1 10 3 https://digex.lib.uoguelph.ca/files/original/6d350f1eaf0eb0c44a8979e6e80f4fa5.pdf b927269fafcbd0afc9719a35319c4f94 https://digex.lib.uoguelph.ca/files/original/1f73aa6a9f0e53fa94ec0c1d5af2425d.pdf dae0634303c922a35cad3880dd70fd23 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Boulanger and the Stravinskys, Chapter 3 Description An account of the resource English translation and transcription of French originals from Chapter 3 of Kimberly Francis, Nadia Boulanger and the Stravinskys (University of Rochester Press, 2018) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chapter 3, 18 May 1943 Creator An entity primarily responsible for making the resource Igor Stravinsky Subject The topic of the resource Nadia Boulanger Source A related resource from which the described resource is derived Bibliothque Nationale De Paris Date A point or period of time associated with an event in the lifecycle of the resource 18 May 1943 Type The nature or genre of the resource Letter UG Extracted Text Stravinsky to Boulanger 1260 North Wetherly Drive Hollywood, California May 18, 1943 My very dear Nadia, In the next few days you’ll receive the photostats (negatives and positives) of the orchestral parts for Oedipe and Apollo, as agreed, from the Economy Blue Print Co. They’ll send you this music C.O.D.—in other words, paid on delivery. Despite the exceptionally low price (25¢ per page of Oedipe and 16¢ for Apollo*) the total sum is considerable given that all [the pages] appear twice (positive and negative). Let’s hope this enormous expense doesn’t turn you away from my music for a while. Word of honor—I had nothing to do with it, it was you who wanted this. A hot wind is blowing from the desert—after forty days in New York with its spring showers, this makes one meditate on the imperfections of human physiology, and it is difficult to get back to work. How happy I was to see you again and to know you were in the room when I was conducting Apollo. I'm in the process of rehearsing the Dumbarton Oaks Concerto for the First Congregational Church of Los Angeles’ Modern Music concert. Today we are missing the two horns and a contrabass, tomorrow probably others and the concert is May 22—how nice! Merritt wrote me a very kind letter regarding my concert at the Fogg Museum. Have you had any news? Love and kisses, I Stravinsky *Approximately � Stravinsky à Boulanger 1260 North Wetherly Drive Hollywood, California le 18 mai 1943 Tres chere Nadia, Vous recevrez ces jours-ci les photostates (negatives & positives) des partitions d’orchestre d’Œdipe et Apollon, comme convenu, de la Economy Blue Print Co. Ils vous enverront cette musique C.O.D.—autrement dit, contre remboursement. Malgre le prix exceptionellement bas (25¢ la page d’ŒDIPE et 16¢ celle d’Apollon*) la somme totale est impressionante vu que le tout est en double (positive et negative). Pourvu que cette enorme depense ne vous detourne pas pour longtemps de ma musique; parole d’honneur—je n’y suis pour rien, c’est vous que l’avez voulu. Il souffle un vent chaud du desert—après 40 jours de New York avec ses giboulees de printemps cela fait mediter sur l’imperfection de la physiologie humaine et on a de la peine a se remettre au travail. Que j’étais heureux de vous revoir et de vous savoir dans la salle quand je dirigeais Apollon. Je suis en train de répéter le Dumbarton Oaks Concerto pour le concert de la Modern Music de First Congregational Church of Los Angeles. Aujourd’hui il nous manquaient les deux cors et une contrebasse, demain probablement d’autres et le concert est le 22 mai—c’est joli! Merritt m’a écrit une très gentille lettre au sujet de mon concert au Fogg Museum. Avez-vous eu des echos? Love and kisses, I Stravinsky *a peu pres � 1943 Apollon Musagète Author: Igor Stravinsky Dumbarton Oaks Concerto Igor Location: California Oedipus Rex Recipient: Nadia Boulanger Tillman Merritt https://digex.lib.uoguelph.ca/files/original/5590d27ebae813699548ab19a1fc4dbf.pdf be1ce2335124389cee7275e428ab0e62 https://digex.lib.uoguelph.ca/files/original/ed56e6aec88b4a22c176083b61a625a3.pdf 94cee1148c7d3fc3b252656a339d5e1b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Boulanger and the Stravinskys, Chapter 3 Description An account of the resource English translation and transcription of French originals from Chapter 3 of Kimberly Francis, Nadia Boulanger and the Stravinskys (University of Rochester Press, 2018) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chapter 3, 30 May 1941 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 30 May 1941 Type The nature or genre of the resource Letter UG Extracted Text Boulanger to Stravinsky Gerry’s Landing Cambridge, Massachusetts Throwbridge 78–89 May 30, 1941 Dear Igor, Forgive my silence, but everything justifies it—first, the worrying preoccupation we all share, then the student who was to help me work for you was ill, and finally my arm has made writing very difficult all these past months (while falling I horribly bruised my muscles and my nerves are still very sore.) I only had one new score, the second one—and this makes the work more uncertain, because I have the feeling that I’m forgetting piles of details—moreover, I’ve had to accept, with much gratitude, to go teach at Sister Edward’s Convent where I’ll be from June 18 to June 26—going afterward to Santa Barbara (assuming this is still possible!) I would have to find the right score here with the already corrected parts, around the 15th or 20th of August (I have to go to Canada again for my visa to be changed to a Professor Visa) and I will do everything that is possible. But the truth is that new parts must be created, and this I cannot take on. The student who wanted to do it will not be here for months, unfortunately, and Barbara does not have the means to assume such work. Ultimately, I will do all that I can—if you knew how painful it is to write, you would understand why I’ve really not been able to do it. It is peculiar, I was convinced I wrote to you several weeks ago, when I spoke with you about the house, about this summer—was it actually a dream? I suddenly have doubts, and yet I can even remember what I told you. I don’t know myself, anymore! My love to both of you, NB [P.S.] I hope to give you the Ave Maria next week. But . . . so many promises have already been made to me that I don’t believe anything anymore—still, I have Noces, Apollon, Symphonie de psaumes, Sérénade, etc. . . . [P.P.S.] Am distressed. � Boulanger à Stravinsky Gerry’s Landing Cambridge, Massachusetts Throwbridge 78-89 30 mai 1941 Cher Igor, Pardon de mon silence—mais tout l’excuse—d’abord l’état d’affreuse préoccupation où nous sommes tous, puis, la maladie de l’élève qui devait m’aider à travailler pour vous, enfin, un bras qu’a rendu écrire très difficile tous ces mois-ci (en tombant...horriblement froissé des muscles, et des nerfs encore très douloureux.) Je n’avais qu’un matériel neuf, la 2de partition—et cela rend le travail des plus douteux, car j’ai l’impression d’oublier des tas de détails—de plus, j’ai dû accepter, avec quelle gratitude, d’aller enseigner au Couvent de Sister Edward où je serai du 18 Juin [sic] au 26 Juillet [sic]—allant ensuite à Santa Barbara (en admettant que tout cela soit encore possible !) Il faudrait que je trouve la bonne partition ici avec le matériel déjà corrigé, vers le 15 ou 20 août (il faut encore aller au Canada pour que mon visa soit changé en Professor Visa) et je ferai tout ce qu’il est possible—mais la vérité c’est qu’il faudrait faire un matériel neuf—et cela je ne peux l’entreprendre—l’élève qui voulait le faire ne sera pas en étant[sic] d’ici des mois. Hélas, et Barbara n’a pas les moyens de se charger d’un tel travail. Enfin, je ferai tout ce que je pourrai— si vous saviez combien c’est pénible d’écrire, vous comprendriez pourquoi je n’ai vraiment pas pu le faire. C’est singulier, j’étais persuadée vous avoir écrit, il y a quelques semaines, quand je vous ai parlé de la maison, de cet été—est-ce vraiment un rêve ?—J’ai tout-à-coup des doutes—et pourtant, je croyais même me souvenir de ce que je vous disais. Je ne sais plus moi-même ! Je vous embrasse tous deux, avec la plus profonde affection. NB [P.-S.] J’espère vous offrir un Ave Maria la semaine prochaine. Mais…tant de promesses m’ont déjà été faites que je ne crois plus à rien –pourtant j’ai Noces, Apollon, Symphonie de psaumes, Sérénade, etc… [P.P.S] Affligée � 1941 Apollon Musagète Author: Nadia Boulanger Ave Maria Barbara Les Noces Nadia Location: Cambridge Massachusetts Recipient: Igor Stravinsky Serenade in A Symphonie De Psaumes Symphony of Psalms https://digex.lib.uoguelph.ca/files/original/c3e3ece6feca081c155b05a6d9c88f17.pdf 4bee718f102e265b33a4a9825ecb54d4 https://digex.lib.uoguelph.ca/files/original/3c3dbc4233b761ce36bbe2e9173817d6.pdf bf770c469e4493cd90df61199a672832 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Boulanger and the Stravinskys, Chapter 3 Description An account of the resource English translation and transcription of French originals from Chapter 3 of Kimberly Francis, Nadia Boulanger and the Stravinskys (University of Rochester Press, 2018) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chapter 3, February 1945 Creator An entity primarily responsible for making the resource Nadia Boulanger Subject The topic of the resource Igor Stravinsky Source A related resource from which the described resource is derived Paul Sacher Stiftung Date A point or period of time associated with an event in the lifecycle of the resource February 1945 Type The nature or genre of the resource Letter UG Extracted Text Boulanger to Stravinsky February 1945 [Never sent] Dear Igor, I have not yet written to you, because . . . I was absorbed by my new position, because I exaggerate, unfortunately, everything that I do—and also, and perhaps especially, because I do not know how to write to you. If I could tell you what this concert meant, I would be proud with a peaceful yet arrogant pride. But while we listened to this music where I know every note by heart, but where each note, each time, becomes new—I knew already that I wouldn’t write you, because my mind and my ears, my heart and my hand were truly incapable of finding the right words. And I thanked you, just as I thank you today, for these works that year after year bring us the joy of which Bergson spoke: “Crazy, it is completely crazy . . . I understand you here.”— “And this lyricism, too many instruments, too many notes, too many rich harmonies.” And so, it’s because I share your opinion that . . . from time to time I succeed. Wednesday—only the Abbot heard vague, far-away notes [quotes nonsensical excerpt, likely from Apollo]. We didn’t even hear that and missed Apollon. On the 4th everything was so clear. And if you could have seen us Saturday, going over once again step by step all the scores with such impatience, and the next day, the surprise of finding them again, of “replacing” each note, we were ecstatic with this order, this evidence, this freshness. Then . . . on Sunday. We ought to know, and me more than anyone. But no—everything is again unexpected, again exhilarating — and the thought that everything is inevitable—but always “discovered,” as if never heard before. When you are here again, with the scores in hand, I would so love to walk the path again with you—these admirable Scènes de ballet—so necessary. And . . . so simple—all that one ever has to do is just to look—there is but one man in millions who finds it—and not many in a hundred who understand what they have found. What solitude. Without a doubt, provided by God to protect you from other horrors and from yourself. In this austere solitude, no comfort, no intrusion, no distractions—what [a] severe treatment. Back to Paris � Boulanger à Stravinsky fevr. 1945 [jamais envoyée] Cher Igor, Je ne vous ai pas écrit, parce que…j’étais absorbée dans ma nouvelle fonction, parce que j’exagère, hélas, tout ce que je fais—et aussi, et peut-être surtout, parce que je ne sais que vous écrire. Si je pouvais vous dire ce que ce concert nous a apporté, je serais fière, d’une fierté reposante et insolente. Mais, tandis que nous écoutions cette musique dont je connais chaque note par cœur, mais dont chaque note redevient chaque fois nouvelle—je savais déjà que je ne vous écrirais pas, parce que mon esprit et mon oreille, et mon cœur, et ma main, sont bien incapables de trouver les mots justes. Et je vous remerciant [rémerciais (?)], comme je vous remercie aujourd’hui, pour ces œuvres qui année après année, nous apportent la joie dont parle Bergson; « Folle, elle est complètement folle…je vous entends d’ici »—«et ce lyrisme, trop d’orchestre, trop de notes, trop d’harmonies riches ». Et c’est parce que je partage votre opinion, que…..de jour en jour j’ai réussi. Mercredi—seul l’abbé a entendu de vagues, lointaines notes [citations de l’Apollon] Nous, pas même cela et manquer Apollon. Le 4, tout était si clair. Et si vous aviez pu nous voir, le samedi, reprenant pas à pas toutes les partitions avec l’impatience du lendemain, la surprise d’en retrouver, d’en « replacer » chaque note, nous extasiant de tout cet ordre, de cette évidence, de cette fraîcheur. Puis….le dimanche. Nous devrions, et moi plus qu’eux savoir. Non—tout est de nouveau inattendu, inouï encore—et de la pensée, où tout est inévitable—mais toujours « découvert » comme si on ne l’avait jamais entendu. Quand vous serez là, avec les partitions en mains, je voudrais refaire le chemin avec vous—ces scènes de Ballet, admirables—d’un telle nécessité. Et…si simple—il ne s’agit jamais que de trouver—seulement, il n’y a qu’un homme entre des millions, qui trouve—et pas beaucoup dans chaque centaine, qui entendent ce qu’il a trouvé. Quelle solitude. Sans doute, ménagée par Dieu pour vous protéger des autres horreurs, et de vous-même. Dans cette austère solitude, aucune facilité, aucune intrusion, aucun dispersement—traitement sévère. � 1945 Apollon Musagète Author: Nadia Boulanger Henri Bergson Recipient: Igor Stravinsky Scénes de ballet