K016 Three Japonese Lyrics

deutsch K016 Drei japanische Gedichte

K16 Три стихотворенія изъ японской лирики

для голоса (сопрано), двухь флейтъ (2ая–мал.фл.), двухъ кларнетовъ (2ой–бас.-кл.), ф-піано, двухъ скрипокъ, альта и віолончели – Trois poésies de la lyrique japonaise pour chant (soprano), deux flûtes (la 2de –pet. fl.), deux clarinettes (la 2de –cl.bas.), piano, deux violons, alto et violoncelle – Three Japonese Lyrics for sopran and chamber orchestra – Drei japanische Gedichte für Sopran und Kammerorchester – Tre poesie della Lirica giapponese per canto (soprano) e un piccolo complesso da camera formato da due flauti, due clarinetti, pianoforte e quartetto d’archi

Title: The first edition of the original orchestral version was published before Strawinsky’s own piano transcription in Russian and French but without translation into Russian of the French surtitle. The piano reduction appeared in a trilingual version (Russian - French - English) but with the work title in Russian and French only. That there were originally four songs in planning is a rumour started by M. Ravel which moreover lacks all sound basis, as the song cycle displays a rare unity of form, but yet, as rumours must, it spread. How provisional the contents of the note sent to Hélène Casella on 2nd April 1913 concerning the programme for the concert becomes evident from further errors on Ravel’s part. Thus he declared that the performance time of ‘Pierrot Lunaire’ was 40 minutes, which was far too long; moreover, the piece was not even included in the end. The - still erroneously termed - Four Japanese Lyrics were to have been performed during a total of ten minutes, which would have meant the imaginary fourth Song to be twice as long as the three preceding ones together. Ravel’s own series of songs after Mallarmé consisted of only two according to his letter; in reality there were three songs premièred.

Scored for: The list of forces required is part of the main title. [Soprano (high voice); Piccolo (= 2nd Flute), 2 Flutes (2nd Flute = Piccolo), 2 Clarinets in B b (2nd Clarinet = Bass clarinet in B b ), Bass clarinet in B b (= 2nd Clarinet), Piano, 1st Violin, 2nd Violin, Viola, Violoncello].

Performance requirements: The Japanese Songs are difficult to perform on account of the vocal range required (range I: a1 [sung as B double flat] to a 2 [as B double flat]; range II: a#1 to a2; range III: g#1 to a b2] for one, but also due to their dissonant intonation affecting both vocal line and orchestral accompaniment, sometimes only separated by chromatic intervals or that of a great second. Dershanovsky soon realised this during the negotiations for the Russian première and made mention of it to Strawinsky in a letter dated 3rd November 1913. For the same reason Delage was most satisfied that Galina Nikitina of the Marientheater St. Petersburg was coming to sing the pieces.

Summary: The first song ‘Akahito’ tells of white flowers, which the owner cannot show because snow has come making all flowers white. – The second song ‘Mazatsumi’ speaks of a piece of ice floating on the water as a first flower of Spring. – The third song ‘Tsaraiuki’ speaks of the bright clouds shining all across the land; in fact they are flowering cherry trees witnessing the arrival of Spring.

Source: Japan, for many years a far-away imaginary land, had given up its self-chosen isolation in the mid-nineteenth century and experienced an unexpected economic expansion. By winning a war against China (1894) and particularly against Russia (1904) it began to create its own artistic style in the wake of which came translations of Japanese lyrical poetry. Without naming his sources, Strawinsky reports that he came across an anthology of Japanese poetry while composing his Sacre du Printemps . It is likely to have been the volume ЯАПОНСКАЯ ЛИРИКА (Japonskaja lirika = ‚Japanese lyrics ’) published in St. Petersburg in 1912 and translated by a certain A. Brandt (А. Брандт). Who he was could never be ascertained, presumably one of the many Germans, who lived in St. Petersburg or at least of German descent. Today the anthology is a very rare specimen indeed. Brandt (or Brant) had translated the poems not from the Japanese, but from the German. His ‘originals’ were publications of the founder of the German, perhaps even European, subject of Japanology and the founder in Japan of Japanese Literary Studies, Karl Florenz, and also a further anthology of Japanese poetry edited by Hans Bethge. He was also acquainted with Karl Enderling. In Bethge’s edition two of the poems are published, in Karl Florenz all three. Brandt therefore did not possess an original but worked from a translation. The difference between Florenz and Bethge is one of approach. The Japanese originals, in this case tankas (短歌) not haikus, are always based on a certain number of syllables as an ordering principle, seek to condense an entire world of feeling and thought in concentrated form. Thus they frequently become opaque and carry several layers of meaning, often impossible to retain in translation. Florenz follows the Japanese tradition of counted syllables, understanding this outward ordering principle as the essence of this kind of poetry. Bethge on the other hand employs the same metre and rhyme schemes as in German poetry. While the name Brandt does not appear in the original full score of the Songs published in 1913 nor in the later editions by Boosey & Hawkes, it is printed on the interior frontispiece of the piano reduction, although with the Russian genitive Русскій текстъ А. Брандта (‘ Russian text A. Brandt’s’) often met with in Russian music editions. This led to a falsification of the name, Brandt became ‘Branta’ (= Russian Брандта ) and by way of re-translation ‘Brandta’. Strawinsky named his three songs after the three poets (Akahito, Mazatsumi, Tsaraiuki). Traditionally the family name is given first place in Japan, followed by the connecting syllable ‘no’ follwed by the personal or first name. It is, however, common to call poets by their first names. Akahito, Mazatsumi and Tsaraiuki are first names. Thus Akahito’s surname is Yamabe, Mazatsumi’s Minamoto and Tsaraiuki (correctly, Tsurayuki; the consistently wrong spelling came about through the misspelt version in the first edition; Brandt’s spelling of the name was correct) has the family name Ki. Yamabe no Akahito a master of nature lyrics and the short form, far-travelled courtier of low rank, wrote the main body of his work between 680 and 745 A.D. (so-called Nara Epoch). His objectivity is reported to have remained unequalled for one thousand years. About Minamoto no Mazatsumi’s origins little or nothing is known. Ki no Tsurayuki, courtier in the rank of a governor whose dates are fixed between 800 and 945 A.D. wrote a famous introduction to the first collection of Japanese Poems including works of his own, and left more than 400 poems. He is known as the typical representative of Heian lyrics with their noble stateliness, harmony of feeling and contemplative attitude.

Translation: Maurice Delage used the Russian, not the German text for his French version of the poems. There was no rendering into English on account of failing public interest. Only with the new edition of 1922 a trilingual version became available. The translation into English was made by Robert Burness, who also translated the Balmont Songs and later Mawra. A German re-translation became possible when the Japanese Songs and the Balmont Songswere published together in an edition by Boosey & Hawkes after the Second World War, whereby not the original German edition was referred to - that would have been the most obvious thing to do - but a new translation was commissioned by Ernst Roth. Presumably the original German edition was not known in London.

Translation synopsis*

* According to: Karl Florenz: Geschichte der japanischen Litteratur, 2. edition, Leipzig, C. F. Amelangs Verlag, 1909, in der Reihe: Die Litteraturen des Ostens in Einzeldarstellungen, Zehnter Band, 642 + X pages, dedicated to the Prince Rupprecht von Bayern. (Bungaku-Hakushi); Japanische Novellen und Gedichte. Verdeutscht und herausgegeben von Paul Enderling, Leipzig, Reclams Universal Bibliothek Nr. 4747, Vorwort Berlin 1905; Hans Bethge: Japanischer Frühling. Nachdichtungen japanischer Lyrik, Leipzig im Inselverlag, MDCCCCXVI (1916), 125 Seiten, 2. Auflage 3.-4. Tausend (contains a dedication from April 1920). The first edition is identical to the 2nd edition, but has however an extended legal statement and does not specifically state the number of copies printed.

I Akahito

Florenz S. 99

Dem Liebsten mein 4

Gedacht’ ich sie zu zeigen, 7

Die Pflaumenblüten. 5

Nun schneit’s – und ich vermag nicht 7

Blüten und Schnee zu scheiden. 7 (VIII,9.)

Brandt S. 19 АКАХИТО

Я бђлые цвђты въ саду тебђ хотђла

показать.

Но снђгъ пошелъ. Не разобрать, гдъ

снђгъ и гдђ цвђты!

Delage

Avril au jardin je voulais te montre les fleurs blanches.

La neige tombe . . . Tout est il fleurs ici, ou neige blanche?

Burness

I have flowers of white. Come and see where they grow in my garden. But falls the snow: I know not my flowers from flakes of snow.

Roth

Meine weißen Blumen wollt' ich dir im Garten drunten zeigen. Doch der Schnee kam. Weiß sind sie nun alle, Blumen, Flocken!

II Mazatsumi

Florenz pp. 143-144 (Masazumi)

Durch alle Spalten 5

Des Eises, das im Gießbach / 7

Soeben schmilzt, 4

Ersprudeln weiße Wellen 7

Als erste Frühlingsblüten. 7 (I, 12.)

Bethge p. 57

die allerersten blüten

MASAZUMI

Froh sprudeln durch die Ritzen nun des Eises,

Das vor dem Lenz zergeht, die weißen Wellen

Des Gießbachs auf: die ersten weißen Blüten

Des lieben Frühlings möchten sie uns sein.

Brandt – Original p. 54 МАЦАСУМИ

Весна пришла; иаъ трещинъ ледяной

коры запрыгалп, играя въ рђчкђ пђнныя

струи: онђ хотять быть первымъ бђлымъ

цвђтомъ радостной весны.

Brandt – Score (2 Differences) Mazatsumi

Весна пришл а. Иаъ трещинъ ледяной коры запрыгалп, играя въ рђчкђ пђнныя струи: онђ хотять быть первымъ бђлымъ цвђтомъ радостной весны.

Delage

Avril paraît. Brisant la glace de leur écorce bondissent joyeux dans le ruisselet des flots écumeux: Ils veulent être les premières fleurs blanches du joyeux Printemps.

Burness

The Spring has come! Though those chinks of prisoning ice the white floes drift. Foamy flakes that sport and play in the stream. How glad they pass, first flowers that tidings bear that Spring is coming.

Roth

Kommt der Frühling, ja, dann bricht vom starren Eis eine Scholle, spielend treibt sie auf den wilden Wassern, eine erste Frühlingsblüte, weiß und schön, zu grüßen den Lenz.

III. Tsaraiuki

Florenz p. 142 (Tsurayuki)

Der Kirsche Blüten 5

Scheinen erblüht zu sein, 7

Denn aus den Gründen 5

Zwischen den Bergen werden 7

Weiße Wolken schon sichtbar. 7 (I, 59.)

Bethge p. 59

jubel.

Was seh ich Helles dort? Aus allen Gründen

Zwischen den Bergen quellen weiße Wolken

Verlockend auf, – die Kirschen sind erblüht!

Der Frühling ist gekommen, wunderbar!

Brandt – Original p. 58 САРАЮКИ

Что это бђлое вдали? Повсюду, словно

облака между холмами.

То вишни расцвђли; пришла желанная

весна.

Brandt – Score (3 mistakes) Ts araiuki

Что это бђлое вдали !Повсюду, словно облака между холмами. То вишни ра зцвђли; пришла желанная весна.

Delage

Qu'aperçoit on si blanc au loin? On dirait partout des nuages entre les collines: les cerisiers épanouis fêtent enfin l'arrivée du Printemps.

Burness

What shimmers so white faraway? Thou would'st say 'twas nought but cloudlet in the midst of hills full blown are the cherries! Thou art come, beloved Spring time.

Roth

Siehst du fern den weißen Schimmer? Überall wie helle Wolken leuchtet's rings im Land. Nein, die Kirschen blühen; sei gesegnet, junger Frühling.

Construction: The Japanese Songs could be described as a short programmatical suite in three parts for hight voice and chamber orchestra based on short Japanese poems strictly syllabic in structure, each part bearing as title the name of a poet (I Akahito= Moderato13 bars with key signature 4 b; II Mazatsumi= Vivo16 bars, no signature, Largamento assai.. In tempo = 17 bars, no signature; III Tsaraiuki [actually: Tsurayuki] = tranquillo 25 bars incl. unequal quaver upbeat, no signature. The metronome settings were only included in the editions after 1955. The increase in syllables made necessary by the translation into French Strawinsky took care to accommodate by additional singing notes in minuscule, intended only for performances in French.

Structure

I

Akahito

(13 bars key signature 4 b)

Я бђлые цвђты . . .

Descendons au jardin . . .

Meine weißen Blumen . . .

I have flowers of white.

II

Mazasumi

Vivo {Crotchet = 80 * }

(16 bars without key signatur = bar 1-16)

Largamento assai. In tempo

(17 bars without key signatur = bar 17-33)

Весна пришла; . . .

Avril parait.

Kommt der Frühling, . . .

The Spring has come!

Moderato {Crotchet = 58*}

III

Tsaraiuki

Tranquillo {Quaver = 100*}

(25 bars without key signature including a quaver upbeat which is not balanced out in the final

bar )

Что это бђлое вдалн?

Qu-'aperçoit-on si blanc au loin?

Siehst du fern den weißen Schimmer?

What shimmers so white faraway?

{*} The metronome markings are not in the original editions; they were first added in the editions after 1945.

Errata / Corrections

Edition 16-1 (1st copy).

1.) 1st song, p. 4, 1st bar, above tempo indication (Moderato): >MM. Viertel = 58<.

2.) 1st song, p. 5, bar 7, Viola: 2nd note should be f3 instead of f b 3.

4.) 2nd song, p. 14, last bar, 2nd Violin: a natural enclosed in round brackets has to be added to crotchet c3.

5.) 2nd song, p. 15, fourth to last bar, 2nd Violin: a natural enclosed in round brackets has to be added to the lower note of two-note chord crotchet a1-c3.

6.) 2nd song, p. 15, third to last bar, 2nd Violin: a natural enclosed in round brackets has to be added to the lower note of 2nd two-note chord semiquaver a1-e2.

Edition 16-1 (2nd copy).

1.) 2nd song, p. 8, 3rd bar, Piano bass: a natural without brackets has to be added to 1st note written in treble clef e2.

2.) 2nd song, p. 11, at the top of the page left: >Crotchet = Crotchet<.

4.) 2nd song, pS. 15, last but one bar, descant: it should be read (probably) quaver rest / quaver g2 / quaver g2 / quaver g2 / quaver rest / quaver four-note chord instead of crotchet rest / crotchet rest / quaver rest / quaver four-note chord.

13/16-1

1.) title page: >9 instruments< instead of >Chamber Orchestra< [>and Chamber Orchestra<] [pencil].

2.) p. 5, 2. Song 1. bar Soprano: last quaver ligature a#1-b1 [with natural] instead of a#1-b b1.

3.) p. 6, next to figure C: >in 12<.

4.) p. 18, 1. bar = last but two bar, Flute: bar end semiquaver e2 - dotted quaver rest instead of crotchet rest; Violin II: 2. two-note-chord semiquaver a#1[bracket sharp]-e # 2[bracket sharp] instead of semiquaver a#1[bracket sharp]-e2.

Style: The Songs are tersely built and extremely rich in tone colours. As for the singing voice, Strawinsky restricted himself to quavers and crotchet values and did without accidentals thus ensuring an unhindered, floating quality of singing, free of any textual restraints. Each song by its mood, structure and instrumentation mirrors the Season depicted in the words of the poem that inspired it. Many years after the composition Strawinsky explained that at the time the poems had stirred a similar response in him as had some Japanese woodcuts he had seen. The way in which problems of perspective and figurative representation were solved in Japanese graphic art had made him wish to attempt something similar in music. The Russian rendering of the poems had helped his intentions along and he had reached his goal by metrical and rhythmical means which he did not wish to explain further as they were too complicated. The technique used in the Japanese Songs is shaping the singing part by isometrial means in opposition to the accompanying instrumental parts, thereby creating two independent sound layers, and having the vocal accentuation precede that of the orchestra. A further shift in opposing these two layers happens this way, and indeed a spatial conception is brought about the prolongation of which requires different means from one bar to the next, i.e. it would call for renewed analysis bar by bar. Understandably, therefore, a compacted overall representation of the technique is not possible. Dershanovsky had made early urgent enquiries from Strawinsky shortly after receiving the performance materials on 10th June 1913. He missed any correspondence between words and musical structure of the Songs and feared the pieces could not be performed in keeping with their original intention (or meaning) without further information from the composer. Strawinsky, who was ill with typhoid fever at the time and a patient of the Sanatorium Villa Borghese in Paris, answered by return of post, and Dershanovsky thanked him on 11th July, and later, on 24th July commented his reply, which due to its mainly theoretical content had not been completely understood by Dershanovsky. Still, he now had some information at hand which allowed him to give answers. –

For the majority of those active in Strawinsky research the Schönberg influence on the Japanese Songs is a foregone conclusion. Particularly the melodramatic Three Times Seven Poems based on Albert Giraud’s Pierrot Lunaire, whose third performance Strawinsky had attended in 1912 is said to have had an impact on him. For Strawinsky, the most impressive aspect of this work was not the satirical make-up, the idea for which had come from cabaret artist Albertine Zehme - incidentally, the composition was premièred in a cabaret - after all it had been Schönberg’s intention to parody the heavily pathetic style of tragedy as performed at the German Schaubühne; what really caught his interest was the attempt to achieve a sound alternating between singing and speech and transcending both, to create a composition in a musical space free of the fetters of tonality never before heard in such consequence by Strawinsky, and, finally, the joint origins of a newly-found linearity without the limitations of harmony or function. This kind of linearity was made use of in both the Japanese Songs and in the final act of Le Rossignol , but very soon afterwards gave way to rotating patterns of sound in the style of Les Noces . Possibly another interest was the refreshing expressiveness of a reduced chamber orchestra sound at a time when massive orchestral cult was en vogue. Exotism was never looked for. Strawinsky was most probably more familiar with Chinoiserie and its contexts than Schönberg, who had never really taken an interest. When Strawinsky first heard Schönberg in Berlin, he had already composed the Firebird Suite and Petrouchka as well as the first act of Le Rossignol . The Strawinsky-Delage connection was not least due to the knowledgeability of both men in matters concerning Far-Eastern culture only equalled by Benois, who directed Le Rossignol . Delage, and under his influence, Strawinsky, had created a working environment for themselves that would have put the director of a museum for East Asian art to shame. Given the chamber orchestration of both works, echoes may be heard - whether intended or not - as a natural consequence; also, the choice of instruments may have had an after-effect. Further influence by Schönberg was hindered by Schönberg’s polemical assault on him after 1923 which lead to the conscious decision to keep his distance from him, an attitude he upheld until after Schönberg’s death. –

The Suite begins in the stillness of winter (1st Song, moderato) and moves through the turbulences of driving away the winter (2nd Song, vivo) towards a peaceful Spring (3rd Song, tranquillo). – The first Song consisting of 13 bars is the shortest with only 30 syllables divided up between 5 lines (1 : 6 syllables, 2 : 10 syllables; 3 : 4 syllables, 4 : 6 syllables; 5 : 4 syllables). The strict triple time remains unchanged, synonymous with the harshness of winter. Even in the interior structure there is no rhythmic differentiation. The orchestral voices appear regular, almost perfunctory, at the same time condensing the meaning of the words, gradually building up a tutti-mix with a different combination for every bar which may be represented schematically. Bar 1: great flute, 1st clarinet, voice; bar 5: great flute, 2 clarinets, voice; bar 6: great flute, 2 clarinets, piano (descant); bar 7: great flute, piano (descant), 2 violins, viola; bar 8: piccolo flute, great flute, 2 clarinets, piano, tutti strings; bar 9: voice, instrumental tutti; bar 10: tutti without voice; bar 11: piccolo, great flute, piano (descant register), voice, strings; bar 12: voice, instrumental tutti; bar 13: voice, 1st clarinet, piano (descant). Bars 1 - 6 consist of quavers only excepting some appoggiaturas; from bar 7 onwards some individual crotchets appear in the piano and strings, in bars 10 and 12 an overall of 4 semiquavers in the strings. The constant change in tone colour is achieved not just by combining different instruments but also by placing accents and - in the strings - by constant changes from pizzicato, bowing and flageolet play. The singing voice whose metrical pattern corresponds to the syllabic build of the poem, departs from the quaver pattern just once, in bar 12, while the other parts determinedly follow it. The central register of the singing voice is used for the first two lines only, telling of the author’s intention to show his flowers. As soon as the poem depicts snow the singing voice moves to the upper register. The melody encircles the central tone, e flat, creates a constant glittering fluctuation between a flat major and a flat minor dominated by diminished fifths and thirds. The orchestral accompaniment proceeds from complementary entries which appear like points in a pattern of broken rhythms that also become visible in the score.The staccato and pizzicato sounds and bright appoggiaturas, later taken on by the piano. create the image of snowflakes falling from the sky. –

The second song is made up of six lines of poetry, making the erratic movements of the ice floe audible by irregular rhythmic patterns like in the Akahito Song (1:4 syllables; 2:12 syllables; 3:10 syllables; 4:8 syllables; 5:3 syllables; 6:5 syllables). The 33 bars in all mainly composed in long demisemiquaver passages across a wide tonal range create a lively mood and the frequent alternation between different time schemes (3/8, 2/4, 5/8 and 3/4), the manifold and varying combinations of instruments and techniques, like bridgeplay, flageolet glissandi and flutter-tonguing, support this impression. Strawinsky creates a strong contrast between rhythmic patterning, the singing voice and the orchestral parts, unlike in the preceding song. The singing voice remains within a regular pattern of quavers and crotchets which never interrupt the metrical syllabic flow. The accompanying instruments on the other hand by long wavy runs and irregular rhythms create the turbulences desired by the composer. Thereby a full 16 bars of the total of 33 are reserved for the introduction which gives the impression of an overture, twice two bars are interludes and one bar is reserved for the postlude. Strawinsky’s setting of the poem is subdivided into three meaningful sections by the two interludes (line 1: bar 17; line 2: bars 20 - 24; line 3: bar 25 - 26; line 4: bars 29 - 30; line 5: bar 31; line 6: bar 32): Expectant Spring mood (line 1), breaking and floating of ice (lines 2-3); Spring greeting (line 4 - 6). The first line, telling of the arrival of Spring rings like a motto, leading to jubilant exclamation among the instruments, the last one contains a soothing commitment followed by a calm final chord in the high range. Characteristically, the vocal part also has all references to Spring in the high register, excepting the motto line which is diatonic and resembles a fanfare, the musical motifs are a mix of diatonic and chromatic elements. The melody is reduced to a series of seconds and thirds. The incipient monotony of the tonal models with continuously circling permutations on single sounds corresponds to the uniformity of streaming water and the ice floes circling therein. There is a line-by-line correspondence between the text as performed by the soprano voice and the accompanying orchestral voices, homophonous, dense harmonic layers and the mainly high register in the Spring motif (line 1). At first there is a transparent homophonous sound, then the colla parte instrumentation becomes agitated in the high register when the ice breaks (line 2); a highly condensed, agitated and colourful instrumentation follows for the water games (line 3); the strings emanate an even deeper, tightly packed sound when the first blossoms of Spring appear (line 4); the theme keeps recurring, interspersed from the highest register on downwards towards D when the flowers are described (line 5); merely a long-held pedalled note in D in the piano bass, like an underlining of the Spring greeting (line 6), and, finally, a sforzato piano strike without arpeggio and a long-held instrumental chord in ppp without the piano. –

Strawinsky followed the syllabic scheme also in the third song (line 1: 8 syllables = bars 5 - 7; line 2: 13 syllables = bars 10 - 13; line 3: 6 syllables = bars 15-16; line 4: 8 syllables = bars 17-19). Strawinsky composes in three self-contained units of meaning. The first consists of the poetic question after the white shimmering in the air; the second refers to the shining clouds; the third recognises the clouds as cherry blossoms by which Spring announces its coming. Again, the self-contained sections are linked by means of instrumental interludes (bars 8-9 and 13-14). Similarly, the poem this time gets an introduction of 4 bars (1-4) and a postlude (bars 20-25).The motifs given to soprano voice are used in a set way and in the first two sections move diatonically in the middle range, the third in the high range in an diatonic/chromatic mix. The first two sections have been composed so as to point towards the third as climax. In the third section Strawinsky does without polyphony and canonic patterns but retains the luscious sound of the strings. The last sung word, ‘Spring’, is intoned by the soprano without accompaniment, thereby receiving greatest possible weight. The postlude follows, which dissolves très lointain in an idyll of naturalistic sound as far as chord of the ninth and the open sound of the octave fifth and fourth of the last bar. The last chord of b sharp2 - c1 - e sharp 1 - in ppp is intoned by the piccolo, 1st clarinet and violin, and the suite rings out into infinity.

Dedication: I: A Maurice Delage - {To Maurice Delage*}; II: A Florent Schmitt - {To Florent Schmitt*}; III: A Maurice Ravel - {To Maurice Ravel*}.

* Only in the English reprinting, but without in the French version.

Duration: 0' 48", 0' 57", 1' 22" [according to Strawinsky* 0’ 40”, 1’ 00”, 1’ 14”].

* 13/16-1 Straw

Date of origin: Piano version: I: Ustilug 6.-19. October 1912; II: Clarens 5.-18. December 1912; III.: Clarens 9.-22. January 1913; Chamber orchestra version: I: Clarens 16.-29. December 1912; II: Clarens 8.-21. December 1912; III.: Clarens 9.-22. January 1913.

First performance: on 14th January 1914, Paris, Salle Erard, with Galina Nikitina (Soprano) from the Marinsky Theatre in St. Petersburg and a chamber orchestra (Pierre Lucas, Spathy, Merckel, Bigot, Audisio, Jeoffroy, Pascal, Speyer, Dauwe, Baton, Madame Ellie) conducted by Desiré Inghelbrecht. Preparatory coaching at the piano was carried out by Maurice Delage. The first performance was staged by the Société Musicale Indépendante, a music society founded among others by Maurice Ravel and Charles Koechlin, with Gabriel Fauré as honorary president. Part of the same concert was the world première of Ravel’s Trois Poèsies de Stéphane Mallarmé sung by Jane Bathori. The concert opened with the Piano Quartet No. 1 by Gabriel Fauré with the piano part played by Alfredo Casella. It was to him that Struve, director of the Russian Music Publishers, sent the score and the individual part materials of Strawinsky’s Songs on 9 th January, and it was about the rehearsals Maurice Delage reported to Strawinsky. Also, the piano suite for four hands Une Semaine du petit Elfe, Ferme l’oeil by Florent Schmitt and Erik Satie’s composition Chapitres tournés en tous sens performed by Ricardo Viñes were the other works presented. Although urgently expected by Delage, Strawinsky could not travel to Paris for the première, as he was in Lausanne with his wife, who on 15th January 1914 gave birth to their youngest child Mila at the Clinic Mont-Riant in the Avenue de la Gare.

Remarks: In the summer of 1912 Strawinsky read the translation into Russian of A. Brandt’s German rendering of the Japanese poems to which he never referred at any later stage, neither in his Memoirs nor in the various conversations recorded. While still engaged in orchestrating Sacre Strawinsky began working on his Japanese Songs during a break from ballet composition. –

Struve openly criticised the way in which the Russian première came about in a letter to Strawinsky dated 28 thFebr. 1914 from Berlin. Apparently, Dershanovsky had reduced the orchestral parts from the score instead of buying or lending them from the publishers. Struve did not approve and for this reason let Strawinsky know the extremely bad sales figures of his latest composition. –

The French première did not have the hoped for impact in musical circles even though Maurice Delage was highly enthusiastic and delighted with its being dedicated to him; in a letter dated 20th January 1913 addressed to Strawinksy he declared that he had bought a frame specially for the autograph bearing the dedication.
But the very meagre sales figures dropped even further, now that the pieces had been brought to audition, nearing the no sales point. In St. Petersburg the audience was struck silent after the first song, while the second and third had to be repeated. With other thoughts at the back of his mind, Struve informed Strawinksy on the sales situation: Between May 1913 and February 1914 a total of 8 copies was sold in England, 12 in France and none at all after the première in Paris. Given these circumstances, Struve refused by letter dated 28th February the offer of a translation into English, as the situation did not require it. –

Also, there were questions being asked about whether the Japanese Songs were initially meant for piano or orchestral accompaniment: Since Strawinsky had begun work on the Songs with a piano accompaniment but then finished both versions at the same time, some biographers came to the conclusion that he had planned on composing piano songs and decided on an orchestral work as it were ‘on the way’. Like it is with all theses for which there is no direct or even indirect proof, this one too may neither be confirmed nor contradicted. Strawinsky’s ergographical proceeding does however reveal facts which almost force the analogous conclusion upon the Japanese Songs. Thus he would produce (or would have produced) piano reductions of all his works, mostly before working out the orchestral facets in detail, as he was in the habit of considering orchestration as a separate act of composition which he based on a piano version of the work in question. Also, he always published a piano reduction separately from an orchestral work, whereas in cases where he intended composing several independent versions of a work he never spoke of a piano ‘reduction’. The piano version of the Japanese Songs now was expressly published in a piano reduction or transcribed orchestral version (transcription pour chant et piano) as early as 1914.

Versions: The full score of the Japanese Songs was published by the Russian Music Publishers 1913 and (according to London) became available for sale by 1st August. It appeared in broadside and the name of the translator was misprinted ‘Delace’, while the dedicatee’s name ‘Delage’, because printed in facsimile hand writing, and the name in the front title were spelt correctly. The piano reduction of the Japanese Songs, printed in 1913 and made by Strawinsky himself, is one of the rarest editions of a work by Strawinsky. In the following edition of 1922 the mistake was corrected and to the Russian and French vocal part an English text translated by Robert Burness added. The edition was available for purchase by 13th August, as is proved by documentation of the British Museum in London. The copies of the first bound edition contain an order list placed between score and piano reduction failing to list prices in Marks or Roubles (the orchestral materials were priced in roubles). Generally speaking, orchestral parts appeared in rather quick succession in those days. That the price list remained open points to the possible intention of filling it in at a later date, which might have been prevented by the unexpected flop and the outbreak of the World War a short time later. Since nobody intended performing the pieces, printing individual parts was not worth while. From 1922 onwards the Songs were however available in full score and as a piano reduction, also the vocal part could be obtained separately. Sales figures were indeed very low. Between 1922 and 1938 the editors sold in ever sinking numbers less than 100 full scores, around 650 piano reductions and not even 40 vocal parts in all. The bulk of the piano reductions was sold between 1925 and 1926 (237 copies). Boosey & Hawkes reprinted the piano reduction shortly after the negotiations with Strawinsky as one of the earliest new acquisitions. A contributory copy could not be located in London, but a copy found its way into the music library of Munich in 1955 (>95/104025<). Obviously only the piano reduction was printed, not the full score as can be seen in the advertising printed in the piano reduction. After the takeover by Boosey & Hawkes (contract concluded May 11th 1955) the Songs appeared together with the two Balmont Songs in a new arrangement and in single bound copy; this was made possible by Strawinsky’s choice of instruments for the later orchestration of the Balmont Songs, which, also for practical reasons of performance, was identical to that of the Japanese Songs. The printing of the full score was finished in January 1955. Orchestral parts were available on loan. The new piano reduction appeared in 1956.

Comparison of the versions : Changes compared to the original were restricted to metrical, orthographic and textual matters, aspects of performance, copyright and title, the composition as such remained unchanged. Strawinsky had begun to define the length of each piece by means of the metronome and taken to writing the vocal part changing the single quavers into groups under crossbars. He further decided in favour of a different ordering system within the full score moving the vocal line (which used to be in first place) to occupy the space between the piano and strings. Another novelty was the re-translation into German which Strawinsky left uncommented. He did warn, however, of too many language-versions underneath the musical notation and to this purpose wrote a letter to the editors addressed to Franz Roth and dated 14th September 1954, prompting them to think about a new layout. He felt that three lines of text underneath the music were too many, as the third line was too far removed from the notation for easy reading. The re-print attended to his wishes by showing the soprano line twice with the Russian and French words underneath the first, and the English and German versions underneath the second, identical, soprano line. Another necessary change requested by Strawinsky concerned a re-titling of the edition: Two Poems & Three Japanese Lyrics was to be the new title without any further translation, but the first pages of the Balmont Songs and Japanese Songs were to show the old title and translations as well as the names of all translators. The full score was published in this form in 1955 under the same serial no. as the recording B & H 17701 with a more detailed exterior title printed in minuscule with ‘w’ spelling of Strawinsky’s name. The piano reduction from the score was published in 1956 under the joint no. B & H 18105.

Historical recordings: Hollywood 15th February 1955 with Marni Nixon (Soprano) and an unnamed chamber orchestra under the direction of Igor Strawinsky in the 1954 version, sung in English ; Hollywood 10th June 1968 with Evelyn Lear (Soprano) and Members of the C olumbia Symphony Orchestra conducted by Robert Craft, sung in Russian.

CD edition: VIII-2/8-10 (Recording) 1968.

Autograph: The autographs of both the reduction and full score were left with Boosey & Hawkes and today are kept at the British Library.

Copyright: There are copyright markings without data on any of the first editions from the ‘Edition Russe du Musique’; 1947 with data assigned to Boosey & Hawkes; 1955 Copyright Arrangement by Boosey & Hawkes New York.

Editions

a) Overview

16-1 1913 Sc; R-F; Russischer Musikverlag Berlin; 19 pp. obl. 8°; R. M. V. 200.

16-1[14] ibd.

    16-1[14]-Straw1ibd. [with annotations].

    16-1[14]-Straw2 ibd. [with annotations].

16-2 1913 KlA; R-F; Russischer Musikverlag Berlin; 10 pp.; R. M. V. 199.

16-3 (1922) KlA; R-F-E; Russischer Musikverlag Berlin; 10 pp.; R. M. V. 199.

16-4 St [1922] [unidentified].

16-5 [1948] KlA; R-F-E; Russischer Musikverlag Berlin; 10 pp.; R. M. V. 199.

16-6Alb 1968 Ges.-Kl.; R-F; Musika Moskau; 5 pp.; 5823.

b) Characteristic features

16-1 IGOR STRAWINSKY / TROIS / POÈSIES° DE LA LYRIQUE JAPONAISE. / PARTITION D'ORCHESTRE. / „ÉDITION RUSSE DE MUSIQUE“, BERLIN, MOSCOU, ST.PÉTERSBOURG. // IGOR STRAWINSKY / TROIS / POÈSIES° DE LA LYRIQUE JAPONAISE / POUR / CHANT (SOPRANO), DEUX FLÛTES (la 2 de = fl.), DEUX CLARINETTES / (la 2 de = cl.bas), PIANO, DEUX VIOLONS, ALTO ET VIOLONCELLE. / TEXTE FRANÇAIS DE MAURICE DELACE* / PARTITION** PR. M. 3.–R. 1.40*** / PARTIES** / TRANSCRIPTION POUR CHANT / ET PIANO PAR L'AUTEUR** PR. M. 1.50R. _70*** / [°°] / DROIT D'EXECUTION RÉSERVÉ. /СОБСВЕННОСТЬ ДЛЯ ВСЂХЪ СТРАНЪ [#] PROPRIÉTÉ DE L'ÉDITEUR POUR TOUS PAYS /РОССІЙСКАГО МУЗЫКАЛЬНАГО [#]**** ÉDITION RUSSE DE MUSIQUE /ИЗДАТЕЛЬСТВА [#]**** (RUSSISCHER MUSIKVERLAG G. M. B. H.*****) /БЕРЛИНЪ – МОСКВА – С. ПЕТЕРБУРГЪ [#]**** BERLIN – MOSCOU – ST. PÉTERSBOURG / LEIPZIG – LONDRES – NEW-YORK – BRUXELLES BREITKOPF & HÄRTEL /****** MAX ESCHIG PARIS // (Score sewn 26.5 x 21.8 oblong (8° obl. [quer 8°]); sung text Russian-French; 19 [16] pages + 4 cover pages dark grey auf creme-white veined [front cover title in ornamental feather frame, 3 empty pages] + 3 pages front matter [title page in ornamental feather frame, empty page, texts of the poems Russian-French with translator specified >Русскій текстъ А. Брандта. < [ # ] >Texte français de Maurice Delage.<] + 1 page back matter [empty page]; title head as piece number in Roman numeral (without dot) >I< >II< >III< centre centred; song title below piece number flush left >AKAHITO< >MAZASUMI< >TSARAIUKI<; dedications above piece numbers centre centred hand-written printed in line etching p. 4 >A Maurice Delage< p. 6 >A Florent Schmitt< p. 16 >A Maurice Ravel<; author specified [only] 1st page of the score paginated p. 4 next to and below piece title flush right not centred >Игоъ Стравинскiй. / Igor Strawinsky.<; legal reservations without Copyright 1st page of the score below type area flush left >Édition Russe de Musique Berlin, Moscou St.-Pétersbourg.< flush right >Propriété de l'éditeur pour tous pays.<; plate number >R. M. V. 200<; end of score dated p. 18 flush right >Clarens 1913.<) // (1913)

° original spelling.

°° Dividing horizontal line of 3.6 cm.

* Original mistake in the last name.

** Fill character (dotted line).

*** The price in Rubles is printed under the price in Deutschmarks.

**** Publisher’s emblem 0.9 x 1 sitting woman playing cymbalom, spanning three lines.

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

****** Slash original.

16-1 [14] IGOR STRAWINSKY / TROIS / POÈSIES DE LA LYRIQUE JAPONAISE. / [+] / PARTITION D'ORCHESTRE. / „ÉDITION RUSSE DE MUSIQUE“, BERLIN, MOSCOU, ST.PÉTERSBOURG. // IGOR STRAWINSKY / TROIS / POÈSIES DE LA LYRIQUE JAPONAISE / POUR / CHANT (SOPRANO), DEUX FLÛTES (la 2 de = fl.°°), DEUX CLARINETTES / (la 2 de = cl.bas), PIANO, DEUX VIOLONS, ALTO ET VIOLONCELLE. / TEXTE FRANÇAIS DE MAURICE DELACE* / PARTITION** PR. M. 3.–R. 1.40*** / PARTIES** / TRANSCRIPTION POUR CHANT / ET PIANO PAR L'AUTEUR** PR. M. 1.50R. _70*** / [°] / DROIT D'EXECUTION RÉSERVÉ. / СОБСВЕННОСТЬ ДЛЯ ВСЂХЪ СТРАНЪ [#] PROPRIÉTÉ DE L'ÉDITEUR POUR TOUS PAYS / РОССІЙСКАГО МУЗЫКАЛЬНАГО [#]**** ÉDITION RUSSE DE MUSIQUE / ИЗДАТЕЛЬСТВА [#]**** (RUSSISCHER MUSIKVERLAG G. M. B. H.*****) / БЕРЛИНЪ – МОСКВА – С. ПЕТЕРБУРГЪ [#]**** BERLIN – MOSCOU – ST. PÉTERSBOURG / LEIPZIG – LONDRES – NEW-YORK – BRUXELLES BREITKOPF & HÄRTEL /****** MAX ESCHIG PARIS // (Score [library binding] 26.7 x 22 oblong (8° obl. [quer 8°]); sung text Russian-French; 19 [16] pages + 4 cover pages dark grey on beige-grey veined [front cover title in ornamental feather frame, 3 empty pages] + 3 pages front matter [title page in ornamental feather frame, empty page, sung texts Russian-French with translator specified >Русскій текстъ А. Брандта. < [#] >Texte français de Maurice Delage.<] + 1 page back matter [empty page]; title head as piece number in Roman numeral (without dot) >I< >II< >III< centre centred; song title below piece number flush left >AKAHITO< >MAZASUMI< >TSARAIUKI<; dedications above piece numbers centre centred hand-written printed in line etching p. 4 >A Maurice Delage< p. 6 >A Florent Schmitt< p. 16 >A Maurice Ravel<; author specified [only] 1st page of the score paginated p. 4 next to and below piece title flush right not centred >Игоъ Стравинскiй . / Igor Strawinsky.<; legal reservations without Copyright [only] 1st page of the score below type area flush left >Édition Russe de Musique Berlin, Moscou°°° St.-Pétersbourg< flush right >Propriété de l'éditeur pour tous pays<; plate number >R. M. V. 200<; end of score dated p. 19 flush right >Clarens 1913.<) // [1914]

° In the copy in Basel >65 / STRAW / 5<, and likewise in the copy in Leipzig >8:2483<, there is a typewritten entry in the middle, >Teuerungszuschlag 100%<.

°° The omission of the specification of the instruments is original.

°°° The missing punctuation is original.

* Original mistake in the last name.

** F ill character (dotted line).

*** The price in Rubles is printed under the price in Deutschmarks.

**** Publisher’s emblem 0.9 x 1 sitting woman playing cymbalom, spanning three lines.

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

****** Slash original.

+ Dividing line horizontal of 1.8 cm.

16-1[14]-Straw1

Strawinsky’s copy of his estate is on the outer title above feather frame right with >Igor Strawinsky< signed but not dated. It contains corrections.

16-2 РОССЇЙСКОЕ МУ [#*] Russischer / ЗЫКАЛЬНОЕ НЗ [#*] — MUSIK — / ДАТЕЛЬСТВО · [#*] VERLAG. G.M.B.H.** / ИГОРЬ СТРАВИНСКIЙ [#*] IGOR STRAWINSKY / ТРИ [#]* TROIS / СТИХОТВОРЕНIЯ ИЗЪ ЯПОНСКОЙ [#]* POÈSIES DE LA LYRIQUE / ЛИРИКИ [#]* JAPONAISE / Транскрипція дла голоса и ф.­п. [#*] Transcription pour chant et piano. / БЕРЛИНЪ МОСКВА [#] Berlin Moskau / С · ПЕТЕРБУРГЪ [#] St. Petersburg // ИГОРЬ СТРАВИНСКІ Й[#]* IGOR STRAWINSKY/ ТРИ [#°] TROIS / СТИХОТВОРЕНIЯ ИЗЪ ЯПОНСКОЙ [#°] POÉSIES DE LA LYRIQUE / ЛИРИКИ [#°] JAPONAISE / для [#°] pour / Голоса [сопрано], двухъ флейтъ*** [#°] chant (soprano), deux flûtes / [2 ой­мал.фл.], двухъ кларнетовъ*** [#°] la 2 de-pet.fl.), deux clarinettes / [2 ой­Бас­кл.], ф­піано, двухъ скрипокъ,*** [#°] (la 2 de-cl.bas.), piano, deux violons, / альта и віолончели. [#°] alto et violoncelle. / Транскрипція [#°] Transcription / дла голоса и ф­піано автора. [#°] pour chant et piano par l'auteur. / Русскій*** текстъ А. БРАНДТА. [#°] Texte français de MAURICE DELAGE. / Pr.°° M.1.50/ r._70 / [dividing line horizontal] / DROIT D'ÉXÉCUTION RÉSERVÉ. / СОБСВЕННОСТЬ ДЛЯ ВСЂХЪ СТРАНЪ [#] 1913 [#] PROPRIÉTÉ DE L'ÉDITEUR POUR TOUS PAYS / РОССІЙСКАГО МУЗЫКАЛЬНАГО [#****] ÉDITION RUSSE DE MUSIQUE / ИЗДАТЕЛЬСТВА [#****] (RUSSISCHER MUSIKVERLAG G. M. B. H.*****) / БЕРЛИНЪ – МОСКВА – С. ПЕТЕРБУРГЪ [#****] BERLIN – MOSCOU – ST. PÉTERSBOURG / LEIPZIG – LONDRES – NEW-YORK – BRUXELLES BREITKOPF & HÄRTEL /°°° MAX ESCHIG PARIS // (Edition chant-piano [library binding] 26.7 x 33.6 (2° [4°]); sung text Russian-French; 10 [6] pages + 4 cover pages grey on light grey [front cover title in a feather frame 20 x 14.3 with stylized ornamental Russian text and normal French text, 3 empty pages] + 4 pages front matter [title page with dividing line horizontal of 10,5 and separating publisher’s emblem 1.7 x 1.8 sitting woman playing cymbalom, empty page, sung text Russian-French, empty page]; title head as song number in Roman numeral (without dot) centre with piece titles; dedications hand-written printed in line etching centre above piece number [p. 5:] >A Maurice Delage< [p. 6:] >A Florent Schmitt< [p. 9:] >A Maurice Ravel<; author specified 1st page of the score paginated p. 5 next to and below song number flush right ragged alignment >Игоъ Стравинскiй . / Igor Strawinsky.<; legal reservation without Copyright 1st page of the score below type area flush left >Russischer Musikverlag Berlin, Moskau, St. Petersburg.< flush right >Eigentum des Verlags.<; plate number >R. M. V. 199<; end of score dated [1. song p. 5:] >Oustiloug 1912<; [2. song p. 8, 3. song p. 10:] >Clarens 1913.<); production indication p. 10 flush right as end mark >Stich und Druck von C. G. Röder G.m.b.H., Leipzig.<) // (1913)

° Separating line vertical.

°° The Deutschmark and Ruble signs appear one under the other, and the Deutschmark sign is crossed out; the general price mark >Pr.< appears in the middle before the Deutschmark and Ruble signs.

°°° Slash original.

* C ontinuous, not fastened simple undecorated line, which divides the area of the frame 20 x 14,3 into two equal halves, for the Russian and French texts respectively.

** The smaller M is printed into the G, and the smaller B is printed into the first vertical beam of the H.

*** Hard sign [ ъ ] italic.

**** Separating vignette 1.7 x 1.8 publisher’s emblem sitting woman playing cymbalom, spanning three lines.

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

+ Dividing line horizontal of 5.9 in Russian column, 5.8 in French column.

16-3 ИГОРЬ СТРАВИНСКI Й[#]* IGOR STRAWINSKY/ ТРИ [#]* TROIS / СТИХОТВОРЕНIЯ ИЗЪ ЯПОНСКОЙ [#]* POÉSIES DE LA LYRIQUE / ЛИРИКИ [#]* JAPONAISE / для [#]* pour / Голоса [сопрано], двухъ флейтъ** [#]* chant (soprano), deux flûtes / [2 ой­мал.фл.], двухъ кларнетовъ** [#]* la 2 de-pet.fl.), deux clarinettes / [2 ой­Бас­кл.], ф­піано, двухъ скрипокъ.*** [#]* (la 2 de-cl.bas.), piano, deux violons, / альта и віолончели. [#]* alto et violoncelle. / Транскрипція [#]* Transcription / дла голоса и ф­піано автора. [#]* pour chant et piano par l'auteur / Русскій*** текстъ А. БРАНДТА. [#]* Texte français de MAURICE DELAGE. / English Text by ROBERT BURNESS./ [dividing line] / [vignette] / PROPRIÉTÉ DE L'ÉDITEUR POUR TOUS PAYS. / ÉDITION RUSSE DE MUSIQUE / (RUSSISCHER MUSIKVERLAG G. M. B. H.****) / FONDÉE PAR S. ET N. KOUSSEWITZKY / BERLIN. MOSCOU. LEIPZIG. NEW-YORK. / POUR LA FRANCE ET SES COLONIES: MUSIQUE RUSSE, PARIS, 3 RUE DE MOSCOU. / POUR L'ANGLETERRE ET SES COLONIES: THE RUSSIAN MUSIC AGENCY, LONDRES W. I, 34, PERCY STREET. [*****] // (Vocal score with chant [library binding] 26.5 x 33.6 (2° [4°]) sung text Russian-French-English; 10 [6] pages + 4 cover pages black on grey-white [front cover title in ornamental feather frame with publisher’s emblem 1 x 1,2 sitting woman playing cymbalom, 3 empty pages] + 2 pages front matter [sung text Russian-French-English, empty page]; title head as song number in Roman numeral (without dot) centre with piece titles; dedications hand-written printed in line etching above piece numbers [p. 5:] >A Maurice Delage< [p. 6:] >A Florent Schmitt< [p. 9:] >A Maurice Ravel<; author specified 1st page of the score paginated p. 5 next to piece number flush right centred >Игоъ Стравинскiй . / Igor Stravinsky.<; legal reservation without Copyright 1st page of the score below type area flush left >Russischer Musikverlag Berlin, Moskau.< flush right >Eigentum des Verlags.<; plate numbers [t ext and translations :] >R. M. V. 356.< [n otes :] >R. M. V. 199.356; end of score dated [1. song p. 5:] >Oustiloug 1912.<; [2. song p. 8, 3. song p. 10:] >Clarens 1913.<); production indication p. 10 flush right as end mark >Stich und Druck von C. G. Röder G.m.b.H., Leipzig.<) // (1922)

° Separating line vertical.

** Hard sign italic.

*** The Russian i without an i dot.

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

***** The copy Bayerische Staatsbibliothek München >2 Mus.pr. 7955< bears below ornamental feather frame a blue stamp mark >In die / UNIVERSAL-EDITION / aufgenommen N o8029<. The edition number is also stamped under a dotted line.

16-4 St [1922] set of parts; Russischer Musikverlag Berlin [unidentified]

16-5 [missing] // igor strawinsky / trois poésies / de la lyrique japonaise / chant et piano / soprano / édition russe de musique · boosey & hawkes // (Edition chant-piano [library binding] 26.3 x 32.2 ([4°]); sung text Russian-French-English; 10 [6] pages + [cover pages missing] + 2 pages front matter [title page, sung text Russian-English-French with translator specified + original legend] + 1 page back matter [page with publisher’s >Édition Russe de Musique / (S. et N. Koussewitzky) / Boosey & Hawkes< advertisements >Igor Strawinsky<* production date >No. 453<]; title head as song title in capital letters above type area flush left next to centred piece number in Roman numeral; dedications hand-written in line etching above piece number [p. 5:] >A Maurice Delage< [p. 6:] >A Florent Schmitt< [p. 9:] >A Maurice Ravel<; author specified 1st page of the score paginated p. 5 next to piece number flush right centred >Игоъ Стравинскiй . / Igor Stravinsky.<; legal reservation 1st page of the score below type area flush left >Copyright by Edition Russe de Musique (RUSSISCHER** Musikverlag) / for all countries. / Copyright assigned 1947 to Boosey & Hawkes, Inc., New York, U.S.A. / All rights of reproduction in any form reserved.<; plate number >B. & Hawkes 16308<; production indication 1st page of the score below type area flush right >Printed in England<; end of score dated p. 5 >Oustiloug 1912.< p. 9 >Clarens 1913.<; end number p. 10 flush right as end mark >H.P.A9297.148<) // [1948]

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

** The >h< can be read as an >n<, which is presumably not a printing error, rather a defective letter.

16-6Alb И. СТРАВИНСКИЙ / ИЗБРАННЫЕ / ВОКАЛЬНЫЕ / СОЧИНЕНИЯ / [vignette] / · МУЗЫКА · / МОСКВА · 1968 / И. СТРАВИНСКИЙ / ИЗБРАННЫЕ / ВОКАЛЬНЫЕ / СОЧИНЕНИЯ / для голоса с фортепиано / ИЗДАТЕЛЬСТВО МУЗЫКА МОСКВА 1968 // (Album 21.7 x 28.8 (4° [Lex 8°]; 54 [52] pages + 4 pages bound cardboard [front cover title in ornamental frame with decorative coloured frame with Lyre vignette in the section of the frame on the upper part of the page + vignette initial >M< with a stylized treble clef form italic, 2 empty pages, page with price at the top of the page flush left Russian >70 к. <] + 2 pages front matter [title page. empty page] + 2 pages back matter unpaginated [content Russian-French >СОДЕРЖАНИЕ / INDEX<, imprint Russian >Индекс 9—3—2 < with billing of names >Редактор Н. Бобанова [#] Литературный редактор А. Тарасова / Технический редактор Е. Кручинина [#] Корректор А. Лавренюк < and itemized statements of format and origin]; reprint pp. 23-24 (>I<), pp. 25-28 (>II<), 29-30 (>III<); song numbers in Roman numerals (without dot) I to III; title head [only] p. 23 Russian-French >ТРИ СТИХОТВОРЕНIЯ < [#] >TROIS POÉSIES< / >ИЗ ЯПОНСКОЙ ЛИРИКИ< [#] >DE LA LYRIQUE JAPONAISE <; dedications centre italic p. 23 below title head >Морису Делаж < [#] >A Maurice Delage< p. 25 above author specified >Флоренту Шмитту < [#] >A Florent Schmitt< p. 29 above author specified >Морису Равелю < [#] >A Maurice Ravel<; author specified Russian-French flush left p. 23 between dedication and song number >I< >Слова АКАХИТО / Paroles d’AKAHITO /Русский текст А. Брандта / Texte fran çais de M. Delage< p. 25 above, next to and below song number >II< >Слова МАЦАСУМИ / Paroles de MAZATSUMI /Русский текст А. Брандта / Texte fran çais de M. Delage< p. 28 between dedication and song number >III< >Слова САРАЮКИ / Paroles de TSARAIUKI /Русский текст А. Брандта / Texte fran çais de M. Delage<; end of score dated p. 24 >(1912 г. )< p. 28 >(1913 г.)< p. 30 >1913 г. <; plate number >5823<; without legal reservations; without acknowledging the original publishers on the pages of the score; without end marks) // 1968

13/16-1 K13

13/16-2 K13


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