Zweig MS 94

Autograph. In short, condensed and full score. Written in black ink and pencil, with additions and annotations in red ink and blue crayon, on systems of two to twelve staves; staves are ruled individually as required on each page. Where pages contain more than one system the music is often written across the full width of the opening. Contains material for all sections of the work except Andantino ‘Se tu m’ami’ [no. 14] and Gavotta with variations [no. 16]. Comments, references to the scenario, details of orchestration etc. are variously written in French, Italian and Russian. The work was first performed (choreography Massine, decor Pablo Picasso), Théatre National de l’Opéra, Paris, 15 May 1920. The following description of the contents of the volume uses its original pagination and the cue nos. in the published full scores (Pfs); the sections of the work are also identified by the numbers assigned to them in Brook, pp. 63-4:

f. i. ‘PULCINELLA’, the composer’s title in pencil.

pp. 1-11. ‘Serenata’, [no. 2]. Draft in full score on five to ten staves. In ink. ‘I Str. 25 Sept 19’ at end (p. 11). Also at the end (p.11), indicating the next section, ‘No 2’. Pfs cue nos.: 1-9.

pp. 12-22. [Scherzino, no. 3a.] Draft in full score on 9 to 12 staves. In pencil, with a few annotations in ink. ‘IStr 28 Sept 19’ at end (p. 22). Also on p. 22, after the double bar line, the first two bars of the succeeding no., [Poco più vivo, no. 3b], are entered in ink (instrumentation in pencil) under the heading ‘più mosso / Chanson de Pulcinello sur la page 37’ [recte p. 35, see below], with above this the pencilled Russian heading ‘Piesenka Pulchinelly’ [song of Pulcinella]. Pfs cue nos.: 9-20.

p. 23. Sketches for [Allegro, no. 4], and [Andantino, no. 5]. Short score on two staves of 6 bars from [no. 4] at Pfs cue no. 34; headed in Russian ‘Konets variatsii Pulchin. i perekhod k "Prudentsie"’ [end of Pulcin. variation and transition to Prudenza]. Below this a three bar sketch for [no. 5], on three staves; headed ‘[minim] poco meno mosso’. In pencil.

pp. 24-34. [Allegro, no. 4], headed in Russian ‘Vykhod Pulchinelly (ego variatsiia)’ [exit of Pulcinella (his variation)]. Draft in full score on five to twelve staves. In pencil with additions and annotations in ink on pp. 24, 28 and 34. The nos. ‘24’-’33’ (page nos. in the autograph full score) are written in succession under the music at various points. ‘Suite sur page 36’ and ‘Igor Str 4 Oct 19’ in ink at the end (p. 34). Pfs cue nos.: 23-35.

p. 35. [Poco più vivo, no. 3b], headed ‘Chanson de Pulcinella’. Draft in score on systems of three staves, shorter than the final version and followed by the first bar of [Allegro, no. 4]. In ink. ‘IStr 6 Oct. 19’ at end. Pfs cue nos.: 20-23.

pp. 36-39. [Andantino, no.5.] Draft in short and condensed score on two to five staves. In ink, with additions and annotations in pencil and red ink. Nos. ‘34’-’42’ (page nos. in autograph full score) written in succession under the music at various points. The last bar (p. 39) marked ‘pour finir’. ‘IStr 18 oct’ at end (p. 39). Pfs cue nos.: 35-46. (See also p. 23)

pp. 40, 41 (upper portion). [Allegro, no. 6], opening section (continuation on p. 43). Draft in condensed score on three and four staves. In ink, with additions in pencil; cancellation and replacement of one passage marked with blue crayon. Pfs cue nos.: 46-49.

pp. 41 (lower portion), 42. [Allegretto, no. 7.] Below the last on p. 41, under the heading ‘Enchainement du No. 5 au No. 6’, are the last 6 bars of [Allegro, no. 6], marked ‘Fin du No. 5’, in ink on two staves with pencil and red ink additions. Beneath that on p. 41 is the opening of [no. 7], marked ‘Enchaînement au N 6’, in ink on three staves. This is continued on p. 42, in short score on two and three staves, partly in ink over pencil and partly in pencil alone. Pfs cue nos.: 59-63. (See also lower portions of pp. 48-9).

pp. 43-47, 48-9 (top stave). [Allegro, no. 6.] Continuation from p. 41. Draft in condensed score on three to eight staves. In pencil. Nos. ‘45’ and ‘46’ (page nos. in autograph full score) marked above the systems on p. 43. Though the concluding bars are set out in full (pp. 46-7), the central section is represented by brief sketches only, including a sketch on a single stave for cue nos. 57-59 written across the upper part of pp. 48-9. Pfs cue nos.: 49-61.

pp. 48-9 (lower portions). Sketches for [Allegretto, no. 7]: (a) Vocal entry, one bar before and two after cue no. 63, sketched on two staves, in pencil (p. 48), (b) The last four bars of the no. (ending at cue no. 68), in short score on two staves (p. 49). In pencil, with in Russian against the begining ‘Okonchanie stseny revnosti’ [end of jealousy scene], and at the end, for the next no., ‘Le Scandale’.

pp. 50, 52-3, 51, 55-7 (p. 54 blank). [Allegro assai, no. 8.] Draft, the opening bars (Pfs cue nos. 68-9) sketched in full score on six staves (p. 50) and headed ‘Il Scandolo’, the remainder in short score on two to four staves. In pencil, with annotations in ink. The order of the pages is indicated in blue crayon on pp. 51 and 55. Pfs cue nos.: 68-91.

pp. 64-5, 62-3, 58-61. [Allegro, no. 9.] Draft in full score of the second part of the bass aria ‘Con queste paroline’, on six to nine staves. In pencil and ink, with annotations in red ink (p. 58). The no. ‘96’ (page no. in autograph full score) written above the system on p. 63. Pfs cue nos. 97-104.

pp. 66, 70-71, 67-9, 72-7. [Andante - Allegro, nos. 10a-c, 11a,b.] Draft in full score, the words of the trio ‘Sento dire’ not always written out in full. Written in pencil and ink, on five to twelve staves. Nos. ‘102’-’105’ (page nos. in autograph full score) written above the systems on pp. 70-71, 68. Pfs cue nos.: 6 bars after 104-117. (Continued on p. 86.)

pp. 78, 80, 79, 81 (lower portion). [Allegro alla breve, no. 12.] Draft in short and condensed score on two to four staves. In ink with annotations and additions in pencil and in red ink (p. 81). Headed in Russian ‘MAG’ [magus] and with tempo marking ‘Allo alla breve [minim] = 108’ (p. 78). In the left hand margin of p. 79 is the note ‘Pour le No du Mage’. Pfs cue nos.: 123-132.

p. 81 (upper portion). ‘TARANTELLA’, [no. 13]. Brief sketches in ink on two and three staves. (See also pp. 89, 103-4).

pp. 82-3. [Allegro (Toccata), no. 15], central section only. Draft in full and short score on two to five staves. In pencil with annotations and additions in ink. The lower systems on the page precede the upper. Pfs cue nos.: four bars after 151-156.

pp. 84-5. [Vivo, no. 17], part only. Draft in short and condensed score, on two and four staves. In pencil with annotations in ink. Headed in Russian ‘K vykhodu Pulchinelly’ [for the exit of Pulcinella] and ‘(Concert pour C. Basse)’. Pfs cue nos. 173-175.

pp. 86-88. [Presto - Largo assai, no. 11c,d.] Draft in condensed score on four staves of the tenor aria ‘Una te falan’; draft of Larghetto (lower part of p. 88) in short score on two staves. In ink and pencil. Pfs cue nos. 119-123.

p. 89. ‘TARANTELLA’, [no. 13], opening section. Draft in condensed score on three staves. In pencil, heading in ink. Pfs cue nos.: five bars after 132-134.

pp. 91, 90, 92, 97-8, 99-100, 95-6, and 93-4. ‘MENUET’, [no. 18]. Draft in short, condensed and full score on two to eight staves. Mainly in pencil, with portions in ink on pp. 90, 91 and 98; the order of the sections is indicated by roman numerals in blue crayon; at the end of the last section (p. 96) is written in blue crayon ‘poi il Finale’. Heading in ink on p. 91; ‘21 mars 1920’ at end (p. 96). Pp. 93-4 contain a sketch for cue nos. 184-187, worked in more detail on pp. 99-100 and 95-6. With two brief sketches for [no. 19]: on p. 90 in ink and pencil, headed ‘Finale’ and marked off from the rest of the page within a border of blue crayon, and in pencil on the verso of p. 91, which is unpaginated and otherwise blank. Pfs cue nos.: 179-187.

pp. 101-2, 105-111, and 112. ‘Finale’ [no. 19]. Draft in condensed and full score on three to seven staves. With brief sketches in score for woodwind and horn parts at Pfs cue nos. 191 and 201 (p. 112). In pencil, annotated in ink on pp. 101, 111. Heading in ink on p. 101. ‘Morges 11 Avril 1920 I Stravinsky’ in ink at end (p. 111). Pfs cue nos.: 187-end.

pp. 103-4. [Tarantella, no. 13.] Sketches in full score for final section, the lower strings sketched separately on p. 103. Pfs cue nos.: 141-three bars after 143.

pp. 113-121. ‘OUVERTURE’, [no. 1], lacking final section. Draft in condensed score, mostly on four staves, with brief passages on two, three or five staves. In pencil. Heading in ink on pp. 113-4. Pfs cue nos.: beginning to one bar after VI.

Stravinsky was asked to provide the music for Pulcinella at a relatively late stage in the project - Diaghilev and Massine, and apparently Picasso too, had been working on it since the early summer of 1919 (Taruskin, p. 1462); both the speed and the precision with which he worked are everywhere evident in this sketchbook. He set about his task by marking numbers for the different sections of the music in blue crayon on the manuscript synopsis of the action of the ballet sent to him by Massine in Oct. 1919 (reproduced Mosch, p. 224). References to this numbering system appear occasionally in Zweig MS 94, e.g. pp. 11, 41. In the autograph full score Stravinsky uses a series of roman numbers for the successive scenes, with lettered sections within each to distinguish individual musical numbers (for reproduction of the first page of the Scherzino, see Mosch, p. 227). For the purposes of the description of the content of the sketchbook in this catalogue the numbering of the musical sections in Brook has been used; Taruskin also gives a list of the musical sections (un-numbered but related to the cue numbers) of the ballet with their sources in Pergolesi and others. Brook, of course, begins his numeration with the Overture, but the order of the items in Zweig MS 94 makes it clear that this was composed last: in the autograph full score, as in the published scores, it has a separate series of cue nos. in roman numerals, and in the autograph vocal score it occupies a separate bifolium, paginated in roman numerals. Though a detailed comparison between Zweig MS 94 and the autograph full score in Basel has not been possible, it is clear that the numbers added by the composer at various points above or below the systems of music in the sketchbook relate to page numbers in the full score. The format of the volume appears to be identical to that of Sketchbook VI in the Stravinsky Nachlass in the Paul Sacher Stiftung, Basel (see H.J. Jans, pp. 78-9), though the boards are covered in paper of similar style but differently patterned. Brook (p. 61) suggests that Zweig MS 94 may be the manuscript of ‘Pulcinella’ given by the composer to Picasso in June 1920.