## The Project Gutenberg eBook of Miniature essays: Igor Stravinsky

This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

Title: Miniature essays: Igor Stravinsky

Author: Anonymous

Release date: August 27, 2012 [eBook #40597]

Language: English, French

Credits: Produced by Linda Cantoni, Eleni Christofaki, Bryan Ness
and the Online Distributed Proofreading Team at
http://www.pgdp.net (This file was produced from images
generously made available by The Internet Archive/American
Libraries.)

*** START OF THE PROJECT GUTENBERG EBOOK MINIATURE ESSAYS: IGOR STRAVINSKY ***

### Transcriber's note
Note de transcription

Minor punctuation inconsistencies have been silently corrected. A list of other corrections made can be found at the end of the book.

Les incohérences de ponctuation mineures ont été corrigées. Une liste d'autres corrections faites se trouve à la fin du livre.

# MINIATURE
ESSAYS::
IGOR STRAVINSKY

Price 6d. (fr. 0.75) Net.

J. & W. CHESTER Ltd.

London:—11, Great Marlborough St., W.1 |  | Genève:—9-11, Place de la Fusterie.

Seuls Dépositaires

France: | Belgique:
Rouart, Lerolle & Cie, | Maison Chester,
29, Rue d'Astorg, Paris. | 86, Rue de la Montagne, Bruxelles.
Holland: | Italie:
Broekmans & Van Poppel, | Pizzi & Cie,
92, Baerlestraat, Amsterdam. | Via Zamboni 1, Bologna.

Copyright, 1921 by J. & W. Chester Ltd.

PRINTED IN ENGLAND.

Photographie, Robert Regassi, Lausanne

IGOR STRAVINSKY

## IGOR STRAVINSKY

Igor Stravinsky was born at Oranienbaum,3 near St. Petersburg, on June 5th (18th), 1882. His father, an operatic singer, who won great favour with the public of the Russian capital at the Maryinsky Theatre, soon discovered remarkable musical gifts in the boy, which he did not neglect to develop, although he wished him to grow up to a legal career. In accordance with this plan, Igor Stravinsky, on having reached adolescence, entered the University of St. Petersburg and devoted himself to the study of jurisprudence, not without periodical and almost irresistible impulsions to abandon it for music. He had thus reached the age of twenty-two, when a meeting with Rimsky-Korsakov, who saw and appreciated the young man's astonishing talent, proved the decisive event of his life. Rimsky-Korsakov declared himself willing to accept him as a pupil.

The direct outcome of Rimsky-Korsakov's tuition was, first of all, a Symphony, begun in 1905 and finished in 1907. This was succeeded by "Faun and Shepherdess," a song-cycle with orchestra, and two orchestral works, "Fireworks" and "Scherzo fantastique." The latter was the means of bringing about a meeting that was destined to direct Stravinsky's activities into a new channel: he made the acquaintance of Serge Diaghilev, who was struck by the vitality and colour of the work he had heard, and who induced him to set to music one of the ballets he proposed to produce. This was the "Firebird" (1910), which was followed in due course by "Petrushka" (1911) and "Le Sacre du Printemps" (1913). Next came an opera, begun some years earlier, "The Nightingale," finished in 1914, the second and third acts of which were later converted into the symphonic poem, "The Song of the Nightingale" (1917). Stravinsky left Russia 4at an early stage of his career and has since lived alternately in Paris and on the shores of the Lake of Geneva.

It is almost impossible to-day to consider the work of Igor Stravinsky with the detachment that is the first requisite of a judicious appreciation, and to avoid taking part in the violent controversy to which it has given rise, a controversy that is in itself a testimony to its vitality, for Stravinsky's music is so characteristic an expression of the artistic tendencies of our time that even those who most dislike it cannot pass it by in silence. It is perhaps hardly paradoxical to assert that fundamentally all the critics agree as to its significance, and that they differ merely in the point of view from which they regard it.

There have been few composers whose development has been as rapid and as far-reaching as that of Stravinsky, and this is probably the chief reason why his later works so completely baffle anyone who is not intimately acquainted with those that precede them. For it cannot be too strongly emphasized that, disjointed as Stravinsky's output may appear to the superficial observer, it reveals a gradual and very logical transformation, in the course of which each work falls into its place and contributes something to an evolution—so often mistaken for revolution—which is only more difficult to follow than that of most other composers because it is so much more rapid. Stravinsky has covered, within a decade, a stretch of ground which most others would have taken fifty years to traverse, if indeed they would have traversed it at all. Small wonder that he leaves many of those who endeavour to follow him in a state of breathless vexation by the wayside.

The development began immediately after the Symphony, Stravinsky's first work, and the only example of his availing himself of a classical form for the expression of his ideas, which were even then sufficiently original to force upon him the realization of the necessity of creating new and more elastic moulds. The next works, in fact, "Faun and Shepherdess," "Fireworks" and "Scherzo fantastique," already give an impression of far greater spontaneity and, despite the still apparent outside 5influences, especially Rimsky-Korsakov's, of greater individuality. Rimsky-Korsakov's sway over his pupil was, even at this early stage, confined to a certain picturesqueness that soon became too obvious for Stravinsky, and to the example of the master's glowing orchestration, an inheritance destined to bear compound interest in the pupil's hands. In the "Firebird" this influence is seen for the last time and in a greatly diminished degree, being now restricted to the characteristic national treatment of the thematic material. It may be remarked in passing that the national element is a secondary matter in Stravinsky's music, and that his personal expression always predominates; he is above all a musician, and only incidentally a Russian musician, just as Poushkin was first and foremost a poet, who only by the accident of his birth happened to express himself in the Russian language. Yet the national idiom in Stravinsky is second only to his universally human expression, or we should never have had such a work as "Petrushka." In this ballet, still regarded as his masterpiece by those who are unable to follow him beyond it, he certainly reached full maturity and completely revealed his personality. To consider the music of "Petrushka," as the casual listener might be tempted to do, as merely descriptive, is to mistake its purpose entirely. With Stravinsky, as we may already see in the "Firebird," where it is narrative rather than illustrative, music is never subservient to anything else, even when it is allied to literary, histrionic or choreographic conceptions. It is a separate organism and always remains absolute music that makes its appeal to the senses rather than to the intellect. It is not explicative, but parallel, it is a stimulant that calls forth other ideas; hence the possibility of giving "Le Sacre du Printemps" two entirely different choreographic settings. The tendency to provide pure music to a scenario with which it is analogous in feeling, but from which it remains nevertheless independent, reaches its culmination in "L'Histoire du Soldat" and in "Renard." That the music of the former, for instance, is capable of being enjoyed separately, as music pure and simple, has been proved by more 6than one concert performance, and will be experienced by those who play at home the composer's own Trio arrangement (for piano, violin and clarinet), or the piano transcription of some of the principal numbers.

A very remarkable feature of "L'Histoire du Soldat" is the manner in which Stravinsky explores the possibilities of various forms of popular music—not the folk-song, but the music of the fair, the ballroom, or the music-hall—which he converts into art-forms that are lifted out of their original functions. The Waltz, the Tango, the Rag, become in his hands much the same musical assets that the Allemande, the Courante, the Sarabande, became in the hands of the old masters. Other examples of this conversion of vulgar forms of music may be found in the "Piano Rag Music," in the "Ragtime" for small orchestra or piano, in the two sets of easy pieces for piano duet, and in the diminutive piano pieces for children, "Les Cinq Doigts."

It is difficult to imagine that the principle of absolute music can be realized where it is a question of the setting of words; yet Stravinsky has succeeded in upholding his ideal even in such works as the "Berceuses du Chat," the "Pribaoutki," the "Four Chants Russes" and the "Three Histoires pour Enfants." This explains at once the otherwise perhaps inexplicable choice of words that have no literary significance. To set a great poet's words to music has become for Stravinsky an absurdity, because to him the verses themselves are already a completely and independently satisfying equivalent of musical emotion. His aim is not to write music that performs the functions of applied art, and he is therefore on the look-out for texts that are too insignificant or naïve in themselves, such as the little popular Russian verses he has chosen. They made their appeal to him because of their sonorous and rhythmic, not because of any literary quality; they are potential, foreseeing all sorts of possibilities which they leave to the composer to realize. Stravinsky is sociable and direct; he writes simply for the enjoyment of player and hearer alike.

The one quality of Stravinsky's art that no critic has ventured to dispute is his consummate mastery 7of every instrumental resource. His combinations of tone-colour always hold surprises in store for us, which curiously enough do not seem to wear off even after repeated hearing. One of the secrets of the extraordinary resonance that astonishes the hearer is the fact that Stravinsky writes for each instrument individually as if he were himself a virtuoso on it; he always gives it exactly the kind of music to play that suits its particular character. He does not transfer the same phrase from one instrument to another unless he is sure that it is congenial to both, and he generally prefers to give each one something entirely different to do, something that invariably goes to the very root of its idiosyncrasy. This tendency results in a subtle blending of different rays of colour and degrees of light and shade, in a kind of dynamic (as distinct from harmonic) chord formation. In the later works, this manner of individualizing each instrument has become still more interesting because Stravinsky has more closely adapted his medium to his purpose. He distributes his chords among instruments of very different character instead of aiming at unity of colour, and he thus helps us to hear each of the simultaneously sounding notes as a separate value. "L'Histoire du Soldat" and the "Ragtime" give an impression of extraordinary plasticity; we have here a parallel to the three-dimensional art of the sculptor rather than to the deceptive perspective of the painter's canvas. But Stravinsky can at will abandon the three dimensions and give us a perfectly satisfying study in mere contour, such as we get in the three pieces for solo clarinet.

An entirely new conception is the ballet-divertissement, "Les Noces," where in addition to an orchestra from which string instruments are excluded, there are four solo voices and a chorus supporting the whole fabric of sound, sometimes alternately and sometimes in combination, without a single interruption throughout the whole work. The music of the Noces, like all the later works by Stravinsky, is directly and exclusively written to satisfy the auditive faculty of the hearer and it is thus a new affirmation of the reaction against the subjective expression in music that has so many adepts among 8the greatest composers of the nineteenth and the opening of the present century. If he can be compared to any older masters, he certainly has far more affinity with Haydn and Mozart than with any nineteenth century composer, and it is less surprising than those who are but superficially acquainted with his work might be inclined to think, that he should have found a very congenial task in composing on the basis of some pieces by Pergolesi the ballet of "Pulcinella," a task of which he acquitted himself with a delicacy and a reverence that none but a kindred spirit could have achieved.

9Igor Strawinsky est né à Oranienbaum, près de St. Petersbourg, 5 (18) Juin, 1882. Son père, un chanteur d'opéra qui jouissait d'une grande faveur auprès du public de la capitale assidu au Théâtre Marie, découvrit bientôt les remarquables dons musicaux de l'enfant et ne négligea point de les développer, bien qu'il souhaitât le voir poursuivre l'étude du droit. Conformément à cette intention, Igor Strawinsky entra par la suite à l'Université de St. Petersbourg et se consacra à l'étude de la jurisprudence, non sans de vives et presque irrésistibles tentations de l'abandonner pour la musique. Il avait ainsi atteint l'âge de vingt-deux ans quand une rencontre avec Rimsky-Korsakow, qui vit et apprécia l'étonnant talent du jeune homme, fut l'événement qui décida de sa vie. Il se déclara prêt à le prendre pour élève.

La conséquence directe de l'enseignement de Rimsky fut, tout d'abord, une Symphonie commencée en 1905 et achevée en 1907; et qui fut suivie par Faune et Bergère, suite de mélodies avec orchestre, et par deux œuvres pour orchestre Feu d'artifice et Scherzo fantastique. Cette dernière œuvre fut l'occasion d'une rencontre qui allait engager l'activité de Strawinsky dans une nouvelle voie; il fit alors la rencontre de Serge de Diaghileff qui fut frappé de la couleur et de la vie de l'œuvre qu'il venait d'entendre et qui décida le compositeur à mettre en musique un des ballets qu'il se proposait de monter. Ce fut l'Oiseau de feu (1910), suivi peu après par Petrouchka (1911) et le Sacre du Printemps (1913). Puis vint un opéra, commencé plusieurs années auparavant, le Rossignol, achevé en 1914 et dont le deuxième et troisième acte furent ensuite convertis en poème symphonique: le Chant du Rossignol (1917). Strawinsky avait quitté la Russie au début de sa carrière et a vécu depuis lors alternativement à Paris et sur les bords du lac de Genève.

Il est presque impossible aujourd'hui de considérer l'oeuvre d'Igor Strawinsky avec le détachement qui est la condition d'une appréciation judicieuse, et d'éviter de prendre part dans la violente controverse à laquelle elle a donné naissance, 10controverse qui est par elle-même le témoignage de la vitalité de cette oeuvre: car la musique de Strawinsky est une expression si caractéristique des tendances artistiques de notre temps que même ceux qui la détestent le plus ne peuvent la passer sous silence. Il est peut-être à peine paradoxal d'affirmer que tous les critiques sont essentiellement d'accord sur sa signification et qu'ils ne diffèrent que par le point de vue d'où ils la considèrent.

Peu de compositeurs ont connu un développement aussi rapide et aussi considérable que Strawinsky, et c'est probablement pourquoi ses dernières oeuvres déconcertent si complètement ceux qui ne sont pas familiarisés avec des oeuvres précédentes. On ne peut en effet trop insister sur le fait que si décousue que puisse paraître l'oeuvre de Strawinsky aux yeux d'un observateur superficiel, il révèle une évolution graduelle et parfaitement logique au cours de laquelle chaque oeuvre prend sa place et contribue à dessiner la courbe d'une évolution, (trop souvent considérée comme révolution) qu'il est seulement plus difficile de suivre que celle des autres compositeurs parce qu'elle est plus rapide. Strawinsky a parcouru en dix ans un chemin que la plupart des autres auraient mis cinquante ans à franchir, si même ils l'avaient franchi. Comment s'étonner alors qu'il laisse haletants sur le bord de la route bon nombre de ceux qui s'efforcent de le suivre?

Ce développement commence aussitôt après la Symphonie, première oeuvre de Strawinsky, et seul exemple d'utilisation d'une forme classique qu'il ait donné pour exprimer ses idées, idées qui étaient dès alors assez originales pour l'amener à se créer des moules nouveaux et plus souples. Les oeuvres suivantes; Faune et Bergère, Feu d'artifice et le Scherzo fantastique, donnent déjà la sensation d'une spontanéité beaucoup plus vive, et en dépit de visibles influences (spécialement celle de Rimsky) d'une plus grande individualité. L'empreinte de Rimsky sur son élève était, même à cette époque des débuts, limitée à un certain pittoresque qui devint bientôt trop facile pour Strawinsky et à l'exemple de la brillante orchestration du maître, héritage qui devait porter des intérêts composés entre les mains 11de l'élève. Cette influence se montre pour la dernière fois et grandement atténuée dans l'Oiseau de Feu et se réduit à l'emploi caractéristiquement national du matériel thématique. On peut remarquer en passant que l'élément national est une question secondaire dans la musique de Strawinsky, et que l'expression personnelle prédomine toujours; il est par dessus tout un musicien, et seulement occasionnellement un musicien russe, exactement comme Pouchkine était, d'abord et avant tout, un poète qui dut au seul hasard de la naissance de s'exprimer en russe. Mais chez Strawinsky l'idiome national ne passe qu'immédiatement après l'expression universellement humaine, sans quoi nous n'aurions jamais eu Petrouchka. Dans ce ballet, que considèrent encore comme son chef d'oeuvre ceux qui ne peuvent le suivre plus loin, il a certainement atteint sa pleine maturité et révèle complètement sa personnalité. Considérer la musique de Petrouchka comme uniquement descriptive, ainsi que l'auditeur occasionel peut être tenté de le faire, c'est s'abuser entièrement. Chez Strawinsky, ainsi qu'on l'a déjà vu dans l'Oiseau de Feu, où elle est plutôt un récit qu'une illustration, la musique n'est jamais subordonnée à quoique ce soit d'autre, même lorsqu'elle se trouve alliée à des conceptions littéraires, théâtrales ou chorégraphiques. C'est un organisme séparé et qui demeure toujours de la musique absolu s'adressant aux sens bien plus qu'à l'intellect. Elle n'est pas explicative, mais parallèle, c'est un stimulant qui éveille d'autres idées; de là la possibilité de donner du Sacre du Printemps deux expressions chorégraphiques entièrement différentes. La tendance à attacher, à un scenario, de la musique pure qui, si analogue qu'elle puisse être par le sentiment, en demeure cependant indépendante, se montre au plus haut point dans l'Histoire du Soldat et dans Renard. Que la musique de la première, par exemple, puisse être goûtée séparément, comme de la musique pure et simple, on en a eu la preuve par plus d'une exécution au concert, et on peut l'avoir aussi en jouant chez soi l'arrangement en Trio (piano, violon et clarinette) ou la suite pour piano que l'auteur a faite de quelques uns des principaux morceaux.

Un caractère très remarquable de l'Histoire du12 Soldat est la manière dont Strawinsky utilise les ressources des diverses formes de la musique populaire,—non pas la chanson populaire, mais la musique des foires, des salles de bal, ou du "music-hall,"—qu'il convertit en formes d'art éloignées de leur fonction originelle. La Valse, le Tango, le Rag deviennent entre ses mains des éléments musicaux analogues à ce que l'Allemande, la Courante ou la Sarabande sont devenues entre les mains des Maîtres anciens. D'autres exemples de cette transformation des formes vulgaires de la musique se voient dans le Piano-Rag-music, dans le Ragtime pour petit orchestre et piano, dans les deux séries de pièces faciles à quatre mains, et dans les toutes petites pièces de piano pour enfants, les Cinq Doigts.

Il est difficile d'imaginer que le principe de la musique absolue puisse être réalisé lorsqu'il est question de paroles mises en musique; pourtant Strawinsky a réussi à rester fidèle à son idéal, même dans des œuvres telles que Berceuses du chat, les Pribaoutki, les Quatre Chants russes et les Trois Histoires pour enfants. Cela explique de suite le choix, peut-être inexplicable autrement, de paroles qui n'ont aucune signification littéraire. Mettre en musique les paroles d'un grand poète est devenue pour Strawinsky une absurdité, parce qu'à son avis les vers eux-mêmes sont déjà un équivalent satisfaisant, complètement et en soi, de l'émotion musicale. Son but n'est pas d'écrire de la musique qui remplisse le rôle de l'art appliqué, aussi est-il toujours en quête de textes tout a fait insignifiants ou naïfs par eux-mêmes, tels que les petits vers populaires russes qu'il a choisis. Ils le satisfont par leur qualité sonore et rythmique et non pas par leur qualité littéraire: ils contiennent en eux toutes sortes de ressources qu'il appartient au compositeur de faire surgir. Strawinsky est sociable et direct; il écrit simplement pour la satisfaction de l'exécutant et de l'auditeur à la fois.

Une qualité de l'art de Strawinsky qu'aucun critique ne s'est aventuré à discuter est sa maîtrise consommée de toutes les ressources instrumentales. Ses combinaisons de timbres ont toujours pour nous des surprises en réserve, qui assez étrangement, ne 13semblent pas s'user après des auditions répétées. L'un des secrets de l'extraordinaire résonnance qui étonne l'auditeur est le fait que Strawinsky écrit pour chaque instrument individuellement comme s'il était lui-même un virtuose; il lui donne toujours à jouer exactement la sorte de musique qui convient à son caractère particulier. Il ne transporte pas la même phrase d'un instrument à l'autre, à moins d'être sûr qu'elle peut convenir aux deux, et il préfère généralement donner à chacun d'eux quelque chose d'entièrement différent, quelque chose qui aille invariablement jusqu'aux profondeurs mêmes de son caractère particulier. Il en résulte un mélange subtil de rayons de couleurs différentes et de nuances de lumière et d'ombre, une sorte de formation dynamique des accords (distincte de la formation harmonique). Dans ses dernières oeuvres, cette façon d'individualiser chaque instrument est devenue encore plus intéressante parce que Strawinsky a étroitement adapté le moyen au but. Il distribue ses accords parmi des instruments de caractère différent au lieu d'avoir en vue l'unité de couleur, et il nous laisse ainsi entendre chacune des notes résonnantes comme une valeur séparée. L'Histoire du Soldat et le Ragtime donnent une impression d'extraordinaire plasticité: on a ici un parallèle à l'art à trois dimensions du sculpteur, plutôt qu'à l'illusoire perspective de la toile du peintre. Mais Strawinsky peut aussi abandonner les trois dimensions et nous donner une étude de simple contour, parfaitement satisfaisante, telle qu'on la trouve dans les Trois pièces pour clarinette seule.

Une conception tout-à-fait neuve est le ballet-divertissement: Les Noces où en plus d'un orchestre d'où la masse habituelle des cordes est exclue, l'on trouve quatre voix et un choeur qui supportent toute la sonorité, quelquefois alternativement, quelquefois combinés avec elle, sans une simple interruption durant tout le cours de l'œuvre. La musique des Noces, comme du reste toutes les dernières œuvres de Strawinsky, s'adressant directement et uniquement à l'ouïe de l'auditeur, est une nouvelle affirmation de cette réaction contre l'expression subjective en musique dont on trouve tant d'adeptes parmi les plus grands musiciens du 19e et du commencement 14de notre siècle. S'il fallait le comparer à quelque maître d'autrefois, on lui trouverait assurément plus d'affinité avec Haydn et Mozart qu'avec ceux-là, et il est moins surprenant que ceux qui ne connaissent que superficiellement son œuvre pourraient le croire, de voir qu'il a trouvé une tâche qui lui convenait parfaitement lorsqu'il a composé sur des morceaux de musique de Pergolèse le ballet Pulcinella, tâche dont il s'est acquitté avec une délicatesse et un respect que seul pouvait posséder un esprit de la même famille.

[Audio content is not currently supported on your device.

D'après le manuscrit original, propriété du Conservatoire de Musique de Genève.

[Audio content is not currently supported on your device.

WORKS BY | ŒUVRES PAR
IGOR STRAVINSKY
PIANO
| s. d.
Les Cinq Doigts, 8 Pièces très faciles sur 5 notes | 3 0
Piano Rag-Music | 3 0
Ragtime | 4 0
Grande Suite de "L'Histoire du Soldat" | 15 0
PIANO SCORES—PARTITIONS POUR PIANO
Pulcinella, Ballet d'après la musique de Pergolesi | 15 0
PIANO (Four Hands—Quatre Mains)
Trois Pièces Faciles, Marche—Valse—Polka | 2 6
Cinq Pièces Faciles, Andante—Española—Balalaika—Napolitana—Galop | 3 6
CLARINET SOLO—CLARINETTE SEULE
Trois Pièces pour Clarinette seule | 3 0
CHAMBER MUSIC—MUSIQUE DE CHAMBRE
Berceuses du Chat, pour Contralto et 3 Clarinettes Score—Partition 6/- Parts—Parties | 6 0
Pribaoutki (Chansons plaisantes), pour une Voix, Flûte, Hautbois, Clarinette, Basson, 2 Violons, Alto et Violoncelle Score—Partition 8/- Parts—Parties | 10 0
Suite de "L'Histoire du Soldat", pour Clarinette, Violon et Piano | 20 0
All Prices net cash
Les prix pour la France, la Belgique et la Suisse sont à raison de fr. 1.50 par shilling

WORKS BY | ŒUVRES PAR
IGOR STRAVINSKY
ORCHESTRA—ORCHESTRE
| s. d.
Musique de "L'Histoire du Soldat", pièce lue, jouée et dansée, texte de C. F. Ramuz | On Hire—En location
Suite de "L'Histoire du Soldat", pour petit orchestre | On Hire—En location
L'Oiseau de Feu, Suite, réorchestrée pour orchestre moyen—re-orchestrated for medium orchestra. Score—Partition | 40 0
Parts—Parties, 50/- Extra Parts—Supplémentaires | 5 0
Marche—Valse—Polka—Galop, tirées des recueils des pièces faciles à 4 mains, pour petit orchestre | On Hire—En location
Chant des Bateliers sur le Volga, pour Instruments à vent
Score and Parts—Partition et Parties | 5 0
Ragtime, pour petit orchestre Score—Partition | 7 0
| Parts on hire—Parties en location
SONGS—CHANT
Berceuses du Chat, Sur le Poële—Intérieur—Dodo—Ce qu'il a, le Chat | 3 0
4 Chants Russes, Canard—Chanson pour compter—Le moineau est assis—Chant dissident | 3 0
3 Histoires pour Enfants, Tilimbom—Les canards, les cygnes les oies—Chanson de l'ours | 2 6
Pribaoutki (Chansons plaisantes), L'oncle Armand—Le Four—Le Colonel—Le Vieux et le Lièvre | 4 0
Pastorale, Chant sans paroles | 2 0
VOCAL SCORES—PARTITIONS CHANT ET PIANO
Les Noces, Divertissement—Soli, chœurs et orchestre. | In the Press
Renard, Conte burlesque | 15 0
Pulcinella, Ballet d'après la musique de Pergolesi | 15 0
All Prices net cash
Les prix pour la France, la Belgique et la Suisse sont à raison de fr. 1.50 par shilling

MINIATURE ESSAYS
Essays on the following Composers, published in English and French: | Sont publiés, en français et en anglais, des essais sur les compositeurs suivants:
GRANVILLE BANTOCK | GUSTAV HOLST
ARNOLD BAX | D. E. INGHELBRECHT
LORD BERNERS | JOHN IRELAND
ARTHUR BLISS | JOSEPH JONGEN
ALFREDO CASELLA | PAUL DE MALEINGREAU
L'ECOLE DES "SIX" | G. FRANCESCO MALIPIERO
MANUEL DE FALLA | ERKKI MELARTIN
EUGENE GOOSSENS | SELIM PALMGREN
GABRIEL GROVLEZ | ILDEBRANDO PIZZETTI
JOHN R. HEATH | POLDOWSKI
JOSEF HOLBROOKE | JEAN SIBELIUS
IGOR STRAVINSKY
Price 6d. (fr. 0.75) each
J. & W. CHESTER Ltd.
11, Great Marlborough Street, London, W.1

### Corrections

The first line indicates the original text, the second the corrected text:

La première ligne indique le texte original, la deuxième le texte corrigé:

- p. 7:
  satisfiying study in mere contour
- satisfying study in mere contour
- p. 9:
  la capitale assidu au Théatre Marie
- la capitale assidu au Théâtre Marie
- bien qu'il souhaitât le voir
- bien qu'il souhaitât le voir
- p. 10:
  assez originales pous l'amener
- assez originales pour l'amener
- p. 11:
  à des conceptions littéraires, théatrales
- à des conceptions littéraires, théâtrales
- p. 13:
  phrase d'un instrument a l'autre
- phrase d'un instrument à l'autre
- une sorte de formation dinamique
- une sorte de formation dynamique
- s'adressant directemant
- s'adressant directement
- en musique dout ou trouve
- en musique dont on trouve
- les plus grands musicians
- les plus grands musiciens
- p. 17:
  Conservatoire de Musique de Geneve.
- Conservatoire de Musique de Genève.

### Erratum

p. 6: "Four Chants Russes" and the "Three Histoires pour Enfants." should be "Quatre Chants Russes" and the "Trois Histoires pour Enfants."

*** END OF THE PROJECT GUTENBERG EBOOK MINIATURE ESSAYS: IGOR STRAVINSKY ***
Updated editions will replace the previous one—the old editions will be renamed.
Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution.
START: FULL LICENSE

## THE FULL PROJECT GUTENBERG LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license.
Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works
1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8.
1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others.
1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.
1.E. Unless you have removed all references to Project Gutenberg:
1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed:

> This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.
1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work.
1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™.
1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License.
1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1.
1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9.
1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that:

- • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.”
- • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.
- • You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.
- • You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below.
1.F.
1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.
1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.
1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.
1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.
1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause.
Section 2. Information about the Mission of Project Gutenberg™
Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.
Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.
Section 3. Information about the Project Gutenberg Literary Archive Foundation
The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws.
The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact
Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation
Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS.
The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate.
While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.
International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.
Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate.
Section 5. General Information About Project Gutenberg™ electronic works
Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support.
Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.
Most people start at our website which has the main PG search facility: www.gutenberg.org.
This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.