Capriccio pour Piano et Orchestre en trois parties. Réduction pour deux pianos par l'Auteur [Kirchmeyer 50, p. 327, De Lerma C8, White p. 355], 1929

File — Box: 11, Folder: 1

Staff Only

Scope and Contents

Set of proof sheets extensively annotated by the composer. Berlin: Russischer Musikverlag G.m.b.H. Édition Russe de Musique [PN R.M.V. 470], [1929].

Folio. Unbound as issued. Printed in white on a blue background on one side of the leaf only. Dated by Stravinsky at conclusion "Nice 1929" for inclusion in the printed score.

47 pp. Extensively annotated and corrected by the composer in red and blue crayon and ink both within the score and to margins, including significant notational changes and re-writings, textual additions, indications regarding tempo, dynamics, etc., all in Stravinsky's hand, many on separate sheets of paper of varying sizes attached to relevant leaves. Slightly worn; edges slightly frayed; central horizontal fold throughout.

With autograph identification in the hand of Soulima Stravinsky to upper wrapper: "Capriccio pr. Piano et Orch. Klavierauszuge Solo & Acc. 1ere Epreuve?"

Scope and Contents

A later proof incorporating most of Stravinsky's corrections and alterations indicated in the earlier proof. 48 pp. With the composer's annotations and additional corrections to 21 pages, mostly of a minor nature. Folio. In plain wrappers. Stapled. Upper wrapper with stamps of the "Russischer Musikverlag G.m.b.H." to upper.

Dates

Creation: 1929

Creator

From the Collection: Stravinsky, Igor, 1882-1971 (Composer, Person)

Language of Materials

From the Collection:

The materials are written in English, Russian, French, and Italian.

Conditions Governing Access

This material is open for research.

Stored onsite at the Woodson Research Center.

Biographical / Historical

"It may have been out of weariness with the concerto, still essentially his only concert item as a player, that he embarked in December 1928 on a new and stylistically very different three- movement concerto which he eventually called Capriccio. Here the model (according to Stravinsky himself) is the bravura of Weber's piano sonatas, though in fact the piano idiom of the Capriccio often suggests the cimbalom, an instrument prominent in Renard, which he conducted that May." Stephen Walsh in Grove Music Online.