3 10 49 https://digex.lib.uoguelph.ca/files/original/fee2429908044c1ac61b6058c3c69448.pdf 6343d3facd6326c23430e50987ad807a https://digex.lib.uoguelph.ca/files/original/a8033e95c9aea27efe76127c87a896b8.pdf c3232ff7068534175cb7f39b48b972cf Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Boulanger and the Stravinskys, Chapter 4 Description An account of the resource English translation and transcription of French originals from Chapter 4 of Kimberly Francis, Nadia Boulanger and the Stravinskys (University of Rochester Press, 2018) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chapter 4, 13 January 1950 Creator An entity primarily responsible for making the resource Soulima Stravinsky Subject The topic of the resource Nadia Boulanger Source A related resource from which the described resource is derived Bibliothèque Nationale De Paris Date A point or period of time associated with an event in the lifecycle of the resource 13 January 1950 Type The nature or genre of the resource Letter UG Extracted Text Soulima Stravinsky to Boulanger Hotel Hargrave 112 West 72 St. New York City January 13, 1950 My dear Nadia, Let me tell you first and foremost that we will have the extreme joy of seeing you again in the month of May. The Île de France will drop us off on May 10 and will collect us at the end of June. I have to teach again this summer at the Academy of the West in Santa Barbara, starting in July, which will cut our stay in France very short. But short as it is, we will be thoroughly delighted to spend it with you. We have left Los Angeles for good. There was no work for me there, and something depressing about the climate. I’m happy to be in N.Y. for a few months with the prospect of more work here in the winter than I’ve had in eighteen months in California. A marvelous project is taking shape. I was asked to teach piano in a permanent capacity at the University of Illinois where the Music Director, Mr. John Kuypers, whom you no doubt know, at least by reputation, is a first-class musician. The business is settled in principle, with only formalities to carry out. Among these are my letters of reference. I don't believe I could do better than to ask you for this favor—all while [not] wishing to bother you about it. Two words from you to Mr. Kuypers—University of Illinois, Urbana, Ill.—would lend enormous weight to this application, which they are putting the greatest effort into, so as to [have it] approved. As always in these cases, the interested persons have to present the thing to committees that are less competent but upon which the final decision rests, and they wish to ensure the highest and the best recommendations possible. Thank you in advance a thousand, thousand times. My father is coming soon to N.Y. to conduct L’Oiseau de feu and Orphée with Balanchine. Meanwhile Rake’s Progress, and it is so beautiful that there are no words . . . Françoise asks me to send you her tender wishes. (Zizi) Jean is becoming a strong, disobedient, but very kind boy. You would no longer recognize him. Personally, I have you so often in my thoughts, you guide me from afar through all of my musical hesitations . . . With fondest wishes, I am always your, Soulima � Soulima Stravinsky à Boulanger Hotel Hargrave 112 West 72 St. New York City 13 janvier 1950 Chère Nadia, Laissez-moi vous announcer [sic] tout d’abord que nous aurons l’extrème [sic] joie de vous revoir au mois de mai. L’Ille [sic] de France nous déposera le 10 mai prochain et nous reprendra fin juin. Je dois enseigner de nouveau cet été à l’Academy of the West à Sta. Barbara à partir de juillet ce qui rend notre séjour en France très court. Mais si court qu’il soit nous vous en réjouissons infiniment. Nous avons quitté Los Angeles définitivement. Il n’y avait là aucune issue pour mon travail et quelque chose d’assez dépriment dans le climat. Heureuse d’être à N.Y. pour quelques mois et plus de travail ici en perspective pour cet hiver que je n’en ai eu en 18 mois à California. Un projet merveilleux prend corps. On m’a demandé d’enseigner de piano d’une façon permanent à l’University of Illinois dont le Directeur Musical, Mr. John Kuypers que vous connaissez sans doute, du moins de réputation, est un musicien de premier ordre. L’affaire est conclue au principe il reste à remplir les formalités. Il y a parmi celles-ci, l’article références. Je ne crois pas pouvoir mieux faire que de vous demander cette faveur—tout en m’en voulant de vous importuner. Deux mots de vous à Mr. Kuypers—University of Illinois, Urbana, Ill., donneraient un poids énorme à cette candidature qu’ils mettent la meilleure volonté du monde à agréer. Comme toujours dans ces cas, les personnes intéressées ont à présenter la chose à des comités moins compétant mais dont dépend la décision finale et elles tiennent à s’assurer le plus et les meilleures recommandations possibles. Merci d’avance mille et mille fois. Mon père viendra bientôt à N.Y. pour y diriger l’Oiseau de Feu et Orphée chez Balanchine. En attendant Rake[’]s Progress et c’est si beau qu’il n’y a pas de mots… Françoise me charge de vous embrasses tendrement. (Zizi) Jean devient un fort et désobéissant mais très gentil garçon. Vous ne le reconnaîtrez plus. Moi, je vous ai si souvent en pensées, vous guidez de loin tout de mes hésitations musicales…Je vous embrasse affectueusement et suis toujours votre, Soulima � 1950 Author: Soulima Stravinsky Françoise Stravinsky George Balanchine John Kuypers Orpheus Recipient: Nadia Boulanger Soulima Stravinsky Location: New York City The Firebird https://digex.lib.uoguelph.ca/files/original/ce84fd8980e2821947d3eebace13b204.pdf 9d213d07bd08bbfd9e43733572d683bb https://digex.lib.uoguelph.ca/files/original/ebfb3db9e0b933f5acd5c889ae72782d.pdf c91ea0eae8486432e25edaef68c6a5ba Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Boulanger and the Stravinskys, Chapter 4 Description An account of the resource English translation and transcription of French originals from Chapter 4 of Kimberly Francis, Nadia Boulanger and the Stravinskys (University of Rochester Press, 2018) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chapter 4, 30 October 1949 Creator An entity primarily responsible for making the resource Nadia Boulanger Subject The topic of the resource Igor Stravinsky Source A related resource from which the described resource is derived Paul Sacher Stiftung Date A point or period of time associated with an event in the lifecycle of the resource 30 October 1949 Type The nature or genre of the resource Letter UG Extracted Text Boulanger to Stravinsky 36 rue Ballu Paris, IXème Mr Igor Strawinsky 1260 N. Wetherly Drive Hollywood, California U.S.A. October 30, [1949?] Dear Friend, One of my most treasured dreams has finally been realized. I conducted Apollon, Dumbarton Oaks and the Mass in London. I had missed all the performances of them. It was therefore, for me, my first real, living contact with [the work]. I cannot tell you what the rehearsals were like— not only was I myself going through discovery after discovery, better understanding the value of each note, but [also] the musicians [were] dazzled because you permitted them to do such things with notes that at first seemed so simple—they understood, and played with an ever-growing joy. They went to the trouble of really doing what you asked of them: breaths, phrases, silences, ratios (rapports de quantité), and at the end of the performance, they all came to tell me of the extraordinary feeling they had about the result you allowed them to achieve. The choirs were good, with women, unfortunately, but the English sound production was not shocking. The soprano and the contralto solos were well done, the tenor and bass less so. In the Gloria, I had to hurry the tempo after the opening, because it was bad, the voices were unstable. Everything became shaky. I therefore deliberately inserted a mistake in order to obtain something close to correct, glossing over, in a manner of speaking and with decency, a few measures before the Hosanna. [Stravinsky’s annotation: What does this mean?] Since then, I’ve wanted to write to you, but, what could I say? I believe truly that I understood everything, that the concert was as good as possible without you. Now, speaking of the Mass seems presumptuous and impossible. Silence suits it better. I send my love, I thank you, and I know that once again, you have succeeded. You have renewed the old, betrayed, misunderstood, and forgotten tradition. But not by looking behind you, by moving forward. What admirable music, what spirit. But, I stray and in my own turn betray. What you have given this Mass is of an immeasurable significance. Now, no one has the right to ignore it, and [will see in it] what they ought not to do, and what they ought to. The path is newly opened. Everyone seems to have understood—how happy I am. We’ve performed Apollon again in Birmingham three times in two weeks. It is also thanks to you that the Brandenburg [Concertos] have been played with their [proper] rhythms, because I could show what I wanted, what is required in Bach, thanks to what you accomplished in Dumbarton. It’s always the present that clarifies the past and vice versa, the real meaning of the tradition. �I admire you, love you, and thank you a little more each day because you always open new paths for me. Your Nadia [P.S.] My love to Vera � Boulanger à Stravinsky * Annotations de Stravinsky 36 rue Ballu Paris, IXème Monsieur Igor Strawinsky 1260 N. Wetherly Drive Hollywood 46 Californie U.S.A. 30 octobre [1949?] Cher Ami Un de mes plus chers rêves s’est enfin réalisé. J’ai dirigé à Londres Apollon, Dumbarton Oaks et la Messe. J’en avais manqué toutes les auditions. C’était donc pour moi le premier contact avec elle, vivante, réelle. Je ne peux vous dire ce qu’ont été les repétitions [sic], car non seulement j’allais moi-meme [sic] de découverte en découverte, comprenant mieux la valeur de chaque note, mais les musiciens éblouis parce que vous leur permettez de faire avec des notes en apparence si simples, ont compris, se sont donnés avec une joie sans cesse grandissante, la peine de faire vraiment ce que vous demandiez, respirations, phrasés, silences, rapports de quantité, et ils sont tous venus, à la fin de l’exécution me dire quel extraordinaire impression ils avaient ressentie devant le résultat que vous leur permettiez d’atteindre—les chœurs, bons, des femmes hélas, mais avec l’émission anglaise pas choquant. Le sopr et le contralto solos, bien, tenor et basse, moins bien. J’ai du dans le Gloria, presser leurs mesures après le début, car c’était mauvais, voix pas stables. Tou[t] devenait vacillant. J’ai donc, délibérément faute de pouvoir obtenir quelque chose de propre, glisser en quelques sorte quelques mesures avant l’Hosanna, mais, avec décence. ([Stravisnky a écrit] What does it mean?) Depuis, je veux vous écrire, mais, que puis-je vous dire. Je crois vraiment que j’ai tout compris, et que l’exécution a été aussi bien que possible sans vous. Maintenant, parler de la Messe. Cela me semble outrecuidant et impossible. Le silence convient mieux. Je vous embrasse, je vous remercie, et je sais qu’une fois de plus, vous avez réussi. La veille tradition oubliée, trahie, méconnue, vous l’avez renouvée [sic]. Mais pas en regardant en arrière, en allant en avant. Quelle musique admirable, quel esprit. Mais, je m’égare et à mon tour trahis. Que vous ayez donné cette Messe est d’une signification sans mesure. Maintenant personne n’a plus le droit d’ignorer, et ce qu’il ne faut pas faire, et ce qu’il faut faire. Le chemin est à nouveau ouvert. Tout le monde semblait comprendre, que je suis heureuse. Avons redonné Apollon à Birmingham, donc 3 fois en 15 jours. C’est aussi grâce à vous que les Brandebourgeois ont été joués avec leur rythme car j’ai pu montrer ce que je voulais, ce qu’il fallait dans Bach, grâce à ce que vous avez réalisé dans Dumbarton. Toujours le présent qui éclaire le passé et réciproqu[em]ent vrai sens de la tradition. �Je vous admire, vous aime, et vous remercie chaque jour un peu mieux car vous m’ouvrez toujours de nouveaux chemins. Votre Nadia [P.-S.] Tendresses à Véra � 1949 Apollon Musagètes Author: Nadia Boulanger Dumbarton Oaks Concerto Igor Location: California Mass Nadia Location: 36 rue Ballu Recipient: Igor Stravinsky https://digex.lib.uoguelph.ca/files/original/d55ead488638d4f7fffadd3bb998e353.pdf d13af58e5d7970ce568be067cbb7973b https://digex.lib.uoguelph.ca/files/original/89aabc11b758167c935b987c92a27bc3.pdf 62f77b3f454201d9a865b5478a7bb113 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Boulanger and the Stravinskys, Chapter 4 Description An account of the resource English translation and transcription of French originals from Chapter 4 of Kimberly Francis, Nadia Boulanger and the Stravinskys (University of Rochester Press, 2018) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chapter 4, 4 May 1949 Creator An entity primarily responsible for making the resource Soulima Stravinsky Subject The topic of the resource Nadia Boulanger Source A related resource from which the described resource is derived Bibliothèque Nationale De Paris Date A point or period of time associated with an event in the lifecycle of the resource 4 May 1949 Type The nature or genre of the resource Letter 1949 Arthur Sachs Author: Soulima Stravinsky Claude Debussy Dinu Lipatti Françoise Stravinsky Recipient: Nadia Boulanger Soulima Stravinsky Location: California Wolfgang Amadeus Mozart https://digex.lib.uoguelph.ca/files/original/d3e765635304e8aba31288c4939aece6.pdf cb25a76e09b7124a145dd5bd11b7ea69 https://digex.lib.uoguelph.ca/files/original/235f23e81105083ec83a126b8d8b8913.pdf 27de263913c22e0eec8df01449515631 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Boulanger and the Stravinskys, Chapter 4 Description An account of the resource English translation and transcription of French originals from Chapter 4 of Kimberly Francis, Nadia Boulanger and the Stravinskys (University of Rochester Press, 2018) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chapter 4, Undated Creator An entity primarily responsible for making the resource Nadia Boulanger Subject The topic of the resource Igor Stravinsky Source A related resource from which the described resource is derived Paul Sacher Stiftung Date A point or period of time associated with an event in the lifecycle of the resource Undated Type The nature or genre of the resource Letter UG Extracted Text Boulanger to Stravinsky La Moubra, Montana (I’ll be here April 1; [return to] Paris around May 1) Dear Friend, You can imagine with what joy I received your letter and the prayer settings with the Latin verses. This translation will be a big help as it was too bad that the Russian pronunciation created a sort of anxiety among the singers. I missed the Mass in London by one day. But it seemed that it was very well done by Ansermet and very well sung by the BBC choirs. Certainly the children’s voices have to be omitted, but the vocal production of the English must have made it less noticeable than elsewhere. We await your recordings with such impatience! You alone can establish a tradition that corresponds completely to your music. And in the middle of so many horrors, created by the awful notion of “performers.” What will they not deform to distinguish themselves from one another? Who will be their Molière, because they deserve the satire with which you have already assassinated them. I came here to try and get rid of a flu that left me in a wretched state. I also wanted to see my dear Dinu Lipatti, who is very ill. How you would like his playing, his spirit, his thought. Alas . . . he will never do it again. Every word that you said when you came to his classes is present, and you are mixed in with his life. He is sleeping right now . . . and the future is dark for him. He asked me to assure you of his respect and to thank you. When he speaks your name, a beautiful joy illuminates his poor face. You will never know how sad I am not to see you, but it is too late to divide up my life. Already so difficult to do something properly while concentrating on something else. I received the proposals for the Oja [sic] festival. I will respond to them soon. They are certainly making quite the effort in paying all the travel costs, but I would have to give up everything that I earn here, and I don’t believe I’m able to take such a heavy financial loss. And then, am I capable of conducting L’histoire du soldat? I will keep you up to date. My warmest thoughts for Vera, Soulima, Françoise. Tell me how you and the little one [grandson] are getting along, and know with what warmth and deep attachment I am with you all, Nadia � Boulanger à Stravinsky La Moubra, Montana (serai 1 avril ; à Paris vers la 1 mai) Cher Ami, Vous imaginez avec qu’elle joie j’ai reçu votre lettre, et les prières avec les paroles latines. Cette traduction sera d’un grand secours car il était dommage que la prononciation du russe crée un sort d’anxiété chez les chanteurs. J’ai raté d’un jour la Messe à Londres. Mais il parait qu’elle a été très bien donnée par Ansermet et très bien chantée par les chœurs de la BBC. Certes les voix d’enfants ont dû manquer, mais l’émission vocale des Anglais a dû rendre cela moins sensible que partout autre part. Avec quelle impatience n’attendons-nous pas vos disques ! Vous seul pouvez établir une tradition correspondant entièrement avec votre musique. Et [au] milieu de tant d’horreurs créées par l’affreuse notion « interprète »—que ne déforment-ils pas pour se distinguer les uns des autres. Qui sera leur Molière, car ils valent la satire que vous leur avez d’ailleurs déjà assainée [assassiné]. Suis venue ici essayer de me remettre d’une grippe qui m’a laissé en fâcheux état. Voulais aussi voir mon cher Dinu Lipatti, bien malade. Comme vous aimeriez son jeu, son esprit, sa pensée. Hélas…se remettra-t-il jamais. Chacune des paroles que vous avez dites quand vous veniez au cours lui est présente, et vous êtes mêlé à sa vie. Il est couché maintenant…et l’avenir est sombre pour lui. Il m’a demandé de vous assurer de son respect, et de vous remercier. Quand il prononce votre nom, c’est une telle joie qui illumine son pauvre visage. Vous ne saurez jamais combien je suis triste de ne pas vous voir, mais il est trop tard pour diviser ma vie. Déjà si difficile de faire quelque chose de propre en se concentrant sur une chose. Ai reçu des propositions du festival d’Oja. Vais leur répondre ces jours-ci. Certes ils font un gros effort en payant tous les frais de voyage, mais il faut perdre tou[t] ce que je gagne ici, et je ne crois pas pouvoir faire une aussi lourde perte matérielle. Et puis, suis-je capable de diriger l’Histoire du Soldat. Vous tendre[tiendrai] au courant. Embrassez Véra, Soulima, Françoise. Dites-moi comment vous et le petit vous entendez, et sachez de quel cœur je suis avec vous. Tous en profond attachement, Nadia � 1949 Ansermet Author: Nadia Boulanger Dinu Lipatti Françoise Stravinsky L'Histoire du Soldat Mass Recipient: Igor Stravinsky Soulima Stravinsky Vera Stravinsky https://digex.lib.uoguelph.ca/files/original/27250514ab4b2ce2521d3e0a83366e1f.pdf fcdaeeefe58cd6659e09d570ff8d3198 https://digex.lib.uoguelph.ca/files/original/dbe2112a46ad6e2294bc5fb636a1c94a.pdf 188fd2b2be87391b4450b0f1247cdd7a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Boulanger and the Stravinskys, Chapter 4 Description An account of the resource English translation and transcription of French originals from Chapter 4 of Kimberly Francis, Nadia Boulanger and the Stravinskys (University of Rochester Press, 2018) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chapter 4, 18 March 1949 Creator An entity primarily responsible for making the resource Nadia Boulanger Subject The topic of the resource Igor Stravinsky Source A related resource from which the described resource is derived Paul Sacher Stiftung Date A point or period of time associated with an event in the lifecycle of the resource 18 March 1949 Type The nature or genre of the resource Letter UG Extracted Text Boulanger to Stravinsky March 18, 1949 Dear Igor, This note is not what I need to write to you, but it is what I must write to you. It has to do with the Lili Boulanger Memorial Fund. For reasons I believe you will judge to be unnecessary to expose you to, I hope this year that the prize can be shared between Preger, whom you like and appreciate as I do, and a little, immensely talented Czech student, Karel Husa, who must at all costs be helped right now. I would rather have sent you one of his manuscripts, but he isn’t able to photograph them. He has had many manuscripts lost and I don’t dare to ask him to send the sole examples that he possesses. I therefore ask you to trust me. I am certain that you would agree. Thank you for the telegram that touched me so much. I have a million things to tell you, but this cold has done me a nasty turn. I am, once again, very tired and can’t even do what is required of me each day. I think of you ceaselessly and am more than sad not to see you anymore. It is such a great sorrow. I send you both my love, and know that I am your, Nadia [P.S.] I cannot speak to you about the Mass this way. It is of an incalculable importance, and an unlimited significance. I love it more than I know how to say. It is ridiculous to try to express such things. But you know them . . . � Boulanger à Stravinsky 18 March 1949 Cher Igor Ce mot n’est pas celui que j’ai besoin de vous écrire, mais celui que je dois vous écrire. Il s’agit du Lili Boulanger Memorial Fund. Pour des raisons que je crois vous jugeriez superflu de vous voir exposer, je souhaite que le Prix cette année soit partagé entre Preger que vous aimez et appréciez comme moi, et un petit Tchèque de grand talent, Karel Husa, qu’il faut à tous prix aider en ce moment. J’aurais voulu vous envoyer un de ses manuscrits, mais il ne peut faire photographier. Il a eu plusieurs partitions perdues et je n’ose lui demander d’envoyer les exemplaires uniques qu’il possède. Je vous demande donc de me faire confiance. Je crois être sûr que vous seriez d’accord. Merci pour le télégramme qui m’a tant touchée. J’ai mille choses à vous raconter, mais la grippe m’a joué un tour pendable. Je suis encore très fatiguée et ne fais pas même ce que chaque jour exige. Je pense à vous sans cesse et suis plus que triste de ne plus vous voir. C’est un grand chagrin. Embrassez-vous tous de ma part, et sachez que je suis votre, Nadia [P.-S.] Ce n’est pas ainsi que je peux vous parler de la Messe. Elle, est d’une importance incalculable, et d’une portée sans limites. Je l’aime plus et mieux que je ne sais vous le dire. Il est si ridicule d’essayer d’exprimer de telles choses. Mais vous les savez… � 1949 Author: Nadia Boulanger Karel Husa Leo Préger Lili Boulanger Recipient: Igor Stravinsky https://digex.lib.uoguelph.ca/files/original/fbde59db503980776b536b0603757f78.pdf 32a9940774f29800bf93b7bde01ec1f6 https://digex.lib.uoguelph.ca/files/original/7bfd8a00406aa16e9a36f8fd86f051c4.pdf e3e1307cd07ccf0a972006fff26ca3e5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Boulanger and the Stravinskys, Chapter 4 Description An account of the resource English translation and transcription of French originals from Chapter 4 of Kimberly Francis, Nadia Boulanger and the Stravinskys (University of Rochester Press, 2018) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chapter 4, 18 March 1949 Creator An entity primarily responsible for making the resource Igor Stravinsky Subject The topic of the resource Nadia Boulanger Source A related resource from which the described resource is derived Bibliothèque Nationale De Paris Date A point or period of time associated with an event in the lifecycle of the resource 18 March 1949 Type The nature or genre of the resource Letter UG Extracted Text Stravinsky to Boulanger 1260 N. Wetherly Drive Hollywood, California March 18, 1949 Dearest Nadia, Just a note accompanies this Latin version of my a cappella chorale works with which you are familiar—“Pater Noster” and “Ave Maria.” I have just arranged this version for use in the Catholic Church, of course, but it would certainly be desirable for Protestant churches to take advantage of them as well. Did you hear my Mass by Ansermet in London (BBC) not long ago? The BBC also performed Orpheus.* I’ve just recorded both of them (Mass and Orpheus) in New York (Victor). Orpheus will come out in September and the Mass at Christmas. I did the latter with children (not with women, like Ansermet) who were unfortunately not quite of the highest level. Unlike in Europe, here they don't have the tradition of training Discanti and Alti. However, I had to settle on the children, because the presence of women's voices, however perfect they might be, would be a much more serious error in the music of my Mass (for the sense and the spirit of this music) than the imperfection of a children's choir. Love, I Str. *I tremble at the idea of what the music of my poor Orpheus must have been in the hands of Mr. Lichine and the Ballet des Champs Elysees! � Stravinsky à Boulanger 1260 N. Wetherly Drive Hollywood, California 18 mars 1949 Dearest Nadia, Juste un mot accompagnant cette version latine de mes chœurs a capella que vous connessez [sic] —Pater Noster et Ave Maria. Je viens d’arranger cette version pour l’usage du culte catholique bien entendu, mais il serait certainement souhaitable que les eglises [sic] protestante en profitent eux aussi. Avez-vous entendu dernierement ma Messe par Ansermet a Londres (BBC) ? Il y joua egalement Orphée.* Viens d’enregistrer tous les deux (Messe et Orphée) a New York (VICTOR). Orphée paraitra en Septembre et la Messe a Noel. Cette derniere, je l’avais fait avec des enfants (pas avec des femmes, comme Ansermet) qui etaient malheureusement pas tout a fait de premier ordre. Ici, ils n’ont pas, comme en Europe, la tradition des metrieses [sic] des Discanti et Alti. Cependant j’ai du me decider pour les enfants car la presence des voix de femmes, aussi parfaites soient-elles, dans la musique de ma Messe serait une imprudence bien plus grave (pour le sens et l’esprit de cette musique) que l’imperfection d’un chœur d’enfants. Love I Str. *Je tremble a l’idee [sic] de ce qui a du etre la musique de mon pauvre Orphée entre les mains de Mr. Lishine et le Ballet des Champs Elysees ! � 1949 Author: Igor Stravinsky Ave Maria David Linchine Igor Location: California Mass Orpheus Pater Noster Recipient: Nadia Boulanger https://digex.lib.uoguelph.ca/files/original/37d86b51a6b04983ab3be010248dcfb5.pdf 9184fea0add51a67d52c6c520335db7a https://digex.lib.uoguelph.ca/files/original/322a655d507fb95eeb94b0e8eee4a0e7.pdf d362756853fd0cbcd50f287d4c93aa49 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Boulanger and the Stravinskys, Chapter 4 Description An account of the resource English translation and transcription of French originals from Chapter 4 of Kimberly Francis, Nadia Boulanger and the Stravinskys (University of Rochester Press, 2018) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chapter 4, 5 September 1948 Creator An entity primarily responsible for making the resource Igor Stravinsky Subject The topic of the resource Nadia Boulanger Source A related resource from which the described resource is derived Bibliothèque Nationale De Paris Date A point or period of time associated with an event in the lifecycle of the resource 5 September 1948 Type The nature or genre of the resource Letter UG Extracted Text Stravinsky to Boulanger Hollywood September 5, 1948 How to thank you for your nice letter and for the program (Bryant [sic] Summer School) with this impressive collection of signatures. I am very touched by them. I would so like to write to you (volumes!)—but when? All my time (three months already) has been devoted to composing the opera The Rake's Progress—three Acts, eight tableaux. And I am still [working on] the end of the first tableau (it is true, it's the longest). Soprano, alto, tenor, and two basses as characters and a small orch. (same as in The Marriage of Figaro), small choir, Recit.—Harpsichord or Piano. Forgive me* and accept, very dear Nadia, a very affectionate kiss from Your I Str., who loves you *for not having written you a longer letter. � Stravinsky à Boulanger Hollywood 5 septembre 1948 Comment vous remercier pour votre bonne lettre et du programme (Bryant Summer School) avec cette impressionnante collection de signatures. J’en suis bien touchée. Je voudrais tellement vous écrire (des volumes !)—mais quand ? Tout mon temps s’en va (depuis déjà 3 mois) à la composition de l’opéra The Rake's Progress—3 Actes, huit tableaux. Et j’en suis encore à la fin du premier tableau (c’est vrai, c’est le plus long). Soprano, Alto, Tenor et two Basses comme personnages et un petit orch. (pareil aux Noces de Figaro), petit chœur, Recit—Harpsichord ou Piano. Pardonnez-moi* et acceptez, très chère Nadia, un very affectionate kiss de Votre I Str., qui vous aime *de ne pas vous écrire plus longuement. � 1948 Author: Igor Stravinsky Igor Location: California Recipient: Nadia Boulanger The Marriage of Figaro The Rake's Progress Wolfgang Amadeus Mozart https://digex.lib.uoguelph.ca/files/original/ed0a53a8c4e0f7abf1982542d41f3971.pdf cc3f2ad0c8684d6c76e11876635444cc https://digex.lib.uoguelph.ca/files/original/59a0b28a10dfeef4b691c4c650e212eb.pdf f0ca19418215a87117b9d27f69815ae0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Boulanger and the Stravinskys, Chapter 4 Description An account of the resource English translation and transcription of French originals from Chapter 4 of Kimberly Francis, Nadia Boulanger and the Stravinskys (University of Rochester Press, 2018) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chapter 4, 29 August 1948 Creator An entity primarily responsible for making the resource Nadia Boulanger Subject The topic of the resource Igor Stravinsky Source A related resource from which the described resource is derived Paul Sacher Stiftung Date A point or period of time associated with an event in the lifecycle of the resource 29 August 1948 Type The nature or genre of the resource Letter UG Extracted Text Boulanger to Stravinsky 36 rue Ballu, Paris IX Trinité 90–17 August 29, 1948 So . . . you don’t love me anymore! I, who love you more all the time. Dear, Dear Igor. It is true that there are obvious reasons for this crescendo and this fading. But . . . I don’t like to admit to them. It’s also true that I hardly write you. It’s because I don’t see how my letters could amuse you, let alone please you. I content myself therefore with playing your music constantly and conversing with you, no, hearing you. What endless joy this renewal. What complete satisfaction the score to Orpheus is. I am sending you the program from Bryanston. You cannot imagine what took place there. These people, coming from all parts of society, have arrived, the nicest of them believing themselves incapable of understanding you. And day after day, I have seen their faces light up. They knew that they could not penetrate everything, but they loved your music— and were so happy. These young men—criticism terrified them, but you conquered them. I believe that you would have felt such joy in seeing their attention and their discovery. Thank you for the armoire. Can you understand the childish yet contemplative pleasure I take in organizing your music in it. You will never know. I have found only one copy of the Couperin which, I’m sorry, I could not acquire for the requested price. But I will find it, and you will have it. How sad it is to no longer have Nini, Françoise, and the little one here. It was so nice, but I do understand that Nini wasn’t able to allow himself to be far from you any longer, as he had been! “And you,” you would say? “All these beautiful lines and you let me down?” I know, and I tally all that I lose. But I have my work here, and obligations, and then . . . but no lyricism. I would give I don’t know what to see Vera and you, to live close to your future music as well as with your music that sheds light both on the present and the past. Because, thanks to you, I understand better. We all understand better, the sound and real meaning of music. I’ve just finished Fontainebleau, am dead, literally dead, but still have a small glimmer of consciousness to tell you how much I love you. To you all with all my heart, NB [P.S.] Thank you to Françoise and Nini for their letter. � Boulanger à Stravinsky 36 rue Ballu, Paris IX Trinité 90-17 29 août 1948 Alors…vous ne m’aimez plus ! Moi qui vous aime tous les jours mieux. Cher Cher Igor. Il est vrai, qu’il y a des raisons évidentes de ce crescendo et de cet évanouissement. Mais…je n’aime pas à me les avouer. Il est vrai aussi que je ne vous écris guère. C’est que je ne vois pas en quoi mes lettres pourraient vous distraire sinon vous plaire. Je me contente donc de jouer sans cesse votre musique et d’échanger avec vous, non, de vous entendre. Quelle joie sans cesse [cette] renouvelée. Quelle satisfaction complete [sic] que la partition d’Orpheus. Je vous envoie le programme de Bryanston. Vous ne pouvez pas imaginer ce qui s’est passé là. Ces gens, venus de toutes les parts de la société, sont arrivés, les plus sympathiques, se croyant incapables de vous comprendre. Et jour après jour, j’ai vu leur visage s’épanouir. Ils savaient qu’ils ne pouvaient tous pénétrer, mais ils avaient aimé votre musique –et étaient si heureux. Ces messieurs, les critiques les avaient épouvantés, vous les avez conquis. Je crois que vous auriez eu de la joie à voir leur attention, et leur découverte. Merci de l’armoire. Pouvez-vous comprendre le plaisir enfantin et réfléchir[sic] que j’ai à y ranger votre musique à m’en servir. Vous ne le saurez jamais. Je n’ai encore trouvé qu’un exemplaire du Couperin que, pardon, je ne pouvais pas acquérir au prix demandé, mais il viendra, vous l’aurez. Que c’est triste de ne plus avoir Nini, Françoise et le petit. C’était si gentil, mais je comprends bien que Nini n’ait [sic] pas pu se priver plus longtemps d’être près de vous, comme il a bien fait ! « Et vous, » me direz-vous ? « Toutes ces belles phrases et vous me laissez tomber ? » Je sais, et je mesure tout ce que je perds. Mais j’ai mon travail ici, et des obligations, et puis…mais pas de lyrisme. Je donnerais je ne sais quoi pour vous voir, Véra et vous, pour vivre près de votre musique à venir autant qu’avec celle qui éclaire autant le présent que le passé. Car, grâce à vous, j’entends mieux. Nous entendons tous mieux, le son, et le vrai sens de la musique. Viens de finir Fontainebleau, suis morte, littéralement morte, mais ai encore une lueur de conscience pour vous dire combien je vous aime. À vous tous de tous cœur, NB Merci à Françoise et à Nini pr. leur lettre. � 1948 Author: Nadia Boulanger Bryanston Summer School François Couperin Françoise Stravinsky Nadia Location: 36 rue Ballu Nini Orpheus Recipient: Igor Stravinsky Soulima Stravinsky Vera Stravinsky https://digex.lib.uoguelph.ca/files/original/602cf85e0a60892e0e1007f3002839fa.pdf f6c12e842c161e824b76cfd8ca802a41 https://digex.lib.uoguelph.ca/files/original/b8d27860f0af8176b11fa77d79746cda.pdf 329eeb00bd349e765996a9c2be2a6077 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Boulanger and the Stravinskys, Chapter 4 Description An account of the resource English translation and transcription of French originals from Chapter 4 of Kimberly Francis, Nadia Boulanger and the Stravinskys (University of Rochester Press, 2018) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chapter 4, 11 July 1948 Creator An entity primarily responsible for making the resource Nadia Boulanger Subject The topic of the resource Igor Stravinsky Source A related resource from which the described resource is derived Paul Sacher Stiftung Date A point or period of time associated with an event in the lifecycle of the resource 11 July 1948 Type The nature or genre of the resource Letter UG Extracted Text Boulanger to Stravinsky July 11, 1948 Dear Igor, What a terrible shock for your poor Sokoloff, for you. What an arrival for Soulima. I imagine the confusion, the distress of these days when such a great joy coincides with sadness. Can you [imagine], have I ever let you know that everything that touches you is so close to me that I believe I participate in it too? I never write to you [because] my letters are always so hurried, of so little interest. But I never leave you, and I am much closer to you today than ever!! I imagine you must be crazy about Zizi, and I hope that Françoise’s presence and kindness, and that seeing her again with your son, are such a happiness for you, that they help you to bear the sadness that befalls your friend and takes away from you such a close friend. I’m writing you again these days to thank you for the armoire. I am so happy to have it—and to speak to you about Orpheus. The orchestra sounds so unimaginably beautiful. The music is . . . Well, this is why I don’t write you. I feel unworthy of speaking when I know only too well how to keep quiet. Nevertheless, I know that not a note escapes me, and that I hear you! How I love you, Dear Igor, and I am so happy to love you . . . as much as I admire you. Your dear Nadia is very weak, but she is close to your heart and spirit, in a word. Nadia � Boulanger à Stravinsky 11 juillet 1948 Cher Igor, Quel affreux choc pour votre pauvre Sokoloff, pour vous. Quelle arrivée pour Soulima. J’imagine le désarroi, la détresse de ces jours où une si grande joie coïncidait avec le malheur. Pouvez-vous, vous ai-je jamais donné de savoir que tout ce qui vous touche, m’est si proche que je crois y participer ? Je ne vous écris jamais[,] mes lettres sont si hâtives, de si peu d’intérêt. Mais je ne vous quitte jamais et suis aujourd’hui bien plus près que jamais !! Vous êtes fou de Zizi, je le devine, et j’espère que la présence, que la gentillesse de Françoise et la revoir avec votre fils vous sont un si grand bonheur, qu’ils vous aident à supporter le malheur qui frappe votre ami et vous enlève une amie si intime. Vous récrirai ces jours-ci pour vous remercier de l’armoire. Je suis si heureuse de l’avoir—et vous parler d’Orpheus, l’orchestre sonne d’une manière inimaginablement [sic] belle. La musique est…Mais voilà pourquoi je ne vous écris pas. Je me sens indigne de parler quand je ne sais que me taire. Mais je sais pourtant que pas une note ne m’échappe, et que je vous entends ! Que je vous aime, Cher Igor, et que je suis heureuse de vous aimer…autant que je vous admire. Elle est bien faible, votre Nadia, mais elle est très près de votre cœur et de votre esprit, de vous en un mot. Nadia � 1948 Author: Nadia Boulanger Françoise Stravinsky Lisa Sokoloff Orpheus Recipient: Igor Stravinsky Soulima Stravinsky https://digex.lib.uoguelph.ca/files/original/6cac4ed71aa39c56fc9cf50eddc3a427.pdf 3e1a89bdd8f25e7dd7e8b8b79763df64 https://digex.lib.uoguelph.ca/files/original/98415e1cd81254a957c9b336d9b9c231.pdf 7a3372ad3a85a3af49d418da0de5e00d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Boulanger and the Stravinskys, Chapter 4 Description An account of the resource English translation and transcription of French originals from Chapter 4 of Kimberly Francis, Nadia Boulanger and the Stravinskys (University of Rochester Press, 2018) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chapter 4, 5 June 1948 Creator An entity primarily responsible for making the resource Nadia Boulanger Subject The topic of the resource Igor Stravinsky Source A related resource from which the described resource is derived Paul Sacher Stiftung Date A point or period of time associated with an event in the lifecycle of the resource 5 June 1948 Type The nature or genre of the resource Letter UG Extracted Text Boulanger to Stravinsky 36 rue Ballu June 5, 1948 You cannot know, Dear Igor, the joy the package you sent brings me. Everything is such a source of astonishment, joy, and amazement in this Orpheus. The more I understand you, the less I dare say it to you. How [can I] judge myself worthy of speaking about something you dominate so much. Yet, from the first to the last notes I believe I heard everything. We play Orpheus from morning until night, and without a doubt in a few days you will have put more than one young musician back on the right path. You don’t know how they wait for you. They immerse themselves in your music with a sort of greed. They come from far away and begin to understand the influences they have escaped. I would like to proceed measure by measure and tell you all of my little notes: such an arrangement, such harmony, such connection—and to not seem ridiculous to you, show you for yourself all of the beauty, all of what touches us in your score, every time . . . [but] enough, it must bore you to death. I embrace you, thank you, and am crazy with joy at the thought of seeing you again. You know that I once again see all of the pleasant and the weighty hours with you and you never leave my thoughts. How I await your arrival. It is an indescribable impatience. To Vera, Milène, to André, and to you wholeheartedly, Nadia P.S. Would you please tell me what I owe you for the score? I would be too embarrassed if I didn’t pay for it. Thank you again. � Boulanger à Stravinsky 36 rue Ballu 5 juin 1948 Vous ne pouvez pas savoir, Cher Igor, la joie que me cause votre envoi. Tout est une telle source d’étonnement, de joie et d’émerveillement dans cet Orpheus. Plus je vous comprends, moins j’ose vous le dire, comment se juger digne de parler de ce qu[e] vous dominez ainsi. Pourtant dès les premières notes jusqu’aux dernières je crois avoir tout entendu. Nous jouons Orpheus du matin au soir, et sans doute aurez-vous en quelques jours remis dans la bonne direction plus d’un jeune musicien. Vous ne savez pas comment ils vous attendent. Ils se plongent dans votre musique avec une sorte d’avidité, ils le[sic] viennent de loin et commencent à comprendre [à] quelles influences ils ont échappé. Je voudrais aller mesure par mesure et vous dire toutes mes petites remarques : telle disposition, tel accord, tel rapport—et quitte à vous sembler ridicule, vous montrer à vous-même toutes les beautés, tout ce qui nous touche dans votre partition, chaque fois…assez, tu es assommante. Je vous embrasse, vous remercie et suis folle de joie à la pensée de vous revoir. Vous savez que je revis avec vous toutes les heures douces et lourdes et que ma pensée ne vous quitte jamais. Comment attendre votre arrivée. C’est une impatience indescriptible. A Vera, à Milène, à André, et à vous du meilleur de mon cœur, Nadia P.S. Voulez-vous bien me dire ce que je vous dois pour la partition. Sans cela, je me sentais trop gênée. Merci encore. � Author: Nadia Boulanger Françoise Stravinsky Lisa Sokoloff Orpheus Recipient: Igor Stravinsky Soulima Stravinsky