26 10 1009 https://digex.lib.uoguelph.ca/files/original/3733547878fe88b0fb169bba95a2e30d.pdf b7714fd74c68a60ecafc82fa17f38601 https://digex.lib.uoguelph.ca/files/original/2e7a56cad9447c94a89967c47caf9501.pdf e1910962ee5d907dbedf2e30cf24313e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Boulanger and the Stravinskys, Chapter 4 Description An account of the resource English translation and transcription of French originals from Chapter 4 of Kimberly Francis, Nadia Boulanger and the Stravinskys (University of Rochester Press, 2018) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chapter 4, 23 November 1946 Creator An entity primarily responsible for making the resource Igor Stravinsky Subject The topic of the resource Nadia Boulanger Source A related resource from which the described resource is derived Bibliothèque Nationale De Paris Date A point or period of time associated with an event in the lifecycle of the resource 23 November 1946 Type The nature or genre of the resource Letter UG Extracted Text Stravinsky to Boulanger Hollywood November 23, 1946 A[rthur] Sach[s] delivered your letter to us. What an honor! How to thank you. Today (Nov 23)—your telegram. Thank you, thank you, thank you, thank you, impatient to know the details of the performance and the public’s reception. No longer possible to write you letters—only phrases, and again without first names, if possible (like you [do]). We are going on tour Dec. 3. Starting in Montreal. Returning Feb. 4. With all my heart, Your I Str. [P.S.] All our most loyal thoughts to the Abbott [sic]. For you my very dear Nadia, Love Kisses � Stravinsky à Boulanger Hollywood 23 novembre 1946 A. Sach nous a remis votre lettre. Quel honneur ! Comment vous remercier. Aujourd’hui (23 nov)—votre cable. Merci, merci, merci, merci, d’impatience de savoir détails de l’execution [sic] et accueil du public. Plus possible d’écrire des lettres—seulement des phrases et encore sans prénoms, si possible (comme vous) Allons en tournés [sic] le 3 Dec. [sic] Commence par Montréal Dr. [sic] retour 4 février De tout cœur, Votre I Str. [P.-S.] À Mr. L’Abbé [Fortier] toutes nos pensées fidèles. À vous très chère Nadia, Love kisses � 1946 Abbot Fortier Arthur Sachs Author: Igor Stravinsky Igor Location: California Recipient: Nadia Boulanger https://digex.lib.uoguelph.ca/files/original/f42daa8da55e5ae4aeb11e82fc277f8d.pdf 53b024770bda753935fc3938ccb4ba13 https://digex.lib.uoguelph.ca/files/original/2fbaabcfc292b2e0a5eb98f03f44a45d.pdf 697c8618f0d288a1d901392ea2a8c387 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, 25 November 1946 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 25 November 1946 Type The nature or genre of the resource Letter 1946 Author: Nadia Boulanger Recipient: Igor Stravinsky Roger Desormière Vera Stravinsky https://digex.lib.uoguelph.ca/files/original/607536e813926cd1996629fe3cb94c1e.pdf ef740a17f6773c6524a145331c261c42 https://digex.lib.uoguelph.ca/files/original/2bb04e42d1cfd4e07f208b2c0866eba2.pdf 1663a1d8aae679e8b08f037be1d8aa30 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, 25 November 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 Paul Sacher Stiftung Date A point or period of time associated with an event in the lifecycle of the resource 25 November 1950 Type The nature or genre of the resource Letter UG Extracted Text Boulanger to Stravinsky 36 rue Ballu Paris IX Mr. Igor Strawinsky 1260 N. Wetherly Drive Hollywood 46 California U.S.A. November 25, 1950 My thoughts are always close to you, Dear Igor, but with such particular emotion when November 30 approaches. I know, dates are nothing and change nothing. But they bring us close: some in the happiness of being reunited, and others in the certainty that nothing separates those who love one another. Saw Théodore recently, so well; spoke of little Kitty, so happy around him and Denise. To see her—serious, deep, gentle—one imagines how much like her mother she is, and it is a great joy to know she is in these new surroundings, among family. I did not speak to you about a recent performance of Orphée—rather unpleasant, with cuts that would merit violent objections if the intelligence of the work had not been drawn out with the greatest reluctance. Otherwise, it was not as bad as I seem to insinuate, but [it was] far from what this marvelous score deserves. But . . . It is always the blindness of the disciples at Emmaüs. They don’t want to see, and always see too late. Their blind, undiscerning infatuation, suddenly, with Bartok is all the more shocking given their long indifference toward him. Let’s not shock you. It is the eternal story—but let’s remain exasperated. The door is opened, everyone enters, and the result is catastrophic. Time passes and gently things take their place again. And despite all the misunderstandings, Bach is doing very well (se porte fort bien), and so are you. Your Mass conquered all spirits at Solesmes. They, well, they understood, and this made up for the rest. What’s more, when one sees the excitement around the revival of Siegfried and its sequel, one understands the confusion of the poor public, which could pretend to be a little better guided. It’s Wagner, Strauss, the Schoenberg school, that are presented as trends across the world, and the world is not finding them particularly enjoyable. They take it in rather poorly. Happily, among the young people who pay attention, the trend is good. There is a heavy dodecaphonic offensive, but it will not hold its position for long. Have you ever heard Wozzek [sic]? We’ve just carefully worked on Renard—what a pity to not have the orchestration for it. It is a famous score, which is difficult at first but becomes so natural. But there, too, the judgement is distorted. At the heart of it, people do not know the music. There’s a lot of literature, a pseudo- philosophy, but it’s impossible to perform any of the rhythms without upsetting these old mechanical habits a little. �I wasn’t able to accept Koussevitzky’s offer nor that of Juilliard and can’t console myself when I tell myself that it was the way to see you. But really, we aren’t leaving [one another] right now. And that which ought to be done cannot be abandoned. Give Vera my love, and know how deeply I am always with you, Dear Igor. I love you so. Nadia [P.S.] How terrible! I did not thank you for your records, and yet, what a joy it was to hear the Mass. I’ll enlighten you: every bit of the work is essential. Thank You. � Boulanger à Stravinsky 36 rue Ballu Paris IX Monsieur Igor Strawinsky 1260 N. Wetherly Drive Hollywood 46 Californie U.S.A. 25 novembre 1950 Toujours ma pensée est près de vous, Cher Igor, mais avec quelle particulière émotion quand approche le 30 novembre. Je sais, les dates ne sont rien, et ne changent rien. Mais elles nous rapprochent, les unes dans le bonheur d’être réunis, les autres, dans la certitude que rien ne désunit ceux qui s’aiment. Vu dernièrement Théodore, si bien ; parlé de la petite Kitty, si heureuse auprès de lui et de Denise. A la voir, serieuse [sic], profonde, gentille, on devine de quel regard sa petite Maman la sérierait [sic], et c’est un grand bonheur de la savoir à nouveau entourée, dans sa famille. Je ne vous parle pas d’une récente exécution d’Orphée—assez sinistre, avec des coupures qui justifieraient une violente réclamation, si l’intelligence de l’œuvre n’amenait pas, de plus graves réticences. D’ailleurs, pas si mauvaise que j’ai l’air de l’insinuer, mais loin de ce que mérite cette merveilleuse partition. Mais…C’est toujours l’aveuglement des disciples d’Emmaüs. Ils ne veulent pas voir, et voient toujours trop tard. Leur engouement aveugle, soudain, sans discernement pour Bartok est plus choquent encore que leur longue indifférence à son égard. Ne vous frappons pas. C’est l’éternelle histoire—mais restons exaspérés. On a ouvert la porte, tout le monde entre, et le résultat est catastrophique. Le temps passe, et tous gentiment, les choses se remettent à leur place, et malgré toutes les incompréhensions, Bach se porte fort bien, et vous aussi. Votre [M]esse a conquis tous les esprits à Solesmes, eux, ils ont compris et ceci compense cela. D’ailleurs quand on voit le battage fait autour de la reprise de Siegfried et de la séquelle, on comprend la confusion du pauvre public qui pourrait prétendre à être un peu mieux guidé. C’est Wagner, Strauss, l’école Schonberg, qui sont donnés comme phases, à travers le monde, et le monde ne s’en trouve pas très bien, il digère avec peine. Heureusement, parmi les jeunes qui retiennent l’attention, la tendance est bonne. Il y a une lourde offensive dodécaphonique elle ne garde pas ses positions longtemps. Avez-vous jamais entendu Wozzek [sic] ? Nous venons de travailler avec soin Renard—quel dommage de n’en pas avoir l’orchestre. C’est une fameuse partition, qui d’abord difficile, devient si naturelle. Mais là aussi le jugement est faussé. Au fond, les gens ne savent pas la musique. Beaucoup de littérature, de fausse �philosophie, mais impossible d’exécuter le moindre rythme bousculant un peu de vieilles habitudes machinales. N’ai pas pu accepter l’offre de Koussevitzky ni de Juillard, ne m’en console pas quand je me dis que c’était le moyen de vous voir. Mais vraiment on ne « quitte » pas, en ce moment. Et ce qu’il faut faire ne peut être abandonné. Dites à Vera ma tendresse, et sachez de quel cœur je suis toujours avec vous, Cher Igor. Je vous aime tant. Nadia P.-S. Quelle horreur ! Je ne vous remerciais pas des disques, et pourtant, quel bonheur d’entendre la Messe. Vous écrirai, tout est capital dans cette œuvre. Merci. � 1950 Author: Nadia Boulanger Béla Bartók Denise Stravinsky Denise Strawinsky Igor Location: California Mass Nadia Location: 36 rue Ballu Orpheus Recipient: Igor Stravinsky Renard Sergei Koussevitzky Solesmes Abbey Théodore Stravinsky Theodore Strawinsky Vera Stravinsky Wozzeck https://digex.lib.uoguelph.ca/files/original/18f7b28fcd1691709b078e333f1e68d4.pdf 0d42a96b7a9dadad31704ce31170afc2 https://digex.lib.uoguelph.ca/files/original/3033c07df90f4c43d7c2b89b6008d929.pdf 590329e4665853a3c6e054c9db56aae5 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, 27 April 1946 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 27 April 1946 Type The nature or genre of the resource Letter UG Extracted Text Boulanger to Stravinsky 36 rue Ballu Paris, IXème [on stationery from] Nadia Boulanger Featherhill Ranch Santa Barbara, California Mr Igor Strawinsky 1260 N. Wetherly Drive Hollywood 46 California April 27, 1946 What happiness to receive your letter, my dear, oh so dear, Igor. [I] suffer through death and passion because of you, but am such an angel that I thank you for it nevertheless. Thinking of Tuesday, a lecture on you. What humility it takes to know my inabilities and yet to throw myself into it. It’s that, although I may not know how to say as intelligent, beautiful things regarding your work as trained, perceptive minds would be able to, at least I love, respect, and admire this work so much that it seems to me that my steadfast conviction will perhaps allow me to lead some young people to study your music. What can I say when I read, know, and love it— all of it? Pasquier played the Elegy, and people were crazy about it. He understood it, I believe, its spirit and seriously trained for it. Will hear it tomorrow. Souzay is singing the Histoires pour enfants, and “Creon’s Air” (outstanding, two-piano [transcription] by Svétik). Then we are playing the finale to Dumbarton, the second movement of the Symphonie en ut, marvelous transcription by Nini, Variations from the Sonata for Two Pianos, Nocturne, Concerto for Two Pianos, Circus Polka, [and] Scherzo à la russe. There are so many examples I should share, but 1 hour and 15 minutes is short!! Managed to keep the melody. But it is hard to dare to speak of it. One feels so humbled, so very small, and so vain. Can’t think too much of it before Tuesday. I, who will never understand too well what is said or written about music. It only needs one thing: to be understood. All these commentaries . . . Would have wanted to buy some things to send to you, but . . . life is difficult, and the distress is so great. But what courage is hidden behind the black market’s wares. You can’t imagine the sacrifices allowed and accepted by people here. Even so, you can likely guess them. Jean is increasingly adorable. Will you not come see him . . . ? It would be worth the trouble, [he is] already himself, so defined, so gentle and strong. �And everyone is waiting for you. Mrs. Bouchonnet despairs over your silence. They ask for you everywhere. What selfishness. But a well-deserved selfishness, because we need you furiously. My love to both of you with all my heart [P.S.] Thank you for the San Francisco article, touched you would think of me. But, can’t read anything these days without feeling that: “no good deed goes unpunished.” This time about Copland, Milhaud, and Prokofiev. Did you read Souvtchinsky’s article? Tell me quickly, what did you think of it? � Boulanger à Stravinsky 36 rue Ballu Paris, IX [on stationary from] Nadia Boulanger Featherhill Ranch Santa Barbara, California Mr Igor Strawinsky 1260 N. Wetherly Drive Hollywood 46 California 27 avril 1946 Quel bonheur de recevoir votre lettre, mon cher Igor si cher. Souffre mort et passion à cause de vous, mais suis un tel ange, que je vous remercie néanmoins. Songez mardi, une conférence sur vous. Quelle humilité il me faut pour mesurer mon incapacité et pourtant me lancer. C’est que, si je ne sais pas dire les belles choses si intelligentes que des esprits entrainés et perspicaces ont su dire au sujet de votre œuvre. J’ai du moins un tel amour pour cette œuvre, un tel respect une telle admiration qu’il me semble qu’une conviction aussi complète me permettra peut-être d’amener quelques jeunes gens à étudier votre musique. Que dis-je à la lire, à la connaître, et à l’aimer à leur tour. Pasquier joue l’Elégie, et en est fou. Il en a compris, je crois, l’esprit, et l’a travaillé sérieusement. L’entends demain. Souzay chante les Histoires pour enfants, et l’Air de Créon (2 pianos, épatant, par Sviétik). Puis nous jouons final Dumbarton, 2è Mt. Symphonie en C, merveilleuse transcription de Nini— Variations de la Sonate 2 pianos—Nocturne, Concerto 2 pianos, Circus Polka, Scherzo à la russe. Et tous les exemples qu’il faudrait donner, mais 1h1/4 c’est court !! Tiens à insister sur la mélodie. Mais que c’est dur d’oser parler. On se sent si pauvre, si petit, petit, et si vain. N’y pas trop penser avant mardi. Moi qui ne comprend[s] jamais trop bien ce qu’on dit de la musique, ou écrit sur elle. Elle n’a besoin que d’une chose : d’être entendue. Tous ces commentaires…Aurais voulu acheter quelques objets venant de vous, mais…la vie est difficile, et les détresses si grandes. Mais quel courage caché derrière cet affichage de marché noir. Vous ne pouvez imaginer les sacrifices consentis, acceptés, par les uns et les autres. Sans même qu’on puisse les soupçonner. �Jean est de plus en plus adorable. Ne viendrez-vous pas le voir… ? Il en vaut la peine, déjà lui, si marqué, si gentil et fort. Et tout le monde vous attend. Mme Bouchonnet se désespère de votre silence. On vous réclame partout. Quel égoïsme. Mais égoïste bien cultivé, car, on a un furieux besoin de vous. Vous embrasse Véra et vous, de tout cœur [P.-S.] Merci article San Fr. rapprochement inattendus. Mais, pas d’articles sans le pavé de l’ours. Cette fois sur Copland, Milhaud, et Prokofieff. Avez-vous lu article Souvtchinsky ? Dites vite ce qu’en pensez. � 1946 Aaron Copland Author: Nadia Boulanger Circus Polka Concerto for two pianos Darius Milhaud Dumbarton Oaks Concerto Elegy for Solo Viola Gérard Souzay Igor Location: California Nadia Location: 36 rue Ballu Nadiajda Bouchonnet Pierre Souvtchinsky Recipient: Igor Stravinky Scherzo à la Russe Sergei Prokofiev Sonata for Two Pianos Soulima Stravinsky Sviétik Symphony in C https://digex.lib.uoguelph.ca/files/original/fe16edc4ead3483665137a5b4f1ebd92.pdf 43b3b9ba033c5f4ba230390aa7341bc6 https://digex.lib.uoguelph.ca/files/original/4f1baad905aa9da9423a73046009d4dd.pdf 45daa43e40dbf4b58a081abb5b24240e 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, 27 April 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 27 April 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) April 27, 1951 My dear Nadia, A thousand thanks for your very kind letter of April 11 (Cap d'Antibes). I signed a contract with the Biennale to conduct the premiere of The Rake's Progress at the Venice Festival on September 10. But it seems that my editor [at] Boosey & Hawkes was more or less further along with things at la Scala and, to avoid trouble, (which, personally, shouldn't concern me) he is looking to find a compromise of a nature that satisfies the Biennale as much as la Scala and myself. [A compromise] of the sort that would allow for la Scala to participate in the Festival, because as far as I’m concerned I do not want to modify the time of my arrival in Italy, which must be in Venice, rather than Milan. I have indeed heard murmurs of Markevitch’s success with Le Sacre but I did not know that he had done Mavra and Perséphone. I knew that he had conducted Orphée at the Venice Biennial in 1949, but I did not know that he had given concert performances of it. The opera is finished except for the short Prelude that I am in the process of composing; there will not be an overture. I still have lots of work because Boosey & Hawkes are printing the piano/vocal score, and I am constantly receiving proofs from Germany to correct. I am really counting on us seeing one another in Venice . . . But what madness awaits us there!!! Théodore's family will come from Switzerland with Kitty, and Milène and André (who will be in Nice this summer) will also pop by. Write me always dear Nadia, telling me a bit more about yourself. All my love, unfortunately, as always, with great haste. Your I Str. [P.S.] Where and when did you give the lectures (on my music) that you speak of? And what has become of Gunsbourg’s beautiful project in Monte-Carlo? There’s been no word. � Stravinsky à Boulanger 1260 North Wetherly Drive Hollywood 46 California Mademoiselle Nadia Boulanger 36 rue Ballu Paris—9eme (France) 27 avril 1951 Chere Nadia, Merci mille fois de votre si bonne lettre du 11 avril (Cap d’Antibes). J’ai signé un contrat avec la Biennale pour diriger la premiere du Rake’s Progress au Festival de Venise le 10 Septembre. Mais il semble que mon editeur Boosey & Hawkes s’etait plus ou moins avancé vis-à-vis de la Scala et, pour s’eviter des ennuis, (qui, personnellement, ne devraient pas me toucher) il cherche a trouver un compromis de nature a donner satisfaction tant a la Biennale qu’a la Scala et a moi-meme. En sorte qu’il est possible que la Scala participe au Festival car en ce qui me concerne je ne veux pas modifier l’epoque de ma venue en Italie, ce qui implique forcement Venise et non Milan. J’ai en effet entendu parler du succes de Markevitch avec Le Sacre mais j’ignorais qu’il eut fait Mavra et Persephone. Je savais qu’il avait dirige Orphee a la Biennale de Venise en 1949 mais je ne savais pas qu’il en avait donne des executions de concert. L’opera est termine sauf le court Prelude que je suis en train de composer ; il n’y aura pas d’ouverture. J’ai encore beaucoup de travail car Boosey & Hawkes grave le piano-chant et je recois sans cesse des epreuves a corriger d’Allemagne. Je compte bien que nous nous verrons a Venise… Mais quelle agitation nous attend la-bas!!!Les Theodore[s] y viendront de Suisse avec Kitty, et Milene et Andre (qui seront a Nice cet ete) y feront aussi un saut. Ecrivez-moi toujours chere Nadia, en me parlant un peu plus de vous-même. Je vous embrasse, comme toujours malheureusement en toute hate. Votre I Str. [P.-S.] Où avez-vous fait des conférences (sur ma musique) dont vous parlez et quand ? Et qu’est-ce qui est devenu le beau projet de Gunsburg à Monte-Carlo ? On entend plus parler. � 1951 André Marion Author: Igor Stravinsky Boosey & Hawkes Igor Location: California Igor Markevitch Mavra Milène Marion Milène Stravinsky Nadia Location: 36 rue Ballu Orpheus Perséphone Raoul Gunsbourg Recipient: Nadia Boulanger The Rake's Progress https://digex.lib.uoguelph.ca/files/original/7da3a608121e1828c4af329adec845cf.pdf 06b081e58daed7a36ceeac29a61ebc3b https://digex.lib.uoguelph.ca/files/original/ae92bbfc74017064b8d737682006a0e5.pdf 43f9933a4159cb3381a4795bc9736e99 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, 27 January 1946 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 27 January 1946 Type The nature or genre of the resource Letter UG Extracted Text Boulanger to Igor and Vera Stravinsky 36 rue Ballu, 9ème , Paris Téléph: Trinité 90–17 Mr. and Mrs. I. Strawinsky 1260 N. Wetherly Drive Hollywood 46 California January 27, 1946 At last, the first letter, and it is only a small note! Dear Igor, Dear Vera, not a day goes by without speaking of you, but, at first it was so cold that I refused to write . . . and then [refused to do] anything. I don’t know how to explain. Life is full of checking, looking, recognizing! Nevertheless, do I need to add that there isn’t a day without speaking of you, without listening to you, without waiting for you (in a manner of speaking). Went to see Jean after disembarking, so as to instantly tell you my first impressions, and I truly believed I was going to write to you that evening, on January 20!! How shameful. He is so beautiful, so strong and so imperious—no need to ask if he knows what he wants. But he is also so soft and gentle, happy—not a baby like any other, he is already himself, 100% Strawinsky. Sviétik and Françoise are beaming. Happy and so well adjusted! Sviétik works a lot, writing very clean, very clear, good music. Excellent spirits, finally, all is well. Their apartment is very nicely set up and would please you—the taste, the order, and the space. By all respects, things seem to be sorting themselves out! Sviétik has sound friends, and Françoise is perfect. I’d like to give you an idea of the situation here. I do not feel able to judge anything concerning politics. Everything is too fluid and complex. But the young people we talk to clearly fall into distinctive groups—spouting grand, vague, destructive theories. There is, as far as I can tell, a small number—[as opposed to the] majority, quite a clear majority—a sensible minority that sees things with a sense of order, loves what should be loved, fights for what is worth saving. Certain places haven’t changed. The same habits, the same gossip, the same jokes. Only the outfits have changed a bit, and yet everything is still so difficult. I saw Souvtchinsky, and he looked well. Met Cingria, how cultured, what finesse, and his manner of speaking, just striking. Missed Mavra the other evening . . . I didn’t know . . . ! I console myself in saying the performances were poor. But I cannot be consoled. You are well, as you ought to be, Dear Igor, the only one to whom the real youths attach themselves. But enough for today, you will be discouraged by these scribbles. Désormière will perform the symphony, what joy! �With all my heart, I love you both madly, NB � Boulanger aux Stravinskys 36 rue Ballu, 9ème , Paris Téléph : Trinité 90-17 Monsieur et Madame I. Strawinsky 1260 N. Wetherly Drive Hollywood 46 California 27 janvier 1946 Enfin, la première lettre, et ce n’est qu’un billet ! Cher Igor, Chère Vera, pas un jour passé sans vous parler, mais, d’abord il faisait si froid qu’écrire. Était…refus. Puis, tout. Je ne sais comment expliquer. La vie prise par revoir, regarder, reconnaître ! Dois-je ajouter que pourtant pas un jour sans vous parler, sans vous écouter, sans vous attendre en quelque sorte. Été au débarqué vois [sic] Jean, pour vous dire aussitôt mes impressions, et je croyais vraiment que j’allais vous écrire ce soir-là, vers le 20 janvier !! Quelle honte. Il est si beau, si fort, si impératif—pas besoin de se demander s’il saura ce qu’il veut. Mais aussi si doux et gentil, gai—et pas un bébé comme un autre, déjà lui, 100% un Strawinsky. Sviétik et Françoise béats d’admiration [sic]. Heureux et si bien accordés ! Sviétik travaillant beaucoup, écrivant de la musique très propre, très claire, bien. Etat d’esprit excellent, enfin, tout bien. Leur ap. jouissant arrangé, vous plairait—du gout, de l’ordre, et de l’espace. À tous égards, les choses semblent s’arranger ! Sviétik a des amis surscc [sic], et Françoise est parfaite. Voudrais vous donner une idée de la situation ici. Ne me sens pas en mesure de rien juger en ce qui concerne la politique. Tout est trop fluide et complexe. Mais les jeunes avec lesquels on parle tout nettement classes en—donnant dans de grandes théories vagues, destructives. C’est pour autant que j’en puisse juger, le petit nombre—une majorité, comme est la majorité sans grande douleur—un autre nombre bien dirigé, voyant les choses avec le sens des hiérarchies, aimant ce qu’il faut aimer, luttant pour ce qui vaut d’être sauvé. Certains milieux n’ayant pas bougé. Les mêmes tics, les mêmes potins, les mêmes plaisanteries. Seuls leurs habits ont un peu changé et encore, tout est encore si difficile. Vu Souvtchinsky, en forme. Rencontre Cingria, quelle culture, quelle finesse, et la parole dirée [sic], frappant juste. Manqée Mavra l’autre soir…n’ai pas su… ! Me console en laissant [sic] dire exécutions mauvaise [sic]. Mais ne me console pas. Vous êtes bien, comme il se doit Cher Igor, le seul auquel se rattachent les vrais jeunes. Mais assez pour aujourd’hui vous vous découragerez de ce [sic] gribouilles. Désormière va donner la symphonie quel bonheur ! �Vous embrasse tous deux et vous aime à la folie. NB � 1946 Author: Nadia Boulanger Charles-Albert Cingria Françoise Stravinsky Igor Location: California Mavra Nadia Location: 36 rue Ballu Pierre Souvtchinsky Recipient: Igor & Vera Stravinsky Soulima Stravinsky Sviétik Vera Location: California Vera Stravinsky https://digex.lib.uoguelph.ca/files/original/09b746cdcdd25773786dd2b3ea7ff2bc.pdf 5a69d3b6dee0879d111916bead4a0c50 https://digex.lib.uoguelph.ca/files/original/0f95698c1ce6797b4d36428a02291b2a.pdf a7979325be979c2923fb6a7ee53be188 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, 27 January 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 27 January 1950 Type The nature or genre of the resource Letter UG Extracted Text Boulanger to Stravinsky PARIS 1260 NORTH WETHERLY DRIVE, HOLLYWOOD, CALIFORNIA January 27, 1950, 3:00 A.M. WOULD YOU ALLOW US TO COPY SCHERZO A LA RUSSE PERFORMANCE AT MONTECARLO DURING PRIVATE CELEBRATIONS FOR CORONATION OF YOUNG PRINCE. OR CAN YOU SEND IT URGENTLY STOP WHAT ROYALTY MUST WE EXPECT TO PAY PLEASE CABLE SO DESIRE SCHERZO IN PROGRAMME FAITHFULLY= NADIA � Boulanger à Stravinsky PARIS STRAWINSKY 1260 NORTH WETHERLY DRIVE, HOLLYWOOD, CALIFORNIA 27 JANVIER 1950, 3H00 PERMETTEZ VOUS COPIER MATERIEL SCHERZO A LA RUSSE EXECUTION MONTECARLO DURANT FETES PRIVEES POUR INTRONISATION JEUNE PRINCE OU POUVEZ VOUS L ENVOYER URGENCE STOP QUELLE REDEVANCE FAUT IL PREVOIR VEUILLEZ CABLER DESIR TANT SCHERZO AU PROGRAMME FIDELEMENT = � 1950 Author: Nadia Boulanger Igor Location: California Prince Rainier of Monaco Recipient: Igor Stravinsky Scherzo https://digex.lib.uoguelph.ca/files/original/fdb97fb757ff594dde92a6f8457482ff.pdf 276d0dd76c9221fe233f6f78be3c3d7d https://digex.lib.uoguelph.ca/files/original/a4d33fd5f8523c00636822ff129ca9bc.pdf eb494a06aa243b340b448eb5e0798120 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, 27 July 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 27 July 1951 Type The nature or genre of the resource Letter UG Extracted Text Stravinsky to Boulanger Mademoiselle Nadia Boulanger 36 rue Ballu Paris 9eme, France July 27, 1951 Dear Nadia, Just a letter in response to the questions you sent me in your letter from Fontainebleau on July 21, received just now. I leave here July 30 and will be in New York (Hotel Lombardy, 111 East 56th Street, New York 22, N.Y.) from August 2 to August 7, on which date I embark on the SS Constitution (American Export Lines) to arrive in Naples on August 15. I will be in Milan until September 3 (c/o Scala or Hotel Duomo) Following that, Venice (c/o Biennale or Hotel Bauer-Grunwald) The premiere I’m conducting is on September 8; afterward two other performances, the 10th and the 12th, under an unknown director, probably someone from [La] Scala (I have recommended Markevitch, but it appears that will not work out). After the shows I will probably make recordings of [The] Rake, but where? . . . (Venice or Milan) . . . and when exactly? . . . I have no idea. Afterward I have a pair of concerts in Milan at the Scala on the 27th and 28th of September. Then October 8: Cologne (Oedipus Rex); October 14: Baden-Baden; October 21: Munich (the new Oedipus Rex with Cocteau) I must reboard the SS Constitution in Genoa or Naples the 29th or 30th of October to come back to New York for November 7. See you soon. In all haste, I am very affectionately, Your Igor Stravinsky � Stravinsky à Boulanger Mademoiselle Nadia Boulanger 36 rue Ballu Paris 9eme (France) 27 juillet 1951 Chere Nadia, Juste ces lignes en response aux questions que vous me posez dans votre lettre de Fontainebleau du 21 juillet, recue a l’instant. Je pars d’ici le 30 juillet et serai a New York (Hotel Lombardy, III East 56th Street, New York 22, N.Y.) du 2 Aout au 7 Aout, date a laquelle j’embarque sur le SS « CONSTITUTION » (American Export Lines) pour arriver a Naples le 15 Aout. Je serai a Milan jusqu’au 3 septembre (c/o Scala or Hotel Duomo) Ensuite Venise (c/o Biennale ou Hotel Bauer-Grunwald) La premiere que je dirige est le 8 septembre ; ensuite deux autres spectacles, le 10 et le 12, sous une direction inconnue, probablement quelqu’un de La Scala (j’avais recommande Markevitch mais parait-il ca ne marche pas). Apres les spectacles il est probable que je ferai des enregistrements du Rake, mais ou ?...(Venise ou Milan)… et quand exactement ?...Je n’en sais rien. J’ai ensuite une paire de concerts a Milan a la Scala les 27 et 28 Septembre. Puis le 8 octobre : Cologne (Oedipus Rex); Le 14 Octobre : Baden-Baden; Le 21 Octobre: Munich (de nouveau Oedipus Rex avec Cocteau) ; Je dois reprendre le SS « CONSTITUTION » a Genes ou Naples le 29 ou le 30 Octobre pour rentrer a New York le 7 Novembre. A bientôt. En toute hate je vous embrasse bien affectueusement, Votre, Igor Stravinsky � 1951 Author: Igor Stravinsky Igor Markevitch Nadia Location: 36 rue Ballu Oedipus Rex Recipient: Nadia Boulanger The Rake's Progress https://digex.lib.uoguelph.ca/files/original/e1a28ed631b7da351ad47e6ae14372bb.pdf 0845a5b71e36330ca933d4146da595dc https://digex.lib.uoguelph.ca/files/original/675d441d3541ff59119114bc567dc602.pdf 0375ce399c6fbe911951603067483829 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, 27 November 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 27 November 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) November 27, 1950 My very dear Nadia: Just a few lines. I knew the Sachses arrived safely in Paris but I worry about the records I entrusted them with for you. Be kind and reassure me, or, if they forgot to give them to you, please remind them. Equally, I don’t want these records to be misplaced as they are the “standard” (78 rpm), now endangered, type around here, but are still current until the appearance of the "long-playing" (33 1/3 rpm with a running time of up to around 30 minutes) and the 45 rpms that are made exclusively by RCA-Victor. On this topic, could you tell me if the French are now using the "long–playing" (33 1/3) or if you are still limited to the older models (78 rpm). I’m interested because I’d like to know if I can send "long-playing" records when asked for the technical information about the performance of my works. I never found the time to read Le temps musical by Gisele Brelet. I am familiar with her previous work, or articles, which seemed to me to have merit though, in my opinion, were limited to the domain of pure philosophical speculation. Nothing new for the moment, immersed as I am in my work. Give me news about you and tell me if your concerts in Brussels took place. If yes, how did they go? In a letter I just received from Boosey & Hawkes, they’ve entered into contracts with two French theaters for The Rake's Progress. I wonder if they’re talking about the Paris Opera and Monte Carlo, because London has not provided details. I am very far from being reassured as far as the French and Italian translations are concerned, which are in the process of being done under Boosey & Hawkes’s responsibility; I have neither the time nor the means to take care of this and I can imagine the difficulties that will arise when bringing the French and Italian into alignment with my music, composed for an eighteenth- century English text and in verse on top of that . . . �I impatiently await word from you. Vera and I send along our affectionate wishes. Yours, I Str. � Stravinsky à Boulanger 1260 North Wetherly Drive Hollywood, 46, California Mademoiselle Nadia Boulanger 36 rue Ballu Paris—9eme (France) 27 novembre 1950 Tres chere Nadia : Simplement quelques lignes. J’ai su que les Sachs etaient bien arrives a Paris mais je m’inquiete du sort des disques que je leur avais confies pour vous. Soyez gentille de me rassurer, ou, s’ils ont oublie de vous les remettre, veuillez le leur rappeler. Je tiens d’autant plus a ce que ces disques ne s’egarent pas qu’ils sont du type « standard » (78 tours minute) en voie de disparition ici actuellement mais courant jusqu'a l’apparition des « long- playing » (33 tours 1/3 a la minute et duree allant jusqu'a environ 30 minutes) et des 45 tours minute qui sont l’exclusivite de RCA-Victor. A ce sujet pourriez-vous me dire si on emploie en France desormais les « long-playing » (33 tous 1/3) ou si vous etes toujours limites aux anciens modeles (78 tours). Je m’interesse a cela pour savoir si je peux envoyer des disques « long-playing » lorsqu’on me demande des renseignements techniques sur l’execution de mes œuvres. Je n’ai jamais trouve le temps de lire Le Temps Musical de Gisele Brelet. J’avais pris connaissance de ses ouvrages ou articles precedents qui m’avaient semble meritoires mais, a mon sens, limites au domaine de la speculation philosophique pure. Rien de nouveau pour l’instant, plonge que je suis dans mon travail. Donnez-moi de vos nouvelles et dites-moi si vos concerts de Bruxelles ont eu lieu. Si oui, comment cela a-t-il marche ? Dans une lettre que je viens de recevoir de Boosey & Hawkes ils me signalent qu’ils ont passe contrat avec deux theatres francais pour le Rake’s. Je me demande s’il s’agit de l’Opera de Paris et de Monte Carlo car Londres n’a pas donne de precisions. Je suis tres loin d’etre rassure en ce qui concerne les traductions francaise et italienne qui sont en train d’etre faites sous la responsibilite de Boosey & Hawkes ; je n’ai ni le temps ni les moyens de m’en occuper et je m’imagine les difficultes qui vont se presenter pour faire accorder le francais et l’italien avec ma musique composee pour un texte en anglais du 18eme siecle et en vers par-dessus le marche… �J’attends un mot de vous avec impatience. Vera et moi vous embrassons tres affectueusement. Votre, I Str. � 1950 Arthur Sachs Author: Igor Stravinsky Boosey & Hawkes Gisèle Brelet Igor Location: California Mass Nadia Location: 36 rue Ballu Recipient: Nadia Boulanger Vera Stravinsky https://digex.lib.uoguelph.ca/files/original/ed0a53a8c4e0f7abf1982542d41f3971.pdf cc3f2ad0c8684d6c76e11876635444cc https://digex.lib.uoguelph.ca/files/original/59a0b28a10dfeef4b691c4c650e212eb.pdf f0ca19418215a87117b9d27f69815ae0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Boulanger and the Stravinskys, Chapter 4 Description An account of the resource English translation and transcription of French originals from Chapter 4 of Kimberly Francis, Nadia Boulanger and the Stravinskys (University of Rochester Press, 2018) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chapter 4, 29 August 1948 Creator An entity primarily responsible for making the resource Nadia Boulanger Subject The topic of the resource Igor Stravinsky Source A related resource from which the described resource is derived Paul Sacher Stiftung Date A point or period of time associated with an event in the lifecycle of the resource 29 August 1948 Type The nature or genre of the resource Letter UG Extracted Text Boulanger to Stravinsky 36 rue Ballu, Paris IX Trinité 90–17 August 29, 1948 So . . . you don’t love me anymore! I, who love you more all the time. Dear, Dear Igor. It is true that there are obvious reasons for this crescendo and this fading. But . . . I don’t like to admit to them. It’s also true that I hardly write you. It’s because I don’t see how my letters could amuse you, let alone please you. I content myself therefore with playing your music constantly and conversing with you, no, hearing you. What endless joy this renewal. What complete satisfaction the score to Orpheus is. I am sending you the program from Bryanston. You cannot imagine what took place there. These people, coming from all parts of society, have arrived, the nicest of them believing themselves incapable of understanding you. And day after day, I have seen their faces light up. They knew that they could not penetrate everything, but they loved your music— and were so happy. These young men—criticism terrified them, but you conquered them. I believe that you would have felt such joy in seeing their attention and their discovery. Thank you for the armoire. Can you understand the childish yet contemplative pleasure I take in organizing your music in it. You will never know. I have found only one copy of the Couperin which, I’m sorry, I could not acquire for the requested price. But I will find it, and you will have it. How sad it is to no longer have Nini, Françoise, and the little one here. It was so nice, but I do understand that Nini wasn’t able to allow himself to be far from you any longer, as he had been! “And you,” you would say? “All these beautiful lines and you let me down?” I know, and I tally all that I lose. But I have my work here, and obligations, and then . . . but no lyricism. I would give I don’t know what to see Vera and you, to live close to your future music as well as with your music that sheds light both on the present and the past. Because, thanks to you, I understand better. We all understand better, the sound and real meaning of music. I’ve just finished Fontainebleau, am dead, literally dead, but still have a small glimmer of consciousness to tell you how much I love you. To you all with all my heart, NB [P.S.] Thank you to Françoise and Nini for their letter. � Boulanger à Stravinsky 36 rue Ballu, Paris IX Trinité 90-17 29 août 1948 Alors…vous ne m’aimez plus ! Moi qui vous aime tous les jours mieux. Cher Cher Igor. Il est vrai, qu’il y a des raisons évidentes de ce crescendo et de cet évanouissement. Mais…je n’aime pas à me les avouer. Il est vrai aussi que je ne vous écris guère. C’est que je ne vois pas en quoi mes lettres pourraient vous distraire sinon vous plaire. Je me contente donc de jouer sans cesse votre musique et d’échanger avec vous, non, de vous entendre. Quelle joie sans cesse [cette] renouvelée. Quelle satisfaction complete [sic] que la partition d’Orpheus. Je vous envoie le programme de Bryanston. Vous ne pouvez pas imaginer ce qui s’est passé là. Ces gens, venus de toutes les parts de la société, sont arrivés, les plus sympathiques, se croyant incapables de vous comprendre. Et jour après jour, j’ai vu leur visage s’épanouir. Ils savaient qu’ils ne pouvaient tous pénétrer, mais ils avaient aimé votre musique –et étaient si heureux. Ces messieurs, les critiques les avaient épouvantés, vous les avez conquis. Je crois que vous auriez eu de la joie à voir leur attention, et leur découverte. Merci de l’armoire. Pouvez-vous comprendre le plaisir enfantin et réfléchir[sic] que j’ai à y ranger votre musique à m’en servir. Vous ne le saurez jamais. Je n’ai encore trouvé qu’un exemplaire du Couperin que, pardon, je ne pouvais pas acquérir au prix demandé, mais il viendra, vous l’aurez. Que c’est triste de ne plus avoir Nini, Françoise et le petit. C’était si gentil, mais je comprends bien que Nini n’ait [sic] pas pu se priver plus longtemps d’être près de vous, comme il a bien fait ! « Et vous, » me direz-vous ? « Toutes ces belles phrases et vous me laissez tomber ? » Je sais, et je mesure tout ce que je perds. Mais j’ai mon travail ici, et des obligations, et puis…mais pas de lyrisme. Je donnerais je ne sais quoi pour vous voir, Véra et vous, pour vivre près de votre musique à venir autant qu’avec celle qui éclaire autant le présent que le passé. Car, grâce à vous, j’entends mieux. Nous entendons tous mieux, le son, et le vrai sens de la musique. Viens de finir Fontainebleau, suis morte, littéralement morte, mais ai encore une lueur de conscience pour vous dire combien je vous aime. À vous tous de tous cœur, NB Merci à Françoise et à Nini pr. leur lettre. � 1948 Author: Nadia Boulanger Bryanston Summer School François Couperin Françoise Stravinsky Nadia Location: 36 rue Ballu Nini Orpheus Recipient: Igor Stravinsky Soulima Stravinsky Vera Stravinsky