K074 Ebony Concerto

deutsch K074 Ebony-Concerto

K74 Ebony Concerto

for jazz orchestra – Ebony-Concerto für Jazz-Orchester – Ebony Concerto pour orchestre de jazz – Ebony Concerto per un’ orchestra di jazz

Title: The English-American word 'ebony' is in this context an euphemism for Negro and is not taken from the material of Herman's clarinet. Until well into the second half of the century, jazz was predominantly taken from negro music. Strawinsky reused the term in his dialogues as a synonym for African. Strawinsky had also only heard jazz played by Negro bands, and the Herman band, for which he wrote the Ebony Concerto, was a negro band. The term 'negro' is in Europe an ethnological term and at first was not used in a political or sociological negative manner. It was reinterpreted in the times of slave handlers as an allusion to the black skin colour of the negro as 'Ebony' or also 'Black Ivory'. As with the majority of all of Strawinsky's compositions which are not derived from Italian performance markings or formal templates, the title of this work should also be understood cryptically. The title probably comes not from Strawinsky, but from Aaron Goldmark, as can be clearly seen from a letter from Goldmark of January 1946. This is also supported by the fact that Strawinsky spoke about this title but did not make it known that he had come up with or discovered it.

Scored for: First edition (Legend): Solo Clarinet B b, 5 Saxophones (2 Altos E b, 2 Tenors B b, Baritone E b), Bass Clarinet B b, French horns*, 5 Trumpets B b, 3 Trombones, Piano, Harp, Guitar, Bass, Tom-Tom, Cymbals, Drums; b) Performance requirements: Solo B b Clarinet, 2 Alto Saxophones E b, 2 Tenor Saxophones B b, 1 Baritone Saxophone E b, 1 Bass Clarinet B b, 3 Clarinets°, 1 French Horn°, 5 Trumpets B b, 3 Trombones, Piano, Harp, Guitar°, Double Bass, 3 Tom-Toms, Cymbals, 2 Drums.

* French horn is the English term for ‘Waldhorn’. In the original score is the plural 'French horns' without stipulating the transposition, but the part has only one line; in a German translation, this becomes 'Französische Hörner', which is not in fact a type of instrument, analogous to the type of oboe, English horn. In his contributory copy, Strawinsky crossed out the plural >s<; this error is in the first two editions.

° Clarinets, French horn, and the harp are obviously added by Strawinsky to the Woody Herman's original orchestra (THE FIRST HERD).

Construction: The Ebony Concerto is a three-movement instrumental work that is not typical for jazz and has separate sets of figures in each movement; it does not have titles or numbering for the movements, but does have Italian performance instructions and metronome markings. It is written in a jazz style with clause-like repeated structural sections in the first and second movements. – The three movements of the Ebony Concerto have no characterizing movement names or centred movement numbers. The Concerto is conceived in three movements with a fast first movement, a slow second and another fast third movement, thus following the classical concerto form. –

The first movement is based on the ragtime rhythm which is so prized by Strawinsky and is in an A-B-A-C form, in which the A section is a repeated section with two different phrases. The first A section reaches to the end of figure 8 and at figure 9, goes into the first transition section, the B section. At the end of figure 17, there is a da Capo sign indicating the repetition of the A section. For the second transition, Strawinsky does not continue the figures of the C section with figure 18, but with figure 9a sequentially. In comparison with the first interlude B, the second interlace C is shortened. The end of the movement is reached at the end of figure 14a. The trumpet quintet opens the movement. At bar 6 (figure 3), it is displaced by the saxophones. The other instruments gradually enter, the tom-toms at figure 4. The rhythmic music, which is emphasized by the percussion has the role of a prelude and leads into the B section, which is composed for the solo clarinet, which here has its first large entry with trumpet and trombone accompaniment, while the saxophones have rests. The interlude comes out of the prelude, and the coda comes out of the second repeated section. After a few bars of the transition section in the previous style without the solo clarinet, the 1st trumpet takes over the melody as a solo trumpet accompanied by the saxophones, while the trumpets and trombones are now silent. The list of instruments intended by Strawinsky is clear. In the changing relationship of solo clarinet + metal and solo trumpet + woodwind, the other instruments serve both the coloration and the rhythmic definition accented by the percussion with small solo entries brought forward towards the beginning, for example by the piano. –

The second movement, which is not described as such like the first one, represents the central movement of the Ebony Concerto as the slow movement with its central blues section and is 5 pages of the score and 5 figures ( 31-4 5 + 4a 1-4) in length, and so the shortest. Structurally, it can be defined in different ways: as an A-B-A form with an introduction and Coda, as an A-A 1-B-A 1-C form, as an A-A 1-B-A 1-B 1form, as an A-A 1form or also as an A-B form. If one follows Strawinsky's musical construction and takes into account the repeat barlines and transition phrases, a three-bar introduction can be supposed, the motivic working of which is taken up by a repeated section which contains two different final sections for the first and second transition sections respectively. After the introduction, which intones the blues, the typical blues game follows with a call (3 bars of saxophones and trombones predominantly) and answer (1 bar of muted trumpets). This is connected to 5 bars in which, in keeping with Strawinsky's manner, the motifs are compressed and interwoven. The call-and-response process in the trumpets repeats itself twice in a shortened form in this way. The final answering call leads into the 10 bars of the first phrase. It consists of harp accompaniment exposed at first over 2 bars and the rest of the answer is in the trumpets; at the 2nd bar, the clarinets enter for a further 2 bars. The section ends in the 5th bar with the solo clarinet with a single note over a background of clarinets and harp. The trumpet and trombone chorus answers antiphonally for 4 bars. The final bar of the phrase, tied to the final crotchet of the penultimate bar, is taken by the solo clarinet and the bass clarinet with a harp and double bass accompaniment. After the repetition of the 9 bars after the introduction, it continues into the 4 bars of the second clause, which at the same time complete the movement as a coda. There is a brilliant final phrase in the solo clarinet, firstly by the 1st clarinet and the baritone saxophone, then accompanied by clarinets and French horn, which are joined by the Soprano saxophone and harp in the final bar. –

The third movement is in a two-part variation form with a repeated section and coda featuring a ten-bar, peaceful bass clarinet melody in an approximate blues style flow in an eleven-bar theme. The structure is an A-B-A-C-A 1form = Theme / Variation I / Theme / Variation II / Coda with a reworked theme. The first variation enters with the Con moto at figure 3. It lasts until the end of figure 20 and develops the framework, started by the bass clarinet interval, in predominantly downward combinations of seconds in the clarinets, while the tenor saxophone is used as a solo part. The harp, guitar, bass and percussion form the rhythmic framework. After the repetition of the theme at figure 21 until the end of figure 23, the second variation begins at the Vivo at figure 24. It serves the solo clarinet above all as a composed-out improvisatory cadenza which takes on a supporting role in relation to the other instruments. At figure 33, the music flows into the 17 coda bars in the same tempo which binds the theme together into heavy combinations of chords in the style of a chorale. The work concludes with a seven-bar tutti section repeated three times with a parallel high note in the solo clarinet.

Structure

[I]

Allegro moderato Minim = 88 (figure 41 up to the end of figure 14a5)

[figure 1 up to the end of figure 8; figure 9 up to the end of figure 146; figure 9a up to the end of figure 14a]

[II]

Andante Crotchet = 84 (figure 31 up to the end of figure 3a4)

[figure 3-11; Repeated section figure 1 up to the end of figure 45with second clause figure 3a 1-4in place of figure 3 and 4]

[III]

Moderato Minim = 84 (figure 41 up to the end of figure 23)

Con moto Minim = 132 (figure 3 up to the end of figure 204)

Moderato Minim = 84 (figure 21 up to the end of figure 233)

Vivo Crotchet = 132 (figure 24 up to the end of figure 324)

Same Tempo Minim = 64, Crotchet = 132 (figure 33 up to the end of figure 373)

Corrections / Errata

74-2

1st Movement

1.) Legend, Horn: French Horn instead of French Horns.

2.) Legend, Percussion: Cymbals has to be removed.

3.) p. 15, figure 14a3-4 , 1.-5. Trumpets, performance practice: indication >pluncers< has to be added; >+ ° + ° / rest + ° instead of >° + ° + / rest ° +<.

2nd Movement

4.) p. 19, figure 35, Harp bass: The Bass notes A-c should be removed from the four-note chord and only the notes d-f# (flageolet) should be played.

5.) p. 20, figure 3a1-2: the 7 semiquaver ligatures should be played by the bass clarinet instead of the baritone saxophone.+++

3rd Movement

6.) p. 21, figure41, legend: >Sn. dr.< instead of Cymbals.

7.) p. 21, figure41, legend: >Bass Drums< instead of >Drums<.

8.) p. 40, figure 363: breath mark has to be added between the two minims.

9.) p. 40, figures 361, 362 and 371 Clarinet solo: figure 361minim e3, figure 3622nd minim e3, figure 371semibreve e3 have to be marked with accents (>).

10.) p. 40, figure 373, Clarinet: staccato-dot + >off<.

Style: In the Ebony Concerto, classical concerto sections and jazz elements are combined, not as a unit but as a progression; the jazz element of the blues only appears in its pure form in the second movement. The composition is regarded as untypical for jazz.

Dedication: > Dedicated to Woody Herman<.

Duration: about 3' 01" + 2' 34" + 3' 41".

Date of origin: 1945, completed 1th December 1945 in Hollywood.

First performance: 21st March 1946 in New York, Carnegie Hall, Woody Herman (Clarinet) und the Woody Herman's Band conducted by Walter Hendl.

Remarks: The composition of the Ebony Concerto for the clarinettist and bandleader Woody Herman, who was evidently admired by Strawinsky, took place in a fairly narrow instrumental and temporal, but also compositional framework. The contract was settled on 17th October 1945 and gave Strawinsky a flat fee of $1,000. The specified band, The First Herd by Woody Herman, which was made up of a solo clarinet played by himself, saxophones, trumpets and trombones with piano, guitar, double bass and percussion; Strawinsky added to this not only a French horn, as he said, but probably also the clarinets and harp. Since the performance date 21st March 1946 already stood at the statement of the commission by Aaron Goldmark of Leeds Music Corporation with a connection to Woody Herman and his band, little time remained for Strawinsky for work. He studied recordings of Herman in order to familiarise himself with the playing style of the bandleader. Presumably this must have been in reference to the records which were published in 1945, such as Laura, I Wonder, Apple Honey or Caldonia. The connections were analysed in 1972 by Jürgen Hunkemöller, who got his details from the foreword of the second American printing of the Ebony Concerto of 1946 ('Igor Strawinsky's Jazz Portrait', Archiv für Musikwissenschaft 1972, 29th volume p.45-63, Franz Steiner Publishers, Wiesbaden). He then consulted an instrumentalist, in his well known manner, who made familiarised him with the playing style of the saxophone, which was the most important for Herman as it acted as a replacement for the string family. He did not require a similar consultation for the choral treatment of the brass instruments. His concept of form was based on a jazz-orientated Concerto grosso with a Blues as the slow middle section, since the blues was for him the epitome of the African-American music scene. The composition caused him effort due to the unusual ensemble. His letter to Boulanger about the difficulties which he had with it speaks for itself. Since he was also writing the Ebony Concerto in parallel with the Symphony in Three Movements, he was inevitably working on two different stylistic levels simultaneously.

Significance: The Ebony Concerto, in spite of its frequent quotation, is, unlike the Piano-Rag-Music and Tango, not one of Strawinsky's more meaningful pieces on the border between Classical and constructed, everyday Gebrauchsmusik. Nevertheless, the popular Strawinsky and Jazz literature focuses on this piece again and again.

Situationsgeschichte: His migration to the United States of America which was caused by the War plunged Strawinsky once again into financial need. He therefore took on a set of commissions which in fact were not suitable for him and which he later snidely recorded as 'Jazz Commercials' and in which he had no interests other than financial. Accordingly, all these works from the American years, with the exception of Rag-time, which, like the Piano-Rag-Music does not belong to this group , but especially Scherzo à la Russe, the Ebony Concerto are the results of a desire for income caused by the financial need of an emigrée and as a result, were generally composed quickly and even on the site.

Understanding of Jazz: Since Strawinsky, as the only one of the great serious composers of the 20th Century, if one discounts Ernst Krenek, gave his opinion publicly several times on Jazz and demonstrated several pieces and sections of pieces set under a Jazz title, it was already being cited from the early 20’s as proof of the substantial influence of jazz on New Music. Strawinsky himself brought this back to the facts, which can be verified in the biography and work. According to this, Strawinsky received acknowledgement for the first time from the direction of American music when Ernest Ansermet brought back with him music and scores of Ragtime music from his tour of America in 1918, which Strawinsky immediately delved into and which caused him to incorporate Ragtime as a dance form in the Soldier’s Tale. In the subsequent time period, it was not actually jazz as a musical genre that Strawinsky incorporated, but Ragtime as a special and thus culturally and stylistically detached rhythmic phenomenon. In this sense, Strawinsky’s few compositions that refer expressly to jazz in the title were not the expression of his affinity to the style, rather to the rhythmic impulse coming from Ragtime, which became a strong influence in works that had objectively nothing to do with jazz and jazz style, and in which one would not seek or expect such elements at first. It is not true that Strawinsky loved Jazz in its entirety. It is also worth separating specific comments aimed at the public from what he actually thought. That Strawinsky concerned himself with Herman’s records was also probably not because he regarded the clarinetist and bandleader so highly, rather because he had received a financially rewarding commission and wanted to execute it properly, which was the reason for his concern with the preserved playing style of the performers for whom it was intended. His real knowledge of Jazz music was restricted, apart from having studied sheet music of Ragtime, to his experiences of having heard Negro bands in Harlem, Chicago and New Orleans, so that for him, Jazz music was always Black music. He admired Tatum, Charlie Parker and the guitarist Charles Christian. But Strawinsky was vehemently opposed to the basic, structurally typical features of Jazz. For him, the equation of Ragtime equalling Jazz was not true, rather Blues equalling Jazz, and the Blues can only be found in the Ebony Concerto . The Blues in turn was identical for him, and he made this absolutely clear, to the African as an expression of Afro-American culture, but also identical to the prevalent term of entertainment music, which he actually wanted to have nothing to do with, even if he enjoyed the occasionally Broadway Revue. Strawinsky absolutely could not reconcile himself with the improvisatory element of Jazz style. Strawinsky later explained that Jazz has nothing in common with ‘composed music’, and one cannot combine Jazz and composed music. He who tries this will produce bad music in both styles. It is for this reason that differences must have arisen between him and the commissioners, because Strawinsky rejected the attempt to incorporate improvisation in the Ebony Concerto , mostly for the solo clarinetist Herman, but also for the band members, who were evidently uneducated improvisatory musicians. Strawinsky even reported that he had to rewrite the first movement of his concerto in quavers because the band members were unable to read semiquavers. Goldmark’s offended-sounding letter from the beginning of 1946 on an entirely different matter and Strawinsky’s scornful twisting of his name into ‘Mister Goldfarb’ and his handwritten note in the margin ‘cheek’ demonstrate sufficiently that in spite of the audience’s benevolent response at the premiére of the Ebony Concerto in the Carnegie Hall filled with light effects, deep-reaching resentment had arisen that prevented a friendly relationship. In fact, there is no greater danger for such a constructed, ordered music as that of Strawinsky, than the insertion of improvisations that are vary according on the mood, which can inevitably sabotage carefully considered levels of montage. Strawinsky’s excursions into the commercial world of a music scene that did not make much sense to him; these were made necessary predominantly by reasons of time and money, ended with the Ebony Concerto . Strawinsky had an ear for improvisational sections throughout, but only if they were formed beforehand, which would thus mean that they were no longer improvisations in the real sense of the word, but only sounded like them, of his time in the Soldier's Tale so weightily that his violin cadenzas became of importance for the musical and scientific history of improvisation by Ernst Ferand. Strawinsky therefore differentiated pointedly between jazz compositions, for which he did not care of, and jazz pastiches, which fascinated him because they struck a chord with him, and he cultivated this over a long period of time into his changing metres and cadenza-like solos. In 1919 however, the process came to his attention thanks to his hearing jazz music and this formed the basis for the unmetrical sections in the Piano-Rag-Music of 1919 or the Trois Pieces pour Clarinette Seule, also from 1919.

Versions: The only dateable printed American edition of the Ebony Concerto was published in 1946 at the price of one-and-a-half dollars as a pocket-score edition in octave format. According to American dating. it was also published in the same year at a price of 4 dollars with a different design in quarto format, originally called a Miniature Score, both times without plate number. in the publishing house of Charling Music Corporation based in New York, for which Morris was attributed for the conducting score. Strawinsky received the contributory copy of the quarto-format edition in January 1947. A new edition was published in 1954 by Edwin H. Morris & Co. in London under the name of Charling Music Corporation. The sale was not worth mentioning at any time apart from in the first half year after publication until 30th June 1947. At that time, 212 copies were sold and the largest part in a half-year period of accounting. Between the 1st June 1947 and 30th September 1966, the publishers sold a further 900 copies. In some half-year periods, not more than ten scores were sold worldwide. From a letter of 1st June 1967 which Sol Reiner enthusiastically send to Strawinsky, it emerges that the second movement of the concerto by Mischa Portnoff for solo piano had already been edited and presumably also published. In European libraries, no copies of this edition seem to have appeared. Strawinsky was annoyed and wrote cuttingly on the side: 'Why not Sasha Bolwanov or Moishe Schneiderson?'.

Production: In 1957, Alan Carter brought together the Ebony Concerto, Fireworks, Circus Polka and Ode for a ballet production Feuilleton, choreographed at the Munich State Opera House.

In 1960, the Ebony Concerto was choreographed by John Taras for the New York City Ballet with set and costumes by David Haysand included in a dance evening under the title 'Jazz Concert'. In the first movement, the dancers appeared only as silhouettes while the second movement was set as a Pas de deux, and the third as an energetic staccato dance.

Historical Recordings: Hollywood 19th August 1946, Woody Herman (Clarinet) and the Orchestra Woody Herman under the direction of Igor Strawinsky; Hollywood 27th April 1965, Benny Goodman (Clarinet) and the Columbia Jazz Ensemble under the direction of Igor Strawinsky.

CD edition: VII-1/12-14 (Recording 27th April 1965).

Autograph: Library of Congress, Washington.

Copyright: 1946 by Charling Music Corporation in New York.

Editions

a) Overview

74-1 1946 PoSc; Charling Music Corporation New York; 40 pp.; – .

    74-1Straw ibd. [signed and dated, no annotations].

74-2 (1946) FuSc; Charling Music Corporation / Morris & Company New York; 40 pp.; – .

    74-2Straw ibd. [with annotations].

74-3 1954 PoSc; Morris & Company London / Charling Music Corporation; 40 pp.; 2514 E.M.

b) Characteristic features

74-1 Dedicated to Woody Herman / EBONY CONCERTO / Miniature Score / by* / Igor Stravinsky* / Recorded by / The Woody Herman Orchestra / Conducted by IGOR STRAVINSKY / On Columbia Record No. 7479M / Price / $1.50 / in U. S. A. / [**] / CHARLING MUSIC CORP ./ Sole Selling Agents/ MYFAIR MUSIC CORP. / 1619 Broadway, New York 19, N. Y. // Dedicated to Woody Herman/ EBONY CONCERTO / Miniature Score / by* / Igor Stravinsky* / Recorded by / The Woody Herman Orchestra / Conducted by IGOR STRAVINSKY / On Columbia Record No. 7479 M / Price / $1.50 / in U. S. A. / CHARLING MUSIC CORP. / Sole Selling Agents/ MYFAIR MUSIC CORP .// (Pocket score stapled 15.1 x 23.1 (8° [gr. 8°]); 40 [40] pages + 4 cover pages brown-red on dark beige [front cover title laid out with the name of the composer printed sloping upwards in script, an extended ergographical preface >FOREWORD< English, 2 empty pages] without front matter and without back matter; title head >EBONY CONCERTO<; author specified 1st page of the score unpaginated [p. 2] below title head flush right italic > By Igor Stravinsky<; legal reservation in connection with production indication 1st page of the score below type area centre centred >Copyright 1946 by CHARLING MUSIC CORP. / Sole Selling Agent, MAYFAIR MUSIC CORP., 1619 Broadway. New York, N. Y. / International Copyright Secured< [#] Made in U.S.A.< [#] >All Rights Reserved<; without plate number; without end mark) // (1946)

* Printed upward angularly in quasi handwritten script.

** In the copy gifted to the British Museum 31. Januar 1947 >c.133.f.1.<, there is [only] at this position parallel to and to the right of the three-line statement of the price a stamp >CHAPPELL & CO. LT / 50. NEW BOND STREET. LONDON / NEW YORK & SYDNEY.<.

74-1Straw

The copy from Strawinsk’s estate is signed and dated >IStr Jan 47< on the front cover title page between >EBONY CONCERTO< and >Miniature Score<. The copy contains no annotations.

74-2 EBONY CONCERTO / Miniature Score / by* / Igor Stravinsky* / Price / $4.00 / in U. S. A. / CHARLING MUSIC CORP.° / SOLE DISTRIBUTOR: / EDWIN. H. MORRIS & COMPANY, INC. / 31 WEST 54th STREET • NEW YORK 19, N. Y. // Dedicated to Woody Herman/ EBONY CONCERTO / Miniature Score / by / Igor Stravinsky* / Recorded by / The Woody HermanOrchestra / Conducted by IGOR STRAVINSKY / On Columbia Record No. 7479M / Price / $4.00 / in U. S. A. / CHARLING MUSIC CORP.° / 31 WEST 54th STREET NEW YORK 19, N. Y. // (Full score stapled 21.7 x 28 (4° [Lex. 8°] ); 40 [39] pages + 4 cover pages dark blue on light grey grained [front cover title laid out with the name of the composer printed sloping upwards in script, page with biography >STRAVINSKY< half a page-flush left , continuation page half a page flush right with a reference to the author >THE PUBLISHER.<, empty page with imprint > a publication of/ EDWIN H. MORRIS & COMPANY, INC. / # 07-00543-1364<** below 2 ornamental lines 0.4 x 10.8 at a distance of 1.5] + 1 page front matter [title page with identical layout without colour] without back matter; title head >EBONY CONCERTO<; author specified 1st page of the score unpaginated [p. 2] below [in connection with] title head flush right italic > By Igor Stravinsky<; legal reservation in connection with production indication 1st page of the score below type area centre centred >Copyright 1946 by CHARLING MUSIC CORP° / 31 WEST 54th STREET • NEW YORK 19, N. Y. / International Copyright Secured< [#] >Made in U.S.A.< [#] >All Rights Reserved<; without plate number; without end mark) // (1946)

° Different spelling (dot) original.

* Printed upward angularly in quasi handwritten script.

** #-sign original.

74-2Straw

The copy from Strawinsky’s estate is signed and dated (in blue) >IStr / April 27/°65< [° slash original] on the front cover title above, next to and below >Miniature Score<. The copy contains corrections (in red) and many notes on performance.

74-3 Dedicated to Woody Herman/ EBONY CONCERTO / Miniature Score / by* / Igor Stravinsky* / Recorded by / The Woody HermanOrchestra / Conducted by IGOR STRAVINSKY / EDWIN. H. MORRIS & CO. LTD. / 52 Maddox Street, London, W. 1 / CHARLING MUSIC CORP. / Sole Selling Agents:MYFAIR MUSIC CORP. / 1619 Broadway, New York 19, N. Y. / [in the text box contained:] 4245 [#] This edition is authorised for sale in British Empire (except Canada) and continent of Europe [#] Made in England.// Dedicated to Woody Herman/ EBONY CONCERTO / Miniature Score / by* / Igor Stravinsky* / Recorded by / The Woody HermanOrchestra / Conducted by IGOR STRAVINSKY / Price / 5/- / net / EDWIN. H. MORRIS & CO. LTD. / 52 Maddox Street, London, W. 1 / CHARLING MUSIC CORP. / Sole Selling Agents:MYFAIR MUSIC CORP. / 1619 Broadway, New York 19, N. Y. / This edition is authorised for sale in British Empire (except Canada) and Continent of Europe // (Pocket score [library binding] 13.8 x 21.6 (8° [8°] ); 40 [39] pages + 4 cover pages brown-red on dark beige [front cover title laid out the name of the composer printed sloping upwards in script and an extended ergographical preface, [missing] , [missing] ] + 1 page front matter [title page laid out] without back matter; title head >EBONY CONCERTO<; author specified 1st page of the score unpaginated [p. 2] below title head flush right italic > By Igor Stravinsky<; legal reservation 1st page of the score below type area flush left >Copyright 1946 by Charling Music Corp. / Sole Selling Agent, Mayfair Music Corp., 1619 Broadway New York, N. Y. / Edwin H. Morris & Co. Ltd., 52 Maddox Street, London, W. 1< [#] flush right partly in italics > International Copyright Secured< ?/? [#] flush right >All rights reserved<; plate number [unpaginated p. 2:] >2514< [paginated pp. 3-40 in connection with publisher’s initials:] >2514 [#] E.M.<; production indications 1st page of the score below type area flush right >PRINTED IN ENGLAND< p. 40 centre between plate number und publisher’s initials >Lowe and Brydone (Printers) Limited, London<) // (1954)

* Printed upward angularly in quasi handwritten script.


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