K2 Фавнъ и пастушка
Сюита для пђнія съ оркестромъ. Текст А. Пушкина. Соч. 2 - Le Faune et la Bergère. Suite de chansons pour une vois et orchestre, Op. 2 - Faun und Schäferin. Liederzyklus für Mezzosopran und Orchester nach drei Gedichten von Alexander Puschkin, Op. 2 - Faun and shepherdess. Song suite for mezzo-soprano and orchestra, Op. 2 – Il Fauno e la Pastorella. Ciclo per mezzosoprano ed orchestra su tre poesie di Poushkine, op. 2
Scored for*: a) First edition (nomenclature according to score): Flauto Picc., 2 Flauti, 2 Oboi, 2 Clarinetti in B (A), 2 Fagotti, 4 Corni in F, 2 Trombe in B (A), Timpani, Piatti e Gran Cassa, Canto Mezzosoprano, Violini I, Violini II, Viole, Contrebassi [Piccolo Flute, 2 flutes, 2 oboes, 2 clarinets in B (A), 2 bassoons, 4 horns in F, 2 trumpets in B (A), 3 trombones, 1 tuba, timpani, Cymbals, Bass drum, Violins I, Violins II, Violas, Violoncellos, Double basses]; b) Performance requirements: Piccolo Flute, 2 Grand Flutes, 2 Oboes, 2 Clarinets in A, 2 Clarinets in B, 2 Bassoons, 4 Horns in F, 2 Trumpets in A, 2 Trumpets in B, 3 Trombones, Timpani, Percussion (Cymbals, Bass drum), Strings (1st Violins**, 2nd Violins**, Violas**, Violoncellos**, Double basses).
* Individual forces allotted to the piece.
** Divided in two.
Summary: The young shepherdess Lila is lovesick. She wanders alone through the woods and at night dreams of Cupid, who grants her wish that she may be loved by Philo (1). Hiding in the dense grass is the deformed Faun, the terror of all girls and women, who fear, mock and revile him all at the same time. Love’s suffering has made him bitter, angry and envious, and when morning comes, he hurries home and laments his lovelorn anguish in floods of tears (2). Lila has returned to the forest in order to abandon herself to her dreams in the darkness of night. Suddenly the sylvan god stands before her. She flees, but he pursues her. She runs as fast as she can, gradually losing her clothes as she tries to escape. Shortly before the Faun can catch her up, she reaches the river, which, ‘ready to help’, opens up to her. Death brings her release and liberation (3).
Source: Strawinsky selected the text for his three-part suite from an eight-part cycle of poems by Alexander Pushkin, Фавн и Пастушка. Картины, Faun and Shepherdess: Pictures, which is believed to date from 1816 and is thus one of the poet’s early works from the period between 1813 and 1817. By concentrating on strophes I, II and IV, Strawinsky not only stripped his source of its powerful eroticism and malicious irony but gave the text a meaning absent from the original. Here the Shepherdess is depicted as a feather-brained creature whom ultimately no one – not even the Faun – wants to have any longer. In Pushkin, the Shepherdess is rescued from the river. She gives herself to her lover but is very soon unfaithful to him and finally goes to the bad, while the Faun finds consolation, wisdom and peace of mind in wine.
Pushkin’s original: Pushkin depicts the story of the relationship between a love-hungry Fawn and a beautiful Shepherdess in 8 through-numbered scenes of varying length. Full of longing for love, the 15-year-old Shepherdess Lila roams through the forest and dreams of the embraces of her beloved, Philon (I). She meets with him in Amor's grotto (II). The Fawn, whom all the girls are afraid of, tease and spurn, and who is in love with Lila, learns of this (III). Again, Lila runs through the forest. This time she is followed by the jealous Fawn. She runs away from him until she reaches a river, which she plunges into, thus managing to free herself at the last minute from the Fawn (IV). The gods of Love rescue her and bring her to Philon (V). The lovesick Fawn meets a satyr, who is carrying a jug of wine with him. He laughs at the Fawn and his unhappy love and advises him to drink wine instead of falling in love. The Fawn follows his advice, and has already forgotten his love after the first glass (VI). Lila has her Philon again; she however does not remain faithful to him and gives herself to many people. The poet Pushkin encourages her in this, as long as it still works for her (VII). Lila has grown old and unattractive. Philon is lost to her. Once again, she goes through the forest and comes across the Fawn whom she had previously rejected, lying under a linden tree and drinking. She now offers herself to him and attempts to seduce him, but as Pushkin relates, he only shakes his head. He has found peace because, as he explains to Lila, there is a time for love and a time for wisdom (VIII). Here ends the cycle of scenes.
Pushkin and Strawinsky: Pushkin's Lila is a beautiful nymphomaniac looking for a lover, who dislikes the Fawn because he's ugly. It is only for this reason that she jumps into the river and not in order to safeguard her virtue. In Strawinsky's version, there remains nothing of the superior scorn, of the poet's words of advice, of the lust of the Shepherdess, of the worldly wisdom of the Fawn, merry on wine, and the scarcely concealed erotic overtones; the only thing that remains is that he included the theme of striptease of the young woman as she gradually exposes herself in the franticness of her flight. Furthermore, Strawinsky turned Pushkin's socio-theatrical erotic tale into a highly moralistic narrative about the safeguarding of innocence at any price. That was a customisation which he could in any case appropriate to his newly wedded and very devout wife. Otherwise, it would have been tasteless to Russian eyes.
Translations: A. Komaroff (French); Heinrich Möller (German); no English translation was published during Strawinsky’s lifetime.
Construction: The suite is divided into three sections, each headed by an arabic numeral with changing instrumental forces: (1. Пастушка [Pastushka] – La Bergère – Die Schäferin – The Shepherdess; 2. Фавнъ [Favn] – Le Faune – Der Faun – The Faun; 3. Рђка [Reka] – Le Torrent – Der Fluß – The Torrent).
1. Пастушка (Pastushka) - La Bergère - Die Schäferin - The Shepherdess
Andantino Crotchet = 60 [B flat major (88 bars = figure 1 up to the end of figure 11)
[Scored for: 2 grande Flutes, 2 Oboes, 2 Clarinets in B, 2 Bassoons, 3 Horns in F, Strings (First and Second Violins and Violas divided in two)]
2. Фавнъ (Favn) - Le Faune - Der Faun - The Faun
[c minor / E flat major] (98 bars = figure 912 up to the end of figure 23)
Moderato Crotchet = 72 (figure 912 up to the end of figure 14)
Allegro moderato Quaver = quaver (figure 15 up to the end of figure 18)
Moderato Crotchet = 80 (figure 19 up to the end of figure 23)
[Scored for: Tutti (Clarinets and Trumpets in B, First Violins and Violas divided in two)]
3. Рђка (Reka) - Le Torrent - Der Fluß - The Torrent
[B major] (90 bars = figure 624 up to the end of figure 339)
Andante Crotchet = 69 (figure 624 up to the end of figure 24)
Allegro (doppio movimento) Crotchet = 138 (Figure 25 up to the end of figure 26)
Poco più tranquillo (figure 27 bis figure 339)
[Scored for: Tutti (Clarinets and Trumpets in A, First and Second Violins, Violas and Violoncellos divided in two)]
Vocal score 2-1
1.) p. 19, figure 331-4, 3. Song, Chant: Crotchet rest - dotted minim e2 | crotchet e2 - crotchet f1 – minim rest | quaver rest - crotchet f2 - quaver f2 - minim b1 tied to | crotchet b1 instead of dotted minim e2 - minim rest | crotchet e2 - crotchet a1 - minim rest | dotted crotchet f2 – quaver f2 - minim b1 tied to | crotchet b1.
2.) p. 19, figure 332-3, 3. Song Piano: Treble: two-note chord crotchet a1-a2 instead of crotchet a1- a#2; Bass: four-note chord crotchet f-g-c1-c1 instead of three-note chord crotchet f-a#-e1.
Full score 2-2
1. (p. 11) 2nd Song, figure 145: a >cresc< has to be added below system flutes, below system I. / II. horn, below system trumpets, between systems I./II. trombone and III. trombone tuba, above system timpani, in system cymbals (big drum), with bracket pointing to the left between system violins, below system violas, with bracket pointing to the left between system violoncelli/double basses. Figure 146 has to be removed. This shortens the figure 14 from 7 to 6 bars. (Pencil, not corrected in the vocal score).
2. (p. 15) 2nd Song: figure 186 has to be removed. This shortens the figure 18 from 6 to 5 bars. (Pencil, not corrected in the vocal score). The same applies to figure 193. This shortens the figure 19 from 10 to 9 bars. (Pencil, corrected in the vocal score). Figure 194: A rest has to be added after the last note of the Bassoon-solo and the Violoncellos.
3. (p. 26) 3rd Song, figure 2915 in front of legend: 2 # instead of 5 #.
4. (p. 29) 3rd Song, figure 32, singing voice: a dot has to be added to crotchet e2 (on ка). (Pencil, corrected in the vocal score).
5. (p. 31) 3rd Song, figure 33, singing voice: crotchet rest-dotted minim e2 instead of dotted minim e2-crotchet rest.
6. (p. 31) 3rd Song, figure 333 Piccolo flute: 2nd crotchet a1 instead of ais1; the same applies to the two great flutes (a2 instead of a#2), the two clarinets (c2 instead of c#2), the horns II and IV (e1 instead of e#1, the 1st violin (a2 instead of a#2), the 2nd violin (a1 instead of a#1), the viola (a1 instead of a#1), the violoncello a instead a#). Singing voice: Crotchet e2-g#1* instead of crotchet e2-a#1 (can also be read as f sharp. In the pencil correction of the vocal score there is an a1 = a sharp1 with a natural sign.
7. (p. 31) 3rd Song, figure 33: Bar 337 has to be removed. This shortens the figure 33 from 9 to 8 bars. (Not corrected in the vocal score).
Style: The work combines Wagnerian and Tchaikovskyan elements, with little trace any longer of Rimsky-Korsakov’s influence. Rather, links with Debussy are all the more noticeable. It was the numerous whole-tone sequences in particular to which Rimsky-Korsakov took offence.
The first song is made up of seven sections of text, and is set syllabically without any word repetition. There is a correspondence between the flow of the verse and the rhythm from emphasised and un-emphasised time. The rhythm is predominantly based on a one-bar and a two-bar framework. The two-bar framework appears 20 times and covers 40 of the 63 bars of the song. This contributes to the inner peace of the song along with the held two-crotchet bar. The harmonic tension proceeds in a simple arch form from B major to far-removed tonalities and then back to B major. The mezzo soprano register is used consistently, and the highest note appears only once for the sake of characterisation.
The second song likewise consists of seven sections of text, but it is constructed differently. The syllabic setting is kept throughout, with a single exception where the text is about the dwindling of darkness and the coming of the sun; there is however no correspondence between the flow of the verse and the rhythmic flow.
The number of rhythmic frameworks is higher, and the two-bar pattern, with an upbeat, appears only 13 times and also has a dotted note, which creates a sense of jiggling. The main key oscillates between C minor and E flat major. The mezzo soprano sings predominantly in the upper middle register, and, unlike in the first song, avoids the lower register. As a result of this style of expression, the song has a character of continuous unrest, which suggests the passion of the Fawn as well as the disturbance created by him.
The third song, which is made up of 10 sections of text, depicts the catastrophe. The Shepherdess and Fawn bump into each other, as a result of which, the contrasting figurative elements of the first two songs also crash together. When the Shepherdess appears, the rhythm and flow of the verse correspond with one another, but when the Fawn enters, the two are disturbed by irregularity. In terms of melodic formation, we can refer to a Shepherdess and a Fawn motif. The held 4/4 bar and the voice part in gentle wave movements, with which presumably the flowing movement of the water is characterised, create a unifying moment.
Dedication: >Посвящается / жен љ моей / ЕКАТЕРИНЉ ГАВРІИЛОВНЉ СТРАВИНСКОЙ.< [Dedicated / to my wife / EKATERINA GAWRILOWNA STRAWINSKY].
Duration: 2¢ 52¢¢ + 3¢ 18¢¢ + 3¢ 26¢¢.
Date of origin: In Imatra and St Petersburg in 1905 and 1906.
First performance: 16 February 1908 in St Petersburg at one of the Belayev Concerts conducted by Felix Blumenfeld. This public performance had been preceded by a private one on 14/27 April 1907, also in St Petersburg, with the St Petersburg Court Orchestra under the direction of Hugo Wahrlich.
Remarks: Any interpretation of the work’s musical and motivic imagery must necessarily take the Russian text as its starting point, rather than the translations of Komaroff and Möller, both of whom were required to take account of the syntactical rules of their respective languages, with the result that key words in the text now reappear elsewhere in the vocal line, thereby giving the superficial impression that in this early work the young Strawinsky lacked the means to delineate his characters through his music or, alternatively, that even at this early date he was already ignoring the sense of the words and setting them according to their syllabic value, as he was to do in his later vocal works.
Even in the first one-and-a-half lines of the suite, a contradiction arises between the music and the (in themselves good) German and French translations. Möller translates 'Wie Lilien erblühend, im Morgenrot erglühend, so strahlt die schöne Maid'. Where the word 'erblühend' appears in Möller's version, there is in the Russian original вес-но-ю; this point is therefore about happiness. Where the word 'Maid', which is now unsuitable in the compositional context, appears, Pushkin writes вц- | те- | тъ. He therefore has things bloom here. Strawinsky accordingly places the high point of the range of his cantilena on 'blühen', and emphasises this word additionally in relation to the preceding semiquavers with an extended minim note. The f in the voice part appears only at this point, and suggests the unique beauty of this blossoming. One encounters such inconsistencies throughout the suite, and they can be disentangled by referring back to the Russian original. Pushkin refers in the third song of his suite (Strawinsky song no.2) not to' hohem Farrenkraut' [high ferns], but to thick grass, in which the Fawn crouches in order to observe Lila. Strawinsky portrays this observation in a realistic way (bar 10 ff. = figure 12): the first ducking movement is marked by a downward step of a third, c-a, the movement of observing with an upward step of a fifth, f#-c#, and the diving down again more quickly and deeper from the previous observation into the grass by reversing the fifth, c#-f#, and the Fawn’s stretching up into his final, most favourable position for observation with an augmented fifth, the diminished sixth f#-d.
For Strawinsky, the Shepherdess symbolized innocence at peace with itself, while the Faun embodied the disruptive forces of unruly nature, and the river, finally, became the incarnation of a calmly flowing state of balance that is bound to resolve the conflict between the Shepherdess and the Faun. Each of the three songs has a different metrical flow and rhythm in keeping with Strawinsky’s reinterpretation of the subject matter. And the same is true of the instrumentation. Even the performance markings follow naturally from the type of situation that is being described: the characters kiss poco dolciss., they whisper pianissimo and fall asleep morendo, they are startled by an Allegro doppo movimento, they run away to an accelerando poco a poco and they are rescued fortissimo – in this final instance the dynamic marking is accompanied by two descending fifths, implying the way in which Strawinsky imagined Lila jumping into the river.
Orchestral version: In the original instrumental version, Strawinsky strengthens the visual interpretation. Here, the defined sound frameworks can be put down to the artistic heritage at the turn of the century, for example the brightly humming colours in very brilliant notes, when the subject in the text is moonlight. The orchestration of the first song is simple and corresponds to the concept of a simple and uncomplicated young woman. At only one point, where the text speaks of the transience of the happiness of youth in bars 29-31, do the orchestral instruments stop, and the voice part changes tack into a brittle (unaccompanied) recitative. The blossoming is over, and that which still blooms will be abandoned, just as they leave their instruments at this point, and the dry singing expresses fear and uncertainty. In the second song, Strawinsky works with different blocks of instruments which he allocates to the different sections of text. He uses tremolando strings, short woodwind motifs, canonic entries, suddenly interrupting musical figures, block chords, and at the last emotional outbreak in the last four bars, ends with what is effectively a sound enhancement. These techniques are exploited in the conflict situation of the third song. The orchestra sounds even more colourful and more expressively forcible. Lisa’s dreamy state is reflected in the high, light dabs of colour over peacefully moving strings and a held horn note. As soon as heaven is mentioned in the text, the woodwind accompaniment becomes chorale-like; when the stars twinkle, the strings play tremolando. As soon as the chase begins, the at first still peaceful winds and strings are pushed forward by the first violin with a sort of mechanistic, screwing movement. The Shepherdess and Fawn motifs are alternately combined and expanded over chromatic accompanying voices. The combination of the Shepherdess and Fawn motifs is followed a short time later in the accompanying voices by a chromatic movement in the strings and woodwind, entering on a d and proceeding downwards to a big F sharp with pursuing, colouristic, imitative entries in the woodwind. The song ends with a tutti hit, which is the only place in the third song that contains only one motif.
Significance: Faun and Shepherdess marks the beginning of Strawinsky’s emancipation from the influence of Rimsky-Korsakov, who was already being reproached at this time for his conservative, academic approach to music, an approach that led to his being attacked from the most disparate quarters and to increasing touchiness on his part. Concert promoters in the Imperial Russia of the years between 1900 and 1908 regarded even Brahms and Bruckner as subversive innovators and as far as possible excluded them from official concert programmes. For such organizers and their audiences, the impressionistic echoes of the cycle were unmistakable, resulting in dismissive comments about it in the circle associated with Rimsky-Korsakov.
Versions: The suite was published by M. P. Belaïeff in Leipzig in 1908. (The firm continued to use this form of its name in Germany until after 1962.) It appeared in the form of a vocal score with Russian words and costs 1.60 marks or 0.60 roubles. The conducting score, also with Russian words, followed in 1913 and costs almost twice as much (3 marks or 1.05 roubles). Strawinsky evidently took his time reading the proofs, for it appears from Belaïeff’s reminder of 23 October 1912 that he had been in possession of them since the end of 1911. Belaïeff sent a further reminder on 4 November, and after that things moved very quickly. By 16 November the publisher was able to send Strawinsky the revised proofs and after these had been returned by the composer, the score went to the printers on 16 December 1912. Six complimentary copies were posted to Strawinsky on 21 December 1912. In other words, the score, although dated 1913, was already available in 1912. As was usual at this time, a set of parts could be bought separately from the score and costs 8 marks or 2.80 roubles. (Additional, individual parts could be purchased at 0.40 marks or 0.15 roubles each). Not until 1927, when the vocal score was reissued, were French and German translations included beneath the original Russian. This edition was reprinted by Belaïeff in 1953 and again in 1974. (This last-named edition is not included in the list below.) The first pocket score was published by Belaïeff in Bonn in 1962 and like the new edition of 1964, which was published in Frankfurt following the publishing house’s relocation there, it includes the translations of Komaroff and Möller in addition to the Russian original. The conducting score and parts, which had previously been for sale, were now available for hire only. A Michigan-based member of the Kalmus group, Luck’s Music Library, brought out an undated pirated edition of the 1913 orchestral version. Numbered 11528 in its catalogue, it included only the Russian words and suppressed all reference to the original publisher and, indeed, to the original edition in general.
Historical recording: Toronto, 8 May 1964, with the mezzo-soprano Mary Simmons and the Canadian Broadcasting Corporation Symphony Orchestra under the direction of the composer. Sung in Russian.
CD edition: VIII–2/1–3.
Copyright: © undated (1962 for the pocket score published by M. P. Belaïeff in Bonn); © 1964 for the pocket score published by M. P. Belaieff in Frankfurt.
2-1 1908 VoSc; R; Belaïeff Leipzig; 19 pp.; 2800.
2-113 1913 non ibd.
2-113-Straw 1913 ibd.
2-2 1913 FuSc; R; Belaïeff Leipzig; 31 pp.; 2959.
2-2Straw ibd. [with annotations].
2-3St Set of parts; 1913; Belaïeff Leipzig; 2960 [unidentified].
2-4E-St Additional parts; 1913; Belaïeff Leipzig 2960 [unidentified].
2-5 1927 VoSc; R-F-G; Belaïeff Leipzig; 19 pp.; 2800.
2-6 (1953) VoSc; R-F-G; M. P. Belaieff Bonn; 19 pp.; 2800.
2-7 1962 PoSc; F-G; M. P. Belaieff Bonn; 35 pp.; 2959.
2-8 1964 PoSc; F-G; Belaieff Frankfurt; 35 pp.; 2959; Bel. 336a.
b) Characteristic features
2-1 Изданія М. П. БЂЛЯЕВА въ Лейпциђ / ИГОРЬ СТРАВИНСКIЙ / СЮНТА / „ФАВНЪ И ПАСТУШКА“ / СОЧ. 2. / Переложеніе для фортепіано съ мљніемъ / [°] / IGOR STRAWINSKY / „FAUNE ET BERGÈRE“ / SUITE DE CHANSONS / OP. 2 / Réduction pour Piano et Chant / [°] / 1908 / 2800 / Edition M. P. BELAÏEFF, Leipzig //Посвящается / женљ моей / ЕКАТЕРИНЉ ГАВРIИЛОВНЉ СТРАВИНСКОЙ. / ИГОРЬ СТРАВИНСКIЙ / СЮНТА / „ФАВНЪ И ПАСТУШКА“ / для голоса сь пушкина. / соч. 2 / Переложеніе для фортепіано съ мљнімъ / Ц М.1.60 / Р. – 60* / Собсмвенносмь изгамеля. / М. П. БЉЛЯЕВЪ, ЛЕЙПЦИГЪ. / 1908 / ГЛАВНЫЙ СКЛАДЪ У I. ЮРГЕНСОНА / С. ПЕТЕРБУРГЪ, МОРСКАЯ 9. / 2800 / Inst.Lith. de C.G.Röder, G.m.b.H. Leipzig. // (Vocal score with chant [library binding] 25 x 33 (8° [4°]); sung text Russian; 19  pages + 4 cover pages black on veined grey [ornamental front cover title with a 2 cm border of acanthus leaves and ornaments running round the outside, page with publisher’s advertisements >Mélodies pour Chant et Piano / publiées par M. P. Belaïeff à Leipzig>** production data >No. 31.<, page with publisher’s advertisements (other lay out) >Mélodies pour Chant et Piano / publiées par M. P. Belaïeff à Leipzig<*** production data >No. 32.<, page with publisher’s advertisements >Mélodies pour Chant et Piano / publiées par M. P. Belaïeff à Leipzig>**** production data >No. 33.<] + 1 page front matter [title page] + 1 page back matter [page with publisher’s advertisements >Mélodies pour Chant et Piano / publiées par M. P. Belaïeff à Leipzig>***** production data >No. 38.<]; title head as song title Russian below piece number in Roman numeral (with dot) >№ 1. / Пастушка.< as title head; author specified 1st page of the score paginated p. 2 below title head centre centred А. Пушкинъ.< underneath flush right p. 2 >И. Стравинскій, Соч. 2 № 1.< p. 7 >И. Стравинскій, Соч. 2 № 2.< p. 13 >И. Стравинскій, Соч. 2 № 3.<; without legal reservation; plate number >2800<; end of score dated p. 19 >St Petersbourg 1906.<; without end mark) // 1908
° Ornamental divided horizontal line of 6 * 0,2 cm.
* The >Ц.< in the price statements appear in the middle before the two prices in Marks and Rubles respectively, which are separated by a horizontal line.
** Compositions are advertised by Th. Akimenko and E. Aleneff; Strawinsky not mentioned.
*** Compositions are advertised by A. N. Alphéraky; Strawinsky not mentioned.
**** Compositions are advertised by Nicolas Amani, C. Antipow, N. Arteibouchoff, M. Balakirew, Alexandre Borodine, César Cui; Strawinsky not mentioned.
***** Compositions are advertised by Rimsky-Korsakow; Strawinsky not mentioned.
2-113 Изданія М. П. БЂЛЯЕВА въ Лейпциђ / ИГОРЬ СТРАВИНСКIЙ / СЮНТА / „ФАВНЪ И ПАСТУШКА“ / СОЧ. 2. / Переложеніе для фортепіано съ мљніемъ / [°] / IGOR STRAWINSKY / „FAUNE ET BERGÈRE“ / SUITE DE CHANSONS / OP. 2 / Réduction pour Piano et Chant / [°] / 1908 / 2800 / Edition M. P. BELAIEFF, Leipzig // Посвящается / женљ моей / ЕКАТЕРИНЉ ГАВРIИЛОВНЉ СТРАВИНСКОЙ. / ИГОРЬ СТРАВИНСКIЙ / СЮНТА / „ФАВНЪ И ПАСТУШКА“ / для голоса сь пушкина. / соч. 2 / Партитура [*] Ц. М. 3.– / Р. 1.05** / Оркестроые голоса [*] Ц. М. 8.– / Р. 2.80** / Добавочные голоса М. – 40 / по Р. – 15 / Переложеніе для фортепіано съ мљнімъ / Ц М.1.60 / Р. – 60* / Собсмвенносмь изгамеля. / М. П. БЉЛЯЕВЪ, ЛЕЙПЦИГЪ. / 1913 / ГЛАВНЫЙ СКЛАДЪ У I. ЮРГЕНСОНА / С. ПЕТЕРБУРГЪ, МОРСКАЯ 9. / 2959 [#] 2960 / 2800 / Inst. Lith. de C. G. Röder, G.m.b.H. Leipzig. // (Vocal score with chant sewn 26.8 x 33.3 (8° [4°]); sung text Russian; 19  pages + 4 cover pages black on gemasert grey [ornamental front cover title with with a 2 cm border of acanthus leaves and ornaments running round the outside, 3 empty pages] + 1 page front matter [title page] + 1 page back matter [empty page]; title head as song title Russian below piece number in Roman numeral (with dot) >No 1. / >№ 1. / Пастушка.< as title head; author specified 1st page of the score paginated p. 2 below title head centre centred А. Пушкинъ.< underneath flush right >И. Стравинскій, Соч. 2 № 1.< p. 7 >И. Стравинскій, Соч. 2 № 2.< p. 13 >И. Стравинскій, Соч. 2 № 3.<; without legal reservation; plate number >2800<; end of score dated p. 19 >St Petersbourg 1906.<; without end mark) // 1913
° Ornamental divided horizontal line of 5.9 cm.
* Fill character (dotted line).
** The >Ц.< and >по< in the price statements appear in the middle before the two prices in Marks and Rubles respectively, which are separated by a horizontal line.
The copy from Strawinsky’s estate is signed >IStrawinsky< on the outer title page above the Russian name >ИГОРЬ СТРАВИНСКIЙ< and after the name inside the frame. The back page of the cover is loose and displays a Schott Mainz-Leipzig advert (production date >Nr. 624<) without column divisions, however its colour is that of the cover >Moderne Orchester-Werke< with prices behind fill character (dotted line) from >BITTNER, JULIUS.< to >WEIDIG, ADOLF.<, amongst these >STRAWINSKY, I. Feuerwerk, brillante Fantasie° Partitur / [#] Stimmen leihweise — . — < [° fill character (dotted line)].
2-2 Изданія М. П. БЂЛЯЕВА въ Лейпциђ / ИГОРЬ СТРАВИНСКIЙ / СЮНТА / „ФАВНЪ И ПАСТУШКА“ / СОЧ. 2. / Партитура / [°] / IGOR STRAWINSKY / ,,FAUNE ET BERGÈRE'' / SUITE DE CHANSONS / OP. 2 / Partition d'orchestre / [°] / 1913 / 2959 / Edition M. P. BELAÏEFF, Leipzig // Посвящается / женљ моей / ЕКАТЕРИНЉ ГАВРIИЛОВНЉ СТРАВИНСКОЙ. / ИГОРЬ СТРАВИНСКIЙ / СЮНТА / „ФАВНЪ И ПАСТУШКА“ / для голоса сь оркестромъ / слова пушкина. / соч. 2 / Партитура [*] Ц. М. 3.– / Р. 1.05** / Оркестроые голоса [*] Ц. М. 8.– / Р. 2.80** / Добавочные голоса М. – 40 / по Р. – 15 / Переложеніе для фортепіано съ мљнімъ / Ц М.1.60 / Р. – 60* / [vignette]°° / Собсмвенносмь изгамеля. / М. П. БЉЛЯЕВЪ, ЛЕЙПЦИГЪ. / 1913 / ГЛАВНЫЙ СКЛАДЪ У I. ЮРГЕНСОНА / С. ПЕТЕРБУРГЪ, МОРСКАЯ 9. / 2959 [#] 2960 / 2800 / Inst. Lith. de C.G.Röder, G.m.b.H. Leipzig // (Full score sewn 26.9 x 33.5 (2° [4°]); sung text Russian; 31  pages + 4 cover pages thin cardboard black on light beige [front cover title in a constantly 2cm-wide ornamental frame with changes between different typefaces, 3 pages with publisher’s advertisements >Edition M. P. Belaïeff à Leipzig. / Compositions pour Orchestre< production dates >No. 1a.<*** >1b.<**** >No. 1c.<*****] + 2 pages front matter [decorated title page, empty page] + 1 page back matter [empty page]; song title [S. 3, 9, 19] Russian below title head as song title Russian below piece number in Arabic numeral (with dot) [>No 1. / Пастушка.< >No 2. / Фавнъ.< >No 3. / Рђка.<]; title head >ФАВНЪ И ПАСТУШКА.<; dedication below title head centre >МОЕЙ ЖЕНЪ.<; authors specified 1st page of the score paginated p. 3 below song title flush left [not] centred >А. Пушкинъ. / A. Pouchkine.< flush right centred >И. Стравинскій, Соч. 2 No 1.< / J. Strawinsky, op. 2.< legal reservation without Copyright 1st page of the score above und next to Liednummer flush left centred >Tous droits d'exécution et de / reproduction réservés.<; plate number >2959<; without end of score dated; production indications 1st page of the score below type area flush left >M. P. Belaïeff, Leipzig.< p. 31 flush right as end mark >Stich und Druck von C. G. Röder G.m.b.H. Leipzig.<) // 1913
° Ornamental dividing horizontal line of 5.9 cm.
* Fill character (dotted line).
** The >Ц.< and >по< in the price statements appear in the middle before the two prices in Marks and Rubles respectively, which are separated by a horizontal line.
*** Compositions are advertised in four columns from >Antipow< to >Glazounow<.
**** Compositions are advertised in four columns from >Glazounow< to >Rimsky-Korsakow<.
***** Compositions are advertised in three columns from >Rimsky-Korsakow< to >Zolotareff<, in a single column further contemporary compositions are listed, sorting according to the instruments; Strawinsky not mentioned.
Strawinsky’s copy from his estate is on the front cover title below Russian name signed >Igor Strawinsky<. The copy is dated behind the title head (with fraction line) >11/24 XII 1912<, followed by the pencil note >Mezzo-Soprano / in Toronto / May 1964 / Mary Simmons<
2-3St Set of parts; 1913; Belaïeff Leipzig; 2960 [unidentified].
2-4E-St Set of additional parts; 1913; Belaïeff Leipzig; 2960 [unidentified]
2-5 JGOR STRAWINSKY* / LE FAUNE ET LA BERGÈRE / **SUITE POUR CHANT ET ORCHESTRE) / PAROLES DE A. POUCHKINE / VERSION FRANÇAISE DE A. KOMAROFF / PIANO et CHANT / 1 LA BERGÈRE / 2 LE FAUNE / 3 LE TORRENT / DROITS D'EXÉCUTION RÉSERVÉS / M. P. BELAIEFF – LEIPZIG // Посвящается / ЖЕНЪ МОЕЙ / ЕКАТЕРИНЂ ГАВРIИЛОВНЂ СТРАВИНСКОЙ. / [°] / ИГОРЬ СТРАВИНСКIЙ*** / СЮНТА для ПЂНIя съ оркестромъ / ФАВНЪ И ПАСТУШКА / ТеКСТъ А. ПушкинА. / СОЧ. 2. / Переложеніе для фортепіано съ ПЂніеМъ / [°°] / JGOR STRAWINSKY*** / FAUN UND SCHÄFERIN / LIEDERCYKLUS FÜR GESANG UND ORCHESTER / OP. 2 / DICHTUNG VON PUSCHKIN / Deutsche UEBERSETZUNG VON HEINRICH MÖLLER / [°°°] / PARTITUR**** PR. M. 6,– NETTO / ORCHESTERSTIMMEN PR. M. 16,– NETTO / DUPLIERSTIMMEN**** JE PR. M. –, 80 NETTO / UEBERTRAGUNG FÜR GESANG UND KLAVIER PR. M. 2,– NETTO / [°°°°] / AUFFÜHRUNGSRECHT VORBEHALTEN / M. P. BELAIEFF, LEIPZIG / 1927 / 2959 [#] 2960 / 2800***** / C. G. RÖDER, G.M.B.H. LEIPZIG // (Vocal score with chant sewn 23,2 x 30,2 (4° [4°]); sung texts Russian-French-German; 19  pages + 4 cover pages black on orange brown beige [front cover title without Rahmen, 3 empty pages] + 1 page front matter [title page laid out framed red brown on cream white] + 1 page back matter [empty page]; song title below piece number in Arabic numeral (with dot) Russian-French-German in connection with poet and translator specified >No 1. / Пастушка. / А. Пушкинъ. / La Bergère. [#+] Die Schäferin. / Poésie de A. Pouchkine. [#+] Dichtung von A. Puschkin. / Texte français de A. Komaroff. [#+] Deutsche Übersetzung von Heinrich Möller.< as title head; author specifiedn below song titles flush right centred 1st page of the score paginated p. 2 >И. Стравинскій, Соч. 2 № 1.< p. 7 >И. Стравинскій, Соч. 2 № 2.< p. 13 >И. Стравинскій, Соч. 2 № 3. < legal reservation without Copyright 1st page of the score above type area next to song title flush left >Droits d'exécution réservés.< below type area flush left >M. P. Belaieff, Leipzig.<; plate number >2800<; end of score dated p. 19 >S t Petersbourg 1906<; production indication p. 19 flush right as end mark >Printed in Germany.<) // (1927)
° A 2.9 cm ornamental separating line in two parts that thickens to 3 millimetres in the middle with a dot as middle point.
°° A 4.3 cm separating horizontal line that thickens to 4 millimetres in the middle.
°°° Dividing horizontal line of 2.8 cm.
°°°° A 2.6 cm ornamental separating line in two parts that thickens to 3 millimetres in the middle with a dot as middle point.
* Underlined four times.
** The lack of a first bracket is original; in some copies, this bracket has been subsequently added by hand; in the Munich copy >4 Mus.pr. 4871< for example, it has been done so carefully and with the characteristic [expanded] margin that the mistake can only be noticed in the original of the edition and not in a copy.
***Underlined five times.
**** Fill character (wave-like).
***** In the München copy (Bayerische Staatsbibliothek >4 Mus.pr. 4871<), there is a stamp on this place >Il est interdit d'importer cet exemplaire en / France, Grande Bretagne / This copy must not be exported to the / British Empire<.
****** Text French-German by dividing line separated, spanning 3 lines.
Strawinsky’s copy (owned by Craft) has a stamp >$ 1 .2 0 N< flush right on the upper half of the outer title page and level with it underneath an >M<. It contains no annotations. Strawinsky’s corrections have not been incorporated.
2-6 JGOR STRAWINSKY / Le Faune et la Bergère / Suite pour Chant et Piano / Paroles de / A. Pouchkine / PIANO ET CHANT / 1 LA BERGÈRE / 2 LE FAUNE / 3 LE TORRENT / Edition M. P. BELAÏEFF°*, BONN // JGOR STRAWINSKY / Faun und Schäferin / Liedercyklus für Gesang und Klavier / op. 2 / Dichtung von / PUSCHKIN / Deutsche Übersetzung von Heinrich Möller / Version Francaise** de A. Komaroff / Tous droits d'exécution et de reproduction réservés / Propriété de l'Editeur pour tous pays / M. P. BELAIEFF* / Agents exclusifs: BOOSEY & HAWKES, LTD. / London · New York · Bonn · Los Angeles · Buenos Aires · Toronto · Sydney · Capetown · Paris // (Edition chant and piano stapled 23.5 x 30.9 (2° [4°]); sung texts Russian-French-German; 19  pages + 4 cover pages thicker paper black on light grey [ornamental front cover title in stylized portal-like leafy borders 2.5 cm wide on average, 3 empty pages] + 1 page front matter [title page] + 1 page front matter [title page] + 1 page back matter [empty page]; song title below piece number in Arabic numeral (with dot) Russian-French-German >No 1. / Пастушка. / La Bergère. | Die Schäferin.< as title head; author specified below song titles [>No 2. / Фавнъ. / Le Faune. | Faun.< >No 3. / Рђка. / Le Torrent. | Der Fluß.<] flush right [1. page of the score paginated p. 2:] >Igor Strawinsky, Op. 2 No 1.< [S. 7:] >Igor Strawinsky, Op. 2 No 2.< [S. 13:] >Igor Strawinsky, Op. 2 No 3.<; without legal reservation; plate number >2800<; production indication 1st page of the score below type area flush left >M. P. Belaieff*, Bonn< p. 19 flush right as end mark >Printed in Germany. / Druck der Universitätsdruckerei H. Stürtz AG., Würzburg<) // (1953***)
° The publisher’s name is printed at the centre top of the frame.
* Original spelling: >BELAÏEFF< (front cover page) and >BELAIEFF< (front matter page) and >Belaieff< (1. page of the score).
** original spelling.
*** The copy in the Deutsche Bücherei in Leipzig, >M 1954/B/1268<, has a typewriter sticker flush left on the upper half of the front cover title page >Strawinsky: LE FAUNE ET LA BERGERE / Op. 2 (Ges. & Kl.) / Verlag: M. P. Belaieff, Bonn / Nachdruck 1953 / Verkaufspreis: DM 4.00 (West)<
2-7 IGOR STRAWINSKY / Le* Faune* et* / la* Bergère* / op. 2 / Faun* und* / Schäferin* / M. P. BELAIEFF BONN // [title page = front cover title without Rahmen] // (Pocket score stapled 13.3 x 18.1 (8° [kl. 8°]); sung text French-German; 35  pages + 4 cover pages thinner cardboard black on beige-grey [in the text box contained front cover title, 3 empty pages] + 2 pages front matter [title page, legal reservations + imprint >© by M. P. Belaieff Bonn / Alle Rechte vorbehalten · Tous droits réservés. / Stich und Druck der Peter-Presse Christoph Kreickenbaum KG Darmstadt / Printed in Germany<] + 1 page back matter [with publisher’s advertisement >Kammermusik # / # im Verlag M. P. Belaieff<** without production data]; title head >Le Faune et la Bergére # Faun und Schäferin<; authors specified 1st page of the score paginated p. 3 below song title below piece number in Arabic numeral (with dot) >1. La Bergére [# 1. Die Schäferin< flush left >A. Pouchkine< flush right >Igor Strawinsky, Op. 2<; translator specified 1st page of the score above, next to and below song title [between title head and authors specified] flush left >Version française / de / A. Komaroff< flush right >Deutsche Übersetzung / von / H. Möller<; legal reservations 1st page of the score below type area flush left >© M. B. Belaïeff< flush right italic >Tous droits d’execution et de / reproduction réservés<; plate number >2959<; without end marks) // (1962)
* Piece title in ornamental letters.
** Compositions are advertised in four columns with price information by Alexander Glasunow, Serge Tanéiew, Alexander Tscherepnin, Gerhart von Westermann; Strawinsky not mentioned.
2-8 Igor Strawinsky / Faun und Schäferin / 0pus 2 [#*] Mezzosopran und Orchester / M. P. Belaieff · Frankfurt / Bel. Nr. 336a // IGOR STRAWINSKY / FAUN UND SCHÄFERIN / DREI LIEDER NACH TEXTEN VON ALEXANDER PUSCHKIN / FÜR MEZZOSOPRAN UND ORCHESTER / OPUS 2 / DEUTSCHE ÜBERTRAGUNG VON / HEINRICH MÖLLER** / STUDIENPARTITUR / EIGENTUM DES VERLEGERS · ALLE RECHTE VORBEHALTEN / M. P. BELAIEFF · FRANKFURT // IGOR STRAWINSKY / LE FAUNE ET LA BERGÈRE / SUITE POUR CHANT TE*** ORCHESTER*** / OPUS 2 / PAROLES D'ALEXANDRE POUCHKINE / VERSION FRANÇAISE D'ALEXANDRE KOMAROFF / PARTITILON / PROPRIÉTÉ DE LÉDITEUR · TOUS DROITS RÉSERVÉS / M. P. BELAIEFF · FRANKFURT // (Pocket score stapled 13.4 x 19 (8°); sung text French-German; 35  pages + 4 cover pages [laid out front cover title, 2 empty pages, page with legal reservation at the bottom of the page flush right >Printed in Germany<] + 2 pages front matter [first title page, second title page] + 1 page back matter [empty page]; title head >Le Faune et la Bergère [#] Faun und Schäferin<; authors specified in connection with translator specified and song title in Arabic numeral [with dot] 1st page of the score unpaginated [p. 3] below title head flush left - flush right >Alexandre Pouchkin [#] Alexander Puschkin / 1. La Bergère [#] 1. Schäferin< flush right >Igor Strawinsky, op. 2 / Deutsche Übertragung von Heinrich Müller** / Version française d'Alexandre Komaroff<; legal reservations 1st page of the score next to French song title flush left in the text box contained >Diese Ausgabe ist urheberrechtlich geschützt / und darf nur mit besonderer Erlaubnis in Funk bzw. / Drahtsendungen oder mechanischen Aufzeichnungen / oder in öffentlichen Aufführungen benutzt werden.< below type area flush right >© 1964 by M. P. Belaieff<; plate number >2959<; production indications below type area flush left 1st page of the score >M. P. Belaieff Nr. 336a< >M. P. Belaieff<; without end mark) // (1964)
* The initial is full-page in size.
** Original (Möller / Müller) spelling.
*** Original spelling.
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