title >NAISSANCE D’APOLLON< flush right centred >IGOR STRAWINSKY / 1928 / Revised 1947<; legal reservation 1st page of the score next to title head flush left with a text box containing >IMPORTANT NOTICE / The unauthorized copying / of the whole or any part of / this publication is illegal< below type area flush left >Copyright 1928 by Édition Russe de Musique (Russischer Musikverlag) for all countries. / Printed by arrangement, Boosey & Hawkes, Inc., New York. / Revised Edition Copyright 1949 in U.S.A. by Boosey & Hawkes, Inc., New York.< flush right centred >All rights of reproduction / in any form reserved<; plate number >B. & H. 16213<; production indication 1st page of the score below type area centre inside right >Printed in England<; without end mark) // [1971]

* 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; °° original mistake in the title]

** Compositions are advertised in two columns without specification of places of printing from >BARRAUD< to >KODÁLY<, Strawinsky not mentioned.

*** Compositions are advertised in two columns without specification of places of printing from >LEES< to >WILLIAMSON<, amongst these >STRAVINSKY / Agon / Capriccio for Piano and Orchestra / Concerto for Piano and Wind Instruments / Divertimento from The Fairy’s Kiss/ Orpheus / Petrouchka / The Rite of Spring / Variations<.

48-7 STRAVINSKY / [picture] / VARIATION d'APOLLON / FROM "APOLLON MUSAGETE" / ARRANGED BY JOSEPH SZIGETI [#]1.00 / FOR VIOLIN AND PIANO / BOOSEY AND HAWKES // (Edition Violin-Piano [library binding] 22.5 x 30.2 (4° [4°]); 3 [2] pages + 1 page front matter [title page with a decorative picture of the god Apollo playing the cithara ] +1 page back matter [page with publisher’s >Boosey & Hawkes / New York< advertisements > Violin Music/ Classical and Modern<* without production date] + 2 [1] pages violin part enclosed + 1 page back matter [empty page]; title head [score and part] >VARIATION D’APOLLON / Apollon Musagete<; author specified 1st page of the score p. 2 [part unpaginated] below title head flush right centred partly in italics >IGOR STRAVINSKY / arranged by Joseph Szigeti<; legal reservation [score and part] 1st page of the score below type area flush left >Copyright 1928 by Russischer Musikverlag G. m. b. H. Berlin / Copyright assigned 1947 to Boosey & Hawkes, Inc. / This arrangement © Copyright 1958 in U. S. A. by Boosey & Hawkes, Inc. / Copyright for all countries. All rights reserved<; production indication [score and part] 1st page of the score below type area flush right >Printed in U.S.A.<; list of the part part 1st page of the score next to subtitle head flush left >Violin<; plate number >B. S. I. 77<; without end mark) // (1958)

* Compositions are advertised in two columns under the heading >Violin and Orchestra< from >Béla Bartók< to >Arnold van Wyck<, under the heading >Violin Solo< [centre] a composition by >Béla Bartók<, under the heading >Violin and Piano< from >Béla Bartók< to >F. M. Veracini< and from >Aaron Copland< to >Sándor Veress<, Strawinsky not mentioned.

48-8 [67] Igor Stravinsky / apollon musagète / Réduction pour Piano à 2 mains / par l’Auteur / édition russe de musique · boosey & hawkes // Igor Stravinsky / Apollon Musagète / Ballet en Deux Tableaux / Ballet in Two Scenes/ Réduction pour Piano à 2 mains / Édition Russe de Musique (S. et N. Koussewitzky) Boosey & Hawkes / London · New York · Sydney · Toronto · Johannesburg · Paris · Buenos Aires // (Piano score [library binding 23.3 x 31 ([4°]); 32 [32] pages + 4 cover pages thicker paper black on yellow-orange [front cover title, 3 empty pages] + 2 pages front matter [title page, empty page] + 2 pages back matter [empty pages]; title head >APOLLON-MUSAGÈTE / BALLET EN DEUX TABLEAUX<; author specified 1st page of the score p. 1 below, next to and above scene title >Naissance d’Apollon< flush right centred >IGOR STRAVINSKY / 1927 / Revised 1947<; legal reservations 1st page of the score below type area flush left >Copyright 1928 by Edition Russe de Musique (Russischer Musikverlag) / Copyright assigned 1947 to Boosey & Hawkes Inc., New York / Revised Version Copyright 1949 in U. S. A. by Boosey & Hawkes Inc., New York< flush right >All rights reserved<; plate number >B. & H. 18753<; production indications 1st page of the score below legal reservation flush right >England* in England< S. 32 flush right als End mark >GRANDJEAN GRAV. / Lowe and Brydone (Printers) Limited, London< // [1967]

* Double-writing original.


K Cat­a­log: Anno­tated Cat­a­log of Works and Work Edi­tions of Igor Straw­in­sky till 1971, revised version 2014 and ongoing, by Hel­mut Kirch­meyer.
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