K009 Four Studies

K9 Quatre Études

pour piano, Op. 7 – Vier Etüden für Klavier, Op. 7 – Four Studies for piano, Op. 7 – Четыре этюда – Quattro studi per pianoforte op. 7

Construction: This series of four studies is numbered using Roman numerals with separate Opus numbers and Italian markings.

Structure

I (Op. 7,1) - Ut-mineur - c-moll - C-minor

Con moto M. M. Crotchet = 88

II (Op. 7,2) - Ré-majeur - D-dur – D-major

Allegro brillante M. M. dotted Crotchet = 76

III (Op. 7,3) - Mi-mineur - e-moll - E-minor

Andantino M. M. dotted Crotchet = 48

IV (Op. 7,4) – Fa#-majeur - Fis-dur – F#-major

Vivo M. M. Minim = 76

Style: The works are indebted to Scriabin, as can be seen from the manner in which they are written, and to the sound-world of Chopin. The works bear all the hallmarks of a typical Scriabin piano work such as: the overemphasis of the left hand, chromatic diction as a compositional principle leading to strongly broken-up harmony, the constant alternation between octaves and fast notes, phrases containing rhythmic displacement, a restless, hurried feeling, an accented bass-line which exceeds the octave, occasionally containing leaps which can be scarcely executed, such as b flat-g1-e flat 2 or d2-b2-f sharp 3, and the linking together of rhythmically and metrically eccentric groups from duplets to sextuplets with a motor-rhythm bass movement. In the complex rhythms (5 against 3, 7 against 3, 9 against 4 etc.), one detects harbingers of Strawinsky’s later, more original style. The four studies are all in different characters and contain, unlike Strawinsky’s later multi-movement works, no inter-movement tempo relationships; in terms of technical difficulty, they do exceed that of the normal Chopin Etudesand present the pianist with many different technical challenges. In the first study, these are in the rhythmic patterns which play against one another and which interact between the upper and lower parts in such a way that a drum effect is created, making the exact rhythm impossible to hear. In the second study, the chains of semiquavers, as a motor rhythm, are supported by the following play in octaves consisting of a note or two-note chord with displaced accents and rotations which as a result are either supported by exact semiquaver-quintuplets, semiquavers followed by semiquaver-quintuplets, triplets and syncopated triplets in one part alone or in octaves, and have a similar effect. The third study contains a peaceful, sonorous melody in the bass part which does not interrupt the flow of the motor rhythm, a main melody, with its sweet overarching character coming from a 6/8 semiquaver passage, makes this Etude stand out from all the others. In the fourth study, the upper and lower parts are swapped round by the use of Bachian Invention-technique, and several structural moments are combined which are individually characterised. The first structural moment combines a one-part and subsequently downward four-note staccato phrase in the bass made up of mechanistic quavers with similarly one-part groups of soprano semiquavers, this time proceeding upwards like a sequence, and the mechanical nature and extremely fast tempo of the music does not allow the upbeat character of the music to be heard. Without letting up on the speed or hammering uniformity, at the second structural moment, the two-part texture transitions into a jumping multitude of notes, stopping the bass staccato and instead transforming the previously four-note accompaniment figure in single notes into a four-note accompaniment figure in two notes, meaning that the tying-over of notes across the sequence of meter changes can similarly no longer be heard. In a further structural moment, the use of many notes in the bass part moves into the upper part and the modified running movement proceeds into the lower part.

Historical assessment: The Strawinsky literature is not united in the characterisation or assessment of the Etudes. While White I does not think much of the Etudes, does not attribute any positive features to them, describing the overloaded chromatic writing and rhythmic complications as processes that lead to a vague profile and a lack of metric definition, White II includes the name Scriabin as a model for the first time, presumably out of the previous literature, without being any more restrained in his artistic appraisal. Yarustovsky takes no notice of the Etudes, Roman Vlad recognises the combined influence of Chopin alongside Lyadov and Scriabin, which Robert Craft later reduced to Chopin alone in the introduction to the V. Strawinsky CD, without naming Scriabin. It is Vlad who sees premonitions of Strawinsky’s later style in the complicated use of meter (5 to 3, 7 to 3, 9 to 4 etc.).

Dedications*: I. Степану Степановичу Митусову - A M ^rEtienne Mitoussow; II. Николаю Ивановичу Рихтеру - A M ^rNicolas Richter; - III. Андрею Николаевичу Римскому-Корсакову - A M ^rAndré Rimsky-Korsakow; IV. Владимиру Николаевичу Римскому-Корсакову - A M ^rVoldemar* Rimsky-Korsakow [To Mr. Etienne Mitoussow; To Mr. Nicolas Richter; To Mr. André Rimsky-Korsakow; To Mr. Voldemar Rimsky-Korsakow].

* The Benjamin Edition contains no dedication and the misprint ‘Voldemar’ (instead of ‘Vladimir’) is original.

Date of origin: Ustilug June/July 1908.

Duration: about 7' 46" [1' 07" + 2' 42" + 1' 59"+1' 58"].

First performance: 1908 in St. Petersburg by Igor Strawinsky.

Remarks: So far, not much is known about the circumstances surrounding the composition of the work. The revision mark, M. Frey, which is printed in all the later Benjamin Editions, gives the impression of there having been a revision which in fact did not take place, is the earliest attempt to prevent the production of unauthorised copies of Strawinsky’s compositions published in Russian publishing houses. Other names of real people, such as Burt, Spalding and Schneider, are later found on other compositions, but no real work had taken place.

Situationsgeschichte: Since about 1905, there existed four different, competing artistic movements in Russia with different origins and aims. First, there was the group of academic musicians established by Rimsky-Korsakov and the Belajev circle and later supported by Glazunov; this group, with the nomination of Glazunov, the Director of the St. Petersburg Music Conservatory (1905-1928) controlled the growing professional musicians and as a result, moulded the official musical life of the capital city. Second is the somewhat sultry mysticism seeking a new form of musical reformation of the world, represented by Scriabin and his circle; highly influenced by literature, this movement came about as a result of political events and an opposition to the standard musical practice and it was regarded as such. This group contained – as Strawinsky certainly correctly recalls in his reminiscences in the late Fifties - all the hallmarks of a morbid decadence which must first be recognised if one is to become immune to it. Finally, there was the group initiated by Serge Diaghilev and his circle which was interested in the contemporary French Impressionist movement which at first only played an outside role in Russia and was at that time as famous as the concerts of avant-garde contemporary music in Germany. The fourth movement was a scurrilous group of outsiders making some of the earliest attempts at twelve-tone music. This group played no part and was only (re-)discovered outside Russia in 1960. Strawinsky dissolved from Rimsky-Korsakov by the Gorodetsky songs and as a result, he incurred the latter’s criticism and the hatred of Glasunov. With the opponent Scriabin and his circle to which belongs also Konstantin Balmont and Madame Blawatzky - a representative of theosophy - stand in the eyes of the Russians the avant-garde. In spite of his personal affirmations of the esteem in which he held him, Strawinsky did not want to be connected neither at that time nor later. and he never had understood his mother’s enthusiasm for Scriabin. Since both movements, reaction and opposition, shared a common outlook in that they did not look into the future, preferring rather to cement the contemporary aggressive alliance between Formalism and ‘ Schwärmerei’ as a national final product. Strawinsky’s attachment to Diaghilev’s movement allowed Impressionism to remove his mental block, which had arisen as a result of the Russian School as well as its opposition. That he came to the point at the end of his life where his unnoticed Russian contemporaries of the early 12-tone music had already confessed to some extent, shows how cyclic developments in music history can be.

Versions: The printing history is almost impossible to reconstruct. The first publishers were Jurgenson in Moscow, who published the Studies in four separate books in 1910. It is certain that they were published in a second edition before Lenin took control of the press, which leads us to believe that the works must have sold well. Both editions can be identified by the altered spelling of the street name of the Leipzig branch, firstly ‘Thalstr.’ in the old manner, then ‘Talstr.’ in the new German orthography introduced in 1900. After this, events become unclear. Once Lenin had taken control of the press, the rights went directly to Forberg but Forberg evidently, as in other cases, did not print any further versions. Instead, all the editions bear the name of the publisher Benjamin, who was originally based in Hamburg, but at that time was operating from Leipzig with a branch in Milan. Benjamin printed likewise in four books in an old manner with an intricately decorated cover-page and inserted the copyright with his name and the date 1925. From this, we can assume his acquisition of the rights and a printing date of 1925. He invented the revision name M. Frey and did not print the dedications. He cannot have been the next owner of the rights, however, because the fourth book bears an acknowledgment of permission for the firm Forberg in Leipzig to be the new owner of the rights from Jurgenson. The printed edition of the fourth study, which is a slightly smaller study, differs from the other three by the omission of the index of other printed titles on the title page. The music library in the city of Leipzig stores an example of it under the signature 5.18251. Clearly, it cannot be ruled out that there may be two editions which have only been found in sections or, similarly, that the transfer of the print run could have led to a change in the appearance of the publication. The Benjamin publishing house was destroyed by the National Socialists after 1933 and must have been re-established after the Second World War. It says a great deal that there were new print runs after 1953. Leipzig, which had meanwhile become Communist, was given up, and the printed material only bears the names of the branches in Hamburg and London. The printing was carried out in England at first until Heinrichshofen in Wilhelmshaven got the job. The Studies were published in a modern and sober design with an ornamented hollow type-face on the title-page and were, as before, not published as a complete edition, rather than in separate booklets, each with its own plate number. This was a tradition which Benjamin took from Jurgenson and which remained in place until after Strawinsky’s death, when Benjamin publishers became part of Boosey & Hawkes. The books were also published there at different times, in so far as can be ascertained, some of them in new versions. An exception to this rule is the two American and Russian printings, which could have been illegal printings. – The editions can be dated from the re-founding of the Benjamin Publishing House after the Second World War thanks to the correspondence from the print-run, which is still existent in part. The printing was carried out by Heinrichshofen in Wilhelmshaven. The obtaining of comparable offers changed nothing. Heinrichshofen was certainly more expensive, but it was also better. The printing press and place of printing remain unspecified, but the outer design with the surname of the composer in a form ornamented hollow type-face, the characteristic simplicity of which remained unchanged over the years. When and by whom the title page was designed and at which point these first separate versions of the Studies appeared in their new form is unclear. The Heinrichshofen press has stated that it holds no records from this time. – The first Study was printed in September 1962 in a run of 700 copies and was not printed again in Strawinsky’s lifetime. The next run came in June 1972; this time, there were 1,000 copies printed and in this instance, the legal reservation of performance rights was removed from above the type area. This edition can also be recognised by the fact that the Roman numerals do not have full stops following them. The Benjamin publishing house has 1978 a store of 60 copies of this edition. It was printed by Heinrichshofen in Wilhemshaven. – The date of the production of the hollow-font edition of the second Study after the Second World War has so far been impossible to discover. This edition can be identified by its advertisements, which are different to the later editions. It is certain that there was a subsequent print-run in Germany in February 1969 of 300 copies with new advertisements; 150 of these 300 copies were sold within one and a half year. The next version from February 1970 ran to 1,000 copies. The next print run was in 1977. – It was the same for the third Study. There was certainly a printed edition by Heinrichshofen from May 1971, the year of Strawinsky’s death. It can be identified by: the underlined number of the title in the index, the missing comma underlining under the edition number, the missing acute accent in the main title, the missing legal reservation of performance rights by the main title, the missing final full stop before the Roman numerals for the works, and by the lack of a statement of the printing location on the advertisement page. – The fourth Study was (apparently) newly printed in the mid-‘50’s in England. Nothing more precise than this is known. There was then another version which can be dated to August 1957 at the latest and which ran to 1,500 copies. It contains a legal reservation of performance rights which was missing in the English version and which was omitted for the subsequent edition. This later edition was contracted with Heinrichshofen in September 1969 and ran to 1,000 copies. In all probability, however, 1,500 copies were printed. On 26th September 1969, there were only 100 copies remaining of the 1957 edition. In the preceding 145 months (12 years, 1 month), 1458 copies were sold, i.e.10 per month, so that the stockpile, commercially predicted, only lasted for 4 months. The changes made in this instance were related to a more exact knowledge of the publisher’s publishing house and the removal of the caveat above the type area which had become obsolete in the meanwhile. This print-run seems to have sold better than the previous one, as the unchanged, subsequently printed version was produced in a further print run of 1,500 copies. It must have been a rushed job because there were only 42 copies stored that day. In 1972 alone, 300 copies were sold. The 1969 and 1973 editions can only be differentiated by the overextended underlining on the title pages, which came out a bit thicker and more carefully judged in the 1973 edition. Certain editions with the hollowed text effect, such as the second Study, can be recognised by the fact that the underlining of the title numbers on the title page overshoots to the left and right in the earlier versions, while they are aligned accurately in the later editions; there is also a reversed version of the underlining of the edition numbers in the later editions, which includes the comma signs, while only the numbers are underlined in the early editions. – To what extent the American printing by the International Music Company of 1953 is linked with Benjamin cannot be seen from the edition itself. The four studies were printed in one book. In place of Frey, Isidor Philipp was put as the publisher and he bore the copyright of 1953 himself. The Russian edition of 1968, which was a compilation of Strawinsky’s piano works in two volumes and which began the first volume with the four Studies, is clearly an illegal printing. It can be assumed that there are further, unauthorised reprints in America. The Edward B. Marks Music Corporation commissioned the works to be arranged by Max Hirschfeld and the location was given as at RCA Building Radio City, New York. The arrangement consists of an embarrassingly specific set of fingerings and is dated by American bibliographers to 1936.

Editions

a) Overview

9-1 1910 Etüde Nr. 1; P. Jurgenson Moskau; 5 pp. 25.7 x 33.5; Pl.-Nr. 33866.

9-2 1910 Etüde Nr. 2; P. Jurgenson Moskau; 7 pp. 25.7 x 33.5; Pl.-Nr. 33867.

9-3 1910 Etüde Nr. 3; P. Jurgenson Moskau; 5 pp. 25.7 x 33.5; Pl.-Nr. 33868.

9-4 1910 Etüde Nr. 4; P. Jurgenson Moskau; 9 pp. 25.7 x 33.5; Pl.-Nr. 33869.

9-5 Etüde Nr. 1; P. Jurgenson Moskau; 5 pp. 25.7 x 33.5; Pl.-Nr. 33866.

9-6 Etüde Nr. 2; P. Jurgenson Moskau; 7 pp. 25.7 x 33.5; Pl.-Nr. 33867.

9-7 Etüde Nr. 3; P. Jurgenson Moskau; 5 pp. 25.7 x 33.5; Pl.-Nr. 33868.

9-8 Etüde Nr. 4; P. Jurgenson Moskau; 9 pp. 25.7 x 33.5; Pl.-Nr. 33869.

9-9 [1921] Etüde Nr. 1; Jurgenson-Forberg 5 pp. 25.5 x 32,3; Pl.-Nr. 33866.

9-10 [1921] Etüde Nr. 2; Jurgenson-Forberg 7 pp. 25.5 x 32.3; Pl.-Nr. 33867.

9-11 [1921] Etüde Nr. 3; Jurgenson-Forberg 5 pp. 25.5 x 32.3; Pl.-Nr. 33868.

9-12 [1921] Etüde Nr. 4; Jurgenson-Forberg 9 pp. 25.5 x 32.3; Pl.-Nr. 33869.

9-13 [1925] Etüde Nr. 1; Benjamin Leipzig-Mailand 5 pp. 26.1 x 32.9; Pl.-Nr. A. J. B. 8285.

9-14 [1925] Etüde Nr. 2; Benjamin Leipzig-Mailand [unidentified].

9-15 [1925] Etüde Nr. 3; Benjamin Leipzig-Mailand [unidentified].

9-16 [1925] Etüde Nr. 4; Benjamin Leipzig-Mailand 7 pp. 26.1 x 32.9; Pl.-Nr. A. J. B. 8287.

9-17^Alb 1941 Etüde Nr. 4; Marks 6 pp.; 10,342-6.

9-18 1953; Etüden 1-4; International Music Company New York; 20 pp.; 1512.

9-19 Etüde Nr. 1; Benjamin Leipzig-Hamburg [unidentified].

9-20 Etüde Nr. 2; Benjamin Leipzig-Hamburg [unidentified].

9-21 Etüde Nr. 3; Benjamin Leipzig-Hamburg [unidentified].

9-22 Etüde Nr. 4; Benjamin Leipzig-Hamburg [unidentified].

9-23 Etüde Nr. 1; Benjamin Hamburg-London [unidentified].

9-23⁶²

9-24 Etüde Nr. 2; Benjamin Hamburg-London [unidentified].

9-24⁶⁹

9-25 Etüde Nr. 3; Benjamin Hamburg-London [unidentified].

9-25⁷¹

9-26 Etüde Nr. 4; Benjamin Hamburg-London [unidentified].

9-26⁵⁷

9-26⁶⁹

9-27^Alb 1968 Etüden 1-4; Editions Musique Moscou; 19 pp.; 5064.

b) Characteristic features

9-1 QUATRE ETUDES / pour Piano. / ¹ 1.* 40 c. [#] ¹ 3.* 40 c. / ¹ 2.* 50 „ [#] ¹ 4.* 60 „ / par / I. Strawinsky. / Op. 7 / Propriété de l'éditeur/ [°] / P. JURGENSON. / MOSCOU. [#**] LEIPZIG. / Neglinny pr. 14. [#**] Thalstrasse 19. / St.-Pétersbourg, chez J. Jurgenson. | Varsovie, chez E. Wende & C ^o. / Kiew, chez L. Idzikowski.*** // (Edition [library binding] 26.8 x 33.9 (2° [4°]); 5 [3] pages without cover + 2 pages front matter [ornamental title page creme white with frame 15.3 x 21.6 blue on green shaded in red and small frame 10 x 4 (the first two lines) , empty page] + 1 page back matter [page with publisher’s advertisements >Compositions russes pour Piano à 2 mains.<**** production date >1910<]; title head >QUATRE ETUDES.<; dedication below title head centred > Степану Степановичу Митусову . / A M ^r Etienne Mitoussow.<; author specified 1st page of the score paginated p. 3 next to piece number in Roman numerals (with dot) centre >I< flush right >I. STRAWINSKY. Op. 7.<; legal reservation without Copyright 1st page of the score below type area flush left >Propriété de l'éditeur<; plate number >33866<; without end of score dated; production indications 1st page of the score below type area flush right >P. Jurgenson à Leipsic et Moscou< p. 5 flush right as end mark >Gravé et impr. chez ***** P. Jurgenson à Moscou.<) // [1910]

° Jurgenson vignette 0.7 x 0.9 Double eagle with crown, broad wings and a figure on the shield.

* Fill character (dotted line).

** A vertical line spanning two lines, 0.5 cm with arrows in both direction.

*** The copy >h.1426.a.(12.)< acquired by the British Museum on 4th June 1913 has a stamp in the centre of the bottom of the title page >SOLE AGENTS FOR THE / UNITED KINGDOM: / BREITKOPF & HÄRTEL. / LONDON< and flush right another >NET. 1/—<.

**** Compositions are advertised in two columns by M. Lissitzin, L. Lissowsky, S. Maykapar, N. Medtner, M. Meytschick, , M. Miloradowitsch. Némérowsky, L. NikolaÏew, H. Pachulski, S. Pantschenko, S. Petrow-Boyarinow, M. Pokroschinsky, J. Pokrowsky, Wl. Rébikoff, O. Reuttern, O. von Riesemann, A. Roubetz, N. Rubinstein, B. Sabaniéiew, L. Sabaniéiew, B. Sadowsky, N. Schischkin, S. Srebdolsky, P. Tschaïkowsky, M. Tschernoff, A. Tschesnokoff, A. Zatayewitsch; Strawinsky not mentioned.

***** The publisher’s emblem in the form of a coat of arms 0.7 x 0.8 Double eagle and an N in the coat of arms.

9-2 QUATRE ETUDES / pour Piano. / ¹ 1.* 40 c. [#] ¹ 3.* 40 „ / ¹ 2.* 50 „[#] ¹ 4.* 60 „ / par / I. Strawinsky. / Op. 7 / Propriété de l'éditeur/ P. JURGENSON. / MOSCOU. [#**] LEIPZIG. / Neglinny pr. 14. [#**] Thalstrasse 19. / St.-Pétersbourg, chez J. Jurgenson. | Varsovie, chez E. Wende & C ^o. / Kiew, chez L. Idzikowski.*** // (Edition [ library binding ] 26.8 x 33.9 (2° [4°]); 7 [6] pages without cover + 1 page front matter [ornamental title page cremewhite with frame 15.3 x 21.6 blue on green shaded in red and small frame 10 x 4 (the first two lines) ] + 1 page back matter [page with publisher’s advertisements >Compositions russes pour Piano à 2 mains.<**** production date >1910<]; without title head; dedication below piece number in Roman numerals (with dot) centre >II.< centred > Николаю Ивановичу Рихтеру. / A M^r Nicolas Richter.<; author specified 1st page of the score paginated p. 2 below pthe piece number in Roman numerals (with dot) >II.< flush right >I. STRAWINSKY. Op. 7.<; legal reservation without Copyright 1st page of the score below type area flush left >Propriété de l'éditeur<; plate number >33867<; without end of score dated; production indications 1st page of the score below type area flush right >P. Jurgenson à Leipsic et Moscou.< p. 5 flush right as end mark >Gravé et impr. chez **** P. Jurgenson à Moscou.<) // [1910]

° Jurgenson vignette 0.7 x 0.9 Double eagle with crown, broad wings and a figure on the shield.

* Fill character (dotted line).

** A vertical line spanning two lines, 0.5 cm with arrows in both direction.

***** The publisher’s emblem in the form of a coat of arms 0.7 x 0.8 Double eagle and an N in the coat of arms.

9-3 QUATRE ETUDES / pour Piano. / ¹ 1.* 40 c. [#] ¹ 3.* 40 c. / ¹ 2.* 50 „ [#] ¹ 4.* 60 „ / par / I. Strawinsky. / Op. 7 / Propriété de l'éditeur/ P. JURGENSON. / MOSCOU. [#**] LEIPZIG. / Neglinny pr. 14. [#**] Thalstrasse 19. / St.-Pétersbourg, chez J. Jurgenson. | Varsovie, chez E. Wende & C ^o. / Kiew, chez L. Idzikowski.*** // (Edition [library binding] 26.8 x 33.9 (2° [4°]); 5 [3] pages without cover + 1 page front matter [ornamental title page cremewhite with frame 15.3 x 21.6 blue on green shaded in red and small frame 10 x 4 (the first two lines)] + 1 page back matter [page with publisher’s advertisements >Compositions russes pour Piano à 2 mains.<**** production date >1910<]; without title head; dedication below piece number in Roman numerals (with dot) centre >III.< centred > А ндрею Николаевичу Римскому-Корсакову. / A M^r André Rimsky-Korsakow<; author specified 1st page of the score paginated p. 2 above piece number flush right >I. STRAWINSKY. Op. 7.<; legal reservation without Copyright 1st page of the score below type area flush left >Propriété de l'éditeur<; plate number >33868<; end of score dated p. 9 >Oustilouge 1908.<; production indications 1st page of the score below type area flush right >P. Jurgenson à Leipsic et Moscou< p. 5 flush right as end mark >Gravé et impr. chez **** P. Jurgenson à Moscou.<) // [1910]

° Jurgenson vignette 0.7 x 0.9 Double eagle with crown, broad wings and a figure on the shield.

* Fill character (dotted line).

** A vertical line spanning two lines, 0.5 cm with arrows in both direction.

***** The publisher’s emblem in the form of a coat of arms 0.7 x 0.8 Double eagle and an N in the coat of arms.

9-4 QUATRE ETUDES / pour Piano. / ¹ 1.* 40 c. [#] ¹ 3.* 40 c. / ¹ 2.* 50 „ [#] ¹ 4.* 60 „ / par / I. Strawinsky. / Op. 7 / Propriété de l'éditeur/ P. JURGENSON. / MOSCOU. [#**] LEIPZIG. / Neglinny pr. 14. [#**] Thalstrasse 19. / St.-Pétersbourg, chez J. Jurgenson. | Varsovie, chez E. Wende & C ^o. / Kiew, chez L. Idzikowski.*** // (Edition [library binding] 26.8 x 33.9 (2° [4°]); 9 [7] pages without cover + 1 page front matter [ornamental title page cremewhite with frame 15.3 x 21.6 blue on green shaded in red and small frame 10 x 4 (the first two lines)] + 1 page back matter [page with publisher’s advertisements >Compositions russes pour Piano à 2 mains.< production date >**** 1910<]; without title head; dedication below piece number in Roman numerals (with dot) centre >IV < centred > Владимиру Николаевичу Римскому-Корсакову. / A M^r Voldemar° Rimsky-Korsakow<; author specified 1st page of the score paginated p. 2 above piece number flush right >I. STRAWINSKY. Op. 7.<; legal reservation without Copyright 1st page of the score below type area flush left >Propriété de l'éditeur<; plate number >33869<; end of score dated >Oustilougue 1908.<; production indications 1st page of the score below type area flush right >P. Jurgenson à Leipsic et Moscou< p. 5 flush right as end mark >Gravé et impr. chez ***** P. Jurgenson à Moscou.<) // [1910]

° Jurgenson vignette 0.7 x 0.9 Double eagle with crown, broad wings and a figure on the shield.

* Fill character (dotted line).

** A vertical line spanning two lines, 0.5 cm with arrows in both direction.

***** The publisher’s emblem in the form of a coat of arms 0.7 x 0.8 Double eagle and an N in the coat of arms.

9-5 = 9-1 with >Talstr.< instead of >Thalstrasse 19.<

9-6 = 9-2 with >Talstr.< instead of >Thalstrasse 19.<

9-7 = 9-3 with >Talstr.< instead of >Thalstrasse 19.<

9-8 = 9-4 with >Talstr.< instead of >Thalstrasse 19.<

9-9 QUATRE ETUDES / pour Piano. / ¹ 1.* [#] ¹ 3. / ¹ 2.* [#] ¹ 4.* / par / I. Strawinsky. / Op. 7. / P. JURGENSON. [#] ROB. FORBERG / MOSCOU [#] LEIPZIG. / Neglinny pr. 14. [#] Talstrasse 19. // (Edition [library binding] 25.5 x 32.3 (2° [4°]); 5 [3] pages without cover + 2 pages front matter [ornamental title page tree-like ornament on creme white background with a heading area 11 x 5 for the first two lines and a pedestal for the last three lines in a grey frame 15.2 x 21.6 with a black baseline , empty page] + 1 page back matter [empty page]; title head >QUATRE ETUDES.< with piece number in Roman numerals (with dot) below dedication; dedication below title head centred > Степану Степановичу Митусову. / A M^r Etienne Mitoussow.<; author specified 1st page of the score paginated p. 3 next to piece number flush right >I. STRAWINSKY. Op. 7.<; legal reservation without Copyright 1st page of the score below type area flush left >Propriété de l'éditeur<; plate number >33866<; without end of score dated; production indication 1st page of the score below type area flush right >P. Jurgenson à Leipsic et Moscou.<; without end mark) // [1921]**

* Fill character (dotted line).

** The Basel copy >62 / STRAW / 89< comes from the ownership of Werner Danckert, Ilmenau Gartenstrasse 16; it is at this time a unique copy. In Basel, all 4 Etudes are bound together into one bundle.

9-10 QUATRE ETUDES / pour Piano. / ¹ 1.* [#] ¹ 3. / ¹ 2. * [#] ¹ 4.* / par / I. Strawinsky. / Op. 7. / P. JURGENSON. [#] ROB. FORBERG / MOSCOU [#] LEIPZIG. / Neglinny pr. 14. [#] Talstrasse 19. // (Edition [library binding] 25.5 x 32.3 (2° [4°]); 7 [6] pages without cover + 1 pages front matter [ornamental title page tree-like ornament on cream-white background with a heading area 11 x 5 for the first two lines and a pedestal for the last three lines in a grey frame 15.2 x 21.6 with a black baseline ] + 1 page back matter [empty page]; without title head; dedication below piece number in Roman numerals (with dot) centred > Николаю Ивановичу Рихтеру. / A M^r Nicolas Richter.<; author specified 1st page of the score paginated p. 2 above piece number flush right >I. STRAWINSKY. Op. 7.<; legal reservation without Copyright 1st page of the score below type area flush left >Propriété de l'éditeur<; plate number >33867<; without end of score dated; production indication 1st page of the score below type area flush right >P. Jurgenson à Leipsic et Moscou.<; without end mark) // [1921]**

* Fill character (dotted line).

** The Basel copy >62 / STRAW / 89< comes from the ownership of Werner Danckert, Ilmenau Gartenstrasse 16; it is at this time a unique copy. In Basel, all 4 Etudes are bound together into one bundle.

9-11 QUATRE ETUDES / pour Piano. / ¹ 1.* [#] ¹ 3. / ¹ 2.* [#] ¹ 4.* / par / I. Strawinsky. / Op. 7. / P. JURGENSON. [#] ROB. FORBERG / MOSCOU [#] LEIPZIG. / Neglinny pr. 14. [#] Talstrasse 19. // (Edition [library binding] 25.5 x 32.3 (2° [4°]); 5 [3] pages without cover + 2 pages front matter [ornamental title page tree-like ornament on cream-white background with a heading area 11 x 5 for the first two lines and a pedestal for the last three lines in a grey frame 15.2 x 21.6 with a black baseline , empty page] + 1 page back matter [empty page]; without title head; dedication below piece number in Roman numerals (with dot) centred > Андрею Николаевичу Римскому-Корсакову> Николаю Ивановичу Рихтеру. / A M^r André Rimsky-Korsakow<; author specified 1st page of the score paginated p. 3 above piece number flush right >I. STRAWINSKY. Op. 7.<; legal reservation without Copyright 1st page of the score below type area flush left >Propriété de l'éditeur<; plate number >33868<; production indication 1st page of the score below type area flush right >P. Jurgenson à Leipsic et Moscou.<; without end mark) // [1921]**

* Fill character (dotted line).

** The Basel copy >62 / STRAW / 89< comes from the ownership of Werner Danckert, Ilmenau Gartenstrasse 16; it is at this time a unique copy. In Basel, all 4 Etudes are bound together into one bundle.

9-12 QUATRE ETUDES / pour Piano. / ¹ 1.* [#] ¹ 3. / ¹ 2.* [#] ¹ 4. * / par / I. Strawinsky. / Op. 7. / P. JURGENSON. [#] ROB. FORBERG / MOSCOU [#] LEIPZIG. / Neglinny pr. 14. [#] Talstrasse 19. // (Edition [library binding] 25.5 x 32.3 (2° [4°]); 9 [7] pages without cover + 2 pages front matter [ornamental title page tree-like ornament on cream-white background with a heading area 11 x 5 for the first two lines and a pedestal for the last three lines in a grey frame 15.2 x 21.6 with a black baseline , empty page] + 1 page back matter [empty page]; without title head; dedication below piece number in Roman numerals (with dot) centred > Владимиру Николаевичу Римскому-Корсакову. / A M^r Voldemar Rimsky-Korsakow<; author specified 1st page of the score paginated p. 2 above piece number flush right >I. STRAWINSKY. Op. 7.<; legal reservation without Copyright 1st page of the score below type area flush left >Propriété de l'éditeur<; plate number >33869<; production indication 1st page of the score below type area flush right >P. Jurgenson à Leipsic et Moscou<; end of score dated [exclusively 4. Etüde] >Oustilougue 1908.<) // [1921]**

* Fill character (dotted line).

** The Basel copy >62 / STRAW / 89< comes from the ownership of Werner Danckert, Ilmenau Gartenstrasse 16; it is at this time a unique copy. In Basel, all 4 Etudes are bound together into one bundle.

9-13 NEU-RUSSISCHE MEISTER / LES MAÎTRES MODERNES RUSSES / НОВЫЕ РУССКИЕ МАСТЕРЫ / MODERN RUSSIAN MASTERS / PIANO SOLO / 2. Serie. / [#] M. / [*] Strawinsky, J.,op. 7. Quatre Études. / No. 1. C-moll – Ut mineur – C minor° 1.20 / No. 2. D-Dur – Ré majeur – D major° 1.20 / No. 3. E-moll – Mi mineur – E minor° 1.20 / No. 4. Fis-dur – Fa # majeur – F # minor* 1.50 / ANTON J. BENJAMIN, LEIPZIG-MILANO / Made in Germany [#] [**] [#] Imprimé en Allemagne // (Edition [library binding] 26.1 x 32.9 (2° [4°]); 5 [3] pages without cover + 2 pages front matter [coloured ornamental title page laid out in red-brown script on a light-beige background under an arch-shaped caption in a frame broken up by green dots in red-brown, hatched in a linen-like texture and with a boxed pattern (horizontal 21, 3 x 2.6-2.8, vertical 23.3 x 2.4-2.7, superstructure 20.5 x 4.7) with the publisher’s name worked into the base and a crowned triad of wheels decorated with leaves in the manner of an organ case , empty page] + 1 page back matter [page with publisher’s advertisements >Neu-Russische Meister / Les Maitres Modernes Russes —Новые Русские Мастеры — Modern Russian Masters<*** production date >No. 470<]; title head >QUATRE ETUDES.<; without dedication; author specified in connection with fictitious editor specified 1st page of the score paginated p. 3 below piece number in Roman numerals (with dot) >I.< flush right centred >I. STRAWINSKY, Op. 7, N ^o 1. / Rev. M. Frey.<; legal reservations 1st page of the score next to title head flush left >Aufführungsrecht vorbehalten. / Droits d'exécution réservés.< below type area flush left >Copyright 1925 by Anton J. Benjamin, Leipzig. / Verlag Anton J. Benjamin, Leipzig-Milano.<; plate number >A. J. B. 8285<; without end marks) // [1925]

° Fill character (dotted line).

* List of titles: Medtner-Rachmaninoff-Rébikoff-Strawinsky [Medtner 3 Arabesken op. 7, 2 Märsche op. 8, Sonaten-Triade op. 11; Rachmaninoff 6 Moments musicaux op. 16; Rébikoff Silhouetten op. 31].

** Dotted symbol of a capital letter that could be a C, G or possibly even a Q.

*** Compositions are advertised narrowly printed in three columns with price information behind fill character (dotted line) from >Arensky, Anton< to >Tanéeff, S.<, amongst these (3. column, last but one) >Strawinsky, J., op. 7. Quatre Études. / No. 1. C-moll – Ut mineur – C minor° 1.20 / No. 2. D-Dur – Ré majeur – D major° 1.20 / No. 3. E-moll – Mi mineur – E minor° 1.20 / No. 4. Fis-dur – Fa # majeur – F # minor° 1.50 < [° fill character (dotted line)]..

9-14 [unidentified]

9-15 [unidentified]

9-16 NEU-RUSSISCHE MEISTER / LES MAÎTRES MODERNES RUSSES / НОВЫЕ РУССКИЕ МАСТЕРЫ / MODERN RUSSIAN MASTERS / PIANO SOLO / 2. Serie. / [#] M. / [*] Strawinsky, J.,op. 7. Quatre Études. / No. 1. C-moll – Ut mineur – C minor° 1.20 / No. 2. D-Dur – Ré majeur – D major° 1.20 / No. 3. E-moll – Mi mineur – E minor° 1.20 / No. 4. Fis-dur – Fa # majeur – F # minor* 1.50 / ANTON J. BENJAMIN, LEIPZIG-MILANO / Made in Germany [#] [**] [#] Imprimé en Allemagne // (Edition [library binding] 26.1 x 33 (2° [4°]); 7 [2] pages without cover + 2 pages front matter [coloured ornamental title page laid out in red-brown script on a light-beige background under an arch-shaped caption in a frame broken up by green dots in red-brown, hatched in a linen-like texture and with a boxed pattern (horizontal 21, 3 x 2.6-2.8, vertical 23.3 x 2.4-2.7, superstructure 20.5 x 4.7) with the publisher’s name worked into the base and a crowned triad of wheels decorated with leaves in the manner of an organ case , empty page] + 1 page back matter [page with publisher’s advertisements >Neu-Russische Meister / Les Maitres Modernes Russes — Новые Русские Мастеры — Modern Russian Masters<*** production date >No. 470<]; title head >QUATRE ETUDES.<; without dedication; author specified in connection with fictitious editor specified 1st page of the score paginated p. 2 below piece number in Roman numerals (with dot) >IV.< flush right centred >I. STRAWINSKY, Op. 7, N ^o 4. / Rev. M. Frey.<; legal reservations 1st page of the score between title head and piece number flush left >Aufführungsrecht vorbehalten. / Droits d'exécution réservés.< below type area flush left >Copyright 1925 by Anton J. Benjamin, Leipzig. / Verlag Anton J. Benjamin, Leipzig-Milano.<; plate number >A. J. B. 8287<; without end marks) // [1925]

° Fill character (dotted line).

* List of titles: Medtner-Rachmaninoff-Rébikoff-Strawinsky [Medtner 3 Arabesken op. 7, 2 Märsche op. 8, Sonaten-Triade op. 11; Rachmaninoff 6 Moments musicaux op. 16; Rébikoff Silhouetten op. 31].

** Dotted symbol of a capital letter that could be a C, G or possibly even a Q.

9-17^Alb >ETUDE / (F# Major) / Op. 7, No. 4< // ([in:] CONTEMPORARY MASTERPIECES · ALBUM No. 9 / ALBUM OF / IGOR STRAVINSKY / MASTERPIECES / [Porträt] / SELECTED COMPOSITIONS for PIANO SOLO/ PRICE $1.00 NET / MADE / IN U.S.A. / EDWARD B. MARKS MUSIC CORPORATION · RCA BLDG. · RADIO CITY · NEW YORK; 87 [85] pages + 4 cover pages black light orange on cream [front cover title laid out with whole-page portrait of the young Strawinsky facing left, 2 empty pages, page with publisher’s advertisements >ALBUMS OF CONTEMPORARY MASTERPIECES<* without production date] + 1 page back matter [page with publisher’s advertisements >KALEIDOSCOPE EDITION / A NEW SERIES FOR PIANO BY CONTEMPORARY COMPOSERS<** without production date) // 6 pages [pp. 30-35]; arranger specified 1st page of the score paginated p. 30 next to and below title head flush left centred >Arranged / by / MAX HIRSCHFELD<; author specified below arranger specified flush right >By / I. STRAWINSKY<; legal reservations with production indication 1st page of the score below type area centre >Copyright MCMXXXVI by Edward B. Marks Music Corporation / All Rights reserved. [#] Made in U. S. A.<; plate number >10,342-6<; without end marks) // 1941

* 6 Albums are advertised (Albeniz, Debussy, Dohnányi, Rachmaninoff, Ravel, Scriabine).

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

9-18 STRAVINSKY / FOUR ETUDES / Opus 7 / FOR THE PIANO / (PHILIPP) / [*] / INTERNATIONAL MUSIC COMPANY / New York City // STRAVINSKY / FOUR ETUDES / Opus 7 / FOR THE PIANO / (PHILIPP) / [*] / No. 1512 / INTERNATIONAL MUSIC COMPANY / 509 FIFTH AVENUE [#] NEW YORK CITY / PRINTED IN U. S. A. // (Edition stapled 23 x 30.2 [(4°)]; 20 [19] pages + 4 cover pages black on light orange [front cover title in ornamental frame with vignette*, 2 empty pages, Seite with publisher’s advertisements >PIANO< round vignette >IMC< >SOLO<** production date > No. ¹<] + 1 page front matter [title page in ornamental frame with vignette*] without back matter; title head >FOUR ETUDES<; numbering in Roman numerals without dot; author specified 1st page of the score paginated p. 2 below piece title flush right >IGOR STRAVINSKY, Op. 7<; editor specified 1st page of the score next to piece number flush left italic > Edited by ISIDOR PHILIPP<; legal reservation 1st page of the score below type area centre >Copyright 1953 by International Music Company, New York City<; plate number >1512<; without end mark) // (1953)

* Ram’s head-like triangle vignette.

** Compositions are advertised under the headline >PIANO SOLO< without fill character (dotted line) with price indication flush right >STRAVINSKY, I. / Op. 7. 4 Etudes (PHILIPP)1.2<.