K078 Der Wüstling

K78 The Rake’s Progress

an Opera in three Acts, a Fable by W. H. Auden and Chester Kallman — Der Wüstling. Oper in drei Akten, eine Fabel von W.[ystan] H.[ugh] Auden und Chester [Simon] Kallman — La Carrière d’un libertin. Opéra en trois actes — Carriera d’un libertino. Favola in tre atti di W. H. Auden e C. Kallman

Title: The German title has always given cause for disagreement, as the protagonist may be a rogue, but at heart he is not a bad character. Lichtenberg’s choice of translation was ‘Der Weg des Liederlichen’ (The Dissolute’s Progress). The original translation was ‘Die Geschichte eines Wüstlings’ (the story of a debauchée) which was later reduced to the now common ‘Der Wüstling’ (The Debauchée), although even Rennert was in favour of ‘dissolute’. – The Italian version ‘Carriera d’un Libertino’. based on Prof. Passinetti’s translation which was later adapted to ‘La Carrière d’un Libertin’ in the French version, most succinctly states the case. Whether the name Rakewell is meant as a double-entendre rather than an augmentation and also considering that Thomas, understood from its Hebrew origin, contains the meaning of ‘twin’ and that the names of all other characters represent their part in the action (Shadow, Anna = Grace, Mother Goose, Sellem = ‘Sell’ em’, to sell, Baba = to babble, Trulove = true love, trustworthy) has never been investigated.

Scored for: a) First edition (Roles): Trulove (Bass/Bass), Anne, his daughter – seine Tochter (Soprano/Sopran), Tom Rakewell (Tenor), Nick Shadow (Baritone/Bariton), Mother Goose – Mutter Goose (Mezzo-soprano/Mezzosopran), Baba, the Turk – Baba, genannt Türkenbab ((Mezzo-soprano/Mezzosopran), Sellem, auctioneer – Auktionator (Tenor), Keeper of the madhouse – Wärter des Irrenhauses (Bass/Bass), Whores and Roaring Boys – Dirnen und gröhlende Burschen, Citizens – Bürger, Madmen – Irre; ~ (Orchestra Nomenclature): 2 Flauti, 2 Oboi, Corno Inglese, 2 Clarinetti in Si b, 2 Fagotti, 2 Corni in Fa, 2 Trombe in Si, Violini I, Violini II, Viole, Violoncelli, Contrabassi, Cembalo (Piano), Timpani; ~ (Orchestra Legend): 2 flutes (2nd Fl. = Picc.), 2 oboes (2nd ob. = Cor Angl.), 2 clarinets in B flat, 2 bassoons, 2 horns in F, 2 trumpets in B flat, 1st violins, 2nd violins, Violas°, Violoncellos°, Double basses°, Timpani, Cembalo (Pianoforte) – 2 Flöten (2. Fl. = kl. Fl.), 2 Oboen (2. Ob.= Englisch Hr.), 2 Klarinetten in B, 2 Fagotte, 2 Hörner in F, 2 Trompeten in B, Erste Geigen, Zweite Geigen, Bratschen, Violoncelli, Bässe, Pauken, Cembalo (Klavier); b) Performance requirements: 1 Soprano, 2 Mezzo-sopranos, 2 Tenors, 1 Baritone, 2 Basses, four-part* mixed chorus (Soprano, Alto**, Tenor, Bass), Piccolo Flute (= 2nd Flute), 2 Flutes (2nd Flute = Piccolo Flute), 2 Oboes (2nd Oboe = English horn), English horn (= 2nd Oboe), 2 Clarinets in B flat, 2 Bassoons, 2 Horns in F, 2 Trumpets in B flat, Cembalo, Piano***, Timpani, 4 Solo Violins, 3 Solo Violas, 2 Solo Violoncellos, Solo Double Bass, Strings (First Violins****, Second Violins****, Violas**, Violoncellos**, Double Basses).

° Different capitalisation original.

* As the alto part is divided, it is in five parts.

** Divided in two.

*** Piano Graveyard scene only.

**** Divided in three.

Voice types (Fach): Trulove: Serious Bass (middle-sized role); Anne: Lyric, or young dramatic Soprano (main role); Tom Rakewell; Young Heldentenor (main role); Nick Shadow: Character baritone (main role); Mother Goose: Character Alto (small role); Baba: dramatic Mezzo-soprano (large role); Sellem: Character Tenor (middle-sized role); Keeper of the Madhouse: character bass (small role).

Summary: [l.1:] An afternoon in Spring somewhere in the country outside Trulove’s house. Tom and Anne speak of their love for each other. Trulove has mixed feelings about his daughter’s relationship with Tom. Having sent Anne into the house, he offers Tom a post in a bank which Tom turns down, since he considers himself too superior for such work; his call is for great things and secretly he laughs at Trulove’s small-mindedness, seeing in him a fool who does not know which way happiness lies, namely in his - the Rake’s - way. As soon as Tom is alone again, Nick Shadow appears, enters the house with him and declares in the presence of Anne and Trulove that Tom has come into money. An uncle has left his fortune to him. All are elated by the good news, although a shadow falls on the young lovers. Tom is now forced to leave to attend to his business in London, but he promises to send for Anne as soon as he is settled there. He takes Shadow into his service against an unknown fee and bids Anne and Trulove good-bye. The way of dissolution begins. – [I.2:] A brothel in London. Whores and lads are singing bawdy songs about Venus and Mars. Nick has coached Tom in certain attitudes that he is now producing before the owner of the brothel, mistress Goose: To take all you can get, to avoid prudishness and missionary zealots, to follow nature as well as beauty which has youth, but alas must die, and to live for pleasure only. When he is asked to speak out against love, he is unable to answer. The cuckoo clock strikes one. By means of a magic sign Nick lets the clock run backwards an hour. Tom turns to drinking. Nick addresses the assembly, introducing Tom as a rich man, his employer and friend. Tom praises love. The whores dismiss his singing as too doleful, but they still like him and offer themselves to him. But Mistress Goose claims older rights and secures Tom for herself, while Nick is watching the scene. The whores and lads sing bawdy songs. Nick raises his glass. Tom is to dream his dream to the end. For when he awakens, everything will be over. – [I.3:] The full moon shines on Trulove’s garden. It is autumn. Anne emerges from the house, ready to travel, yet doubtful whether it is a good idea to visit Tom in London. She sings a song about love, the night and the moon. From the house Trulove, innocent of her plans, calls to her. She is on the point of turning back, but then her decision holds firm: Her father is strong, Tom is weak. It is him who needs her help. She kneels and prays for her father, for Tom and for herself. Getting up again, she sings a song of the steadfastness of love that shall not falter. And her love belongs to Tom. – [II.1:] Breakfast room in Rakewell’s London house on a bright sunny morning. Tom is sick to the heart. The noise, the big city, the careless London life take their toll. He is thinking of Anne. Nick enters and hands him a poster of the Baba the Turk. She performs at the London fair and is that ugly with her thick black beard, that even soldiers tried in battle faint at her sight. Nick wants to marry Tom to her. He who wants to be free, says Nick, must keep both lust and conscience at bay. Tom, thinking of the sensation his marriage with Baba the Turk would cause, overcomes his initial resentment and agrees, laughing. – [II. 2:] Anne has realised her decision and is now standing outside Tom’s London residence; it is evening and her heart is beating fast. While she is yet trying to pick up courage to enter, a pompous train of servants bearing a sedan chair appears before the main entrance. The libretto tells us that it is Tom’s and the Turkish Bab’s wedding train. Now Tom Rakewell steps forward into the light. Anne and Tom approach each other confusedly. Anne wants Tom to come home with her. Tom wants Anne to go back alone. She must not sink into the mire of the big city that he himself cannot break free from any more. The dialogue is suddenly interrupted by Baba the Turk sitting in her sedan chair wanting to get out but not able or willing to do so herself. A three-part scene develops between a dumbfounded Anne, an uninterruptedly shouting Baba, breaking into the rests between each phrase and a desperate Tom, who does not want to do what he has been told to do and must not do what he himself wants to do. He finally admits to Anne that he has married the Baba. Anne and Tom enter into monologues, she to get hold of her senses again, he to admit to himself the hopelessness of his situation. Finally, Anne leaves and Tom helps his wife out of the sedan chair. Folks come running from everywhere to see the Baba the Turk. As Tom enters the house, she draws back her veil and reveals her long black beard, throws kisses into the crowd and follows Tom with a theatrical gesture. The scene closes amidst enthusiastic calls for the Baba. – [II.3:] Rakewell’s breakfast room laden with all kinds of exotic and strange objects and stuffed animals. Tom is in a black mood and the Baba keeps chattering meaninglessly to herself. When she approaches Tom to embrace him tenderly, he repulses her. The Baba feels rejected and humiliated and has a wildly jealous fit, beginning to break one object after another. In the end, Tom jumps up and puts his wig on her head, whereupon she falls silent and stays seated. He then falls asleep, desperate and exhausted. Nick appears. He is pushing a large object into the room which he claims is a machine that can turn stones into bread. He shows the audience how he is going to trick Tom into believing this tale - the bread emerging from the machine was put there by Nick himself. Tom wakes up and remembers the scene of stones being turned into bread like a far-away dream. Nick tricks him, as announced, and Tom is enthusiastic. He hopes to win back Anne by a good deed. This machine will help people forget their worries and they will soon return to the paradise they were driven from. Nick shamelessly turns to the audience, full of self-praise and offers them a good deal. To Tom Rakewell he declares that it would be a long way until his dream were fulfilled. He needed capital and business partners. Tom admits that this is true and is grateful to Nick for taking all the work upon himself. Upon Nick’s questioning him about whether he did not wish to inform his wife of his good luck, he answers that he no longer has a wife, that she was buried. – [III.1:] Tom is bankrupt and many innocent people have been ruined by his failure. Even in the most illustrious circles there have been suicides, many families were driven into misery. His personal belongings are being auctioned. His London home is thronged with people who want to see the objects up for auction. Anne enters. She is looking for Tom and receives most contradictory, even ironical, answers to her questions. Maybe he has left London, maybe he is dead. If he were found, he would be imprisoned anyway. Sellem, the auctioneer, loudly, expertly and cleverly calls for bids to sell off the Rakewell’s household, while the excitement among the crowd is growing. Then a particularly strange object crowned with a wig comes up for bidding, which when the wig is pulled off at the last ‘...going!’ turns out to be the Baba. She has been sitting in the same posture all this time and instantly takes up her cantilene where she left off when interrupted by Tom. She then angrily sets about stopping the auction. Anne enters. The Baba, having calmed down somewhat, appears to be in a more gentle mood. The women converse together. Baba the Turk will return to her artistic life. Anne, who still loves Tom and is assured by the Baba that he loves her, is to stay with him, who needs to get a grip on his life again. Anne accuses herself of not having been faithful enough. Tom and Nick may be heard singing a silly song from the street. The crowd suddenly takes Anne’s and Tom’s side. She ought to go to him, otherwise it might be too late. Tom’s and Nick’s voices trail off in the distance. The auction is over. The Baba demands her carriage be called. Her address is of such authority that Sellem obeys and even helps her into it, although he really intended to sell it. The crowd retreats – [III.2:] It is a starless night at the cemetery. Nick, beside a freshly dug grave demands his wages from Tom. Tom wants to pay him once he will have come into money again. But Nick wants Tom’s soul, wants him to realise who it is that he has taken into his service. The bell slowly tolls the hour of twelve midnight which is to be the hour of Tom’s death, when boisterous Nick stops it and proposes a card game to Tom which no human being can win. Three times they deal the cards and three times Tom is able to guess the right card when his desperate thoughts turn to Anne and the help she has given him and before the third dealing the trace of a cloven hoof in the sand tells him who his companion really is. He has saved his life but Nick, who now sinks into the grave in Tom’s stead, destroys his mind with a last malediction. – [III,3] In the lunatic asylum Tom, in a speech to the other inmates announces the imminent arrival of Venus, coming to visit her Adonis. Anne enters the room. The warden having explained to Anne that the crazy Tom was harmless and preferred to be called Adonis, retreats, after Anne has given him some money. She addresses Tom by the name of Adonis. He jumps to his feet and pays his respects to his Venus asking her to forgive him. When she takes him in her arms, he begins to sway and Anne permits his sliding to the ground. Tom lays his head into her lap and asks her to sing him a lullaby. He falls asleep peacefully during her singing. Trulove arrives to take his daughter home. The fairy-tale has ended. Anne follows him after a last good-bye to Tom. When Trulove, Anne and the warden have left, Tom gets up from the ground calling first for his Venus, and then turns on the others accusing them of having robbed her. The lunatics come towards him claiming that nobody has been here at all. Tom senses the approach of death. He calls to Orpheus, the Nymphs and the Shepherds that they might mourn Adonis, loved by Venus – [Epilogue:] All soloists appear before the curtain, Tom without his wig, the Baba without her beard and sing the moral of the story: Anne, stating that not every dissolute has an Anne at his side, the Baba, that all men wish for is folly and all else but play, Tom, that one’s youth should not be spent in dreams about acting like Caesar and Vergil, for if you were not careful, you might end up as a rake. Trulove confirms everything yet said. Finally Nick, who says that some folks did not believe he existed, only to wish in the end that it were so. They then join in the final chorus which closes on the notion that the devil always finds ample reward where there is laziness and the fruits of his labours were seated out there in the auditorium.

Source: The libretto was written by W. H. Auden and Chester Kallman after a series of eight engravings entitled ‘The Rake’s Progress’ which the English painter and engraver William Hogarth (1697 - 1764) created between 1732 and 1735. It was that famous, that Georg Christoph Lichtenberg (1742 - 1799) published a commentary on it that Goethe praised as one of the three most exciting publications of the year 1795. – Kallman wrote the ending of the first act after the aria ‘Since it is not by Merit’ and the whole of the second scene as well as the first scene of the second act until the end of Tom’s aria ‘Vary the Song’ and the complete second scene following. Parts of the first scene of the third act and the entire card game scene were written by him. The dialogue between Tom and Shadow was contributed by Auden. Primarily a lyrical poet, Auden sought help when it came to the dramatic elements in the opera. Hogarth’s engravings , answering critical issues of the times, were each characterised by a descriptive title and appeared in the original format 32 x 39 cms (Brit. measurements approx. 12.5 x 16 inches) as follows: 1. The Heir; 2. The Levée; 3. The Orgy; 4. The Arrest; 5. The Marriage; 6. The Gambling House; 7. The Prison; 8. The Madhouse. They were made from eight oil paintings (format in cms 62.2 x 75) which today are exhibited in Sir John Soane’s museum in London. Auden could not derive much to interest him from that sequence of engravings, their bourgeois values, with which Strawinsky identified while refusing to be led onto the byways of social criticism, and sought to undercut their message. He thus brought into play elements which are not present in Hogarth and were never originally intended by Strawinsky, such as Satan personified, thus distorting the figure of the Rake as someone who does not act responsibly - in keeping with the neurasthenic tendency so typical of the Twentieth Century of exculpation of the self - but is seen as debauched by the devil’s influence. That same tendency, taking a depth psychological point of view, may be reinterpreted as an entity ‘Tom-Nick’, equal to the Good and the Bad incarnate in the one person within the meaning of Self and Other. Hogarth depicts the Rake as a child grown up in a wealthy family and used to money, thus one could expect of him to know how to deal with it. Yet he senselessly dissipates his inheritance. Auden makes him into a poor devil led astray by the real devil who by some magic lets an unknown uncle bequeath a fortune on him that does not really exist. Auden’s construction of the devil lacks a divine counterpart, wherefore Anne is called in. Notably, Nick is not the devil in person and does not rule over hell and its fiendish inhabitants - he is merely a minor servant answerable to tructions from hell and who - in the Russian imagination - might even be outwitted. Ingmar Bergman later impressed Strawinsky by giving the later Rakewell the appearance of Jesus Christ and having Anne appear as the Holy Virgin, while stripping the figure of Baba the Turk of all comical extremes in his Stockholm production of the ‘Rake’, which according to Auden belong to her as the contrasting figure of exotic exaltation in opposition to Anne. Auden’s teaching, that one may come to terms with the reality of hell as long as there is a woman like Anne at and on one’s side, was quite en vogue at the time, but it contradicted both Strawinsky’s religious beliefs and Hogarth’s social criticism. The biblical overtones of the libretto, so for example the image of the machine turning stones to bread, which may point to a man who, unlike Jesus, succumbs to the devil ’s temptation, the image taken from antiquity, such as having the Seer appear blind or mad, because recognition of the world is only possible if separated from it - are being transformed into their opposite by what is happening on stage. In the end, the little that remains good in Tom is slowly being extinguished in the lunatic asylum; his ‘bad’ self has long been buried and the young woman returns to the small house with the front garden under the guidance of her father. The moral of Auden-Strawinsky is not actually pointing to carelessness but to laziness. Even the happy experience of the dream of alleviating the sorrows of the world by means of the bread-making machine remains an illusion, not just because the machine itself is a hoax but because Tom himself does nothing - neither has he invented the machine nor is he doing anything to make it known. At the end of the opera everyone except Trulove - who characteristically is unable to voice an independent opinion - draws his or her own moral from the story. Not to every man does God give an Anne (Anne); a man falls victim to a hoax and everything he does is only make-believe (Bab); he who dreams of being Vergil or Caesar may well wake up as a Rake (Tom), the devil is lying in wait everywhere, though people like to think he does not exist (Nick). All join together in the end to sing ‘For idle hands and Hearts and Minds the Devil Finds a Work to Do’. – American productions of the opera often strongly emphasise the homosexual relationship between Auden and Kallman, where the latter represented the male element, and follow it through the entire work. Auden’s introduction of the Bab figure, for example, who does not exist in Hogarth’s sequence of engravings, is explained that way. Strawinsky did not tolerate any changes to the libretto which in his thinking combined to represent both lightness and depth. Dylan Thomas, however, criticised the libretto at a meeting with Strawinsky saying there was too much speaking going on and Auden should have arranged, i.e. shortened, the dialogues. Compared with Strawinsky’s oeuvre before and after the ‘Rake’ the opera stands out as a special piece of work and American influence alone cannot fully explain it.

Translations: As for translations of the libretto Strawinsky considered only the German translation of Fritz Schröder (‘outstanding and amazingly close’) acceptable and wished for an English/German version only to go into print. In cases where Schröder could not take over English syllabics, Strawinsky composed the vocal part in accordance with German declamatory practice and included the version as usual in minuscule notation in the full score. Slight shifts in meaning had to be accepted. The recreaction of Auden’s poetry in any other language was not intended by Strawinsky.

Construction: ‘The Rake’s Progress’ is an atypical contemporary opera seria lacking consistent numbering and having a prelude ordered by alphabetic lettering, three acts divided into numbered individual scenes consisting of recitatives, arias, duets, tercets, quartets and choric extras, where the instrumental music is set for a ‘Mozart’ orchestra.

Structure

[1]

Prelude

Tempo Crotchet = 138

(figure ⁶A up to the end of figure C⁵)

(figure C⁵ curtain # Vorhang

Act I [#] I. Akt

Scene 1 [#] 1. Bild

Garden of Trulove's house in the country. Afternoon in spring. (House – right, Garden Gate – Centre Back, Arbour – left downstage in which Anne and Tom are seated.) # Garten an Vater Trulove's Haus auf dem Lande. Frühlingsnachmittag. (Rechts das Haus, im Mittelgrund die Gartenpforte, links vorne eine Laube, in der Ann und Tom sitzen.)

[2]

Duet and Trio [#] Duett und Terzett

Crotchet = 76

(figure ⁵1 up to the end of figure 25⁵ [attacca forward to figure 26])

Recitative [#] Rezitativ

(figure 26 [from figure 25⁵ attacca] up to the end of figure 26¹⁷)

[3]

Recitative and Aria [#] Rezitativ und Arie

Crotchet = 88

(figure 27 up to the end of figure 30⁶ [attacca forward to figure 31])

Aria [#] Arie

Crotchet = 82

(figure 31 [from figure 30⁶ attacca] up to the end of figure 46⁴)

[4]

Recitative [#] Rezitativ

(figure 47 up to the end of figure 506 [attacca forward to figure 51])

Crotchet = 69

(figure 51 [attacca from figure 50⁶] up to the end of figure 57⁴ [attacca forward to figure 58])

[5]

Quartet [#] Quartett

dotted Crotchet = 60

(figure 58 [from figure 57⁴ attacca] up to the end of figure 72⁴)

Quaver = quaver L'istesso tempo ma agitato (figure 73 up to figure 80⁵ [attacca forward to figure 80⁶])

Recitative [#] Rezitativ

(figure 80⁶ [attacca from figure 80⁵] up to the end of figure 80⁷ [attacca forward to figure 81])

[6]

Duettino [#] Duettino

Quaver = 126

(figure 81 [attacca from figure 80⁷] up to the end of figure 87⁶ [attacca forward to figure 88])

[7]

Recitative [#] Rezitativ

(figure 88 [attacca from figure 87⁶] up to the end of figure 88¹¹ [attacca forward to figure 89])

[8]

Arioso and Terzettino[#] Arioso und Terzettino

(figure 89 [attacca from figure 88¹¹] up to the end of figure 94⁵)

Subito sostenuto e tranquillo

(figure 95 up to the end of figure 102⁴ with repetition of the 6 bars + 2 last-time bars in figure

101)

più lento Quaver = 92

(figure 102⁵ up to the end of figure 104⁴ [attacca forward to figure 105])

[figure 104⁴: Quick curtain - Vorhang rasch]

Scene 2 [#] 2. Bild

Mother Goose's Brothel, London (At a table, downstage right, sit Tom, Nick and Mother Goose drinking. Backstage left a Cuckoo Clock - Whores, Roaring Boys.)

Mutter Goose's Freudenhaus in London. (Vorne rechts an einem Tisch sitzen Tom, Nick und Mutter Goose und trinken. Hinten links eine Kuckucksuhr. - Dirnen und gröhlende⁺ Burschen.)

[9]

Chorus [#] Chor

poco pesante Crotchet = 120

(figure 105 [attacca from figure 104⁴] up to the end of figure 130⁵ [attacca forward to figure

131])

[10]

Recitative and Scene [#] Rezitativ und Szene

(Nick, Tom, Mother Goose) [#] (Nick, Tom, Mutter Goose)

(figure 131 [attacca from figure 104⁴] up to figure 131³)

Tempo rigoroso Crotchet = 72

(figure 131⁴ up to the end of figure 139³)

Agitato in p Crotchet = 132

(figure 140 up to figure 141³)

meno mosso Crotchet = 100

(figure 141⁴ up to figure 142¹*)

a tempo

(figure 142¹* up to figure 142²)

Meno mosso Crotchet = 100

(figure 142³ up to figure 1424*)

a tempo

(figure 142⁴* up to figure 143⁴)

[figure 143²: As the Cuckoo Glock coos ONE, Tom rises - Die Kuckucksuhr schlägt

Eins. Tom steht auf]

[figure 143⁴: Nick makes a sign and the clock turns backward and coos TWELVE. –

Nick macht ein Zeichen, die Kuckucksuhr läuft rückwärts und schlägt Zwölf.]

Meno mosso Crotchet = 76

(figure 143 up to¹ up to figure 143 up to⁴)

tranquillo

(figure 144 up to the end of figure 144⁵)

[11]

Chorus [#] Chor

Roaring Boys and Whores [#] Dirnen und grölende Burschen

(figure 145 up to figure 149^1-4 with figure 146 up to the end of figure 148 repeated with a final clause figure 149b^1-4)

[12]

Recitative [#] Rezitativ

Poco meno mosso

(figure 150 up to the end of figure 150¹³ [attacca forward to figure 151])

[13]

Cavatina [#] Kavatine

Quaver = 96

(figure 151 [attacca from figure 150¹³] up to the end of figure 159⁴ [attacca forward to figure

160¹])

[14]

Chorus [#] Chor

(Whores) [#] (Dirnen)

Crotchet = 76

(figure 160 [attacca from figure 159⁴] up to the end of figure 161⁵)

Meno mosso Quaver = 104

(figure 162 up to the end of figure 162⁶)

Chorus [#] Chor

dotted Crotchet = 69

(figure 163 up to the end of figure 176¹⁰

[figure 175⁸: Curtain – Vorhang]

Scene 3 [#] 3. Bild

Same as Scene 1 [#] Wie 1. Bild

Autumn night, full moon. [#] Herbstnacht, Vollmond

Quaver = 72

(figure 177 up to the end of figure 179⁸)

[figure 179⁵: Curtain – Vorhang]

[15]

Recitative and Aria [#] Rezitativ und Arie

L'istesso tempo

(figure 180 up to the end of figure 182⁵)

Aria [#] Arie

Quaver = 112-108

(figure 183 up to the end of figure 188⁶)

molto meno mosso Quaver = 58

(figure 189 up to the end of figure 189⁴)

[16]

Recitative [#] Rezitativ

Crotchet = 88

(figure 190 up to the end of figure 191⁵)

L'istesso tempo

(figure 192 up to the end of figure 192⁵ [attacca forward to figure 193])

Cabaletta [#] Kabaletta

Crotchet = 126

([attacca von figure 192⁵ aus] figure 193 up to the end of figure 212⁵)

[212¹: Quick curtain – Vorhang rasch]

End of Act I – Ende des I. Aktes]

ACT II [#] II. AKT

Scene 1 [#] 1. Bild

The morning room of Tom's house in a London square. A bright morning sun pours in through the window, also noises from the street.

Frühstückszimmer in Toms Haus in einem Villenviertel in London. Durch das Fenster dringt strahlende Morgensonne herein, ebenso Straßenlärm.

Quaver = 60

[17]

(figure ¹1 up to the end of figure 1⁹)

Aria [#] Arie

Quaver = quaver

(figure 2 up to the end of figure 9⁴)

[figure 3¹: Curtain – Vorhang]

[18]

Recitative [#] Rezitativ

Crotchet = 66

(figure 10 up to the end of figure 11⁴)

Crotchet = 112

(figure 12 up to the end of figure 18³)

Minim = 82

(figure 19 up to the end of figure 22⁸)

Aria (reprise) [#] Arie (Reprise)

Quaver = 60

(figure 23 up to the end of figure 26⁵)

[19]

Recitative [#] Rezitativ

(figure 27 up to the end of figure 28⁶)

Quaver = 120

(figure 29 up to the end of figure 34⁵)

poco meno mosso Crotchet = 104

(figure 35^1-3)

poco rall. Crotchet = 92

(figure 35⁴ up to the end of figure 35⁵)

[20]

Aria [#] Arie

Quaver = 98

(figure 36 up to the end of figure 40⁴)

>Quaver (crotchet = 98)

(figure 41 up to the end of figure 44⁴)

Crotchet = quaver 98

(figure 45 up to the end of figure 47⁶)

[21]

Duet-Finale [#] Finale-Duett

dotted Crotchet = 132

(figure 48 up to the end of figure 78⁶ [attacca forward to figure 79])

[figure 78¹: Quick curtain – Vorhang rasch]

Scene 2 [#] 2. Bild

Street in front of Tom's house. London. Autumn. Dusk. The entrance, stage centre, is led up to by a flight of semi-circular steps. Servant's entrance left. Tree right.

Straße vor Toms Haus in London. Herbst. Dämmerung. Zum Haupteingang in der Mitte der Bühne führt eine halbkreisförmige Freitreppe. Links der Eingang für die Dienerschaft. Rechts ein Baum.

[22]

Quaver = 72

(figure 79 [attacca from figure 78⁶] up to the end of figure 80⁵)

[figure 80⁴: Curtain – Vorhang]

(figure 81 up to the end of figure 83⁴)

Recitative and Arioso [#] Rezitativ und Arioso

L'istesso tempo

(figure 84 up to the end of figure 86⁴)

Crotchet = 84

(figure 87 up to the end of figure 89⁴)

L'istesso tempo Crotchet = 84

(figure 90 up to the end of figure 96¹)

meno mosso Quaver = 116

(figure 96^1-2)

a tempo Crotchet = 84

(figure 963-5 [attacca forward to figure 97])

Crotchet = 96

(figure 97 [attacca from figure 97⁵] up to the end of figure 105³)

[23]

Duet [#] Duett

Minim = 92

(figure 106 up to the end of figure 116⁵

Molto meno mosso dotted Crotchet = 58

(figure 117 up to the end of figure 122³)

Tempo I Minim = 92

(figure 123 up to the end of figure 126⁵)

Recitative [#] Rezitativ

Molto meno Crotchet = 72

(figure 127 up to the end of figure 129⁵)

L'istesso tempo Crotchet = 72

(figure 130 up to the end of figure 130⁴)

[24]

Trio [#] Terzett

Quaver = 72-74

(figure 131 up to the end of figure 141⁴ [attacca forward to figure 142]

[25]

Finale [#] Finale

Crotchet = 54

(figure 142 [attacca from figure 141⁴] up to the end of figure 149⁴)

[figure 149⁴: Curtain - Vorhang]

Tempo I Crotchet = 54

(figure 150^1-3 [attacca forward to figure 152])

Scene 3 [#] 3. Bild

The same room as Act II, Scene 1, except that now it is cluttered up with every conceivablle kind of object: stuffed animals and birds, cases of minerals, china, glass, etc.

Dasselbe Zimmer wie II. Akt, 1. Bild, nur dass es jetzt überladen ist mit jeder erdenkbaren Art von Gegenständen, wie ausgestopften Tieren und Vögeln, Schaukasten mit Mineralien, Porzellan, Gläsern u.s.w.

[26]

Aria [#] Arie

Quaver = 132

(figure 152 [attacca from figure 150³] up to the end of figure 167⁵)

[figure 156²: Curtain – Vorhang]

[27]

Babas Song [#] Babas

Crotchet = crotchet

(figure 168)

Aria [#] Arie

Crotchet = 144

(figure 169 up to the end of figure 169⁴)

Meno mosso Crotchet = 120

(figure 170 up to the end of figure 179⁶)

Più mosso Crotchet = 144

(figure 180 up to the end of figure 187⁶)

[28]

Recitative [#] Rezitativ

Crotchet = 66

(figure 188 up to the end of figure 188⁸)

Pantomime [#] Pantomime

Più mosso Crotchet = 92

(figure 189 up to the end of figure 192⁷)

Recitative-Arioso-Rezitative [#] Rezitativ-Arioso-Rezitativ

(figure 193 up to the end of figure 193⁴)

Agitato Crotchet = 116

(figure 194 up to the end of figure 198⁴)

Crotchet = 116

(figure 199 up to figure 203³)

Lento

(figure 203^3-4)

Quaver = 69

(figure 204 up to the end of⁵ [attacca forward to figure 205])

[29]

Duet [#] Duett

Crotchet = 138

(figure 205 [attacca from figure 204⁵] up to the end of figure 227⁵)

Recitative [#] Rezitativ

(figure 228^1-18**)

Quaver = 138

(figure 228¹⁹ up to the end of figure 235⁶)

[after figure 235⁶: End of Act II - Ende des II. Aktes]

ACT III [#] III. AKT

Scene 1 [#] 1. Bild

The same as Act II, scene 3, except that everything is covered with cobwebs and dust. Afternoon. Spring.

Wie II. Akt, 3. Bild, nur dass alles mit Spinngewebe und Staub bedeckt ist. Frühlingsnachmittag.

[30]

Crotchet = 132

(figure ⁵1 up to the end of figure 38⁵)

[figure 6¹: Curtain. – Vorhang.

Poco meno mosso Crotchet = 120

(figure 39 up to the end of figure 42³)

[31]

Recitative [#] Rezitativ

Meno mosso Crotchet = 80

(figure 43 up to the end of figure 49⁴)

L'istesso tempo Crotchet = 60-63

(figure 50 up to the end of figure 50³ [attacca forward to figure 51])

Aria [#] Arie

dotted Crotchet = 126

(figure 51 [attacca from figure 50³] up to the end of figure 61⁷)

dotted Minim = 63

(figure 62 up to the end of figure 65⁵)

Bidding Scene [#] Steiger-Szene

Crowd and Sellem [#] Menge und Sellem

Meno mosso Crotchet = 144

(figure 66 up to the end of figure 67⁵)

Sellem's Aria (continuing) [#] Sellems Arie (Fortsetzung)

dotted Crotchet = 126

(figure 68 up to the end of figure 78⁸)

dotted Minim = 63

(figure 79 up to the end of figure 82⁵)

Bidding Scene [#] Steiger-Szene

Crowd and Sellem [#] Menge und Sellem

Meno mosso Crotchet = 144

(figure 83 up to the end of figure 84⁵)

Recitative [#] Rezitativ

(figure 85 up to the end of figure 85³)

Aria (continued) [#] Arie (Fortsetzung)

Tranquillo Crotchet = 144

(figure 86 up to the end of figure 90⁴)

Più mosso dotted Minim = 63

(figure 91 up to the end of figure 94⁵)

Final Bidding Scene [#] Schluß-Steiger-Szene

meno mosso Crotchet = 144

(figure 95 up to the end of figure 96⁷)

Crotchet = 60

(figure 97 up to the end of figure 97³)

[32]

Aria [#] Arie

Crotchet = 144

(figure 98 up to the end of figure 105⁶)

più mosso Crotchet = 144

(figure 106 up to the end of figure 106³)

molto meno mosso Crotchet = 60

(figure 107 up to the end of⁵ [attacca weiter nach figure 108])

[33]

Recitative and Duet [#] Rezitativ und Duett

with Chorus and Sellem [#] mit Chor und Selllem

Crotchet = 88

(figure 108 [attacca from figure 107⁵] up to the end of figure 111⁶)

Meno mosso Crotchet = 63

(figure 112 up to the end of figure 113⁵)

Duet [#] Duett

Anne und Baba with Chorus and Sellem [#] Ann und Baba mit Chor und Sellem

Crotchet = 80

(figure 114 up to the end of figure 115⁵)

più mosso Crotchet = 92

(figure 116 up to the end of figure 118⁵)

Poco meno mosso / (Tempo I) Crotchet = 80

(figure 119 up to the end of figure 121⁴)

Alla breve Minim = 63

(figure 122 up to the end of figure 133⁶)

[34]

Ballad Tune [#] Gassenhauer

dotted Crotchet = 56

(figure 134 up to the end of figure 136⁶)

Crotchet = 100

(figure 137 up to the end ofFigure 137³)

Stretto-Finale [#] Stretto-Finale

Anne, Baba and Sellem with Chorus [#] Ann, Baba und Sellem mit Chor

Crotchet = 152

(figure 138 up to the end of figure 142³)

Poco più mosso dotted Minim = 63

(figure 143 up to the end of figure 146⁶)

L'istesso tempo dotted Minim = 63

(figure 147 up to the end of figure 148⁶ [attacca forward to figure 149⁵])

Ballad Tune (reprise) [#] Gassenhauer (Reprise)

dotted Crotchet = 56

(figure 149 [attacca from figure 148⁶] up to the end of figure 150⁵)

Crotchet = 132

(figure 151 up to the end of figure 158⁸)

[figure 158²: Curtain – Vorhang]

Scene 2 [[#] 2. Bild

A starless night. A Churchyard. Tombs. Front centre a newly-dug grave. Behind it a flat raised tomb, against which is leaning a sexton's spade. On the right a yew-tree.

Ein Kirchhof. Gräber. Sternlose Nacht. Vorn in der Mitte ein frisch ausgehobenes Grab. Dahinter ein unbeschrifteter hochgestellter Grabstein, an den ein Totengräberspaten gelehnt ist. Rechts eine Eibe.

[35]

Prelude [#] Vorspiel

Crotchet = 69

(figure ⁸159 up to the end of figure 160⁶ [attacca weiter nach figure 161¹)

[figure 160⁶: Curtain – Vorhang]

Duet [#] Duett

Quaver = 84

(figure 161 [attacca from figure 160⁶] up to the end of figure 164⁵)

dotted Crotchet = 56

(figure 165 up to the end of figure 167⁵)

Quaver = 84

(figure 168 up to the end of figure 169⁵)

dotted Crotchet = 56

(figure 170 up to the end of figure 173⁴)

Quaver = 84

(figure 174 up to the end of figure 175³)

Quaver = dotted Crotchet = 84 agitato ma tempo rigoroso

(figure 176 up to the end of figure 180⁶)

dotted Crotchet = quaver = 56

(figure 181 up to the end of figure 181⁴)

L'istesso Quaver = 84

(figure 182 up to the end of figure 183³)

Crotchet = 42

(figure 184 up to the end of figure 184⁹)

[36]

Recitative [#] Rezitativ

dotted Crotchet = 69 circa

(figure 185 up to figure 186⁷)

Duet [#] Duett°

Quaver = 69

(figure 186⁸ up to the end of figure 187¹¹)

Crotchet = 112

(figure 188 up to the end of figure 189¹²)

Tempo I Quaver = 69

(figure 190 up to the end of figure 192²)

Tempo I (di Recitativo) Crotchet = 69 circa

(figure 192³ up to the end of figure 192⁷)

Quaver = 76

(figure 193 up to the end of figure 193⁷)

Crotchet = 126

(figure 194 up to figure 195¹⁷)

Crotchet = quaver = 126

(figure 196 up to figure 197⁷)

Quaver = 84 circa

(figure 197⁸ up to the end of figure 197⁹)

Crotchet = 168

(figure 198 up to the end of figure 200⁵)

Quaver = 84

(figure 201 up to the end of figure 204⁵ [unter Wiederholung der figuren 201 up to 204⁵ als

Figure 201^{up to}

up to 202^{up to}])

Meno mosso Quaver = 66

(figure 205 up to the end of figure 205⁸)

Quaver = 138

(figure 206 up to the end of figure 212⁵)

[figure 211¹: Slow curtain – Vorhang (langsam)]

Scene 3 [#] 3. Bild

Bedlam. (Backstage centre on a raised eminence a straw pallet. Tom stands before it facing the chorus of madmen who include a blind man with a broken fiddle, a crippled soldier, a man with a telescope and three old hags.)

Irrenhaus. (Im Mittelgrund auf einer zurechtgemachten Erhöhung ein Strohsack. Tom steht davor, dem Chor der Irren zugewandt, in deren Mitte sich ein blinder Mann mit einer zerbrochenen Geige, ein verkrüppelter Soldat, ein Mann mit einem Fernrohr und drei alte Hexen befinden.)

Quaver = 92

(figure 213 up to the end of figure 215⁴)

[figure 215¹: Curtain – Vorhang]

Arioso [#] Arioso

(figure 216 up to the end of figure 219⁵)

Dialogue [#] Zwiegesang

Madmen and Tom [#] Irre und Tom

Più mosso Crotchet = 108

(figure 220 up to the end of figure 223⁵)

Chorus - Minuet

Crotchet = 138

(figure 224 up to the end of figure 235⁸)

Crotchet = quaver = 138

(figure 236 up to the end of figure 236⁵)

[38]

Recitative [#] Rezitativ

Crotchet = 50

(figure 237 up to the end of figure 238⁵)

Arioso [#] Arioso

Più mosso Crotchet = 120

(figure 239 up to the end of figure 241⁵)

Minim = 60 tranquillo (ma stesso tempo)

(figure 241 up to the end of figure 242⁶)

Duet [#] Duett

Quaver = 60

(figure 243 up to the end of figure 248⁴)

L'istesso tempo ma commodo

(figure 249 up to the end of figure 251⁶)

[39]

Recitative [#] Rezitativ

(quasi arioso) [#] (quasi arioso)

Quaver = 72

(figure 252 up to the end of figure 253⁵)

Lullaby [#] Schlummerlied

Anne and Chorus [#] Ann und Chor

Crotchet = 50

(figure 254 up to the end of figure 254⁷)

Poco più mosso Crotchet = 63

(figure 255 up to the end of figure 255⁵)

Tempo I Crotchet = 50

(figure 256 up to the end of figure 256⁷)

Poco più mosso Crotchet = 63

(figure 257 up to the end of figure 257⁵)

Tempo I Crotchet = 50

(figure 258 up to the end of figure 258⁷)

Poco più mosso Crotchet = 63

(figure 259 up to the end of figure 259⁴)

Recitative [#] Rezitativ

Crotchet = 56 circa

(figure 260 up to the end of 260¹⁰)

Duettino [#] Duett

Quaver = 120

(figure 261 up to the end of figure 265⁷)

Finale [#] Finale

Recitative and Chorus [#] Rezitativ und Chor

Quaver = 100

(figure 266 up to the end of figure 268³)

Sempre l'istesso tempo

(figure 269 up to the end of figure 272⁵)

Mourning-Chorus [#] Klage-Chor

Crotchet = 69

(figure 273 up to the end of figure 280⁵ [attacca forward to figure 281]

(figure 279³: Curtain – Vorhang)

[40]

Epilogue [#] Epilog

Before the curtain. House lights up. [#] Vor dem Vorhang. Zuschauerraum hell.

(figure 281 up to the end of figure 309⁶)

End of the opera [#] Ende der Oper

+ Incorrect spelling (also popular with Germans) >gröhlen< instead correctly >grölen<.

* Tempo change in the middle of bar 142.

** Bar 228¹⁸ is recitative without regard for the meter of the bar, and the words are emphasized naturally; this singing instruction comes into effect from the fourth quaver notes running to a total value of 5 quavers and 31 semiquavers.

*** The voices from offstage can be sung by Tom, Sellem, Trulove and Nick.

° Without restarting the figures.

°° --

°°° Each of the first four words are in the piano reduction across figure 223⁵.

Corrections / Errata

Full and Pocket scores 78-7^Err

>page

2 At figure 2, read 2/4 for 3/4 in all parts.

64 1 bar before 115, Cor. I, II last note is A not C.

64 1 bar before and 1 bar after 115, Timp., both notes are C not G.

70 2nd bar after 121, Coro, Tenors, first note is C not E.

70 2nd bar after 121, Timp., delete note D.

108 1 bar before 174, all parts, meno ¦, not ¦.

140 From 3rd to 5th bar after 20, Cor. I, read one octave higher than Cor. II, not / one third higher.

140 At 21 add treble clef to Cor. I.

337 4th bar after 174, Trtp. I, last note, add # to A.

338 At 175, Trtp. I, first note, add # to A.

341 3rd bar after 182, Vl. I, 4st note, add [natural sign] to A.

341 4th bar after 182, Trtp. I, last note, add # to A.

342 At 183, Trpt., I, first note, add # to A.

347 5th bar after 190, Cembalo, left hand, 7th note is E# not D#.

371 1 bar before 232, Coro, the rhythm of the bar should read as follows:<

[notes centre]

S. treble clef quaver-d1 – quaver-d2 – quaver-d2 – quaver-b1 – crotchet-e1

A. treble clef quaver-d1 – quaver-d1 – quaver-d1 – quaver-d1 – crotchet-e1

our so- ci- e- ty

T. bass clef quaver-g – quaver-g – quaver-g – quaver-g – crotchet-g

B. bass clef quaver-G – quaver-g – quaver-g – quaver-g – crotchet-g

Style: Despite the opera seria setting there are no repetitions, only variations of composed parts. Since Strawinsky’s method of composition emphasised the syllabic, melodic passages have an as it were irregular rhythmic flow, resulting in an abundance of (musical) movement. The play with keys and differing polarisation serves to characterise musically each figure, an effect sometimes achieved by mere minimal alteration of intervals, like seconds. Where arias feature in the opera, the orchestra plays mostly accompagnato, while recitatives allow the orchestra to interpret the action more fully. Transitions to the secco recitative are made traditionally by way of the sixth chord. Mozart’s operas such as Cosí fan tutte were Strawinsky’s stylistic models, whose lightness he wished to emulate and Don Giovanni the moral epilogue of which returns in the Rake. Strawinsky was studying Mozart piano reductions at the time. Melismatic movements serves characterisation, and Strawinsky was particularly careful about prosody, as he was not very familiar with the English language. The passing of the Seasons is part of the composition. The story begins in Springtime on a clear sunny day and ends, again in Spring, on a starless night. Time relations of this kind may often be met with in Strawinsky’s work. For textual interpretation Strawinsky used the methods in practice since Mozart’s day: The music underscores the words or runs counter to them, serves to interpret a situation, paints and emphasises moods. Compositional gestures play an important part, a kind of technique of reminiscence is also apparent, and the first bars of certain thematic motifs reappear from various situations where they were used initially; thus there is what we may call an Anne-motif, a Fortuna-motif. The motifs chosen often have pictorial character, as is shown by the harpsichord motif accompanying Nick, appearing much like a shadow or cloud from another world. The play with opposing keys pays witness to opposing interests in the libretto, such as the major/minor third showing a dullness settling on the Tom-Anne relationship and dimming the Springtime mood, or else depicting a brightening in both. Rhythmic changes describe hectic action or else a new development in a given situation. Colour, ambitus, lesser or greater intervals, the use of diatonic or chromatic scales are consciously used to express meaning and receive their extra-musical justification from the libretto. – Strawinsky’s compositional method is a process of ascribing meaning. In the course of the card game scene, for example, the action of the game down even to Nick’s minutest attempt at cheating is represented by compositional means. Every stylistic element, even the inclusion of strains of popular melody (like the pop songs of today) is made subservient to characterisation, and Strawinsky thus manages to set what has reality or substance against the world of lies. By type-casting the figures (also a kind of polarisation) he achieves a kind of intellectual coldness which turns against the exuberance of psychologising in opera but also caused critics to say of the Rake that is was ‘intellectual opera seria’ fit only for the concert stage, given its mixture of tragedy and the grotesque, where historicised elements of style are re-arranged in a neo-classicist attitude. Each individual number is set out in a formal classical pattern which is not given up, even during the most ecstatic moments.-

Dedication: A dedication is not known.

Duration: 2 ^h 20' 38" = I = 42' 09" [(1. {19' 56"} : 0' 33", 4' 40", 2' 33", 7' 02", 5' 08") (2. {13' 44"} : 2' 33", 5' 00", 3' 44", 2' 27") (3. {8' 29"} : 5' 40", 2' 49")]; II = 39' 07" [(1. {13' 40"} : 6' 42", 4' 46", 2' 12") (2. {14' 37"} : 5' 41", 3' 30", 5' 26") (3. {10' 50"} : 5' 32", 5' 18")]; III = 59' 22" [(1. {16' 48"} : 2' 51", 5' 33", 6' 28", 1' 56") (2. {19' 07"} : 2' 20", 4' 41", 8' 30", 3' 36") (3. {23' 27"} : 3' 46", 6' 17", 5' 49", 5' 01", 2' 34")].

Date of origin: Hollywood November 1947 up to 7. April 1951.

History of origin: The idea for a full-length opera came from Strawinsky himself. After he happened on the series of engravings by Hogarth while visiting the Chicago Art Museum in 1947, his plans became concrete and he shared them with his neighbour, Aldous Huxley, who alerted him to Auden, of whom Strawinsky had hitherto read only a commentary on the film ‘Night Train’. After initial enquiries from Ralph Hawkes, Strawinsky first contacted Auden on 6th October 1947. Strawinsky wanted seven solo parts, two acts of five and one act of two scenes and a choreographic interlude in the first act. He planned a number opera with spoken, yet action-tied dialogues in order to evade the traditional practice of recitative and with arias, duets, tercets in free verse supported by a small choir. He did not intend to compose a ‘dramma in musica’ nor to create a work for chamber orchestra. The hero could have been pictured ending his life in an old peoples’ home scratching a fiddle and the libretto should be generally based on Hogarth’s engravings. Auden agreed, whereupon the two artists worked together between 11th and 20th of November 1947 in Strawinksy’s Hollywood home. On 16th January 1948 Auden sent the first act, the second arrived on 24th January, followed by the third on 9th February. Strawinsky’s wishes regarding alterations, additions and rearrangements of verses were met by Auden as long as musical reasons prevailed. Since the statements pertaining to the beginnings and the progress of the ‘Rake’ made by Strawinsky in his book ‘Memories and Commentaries’ are not all correct, Robert Craft wrote an essay on the progression of the libretto and published it in the Appendix to the third volume of his Letters. The genesis of the composition was also minutely reconstructed by Craft, using the surviving sketchbooks from Strawinsky’s Estate. The whole is completed by details gleaned from the Letters. The prologue to the second scene of the third act was completed by Strawinsky on 11th December 1947 and he began the first act (no. 2) on 8th May 1948 and finished it 16th January 1949. The second Act was begun on 1st April 1949 with no. 5 f (Vary the song), in late May 1950 he continued the third act at no. 7 (What curious phenomena). The opera is nearing completion on 17th February 1951, merely the epilogue took until April 1951 to complete. The ‘Rake’ was finished on 14th May 1951, not too long before it was first performed. The première in Venice came about through the good offices of the author Nabokov, who was acquainted with the director of the music department of the Italian radio, Mario Labroca, and prevailed with him to secure the first performance of this work against a fee of twenty thousand dollars. To safeguard the success of his première, Strawinsky allowed no previews. Initially , the work was to have been conducted by Paul Breisach, General Director of Music of the San Francisco Opera House. He died, however, before Strawinsky had finished the ‘Rake’. Another artist much admired by Strawinsky who would have been his choice for the set design, Eugene Berman, relinquished his position beset by intrigues, much to Strawinsky’s regret. The quality of the première leaves room for doubt. Strawinsky was not in good health and passed the baton on to Ferdinand Leitner, who conducted the second performance but was severely criticised by the composer. Strawinsky’s conducting must have been rather problematic and Robert Rounseville, who sang the title role, must have been a failure. Needless to say, Strawinsky was rather unhappy with this first presentation of his work, nor was he any happier with its editor, who until late July 1961 had not published a pocket score. On 28th July 1961 he complained by letter from Santa Fé, stating if it was asking too much if he wished to have a correct pocket score of the ‘Rake’ for his 80th birthday, even if the profit did not exceed the expense. The fact that the recording of his opera was sold ‘only’ 5000 times in eleven years was not seen as a success either, and in 1964 Strawinsky approached the publishers for assistance, since a new production was not justified given the circumstances. The recording in question appeared on Columbia Records in March 1953 and was later replaced by the recording of June 1964.

First performance: on 11th September 1951 in the Teatro La Fenice di Venezia with Robert Rounseville (Tom Rakewell), Elisabeth Schwarzkopf (Anne), Otakar Kraus (Nick Shadow), Raffaele Ariè (Trulove), Nell Tangeman (Mother Goose), Jennie Tourel (Türkenbab), Hugues Cuenod (Sellem), Emanuel Menkes (Wärter), the chorus and the orchestra of the Teatro alla Scala in Milan (choirmaster: Vittore Veneziani), the scenery by Ebe Colciaghi, the costumes by Gianni Ratto, the stage direction by Carl Ebert and under the direction of Igor Strawinsky*

* The second and the third performance were conducted by Ferdinand Leitner.

Remarks: Strecker found the score, after Strawinsky had played and sung it to him in English for two-and-a-half hours in New York in March 1950 when the work was still incomplete, to be ‘infinitely fine’, ‘clear’ and ‘transparent’, but, with a running time of three hours, risky in terms of its length. Strawinsky replied that it could not have been written any shorter. Strecker describes the enthusiasm with which Strawinsky explained details of the music to him. Exactly what these details were is not specified by Strecker. The latter described the meeting, which was the first time that they had seen one another after a ten-year interruption, as a mutually happy event, as if emigration and the War had never happened. If Strecker, who had a great deal to do in New York, was hoping to pick up their commercial relationship of old where they left off, he was to be disappointed. Ralph Hawkes had got in a long time ahead of him.

Significance: The ‘Rake’ is Strawinsky’s only full-length stage work. It ends his neo-classicist period.

Productions: 1951 Stuttgart* (Kurt Puhlmann, Ferdinand Leitner); 1951 Hamburg* (Günther Rennert, Wilhelm Schleuning); 1952 Wien (Günther Rennert, Heinrich Hollreiser); 1953 Boston-Universität (Sarah Caldwell, Igor Strawinsky); 1953 New York (George Balanchine, Fritz Reiner); 1953 Paris** (Louis Musy, André Cluytens); 1953 Edinburgh (Carl Ebert, Alfred Wallenstein); 1954 Glyndebourne (Carl Ebert, Paul Sacher); 1957 London; 1958 Frankfurt (Harry Buckwitz, Hermann Scherchen); 1961 Stockholm (Ingmar Bergmann, Michael Gielen); 1962 London (Glen Biam Shaw, Colin Davis); 1964 Dresden-Radebeul; 1967 Boston (Sarah Caldwell).

* Sung text German.

** Sung text French.

Corrections: The full score had hardly appeared in print, when Strawinsky’s list of printing errors came in. The radio performance of the work, directed by Paul Collaers, contained diverging tempi, due to faulty transcriptions for orchestra. The piano reduction contained new mistakes, not to be found in the full score. Among others, the first note of page 202 in the R.H. at no. 197 (meaning no. 197 1) should have been a major third higher, an E instead of a C (meaning e 2 instead of c 2). On page 303 the centre note of the first chord of semiquavers in the R.H. (meaning no. 197 1) must read f sharp instead of f natural and the centre note of the last chord e flat instead of e 1.

Versions: The publication rights were contracted with Boosey & Hawkes on 19th April 1948. Engraving and printing was done by Sturtz in Würzburg, a decision that was to cause problems which could not have been foreseen from the England or America of the time. On 29th June 1951 Strawinsky had seen all first corrections except for the two last scenes and the epilogue which he asked Stein to have sent to him by 30th July 1951 at the latest, since he intended to travel after that time. The timing at least proved right from then on and Stein presented Strawinsky in Venice with the three-volume printed edition of the full conductor’s score, thereby giving cause for yet another letter of complaint from him. One criticism was, that numerous printing errors had been left uncorrected, but far worse from Strawinsky’s point of view was the poor quality of the paper and printing. Why an English firm contracted out to a German printing works will have to remain speculation; obviously nobody had considered the state of the war-stricken country, where to obtain good quality paper must have been a problem to be solved only by inventive minds with good relations abroad. In his letter to Stein dated 28th July 1952 Strawinsky said the edition could merely be “ provisional” and wished to know what Stein intended doing: Prepare an errata list or - better - a whole new edition? The paper was so bad that the printing on the back shone through. The plates had moreover been so crowded that quavers appeared almost as semi-quavers, particularly in the recitatives, a condition that could be partly improved by using better quality paper. The preserved copy of the three-volume edition does not make Strawinsky’s criticism appear justified. The London copy (library signature H.78 b.e.) was, however, not printed in Würzburg, but in England in 1951. The London Library bound the three volumes together removing the covers and title pages and replacing them by machine-typed cover leaves reading IGOR STRAVINSKY / THE RAKE’S PROGRESS / ACT I [Act II, Act III] BOOSEY & HAWKES LIMITED. It cannot therefore be the Venetian copy.

Version for two recorders: Nothing is known in the Strawinsky literature about the circumstances of the arrangement of the lullaby for two recorders. It is possible, that Strawinsky wanted to do his wife a favour. The contract with Boosey & Hawkes was concluded on 21st June 1960. Strawinsky’s share in the sales proceeds amounted to 7.5%. Strawinsky sent the corrected galley proofs to Rufina Ampenow on 2nd June 1960. The transcription appeared in print in that same year. The London Library notes the receipt of the complimentary copy as 4th November 1960.

Historical recordings: New York 1. - 10. March 1953 with Hilde Güden (Anne), Martha Lipton (Goose), Blanche Thebom (Türkenbab), Eugene Conley (Tom), Lawrence Davidson (Wärter), Paul Franke (Sellem), Mac Harrell (Nick), Norman Scott (Trulove), the chorus and the orchestra of the Metropolitan Opera New York under the direction of Igor Strawinsky; London 16.-20., 22.-23. June 1964 with Don Garrard (Trulove), Judith Raskin (Anne), Alexander Young (Tom Rakewell), John Reardon (Nick Shadow), Jean Manning (Mother Goose), Regina Sarfaty (Baba the Turk), Kevin Miller (Sellem), Peter Tracey, Colin Tilney (Harfe), the The Sadlers Wells Opera Chorus (Chordirektor: John Barker), the Royal Philharmonic Orchestra under the direction of Igor Strawinsky. Strawinsky was particularly pleased with the 1953 recording.

CD edition: IX-1/1-17, IX-2/1-15 (recording 1964).

Autograph: The autograph of the orchestral score was donated to the University of Southern California in Los Angeles by Strawinsky himself on 9th September 1959.

Copyright: 1949 by Boosey & Hawkes; 1951 by Boosey & Hawkes in New York (Vocal Score); 1960 by Boosey & Hawkes London (Recorder arrangement)

Editions

a) Overview

78-1 1951 FuSc [Edition Würzburg]; 3 volumes; unidentified].

78-2 1951 FuSc; E; Boosey & Hawkes London; 130+119+164 p.; B & H 17853.

78-3 1951 VoSc; E-D; Boosey & Hawkes London; 240 pp. 4°; B. & H. 17088.

    78-3^Straw1 ibd. [with annotations].

    78-3^Straw2 ibd. [with annotations].

  78-3⁷⁰ 1970 ibd.

78-4 1960 Recorder (Lullaby); Boosey & Hawkes London; 3 pp.; B. & H. 18761.

  78-4^[66] [1960] ibd.

78-5 1962 PoSc; E; Boosey & Hawkes London; 414 pp.; B. & H. 17853; 739.

  78-5⁶² 1962 ibd.

  78-5⁶³ 1962 ibd.

  78-5⁶⁹ 1962 ibd.

78-6 1962 FuSc; E; Boosey & Hawkes London; 414 pp.; B. & H. 17853.

78-7^Err 1966 Errata-List; Boosey & Hawkes London; p. 1; 17853.

b) Characteristic features

78-1 1951 Full score Edition Würzburg; three volumes; unidentified.

78-2 [missing], [missing],° // (Full score 3.2 x 23.2 x 30.7 (4° [4°]); sung text English; 3 volumes 130 [130] + 119 [119] + 164 [164] pages = [Ist volume] + 2 pages back matter [page with publisher’s advertisements >Symphonic Music / Modern Composers<* production data >849 No. 531<, page with publisher’s advertisements >Symphonic Music / Soli, Chorus and Orchestra<** production data >No. 537< [#] >8.49<] + [IInd volume:] 1 page back matter [page with publisher’s advertisements >Symphonic Music / Symphonies<*** production data >No. 530.< [#] >8.49.<] without back matter [IIIrd volume]; title head >THE RAKE’S PROGRESS / Opera in three acts<; authors specified [exclusively 1st volume] 1st. page of the score unpaginated [p. 1] between title head and movement title >PRELUDE< flush left centred >Libretto by / W. H. Auden and Chester Kallman< flush right above and next to movement title centred >Music by / Igor Stravinsky / (1948-1951)<; legal reservations [exclusively 1st volume] below type area flush left >Copyright 1951 by Boosey & Hawkes, Inc. New York. / Copyright for all countries< flush right below production indication >All rights reserved<; production indication 1st. page of the score below type area flush right >Printed in England<; plate number >B & H 17853<; without end mark) // (1951)

° The British Library itself bound the three separate volumes together, one for each act, thus removing the title pages and all the inner title pages, and replacing them with typewritten pages. >IGOR STRAVINSKY / THE RAKE'S PROGRESS / ACT I [Act II, Act III] BOOSEY & HAWKES Limited<.

* Compositions are advertised from >Béla Bartók< to >Igor Strawinsky / Le Baiser de la Fée, Ballet-Allegory/ Le Chant du Rossignol, Symphonic Poem/ Divertimento / Oedipus Rex, Opera Oratorio/ Orpheus. Suite from the Ballet/ Persephone, Melodrama/ Pétrouchka. Suite from the Ballet/ Pulcinella. Suite from the Ballet/ Le Sacre du Printemps<. The following places of printing are listed: New York-Los Angeles-Sydney-Capetown-Toronto-Paris.

** Compositions are advertised from >Béla Bartók< to >Leslie Woodgate<, amongst these >Igor Strawinsky / Mass for Mixed Chorus and Double Wind Quintet / Symphonie de Psaumes ( Revised 1948)<. The following places of printing are listed: New York-Los Angeles-Sydney-Capetown-Toronto-Paris.

*** Compositions are advertised from >George Antheil< to >Arnold van Wyk<, amongst these >Igor Strawinsky / Symphonies pour instruments à vent<. The following places of printing are listed: New York-Los Angeles-Sydney-Capetown-Toronto-Paris.

78-3 IGOR STRAWINSKY / [°] / THE RAKE'S PROGRESS / [°] / Vocal Score/ Klavierauszug/ BOOSEY & HAWKES // IGOR STRAWINSKY / THE RAKE'S PROGRESS / (Der Wüstling) / an Opera in 3 Acts/ Oper in 3 Akten/ a Fable by [#] eine Fabel von / W. H. AUDEN AND CHESTER KALLMAN / Deutsche Übersetzung/ von Fritz Schröder/ Vocal Score by[#] Klavierauszug von/ Leopold Spinner/ BOOSEY & HAWKES / LONDON NEW YORK PARIS BONN SYDNEY CAPE TOWN TORONTO // [Text on spine:] The Rake’s Progress [oblong:] VOCAL // (Vocal score (with chant) sewn 23.8 x 31 (4° [4°]); sung text English-German; 240 [240] pages + 4 cover pages thicker paper brown-red on reseda green cloudy structure [front cover title, 3 empty pages] + 5 pages front matter [title page, list of persons >CHARACTERS< English + specification of the location English + legal reservations English >Copyright 1951 in USA by Boosey & Hawkes, Inc. New York / Copyright for all Countries< / >All rights of theatrical, radio, television performance, mechanical reproduction in any form / whatsoever (including film), translation of the libretto, of the complete opera or / parts thereof are strictly reserved<, index of roles >PERSONEN< German + specification of the location German + legal reservations >Copyright 1951 in USA by Boosey & Hawkes, Inc. New York / Copyright for all Countries< / German centred >Alle Rechte der szenischen Aufführung, Rundfunkübertragung, Television, der mecha- / nischen Wiedergabe jedweder Art (einschließlich Film), der Übersetzung des Textbuches, / vollständig oder teilweise, sind vorbehalten<, legend >ORCHESTRATION< English with notes on performance English + legend >ORCHESTERBESETZUNG< German with notes on performance German] without back matter; title head >THE RAKE’S PROGRESS / Opera in three acts<; authors specified 1st page of the score paginated p. 1 between title head and movement title >PRELUDE< flush left centred >Libretto by W. H. Auden / and Chester Kallman< flush right centred >Music by Igor Strawinsky / 1948 - 51<; translator specified 1st page of the score next to movement title flush left >Deutsche Übersetzung von Fritz Schröder<; legal reservations 1st page of the score below type area flush left >Copyright 1951 in U. S. A. Copyright for all Countries< flush right partly in italics >All rights reserved / Tous droits réservés<; plate number [exclusively 1. page of the score] >B. & H. 17088<; practical note on performance with asterisk p. 137 figure 288 ¹⁸II. act regarding the first quaver note of the role of Nick [exclusively] German >*) Ohne Rücksicht auf Taktmetrum mit natürlicher Wortbetonung< [without concern for the meter of the bar and with a natural emphasis of the words]; production indications p. 240 below type area flush left >Printed in Germany< flush right as end mark >Stich und Druck der Universitätsdruckerei H. Stürtz A. G., Würzburg.<) // (1951)

° Ornamental dividing horizontal line of 9 cm centrally thickening to 0.1 cm.

78-3^Straw1

78-3^Straw2

78-3⁷⁰ IGOR STRAWINSKY / [°] / THE RAKE'S PROGRESS / [°] / Vocal Score/ Klavierauszug/ BOOSEY & HAWKES // IGOR STRAWINSKY / THE RAKE'S PROGRESS / (Der Wüstling) / an Opera in 3 Acts/ Oper in 3 Akten/ a Fable by [#] eine Fabel von / W. H. AUDEN AND CHESTER KALLMAN / Deutsche Übersetzung/ von Fritz Schröder/ Vocal Score by[#] Klavierauszug von/ Leopold Spinner/ BOOSEY & HAWKES / Music Publishers Limited / London · Paris · Bonn · Johannesburg · Sydney · Toronto · New York// [without text on spine] // (Vocal score (with chant) sewn 1.6 x 23.6 x 31 (4° [4°]); sung text English-German ; 240 [240] pages + 4 cover pages black on orange thicker paper dark beige on light beige darkly grained in a framework [front cover title, 3 empty pages] + 4 pages front matter [title page, list of persons >CHARACTERS< + specification of the location English + list of persons with a description of the settings and the names transliterated >PERSONEN< with transliteration of names + specification of the location German, page with (world) premiere data Italian + legal reservations English centred >Copyright 1949 by Boosey & Hawkes, Inc. New York / Copyright 1950 by Boosey & Hawkes, Inc. New York / Copyright 1951 by Boosey & Hawkes, Inc. New York / Copyright for all Countries< justified text >All rights of theatrical, radio, television performance, mechanical reproduction in any form whatsoever / (including film), translation of the libretto, of the complete opera or parts thereof are strictly reserved< German centred >Alle Rechte der szenischen Aufführung, Rundfunkübertragung, Television, der mechanischen Wiedergabe / jedweder Art (einschließlich Film), der Übersetzung des Textbuches, vollständig oder teilweise, / sind vorbehalten<, legend >ORCHESTRATION< English with notes on performance English + legend >ORCHESTERBESETZUNG< German with notes on performance German] without back matter; title head >THE RAKE’S PROGRESS / Opera in three acts<; authors specified 1. page of the score paginated p. 1 between title head and movement title >PRELUDE< flush left centred >Libretto by W. H. Auden / and Chester Kallman< flush right centred >Music by Igor Strawinsky / 1948-51<; translator specified 1. page of the score below movement title flush left >Deutsche Übersetzung von Fritz Schröder<; legal reservation 1. page of the score below type area flush left >Copyright 1949 by Boosey & Hawkes, Inc. New York / Copyright 1950 by Boosey & Hawkes, Inc. New York / Copyright 1951 by Boosey & Hawkes, Inc. New York < flush right partly in italics >Tonsättning förbjudes / All rights reserved / Tous droits réservés<; plate number [exclusively 1. page of the score] >B. & H. 17088<; practical note on performance with asterisk p. 137 figure 288 ¹⁸II. act regarding the first quaver note of the role of Nick [exclusively] German >*) Ohne Rücksicht auf Taktmetrum mit natürlicher Wortbetonung< [without concern for the meter of the bar and with a natural emphasis of the words] ; end number p. 240 flush left >3·70 L&B<; production indication p. 240 below type area flush right as end mark >Lowe and Brydone (Printers) Limited, London<) // (1970)

° Ornamental dividing horizontal line of 9 cm, centrally thickening to 0.2 cm.

78-4 IGOR STRAVINSKY / LULLABY / from/ The Rake's Progress/ Recomposed for two Recorders/ BOOSEY & HAWKES // (Edition [unsewn] 23.4 x 31 (4° [4°]); 3 [2] pages without cover with title page black on white + 1 page back matter [empty page]; title head >LULLABY / from “The Rake’s Progress”<; author specified 1. page of the score paginated p. 2 below title head flush right >Igor Stravinsky<; legal reservation 1. page of the score below type area flush left >Copyright 1949, 1950, 1951 by Boosey & Hawkes Inc. / This arrangement © Copyright 1960 by Boosey & Hawkes Inc. / All rights reserved<; production indication 1. page of the score below type area centre inside right >Printed in England<; plate number >B. & H. 18761<; without end mark) // (1960)

78-4^[66] [°] LULLABY / from “The Rake’s Progress” / IGOR STRAVINSKY / Recomposed for two Recorders/ Boosey & Hawkes// IGOR STRAVINSKY / LULLABY / from / “The Rake's Progress” / Recomposed for two Recorders/ Boosey & Hawkes / Music Publishers Limited / London · Paris · Johannesburg · Sydney · Toronto · New York // (Edition unsewn 21.5 x 27.9 (4° [Lex. 8°]); 3 [2] pages + 4 cover pages thicker paper [ a front cover title page designed with pictorial elements , 2 empty pages, page with publisher’s advertisements >Igor Stravinsky<* production data >No. 40< [#] > 7.65<] + 1 page front matter [title page] + 1 page back matter [page with publisher’s advertisements >RECORDER MUSIC<** + production data >No. 12a< [#] > 4.66<; title head >LULLABY / from “The Rake’s Progress”<; author specified 1. page of the score paginated p. 2 below title head flush right >Igor Stravinsky<; legal reservations 1. page of the score below type area flush left >Copyright 1949, 1950, 1951 by Boosey & Hawkes Inc. / This arrangement © Copyright 1960 by Boosey & Hawkes Inc. / Sole Sellings Agents:BOOSEY & HAWKES MUSIC PUBLISHERS Ltd.,<°° flush right >All rights reserved<; production indication 1. page of the score below legal reservation flush right >Printed in England<; plate number >B. & H. 18761<; without end mark) // [1966]

° F lush left 3.6 x 27.9 white stylized piano keyboard flush left and with a side view of a recorder in brown 3.6 x 27.9.

°° Original spelling.

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

** Compositions are advertised without specification of places of printing from >Holst< to >Yoult/Hunt<, amongst these >Stravinsky / Lullaby, from “The Rake's / Progress” / descant and treble recorders<.

78-5 I S // Igor Stravinsky / The Rake's Progress / An Opera in Three Acts / by W. H. Auden and Chester Kallman / HPS 739 / [°] / BOOSEY & HAWKES / LONDON // [text on spine gold tooling oblong:] >STRAVINSKY / THE RAKE'S / PROGRESS< // (Pocket score imitation leather 2.9 x 19.3 [18,3] x 27.2 [26.7] ([Lex 8°]); sung text English; 414 [414] pages + 4 cover pages dark blue black [front cover title as Strawinsky's intertwined monogramm >I> in >S< 1.8 x 4.0 gold tooling, 3 empty pages] + 6 pages front matter [title page, page with legal reservation centre centred >© Copyright 1949 by Boosey & Hawkes, Inc. / © Copyright 1950 by Boosey & Hawkes, Inc. / © Copyright 1951 by Boosey & Hawkes, Inc.< centre not centred italic > All rights of theatrical, radio, television performance, mechanical re- / production in any form whatsoever (including film), translation of the / libretto, of the complete opera or parts there of are strictly reserved.<, roles >CHARACTERS< English with specification of the location, legend >ORCHESTRATION< English with notes on performance, page with (world) premiere data > First Performance< Italian, empty page] without back matter; title head >THE RAKE’S PROGRESS / Opera in three acts<; authors specified 1. page of the score unpaginated [p. 1] between title head and movement title >PRELUDE< flush left centred >Libretto by / W. H. Auden and Chester Kallman< above and next to movement title flush right centred >IGOR STRAVINSKY / 1948-1951<; legal reservations 1. page of the score below type area flush left >© Copyright 1949 by Boosey & Hawkes, Inc. / © Copyright 1950 by Boosey & Hawkes, Inc. / © Copyright 1951 by Boosey & Hawkes, Inc.< flush right below production indication >All rights reserved<; plate number >B. & H. 17853<; end number p. 414 flush left >5·62 L & B<; production indications 1. page of the score below type area above legal reservation flush right >Printed in England< p. 414 flush right as end mark >Lowe and Brydone (Printers) Limited, London<) // (1962)

° Dividing horizontal line of 5.8 cm.

78-5⁶² I S // Igor Stravinsky / The Rake's Progress / An Opera in Three Acts / by W. H. Auden and Chester Kallman / HPS 739 / [°] / BOOSEY & HAWKES / LONDON // [text on spine gold tooling oblong:] >STRAVINSKY / THE RAKE'S / PROGRESS< // (Pocket score imitation leather 2.9 x 19.3 [18,3] x 27.2 [26.7] ([Lex 8°]); sung text English; 414 [414] pages + 4 cover pages dark blue black [front cover title as Strawinsky's intertwined monogramm >I> in >S< 1.8 x 4.0 gold tooling, 3 empty pages] + 6 pages front matter [title page, page with legal reservation centre centred >© Copyright 1949 by Boosey & Hawkes, Inc. / © Copyright 1950 by Boosey & Hawkes, Inc. / © Copyright 1951 by Boosey & Hawkes, Inc.< centre not centred italic > All rights of theatrical, radio, television performance, mechanical re- / production in any form whatsoever (including film), translation of the / libretto, of the complete opera or parts there of are strictly reserved.<, list of persons >CHARACTERS< English with specification of the location, legend >ORCHESTRATION< English with notes on performance, page with (world) premiere data > First Performance< Italian, empty page] without back matter; title head >THE RAKE’S PROGRESS / Opera in three acts<; authors specified 1st page of the score unpaginated [p. 1] between title head and movement title >PRELUDE< flush left centred >Libretto by / W. H. Auden and Chester Kallman< above and next to movement title flush right centred >IGOR STRAVINSKY / 1948-1951<; legal reservations 1st page of the score below type area flush left >© Copyright 1949 by Boosey & Hawkes, Inc. / © Copyright 1950 by Boosey & Hawkes, Inc. / © Copyright 1951 by Boosey & Hawkes, Inc.< flush right below production indication >All rights reserved<; plate number >B. & H. 17853<; end number p. 414 flush left >12·62 L & B<; production indications 1st page of the score below type area above legal reservation flush right >Printed in England< p. 414 flush right as end mark >Lowe and Brydone (Printers) Limited, London<) // (1962)

° Dividing horizontal line of 5.8 cm.

78-5⁶³ I S // Igor Stravinsky / The Rake's Progress / An Opera in Three Acts / by W. H. Auden and Chester Kallman / HPS 739 / [°] / BOOSEY & HAWKES / LONDON / [text on spine gold tooling oblong:] >STRAVINSKY / THE RAKE’S / PROGRESS< // (Pocket score imitation leather 18.3 x 26.7 [2.7 x 19 x 27.3] ([Lex 8°]); sung text English; 414 [414] pages + 4 pages dark blue [front cover title as Strawinsky's intertwined monogramm >I> in >S< 1.8 x 4.0 in gold tooling, 3 empty pages] + 6 pages front matter [title page, legal reservation >© Copyright 1949 by Boosey & Hawkes, Inc. / © Copyright 1950 by Boosey & Hawkes, Inc. / © Copyright 1951 by Boosey & Hawkes, Inc. / All rights of theatrical, radio, television performance, mechanical re- / production in any form whatsoever (including film), translation of the / libretto, of the complete opera or parts there of are strictly reserved.<, list of persons >CHARACTERS< English with information on the time periods in the plot , legend >ORCHESTRATION< English with notes on performance English without duration data, (world) premiere data > First Performance< Italian, empty page] without back matter; title head >THE RAKE’S PROGRESS / Opera in three acts<; authors specified 1. page of the score unpaginated [p. 1] between title head and movement title >PRELUDE< flush left centred >Libretto by / W. H. Auden and Chester Kallman< above and next to movement title flush right centred >IGOR STRAVINSKY / 1948-1951<; legal reservations 1. page of the score below type area flush left >© Copyright 1949 by Boosey & Hawkes, Inc. / © Copyright 1950 by Boosey & Hawkes, Inc. © Copyright 1951 by Boosey & Hawkes, Inc.< flush right >All rights reserved<; plate number >B. & H. 17853<; end number p. 414 flush left >12·63 L & B<; production indications 1. page of the score below type area above legal reservation flush right >Printed in England< p. 414 flush right as end mark >Lowe and Brydone (Printers) Limited, London<) // (1963)

° Dividing horizontal line of 5.8 cm.

78-5⁶⁹ I S // Igor Stravinsky / The Rake's Progress / An Opera in Three Acts / by W. H. Auden and Chester Kallman / HPS 739 / [°] / BOOSEY & HAWKES / LONDON // [Text on spine:] STRAVINSKY / [°°] / THE RAKE’S / PROGRESS // (Pocket score imitation leather 18.4 x 26.6 [3.6 x 19.1 x 27.3] ([Lex 8°]); sung text English; 414 [414] pages + 4 cover pages dark blue with text on spine gold tooling oblong [front cover title as Strawinsky's intertwined monogramm >I> in >S< 1.8 x 4.0 in gold tooling, 3 empty pages] + 6 pages front matter (+ 2 binding pages) [title page, legal reservation justified text >© Copyright 1949 by Boosey & Hawkes, Inc. / © Copyright 1950 by Boosey & Hawkes, Inc. / © Copyright 1951 by Boosey & Hawkes, Inc.< + legal reservation italic > All rights of theatrical, radio, television performance, mechanical re- / production in any form whatsoever (including film), translation of the / libretto, of the complete opera or parts there of are strictly reserved.<, list of persons >CHARACTERS< English with information on the time periods in the plot ,legend >ORCHESTRATION< English + notes on performance without headline English without duration data, (world) premiere data > First Performance< Italian, empty page] without back matter (+ 2 binding pages); title head >THE RAKE’S PROGRESS / Opera in three acts<; authors specified 1. page of the score unpaginated [p. 1] between title head and movement title >PRELUDE< flush left centred >Libretto by / W. H. Auden and Chester Kallman< above and next to movement title flush right centred >IGOR STRAVINSKY / 1948-1951<; legal reservations 1. page of the score below type area flush left >© Copyright 1949 by Boosey & Hawkes, Inc. / © Copyright 1950 by Boosey & Hawkes, Inc. © Copyright 1951 by Boosey & Hawkes, Inc.< flush right >All rights reserved<; plate number >B. & H. 17853<; end number p. 414 flush left >11·69 L & B<; production indications 1. page of the score below type area above legal reservation flush right >Printed in England< p. 414 flush right as end mark >Lowe and Brydone (Printers) Limited, London<) // (1969)

° Dividing horizontal line of 5.8 cm.

°° Dividing horizontal line of 2.4 cm.

78-6 Igor Stravinsky / The Rake's Progress / An Opera in Three Acts / by W. H. Auden and Chester Kallman / Full Score/ BOOSEY & HAWKES // Igor Stravinsky / The Rake's Progress / An Opera in Three Acts / by W. H. Auden and Chester Kallman / Full Score/ Boosey & Hawkes / Music Publishers Limited / London · Paris · Bonn · Johannesburg · Sydney · Toronto · New York // (Full score [library binding] 23.5 x 31 (4° [4°]); sung text English; 414 [414] pages + 4 cover pages thicker paper orange-red on green beige grey [front cover title, empty page, [missing], [missing] ] + 6 pages front matter [title page, legal reservation >© Copyright 1949 by Boosey & Hawkes, Inc. / © Copyright 1950 by Boosey & Hawkes, Inc. / © Copyright 1951 by Boosey & Hawkes, Inc.< / > All rights of theatrical, radio, television performance, mechanical re- / production in any form whatsoever (including film), translation of the / libretto, of the complete opera or parts there of are strictly reserved.<, list of persons with a description of the settings >CHARACTERS< English, legend >ORCHESTRATION< English + notes on performance English, (world) premiere data Italian, empty page] without back matter; title head >THE RAKE’S PROGRESS / Opera in three acts<; authors specified 1. page of the score unpaginated [p. 1] between title head and movement title >PRELUDE< flush left centred >Libretto by / W. H. Auden and Chester Kallman< above and next to movement title flush right centred >IGOR STRAVINSKY / 1948-1951<; legal reservations 1. page of the score below type area flush left >© Copyright 1949 by Boosey & Hawkes, Inc. / © Copyright 1950 by Boosey & Hawkes, Inc. © Copyright 1951 by Boosey & Hawkes, Inc.< flush right >All rights reserved<; production indication 1. page of the score below type area above legal reservation flush right >Printed in England<; plate number >B. & H. 17853<; without end marks) // (1962)

78-7^Err Igor Stravinsky: THE RAKE’S PROGRESS / Errata to Full and Study Scores// (15 corrections listed according to page number in the score and with figure references, the last of which has a musical example; 1 page without page number; 8°; the plate number appears underneath the block of corrections flush left >B. & H. 17853<; the end number is underneath the page of corrections on the same level as the plate number flush right >9.66<) // 1966

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