K047 Oedipus Rex

K47 Oedipus Rex

Opéra-oratorio en deux actes d’après Sophocle par Igor Strawinsky et Jean Cocteau – Oedipus rex. Szenisches Oratorium (Opern-Oratorium) in zwei Teilen nach Sophokles, von Igor Strawinsky und Jean Cocteau, in das Lateinische übertragen von Jean Daniélou – Oedipus rex. Opera-oratoria in two actes after Sophocles by Igor Stravinsky and Jean Cocteau. Latin translation by J. Danièlou – ЦАРЬ ЭДИП. Опера-оратория в двух действиях. Либретто И. Стравинского и Ж. Кокто по одноименной трагедии Софокла – Oedipus-Rex, opera-oratorio in due atti. Da Sofocle. Di Igor Strawinsky e Jean Cocteau. Tradotto in latino da Jean Daniélou

Scored for: a) First editions (Roles): Oedipe, Jocaste, Créon, Tirésias, Le Berger [The Shepherd – Der Hirte], Le Messager [The Messenger – Der Bote]; ~ (Chorus): Two-part mixed chorus; ~ (Orchestra): Flauto Piccola (poi F. Gr. 3°), Flauti Grandi 1° 2°), 2 Oboi, Corno Inglese, 3 Clarinetti in Si b, 2 Fagotti, Contrafagotto, 4 Corni in Fa, 4 Trombe in Do, Tromboni 1° 2°, Trombone 3° & Tuba, Timpani, Violini 1, Violini 2, Viole, Violoncelli, Contrabassi – 3 Flutes (Fl. III aussi Petite Flûte), 2 Hautbois, Cor Anglais, 3 Clarinettes en Si b et La (Cl. III aussi Pte. Cl. en Mi b ), 2 Bassons, Contrebasson, 4 Cors en Fa, 4 Trompettes en Ut, 3 Trombones, Tuba, Timbales, Batterie, Harpe, Piano, Cordes [3 Flutes (Fl. III also Piccolo Flute), 2 Oboes, English horn, 3 Clarinets in B flat et A (Cl. III also Pc. Cl. in E flat), 2 Bassoons, Contrabassoon, 4 Horns in F, 4 Trumpets in C, 3 Trombones, Tuba, Timpani, Percussion, Harp, Piano, Strings]; b) Performance requirements: 2 Tenors, Mezzo Soprano, 2 Bass-Baritones*, Bass, two-part mixed chorus (Tenors, Basses), Piccolo Flute (= 3rd Flute), 3 Flutes (3rd Flute = Piccolo Flute), 2 Oboes, English horn, 3 Clarinets in B flat et A (3. Clarinet = Piccolo Clarinet), Piccolo Clarinet in E flat (= 3rd Clarinet), 2 Bassoons, Contrabassoon, 4 Horns in F, 4 Trumpets in C, 3 Trombones, Tuba, Timpani, Percussion (Big Drum), Harp, Piano, 2 Solo Violins, Solo Viola, 4 Solo Violoncellos, Solo Double Bass, Strings** (First Violins, Second Violins, Violas, Violoncellos, Double Basses)

* These two parts may be sung by the same artist.

** All strings divided in two.

Voice types (Fach): Oedipus: Young Heldentenor (main/large role); Jocasta: Dramatic Mezzo-soprano (middle-sized role); Kreon*: Character baritone (small role); Teiresias: Serious Bass (small role); Shepherd: Lyric Tenor (small role); Messenger*: Character Baritone (small role); Speaker (small role).

* The roles of Kreon and the messenger can be taken by the same singer.

Language: It was Strawinsky`s opinion that more than anything else touching on the sublime, there belonged a remote language, a dead language. J. Joergensen`s book about St. Francis of Assisi, who conversed in everyday Italian and prayed in French, concurs with this view. For Strawinsky, Latin was the language of remoteness and objectivity. Therefore he had Cocteau`s French adaptation of Sophocles` "Oedipus" translated into Latin by Jean Daniélou, reserving the original language, French, for the speaker texts only, converting them into the lingua franca at performances in non-French-speaking countries. The Latin which Strawinsky took over was not the living Latin spoken in the Church, rather the dead language, turned to stone, as Strawinsky called it. That version used the hard k pronunciation, which was then becoming fashionable.For example, cecidi became kekidi. Moreover, Strawinsky changed all c letters suspected of being z letters into k letters. That is why at first sight the "Oedipus" text looks so strange (praekeps,fakiendum, erabeskite), and he later discarded the practice in his compositions in Latin. As a work of language arts, Daniélou`s Latin version is not imposing. But here it is difficult to say what stems from academic Latin and what is a linguistic copy of archaic sublimity expressed in a kind of ceremonial monotony. Daniélou writes in everday contemporary Latin in the French style, without approaching the old classical artistic ideal. Indeed, he employs Ciceronianism in vocabulary and writing; the supposed misspelling which very recently has been mentioned repeatedly, is that of Creon greeting with vale instead of salve in his first entrance. This goes back to the Ciceronian standard of salutation and, according to ancient philology, is faultless.

Summary: The men of Thebes lament over the plague raging in their city. Oedipus promises help (1,1). – Creon tells his people that according to the Oracle of Delphi the murderer of former King Laius is living amongst them and must be found and punished. Oedipus boasts about his gift of solving enigmas and wants to track down the culprit himself ( 1,2).- Forced by Oedipus to convey information, the blind Seer Tiresias proclaims that the King`s murderer is himself a king. The enfuriated Oedipus accuses Creon and Tiresias of allying themselves against him (1,3). – Jocasta, widow of King Laius, doubts the veracity of oracles in general, and thinks that her husband had been killed outside the city at the crossways of Daulia and Delphi. While Jocasta tries to calm Oedipus, her new husband, he suddenly reflects on having killed a stranger at this very same crossing twelve years ago (11,4). – A messenger announces the death of Polybus, King of Corinth, supposedly Oedipus`father, for it comes out in the messenger`s announcement that Oedipus was only Polybus` adopted child. A shepherd claims that he one day found Oedipus as a little abandoned boy with pierced feet on Mount Cithaeron. Jocasta immediately and quietly withdraws. Oedipus believes that she is ashamed of him because of his lowly birth, but then the horror of the situation dawns on him (11,5). – Jocasta has disembodied herself and Oedipus takes away his sight with her golden brooch. The shaken men of Thebes sorrowfully bid their King farewell (11,6).

Source: The tragedy of "King Oedipus," written by Sophocles when he was over sixty, which was first performed probably about 427 B.C. in Athens served at Strawinsky`s model. Possibly even back then it was criticised as missing what was called the sublime moment, an argument which later was brought against the piece. Sophocles portrays Oedipus as regal, warm-hearted, and ruled by his emotions. If he had been otherwise he would have acted more cautiously regarding the fight with Laius, a stranger to Oedipus, and also would have used more caution in marriage. Finally, he would not have punished himself so cruelly in the end. According to Sophocles, Oedipus is not guilty of anything. Aristotles` commentary was that although Oedipus was not a paragon of virtue, he was without guilt, at best what Greeks call Hamartía (ἁμαρτία), also Hamártema (ἁμάρτημα) . His mixture of ignorance, delusion, and short sightedness. What he did would never have been punishable by Greek law. He was outnumbered by malicious opponents in an attack led by Laius and was able to defend himself. It was a case of self-defense and therefore he could not be called a murderer. He saved Thebes in that he destroyed the sphinx. The offered prize was the queen`s hand and thus the throne. Consequentially he is seen, on the surface, as both the murderer of his father and violater of his mother. In reality he is neither. The drama is therefore not about guilt and sin, because his guilt is not present. On the opposite end is Laius, who bored through his own little son`s feet (Oedipus means swelling foot.) and tied him up, later beginning the fight which ended in his own death, and Jocasta, who in order to outwit the Oracle sacrificed him, allowing him to be exposed to the elements. Oedipus is not a villain and his own country folk also do not see him as such, which is apparent when they bid their broken-down King a final farewell. Sophocles` message is a religiously motivated one. Nothíng goes against the will of the gods; deceiving the Oracle only makes matters worse. Man has only one choice, and that is to submit, taking on misfortune, experiencing sorrow, and bearing the end. Later, Christianity proclaimed the same message when it speaks of the inscrutable ways of God and affirms Jesus Christ in "The Lord`s Prayer" that God`s will be done and not mankind`s. It was probably this message, never an uncontroversial one, by which both Cocteau and Strawinsky were moved. The latter had just composed his "Pater noster." Both men certainly knew about the reconciliation at the end which the aged Sophocles, unhappy with the myth, gave to his second Oedipus drama, "Oedipus in Kolonos." This work was never finished and was first brought to the stage in Attica in 401 B.C., five years after the poet`s death. It was not the gods who killed Jocasta or took Oedipus` sight or demanded it from them. They both did it with their own hands. Sophocles, a very merciful man, extended the workings of the Oracle to the conclusion by promising Oedipus peace, benefiting those who aided him, and bringing calamity to those against him. The Oracle was fulfilled. Cocteau received very strict specifications from Strawinsky for the piece`s presentation. Strawinsky wanted a normal libretto with recitatives and arias, but no plot. Cocteau placed separate moments from Sophocles` drama together in scenes, which were then translated by Jean Daniélou into Latin. Cocteau shortened Sophocles` dispute between Creon and Oedipus with their different motives, and places the unveiling of the crucial moment later. In the Sophocles` drama, Tiresias calls Oedipus the murderer of Laius almost at the beginning. Cocteau delays bringing things to light, much like in a modern-day thriller. Sophocles`artful choric versification of alternating strophe and antistrophe, simplified by Cocteau, now and then appears to be like a rotating motor of acclamations in the Latin version. Oedipus` goodness and love for his people does not shine out here, nor his final disastrous effort to clarify the situation from which he would be perished; what does shine out is self-confidence in his own intelligence, and explicit regarding his service to Thebes. In the Cocteau`s version, Oedipus` indignation over Creon`s and Tiresias` supposed alliance for power at his expense turn into a crossbreeding of arrogance and trust in his own strength. The play shows the transformation of self-assurance into fear and desperation to find a way out. Cocteau`s own invention was the addition of a narrator, thereby avoiding explanatory scenes. With this, the libretto became famous in its own way, seen as linking the old with a new style. Years later Strawinsky complained that the narrator had too many entrances and that this tore up the piece. And that is not all. He called the text unbearably elevated and sentimental in places. The relationship between Strawinsky and Cocteau was in no way the untroubled, easygoing friendship as journalistic propoganda would always have it. In any case, Strawinsky was angry about Cocteau`s attempt to push Théodore Strawinsky out of his responsibility for the stage design. By intrigues, in so far as he did Diaghilev to be responsible for it. But Cocteau`s attempt failed.In Strawinsky`s estate there is a small convolution of letters he had put together to be handed down and kept for all posterity, and they were about Cocteau`s unpleasant interference in the stage design for the opera-oratorio. Strawinsky had provided the contents with an inscription announcing what he termed the provoking and irrelevant correspondence with Cocteau and several others regarding this question. (" Aga çante " [Stravinsky wrote Agassante] " et inutile correspondence avec Cocteau et bien d`autres ").

Translation: It is difficult not to believe that Strawinsky had Cocteau`s French text latinised because he did not like it. The relationship between Strawinsky and Daniélou is unclear. Presumably there had been no correspondence between the two men and in the Strawinsky literature Daniélou is spoken of in general as being a translator and nothing beyond that. Otherwise, there were only references to Daniélou being an Abbé, meaning a French secular priest, or a father; these sources point to the Vale greeting of Creon, already mentioned in this text, as being a very bad mistake in the translation. Some clarification is necessary here. When the twenty-two year old Daniélou translated Cocteau`s Oedipus text in 1927, he was not even a candidate for the priesthood. Daniélou was born on May 14, 1905 into an intellectual family (his father was mayor and from time to time a minister of France, his mother the founder of a school) and as a student came across with both Maritains. Two years after the Oedipus translation he became a member of the Societas Jesu and started studying philosophy and theology in 1931. He was ordained 1938, became a university chaplain in 1941 and received his doctorate in 1943. His contribution of ‘ Les orientations présentes de la pensée religieuse ’ planted the beginning of a Nouvelle Théologie for France, making him a leading, albeit controversial counsel theologian in the Second Vatican Council, which conclusively determined the wording of the Constitution: ‘ Dei verbum, lumen gentium et Gaudium et spes ’. Pope Paul VI, with whom Daniélou was closely connected, named him Cardinal in 1969; in 1973, the year before his death (May 20, 1974), he took up the deceased Cardinal Tisserant`s place in the Académie francaise. In Germany, Daniélou became especially known at the end of the ‘50’s for his translation of his Qumran book ‘ Les Manuscrits de la Mer Morte et les origines du christianisme ’ (1957, Paris L’Orante publishers; in German as ‘ Qumran und der Ursprung des Christentums ’, Matthias Grünewald publishers, Mainz 1958), one of the first publications on the subject. It seems strange that there was supposedly no relationship, including a working one, between the religious Strawinsky and the high-ranking churchman and Oedipus translator, neither in earlier times nor later.

Construction: Oedipus rex is a concert-like work for the stage in two acts, straddling the border between opera and oratorio. It is to be performed in Latin and has choruses, choral interludes, recitatives, and arias. Its construction cannot be clearly categorised and the plot´s development is static without stage dynamics. A detached, cool narrator speaking the lingua franca enlightens the audience at intervals about the action. There are no musical numbers but there is an overlapping numbers style. [lst Act: Chorus/ Oedipus` aria/ Créon`s aria/ Oedipus`aria/Tiresias`aria/ Oedipus` aria/ Gloria -chorus; 2nd Act: Gloria-chorus/ Jocasta`s aria/ Jocasta-Oedipus duet/ messenger`s aria/ shepherd`s aria/ messenger-shepherd duet/ chorus].

Structure

PROLOGUE -PROLOG

Speaker – Sprecher

ACTE I

Après le Prologue, rideau

En scène: Œdipe, Le Chœur

dotted Crotchet = 50

(figure ⁶1 up to the end of figure 18 ⁸)

dotted Crotchet Tempo I^o dotted Crotchet = 50

(figure 19 up to the end of figure 21 ⁷)

Meno mosso

(figure 22 up to the end of figure 24 ⁵)

Quaver = quaver

(figure 25 up to the end of figure 26 ⁵)

[figure 25 ⁵: Créon paraît]

SPEAKER

Voici Créon, beau frère d'Œdipe. Il revient de consulter l'oracle. L'oracle exige qu'on punisse le meurte de Laiüs. L'assassin se cache dans Thèbes; il faut le découvrir coûte que coûte. Œdipe se vante de son adresse à devenir les énigmes. Il découvrira et chassera l'assassin.

Crotchet = 120

(figure 27 up to the end of figure 44 ⁷)

Crotchet = quaver = crotchet = 60

(figure 45 up to the end of figure 59 ⁶)

[figure 45 ³: Œdipe]

[figure 49 ⁶: rall. ]

[figure 49 ⁷: Tempo ]

[figure 51 ⁷: rall ]

[figure 52 ¹: Tempo ]

L'istesso tempo

(figure 60 up to the end of figure 60 ⁷)

[figure 60 ^6-7: S peaker : Œdipe interroge la fontaine de vérité . . . Voici

l’oracle: L’assassin du roi est un roi. (exit)]

dotted Crotchet = 50

(figure 61 up to the end of figure 67 ⁷)

[figure 67 ⁷: Tirésias paraît]

Poco più mosso Crotchet = 56

(figure 68 up to the end of figure 68 ⁹)

Crotchet = minim = 56

(figure 69 up to the end of figure 72 ⁷)

Sempre in Tempo Crotchet = 56

(figure 73 up to the end of figure 73 ⁴)

L'istesso tempo

(figure 74 up to the end of figure 82 ⁶)

Minim = quaver = 56

(figure 83 up to the end of figure 89 ⁵)

Minim = 69

(figure 90 up to the end of figure 93 ⁴)

[figure 90 ¹: Jocaste paraît]

[figure 93 ²: Rideau]

Fin du 1 ^{e r}Acte

ACTE II

Rideau, En scène: Œdipe, Jocaste, Le Chœur

Reprise du dernier Chœur

(,,Gloria'') N o 90 - N o 93

Entrée du Speaker

SPEAKER: La dispute des princes . . . Il a peur.

(exit)

Quaver = 84

(figure 94 up to the end of figure 99 ⁹)

Vivo Quaver = minim = 84

(figure 100 up to the end of figure 109 ⁶, with 8 bars from figure 101 ²to 102 ³repeated with first-

and second-time bars figure 102 ^6-7for figure 102 ^4-5)

Minim = quaver = 88 Tempo I^o

(figure 110 up to the end of figure 118 ⁵)

Tempo sostenuto Crotchet = 72

(figure 119 up to the end of figure 120 ⁸)

Quaver = dotted crotchet = 144 Tempo agitato

(figure 121 up to the end of figure 131 ⁷, with the 12 bars from figure 124-126 repeated figure

124 ^bis-126 ^bis)

Speaker

Le témoin du meurtre . . . Il tombe de haut.

exit.

(figure ¹132)

Quaver = 96

(figure 132 up to the end of figure 132 ⁷)

[figure 132 ²Entrée du Berger et du Messager]

Quaver = quaver

(figure 133 up to the end of figure 135 ⁷)

Semiquaver = quaver

(figure 136 up to the end of figure 138 ⁶)

Quaver = quaver

(figure 139 up to the end of figure 146 ⁴)

Quaver = quaver 192 dotted crotchet = 63

(figure 147 up to the end of figure 147 ⁷)

dotted crotchet = crotchet 63 = quaver = 126

(figure 148 up to the end of figure 150 ⁶)

[figure 148 ⁴ poco rit. ]

[figure 149 ⁵ a Tempo ]

Crotchet = dotted crotchet 63 Più mosso

(figure 151 up to the end of figure 151 ⁹)

[figure 151 ⁷Jocaste disparait]

Quaver = quaver

(figure 152 up to the end of figure 158 ¹⁰)

[figure 158 ⁸: rall. ]

Quaver = quaver

(figure 159 up to the end of figure 161 ⁵)

Crotchet = crotchet

(figure 162 up to the end of figure 167 ⁷)

Triole = crotchet

(figure 167 up to the end of figure 169 ⁵)

[figure 167 ²Le Berger et le Messager s'éloignent]

[figure 169 ⁵(Oedipus) exit]

Crotchet = 66

(figure 170 ^1-6)

[figure 170 ¹Le Messager apparait]

Speaker

Et maintenant, vous allez . . . raconte la fin de Jocaste

(figure 170 ^7-9)

Speaker

Il peut à peine . . . avec son agrafe d'or]

(figure 170 ^10-12)

Speaker

Ensuite, c'est l'épilogue.

Epilogue:

Le roi est pris . . . Adieu Œdipe; on t'aimait.

Crotchet = 66

(figure 171 up to the end of figure 171 ⁷)

Quaver = crotchet = 132

(figure 172 up to the end of figure 172 ⁹)

Crotchet = dotted crotchet = 132

(figure 173 up to the end of figure 177 ⁵)

dotted Crotchet = crotchet

(figure 178 up to the end of figure 178 ⁸)

Crotchet = crotchet

(figure 179 up to the end of figure 185 ⁶)

dotted Crotchet = crotchet

(figure 186 up to the end of figure 186 ⁹)

Crotchet = dotted crotchet

(figure 187 up to the end of figure 191 ⁷)

Quaver = semiquaver Tempo giusto

(figure 192 up to the end of figure 195 ¹⁰)

Crotchet = 132

(figure 196 up to the end of figure 196 ⁸)

[figure 196 ⁸: Œdipe reapparait]

dotted Crotchet = 50

(figure 197 up to the end of figure 203 ¹¹)

[figure 197 ¹: Le Messager disparaît]

[figure 203 ⁸: Rideau]

FIN

Corrections / Errata

Piano score 47-1 (pencil)

1.) p. 10, figure 18 ¹, voice: the first both notes demisemiquaver instead of semiquaver.

2.) p. 13, figure 23 ⁴piano 2. system bass clef discant: 2. quaver two-note chord b ^b -d ^b 1 instead of b ^b - d1.

3.) p. 30, figure 66 ²piano bass clef discant: 2. dotted crotchet two-note chord e#-g# instead of e#-g.

4.) p. 44, figure 95 ⁸piano 1. system bass: crotchet two-note chord F-e instead of G-e.

5.) p. 48, figure 104 ³voice: the last [4.] quaver ligature b ^b 1-g1 instead of b ^b 1-a1.

6.) p. 51, figure 111 ⁵piano 1. system discant: the last both semiquaver ligatures two-note chords c2- e2 / a1-c2 instead of d2-f2 / c2-e2.

7.) p. 54, figure 116 ⁴piano discant: the both ligature values above 1. crotchet e ^b 2 b ^b 2-d ^b 3 / a ^b 2- c ^b 3 instead of b ^b 2-d ^b 3 / a ^b 2-c3.

8.) p. 64, figure 133 ⁴piano 1. system discant: the first both quaver ligatures b2-f#3 instead of d3-f#3.

9.) p. 67, figure 144 ¹tenor: 3/8 instead of 3/4 metre; quaver rest-quaver note-quaver rest instead of quaver rest-quaver rest-quaver note.

10.) p. 67, figure 144 ¹bass: 3/8 instead of 3/4 metre; quaver rest-quaver chord-quaver rest instead of quaver rest-quaver chord-quaver note.

11.) p. 70, figure 151 ²piano system bass clef discant: dotted minim chord 2. note g instead of g ^b .

Full score 47-5 (printed Errata table)

Page

1 Border on left . . . Contra Fagotti shoud read : Contra Fagotto.

2 Bar 3 . . .First and Second Clarinets : add [ natural ] to B.

2 Bar 5 . . . Violoncelli and Contrabassi, last note but one : add [ natural ] to G.

34 Bar 1 . . . Celli, last octave : should be C (not D).

40 Third Bar after figure 56 . . . Second Violin : add b to F.

43 Bar 2 . . . Bassoon I : add b to E.

57 Bar 5 and 6 . . . Notes D, G and D should be in timpani ( not in bass drum).

71 Bar 2 . . . Harp : add [ natural ] to all B `s.

71 Bar 2 . . . Piano, left hand second note : add b to G.

86 Bar 4 . . . Harp, right hand : third° note at top is B ( not A) [musical example: (treble clef) chord g#- c1-e ^b 1-b1].

89 Bar 2 . . . Viole div. should read in both parts : [musical example: (alto clef) crotchet e1-quaver g1- crotchet g1- (treble clef) quaver e2-crotchet e2- quaver g2*-crotchet g2* (alto clef].

96 Last bar . . . Contrabassi should read : [musical example: (bass clef) four two-note chords** B-b].

97 Bars 1, 2 and 3 . . . Harp, right hand : add b to top B at the beginning of each bar.

101 Third bar after figure 137 . . . Chorus, first note of upper bass part : add # to F.

101 Figure 140 . . . First chord of violoncelli shoud read : [musical example: (bass clef) quaver G-f- b***].

102 Bar 7 . . . Violoncelli should read : [musical example: (bass clef, 2/4) quaver rest (with text >arco< above) - quaver d (with accent > and text > poco < above) - tied to semiquaver f (with dot) - bar line].

103 Figure 144 . . . Chorus, first bar of basses should read : [musical example: (bass clef, 2 x b, 3/4) two-note chord** quaver d-b flat (with text >Re< / quaver rest (with text >-< / two-note chord** quaver B flat-g (with text >ski< / quaver rest (with text >-< / two-note chord**** dotted G-d (with text >tu - < / semiquavers B flat-c**** (with text >rus<].

117 Bar 5 . . . Violoncelli : add a full bar G and tie with a slur to the G of the preceding bar.

118 Bar 3 . . . First and Second Clarinets, second notes should be read : [musical example: (treble clef) semiquaver rest-two-notes accord b1 with natural-d2.

121 Last bar . . . Oboe 1, add [ natural ] to the last note (A).

124 Bar 1 . . . Cor Anglais, add b to B.

126 Bar 1 and 2 . . . Notes of Third Flute should be in the piccolo part.

129 First line . . .Trombe should read 1.2. Second line . . . should read 3.4.

130 Figure 187 . . . Chorus : The text of tenors should read :

[musical example: (treble clef, 3 x b, 6/8) dotted minim c1 (with sign > ¦ < above and text >Sa – < below) tied to the next note (after barline) - barline - crotchet c1 (with text >-< below) - quaver d ^b 1 (with text >nguis< below) - crotchet d1 with natural (with text >a - < below) - quaver e ^b 1 (with text >ter< below) - bar line - dotted minim e1[natural] (with text >sa -< below) tied to the next note (after barline) - barline – crotchet e1[without natural] (with text >-< below – quaver e ^b 1 (with text >nguis< below) - crotchet d ^b 1 (with text >a -< below) - quaver e ^b 1 (with text >ter< below) - bar line].

132 Bar 7 . . . Second Horn : Second note is D ( not E).

° Evidently misprint; meaning the highest (fourth) note of a fourth-note chord (= b1).

* Note above marked with cross.

** beamed downwards.

*** G beamed downwards.

**** beamed upwards.

Style: As with all of Strawinsky’s neo-Classical works, the different stylistic moments are mixed together in Oedipus rex and are held together by means of their characterizing functions. Russian folk music, Christian sacred music, elements of society music from the 18th Century, and concepts from the world of 19th-Century Italian Opera are ritualized and set free from the pictorial elements of the symphonic poem. Strawinsky uses the Latin text as a sort of mine of phonetic material. He uses it as a sequence of syllables and fragments it as he sees it fit; he has it declaimed at his own way under musical aspects, occasionally using the same word in a different context in a different manner; he also had difficulties in differentiating between transitive and intransitive verbs. The process of a ritualized monumentality met the text halfway, which is not rich in imagery, but gives an impression and creates shock not through the words, but through the context of the events. As in the Soldier’s Tale , the music uses the text not as words, rather as meaning. The punctuation marks are observed, sections of lamentation are coloured by strong chromaticisms using mourning seconds. Large intervals characterize the claim to power, arrogance and safety. The characters are not opened up to the audience by means of the costume, movement, lighting or makeup, rather solely through their song and the concomitant orchestration. The orchestra is of a normal size, and therefore not overly large, but it is handled in a chamber-music-like manner with only occasional tutti moments. The wind sound predominates, while the strings are held back. A separation between the Recitative and Aria which originally was intended does no more exist. Recitative and Arioso elements are interlaced. The music of Oedipus is filigree and agile, melismatically free, and contains syncopations and dotted notes, while using as an underlay an accompaniment that Strawinsky took as a stylistic feature of the 18th Century. The oscillations of Oedipus’s mood, whose progression from the arrogance of the opening into fear and thence to despair, are portrayed, and he characterizes more or less by means of hecticness, plangent chromatic seconds, rhythmic fragmentation, and he uses the registres as an expressive means. The more Oedipus loses his ability to rule due to the weight of events, the more simple his melodic means of expression becomes, divesting itself of its coloratura style. The music for Kreon stands block-like and untouchable against this. Just as Kreon should not move throughout the entire piece, so is his music statue-like, hard and unyielding. In his aria, there are essentially no chromaticisms. The intervallic leaps are large. Sections are repeated and this represents perseverance and inevitablility. The chorus, which embodies the voice of the people and is normally divided into two parts, sings in a ritualized, formulaic, intoned style, mostly with repeated chords, and very rarely sings separate melodic lines; it is accompanied by the orchestra accordingly in a formulaic style. The dotted Timpani which play like dots are added to the deep, heavy sound of the male voices, which are used at moments in order to allow the already ominous atmosphere to sink completely into the darkness. The music for Teiresias is like the Kreon music in terms of its style. It is made up of diatonic broken chords, is constantly interrupted by chromatic interjections of the Oedipus music, and is less monumental, rather it is an expression of the visionary’s preeminence that requires no flourishes, only simple resoluteness. In the Second Act, which begins with the final chorus of the First Act, the progressions flow faster and have a more dense effect. The orchestral accompaniment is richer and more colourful. The music for Jocasta in A-B-A1 form with an introductory Recitative is the closest to conventional operatic melodic writing. It combines diatonicism with chromaticism, has quickly changing tempi, uses the whole extent of the register (a-g2) and cannot be defined specifically. The duet begins with an almost unison between Oedipus and Jocasta, and then Jocasta’s voice breaks away, flowing quickly; at the end they both join together in the same style. Jocasta is a part of the game, but in the actual issue at hand between Kreon-Teiresias and Oedipus, she at first only takes part from the sides. In the moment in which she understands the connections, she falls silent, explains herself to no-one, withdraws and kills herself. As for the Shepherd and the Messenger, they have simple, at times folksong-like phrases containing sequences, which illustrate the simplicity of their status. As a result, the rhythmic variety of the Messenger’s song is greater, as is his function. The flow of words reveals the true connections of the unhappy ending.

Dedication: There is no known dedication of the piece, even though it was planned and designed for the 20th stage anniversary of Serge Diaghilev and first performed as a cantata in concert version on that occasion.

Duration: 23' 56" + 26' 02".

Date of origin: Original version: Nice 3rd January 1926 up to 10th May 1927; Revised version: 1948; Concert ending Aria of Jokaste: October 1948.

First performance: The first performance was a pre-performance on 29th May 1927 that was probably more than a read-through, in the Salon of the Princess de Polignac, who was part-financing the work, in the Avenue Henri-Martin in Paris; concert performance in Paris on 30th May 1927 in the Théâtre Sarah-Bernhardt with Pierre Brasseur* (speaker), Stefano Bielina [Stephan Balino Skupiewsky] (Oedipus), Hélène Sadovène (Jokaste), Georges Lanskoy (Kreon), Kapiton Saporoshez (Teiresias) and Michel d'Arial (Hirte) conducted by Igor Strawinsky**; scenic performance on 23rd February 1928 in the Wiener Staatsoper with Wilhelm Heim (Speaker), Hermann Gallos (Oedipus), Rosette Anday (Jokaste), Josef Manowarda (Kreon), Franz Markhoff (Teiresias); stage design: Alfred Roller, stage direction: Lothar Wallerstein; conducted by Franz Schalk; the momentous staged German première on 25th February 1928 in the Krolloper, Berlin, with Carl Ebert (Speaker), Caspar Koch (Oedipus), Sabine Kalter (Jokaste), Oszkár Kálmán (Kreon), Emanuel List (Teiresias), stage design by Ewald Dülberg, stage direction and musical direction by Otto Klemperer.

* Not Jacques Copeau.

** Not Roger Desormières.

Remarks: Since around 1925, Strawinsky had already been playing with the idea of writing a large ritualistic work. On his return to Nice, it was the Joergensen literature in Genoa which determined his use of Latin for the singing parts. He looked for themes in the realms of Greek mythology. Strawinsky had seen Cocteau`s "Antigone" and admired his skill in modernising ancient material. Cocteau was prepared to collaborate, and at Strawinsky`s request delivered an oft-revised libretto consisting of Oedipus material they had selected together. Their undertaking had to be kept even more secret than usual, as it was to be a surprise for Diaghilev`s 20-year-stage-jubilee in the Spring of 1927. Cocteau`s text was finished on October 28th, 1925. Strawinsky began composing the piece on January 3rd, 1926. The word, serva, was set to music on January 11, 1926. On January 12th he sketched the beginning of the Oedipus aria, and the opening chorus between the 13th and 15th of January. In April, 1926, Strawinsky began the Creon aria, the Tiresias aria followed in August, and the big Jocasta aria in October. He completed the Jocasta-Oedipus duet on November 16th, and the last chorus on March 14th, 1927. He completed the instrumentation only twenty days before the first performance on May 10th at four o`clock in the morning. The endeavor failed, as none of the performers were anywhere remotely near Diaghilev`s standards, so in the end they had to let him in on the secret. After months of exciting attempts to bring a performance to fruition, all those concerned breathed a great sigh of relief when Diaghilev finally stepped in and took over, as usual shooing away everyone`s worries. This occurred on April 24th,1927, at the latest. Diaghilev was able to at least have the piece performed as a cantata in concert version, in his own honor. The entire first part of the performance belonged to Strawinsky, who conducted "The Firebird" and "Oedipus rex," "Firebird" being performed by a stellar cast: Alexandra Danilova as the Firebird, George Balanchine as Kaschtschei, and Sergei Lifar as the Zarewitsch. The success of "Oedipus" was minimal, being performed only three times in Paris, and its after-effects remaining the same in Vienna. It started taking off after the Klemperer performance in Berlin; the triumphal march of the opera-oratorio as well as "L`Histoire du soldat" began in Germany. Caspar Koch, cast as Oedipus, was so terrible in the second performance on March 2nd, 1928, that the enfuriated Klemperer forbade him to take curtain calls. Klemperer himself did not go out for a call. After a performance in Paris in May of 1952, part of the audience whistled Cocteau off the stage in the presence of Strawinsky. Cocteau had undertaken changes and given up the sequel of acts, thus creating a loose succession of scenes. During the musical scenes he always had the curtain fall. This performance style was called half-scenic.

Situationsgeschichte: The composition of "Oedipus rex" coincided with Strawinsky`s penitential re-entry into the church. At this time he was preparing himself for communion and apologising to many of his friends. His letter to Diaghilev has become famous, and deeply moved the recipient`s innermost emotions. Many of Strawinsky`s friends saw this development as being strange, in particular the Trotzkyite Ramuz, who because of their sociopolitical beliefs had nothing more to do with Christianity. Upon hearing of the new work, Diaghilev asked sceptically whether it is religiously based. Apparently, those around Strawinsky did know exactly what was going on in the collaboration between Strawinsky and Cocteau, both belonging to the Catholic Maritain movement, renouveau catholique.

Ideas for scenery: The movements on the stage are to be statuesque within a block-like, static framework, in order to express the tragic chain of events. The singers were instructed to act like living statues (comme statues vivantes). Oedipus, Jocasta, and Creon wore costumes and masks and were only supposed to move their arms and heads. Only the messenger Tiresias and the shepherd were allowed more freedom of movement, whereby the shepherd in his costume was intended to resemble the sculpture of Moschophorus*. The entrances and exits of Creon and Jocasta were to be concealed by raising and lowering curtains. A trap-door was intended for Oedipus, as his blindness was not to be shown realistically, rather only through a change of masks. The chorus was to be in three rows, whereby only the heads were to be seen over a bas-relief of drapery. The narrator was to wear tails, entering from the left side-wings onto the ramp and elucidating the action in a passive tone of voice. On the wish of his father, Strawinsky`s son Theodore designed a stageset, which until today is still to be seen on every piano-vocal score together with a detailed comment. It dispenses with all depth, the action taking place in the foreground where there is little resonance for the voices. The same set is also used in the second act, but plays in front of a dark background instead of a light one; no curtains are foreseen. Viewed from the audience, the set shows a group of cliffs on the left over which there is a hint of the Acropolis. From mid-stage to the right is Oedipus` palace with a columned terrace in front. Creon is at the cliffs with a cart and horse until the end of the first act, Oedipus is positioned between the cliffs and palace on the palace stairs, and Jocasta on the terrace. After Jocasta`s flight and suicide, the messenger, coming from the left carrying a long double trumpet, takes over her position and announces her death. The seer Tiresias symbolises the spirit and source of truth. Before his entrance the stage becomes dark, the cliffs near Creon gets lighter and the cliff walls open up to show a cave out of which Tiresias comes. He is shadow-like and wears long undulating veils. After that he goes back into the cave and the walls of the cliffs close again. The shepherd carries a young calf, and together with the mask and robe covers him up except for his arms and legs. He also enters from the left and goes to Oedipus` stairs. The chorus is placed on the right, and the narrator functions as a master of ceremonies who is innerly uninvolved. Klemperer and Dülberg basically held to this concept in Berlin. In Vienna the chorus was placed in the pit and the extras acted out on stage what the chorus was singing. Later stagings have increasingly given up Strawinsky`s original static version in preference to movement on the stage.

* Greek sculptur, Akropolis Athen, statue of a man facing the front like typical shepherds, carrying a bullock.

Versions: The lack of success of Oedipus rex in France was obviously not outweighed by the great financial success in Germany. As a result, neither the conducting score nor the pocket score were published before the Second World War, rather the Russian Music Publishers limited themselves to the printing of a piano reduction, which was published in the middle of 1927 under the plate number R. M. V. 429 and contained numerous errors. An errata sheet was immediately completed and included. The Prussian State Library has a handwritten presentation copy by Strawinsky with two different dates. Underneath the author’s name on the main title page, there is a handwritten phrase Igor Strawinsky / Paris / le 16/VI / 1927, and above the author’s name on the inner title page a handwritten dedication written in Russian with the date 25th February 1928. The errata sheet was pasted in subsequently. Strawinsky, according to this, may have received the copy in 1927 and given it away as a gift in 1928. At this point in time, the errata sheet was included, as Strawinsky extended the list of errors with a further handwritten entry. Probably still in 1927, however more likely after February 1928, there was a reprinting with a different plate number R. M. V. 431. All the corrections on the errata sheet, including the added correction in Strawinsky’s own hand, are incorporated into the printing. The change of plate number is worthy of note because the Russian Music Publishers normally have added revisions of this sort without drawing such attention to it, as in the case of the corrections for the Sonatas as well, for example. On 11th October 1947, Strawinsky agreed with Ralph Hawkes on the production of a further corrected version of the piano edition, as he had added so many corrections with red ink to the previous version that a new copy could have been produced straightaway. As Koussewitzky had not published an orchestral score of this important work during the previous twenty years, Strawinsky asked the new publishers to produce at least a pocket score. Ralph Hawkes printed not only a piano edition (1950) and a pocket score (1949), but also the conducting score (1949), of which a copy was received by the British Library (entered 18th March 1949), although it is not present in the large German libraries. The conducting and pocket scores as printed by Hawkes also contain errors, so that once again an errata list with 25 corrections was required, which had to be added to both scores. What was new was that Théodore Strawinsky’s staging explanations in the piano version were now in three languages. In October 1948, Strawinsky added a few bars to the large Jocasta aria as a concert ending for a song evening performed by the singer Nell Tangeman in Town Hall. The contract with the Russian Music Publishers allowed for the manuscript to be delivered up to 1st January 1927. Strawinsky received a fee of five thousand dollars, of which one thousand was due at the signing of the contract and the rest by 15th February 1927 with a stake of four hundred dollars for Cocteau. Serge and Natalie Koussevitsky signed it personally.

Revisions-Fassung 1948: Revised Version 1948: In contrast to other revised versions, which aren’t worthy of this title, in the case of the revised version of Oedipus rex from 1948, Straw insky made a series of genuine, if small alterations arising from the experiences of the work’s concert performances that did not affect its overall structure. He added a trumpet part into Oedipus’s Aria Nonne monstrum, and parts for horn and tuba into the chorus movement Aspiciti . The idea of beginning Oedipus’s aria Invidiam fortuam on the last note of Teiresias’s aria (figure 82 ⁶) rather than having a transition between the two came after the original version and was entered into the revised version. The same is the case for the repeats in Jocasta’s Aria and her duet with Oedipus. Due to the resulting change of layout in the revised piano edition, this led to the total length of the score being extended by 2 pages. Although Strawinsky took this opportunity to remove old printing errors, new ones crept in, so that an errata sheet became necessary for the score. There were still more errors that remained uncorrected however, and these were gradually removed quietly over the course of the following editions.

Historical recordings: Cologne 8th October 1951, revised version, speaking part in French with Jean Cocteau (Speaker), Martha Mödl (Jokaste), Peter Pears (Ödipus), Helmut Krebs (Tenor), Heinz Rehfuß (Baritone), Otto von Rohr (Bass), with the Kölner Rundfunk-Chor and the Kölner Rundfunk-Sinfonieorchester under the direction of Igor Strawinsky; Washington 20th January 1961, revised version, speaking part in English with John Westbrook (Speaker), George Shirley (Oedipus), Shirley Verrett (Jokaste), Donald Gramm (Kreon), Chester Watson (Teiresias), John Reardon (Messenger), Loren Driscoll (Shepherd), the Chorus and Qrchestra of the Qpera Society of Washington under the direction of Igor Strawinsky.

CD edition: X-1/1-2 (Recording Washington 20th January 1961).

Autographs: The complete autograph of the orchestral score is located at Boosey & Hawkes in New York, and the autograph score of the piano reduction is in the Library of Congress in Washington.

Copyright: 1927 by Russischer Musikverlag in Berlin (Vocal score); 1949 by Boosey & Hawkes in New York (Score revised version); 1950 by Boosey & Hawkes in New York (Vocal score revised version).

Editions

a) Overview

47-1 1927 VoSc; Russischer Musikverlag Berlin; 94 pp.; R. M. V. 429.

47-1^Straw1 ibd. [incomplete; with corrections].

47-1^Straw2 ibd. [with annotations].= 47-4^Straw

47-2^Err 1927 VoSc Errata-Verzeichnis; Russischer Musikverlag Berlin; pp.; R. M. V. 429.

47-3 1928 VoSc [corrected]; Russischer Musikverlag Berlin; 94 pp.; R. M. V. 431.

47-3^Straw ibd.

47-5 1949 FuSc rev.; Russischer Musikverlag / Boosey & Hawkes London; 144 pp.; B. & H. 16497.

47-5^Erribd.

47-5^Straw 1949 ibd. [with annotations].

47-6 1949 PoSc rev.; Boosey & Hawkes London; 144 pp.; B. & H. 16497; 651.

47-6^Straw ibd. [with annotations].

47-6⁵⁶ ibd.

47-6⁵⁹ ibd.

47-6⁶¹ ibd.

47-6⁶⁹ ibd.

47-6⁷⁰ ibd.

47-7 1950 VoSc rev.; Russischer Musikverlag / Boosey & Hawkes London; 94 pp.; B. & H. 16992

47-7⁵⁶ 1956 ibd.

47-7^[65] [1965] ibd.

47-8 1971 VoSc; Edition Musique Moscou ; 104 pp.; 5484.

b) Characteristic features

47-1 IGOR STRAWINSKY* / ŒDIPUS REX / Opéra Oratorio en deux Actes / ÉDITION RUSSE DE MUSIQUE // IGOR STRAWINSKY / ŒDIPUS REX / Opéra Oratorio en deux Actes / d'après Sophocle / par / I. STRAWINSKY et J. COCTEAU / Réduction pour CHANT et PIANO / par l'AUTEUR. / [vignette] / Prix: Mk 20 / ÉDITION RUSSE DE MUSIQUE / (RUSSISCHER MUSIKVERLAG G. M. B. H.**) / FONDÉE PAR S. ET N. KOUSSEVITZKY / BERLIN · LEIPZIG · PARIS · MOSCOU · LONDRES · BARCELONE · NEW YORK [***] // (Vocal score with chant [library binding] 26.7 x 34.2 (2° [4°]); [with errata catalogue****]; sung text Latin; 94 [94] pages + 4 cover pages black on beige light yellow [front cover title, 3 empty pages] + 4 pages front matter [title page with vignette 0.6 x 0.6 spiralshaped ornament in square, index of roles >PERSONNAGES:< French, description of the stage design French with drawing the stage design >Dessin de THEODORE STRAWINSKY.<, prologue >PROLOGUE< French] + 2 pages back matter [2 empty pages]; title head >ŒDIPUS REX / Opéra Oratorio en deux Actes / d'après Sophocle par / I. STRAWINSKY et J. COCTEAU<; authors specified 1st page of the score paginated p. 1 between title head and act title with Roman numerals (without dot) >ACTE I< flush right centred >IGOR STRAWINSKY / (1926-1927)< next to title head to next to 1. line act title flush left centred >Texte de J. COCTEAU / mis en latin par / J. Danielou <; note on the pronunciation 1st page of the score below type area flush left; legal reservations 1st page of the score below type area flush left centred >Russischer Musikverlag G. m. b. H. Berlin / (Edition Russe de Musique) / Copyright 1927 by Russischer Musikverlag G. m. b. H. Berlin< flush right centred >Tous droits d'exécution, de reproduction et / d'arrangements réservés pour tous pays. / Propriété de l'Editeur pour tous pays.<; plate number >R. M. V. 429<; without end of score dated; production indications p. 94 flush left centred >Imp. Delanchy-Dupré – Paris-Asnières. / 2 et 4, Avenue de la Marne – XXVII< flush right as end mark >GRANDJEAN GRAV.) // (1927)

* The front cover title page in the Berlin copy >N. Mus. 12907< contains a handwritten dating by Strawinsky >Igor Strawinsky / Paris / la 16 /° VI / 1927< at this point, as well as the date >25. II. 28< on the inner title page [° slash original].

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

*** The Berlin copy >N. Mus. 12907<, there is at this place a stamp mark > 25 ^frs <.

**** The printed errata catalogue in the Berlin copy, subsequently bound in, contains an addition to the errata relating to the musical text in Strawinsky’s handwriting, which is incorporated into the corrected copies.

47-1^Straw1

The copy from Strawinsky’s estate contains corrections, but is incomplete and contains only the musical text (cover pages, front and back matter are missing) and on the first page of the score above the title head a note written in Russian.

47-1^Straw2

Strawinsky’s 2nd copy is complete and signed and dated on the front cover title between name and piece title with >Igor Strawinsky / Dez/°38 / 2^emeEdition< [slash original] [1st and 2nd line with pencil, 3rd line written in blue]. It is rebound and contains corrections and the note >This score entirely re- / vised by me anew with / corrections, supplements / and alterations, formes / the version which is do / be protected by a new / copyright / I Strainsky / Hollywood, Cal. / Oct. I0, I947< on the title page above, next to and below the name in black. The last page of the score contains >XXXVII< behind a vertical stroke, as if you had to read >XXXVIII<.

47-2^Err

47-3 IGOR STRAWINSKY / OEDIPUS REX / Opéra Oratorio en deux Actes / ÉDITION RUSSE DE MUSIQUE // IGOR STRAWINSKY / OEDIPUS REX / Opéra Oratorio en deux Actes / d'après Sophocle / par / I. STRAWINSKY et J. COCTEAU / Réduction pour CHANT et PIANO / par l'AUTEUR. / [Vignette 1 x 1] / Prix: Mk 20 / ÉDITION RUSSE DE MUSIQUE / (RUSSISCHER MUSIKVERLAG G. M. B. H.*) / FONDÉE PAR S. ET N. KOUSSEVITZKY / BERLIN · LEIPZIG · PARIS · MOSCOU · LONDRES · BARCELONE · NEW YORK [**] // (Vocal score with chant [library binding] 26.7 x 34.2 (2° [4°] ); sung text Latin; speaking text French; 94 [94] pages + 4 cover pages black on beige-light yellow [front cover title, 3 empty pages] + 4 pages front matter [title page with vignette stylized rose in a frame of small leaves 1 x 1 centre centred, index of roles >PERSONNAGES< French, stage design >Dessin de THÉODORE STRAWINSKY.< + drawing the stage design French, prologue >PROLOGUE< French] + 2 pages back matter [2 empty pages]; title head >ŒDIPUS REX / Opera-Oratorio en deux Actes / d’après Sophocle par / I. STRAWINSKY et J. COCTEAU<; authors specified 1st page of the score paginated p. 1 next to and below 4. line title head flush left centred >Texte de J. COCTEAU / mis en latin par / J. DANIELOU< below 4. line title head flush right centred >IGOR STRAWINSKY / (1926-1927)<; note on the pronunciation 1st page of the score as 2. footnote below type area flush left italic >**) Par précaution de phonétique un „K“ remplace la lettre „C“ devant quelques voyelles. L'„U“ sera pronon- / cé „OU“. Le „G“ sera toujours dur. Prononcer „Iocasta“** * _ Iokasta etc... < 1; legal reservations 1st page of the score below type area flush left centred >Russischer Musikverlag G. m. b. H. Berlin / (Edition Russe de Musique) / Copyright 1927 by Russischer Musikverlag G. m. b. H. Berlin.<; flush right centred >Tous droits d'exécution, de reproduction et / d'arrangements réservés pour tous pays. / Propriété de l'Editeur pour tous pays.<; plate number >R. M. V. 431; production indications as end marks p. 94 flush left >Imp. Delanchy-Dupré – Paris-Asnières. / 2 et 4, Avenue de la Marne – XXVIII< flush right >GRANDJEAN GRAV.<) // (1928)

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

** The copy Berliner >N. Mus. 12907< has a stamp mark > 25 ^frs <.

*** The first two letters have a slur underneath.

47-3³⁷ IGOR STRAWINSKY / ŒDIPUS REX / Opéra Oratorio en deux Actes / ÉDITION RUSSE DE MUSIQUE // IGOR STRAWINSKY / OEDIPUS REX / Opéra Oratorio en deux Actes / d'après Sophocle / par / I. STRAWINSKY et J. COCTEAU / Réduction pour CHANT et PIANO / par l'AUTEUR. / [Vignette 1 x 1] / Prix: Mk 20 / ÉDITION RUSSE DE MUSIQUE / (RUSSISCHER MUSIKVERLAG G. M. B. H.*) / FONDÉE PAR S. ET N. KOUSSEVITZKY / BERLIN · LEIPZIG · PARIS · MOSCOU · LONDRES · BARCELONE · NEW YORK [**] // (Vocal score with chant sewn 26.8 x 34.1 ( [4°]) ; sung text Latin; 94 [94] pages + 4 cover pages black on beige light yellow [front cover title, 3 empty pages] + 4 pages front matter [title page with vignette centre 1 x 1 stylized rose in a frame of small leaves spiralshaped ornament in square, index of roles >PERSONNAGES:< French, stage design French with drawing the stage design >Dessin de THEODORE STRAWINSKY.<, prologue >PROLOGUE< French] + 2 pages back matter [2 empty pages]; title head >ŒDIPUS REX / Opéra Oratorio en deux Actes / d'après Sophocle par / I. STRAWINSKY et J. COCTEAU<; authors specified 1st page of the score paginated p. 1 between and below 4. line of the title head and act title with Roman numerals (without dot) >ACTE I< below 4. line title head flush right centred >IGOR STRAWINSKY / (1926-1927)<; note on the pronunciation 1st page of the score as 2. footnote below type area flush left italic >**) Par précaution de phonétique un „K“ remplace la lettre „C“ devant quelques voyelles. L'„U“ sera pronon- / cé „OU“. Le „G“ sera toujours dur. Prononcer „Iocasta“** * _ Iokasta etc... < 1; legal reservations 1st page of the score below type area flush left centred >Russischer Musikverlag G. m. b. H. Berlin / (Edition Russe de Musique) / Copyright 1927 by Russischer Musikverlag G. m. b. H. Berlin.<; flush right centred >Tous droits d'exécution, de reproduction et / d'arrangements réservés pour tous pays. / Propriété de l'Editeur pour tous pays.<; plate number >R. M. V. 431; production indications as end marks p. 94 flush left >S.I.M.A.G.- Asnières. / 2 et 4, Avenue de la Marne – XXXVII flush right >GRANDJEAN GRAV.<) // (1937)

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

** The copy Berlin >N. Mus. 12907< contains a stamp mark > 25 ^frs <; the copy Basel a stamp mark italic > PRINTED IN FRANCE <.

*** The first two letters have a slur underneath.

47-5 igor strawinsky / œdipus rex / partition d'orchestre / édition russe de musique · boosey & hawkes // Igor Strawinsky / Œdipus Rex / Opéra-Oratorio en deux actes / d'après Sophocle / Opera-Oratorio in two acts / after Sophocles / par · by / Igor Strawinsky et Jean Cocteau / Partition d'Orchestre . Full Score / Nouvelle revision 1948 New version / Édition Russe de Musique (S. et N. Koussewitzky) . Boosey & Hawkes / London · New York · Sydney · Toronto · Capetown · Paris · Buenos Aires [*] // (Full score [library binding] 26.7 x 36.8 (2° [gr. 4°]); sung text Latin; speaking text French-English; 144 [144] pages + 4 cover pages [front cover title tomato red on greygreen beige, 2 empty pages, page with publisher’s advertisements > Igor Strawinsky <** production data >No.453<] + 6 pages front matter [title page, page with legal reservations centred >Copyright, 1927, by Édition Russe de Musique (Russischer Musikverlag) for all countries / New version copyright 1949 by Boosey & Hawkes, Inc., New York, U.S.A. / 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 work or parts thereof, are strictly reserved.<, page with Théodore Strawinsky’s stage design and comments in two columns French-English, continuation and end of the explanatory comments French-English + index of roles > Personnag es < French, legend >Orchestre< French + duration data [50’] French, >PROLOGUE< French-English + translator specified + libretto mark bracketed italic centred >( English Translation by E. E. Cummings ) / ( For the complete English translation see the Vocal Score )<] + 2 pages back matter [empty pages]; title head >ŒDIPUS REX / Opéra-Oratorio en deux Actes d'après Sophocle par / I. STRAWINSKY et J. COCTEAU<; author specifiedn 1st page of the score paginated p. 1 below title head flush right centred >IGOR STRAWINSKY / (1926-1927)< flush left centred >Texte de J. COCTEAU / mis en latin par / J. Danielou <; legal reservations 1st page of the score below type area flush left >Copyright by Édition Russe de Musique (Russischer Musikverlag) for all countries / New version copyright 1949 by Boosey & Hawkes, Inc., New York, U.S.A. / Copyright for all countries< flush right >All rights of performance and of / reproduction in any form reserved.<; plate number >B.& H. 16497<; production indication p. 144 flush right as end mark >GRANDJEAN GRAV.<) // [1949]

* In the copy from Strawinsky’s estate [47-5 ^Straw], there is at this place a stamp on the bottom half of the page in the centre, slanted upwards mark >Printed in England<.

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

47-5^Err Strawinsky “OEDIPUS REX” Full Score / Errata // [25 corrections, 8 of which have musical examples] / B. & H. 16497 // 1 page unpaginated [1949]

47-5^Straw

Strawinsky’s copy from his estate is signed and dated in blue with >Igor Stravinsky / April I949< on the front cover title at the top of the page flush right centred. The full score contains the Errata list.

47-6 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / ŒDIPUS REX^ / BOOSEY & HAWKES / No. 651 // HAWKES POCKET SCORES / IGOR / STRAWINSKY / ŒDIPUS REX / Opéra-Oratorio en Deux Actes / d'après Sophocle / Opéra-Oratorio in Two Acts / after Sophocles / par · by / IGOR STRAWINSKY et JEAN COCTEAU / NOUVELLE REVISION 1948 NEW VERSION / BOOSEY & HAWKES / LTD. / London · New York · Los Angeles · Sydney · Capetown · Toronto · Paris / NET PRICE / MADE IN ENGLAND // (Pocket score sewn 17.8 x 25.4 (8° [gr. 8°]); sung text Latin, speaking text French, description of the stage design French-English, prologue French-English; 144 [144] pages + 4 cover pages dark green on green beige [front cover title with frame 9.4 x 3.8 beige on dark green, 2 empty pages, page with publisher’s advertisements >HAWKES POCKET SCORES / A comprehensive library of Miniature Scores containing the best-known classical / works, as well as a representative selection of outstanding modern compositions. <* production data No. 520 [#] 1.49<] + 6 pages front matter [title page, page with legal reservations centre centred >Copyright 1927 by Édition Russe de Musique (Russischer Musikverlag) for all countries / New version copyright 1949 by Boosey & Hawkes Inc., New York, U.S.A. / Copyright for all countries< centre justified text >All rights of theatrical, radio, television performance, mechanical reproduction / in any form whatsoever (including film), translation of the libretto, of the / complete work or parts thereof, are strictly reserved.<, page with Théodore Strawinskys stage design >Dessin de THÉODORE STRAWINSKY.< + [unlabeled] comments in two columns French-English, continuation and end of the explanatory comments French-English + index of roles > Personnages < French, legend >Orchestre<** French + duration data [50’] French + translator specified italic > English Translation by E. E. Cummings / ( For the complete English translation see the Vocal Score )<, Libretto->Prologue< French + translation English] + 2 pages back matter [2 empty pages]; title head >ŒDIPUS REX / Opéra Oratorio en deux Actes d'après Sophocle par / I. STRAWINSKY et J. COCTEAU<; authors specified 1st page of the score paginated p. 1 between title head and act title with Roman numeral (without dot) >ACTE I< flush left centred >Texte de J. COCTEAU / mis en latin par J. DANIELOU< flush right centred >IGOR STRAWINSKY / (1926-1927)<; legal reservations 1st page of the score below type area flush left >Copyright by Édition Russe de Musique (Russischer Musikverlag) for all countries / New version copyright 1949 by Boosey & Hawkes Inc., New York, U.S.A. / Copyright for all countries< flush right centred >All rights of performance and of / reproduction in any form reserved<; plate number >B.& H. 16497<; production indication p. 144 flush right as end mark >GRANDJEAN GRAV.<) // (1949)

^ ^ Text in frame.

* Classical editions from >J. S. BACH< to >WEBER< are listed including the titles of their works in four columns under the headline > classical editions <, under the headline >MODERN EDITIONS< the names of contemporary composers are listed without any titles in four columns from >BÉLA BARTÓK< to >ARNOLD VAN WYK<, amongst these >IGOR STRAWINSKY<. The following places of printing are listed: London-New York-Chicago-Los Angeles-Toronto-Buenos Aires-Capetown- Sydney-Paris.

** The harp and piano are missing on the list.

47-6^Straw

Strawinsky’s copy from his estate is signed and dated on the front cover title below frame right with >IStr / I949<. The copy contains no annotations.

47-6⁵⁶ [ Missing ] // HAWKES POCKET SCORES / IGOR / STRAWINSKY / ŒDIPUS REX / Opéra – Oratorio en deux actes d'après Sophocle / Opéra – Oratorio in two acts after Sophocles / Opern – Oratorium in zwei Akten nach Sophokles / par · by · von / IGOR STRAWINSKY — Jean Cocteau / Nouvelle Revision / Revised Edition / Revidierte Ausgabe / 1948 / BOOSEY & HAWKES / LTD. / London · PARIS · BONN · Capetown · Sydney · Toronto · Buenos AIRES · New York / NET PRICE / MADE IN ENGLAND // (Pocket score [library binding] 17.8 x 25.4 (8° [Lex. 8°] ); Sung text Latin, speaking text French, 144 [144] pages + 4 cover pages dark green on green beige [missing, missing, empty page, page with publisher’s advertisements > HAWKES POCKET SCORES / A selection of outstanding modern works / from this famous library of classical and contemporary Pocket Scores<* production data NO. 782 [#] 1.56<] + 6 pages front matter [title page, Innentitelei, index of roles >Personnages / Characters - Personen< + legend >ORCHESTRE<** French-English-German + duration data [50’] French-English-German + translator specified partky in italics >English Translation by E. E. Cummings / ( For complete English translation see Speakers text in Vocal Score ) / Deutsche Übertragung von L. Thurneiser / ( Die vollständige Übersetzung der Rolle des Sprechers ist im Klavierauszug enthalten ), page with Théodore Strawinskys stage design >Dessin de THÉODORE STRAWINSKY.< + [unlabeled] comments in three columns French-English-German, continuation and end of the explanatory comments French-English-German, >Prologue<] + 2 pages back matter [2 empty pages]; title head >ŒDIPUS REX / Opéra-Oratorio en deux Actes d'après Sophocle par / I. STRAWINSKY et J. COCTEAU<; authors specified 1st page of the score paginated p. 1 between title head and act title with Roman numerals (without dot) >ACTE I< flush left centred >Texte de J. COCTEAU / mis en latin par J. DANIELOU< flush right centred >IGOR STRAWINSKY / (1926-1927)<; legal reservations 1st page of the score below type area flush left >Copyright by Édition Russe de Musique (Russischer Musikverlag) for all countries / New version copyright 1949 by Boosey & Hawkes Inc., New York, U.S.A. / Copyright for all countries< flush right centred >All rights of performance and of / reproduction in any form reserved.<; plate number >B.& H. 16497<; end number p. 144 >4 · 56 L & B<; production indication p. 144 flush right as end mark >Lowe and Brydone (Printers) Limited, London<) // (1956)

^ ^ Text in frame.

* Compositions are advertised in two columns with edition numbers from >Béla Bartók< to >Ralph Vaughan Williams<, amongst these >Igor Strawinsky / 610 Capriccio ( Revised 1949 Edition ) / 611 Apollon Musagète ( Revised 1947 Edition ) / 630 Octet for Wind Instruments / [#] ( Revised 1952 Edition ) / 632 Pulcinella Suite ( Revised 1949 Edition ) / 637 Symphony of Psalms / 638 The Rite of Spring ( Revised 1947 Edition ) / 639 Pétrouchka ( Revised 1947 Edition ) / 640 Orpheus / 651 Œdipus Rex ( Revised 1948 Edition ) / 652 Perséphone / 655 Mass / 666 Cantata / 672 Symphonies of Wind Instruments / [#] ( Revised 1947 Edition ) / 679 The Fairy’s Kiss / 682 Septet (1953) / 688 In Memoriam Dylan Thomas (1954)<. After London the places of printing are listed with Paris-Bonn-Capetown-Sidney-Toronto-Buenos Aires-New York angegeben.

** In the concert list also contains piano and harp.

47-6⁵⁹ HAWKES POCKET SCORES / ^IGOR STRAWINSKY / ŒDIPUS REX^ / BOOSEY & HAWKES / No. 651 // HAWKES POCKET SCORES / IGOR / STRAWINSKY / ŒDIPUS REX / Opéra – Oratorio en deux actes d'après Sophocle / Opéra – Oratorio in two acts after Sophocles / Opern – Oratorium in zwei Akten nach Sophokles / par ^· by ^· von / IGOR STRAWINSKY — Jean Cocteau / Nouvelle Revision / Revised Edition / Revidierte Ausgabe / 1948 / BOOSEY & HAWKES / LTD. / London · paris · bonn · CAPETOWN · Sydney · Toronto · BUENOS AIRES · new york / NET PRICE / MADE IN ENGLAND // [Text on spine:] missing // (Pocket score [library binding] 17.3 x 26.8 (8° [Lex. 8°]); sung text Latin, speaking text French, 144 [144] pages + 4 cover pages dark green on dark beige [front cover title with frame 9.4 x 3.8 dark beige on dark green, empty page, [missing] + 6 pages front matter [title page, page with legal reservations centre centred >Copyright 1927 by Édition Russe de Musique (Russischer Musikverlag) for all countries / New version copyright 1949 by Boosey & Hawkes Inc., New York, U.S.A. / Copyright for all countries< centre justified text >All rights of theatrical, radio, television performance, mechanical reproduction / in any form whatsoever (including film), translation of the libretto, of the / complete work or parts thereof, are strictly reserved.<, index of roles >Personnages / Characters - Personen< French + legend >ORCHESTRE<** French + duration data [50’] French-English-German + translator specified >English Translation by E. E. Cummings / ( For complete English translation see Speakers text in Vocal Score ) / Deutsche Übertragung von L. Thurneiser / ( Die vollständige Übersetzung der Rolle des Sprechers ist im Klavierauszug enthalten ); page with Théodore Strawinskys stage design >Dessin de THÉODORE STRAWINSKY.< + [unlabeled] comments in three columns French-English-German, continuation and end of the explanatory comments French-English-German, >Prologue<] + 2 pages back matter [2 empty pages]; title head >ŒDIPUS REX / Opéra-Oratorio en deux Actes d'après Sophocle par / I. STRAWINSKY et J. COCTEAU<; author specified 1st page of the score paginated p. 1 between title head and act title with Roman numerals (without dot) >ACTE I< flush right centred >IGOR STRAWINSKY / (1926-1927)< flush left centred >Texte de J. COCTEAU / mis en latin par J. DANIELOU<; legal reservations 1st page of the score below type area flush left >Copyright by Édition Russe de Musique (Russischer Musikverlag) for all countries / New version copyright 1949 by Boosey & Hawkes Inc., New York, U.S.A. / Copyright for all countries< flush right centred >All rights of performance and of / reproduction in any form reserved.<; plate number >B.& H. 16497<; end number >3 · 59 L & B<; production indication p. 144 flush right as end mark >Lowe and Brydone (Printers) Limited, London<) // (1959 )

* Missing.

** In the concert list also contains piano and harp.

47-6⁶¹ HAWKES POCKET SCORES / ^IGOR STRAWINSKY / ŒDIPUS REX^ / BOOSEY & HAWKES / No. 651 // HAWKES POCKET SCORES / IGOR / STRAWINSKY / ŒDIPUS REX / Opera – Oratorio en deux actes d'après Sophocle / Opera – Oratorio in two acts after Sophocles / Opern – Oratorium in zwei Akten nach Sophokles / par · by · von / IGOR STRAWINSKY — Jean Cocteau / Nouvelle Revision / Revised Edition / Revidierte Ausgabe / 1948 / BOOSEY & HAWKES / LTD. / LONDON · PARIS · BONN · JOHANNESBURG · SYDNEY · TORONTO · BUENOS AIRES · NEW YORK / NET PRICE / MADE IN ENGLAND // (Pocket score [library binding] 17.4 x 24.6 (8° [gr. 8°]); sung text Latin; speaking text French; 144 [144] pages + 4 cover pages olive-green on light beige [front cover title with frame 9.4 x 3.9 light beige on olive-green, empty page, [missing]] + 6 pages front matter [title page, page with legal reservations centred >Copyright 1927 by Édition Russe de Musique (Russischer Musikverlag) for all countries / New version copyright 1949 by Boosey & Hawkes Inc., New York, U.S.A. / 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 work or parts thereof, are strictly reserved.<, index of roles >Personnages / Characters - Personen< French-English-German + legend >ORCHESTRE< French + duration data [50’] French + note on the translation English-German partly in italics >English Translation by E. E. Cummings / ( For complete English translation see Speakers text in Vocal Score )< / >Deutsche Übertragung von L. Thurneiser / ( Die vollständige Übersetzung der Rolle des Sprechers ist im Klavierauszug enthalten )<, with römisch III numerierte page with stage design crossing th columns >Dessin de THÉODORE STRAWINSKY.< + comments in three columns [without headline] French-English-German, with numbered page in Roman numeral IV continuation and end of the explanatory comments French-English-German, >P rologue <]; title head >ŒDIPUS REX / Opéra-Oratorio en deux Actes d'après Sophocle par / I. STRAWINSKY et J. COCTEAU<; authors specified 1st page of the score paginated p. 1 between title head and act title with Roman numerals (without dot) >ACTE I< flush right centred >IGOR STRAWINSKY / 1926-1927< flush left centred >Texte de J. COCTEAU / mis en latin par J. DANIELOU<; legal reservations 1st page of the score below type area flush left >Copyright [*] by Édition Russe de Musique (Russischer Musikverlag) for all countries / New version copyright 1949 by Boosey & Hawkes, Inc., New York, U.S.A. / Copyright for all countries< flush right >All rights of performance and of / reproduction in any form reserved<; plate number >B. & H. 16497<; end number p. 144 below type area flush left >10 · 61 L & B<; production indication p. 144 flush right as end mark >Lowe and Brydone (Printers) Limited, London<) // (1961)

^ ^ Text in frame.

* Without a year stated; however in the front matter >1927<, has been added.

47-6⁶⁹ HAWKES POCKET SCORES / ^IGOR STRAWINSKY / ŒDIPUS REX^ / BOOSEY & HAWKES / No. 651 // HAWKES POCKET SCORES / IGOR / STRAWINSKY / ŒDIPUS REX / Opéra – Oratorio en deux actes d'après Sophocle / Opéra – Oratorio in two acts after Sophocles / Opern – Oratorium in zwei Akten nach Sophokles / par ^· by ^· von / IGOR STRAWINSKY — Jean Cocteau / Nouvelle Revision / Revised Edition / Revidierte Ausgabe / 1948 / BOOSEY & HAWKES / MUSIC PUBLISHERS Limited / London · paris · bonn · johannesburg · Sydney · Toronto · new york / NET PRICE / MADE IN ENGLAND // [Text on spine:] No. 651 STRAWINSKY · ŒDIPUS REX // (Pocket score sewn 1.1 x 17.7 x 25.2 (8° Lex. 8 °] ); sung text Latin, speaking text French; 144 [144] pages + 4 cover pages dark green on dark beige [front cover title with frame 9.4 x 3.8 dark beige on dark green, 2 empty pages, page with publisher’s advertisements >HAWKES POCKET SCORES / The following list is but a selection of the many items included in this extensive library of miniature scores / containing both classical works and an ever increasing collection of outstanding modern compositions. A / complete catalogue of Hawkes Pocket Scores is available on request.<* production data >No. 16< [#] >1.66<] + 6 pages front matter [title page, page with legal reservations centre centred >Copyright 1927 by Édition Russe de Musique (Russischer Musikverlag) for all countries / New version copyright 1949 by Boosey & Hawkes Inc., New York, U.S.A. / Copyright for all countries< centre justified text >All rights of theatrical, radio, television performance, mechanical reproduction / in any form whatsoever (including film), translation of the libretto, of the / complete work or parts thereof, are strictly reserved.<, index of roles >Personnages / Characters - Personen< French-English-German + legend >ORCHESTRE<** French + duration data [50’] French-English-German + translator specified >English Translation by E. E. Cummings / ( For complete English translation see Speakers text in Vocal Score ) / Deutsche Übertragung von L. Thurneiser / ( Die vollständige Übersetzung der Rolle des Sprechers ist im Klavierauszug enthalten ); page with Théodore Strawinskys stage design >Dessin de THÉODORE STRAWINSKY.< + [unlabeled] comments in three columns French-English-German, continuation and end of the explanatory comments French-English-German, >Prologue<] + 2 pages back matter [2 empty pages]; title head >ŒDIPUS REX / Opéra Oratorio en deux Actes d'après Sophocle par / I. STRAWINSKY et J. COCTEAU<; authors specified 1st page of the score paginated p. 1 between title head and act title with Roman numerals (without dot) >ACTE I< flush left centred >Texte de J. COCTEAU / mis en latin par J. DANIELOU< flush right centred >IGOR STRAWINSKY / (1926-1927)<; legal reservations 1st page of the score below type area flush left >Copyright by Édition Russe de Musique (Russischer Musikverlag) for all countries / New version copyright 1949 by Boosey & Hawkes Inc., New York, U.S.A. / Copyright for all countries< flush right >Tonsättning förbjudes< flush right centred >All rights of performance and of / reproduction in any form reserved.<; plate number >B.& H. 16497<; end number >4 · 69 L & B<; production indication p. 144 flush right as end mark >Lowe and Brydone (Printers) Limited, London<) // (1969)

^ ^ Text in frame.

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

** In the concert list also contains piano and harp.

47-6⁷⁰ HAWKES POCKET SCORES / ^IGOR STRAWINSKY / ŒDIPUS REX^ / BOOSEY & HAWKES / No. 651 // HAWKES POCKET SCORES / IGOR / STRAWINSKY / ŒDIPUS REX / Opéra – Oratorio en deux actes d'après Sophocle / Opéra – Oratorio in two acts after Sophocles / Opern – Oratorium in zwei Akten nach Sophokles / par ^· by ^· von / IGOR STRAWINSKY — Jean Cocteau / Nouvelle Revision / Revised Edition / Revidierte Ausgabe / 1948 / BOOSEY & HAWKES / MUSIC PUBLISHERS LIMITED / London · paris · bonn · johannesburg · Sydney · Toronto · new york / NET PRICE / MADE IN ENGLAND // [Text on spiene:] No. 651 STRAWINSKY · ŒDIPUS REX // (Pocket score sewn 0.7 x 17.7 x 25.4 (8° {Lex. 8°]); sung text Latin, speaking text French; 144 [144] pages + 4 cover pages dark green on dark beige [front cover title with frame 9.4 x 3.8 dark beige on dark green, 2 empty pages, page with publisher’s advertisements >HAWKES POCKET SCORES / The following list is but a selection of the many items included in this extensive library of miniature scores / containing both classical works and an ever increasing collection of outstanding modern compositions. A / complete catalogue of Hawkes Pocket Scores is available on request.<* Stand >No. 16< [#] >1.66<] + 6 pages front matter [title page, page with legal reservations centre centred >Copyright 1927 by Édition Russe de Musique (Russischer Musikverlag) for all countries / New version copyright 1949 by Boosey & Hawkes Inc., New York, U.S.A. / Copyright for all countries< centre justified text >All rights of theatrical, radio, television performance, mechanical reproduction / in any form whatsoever (including film), translation of the libretto, of the / complete work or parts thereof, are strictly reserved.<, index of roles >Personnages / Characters - Personen< French-English-German + legend >ORCHESTRE<** French + duration data [50’] French-English-German + translator specified >English Translation by E. E. Cummings / (For complete English translation see Speakers text in Vocal Score) / Deutsche Übertragung von L. Thurneiser / (Die vollständige Übersetzung der Rolle des Sprechers ist im Klavierauszug enthalten); page with Théodore Strawinskys stage design >Dessin de THÉODORE STRAWINSKY.< + [unlabeled] comments in three columns French-English-German, continuation and end of the explanatory comments French-English-German, >Prologue< + note on the translation italic ( For the complete English translation see the Vocal Score )< English] + 2 pages back matter [2 empty pages]; title head >ŒDIPUS REX / Opéra Oratorio en deux Actes d'après Sophocle par / I. STRAWINSKY et J. COCTEAU<; authors specified 1st page of the score paginated p. 1 between title head and act title with Roman numerals (without dot) >ACTE I< flush left centred >Texte de J. COCTEAU / mis en latin par J. DANIELOU< flush right centred >IGOR STRAWINSKY / (1926-1927)<; legal reservations 1st page of the score below type area flush left >Copyright by Édition Russe de Musique (Russischer Musikverlag) for all countries / New version copyright 1949 by Boosey & Hawkes Inc., New York, U.S.A. / Copyright for all countries< flush right >Tonsättning förbjudes< flush right centred >All rights of performance and of / reproduction in any form reserved.<; plate number >B.& H. 16497<; end number p. 144 flush left >6 · 70 L & B< production indication p. 144 flush right as end mark >Lowe and Brydone (Printers) Limited, London<) // (1970 )

^ ^ Text in frame.

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

** In the concert list also contains piano and harp.

47-7 igor strawinsky / œdipus rex / réduction pour chant et piano / édition russe de musique · boosey & hawkes // Igor Strawinsky / Œdipus Rex / Opéra-Oratorio en deux actes d'après SOPHOCLE / Opera - Oratorio in two acts after SOPHOCLES / par / I. STRAWINSKY et J. COCTEAU / Nouvelle revision 1948 / Réduction pour CHANT et PIANO par / L'AUTEUR / Reduction for VOICE and PIANO / by the C omposer / Nouvelle révision 1948 New version / Édition Russe de Musique (S. et N. Koussewitzky) . Boosey & Hawkes / London . New York . Sydney . Toronto . Capetown . Paris .·Buenos Aires // (Vocal score with chant sewn 24.4 x 31.6 (2° [4°] ); sung text Latin; speaking text French; explanatory notes on the musical text French; 96 [96] pages + 4 cover pages brown red on grey green beige [front cover title, 2 empty pages, page with publisher’s >Édition Russe de Musique (S. et N. Koussewitzky) / Boosey & Hawkes< advertisements > Igor Strawinsky <* production data >No. 453<] + 6 pages front matter [title page, page with legal reservations centre centred >Copyright 1927 by Édition Russe de Musique (Russischer Musikverlag) for all countries / New version copyright 1949 in U.S.A. by Boosey et Hawkes Inc., New York, U. S. A. / Copyright for all countries< centre geblockt >All rights of theatrical, radio, television performance, mechanical reproduction / in any form whatsoever (including film), translation of the libretto, of the / complete work or parts thereof are strictly reserved.<, page with index of roles > Personnages < French-English + note on performance French-English-German + legend >ORCHESTRE<** French + duration data [50’] English, page with stage design crossing the columns >Dessin de THÉODORE STRAWINSKY.< + comments in three columns without headline French-English-German, continuation and end of the explanatory comments French-English-German, speaking text >Prologue< French-English-German] + 2 pages back matter [page with publisher’s >Édition Russe de Musique (S. et N. Koussewitzky) / Boosey & Hawkes< advertisements > Serge Prokofieff < production data >No. 454<, page with publisher’s >Édition Russe de Musique (S. et N. Koussewitzky) / Boosey & Hawkes< advertisements > Serge Rachmaninoff < production data >No. 461<] with an inserted unpaginated four-page booklet containing the speaker’s text English [pp. A + B] und German [pp. C + D]; translation speaking text English by E. E. Cummings im Auftrag von >The Juillard Opera Theatre>; translation speaking text German by L. Thurneiser; title head in connection with authors specified centre centred >ŒDIPUS REX / Opéra-Oratorio en deux actes / d'après SOPHOCLE par / I. STRAWINSKY et J. COCTEAU<; authors specified 1st page of the score paginated p. 1 below title head flush right centred >IGOR STRAWINSKY / (1926-1927)< next to 4th line title head to act title with Roman numerals (without dot) >ACTE I< flush left centred >Texte de J. COCTEAU / mis en latin par / J. DANIELOU; note on the pronunciation 1st page of the score; legal reservations 1st page of the score below type area flush left centred >Copyright 1927 by Edition Russe de Musique (Russischer Musikverlag) for all countries. / New version copyright 1950 in U.S.A. / by Boosey & Hawkes, Inc., New York, U.S.A.< flush right centred >Tous droits d'exécution, de reproduction et / d'arrangements réservés pour tous pays. / Propriété de l'Editeur pour tous pays.<; plate number >B. & H. 16.992<; without end of score dated; [**]; production indications [1. page of the score below legal reservation flush right >IMPRIMÉ EN FRANCE<***] p. 96 as end marks flush left >Paris, Imp. LA LYRE.< flush right >GRANDJEAN GRAV.<) // (1950)

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

** The piano and harp are missing on the list.

*** In the copy Darmstadt >G / 2108 / 51< slanted upwards stamp mark..

47-7^[65] igor stravinsky / œdipus rex / réduction pour chant et piano / boosey & hawkes // Igor Stravinsky / Œdipus Rex / Opéra-Oratorio en deux actes d'après Sophocle / Opéra - Oratorio in two acts after Sophocles / Opera-Oratorium in zwei Akten nach Sophokles / par · by · von / IGOR STRAVINSKY et JEAN COCTEAU / Nouvelle revision 1948 / Réduction pour chant et piano par L'auteur / Reduction for voice and piano by the composer / Klavierauszug mit Text von* Komponisten / Boosey & Hawkes // [Text on spine:] STRAVINSKY OEDIPUS REX [#] BOOSEY & HAWKES // (Vocal score with chant sewn 0.7 x 23.3 x 30.6 ([4°]); sung text Latin; speaking text French; 96 [96] pages + 4 cover pages brown-red on green beige [front cover title, 2 empty pages, page with publisher’s advertisements >Igor Stravinsky<** production data >No. 40< [#] >7.65< / >2667<] + 8 pages front matter [page with speaking text translation >ŒDIPUS REX / by / Igor Stravinsky and Jean Cocteau / English Translation of the Speaker’s Text / by / E. E. Cummings / Commissioned by The Juilliard Opera Theatre < + legal reservation at the bottom of the page flush left italic > Copyright 1949 in U.S.A. by Boosey & Hawkes Inc., New York / Copyright for all countries < flush right italic > All rights reserved < + production indication below legal reservation flush right italic > Printed in England <, continuation and end of the English translation, title page, page with legal reservations centre centred >© Copyright 1927, 1950 by Hawkes & Son (London) Ltd.< / >All rights of theatrical, radio, television performance, mechanical reproduction in any form / whatsoever (including film), translation of the libretto, of the complete work or parts thereof / are strictly reserved.<, index of roles >Personnages / Characters · Personen< French-English-German with note on performance + legend >Orchestre< French + duration data [50’] French-English-German, page with stage design crossing the columns >Dessin de THÉODORE STRAWINSKY.< + comments in three columns without headline French-English-German, continuation and end of the explanatory comments French-English-German, prologue >PROLOGUE< French] without back matter]; title head >ŒDIPUS REX / Opéra-Oratorio en deux Actes / d'après Sophocle par / I. STRAVINSKY et J. COCTEAU<; author specified 1st page of the score unpaginated [S. 1] below title head and flush right centred >IGOR STRAWINSKY / (1926-1927)< next to 4th line title head to act title with Roman numerals (without dot) >ACTE I< flush left centred >Texte de J. COCTEAU / mis en latin par / J. DANIELOU<; note on the pronunciation 1st page of the score below type area; legal reservations 1st page of the score next to und above title head flush right centred in the text box contained >IMPORTANT NOTICE / The unauthorized copying / of the whole or any part of / this publication is illegal< below type area below Ausspracheanmerkung flush left >© Copyright 1927, 1950 by Hawkes & Son (London) Ltd.< flush right >All rights reserved / Tonsättning förbjudes<; plate number >B. & H. 16.992<; without end number; production indications 1st page of the score below type area below legal reservation flush right >Printed in England< p. 96 flush left as end mark >Printed by / Halstan & Co. Ltd., Amersham, Bucks, England<) // [1965]

* Misprint (mistake) original (correct: >vom< instead of >von<.

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

47-8 ИГОРЬ СТРАВИНСКИЙ / ŒDIPUS / REX / ЦАРЬ / ЭДИП / IGOR STRAVINSKY // ИГОРЬ СТРАВИНСКИЙ · ЦАРЬ ЭДИП // IGOR STRAVINSKY / ŒDIPUS REX / Opéra Oratorio / en deux Actes / d’après / Sophocle / par I. Stravinsky / et J. Cocteau / Mis en latin / par J. Danielou / Réduction pour / Chant et Piano par L’Auteur / EDITION MUSIQUE MOSCOU 1971 // ИГОРЬ СТРАВИНСКИЙ / ЦАРЬ ЭДИП / Опера-оратория / в двух действиях / Либретто / И. Стравинского / и Ж. Кокто / по одноименной трагедии / Софокла / Перевод латинский язык / Ж. Даинэу / Переложеиие для пеиия с фортепиано / автора / ИЗДАТЕЛЬСТВО «МУЗЫКА» МОСКВА 1971 // (Vocal score with chant [library binding] 21.8 x 28.7 ([Lex. 8°]); sung text Latin; speaking text French; explanatory notes on the musical text French; 104 [94] pages + 4 cover pages white-black on flesh-coloured red [front cover title with a frame of two Ionic pillars, empty page, °], + 6 pages front matter [bastard title, title page French, title page Russian, empty page, index of roles >ДЕЙСТВУЩЮИЕ ЛИЦА / PERSONNAGES < Russian-French, index without headline in two columns Russian signed > И . Стравинский < + in two columns French signed > I. Stravinsky <] + 4 pages back matter [3 pages sung text translation >ЦАРЬ ЭДИП / Действие первое< Russian, page with the end of the translation of the sung text and translator specified > Перевела с ла т инского °° / Н . Л . КАЦМАН < + imprint Russian >Индекс 9–3–5< with billing of names >Редактор В . Суслин [#] Лит. редактор К . Данько [#] Художник Ю . Г лезаров / Худоæ. редактор И . Ка ледин [#] Техн. редактор Т . Лапшина , О . Пу т и лина °° [#] Корректор Э . По лин ская< and itemized statements of format and origin]; title head >ЦАРЬ ЭДИП [#] ŒDIPUS REX<; author specified 1st page of the score paginated p. 7 below title head flush right centred >Игоь СТРАВИНСКИЙ / Igor STRAVINSKY<; without legal reservation; plate number >5484<; end of score dated p. 100 flush right >(1926 – 1927 г.)<; without end mark) // 1971

° All the accessible copies are missing the back pages of the covern.

°° In place of the usual Russian handwritten > т <, >т< appears both times in the cursive, Russian printed alphabet.

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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