24 10 1009 https://digex.lib.uoguelph.ca/files/original/ad74941da71941402fbce04fc66c7c30.pdf 1d33803f439c5ebe2e9fbcc969e712e5 https://digex.lib.uoguelph.ca/files/original/4c88f0c7145a7e8307474fc96efec2e3.pdf 8bab78cf2aa23f1fdc0915bce3a49c76 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 June 1951 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 13 June 1951 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) June 13, 1951 My dear Nadia, Your letter touched me greatly; we were all affected as well by the swift and almost unexpected death of Koussevitzky. At the request of Time magazine, I wrote these few lines included below: “That Serge Koussevitzky was a great celebrity, everybody knows; but that many careers were created by his generosity, very few know. When a man passes away those wishing to pay tribute to his memory recollect his good deeds, the things he did most ostensibly. Let us dwell today on those things that Serge Koussevitzky did for others without telling anyone about it. And for these secret things let him be rewarded manifestly.” I think my homage, limited to what is true, is in this way more sincere than many of the others that are being published right now. What is this pessimistic news that you’re only partially sharing with me? You seem to know more in France about the Italian premiere of The Rake than I do here. As for myself, I have a solid contract in my pocket with the Biennale and I will be in Italy on the scheduled dates (mid- August) to perform it. A couple of days ago I learned officially that La Scala has agreed with the Biennale to mount the Venetian production. But I have no other details; these Italians don’t seem to like to write. Therefore, I would like to know more about this from you if—as your letter left me to assume—you are collecting information from various sources. Who is saying what??? In Italy or elsewhere about my Rake??? . . . Don't leave me in the dark. Vera and I send you our great affection, I Str. � Stravinsky à Boulanger 1260 North Wetherly Drive Hollywood 46, California Mademoiselle Nadia Boulanger 36 rue Ballu Paris 9eme (FRANCE) 13 juin 1951 Chere [sic] Nadia, Vos lignes m’ont beaucoup touche; nous avons tous ete egalement atteints par la disparation si rapide et presqu’inattendue [sic] de Koussevitzky. J’ai ecrit—a la demande de Time magazine, les quelques lignes ci-dessous: “That Serge Koussevitzky was a great celebrity, everybody knows; but that many careers were created by his generosity, very few know. “When a man passes away those wishing to pay tribute to his memory recollect his good deeds, the things he did most ostensibly. “Let us dwell today on those things that Serge Koussevitzky did for others without telling anyone about it. And for these secret things let him be rewarded manifestly.” Je pense que mon hommage, limite a ce qui est vrai, est ainsi plus sincere que beaucoup de ceux qui sont publies a cette heure. Quelles sont ces nouvelles pessimistes dont vous me transmettez seulement quelques echos? Vous avez l’air d’en savoir en France plus que je n’en sais moi-meme ici, en ce qui concerne la premiere italienne du Rake. Pour ma part j’ai un solide contrat dans ma poche avec la Biennale et je me rendrai en Italie aux dates prevues (mi-Aout [sic]) pour l’executer. J’ai appris officieusement il y a quelques jours que la Scala se serait entendue avec la Biennale pour mettre sur pied la production venitienne. Mais je n’ai pas d’autres details; ces Italiens semblent ne pas aimer ecrire. Aussi aimerais-je en savoir plus long par vous si—comme votre lettre me le laisse supposer—vous recoltez des informations de sources variées. Qui dit quoi??? en Italie ou ailleurs au sujet de mon Rake???... Ne me laissez pas dans l’incertitude. Vera et moi vous embrassons bien affectueusement.— - I Str. � 1951 Author: Igor Stravinsky Igor Location: California Nadia Location: 36 rue Ballu Recipient: Nadia Boulanger Sergei Koussevitzky The Rake's Progress https://digex.lib.uoguelph.ca/files/original/63096cc89a84965c236ac071ba72cab7.pdf 1f262a7c7d0d86345e76bc7d11a9c646 https://digex.lib.uoguelph.ca/files/original/dacb40ab4e5cdf9bcaf93ae4d9821b9a.pdf 55cea4b26a7a8e6de8ca6ce654e3ebdb 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, 14 February 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 14 February 1948 Type The nature or genre of the resource Letter UG Extracted Text Boulanger to Stravinsky February 14, 1948 Dear Igor, Official letter today. It has to do with assigning the Lili Boulanger award. If you agree, we could give $250 to Paul DesMarais and $350 to Claudio Santoro, a young Brazilian, a very talented, true musician, and great worker. In the event that you would be ready to agree to this project, the ballot is attached here. You only have to sign it and return it. I play Orpheus all day long. We are overwhelmed by this score where everything is in harmony and everything seems new, now and always. I seem rather stupid, but I assure you that I have heard and understood everything, and that I am very proud to love you so much, you whom I admire more than I know how to say. It seems that I destroy your secrets. And this orchestration, these relationships, these distances. This writing—the score sings in my ears and its order is in my spirit. You cannot help me anymore. It is entirely my fault, but I suffer for it. To Vera and to you, all my love, N � Boulanger à Stravinsky 14 February 1948 Cher Igor, Lettre officielle aujourd’hui. Il s’agit de décerner le Lili Boulanger award. Si vous êtes d’accord on pourrait donner $250 à Paul DesMarais et 350 à Claudio Santaro, un jeune Brésilien, très doué, vrai musicien, grand travailleur. Dans le cas où vous soyez prêt à souscrire à ce projet, un bulletin est joint. Vous n’aurez qu’à le signer, et le renvoyer. Je joue Orpheus toute la journée. Nous sommes bouleversés par cette partition où tout s’accorde où tout est nouveau et semble de toujours. J’ai l’air très bête, mais je vous assure que j’ai tout entendu, compris, et que, je suis très fière de tant vous aimer, vous que j’admire plus que je ne sais dire. Il me semble que je détruis vos secrets. Et cet orchestre, ces rapports, ces distances. Cette écriture, la partition chante dans mes oreilles et son ordre dans mon esprit. Vous ne m’aidez plus. C’est bien de ma faute, mais, j’en ai de la peine. A Vera, à vous, de toute ma tendresse, N � 1947 Author: Nadia Boulanger Claudio Sentaro Orpheus Paul DesMarais Recipient: Igor Stravinsky Vera Stravinsky https://digex.lib.uoguelph.ca/files/original/b6a42580ce2011a393782a5ea99b232e.pdf 6203f24981fcd16a0c2caaa5547ab702 https://digex.lib.uoguelph.ca/files/original/b26adc850693cb9edb6facfed47e4670.pdf 1645fbed1124334bcf19333a500b866f 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, 14 June 1947 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 14 June 1947 Type The nature or genre of the resource Letter 1947 André Marion Author: Nadia Boulanger Leo Préger Madubo Mass Milène Marion Milène Stravinsky Mina Svitalski Recipient: Igor Stravinsky Soulima Stravinsky https://digex.lib.uoguelph.ca/files/original/d0f93d12c01412fb919cd3191b44febb.pdf bcbd5870d9e7f1fa783debf3024d8e2b https://digex.lib.uoguelph.ca/files/original/25fcebfcacd9aa2f4b9b62524fcc2571.pdf a1b9bfe1082d61e7e541e7f3ce2f571e 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, 14 June 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 14 June 1951 Type The nature or genre of the resource Letter UG Extracted Text Boulanger to Stravinsky 36 rue Ballu Paris IX June 14, 1951 Dear, Dear Igor, will I be with you on the 18th? I am so afraid I left it too late. I give you a kiss on both cheeks. I say a big thank you to you who, every day, gives us such joy. And I say to you Happy Birthday, Happy New Year and . . . see you soon! Because you are coming, aren’t you? The news is all frighteningly contradictory, but I don’t want to doubt it? because that would be a terrible disappointment. Fondly and with all of my affection, Nadia B. � Boulanger à Stravinsky 36 rue Ballu Paris IX 14 juin [19]51 Cher, Cher Igor, serai-je avec vous le 18 ? J’ai si peur de m’être laissée [sic] mettre en retard. Je vous embrasses [sic] sur les deux joues, bien fort [sic], je vous dis un grand merci, vous qui chaque jour, nous donnez tant de joie—et je vous dis : Bon anniversaire, heureuse nouvelle année, et…à bientôt ! Car, vous venez, n’est-ce pas ? Les nouvelles sont affreusement contradictoires—mais je ne veux pas douter—ce serait une trop terrible déception. Je vous embrasse—et vous dis à Vera et à vous, toute ma tendresse, Nadia B. � 1951 Author: Nadia Boulanger Nadia Location: 36 rue Ballu Recipient: Igor Stravinsky Vera Stravinsky https://digex.lib.uoguelph.ca/files/original/3123fcc4e9c93ff70ec374dc84fa78e9.pdf b541578d2e01ebf9b60447dcf5af2e3a https://digex.lib.uoguelph.ca/files/original/3984e91f271e391305a1c06780df6abf.pdf 35a1cfc152ebd8875eea7340c33593aa 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, 14 September 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 Paul Sacher Stiftung Date A point or period of time associated with an event in the lifecycle of the resource 14 September 1950 Type The nature or genre of the resource Letter UG Extracted Text Soulima Stravinsky to Boulanger 1802 Carle Drive Urbana Illinois September 14, 1950 My dear Nadia, You letter moved me, touched me. I understand your reactions against the madness carrying the world away. We cannot stop thinking about it, without arriving at a single solution (who would have enough strength to oppose all this evil?). Day by day we make a point of solving the little problems we need to in order to keep going, and so far, we are more or less succeeding. As for myself, I’m writing to send you best wishes for your birthday; may all sorts of blessings come to you . . . You know the place you occupy in our hearts, in our life. And shall I tell you that in my teaching, which seems to be taking the form of a vocation, I strive to make clear to others what you have made so evident to me? I hope at last to find here the calm necessary for composing. I probably also need to learn to write with less reserve. [The need to] control every moment, every combination, stops each of my steps and forbids me from advancing. And I haven’t forgotten that one must do first and then discuss afterward. I am striving to find this balance. What a joy to have seen George and Art Sachs again—and Marthe Nalet who brought to these distant environs something of the rue Ballu. My very dear Nadia, Françoise, Jean and I are yours with all our hearts— Always, Soulima Stravinsky � Soulima Stravinsky à Boulanger 1802 Carle Drive Urbana Illinois 14 septembre 1950 Chère Nadia, Votre lettre m’a ému, touché. Je comprends vos réactions contre la folie qui emporte le monde. Nous ne cessons d’y penser et sans trouver aucune solution (qui aurait assez de force contre tout de [sic] mal ?) Nous nous efforçons de résoudre au jour de jour de tou[s] petits problèmes qui nous maintiennent en vie et pas trop mal jusqu’ici. À mon tour, je viens vous adresser mes vœux pour votre fête ; que toute sorte de bénédiction vous assistent…Vous savez la place que vous occupez dans notre cœur, dans notre vie. Et vous dirai-je que dans mon enseignement qui semble prendre la forme d’une vocation, je m’efforce de rendre clair ce que vous avez en rendre si évident pour moi ? J’espère trouver ici enfin le calme nécessaire pour composer. Je dois apprendre aussi probablement à écrire avec moins de réserve. Le contrôle de tous les instants, de chaque combinaison, arrête chacun de mes pas et m’interdit d’avancer. Et je n’oublie pas qu’il faut faire d’abord, discuter ensuite. Je m’efforce de trouver cet équilibre. Quelle joie d’avoir revu George et Art Sachs—et Marthe Nalet qui apportaient dans ces lointaines [sic] parages quelque chose de la rue Ballu. Nadia, si chère, Françoise, Jean, et moi vous embrassons de tout notre cœur Toujours votre, Soulima Stravinsky � 1950 Arthur Sachs Author: Soulima Stravinsky George Sachs Georgette Sachs Marthe Nalet Recipient: Nadia Boulanger Soulima Stravinsky Location: Illinois https://digex.lib.uoguelph.ca/files/original/c19c37aad1fac5c483f8255bd7ea7a9a.pdf dc31fe2789a49f3f4547da5ccca49ad2 https://digex.lib.uoguelph.ca/files/original/f31cf938da55d00b30db89ca73637957.pdf e57ccbe767902d826c1544526b53e8bc 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, 14 September 1950 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 Bibliothèque Nationale De Paris Date A point or period of time associated with an event in the lifecycle of the resource 14 September 1950 Type The nature or genre of the resource Letter UG Extracted Text Boulanger to Vera Stravinsky Ecoles d’art américaines Palais de Fontainebleau Fondation reconnue d’utilité publique Conservatoire de musique Le Directeur (Le Moubra, Montana, Suisse) Mrs. Igor Strawinsky 1260 N. Wetherly Drive Hollywood 46 California U.S.A September 14, 1950 Dear Vera, soon it will be your birthday! Where is Santa Barbara? “Where are the snows of yesteryear?” I miss you so, both of you who occupy my thoughts day after day. And only silence between us, because I live life too quickly, because. . . And time passes, and ultimately, though we love each other, we live like strangers. Well, here at least are some wishes so that one day per year you see I am with you. I remember everything, and I can’t accept the idea we won’t see each other anymore. It is too absurd. Why is the world so big and Hollywood so far from Paris? Koussevitzky had asked me to come to Tanglewood next year. I think I wrote about this to Igor, but everything makes this trip impossible, and I declined, after weeks of indecision. Certainly, if I thought I would have seen you, something inside me would have rebelled. But I would have had to arrive for the opening of classes by plane and leave the following day. So, California was out of the question. And, honestly, I cannot hope that you’ll come to Europe, a Europe that everything threatens. What savages, what fools we are who, no matter what, want to find nothing more than perfect ways to destroy everything. But . . . all I need is to think of Igor, working at his opera, to prepare the Symphonie de psaumes that I am conducting seven times in four days in Brussels (imagine my joy, and my terror, after everything the symphony is—and I risk nothing, I alone am in danger, and that gives me courage, one feels so small. I hear Igor’s pulse, I know all too well how far away, and it can be no other way, but I am so happy to have this project), and, when confronted with the only values that matter, we fight, each in his own way. Has Igor read Gisele Brelet’s book, Le temps musical? I would like to know what he thinks of it, but doubt that he has been able to immerse himself in these two dense volumes. Like a child, I tell myself stories. I dream that I am arranging my cushions at your place so I can sleep on the couch. I watch Igor’s hand, his fingers, moving a marble in Chinese Checkers. I see his table again, the frame he rebuilt so patiently for George, the telegram from Dolin, the Sonate at Milhaud’s. Altogether, these small details make me believe, once I really start to imagine, that we are together and the conversation will begin again. �Why is this only a dream? I forgot to tell you, in July I saw Théodore, Denise, and little, adorable Kitty. She’s very fragile, but so well looked after. And so happy to be with “a dad and a mum.” Dear Vera, I send my love to you and Igor and have the pretension, foolish perhaps, to believe quite certainly there is no one who loves you more than your, Nadia � Boulanger à Vera Stravinsky Ecoles d’art américaines Palais de Fontainebleau Fondation reconnue d’utilité publique Conservatoire de Musique Le Directeur (Le Moubra, Montana, Suisse) Madame Igor Strawinsky 1260 N. Wetherly Drive Hollywood 46 California USA 14 septembre 1950 Cher Véra, bientôt notre fete [sic] ! Où est Santa Barbara ? « Où sont les neiges d’antan ? Vous me manquez tant, vous deux qui occupez ma pensée jour après jour. Et seul le silence entre nous, parce que la vie va trop vite, parce que…Et le temps passe, et finalement, alors qu’on s’aime, on vit comme des inconnus. Enfin, voici du moins des vœux, pour qu’un jour par an, vous voyez [sic] que je suis avec vous. Je me souviens de tout, et je ne [me] fais pas à l’idée de ne plus vous voir. C’est trop bête. Pourquoi le monde est-il si grand, et Hollywood si loin de Paris. Koussevitzky m’avait demandé de venir l’an prochain à Tanglewood. Je crois l’avoir écrit à Igor, mais tout rend ce départ impossible, et j’ai déclin[é], après des semaines de perplexité. Certes, si je pensais que je vous aurais vu quelque chose en moi se révolterait. Mais il s’agissait d’arriver pour l’ouverture des cours, en avion, et repartir le lendemain. Donc, la Californie était exclue. Et, honnêtement, je ne peux pas souhaiter que vous veniez en Europe, une Europe que tout menace, quels sauvages, et quels fous nous sommes qui, pourtant arranger, ne cherchons que des moyens de plus en plus perfectionnés pour tout détruire. Mais…il me suffit de penser à Igor, travaillant à son opéra, à préparer la Symphonie de psaumes que je dirige 7 fois en 4 jours à Bruxelles (imaginez ma joie, et ma terreur, après tout la symphonie est—et ne risque rien, moi seule suis en danger, et cela me donne le courage, on se sent si petit. J’entends la pulsation d’Igor, je sais trop bien à quelle distance, et il n’en peut être autrement, je sais, mais, j’ai un si grand bonheur de ce projet), et, devant les valeurs qui seules comptent, on lutte, à sa mesure. Igor a-t-il lu le livre de Gisele Brabet, Le temps musical. J’aimerais savoir ce qu’il en pense, mais doute qu’il ait pu se plonger dans ces denses deux volumes. Comme quand on est petit, je me raconte des histoires, je rêve que j’arrange mes coussins, chez vous, pour dormir sur le canapé. Je regarde la main, les doigts d’Igor, déplaçant la bille du Chinese Checkers. Je revois sa table, le cadre qu’il avait refait avec quelle patience, pour George, le télégramme de Dolin, la Sonate chez Milhaud. Tout et tout, ces petits détails me font croire quand j’entre bien dans le jeu, que nous sommes ensemble, et que la conversation va reprendre. �Que n’est-ce qu’un rêve. Ai oublié de vous dire, en Juillet, ai vu Théodore, Denise et la petite Kitty, adorable, très fragile, mais si bien surveillée. Et si heureuse d’être avec « un papa et une maman » Chère Véra, je vous embrasse, j’embrasse Igor et j’ai la prétention, folle peut-être, mais très assurée qu’il n’y a personne qui vous aime plus. Que votre, Nadia � 1950 Author: Nadia Boulanger Darius Milhaud Denise Stravinsky Denise Strawinsky Gisèle Brelet Igor Location: California Nadia Location: Fontainebleau Recipient: Vera Stravinsky Sergei Koussevitzky Symphonie De Psaumes Symphony of Psalms Théodore Stravinsky Theodore Strawinsky https://digex.lib.uoguelph.ca/files/original/8e036f81518143544bc6f4d63cdd06bb.pdf 55a8f4cc742f04f67a53ace44a02618c https://digex.lib.uoguelph.ca/files/original/a56c8fd706670a6e3e69ec7d169ddcb9.pdf 6bcc33fbdd6499c9f98597946fa49e72 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, 15 October 1946 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 15 October 1946 Type The nature or genre of the resource Letter UG Extracted Text Soulima Stravinsky to Boulanger La Clidelle par Menet (Cantal) Tel: 8 Menet Gare Riom-Es-Montagne October 15, 1946 Dear Nadia, Helen, with whom I spoke on the telephone just a moment ago, will have told you that my father urgently requests his score for Perséphone. I hope that she will have understood (we couldn’t hear one another very well). To be safe, I’m quickly sending you this letter. The American ambassador to Italy, Mr. James Clément Dunn, is in Paris these days and must return to America [after]. My father asked him to be so kind as to bring with him several scores (among them his manuscript for Perséphone) which he needs most urgently. All that needs to be done then is to drop them off at the embassy marked for Mr. I. Str., care of The Honorable James Clément Dunn. The manuscript can still be found at your place, in the safe. It could wait for my return, but that would probably be too late. You are no doubt in London at the moment. We return on the 25th. I have finally gotten over a nasty flu picked up in Holland and am attempting to take advantage of a marvelous country and weather that seems made to order. Annette sent me the enrollment brochure for your Wednesday course. I am rather unsure I could attend regularly and so I dare not enroll. I’m terribly sorry about that. Would you allow me anyway, dear Nadia, to attend when it is possible for me to do so? Françoise is pulling her hair out at the idea that she is a civil servant and won’t be free either We both send you all our affection, Your S. Strawinsky � Soulima Stravinsky à Boulanger La Clidelle Par Menet (Cantal) Tél 8 Menet Gare Riom-Es-Montagne Cuenod Entre 5 et 10 mars février) [N.B.’s handwriting] 15 octobre 1946 Chère Nadia, Hélène avec qui j’ai parlé tout à l’heure au téléphone vous aura dit que mon père demande d’urgence sa partition de Perséphone. J’espère qu’elle aura bien compris (on s’entendait assez mal). Pour être plus sûr je vous adresse rapidement ces lignes. Mr. James Clément Dunn, ambassadeur des U.S.A. en Italie se trouve ces jours-ci à Paris et doit prochainement regagner l’Amérique. Mon père l’a prié de bien vouloir se charger de quelques partitions (dont son manuscrit de Perséphone) dont il a le plus urgent besoin. Il suffit donc de le faire disposer à l’ambassade pour Mr. I. Str. aux bons soins de The Honorable James Clément Dunn. C’est encore une chance que le manuscrit se trouve chez vous, dans le coffre[.] il me pourrait qu’attendre mon retour et ca serait probablement trop tard. Vous serez sans doute à Londres à ce moment, nous rentrons vers le 25. Je me remets enfin d’une méchante grippe contractée en Hollande et tâche de profiter de mon mieux d’un pays merveilleux et d’un temps qui semble fait sur commande. Annette m’a fait parvenir un bulletin d’inscription pour votre cours du mercredi. Je suis si peu sûr de pouvoir y assister régulièrement que je n’ose m’inscrire et j’en suis désolé. Me permettrez-vous tout de même, chère Nadia, d’y venir quand cela me sera possible ? Françoise s’arrache les cheveux à l’idée qu’elle est fonctionnaire et ne peut non plus se libérer. Nous vous embrassons tous deux de toute notre affection. Votre S. Strawinsky � 1946 Annette Dieudonné Author: Soulima Stravinsky Françoise Stravinsky James Clément Dunn Perséphone Recipient: Nadia Boulanger Soulima Stravinsky Location: La Clidelle 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 https://digex.lib.uoguelph.ca/files/original/9713183a32371c77e3250d5873604bb1.pdf e7e1395491eaf22e153804e929e4be9b https://digex.lib.uoguelph.ca/files/original/05aa4f4801a48a1dc2937a2faac7bbdf.pdf e375148338b0e4a87ddb3b5abab6d287 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, 17 October 1946 Creator An entity primarily responsible for making the resource Nadia Boulanger Subject The topic of the resource L’Ambassadeur Américain 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 17 October 1946 Type The nature or genre of the resource Letter 1946 Author: Nadia Boulanger Igor Stravinsky Nadia Location: 36 rue Ballu Perséphone Recipient: American Ambassador https://digex.lib.uoguelph.ca/files/original/8e14852d4d3381d16a3a582fcf3c111d.pdf 85b226393ad17b916ab8c06d3af070d8 https://digex.lib.uoguelph.ca/files/original/367eddb503df4aeb9f7a42838c637275.pdf 7c08f7b21becf42c1bd5d8ed378fa509 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 June 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 18 June 1951 Type The nature or genre of the resource Letter UG Extracted Text Boulanger to Stravinsky 36 rue Ballu Paris IX Monsieur Igor Strawinsky 1260 N. Wetherly Drive Hollywood 46 California U.S.A. June 18, 1951 What Happiness, Dear Friend—thank you for having responded so quickly. The rumors that run through Rome and Paris are so varied and contradictory that one must give up trying to understand. One day “the premiere will take place in Milan” the other “in Venice” then, “nothing is decided, everything is to be struck and will be remounted in Paris in the spring,” then, “the 9th in Venice,” “monstrous attempt by the Scala [to go after] the Biennale.” “American performers have been hired.” “What, it is the Italians who are doing everything.” “Stage design by Balthus.” “No, by Berman.” This back and forth only tormented me at first and now seems to me to be exaggerated, so I want to try not to hear anything about it, and will wait. How can I say what happiness it will be to see you again and to hear your opera. Forgive me, but between competitions, lessons, [and] concerts, I’ve lost my head. But I’ve found it again to tell you of my joy [and] my tenderness. To Vera, to you, NB [P.S.] Admirable, your message. [P.P.S.] Ah, it’s the 18th—happy birthday!! � Boulanger à Stravinsky 36 rue Ballu Paris IX Monsieur Igor Strawinsky 1260 N. Wetherly Drive Hollywood 46 California USA 18 juin 1951 Quel Bonheur, Cher Ami—merci d’avoir répondu si vite [sic]. Les bruits qui courent à Rome et à Paris sont si variés et contradictoires qu’il faut renoncer à comprendre : Un jour « la 1ère aura lieu à Milan, » « l’autre à Venise. » Puis, « rien n’est décidé tout va craquer—et ce sera repris à Paris au printemps. » Puis, « le 9 à Venise. » « Du tout, procès monstre de la Scala à la Biennale. » « Les interprètes américains sont engagés. » « Comment, ce sont les Italiens qui font tous. » « Les décors de Balthus. » « Non, de Berman. » Et ce jeu de douche écossaise qui m’a d’abord tant tourmentée, me parait si exagéré, que je veux essayer de ne plus rien entendre—et d’attendre. Comment dire ce qu’est le bonheur de vous revoir et d’entendre votre Opera. Pardon—mais entre concours, leçons, concerts, je perds la tête. Mais la retrouve pour vous dire ma joie, ma tendresse. A Vera, à vous NB [P.-S.] Admirable, votre message. [P.P.-S] Ah, voici le 18—happy birthday !! � 1951 Author: Nadia Boulanger Eugene Berman Igor Location: California Nadia Location: 36 rue Ballu Recipient: Igor Stravinsky