K57 Богороднце Дђво
для церковнаго обихода – Ave Maria pour chœur mixte a cappella – Ave Maria für [vierstimmig] gemischten Chor a cappella – Ave Maria for mixed choir a cappella – Ave Maria per coro misto [a quattro voci] a cappella
Text: The ‘Ave Maria’ is the incipit of the ‘Angel’s Greeting’ which developed on several levels, and which was recorded in its extended version of 1568 into the Breviery Pope Pius V. and has its liturgical place in the Tridentine rite in the Office. In the Latin version, the Ave Maria is in three parts and is made up of the English greeting of the Archangel Gabriel in the New Testament according to Luke 1,28, ‘Ave Maria, gratia plena: Dominus tecum: benedicta tu in mulieribus’; the continuation is from the greeting by her kinswoman Elisabeth according to Luke 1,42 ‘et benedictus fructus ventris tui’ and an additional prayer of Jesus was added later ‘Sancta Maria, Mater Dei, ora pro nobis pecccatoribus, nunc et in hora mortis nostrae. Amen.’ In the Eastern Church, the Church’s supplicatory prayer was not taken on. In this case, the Ave Maria ends after Elisabeth’s greeting*.
Outside the liturgy, the ‘Ave Maria’ held a broad symbolism for the piety of the people (rosary prayer) since the end of the Middle Ages, and has always been a subject of one- and many-part settings up to the present day, both inside and outside the cult of the Virgin Mary and especially in the Byzantine and Roman Catholic Church. Other than in the Office, the Ave Maria, as a free sung work, has no liturgical function in the Mass. It appears in Marian masses inside the Proper and here only in the evangelically delivered pre-Tridentine version of the text according to Luke as a versus allelujaticus (Angel’s greeting) or as the Offertory (Angel’s greeting with Elizabeth’s greeting). For the given reason, it does not exclude a choral insertion, which is not liturgically specified and free, such as the accompanied song (Communion) or a community song with a Marian text, and is thus able to be included in many ways.
* The German translation in the accompanying booklet of the Strawinsky edition CD is a free translation which does not correspond to the official Tridentine theological translation.In the Catholic practice, the Archangel’s greeting, Elizabeth’s greeting and the supplication become a single unit. The Eastern church has strongly opposed the Gospel according to Luke. Incidentally, the same proves right for the Gregorian Choral, the existence of which goes back to 1568. As a result, Strawinsky had to add in music for the invocation including the “Amen” when he years later rewrote the Russian “Ave Maria” in Latin, because it would otherwise not have made liturgical sense.
Sung text: >Ave Maria, gratia plena, Dominus tecum. Benedicta tu in mulieribus, et benedictus fructus ventris tui, Iesus. Sancta Maria, Mater Dei, ora pro nobis peccatoribus nunc et in hora mortis nostrae. Amen.< [Hail Mary, full of grace, the Lord is with thee. Blessed art thou among women, and blessed is the fruit of thy womb, Jesus. Holy Mary, Mother of God, pray for us sinners, now and in the hour of our death. Amen.<]
Construction: The work is a short a cappella four-part choral work at a length of 21 bars (in the ancient Slavonic version) and 36 bars* (Latin version) which is metrically defined by the declamation and which changes between 3/4 and 2/4 bars; it is in D Phrygian (Old Slavonic version) or E Phrygian (Latin version) without a sung Amen in the Old Slavonic version but with one in the Latin version; a piano score is given with the choral scores of the Latin version which is only for the purposes of coaching the singers and which may not be played with the performance.
*The upbeat is counted as a whole bar and there is no corresponding bar at the end.
a) Church-Slavonic version*
МЕДЛЕИИО [slow] [without metronome marking]
(20 bars + upbeat; d Phrygian)
b) Latin version
Crotchet = 72
(35 bars + upbeat; e Phrygian)
Style: The Ave Maria is set syllabically with certain exceptions based on the text (the Greeting formula) and proceeds without a stronger melodic movement in a peaceful flow of chords; it uses the style of choral language treatment of Byzantine recited church music which also remains in the Latin version. The severity of the Pater noster, like that of the Credo setting, is renounced however. The motet avoids the use of piquant harmony and apparently functions with great simplicity in its progression in a manner both solemn and contemplative at the same time. The A-B form of the text is not referred to compositionally; the congruent content of the text is stated structurally through the use of identical declamatory formulae. Strawinsky especially employs this method in the Latin version, which extends the Church-Slavonic text for the supplicatory prayer to Maria.
Comparative analyses: Differences between the versions: since the Latin version of the prayer is about one and a half as long as the original prayer because it incorporates the Church prayer which is missing in the Church Slavonic version, and also contains an additional Amen which Strawinsky composed later, increasing the original length of 21 bars by 15 to 36. At the same time, Strawinsky raised the Latin version by a whole tone from d Phrygian to e Phrygian, which corresponds to the Middle-Aged theory for the identification of the Phrygian mode, as the same mode on e the same second church mode and the same Deuterus. The supplicatory prayer in the Latin version changes the A-B form of the text of the Church-Slavonic original version into an A-B-C form. The cantabile declamatory formulae of the additionally composed third section are predominantly taken from those of the previous sections and together they create units of meaning. These make the simple Ave Maria into a confession of faith, in that the third section bears the same theological expression of the two previous parts (A-B). The comparison of bars, formulae and text show the connections. A table makes it possible to see that the same musical figures suggest different textual inferences throughout in their manner of written construction. The new section begins with the name Jesus, textually a connecting point between sections B and C of the text, being simultaneously the final and first word, theologically the Alpha and Omega, the Beginning and the End, which were both embodied by Christ Jesus. In the formulae, it is the correspondence to ‘mulieribus’. Christus’ is ‘ex Maria virgine’, out of the Virgin, born out of the Lady. The greeting Sanctus in bars 20-21 corresponds compositionally with the Archangel’s ‘Ave’ greeting in bars 2 and 3 and is identical in terms of notes in that he puts the musical figure of the Archangel Gabriel into the mouth of the sister-in-law Elisabeth at her greeting of Maria, and he therewith transforms the simple lady into a seer as if through the mouth of the angel speaks God Father. Bar 22 takes the figure from bar 4. At both points, Maria is being referred to. The text of bars 5-7, which are identical to bars 23 and 25, informs us that Maria is ‘full of grace’. Bar 26 contains the supplicatory cry ‘ora’. It corresponds with the figure in bar 8, in which the word ‘Dominus’ appears, since to whom else other than to the Lord should Mary pray? Bar 27, which corresponds formally to bar 9, brings the intended order. The ‘ora pro nobis’ is the aim of the prayer, the ‘tecum’ serves as the identification of the immediate reliability of God. Maria, with whom God is, must pray for us as our advocate to God. Bars 28 and 29 are added on and have no relationship to the previous section. They concern sins and the concepts of here and today. Both of these bear no relationship in terms of content to the Good News of the angel and Elisabeth, to whom Mary subsequently intones the Magnificat. Between ‘peccatoribus’ and ‘nunc’ however, Strawinsky inserts a bar change which remains until the ‘Amen’ and creates a unit of meaning itself. The ‘et’ in bar 30 aims towards the ‘tui’ in bar 18. Again, Maria is referred to here, to whom the plea for help is directed. No musical figure from the previous section is given for the word describing the temporal element in bar 31 ‘hora’. The hour of death is a defined act in time, being completed on the Earth, which firstly has nothing to do with the angel’s proclamation, which stretches forward into eternity. On the other hand, Strawinsky uses the free bars 29-31 not derived from the form to demonstrate his meaning of Death in the Christian paradoxical sense, literally as Resurrection. In bar 32, the formula for ‘tui’ in bar 18 appears again, likewise in bars 33 and 34 the figure from bar 12 for ‘mulieribus’ is also used as the motif for Jesus in bar 19. The expression is therefore unambiguous. Christ is born out of Mary, Christ dies in Jesus and returns to the company of Saints, as they see it in the cult of Mary. The death of Christ is death on the Cross which each Christ takes on himself and has Christ to follow with him. In order to make this into visual music, Strawinsky uses the non-motifically derived free bars 29 and 31 in order to create a chiasmus in the meaning of bars 29-34 in the soprano, which is one of the cross figures from baroque theory of figures, and with which Christ and his death of redemption is suggested. The final Amen in bars 35 and 36 is related in terms of meaning the confirmation of what has been heard (Amen = French ‘Ainsi soit’il’ = it is so) and is freely composed with its own meter, creating a clear A major out of the Phrygian church tone.
In his letter to Craft dated 22th March 1949, he explained that he had made just one final Latin version of the Pater noster and Ave Maria. Both manuscripts were in the meanwhile at Boosey & Hawkes. It sounds as if he had been long engaged with the problems of the dislocation of accents and the elucidation of the meaning through the use of corresponding motific formulae.
Bar Formula Text
1 = 1 A
2 = 2 -
3 = 3 ve
4 = 4 Maria
5 = 5 gra
6 = 6 tia
7 = 7 plena
8 = 8 Domi
9 = 9 nus tecum
10 = 10 benedicta
11 = 11 in muli
12 = 12 eribus
13 = 10 et benedic
14 = 14 -
15 = 15 tus
16 = 16 fructus
17 = 17 ventris
18 = 18 tui
19 = 12 1Jesus
20 = 2 San
21 = 3 cta
22 = 4 Maria
23 = 5/6 ma
24 = 6 ter
25 = 7 Dei
26 = 8 ora
27 = 9 pro nobis
28 = - peccatoribus
29 = - nunc
30 = 18 1et in
31 = - hora
32 = 18 mortis
33 = 12 1nos
34 = 12 2trae
35 = - Amen
36 = - [men]
Dedication: no dedication known.
Duration: between 1' 23" ( Church-Slavonic version ) and just under 2‘ (Latin version).
Date of origin: Church-Slavonic version : [22nd March up to] 4th April 1934; Latin version: [February]March 1949.
First performance: Pater Noster, Credo and Ave Maria were premièred under Strawinsky’s baton at a memorial concert to the memory of the American composer, Blaire Fairchild, who died on 23rd April 1933 in Paris, on 18th May 1934, in the Salle Gaveau in Paris under the joint title ‘Trois Chants d’église’.
Remarks: The date of composition, 4th April 1934, arose from the date given in Russian ИГОРЬ СТРАВИНСКIЙ / Великая Среда 1934 / 22 Марта / 4 Апрђля of the first edition of 1934, which is also in the manuscript. Whether Strawinsky really wrote the motet in one day, as is sometimes claimed, is doubtful due to its well considered theological expression of symbolic meaning by means of corresponding motific figures, so that it is easier to see the date given as the date of the work’s completion. It can furthermore be assumed that the time of completion was connected with the intention of a performance. On 23rd April 1933, the distinguished American composer Blaire Fairchild, who was also the adoptive father of Samuel Dushkin, died in Paris,. There was a memorial concert in his memory in 1934 in the Salle Gaveau at which Strawinsky conducted all three a cappella motets. The motet was probably composed with this performance in mind.
Versions: The Ave Maria was published in 1934 by the Russian Music Publishers in Berlin. The year of printing in the original edition, which was printed in France, is given as 1933; since Strawinsky completed the work on 4th April 1934 however, the date in the printed version must be false, something which is normally encountered in certain other editions of that year. There were obviously two versions of the identical printed material. The first, certainly the original version, bears neither copyright mark nor legal reservation, while the parallel version, if it might be referred to as such, contains overprinted copyright and rights reservation marks with the year 1934. The commercial result was disappointing. The publishing house sold only 405 copies worldwide between 1934 and 1938, a number which belies the actual (non-)success because 212, i.e. more than half of the motets sold, were sold in the United States in 1937 for performance purposes. This is the same year in which a record number of 55 copies of the Credo was registered in the sales figures of the time. Boosey & Hawkes reprinted the version in 1967. After the completion of the Latin version in March 1949, there was an American print run of the same year by Boosey & Hawkes in New York, and a year later, an English print run by Boosey & Hawkes in London and presumably as a result of the large inquiry in Germany, a German special print run with an identical production number by Boosey & Hawkes in Bonn. Strawinsky made the Latin version recognizable in his documents by a sketched large Latin Passion cross, and the Church Slavonic version with its own cross form made up of a Latin cross with a diagonal line from above to below proceeding with smaller beam. It is notable at this point that he did not choose the classic Russian Cross for the Church-Slavonic version. According to Deutsche Bücherei in Leipzig the Whintrop score (57-5) was published in two editions during Strawinsky`s lifetime. The 1st is with 1953 dated (Hofmeister: 1951), the 2nd is not dated (probably 1959), the 3rd is dated 1972, hence produced after his death.
Historical Recording: New York April 1949 with the choir of the Church of the Blessed Sacrament [Latin version 1949] under the direction of Igor Strawinsky; Toronto 7th/8th May 1964 with the Festival Singers of Toronto, trained by Elmer Iseler [Church-Slavonic original version] under the direction of Igor Strawinsky.
CD edition: XI-1/8 (Church-Slavonic original version recording 1964*).
* The accompanying booklet of the CD prints the Latin not the Church Slavonic, but the Church-Slavonic original version is sung and not, as is suggested, the Latin Version.
Autograph: Neat copies of both versions are kept in the Paul Sacher Stiftung in Basel.
Copyright: 1934 original version by Russischer Musikverlag Berlin; 1949 new version by Boosey & Hawkes.
57-1 1934 Chp Church Slavonic; without Copyright; Russ. Musikverlag Berlin; 3 pp.; R.M.V. 582.
57-2 1934 Chp Church Slavonic; with Copyright; Russischer Musikverlag Berlin; 3 pp.; R.M.V. 582.
57-3 1949 Chp Latin, American edition; Boosey & Hawkes New York; 4 pp.; – .
57-4 1950 Chp Latin, English edition; Boosey & Hawkes London; 4 pp.; B. & H. 16973.
57-5  Chp Latin, German edition; Boosey & Hawkes Bonn; 4 pp.; B. & H. 16973.
57-6 1967 Chp Church Slavonic; Boosey & Hawkes London; 4 pp.; B. & H. 19594.
b) Characteristic features
57-1 ИГОРЬ СТРАВИНСКЇЙ / Бцде Двђо / для / церковнагщ обихода / [vignette] / россійское / музыкальное издательство // IGOR STRAWINSKY / AVE MARIA / pour chœur mixte a capella / Prix: RM 1. = / Frs. 1. =* / ÉDITION 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 – XXXIII / [°°] // (Choral score [library binding] 18.2 x 27.1 (8° [Lex. 8°]); 3  pages + 4 cover pages thin cardboard in ornamental letters in old Russian red-black on white-yellow [front cover title in an ornamental frame with very distorted fancy lettering*** and a vignette 2 x 2 of the Maltese Cross with convex ends, 3 empty pages] + 1 page front matter [empty page] + 1 page back matter [table of French pronunciation of Latin transliteration letters >Notice sur la transcription latine<]; title head >Богороднце Дђво<; 1. page of the score paginated p. 2; author specified [exclusively] in connection with end of score dated p. 3 centred >ИГОРЬ СТРАВИНСКIЙ / Великая Среда 1934 / 22 Марта / 4 Апрђля<; legal reservations 1. page of the score below type area flush left centred >Propriété de l’Editeur pour tous pays. / Edition Russe de Musique / Russischer Musikverlag G. m. b. H. Berlin.< flush right >TOUS DROITS D’EXÉCUTION, DE REPRODUCTION ET / D’ARRANGEMENTS RESERVÉS POUR TOUS PAYS.<; plate number >R. M. V. 582<; production indication p. 3 flush left >S.I.M.G. Asnières - Paris.< flush right as end mark >GRANDJEAN GRAV.<) // (1934)
° Dividing horizontal line of 0.8 cm.
°° The London copy >F.1594.l.(2.) <, which was bought on 1. August 1958, contains at the bottom of the page flush right a stamp >MAJORATION 400 %<.
* The currency units appear one directly above the other.
** G.M.B.H. is printed in smaller letters whereas B. and H. are printed below the G. and M.
*** Using accent signs; the initials of the two-part main title printed in red script.
57-2 ИГОРЬ СТРАВИНСКЇЙ / Бцде Двђо / для / церковнàгщ обихода / [vignette / россійское / музыкальное издательство // IGOR STRAWINSKY / AVE MARIA / pour chœur mixte a capella / Prix: RM. 1. = / Frs. 1. =** / ÉDITION 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 – XXXIII // (Choral score [library binding] 18.8 x 27.7 (8° [Lex. 8°]); 3  pages + 4 cover pages in ornamental letters in old Russian red-black on white-yellow [front cover title in an ornamental frame with very distorted fancy lettering*** and a vignette 2 x 2 of the Maltese Cross with convex ends, 3 empty pages] + 1 page front matter [empty page] + 1 page back matter [Table of French pronunciation of Latin transliteration letters >Notices sur la transcription latine<]; title head >Богороднце Дђво<; 1. page of the score paginated p. 2; author specified [exclusively] in connection with end of score dated p. 3 centred >ИГОРЬ СТРАВИНСКIЙ / Великая Среда 1934 / 22 Марта / 4 Апрђля<; legal reservations 1. page of the score below type area flush left centred >Propriété de l’Editeur pour tous pays. / Edition Russe de Musique / Russischer Musikverlag G. m. b. H. Berlin.< flush right >Copyright 1934 by / Russischer Musikverlag G. m. b. H. Berlin°< >TOUS DROITS D’EXÉCUTION, DE REPRODUCTION ET / D’ARRANGEMENTS RESERVÉS POUR TOUS PAYS.****<; plate number >R. M. V. 582<; production indication p. 3 flush left >S.I.M.G. Asnières-Paris.< flush right as end mark >GRANDJEAN GRAV.<) // (1934)
° stamped centred.
* G.M.B.H. is printed in smaller letters whereas B. and H. are printed below the G. and M.
** The currency units appear one directly above the other.
*** Using accent signs; the initials of the two-part main title printed in red script.
**** The Leipzig copy >9:5473< contains a stamp above the legal reservation >Copyright 1934 by / Russischer Musikverlag G. m. b H. Berlin<.
57-3 1832 [#] S. A. T. B. [#] 18c / AVE MARIA / New Version With Latin Text / by / IGOR STRAWINSKY / [*] / Boosey & Hawkes // (Choral score with piano only for rehearsal [piano part p. 2 piano part for rehearsal only [piano part preceding = preceding the 1st piano system on the first page:] >For / rehearsal / only<] [library binding] 7 x 26.2 (8° [Lex. 8°] ); sung text Latin; 4  pages + 1 page front matter [ornamental title page black on cream white flush left continuous band border 25.3 x 5 + at the bottom a succinctly running border 16.7 x 1.2 with singers’ heads with their mouths wide open**] without back matter; title head >AVE MARIA<; author specified 1. page of the score paginated p. 2 below title head flush right centred >IGOR STRAWINSKY / New version with Latin text<; legal reservations 1. page of the score below type area flush left >Copyright 1949 in U. S. A. by Boosey & Hawkes Inc., New York. / Copyright in all Countries.< flush right centred >All Rights Reserved / Tous Droits Reservés<; marked sheet pp. 3-4 below type area flush left >Ave Maria 3<; without plate number; production indication 1. page of the score below type area centre inside right >Printed in U.S.A.<; without end mark) // (1949)
* The London copy >E.335.o.(46.)< (legal deposite blue 16.12. 49) has a stamp from left diagonally upwards at this point >MUSIC FOR COPYRIGHT PURPOSES ONLY<.
** The standard decorative page for all editions in this series.
57-4 WINTHTROP ROGERS / CHURCH CHORAL SERIES / [°] / [#] Price / 8. [#*] / [asterisk] 28. AVE MARIA (New version with Latin text).† / [#] S.A.T.B. I. Strawinsky5 d. / 29. PATER NOSTER (New version with Latin text).† / S.A.T.B. [#I. I. Strawinsky6 d. / [#**] / † Old notation only.*** / Boosey & Hawkes / Limited / 295 Regent Street, London, W. 1 / New York · Chicago · Los Angeles · Paris / Buenos Aires · Toronto · Capetown · Sydney · Bonn°° / ****No. 581 [#] 5.50 // (Choral score 17.7 x 25.6 (8° [Lex. 8°] ); sung text Latin; 4  pages without cover + 1 page front matter [title page] without back matter; piano part only for rehearsal [piano part preceding = preceding the 1st piano system on the first page:] >For / rehearsal / only<]; title head >AVE MARIA<; author specified 1. page of the score paginated p. 2 below title head flush right centred >IGOR STRAWINSKY / New version with Latin text<; legal reservations 1. page of the score below type area flush left >Copyright 1949 in U. S. A. by Boosey & Hawkes Inc., New York. / Copyright in all Countries.< / [centre partly in italics] > Sole Selling Agents:Boosey & Hawkes, Ltd., 295 Regent Street, London, W.1< / flush left >All Rights Reserved< [#] [changed] list of branches] centre italic > New York · Chicago · Los Angeles · Buenos Aires · Toronto · Sydney · Capetown · Paris · Bonn<°° [#] [production indication flush right] >Printed in England<; registration requirement p. 4 below type area centre justified text in a frame >Please include full details of title, composer and publisher of this work on THE / PERFORMING RIGHT SOCIETY'S returns whenever it is publicly performed.<; plate number >B. & H. 16973<; end number p. 4 flush right as end mark >6. 50. E<) // (1950)
° A three-part ornament was subsequently bound into the bundle 1.2 x 0.4 in form of diamond stars.
°° The dots appearing in between the city names are superscript.
* P age is also a series index beginning with number 8 and ending with number 31.
** Index 30-31.
*** Annotation below index centre.
**** Production data outside the border.
57-5 Winthrop Rogers / Church Choral Series / Nr. 28 / [#*] / Igor Strawinsky/ Ave Maria / für 4-stimmigen gemischten Chor / a cappella / Boosey & Hawkes // (Choral score 17.9 x 25.9 (8° [Lex. 8°] ) with piano part only for rehearsal >(nur zum / Einüben)<*; 4  pages + 1 page front matter [title page] without back matter; sung text Latin; title head >AVE MARIA<; author specified 1. page of the score paginated p. 2 below title head flush right centred >IGOR STRAWINSKY / Neufassung with lat. Text<; legal reservation 1. page of the score below type area flush left >Copyright 1949 in U.S.A. by Boosey & Hawkes Inc., New York. / Copyright in all Countries. / All Rights reserved<; production indication 1. page of the score below type area below plate number flush right >Printed in Germany<; plate number >B. & H. 16973<; without end marks) // 
* Dividing horizontal line of 1.3 cm.
** As a note before the piano system.
57-6 Igor Stravinsky / Богороднце Дђво / Ave Maria / (Church Slavonic Version) / S.A.T B. a cappella / Boosey & Hawkes // (Choral score [library binding] 18.5 x 26 (8° [Lex. 8°] ); sung text in Church Slavonic with a transliteration for English speakers alongside it ; 4  pages without cover + 1 page front matter [title page] + 1 page back matter [page with publisher’s advertisements >Igor Stravinsky<* production data >No. 40< [#] >7.65<]; author specified 1. page of the score paginated p. 2 below title head flush right centred >IGOR STRAVINSKY / 1934<; legal reservations 1. page of the score below type area flush left >Copyright 1934 by Edition Russe de Musique / Copyright assigned 1947 to Boosey & Hawkes Inc. / for all countries< flush right >All rights reserved / Tonsättning förbjudes<; plate number >B. & H. 19594<; production indication p. 2 below type area below legal reservation flush right >Printed in England<; end of score dated last page of the score unpaginated [p. 3] centred >ИГОРЬ СТРАВИНСКIЙ / Великая Среда 1934 / 22 Марта / 4 Апрђля< ) // (1967)
* Compositions are advertised in two columns without edition numbers, without price informations and without specification of places of printing >Operas and Ballets° / Agon [#] Apollon musagète / Le baiser de la fée [#] Le rossignol / Mavra [#] Oedipus rex / Orpheus [#] Perséphone / Pétrouchka [#] Pulcinella / The flood [#] The rake’s progress / The rite of spring° / Symphonic Works° / Abraham and Isaac [#] Capriccio pour piano et orchestre / Concerto en ré (Bâle) [#] Concerto pour piano et orchestre / [#] d’harmonie / Divertimento [#] Greetings°° prelude / Le chant du rossignol [#] Monumentum / Movements for piano and orchestra [#] Quatre études pour orchestre / Suite from Pulcinella [#] Symphonies of wind instruments / Trois petites chansons [#] Two poems and three Japanese lyrics / Two poems of Verlaine [#] Variations in memoriam Aldous Huxley / Instrumental Music° / Double canon [#] Duo concertant / string quartet [#] violin and piano / Epitaphium [#] In memoriam Dylan Thomas / flute, clarinet and harp [#] tenor, string quartet and 4 trombones / Elegy for J.F.K. [#] Octet for wind instruments / mezzo-soprano or baritone [#] flute, clarinet, 2 bassoons, 2 trumpets and / and 3 clarinets [#] 2 trombones / Septet [#] Sérénade en la / clarinet, horn, bassoon, piano, violin, viola [#] piano / and violoncello [#] / Sonate pour piano [#] Three pieces for string quartet / piano [#] string quartet / Three songs from William Shakespeare° / mezzo-soprano, flute, clarinet and viola° / Songs and Song Cycles° / Trois petites chansons [#] Two poems and three Japanese lyrics / Two poems of Verlaine° / Choral Works° / Anthem [#] A sermon, a narrative, and a prayer / Ave Maria [#] Cantata / Canticum Sacrum [#] Credo / J. S. Bach: Choral-Variationen [#] Introitus in memoriam T. S. Eliot / Mass [#] Pater noster / Symphony of psalms [#] Threni / Tres sacrae cantiones°< [° centre centred; °° original mistake in the title].
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