1
10
14
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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 6
Description
An account of the resource
English translation and transcription of French originals from Chapter 6 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 6, 3 October 1960
Creator
An entity primarily responsible for making the resource
Théodore Stravinsky, Théodore Strawinsky
Subject
The topic of the resource
Nadia Boulanger
Source
A related resource from which the described resource is derived
Bibliothèque nationale
Date
A point or period of time associated with an event in the lifecycle of the resource
3 October 1960
Type
The nature or genre of the resource
Letter
UG
Extracted Text
Théodore Strawinsky to Boulanger
Geneva
October 3, 1960
Dear Nadia,
Denise and I have just come back from Venice and I found your letter. Thank you for these lines,
thank you for your thoughts, and above all thank you for your faithful friendship: it is so precious
to us.
A present where the past ceases to remain alive would seem suspicious to me, not to mention a
lie. And I am certain that the past is not dead for my father, but he shrouds in self-imposed
silence—in addition to a certain innate sense of “modesty”— the whole array of exterior
circumstances we know of.
We found him quite disabled because of his leg, which he can no longer rehabilitate—which
humiliates him a lot and distresses us. He conducted Orpheus and Monumentum Gesualdo
without excessive fatigue. These are not exactly the types of works to be appreciated by the
public of Venice . . . Your presence (which we had hoped for) and the reassurance of your
friendship were very much missed!
When will you see us, dear Nadia? Kitty joins Denise and myself in sending you our love, and
we want to tell you of our great devotion and our affection,
Théodore
�
* * *
Théodore Strawinsky à Boulanger
Genève
3 octobre 1960
Chère Nadia,
Nous venons, Denise et moi, de rentrer de Venise et je trouve votre lettre. Merci pour ces
lignes, merci de vos pensées, merci surtout de votre amitié fidèle : elle nous est si
précieuse.
Un présent où le passé ne resterait pas vivant me paraitrait suspect pour ne pas dire
mensonger. Et je suis certain que le passé n’est pas mort pour mon père, mais il
l’ensevelit dans un silence s’imposer [sic]—plus qu’une certain « pudeur », native chez
lui—tout le faisceau de circonstances extérieur que nous savons.
Nous l’avons trouvé bien handicapé à cause de sa jambe et de cela il ne peut plus le
remettre—ce qui l’humilie beaucoup et nous bouleverse. Il a dirigé sans excessive fatigue
Orphée, et Monumentum Gesualdo. Ce ne sont pas là précisément des œuvres faites pour
être appréciés par le public de Venise…Votre présence (que nous espérions) et le
réconfort de votre amitié nous y ont tellement manqué !
Quand vous verrons-nous, chère Nadia ? Kitty se joint à Denise et à moi pour vous
embrasser et vous dire notre grand dévouement et notre affection.
Théodore.
�
1960
Author: Théodore Stravinsky
Denise Stravinsky
Denise Strawinsky
Kitty Stravinsky
Monumentum pro Gesualdo
Orpheus
Recipient: Nadia Boulanger
Théodore Stravinsky
Theodore Strawinsky
Théodore Strawinsky Location: Genève
-
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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, 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/61cad1237f3a0d4d72202fb931ad0188.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 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, 11 April 1951
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
11 April 1951
Type
The nature or genre of the resource
Letter
UG
Extracted Text
Boulanger to Stravinsky
Cap d’Antibes, Alpes
36 rue Ballu, Paris
Mr. Igor Strawinsky
1260 N. Wetherly Drive
Hollywood 46
California
U.S.A.
April 11, 1951
Dear Friend,
Where to begin? First with questions, one above all the others: Your opera, will it take place in
Venice? When?
Please, let me know, because I would like to change all my plans in order to hear it.
I’ve just given two lectures on you. Not good, not complete, they need more work. But I have
reread all your music in one go . . . and . . . but what can any of that do for you. Yet, in the end,
among all those who know this work the best, where everything is different and everything has
come at the same time, I feel myself very unworthy of so great an honor. The audience was
excellent, an outstanding reaction. In Cannes!! In Nice!!
I write to you like I write to all the others, but, God knows how much I love you, and I feel
myself close to you. But I cannot for a single moment forget my reverence, my gratitude [to
you]. And there you are all alone, so high above, separated from us forever and ever. What a sad
story, because in the grand scheme of things, you are also a man like us and need us to surround
you, to fawn over you, to joke with you. I cannot.
Well, my beautiful letter finishes abruptly. I look around me, I say to myself: I will tell him, and .
. . nothing seems to me worthy of taking up your time. How peaceful you would be if everyone
were stricken by the same paralysis.
One day, I’ll speak to you of some young people who merit your attention, of some books that
are worth your reading. But as for the artistic and musical life, I will have the courage, no, might
I say the charity, to tell you nothing.
Did you know about the marvelous performances they tell me Markevitch has given of Le Sacre,
Perséphone, Orpheus? I can believe it without any difficulty, because he worked [hard] and
understood.
How I miss you, and how sad it is not to see you anymore. The sofa is waiting for me, I
remember every minute. Why is the world so troubled, California so far, and trips so
complicated?
�Know that I forget nothing, it’s the same as telling myself: You, and all that you are, are part of
my own life.
My affection, my tenderness, and my fondness to both you and Vera
Nadia B.
[P.S.] Thank you—thank you for the card. It was ravishing.
�
Boulanger à Stravinsky
Cap D’Antibes, Alpes
NB
36 rue Ballu, Paris
Monsieur Igor Strawinsky
1260 N. Wetherly Drive
Hollywood 46
Californie
USA
11avril 1951
Cher Ami,
Par vie commencer [où] ? D’abord des questions, l’une qui domine toutes les autres :
Votre opéra, passe-t-il à Venise ? Quand ?
Please, une réponse, car pour l’entendre, je voudrais modifier tous mes plans.
Viens de faire 2 conférences sur vous. Pas bonnes, pas complètes, il s’en faut. Mais j’ai relu
toute votre musique, d’un coup—et…mais qu’est-ce que cela peut bien vous faire. Enfin, je me
sens très indigne d’un si grand honneur—et pourtant parmi ceux qui connaissent le mieux cette
œuvre où tout est différent et tout est venu d’un même jour ci [sic]. Public excellent, réaction
épatante—à Cannes !! à Nice !!
Je vous écris, comme j’écris aux autres, mais, Dieu sait si [sic] je vous aime, et me sens proche
de vous. Mais, je ne peux un seul instant oublier ma réverence [sic], ma gratitude—et vous voilà
tout seul, très haut, séparé de nous à tout jamais. Quelle triste histoire, car, tout compte fait,
vous-êtes aussi un homme comme nous et avez besoin qu’on vous entoure qu’on vous cajole,
qu’on blague. Je ne peux pas.
Alors, me belle lettre finit court—je regarde autour de moi, je me dis : je vais lui raconter,
et…rien ne me parait valoir de prendre votre temps. Ce que vous seriez tranquille, de tout le
monde était saisi d’une même paralysie.
Un jour, vous parlerai de quelques jeunes qui méritent votre attention, de quelques livres qui
valent que vous les lisiez. Mais de tout ce qui fait la vie musicale artistique j’aurai le courage,
non, que dis-je, la charité de ne rien vous dire.
Avez-vous su les exécutions merveilleuses, me dit-on que Markevitch a donné du Sacre, de
Perséphone, d’Orpheus. Je le crois sans peine, car il a travaillé, et compris.
�Que vous me manquez—et que c’est triste de ne plus vous voir—le canapé m’attend, je revois
chaque minute. Pourquoi le monde est-il si troublé, la Californie si loin, et les voyages si
compliqués.
Sachez que je n’oublie rien, même quand je me dis. Vous—et tout ce qui est vous—est [sic]
partie de ma propre vie.
Je vous embrasse et vous dis à Vera et à vous ma tendresse, mon attachement
Nadia B.
[P.-S.] Merci—merci de la carte, ravissante
�
1951
Author: Nadia Boulanger
Igor Location: California
Le Sacre Du Printemps
Nadia Location: 36 rue Ballu
Orpheus
Perséphone
Recipient: Igor Stravinsky
Rite of Spring
Vera Stravinsky
-
https://digex.lib.uoguelph.ca/files/original/607536e813926cd1996629fe3cb94c1e.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 4
Description
An account of the resource
English translation and transcription of French originals from Chapter 4 of Kimberly Francis, Nadia Boulanger and the Stravinskys (University of Rochester Press, 2018)
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Chapter 4, 25 November 1950
Creator
An entity primarily responsible for making the resource
Nadia Boulanger
Subject
The topic of the resource
Igor Stravinsky
Source
A related resource from which the described resource is derived
Paul Sacher Stiftung
Date
A point or period of time associated with an event in the lifecycle of the resource
25 November 1950
Type
The nature or genre of the resource
Letter
UG
Extracted Text
Boulanger to Stravinsky
36 rue Ballu
Paris IX
Mr. Igor Strawinsky
1260 N. Wetherly Drive
Hollywood 46
California
U.S.A.
November 25, 1950
My thoughts are always close to you, Dear Igor, but with such particular emotion when
November 30 approaches. I know, dates are nothing and change nothing. But they bring us close:
some in the happiness of being reunited, and others in the certainty that nothing separates those
who love one another.
Saw Théodore recently, so well; spoke of little Kitty, so happy around him and Denise. To see
her—serious, deep, gentle—one imagines how much like her mother she is, and it is a great joy
to know she is in these new surroundings, among family.
I did not speak to you about a recent performance of Orphée—rather unpleasant, with cuts that
would merit violent objections if the intelligence of the work had not been drawn out with the
greatest reluctance. Otherwise, it was not as bad as I seem to insinuate, but [it was] far from what
this marvelous score deserves. But . . . It is always the blindness of the disciples at Emmaüs.
They don’t want to see, and always see too late. Their blind, undiscerning infatuation, suddenly,
with Bartok is all the more shocking given their long indifference toward him. Let’s not shock
you. It is the eternal story—but let’s remain exasperated. The door is opened, everyone enters,
and the result is catastrophic. Time passes and gently things take their place again. And despite
all the misunderstandings, Bach is doing very well (se porte fort bien), and so are you.
Your Mass conquered all spirits at Solesmes. They, well, they understood, and this made up for
the rest. What’s more, when one sees the excitement around the revival of Siegfried and its
sequel, one understands the confusion of the poor public, which could pretend to be a little better
guided. It’s Wagner, Strauss, the Schoenberg school, that are presented as trends across the
world, and the world is not finding them particularly enjoyable. They take it in rather poorly.
Happily, among the young people who pay attention, the trend is good. There is a heavy
dodecaphonic offensive, but it will not hold its position for long.
Have you ever heard Wozzek [sic]?
We’ve just carefully worked on Renard—what a pity to not have the orchestration for it. It is a
famous score, which is difficult at first but becomes so natural. But there, too, the judgement is
distorted. At the heart of it, people do not know the music. There’s a lot of literature, a pseudo-
philosophy, but it’s impossible to perform any of the rhythms without upsetting these old
mechanical habits a little.
�I wasn’t able to accept Koussevitzky’s offer nor that of Juilliard and can’t console myself when I
tell myself that it was the way to see you. But really, we aren’t leaving [one another] right now.
And that which ought to be done cannot be abandoned.
Give Vera my love, and know how deeply I am always with you, Dear Igor. I love you so.
Nadia
[P.S.] How terrible! I did not thank you for your records, and yet, what a joy it was to hear the
Mass. I’ll enlighten you: every bit of the work is essential. Thank You.
�
Boulanger à Stravinsky
36 rue Ballu
Paris IX
Monsieur Igor Strawinsky
1260 N. Wetherly Drive
Hollywood 46
Californie
U.S.A.
25 novembre 1950
Toujours ma pensée est près de vous, Cher Igor, mais avec quelle particulière émotion quand
approche le 30 novembre. Je sais, les dates ne sont rien, et ne changent rien. Mais elles nous
rapprochent, les unes dans le bonheur d’être réunis, les autres, dans la certitude que rien ne
désunit ceux qui s’aiment.
Vu dernièrement Théodore, si bien ; parlé de la petite Kitty, si heureuse auprès de lui et de
Denise. A la voir, serieuse [sic], profonde, gentille, on devine de quel regard sa petite Maman la
sérierait [sic], et c’est un grand bonheur de la savoir à nouveau entourée, dans sa famille.
Je ne vous parle pas d’une récente exécution d’Orphée—assez sinistre, avec des coupures qui
justifieraient une violente réclamation, si l’intelligence de l’œuvre n’amenait pas, de plus graves
réticences. D’ailleurs, pas si mauvaise que j’ai l’air de l’insinuer, mais loin de ce que mérite cette
merveilleuse partition. Mais…C’est toujours l’aveuglement des disciples d’Emmaüs. Ils ne
veulent pas voir, et voient toujours trop tard. Leur engouement aveugle, soudain, sans
discernement pour Bartok est plus choquent encore que leur longue indifférence à son égard. Ne
vous frappons pas. C’est l’éternelle histoire—mais restons exaspérés. On a ouvert la porte, tout
le monde entre, et le résultat est catastrophique. Le temps passe, et tous gentiment, les choses se
remettent à leur place, et malgré toutes les incompréhensions, Bach se porte fort bien, et vous
aussi.
Votre [M]esse a conquis tous les esprits à Solesmes, eux, ils ont compris et ceci compense cela.
D’ailleurs quand on voit le battage fait autour de la reprise de Siegfried et de la séquelle, on
comprend la confusion du pauvre public qui pourrait prétendre à être un peu mieux guidé. C’est
Wagner, Strauss, l’école Schonberg, qui sont donnés comme phases, à travers le monde, et le
monde ne s’en trouve pas très bien, il digère avec peine.
Heureusement, parmi les jeunes qui retiennent l’attention, la tendance est bonne. Il y a une
lourde offensive dodécaphonique elle ne garde pas ses positions longtemps.
Avez-vous jamais entendu Wozzek [sic] ?
Nous venons de travailler avec soin Renard—quel dommage de n’en pas avoir l’orchestre. C’est
une fameuse partition, qui d’abord difficile, devient si naturelle. Mais là aussi le jugement est
faussé. Au fond, les gens ne savent pas la musique. Beaucoup de littérature, de fausse
�philosophie, mais impossible d’exécuter le moindre rythme bousculant un peu de vieilles
habitudes machinales.
N’ai pas pu accepter l’offre de Koussevitzky ni de Juillard, ne m’en console pas quand je me dis
que c’était le moyen de vous voir. Mais vraiment on ne « quitte » pas, en ce moment. Et ce qu’il
faut faire ne peut être abandonné.
Dites à Vera ma tendresse, et sachez de quel cœur je suis toujours avec vous, Cher Igor. Je vous
aime tant.
Nadia
P.-S. Quelle horreur ! Je ne vous remerciais pas des disques, et pourtant, quel bonheur d’entendre
la Messe. Vous écrirai, tout est capital dans cette œuvre. Merci.
�
1950
Author: Nadia Boulanger
Béla Bartók
Denise Stravinsky
Denise Strawinsky
Igor Location: California
Mass
Nadia Location: 36 rue Ballu
Orpheus
Recipient: Igor Stravinsky
Renard
Sergei Koussevitzky
Solesmes Abbey
Théodore Stravinsky
Theodore Strawinsky
Vera Stravinsky
Wozzeck
-
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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, 13 January 1950
Creator
An entity primarily responsible for making the resource
Soulima Stravinsky
Subject
The topic of the resource
Nadia Boulanger
Source
A related resource from which the described resource is derived
Bibliothèque Nationale De Paris
Date
A point or period of time associated with an event in the lifecycle of the resource
13 January 1950
Type
The nature or genre of the resource
Letter
UG
Extracted Text
Soulima Stravinsky to Boulanger
Hotel Hargrave
112 West 72 St.
New York City
January 13, 1950
My dear Nadia,
Let me tell you first and foremost that we will have the extreme joy of seeing you again in the
month of May. The Île de France will drop us off on May 10 and will collect us at the end of
June. I have to teach again this summer at the Academy of the West in Santa Barbara, starting in
July, which will cut our stay in France very short. But short as it is, we will be thoroughly
delighted to spend it with you.
We have left Los Angeles for good. There was no work for me there, and something depressing
about the climate. I’m happy to be in N.Y. for a few months with the prospect of more work here
in the winter than I’ve had in eighteen months in California.
A marvelous project is taking shape. I was asked to teach piano in a permanent capacity at the
University of Illinois where the Music Director, Mr. John Kuypers, whom you no doubt know, at
least by reputation, is a first-class musician. The business is settled in principle, with only
formalities to carry out. Among these are my letters of reference. I don't believe I could do better
than to ask you for this favor—all while [not] wishing to bother you about it. Two words from
you to Mr. Kuypers—University of Illinois, Urbana, Ill.—would lend enormous weight to this
application, which they are putting the greatest effort into, so as to [have it] approved. As always
in these cases, the interested persons have to present the thing to committees that are less
competent but upon which the final decision rests, and they wish to ensure the highest and the
best recommendations possible. Thank you in advance a thousand, thousand times.
My father is coming soon to N.Y. to conduct L’Oiseau de feu and Orphée with Balanchine.
Meanwhile Rake’s Progress, and it is so beautiful that there are no words . . .
Françoise asks me to send you her tender wishes. (Zizi) Jean is becoming a strong, disobedient,
but very kind boy. You would no longer recognize him. Personally, I have you so often in my
thoughts, you guide me from afar through all of my musical hesitations . . . With fondest wishes,
I am always your,
Soulima
�
Soulima Stravinsky à Boulanger
Hotel Hargrave
112 West 72 St.
New York City
13 janvier 1950
Chère Nadia,
Laissez-moi vous announcer [sic] tout d’abord que nous aurons l’extrème [sic] joie de vous
revoir au mois de mai. L’Ille [sic] de France nous déposera le 10 mai prochain et nous reprendra
fin juin. Je dois enseigner de nouveau cet été à l’Academy of the West à Sta. Barbara à partir de
juillet ce qui rend notre séjour en France très court. Mais si court qu’il soit nous vous en
réjouissons infiniment.
Nous avons quitté Los Angeles définitivement. Il n’y avait là aucune issue pour mon travail et
quelque chose d’assez dépriment dans le climat. Heureuse d’être à N.Y. pour quelques mois et
plus de travail ici en perspective pour cet hiver que je n’en ai eu en 18 mois à California.
Un projet merveilleux prend corps. On m’a demandé d’enseigner de piano d’une façon
permanent à l’University of Illinois dont le Directeur Musical, Mr. John Kuypers que vous
connaissez sans doute, du moins de réputation, est un musicien de premier ordre. L’affaire est
conclue au principe il reste à remplir les formalités. Il y a parmi celles-ci, l’article références. Je
ne crois pas pouvoir mieux faire que de vous demander cette faveur—tout en m’en voulant de
vous importuner. Deux mots de vous à Mr. Kuypers—University of Illinois, Urbana, Ill.,
donneraient un poids énorme à cette candidature qu’ils mettent la meilleure volonté du monde à
agréer. Comme toujours dans ces cas, les personnes intéressées ont à présenter la chose à des
comités moins compétant mais dont dépend la décision finale et elles tiennent à s’assurer le plus
et les meilleures recommandations possibles. Merci d’avance mille et mille fois.
Mon père viendra bientôt à N.Y. pour y diriger l’Oiseau de Feu et Orphée chez Balanchine. En
attendant Rake[’]s Progress et c’est si beau qu’il n’y a pas de mots…
Françoise me charge de vous embrasses tendrement. (Zizi) Jean devient un fort et désobéissant
mais très gentil garçon. Vous ne le reconnaîtrez plus. Moi, je vous ai si souvent en pensées, vous
guidez de loin tout de mes hésitations musicales…Je vous embrasse affectueusement et suis
toujours votre,
Soulima
�
1950
Author: Soulima Stravinsky
Françoise Stravinsky
George Balanchine
John Kuypers
Orpheus
Recipient: Nadia Boulanger
Soulima Stravinsky Location: New York City
The Firebird
-
https://digex.lib.uoguelph.ca/files/original/fbde59db503980776b536b0603757f78.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 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, 18 March 1949
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
18 March 1949
Type
The nature or genre of the resource
Letter
UG
Extracted Text
Stravinsky to Boulanger
1260 N. Wetherly Drive
Hollywood, California
March 18, 1949
Dearest Nadia,
Just a note accompanies this Latin version of my a cappella chorale works with which you are
familiar—“Pater Noster” and “Ave Maria.” I have just arranged this version for use in the
Catholic Church, of course, but it would certainly be desirable for Protestant churches to take
advantage of them as well.
Did you hear my Mass by Ansermet in London (BBC) not long ago? The BBC also performed
Orpheus.* I’ve just recorded both of them (Mass and Orpheus) in New York (Victor). Orpheus
will come out in September and the Mass at Christmas. I did the latter with children (not with
women, like Ansermet) who were unfortunately not quite of the highest level. Unlike in Europe,
here they don't have the tradition of training Discanti and Alti. However, I had to settle on the
children, because the presence of women's voices, however perfect they might be, would be a
much more serious error in the music of my Mass (for the sense and the spirit of this music) than
the imperfection of a children's choir.
Love,
I Str.
*I tremble at the idea of what the music of my poor Orpheus must have been in the hands of Mr.
Lichine and the Ballet des Champs Elysees!
�
Stravinsky à Boulanger
1260 N. Wetherly Drive
Hollywood, California
18 mars 1949
Dearest Nadia,
Juste un mot accompagnant cette version latine de mes chœurs a capella que vous connessez
[sic] —Pater Noster et Ave Maria. Je viens d’arranger cette version pour l’usage du culte
catholique bien entendu, mais il serait certainement souhaitable que les eglises [sic] protestante
en profitent eux aussi.
Avez-vous entendu dernierement ma Messe par Ansermet a Londres (BBC) ? Il y joua egalement
Orphée.* Viens d’enregistrer tous les deux (Messe et Orphée) a New York (VICTOR). Orphée
paraitra en Septembre et la Messe a Noel. Cette derniere, je l’avais fait avec des enfants (pas
avec des femmes, comme Ansermet) qui etaient malheureusement pas tout a fait de premier
ordre. Ici, ils n’ont pas, comme en Europe, la tradition des metrieses [sic] des Discanti et Alti.
Cependant j’ai du me decider pour les enfants car la presence des voix de femmes, aussi parfaites
soient-elles, dans la musique de ma Messe serait une imprudence bien plus grave (pour le sens et
l’esprit de cette musique) que l’imperfection d’un chœur d’enfants.
Love
I Str.
*Je tremble a l’idee [sic] de ce qui a du etre la musique de mon pauvre Orphée entre les mains de
Mr. Lishine et le Ballet des Champs Elysees !
�
1949
Author: Igor Stravinsky
Ave Maria
David Linchine
Igor Location: California
Mass
Orpheus
Pater Noster
Recipient: Nadia Boulanger
-
https://digex.lib.uoguelph.ca/files/original/ed0a53a8c4e0f7abf1982542d41f3971.pdf
cc3f2ad0c8684d6c76e11876635444cc
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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, 29 August 1948
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
29 August 1948
Type
The nature or genre of the resource
Letter
UG
Extracted Text
Boulanger to Stravinsky
36 rue Ballu, Paris IX
Trinité 90–17
August 29, 1948
So . . . you don’t love me anymore! I, who love you more all the time. Dear, Dear Igor. It is true
that there are obvious reasons for this crescendo and this fading. But . . . I don’t like to admit to
them. It’s also true that I hardly write you. It’s because I don’t see how my letters could amuse
you, let alone please you. I content myself therefore with playing your music constantly and
conversing with you, no, hearing you. What endless joy this renewal. What complete satisfaction
the score to Orpheus is. I am sending you the program from Bryanston. You cannot imagine
what took place there. These people, coming from all parts of society, have arrived, the nicest of
them believing themselves incapable of understanding you. And day after day, I have seen their
faces light up. They knew that they could not penetrate everything, but they loved your music—
and were so happy. These young men—criticism terrified them, but you conquered them. I
believe that you would have felt such joy in seeing their attention and their discovery.
Thank you for the armoire. Can you understand the childish yet contemplative pleasure I take in
organizing your music in it. You will never know.
I have found only one copy of the Couperin which, I’m sorry, I could not acquire for the
requested price. But I will find it, and you will have it.
How sad it is to no longer have Nini, Françoise, and the little one here. It was so nice, but I do
understand that Nini wasn’t able to allow himself to be far from you any longer, as he had been!
“And you,” you would say? “All these beautiful lines and you let me down?” I know, and I tally
all that I lose. But I have my work here, and obligations, and then . . . but no lyricism. I would
give I don’t know what to see Vera and you, to live close to your future music as well as with
your music that sheds light both on the present and the past. Because, thanks to you, I understand
better. We all understand better, the sound and real meaning of music.
I’ve just finished Fontainebleau, am dead, literally dead, but still have a small glimmer of
consciousness to tell you how much I love you.
To you all with all my heart,
NB
[P.S.] Thank you to Françoise and Nini for their letter.
�
Boulanger à Stravinsky
36 rue Ballu, Paris IX
Trinité 90-17
29 août 1948
Alors…vous ne m’aimez plus ! Moi qui vous aime tous les jours mieux. Cher Cher Igor. Il est
vrai, qu’il y a des raisons évidentes de ce crescendo et de cet évanouissement. Mais…je n’aime
pas à me les avouer. Il est vrai aussi que je ne vous écris guère. C’est que je ne vois pas en quoi
mes lettres pourraient vous distraire sinon vous plaire. Je me contente donc de jouer sans cesse
votre musique et d’échanger avec vous, non, de vous entendre. Quelle joie sans cesse [cette]
renouvelée. Quelle satisfaction complete [sic] que la partition d’Orpheus. Je vous envoie le
programme de Bryanston. Vous ne pouvez pas imaginer ce qui s’est passé là. Ces gens, venus de
toutes les parts de la société, sont arrivés, les plus sympathiques, se croyant incapables de vous
comprendre. Et jour après jour, j’ai vu leur visage s’épanouir. Ils savaient qu’ils ne pouvaient
tous pénétrer, mais ils avaient aimé votre musique –et étaient si heureux. Ces messieurs, les
critiques les avaient épouvantés, vous les avez conquis. Je crois que vous auriez eu de la joie à
voir leur attention, et leur découverte.
Merci de l’armoire. Pouvez-vous comprendre le plaisir enfantin et réfléchir[sic] que j’ai à y
ranger votre musique à m’en servir. Vous ne le saurez jamais.
Je n’ai encore trouvé qu’un exemplaire du Couperin que, pardon, je ne pouvais pas acquérir au
prix demandé, mais il viendra, vous l’aurez.
Que c’est triste de ne plus avoir Nini, Françoise et le petit. C’était si gentil, mais je comprends
bien que Nini n’ait [sic] pas pu se priver plus longtemps d’être près de vous, comme il a bien fait
!
« Et vous, » me direz-vous ? « Toutes ces belles phrases et vous me laissez tomber ? » Je sais, et
je mesure tout ce que je perds. Mais j’ai mon travail ici, et des obligations, et puis…mais pas de
lyrisme. Je donnerais je ne sais quoi pour vous voir, Véra et vous, pour vivre près de votre
musique à venir autant qu’avec celle qui éclaire autant le présent que le passé. Car, grâce à vous,
j’entends mieux. Nous entendons tous mieux, le son, et le vrai sens de la musique.
Viens de finir Fontainebleau, suis morte, littéralement morte, mais ai encore une lueur de
conscience pour vous dire combien je vous aime.
À vous tous de tous cœur,
NB
Merci à Françoise et à Nini pr. leur lettre.
�
1948
Author: Nadia Boulanger
Bryanston Summer School
François Couperin
Françoise Stravinsky
Nadia Location: 36 rue Ballu
Nini
Orpheus
Recipient: Igor Stravinsky
Soulima Stravinsky
Vera Stravinsky
-
https://digex.lib.uoguelph.ca/files/original/602cf85e0a60892e0e1007f3002839fa.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 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, 11 July 1948
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
11 July 1948
Type
The nature or genre of the resource
Letter
UG
Extracted Text
Boulanger to Stravinsky
July 11, 1948
Dear Igor,
What a terrible shock for your poor Sokoloff, for you. What an arrival for Soulima. I imagine the
confusion, the distress of these days when such a great joy coincides with sadness.
Can you [imagine], have I ever let you know that everything that touches you is so close to me
that I believe I participate in it too? I never write to you [because] my letters are always so
hurried, of so little interest. But I never leave you, and I am much closer to you today than ever!!
I imagine you must be crazy about Zizi, and I hope that Françoise’s presence and kindness, and
that seeing her again with your son, are such a happiness for you, that they help you to bear the
sadness that befalls your friend and takes away from you such a close friend.
I’m writing you again these days to thank you for the armoire. I am so happy to have it—and to
speak to you about Orpheus. The orchestra sounds so unimaginably beautiful. The music is . . .
Well, this is why I don’t write you. I feel unworthy of speaking when I know only too well how
to keep quiet. Nevertheless, I know that not a note escapes me, and that I hear you! How I love
you, Dear Igor, and I am so happy to love you . . . as much as I admire you. Your dear Nadia is
very weak, but she is close to your heart and spirit, in a word.
Nadia
�
Boulanger à Stravinsky
11 juillet 1948
Cher Igor,
Quel affreux choc pour votre pauvre Sokoloff, pour vous. Quelle arrivée pour Soulima.
J’imagine le désarroi, la détresse de ces jours où une si grande joie coïncidait avec le malheur.
Pouvez-vous, vous ai-je jamais donné de savoir que tout ce qui vous touche, m’est si proche que
je crois y participer ? Je ne vous écris jamais[,] mes lettres sont si hâtives, de si peu d’intérêt.
Mais je ne vous quitte jamais et suis aujourd’hui bien plus près que jamais !!
Vous êtes fou de Zizi, je le devine, et j’espère que la présence, que la gentillesse de Françoise et
la revoir avec votre fils vous sont un si grand bonheur, qu’ils vous aident à supporter le malheur
qui frappe votre ami et vous enlève une amie si intime.
Vous récrirai ces jours-ci pour vous remercier de l’armoire. Je suis si heureuse de l’avoir—et
vous parler d’Orpheus, l’orchestre sonne d’une manière inimaginablement [sic] belle. La
musique est…Mais voilà pourquoi je ne vous écris pas. Je me sens indigne de parler quand je ne
sais que me taire. Mais je sais pourtant que pas une note ne m’échappe, et que je vous entends !
Que je vous aime, Cher Igor, et que je suis heureuse de vous aimer…autant que je vous admire.
Elle est bien faible, votre Nadia, mais elle est très près de votre cœur et de votre esprit, de vous
en un mot.
Nadia
�
1948
Author: Nadia Boulanger
Françoise Stravinsky
Lisa Sokoloff
Orpheus
Recipient: Igor Stravinsky
Soulima Stravinsky
-
https://digex.lib.uoguelph.ca/files/original/6cac4ed71aa39c56fc9cf50eddc3a427.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 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, 5 June 1948
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
5 June 1948
Type
The nature or genre of the resource
Letter
UG
Extracted Text
Boulanger to Stravinsky
36 rue Ballu
June 5, 1948
You cannot know, Dear Igor, the joy the package you sent brings me. Everything is such a
source of astonishment, joy, and amazement in this Orpheus. The more I understand you, the less
I dare say it to you. How [can I] judge myself worthy of speaking about something you dominate
so much.
Yet, from the first to the last notes I believe I heard everything. We play Orpheus from morning
until night, and without a doubt in a few days you will have put more than one young musician
back on the right path. You don’t know how they wait for you. They immerse themselves in your
music with a sort of greed. They come from far away and begin to understand the influences they
have escaped.
I would like to proceed measure by measure and tell you all of my little notes: such an
arrangement, such harmony, such connection—and to not seem ridiculous to you, show you for
yourself all of the beauty, all of what touches us in your score, every time . . . [but] enough, it
must bore you to death. I embrace you, thank you, and am crazy with joy at the thought of seeing
you again.
You know that I once again see all of the pleasant and the weighty hours with you and you never
leave my thoughts. How I await your arrival. It is an indescribable impatience. To Vera, Milène,
to André, and to you wholeheartedly,
Nadia
P.S. Would you please tell me what I owe you for the score? I would be too embarrassed if I
didn’t pay for it. Thank you again.
�
Boulanger à Stravinsky
36 rue Ballu
5 juin 1948
Vous ne pouvez pas savoir, Cher Igor, la joie que me cause votre envoi. Tout est une telle source
d’étonnement, de joie et d’émerveillement dans cet Orpheus. Plus je vous comprends, moins
j’ose vous le dire, comment se juger digne de parler de ce qu[e] vous dominez ainsi.
Pourtant dès les premières notes jusqu’aux dernières je crois avoir tout entendu. Nous jouons
Orpheus du matin au soir, et sans doute aurez-vous en quelques jours remis dans la bonne
direction plus d’un jeune musicien. Vous ne savez pas comment ils vous attendent. Ils se
plongent dans votre musique avec une sorte d’avidité, ils le[sic] viennent de loin et commencent
à comprendre [à] quelles influences ils ont échappé.
Je voudrais aller mesure par mesure et vous dire toutes mes petites remarques : telle disposition,
tel accord, tel rapport—et quitte à vous sembler ridicule, vous montrer à vous-même toutes les
beautés, tout ce qui nous touche dans votre partition, chaque fois…assez, tu es assommante. Je
vous embrasse, vous remercie et suis folle de joie à la pensée de vous revoir.
Vous savez que je revis avec vous toutes les heures douces et lourdes et que ma pensée ne vous
quitte jamais. Comment attendre votre arrivée. C’est une impatience indescriptible. A Vera, à
Milène, à André, et à vous du meilleur de mon cœur,
Nadia
P.S. Voulez-vous bien me dire ce que je vous dois pour la partition. Sans cela, je me sentais trop
gênée. Merci encore.
�
Author: Nadia Boulanger
Françoise Stravinsky
Lisa Sokoloff
Orpheus
Recipient: Igor Stravinsky
Soulima Stravinsky
-
https://digex.lib.uoguelph.ca/files/original/2f912daa3229a108f8cb4bae2c9fadf2.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 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 April 1948
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 April 1948
Type
The nature or genre of the resource
Telegram
UG
Extracted Text
Stravinsky to Boulanger
NADIA BOULANGER
36 RUE BALLU
PARIS, FRANCE
April 23, 1948
REGARDING ORPHEUS PERFORMANCE PLEASE CONTACT ROTH BOOSEY HAWKES
LONDON. LOVE STRAVINSKY
�
Stravinsky à Boulanger
NADIA BOULANGER
36 RUE BALLU
PARIS, FRANCE
APRIL 23, 1948
REGARDING ORPHEUS PERFORMANCE PLEASE CONTACT ROTH BOOSEY HAWKES
LONDON. LOVE STRAVINSKY
�
1948
Author: Igor Stravinsky
Ernst Roth
Nadia Location: 36 rue Ballu
Orpheus
Recipient: Nadia Boulanger