1
10
9
-
https://digex.lib.uoguelph.ca/files/original/4584d1d04d9f24f325fad36bd29fce3d.pdf
34dec6692b2f6abf9a3e3cfba575ed57
https://digex.lib.uoguelph.ca/files/original/c7aafe98f97d8ff911ccaab2f04be2b5.pdf
306394b2d07ab2f4be24c9b9d9f42296
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Boulanger and the Stravinskys, Chapter 4
Description
An account of the resource
English translation and transcription of French originals from Chapter 4 of Kimberly Francis, Nadia Boulanger and the Stravinskys (University of Rochester Press, 2018)
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Chapter 4, 1 September 1950
Creator
An entity primarily responsible for making the resource
Nadia Boulanger
Subject
The topic of the resource
Igor Stravinsky
Source
A related resource from which the described resource is derived
Bibliothèque Nationale De Paris
Date
A point or period of time associated with an event in the lifecycle of the resource
1 September 1950
Type
The nature or genre of the resource
Letter
UG
Extracted Text
Boulanger to Stravinsky
Ecoles d’art américaines
Fondation reconnue d’utilité publique
Conservatoire de musique—Ecole des beaux-arts
Palais de Fontainebleau
September 1, 1950
Dear Friend,
Why do I never write you? I have too many things to tell you, no time, and lack the means to tell
you what a place you hold in all our lives, in mine, in such an absolute fashion. And yet, I speak
so much of you, with you, through your works, that it saves me the struggle of trying to tell you
what I would like to.
But today: Gunsbourg, oh yes, Gunsbourg, can mount your opera in Monte-Carlo. Because he is
certain [ne doute rien], he says (he is ninety-two years old) “if not in 1951, then in 1952.” Didn’t
speak of business, but said: “Of course I could only give this opera in French. The English title,
translated, is: La Carrière d’un roué, not the best for advertising an opera. So, [we’ll use] the
name of the principal character ‘Thomas Rakewell.’” If this interests you, will you tell me if this
title and the idea of the opera in French seem acceptable to you, and what amount you would
request to reserve the premiere for Monte-Carlo?
From the 10th to 16th of September at Accademia Chigiana, Sienna, Italy. Then, after a few
days, Paris.
You know, don’t you, that I don’t spend a day far from you, but I have nevertheless refused
Koussevitzky’s very friendly offer for Tanglewood next year. It is impossible to abandon the
school here. It has its thirtieth anniversary next year and then, given the state of things, a
departure can be planned, but can a return on a fixed date be [guaranteed]?
I have so many things to tell you. Let’s move along, it’s hopeless. Yet I must ask one thing: May
I, is there any way I might read the opera? All those who know it are making me frightfully
jealous. It’s not good for my mental health . . . nor my physical state.
My love to you and Vera and Milène and Soulima and Françoise and Jean and André and
Madubo. But . . . Don’t just say that I send my love to everybody.
Your
Nadia B
[P.S.] My thoughts to Berman, Dahl, and Gnau and, my love once again!
�
Boulanger à Stravinsky
Ecoles d’art américaines
Fondation reconnue d’utilité publique
Conservatoire de Musique—Ecole des beaux-arts
Palais de Fontainebleau
1 septembre 1950
Cher Ami,
Pourquoi je ne vous écris jamais ? J’ai trop de choses à vous dire, pas de temps, pas le moyen de
vous dire quelle place vous tenez dans notre vie à tous, dans la mienne, d’une manière si absolue.
Et puis, je parle tant de vous, avec vous, à travers vos œuvres, que je m’épargne la lutte que
représente d’essayer de vous dire ce que je voudrais.
Mais aujourd’hui : Gunsbourg, mais oui Gunsbourg peut monter votre opéra à Monte-Carlo.
Comme il ne doute de rien, il dit (il a 92 ans) « si pas en 1951, alors en 1952. Ne parle pas
affaires, mais dit : bien entendu je ne pourrai donner cet opéra que dans une version française. Le
titre anglais, traduit, donne : La Carrière d’un roué, pas heureux pour une affiche d’opéra. Alors,
le nom du principal personnage « Thomas Rakewell » » Si cela vous intéresse, voulez-vous me
dire si ce titre et l’idée de l’Opéra en français vous parait acceptable, et quelle somme vous
demanderiez pour réserver la 1ère
en Europe à Monte-Carlo.
Du 10 au 16 sept Accademia Chigiana Sienne Italie. Après à petites journées, Paris.
Vous savez, n’est-ce pas que je ne passe pas un jour vraiment loin de vous, mais j’ai pourtant
refusé l’offre très amicale de Koussevitzky pour Tanglewood l’an prochain. Impossible
d’abandonner l’école ici. 30è anniversaire l’an prochain, et puis, dans l’état des choses, on peut
prévoir partir, mais pourrait-on revenir à date fixe ?
Que de choses j’ai à vous dire. Passons c’est sans espoir. Une pourtant domine : ne puis-je, n’y
a-t-il pas un moyen que je lise l’opéra. Tous ceux qui le connaissent me donnent une affreuse
jalousie. Ce n’est pas bon pour la santé morale…ni physique.
Je vous embrasse, j’embrasse Vera, et Milène, et Soulima, et Françoise, et Jean, et André, et
Madubo. Mais…n’allez pas dire que j’embrasse tout le monde.
Votre
Nadia B
Mon souvenir à Berman, à Dahl, à Gnau
Et
Je vous embrasse encore !
�
1950
André Marion
Author: Nadia Boulanger
Eugene Berman
Françoise Stravinsky
Ingolf Dahl
Madubo
Milène Marion
Milène Stravinsky
Mina Svitalski
Nadia Location: Fontainebleau
Raoul Gunsbourg
Recipient: Igor Stravinsky
Soulima Stravinsky
Thomas Rakewell
Vera Stravinsky
-
https://digex.lib.uoguelph.ca/files/original/fee2429908044c1ac61b6058c3c69448.pdf
6343d3facd6326c23430e50987ad807a
https://digex.lib.uoguelph.ca/files/original/a8033e95c9aea27efe76127c87a896b8.pdf
c3232ff7068534175cb7f39b48b972cf
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Boulanger and the Stravinskys, Chapter 4
Description
An account of the resource
English translation and transcription of French originals from Chapter 4 of Kimberly Francis, Nadia Boulanger and the Stravinskys (University of Rochester Press, 2018)
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Chapter 4, 13 January 1950
Creator
An entity primarily responsible for making the resource
Soulima Stravinsky
Subject
The topic of the resource
Nadia Boulanger
Source
A related resource from which the described resource is derived
Bibliothèque Nationale De Paris
Date
A point or period of time associated with an event in the lifecycle of the resource
13 January 1950
Type
The nature or genre of the resource
Letter
UG
Extracted Text
Soulima Stravinsky to Boulanger
Hotel Hargrave
112 West 72 St.
New York City
January 13, 1950
My dear Nadia,
Let me tell you first and foremost that we will have the extreme joy of seeing you again in the
month of May. The Île de France will drop us off on May 10 and will collect us at the end of
June. I have to teach again this summer at the Academy of the West in Santa Barbara, starting in
July, which will cut our stay in France very short. But short as it is, we will be thoroughly
delighted to spend it with you.
We have left Los Angeles for good. There was no work for me there, and something depressing
about the climate. I’m happy to be in N.Y. for a few months with the prospect of more work here
in the winter than I’ve had in eighteen months in California.
A marvelous project is taking shape. I was asked to teach piano in a permanent capacity at the
University of Illinois where the Music Director, Mr. John Kuypers, whom you no doubt know, at
least by reputation, is a first-class musician. The business is settled in principle, with only
formalities to carry out. Among these are my letters of reference. I don't believe I could do better
than to ask you for this favor—all while [not] wishing to bother you about it. Two words from
you to Mr. Kuypers—University of Illinois, Urbana, Ill.—would lend enormous weight to this
application, which they are putting the greatest effort into, so as to [have it] approved. As always
in these cases, the interested persons have to present the thing to committees that are less
competent but upon which the final decision rests, and they wish to ensure the highest and the
best recommendations possible. Thank you in advance a thousand, thousand times.
My father is coming soon to N.Y. to conduct L’Oiseau de feu and Orphée with Balanchine.
Meanwhile Rake’s Progress, and it is so beautiful that there are no words . . .
Françoise asks me to send you her tender wishes. (Zizi) Jean is becoming a strong, disobedient,
but very kind boy. You would no longer recognize him. Personally, I have you so often in my
thoughts, you guide me from afar through all of my musical hesitations . . . With fondest wishes,
I am always your,
Soulima
�
Soulima Stravinsky à Boulanger
Hotel Hargrave
112 West 72 St.
New York City
13 janvier 1950
Chère Nadia,
Laissez-moi vous announcer [sic] tout d’abord que nous aurons l’extrème [sic] joie de vous
revoir au mois de mai. L’Ille [sic] de France nous déposera le 10 mai prochain et nous reprendra
fin juin. Je dois enseigner de nouveau cet été à l’Academy of the West à Sta. Barbara à partir de
juillet ce qui rend notre séjour en France très court. Mais si court qu’il soit nous vous en
réjouissons infiniment.
Nous avons quitté Los Angeles définitivement. Il n’y avait là aucune issue pour mon travail et
quelque chose d’assez dépriment dans le climat. Heureuse d’être à N.Y. pour quelques mois et
plus de travail ici en perspective pour cet hiver que je n’en ai eu en 18 mois à California.
Un projet merveilleux prend corps. On m’a demandé d’enseigner de piano d’une façon
permanent à l’University of Illinois dont le Directeur Musical, Mr. John Kuypers que vous
connaissez sans doute, du moins de réputation, est un musicien de premier ordre. L’affaire est
conclue au principe il reste à remplir les formalités. Il y a parmi celles-ci, l’article références. Je
ne crois pas pouvoir mieux faire que de vous demander cette faveur—tout en m’en voulant de
vous importuner. Deux mots de vous à Mr. Kuypers—University of Illinois, Urbana, Ill.,
donneraient un poids énorme à cette candidature qu’ils mettent la meilleure volonté du monde à
agréer. Comme toujours dans ces cas, les personnes intéressées ont à présenter la chose à des
comités moins compétant mais dont dépend la décision finale et elles tiennent à s’assurer le plus
et les meilleures recommandations possibles. Merci d’avance mille et mille fois.
Mon père viendra bientôt à N.Y. pour y diriger l’Oiseau de Feu et Orphée chez Balanchine. En
attendant Rake[’]s Progress et c’est si beau qu’il n’y a pas de mots…
Françoise me charge de vous embrasses tendrement. (Zizi) Jean devient un fort et désobéissant
mais très gentil garçon. Vous ne le reconnaîtrez plus. Moi, je vous ai si souvent en pensées, vous
guidez de loin tout de mes hésitations musicales…Je vous embrasse affectueusement et suis
toujours votre,
Soulima
�
1950
Author: Soulima Stravinsky
Françoise Stravinsky
George Balanchine
John Kuypers
Orpheus
Recipient: Nadia Boulanger
Soulima Stravinsky Location: New York City
The Firebird
-
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/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/ce1ee11e87d54fa8ba338abdf7f4c228.pdf
136a0c1e8dc33a228a84a21b3dbe8aeb
https://digex.lib.uoguelph.ca/files/original/5e9b5671d756f4cc684b30fed20d8188.pdf
ad7edc7dddc1dfa19743dbb64e0c3dc7
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, 22 September 1950
Creator
An entity primarily responsible for making the resource
Nadia Boulanger
Subject
The topic of the resource
Igor Stravinsky
Source
A related resource from which the described resource is derived
Paul Sacher Stiftung
Date
A point or period of time associated with an event in the lifecycle of the resource
22 September 1950
Type
The nature or genre of the resource
Letter
UG
Extracted Text
Boulanger to Stravinsky
La Moubra, Montana, Valais
(In Paris on October 3, 36 rue Ballu, IX)
Monsieur Igor Stravinsky
1260 North Wetherly Drive
Hollywood, California
U.S.A.
September 22, 1950
Dear, very dear friend, what happiness your letter caused. It seemed to me as if I was going to
climb the steps to the garden, to throw myself into your arms. What a great joy that would be!
I wrote as soon as possible to Raoul Gunsbourg, summarizing your letter and advising him to
write to B&H, to write to Auden, and, if questions remain to which only you can respond, to let
me know. In the meantime, another idea came to me: The Festival at Aix where Don Juan and
Cosi fan tutte were staged in extraordinarily good conditions—superb set, by Cassandre and
Balthus. The orchestra, under the direction of Rosbaud, was perfect. But the deficit being such as
it was last year, and the economic outlook being obviously difficult, what is Mr. Bigonnet going
to do? It’s possible he doesn’t even know himself. This state of uncertainty, the fear of
catastrophic events, give all undertakings such an unstable character that no one dares commit to
the future. This nervousness is perhaps the most serious problem. Because, if everything remains
in suspense, it is by its very nature deeply demoralizing. And this demoralization is maintained
carefully, patiently, by the merry propaganda that is sometimes a little too insistent. It must be
weakened, by making plans, by admitting, certainly, that the worst could happen, without
knowing. Thus, I wrote to Cassandre. I answered R. Gunsbourg, and will see Pierre de Monaco
upon my return. That is, at the beginning of October.
Your letter, a marvel of clarity, order, care, did not give a reason for the unexpected arrival of the
Sachses, which delighted me, as you can imagine, but is it George’s mother’s health that made
them come back? I hope not! Thank you for all the news. You don’t know how much I miss you.
You alone have such an influence. But you work there, and your influence exerts itself from afar.
It is necessary given current machinations, like these “systems” that fail to hide their
shortcomings, which would not be a crime in and of itself, but their lies, etc. those are a much
more serious matter. Happily, they affect only those poor miserable souls whose lack of power is
no excuse for not opposing [this influence]. Kiss Vera for me and know that not a day passes
when I don’t think of you.
With all of my heart,
Your
Nadia B.
�
Boulanger à Stravinsky
La Moubra, Montana, Valais
(A Paris le 3 octobre, 36 rue Ballu, IX)
Monsieur Igor Stravinsky
1260 North Wetherly Drive
Hollywood, California
USA 22 September 1950
22 septembre 1950
Cher, très cher Ami, quel bonheur me cause votre lettre. Il me semble que je vais monter les
marches du jardin, et me précipiter pour vous embrasser. Que serait une grande joie !
J’ai aussitôt écrit à Raoul Gunsbourg, résumant votre lettre lui conseillant de s’adresser à B&H,
d’écrire à W Auden, et, s’il reste des questions auxquelles vous seul pourriez répondre, de mes
prévenir. Entre temps, il m’est venu une autre idée : la Festival d’Aix où Don Juan et Cosi Fan
Tutte ont été donné dans des conditions extraordinairement bonnes—décors superbe, de
Cassandre et de Balthus, orchestre sous la direction de Rosbaud, parfait. Mais le déficit a été tel
l’an dernier, et les perspectives économiques étant nettement difficiles, que va faire M. Bigonnet,
le directeur d’Aix. Il ne le sait, peut-être pas lui-même. Cet état d’incertitude, la crainte
d’événements catastrophiques, donne à toute entreprise un caractère si instable, que personne
n’ose plus engager l’avenir. Cette nervosité est peut-être le phénomène le plus grave. Car, si tout
reste en suspens, par principe, quelle démoralisation. Et cette démoralisation est entretenue
soigneusement, patiemment, par une propagande heureusement parfois trop voyante. Il faut
l’affaiblir, en faisant des projets, en admettant certes, que le pire peut arriver, sans le prévoir.
Donc, j’écris à Cassandre. J’ai répondu à R. Gunsbourg, et verrai Pierre de Monaco dès mon
retour. C'est-à-dire au début d’octobre.
Votre lettre, merveille de clarté, d’ordre, de soin, ne me donne pas la raison du retour inattendu,
des Sachs, qui me ravit, vous le pensez bien, mais est-ce la santé de la mère de George qui les
fait revenir ? J’espère que non ! Merci de toutes les nouvelles, vous ne savez pas combien vous
manquez, vous seul, qui avez [sic] une influence. Mais vous travaillez là-bas, et, de loin, votre
influence s’exerce. Il le faut avec des diableries, comme les systèmes qui cachent mal leur
pauvreté ce qui ne serait pas un crime, mais leur fausse etc. ce qui est plus sérieux.
Heureusement qu’ils n’agissent que sur des pauvres malheureux dont l’impuissance n’excuse pas
la prévention. Embrassez Vera et sachez que je ne passe pas de jour sans penser à vous. Du
meilleur de mon cœur,
Votre
Nadia B.
�
1950
Adolphe Jean-Marie Mouron
Author: Nadia Boulanger
Cassandre
Igor Location: California
Nadia Location: Montana
Raoul Gunsbourg
Recipient: Igor Stravinsky
Roger Bigonnet
-
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/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/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