K069 Scènes de ballet

deutsch K069 Ballett-Szenen

K69 Scènes de ballet

for orchestra – Ballett-Szenen für Orchester – Scènes de ballet pour orchestre – Scene di balletto per orchestra

Title: Strawinsky stated that he knew nothing of the existence of Glazunov’s composition of the same name. This announcement, which was intended for a publication, suggests a change in title on Strawinsky’s part. From a letter to Gretl Urban of 31st August 1944, it can be seen that the decision of the title was not Strawinsky’s, but was reached in agreement between Winter and Dolin, with whom he was connected. In his known correspondence up to the letter to Urban of 31st August, the title ‘Scènes de ballet’ does not appear once, although the question of the title had already been under consideration since 30th June. When Strawinsky mentions the ballet scenes, he always speaks of his ‘new’ ballet. The question of the title was already a theme in the letter to Urban. Strawinsky reminded her to come to a decision on the title of his new ballet in accordance with the conversation that Hugo Winter had with Anton Dolin as the author of the ballet libretto, and the result of which Winter wanted to advise him on a promise given in a letter on 30th June. Up to then, he had heard nothing on the matter from Winter. This point in the letter suggests that Strawinsky was fairly indifferent to the title and that he had given the decision to Winter as the representative of the publishers and Dolin as the representative of the commissioner; he, in the meantime, was becoming restless because he had already finished his score a week ago and urgently needed the title. This point of view is supported by the fact that the reduced orchestral score in Strawinsky’s estate, from which the neat copy was produced, does not bear a title. Whether the actual title finders, especially Dolin, were copying Glazunov’s work, is a moot question which concerns Strawinsky, and the answer of which would be meaningless if one had to confirm it.

Scored for: a) First edition: Piccolo (also Flute II), 2 Flutes, 2 Oboes, 2 Clarinets in A (and B b), Bassoon, 2 Horns in F, 3 Trumpets in C (and B b), 3 Trombones, Tuba, Timpani, Piano, Violin I, Violin II, Viola, Violoncello, Double Bass; b) Performance requirements: Corps de ballet; Piccolo Flute (= 2nd Flute),2 Flutes (2nd Flute = Piccolo Flute, 2 Oboes, 2 Clarinets (changing B b and A), Bassoon, 2 Horns in F, 3 Trumpets (changing C and B b), 3 Trombones, Tuba, Timpani, Piano, 3 Solo Violins, 4 Solo Violas, 2 Solo Violoncellos, 2 x 4 first and second Tutti Violins, Strings* (1st and 2nd Violins, Violas, Violoncellos, Double Basses).

* All divided in two

Libretto: In a letter to Gretl Urban dated 31st August 1944, Strawinsky still named Anton Dolin as the author of the ballet libretto. This was in regard to the title, which Winter and Dolin were attempting to come to an agreement on. Strawinsky later set himself against an attribution that would see Dolin named exclusively as the author of the libretto.

Construction: The Ballet Scenes are an eleven-part orchestral piece without numbers which is through-composed, and has figures and metronome markings; there are no pauses between the sections, but there are choreographical suggestions in the titles, Italian markings and, in the printed editions, French-Italian-English multi-lingual names for the instruments. They make up an abstract ballet in a classical style with instructions for the choreography, but without specification for the plot or staging. The idea for it stemmed from the later choreographer, Anton Dolin. In spite of Dolin however, the choreography was Strawinsky’s property in a sense, as he designed ‘the chronology, the character and the proportions of the dance numbers himself, and had the entire choreographical framework of this plotless, “abstract” ballet strongly in mind during the period of composition’. After the raising of the curtain at figure 5, the ballet begins immediately. Four ballerinas are represented by four solo violas. At figure 9, the groups unite, and at figure 40, they distance themselves from each other once again and the solo female dancer enters. The ‘Pantomime’ (figure 54) had been conceived by Strawinsky as group movement synchronised with the music. The dancers should be on stage in different groups, each coordinated with one of the arpeggio figures in the score and should enter the stage from different sides. He conceived the Andantino within it (figure 58) as a solo dance for the ballerina. She should wear a black tutu set with diamond sequins and her partner should wear a classic gilet. Figures 60-69 (to the end of figure 68) is again dedicated to the corps de ballet. The trumpet solo in the Pas de deux (figure 69) is given to the male dancer, and the horn to the ballerina. The rippling phrasing at the end of the Allegretto must give the ballerina the opportunity for a pirouette. In the two final bars of this number, the solo dancers leave the stage on opposite sides. The second ‘Pantomime’ (figure 82) serves as an arrangement for the corps de ballet. The subsequent orchestral tutti (figure 89) is for the solo male dancer, the violoncello duet (figure 96) to the solo ballerina. The final ‘Pantomime’ (figure 103) brings the solo dancers together, and the rest of the score (from figure 106) from the jazz-like movement in 3/8 until the 5 bars in 4/8 (figure 118) before the ‘apotheosis’ (figure 119) unites all the performers. Strawinsky imagined the finale as a spinning group tableau of different moving groups, delirando (demoniacally).

Structure

Introduction*

Andante Quaver = 92 (figure 31 up to the end of figure 4 [without interruption attacca onward to Figure 5])

DANSES / Corps de Ballet ( figure 5 [without interruption attacca from figure 4 3] up to the end of figure 41)

Moderate Quaver = 148 (figure 5 up to the end of figure 14)

Più mosso Crotchet = 112 (figure 15 up to the end of figure 27)

L'istesso tempo (figure 28 up to the end of figure 32)

Tempo I. Quaver = 148 (figure 33 up to the end of figure 40)

Con moto dotted Crotchet = 74 (figure 41 [without interruption onward to figure 42])

VARIATION / Ballerina

L'istesso tempo dotted Crotchet = 74 (figure 42 [without interruption from figure 41] up to the end of figure 53 [without interruption attacca onward to figure 54])

PANTOMIME (figure 54 [without interruption attacca from figure 53 3] up to the end of figure 68)

Lento dotted Crotchet = 74 (figure 54 up to the end of figure 57)

Andantino Crotchet = 66 (figure 58 up to the end of figure 59)

Più mosso Quaver = 132 (figure 60 up to the end of figure 68 [without interruption attacca onward to figure 69])

PAS DE DEUX (figure 69 [without interruption attacca from figure 68 3] up to figure 81 3)

Adagio Crotchet = 58 (figure 69 up to the end of figure 71)

Allegretto Quaver = 96 (figure 72 up to the end of figure 76)

Tempo I (Adagio) Crotchet = 58 (figure 77 up to figure 81 3)

PANTOMIME

Agitato ma tempo giusto Crotchet = 74 (figure 182 [81 4] up to the end of figure 88 [without interruption attacca onward to figure 89])

VARIATION / Dancer

Risoluto Crotchet = 86 (figure 89 [without interruption attacca from figure 88 3] up to the end of figure 95 [without interruption onward to figure 96])

VARIATION / Ballerina

Andantino Crotchet = 63 (figure 96 [without interruption from figure 95 5] up to the end of figure 102 [without interruption attacca onward to figure 103])

PANTOMIME

Andantino Crotchet = 72 (figure 103 [without interruption attacca from figure 102 5] up to the end of figure 105 [without interruption attacca onward to figure 106])

DANSES / Corps de Ballet

Con moto Quaver = 108 (figure 106 [without interruption attacca from figure 105 4] up to the end of figure 118 [without interruption attacca onward to figure 119])

APOTHÉOSE

Poco meno mosso Quaver = 100, Crotchet = 50 (figure 119 [without interruption attacca from figure 118 5] up to figure 127 4)

* In the Ashton choreography, the introduction is repeated.

Corrections / Errata

Pocket score 69-1

1.) p. 33, figure 55 5, 1. Horn: semibreve d b 1 >is correct / (see parts, if it is right)<.

2.) p. 34, figure 57 2, 2. Horn: dotted minim f#1 instead of dotted minim e#1.

3.) p. 34, figure 57 3, 1. Horn: crotchet d2-c#2-d#2 instead of crotchet d2-c#2-d2.

4.) p. 41, figure 72 3, Violas: the first both notes of the 1. semiquaver ligature c2 instead of b b 1.

5.) p. 43, figure 75 3, Violas: the last note a of the 2. semiquaver ligature >is right (see in the parts, if so)<.

6.) p. 61, figure 100 1, 1. Clarinet: 2. ligature semiquaver b b 1 - semiquaver rest - quaver e b 1 is >correct (see in the part where / it is wrong)<.

7.) p. 68, figure 118 2, 1. Violins: two-note chord minim d2-f#2 is >correct (in parts there is / one C which / is wrong)<.

Style: The Ballet Scenes are regarded as a stylistically inconsistent composition, in which, despite many examples of Strawinsky’s hallmarks, the different elements are mixed without coming together as a whole. Strawinsky begins with a original Blues cell of a 5/8 bar which is stated in the introduction but is not retained. Much of the work sounds like Tchaikovsky, other sections like the schmaltzy Broadway music typical of the period. The stylistic proximity to the ballet The Kiss of the Fairy or the Four Norwegian Moods is unmistakable and the reason for this is that Strawinsky liked to conduct the work alongside these mood pieces. Echoes of vulgar and folk-song-like writing are present, and over many numbers, it displays a sentimentality unusual for Strawinsky, especially at the entry of the solo trumpet at figure 69 3.

Dedication: non traceable.

Date of origin: Summer up to 23rd August 1944 in Hollywood. The last piece of the Ballet scenes, the apotheosis, was composed by Strawinsky on23rd August 1944 . That was the day on which the German troops had to vacateParis in the Second World War. Strawinsky interrupted his work frequently to listen to the radio broadcasts of this event. The shortened autograph score for this reason carries the closing remark “Paris no longer belongs to the Germans” (Paris n’est plus aux allemands). Strawinsky later spoke of his hope that his personal rejoicing about this event would be heard in the apotheosis.

Duration: about 16' 38" = 0' 52" (Introduction) + 4' 14" (Danses) + 2' 06" (Pantomime) + 2' 49" (Pas de deux) + 0' 31" (Pantomime) + 2' 24" (Danses) + 0' 27" (Pantomime) + 1' 03" (Danses) + 2' 12" (Apothéose).

First performance: scenic: Philadelphia, 24th November 1944, Forrest Theater, in the series of the Billy Rose-Revue, The Seven Lively Arts, and was a production by Billy Rose, with the soloist dancers Alicia Markowa and Anton Dolin; stage design by Norman Bel Geddes, costumes by Paul Dupont, Choreographiy by Anton Dolin, conducted by Maurice Abravanel; scenic: New York ( greatly shortened): 7th December 1944, Ziegfeld Theater, Broadway ( same forces required ); original version concertante: 2nd [3rd] February 1945, Carnegie Hall New York, with the New York Philharmonic Orchestra under the direction of Igor Strawinsky; original version scenic: 11th February 1948*, London, Covent Garden, with Margot Fonteyn and Michael Somes, the Sadler's Wells Ballet, the stage design and the costumes by André Beaurepaire; Choreography by Frederick Ashton.

* In the German-influenced Strawinsky literature, the date of the London staged première is given as 1938 instead of 1948. This comes from a printing error in the German translation (1950) of White’s book on Strawinsky (1947), which White later has corrected.

Problems with the première: Neither the Rose Revue in Philadelphia nor the subsequent one in New York can probably be called the real première of the Ballet Scenes. In New York, the music had already been shortened, and from the events surrounding the orchestral score, it can be inferred that the situation was not much different in Philadelphia; it was not the composition in the piano reduction, but the original instrumentation that seems to have been unfeasible for the intended purpose. The plea rejected by Strawinsky to allow Robert Russell Bennett to re-orchestrate the ballet for New York, i.e. to allow it to be arranged to suit the Revue, confirms this. There still remains the question of whether the performances of the Ballet Scenes in Philadelphia and New York can be seen as premières in the traditional sense at all. Strawinsky neither attended nor had any control over either of them. In both places, an additional piano reduction was requested but no orchestral score, which Strawinsky grumpily commented on in a letter to Hugo Winter of 8th October 1944, with the remark that neither the publishers nor Billy Rose had mentioned to him who would conduct his ballet, and that he did not know the name Maurice Abravanel. It cannot be disputed that he had heard Abravanel conduct two operas by Kurt Weill in Paris in 1933, as Craft discovered. The unreasonable request for three additional piano scores irritated him however, because the conductor should request an orchestral score and not a piano reduction, and Gretl Urban had said nothing to him about this, only mentioning conducting scores. It cannot be ruled out that they were unable to get to grips with the orchestral score in Philadelphia, and sought other ways to resolve the situation which were never authorised by Strawinsky, with the knowledge of the publishers. It is therefore almost certain that the Rose Revue did not follow Strawinsky’s orchestral score. There were also problems surrounding the date of the New York concert première. The Ballet Scenes should have been premièred on 3rd February 1945 and then repeated the next day, finally being recorded by Columbia on 5th February. A letter from Strawinsky to Nadia Boulanger on 25th October 1945 retrospectively gives the performance date as 2nd February.

Remarks: In the early part of 1944, the great Broadway producer, Billy Rose*, had a telephone conversation with Strawinsky and commissioned him to write a ballet suite of a length of approximately 15 minutes, for which he would receive a fee of 5,000 dollars and a cut of 200 dollars for each performance. It was intended for a revue which Rose wanted to bring to Broadway in New York under the name ‘The Seven Lively Arts’; as is usual with such productions, it would be performed first in a provincial run as a form of rehearsal run, in this case, in Philadelphia. Alicia Markova and Anton Dolin were named as the solo dancers, and Dolin was to take on the choreography. The contract was signed on 27th June 1944. Strawinsky assented to this and obviously began work without delay. It proceeded so easily that he was able to complete the orchestral score by 23rd August. The search for a title took place between 31st August and 15th September. Alongside this, Ingolf Dahl produced the piano reduction. Strawinsky however obviously held back the manuscripts in order to clear up the matter of the publishing rights, as an urgently written letter to Gretl Urban seems to show. He proceeded to send the orchestral score and piano reduction to his friend Hugo Winter of Associated Music Publishers on 15th September 1944, and he subsequently sent two orchestral scores to Gretl Urban on 6th October. It can be seen from a letter from Strawinsky to Arthur Mendel from the same publishers, dated 13th December 1944, that the publishers were not yet occupied with the production of the score at that point, which was produced by Chappell in England, and the printing of which took place in 1945. – While Rose liked the composition itself, as he learnt it from the piano reduction, he was dismayed by Strawinsky’s instrumentation. The reasons for this have never been made known, but can be postulated. The Ballet Scenes demand a very large orchestra and above all, many instrumental soloists who must be classically trained. In spite of the sweetness of many moments, the unmistakeable rhythmic writing of Strawinsky, present even here, struggles against the gentle flow of the Revue music; furthermore, the numerous solo instrumental parts, for example the four violas, which here are inserted as choreographical guidance, definitely contradict the artistic possibilities of a Broadway orchestra, which rather functions as a collective sound in connection with varying distinctive single sound colours. The result was the widespread abandonment of Strawinsky’s original version of the Ballet Scenes and, following this inevitable unsuccessful attempt to come to an agreement with the composer for the work to be arranged, i.e. its mutilation. In fact, the arrangement would have been bearable from the point of view of the composer if it had taken on the choreographical elements of the orchestration. Unfortunately, no outsider could have done this, only Strawinsky himself or someone trusted by him, because a style of arrangement typical of a musical would have avoided exactly that which Strawinsky’s orchestration wanted to demonstrate.

* Billy Rose, who enjoyed a legendary reputation in the United States, was in fact called William Samuel Rosenberg (born 6/9/1899 in New York, died 10/2/1966 in Jamaica). He was called the ‘little Napoleon of showmanship’. He achieved his greatest success in 1940 with Carmen Jones, while the Revue ‘The Seven Lively Arts’ was received, according to American opinion, as a cross between ‘disappointment and disaster’. In the third version of the American Encyclopedia of Popular Music by Colin Larkin (1998), Strawinsky’s name is not once mentioned in connection with Rose.

Significance: Following the Danses Concertantes, the Ballet Scenes are the second, but also the weakest of the three plotless ballets by Strawinsky, which, by employing the expressly advertised technique of using instruments as choreographical guidance, look forward to Agon. If the Danses Concertantes had been an instrumental work for chamber orchestra whose separate movements could be seen as pieces to dance to, as is suggested by the title, then Strawinsky developed a choreography in the forefront for the Ballet Scenes. The Ashton choreography of 1948 enhanced the work considerably, without being able to make it popular outside London. Strawinsky himself did not think much of the Ballet Scenes, even if he avoided speaking badly of them, although he especially saw the second ‘Pantomime’ as the weakest part of the composition. According to him, the ballet music was a piece of its time and a portrait of Broadway in the final years of the war; it was lightweight and sugar-coated (Strawinsky used the phrase in order to reference his sweet tooth, which was not yet troubled by plaque) but at least it was well done. He thought the ‘apotheosis’ was the best part of the score, and it pleased him even in later years. The instrumentation shows what he meant when he said it was ‘well done’.

Ashton’s choreography 1948: Ashton’s choreography was based on Strawinsky’s preconceptions. He had tried at first to have a new libretto produced by the English critic, Richard Buckle. When this fell through for laborious metaphysical reasons, Ashton took up Strawinsky’s proposal of using classical dance forms without literary content. On Buckle’s advice, he engaged André Beaurepaire for the set, but there were also difficulties here. Firstly, two main sets were designed: a viaduct which should be replaced at the end of the ballet by a pavilion clashed horribly. and the machinery used for the transformation also didn’t work. Therefore it remained with the pavilion, which, after a short while, was replaced by the viaduct. Even later, the ballet was danced without scenery. Ashton set a geometric choreography of figures against Strawinsky’s music, and it was designed so that it could be watched from all sides. In doing so, he laid the ground plan for the kaleidoscopic sequence of movements which work best with abstract ballets and which were also thought up by Balanchine for Agon. For this reason, the Ashton choreography is seen today as being bound to the work.

Versions: In 1945, it is certain that only the pocket score was published, and were produced in an American version by Associated Music Publishers, New York and an English edition by Chappell in London each with a different disc number. The contract for the Ballet Scenes was settled on 17th November 1944 with Associated Music Publishers. The publishing connections are difficult to disentangle. The conductor’s score was published on 14th July, but remained for hire only and did not succeed in terms of sales; the pocket score was published on 10th September 1945 in a run of 1,015 copies. Of these, the publishers sold 425 up to 30th June 1946, with 147 of these being complementary; up to the middle of 1947, a further 119 pocket scores were sold, seven of which were complementary, There had clearly been a parallel edition by Chappell in 1947 at the latest under a different disc number. Also the distribution was carried out differently for both hemispheres, so that, for example, in the British Library, there is only one copy of the English edition (entry of the contributory copy: 9th May 1947), but not the American edition. Chappell began in the same way as with the Sonata for Two Pianos, the Onnou Elegy and the Scherzo à la Russe, with a collective explanation from Chappell and Strawinsky regarding the contract for the Ballet Scenes, which was dated 21st September 1950. The distribution for Germany was taken on after the war by Schott Publishers in Mainz, who in any case were represented in the United States by Associated Music Publishers. The pocket score was reprinted in this form. The rights however remained with Chappell, who renewed the copyright in 1973, but then surrendered them to Boosey & Hawkes. Boosey & Hawkes included the score in an American printed version under the number HPS 938 in its series of pocket scores. This link is worthy of mention because in general, the works by Strawinsky which were represented by Associated Music Publishers and Chappell ended up in the hands of Schott and not Boosey & Hawkes. The Ballet Scenes are therefore an exception. Despite several mentions in the correspondence, a piano reduction by Ingolf Dahl was not printed.

Historical recordings: New York, 5th February 1945 with the New York Philharmonic Orchestra under the direction of Igor Strawinsky; Toronto 28th March 1963, Massey Hall with the Canadian Broadcasting Corporation Symphony Orchestra under the direction of Igor Strawinsky. – The concert première of the original version on 2nd February 1945 followed a vinyl recording for Columbia on 5th February with the same orchestra under Strawinsky. Up till now, the records for the LP companies have only been available for inspection in a few cases; in the case of the Ballet Scenes however, we are informed of the extraordinary success of this production. From a transcript of a telephone conversation that Strawinsky had with Gretl Urban on 20th August 1945, we learn that Columbia sold 25,000 copies in the first three months after the release of the disc and Strawinsky, with his 3% cut, had earned 600 dollars, while Associated Music Publishers, with their 2% cut, earned 400 dollars. ‘It is a success! Lieberson happy?’ inquired Strawinsky. Regarding the difficulties surrounding the new ballet score and, not for the last time, the criticism which arose regarding his style, Strawinsky allowed his enthusiasm for the success to be noticed, especially as this must also have influenced his business relationship with Godard Lieberson of Columbia in a lasting manner. Strawinsky’s joyful telephone call must in any case be put into perspective since it is not certain to which disc he is referring. There seems not to have been a release with only the Ballet Scenes, so there was a combination of the Ballet Scenes with Ode and Four Norwegian Moods, which were recorded on 5th February 1945 (he had conducted the Ode in concerts on 1st and 2nd February and the Four Norwegian Moods alongside the Circus Polka in all four concerts), just as the Ballet Scenes were recorded on 29th April 1940 with the Ballet Suite from Petrushka, in the version with the concert ending, with the same orchestra. It is therefore not at all certain whether it was the Ballet Scenes or their combination with the two other new works, (especially, the music from Petrushka, which was still popular in that version) that caused the successful sales; the number of sold copies in such a short time suggests the latter. In any case, this historic recording of the Ballet Scenes needs to be revised at two points. The solo violoncellists in the ‘Variation of the Ballerina’ from Figure 98 play with a vibrato specifically forbidden by Strawinsky, which caused him great annoyance; he then had to lower the tempo between figures 108 and 111, because otherwise the slightly older solo clarinettist would have been unable to play the notes cleanly enough.

CD edition: II-2/1-9.

Autographs: By all appearances, Dolin or Rose only received copies. In Strawinsky’s estate, there were two autographs of the orchestral score alongside the complete sketch material: the typically Strawinskian short score with four to ten systems and all the necessary instrumental indications bears the final mark, referring to the politics of the day, ‘Paris n’est plus aux allemands’. There is also a second dated and signed autograph. The majority of the works in Strawinsky’s estate are today stored in the Paul Sacher Stiftung Basel, and some in the Public Library, New York and in the Paris National Library.

Copyright: 1945 (MCMXLV) by Chappell & Co., Inc., New York.

Errors, legends, colportages, curiosities, stories

After the première of the Ballet Scenes in the Billy Rose Revue in Philadelphia, Strawinsky received a telegram which he, as can be seen in the Strawinsky literature, answered quite wittily, and therefore is in every popular biography of him as a remark typical of his wit. It was Strawinsky himself who, responding to questions on the Ballet Scenes, publicized both texts. When seen in context, Strawinsky’s joke is less funny when one considers that Rose had paid 5,000 dollars for a work not considered good, which could not be performed in this form and which, by creating a new arrangement geared to its performance situation, he was trying not to lose entirely. [Rose: YOUR MUSIC GREAT SUCCESS STOP COULD BE SENSATIONAL SUCCESS IF YOU WOULD AUTHORISE ROBERT ROUSSEL BENNETT RETOUCH ORCHESTRATION STOP BENNETT ORCHESTRATES EVEN THE WORKS OF COLE PORTER – Strawinsky: SATISFIED WITH GREAT SUCCESS].

Confusingly, the diary entry of one of Schoenberg’s pupils of 16th September 1944 states that Schoenberg related that Ingolf Dahl had orchestrated a work written for Billy Rose ‘for Strawinsky’. Schoenberg’s answer was ‘I do not understand this, to orchestrate for Strawinsky, for I have shown you how I compose for orchestra’, which was certainly not an expression of momentary confusion but a typical musician’s pun on the word ‘for’.

Editions

a) Overview

69-1 1945 PoSc; Associated Music Publishers New York; 79 pp.; A. C. 194440.

    69-1 Straw ibd. [with corrections].

69-1 [56+] [1956+] ibd.

69-2 1945 PoSc; Chappell & Co. London; 58 pp.; 38448.

69-3 1945 FuSc; Chappell & Co. New York; 79 pp..

    69-3Straw ibd. [with annotations].

b) Characteristic features

69-1 Igor Stravinsky / Scènes de Ballet / for orchestra / [vignette] / Miniature Score ..... $2.50 / ASSOCIATED MUSIC PUBLISHERS, INC. / New York / Printed in U.S.A. // Igor Stravinsky / Scènes de Ballet / for orchestra / ASSOCIATED MUSIC PUBLISHERS, INC. / New York / Printed in U.S.A. // (Pocket score sewn 15.2 x 22.7 (8° [gr. 8°]) 79 [77] pages + 4 cover pages brown red on green beige [front cover title with vignette 5,2 x 5,7 female head crowned with a lyra centre on stage with raised curtain facing the audience, 2 empty pages, empty page with vignette 2 x 2.5 >AMP-Music<*] + 2 pages front matter [title page, empty page] + 1 page back matter [empty page]; title head >SCÈNES DE BALLETT<; author specified 1st page of the score paginated p. 3 below movement title >Introduction< flush right >IGOR STRAVINSKY (1944)<; legal reservation 1st page of the score below type area centre centred >Copyright, 1945, by Chappell & Co., Inc., New York / Sole Selling Agents / For the Western Hemisphere: Associated Music Publishers, Inc., New York / Elsewhere: Chappell & Co., Ltd., London<; production indication 1st page of the score below type area flush right >Printed in U.S.A.<; plate number >A.C. 194440<; without end mark) // (1945)

* The word >Music< stands against the letter >P< vertically underneath the bulge and has as a syllable the same font size as half the single letter.

69-1 Straw

Copy on the front cover title above >Igor Stravinsky< signed and dated >Igor Stravinsky / Sept 8/45<; with corrections in red; at figure 55 4(page 33, 1. Horn, note d b1) annotation in red >this is correct (see parts if / it is right)<.

69-1 [56+] Igor Stravinsky / Scènes de Ballet / for orchestra / [Vignette] / Miniature Score ..... $ 2.50 / ASSOCIATED MUSIC PUBLISHERS, INC. / New York / Printed in U.S.A. // Igor Stravinsky / Scènes de Ballet / for orchestra / ASSOCIATED MUSIC PUBLISHERS, INC. / New York / Printed in U.S.A. // [text on spine:] IGOR STRAVINSKY: Scènes de Ballet // (Pocket score sewn 0.5 x 15.2 x 22.4 (8° [8°]); 79 [77] pages + 4 cover pages thin cardboard tomato red on light greying [front cover title with vignette 5.1 x 5.6 female head crowned with a lyra centre on stage with raised curtain facing the audience, 2 empty pages, page with oval 3.1 x 1.8 centre centred AMP-publishers’ emblem made up of letters ] + 2 pages front matter [title page, empty page] + 1 page back matter [page with publisher’s advertisements > AMPSTUDY SCORES / ORCHESTRA MUSIC<* without production data]; title head [hollow font] >SCÈNES DE BALLETT<; author specified 1st page of the score paginated p. 3 below movement title >Introduction< flush right >IGOR STRAVINSKY (1944)<; legal reservation 1st page of the score below type area inside left centre centred >© Copyright 1945 by Associated Music Publishers, Inc., New York / All rights reserved, including the right of public performance for profit.<; production indication 1st page of the score below type area flush right >Printed in U.S.A.<; plate number >A.C. 194440<; without end mark) // [1956+]**

* Compositions are advertised behind fill character (dotted line) with price information from >ARNELL, RICHARD< to >VILLA-LOBOS, HEITOR<; Strawinsky not mentioned [> Exclusive American agents forPHILHARMONIA Pocket Scores<].

** According to acquisition date Bayerische Staatsbibliothek >8 Mus.pr. 6908< 1965.

69-2 IGOR STRAVINSKY / Scènes de Ballet / FOR ORCHESTRA / [Vignette] / CHAPPELL & CO. LTD. / 50 New Bond Street, London, W.1 [#] Sydney and Paris/ ASSOCIATED MUSIC PUBLISHERS INC. NEW YORK / [flush left in the text box contained] 1873 / MADE IN ENGLAND // IGOR STRAVINSKY / Scènes de Ballet / FOR ORCHESTRA / Miniature Score / Price 7/6 net / CHAPPELL & CO. LTD. / 50 New Bond Street, London, W.1 [#] Sydney and Paris/ ASSOCIATED MUSIC PUBLISHERS INC., NEW YORK 50 // [without text on spine] // (Pocket score sewn 0.4 x 15.6 x 24 (8° [gr. 8°]); 58 [58] pages + 4 cover pages black on light beige sand coloured [front cover title with vignette 4 x 5.2 a back view of the conductor on a half-shaded background , 2 empty pages, page with publisher’s emblem 3,3 x 2,5 an opened-up grand piano on a five-line stave with the publishers’ name running diagonally from bottom to top over the instrument ] + 2 pages front matter [title page, empty page]; title head SCÈNES DE BALLET<: author specified 1st page of the score paginated p. 1 between title head and movement title >Introduction< flush right centred >IGOR STRAVINSKY / (1944)<; legal reservation 1st page of the score below type area centre flush left >Copyright MCMXLV by Chappell & Co., Inc., New York / Sole Selling Agents: {[*] For the Western Hemisphere: Associated Music Publishers, Inc., New York / Elsewhere: Chappell & Co. Ltd., 50, New Bond Street, London. W.1. Sydney & Paris<; plate number >38448< 1st page of the score below production indication flush right, pp. 2-58 below type area flush left with flush right >Chappell<; production indication 1st page of the score below type area above plate number flush right >MADE IN ENGLAND<; without end mark) // [-1947]

[*] The bracket follows at the centre and encompasses the two following lines.

69-3 [missing] // [missing] // (Full score [rebound] 27.4 x 33.8 ([4°]); 79 [77] pages without cover pages, without front matter + 1 page back matter [empty page] ; title head >SCÈNES DE BALLET<; author specified 1st page of the score paginated p. 3 below movement title >Introduction< flush right centred >Igor Stravinsky / (1944)<; legal reservation 1st page of the score below type area centre centred >Copyright, 1945, by Chappell & Co., Inc., New York / Sole Selling Agents: / For the Western Hemisphere - Associated Music Publishers, Inc., New York / Elsewhere - Chappell & Co., Ltd., London<; production indication 1st page of the score below type area flush right >Printed in U.S.A.<; without plate number; without end mark) // (1945)

69-3Straw

The copy from Strawinsky's estate is a hire material issue by Associated Music Publishers, and thereby only contains pages 3 to 79 without cover, without front matter, but with 1 page back matter (empty page). It has been rebound in a 24.5 x 32.2 cm cardboard, punched for the spiral at the left margin. The annotations of performance were written with pencil.


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.
https://kcatalog.org and https://kcatalog.net

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