Paul Sacher Stiftung

edited by ulrich mosch
london: boosey & hawkes, 2013

language: german / englisch
other editions: none

the autograph full score of le sacre du printemps arose in several stages between autumn 1911 and late march 1913.

the manuscript is written with stravinsky’s wonted calligraphic beauty, and its structure eloquently testifies to the work’s convoluted gestation, which ended under extreme deadline pressure. its basic layer represents the status of the score prior to the corrections and alterations made in connection with the première and up to the end of the publication process. though stravinsky penciled some of them into his score, the autograph fair copy nevertheless differs noticeably from the first edition in full score, which did not appear until 1922, and from all subsequent printed editions. one reason for the discrepancies is that the published score was engraved from a different manuscript – a handwritten copy that pierre monteux used to conduct the première on 29 may 1913.

the autograph score is also a central document on the work’s early performance history: it was used not only for the second dance production in 1920-21 (again mounted by the ballets russes), but also for concert performances until the conductor’s score finally appeared in print. a number of substantial corrections in stravinsky’s hand that never found their way into later printed editions probably arose from the rehearsals for the second ballet production.

pdf here

boosey & hawkes
146 pages – hardcover  – 46.5 × 37 cm
ismn 979–0-060–12535–5
isbn 978–0-85162–813–4
[gbp 119]  out of print!

this book is part of the centenary edition of stravinsky’s le sacre du printemps – paul sacher foundation / boosey & hawkes, 2013

other books in the centenary edition:
igor strawinsky, le sacre du printemps: manuscript of the version for piano four hands: facsimile [here]
avatar of modernity: the rite of spring reconsidered [here]

edited by felix meyer
london: boosey & hawkes, 2013

language: german / englisch
other editions: none

the piano-duet version of le sacre du printemps appeared in print on 23 may 1913, a few days before the work’s première. since the orchestral score was not published until 1922, it was long the only widely accessible source on le sacre. even later it played an important role as an object of study and as a rehearsal aid for ballet productions.

the manuscript of this reduction for piano four-hands served as an engraver’s copy and has remained among the possessions of stravinsky’s descendants. our facsimile edition makes it accessible to the public for the first time.

the manuscript is a collaborative effort consisting of a first section written out by a copyist (“l'adoration de la terre”) and a second section in the hand of the composer (“le sacrifice”). yet stravinsky closely scrutinized the first section as well, revising and augmenting it so carefully that he had every reason to claim sole authorship of this version. the manuscript makes possible a text-critical comparison with the printed edition and sheds revealing light on the protracted and complicated genesis of le sacre du printemps in its various layers of text and corrections.

pdf here

boosey & hawkes
118 pages – hardcover  – 31.5 × 37 cm
ismn 979–0–060–12553–9
isbn 978–0–85162–822–6
[gbp 72]  out of print!

this book is part of the centenary edition of stravinsky’s le sacre du printemps – paul sacher foundation / boosey & hawkes, 2013

other books in the centenary edition:
igor stravinsky, le sacre du printemps: facsimile of the autograph full score [here]
avatar of modernity: the rite of spring reconsidered [here]

fac-similés de l'épure et de la première mise au net de la partition / facsimiles of the draft score and the first fair copy of the full score
édité par / edited by robert piencikowski,
une publication de la fondation paul sacher / a publication of the paul sacher foundation

universal edition
vienna - london - new york
2010

154 pages – clothbound in slipcase - 37,0 × 46,5 cm
introduction in french and english
eur 170

order from universal edition

isbn 978-3-7024-6861-3
ismn 979-0-008-08207-8
upc 8-03452-06577-7
ue 34 972

unlike the world première of marteau sans maître (1952–55), that of tombeau for orchestra (1959), which took place in donaueschingen on 17 october 1959, passed almost unnoticed – outshone by pierre boulez’s unexpected triumph as a conductor when he stepped in to replace hans rosbaud at the head of the südwestfunk-sinfonieorchester. originally conceived as an individual tribute to prince max egon zu fürstenberg, who died suddenly in spring 1959, the work was ultimately included in the pli selon pli cycle (1957–62, 1983, 1990). to celebrate the composer’s 85th birthday and the 50th anniversary of the world première, the paul sacher foundation and universal edition are now publishing the two original manuscripts of the score for the first time: the pencil draft and a fair copy in different coloured inks. these fine examples of high-quality reproductions are also the earliest evidence of boulez’s friendship with paul sacher. the composer presented the scores to sacher in the early 1960s. the facsimiles are prefaced by an introduction, which places the work in a historical and aesthetic context and takes a look at the compositional techniques used. it is illustrated by a selection of manuscripts from different stages of the creative process, as well as other related documents.

facsimile of the autograph score
edited by the paul sacher foundation in honor of hermann danuser on his 60th birthday

hamburg: musikverlag hans sikorski, 2006 (ed. no. sik2402)
in german and english, 30.5 × 40 cm, 71 pp. + 6 pp. supplement, clothbound in slipcase
ismn 9790003035000
isbn 978-3-935196-78-9
eur 59

purchase from musikverlag hans sikorski

like many other composers, dmitri shostakovich had a pronounced weak spot for the popular music of his day. his interest found expression not only in his ballet and film scores but notably in his orchestral arrangement of tea for two, the hit theater song by vincent youmans that has remained world-famous to the present day. shostakovich probably encountered the song in a russian version entitled tahiti-trott in 1926, when it was inserted into a stage play at the meyerhold theater. he orchestrated it under storied circumstances in 1927 and dedicated the manuscript to the conductor nikolai malko, who had proposed the transcription. in 1930, pressured by the proletarian realignment of soviet cultural policy, shostakovich was forced to distance himself from his arrangement, which was criticized as an expression of a «decadent westernized mentality».thereafter it continued to circulate in the soviet union in a single set of parts that occasionally reached performance and was also used for two posthumous editions in 1984 and 2006. yet the original manuscript, which remained among malko's possessions when he emigrated to the west and entered the holdings of the paul sacher foundation in 1989, has been ignored to the present day. our volume presents it complete for the first time in print, supplemented by five brief explanatory essays and a reproduction of the 1926 russian edition of tahiti-trott.

fac-similé du brouillon et de la première mise au net / facsimile of the draft score and the first fair copy of the full score
edited by pascal decroupet

215 pp., 38.0 x 30.0 cm, clothbound in slipcase
with an introduction in french and english, many annotated illustrations of sketches and documents, and musical examples
isbn 3-7957-0453-7 (psb 1015)
eur 154

ever since its première in baden-baden fifty years ago, le marteau sans maître has been considered one of the towering masterpieces of the post-war serialist avantgarde. now, in honor of pierre boulez on his eightieth birthday, the paul sacher foundation is issuing this facsimile volume with a large amount of handwritten material in high-quality color reproductions. among the items reproduced are the pencil sketch, the first fair copy in ink, and selected sketches and drafts. these sources are accompanied by detailed explanatory annotations, providing a fascinating glimpse into the workshop of the then thirty-year-old composer.

facsimile of the autograph score and sketches

edited by felix meyer, 2000

148 pp. with an accompanying booklet of 32 pp.
30.5 x 39.5 cm
isbn 3-7957-0399-2 (psb 1010)
eur 154

available through schott

commissioned by paul sacher, «music for strings, percussion, and celesta» is among the undisputed masterpieces of twentieth-century music. bartók committed the piece to paper over a short period of time in summer 1936. departing from his normal habits, he drafted the piece directly in full score, which he then reworked several times and finally handed to the publishers as a production master. this important source appears here for the first time in facsimile, accompanied by an introduction in german and english and by annotated documents on the work's genesis, publication, première, and reception. rounding off the volume is a separate booklet with rejected drafts, pages of sketches, and the original form of pages which were later pasted over.

sketches, versions, documents, essays

edited by hermann danuser with the assistance of felix meyer and ulrich mosch, 1994

174 seiten – 25 x 38 cm

174 pp., 25 x 38 cm
isbn 3-7957-0398-0 (psb 1009)
eur 154

stravinsky's «three pieces for string quartet» has only appeared in print in its second version of 1918 and in an arrangement of 1928-29 for the «four etudes for orchestra». the first version, dating from 1914, was left unpublished, as was the reduction for piano four-hands of the same year. this volume makes both accessible for the first time, along with all known sketches and a collection of seven essays.    

facsimile edition of short score and full score of first version (1920)

edited by andré baltensperger and felix meyer, 1991

84 pp., 25 x 38 cm
isbn 3-7957-0397-2 (psb 1008)
eur 128

the «symphonies for wind instruments», a key work in stravinsky's oeuvre, is best known in the revised version that the composer prepared in 1947. for a long time the more richly colored original version of 1920 remained unpublished. this volume makes the most important autograph sources available to a wider public. it contains faithful reproductions of the composer's fair copy of the full score, finished in november 1920, and the short score of summer 1920, a working manuscript that sheds revealing light on stravinsky's creative process.