1 10 6 https://digex.lib.uoguelph.ca/files/original/e1a28ed631b7da351ad47e6ae14372bb.pdf 0845a5b71e36330ca933d4146da595dc https://digex.lib.uoguelph.ca/files/original/675d441d3541ff59119114bc567dc602.pdf 0375ce399c6fbe911951603067483829 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Boulanger and the Stravinskys, Chapter 4 Description An account of the resource English translation and transcription of French originals from Chapter 4 of Kimberly Francis, Nadia Boulanger and the Stravinskys (University of Rochester Press, 2018) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chapter 4, 27 November 1950 Creator An entity primarily responsible for making the resource Igor Stravinsky Subject The topic of the resource Nadia Boulanger Source A related resource from which the described resource is derived Bibliothèque Nationale De Paris Date A point or period of time associated with an event in the lifecycle of the resource 27 November 1950 Type The nature or genre of the resource Letter UG Extracted Text Stravinsky to Boulanger 1260 North Wetherly Drive Hollywood, 46, California Mademoiselle Nadia Boulanger 36 rue Ballu Paris—9th (France) November 27, 1950 My very dear Nadia: Just a few lines. I knew the Sachses arrived safely in Paris but I worry about the records I entrusted them with for you. Be kind and reassure me, or, if they forgot to give them to you, please remind them. Equally, I don’t want these records to be misplaced as they are the “standard” (78 rpm), now endangered, type around here, but are still current until the appearance of the "long-playing" (33 1/3 rpm with a running time of up to around 30 minutes) and the 45 rpms that are made exclusively by RCA-Victor. On this topic, could you tell me if the French are now using the "long–playing" (33 1/3) or if you are still limited to the older models (78 rpm). I’m interested because I’d like to know if I can send "long-playing" records when asked for the technical information about the performance of my works. I never found the time to read Le temps musical by Gisele Brelet. I am familiar with her previous work, or articles, which seemed to me to have merit though, in my opinion, were limited to the domain of pure philosophical speculation. Nothing new for the moment, immersed as I am in my work. Give me news about you and tell me if your concerts in Brussels took place. If yes, how did they go? In a letter I just received from Boosey & Hawkes, they’ve entered into contracts with two French theaters for The Rake's Progress. I wonder if they’re talking about the Paris Opera and Monte Carlo, because London has not provided details. I am very far from being reassured as far as the French and Italian translations are concerned, which are in the process of being done under Boosey & Hawkes’s responsibility; I have neither the time nor the means to take care of this and I can imagine the difficulties that will arise when bringing the French and Italian into alignment with my music, composed for an eighteenth- century English text and in verse on top of that . . . �I impatiently await word from you. Vera and I send along our affectionate wishes. Yours, I Str. � Stravinsky à Boulanger 1260 North Wetherly Drive Hollywood, 46, California Mademoiselle Nadia Boulanger 36 rue Ballu Paris—9eme (France) 27 novembre 1950 Tres chere Nadia : Simplement quelques lignes. J’ai su que les Sachs etaient bien arrives a Paris mais je m’inquiete du sort des disques que je leur avais confies pour vous. Soyez gentille de me rassurer, ou, s’ils ont oublie de vous les remettre, veuillez le leur rappeler. Je tiens d’autant plus a ce que ces disques ne s’egarent pas qu’ils sont du type « standard » (78 tours minute) en voie de disparition ici actuellement mais courant jusqu'a l’apparition des « long- playing » (33 tours 1/3 a la minute et duree allant jusqu'a environ 30 minutes) et des 45 tours minute qui sont l’exclusivite de RCA-Victor. A ce sujet pourriez-vous me dire si on emploie en France desormais les « long-playing » (33 tous 1/3) ou si vous etes toujours limites aux anciens modeles (78 tours). Je m’interesse a cela pour savoir si je peux envoyer des disques « long-playing » lorsqu’on me demande des renseignements techniques sur l’execution de mes œuvres. Je n’ai jamais trouve le temps de lire Le Temps Musical de Gisele Brelet. J’avais pris connaissance de ses ouvrages ou articles precedents qui m’avaient semble meritoires mais, a mon sens, limites au domaine de la speculation philosophique pure. Rien de nouveau pour l’instant, plonge que je suis dans mon travail. Donnez-moi de vos nouvelles et dites-moi si vos concerts de Bruxelles ont eu lieu. Si oui, comment cela a-t-il marche ? Dans une lettre que je viens de recevoir de Boosey & Hawkes ils me signalent qu’ils ont passe contrat avec deux theatres francais pour le Rake’s. Je me demande s’il s’agit de l’Opera de Paris et de Monte Carlo car Londres n’a pas donne de precisions. Je suis tres loin d’etre rassure en ce qui concerne les traductions francaise et italienne qui sont en train d’etre faites sous la responsibilite de Boosey & Hawkes ; je n’ai ni le temps ni les moyens de m’en occuper et je m’imagine les difficultes qui vont se presenter pour faire accorder le francais et l’italien avec ma musique composee pour un texte en anglais du 18eme siecle et en vers par-dessus le marche… �J’attends un mot de vous avec impatience. Vera et moi vous embrassons tres affectueusement. Votre, I Str. � 1950 Arthur Sachs Author: Igor Stravinsky Boosey & Hawkes Gisèle Brelet Igor Location: California Mass Nadia Location: 36 rue Ballu Recipient: Nadia Boulanger Vera Stravinsky https://digex.lib.uoguelph.ca/files/original/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/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/d55ead488638d4f7fffadd3bb998e353.pdf d13af58e5d7970ce568be067cbb7973b https://digex.lib.uoguelph.ca/files/original/89aabc11b758167c935b987c92a27bc3.pdf 62f77b3f454201d9a865b5478a7bb113 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, 4 May 1949 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 4 May 1949 Type The nature or genre of the resource Letter 1949 Arthur Sachs Author: Soulima Stravinsky Claude Debussy Dinu Lipatti Françoise Stravinsky Recipient: Nadia Boulanger Soulima Stravinsky Location: California Wolfgang Amadeus Mozart https://digex.lib.uoguelph.ca/files/original/3733547878fe88b0fb169bba95a2e30d.pdf b7714fd74c68a60ecafc82fa17f38601 https://digex.lib.uoguelph.ca/files/original/2e7a56cad9447c94a89967c47caf9501.pdf e1910962ee5d907dbedf2e30cf24313e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Boulanger and the Stravinskys, Chapter 4 Description An account of the resource English translation and transcription of French originals from Chapter 4 of Kimberly Francis, Nadia Boulanger and the Stravinskys (University of Rochester Press, 2018) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chapter 4, 23 November 1946 Creator An entity primarily responsible for making the resource Igor Stravinsky Subject The topic of the resource Nadia Boulanger Source A related resource from which the described resource is derived Bibliothèque Nationale De Paris Date A point or period of time associated with an event in the lifecycle of the resource 23 November 1946 Type The nature or genre of the resource Letter UG Extracted Text Stravinsky to Boulanger Hollywood November 23, 1946 A[rthur] Sach[s] delivered your letter to us. What an honor! How to thank you. Today (Nov 23)—your telegram. Thank you, thank you, thank you, thank you, impatient to know the details of the performance and the public’s reception. No longer possible to write you letters—only phrases, and again without first names, if possible (like you [do]). We are going on tour Dec. 3. Starting in Montreal. Returning Feb. 4. With all my heart, Your I Str. [P.S.] All our most loyal thoughts to the Abbott [sic]. For you my very dear Nadia, Love Kisses � Stravinsky à Boulanger Hollywood 23 novembre 1946 A. Sach nous a remis votre lettre. Quel honneur ! Comment vous remercier. Aujourd’hui (23 nov)—votre cable. Merci, merci, merci, merci, d’impatience de savoir détails de l’execution [sic] et accueil du public. Plus possible d’écrire des lettres—seulement des phrases et encore sans prénoms, si possible (comme vous) Allons en tournés [sic] le 3 Dec. [sic] Commence par Montréal Dr. [sic] retour 4 février De tout cœur, Votre I Str. [P.-S.] À Mr. L’Abbé [Fortier] toutes nos pensées fidèles. À vous très chère Nadia, Love kisses � 1946 Abbot Fortier Arthur Sachs Author: Igor Stravinsky Igor Location: California Recipient: Nadia Boulanger https://digex.lib.uoguelph.ca/files/original/2472897996e140ce94ecae2fe5935693.pdf 00e89fba1bed9a9657143b125cd84759 https://digex.lib.uoguelph.ca/files/original/5780a578cdf968e3d49927fdc1727561.pdf b8aea8759fd3bd1bae5f142f63581d39 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, Undated 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 Undated Type The nature or genre of the resource Letter 1945 Arthur Sachs Author: Igor Stravinsky Ebony Concerto Gabriel Fauré Madubo Milène Stravinsky Mina Svitalski Nini Recipient: Nadia Boulanger Soulima Stravinsky Symphonie Concertante Symphony in Three Movements Woodrow Charles Woody Herman