23 10 1009 https://digex.lib.uoguelph.ca/files/original/dc11b8cdb361a4dbf856c407702c23df.pdf 45dd7e9200bb0393e99a0b4b30252fec https://digex.lib.uoguelph.ca/files/original/dc467a917de9cb79e6b5c6db8eaf1c76.pdf 2509bc10f4c4c6190ead4a5a063c392a 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 3 Description An account of the resource English translation and transcription of French originals from Chapter 3 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 3, 7 November 1945 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 7 November 1945 Type The nature or genre of the resource Letter UG Extracted Text Boulanger to Vera Stravinsky 122 Bay State Road Boston, MA November 7, 1945 What a great letter. What a delightful announcement. Were I only there! We must pay a sacrifice for certain joys. Dear Vera! I could not find a way to delay my departure, but I am also sad. And to not see you again is a heavy sorrow. I will try to have Sezna do the musical phrase for Igor—I am exhausted. Have lessons from morning till night, all the rehearsals, parts to correct, things to buy for France, etc., etc., etc. This is all to say that I pray to God not to collapse. It is very difficult, but that’s all right. I embrace you both with the tenderness you know. I am happy that I will soon see little Jean! This birth and all it represents is marvelous! Your Nadia � Boulanger à Vera Stravinsky 122 Bay State Road Boston, MA 7 novembre 1945 Quelle bonne lettre. Quelle charmante annonce. Que ne suis-je là! Que de sacrifices coûtent certains bonheurs. Chère Vera! Je ne saurais remettre mon départ, mais je suis triste aussi. Et ne pas vous revoir est un lourd chagrin. Je tâcherai de faire faire la phrase pour Igor par Seznec—je suis à bout de forces. Ai des journées de leçons du matin au soir, toutes les répétitions, le matériel à corriger, les affaires à acheter pour la France, etc. etc. etc. C'est-à-dire que je demande vraiment à Dieu de ne pas tomber. C’est très dur, Mais bien. Je vous embrasse tous deux avec La tendresse que vous savez. Que je suis heureuse de voir Bientôt le petit Jean! C’est ébloussant [sic] cette naissance qui implique tant de choses ! A vous Nadia � 1945 Author: Nadia Boulanger Nadia Location: Boston Recipient: Igor Stravinsky Vera Stravinsky https://digex.lib.uoguelph.ca/files/original/c3e3ece6feca081c155b05a6d9c88f17.pdf 4bee718f102e265b33a4a9825ecb54d4 https://digex.lib.uoguelph.ca/files/original/3c3dbc4233b761ce36bbe2e9173817d6.pdf bf770c469e4493cd90df61199a672832 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 3 Description An account of the resource English translation and transcription of French originals from Chapter 3 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 3, February 1945 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 February 1945 Type The nature or genre of the resource Letter UG Extracted Text Boulanger to Stravinsky February 1945 [Never sent] Dear Igor, I have not yet written to you, because . . . I was absorbed by my new position, because I exaggerate, unfortunately, everything that I do—and also, and perhaps especially, because I do not know how to write to you. If I could tell you what this concert meant, I would be proud with a peaceful yet arrogant pride. But while we listened to this music where I know every note by heart, but where each note, each time, becomes new—I knew already that I wouldn’t write you, because my mind and my ears, my heart and my hand were truly incapable of finding the right words. And I thanked you, just as I thank you today, for these works that year after year bring us the joy of which Bergson spoke: “Crazy, it is completely crazy . . . I understand you here.”— “And this lyricism, too many instruments, too many notes, too many rich harmonies.” And so, it’s because I share your opinion that . . . from time to time I succeed. Wednesday—only the Abbot heard vague, far-away notes [quotes nonsensical excerpt, likely from Apollo]. We didn’t even hear that and missed Apollon. On the 4th everything was so clear. And if you could have seen us Saturday, going over once again step by step all the scores with such impatience, and the next day, the surprise of finding them again, of “replacing” each note, we were ecstatic with this order, this evidence, this freshness. Then . . . on Sunday. We ought to know, and me more than anyone. But no—everything is again unexpected, again exhilarating — and the thought that everything is inevitable—but always “discovered,” as if never heard before. When you are here again, with the scores in hand, I would so love to walk the path again with you—these admirable Scènes de ballet—so necessary. And . . . so simple—all that one ever has to do is just to look—there is but one man in millions who finds it—and not many in a hundred who understand what they have found. What solitude. Without a doubt, provided by God to protect you from other horrors and from yourself. In this austere solitude, no comfort, no intrusion, no distractions—what [a] severe treatment. Back to Paris � Boulanger à Stravinsky fevr. 1945 [jamais envoyée] Cher Igor, Je ne vous ai pas écrit, parce que…j’étais absorbée dans ma nouvelle fonction, parce que j’exagère, hélas, tout ce que je fais—et aussi, et peut-être surtout, parce que je ne sais que vous écrire. Si je pouvais vous dire ce que ce concert nous a apporté, je serais fière, d’une fierté reposante et insolente. Mais, tandis que nous écoutions cette musique dont je connais chaque note par cœur, mais dont chaque note redevient chaque fois nouvelle—je savais déjà que je ne vous écrirais pas, parce que mon esprit et mon oreille, et mon cœur, et ma main, sont bien incapables de trouver les mots justes. Et je vous remerciant [rémerciais (?)], comme je vous remercie aujourd’hui, pour ces œuvres qui année après année, nous apportent la joie dont parle Bergson; « Folle, elle est complètement folle…je vous entends d’ici »—«et ce lyrisme, trop d’orchestre, trop de notes, trop d’harmonies riches ». Et c’est parce que je partage votre opinion, que…..de jour en jour j’ai réussi. Mercredi—seul l’abbé a entendu de vagues, lointaines notes [citations de l’Apollon] Nous, pas même cela et manquer Apollon. Le 4, tout était si clair. Et si vous aviez pu nous voir, le samedi, reprenant pas à pas toutes les partitions avec l’impatience du lendemain, la surprise d’en retrouver, d’en « replacer » chaque note, nous extasiant de tout cet ordre, de cette évidence, de cette fraîcheur. Puis….le dimanche. Nous devrions, et moi plus qu’eux savoir. Non—tout est de nouveau inattendu, inouï encore—et de la pensée, où tout est inévitable—mais toujours « découvert » comme si on ne l’avait jamais entendu. Quand vous serez là, avec les partitions en mains, je voudrais refaire le chemin avec vous—ces scènes de Ballet, admirables—d’un telle nécessité. Et…si simple—il ne s’agit jamais que de trouver—seulement, il n’y a qu’un homme entre des millions, qui trouve—et pas beaucoup dans chaque centaine, qui entendent ce qu’il a trouvé. Quelle solitude. Sans doute, ménagée par Dieu pour vous protéger des autres horreurs, et de vous-même. Dans cette austère solitude, aucune facilité, aucune intrusion, aucun dispersement—traitement sévère. � 1945 Apollon Musagète Author: Nadia Boulanger Henri Bergson Recipient: Igor Stravinsky Scénes de ballet https://digex.lib.uoguelph.ca/files/original/2472897996e140ce94ecae2fe5935693.pdf 00e89fba1bed9a9657143b125cd84759 https://digex.lib.uoguelph.ca/files/original/5780a578cdf968e3d49927fdc1727561.pdf b8aea8759fd3bd1bae5f142f63581d39 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 3 Description An account of the resource English translation and transcription of French originals from Chapter 3 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 3, 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 Bibliothque 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 Letter 1945 Arthur Sachs Author: Igor Stravinsky Ebony Concerto Gabriel Fauré Madubo Milène Stravinsky Mina Svitalski Nini Recipient: Nadia Boulanger Soulima Stravinsky Symphonie Concertante Symphony in Three Movements Woodrow Charles Woody Herman https://digex.lib.uoguelph.ca/files/original/4584d1d04d9f24f325fad36bd29fce3d.pdf 34dec6692b2f6abf9a3e3cfba575ed57 https://digex.lib.uoguelph.ca/files/original/c7aafe98f97d8ff911ccaab2f04be2b5.pdf 306394b2d07ab2f4be24c9b9d9f42296 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, 1 September 1950 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 Bibliothèque Nationale De Paris Date A point or period of time associated with an event in the lifecycle of the resource 1 September 1950 Type The nature or genre of the resource Letter UG Extracted Text Boulanger to Stravinsky Ecoles d’art américaines Fondation reconnue d’utilité publique Conservatoire de musique—Ecole des beaux-arts Palais de Fontainebleau September 1, 1950 Dear Friend, Why do I never write you? I have too many things to tell you, no time, and lack the means to tell you what a place you hold in all our lives, in mine, in such an absolute fashion. And yet, I speak so much of you, with you, through your works, that it saves me the struggle of trying to tell you what I would like to. But today: Gunsbourg, oh yes, Gunsbourg, can mount your opera in Monte-Carlo. Because he is certain [ne doute rien], he says (he is ninety-two years old) “if not in 1951, then in 1952.” Didn’t speak of business, but said: “Of course I could only give this opera in French. The English title, translated, is: La Carrière d’un roué, not the best for advertising an opera. So, [we’ll use] the name of the principal character ‘Thomas Rakewell.’” If this interests you, will you tell me if this title and the idea of the opera in French seem acceptable to you, and what amount you would request to reserve the premiere for Monte-Carlo? From the 10th to 16th of September at Accademia Chigiana, Sienna, Italy. Then, after a few days, Paris. You know, don’t you, that I don’t spend a day far from you, but I have nevertheless refused Koussevitzky’s very friendly offer for Tanglewood next year. It is impossible to abandon the school here. It has its thirtieth anniversary next year and then, given the state of things, a departure can be planned, but can a return on a fixed date be [guaranteed]? I have so many things to tell you. Let’s move along, it’s hopeless. Yet I must ask one thing: May I, is there any way I might read the opera? All those who know it are making me frightfully jealous. It’s not good for my mental health . . . nor my physical state. My love to you and Vera and Milène and Soulima and Françoise and Jean and André and Madubo. But . . . Don’t just say that I send my love to everybody. Your Nadia B [P.S.] My thoughts to Berman, Dahl, and Gnau and, my love once again! � Boulanger à Stravinsky Ecoles d’art américaines Fondation reconnue d’utilité publique Conservatoire de Musique—Ecole des beaux-arts Palais de Fontainebleau 1 septembre 1950 Cher Ami, Pourquoi je ne vous écris jamais ? J’ai trop de choses à vous dire, pas de temps, pas le moyen de vous dire quelle place vous tenez dans notre vie à tous, dans la mienne, d’une manière si absolue. Et puis, je parle tant de vous, avec vous, à travers vos œuvres, que je m’épargne la lutte que représente d’essayer de vous dire ce que je voudrais. Mais aujourd’hui : Gunsbourg, mais oui Gunsbourg peut monter votre opéra à Monte-Carlo. Comme il ne doute de rien, il dit (il a 92 ans) « si pas en 1951, alors en 1952. Ne parle pas affaires, mais dit : bien entendu je ne pourrai donner cet opéra que dans une version française. Le titre anglais, traduit, donne : La Carrière d’un roué, pas heureux pour une affiche d’opéra. Alors, le nom du principal personnage « Thomas Rakewell » » Si cela vous intéresse, voulez-vous me dire si ce titre et l’idée de l’Opéra en français vous parait acceptable, et quelle somme vous demanderiez pour réserver la 1ère en Europe à Monte-Carlo. Du 10 au 16 sept Accademia Chigiana Sienne Italie. Après à petites journées, Paris. Vous savez, n’est-ce pas que je ne passe pas un jour vraiment loin de vous, mais j’ai pourtant refusé l’offre très amicale de Koussevitzky pour Tanglewood l’an prochain. Impossible d’abandonner l’école ici. 30è anniversaire l’an prochain, et puis, dans l’état des choses, on peut prévoir partir, mais pourrait-on revenir à date fixe ? Que de choses j’ai à vous dire. Passons c’est sans espoir. Une pourtant domine : ne puis-je, n’y a-t-il pas un moyen que je lise l’opéra. Tous ceux qui le connaissent me donnent une affreuse jalousie. Ce n’est pas bon pour la santé morale…ni physique. Je vous embrasse, j’embrasse Vera, et Milène, et Soulima, et Françoise, et Jean, et André, et Madubo. Mais…n’allez pas dire que j’embrasse tout le monde. Votre Nadia B Mon souvenir à Berman, à Dahl, à Gnau Et Je vous embrasse encore ! � 1950 André Marion Author: Nadia Boulanger Eugene Berman Françoise Stravinsky Ingolf Dahl Madubo Milène Marion Milène Stravinsky Mina Svitalski Nadia Location: Fontainebleau Raoul Gunsbourg Recipient: Igor Stravinsky Soulima Stravinsky Thomas Rakewell Vera Stravinsky 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/61cad1237f3a0d4d72202fb931ad0188.pdf 782efb5804df2654e1a8419c8e858c58 https://digex.lib.uoguelph.ca/files/original/b712e4f3fd78286da305abe46a7646e4.pdf 9f78225372d7f656a5420cae77b480e0 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 1951 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 April 1951 Type The nature or genre of the resource Letter UG Extracted Text Boulanger to Stravinsky Cap d’Antibes, Alpes 36 rue Ballu, Paris Mr. Igor Strawinsky 1260 N. Wetherly Drive Hollywood 46 California U.S.A. April 11, 1951 Dear Friend, Where to begin? First with questions, one above all the others: Your opera, will it take place in Venice? When? Please, let me know, because I would like to change all my plans in order to hear it. I’ve just given two lectures on you. Not good, not complete, they need more work. But I have reread all your music in one go . . . and . . . but what can any of that do for you. Yet, in the end, among all those who know this work the best, where everything is different and everything has come at the same time, I feel myself very unworthy of so great an honor. The audience was excellent, an outstanding reaction. In Cannes!! In Nice!! I write to you like I write to all the others, but, God knows how much I love you, and I feel myself close to you. But I cannot for a single moment forget my reverence, my gratitude [to you]. And there you are all alone, so high above, separated from us forever and ever. What a sad story, because in the grand scheme of things, you are also a man like us and need us to surround you, to fawn over you, to joke with you. I cannot. Well, my beautiful letter finishes abruptly. I look around me, I say to myself: I will tell him, and . . . nothing seems to me worthy of taking up your time. How peaceful you would be if everyone were stricken by the same paralysis. One day, I’ll speak to you of some young people who merit your attention, of some books that are worth your reading. But as for the artistic and musical life, I will have the courage, no, might I say the charity, to tell you nothing. Did you know about the marvelous performances they tell me Markevitch has given of Le Sacre, Perséphone, Orpheus? I can believe it without any difficulty, because he worked [hard] and understood. How I miss you, and how sad it is not to see you anymore. The sofa is waiting for me, I remember every minute. Why is the world so troubled, California so far, and trips so complicated? �Know that I forget nothing, it’s the same as telling myself: You, and all that you are, are part of my own life. My affection, my tenderness, and my fondness to both you and Vera Nadia B. [P.S.] Thank you—thank you for the card. It was ravishing. � Boulanger à Stravinsky Cap D’Antibes, Alpes NB 36 rue Ballu, Paris Monsieur Igor Strawinsky 1260 N. Wetherly Drive Hollywood 46 Californie USA 11avril 1951 Cher Ami, Par vie commencer [où] ? D’abord des questions, l’une qui domine toutes les autres : Votre opéra, passe-t-il à Venise ? Quand ? Please, une réponse, car pour l’entendre, je voudrais modifier tous mes plans. Viens de faire 2 conférences sur vous. Pas bonnes, pas complètes, il s’en faut. Mais j’ai relu toute votre musique, d’un coup—et…mais qu’est-ce que cela peut bien vous faire. Enfin, je me sens très indigne d’un si grand honneur—et pourtant parmi ceux qui connaissent le mieux cette œuvre où tout est différent et tout est venu d’un même jour ci [sic]. Public excellent, réaction épatante—à Cannes !! à Nice !! Je vous écris, comme j’écris aux autres, mais, Dieu sait si [sic] je vous aime, et me sens proche de vous. Mais, je ne peux un seul instant oublier ma réverence [sic], ma gratitude—et vous voilà tout seul, très haut, séparé de nous à tout jamais. Quelle triste histoire, car, tout compte fait, vous-êtes aussi un homme comme nous et avez besoin qu’on vous entoure qu’on vous cajole, qu’on blague. Je ne peux pas. Alors, me belle lettre finit court—je regarde autour de moi, je me dis : je vais lui raconter, et…rien ne me parait valoir de prendre votre temps. Ce que vous seriez tranquille, de tout le monde était saisi d’une même paralysie. Un jour, vous parlerai de quelques jeunes qui méritent votre attention, de quelques livres qui valent que vous les lisiez. Mais de tout ce qui fait la vie musicale artistique j’aurai le courage, non, que dis-je, la charité de ne rien vous dire. Avez-vous su les exécutions merveilleuses, me dit-on que Markevitch a donné du Sacre, de Perséphone, d’Orpheus. Je le crois sans peine, car il a travaillé, et compris. �Que vous me manquez—et que c’est triste de ne plus vous voir—le canapé m’attend, je revois chaque minute. Pourquoi le monde est-il si troublé, la Californie si loin, et les voyages si compliqués. Sachez que je n’oublie rien, même quand je me dis. Vous—et tout ce qui est vous—est [sic] partie de ma propre vie. Je vous embrasse et vous dis à Vera et à vous ma tendresse, mon attachement Nadia B. [P.-S.] Merci—merci de la carte, ravissante � 1951 Author: Nadia Boulanger Igor Location: California Le Sacre Du Printemps Nadia Location: 36 rue Ballu Orpheus Perséphone Recipient: Igor Stravinsky Rite of Spring 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/86d5706811506ed52d1a17ccfd377fe7.pdf 5b8dd078e551320b6fbc0a6a5259011e https://digex.lib.uoguelph.ca/files/original/71b9debba25f1f7605ef65747954d1cf.pdf 0e1a9128b7634a701a5ae917dc6ac5cb 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 October 1946 Creator An entity primarily responsible for making the resource Nadia Boulanger Subject The topic of the resource Vera 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 October 1946 Type The nature or genre of the resource Letter 1946 Author: Nadia Boulanger Nadia Location: 36 rue Ballu Recipient: Vera Stravinsky Soulima Stravinsky Sviétik Vera Stravinsky https://digex.lib.uoguelph.ca/files/original/23a987722c0a6c360cab2cab7f417c45.pdf c70f4598bf2a601ad7496ef38cf4ba6a https://digex.lib.uoguelph.ca/files/original/73e86c8b3c4c2dfbce15bf8f2516a442.pdf 0aa99e783cc0cc344693ead61adb70f3 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 September 1951 Creator An entity primarily responsible for making the resource Nadia Boulanger Subject The topic of the resource Igor & Vera 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 September 1951 Type The nature or genre of the resource Letter UG Extracted Text Boulanger to Igor and Vera Stravinsky Hotel Bauer Grünwald Venice Monsieur Igor Strawinsky Hôtel Excelsior, Napoli September 11, 1951 Premiere of The Rake Will meet you at the door to the Theater, my very dear ones. Oh what emotion to spend this time with you. I’ve just reread the third act. Thank you. Hugs, N � Boulanger aux Igor et Vera Stravinsky Monsieur I. Strawinsky Hotel Bauer Grünwald Venice 11 septembre 1951 Première Rake Vous retrouverai à la porte du Théâtre, mes très chers. Quelle émotion de passer ces heures avec vous. Viens de relire le 3e acte. Merci Je vous embrasse N � Author: Nadia Boulanger Igor Location: Venice Rake Recipient: Igor & Vera Stravinsky 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