K36 Symphonies d’instruments à vent
à la mémoire de Claude Debussy* – Symphonien für Blasinstrumente (Symphonische Stücke; Symphonische Stücke für Bläser; Bläser-Symphonien). In memoriam Claude Debussy – Symphonies of Wind Instruments. To the memory of Claude Achille Debussy** – Sinfonie di strumenti a fiato. Alla memoria di Claude Debussy
* (Dedication) first version.
** (Dedication) revised edition.
Title: The translated German title is unfortunately chosen because the original French title only implies musical combinations of wind instruments and thus neither means a symphony in the traditional sense of the word, nor a sequence of symphonies. German translations therefore always need a comment which explains that what is not explained by the title. Strawinsky followed his publishing contracts, especially with reference to the specification of the piece, very precisely. It was he who brought to the attention of the publishers on 30th August 1950 that the English title of the work should be printed with 'of' and not 'for Wind Instruments'. There must however have been some confusion, because Strawinsky returned to the issue of the title in his corrections of 18th October 1950 in a letter to Betty Bean, in which he pointed her towards the correspondence with Erwin Stein. In spite of this, the publishers printed the title incorrectly in their advertisement pages until well into the 50s.
Scored for: a) Original version*:3 Flutes, Alto Flute in G, 2 Oboes, English horn, Clarinet in B flat, Alto Clarinet in F**, 3 Bassoons (3 = Contrabassoon), 4 Horns in F, 2 Trumpets in C, Trumpet in A, 3 Trombones, Tuba; Revised version***:3 Flauti, 2 Oboi, Corno Inglese, 3 Clarinetti in Si b, 2 Fagotti, Contrafagotto (anche Fagotto 3), 4 Corni in Fa, 3 Trombe in Si b, 3 Tromboni, Tuba [3 Flutes, 2 Oboes, English horn, 3 Clarinets in B, 2 Bassoons, Contrabassoon (also Bassoon 3), 4 Horns in F, 3 Trumpets in B, 3 Trombones, Tuba]; b) Performance requirements:= a) Revised version
* According to White.
** The basset horn required for this piece can be replaced without difficulty with a bass clarinet.
*** The revised score demands 23 players (not: 20).
Construction: The Symphonies of Wind Instruments is a quasi-litanical concert piece in one movement for 23 wind players which is made up of several distinct inner sections and has a metronome marking. Strawinsky described the structure of the Symphoniesas a 'strict ceremony' in which the 'different groups of homogeneous instruments interact with one another in short, litanical dialogue'. Furthermore, he spoke of different short sections which follow one another with a defined duration and in a litanical style, as well as different instrumental groups which take over from one another and rhythmic dialogues between single instruments. The word litany implies a sequence of calls of greater or smaller length in the form of a responsorial plea. The structuring of the symphonies, which is more ritual than sacred, has be seen and discussed in German Strawinsky research since the end of the '50s. Strawinsky explained this matter on 10th April 1948, one day before the second performance in the United States of America. He saw the structural process as complex and not easily perceptible. Throughout the work, three different compositional processes entangle with one another. At first, Strawinsky creates three different time zones, which always remain constant and relate to one another in a mathematical increasing tempo relationship, and which he labels as Tempo I - III: crochet = 72 (Tempo I), crochet = 108 (Tempo II), crochet = 144 (Tempo III). He then develops a figure to be inserted inside the sectional form in which the flutes and clarinets dominate; this is heard regularly throughout and is based in the concept of a litany. Against this, he sets sectional blocks of different instrumental combinations and concertino-like contrasts in a sectional structure. Depending on how one counts them, there are between 16 and 20 sections which can be recognised by different tempi and structures, and are clearly shown in the score by their separation by double barlines. Strawinsky combines all these musical sections in a sectional manner in that he builds in additional material from other sections into each section, and thus achieves a completeness over the course of the work, which ends effectively with the chorale. The contrasting thematic material used is both diatonic and bitonal; both folk-like melodies use only a few notes.
a) Vocal Score (Lourié)
Crotchet = 72 (14 bars = bar 1-14)
4 semiquaver = crotchet crotchet = 72 (8 bars = bar 14-22)
Più mosso 2 quaver = 3 quaver crotchet = 108 (13 bars = bar 22-35)
3 quaver = 2 quaver crotchet = 72 (7 bars = bar 36-42)
Minim = dotted minim (6 bars = bar 43-48)
(46 bars = bar 49-94*)
3 quaver = 2 quaver Meno mosso(12 bars = bar 94*-105)
2 quaver = 3 quaver Tempo 1o(25 bars = bar 106-130**)
Meno mosso 3 quaver = 2 quaver crotchet = 72 (17 bars = bar 130**-146)
Più mosso 2 quaver = 3 quaver crotchet = 108 (10 bars = bar 147-156***)
3 quaver = 2 quaver crotchet = 72 (bars = bar 157-159)
2 quaver = 3 quaver crotchet = 108 Più mosso (2 bars = bar 160-161)
Ancora più mosso 3 quaver = 4 quaver minim = 72 (3 bars = bar 162-164)
4 quaver = 3 quaver crotchet = 108 (3 bars = bar 165-167)
3 quaver = 4 quaver minim = 72 (46 bars 3 = bar 168-213)
Doppio movimento crotchet = 72 (3 bars = bar 214-216)
2 quaver = 3 quaver crotchet = 108 (4 bars = bar 217-220)
3 quaver = 4 quaver minim = 72 (20 bars = bar 221-240)
4 quaver = 3 quaver crotchet = 108 (5 bars = bar 241-245)
3 quaver = crotchet = 72 (29+25 = 54 bars = bar 246-299)
* The new section begins from the second third of bar 94.
** The new section begins from the second third of bar 130.
*** Bar 152 is separated on both sides by a double bar-line.
b) Revised Edition Score
Tempo quaver = 144 crotchet = 72 semprequaver = quaver (figure 61 up to the end of figure 2 =
18 bars [bar 1-18])
Semiquaver = semiquaver (figure 3 = 3 bars [bar 19-21])
Semiquaver = semiquaver (figure 4 up to the end of figure 5 = 8 bars [bar 20-29])
Duplet = triplet Più mosso (Tempo IIo)crotchet = 108 (figure 6 up to the end of figure 8 = 17 bars
Meno mosso (Tempo Io) quaver = 144 crotchet = 72 (figure 9 up to the end of figure 10 = 8 bars
Duplet = triplet Più mosso (Tempo IIo)dotted crotchet = 72 quaver = 216 (figure 11 up to the end of
Figure 25 = 67 bars [bar 55-121])
Triplet = duplet Meno mosso (Tempo Io)crotchet = 72 figure 26 up to the end of figure 28 = 12 bars
Più mosso (Tempo IIo) crotchet = 108 (figure 29 up to the end of figure 36 = 35 bars [bar 134-168])
Triplet = duplet Meno mosso (Tempo I o ) crotchet = 72 (figure 37 = 5 bars [bar 169-173])
Duplet = triplet Più mosso (Tempo II o ) crotchet = 108 (figure 38 = 4 bars [bar 174-177])
Triplet = 2 quaver Meno mosso (Tempo Io)crotchet = 72 (figure 39 = 7 bars [bar 178-184])
Duplet = triplet Più mosso (Tempo IIo)crotchet = 108 (figure 40 up to the end of 41 = 12 bars [bar
Triplet = duplet Meno mosso (Tempo Io)crotchet = 72 (figure 42 = 5 bars [bar 197-201])
Duplet = triplet Più mosso (Tempo IIo)crotchet = 108 (figure 43 = 2 bars [bar 202-203])
Triplet = Quadruplet Ancora più mosso (Tempo III o ) crotchet = 144 minim = 72 (figure 44 = 5 bars
Quadruplet = triplet Meno mosso (Tempo II o ) crotchet = 108 (figure 45 = 4 bars [bar 209-212])
Triplet = Quadruplet Più mosso (Tempo IIIo)crotchet = 144 minim = 72 (figure 46 up to the end of
Figure 55 = 54 bars [bar 213-266])
Quadruplet = duplet (Tempo Io)crotchet = 72 (figure 56 = 4 bars [bar 267-270])
Duplet = triplet Più mosso (Tempo IIo)crotchet = 108 (figure 57 = 6 bars [bar 271-276])
Triplet = quadruplet Più mosso (Tempo IIIo)crotchet = 144 (figure 58 up to the end of figure 63 = 25
bars [bar 272-296])
Quadruplet = triplet Meno mosso (Tempo II o ) crotchet = 108 (figure 64 = 5 bars [bar 297-301])
Triplet = duplet Meno mosso (Tempo Io)crotchet = 72 (figure 65 up to the end of figure 75 5= 61
bars [bar 302-362])
Historical Analyses: During Strawinsky's life-time there were two larger analyses of the work. The first was published in Eric Walter White's book on Strawinsky in 1947, which was included in the German edition of 1949 and was substantially extended for the 1966 edition; the second was published in the French (but not in the English or German) edition of Robert Craft's book Avec Stravinsky. – In 1947 White specified 6 different themes, and to each he assigned different selfinvented names (Bell motif, Choral, Two Russian Popular Melodies, Pastorale, Wild Dance), and in 1966, he extended his formal analysis by differentiating between episodes (p. 255) and motifs (p. 256) and trying to find some overall schematic order. White refers to a prelude, expositions, interludes and recapitulations and, in doing so, gives them names which at times come from later serial compositions. They are not original. He assignes letters to his 'episodes' (p. 255) and 'motifs' (p. 256), and they are only partly ordered alphanumerically. He labels four episodes with the letters A - D and four motifs with the letters counting backwards from Z - W. Although this numbering is very confusing, it can be further reworked, to give details of the structural montage of the Symphonies of Wind Instruments. In order to suggest the process in a simplistic manner, the figuring of the episodes is retained in the concomitant scheme, but the figuring of the motifs is changed into lower case, a - d. A capital A1 therefore refers to the five-note melody (3 flutes = solo flute and two accompanying flutes), A2 to the three-note melody (bassoon solo with flute accompaniment and with additional oboe, cor anglais and tuba in the recapitulation), B to the Pastorale (flute and clarinet dialogue), C to the Wild Dance (presto staccato episode), D to the Choral (brass at the beginning, to which woodwind is added at the end). a refers to the Bell Motif (flutes, clarinets, trumpets, trombones), b to a two-note motif (2 oboes, cor anglais or cor anglais and two bassoons), c to fast chords (woodwinds and horns), and d to contrapuntal triplets which do not appear in their own right but form interjections. The scheme incorporates on 16 sections.
A. ‘Two Russian Popular Melodies’ (see Ex. 39):
(i) Five notes (flute solo accompanied by two flutes)
(ii) on three notes (bassoon solo accompanied by three flutes – plus oboe, / cor anglais and
tuba for the recapitulation) N. B. This is the only / passage in the whole work that is
written in regular metre.
B. ‘Pastorale’ (a two-part, freely flowing dialogue between flute and / clarinet) / Ex. 37
C. ‘Wild Dance’ (a quick staccato episode, almost presto) / Ex. 38
D. ‘Chorale’ (see Ex. 24) (a very slow, legato processional – at first written only for brass; but the
woodwind joins in towards the end)<
(Z) The ‘Bell’ motive. For flutes and clarinets, punctuated by trumpets and / trombones 1with which the
work opens, (see Ex. 199) similar in cast / of thought to the ‘Tressing’ opnering of The
(Y) A little two-bar motto 2(sometimes for two oboes and cor anglais; / sometimes for cor anglais and
(X) A group of quickly chiming chords (for woodwind, sometimes re- / inforced by horns)
(Z) A counterpoint triplet phrase in three parts, the upper part being / accompanied by a series of rising
sixths, 3which never appears on is / own, but is med as a kind of interjection.<
Certain objections can be raised against White's schematic order; it shows visually the colourfulness of Strawinsky's chamber-music instrumentation, based on single combinations, that foreshadows his future style, as well as motific montage. It should also be added that this score pre-empts a style of writing which later became an integral part of serial composition, namely only writing out the systems which are really necessary at that moment. The written music above therefore conveys an impression of the diverse combinations of color and structure.
Style: The music has a cool and clear effect and is at times in the same sound world as Les Nocesand The Soldier's Tale. The combinatory process of motifs and sounds in any case come from this sound world.
Dedication: The dedication is part of the main title.
Duration: 9' 10"
Date of origin: First version:Carantec / Garches summer up to 20. November 1920*; New version:From the end of October up to 20th December 1947
* according to Craft 17th November 1920
First performance: First version:10th Juny 1921 in London Queen's Hall, London Symphony Orchestra conducted by Serge Kussewitzky; Revised version:31st January 1948, New York Network of the National Broadcasting Company, National Broadcasting Corporation Symphony Orchestra conducted by Ernest Ansermet; 11th April 1948 in New York mit der Chamber Arts Society conducted by Igor Strawinsky.
Problems of the premières: Strawinsky was not satisfied with the circumstances of the première. His music was brought into sparkling and virtuosic surroundings. Between the gigantic orchestral requirements of Rachmaninov's Isle of the Dead, excerpts from Rimsky Korsakov's operas (including The Golden Cockerel), Glazunov's Violin Concerto and Scriabin's Prometheus, Strawinsky's winds sounded trapped and lost, especially on the giant stage and far away from a conductor who could not control them, after three quarters of the musicians, including all the strings and percussion players, had left the stage. What seemed sharp and accented to the audience was described by Strawinsky as gentle psalmodising and a liturgical dialogue, but it could not be heard in the surroundings and was a victim of unfortunate circumstances. The polite English audience gave friendly applause and the small amount of hissing is not worth mentioning. The piece was not announced because the music arrived too late and it apparently had not been properly rehearsed. Strawinsky and Koussevitsky, as White says in reference to Strawinsky's apologetic explanations, would however have known this beforehand and have observed it at the rehearsals at the latest. The première of the new version also took place without a clearly positive or negative effect, which was presumably not connected with the fact that the publishers, perturbed by the unexpected death of Ralph Hawkes, clearly forgot the score and apart from Strawinsky's personal acquaintances no-one had access to the music.
Pre-performance and First performance: Craft vouched for the information that Strawinsky oversaw a performance of the Symphonies of Wind Instruments on 30th January 1948, a Friday, in the “John Burroughs Junior High School Auditorium”. That can only be understood to mean hat Strawinsky, as he often did, sat in on a private orchestral rehearsal and gave clarifications and instructions. From this rehearsal, a tape recording was made on which one can hear Strawinsky singing and talking. It can be presumed that this date cannot be seen as the date of the premiere or even the pre-performance of the revised version. Strawinsky raised no objections to Ansermet’s being the first conductor of the new version of the Symphonies of Wind Instruments in Europe. He did not however agree to Ansermet (who made no secret of the fact that he preferred conducting the old version) conducting the premiere, because Strawinsky had promised it to Robert Craft and the American orchestral group “Chamber Arts Society” for a concert in April 1948 at which he himself wished to hear for the first time how the new version sounded. The publishers however, to the annoyance of Strawinsky, had gone over his head. Strawinsky reprimanded them for this in a letter dated 10th December 1947 to Ralph Hawkes because while he did not question Ansermet’s qualities, he did not want Ansermet to precede him in this matter. Finally, it was not Craft, but he himself who wanted to conduct the new version, and for free under the aegis of a patronage of sorts. Ralph Hawkes, who at this point knew little or nothing of Craft and as a publisher was certainly happy to have secured a notable conductor like Ansermet, now found himself in a quandary. He would quite certainly have notified Ansermet straightaway, and the latter did not think of performing the premiere himself but behaved wisely and cleverly. He shared with Strawinsky on 13th January 1948 from New York that he had been in consultation with Craft (Ansermet still wrote the name incorrectly as “Krafft” at this time), and that he had nothing against it, because he would still have the first public performance (a fait savoir que cela lui était égal, ayant de toute façon la première exécution publique), which was a trick, as the radio broadcasts, which were broadcast much further could not in all seriousness be defined as an advance private performance. Craft himself saw all this much more soberly and very correctly associated this development of the issue, which was for him very unpleasant, with Strawinsky’s refusal to also allow Ansermet the performance of the old version. Ansermet had received the new parts shortly before 13rd January 1948 from Hawkes and immediately discovered mistakes in the parts and additional problems with a difficult orchestration; he said honestly to Strawinsky in the same letter in which he shared his arrangement with Craft, that he preferred the old version (que vous préfériez que je donne la nouvelle version). Discussing the matter further would have been the only possibility of rescuing the premiere for the April concert. Ansermet would have been taken at his word, would have had to play the old version and would have had to renounce the new one, and thus a premiere. Since Strawinsky however chose not go into the matter further and explained that the new orchestration was in fact easier to play than the old one, Ansermet became irrecovably the actual conductor of the premiere and therefore beat Strawinsky to it. In the few remaining days between the first and the third of Ansermet’s concerts, numerous letters and telegrams were sent back and forth at the time, as had been the case for the old edition, in order to clear up problems with the score. The Tappolet edition printed seven telegrams and four extended letters in connection with this series of questions and answers, all from between 23rd January and the day of the performance, 31st January. Strawinsky also listened to this concert on the radio and sent a second telegram afterwards in which he thanked him heartily for the “wonderful performance”. The New York radio invitation came from Andrew Schulhof, the American impresario of the chief conductor. Ansermet conducted his first concert on 17th January 1948 with works by Beethoven ( Leonoreoverture No. 2), Frank Martin (first American performance of the Sinfonie concertante) and Ravel ( Daphnis and Chloe, 2nd Suite). The programme, which could also be received via shortwave in Europe and South America, was heard by Strawinsky. He was very enthusiastic and sent a congratulatory telegram, as he previously had sent to Ansermet on his arrival a greeting telegram. Ansermet conducted a second concert on 24th January (premiere of George Templeton Strong’s Paraphrase on a Hassler Chorale; Debussy’s Jeux; Martinu’s 5th Symphony). The third concert on 31 stJanuary, which was repeated on 7 thFebruary, contained, as well as Strawinsky’s Symphonies of Wind Instruments, Beethoven’s 4th Symphony and Debussy’s La Mer. The rights to the American first performance of the original version were sold by Strawinsky for $100 to Leopold Stokowski in an agreement made on 3rd June 1923 in connection with the mysterious patroness story. Stokowski performed the “Symphonies of Wind Instruments” in 1924 and 1925 with his Boston Symphony Orchestra . These were, before Ansermet’s performance, the only performances in the United States. Strawinsky’s own concert, for which he gave an interview a day before, took place on 10 thApril 1948 in the New York Town Hall.
Remarks: On 25th March 1918, Claude Debussy died in Paris. The editor of the French musical journal La Revue Musicale, Henry Prunières, asked for a special series of commissions to the memory of Debussy in the early part of 1920, for which Strawinsky was asked for a short contribution. Strawinsky therefore wrote a wind chorale without words which was then published in a piano version. In the summer (at Carantec) and the winter (at Garches) he significantly extended the composition. The history of the composition of the work is however more involved because Strawinsky clearly referred back to sketches which he had years before produced for the Piano-Rag-Musicand he even incorporated at least one motif from the sketches of the Concertino for Strings. On 26th March 1918, shortly after he had learned of Debussy's death, Strawinsky wrote down a motif in his sketchbook which would later introduce the Symphonies of Wind Instruments and which has been given the name 'Bell motif' in the analytical Strawinsky literature since Craft and White. An analysis of the sketchbook registers the entry as the beginning of April 1918 at the latest. At this time, Strawinsky had just completed the score of the Ragtime (25th March 1918) and from April to September 1918, had been exclusively occupied with The Soldier's Tale. In March 1919, he then took on the Piano-Rag-Music, which he completed on 27th June. Among the sketches for this, there is a sketch for the Choral motif, as Craft has shown in his investigations of his sketchbook. From the sketches of these two motifs in completely different compositional contexts, it seems possible to prove that Strawinsky originally intended the fragments for the Piano-Rag-Musicbut did not use or need them there, and, as was so often with his compositional process, used them for other pieces, in this case for the Symphonies of Wind Instruments. As Craft went on to discover, the series of sketches for the Piano Rag Musicis linked with a 26-page long group of sketches with repetitions of the Choral motif and sketch fragments, which can also be found in the Symphonies of Wind Instruments. Since there had not yet been any discussion of a Tombeaufor Debussy at this time, and the first sketches for the Concertinohad been made in Autumn 1919 (although the fact that these do however include indications for the instrumentation such as harmonium and strings suggests that it does not point towards a piece for Wind Instruments), the suggestion has been made that the entire set of material must have been intended for one of the early instrumental versions of Les Noces, but was not included and was therefore free to be used elsewhere. Furthermore, it appears that Strawinsky reworked a section from the later sketches for the Concertinofor the Symphonies of Wind Instruments. This supposition is based on the flute and clarinet motif at figure 15 1, which can also be found in the sketches for Concertino for Strings.
Original version: The original version of the complete Symphonies of Wind Instruments was however not printed, though it was played several times and documented in the piano reduction. Robert Craft dedicated a short study to it. It is from this version that disputes over certain points arose, about which Strawinsky was constantly changing his mind in every version that he produced. Even in the Tombeauversion of the Chorale, there are notes which are clearly wrong but about which one cannot be sure even today as to exactly how they were intended. In the Tombeauversion, the bass note of the fourth chord appears with a flat, so e flat. In the sketch book, it is given as e and the same stands in all the orchestral corrections, but it is an e flat in Lourié's piano reduction. Everything seems to suggest that it should be an e. Emile Vuillermoz, who at the time was reading for La Revue Musicale, brought this problem to Strawinsky's attention in a letter to Strawinsky of 17th November 1920. Strawinsky later removed the flat sign in his printed copy of Lourié's edition, in which the bass note of the fifth chord remains a d sharp. When Strawinsky re-orchestrated the chorale from a copy of the incorrect album edition on 11th December 1945, he re-inserted the e flat, and it remained an e flat in the final revised version of 1947. Just as problematic is the a in the second chord. A stands in the first sketch and in the Tombeau for Debussybut in another sketch, the a appears as an a#, and the same is true for the final sketch. On 30th June 1933, Ansermet wrote to Strawinsky about two disputed notes, one of which was this a. Strawinsky answered Ansermet's first question, but he was hesitant to reply to the second. In the Tombeauedition used in 1945, Strawinsky first inserted a sharp sign and then removed it. Ansermet added it in. There is a structural rationale for this from a similar parallel moment. Strawinsky let it stand. This and many other such points cannot be cleared up. Ansermet continued to send back more questions to Strawinsky because he didn't respond satisfactorily. He discovered numerous discrepancies of notes, such as a B flat in the cor anglais and first trombone and a C in the third horn. This must be a C. The score and parts were not corrected and in mid-1933, Strawinsky recalled the hired parts for the performance. Ansermet later made similar inquiries of Strawinsky for the revised version and sent him them in a table form. He even, received a final telegram from Strawinsky on the day of the new première with instructions for the trombone part.
Revised version: Pursuant to the general contract which Strawinsky signed with Boosey & Hawkes in 1950 and which, as a consequence of the commercial transfer of all of Strawinsky's scores from the previous owners, Koussevitsky publishers, Strawinsky completed a revised version. This was the first revised score that Strawinsky completed under his five-year contract with Hawkes, and, along with the revised score of Petrushka, was the only composition to be revised which really earns this description, although it did not go anywhere near as far as the Petrushka score with its structural alterations. The revised version retains the build-up of three connected with rubato fixed tempi, likewise the fermatae playing instructions, some of which are incorporated into the proportional time relationships. One example of this is the final chord. In the original version as well as the piano version, it consists of a fermata with a held chord four crotchets in length (a semibreve). In the revised version, the fermata is removed, but the final chord is tied over and held for three 2/4 bars (two minims)+. Similarly, the fermata in bar 164 of the piano reduction was removed and written out in the score at figure 44 4-5. Strawinsky re-inserts a fermata when a chord needs to be held on over a barline into the next chord, such as in the piano reduction at bar 167 = figure 45 4. Bar 167 is made up of one chord two crotchets in length which is also tied over to a quaver over a double barline. In the new version, Strawinsky shortens the value of the note to a dotted crotchet but lengthens it with a fermata and separates it from the next section, which begins at figure 46 1, with a quaver rest. That the fermata at bar 245 is moved from the quaver rest in the piano reduction to the dotted-minim chord in the new version (figure 64 5) may be the removal of a printing or source error, as Strawinsky indicates with the new notation that he wanted not the rests but the long held chords to be held on even longer. Above all, Strawinsky changed the metrical characteristics by dividing up his longer sequences of bars of his former style into shorter ones. He thus divides the 7/8 bar at bar 235 into a 2/8, 3/8 and another 2/8 bar (figures 61 4to 62 2) and this makes it easier to comprehend than in the piano reduction with the inserted change of figures now at the previous bar 235, so that the two quavers belong structurally to those that went previously. In this way, the first 3 bars of the original version (5/8 + 5/8 + 3/4) with a fermata at the end become 6 bars in the revised version (2/8 + 3/8 + 2/8 + 3/8 + 2/8 + 3/8) without a fermata. This process does not create any difference in duration between the original and the revised version, since the extension by a single quaver at the end of the phrase of the revised version is simply the incorporation of the fermata. Nothing also changes in compositional terms, but new sections do not now begin in the middle of bars as often occurred in the previous version (bars 94 and 170). Strawinsky did not much like the sequences of long bars at the time, otherwise he would not have divided some of them up with vertical broken lines and so allow a new section to begin in the middle of the bar. The most considerable/important/fundamental changes may well have been carried out in the area which is today removed from control, namely that of instrumentation; this was also echoed by Ansermet. In removing the piccolo, alto flute, alto clarinet (i.e. basset horn) and the A trumpet, he also removed certain games of musical colour such as with the flutes and clarinets as well as the corresponding multifarious combinations with the other instruments, upon which he presumably placed less worth in 1945 than upon a new structure. As with the revision of Petrushka, and the different Firebirdsuites, the question also arises for the Symphonies of Wind Instruments as to which version should be preferred. Ansermet preferred the old version because he found the new bar divisions to be pedantic and at the same time confusing, as well as being more difficult to conduct. Strawinsky thought the new version was better orchestrated and he was able, unlike with Petrushkaand the Firebird, to relax, knowing that the rights to the previous version was not available.
As there had never been an original score produced, the proportions of the revision were greatly overestimated, so that it was at times actually referred to as a new piece. In reality, Strawinsky made no changes to the actual musical substance at any point, and thus the work’s duration was not even altered. The complicated structure would presumably only have been possible if he was reworking the composition from the standpoint of a different idea. The metric reorientation did not lead to a durational reorientation, but rather had the effect of displacing the accents. In this and the reworked orchestration lies the actual revision, as well as the problems highlighted by Ansermet. Certain further changes include the removal of printing errors. The revised version is altered from the original to the greatest extent in terms of meter (outwardly), orchestration and accidentals, but very seldom in the area of melodic and chordal writing and thus overall, less than expected. White gave in his analysis the example of a melodic change at figure 7 5in the new version = bar 26 in the original version. It should be added that this example, as the table of comparisons shows, refers to the only place in the new version at which a bar already played is again inserted in a sort of permutative recapitulation. The fact that Strawinsky does not use certain instruments, which necessitates that notes be swapped around in places, does not contradict this. The revised version cannot have been started, as a letter of this date to Ralph Hawkes proves, before 7th October 1947, and should, according to Strawinsky’s estimations, have been completed around 1st December, but was stretched out to 10th December. These dates were later confirmed in a letter by Strawinsky. He wrote his letter of complaint to Roth on 11th June 1951 and explained in it that the score had been lying for 18 months at Boosey & Hawkes. Furthermore, this letter explains why Ansermet only received the new material just under 3 weeks before the new premiere, because it had in fact been completed too late. That the work was difficult was conveyed openly by Strawinsky in a letter to Betty Bean dated 20th December 1947. It had cost him exactly 2 months to revise this, as he called it, “intricate” score.
Valuation comparisons: As with the revision of Petrushka and the various Firebird Suites, the question also arises for the Symphonies of Wind Instruments as to which version should be preferred; in this case however, one can only engage with this question to a small extent because the original version was never printed and thus is not available for the purposes of comparison. According to Craft’s information, Ansermet advised in a letter dated 31st January 1948, which does not appear in the Tappolet publication of Ansermet’s letters, that Strawinsky wanted to remove mistakes from the old version and then make both versions available for performance. Ansermet regarded the revised version as incomparably more powerful than the old version (he was referring to figures 51 to 56), but he also appreciated the sound-world of the old version, which he clearly did feel sad about missing. Strawinsky would not have had to reply to such advice directly in order to make it known that for him, copyright protection was a more important issue. He had already asked Ansermet by telegraph on 16th January 1948, in response to his first small doubt regarding the new version and the fact that he preferred the old version to the new one, why he then wanted to keep the old instrumentation when the new one was so much better. In his book on the fundamentals of music, Ansermet again explored the new version and judged it unfavourably. The new title, he wrote, was pedantic, the cadence structures rather smudged, and the piece as a whole much harder to conduct in comparison to the old version. For the contemporaries of the conductor and conductors after Ansermet, this question is no longer asked, unlike in the cases of Petrushkaand the Firebird, because the original edition is or was not available for them (at the time).
New reorchestration of the Chorale 1945: The new re-orchestration of the Chorale was made in 1945. It can be seen from a letter from Strawinsky to Bruno Zirato of 8th December 1945 that the Canadian Broadcasting Society Radio company wanted an additional music for a performance of the Symphony of Psalms, which only lasted 21.5 minutes, to fill out the programme. Strawinsky therefore first reorchestrated the final chorale, which took him two and a quarter minutes by using the orchetral list of the Symphony of Psalms. From this, the clarinets, which were not represented, were removed, but the quota of other instruments was therefore increased.The ensemble consists of 4 flutes, 4 oboes, cor anglais, 3 bassoons, contra bassoon and an additional 4th trumpet for the brass. This orchestration was not printed.
Versions: The original version of the Symphonies of Wind Instruments grew out of the piano version of the Wind Chorale published on 1st December 1920 in La Revue Musicalein a special memorial edition Tombeau de Claude Debussyas the seventh of ten pieces (Béla Bartók, Paul Ducas, Manuel de Falla, Eugene Goossens, A. Francesco Malepiero, Maurice Ravel, Albert Roussel, Florent Schmitt, Eric Satie, Igor Strawinsky) under the title ' Fragment des Symphonies pour instruments à vent à la memoire de C. A. Debussy'. It says something about the acceptance of a chorale piece conceived as a text to be read and not played. Accidentals are missing. The numerous, dense tenth chords require a large handspan. The completed composition for winds remain unpublished because Strawinsky was not satisfied with it. Arthur Lourié may have completed a piano reduction of it, which was published in 1926 by the Russian publishers and remained for decades the only concrete evidence of this work. The piano reduction was published with the disc number R.M.V 423. The first corrections to the orchestral version were not given a number by the publishers, and the 2nd and 3rd sets of corrections were made under the disc number R.M.V 459. The entries entered across the 3 corrected versions were substantial and concerned all parameters of the work. The publishers cannot have been very happy that Strawinsky produced a manuscript for engraving in the difficult period after the First World War for which he was constantly making new changes again and again which had, at times, a considerable impact, before then stopping the printing after 3 sets of corrections. Craft was the first to suggest that the number of sets of corrections by Strawinsky may have been increasing. This is a sign of how hard Strawinsky had found working on this composition. The piano reduction with a characteristic printing error on the first page of music in the copyright (Russicher Musikverlag) contains no figuring. The colour of the striated paper of the cover suggests that it was subsequently rebound with different paper for the cover, because the surviving copies are either dark brown or light grey, but without a different colouring ever being mentioned. The Prussian State Library owns two comparable editions: Dms 204927 in a dark brown cover, Dms 254368 in a light grey cover. Both colours of the cover were unusual for the Russian publishers, who preferred beige, dirty-yellow or cream tones. There are certainly not two different editions: the composition sold too badly for this to have been the case. The Russian publishers sold only 22 music copies in the first year of publication, 1926, and the number rose until 1938 to slightly over 200 in total. One probable (independently of the hatred for Lourié that had grown in Strawinsky the meantime) contributing factor as to why the piano reduction was not produced again was the fact that the rights went to Boosey & Hawkes in a contract of 6th November 1950. The Sacher Foundation in Basel is in possession of a copy from withdrawn hire material, of private origin, which, as the plate number R.M.V. 459 appears to prove, may have been produced later as the piano edition. The edition has no outer or inner title pages, no front or back matter and has 39 pages of music in the format 27.5 x 38.2. On the first page (which has no page number) is underneath the cursive dedication in the main heading >Symphonies d’instruments à vent / A la memoire de Claude-Achille DEBUSSY< flush right and centred the name of the composer > Igor STRAWINSKY / (1920) < and below the type area flush left the address of the pubslisher >ÉDITION RUSSE DE MUSIQUE / RUSSISCHER MUSIKVERLAG G. m. b. H. Berlin S. W. Dessauerstr.17. < and flush right the legal rights reservation, set in cursive > Tous droits l’exécution publique, d’adaptation/ d’arrangement, de reproduction réservés.< with a standard printing error (‘l’exécution’ instead of ‘d’exécution’). Apart from the plate number, the copy contains no further entries, not even on the final page. – The name of the composer is on the first page (which has no page number) in cursive underneath the dedication in the main heading and is situated flush right and centred underneath the section of music. The address of the publisher is flush left, and flush right the legal rights reservation, set in cursive, with a standard printing error (‘l’exécution’ instead of ‘d’exécution’). Apart from the plate number, the copy contains no further entries, not even on the final page. – The new orchestration of the final chorale as a programme filler remained unpublished. – The beginnings of the publication history remain unclear. The publishing director of the Russian publishers after the departure of Struve was Gabriel Païchadze. He blundered into the German confusion in the '30s. With the transfer of the publishers from the sale of Koussevitsky's Strawinsky estate to Ralph Hawkes, there was no correspondence regarding Symphonies of Wind Instruments. This piece therefore did not become an issue in the contract. Since Strawinsky himself no longer owned the manuscript and no manuscript had appeared from Koussevitsky's possession, there remained the question of where it could have been. In a letter to Ralph Hawkes of 7th October 1947, Strawinsky appears to have been perplexed. He had no idea where the manuscript was, and not even whether Païchadze had published it. This letter can only be interpreted as saying that Strawinsky was correcting the original version and years after the publication of Lourié's piano reduction approved another version to be printed shortly before the start of the Second World War. Païchadze however did not or could not manage to publish the music, especially after the collapse of France, where the Russian publishers ran their printing and engraving operations. If the situation had been different, a printed copy would certainly have been sent to one of the large German libraries and Strawinsky would definitely have known about it. Païchadze only produced the hire material, if at all. In addition, the activity of the Russian publishers in Germany was being scaled back from 1932, so that they, bluntly put, were ceasing to exist. Schott publishers wanted to buy them out, but were rejected by the Russian publishers in April 1932. The corrections were made by Ansermet, who was making them while the publishers where clearly not reacting, as Strawinsky's letters to Païchadze of 28th May, 4th July and 11th August 1932 demonstrate. When Robert Craft wrote to Strawinsky on 20th August 1947 about the performance material, Strawinsky told him that he was only in possession of an extremely bad test print of the final corrections from the time before the war, which had been sent to him by his son at the composer's request. The obvious weaknesses of the Russian publishers brought Schott into the play. Strawinsky evidently stayed with the Russian publishers and was still offering them compositions into the '30's, which were then offered to Schott because the Russian publishers were no longer in operation .This was what Strawinsky meant among other things when he wrote to Betty Bean on 20th December 1947 that Ansermet was playing the new version, because the old version had been destroyed. – A similar chaotic confusion was developing around the printing of the revised score. It may be that the matter had been forgotten in the publishing house due to the unexpected death of Ralph Hawkes. When Strawinsky had to establish however, that, apart from the score, which he had completed as part of the five-year contract with Hawkes as the first new version, it appeared in none of the branches of the publishing house, he reported this in a letter of complaint to Ernst Roth of 11th June 1951, but he referred to his correspondence from December 1949 and January 1950, explaining that the matter was gradually becoming 'odd'. Ansermet performed the piece on 31st January 1948 in New York and he did so once again a few months later. According to him, the score sent to the publishers was gradually forgotten over the next 18 months, for which it remains unclear as to whether he was referring solely to the publishers or the publicity who did not have access to the music. In actual fact, the work on the revised version was verifiably continued until October 1950 and then was shelved for various reasons. The publishers took the accusations to heart. Strawinsky, who presumably only had hire material in mind, saw his manuscript printed one-and-a-half years later not only as a pocket score but also as a conducting score. – The new revision had been published since 1952 as a conducting and pocket score. The conducting score was published during the course of October 1952 at the latest, while the pocket score was released in November 1952 at the earliest. Strawinsky received his copy of the pocket score in December. In the later editions, which contain some musical alterations, Strawinsky's name was given in the English version, 'Stravinsky'. In the subsequent editions, the printer and edidit signs are removed. The parts were ready to hire by the end of December 1947, according to Strawinsky. Ansermet had received them before mid-January 1948. There was no version of the piano reduction published any more. Kalmus later organised an unauthorised American print run.
Historical Recording: Köln 8th October 1951, Bläserensemble des Kölner Rundfunk-Sinfonieorchester conducted by Igor Strawinsky.
Autograph: The autograph of the revised orchestral score is situated in the Washington Library of Congress.
Copyright: Vocal Score 1926 by Édition Russe de Musique (Russischer Musikverlag); Revised version 1952 by Boosey & Hawkes.
Errors, legends, colportages, curiosities, stories
In connection with his first performance of the new version of the Symphonies of Wind Instruments, Ansermet gave an explanation in New York for TimeMagazine in which he called Strawinsky a man of great culture and the best businessmen, that he had ever known (‘un homme de grande culture – et le meilleur “businessman” que ‘j’ai jamais connu’). Alluding to this remark, Strawinsky sent a telegram on 1st February 1948 thanking him heartily for the performance of, among others, the Symphonies of Wind Instruments, and posing the rhetorical and ambiguous question of whether he really thought that he was a good businessmen composing such music (DO YOU REALLY THINK I AM A GOOD BUSINESSMEN COMPOSING SUCH MUSIC). Strawinsky meant with this that a good businessmen would have composed something quite different at that time. We have Tappolet to thank for the connecting knowledge of this episode. There is however a problem with the timing, unless the interview was broadcast over the radio. According to Tappolet, the magazine was published on 2nd February. Strawinsky’s telegram however (understandably) bears the date of the day of the performance, so 1 February 1948. How then could Strawinsky have had knowledge of Ansermet’s explanation when the magazine had not even been published yet?
In connection with the London premiere, which was unsatisfying from an external perspective, Strawinsky explained that he made music not with feelings, but with notes.
36-1 1920 Piano Choral; La Revue musicale Paris [ a special Debussy edition]; 2 pp..
36-2 1926 PiRe [Lourié]; Russischer Musikverlag Berlin; 18 pp.; R. M. V. 423.
36-3 1952 FuSc rev.; Russischer Musikverlag / Boosey & Hawkes; 35 pp.; B. & H. 17144.
36-3Straw1[signed and dated and with dedication]
36-3Straw2[signed and dated]
36-4 (1952) PoSc rev.; Boosey & Hawkes London; 35 pp.; B. & H. 17144, 672.
b) Characteristic features
36-1 LA / REVUE / MUSICALE / [*] / PREMIÈRE ANNÉE [#] 1 erDécembre 1920 [#] NUMERO DEUX / [*] / NUMÉRO SPÉCIAL / CONSACRÉ A LA MÉMOIRE DE / [Vignette**] / CLAUDE DEBUSSY // 17.7 x 23.6 (8° [gr. 8°]) pp. 97-216 // 7 / par Igor STRAWINSKY / Fragment des Symphonies pour instruments / à vent [#] à la memoire de C. A. Debussy // (Edition 2/2 pages [pp. 22 + 23] with 4 + 5 staves and a legal reservation 1920 by J. et W. Chester and Co; [in:] TOMBEAU / DE CLAUDE DEBUSSY / Par Bela Bartok, Paul Dukas, Manuel de Falla, / Eugene Goossens, Francesco Malipiero / Maurice Ravel, Albert Roussel, / Florent Schmit, Erik Satie, / Igor Strawinski // (Musical addendum Supplément musicalto La Revue Musicale I/2 1. Dezember 1920; 32  pages + 4 cover pages [ornamental front cover title by Raoul Dufy black on white with a bird, mountain and ship on the sea above, and a tomb with a gabled roof with writing on it with a woman with a pen lying down, index + legal reservation > Tous droits réservés pour tous pays<, empty page, empty page with an advert for the piano shop GAVEAU] without front matter and without back matter; end marks last page of the score [S. 32] flush left Supplément au Numéro 2 de la REVUE MUSICALE (1er Décembre 1920)flush right Paris, Imp Francaise de Musique / 4, rue Camille Tahan) // (1920)
* Ornamental dividing line.
** A medal ø 9.9 dated as 1907 and signed with the initial C with Debussy’s head looking left and a caption below >CLAUDE DEBUSSY<. The production data number is so smudged in the available copies as to make it almost illegible.
36-2 IGOR STRAWINSKY / SYMPHONIES / D'INSTRUMENTS A VENT / à la mémoire de CLAUDE DEBUSSY/ arrangées pour Piano seul / par Arthur LOURIÉ / [Vignette] / ÉDITION RUSSE DE MUSIQUE // IGOR STRAWINSKY / SYMPHONIES / D'INSTRUMENTS A VENT / à la mémoire de CLAUDE DEBUSSY/ arrangées pour Piano seul / par Arthur LOURIÉ / [vignette] / Propriété de l'Éditeur pour tous pays / ÉDITION RUSSE DE MUSIQUE / (Russischer Musikverlag G. m. b. H.) BERLIN / Fondée par S. et N. KOUSSEVITZKY. / Dépôts: BERLIN, MOSCOU, LEIPZIG, NEW-YORK, LONDRES, BRUXELLES. / A PARIS: / S. A. DES GRANDES ÉDITIONS MUSICALES / 22, Rue d'Anjou, 22 // (Piano score sewn 26.5 x 35.6 (2° [gr. 4°]); 18  pages + 4 cover pages vertical linen structured black on beige-grey [light grey] (and on dark brown) striated [front cover title with vignette 2.7 x 21.3 tendrils, 3 empty pages] + 2 pages front matter [title page with vignette 2.7 x 21.3 tendrils, empty page]; title head in connection with dedication centre centred >SYMPHONIES / D'INSTRUMENTS A VENT / A LA MÉMOIRE DE CLAUDE-ACHILLE DEBUSSY<; authors specified 1st page of the score paginated p. 1 below dedication centre centred >Musique de / IGOR STRAWINSKY< flush right next to and below the name of Strawinsky centred >Réduction pour PIANO / par Arthur LOURIÉ.<; legal reservations 1st page of the score below type area flush left centred partly in italics > Copyright 1926 by Russicher* Musikverlag G. M. B. H. Berlin / Russicher* Musikverlag G.M.B.H. Berlin / Edition Russe de Musique< flush right >DROITS D'EXÉCUTION ET DE REPRO- / DUCTION RÉSERVÉS POUR TOUS PAYS; plate number >R.M.V. 423<; end of score dated p. 18 flush right centred > Carantec-Garches / 1920<; without end mark) // (1926)
* Original mistake.
36-3 igor strawinsky / symphonies / of wind instruments / full score / revised 1947 version/ édition russe de musique · boosey & hawkes // Igor Strawinsky / Symphonies / of Wind Instruments / Full Score / revised 1947 version/ Édition Russe de Musique (S. et N. Koussewitzky) · Boosey & Hawkes / London · New York · Sydney · Toronto · Capetown · Buenos Aires · .Paris · Bonn // [Without text on spine] // (Full score sewn 0.4 x 23.4 x 31 (2°[4°]); 35  pages + 4 cover pages thicker paper tomato red on greygrün [front cover title, 2 empty pages, page with publisher’s >Édition Russe de Musique / (S. et N. Koussewitzky) / Boosey & Hawkes< adveritsement > Igor Strawinsky<* production data >No. 453<] + 4 pages front matter [title page, empty page, legend >Instrumentation< Italian + duration data [12’] English, empty page] + 1 page back matter [page with publisher’s >Édition Russe de Musique / (S. et N. Koussewitzky) / Boosey & Hawkes< advertisement > Serge Prokofieff< production data >No. 454<]; title head >SYMPHONIES / OF WIND INSTRUMENTS<; dedication above title head centre centred italic > To the memory of / Claude Achille DEBUSSY<; author specified 1st page of the score unpaginated [S. 1] below title head flush right centred >Igor STRAWINSKY / 1920. revised 1947<; legal reservations 1st page of the score below type area flush left partly in italics > Copyright 1926 by Édition Russe de Musique / Revised version Copyright 1952 by Boosey & Hawkes, Inc., New York U.S.A.< flush right italic > All rights reserved for all countries<; plate number >B. & H. 17144<; production indication 1st page of the score below type area above legal reservation flush right >Printed in England<; without end marks) / (1952)
* In French, compositions are advertised in two columns without edition numbers and without price informations > Piano seul° / Trois Mouvements de Pétrouchka / Suite de Pétrouchka ( Th. Szántó) / Marche chinoise de “ Rossignol ” / Sonate pour piano* / Ouverture de “ Mavra ” / Serenade en la / Symphonie*°° pour°° instruments à vent / Octuor pour instruments à vent / Partitions pour piano°* / Le Chant du Rossignol / Apollon Musagète / Le Baiser de la Fée / Orpheus / Piano à quatre mains° / Le* Sacre du Printemps / Pétrouchka / Deux Pianos à quatre mains° / Concerto pour piano* / Capriccio pour piano* et orchestre / Chant et piano°* / Deux Poésies de Balmont / Trois Poésies de la lyrique japonaise / Trois petites chansons / Chanson de Paracha de “ Mavra ” / Introduction, chant du pêcheur, air du rossignol / Choeur°* / Ave Maria (a cappella) / Credo (a cappella) / Pater noster (a cappella) // Partitions pour chant et piano* / Rossignol. Conte lyrique en 3 actes / Mavra. Opéra bouffe en 1 acte / Œdipus Rex. Opéra-oratorio en 1 acte* / Symphonie de Psaumes / Perséphone / Violon et Piano°* / Suite d’après Pergolesi / Duo Concertant / Airs du Rossignol / Danse Russe / Divertimento / Suite Italienne / Chanson Russe / Violoncelle et Piano°* / Suite Italienne ( Piatigorsky) / Musique de Chambre° / Trois pièces pour quatuor à cordes / Octuor pour instruments à vent / Partitions de poche° / Suite de Pulcinella / Symphonies pour°° instruments à vent / Concerto pour piano* / Chant du Rossignol / Pétrouchka. Ballet / Sacre* du Printemps / Le Baiser de la Fée / Apollon Musagète / Œdipus Rex* / Perséphone / Capriccio* / Divertimento / Quatre Études pour orchestre / Symphonie de Psaumes / Trois pièces pour quatuor à cordes / Octuor pour instruments à vent / Concerto en ré pour orchestre à cordes< [* different spelling original; ° centre centred; °° original spelling]. The following places of printing are listed: London-New York-Sydney-Toronto-Cape Town-Paris-Buenos Aires<.
The copy in Strawinsky’s estate, coming from the possession of Robert Craft, is signed, dated and dedicated in black flush right on the upper half of the outer title page >To Bob (Craft) / with love / IStr/°52< [° slash original] , but otherwise contains no further entries.
The copy is signed and dated in blue flush right on the upper part of the outer title page >IStr / Palermo / Nov I963< , and there is a price statement >$2.50< stamped above the entry. There are no further entries.
There is a third copy from the estate which contains no entries, but which has an oval stamp from Boosey & Hawkes in London on the outer title page with the words >HIRE LIBRARY< in red in the centre, whilst on the upper half of the page on the far right in black, there is an >N Y<, and underneath this in red a >#< with a thicker line next to it.
36-4 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / SYMPHONIES / OF WIND INSTRUMENTS^ / BOOSEY & HAWKES / No. 672 // HAWKES POCKET SCORES / IGOR STRAWINSKY / SYMPHONIES / OF WIND INSTRUMENTS / Revised 1947 version/ BOOSEY & HAWKES / MUSIC PUBLISHERS LIMITED / LONDON · PARIS · BONN · JOHANNESBURG · SYDNEY · TORONTO · NEW YORK / NET PRICE / MADE IN ENGLAND // (Pocket score stapled 13.5 x 18.7 (4°); 35  pages + 4 cover pages stapled dark green on beige [front cover title with frame 9,4 x 3,7 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 data >No. 582< [#] >6.50<] + 4 pages front matter [title page, empty page, legend >Instrumentation< Italian + duration data [12’] English, empty page] + 1 page back matter [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<]; title head >SYMPHONIES / OF WIND INSTRUMENTS<; dedication above title head centre centred italic > To the memory of / Claude Achille DEBUSSY<; author specified 1st page of the score unpaginated [S. 1] below title head flush right centred >Igor STRAWINSKY / 1920, revised 1947 <; legal reservations 1st page of the score below type area flush left partly in italics > Copyright 1926 byÉdition Russe de Musique / Revised version Copyright 1952 by Boosey & Hawkes Inc., New York U.S.A.< flush right italic > All rights reserved for all countries<; plate number >B. & H. 17144<; end number p. 35 flush left >11·52 L. & B.<; production indications 1st page of the score below type area above Rechtsvermerk flush right >Printed in England< p. 35 flush right as end mark >Lowe and Brydone (Printers) Limited, London<) / (1952)
^ ^ = Text in frame.
* Compositions are advertised in three columns without edition numbers from >BÉLA 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 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<, among them >IGOR STRAWINSKY<. The order of the places of printing is London-New York-Toronto-Sydney-Capetown-Buenos Aires-Paris-Bonn.
The copy from Stravinsky’s estate is signed on the outer title page above the frame on the right before the edge >IStr<. The copy contains no further entries.
36-456 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / SYMPHONIES / OF WIND INSTRUMENTS^ / BOOSEY & HAWKES / No. 672 // HAWKES POCKET SCORES / IGOR STRAWINSKY / SYMPHONIES / OF WIND INSTRUMENTS / Revised 1947 version/ BOOSEY & HAWKES / LTD. / LONDON · PARIS · BONN · CAPETOWN · SYDNEY · TORONTO · BUENOS AIRES · NEW YORK / NET PRICE / MADE IN ENGLAND // (Pocket score stapled 13.7 x 18.7 (4°); 35  pages + 4 cover pages stapled dark green on beige [front cover title with frame 9.5 x 3.7 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 Pocket Scores<* production data >N0 782< [#] >I/56<] + 4 pages front matter [title page, empty page, legend >Instrumentation< Italian + duration data [12’] English, empty page] + 1 page back matter [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<]; title head >SYMPHONIES / OF WIND INSTRUMENTS<; dedication above title head centre centred italic > To the memory of / Claude Achille DEBUSSY<; author specified 1st page of the score unpaginated [S. 1] below title head flush right centred >Igor STRAWINSKY / 1920, revised 1947 <; legal reservations 1st page of the score below type area flush left partly in italics > Copyright 1926 byÉdition Russe de Musique / Revised version Copyright 1952 by Boosey & Hawkes Inc., New York. U.S.A.< flush right italic > All rights reserved for all countries<; plate number >B. & H. 17144<; end number p. 35 flush left >11 56 L & B<; production indications 1st page of the score below type area above legal reservation flush right >Printed in England< p. 35 flush right as end mark >Lowe and Brydone (Printers) Limited, London<) / (1956)
^ ^ =Text in frame.
* Compositions are advertised in two columns with edition number from >Béla Bartók< to >Ralph Vaughan Williams<, amongst these >Igor Strawinsky / 610 Capriccio ( RevisedI949 Edition) / 611 Apollon Musagète ( RevisedI947) Edition) / 630 Octet for Wind Instruments / [#] ( RevisedI952 Edition) / 632 Pulcinella Suite ( Revised1949 Edition) / 637 Symphony of Psalms / 638 The Rite of Spring ( RevisedI947 Edition) / 639 Pétrouchka ( RevisedI947 Edition) / 640 Orpheus / 65I Œdipus Rex ( RevisedI948 Edition) / 652 Perséphone / 655 Mass / 666 Cantata / 672 Symphonies of Wind Instruments / [#] ( RevisedI947 Edition) / 679 The Fairy’s Kiss / 682 Septet (I953) / 688 In Memoriam Dylan Thomas (I954)<. After London t he following places of printing are listed: Paris-Bonn-Capetown-Buenos Aires-Sydney-Toronto-New York. The production data number is so smudged in the available copies as to make it almost illegible.
** 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<, among them >IGOR STRAWINSKY<. The order of the places of printing is London-Paris-Bonn-Capetown-Sydney-Toronto-New York.
36-464 HAWKES POCKET SCORES / ^IGOR STRAWINSKY / SYMPHONIES / OF WIND INSTRUMENTS^ / BOOSEY & HAWKES / No. 672 // HAWKES POCKET SCORES / IGOR STRAWINSKY / SYMPHONIES / OF WIND INSTRUMENTS / Revised 1947 version/ BOOSEY & HAWKES / LTD. / LONDON · NEW YORK · TORONTO · SYDNEY · CAPETOWN · PARIS · BONN / NET PRICE / MADE IN ENGLAND // (Pocket score stapled 13.7 x 19 (4°); 35  pages + 4 cover pages stapled dark green on beige [front cover title with frame 9.5 x 3.7 beige on dark green, 2 empty pages, page with publisher’s advertisements >HAWKES POCKET SCORES / An extensive library of miniature scores containing both classical / and a representative collection of outstanding modern compositions<* production data >No. I6< [#] >I/6I<] + 4 pages front matter [title page, empty page, legend >Instrumentation< Italian + duration data [12’] English, empty page] + 1 page back matter [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<]; title head >SYMPHONIES / OF WIND INSTRUMENTS<; dedication above title head centre centred italic > To the memory of / Claude Achille DEBUSSY<; author specified 1st page of the score unpaginated [S. 1] below title head flush right centred >Igor STRAWINSKY / 1920, revised 1947 <; legal reservations 1st page of the score below type area flush left partly in italics > Copyright 1926 byÉdition Russe de Musique / Revised version Copyright 1952 by Boosey & Hawkes Inc., New York. U.S.A.< flush right italic > All rights reserved for all countries<; plate number >B. & H. 17144<; end number p. 35 flush left >10. 64. E.<; production indications 1st page of the score below type area above Rechtsvermerk flush right >Printed in England< p. 35 flush right as end mark >Lowe and Brydone (Printers) Limited, London<) / (1964)
^ ^ = Text in frame.
° The title page looks somewhat washed-out and appears darker.
* Compositions are advertised in three columns without edition numbers from >Bach, Johann Sebastian< to >Wagner, Richard<, amongst Strawinsky-Werken >Stravinsky, Igor / Agon / Canticum Sacrum / Le Sacre du Printemps / Monumentum / Movements / Oedipus Rex / Pétrouchka / Symphonie de Psaumes / Threni<. After London t he following places of printing are listed: Paris-Bonn-Johannesburg-Sydney-Toronto-New York.
** Classical editions from >J. S. Bach< to >Weber< are listed without specification of places of printing 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<, among them >IGOR STRAWINSKY<.
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