1 10 49 https://digex.lib.uoguelph.ca/files/original/d3e2f81cbf64080f20ac49e3550ab3af.pdf 7ab4baa0154a525e367869d8316bbe31 https://digex.lib.uoguelph.ca/files/original/d5d43eed44d39b8af17da2a8f28aa48d.pdf d2c9d443a64a5de88c44234ec77c66fd 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 April 1946 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 11 April 1946 Type The nature or genre of the resource Letter UG Extracted Text Stravinsky to Boulanger Hollywood The house that you know by heart April 11, 1946 Nadia dear, Let me tell you, even if only in a few words, my immense joy at finally reading a word from you. Not embarrassed at all by your telegraphic speed, for these last years, it has been our БЫТЪ [our habit]—our way of doing things, our method. Don’t worry about it! I was of course eager to have your statements. Happily I read as much in as between the lines of your letter. Selfish conclusion: Inconsolable as I am to have lost you here, at least I have the satisfaction to think of and take pleasure in the crucial importance of your presence over there. I am with you with all my heart, I Str. [P.S.] Good tour in all senses but . . . tiring. Have you finally heard the London broadcast of my new symphony which Nini and Milène heard a week after my broadcast from N.Y (Jan. 27*) This possibility is miraculous, isn’t it? Tell Nini and Françoise that I wish to receive photos of my ВНУКЪ (grandson), I beg of them. He is superb, ravishing, and so daring. I want to write him a letter. It’s so true! The other day I produced some records with Columbia that go on sale toward the end of the year. At Winnifred's house in Boston, I took from your library one of the two photostats of my piano concerto. One remains for you. Don't give me an earful over this, I really need it for next season because I plan on playing it again with Beveridge, this time with the C.B.S., i.e. the broadcast [orchestra]. � Stravinsky à Boulanger Hollywood La maison que vous connaissez par cœur 11 avril 1946 Nadia, chérie. Laissez-moi vous dire, ne serait-ce que pas les qq. mots, l’immense joie de vous lire enfin. Pas gêné du tout pars [sic] votre speed télégraphique, depuis ces dernières années, c’est bien notre БЫТЪ—façon d’être, notre mode. Allez-y ! J’étais surtout avide d’avoir vos statements. Heureusement je les ai lu [sic] autant dans qu’entre les lignes de votre lettre. Conclusion égoïste : Inconsolable que je suis de vous avoir perdue ici, il me reste au moins cette satisfaction, c’est de penser et de jouir de l’importance décisive de votre présence là-bas. De tout cœur je suis avec vous, I Str. [P.-S.] Bonne tournée dans tous les sens mais…fatigante. Avez-vous, pour finir, entendre la transmission de Londres de ma nouvelle symphonie que Nini et Milène ont entendre [sic] un [sic] semaine après mon broadcast de N-Y (Jan. 27)* ? Miraculeux cette possibilité, n’est-ce pas ? Dites à Nini et Françoise qu’un vœux [sic] de recevoir les photos de ВНУКЪ (petit fils) je prie. Il est superbe, ravissement [sic], tellement brave. J’ai envie de lui écrire une lettre. C’est tellement ça ! J’en ai fait le lendemain des records avec Columbia et se sera mis en vente vers la fin de l’année. A Boston, chez Winnifred, j’ai pris dans votre bibliothèque un des deux photostats de mon piano concerto. Il vous en reste un. Ne m’engueulez pas, j’en ai rudement besoin pour la saison prochaine car je projetes [sic] de le rejouer avec Beveridge au C.B.S. cette fois-ci, CÀD le broadcast � 1946 Author: Igor Stravinsky Beveridge Webster Françoise Stravinsky Igor Location: California Milène Stravinsky Nini Recipient: Nadia Boulanger Soulima Stravinsky Milène Marion https://digex.lib.uoguelph.ca/files/original/3733547878fe88b0fb169bba95a2e30d.pdf b7714fd74c68a60ecafc82fa17f38601 https://digex.lib.uoguelph.ca/files/original/2e7a56cad9447c94a89967c47caf9501.pdf e1910962ee5d907dbedf2e30cf24313e 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, 23 November 1946 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 23 November 1946 Type The nature or genre of the resource Letter UG Extracted Text Stravinsky to Boulanger Hollywood November 23, 1946 A[rthur] Sach[s] delivered your letter to us. What an honor! How to thank you. Today (Nov 23)—your telegram. Thank you, thank you, thank you, thank you, impatient to know the details of the performance and the public’s reception. No longer possible to write you letters—only phrases, and again without first names, if possible (like you [do]). We are going on tour Dec. 3. Starting in Montreal. Returning Feb. 4. With all my heart, Your I Str. [P.S.] All our most loyal thoughts to the Abbott [sic]. For you my very dear Nadia, Love Kisses � Stravinsky à Boulanger Hollywood 23 novembre 1946 A. Sach nous a remis votre lettre. Quel honneur ! Comment vous remercier. Aujourd’hui (23 nov)—votre cable. Merci, merci, merci, merci, d’impatience de savoir détails de l’execution [sic] et accueil du public. Plus possible d’écrire des lettres—seulement des phrases et encore sans prénoms, si possible (comme vous) Allons en tournés [sic] le 3 Dec. [sic] Commence par Montréal Dr. [sic] retour 4 février De tout cœur, Votre I Str. [P.-S.] À Mr. L’Abbé [Fortier] toutes nos pensées fidèles. À vous très chère Nadia, Love kisses � 1946 Abbot Fortier Arthur Sachs Author: Igor Stravinsky Igor Location: California Recipient: Nadia Boulanger https://digex.lib.uoguelph.ca/files/original/2de599192e59e09c31fb20a567bb6eb2.pdf df34a2838bfe85ab44f9d7e032516f52 https://digex.lib.uoguelph.ca/files/original/453064aa3edc53aaea1eb8cae94afebb.pdf c2ea4bef50a8a3479713a8505a95efca 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 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 Undated Type The nature or genre of the resource Telegram UG Extracted Text Stravinsky to Boulanger CLEVELAND, OHIO NADIA BOULANGER 26 RUE BALLU PARIS HOPE NEW YEAR WILL BRING US TOGETHER WISHING YOU HEALTH AND HAPPINESS WITH LOVE= IGOR AND VERA STRAVINSKY � Stravinsky to Boulanger CLEVELAND, OHIO NADIA BOULANGER 26 RUE BALLU PARIS HOPE NEW YEAR WILL BRING US TOGETHER WISHING YOU HEALTH AND HAPPINESS WITH LOVE= IGOR AND VERA STRAVINSKY � 1947 Author: Igor Stravinsky Boulanger Location: 36 rue Ballu Igor Location: Cleveland Ohio Recipient: Nadia Boulanger https://digex.lib.uoguelph.ca/files/original/1ac2e830f7c1910ee420dd8dafd8d4c1.pdf f9dc6ca70215b1cc7a5f357e65ad07da https://digex.lib.uoguelph.ca/files/original/55365aecae9fe0f14a6328f1e50b2640.pdf f2e6866cf4ae3880d6ec89cb49530df6 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, 19 April 1947 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 19 April 1947 Type The nature or genre of the resource Letter UG Extracted Text Stravinsky to Boulanger Hollywood Miss Nadia Boulanger 36 rue Ballu, 9th Paris, France April 19, 1947 Carissima Nadia, Instead of Paris, here we are embarking for Washington, where Mrs. Bliss is waiting for me for my Dumbarton Oaks Concerto that I will conduct in Dumbarton Oaks itself. It's been nine years since you yourself conducted the premiere. Your shadow (or rather your light) will be evoked with dignity. We are passing through NY where I am rehearsing with the musicians. The concert at Dumbarton O. is April 25 and the next day the same program in public. The program: Vivaldi D Minor Concerto Mozart Divertimento in D Major (no. 11) with oboe and two horns Stravinsky D.O. Concerto Falla Harpsichord Concerto Stravinsky D.O. Concerto (second time) The decision to postpone our trip to Europe was very beneficial for me even though I had to live through some rather difficult times before regaining my equilibrium and continuing my work. This work, as you probably know, is Orpheus. Balanchine is expecting it in the autumn. Its premiere—probably the end of November. Two thirds (including orchestration) already done. I have great hopes that you will like this music. What a joy to finally have Milène here and also to see her so happy. All three of them shine with happiness. Attached are two little pages that require your signature, without which it’s impossible to renew the registration on your car. Vera, who's packing the suitcases right now and who sends you her love, lent this car to a young man just back from the war who had not a cent to his name but who has a wife and two children. You will make this young man happy in returning these two little sheets filled in with your kind signature to us,* if possible by return post (and by air mail). I will write to you after our return from Washington, i.e., after May 4, and in the meantime please find here, carissima Nadia, my affectionate love and many, many kisses from, Always yours, I Str �[P.S.] Have you received my Ode, that has finally been published? This is not so that you thank me, but to know if it reached you. *Before a Witness (and their address). Don’t forget a legal signature complete with a “stamp.” � Stravinsky à Boulanger Hollywood Miss Nadia Boulanger 36 rue Ballu, 9ème Paris, France 19 avril 1947 Carissima Nadia, Nous voila au lieu de Paris, embarques pour Washington ou Mme Bliss m’attent [sic] pour mon Dumbarton Oaks Concerto que je dirigerai a Dumbarton Oaks meme. Il y a 9 ans vous l’aviez dirige vous en premiere. Votre ombre (plutôt votre lumière) sera evoquee dignement. Nous passons par NY ou je repete avec les musiciens. Le 25 avril le concert a Dumbarton O. et le lendemain le meme programme en public. Le programme : Vivaldi Concerto en RE min Mozart Divertimento en RE maj. (No. 11) avec Hautb. Et 2 Cors Stravinsky D.O. Concerto Falla Concerto p. Clavecin Stravinsky D.O. Concerto (deuxieme fois) La decision d’ajourner notre voyage en Europe fut tres salutaire pour moi bien que j’ai [sic] du [sic] passer par des journees assez penibles avent de reprendre l’equilibre et de continuer mon travail. Ce travail, comme vous le savez probablement, est Orphée. Balanchine l’attend pour l’automne. Sa premiere—probablement fin novembre. Deux tiers (orchestration comprise) deja faites. J’ai grand espoir que vous aimerez cette musique. Quel bonheur d’avoir enfin Milene ici et aussi de la voir si heureuse. Tous les trois rayonnent de bonheur. Ci-joint deux petites feuilles qui reclament votre signature sans laquelle impossible de renouveler la license de votre voiture. Vera qui fait les bagages en ce moment-ci et qui vous envoie ses affections, preta cette voiture a un jeune homme revenu de la guerre qui n’a pas le sou mais qui a une femme et deux enfants. Vous le rendrez heureux, ce jeune homme, en nous renvoyant ces deux petites feuilles munies de votre sympathique signature, *) si possible par ret. du cr. et par avion. Je vous ecrirai apres notre retour de Washington, c. a d. apres le 4 mai et en attendant veuillez trouver ici carissima Nadia my affectionate love and many, many kisses from Always yours I Str �[P.-S.] Avez-vous recu mon Ode, enfin parue ? Ce n’est pas pour que vous me remerciez mais pour savoir si cela vous est parvenu. *before a Witness (et son adresse) ; ne l’oubliez pas, c. a d. signature legalise [sic] avec un “stamp” � 1947 Author: Igor Stravinsky Dumbarton Oaks Concerto George Balanchine Igor Location: California Mildred Woods Bliss Milène Marion Nadia Location: 36 rue Ballu Orpheus Recipient: Nadia Boulanger Vera Stravinsky Wolfgang Amadeus Mozart https://digex.lib.uoguelph.ca/files/original/d4556985b4b25db22553f3effaeeb3f3.pdf 11c787e65a3c77a8dce97fb7ff6ff528 https://digex.lib.uoguelph.ca/files/original/2a9b33edabef8bffb18ae5fafdea23b0.pdf 3ff86626a728c087e93848aa515f455d 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 May 1947 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 May 1947 Type The nature or genre of the resource Letter UG Extracted Text Stravinsky to Boulanger Hollywood May 5, 1947 My very dear Nadia, we are now back, Very beautiful performance of the whole program before a room* filled with Mr. and Mrs. Bliss’s invited guests—you can imagine their reaction and the nature of their applause. Imagine when they thanked me for their ettiquette. It’s really all we should expect from people who don’t know better. Is it true that the U.S.A. will see you again this year? Say yes. Your I Str. *Two rooms (April 25 and 26) [P.S.] We impatiently await your response to my letter dated April 19 and your signature. � Stravinsky à Boulanger Hollywood 5 mai 1947 Très chère Nadia, nous voila de retour Très belle éxecution [sic] de tout le programme devant une sale* pleine d’invités de Mr. et Mme Bliss—Vous voyez leur réaction et le caractère des applaudissements. Songez quand ils me reconnaissent pour leur politesse. C’est au fond ce qu’on devrait demander aux ignorants. Est-ce vrai que l’U.S.A. va vous revoir cet année ? Dites oui. Votre I Str. *deux sales (le 25 et 26 avril) [P.-S.] Nous attendons votre réponse à ma lettre du 19 avril et vos signatures avec impatience. � 1947 Author: Igor Stravinsky Igor Location: California Mass Mildred Woods Bliss Recipient: Nadia Boulanger https://digex.lib.uoguelph.ca/files/original/2f912daa3229a108f8cb4bae2c9fadf2.pdf a0fa87ef5735180abc0fae74783b671a https://digex.lib.uoguelph.ca/files/original/568cd800b62689705d54437d5aef85b5.pdf 53331791c9a9248f9b828bac05dad48f 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, 23 April 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 23 April 1948 Type The nature or genre of the resource Telegram UG Extracted Text Stravinsky to Boulanger NADIA BOULANGER 36 RUE BALLU PARIS, FRANCE April 23, 1948 REGARDING ORPHEUS PERFORMANCE PLEASE CONTACT ROTH BOOSEY HAWKES LONDON. LOVE STRAVINSKY � Stravinsky à Boulanger NADIA BOULANGER 36 RUE BALLU PARIS, FRANCE APRIL 23, 1948 REGARDING ORPHEUS PERFORMANCE PLEASE CONTACT ROTH BOOSEY HAWKES LONDON. LOVE STRAVINSKY � 1948 Author: Igor Stravinsky Ernst Roth Nadia Location: 36 rue Ballu Orpheus 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/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/460b7e72078765dbcdf47bd79e286373.pdf 577429fd7d233672099da5e5390eb6f2 https://digex.lib.uoguelph.ca/files/original/fc4b0189f67cc236905dccd98b82ddb7.pdf b3e0655d32ddb5e5cc59105520f2f8de 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 Igor Stravinsky Subject The topic of the resource Nadia Boulanger 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 Telegram Author: Igor Stravinsky Igor Location: California Nadia Location: 36 rue Ballu Recipient: Nadia Boulanger https://digex.lib.uoguelph.ca/files/original/fe7cae8dd7cd683a3821dccf89e1d391.pdf 3233368668df45a30e012427db66e79a https://digex.lib.uoguelph.ca/files/original/458a6af971345b8070985958dcc36a17.pdf c9dd952c7c751de58b0aad40c6da1097 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, 16 September 1950 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 16 September 1950 Type The nature or genre of the resource Letter UG Extracted Text Stravinsky to Boulanger 1260 North Wetherly Drive Hollywood 46, California Mademoiselle Nadia Boulanger 36 rue Ballu PARIS—9th (France) September 16, 1950 My very dear Nadia, Believe me that I am experiencing the same feelings and the same difficulties as you; I, too, would like to be able to write to you at length just as I would like to be able to speak with you; but I am so taken by my work that I must limit myself to matters of urgency like what you provided me with in your letter of September 1, for which I thank you with all my heart. Certainly long-shot projects are risky at this time but I am very favorable to the idea of seeing Monte Carlo stage my Opera, because the theater lends itself particularly well to it, owing to its limited dimensions which match the chamber character of my work: instrumentation resembles Cosi fan tutte or Marriage of Figaro (double winds, two horns, two trumpets, timpani and strings). My enthusiasm for this Monte Carlo project is unfortunately not unadulterated. First of all, there are the almost insurmountable difficulties of translating my work into French without mutilating the vocal parts. All my work and its musical prosody are conceived of as a whole to highlight the truly magnificent English text by Wystan Auden. You know as well as I do the impossible difficulties of translating into French with regard to both Auden's brilliant poetry and my music, which will inevitably undergo unforeseen changes to its structure. As for my material interests, they go hand in hand with those of my editors at Boosey & Hawkes, and it’s up to them to negotiate and make the decisions. Ralph Hawkes had these matters directly within his control. Unfortunately, he just died unexpectedly eight days ago in New York, and I am currently unaware of how the publishing house will be reorganized and who will look after my affairs. So that’s the situation. I won’t talk to you about the French title because it has to be translated, like the names of the characters, in keeping with the principal idea inherent to each character (their role in the work). And for that, I doubt we can succeed without collaborating directly with Auden himself. (His address is: Mr. Wystan Auden, 7 Cornelia Street, New York 14, N.Y.) If I had on hand an available copy of the two acts of the opera already composed (350 pages), I would send them to you right away. But all my copies are tied up because of the negotiations I have ongoing here. The simplest [solution] would be to drop by Boosey & Hawkes (295 Regent �Street, London W.I.) during your next trip to London, where you can ask on my part for Mr. Erwin Stein*) so you might acquaint yourself with the first two acts. I am working ceaselessly in the hopes of finishing before the spring, but I don't know if I will manage to do it. Vera and I are doing well physically but morally are worried about the present and the future; Hollywood. furthermore, is devoid of interest and California has changed a lot since you left (**). The Sachses, who have just decided to return to France, will be able tell you what they think of it. As for Soulima [and his family], whom we have had little chance to see during his academic stay in Santa Barbara where they were very busy, they are in the process of settling in Urbana (Department of Music, University of Illinois, Urbana, Illinois). The only consolation that remains for us here is that Milène and André are close by, as well as the staunch Madubo. Tomorrow and next week I have to welcome your two students. I will ask the Sachses, whom I will see again in three days, to take you the recordings of my Mass, because I suppose you still don't have them. I made this recording with the men's chorus (children and adults) of a Catholic church in New York at the end of the first American concert in New York. I am not saying that these children had ideal training but even so, I prefer their timbre to that of women's voices, which are always too impassioned for liturgical song. Don't forget me; even short letters from you always give me great pleasure. Vera and I think of you very affectionately. Your I. Str. *The editor **even the climate � Stravinsky to Boulanger 1260 North Wetherly Drive Hollywood 46, California Mademoiselle Nadia Boulanger 36 rue Ballu PARIS—9eme (France) 16 septembre 1950 Tres chere Nadia, Croyez bien que j’eprouve les memes sentiments et les memes difficultes que vous ; moi aussi je voudrais pouvoir vous ecrire longuement tout comme je voudrais pouvoir vous parler ; mais je suis si pris par mon travail que je dois me limiter aux occasions imperatives comme celle que vous me fournissez dans votre lettre du 1er Septembre dont je vous remercie de tout cœur. Certes les projets a longue chance sont bien hazardeux en l’epoque actuelle mais je suis tres favorable a l’idee de voir Monte Carlo prendre mon Opera car le theatre s’y prete particulierement bien en raison de ses dimensions limitees qui correspondent au caractere de chambre de mon œuvre : instrumentation semblable a Cosi fan tutte ou aux Noces de Figaro (bois par 2, 2 cors, 2 trompettes, timb. et strings). Mon enthousiasme pour ce projet de Monte Carlo n’est malheureusement pas sans melange. Tout d’abord il y a les difficultes presqu’insurmontables de transposer mon œuvre en francais sans mutiler les parties vocales. Toute mon œuvre et sa prosodie musicale sont concues integralement pour faire valoir le texte anglais vraiment magnifique de Wystan Auden. Vous connaissez aussi bien que moi les difficultes insurmontables de la traduction en francais aussi bien vis a vis de la poesie brillante d’Auden qu’a l’egard de mon texte musical qui va subir inevitablement des modifications non prevues a la base. Quant a mes interets materiels ils vont de pair avec ceux de mes editeurs Boosey & Hawkes, et c’est a eux de negocier et de prendre les decisions. Ralph Hawkes avait ces questions directement en mains. Malheureusement il vient de mourir subitement a New York il y a 8 jours et actuellement j’ignore encore comment la maison va se reorganiser et qui va s’occuper de mes affaires. Voila donc la situation. Je ne vous parle pas du titre francais car il doit etre traduit, comme les noms des personnages, en conservant l’idee directrice [sic] inherente a leur caractere (leur role dans la piece). Et pour cela je doute qu’on puisse reussir sans collaborer directement avec Auden lui-meme. (Son adresse est : Mr. Wystan Auden, 7 Cornelia Street, New York 14, N.Y.) �Si j’avais sous la main un exemplaire disponible des deux actes deja composes de l’opera (350 pages) je vous l’aurais tout de suite envoye. Mais tous mes exemplaires sont immobilises en raison des pourparlers que j’ai en cours ici. Le plus simple serait qu’a l’occasion de votre prochain voyage a Londres vous passiez chez Boosey & Hawkes (295 Regent Street, London W.I.) ou vous pouvez demander de ma part a Mr. Erwin Stein *) de vous laisser prendre connaissance de ces deux premiers actes. Je travaille sans arret dans l’espoir de terminer avant le printemps mais je ne sais pas si j’y parviendrai. Vera et moi allons physiquement bien mais sommes moralement inquiets du present et de l’avenir ; Hollywood d’autre part est bien vide d’interet et la Californie a beaucoup change depuis que vous l’avez quittee (**). Les Sachs qui viennent de decider de rentrer en France pourront vous dire ce qu’ils en pensent. Quant aux Soulima que nous avons peu eu l’occasion de voir pendant leur sejour academique a Santa Barbara ou ils etaient tres occupes, ils sont en train de s’installer a Urbana (Department of Music, University of Illinois, Urbana, Illinois). La seule consolation qui nous reste ici c’est le menage de Milene et Andre qui est aupres de nous ainsi que la brave Madubo. Je dois recevoir demain et la semaine prochaine vos deux eleves. Je demanderai aux Sachs que je verrai dans 3 jours de vous remettre les disques de ma « Messe » car je suppose que vous ne les avez pas encore. J’ai fait cet enregistrement avec les chœurs d’hommes (enfants et adultes) d’une eglise catholique de New York a l’issue de la premiere americaine en concert a New York. Je ne dis pas que ces enfants aient eu un entrainement ideal mais meme ainsi je prefere leur timbre a des voix feminines toujours trop passionees dans le chant liturgique. Ne m’oubliez pas ; meme des lettre breves de vous me font toujours un immense plaisir. Nous vous embrassons Vera et moi bien affectueusement. Votre I. Str. *L’editor **même le climat � 1950 André Marion Arthur Sachs Author: Igor Stravinsky Boosey & Hawkes Georgette Sachs Igor Location: California Madubo Marriage of Figaro Mass Milène Marion Mina Svitalski Nadia Location: 36 rue Ballu Ralph Hawkes Recipient: Nadia Boulanger Soulima Stravinsky Wystan Auden