1
10
7
-
https://digex.lib.uoguelph.ca/files/original/c2089c841eb5e0e83d090498e134637c.pdf
51dbb74545d65ef1016180d06b5d1a0e
https://digex.lib.uoguelph.ca/files/original/dec45de5a064a1471ab62afc06194bf7.pdf
58c1ee468bc7a873af06db984eb132cd
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, 13 December 1954
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
13 December 1954
Type
The nature or genre of the resource
Letter
UG
Extracted Text
Stravinsky to Boulanger
1260 North Wetherly Drive
Hollywood 46, California
December 13, 1954
My dear, dear Nadia,
Here is a response to your letter of December 7.
1) Tell Felix Passerone that it is not a question of my permission (I give it to him with pleasure)
but that of Boosey & Hawkes’s (Dr. E. Roth in London) which causes me to advise him against
keeping the anonymity of the source (because he writes to me: . . . “these ‘rhythms’ are taken
from the repertoire without indication of the source”). It would be more prudent to guarantee an
OK from B&H themselves.
2) Despite your hesitations, I hope all the same to see you in Rome or elsewhere in Europe.
Love,
I. Str.
�
Stravinsky à Boulanger
1260 North Wetherly Drive
Hollywood 46, California
Dec. 13/[19]54
Chere, chere Nadia,
Voici la reponse a votre lettre du 7 [dec].
1) Dites a Felix Passerone qu’il ne s’agit pas de mon accord (je lui le donne avec plaisir) mais de
celui de Boosey & Hawkes (Dr. E. Roth a Londres) ce qui m’amene a lui deconseiller de garder
l’anonymat de la source (car il m’ecrit :… « ces « rithmes » sont tires du repertoire sans
indication de la source »). Il serait plus prudent de se garantir un OK de B&H.
2) Malgre vos hesitations j’ai quand meme l’espoir de vous voir a Rome ou ailleurs en Europe.
Love,
I. Str.
�
1954
Author: Igor Stravinsky
Boosey & Hawkes
Ernst Roth
Felix Passerone
Igor Location: California
Recipient: Nadia Boulanger
-
https://digex.lib.uoguelph.ca/files/original/89f0f8a861c60437dc5dd3156f5de9c0.pdf
c8a38c7b957b32aad11b9a5d4486eb6e
https://digex.lib.uoguelph.ca/files/original/0c312e8252484ddecf4c362bb33c2ef4.pdf
c2c4f73e5ea2488ce8d34e82e1dfbea1
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, 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
Bibliothèque nationale de France
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
UG
Extracted Text
Dear Nadia,
Having received word from Ghiringhelli, I was finally able to sort out the story of the Rake’s. In
fact, they didn’t send you my own copies (complete opera in three volumes) but two volumes
(acts 1 and 2) which were all that Boosey & Hawkes had, and which they had made available to
La Scala.
According to the preceding letter you see that you are going to receive the three volumes. Decide
for yourself what you want to do with the other two, or, to be safe, ask Boosey & Hawkes what
they would like to do about them.
Love,
I Str.
�
Chere Nadia,
Ayant recu un mot de Ghiringhelli j’ai enfin pu y voir clair dans l’histoire des volumes du Rake.
On vous en effet envoyé non pas mes exemplaires a moi (opera complet en 3 volumes) mais 2
volumes (actes 1 et 2) qui etaient tout ce que Boosey & Hawkes possedaient alors, et qu’ils
avaient mis a la disposition de la Scala.
D’apres ce qui precede vous verrez que vous allez recevoir les 3 volumes. Decidez vous-meme
ce que vous voulez faire des deux autres ou, pour etre plus en surete, demandez vous-meme a
Boosey & Hawkes ce qu’ils veulent en faire.
Love
I Str.
�
Antonio Ghinghelli
Author: Igor Stravinsky
Boosey & Hawkes
Recipient: Nadia Boulanger
The Rake's Progress
-
https://digex.lib.uoguelph.ca/files/original/e43810db41e6ebffee24b0e31239f440.pdf
24803f2680b14c140431c35aa7db6a37
https://digex.lib.uoguelph.ca/files/original/6fa0b38f092d9f12f366cbdb55fc1123.pdf
b5175315e5f65438ba564c9e725eb828
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, 13 February 1952
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
13 February 1952
Type
The nature or genre of the resource
Letter
UG
Extracted Text
Stravinsky to Boulanger
(starts with copy of a letter to Antonio Ghinghelli, Italy)
Dr. Antonio Ghiringhelli
Superintendent
Teatro alla Scala
Milan (Italy)
February 13, 1952
Dear friend,
Thank you for your letter of February 7 which cleared up the confusion surrounding the question
of the volumes of The Rake's Progress for me.
No matter what the origin of one or the other, the reality is that the two volumes that
Mademoiselle Boulanger has already received from you are not those I had intended for her. In
this case, I ask you to please send Mademoiselle Boulanger, 36 rue Ballu, Paris, 9e, the three
volumes that you still have at my disposal in your archives.
Thank you in advance and excuse the inconvenience.
�
Stravinsky à Boulanger
(au début, une copie d’une lettre destinée à Antonio Ghiringhelli, Italie)
(COPIE)
Dr. Antonio Ghiringhelli
Sovrintendente
Teatro alla Scala
Milan (Italie)
13 février 1952
Cher ami,
Merci de votre lettre du 7 fevrier qui eclarait pour moi la confusion entourant la question des
volumes du Rake’s Progress.
Quelle que soit la provenance des uns ou des autres, il se fait que les deux volumes que
Mademoiselle Boulanger a deja recus de vous ne sont pas ceux que je lui destinais. Dans ces
conditions, je vous prie de bien vouloir envoyer a Mademoiselle Boulanger, 36 rue Ballu, Paris,
9e
, les trois volumes que vous avez encore a ma disposition dans vos archives.
Merci d’avance et excusez le derangement ainsi cause.
�
1952
Antonio Ghinghelli
Author: Igor Stravinsky
Boosey & Hawkes
Recipient: Nadia Boulanger
The Rake's Progress
-
https://digex.lib.uoguelph.ca/files/original/3094ef26e939087f7264c6c837ee693a.pdf
f994045dfc018424a730c21dfbeb3e5e
https://digex.lib.uoguelph.ca/files/original/1db36f744c6413f23f30948fb1d59a48.pdf
e021d0906ed49063bddf15370b7c3fbf
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, 8 December 1951
Creator
An entity primarily responsible for making the resource
Igor Stravinsky
Subject
The topic of the resource
Nadia Boulanger
Source
A related resource from which the described resource is derived
Bibliothèque nationale de France
Date
A point or period of time associated with an event in the lifecycle of the resource
8 December 1951
Type
The nature or genre of the resource
Letter
1951
Author: Igor Stravinsky
Boosey & Hawkes
Nadia Location: New York
Oedipus
Rake
Recipient: Nadia Boulanger
Symphony of Wind Instruments
-
https://digex.lib.uoguelph.ca/files/original/fe16edc4ead3483665137a5b4f1ebd92.pdf
43b3b9ba033c5f4ba230390aa7341bc6
https://digex.lib.uoguelph.ca/files/original/4f1baad905aa9da9423a73046009d4dd.pdf
45daa43e40dbf4b58a081abb5b24240e
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Boulanger and the Stravinskys, Chapter 4
Description
An account of the resource
English translation and transcription of French originals from Chapter 4 of Kimberly Francis, Nadia Boulanger and the Stravinskys (University of Rochester Press, 2018)
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Chapter 4, 27 April 1951
Creator
An entity primarily responsible for making the resource
Igor Stravinsky
Subject
The topic of the resource
Nadia Boulanger
Source
A related resource from which the described resource is derived
Bibliothèque Nationale De Paris
Date
A point or period of time associated with an event in the lifecycle of the resource
27 April 1951
Type
The nature or genre of the resource
Letter
UG
Extracted Text
Stravinsky to Boulanger
1260 North Wetherly Drive
Hollywood 46 California
Mademoiselle Nadia Boulanger
36 rue Ballu
Paris—9th (France)
April 27, 1951
My dear Nadia,
A thousand thanks for your very kind letter of April 11 (Cap d'Antibes).
I signed a contract with the Biennale to conduct the premiere of The Rake's Progress at the
Venice Festival on September 10. But it seems that my editor [at] Boosey & Hawkes was more
or less further along with things at la Scala and, to avoid trouble, (which, personally, shouldn't
concern me) he is looking to find a compromise of a nature that satisfies the Biennale as much as
la Scala and myself. [A compromise] of the sort that would allow for la Scala to participate in the
Festival, because as far as I’m concerned I do not want to modify the time of my arrival in Italy,
which must be in Venice, rather than Milan.
I have indeed heard murmurs of Markevitch’s success with Le Sacre but I did not know that he
had done Mavra and Perséphone. I knew that he had conducted Orphée at the Venice Biennial in
1949, but I did not know that he had given concert performances of it.
The opera is finished except for the short Prelude that I am in the process of composing; there
will not be an overture. I still have lots of work because Boosey & Hawkes are printing the
piano/vocal score, and I am constantly receiving proofs from Germany to correct.
I am really counting on us seeing one another in Venice . . . But what madness awaits us there!!!
Théodore's family will come from Switzerland with Kitty, and Milène and André (who will be in
Nice this summer) will also pop by.
Write me always dear Nadia, telling me a bit more about yourself. All my love, unfortunately, as
always, with great haste.
Your
I Str.
[P.S.] Where and when did you give the lectures (on my music) that you speak of? And what has
become of Gunsbourg’s beautiful project in Monte-Carlo? There’s been no word.
�
Stravinsky à Boulanger
1260 North Wetherly Drive
Hollywood 46 California
Mademoiselle Nadia Boulanger
36 rue Ballu
Paris—9eme (France)
27 avril 1951
Chere Nadia,
Merci mille fois de votre si bonne lettre du 11 avril (Cap d’Antibes).
J’ai signé un contrat avec la Biennale pour diriger la premiere du Rake’s Progress au Festival de
Venise le 10 Septembre. Mais il semble que mon editeur Boosey & Hawkes s’etait plus ou moins
avancé vis-à-vis de la Scala et, pour s’eviter des ennuis, (qui, personnellement, ne devraient pas
me toucher) il cherche a trouver un compromis de nature a donner satisfaction tant a la Biennale
qu’a la Scala et a moi-meme. En sorte qu’il est possible que la Scala participe au Festival car en
ce qui me concerne je ne veux pas modifier l’epoque de ma venue en Italie, ce qui implique
forcement Venise et non Milan.
J’ai en effet entendu parler du succes de Markevitch avec Le Sacre mais j’ignorais qu’il eut fait
Mavra et Persephone. Je savais qu’il avait dirige Orphee a la Biennale de Venise en 1949 mais
je ne savais pas qu’il en avait donne des executions de concert.
L’opera est termine sauf le court Prelude que je suis en train de composer ; il n’y aura pas
d’ouverture. J’ai encore beaucoup de travail car Boosey & Hawkes grave le piano-chant et je
recois sans cesse des epreuves a corriger d’Allemagne.
Je compte bien que nous nous verrons a Venise… Mais quelle agitation nous attend la-bas!!!Les
Theodore[s] y viendront de Suisse avec Kitty, et Milene et Andre (qui seront a Nice cet ete) y
feront aussi un saut.
Ecrivez-moi toujours chere Nadia, en me parlant un peu plus de vous-même. Je vous embrasse,
comme toujours malheureusement en toute hate.
Votre
I Str.
[P.-S.] Où avez-vous fait des conférences (sur ma musique) dont vous parlez et quand ? Et
qu’est-ce qui est devenu le beau projet de Gunsburg à Monte-Carlo ? On entend plus parler.
�
1951
André Marion
Author: Igor Stravinsky
Boosey & Hawkes
Igor Location: California
Igor Markevitch
Mavra
Milène Marion
Milène Stravinsky
Nadia Location: 36 rue Ballu
Orpheus
Perséphone
Raoul Gunsbourg
Recipient: Nadia Boulanger
The Rake's Progress
-
https://digex.lib.uoguelph.ca/files/original/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
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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 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