1
10
9
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https://digex.lib.uoguelph.ca/files/original/3472dd35f6a6b8ba9a8acdfd389ad53d.pdf
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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 5
Description
An account of the resource
English translation and transcription of French originals from Chapter 5 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 5, 28 September 1953
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 France
Date
A point or period of time associated with an event in the lifecycle of the resource
28 September 1953
Type
The nature or genre of the resource
Letter
UG
Extracted Text
Soulima Stravinsky to Boulanger
910 W. Oregon
Urbana, Ill
Mlle Nadia Boulanger
36 rue Ballu
Paris, 9th
France
September 28, 1953
Dear Nadia,
Here are my wishes for your birthday, your health and for your priceless work. May you
continue to create around you that unity of thought which is more necessary today than ever.
And it was so comforting to see you, even for such a short amount of time. So many things
weren’t said . . . At least I know that we always speak the same language, that the same values
are dear to us both.
These days I receive excellent news from my father, including the score for his Sextet (Clar.,
Horn, Bassoon, Piano, Viol, Vla, Cello). I read it and reread it, but that isn’t enough for me.
There are always great surprises for the ear with his music. Is it not that which is so often
missing from all other music? I send you fondest wishes, my dear Nadia, with all my affection.
Françoise and Jean join me in my wishes.
Your
Soulima, Str.
�
Soulima Stravinsky à Boulanger
Soulima Stravinsky
910 W. Oregon
Urbana, Ill
Mlle Nadia Boulanger
36 rue Ballu
Paris, 9e
France
28 septembre 1953
Chère Nadia,
Voici vous mes vœux pour votre fête, pour votre santé et pour que votre inappréciable activité
continue à créer autour de vous cette unité de pensée plus nécessaire aujourd’hui que jamais.
Et ça été si réconfortant de vous voir, même pour de si courts instants. Tant de choses qui n’ont
pas été dites…Du moins, je sais que nous parlons toujours la même langue, que les mêmes
valeurs nous sont chères.
D’excellentes nouvelles me parviennent ces jours-ci de mon père. Parmi elles la partition du son
Sextet (Clar., Cor, Basson, Piano, Viol, Vla, Cello). Je le lis, et le relis, mais cela ne me suffit
pas. Il y a toujours avec sa musique une immense surprise de l’oreille. N’est-ce pas là ce qui
manque si souvent à toute d’autre musique ? Je vous embrasse, ma chère Nadia, de toute mon
affection. Françoise et Jean se joignent à mes vœux.
Votre
Soulima, Str.
�
1953
Author: Soulima Stravinsky
Recipient: Nadia Boulanger
Soulima Stravinsky Location: Illinois
-
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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 5
Description
An account of the resource
English translation and transcription of French originals from Chapter 5 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 5, 28 September 1953
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 France
Date
A point or period of time associated with an event in the lifecycle of the resource
28 September 1953
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 28, 1953
Dear Nadia,
We are happy to finally have news from you. Thank you for giving me your comments on The
Rake and the Opéra Comique. I didn’t know that Beydts had died. Who will take over from him?
I had always thought the French version would be the most difficult to stage and, most certainly,
the present translation did not help to overcome these difficulties, but did quite the reverse.
Let’s hope that one day, as you imagine, we will succeed in doing better.
Soulima, back from Urbana, told me that Swarsenski (from Boosey & Hawkes, rue d’Anjou) had
organized a group to present The Rake in the provinces. Is this what you are speaking of in
mentioning Tours?
Great success in Edinburgh—I have received quite a bit of feedback from there.
As for your “request,” as nice as it seems to me, I can only—unfortunately!—respond to you in
the negative, because I am absolutely overrun with work and a surplus of commitments. After
having lost about two months this summer to an operation and getting myself back on my feet, I
have just agreed to write a ballet for Kirstein-Balanchine (New York City Center). I am in the
middle of another project, I have a two-month American tour followed by a two-and-a-half-
month European tour (Rome at Easter, Turin, Switzerland, Germany, England, Lisbon). After
that, I will just have to try to catch up on the work that will have piled up.
So, my dear Nadia, please forgive me and understand.
With an affectionate kiss,
I Str.
�
Stravinsky à Boulanger
1260 North Wetherly Drive
Hollywood 46, California
Mademoiselle Nadia Boulanger
36 rue Ballu
Paris, 9eme
(France)
Le 28 septembre 1953
Chere Nadia,
Nous sommes heureux d’avoir enfin de vos nouvelles. Merci de me donner vos commentaires
sur le Rake et l’Opera Comique. Je ne savais pas que Beydts etait mort. Qui va lui succeder ?
J’avais toujours pense que la version francaise serait la plus difficiles a etablir et, assurement, la
traduction presente n’a pas aide a surmonter les difficultes, au contraire.
Esperons qu’un jour, comme vous l’envisagez, on reuissira a faire mieux.
Soulima, de retour a Urbana, m’a dit qui Swarsenski (de Boosey & Hawkes, rue d’Anjou) avait
organisee une troupe pour presenter le Rake en province. Est-ce de cela que vous parlez en
mentionnant Tours ?
Gros success a Edinburgh d’où j’ai eu plusieurs echos.
Quant a votre « priere », toute sympathique qu’elle me soit, je ne peux vous repondre—helas !—
que negativement car je suis absolument deborde de travail et surcharge d’engagements. Apres
avoir perdu environ 2 mois cet été a me faire operer et a me remettre en circuit, je viens
d’accepter de faire un ballet pour Kirstein-Balanchine (New York City Center), j’ai une autre
affaire en course, j’ai 2 mois de tournee americaine suivis de 2 mois ½ environ de tournee
europeenne (Rome a Paques, Turin, Suisse, Allemagne, Angleterre, Lisbonne). Apres ca, je
n’aurai qu’a essayer de rattraper tout le retard accumule.
Alors, chere Nadia, ne m’en voulez pas, et comprenez-moi.
Je vous embrasse affectueusement,
I. Str.
�
1953
Agon
Author: Igor Stravinsky
Igor Location: California
Lincoln Kirstein
Louis Beydts
Nadia Location: 36 rue Ballu
Recipient: Nadia Boulanger
The Rake's Progress
-
https://digex.lib.uoguelph.ca/files/original/61b2497c0399e2db6c941c0d0a14c97e.pdf
b0ad09ea078ee23ce87475600f604599
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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 5
Description
An account of the resource
English translation and transcription of French originals from Chapter 5 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 5, 21 September 1953
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
21 September 1953
Type
The nature or genre of the resource
Letter
UG
Extracted Text
Boulanger to Stravinsky
36 rue Ballu 9th
September 21, 1953
Very Dear Friend,
It’s been impossible to write to you during this overwhelming summer. Certainly, what I am
doing is not important, but it is all I can do, and so I put all my energy into it.
The Opéra Comique performs the Rake often enough (in a manner of speaking, unfortunately),
and the number of people who attend each performance is comforting. The faults of the
performances remain the same. I had written on this subject to Beydts, who listened, [but] he just
died. But the time will come soon, I believe, when the necessity of staging this work in [the
correct] conditions will be imposed. Because, judging by the mail I myself receive regarding it, I
understand the extent to which people want this to happen. Sooner or later, it must be
retranslated, and the continuity imposed once again. No matter what the design errors of the
different performances are, it has been proven that the work has won people over. I will endeavor
to send you, one day, excerpts from these letters. It would be worth the trouble.
Students performed The Rake at Tours this summer. It was during a general strike. I could not
leave the School, but the GD students I sent to listen to it found the whole thing good—excellent
orchestra, and an acceptable staging. As for Edinburgh, I understand the production was
remarkable. All things considered, the Opéra Comique was not so awful. Little by little, they will
all understand. One must give them a lot of time!
But the critics are such an impoverished type—pretentious, because they are too aware of their
own weakness; or, out of fear of being wrong, they stay quiet; or out of bravado, they rip [the
work] apart with relish. Which is to say the only thing left for them is ridicule. The majority
among them have never understood anything about anything, and neither the Rake nor the
Cantata is an exception. Sometimes I so want to fight with them, but more often, I ignore them.
But, I have a request—a request that I imagine must be refused—but nothing ventured, nothing
gained. So, here it is. For multiple reasons, I want the École de Fontainebleau to have a real
purpose, or else we should let it go. So I choose to fight—and for a well-defined cause. Would
you offer the help that will make it even more so?
For the piano competition, to which I would like to attract good musicians, I wish (one can hope
for the impossible) that you— yes, I said you—would write a concert study around 5–6 minutes
long, that you would dedicate to whoever wins first place and who would have the privilege of
the premiere. “And . . . ?” I understand that on this point, you must think me completely crazy.
I’m not sure I believe it myself, but the crisis hasn’t reached its peak— I have to tell you
everything, with as much slight of hand and juggling as it takes . . . but I won’t lie . . . and
forgive my audacity—but, I have, despite an enormous effort, [scraped together] only 100,000 fr.
It’s ridiculous, shameful. But think, next year will be my fiftieth anniversary as a professor. If I
succeed with such an ambitious project, I will feel myself as proud as Artaban.
�Ah! Don Quixote, how I need you! Reply in any case, insult me if you must, but consider this for
a little while, to find in your heart a little indulgence, and who knows, perhaps an unbelievably
charitable impulse.
I send fond wishes and say again how much I love you,
Your
Nadia.
�
Boulanger à Stravinsky
36 rue Ballu 9è
21 septembre 1953
Bien cher Ami,
Impossible de vous écrire durant cet été accablant. Certes, ce que je fais n’est pas important,
mais c’est tous ce que je peux faire—et je m’y donne de toutes mes forces.
L’Opéra Comique donne assez souvent (c’est une manière de parler hélas) le Rake—et le nombre
de gens qui vont à chaque représentation est consolant. Les défauts de ces représentations restent
les mêmes—j’avais écrit à ce sujet à Beydts, qui écoutait—il vient de mourir. Mais le temps
viendra vite, je crois, où la nécessité de donner cette œuvre dans les conditions [voulais],
s’imposera. Car, si j’en juge par le courrier que je reçois, moi seule, à ce sujet, je comprends à
quel point les esprits sont attachés à cette idée. Il faudra, tôt ou tard, refaire la traduction, et
imposer la continuité. N’importe quelles sont les erreurs de conception des différentes
exécutions, il s’avère que l’œuvre a gagné la partie. Tâcherai de vous envoyer, un jour, des
extraits de lettres. Cela vaut la peine.
Cet été des étudiants ont donné le Rake à Tours. C’était en pleine grève. Je n’ai pu quitter
l’École, mais les GD étudiants que j’ai envoyé l’entendre, ont trouvé que l’ensemble était bon,
l’orchestre excellent et la scène possible. Quant à Édimbourg, je crois comprendre que la
représentation était remarquable. Tout compte fait, l’Opéra Comique n’a pas si mal réussi. Petit à
petit, ils comprendront tous. Il leur faut tant de temps !
Mais les critiques sont de pauvres types, prétentieux, parce qu’ils connaissent au fond leur
faiblesse, ou ils se taisent, pas peur [de] se tromper, ou par bravade, ils déchirent à pleines dents.
Dire qu’il ne leur reste que le ridicule. La plupart d’entre eux n’a rien compris jamais rien à
rien—et ils n’ont pas fait exception ni pour le Rake, ni pour la Cantate. Parfois, on a envie de les
battre, le plus souvent, de les ignorer.
Mais je viens avec une prière—une prière que je devine devoir être repoussée—mais qui ne
risque rien n’a rien. Donc, voilà ce dont il s’agit. Pour des raisons multiples, je veux que l’Ecole
de Fontainebleau ait une vraie utilité, ou que nous le laissions tomber. Donc, je lutte—et dans
une direction bien définie. Voulez-vous m’apporter la seule aide qui la précise.
Pour le concours de piano, auquel je voudrais amener de vrais bons musiciens, je voudrais, on a
bien le droit de souhaiter l’impossible que vous, oui j’ai dit vous écriviez une étude de concert
environ 5 à 6 minutes, que vous dédieriez à celui qui obtiendrait le 1er
prix et aurait le privilège
de la 1ère
audition. « Et quoi encore ? » Je comprends qu’à ce point, vous devez me croire tout-à-
fait folle. Je ne suis pas sûre de ne pas le croire moi-même, mais la crise n’est pas à son point
culminant—car, puis qu’il faut tout vous dire, en faisant des tours de passe et des jongleries je
puis…ne mentez pas…et pardonnez mon audace, vous avouer—enfin je n’ai, et au prix de quel
�effort, que 100 000 fr. C’est une dérision, une honte—mais songez—c’est l’année prochaine ma
50è année de professorat. Si je réussissais une telle ambition, je me sentirais fière comme
Artaban. Ah ! Don Quixote, que me veux-tu ! Répondez-moi tout de même, insultez-moi si vous
voulez, mais réfléchissez un peu, pour trouver de l’indulgence dans votre cœur—et qui sait, un
invraisemblable mouvement de charité.
Je vous embrasse et vous redis combien je vous aime.
Votre
Nadia
�
1953
Author: Nadia Boulanger
Cantata
Cantate
Fontainebleau
Louis Beydts
Nadia Location: 36 rue Ballu
Recipient: Igor Stravinsky
The Rake's Progress
-
https://digex.lib.uoguelph.ca/files/original/1580c481da20159e844f0d3a5bddd163.pdf
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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 5
Description
An account of the resource
English translation and transcription of French originals from Chapter 5 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 5, 27 June 1953
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 France
Date
A point or period of time associated with an event in the lifecycle of the resource
27 June 1953
Type
The nature or genre of the resource
Letter
UG
Extracted Text
Stravinsky to Boulanger
1260 North Wetherly Drive
Hollywood 46, California
Mademoiselle Nadia Boulanger
36 rue Ballu
Paris, 9th (France)
June 27, 1953
Dear Nadia,
I was happy to have your letter giving me your comments on the performance of [The] Rake at
the Opera Comique.
I received word from Françoise yesterday, and I notice that your impressions were similar. All
the better. At the heart of it, it must be a good performance, but I, like you, deplore that there
were changes [that caused problems] with continuity between scenes. It is precisely what I feared
everywhere and I had finally managed to avoid in the Boston performance.
I have asked Swarzensky, from rue d’Anjou, to send me the press clippings, and I hope he will
do it.
Those who told you I was thrilled with the Boulez article are in all cases quite adept at invention.
In any case I only became aware of it eight days ago, and consequently no one has had the time
to hear about my reactions since, in any case it would suffice to read the middle of page 221 to
be sure I am not at risk of being more charmed by Boulez than he pretends to be by me.
If you have the time, I suggest you also see Souvtchinsky’s article:
Page 21: “. . . the young, contemporary music’s aspirations which are no longer with Stravinsky .
. . ”
Also page 22, note I: “Above all, it is evidently a question of Stravinsky’s great works like Le
Sacre du printemps, Les Noces, Le Rossignol.”
The Salon’s careerism continues!!! . . .
Did you receive my letter? You haven’t told me about the Cantata . . . I would like, however, to
know how they sang and played it and how it was received?
Do not be “lazy”; answer me soon.
While waiting, I send fond wishes,
I. Str.
�
Stravinsky à Boulanger
1260 North Wetherly Drive
Hollywood 46, California
Mademoiselle Nadia Boulanger
36 rue Ballu
Paris, 9eme
(France)
27 juin 1953
Chere Nadia,
J’ai ete heureux d’avoir votre lettre m’apportant vos commentaires sur l’execution du Rake a
l’Opera Comique.
Hier, j’avais recu un mot de Francoise et je constate que vos impressions son semblables. Tant
mieux. Au fond, ca devait etre une bonne execution, mais je deplore, comme vous, qu’il y ait eu
des solutions de continuite entre tableaux. C’est precisement ce que je redoute partout et avais
enfin reussi a eviter dans l’execution de Boston.
J’ai demande a Swarzensky, de la rue d’Anjou, de m’envoyer la presse et j’espere qu’il le fera.
Ceux qui vous ont dit que j’étais emballe par l’article de Boulez ont en tout cas le genie de
l’invention. D’une part je n’en ai pris connaissance qu’il y a huit jours, et par consequent
personne n’a eu le temps de connaitre mes reactions jusque la [sic], d’autre part il suffit de lire au
milieu de la page 221 pour etre sur que je risque pas d’etre plus charme par Boulez qu’il pretend
l’etre pour moi.
Si vous avez le temps, je vous suggere egalement de voir l’article de Souvtchinsky :
Page 21 : « … les aspirations de la jeune musique contemporaine qui n'est plus avec
Stravinsky… »
Aussi page 22, note 1 : « Evidemment il est question, avant tout, des grandes œuvres de
Strawinsky, comme Le Sacre du printemps, Les Noces, Le Rossignol. »
Le carrierisme de salon continue !!!...
Avez-vous recu ma letter ? Vous ne me parlez pas de la Cantate… je voudrais cependant bien
savoir comment on l’a chantee et jouee et comment elle a ete recue?.
Ne soyez pas « lazy » ; repondez-moi bientôt.
En attendant, je vous embrasse bien affectueusement,
I. Str.
�
1953
Author: Igor Stravinsky
Cantata
Cantate
Françoise Stravinsky
Igor Location: California
Le Sacre Du Printemps
Les Noces
Nadia Location: 36 rue Ballu
Pierre Souvtchinsky
Recipient: Nadia Boulanger
Rite of Spring
The Rake's Progress
-
https://digex.lib.uoguelph.ca/files/original/9b1d660e2c9c223bfe1465266ac60ae8.pdf
fe478f7a1a75936862d64e899372c185
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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 5
Description
An account of the resource
English translation and transcription of French originals from Chapter 5 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 5, 24 June 1953
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
24 June 1953
Type
The nature or genre of the resource
Letter
UG
Extracted Text
Boulanger to Stravinsky
June 24, 1953
Dear Friend,
To have not yet written to you is shameful. But life during the Concours is relentless.
The Opéra Comique had asked me to help with rehearsals, but I was in Brussels for the Queen
Élisabeth competition, and therefore arrived too late to be of any help whatsoever. Certainly, you
were greatly missed, but, [it must be said] you alone give some focus to the rhythm of life that
makes it seem as if life itself were music. I found Cluytens good, understanding, satisfying. The
musicians were enthusiastic, happy to perform a score where each felt the importance of their
role and understood it. Some of the soloists were remarkable, and the sound of the ensemble was
truly excellent.
The staging was very successful, particularly the scene at Mother Goose’s house and at the
House of Fools. Set design and costumes were beautiful; a lively production.
Michaud (Anne) lacked the mid-range, but sang very well, the berceuse admirably.
Simoneau was excellent vocally, a bit neglect[ful] in his acting but infinitely superior to our poor
Venitian sort. Nick Shadow, [sung by] Depraz, was remarkable. Each syllable distinct,
intelligent, good. Herrand didn’t for an instant allow one to forget Cuénod, but he wasn’t bad.
Couderc was very good as Baba after:
She was too soft at the beginning of her aria. Trulove, good. The choruses very good
at the House of Fools, good enough at Mother Goose’s. One serious error, the pause in
staging. It would be better to sacrifice the scenery than to cut the scenes. It was already
better at the premiere than it was at the dress rehearsal. I couldn’t go Saturday, but I will
go tonight.
I forgot the pianist—good enough, but a little indecisive, and it was almost always the same
question of approximate values of
instead of
or a mechanical stiffness. I believe the entire problem arose out of a confusion between the
measure and the rhythm. But, to return to the pianist, acceptable.
�As far as The Rake is concerned, each time I hear it, its marvels become more noticeable. I can
see you, impatient with my useless assessments, but I nonetheless believe I know each note, and
just as I adore rereading a score by Mozart, rediscovering it over and over, I discover The
Rake—and everything new and eternal it brings me.
Enough, I cannot speak to you about your music, I feel ridiculous. But I love it, and I love you.
To Vera, to you, all my love,
Nadia
[P.S.] The audience was very taken; Reviews . . . (I haven’t seen them yet . . . and it doesn’t
really matter)
[P.P.S.] Have you read the article by Boulez in Musique russe? They tell me you were thrilled
with it??
�
Boulanger à Stravinsky
24 juin 1953
Cher Ami,
Ne pas encore vous avoir écrit est honteux—mais, la vie en ce temps de concours, est
impitoyable.
L’Opera Comique m’avait demandé d’assister aux répétitions mais j’étais à Bruxelles pour le
concours de la Reine Élisabeth—suis donc arrivée trop tard pour servir à quoi que ce soit. Certes,
vous manquez [sic] furieusement mais, une fois dit que vous seul donnez certains accent cette vie
rythmique qui est la vie même de la musique. J’ai trouvé Cluytens bien, comprenant, réalisant,
les musiciens enthousiastes—heureux de jouer une partition où chacun sent l’importance de son
rôle et s’entend jouer. Certains solistes remarquables, sonorité d’ensemble vraiment excellente.
La scène très réussie, particulièrement le tableau chez Mother Goose et chez les fous. Décors,
costumes, beaux. Mise en scène vivante.
Micheau (Anne) manque de medium, mais a très bien chanté. La berceuse admirablement.
Simoneau excellent vocalement, un peu niais comme gestes—mais infiniment supérieur à notre
pauvre type de Venise. Nick Shadow Depraz remarquable chaque syllable distincte—intelligent
bien. Herrand ne laissant pas un instant oublier Cuénod, mais pas mal. Couderc bonne Baba très
bien à partir de…
Pas assez volubile au début de son air, Trulove bien—les chœurs très bons chez les fous, assez
bons chez Mother Goose. Une grave erreur—l’arrêt entre le tableau il vaudrait mieux sacrifier
les décors que de couper les scènes. C’était déjà mieux à la 1ère
qu’à la générale, n’ai [sic] pu
aller samedi mais irai ce soir.
J’oubliais le pianiste—assez bien mais peu décisif—et c’est presque toujours la même
question—ou des valeurs approximatives au lieu de ou une raideur
mécanique. Je crois que tou[t] le mal vient de la confusion entre la mesure et le rythme. Mais
pour en revenir au pianiste, acceptable.
Quand [sic] au Rake’s chaque audition en rend la merveille plus sensible. Je vous vois, impatient
de mes inutiles appréciations, mais je crois tou[t] de même que j’en connais chaque note et
comme je m’enchante à relire une partition de Mozart, à la découvrir chaque fois, je découvre le
Rake—et tout ce qu’il m’apporte de neuf et d’éternel.
�Assez, ce n’est pas avec vous que je puis parler de votre musique je me sens ridicule. Mais je
l’aime—et vous aime.
A Véra, à vous de meilleur de mon cœur,
Nadia
[P.-S.] Public très pris. Critiques…(pas encore vu et…m’importe peu)
[P.P.-S.] Avez-vous lu l’Article de Boulez dans musique russe ? On me dit que vous êtes [sic]
très emballé??
�
1953
André Cluytens
Author: Nadia Boulanger
Pierre Boulez
Recipient: Igor Stravinsky
René Herent
Simone Couderc
The Rake's Progress
Vera Stravinsky
Wolfgang Amadeus Mozart
Xavier Depraz
-
https://digex.lib.uoguelph.ca/files/original/f3080d28b2f94c762da85b8e89956057.pdf
a4788d5cdc64cbe837321f5a914f2589
https://digex.lib.uoguelph.ca/files/original/b4acc83999fa7a6fab60c577696056d6.pdf
2d947cdd92e9ca7a4dc24e0700426821
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 5
Description
An account of the resource
English translation and transcription of French originals from Chapter 5 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 5, 17 June 1953
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 France
Date
A point or period of time associated with an event in the lifecycle of the resource
17 June 1953
Type
The nature or genre of the resource
Letter
UG
Extracted Text
Stravinsky to Boulanger
1260 North Wetherly Drive
Hollywood 46, California
Mademoiselle Nadia Boulanger
36 rue Ballu
Paris 9th, France
June 17, 1953
My very dear Nadia,
Received your kind note upon my return from Cuba/Venezuela/Boston.
I spent three very tiring weeks in the last city, performing The Rake with students from Boston
University.
It was an immense success, even in the malicious Boston press. The two performances each had
different artists, which made them all the more difficult and trying. The first group was very
good, the second much less so.
I was quite ill afterward with a bad case of colitis and was forced to withdraw from a concert,
though not a particularly interesting one, in Chicago, and return here where I resumed my
customary activities.
You and others mentioned to me the performance of the Cantata in Paris, but without telling me
where or by whom . . . I suppose on the radio? . . . and who were the singers? . . . what was the
reaction?. . .
You also haven’t mentioned how you yourself are doing?
Try to respond to me quickly.
Fond wishes,
I Str.
�
Stravinsky à Boulanger
1260 North Wetherly Drive
Hollywood 46, California
Mademoiselle Nadia Boulanger
36 rue Ballu
Paris 9eme
, France
17 juin 1953
Tres chere Nadia,
Recu votre gentil mot a mon retour de Cuba/Venezuela/Boston.
Dans cette derniere ville, j’ai passe trois semaines tres fatigantes pour donner le Rake avec les
etudiants de Boston University.
Ca a eu un immense succes, meme dans la presse malveillante de Boston. Les deux
representations avaient chacune des artistes differents, ce qui rendait tout d’autant plus difficile
et eprouvant. Le premier groupe était tres bon, le deuxieme beaucoup moins.
J’ai été malade apres cela d’une tres forte crise de colite qui m’a oblige a renoncer a un concert,
du reste sans interet, a Chicago, et a rentrer ici ou je reprends mon activite coutumiere.
Vous et d’autres me metionnent l’execution de la Cantate a Paris, mais sans me dire ou ni par
qui…. Je suppose a la radio?... et quels etaient les chanteurs?... quelles reactions?...
Vous ne dites pas non plus comment vous allez vous-meme ?
Tachez de me repondre vite.
Je vous embrasse
I. Str.
�
1953
Author: Igor Stravinsky
Cantata
Cantate
Igor Location: California
Nadia Location: 36 rue Ballu
Recipient: Nadia Boulanger
The Rake's Progress
-
https://digex.lib.uoguelph.ca/files/original/fdff5cd34bf9c3236d52742907948d92.pdf
1b5ced145f975f6123ae3ca111e70298
https://digex.lib.uoguelph.ca/files/original/6bcd01579e5868969ca08253d73cb27c.pdf
de631cb6c575b41e74914fb5d68756f2
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 5
Description
An account of the resource
English translation and transcription of French originals from Chapter 5 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 5, 31 May 1953
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
31 May 1953
Type
The nature or genre of the resource
Letter
UG
Extracted Text
Boulanger to Stravinsky
May 31, 1953
Judging by the letters received from Boston, I suppose you were very happy, Dear Igor, with the
performance. I am working a lot here, but I don’t know where I am with it. Will the Cantata go
well this evening? I will write to you . . .
The more I read and play this work, the more I love it. No, I loved it immediately, but the more I
see, the more I hear everything. When we see the excess of notes that the . . . well, alright, the
“musicians” give in to, we understand all too well the sad reason for their apparent richness.
As Mozart was before, there you are with a few notes—but they are the right ones.
There is a great commotion everywhere. “Much ado about nothing” most of the time, but from
time to time, a surprise. But I don’t wish to speak to you about aesthetics. I miss you, I’m sad,
your presence is so necessary. But we remain so attached to this wish and, after all, try so
humbly to lead ourselves toward the right path. Perhaps it is not so bad for those who are capable
of so little!
My love to Vera and you and I am, always,
Your
Nadia B.
[P.S.] Best wishes to Bob Craft
�
Boulanger à Stravinsky
31 mai 1953
Si j’en juge par les lettres reçues de Boston, je suppose que vous avez été content, Cher Ami, de
la représentation. Ici, on travaille beaucoup—mais où on en est, je l’ignore. Ce soir, la Cantate—
sera-ce bien ? Je vous écrirai…
Plus je lis, joue, cette partition, plus je l’aime—non, je l’ai aimée tout de suite, mais mieux je
vois, j’entends tout. Quand on voit le débordement de notes auquel se livrent encore tant
de…enfin, oui, de musiciens, on comprend bien la triste raison de leur apparente richesse.
Et vous êtes là, comme fut jadis Mozart, avec quelques notes—mais celle-là sont les vraies.
Grande activité, partout. « Beaucoup de bruit pour rien, » souvent, de temps à autre, une surprise.
Mais ce n’est pas d’esthétique que je viens vous parler. Vous me manquez—je suis triste, votre
présence est une telle nécessité. Mais [on] reste attaché à sa besogne, et après tout, bien
humblement on essaie de mener vers le bon chemin. Ce n’est peut-être pas si mal pour ceux qui
ne peuvent que si peu !
Je vous embrasse Vera et vous et suis, toujours votre
Nadia B.
[P.-S.] Mille amitiés à Bob Craft
�
1953
Author: Nadia Boulanger
Cantata
Cantate
Recipient: Igor Stravinsky
Robert Craft
Vera Stravinsky
Wolfgang Amadeus Mozart
-
https://digex.lib.uoguelph.ca/files/original/52042051352bbd4ef5be2bd7df43a73a.pdf
caff7cfc762545e5c8d48f21cc044847
https://digex.lib.uoguelph.ca/files/original/c4eecfba161a28c25aaba307721b171f.pdf
341090efe1a6c7191c73c97a83498752
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 5
Description
An account of the resource
English translation and transcription of French originals from Chapter 5 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 5, 22 January 1953
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 January 1953
Type
The nature or genre of the resource
Letter
UG
Extracted Text
Boulanger to Stravinsky
January 22, 1953
Dear Friend,
How do you find the time to think of us still in the midst of your incessant work? We are so far
away, so little, and things are difficult over there. The fact is that we take a foolish pleasure in it!
How this warmed the heart. And I thank you for it greatly.
Now I have the Cantata for piano and orchestra. We sing, read, and study—in your absence, my
eloquence is superb, but what can I say to you? Even my emotion seems indiscreet—and vain.
You yourself know what the Cantata is, and I think you know that I hear, I see, I understand, and
I love this music with my ears, my eyes, my hands, and my mind. Everything sounds [so
beautifully], everything is a surprise, nothing could be any other way.
A well-made object is a source of unending joy, and henceforth it travels very far, but . . .
enough. No unpalatable pedantry! Every day the Cantate brings me new satisfaction, satisfaction
that doesn’t lie, and goes far ahead.
You are always, each time, different, but always, you. The story is somewhat the same with those
few who have changed the face of the earth. But, possibly never to the extent that you have had
to—the invincible need to move forward, to always open one’s eyes as if for the first time.
Incorrigible babbling. You well know that it is better to just be silent!
I send my love, I thank you, I lament at being so far from you and I am yours and Vera’s with all
my heart.
Nadia B
[P.S.] Could you please give this small card to Bob—thank you!
�
Boulanger à Stravinsky
22 janvier 1953
Cher Ami,
Comment trouvez-vous le temps de penser encore à nous, si lointains, si petits, dur de là-bas, au
milieu de ce travail incessant ? Le fait est qu’on en a un plaisir fou ! Que cela fait chaud au cœur.
Et je vous dis un grand merci.
J’ai maintenant la Cantate, piano, orchestre—nous chantons, lisons, étudions—sauf devant vous,
je suis d’une éloquence superbe, mais que vous dire à vous. Même mon émotion me parait
indiscrète, et vaine. Vous savez bien vous-même ce qu’est la Cantate—et je crois que vous savez
que je l’entends, que je vois, que je comprends, et que j’aime cette musique avec mes oreilles,
avec mes yeux, avec mes mains, et avec mon esprit. Tout sonne, tout est surprise—et tou[t] est
inévitable.
Un objet bien fait est source de joie sans fait,[sic] et dès lors il va très loin—mais…assez. Pas de
pédants me qui serait [sic] pas digestible ! La Cantate, chaque jour, m’apporte de nouvelles
satisfactions, de celles qui ne trompent pas, et vont très avant.
Vous êtes toujours, chaque fois, un autre—et toujours, vous. L’histoire est un peu la même avec
tous les quelques esprits qui ont changé la face du monde. Mais peut-être jamais au point où vous
avez bien dû le faire—dans le besoin invincible d’avancer, d’ouvrir toujours les yeux comme
pour la première fois.
Incorrigible bavarde. Tu sais bien qu’il vaudrait mieux te taire !
Je vous embrasse, je vous remercie, je me lamente loin de vous et suis à vous et à Vera, de tout
cœur.
Nadia B.
[P.-S.] Voulez-vous remettre à Bob ce petit carré—merci !
�
1953
Author: Nadia Boulanger
Cantata
Cantate
Recipient: Igor Stravinsky
Robert Craft
Vera Stravinsky
-
https://digex.lib.uoguelph.ca/files/original/43ef794c5b5143942d4d130e810cad0e.pdf
d15f3d00fb20e2ae3ee759ff3158a7ed
https://digex.lib.uoguelph.ca/files/original/9bf153165a61068a06343334e2fb0f05.pdf
24c2e771af2cfb9c4cc48cc64c167bf6
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 5
Description
An account of the resource
English translation and transcription of French originals from Chapter 5 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 5, 4 January 1953
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
4 January 1953
Type
The nature or genre of the resource
Letter
1953
Author: Nadia Boulanger
Cantata
Cantate
Ernest Bour
Igor Location: New York
Igor Markevitch
Nadia Location: Switzerland
Recipient: Igor Stravinsky
Robert Craft
Roger Lalande
Vera Stravinsky