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                <text>1932 – 1937
Boulanger to Igor Stravinsky
36 rue Ballu 9th
Téléph: Trinité 90-17
June 17, 1932
My dear Friend,
How gladly I would have liked to greet you tomorrow, to join myself with those who love you
and to show you my inexpressible affection.
You are such a great light for us. You give me joy that is renewed each day—and you wish to
honor me with a friendship [and] a trust that is most precious to me.
Difficulties of the sort that you can imagine prevent us—my students and I—from sending you
the souvenir we reserved for you. I would like to hope that we will succeed in the end, because
losing this chance to do something for you is very hard on us.
Happy birthday, dear friend—and thank you, if only I could tell you what affection, what
admiration I have for you,
Yours,
Nadia Boulanger
�</text>
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                <text>1932-1937
Boulanger à Stravinsky
36 rue Ballu 9ème
Téléph:Trinité 90-17
17 juin 1932
Mon cher Ami,
Comme j’aurais aimé vous embrasser demain, me joindre à ceux qui vous aiment et vous
témoigner mon inexprimable attachement.
Vous êtes pour nous une si grande lumière. Nous vous devons des joies qui se renouvellent
chaque jour—et vous voulez bien m’honorer d’une amitié, d’une confiance que [sic] me sont
précieuses entre toutes.
Des difficultés d’un ordre que vous devinez, nous empêchent, mes élèves et moi, de vous
envoyer le souvenir que nous vous destinions. Je veux espérer que nous finirons par réussir, car
perdre cette opportunité de faire quelque chose pour vous, nous est très cruel.
Bonne fête, Cher Ami –et merci si je pouvais vous dire avec quelle affection, quelle admiration
je suis,
Votre
Nadia Boulanger
�</text>
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                <text>Boulanger to Stravinsky
Les Maisonettes
Hanneucourt
By Gargenville (S&amp;O) PTH 28
Isère
Mr. I. Strawinsky
La Vironnière
Voreppe
September 17, 1931
Dear Friend,
I’ve received your letter—everything is finished and sent off. It is unfortunate about the C-sharp
because of the C-natural in the following measure, but . . . at the heart of the matter I am sure
you are correct, naturally.
No need to thank me, we would all be deeply honored and happy if we could help you with
anything at all. These are certainly not tasks for you.
In all haste, and with sincere affection,
Nadia Boulanger
[P.S.] I recommended to Païchadze that he have someone review the orchestral score and ensure
the corrections are incorporated. I hope that there is someone who can do that with care.
�</text>
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                <text>Boulanger à Stravinsky
Les Maisonettes
Hanneucourt
par [sic] Gargenville (S&amp;O) PTH 28
Isère
Monsieur I. Strawinsky
La Vironnière
Voreppe
17 sept. 1931
Cher Ami,
Bien reçu votre lettre—tout est fait, envoyé. Je regrette le do-dièse à cause du do-naturel de la
mesure suivante, mais…au fond je suis sûre, naturellement, que vous avez raison.
Ne me remerciez pas, nous serions tous si fiers et heureux, au fond, si nous pouvions vous aider
en quoi que ce soit. Ce ne sont pas là des besognes pour vous.
En toute hâte, avec tant d’affection
Nadia Boulanger
[P.-S.] Je recommande à Païchadze de bien faire revoir la partition d’orchestre et de veiller à ce
que les corrections soient reportées—j’espère qu’il y [a] quelqu’un qui puisse faire cela avec
soin.
�</text>
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        <name>Nadia Location: Hanneucourt</name>
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        <name>Recipient: Igor Stravinsky</name>
      </tag>
      <tag tagId="32">
        <name>Symphonie De Psaumes</name>
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      <tag tagId="33">
        <name>Symphony of Psalms</name>
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                <text>Boulanger to Stravinsky
63 Garden Street
Cambridge, Massachusetts
Special Airmail to the SS Aquitania
Cunard-White Star Line
Sailing April 20, A.M.
Pier 90, N.R. N.Y.C
Mr. Igor Strawinsky
25 Rue du Faubourg St. Honoré
Paris, France
April 19, 1938
Dear Friend,
I just sent you a wire because I am very worried about not having received the material for the
first two movements.
The final movement, which I know well now, is so beautiful.
The copying will be done very carefully and I think that all will be well.
I believe that Mrs. Bliss counts on having the manuscript for the performance. Would you please
send it to me? I will deliver it to her. Or would you prefer to send it to her directly? Excuse my
meddling in something that does not concern me—but . . . have you thought to have the
dedication printed
Another thing: I do not know if you should come here next year—but could we draft an
agreement saying that you reserve—for you firstly, and then for me should you be unable—the
performance of the Concerto, for one year? I am writing to Strecker to say the same thing, but
naturally, only what suits you can suit me.
But, it seems to me that I have so connected my life with your work this year that I would give
anything—if you do not come—to have the remarkable privilege of making the concerto known
here.
Forgive me if you find this request indiscreet, [and] know that I am guided only by my deep
affection for what you mean to all of us, and not foolish ambition. It is a matter of pride in
knowing what this concerto represents. Last night, again, at Wellesley, it was such a wonderful
time with Le Sacre. Today with the Duo concertant; the day before yesterday with the Concerto
for Two Pianos; Saturday the Ave Maria; next week, Mavra; and so forth . . .
How can I thank you? My thoughts go much further, because a work of art, to a certain degree, is
an image of God. I cannot express it, but I know the proof flows from what is beautiful, from
what is.
With great affection,
Nadia
�</text>
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                <text>Boulanger à Stravinsky
63 Garden Street
Cambridge, Massachusetts
Special airmail to the S.S. Aquitania
Cunard-White Star Line
Sailing April 20, A.M.
Pier 90, N.R. N.Y.C
M. Igor Strawinsky
25 rue du Faubourg St. Honore [sic]
Paris, France
19 avril 1938
Cher Ami,
Je viens de vous envoyer un câble, car je suis très inquiète de n’avoir pas reçu le matériel des 2
premiers mouvements.
Le final, que je connais maintenant bien, est si beau aussi.
La copie en sera faite très soigneusement et je pense que tout sera bien.
Je crois que Madame Bliss compte avoir le manuscrit pour l’exécution. Voulez-vous bien me
l’envoyer. Je le lui remettrai. Ou préférez-vous le lui envoyer directement? Pardon de me mêler
de ce qui ne me regarde pas—mais…avez-vous pensé à faire imprimer la dédicace ?
Autre chose :
Je ne sais pas si vous devez venir ici l’an prochain—mais pourrions-nous faire un arrangement
en disant que vous réservez, à vous d’abord, et puis à moi à votre défaut, l’exécution du
Concerto, pour un an. J’écris à Strecker dans le même sens, mais naturellement, seul ce qui vous
convient peut me convenir.
Mais, il me semble avoir tant associé ma vie à votre œuvre cette année ici que je donnerais je ne
sais quoi pour, si vous ne venez pas, avoir l’insigne privilège de faire connaître le concerto [sic]
ici.
Pardon si vous trouvez cette demande indiscrète, seul mon attachement profond à ce que vous
êtes pour nous tous, et non une stupide ambition, me guide, sentez-le. Il s’agit d’une sorte de
fierté de savoir ce que ce concerto représente. Hier soir encore, à Wellesley, de telles heures avec
le Sacre. Aujourd’hui avec le Duo Concertant —avant-hier avec le Concerto deux pianos—
Samedi l’Ave Maria —la semaine prochaine, Mavra—et ainsi de suite.
Vous remercier ? Ma pensée va plus loin, car l’œuvre d’art, a [sic] un certain degré, est une
image de Dieu. (Je ne peux pas dire, mais je sais si bien quelle évidence découle de ce qui est
beau, de ce qui est.[)]
A vous, en si grande affection,
Nadia
�</text>
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                <text>Boulanger to Stravinsky
36 rue Ballu 9th
Téléph:Trinité 90-17
June 19, 1932
Dear friend,
Excuse this business letter.
We would like to stage either a festival of your work or a half program at the Société musicale
indépendante: including in either case the first performance of the Duo concertant in Paris, and
maybe L’Histoire du soldat or other works of your choice (we cannot, for financial reasons, have
many instruments.) A final program will have to be settled—but first we would like to know
what fee you would accept. We don’t wish to question you on this matter and will do everything
possible to accommodate you, it goes without saying. But our account is pitiful. I must raise the
funds myself and, before going into details, I need to know that one thing.
May I ask you to respond to me as soon as possible.
The concert will take place at the École normale, in the autumn if it is possible.
Believe in my deep affection,
Dear Friend,
Nadia Boulanger
�</text>
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                <text>Boulanger à Stravinsky
36 rue Ballu 9ème
Téléph:Trinité 90-17
19 juin 1932
Cher Ami,
Pardonnez cette lettre d’affaires.
Nous voudrions, à la Société de musique indépendante, donner, soit un festival de vos œuvres,
soit un ½ programme : comprenant en tout cas la 1ère
audition du Duo Concertant à Paris, peut-
être L’Histoire du Soldat ou d’autres œuvres à votre choix (nous ne pouvons, pour des raisons
financières avoir beaucoup d’instruments.) Enfin un programme à régler—mais d’abord nous
voudrions savoir quel cachet vous accepteriez. Nous aimerions ne vous poser aucune question à
ce sujet et faire tout ce qu’il vous plairait, cela va sans dire. Mais notre caisse est misérable, c’est
moi qui dois réunir les fonds et, avant d’entrer dans des précisions, il me faut celle-là.
Puis-je vous prier de me faire répondre aussitôt que possible.
Le concert aurait lieu à l’École Normale sans doute, en automne s’il était possible.
Croyez à mon profond attachement,
Cher Ami,
Nadia Boulanger
�</text>
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                <text>Stravinsky to Boulanger
Paris
March 19, 1936
My very dear friend,
I am still under the influence of yesterday evening’s serene memorial. I really would have liked
to see you, but the number of people going to greet you made it difficult for me.
I am thinking of you, believe me, and please accept these flowers intended for the grave of your
dearly departed.
Your
Igor Stravinsky
�</text>
              </elementText>
              <elementText elementTextId="17158">
                <text>Stravinsky à Boulanger
Paris
le 19 mars 1936
Mon [sic] très chère amie,
Je suis encore sous l’impression de cette sereine commémoration d’hier soir
J’aurais bien voulu vous voir mais la quantité des personnes qui allaient vous saluer m’a un peu
troublé.
Je pense à vous, croyez le moi [sic] et acceptez, je vous prie, ces fleurs qui sont destinées à la
tombe de vous [sic] chères disparues
Votre
Igor Stravinsky
�</text>
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                <text>Stravinsky Family to Boulanger
Paris
Mademoiselle Nadia Boulanger
36 rue Ballu
E.V. 9th
March 19, 1938
Our thoughts and love are with you, dear one.
The Igor Strawinsky family
�</text>
              </elementText>
              <elementText elementTextId="17130">
                <text>La famille Stravinsky à Boulanger
Paris
le 19 mars 1938
Mademoiselle Nadia Boulanger
36 rue Boulanger
E.V. 9ème
Pensées et cœur avec vous, très chère.
Toute la famille Igor Strawinsky
�</text>
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                <text>Symphonie de psaumes
Boulanger to Stravinsky
[No Date, ca. 1931]
I
1. Dedication—omitted—voluntarily?
—Psalm numbers, can they be indicated?
2. Domine in capital letters beginning at the fourth measure after R17
—Should we reserve putting Dominum in capital letters until the end—or for the third
movement, for the end of the second, or is it to be in capital letters throughout?
3. At R9, the part in ♪:
At R12:
Is this correct?
4. Fugue
Sixth measure of R4, orchestra: sub. meno f
piano: sub. dolcissimo
—The second version seems more accurate
Remarks on the recording
I
At R4, left hand staccatissimo
7 after R12 the altos sing B-natural on the record—the correction seems to indicate C-natural on
the first beat.
II Fugue
Before R12, retenu
3) à [R]9 la partie en nu
�1 after R13 retenu
The movement is slower than 60 = ♪ in the fugue.
III
6 after R2, the sopranos and altos drop out on the third beat—this creates a silence which I find
excellent before the tenors’ Laudate, don’t you think?
R20 is a little closer to 66 =  noticeably slower than 48 to the 
At R22, the tempo is nearly OK here, maybe it’s slightly slower than 48=  , but only slightly
3 after R28 there is a C-natural in the recording, but I believe I heard a C-sharp at the
performance. You corrected this as a C-sharp—Is it better like this?
II Fugue
3 after R8, luto or lato?
4 after R17, Do’ mi – no (the comma’s in the right place, yes?)
III
Aren’t you afraid that by writing:
Al-le-lui-a
there will be an emphasis on the “i” rather than the “u?” Shouldn’t you isolate the “i?”
 
Al-le-lu...i – a
R1, maybe indicate poco meno p and reserve the p for four after R1.
3 after R2, fir-ma-men-to or tés ?
3 after R2 you’ve indicated in the piano me-nto, but left in the orchestral part: men-to?
5 after 22 in the trumpet (actual notes):
But at 5 after R26:
Are the two different versions accurate? I think so, but . . .
�</text>
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                <text>SYMPHONIE DE PSAUMES
Boulanger à Stravinsky
[sans date, ca. 1931]
I
1) Dédicace—omise—volontairement ?
—Numéro des Psaumes, peut-on les indiquer ?
2) Domine en Majuscules à partir de la 4ème
mes de [R]17
—Faut-il réserver Dominum en Majuscules [sic] pour la fin—pour le 3ème
morceau, pour
la fin du 2nd
, ou le mettre partout en majuscules.
à [R]12…
Bien exact ?
4) Fugue
—6ème
de [R]4 orchestre : sub. meno f
piano : sub. dolcissimo
Le 2nd
pte paraît plus exact
remarques faites d’après les disques
I
à [R]4 m.g. staccatissimo
7 + [R]12 les contr. chantent si dans le disque—la correction porte do sur le 1er
temps
II Fugue
Avant [R]12 ret.
4 + [R]13 retenu
Le mt. est plus lent que 60 = ♪ dans la fugue
III
�6 + [R]2 sopr. + contr. quittent au 3e
temps—cela fait un silence avant le Laudate des ténors,
excellent il me semble ?
[R]20 à peu près 66 = sensiblement plus lent que 48 à la
à [R] 22 le métronome est presque d’accord ici peut-être un petit peu plus lent que 48= mais
peu
3 + [R] 28 dans les disques do —mais à l’orchestre je croyais avoir entendu c-dièse—vous avez
corrigé c-dièse—bon, n’est-ce pas
II Fugue
3 + [R] 8 luto ou lato
4 + [R]17 Do’ mi – no (virgule bien exacte, n’est-ce pas?)
III
Ne craignez-vous pas qu’en écrivant :
Al-le-lui-a
On appuie sur i au détriment de u faut-il isoler l’i
Al-le-lu...i—a
[R]1 Peut-être indiquer poco meno p. pour réserver p pour 4 + [R]1
3 + [R]2 fir-ma-men-to ou tés ?
3 + [R]2 Vous avez indiqué sur le piano me-nto, laisse sur l’orchestre: men-to?
les 2 versions différentes sont-elles exactes? Je crois mais…
5 + [R]22 tromp en ré (notes réelles) :
à 5 + [R] 26
�</text>
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          <element elementId="39">
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            <description>An entity primarily responsible for making the resource</description>
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          <element elementId="40">
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            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>Catherine Stravinsky to Boulanger
[1936–1937]
My very dear Friend,
How can I thank you for these beautiful flowers brought to me at the exact moment of my
arrival. I am so touched and send my love.
Thinking of you,
C. Strawinsky
�</text>
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                <text>Catherine Stravinsky à Boulanger
[1936-1937]
Très chère Amie,
Comment vous remercier de ces belles fleurs qu’on m’apporte au moment même de mon arrivée.
Je suis tellement touchée et vous embrasse de tout cœur,
Toute à vous
C. Strawinsky
�</text>
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          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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          <element elementId="51">
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NADIA BOULANGER
63 GARDEN STREET
CAMBRIDGE, MASS. U.S.A.
STRAWINSKY
25 FAUBOURG-SAINT HONORÉ, PARIS
APRIL 19, 1938
WORRIED, HAVE NOT RECEIVED MATERIAL FROM YOU [FOR] FIRST TWO
MOVEMENTS (STOP) COPYING FINALE MATERIAL HERE
NADIA
�</text>
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                <text>Boulanger à Stravinsky
NADIA BOULANGER
GARDEN STREET, 63
CAMBRIDGE, MASS. U.S.A.
STRAWINSKY
25 FAUBOURG SAINT HONORÉ, PARIS
20 APRIL 1938
INQUIETE PAS AVOIR RECU DE VOUS MATERIEL DEUX PREIERS MOUVEMENTS
STOP FAIT COPIER MATERIAL FINAL ICI—NADIA
�</text>
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        <name>Concerto in E-Flat</name>
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        <name>Dumbarton Oaks Concerto</name>
      </tag>
      <tag tagId="491">
        <name>Igor Location: 25 Faubourg</name>
      </tag>
      <tag tagId="490">
        <name>Nadia Location: Cambridge Massachusetts</name>
      </tag>
      <tag tagId="357">
        <name>Recipient: Igor Stravinsky</name>
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                <text>Boulanger to Stravinsky
Nadia Boulanger
63 Garden Street
Cambridge, Mass U.S.A.
Strawinsky
25 Faubourg Saint Honoré, Paris
APRIL 20, 1938
(DON’T) WORRY HAVING RECEIVED FROM YOU TWO FIRST PARTS STOP HAD THE
FINAL PART COPIED HERE
NADIA
�</text>
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                <text>Stravinsky à Boulanger
BOULANGER
63 GARDEN STREET
CAMBRIDGE MASSACHUSETTS (ETATS UNIS)
20 AVRIL 1938
STRECKER VOUS ENVOIE EUROPA MATERIEL COMPLET
STRAWINSKY
�</text>
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        <name>1938</name>
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        <name>Concerto in E-Flat</name>
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      </tag>
      <tag tagId="361">
        <name>Recipient: Nadia Boulanger</name>
      </tag>
      <tag tagId="493">
        <name>Willy Strecker</name>
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