Collection Summary
Robert Craft Collection on Igor Stravinsky
1912-1966
1940-1966
1912-1966
1940-1966
ML31.S75
Stravinsky, Igor, 1882-1971
Craft, Robert
Approximately 300 items
24 containers
12.4 linear feet
English
French
Russian
German
Collection material in
English, French, Russian, and German
Music Division, Library of
Congress
Washington, D.C.
The
Robert Craft Collection on Igor Stravinsky consists of music by composer and conductor Igor Stravinsky, primarily scores and parts in the form of publisher proofs, ozalid copies, or other photo reproductions. Most items are annotated by Stravinsky with his corrections, conducting markings, or both. Some parts contain annotations by performers. The bulk of the music dates from the middle of Stravinsky’s neoclassical period in the 1940s and his serial period, which began in the 1950s and continued to the end of his life. Robert Craft became Stravinsky’s music assistant after meeting the composer in 1948. This collection is part of the music and recordings he amassed through their association.
Selected Search Terms
The following terms have been used to index the description of this collection in the LC Catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically.
People
Barraud, Henry, 1900-1997--Correspondence.
Craft, Robert.
Craft, Robert. Igor Stravinsky / Robert Craft collection. 1912-1966.
Crénesse, Pierre--Correspondence.
Stravinsky, Igor, 1882-1971--Correspondence.
Stravinsky, Igor, 1882-1971.
Stravinsky, Igor, 1882-1971.
Stravinsky, Igor, 1882-1971. Works. Selections.
Stravinsky, Igor, 1882-1971. Works. Selections; arranged.
Organizations
Radiodiffusion française.
Subjects
Composers--Correspondence.
Music--20th century.
Radio journalists--Correspondence.
Titles
Igor Stravinsky / Robert Craft collection, 1912-1966
Stravinsky/Craft collection, 1912-1966
Form/Genre
Arrangements (Music)
Art music.
Autographs (Manuscripts)
Ballets (Music)
Business correspondence.
Cantatas.
Chamber music.
Clippings (Information artifacts)
Concertos.
Folk songs.
Operas.
Parts (Music)
Scores.
Songs.
Symphonies.
Variations (Music)
Vocal scores.
Provenance
Gift, Robert Craft, 1989-1990
Accruals
No further accruals are expected.
Processing History
Stephanie Akau processed the collection and coded the finding aid in 2018.
Transfers
Sound recordings have been transferred to the Library of Congress Motion Picture, Broadcasting, and Recorded Sounded Division. Many of the recordings have been cataloged in the Sound Online Inventory Catalog (SONIC). Please contact the Recorded Sound Research Center at rsrc@loc.gov for more information about them. Additional information on the sound recordings can be found in the [collection level record] in the Library of Congress online catalog.
Other Repositories
The [Archive and Research Center for the Music of the Twentieth and Twenty-First Centuries of the Paul Sacher Stiftung Foundation] in Basel, Switzerland contains materials relating to Igor Stravinsky.
Related Material
Stravinsky music manuscripts can be found in Library of Congress Music Division General Collections [ML96.S94]; the Koussevitzky Music Foundation materials, including the commission [Ode, in Three Parts, for Orchestra] ; and the Elizabeth Sprague Coolidge Foundation in the Library of Congress, including the commission [Apollon-Musagète] .
In addition, the [Claudio Spies Papers] and the [Moldenhauer Archives at the Library of Congress] contain Stravinsky music materials.
Correspondence with Stravinsky can be found in the [Elizabeth Sprague Coolidge Foundation Collection] and the [ Serge Koussevitzky Archive] .
Copyright Status
Materials from the
Robert Craft Collection on Igor Stravinsky are governed by the Copyright Law of the United States (Title 17, U.S.C.) and other applicable international copyright laws.
Access and Restrictions
The
Robert Craft Collection on Igor Stravinsky is open to research. Researchers are advised to contact the Music Division prior to visiting in order to determine whether the desired materials will be available at that time.
Certain restrictions to use or copying of materials may apply.
Preferred Citation
Researchers wishing to cite this collection should include the following information: [item, date, container number],
Robert Craft Collection on Igor Stravinsky, Music Division, Library of Congress, Washington, D.C.
Biographical Note
Igor Stravinsky (1882-1971), was one of the most influential composers of the twentieth century. He was born in Oranienbaum, Russia, and grew up in St. Petersburg. Stravinsky studied music theory and composition with Nikolai Rimsky-Korsakov beginning in 1902 until Rimsky-Korsakov’s death in 1908. It was Feu d’artifice (Fireworks), which premiered in 1908, that got the attention of Serge Diaghilev of the Ballets Russes. Some of Stravinsky’s commissions for the Ballets Russes, including Zhar-ptit︠s︡a (Firebird), Pulcinella, Petrushka, and Vesna svi︠a︡shchennai︠a︡ (Rite of Spring), remain his most popular works to this day.
The outbreak of World War I prevented Stravinsky’s return to Russia. In spite of output that included Histoire du Soldat, Oedipus Rex, Apollon-Musagète, and Symphonie de Psaumes, Stravinsky struggled financially during this time. He benefitted from patronage from Leopold Stokowski, Werner Reinhart, Coco Chanel, and the Pleyel Piano Company while securing more conducting engagements. Stravinsky and his family became French citizens in 1934. After the deaths of his daughter, Ludmila, in November 1938, first wife Yakaterian “Katya” in March 1939, and mother, Anna, in June 1939, he moved to the United States in September of 1939.
In 1940 Stravinsky married Vera Sudeykina, with whom he had been in a relationship since 1921. They moved to Hollywood in 1941 and became American citizens in 1945. In 1948 Stravinsky met Robert Craft, who founded the Chamber Arts Society in New York City. Though the two had been corresponding since 1947, after this meeting they became inseparable work partners. Craft moved into Stravinsky’s home in 1949. In the 1950s Stravinsky made a significant shift in his compositional style from Neoclassicism to serialism. Works of this period include In Memoriam Dylan Thomas, The Flood, and Abraham and Isaac. He died in New York on April 6, 1971.
Robert Craft was born in New York in 1923. He studied at Juilliard before serving in World War II, returning to graduate in 1946. After moving into Stravinsky’s home, Craft always traveled with him serving as a conductor, assistant, and collaborator until the composer’s death. He made a name for himself conducting major orchestras throughout the world, premiering Stravinsky’s works in addition to others by prominent composers such as Paul Hindemith, Edgard Varèse, and Alban Berg. Craft published several books of transcriptions of their discussions beginning in 1959 with
Conversations with Igor Stravinsky
. He died in 2015.
Scope and Content Note
In 1989 Robert Craft donated to the Library of Congress a portion of the materials he amassed during his association with Stravinsky. Its contents are described in this finding aid.
The Music Series
consists of scores and parts, printed and facsimile, dating from approximately 1912 to 1966. Most are ozalid and photocopy reproductions annotated by Stravinsky, Robert Craft, or performers. The collection also contains publisher's proofs corrected by Stravinsky. Of particular note are early publisher proofs of his serial works, including Threni, that contain corrections and instructions to the engravers and the publisher, and numerous corrected copies of Requiem Canticles, Variations, Movements, and Canticum sacrum ad honorem Sancti Marci nominis.
The Supplemental Materials Series consists of correspondence, sound recordings, and a newspaper clipping. The acetate discs and other recordings received with Craft’s gift were transferred to the Library of Congress Motion Picture, Broadcasting and Recorded Sound Division. Due to the condition of the discs’ paper jackets, copies were made and are included in the collection. A small amount of papers included with the collection consists of letters and telegrams from Stravinsky, Henri Barraud, Director of Music at Radiodiffusion Paris, and Pierre Crénesse of Radiodiffusion New York, requesting that Stravinsky record a brief tribute to Debussy to be broadcast on the 30th anniversary of Debussy’s death in concurrence with a festival of Debussy’s music in Paris. The correspondence includes a script of Stravinsky’s tribute. The letters and telegrams are in French and English and originally accompanied the acetate recordings.
The collection offers insight into Stravinsky’s compositional and revision process, particularly of his later serial works that are not as frequently performed as the early ballets, and a longitudinal perspective on his compositional output.
Organization of the
Robert Craft Collection on Igor Stravinsky
The collection is arranged in two
series:
-
[Music, 1912-1966](mus)
-
[Supplemental Materials, 1940-1953](supmat)
Container List
Box
Contents
1-23
Music, 1912-1966
1912-1966
Manuscript and printed scores, publisher proofs, parts and ozalid copies of manuscripts for original compositions and arrangements by Igor Stravinsky.
Arranged alphabetically according to title and container size.
1/1
Abraham and Isaac
Full score, publisher's proof, 28 p.
Signed and corrected by Stravinsky after the premiere in Israel and a later performance in Berlin, 1964
Plate number: B. & H. 19197
1/2
Agon
Short score for 2 pianos, ozalid, 88 p.
Holograph annotations
1/3
Apollon musagète
Parts, manuscript ink on transparencies with holograph corrections
1/4
Apollon musagète
Piano arrangement by Stravinsky, photocopy,
32 p.
Plate number: R.M.V. 441
Signed by Stravinsky
1/5
Babel
Short score, ozalid, 19 leaves
At end: Igor Stravinsky Hollywood March 29, 1944
Holograph corrections
Laid in: Envelope
1/6
Baiser de la fée, Ballad
Arrangement for violin and piano of Baiser de la fée by Peter Ilich Tchaikovsky, photocopy, 8 leaves
Plate number: R.M.V. 594
Holograph annotations
1/7
Berceuses du Chat
Ensemble parts
Plate number: A. 97 H.
Signed by Stravinsky
1/8
Berceuses du Chat
Ensemble parts
Plate number: A. 97 H.
Annotator unknown
1/9
Berceuses du Chat and Pribaoutki
Full scores bound together, publisher's proof, 22 leaves
Plate number: A. 69 H., A. 71 H.
Annotations and corrections by Stravinsky
2/1
Cantata
Full score, first publisher's proof, 38 leaves
Plate number: B. & H. 17245
Numerous holograph corrections
2/2
Canticum sacrum ad honorem Sancti Marci nominis
Full score, publisher's proof, 37 p.
Plate number: B. & H. 18168
Holograph corrections
Laid in: Note from music binder
2/3
Canticum sacrum ad honorem Sancti Marci nominis
Piano-vocal score, first publisher's proof, 30 leaves
Plate number: B. & H. 18169
Numerous correcctions by Stravinsky, including manuscript on pages 6 and 30
Note to publisher requesting second proof
2/4
Canticum sacrum ad honorem Sancti Marci nominis
Full score, ozalid, 55 p.
Corrections by Stravinsky and unknown others
Note: Manuscript insert 24bis taped onto page 24
2/5
Chant des bataliers du Volga
Score and parts
Plate number: J.W.C. 18
Tam-tam part is in holograph manuscript
Laid in: Photos of the score, 1946 correspondence with Charles Cushing, band director at UCLA
2/6
Circus Polka
Full score, negative photocopy, 28 leaves
Holograph corrections
At end: Istr Hollywood Oct. 5/42
2/7
Circus Polka
Parts, strings only
Numerous holograph corrections
2/8
Circus Polka
Piano arrangement, negative photocopy, 14 leaves
Unannotated
At end: Igor Stravinsky Hollywood February 15th, 42
3/1
Concertino, violins (2), viola, cello; arranged, (Concertino for 12 instruments)
Full score, publisher's proof, 19 leaves
Green ink negative
Plate number: 27104
Numerous holograph corrections, some in German
3/2
Concertino, violins (2), viola, cello; arranged, (Concertino for 12 instruments)
Full score, ozalid, 54 p.
At end: Istr Easter 1952
Holograph corrections and conducting markings
3/3
Concertino, violins (2), viola, cello; arranged, (Concertino for 12 instruments)
Full score, ozalid, 54 p.
At end: Istr Easter 1952
Few holograph corrections
3/4
Concertino, violins (2), viola, cello; arranged, (Concertino for 12 instruments)
Full score, ozalid, 54 p.
At end: Istr Easter 1952
Few holograph corrections
3/5
Concertino, violins (2), viola, cello; arranged, (Concertino for 12 instruments)
Incomplete set of parts
Cello obbligato missing
Plate number: 27104a
Annotated by unknown, performance markings
Laid in: Envelope
3/6
Concertos, string orchestra, D
Full score, ozalid, 57 p.
At end: Signed, Hollywood August 8th 1946
Holograph annotations
3/7
Concertos, string orchestra, D
Parts
Plate number: B. & H. 16180
Holograph corrections in each part
4/1
Concertos, violin, orchestra, D
Short score, third publisher's proof, 35 leaves
Violin and piano arrangement by Stravinsky
Plate number: B.S.S. 32956
Numerous holograph corrections
Laid in: Notes on duration of each movement, publisher’s pamphlet on press about the piece
4/2
Credo
Vocal scores, ozalids, 6 p.
9 copies
One score contains holograph conducting markings
4/3
Double canon, violins (2), viola, cello
Full score, ozalid, 2 leaves
4 copies
Parts written over in ink for legibility
4/4
Elegy, viola
Second publisher’s proof, 3 leaves
Negative green on white
Plate number: A.C. 19454
Holograph corrections with request for a third proof, annotations by unknown
4/5
Elegy, viola, arr.
Second publisher’s proof, 3 leaves
Arranged for violin
Plate number: A.C. 19454
Negative green on white
Holograph corrections with request for a third proof, annotations by unknown
4/6
Elegy for J.F.K.
Full score, ozalid, 5 p.
Baritone version
Annotations and corrections
Robert Craft’s copy, note on back gifting it to recipient with thanks
4/7
Histoire du soldat
Piano arrangement by Stravinsky, publisher's proof, 50 leaves
Percussion in Trois Dances only
Plate number: J. & W.C. 2080
Holograph corrections
4/8
In memoriam Dylan Thomas
Full score, ozalid, 13 p.
Holograph title page, corrections, and duration notes
4/9
Introit
Full score, publisher's proof, 8 p.
Plate number: B. & H. 19324
At end: Feb 17/65 Hollywood
Few annotations by unknown, pasteover correction on page 4
4/10
Introit
Full score, publisher's proof, 8 p.
Plate number: B. & H. 19324
At end: Feb 17/65 Hollywood
Holograph corrections, note to publisher about corrections and request for a next set of proofs
4/11
Introit
Full score, publisher's proof, 8 p.
Plate number: B. & H. 19324
At end: Feb 17/65 Hollywood
One correction to harp and piano part on page 4
5/1
Jeu de cartes
Full score, photocopy of manuscript, 223 leaves
Plate number: 34888
IStr [illegible] 36 in Paris
Holograph corrections in red pencil
Note: Chemical damage
6/1
Movements, piano, orchestra
Full score, publisher's proof, 20 p.
First engraving
Plate number: B. & H. 18676
Stravinsky wrote information about a performance and recording with Columbia on the inside cover
Numerous holograph corrections and conducting markings
Laid in: Photo of New York City Ballet’s staging of Movements at the Covent Garden, card to Stravinsky from book binder and paper maker Piazzesi in Venice
6/2
Movements, piano, orchestra
Full score, publisher's proof, 20 p.
Plate number: B. & H. 18676
Holograph corrections on several pages
Robert Craft's copy
6/3
Movements, piano, orchestra
Stravinsky's arrangement for two pianos, ozalid, 27 p.
Stravinsky handwrote the title and dedication to Margrit Weber
Holograph corrections
6/4
Movements, piano, orchestra
Stravinsky's arrangement for two pianos, ozalid, 27 p.
Unannotated
6/5
Norwegian Moods
Full score, photocopy of manuscript, 47 leaves
Plate number: A.S. 19449
Annotated by Stravinsky, including a note about a correction on page 38, and unknown others.
6/6
Ode, orchestra
Full score, photocopy of manuscript, 25 leaves
Cover page reads: In memory of Natalie Koussevitzky ODE in three parts for orchestra
6/7
Ode, orchestra
Full score, photocopy of manuscirpt, 25 leaves
Cover page reads: In memory of Natalie Koussevitzky ODE in three parts for orchestra
Unannotated except for the duration of each movement
Laid in: Envelope
6/8
Ode, orchestra
Full score, negative photocopy of manuscript, 24 leaves
Few holograph annotations, including duration of each movement
6/9
Orpheus
Short score, ozalid, 69 leaves
Laid in: Paper, Stravinsky wrote “ORPHEUS photostate [sic] of the manuscripts of my summary sketches, Igor Stravinsky 1947.”
7/1
Owl and the pussy-cat
Piano-vocal score, first publisher's proof, 7 leaves
Plate number: B. & H. 19521
Stamped 5 Dec 1966
Holograph corrections
First page reads: Correct and print it. IStr Hollywood Dec 18, 1966
7/2
Owl and the pussy-cat
Piano-vocal score, ozalid of manuscript, 9 p.
At end: IStr Oct/66
Holograph corrections
7/3
Pastorale, soprano, piano; arranged
Full score, negative photocopy, 13 leaves
Oboe, English horn, clarinet, bassoon, violin
Laid in: Envelope
7/4
Pastorale, soprano, piano; arranged
Full score, publisher's proof, 13 leaves
Oboe, English horn, clarinet, bassoon, violin
Plate number: B.S.S. 33967
7/5
Pastorale, soprano, piano; arranged
Parts
Oboe, English horn, clarinet, bassoon, violin
Violin part published by Associated Music Publishers, others by B. Schött’s Sohne
Plate number: B.S.S. 33976a
Annotated by performers
Laid in: Envelope, Stravinsky wrote “Pastoral for violin and wind ensemble new augmented version 1934 full score”
7/6
Pastorale, soprano, piano; arranged
Manuscript parts
Annotated by performers. Some performers from Barcelona 1925 performance signed their parts
7/7
Pastorale, soprano, piano; arranged
Parts
Oboe, English horn, clarinet, bassoon
Plate number: 32376
Annotated by others
Laid in: Envelope
7/8
Petrushka
Full score, partial, photocopy, 22 leaves
Part III The Blackmoor only
Unannotated
Laid in: Envelope
7/9
Podbli︠u︡dnyi︠a︡ (Four Russian Peasant Songs)
Unaccompanied chorus parts, ozalid of manuscript, 7 copies, 9 p.
English text
One part contains holograph corrections
7/10
Podbli︠u︡dnyi︠a︡ (Four Russian Peasant Songs)
Parts, ozalid, horns
7/11
Podbli︠u︡dnyi︠a︡ (Four Russian Peasant Songs)
Manscript vocal parts, 13 total
French text
Laid in: Envelope in Stravinsky's hand, blue pencil, "Unterschale a 4 Choerurs a cappella p. voix femme Texte francais de C.F. Ramuz. Parties de choeur"
7/12
Poèmes de Paul Verlaine, Op. 9
Full score, ozalid, 15 p.
At end: Orchestrated in 1951
Holograph corrections and annotations
Page 4 crossed out and replaced with an unbound page
Laid in: Envelope
7/13
Poèmes de Paul Verlaine, Op. 9
Full score, ozalid, 15 p.
At end: Orchestrated in 1951
Page 4 crossed out and replaced with an unbound page, otherwise unannotated
8/1
Prelude, jazz ensemble
Piano arrangement, ozalid, 5 p.
Holograph annotations
8/2
Prelude, jazz ensemble
Excerpt of full score, ozalid, 2 p.
Only pages 8-9 present; replacement for original guitar and timpani parts on page 8
8/3
Prelude, jazz ensemble
Incomplete set of manuscript parts, ink on transparencies
Percussion, timpani parts are missing
8/4
Pulcinella
Piano-vocal score, first publisher's proof, 82 leaves
Plate number: J. & W.C. 9707
Holograph annotations
Inside front cover written in an unknown hand, "Tableau comparatif des Fragments de Pergolesi d'apres lesquels Strawinsky a compose Pulcinella" with 19 Pergolesi sources listed
Pasted in: Small silver print of Pulcinella's mask and a reproduction of Picasso's drawing for Stravinsky of Pulcinella
8/5
Ragtime
Piano part transcribed from cimbalom, ozalid copy of manuscript, 11 p.
"Mr. Stravinsky's personal copy!" written on first page
Note printed on score: "This is the Original Cimbalom part transcribed for Pianoforte by the author in 1953"
8/6
Renard
Miniature score, second publisher's proof, 146 leaves
Plate number: W. Ph. V 176 J.W.C. 60a
Text in Russian, French, German
Holograph corrections
Dated 1882 with an *, corresponding note is not visible or has been cut off
Stamped: 2nd Korrektur 31 Juli 1929
Note by Stravinsky on first page in German dated 31-8-29. According to Craft, in this note Stravinsky requests a third set of proofs
Laid in: Telegram to Stravinsky dated 7/19/29
8/7
Renard
Part, ozalid, 24 p.
Manuscript note: Piano arrangement of cimbalom part
Holograph corrections, other annotations by unknown
9/1
Requiem canticles
Partial full score, ozalid, 8 p.
Interlude only
Holograph annotations
Note on first page: "This is the corrected copy IStr"
9/2
Requiem canticles
Partial full score, ozalid, 8 p.
Interlude only
Unannotated except for Stravinsky’s note on first page: "3 uncorrected copies without pages, bar numbers, and some mistakes IStr"
9/3
Requiem canticles
Partial full score, ozalid, 6 p.
Prelude only
Unannotated
9/4
Requiem canticles
Partial full score, ozalid, 6 p.
Prelude only
Unannotated
9/5
Requiem canticles
Full score, first publisher's proof, 40 leaves
Plate number: B. & H. 19518
At end: 13-Aug-66
Holograph corrections
Stamped 30 Nov 1966.
Note: "Correct and print it. Hollywood IStr Dec 17/66"
9/6
Requiem canticles
Full score, corrected ozalid, 40 p.
At end: IStr 13 VIII 66
Holograph corrections
Note: 2nd time corrected copy Sept 5-6/66
9/7
Requiem canticles
Full score, ozalid third publisher's proof, 40 p.
At end: IStr 13 VIII 66
Holograph corrections
Note, first page: "3’ correction Sept 7/66"
9/8
Requiem canticles
Full score, ozalid, 40 p.
Holograph corrections
Note: Beginning with page 20 the pages are different sizes, bound together but separate from the other movements
9/9
Requiem canticles
Partial full score, ozalid, 30 p.
Title on piece is "Sinfonia de Requiem to the memory of Helen Buchnan Seeger"
Lacrimosa, Postlude missing
Laid in: Envelope
9/10
Sacrae cantiones, voices (6-7). Selections. By Carlo Gesauldo. Assumpta est Maria
Full vocal score, ozalid, 5 leaves
Bass part in Stravinsky's hand, note in red "I added the missing bass part IStr"
9/11
Sacrae cantiones, voices (6-7). IIlumina nos misericordiarum
Piano-vocal score, 15 p.
Stravinsky composed missing Sixtus and Bassus parts.
Laid in: Letter from Robert Craft to Dr. E. Roth of Boosey & Hawkes dated 31 May 1957
9/12
Scherzo à la russe
Two piano arrangement, publisher’s proof, manuscript and ozalid, 14 p.
Holograph corrections
First two pages are manuscript by unknown, all others are ozalids
9/13
Scherzo à la russe
Two piano arrangement, ozalid, 14 leaves
Holograph manuscript corrections and fingerings
Stravinsky wrote "Igor Stravinsky Scherzo a la Russe arrangement for two pianos by the author" in black ink on first page.
Laid in: Envelope
9/14
Scherzo à la russe
Arrangement for two pianos, ozalid, 7 leaves
Pages 1-7 only, no Trio 2
One of three copies
Unannotated
9/15
Scherzo à la russe
Arrangement for two pianos, ozalid, 7 leaves
Pages 1-7 only, no Trio 2
One of three copies
Unannotated
9/16
Scherzo à la russe
Arrangement for two pianos, ozalid, 7 leaves
Pages 1-7 only, no Trio 2
One of three copies
Unannotated
9/17
Scherzo à la russe
Arrangement for two pianos, ozalid, 14 leaves
At end: IStr June 44 Hollywood
One of two copies
Unannotated
9/18
Scherzo à la russe
Arrangement for two pianos, ozalid, 14 leaves
At end: IStr June 44 Hollywood
One of two copies
Unannotated
10/1
Septet, piano, clarinet, horn, bassoon, violin, viola, cello
Full score, ozalid, 74 p.
Holograph dedication on first page
10/2
Septet, piano, clarinet, horn, bassoon, violin, viola, cello
Full score, Gigue only, ozalid, 20 p.
At end: IStr 1953
Holograph corrections including changes to rhythm and articulations in piano and string parts
10/3
Septet, piano, clarinet, horn, bassoon, violin, viola, cello
Parts
Plate number: B. & H. 17474
Annotated by performers
Laid in: Envelope
10/4
Septet, piano, clarinet, horn, bassoon, violin, viola, cello
2 piano transcription by Stravinsky, ozalid, 35 p.
Holograph corrections
10/5
Sermon, a narrative, and a prayer
Full score, third publisher's proof, 37 leaves
Plate number: B. & H. 18784
Holograph annotations
Stamped "3 May 1961"
Laid in: Black/white reproduction of a drawing of a stained glass window
10/6
Sonatas, piano
Full score, photocopy, 19 p.
Plate number: R.M.V. 417
At end: S.I.M.A.G. - Ashètres-Paris 2 et4, Avenue de la Marne-XXX.IIII
Holograph annotations, including fingerings
Note on flyleaf: "This Sonata is revised and fingered 1947 I Stravinsky."
10/7
Sonatas, piano
Full score, photocopy, 19 p.
Plate number: R.M.V. 417
At end: S.I.M.A.G. - Ashètres-Paris 2 et4, Avenue de la Marne-XXX.IIII
Annotations by unknown
Some corrections were photocopied from Box-Folder 10/6
10/8
Sonatas, pianos (2)
Full score, ozalid, 41 p.
Holograph annotations, including performance markings
Laid in: Envelope
10/9
Star Spangled Banner, arrangement
Orchestra parts
Reharmonized by Stravinsky
10/10
Star Spangled Banner, arrangement
Piano-vocal score, ozalid, 4 p.
11/1
Stikhotvorenii︠a︡ iz i︠a︡ponskoĭ liriki
(Trois Poesies de la lyrique japonaise)
Parts
Edition for voice and chamber ensemble
Soprano part from 1947 edition
Plate number: R.M.V. 201; R.M.V. 199.356; B. & H. 16308
At end: I-Oustiloug 1912 II-Clarens 1913 III-Clarens 1913
Annotations by Stravinsky and performers
Laid in: Cover, Stravinsky describes contents
11/2
Svadebka (Les Noces)
Piano-vocal score, publisher's proof, 180 p.
Plate number: J. & W.C. 9718
At end: Morges, 1917
Annotations and conducting markings
Stamped "Proof copy-private"
Holograph cover inscription: 11 Mai 1922, Monte Carlo
11/3
Fragments des Symphonies pour instruments a vent a la memoire de C.A. Debussy, final chorale
Piano, negative photocopy, 2 leaves
Unannotated
Laid in: Envelope
11/4
Symphony in three movements
Full score, photocopy, 107 p.
At end: Igor Stravinsky August 10 1945 Hollywood
Duration of each movement written at the end
12/1
Songs from William Shakespeare
Full score, ozalid, 17 p.
At end: IStr Oct 6/53
Holograph annotations
12/2
Songs from William Shakespeare
Full score, ozalid, 21 p.
At end: IStr Oct 6/53
Holograph annotations
Contains an insert of pages 11-14 with two additional measures that were inadvertently left off page 11 of "When Daises Pied"
12/3
Songs from William Shakespeare
Vocal score, ozalid, 14 p.
At end: IStr Oct 6/53
One holograph correction on p. 5
12/4
Songs from William Shakespeare
Vocal score, ozalid, 18 p.
At end: At end: IStr Oct 6/53
Annotated by others
Contains an insert of pages 11-14 with two additional measures that were inadvertently left off page 11 of "When Daises Pied"
12/5
Threni
Full score, publisher's proof, 70 p.
Plate number: B. & H. 18438
At end: 21-III-58
Holograph corrections and conducting markings
Additional annotations by Robert Craft
First page, holograph inscription: IStr June 20/59
12/6
Threni
Full score, publisher's proof, 70 p.
Plate number: B. & H. 18438
At end: 21-III-58
Holograph annotations, including conducting markings
On the flypage Stravinsky wrote the names of the Santa Fe production cast July 12/59. All were leads in the 1959 Santa Fe Opera season
Laid in: Excerpt of magazine article on Christian unity
12/7
Threni
Piano-vocal score, publisher's proof, 52 p.
Plate number: B. & H. 18445
One correction by unknown, p. 14
12/8
Variations, orchestra
Full score, second publisher's proof, 25 p.
Plate number: B. & H. 19290
At end: Oct 28/64 Hollywood
Holograph corrections and annotations in red, others possibly by publisher in green
Stravinsky wrote: Please correct and send me with this copy three corrected copies (3) IStr Hollywood Feb 23/65. X together with the added pages (4, 5, 6, 7) of the first proofs
12/9
Variations, orchestra
Full score, Second publisher's proof, 25 p.
Plate number: B. & H. 19290
At end: Oct 28/64 Hollywood
Corrections by Stravinsky and others
Stravinsky wrote top of first pages "Second proofs - 15.2.65"
Robert Craft's copy
12/10
Vesna svi︠a︡shchennai︠a︡, (La Sacre du Printemps, Danse Sacral)
Full score, negative photocopy, 35 leaves
At end: IStr XII-1-1943
Holograph annotations in white
Laid in: Note from Stravinsky to Leonard Stein, pupil of Schoenberg at UCLA
Laid in: Envelope
13/1
Agon
Full score, ozalid, 98 p.
At end: IStr April 27/57
Holographs corrections, annotations, and conducting markings
13/2
Agon
Full score, ozalid, 98 p.
At end: IStr April 27/57
Holograph corrections in red ink, green pencil annotations by Robert Craft and unknown
13/3
Canticum sacrum ad honorem Sancti Marci nominis
Full score, publisher's proof, 37 p.
Plate number: B. & H. 18168
Holograph corrections, most in movements 2 and 3, conducting markings
Stravinsky's note on back of flyleaf "21 May 1956
"
13/4
Canticum sacrum ad honorem Sancti Marci nominis
Full score, first publisher's proof, 37 p.
Plate number: B. & H. 18168
Corrections and annotations by Stravinsky and others
Note from Stravinsky to publisher
13/5
Canticum sacrum ad honorem Sancti Marci nominis
Full score, ozalid, 55 p.
Holograph corrections
Stravinsky signed "Nov. 24, 1955"
13/6
Choral und Variationen uber das Weihnachtslied vom Himmel hoch da kommich her von J.S. Bach, arrangement
Full score arrangement with added vocal parts, ozalid, 54 p.
Holograph note, first page, "This is Igor Stravinsky’s property"
14/1
Concertos, orchestra, E-flat "Dumbarton Oaks"
Parts
Plate number: B.S.S. 35384
Annotated by performers, holograph correction to cello part
Laid in: Envelope
14/2
Concertos, piano, instrumental ensemble
2 piano arrangement, photocopy, 62 p.
At end: BIARRITZ Avril 1924
14/3
Duo concertant
Score, violin and piano, publisher's proof, 7 leaves
Plate number: B.S.S. 33683
Blue ink negative
Holograph corrections
Stamped 28 Jan 1953 Russe de Musique
14/4
Ebony concerto
Full score, ozalid copy of manuscript, 45 p.
At end: IStr Dec. 1, 1945
Holograph corrections
On first page: My own copy with some corrections. Igor Stravinksy, Feb 1946
14/5
Ebony concerto
Full score, ozalid copy of manuscript, 45 p.
At end: IStr Dec. 1, 1945
Holograph corrections
14/6
Flood
Full score, ozalid copy of manuscript, 80 p.
At end: IStr March 14/62 Hollywood
On cover: Spare copy full score. IStr
Few holograph annotations
15/1
Histoire du soldat
Full score, second publisher's proof, 60 leaves
Plate number: J.W.C. 44
Holograph corrections
Signed and dated Paris 1924
Laid in: Typewritten page of instrumentation, performance instructions, seating schemata
15/2
In memoriam Dylan Thomas
Piano-vocal score, ozalid copy of manuscript, 8 p.
Holograph corrections and rehearsal numbers
15/3
In memoriam Dylan Thomas
Piano-vocal score, publisher's proof, 8 p.
Stravinsky notated instrumentation for orchestra version throughout
15/4
Instrumental miniatures
Full score, ozalid copy of manuscript, 18 p.
At end: IStr April 10/62
Holograph annotations
Laid in: Envelope
15/5
Monumentum pro Gesualdo di Venosa ad CD annum
Full score, ozalid copy of manuscript, 35 p.
At end: Hollywood, March 1960
Stravinsky wrote on first page, "Corrected copy. Recorded with Columbia June 9, 1960" and length of each movement
Laid in: Typewritten note from Glenn E. Watkins about Kinkeldey, excerpt of Kinkeldey's 1910 article "Orgel und Klavier in der Musik des 16," page signed by Stravinsky
15/6
Movements, piano, orchestra
Full score, ozalid copy of manuscript, 27 p.
At end: IStr July 30/59
Conducting markings and corrections
15/7
Octet, flute, clarinet, bassoons (2), trumpets (2), trombones (2)
Parts, incomplete
Holograph corrections, annotations by performers
Clarinet part missing last page, Bassoon I missing 10 pages, Bassoon II part missing
Laid in: Envelope
15/8
Oedipus Rex
Full score, photocopy, 190 p.
At end: Achevé l'orchestration-a Paris le 11 mai 1927
Holograph annotations and conducting markings
According to Craft this was the only score published before the revised edition
16/1
Oedipus Rex
Full score, photocopy, 190 p.
Holograph corrections and conducting markings
Stravinsky signed front cover
Speaker’s text, two pieces of tissue paper with notes on duration glued to back of front cover
Laid in: Two loose leaf papers in Russian and French by Stravinsky
16/2
Orpheus
Full score, ozalid copy of manuscript, 96 p.
At end: Igor Stravinsky Hollywood Sept 23/1947
Holograph corrections
16/3
Petrushka. Russkiĭ tanet︠s︡; arranged
Score, violin and piano, publisher's proof, 27 leaves
Plate number: B.M.V. 564
Blue ink negative
Stamped "28 Jan 1933 Russe de Musique"
Holograph corrections on every page
Laid in: Envelope
16/4
Pieces, violins (2), viola, cello
Manuscript parts
At end: Cop. Templeton Strong Genéve Jan: 1915
Holograph corrections, annotations by performers
According to Craft the parts were used for a private performance
Laid in: Envelope
16/5
Pieces, violins (2), viola, cello
Parts, 1922 revised edition
Plate number: R.M.V. 402
Unannotated
17/1
Podbli︠u︡dnyi︠a︡
Unaccompanied vocal scores, 8 copies
1 ozalid original, 7 photocopies
Russian text
17/2
Prelude, jazz ensemble
Full score, photocopy, 9 p.
Includes new pages replacing original string-guitar and timpani on p. 8
Holograph corrections
Stravinsky wrote on cover, "Columbia Records 4/27/65; My personal copy"
17/3
Prelude, jazz ensemble
Full score, negative photocopy, 9 p.
2 additional pages, replace original string guitar and timpani parts, p. 8
Holograph annotations show orchestration change, banjo became guitar, 1st piano became celesta
Laid in: Envelope
17/4
Pribaoutki
Ensemble parts
Plate number: A. 98() H.
Holograph corrections and performers' annotations
Laid in: Stravinsky’s note on cover, "Parts corrected by me on Oct 20/19[6?]4 with the full and vocal scores"
17/5
Pulcinella. Suite
Violin and piano parts, publisher's proof
Plate number: R.M.V. 428
At end: NICE 624 Août 1925
Unannotated
Laid in: Card from Victor Poinceau of the French Music Printing Company
Laid in: Grey slipcover
17/6
Ragtime
Piano transcription, pubisher proof, 14 p.
Plate number: E.D. 4 L.S.
At end: Morges 1918
Unannotated purple ink negative
Cover art by Picasso
17/7
Scènes de ballet
Full score, ozalid copy of manuscript, 54 p.
Holograph corrections, conducting markings, and rehearsal numbers
Pasted in: Note from Stravinsky detailing recording times on Hotel Drake stationary
17/8
Songs, flute, harp, guitar accompaniment
Score and parts, ozalid, 24 p.
Holograph corrections on score, annotations by Robert Craft and unknown
Pasted in: English translation of text taped on back cover, pronunciation guide on flyleaf
English translation written below Russian text by Robert Craft
17/9
Spiashchaia krasavitsa, reorchestration of Tchaikovsky's Bluebird, Pas de deux
Full score, photocopy, 26 p.
At end: IStr N-4 1941
Unannotated
17/10
Star-Spangled Banner, arrangement
Full score, negative photocopy of manuscript, 3 leaves
Reharmonzied by Stravinsky
At end: Finished July 4 1941 Igor Stravinsky
One holograph correction on page 2
17/11
Stikhotvorenii︠a︡ K. Balʹmonta (Two poems of Kay Balmont)
Full score, ozalids, 3 copies
Unaccompanied vocal score, ozalid, 8 p.
Corrections by Stravinsky and others
Russian text, Stravinsky wrote Latin letters underneath
18/1
Suites, orchestra, no. 2
Full score, second publisher's proof, 31 leaves
Plate number: J.W.C. 51
Blue ink negative
Holograph corrections
18/2
Symphonies d'instruments à vent
Full score, third publisher's proof, photocopy, 39 p.
Plate number: R.M.V. 459
Holograph conducting markings
Stravinsky’s private copy
According to Craft, this is the first edition of the full score
18/3
Symphonies d'instruments à vent, final chorale
Full score, ozalid, 7 p.
Orchestration differs from 1920 and 1947 versions
Holograph corrections and conducting markings
18/4
Symphonies d'instruments à vent
Full score, ozalid copy of manuscript, 35 p.
Title on cover: Woodwinds Symphony
Laid in: Errata sheet and recording durations taped to inside cover
According to Craft, Stravinsky conducted from this score in New York on April 11, 1948
18/5
Symphonies d'instruments à vent
Full score, ozalid, 35 p.
Stravinsky wrote on first page: Corrected copy
One holograph correction page 31
18/6
Threni
Full score, first publisher's proof, 70 leaves
Plate number: B. & H. 18438
At end: 21-III-58
Numerous holograph corrections, pasteovers
19/1
Threni
Full score, ozalid, 90 p.
Corrections by Stravinsky and unknown, annotations include recording times
Holograph manuscript pasteover on page 11
Stravinsky’s notes on errata written on inside cover
19/2
Threni
Full score, second publisher's proof, 70 leaves
Plate number: B. & H. 18438
At end: 21-III-58
Numerous holograph corrections, pasteovers, many fixed from first proof
Questions from publisher with Stravinsky's answers
Stamped 17 Jun 1958
19/3
Zhar-ptit︠s︡a. Igra t︠s︡arevenʹ zolotymi i︠a︡blochkami; arranged (Scherzo from The Firebird)
Violin and piano score, publisher's proof, 8 leaves
Plate number: B.M.V 565
Green ink negative, printed on back of other music
Unannotated
20/1
Rake's Progress, Act I
Piano-vocal score, ozalid copy of manuscript, 165 p.
At end: IStr Jan 16/49
Laid in: Boosey & Hawkes pamphlet dated July 1951 advertising first performance September 9, 1951
20/2
Rake's Progress, Act II
Piano-vocal score, ozalid copy of manuscript, 180 p.
Holograph correction on page 10
At end: IStr Feb 1 1950
20/3
Rake's Progress, Act III
Piano-vocal score, ozalid copy of manuscript, 275 p.
Holograph corrections
Holograph manuscript, pages 170-171
At end: IStr April 17/57
21/1
Symphonies, C
Full score, ozalid, 209 p.
Annotated by Stravinsky and others
Recording durations, typewritten and corrected in red pencil on first flyleaf
Stravinsky inscribed dedication to the Chicago Symphony Orchestra on second flyleaf
22/1
Symphonie de Psaumes
Full score, photocopy, 34 p.
At end: Igor Stravinsky Nice 1930
Holograph corrections and durations at end of each movement
Large blue pencil scribbles inside cover, page 3, part III
23/1
Rake’s Progress
Full score, ozalid, 417 p.
Holograph corrections to music and text
24
Supplemental Materials, circa 1940-1953
circa 1940-1953
24/1
Correspondence,
1948
1948
Letters, telegrams, transcriptions
March 4 letter Henri Barraud to Stravinsky
March 16 letter Pierre Crénesse to Stravinsky
March 16 telegram Crénesse to Stravinsky
March 16 telegram Crénesse to Stravinsky
March 19 telegram Stravinsky to Crénesse
March 20 Stravinsky's transcription of telegram from Crénesse
March 22 telegram Stravinsky to Crénesse
March 22 holograph manuscript transcription telegram from Stravinsky to Crénesse
March 25 script for Stravinsky's tribute to Debussy
March 29 telegram Crénesse thanking Stravinksy
April 26 letter Crénesse to Stravinsky
24/2
Sound Recordings,
circa 1940-1952
circa 1940-1952
26 photocopied pages of acetate disc jackets
Stravinsky conducting the New York Philharmonic,
1940 April 7
1940 April 7
6-disc set
Fragments of Firebird, Petrushka, and Sacre du printemps
Stravinsky conducting the Boston Symphony,
1944 January
1944 January
6-disc set
Symphony in C, excerpts of Norwegian moods
Stravinsky conducting the Boston Symphony,
1945
1945
3-disc album
Tchaikovsky's Symphony No. 2
Note: Record labels identify performance by Philharmonic Society of New York
CBS "Invitation to Music Broadcasts,"
1946 January
1946 January
12-disc album and album spine
Apollo, Symphony of Psalms, and Symphony in 3 Movements
Stravinsky conducting the Philadelphia Orchestra,
1947 January 11
1947 January 11
Pulcinella, Scherzo à la russe, Circus Polka, and Divertimento
Igor Markevitch conducting in The Hague,
1952 June 10
1952 June 10
Pulcinella, Symphony of Psalms, Divertimento, and excerpts from Rake's Progress
First performance of
Cantata
, Los Angeles,
1952 November 11
1952 November 11
Private performance
Jeu de Cartes
, original "Telefunken" production and reproduction,
date unknown
date unknown
6-disc set
Stravinsky conducting his own compositions,
date unknown
date unknown
2 discs
Test pressings
Works unknown
Additional recording information
In addition to those listed above, recordings without jackets were transferred to the Library of Congress Motion Picture, Broadcasting, and Recorded Sound Division in Culpeper, Virginia. These titles, which consist of Stravinsky's music and voice recordings, are listed below. Identifying information for the recordings was extracted from Craft’s original inventory and the Sound Online Inventory Catalog (SONIC) of the Library of Congress. While every effort has been made to identify these recordings, it is possible inaccuracies may exist. There are a small number of recordings of music by other composers that belonged to Stravinsky that are not listed.
Works:
- Agon
- Apollon Musagète
- Ave Maria
- Circus Polka
- Concertos, piano, instrumental ensemble
- Concertos, orchestra, E♭
- Histoire du soldat
- Mass
- Octet, flute, clarinet, bassoons (2), trumpets (2), trombones (2)
- Ode
- Orpheus
- Pater Noster
- Persephone
- Pièces faciles (Cinq doigts)
- Pulcinella. Suite
- Rake’s Progress
- Scènes de ballet
- Serenade, A.
- Symphony in three movements
- Symphonie de psaumes
- Symphonies d'instruments à vent
- Zvezdoliki
- Stravinsky's tribute to Debussy recorded 1948 March 23
- A Stravinsky Tribute broadcast 1948 April 10
- Corbett lecture with Craft, October 13, 1965, Music Hall, Cincinnati, Ohio
24/3
Newspaper Clipping,
1953
1953
The New York Times
,
22 March
22 March
Photocopy
Photo of Stravinsky conducting the Metropolitan Opera Orchestra during a recording session of Rake's Progress. Mezzo-soprano Blanche Thebom, who played the role of Baba the Turk, is singing.