K056 Persephone

deutsch K056 Persephone

K56 Perséphone

Mélodrame en trois tableaux d’André Gide. Pour ténor, choeur mixte et orchestre – Persephone. Melodrama in drei Teilen von André Gide [deutsch von F. Schroeder] – Persephone. Melodrama in three scenes by André Gide – Persefone. Melodramma in tre quadri per tenore, coro misto ed orchestra. Testo di André Gide

Scored for: a) First edition (Roles): Eumolpe, le Prêtre (Ténor); Perséphone, la Déesse (Récitante); ~ (Chorus): Choeur mixte et Choeur d’Enfants; ~ (Orchestra Nomenclature): Flauto Piccolo, 3 Flauti Grandi, 3 Oboi, Corno Inglese, 3 Clarinetti in Si b e La, Clarinetto Basso, 3 Fagotti, Contra Fagotto, 4 Corni in Fa, Piccola Tromba in Ré, 3 Trombe in Ut, 2 Tromboni, Trombone Basso, Tuba, Timpani, Gran Cassa, Tamburo, Xilophone*, 2 Arpe, Piano, Violini 1, Violini 2, Viole, Violoncelli, Contrabassi; ~ (Orchestra Legend): 3 fl û tes (fl.III = picc.), 3 hautbois (hb.III = C.A.), 3 clarinettes (Cl.III = Cl.B.), 3 bassoons* (Bn.III = Ctr.Bn.), 4 cors en fa, 3 trompettes en ut (Tpt. III = Tpt. en ré), 3 trombones, Tuba, Timbales, Batterie, 2 Harpes, Piano, Cordes [Eumolpe, the Priest (Tenor), Perséphone. The Goddess (Narrator); Mixed chorus and Children’s Choir; 3 Flutes /Fl. III = Picc.), 3 Oboes (Ob. III = E.h.), 3 Clarinets (Cl. III = B. Cl.), 3 Bassoons (Bn. III = Ctr.b.), 4 Horns in F, 3 Trumpets in C (Tpt. III = Tpt. In D), 3 Trombones, Tuba, Timpani, Batterie, 2 Harps, Piano, Strings]; b) Performance requirements: Female narrator, Tenor, 3 Silent Roles (Demeter, Triptolemos, Mercury), Nymphs, Shadows, Danaids, four-part mixed chorus (Soprano, Alto, Tenor, Bass), Boy’s Choir (Soprano, Alto), Piccolo Flute (= 3rd Flute), 3 Flutes (3rd Flute = Piccolo Flute), 3 Oboes (3rd Oboe = English horn), English horn (= 3rd Oboe), 3 Clarinets in B b and A (3rd Clarinet = Bass Clarinet), Bass Clarinet (= 3rd Clarinet), 3 Bassoons (3rd Bassoon = Contrabassoo), Contrabassoon (= 3rd Bassoon), 4 Horns in F, 3 Trumpets in C (3rd Trumpet = Trumpet in D = Piccolo Trumpet), Piccolo Trumpet in D (= 3rd Trumpet), 2 Tenor Trombones, Bass Trombone, Tuba, Timpani, Batterie (Big Drum, Snare Drum, Xylophone), 2 Harps, Piano, 2 Solo Violins, Solo Viola, Solo Violoncello, Strings (First Violins**, Second Violins**, Violas**, Violoncelli**, Double Basses***).

* Original spelling.

** Divided in three.

*** Divided in two.

Voice types (Fach): Female speaker: resonant, a voice rich in overtones that is not too heavy; Eumolpos: youthful heroic tenor or rich lyric tenor with a range extending up to b 1 .

Summary: On a meadow on the seashore with a rocky defile, which is the entry to the Underworld, Eumolpos calls to Demeter (I. 1). Demeter appears. When she is called forth by Mercury, she commends her daughter Persephone to the care of the Nymphs as she bids farewell; they are singing about the beauty of the Spring and they rejoice in the flowers in the meadow, but they warn Persephone of the consequences of picking a Narcissus flower because its scent opens a view to the Underworld. Persephone does not heed them. What she then sees, fills her with grief and sorrow (I. 2). Eumolpos comforts her and promises her lordship over the ghosts of the Underworld by means of a union with Pluto; she would do this out of compassion for the ghosts who yearn for the solace of her arrival. Persephone descends of her own free will into the Underworld (I. 3). Curtain. At the opening of the Second Act (Orchestral overture II. 4), she is seen sleeping in the middle of the Elysian Fields on a peaceful bank, holding the plucked narcissus to her breast. The stage has a door on one side which leads to Pluto’s palace, and on the other, the river Lethe with sleeping ghosts and Danaïds, dressed in grey-green garments and drawing water. Clouds cover the background of the stage and Eumolpos narrates (II. 5). Amidst the sounds of a lullaby, Persephone awakes, and the shadows sing of their fate, which knows neither happiness nor joy (II. 6). Eumolpos urges Persephone to drink from the waters of the river Lethe. She is intended to become the Queen of the Underworld (II. 7). Persephone refuses all the gifts of jewels and costly garments which the ghosts bring out of Pluto’s palace (Orchestral Interlude = II. 8), likewise those of the Horae, which are present in Mercury’s entourage (II. 9). A bite from the pomegranate brought by Mercury brings back her longing for the lost world (II. 10), and one look at the narcissus allows her to see the eternal winter on the Earth and the distress of her mother (II. 11). The birth of Demophoon (Triptolemos) is to bring rescue to the world and to Persephone (II. 12), and to her is promised rebirth and her return to the Earth as the Queen of Spring (II. 13). After the orchestral overture to the Third Part (III. 14), Eumolpos tells of the Doric temple on a hill overlooking the present and the future in the midst of an evergreen oakforrest which the Greeks had planted for Demeter, and of the tomb in the Etruscan style for Persephone, before which the spirit of Death stands with an extinguished torch. While this the curtain rises and reveals what is being narrated (III. 15). Nymphs and children bring sacrificial offerings and Triptolemos strews flowers before Persephone’s grave, the gates of which open. Persephone appears (III. 16). At the places where her feet touch the ground, roses begin to bloom (III. 17). Regardless of her joy for her reunion with Demeter and Triptolemos, she knows that the cycle of seasons cannot be stopped again and that she must return every year to he Underworld. Mercury hands her the relit torch and accompanies her to the entrance to the tomb (III. 18), while Demeter, Triptolemos and the others remain back at the hill and Eumolpos intones the final song with the nymphs and the children (III. 19).

Source: In the melodrama Perséphone, three different cultural strands intersect: the inexorability of fate in Greek mythology, non-religious Humanism as represented by the rationally oriented poet André Gide, who was of strong Calvinist upbringing, and the proclamation of the Resurrection. The completed literary original, based on Greek mythology, specifically Homer’s Hymn to Demeter, was made available by Gide for the Strawinsky/Rubinstein melodrama in agreement with Strawinsky himself. The transformation of the work for the stage by Gide, which harked back to old poetic material in the French Parnatic Style of the period before the First World War, brings into the antique classical tale of abduction a modern non-classical impulse. The victim mentality of Persephone in voluntarily returning to the place where she had been brought forcefully in order, out of compassion, to bring light and colour to the dark Underworld does not correspond with the original in Greek mythology. In this original, Persephone, daughter of Zeus and Demeter, is abducted to Hades against her will and not because she had disobeyed the command in order to be Pluto’s bride; at the request of her mother however, she may spend two thirds of the year above on the Earth. Even if the rhythm of life and death, Winter and Spring, appear in this myth the Greek version differentiates itself from the modern one due to the lack of free will in the events. Strawinsky reported that he was immediately taken with Gide’s conception of the idea and his realization of it ; presumably, he made the connection straightaway between the free will of the Prince in the Firebird and the sacrificial mentality in the Sacre du Printemps and additionally the further development in the Human in regard to Oedipus Rex, while Gide’s friends secretly marvelled at their poet, whom they assumed to have neo-Communist tendencies. Gide was sufficiently self-critical to see the contradiction for himself, but also to recognise the Strawinsky’s successful process of having the Christian concept of Strawinsky’s music played over his Humanist conception, while he himself was it, who had indicated to Strawinsky in a letter of 8th February 1933, the link between the myth and Christian teaching. Robert Craft, who had dedicated himself to a longer article on the development of the libretto, claimed that Strawinsky would have preferred it if Gide had stayed absolutely true to the original myth. He had no proof of this however. The scenario was traced out between Gide and Strawinsky in Wiesbaden. The year 1933 saw Strawinsky in substantially better circumstances than in 1917. The dispute between Gide and Strawinsky is constantly refered to in the Strawinsky literature, but spirited conflicts in such a difficult area as it was both in terms of literature and music are not a simple quarrel. Gide and Strawinsky were not dependent on one another. Either of them could withdraw. The fact that the poem seemed too sweet to Strawinsky and that to Gide, the setting seemed too unsympathetic to the French, are both arguments with good grounding. Strawinsky had not engaged with the text. He had in any case requested small objective changes here and there which Gide immediately allowed him. The fact that the myth should depict the cycle of the seasons, that corn must be sown in the Earth to die as corn to be resurrected as the crop, were thoughts that both artists shared. Gide was very moved about this mutual understanding and wrote about it. Gide convinced Strawinsky not to start with autumn and Persephone’s descent into the Underworld, because the Greek myth would then have been violated too seriously, especially considering that the ancient Greeks only recognised three seasons. Gide wanted to stay absolutely with Homer and his depiction of the abduction of Proserpina, as Eumolpos relates it in his opening aria. This results in the first break in the poem. Although the First Act is overwritten in this way, it is certainly not a rape, not a violent abduction. Strawinsky on the other hand did not follow the all-too-conventional musical ideas of Gide. Gide noticed this and commented on it without being artistically unjust to the melodrama, after he had got over his initial shock at the setting. –

The fact that Gide, coming from inside the conventions of the French language and being one of its masters, did not attend the rehearsals proves that both artists had already become estranged; that Gide did not attend the performances, is a matter that Strawinsky never pardoned. Strawinsky reacted touchily to the matter of the dedication of the libretto, to which Gide responded in an even more friendly manner. In 1934, Gide had his libretto printed in the original version, i.e. not with Strawinsky’s alterations (Librairie Gallimard, Paris 1934). His later comments on Strawinsky’s composition demonstrate in its critical appraisal an exact knowledge of what Strawinsky had done and made clear the attention that Gide had paid to the composer since before the First World War. If one believes Suvtschinsky, the reason for the eventual tension lay exclusively in the political arena: Gide was a Communist at that time (until his visit to Moscow in 1936, which opened his eyes) and Strawinsky was the opposite. When Strawinsky lost his daughter Ludmilla, André Gide wrote a sympathetic letter of condolence to him on 9th December 1938. In a diary entry, Gide mentioned the events of the première and explained there that the evening before, he was more afflicted than he could bear, and so he travelled to Syracuse in order to view the scenery, about which he had thought in the composition of his poem. Together with Paul Claudel, he attended a private pre-première and heard the music in conjunction with the text for the first time. Strawinsky refers to Gide in terms that are difficult to understand, stating that he grew more and more stunned from number to number. Strawinsky, on the other hand, read the diary comments in September 1939 on the journey to America. The poet and composer were no longer in correspondence with one another and they never met again. When Strawinsky learnt of Gide’s death in February 1951, he remained silent for several hours. This did not prevent him from later intransigently calling André Gide an anti-poet in his pointed comments and recommending that he should have commissioned a poet like Auden to rewrite the text completely in order to that the music might be rescued – a noteworthy assertion when one considers the insistence with which Strawinsky clung to the declamation of the French language in the correct manner and that he now wanted to have us believe that the same music derived from the French could be realised more effectively by means of a new English text than by its original. Translations of composed melodrames for performances seldom reach up the value of the original but serve more to convey the meaning of the content.*

* A translation into Italian was completed in 1950 by the conductor Vittorio Gui and was approved by Strawinsky.

Staged concept: Strawinsky had in mind a staged concept for which the stasis of Oedipus Rex remained integral, but would be enriched by movement and thus expanded. He wished for two side-stages for the static element and one middle-stage for the dynamic element. The areas had two-faces. For him, Persephone should ideally speak and dance. Since both abilities are seldom united in one person (he gave Vera Zorina as an exception), Persephone may reasonably be portrayed by two people, whereby the dancing Persephone should be on the middle-stage with the company while the speaking Persephone should stand on one of the side-stages with solid point opposite Eumolpos, who should stand antipodally on the other side-stage with a similar pose. The singing chorus should be positioned apart and outside the area of the middle-stage without being included in the plot.

Construction: Perséphone was performed as a three-act dance pantomime and conceived with sung and spoken text. The score, with metronome marking, contains no numbers or other markings to indicate sectional divisions apart from the three Act (Tableau) titles, which use Roman numerals, so that, depending on the manner of the analysis used, different divisions may be possible, above all from number 12 onwards. As a result, White reduced the number of sections from the previous 19 to 17, in that he grouped Eumolpos’s aria (number 12), the subsequent choir and recitation scene and the concluding recitation together in one number. Furthermore, White attempted to put forth a scheme of tonal division, an integral major-minor schema. All the text entries, including those of the characters, are, with the exception of the classical Italian performance instructions, written in French. The figures in the score run without reference to the music in a mechanistic, continuously running four-bar scheme, which begins in the fifth bar and is only broken a few times. Figure 22 was extended to six bars in order to incorporate two bars of recitation at the end of the numbered section, figure 58 (end of Part I/beginning of Part II) was increased to seven bars for the same reason and figure 136 likewise to five bars; figure 117 consists of only three bars , while figure 184 (end of Part II) is six bars long. Since the final figures (262) up to the final chord are four bars apart, the entire score extends to 1051 bars. All the arias are assigned to Eumolpos (French: Eumolpe). The only orchestral tutti comes at the appearance of Mercury (No. 9 = figure 137), and in the orchestral overture to the Third Part.

Structure *

I: Perséphone ravie (Die Entführung der Persephone – The Abduction of Persephone)

[1. Aria (Eumolpos)] Crotchet = 72 (figure 41 up to the end of figure 6)

    Déesse aux mille noms . . .

      (Demeter, namenreich . . . – Goddess of many names . . .)

[2a. Choir/Recitation] Crotchet = 88 (figure 7 up to the end of figure 22 6)

    (Choir): Reste avec nous . . . (figure 7 up to figure 15 3)

      (Bleibe bei uns . . . – Tarry, tarry awhile . . .)

    (Persephone): La brise vagabonde . . . (figure 15 4up to figure 16 2)

      (Ein flüchtger Zephirwind . . . – The wanton breeze . . .)

    (Choir): Viens! viens joue avec nous . . . (figure 16 3up to figure 22 4)

      (Komm, spiele mit uns . . . – Come, come, join our revels . . .)

    (Perséphone): Je l'écoute . . . (figure 22 4+5)

      (Ich höre . . . – Hail to thee . . .)

[2b. Chor/Recitation/Choir] Tempo Achtel = 132 Crotchet = 66 (figure 23 up to figure 34 1)

    (Choir): Ivresse matinale . . . (figure 23 up to the end of figure 30)

      (Morgenlicht, berauschend . . . – Joyful dawn . . .)

    (Perséphone): Voici (figure 31 1up to figure 32 1)

      (Doch sieh . . . – Under the caress . . .)

    (Choir): Jacinthe, anémone . . . (figure 32 up to the end of figure 34 1)

      (Glockenblume, Veilchen . . . – Hyacinth, anemone . . .)

[2c. Solo (Eumolpos) with choir] (figure 34 2up to figure 40 3)

    De toutes les fleurs du printemps . . . (figure 34 2up to 36 3)

      (Doch von all diesen Blumen . . . – Of all the flowers . . .)

    Crotchet = 88 Ce que fu regardes . . . (figure 36 4up to 38 2)

      (In allzu großer Liebe . . . – . . . to follow blindly . . .)

    Meno mosso Crotchet = 66 Celui qui se penche (figure 38 3 up to figure 40 3 )

      (Blüte der Narzisse . . . – And those who gaze . . .)

[2d. Perséphone] Ancora Meno mosso Achtel = 88-100 (figure 1 41 up to the end of figure 42)

    Je vois sur des prés semés d'asphodèles . . .

      (Ich seh'auf Asphodelenwiesen . . . – Over the meadows bright . . .)

[2e. Choir] Tempo Crotchet = 88 (figure 43 up to figure 45 2 ) [with Poco rall. at figure 44 2 and a Tempo at figure 44 3 as well as from figure 44 2 up to figure 45 2 Reprise Viens, joue avec nous . . . from 2a]

    Ne cueille pas cette fleur . . .

      (Pflücke diese Blume nicht . . . – Do not ever pluck this flower . . .)

[3. Aria/Recitation] Alla breve minim = 50 (figure 2 46 up to the end of figure 58 7 )

    Perséphone, un peuple t'attend . . . (figure 2 46 up to figure 58 4 )

      (Denk daran, Persephoneia . . . – Persephone, the people await thee . . .)

    [Recitation] Nymphes, mes soeurs . . . (figure 58 5 [ attacca onward to figure 58 6 ])

      (Nymphen, Schwestern . . . – O sister Nymphs . . .)

II: Perséphone aux infernes (Persephone in der Unterwelt – Persephone in the Underworld)

[4. Orchestral prelude + Rezitation] (figure 58 2 = 2 59 [ attacca from figure 58 5] up to figure 70 2; Recitation: figure 60 3up to figure 62 1)

    Crotchet = 50 (figure 259 up to figure 62 2)

    Poco meno mosso Crotchet = 40 (figure 62 3 up to figure 66 3 )

    Tempo I o Crotchet = 50 (figure 66 4 up to figure 70 2 )

[5. Aria] Crotchet = 72 (figure 70 3 up to figure 73 5 )

    C'est ainsi, nous raconte Homère . . .

      (Also geschah es, wie uns Homer erzählt . . . – Homer relates . . .)

[6a. Choir/Recitation] Tempo I o Crotchet = 60 (figure 74 up to figure 93 1 )

    Sur ce lit elle repose . . . (figure 74 up to figure 80 1 )

      (Hier auf diesem Lager ruht sie . . . – On this couch reposing . . .)

[6b. Choir] (figure 93 2 up to the end of figure 99)

    Les ombres ne sont pas malheureuses . . .

      (Sie sind nicht unglücklich hier, die Schatten . . . – The Shades are not always miserable . . .)

[6c. Recitation/Choir] (figure 100 up to the end of figure 117 3

    Parle, parle nous du printemps . . .

      (Erzähl' uns vom Frühling . . . – Tell us . . . of springtime . . .)

[7. Aria] Tempo Quaver = 84 (figure 118 up to figure 124 1 )

    Tu viens pour dominer . . .

      (Du kommst zu herrschen her . . . – To reign hast thou come here . . .)

[8. Orchestral interlude] Tempo Crotchet = 60 (figure 124 2 up to figure 136 3 )

[9. Recitation/Choir/Orchestral interlude] (figure 136 4 up to figure 139 3 )

[Recitation] (figure 136 4 )

    Non, reprenez ces pierreries . . .

      (Nein, nehmt zurück die Kostbarkeiten! . . . – No, take back those precious gems . . )

    [Choir] Tempo Crotchet = 84 (figure 136 5 up to the end of figure 137)

    Viens, Mercure! . . .

      (Hermes, komm! . . . – Hours of day come hither . . .)

    [Orchestral interlude] (figure 138 1 up to 139 3 ) =

    {Orchestral interlude} (figure 138 1-2 ) +

    {Orchestral interlude} Poco più mosso Crotchet = 96 (figure 138 3 up to figure 139 3 )

[10. Aria] Lo stesso tempo Crotchet = 96 (figure 139 1up to the end of figure 150)

    Perséphone confuse . . .

      (Jedoch Persephone . . . – Persephone is timid . . .)

[11. Recitation/Choir/Recitation] figure 151

    [Recitation] (figure 151)

    Où suis-je? . . .

      (Wo bin ich? . . . – Where am I? . . .)

    Si tu contemplais le calice . . .

      (Du trägst noch am Herzen geborgen . . . – Wert thou now to gaze . . .)

[12. Aria with recitation] Crotchet = 50 Lo stesso tempo (figure 164 up to figure 171 2 )

    Pauvres ombres désespérées . . .

      (Arme Schatten . . . – Miserable, unhappy Shades . . .)

[13. Choir/Recitation] (figure 171 3 up to figure 175 2 )

    Ainsi l'espoir renaît . . .

      (So wird neu auch erstehn . . . – Thou would'st wean him . . . )

[14. Recitation] (figure 175 3 up to figure 184 2 )

    {Recitation} Più mosso Crotchet = 112 (figure 175 3 up to 178 3 )

    Eh quoi, l'échapperais . . .

      (Was sagt ihr? Ich darf fort . . . – Am I then to escape . . .)

    {Recitation} Meno mosso Crotchet = 72 (figure 178 4 up to 184 2 [ attacca onward to] figure 184 3 )

    Déméter tu m'attends . . .

      (Demeter wartet schon . . . – Demeter, thou are waiting . . . )

III: Perséphone renaissance (Die Wiedergeburt der Persephone – Persephone restored)

[15. Orchestral interlude] Lento Crotchet = 50 (figure 184 3 [ attacca from figure 184 2 ] up to figure 197 2 )

[16a. Aria] Tempo Crotchet = 72 (figure 197 3 up to figure 205 1 )

    C'est ainsi, nous raconte Homère . . .

      (Also geschah's, so erzählt Homer . . . – So Homer tell us . . . )

[16b. Choir/Children's Choir] Doppio movimento Achtel = 72 (figure 205 2 up to the end of figure 206)

    Venez à nous . . .

      (Kommet zu uns . . . – Come to us . . . )

[17a. Choir/Children's Choir] Più mosso Achtel = 120 (figure 207 up to figure 220 2 )

    Nous apportons nos offrandes . . .

      (Wir bringen euch unsre Gaben . . . – See what we bring as our offering . . .)

[17b. Choir] Meno mosso Crotchet = 40 (figure 220 3 up to the end of figure 223)

    Encore mal réveillée . . .

      (Noch halb gebannt vom Schlummer . . . – Drawsy still and scarce . . . )

[17c. Children's Choir] Tempo Quaver = 80 (figure 224 up to the end of figure 242)

    L'ombre encore t'environne . . .

      (Schatten hält dich noch umfangen . . . – Shadows of the Underworld still surrounded thee . . . )

[17d. Choir] figure 243 up to figure 249 3 )

    Parle, Perséphone . . .

      (Rede, sag . . . – Persephone; tell us now . . . )

[18. Recitation] Assai lento Quaver = 66 (figure 249 4 up to the end of figure 256)

    Mère, ta Perséphone à tes voeux s'est rendue . . .

      (Persephone ist nun zur Mutter heimgekehrt . . . – Mother, Persephone has heard thy prayer . . .)

[19. Solo/Choir] Un po' più mosso Quaver = 84 ( figure 257 up to the end of 262 4 )

    Ainsi vers l'ombre souterraine . . .

      (Nun hüll dich ein . . . – Thus once again . . . )

* According to the revised orchestra edition; in Strawinsky's lifetime the original version was only published as vocal score.

Manner of the setting*: The manner of the setting of the French text begs the question as to what extent Strawinsky was versed in the French language at all. Strawinsky spoke French and English with a Russian accent which does not rule out the possibility that he heard the intonation of the language correctly; it goes without saying that he would have been capable of discussing problems of accentuation and declamation with linguists, being in French surroundings, and of working the peculiarities of the French language into his setting. That he did not so confirms his intention to create a new sight of the language. He was used to a different basic system of emphasis with variable accentuation, drawn from the Russian language and he transferred this over into other languages. Strawinsky used words as aural building blocks with their own rhythmic values, and neglected other possible connections of meaning and language, including conventions of expression. The structuring of the score of the melodrama, with its concern exclusively for ‘correct’ and ‘incorrect’ declamation, articulation, intonation, flow of language, structure of punctuation, the meanings of words and context causes, has a result of creating, most surprisingly, ambiguity. Transgressions and conformance, or, as it was called originally, ‘correct’ and ‘incorrect’ handling of language alternate in colourful succession, from which we can conclude that it was not something that concerned the composer. The differences between spoken French and the written language, such as the fact that final vowels and consonants in certain verbs, nouns and adjectives should not be pronounced, even in theatrical speech conventions (examples from Perséphone: ‘je ravis’ [I rob] – without pronouncing the ‘s’; ‘chérie’ [Darling] – without pronouncing the ‘e’; ‘les prairies’ [the meadows] – without pronouncing the ‘es’) are conformed to in some places but not others. Strawinsky sets figures 4 1-2, ‘ch-ér-ie’ unsyllabically with four crotchets, e-e-d#-d, of which the d comes accented on the beginning of the bar, and the syllable ‘ri’ has 2 notes; he sets figure 5 2-3, ‘prai-ri-es’ in the same way e-f-d-b b , of which the syllab ‘ri’ once more has 2 notes again with the ‘silent’ end syllable coming at the beginning of the next bar, thus lending it a heavy accent. On the other hand, he conforms to the French manner of speech of allowing the final syllable if it is a vowel and is followed by a vowel as the first syllable of the next word, to be silent in an elision (example from Perséphone: ‘monde inconnu’ [unknown world]). He sets figure 36 2‘mondeincon-nu’ with four quavers, f#2-d#2-a1-e1, and spreads three notes over four syllables, while the fifth syllables on the fourth note. Similarly, Strawinsky does not handle the matter of the distribution of syllables consistently. For example, he deconstructs the name of the eponymous heroine once into four (Per-sé-pho-ne) and another time into three syllables (Per-sé-phone). In the three-syllable distribution, he wanted the final vowel not to be spoken, because it would disturb the melodic line. Comparable examples of this can be found at figures 3 4and 199 1. At figures 145 2-3, he sets the word ‘s’émerveille’. The accent should here be on ‘-veille’. Strawinsky however, who sets ‘s’émer----veille’, gives two semiquavers (a-b) on the syllable ‘s’é-’, while the final note of the bar, a crotchet g on the syllable ‘-mer-‘, is tied over to the crotchet at the beginning of the next bar (g); he adds two further semiquavers (b-a) to set the ‘-vei-’, which should in fact be emphasised but which comes across as entirely secondary and incidental, flitting by on two further semiquavers (g-a). He completes the word setting with a minim f and thus inserts another false accentuation. The original flow of the language was not something addressed by Strawinsky. The small word ‘cette’ comes across quickly/hastily in spoken French. At figure 90 1, Strawinsky extends ‘cet----te eau’ by a chain of four quavers (d-e-f-g) and inserts the ‘te’ on a quaver a at the beginning of the next bar; in doing this, the ligature is incorporated into the word ‘eau’. There are incorrect accents everywhere due to the rhythmic dislocation. At figure 78 8, he sets ‘Tu règnes sur les’ on a two-triplet-quaver figure (rest-b-b-/d-b-b). In doing so, the syllable ‘rè-’ comes on the final b of the first set of triplets while the syllable ‘-gnes’ comes on the first b of the second set of triplets, which is incorrect in terms of linguistic convention. It is not only the rhythm that enables him to introduce incorrect word accentuation from the point of view of French linguistic understanding, but also the note values and pitch constructions. He sets the words ‘la terre’ at figures 123 2-4with dislocated accents. The ‘la’ comes as the final quaver in a 4/4-bar but is tied over a minim into the following 3/4-bar. The ‘ter-‘, which should be the emphasised syllable from the accentuation of the word, is on the unaccented third beat and receives a melisma of two quavers, while the unaccented ‘-re’ be positioned on the accented beat at the beginning of the new 4/4 bar as an unaccented minim tied over to a quaver. Again and again, Strawinsky assigns less-important words to beats accented by means of their pitch, so that, for example, when the process occurs in connection with an incorrect word accent, such as articles appearing on emphasized beats of the bar and at the very top of the range, it cannot be seen as being connected to the meaning of the text. In this way, this illogical process is not a principle; since there are just as many points at which the accentuation of the word or the accent of the melodic line are ‘correct’. Only a single meaningful conclusion, a simple, idiosyncratic compositional principle can be taken from this process: that Strawinsky values each French word on its own aural merits, and he defines it melo-poetically. To those who do not understand the French language, who do not live with it, it is a matter of indifference; to French ears on the other hand, Strawinsky’s manner of word-setting sounds like a mutilation, and to Nationalists, like a mockery of their language.

* Using a (unprinted) seminar paper by Simone Kaster.

Strawinsky’s Manifest: When details of the composition began to filter through during the preparations for the première, attacks against the composer began to pile up beforehand, which could have been the first serious signs for the general disregard in which Strawinsky is held by the French. In order to avoid the worst of it, he had a manifesto-like explanation published in the French magazine Excelsior in the form of an open letter, in which he justified his treatment of the language, but rubbed salt in the wound not only with the French but also with the opinionated apodictic. The interview was published in two versions, the first on Sunday 29th April 1934 under the title ‘Igor Strawinsky nous parle de “Perséphone”’, the second under pressure from Strawinsky on Tuesday 1st May under the title ‘M. Igor Stravinsky nous parle de “Perséphone”’, accompanied by the preceding note explaining that it was being reprinted because a section had been omitted in the first printing. It was, aside from certain details, an important article, ‘Je crois devoir avertir’ to ‘et autres titres du même acabit’, in that he wanted to clarify to his public that he had turned away from orchestral effects, which meant that he neither wanted to embellish Gide’s text nor colour it, nor lead the public through it by the use of Wagner-esque Leitmotiven. It is part of the Strawinsky paradox that the richly colourful score of the Perséphone is, likewise more picturesque and spiritual. Strawinsky ignored any form of criticism of his work, because he knew himself to be on the right path. He concluded with the sentiment that a nose is not made but is simply there (‘Le nez n'est pas fabriqué: le nez est’). Such was his art. This witticism was continued in an appreciative letter from his long-standing friend Paul Valéry of 2nd May which concluded with the sentence that may his nose live long!

Style: In the first aria of Eumolpos, Strawinsky makes the link in terms of mood with the severe stasis of Oedipus Rex. The xylophone reminds to Les Noces. The technique of his depiction involves the connection of small scenes that are always differently characterized, which run into one another and which even continue across the ends of the Acts. The difficulties in understanding the music is based on its parallelism with the events of the plot, which are danced without words in the manner of a pantomime with a depersonalized, sung narrative, views of soloists and chorus and atmospheres and an instrumental clarity which loses its background when the tableau is not visible. For example, we must see the flowery meadow in the first Act in order to be able to comprehend Strawinsky’s instrumental colourings at this point, which are almost tangible. Even during Eumolpos’s Aria, a plot event occurs on the stage: Demeter is called up by Eumolpos and appears, but is immediately called back by Mercury. Before she obeys the god, she entrusts her child, Persephone (Proserpina) to the Nymphs. -

The Second Scene begins in this way, and it is made up of two choral complexes of recitation, which are different in terms of mood. It concerns blooming flowers, whose instrumental equivalents are predominantly in the harps and piano; it concerns untroubled playing, it concerns Nymphs, which are a choir without male voices. After that, the morning light appears and the text turns moral; the danger in the form of the narcissus becomes visible, and the first feelings of love blossom in Persephone. The harps fall silent and the horns, solo strings and entire flute section enter. The music takes on a waltz rhythm and becomes gently bustling; some of the repose of the previous scene is certainly lost, which Strawinsky repeats afresh. For this reason, both sections of the choir belong together and it is possible to be undecided about the order of the spoken scenes. Eumolpos has then lost every power to call up. He does not give a warning, but explains that he who smells the narcissus will see Pluto’s country. Persephone sees it almost as an invitation in disguise to try it once. His following aria is in a low register and contains echoes of a Requiem, thus becoming the invitation to Persephone to become Queen of the Underworld. The First Act ends with the aria and Persphone’s look of recognition, and continues without an interval into the Second Act. The expanded instrumental overture changes its musical images throughout. At first, the harps dominate, after which follows the famous oboe melody at figure 63 with its accompaniment in the clarinet, bassoon and tuba. This is the March, the entry of Pluto. Eumolpos evokes the horns again, and from Pluto comes the King of the Winter, from Persephone the identification of Spring; if she goes down from the Earth into Hades, she brings the earth to winter. The scene shows Persephone on her bed with her Narcissus, and in the bottom of the chalice, she recognizes her own grief before she descends to the Underworld. The middle stage is richly decorated with all types of characters from the Underworld, and Persephone awakes to the sounds of a string berceuse accompanied by piano, which Strawinsky took from sketches he had made in 1917 in thinking of his ladylove. The female chorus is now enriched by the colour of the men’s voices, but Strawinsky reflects the dreariness of the existence of the ghosts in monotonous music. The colour returns when Persephone thinks of her mother Demeter and of the earthly kingdom of flowers. Once again, the rich main plot is acted out in dance and pantomime. Eumolpos has left his descriptive role entirely and becomes an active character when he tries to persuade Persephone to take a potion of forgetfulness in an aria with the trumpets, thus making her the Queen of the Underworld. Pluto appears. This figure always posed a particular problem for Strawinsky. Unlike Gide, Strawinsky saw in him the incarnation of evil. He therefore wanted him under no circumstances to sing as a soloist, but only to be on the stage. After many different ideas, the character, which is an image of the Devil, appears on the dance stage but is relegated to a supporting role. The orchestral interlude with its dark colours describes his world. Its opposite is heard directly afterwards. Persephone has rejected the presents, and all that remains for her is the flower. Now Hermes (or ‘Mercury’) is called up and he appears, greeted by the sound of the full orchestra at one of the two tutti moments in the melodrama. He succeeds in awaking in Persephone the longing for the earth. The same narcissus, in the petals of which, like a magic mirror, she was able to see on Earth the events in the Underworld, enables her now to see the events on the Earth from the Underworld: the death of the flowers, winter, the hard frost. Strawinsky’s orchestral tableaux follow everything faithfully: the joy of Eumolpos’ coloratura in his aria, the string quartet as a symbol of Winter, the creaking sounds and the deep bass for the creaking frost. The end of the Act is predominated by jubilation, which proceeds directly in to the Third Act. This forms a single great hymn. -

The march-like orchestral overture leads into Eumolpos’s aria with its many pictorial events. Strawinsky accompanies the building of sanctuary with chords alternating between the depths and the heights, as if he wanted to put stone on stone. The climax of the Act is the great chorus in the Russian-Orthodox antiphonal church style. Craft called it a single, great Russian Easter. Persephone returns to the Underworld of her own free will in order to bring light and comfort there. The Underworld: that is the world of the exhausted arduous and laden-down, clothed in a myth of Spring. Just as the play begins with an aria by Eumolpos, it ends with another aria by Eumolpos. But the character of the aria has changed. It is now no longer written in the static language of Oedipus Rex, it is now in a language of internalization. Strawinsky wanted to write a Christian Mystery, and the work ends in this way. Love triumphs over the implacability of Fate.

Dedication: No dedication known; according to Strawinsky the ‚Berceuse’ (figure 74) was composed for Vera de Bosset.

Preface: Strawinsky prefixed the editions with a reproduced foreword which was handwritten in French: >La première représentation / de Perséphone a eu lieu / à Paris, au Théatre* Na- / tional de l'Opéra, le 30 / avril 1934, avec Madame / Ida Rubinstein et sa trou- / pe, sous ma direction / Igor Strawinsky< [The first performance / of Perséphone took place / in Paris on 30th / April 1930 in the Théâtre National de l'Opéra with Mrs / Ida Rubinstein and her gro/up under my own direction / Igor Strawinsky.]

* Original spelling (no circumflex).

Duration: Score: 45'; CD: 11'37" (I. Act), 26'36" (II. Act), 17'38" (III. Act).

Date of origin: At the beginning of 1933 up to 24th Januar 1934.

History of origin: At the beginning of 1933, she repeated her request for him to write music for an original ballet, the scenario of which was to be written by André Gide. Gide had written a poem on Perséphone after one of Homer’s hymns before the First World War, and offered it to Ida Rubinstein as the basis for a symphonic ballet. Gide wrote to Strawinsky on 20th January 1933 regarding Rubinstein’s commission. When Strawinsky showed his interest, she offered Strawinsky the same sum of $7,500 for the work that he had received for the ballet The Kiss of the Fairy. Under representation by Paichadze (whom Strawinsky had approached for a sum of money a few years before to be able to write a larger Mystery stage work in peace after the completion of the Violin Concerto), Strawinsky and Gide met on 20th and 21st January 1933 in the Rose Hotel in Wiesbaden* and worked out the scenario. It was intended to be a ceremonial Mystery because Strawinsky encouraged Gide to stop using episodes which do not necessarily belong to the centre, for example the Eurydice scene. By 8th Feburary, Gide had written to Strawinsky showing his enthusiasm from their conversation, sharing with him that he would rework his poem in this light. He announced that he would deliver the plan for the first tableau after only two days. Gide suggested at this opportunity that Rubinstein would regard a dancing choir or singing dancers as impossible. It can be seen in a letter from Gide to Strawinsky of 24th February that Gide was working uninterrupted on the text, was open to changes and had already completed the Second Act. Since Strawinsky was already underway, Gide sent his sections of the manuscript to him via Paichadze. Strawinsky acknowledged receipt of the First Scene on 27th February. On 5th March, he received the second Scene. On 16th March, Gide and Strawinsky met in Paris at Ida Rubinstein’s house for lunch. Gide was reworking the final verses of the first scene until 28th March, putting Persephone’s entry before Eumolpos’s aria, which met with Strawinsky’s approval. On 18th April, Gide and Strawinsky met again in Paris to work together. On 22nd April 1933, the contract between Strawinsky and Ida Rubinstein was settled, and two days later he received the transfer of 25,000 Francs., the next instalment on 29th June. The August instalment was sent on time as well. It was 3rd May at the latest that Strawinsky began the composition; in any case, it was on this date that he let Paichadze know that Eumolpos had just ‘begun to sing’. On 2nd June, Strawinsky, Gide and Rubinstein visited St. Louis des Invalides together in order to hear a children’s choir there. On 7th July 1933 at the latest, the first scene (Act) was completed. References to the poem dated 29th July prove that he had almost reached the end of the Second Act. From the dating of the sketches, it can be seen that he completed the actual composition on 20th December 1933, and the orchestration on 24th January 1934. Later comments by Strawinsky on the composition of Perséphone indicate that he referred back to sketch material from 1917 for the moment with the flutes and harp in Eumolpos’s second aria in the Second Act, and that he wrote the ‘Berceuse’ at the point ‘Sur ce lit elle repose’ (figure 74f) for his beloved Vera de Bosset in Paris during a ‘heatwave’. The transcriptions of Monteverdi by Nadia Boulanger, which interested Strawinsky greatly, came during the time of Perséphone’s composition and on 10th May 1933, he heard the Zagreb Madrigalists with Carissimi.

First performance: 30th April 1934, Théâtre National de l'Opéra, Ida Rubinstein (Persephone), René Maison (Eumolpos), Anatole Vilzale (Merkur), Les Ballets de Madame Ida Rubinstein, Zanglust-Chor, Amsterdam (Children's choir); Stage design: André Barsacq, Choreography: Kurt Joos, Stage direction: Jacques Copeau, under the direction of Igor Strawinsky. – The première took place as a private performance with piano in the house of Princess Edmond de Polignac, for which Strawinsky played the piano part and Suvtschinsky took the role of Eumolpos.

Rubinstein’s production: According to everything that is known nowadays about Rubinstein’s performance, the première must have gone badly. Contemporary critics claim that Ida Rubinstein herself would not have known how she should begin on the stage. Above all, she only spoke and embodied her role neither as a dance nor as a pantomime, which was not what Strawinsky had conceived,. Eumolpos was positioned in such a way that Strawinsky could neither hear nor see him. Pluto and Mercury did not enter, likewise for Triptolemos and Demeter. Above this, the chorus stood stock still around on the stage, not from a choreographical or directorial concept, rather a ban from the French Union which did not permit the choral singers to become an active part of the plot on stage. In this way, the sense of the melodrama was destroyed, the effect was achieved exclusively from the music and this for a French audience, to whom this style of word-setting was alien and contrary. The awestruck approval of artists such as Paul Valéry or Francis Poulenc could not change the failure of the piece.

Success: Perséphone was only performed after the première on 4th and 9th May (this performance was attended by Max Reinhart) 1934 and then removed from the performance plan. There were many reasons for the failure: the hybrid nature of the melodrama, the overly sweet verses of Gide (they were referred to as ‘sugar pastry’ and Strawinsky himself referred to them at the time less appreciatively as ‘caramel verses’), Strawinsky’s strange treatment of the French language, the contradiction between the Humanistic poem and the Christian setting, the imposition of an Easter idea on an ancient mythological Greek concept (which was what Poulenc found so exciting), and not least the insufficient scenery which set the Dance Pantomime incorrectly. All these stood in the way of broadening the work. Although Strawinsky held the idea that Perséphone was exclusively music for the stage and that a concert performance was out of the question, he conducted the melodrama in January 1947 for a New York broadcast for which William Hess sang Eumolpos.

Remarks: The desire of Ida Rubinstein – or probably Bakst –, André Gide and Igor Strawinsky to bring together for a ballet production stretches back to 1917. On 12th June 1917, Léon Bakst asked Strawinsky in Morges whether he would be prepared to write the music for a translation of Shakespeare by Gide of Antony and Cleopatra. Strawinsky accepted immediately, but the communication was on account of the war very difficult. The szaristic Russia had collapsed. Germany also was close to winning the war against the Communist successors. Strawinsky who was a Russian aristocrat with Russian citizenship now lived in Morges. Switzerland, with the change of political relationships, gradually fell in disperate circumstances, while at the same time, his financial basis that he needed to live was removed. He was inable to go to France or Spain because he had no passport, and all negotions had to be carried out by letter. He was given a period of eight months for the composition, it was announced that Gide was visiting in Diablerets and had made every effort to accommodate his wishes. Strawinsky began work. The project failed when he demanded an extraordinarily high fee of 25,000 Swiss Francs, of which four-fifths of the sum should be received before the completion of the composition. The very rich but eccentric Ida Rubinstein, who at one time paid for a journey from St. Petersburg to Moscow in a specially hired train, did not want to provide the money because of the events of the time, especially as Strawinsky was also claiming all the rights for himself and was able to do in the future what he wanted with the score. Rubinstein was only entitled to the rights to the première and nothing else. Thus the project failed. Ida Rubinstein was not in a hurry, especially as she was also with other composers working, such as Debussy and Glazunow, who were less agreeable to Strawinsky. Strawinsky used the completed sketches for the Soldier’s Tale. It took ten years until the subsequent successes of Strawinsky convinced Rubinstein to once again establish a business link with him. The result was the ballet The Kiss of the Fairy, for which a broad success was not achieved. –

Whether Strawinsky recognized the problems of style in the melodrama was something that he never discussed. Later on, he explained that sins such as Perséphone can be forgiven, but never be undone. Whether he was referring to the collaboration with Gide or melodrama as a genre was left open, especially as he was writing numerous other melodramatic works under American influence. The fact that Schoenberg’s much-admired melodramatic cycle Dreimal sieben Gedichte aus Albert Girauds Pierrot Lunaire was not without influence on him can be assumed. It is doubtful that he should have known the tradition of overly solemn theatrical pathos in German spoken theatre, with its comedically rich ‘rolling’ diction (something which was becoming gradually more and more unbearable to his contemporaries) so exactly as to know that Schoenberg employed an opposing tendency towards Cabaret in his work, because he did not imitate the same thing for Perséphone, and he was unable even to imitate the concept of the Mystery. Strawinsky was completely enchanted by this aesthetically unsatisfying hybrid genre. Otherwise, he wanted to catch up with Schoenberg’s search for the limit of sound which was already a constituent part of the Jugendstil aesthetic. The colourfulness of the score of Perséphone, which is exceptional even by Strawinsky’s standard. It is achieved by changing instrumental combinations from section to section, which Strawinsky may have learned in Schönberg’s composition, but which he uses more gently than Schönberg who also uses chamber music accompaniment in ‘Pierrot lunaire’ and employs different instrumental combinations and only reaches tutti in the final piece of the collection of 21.

Significance: Perséphone is Strawinsky’s first completely orchestrated stage work with separate chamber-music sections but without a concept of tutti throughout. The orchestral legend printed at the front of the score has the function of a bringing together all the instruments used in the work, but there are only two occasions upon which tutti orchestration is used. The melodrama is constructed from a succession of different episodes, which are occasionally even solistical. The colourfulness strengthened Strawinsky with the inclusion of a metric dance scheme, which had already become typical for him, here in the form of the Waltz, Boogie-Woogie, March and Sarabande.

Productions: 1961 (12the 12th) London, Royal Opera House, Covent Garden (choreography: Frederic Ashton; staging and costumes: Nico Ghika; Perséphone: Swetlana Beriosowa; Eumolpos: André Turp).

Versions: Koussevitsky’s Russian music publishers brought out the piano reduction, completed by Strawinsky’s son Sviatoslav in 1934, and his son Thèodore provided a cover picture*. This reflected just as much the waning success of the melodrama as the change in the German situation, which made it seem advisable for a business of Russian origin with all types of investments and operating in Berlin to hold back a great deal in their business ventures. In fact, significant signs of paralysis were apparent in the Russian publishers from the middle of the Thirties, from which Schott in Mainz benefited above all. For future performances which were not already in sight, orchestral scores and parts had to be requested from the publishers. 128 copies were sold in the year of publication, and a further 206 were sold up to 1938, so 334 in total. The publishers began another print run immediately after the Second World War, which seemed to have flourished greatly by March 1949. The corrections printed in France were taken entirely from Strawinsky’s own alterations that he had inserted. It can be seen from the letter from Arthur Lvovitsch Rabeneck from the Russian Music Publishers dated 10th March 1949 that the Russian Music Publishers were preparing for the printing and had produced the corrections engraved in France, which contained all the entries made by Strawinsky up to that point and which they wanted to publish as a score. In the printed piano edition, Strawinsky had noted 40 mistakes. The publishers evidently did not expect the transfer of the rights to London, but stopped the publication immediately. After the transfer of the rights, Boosey & Hawkes reprinted the piano reduction and orchestral score as one of their first contracted printing jobs. The publishing contract for this was settled on 6th November 1950. Strawinsky was at the same time working on a revised version in 1949 which Boosey & Hawkes published in January 1952 as a pocket score. In the same month, Strawinsky received his copy. A further print run bears the date to April 1955. The publication by Boosey & Hawkes went slower than Strawinsky had hoped and expected it to proceed. In any case, the orchestral score was not ready for 16th October 1950 so that Strawinsky began to apply pressure. In the Library in London, the specimen copy of the conducting score was entered on 22nd November 1950. Strawinsky did not compose the reductions, concert suites and suchlike. To explain why, he said that Perséphone was so strongly bound to the stage that performances without an accompanying narrative would be comprehensible neither in full nor in part, which was something that he did not adhere to when the opportunity arose to perform the melodrama in concert.

* There is a missing link in the editions, but a loose sheet was found in the estate, which stated the name underneath the picture.

Revised version 1949: The new edition of Perséphone belongs to that category of Strawinsky’s scores which use the excuse of the rights and royalties of the revision to highlight the concomitant ban on any performance of the old edition. The so-called revised version differs clearly from the original version in only a few places and it must be assumed that they are corrections in the context of the new revised version. As in many of Strawinsky’s revised scores, this cannot be described as a new version.

Corrections

Instead of Ancora meno quaver = 50 one bar before figure 41, there is now written Ancora meno mosso quaver = 88-100; at figure 43, a tempo marking, crotchet = 88, was added that was missing in the original version; Poco meno crotchet = 60 at figure 74 becomes Tempo 1° crotchet = 60; Strawinsky makes the Largo assai crotchet = 50 at the beginning of the third scene at 3 bars before figure 185 into a Lento crotchet = 50; the Assai lento Crotchet = 50 one bar before figure 250 now has a different metronome marking Assai lento quaver = 66; finally, the same is true for figure 257, which instead of reading Un po’ più mosso quaver = 72, now reads Un po’ più mosso quaver = 84.

Historical recordings: New York, 14th January 1957 with Vera Zorina (Perséphone) and Richard Robinson (Eumolpos), the Westminster-Chorus and the New York Philharmonic Orchestra under the direction of Igor Strawinsky; Hollywood 4.-y. Mai 1966 with Vera Zorina (Perséphone), Michele Molese (Eumolpos), the Ithaca College Concert Choir, the The Texas Boys Choir of Fort Worth, the Gregg Smith Singers and the Columbia Symphony Orchestra under the direction of Igor Strawinsky.

CD edition: X-2/1-3 (recording 1966).

Autograph: The 226-page-long original manuscript, signed and dated, at 11.5 x 16.25 (94 pages in ink, the others written in pencil) passed from the Strawinsky estate into the Paul Sacher Foundation in Basel; the same went for the complete set of sketches, dated and bound in stiff paper, consisting of seventy-four 10.5 x 10.5 pages written in pencil.

Copyright: 1934 by Russischen Musikverlag für alle Länder; 1950 for the revised version by Boosey & Hawkes, Inc. New York U.S.A.

Errors, legends, colportages, curiosities, stories

At the premiere of the melodrama in 1934 in Paris, the chorus stood motionless on the stage. The reason for this was not due to choreographical or directorial concepts, it was rather the result of a ban from the French union that did not allow choral singers to be actively incorporated into a stage work.

Editions

a) Overview

56-1 1934 VoSc; F; Russischer Musikverlag Berlin; 82 pp.; R. M. V. 581.

    56-1Straw1 ibd. [with annotation].

56-2 1950 VoSc; F; Édition Russe de Musique / Boosey & Hawkes London; 82 pp.; B. & H. 16302.

56-267 1967 ibd.

56-3 1950 FuSc; Édition Russe de Musique / Boosey & Hawkes London; 165 pp.; B. & H. 16495.

    56-3Straw1 ibd. [with corrections].

    56-3Straw2 ibd. [with dedication].

56-4 1952 PoSc rev.; Boosey & Hawkes London; 165 pp.; B. & H. 16495; 652.

56-455 1955 ibd.

56-463 1963 ibd.

b) Characteristic features

56-1 [Picture / [with a text box containing] PERSEPHONE // PERSEPHONE / Mélodrame en 3 parties / d'André Gide / Musique / d'IGOR STRAWINSKY / Réduction pour chant et piano / par SVIATOSLAV STRAWINSKY / Prix* R.M. 15.— / Frs. 15.— / EDITION RUSSE DE MUSIQUE / RUSSISCHER MUSIKVERLAG (G. M. B. H.**) / FONDÉE PAR S. ET N. KOUSSEVITZKY / BERLIN · LEIPZIG · PARIS · MOSCOU · LONDRES · NEW-YORK · BUENOS AIRES / [°] / S. I. M. A. G. – Asnières-Paris / 2 et 4. Avenue de la Marne – XXXIV // (Vocal score with chant sewn 26,7 x 34,1 (2° [4°]); sung and speaking texts French°°; 82 [82] pages + 4 cover pages black on cream-coloured [front cover title page with a picture frame 22,2 x 29 containing a picture of a bust of a woman in an antique style, 3 empty pages] + 4 pages front matter [title page, empty page, page with premiere data hand-written French printed in line etching >La première représentation / de Perséphone a en lieu / à Paris au Theatre Na- / tional de l'Opéra, le 30 / aout 1934, avec Madame / Ida Rubinstein et sa trou- / pe, sous ma direction / Igor Strawinsky<, empty page] without back matter; title head >PERSÉPHONE<; authors specified 1. page of the score paginated p. 1 next to and below numbered in Roman numeral (without dot) >I< scene title >PERSÉPHONE RAVIE< flush left centred >Poème de / ANDRÉ GIDE<flush right centred >Musique de / IGOR STRAWINSKY / 1934<; legal reservations 1. page of the score below type area flush left centred >Propriété de l'Editeur pour tous pays. / Edition Russe de Musique / Russicher*** Musikverlag G. m. b. H. Berlin.< flush right centred >Copyright 1934 by Russicher*** Musikverlag G.m.b.H. Berlin. / Tous droits d'exécution, de reproduction et / d'arrangements réservés pour tous pays.<; plate number >R.M.V. 581<; end of score dated p. 82 italic > Paris - le 24 Janvier MCMXXXIV.<; production indication p. 82 as end mark flush left >S. I. M.A. G. Asnières – Paris.< flush right >GRANDJEAN GRAV.<) // (1934)

° Dividing horizontal line of 0,8 cm.

°° The Darmstadt copy [ Kranichsteiner Musikinstitut Darmstadt >G / 3568 / 53<, without original cover pages] contains a German translation in green crayon and pencil of (unknown ?) origin from figure 70 2[ 271] = p. 21 up to the end of figure 184 = p. 52 = end of the second tableau, which probably was designated for the performance on 3. June 1955.

* moved to the left; the price statements are one directly below the other.

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

*** Misprint original.

56-1Straw2

Copy without cover page (= without picture). Annotations in pencil.

56-2 [Picture] / [with a text box containing] PERSEPHONE// Igor Strawinsky / Persephone / Mélodrame en trois parties / Melodrama in three parts / par · by / André Gide / Réduction pour chant et piano par/ Sviatoslav Strawinsky / Édition Russe de Musique (S. et N. Koussewitzky) · Boosey & Hawkes / London · New York · Sydney · Toronto · Cape Town · Paris · Buenos Aires // (Vocal score with chant [library binding] 26.2 x 32.2 (2° [4°]); sung and speaking texts French; 82 [82] pages + 4 cover pages paper light cream white on blue black [ornamental front cover title page with a large picture 22 x 28.8 with a caption inside a picture of an antique bust of a woman, 2 empty pages, page with publisher’s >Édition Russe de Musique / (S. et N. Koussewitzky) / Boosey & Hawkes< advertisement > Igor Strawinsky<* production date 453] + 4 pages front matter [title page, empty page, page with premiere data hand-written French printed in line etching >La première représentation / de Perséphone a en lieu / à Paris, au Théatre Na- / tional de l'opéra, le 30 / aout 1934, avec Madame / Ida Rubinstein et sa trou- / pe, sous ma direction / Igor Strawinsky<, index of roles French + legend French + duration data [45'] French + legal reservations italic > Copyright 1934 by Édition Russe de Musique (Russischer Musikverlag) / Copyright assigned 1947 to Boosey & Hawkes, Inc., New York, U.S.A. / Copyright for all countries< / >All rights of theatrical, radio, television performance, mechanical reproduction / in any form whatsoever (including film), translation of the libretto, of the / complete work or parts thereof are strictly reserved<] + 2 pages back matter [empty pages]; title head >PERSÉPHONE<; authors specified 1. page of the score paginated p. next to and below numbered in Roman numeral (without dot) >I< scene title >PERSÉPHONE RAVIE< flush left >Poème de / ANDRÉ GIDE< flush right centred >Musique de / IGOR STRAWINSKY / 1934<; legal reservations 1. page of the score below type area flush left >Copyright 1934 by Édition Russe de Musique (Russischer Musikverlag) for all countries / Copyright assigned 1947 to Boosey & Hawkes, Inc., New York, U.S.A.< flush right >All rights of reproduction in any form reserved.<; production indication 1. page of the score below type area below legal reservation flush right >Printed in England<; plate number >B. & H. 16302<; end of score dated p. 82 italic > Paris - le 24 Janvier MCMXXXIV.<; end number p. 82 flush right >H.P. B135.248<) // (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 / Partition 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 japoniase / 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) // Partition pour chant et piano* / Rossignol. Conte lyrique en 3 actes / Mavra. Opéra bouffe en 1 acte / Œdipus* Rex. Opéra-oratoria 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 /. Ballet / Sacre* du Printemps / Le Baiser de la Fée / Apollon Musagète / Œdipus* Rex / Perséphone / Capriccio* / Divertimento / Quatre Études pour orchestre / Symphonie de Psaumes / Trois pièces pour quatuor à cordes / Octuor pour instruments à vent / Concerto en ré pour orchestre à cordes< [* different spelling original; ° centre centred; °° original mistake in the title]. The following places of printing are listed: London-New York-Sydney-Toronto-Cape Town-Paris-Buenos Aires.

56-267 [Picture] / [with a text box containing] PERSEPHONE// Igor Strawinsky / Persephone / Mélodrame en trois parties / Melodrama in three parts / par · by / André Gide / Réduction pour chant et piano par/ Sviatoslav Strawinsky / Édition Russe de Musique (S. et N. Koussewitzky) · Boosey & Hawkes / London · Paris · Bonn · Johannesburg · Sydney · Toronto · Buenos Aires · New York° // (Vocal score with chant [library binding] 26,7 x 32,4 (2° [4°]); sung and speaking texts French; 82 [82] pages + 4 cover pages paper light creame white on blue black [ornamental front cover title page with a picture frame 22.2 x 29 containing a picture of a bust of a woman in an antique style, empty page, page missing, page missing] + 4 pages front matter [title page, empty page, page with premiere data hand-written French printed in line etching >La première représentation / de Perséphone a en lieu / à Paris, au Théatre Na- / tional de l'opéra, le 30 / aout 1934, avec Madame / Ida Rubinstein et sa trou- / pe, sous ma direction / Igor Strawinsky<, index of roles French + legend >Orchestre< French + duration data [45'] French + legal reservations italic > Copyright 1934 by Édition Russe de Musique (Russischer Musikverlag) / Copyright assigned 1947 to Boosey & Hawkes, Inc., New York, U.S.A. / New revision copyright 1950 to Boosey & Hawkes, Inc. / Copyright for all countries< / >All rights of theatrical, radio, television performance, mechanical reproduction / in any form whatsoever (including film), translation of the libretto, of the / complete work or parts thereof are strictly reserved<] + 2 pages back matter [empty pages]; title head >PERSÉPHONE<; authors specified 1. page of the score paginated p. 1 next to and below scene title numbered in Roman numeral (without dot) >I / PERSÉPHONE RAVIE< flush left centred >Poème de / ANDRÉ GIDE< below scene title flush right centred > IGOR STRAWINSKY / 1934 / revisée 1949<; legal reservations 1. page of the score below type area flush left >Copyright 1934 by Édition Russe de Musique (Russischer Musikverlag) for all countries / Copyright assigned 1947 to Boosey & Hawkes, Inc., New York, U.S.A. / New revision copyright 1950 to Boosey & Hawkes, Inc.< flush right >All rights of reproduction in any form reserved.< flush right >All right reserved / Tonsättning förbjudes<; production indication 1. page of the score below type area below legal reservation flush right >Printed in England< p. 82 below typ area flush left >Lowe and Brydone (Printers) Limited, London< ; plate number >B. & H. 16302<; end of score dated p. 82 italic > Paris - le 24 Janvier MCMXXXIV.<; end number p. 82 flush right >11·67 L&B<) // (1967)

° The dots in between are not in the middle but placed above.

56-3 igor strawinsky / perséphone / partition d'orchestre/ édition russe de musique · boosey & hawkes // Perséphone / Mélodrame en Trois Tableaux / d'André Gide / Musique / d'Igor Strawinsky / pour Ténor, Chœur Mixte / et Orchestre / Partition d'Orchestre/ Édition Russe de Musique (S. et N. Koussewitzky · Boosey & Hawkes / London · New York · Sydney · Toronto · Cape Town · Paris · Buenos Aires // (Full score [library binding] 26.2 x 35.4 (2° [gr. 4°]); sung and speaking texts French; 165 [165] pages + 4 cover pages paper black on light green grey [front cover title, 2 empty pages, page with publisher’s >Edition Russe de Musique / (S. et N. Koussewitzky) / Boosey & Hawkes< advertisements > Igor Strawinsky<* production date >No. 453<] + 4 pages front matter [title page, legal reservations centre centred italic > Copyright 1931 by Édition Russe de Musique for all countries. / New version copyright 1950 by Boosey & Hawkes Inc., New York U.S.A. / Sole agents Boosy** & Hawkes Inc., New York, U.S.A.> justified text centre italic > 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 premiere data manually hand-written French printed in line etching >La première représentation / de Perséphone a en lieu / à Paris au Théatre Na- / tional de l'Opéra, le 30 / aout 1934, avec Madame / Ida Rubinstein et sa trou- / pe, sous ma direction / Igor Strawinsky<, index of roles >Personnages< [#] >Characters< in two columns French-English + legend >Orchestre< [#] >Orchestra< in two columns French-English + duration data [45'] without headlines] + 1 page back matter [empty page]; title head >PERSÉPHONE<; authors specified 1. page of the score paginated p. 1 next to and below numbered in Roman numeral (without dot) >I< scene title >PERSÉPHONE RAVIE< flush left centred >Poème de / ANDRE GIDE< flush right centred >Musique de / IGOR STRAWINSKY / 1934, Révisée 1949<; legal reservations 1. page of the score below type area flush left >Copyright 1934 by Édition Russe de Musique for all countries / New Revision Copyright 1950 by Boosey & Hawkes, Inc., New York, U. S. A. / Sole Agents: Boosey & Hawkes, Inc., New York, U. S. A.< flush right centred >All rights of reproduction / in any form reserved.<; plate number >B. & H. 16495<; end of score dated p. 165 italic > Paris le 24 Janvièr MCMXXXIV<; production indications 1. page of the score below type area centre inside right italic > Made in France< p. 165 as end mark flush left centred >Imp. «La Lyre» – Paris, / Imprimé en France< 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 spelling original; ° centre centred; °° original spelling]. The following places of printing are listed: London-New York-Sydney-Toronto-Cape Town-Paris-Buenos Aires<.

** Misprint original.

56-3Straw1

Copy on the upper half of the front cover title page right signed >IStr< and above right a stamp mark >$10.00<; front matter title page below > Partition d'Orchestre < >Rehearsel – May/°66 / Ténor Molese< [° slash original] ; Corrections legend handwritten after 3 flûtes >(picc.)<, after 3 hautbois >(c. Ingl.)<, after 3 clarinettes >(cl. bas.)<, after 3 bassoons >(Cbas.)<

56-3Straw2

Front matter title page above >Perséphone< dedication handwritten >To Bob / (Robert Craft) / with much love / IS / 2. Febr./°51< [° slash original]. Copy without page with publisher’s advertisements.

56-4 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / PERSÉPHONE^ / BOOSEY & HAWKES / No. 652 // HAWKES POCKET SCORES / IGOR STRAWINSKY / PERSÉPHONE / Mélodrame en trois tableaux / d'André Gide / Pour ténor, chœur mixte et orchestre / Nouvelle 1949 version / BOOSEY & HAWKES / LTD. / LONDON · NEW YORK · TORONTO · SYDNEY · CAPETOWN · PARIS · BONN / NET PRICE / MADE IN ENGLAND // (Pocket score sewn 1.1 x 13.2 x 18.7 (8° [8°]); 165 [165] pages + 4 cover pages dark green on green grey [front cover title with frame 9.3 x 3.7 green grey auf dark green, 2 empty pages, page with publisher’s advertisements >HAWKES POCKET SCORES / A selection of outstanding modern works / from this famous library of classical and contemporary Miniature Scores.<* production date >No. 582< [#] >6/50<] + 4 pages front matter [title page, legal reservations in italics centre centred > Copyright 1934 by Edition Russe de Musique for all countries. / New version copyright 1950 by Boosey & Hawkes Inc., New York U.S.A. / Sole agents Boosey & Hawkes Inc., New York, U.S.A.< justified text centre italic > 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 premiere data manually hand-written French printed in line etching >La première représentation / de Perséphone a en lieu / à Paris au Théatre Na- / tional de l'opéra le 30 / aout 1934, avec Madame / Ida Rubinstein et sa trou- / pe, sous ma direction / Igor Strawinsky<, index of roles and choruses >Personnages< French-English + legend >Orchestre< French + duration data [45'] French] + 3 pages back matter [2 empty pages, page with publisher’s advertisements >HAWKES POCKET SCORES / A comprehensive library of MiniatureScores containing the best-known classical / works, as well as a representative selection of outstanding modern compositions.<** production date >Nr. 520< [#] >1.49<]; text on spine >No. 652 STRAWINSKY · PERSEPHONE<; title head >PERSÉPHONE<; author specified 1. page of the score paginated p. 1 next to and below act title numbered in Roman numerals (without dot) >I / PERSÉPHONE RAVIE< flush left centred >Poème de / ANDRÉ GIDE< flush right centred >Musique de / IGOR STRAWINSKY / 1934, Revised 1949.<; legal reservations 1. page of the score below type area flush left >Copyright 1934 by Edition Russe de Musique for all countries. / New Revision Copyright 1949 by Boosey & Hawkes, Inc., New York, U.S.A. / Sole Agents, Boosey & Hawkes, Inc., New York, U.S.A.< flush right centred >All rights of reproduction / in any form reserved<; plate number >B. & H. 16495<; end of score dated p. 165 italic > Paris 24. Janvier MCMXXXIV<; end number p. 165 flush left >1 · 52 L. & B.<; production indication p. 165 centre as end mark >Lowe and Brydone (Printers) Limited, London<) // (1952)

* Compositions are advertised in three columns without edition numbers from >BELA BARTÓK< to >R. VAUGHAN WILLIAMS<, amongst these >IGOR STRAWINSKY / Apollon Musagète ( Revised1947) / Capriccio for Piano and Orchestra / Chant du Rossignol / Concerto in D for String Orchestra / Divertimento ( Revised1949) / Mass for Chorus and Wind Instr. / Octet for Wind Instruments / Œdipus Rex ( Revised1948) / Orpheus / Perséphone ( Revised1947) / Pétrouchka ( Revised1947) / Piano Concerto / Pulcinella Suite ( Revised1949) / Four Studies for Orchestra / The Rite of Spring ( Revised1947) / Symphony of Psalms / Symphonies for° Wind Instruments / Three Pieces for String Quartet<. The following places of printing are listed: London-New York-Toronto-Sydney-Capetown-Buenos Aires-Paris-Bonn [° original mistake in the title].

** 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<. T he following places of printing are listed: London- New York -Toronto- Sydney-Capetown-Buenos Aires-Paris-Bonn.

56-455 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / PERSÉPHONE^ / BOOSEY & HAWKES / No. 652 // HAWKES POCKET SCORES / IGOR STRAWINSKY / PERSÉPHONE / Mélodrame en trois tableaux / d'André Gide / Pour ténor, chœur mixte et orchestre / Nouvelle 1949 version / BOOSEY & HAWKES / LTD. / LONDON · PARIS · BONN · CAPETOWN · SYDNEY · TORONTO · BUENOS AIRES · NEW YORK / NET PRICE / MADE IN ENGLAND // [text on spine:] No. 652 STRAWINSKY · PERSÉPHONE // (Pocket score sewn 1.1 x 13.7 x 18.7 (4° [8°]); 165 [165] pages + 4 cover pages dark green on grey green beige [front cover title with frame 9,4 x 3,7 grey green beige on dark green, 2 empty pages, page with publisher’s advertisements >HAWKES POCKET SCORES / A selection of outstanding modern works / from this famous library of classical and contemporary Miniature Scores.<* production date >No. 582< [#] >6.50<] + 4 pages front matter [title page, page with legal reservations centred partly in italics > Copyright 1934 by Edition Russe de Musique for all countries. / New version copyright 1950 by Boosey & Hawkes Inc., New York, U.S.A. / Sole agents Boosey & Hawkes Inc., New York, U.S.A.< justified text centre italic > 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 premiere data hand-written French printed in line etching >La première représentation / de Perséphone a en lieu / à Paris au Théatre Na- / tional de l'opéra le 30 / aout 1934, avec Madame / Ida Rubinstein et sa trou- / pe, sous ma direction / Igor Strawinsky<, index of roles and choruses >Personnages< French-English + legend >Orchestre< French + duration data [45'] French] + 3 pages back matter [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 date >No. 520< [#] >1.49< <]; title head >PERSÉPHONE<; author specified 1. page of the score paginated p. 1 next to and below 2. line act title numbered in Roman numerals (without dot) >I / PERSÉPHONE RAVIE< flush left centred >Poème de / ANDRÉ GIDE< flush right centred >Musique de / IGOR STRAWINSKY / 1934, Revised 1949.<; legal reservations 1. page of the score below type area flush left >Copyright 1934 by Edition Russe de Musique for all countries. / New Revision Copyright 1949 by Boosey & Hawkes, Inc., New York,U.S.A. / Sole Agents, Boosey & Hawkes, Inc., New York, U.S.A.< flush right centred >All rights of reproduction / in any form reserved<; plate number >B. & H. 16495<; end of score dated p. 165 italic > Paris 24. Janvier MCMXXXIV<; production indication p. 165 below Notentext centre >Lowe and Brydone (Printers) Limited, London<); end number p. 165 flush right as end mark >4·55 L & B<) // (1955)

* Compositions are advertised in three columns without edition numbers from >BELA BARTÓK< to >R. VAUGHAN WILLIAMS<, amongst these >IGOR STRAWINSKY / Apollon Musagète ( Revised1947) / Capriccio for Piano and Orchestra / Chant du Rossignol / Concerto in D for String Orchestra / Divertimento ( Revised1949) / Mass for Chorus and Wind instr.° / Octet for Wind Instruments° / Œdipus Rex ( Revised1948) / Orpheus / Perséphone ( Revised1947) / Pétrouchka ( Revised1947) / Piano Concerto / Pulcinella Suite ( Revised1949) / Four Studies for Orchestra / The Rite of Spring ( Revised1947) / Symphony of Psalms / Symphonies for°° Wind Instruments° / Three Pieces for String Quartet<. After London the following places of printing are listed: Paris-Bonn-Capetown-Sydney-Toronto- New York [° original spelling; °° original mistake in the title].

** 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 >Bela Bartok< to >Arnold van Wyk<, amongst these >IGOR STRAWINSKY<. T he following places of printing are listed: London-Paris-Bonn-Capetown-Sydney-Toronto-New York.


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