2 10 14 https://digex.lib.uoguelph.ca/files/original/3b66640685d6f853ece68db4d9025008.pdf a72f7ef7de8308976c71edb3b7b8d4d7 https://digex.lib.uoguelph.ca/files/original/da1632eea8dcbcf70f1ff5f042a6d913.pdf 1e76242cc197c30bab95757d57f289c5 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 March 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 23 March 1948 Type The nature or genre of the resource Letter UG Extracted Text Boulanger to Stravinsky 36 rue Ballu March 23, 1948 What can I say to you, my Friend, I understand. I rejoice for you, but I am sad, very sad. It was such a great and necessary happiness. We all needed you so much. The agreement (l’accord) that awaited you would have moved you. It cannot be so. It’s sad for us—a cruel disappointment. But I’m convincing myself that it’s better [this way], that you are right. Sorry for not being able to write you. I do nothing but produce variations on a single theme, [an] ostinato, and you would find me boredom personified. Therefore, having told you about my grief all the same, I thank you for this Orpheus that gives up a few more of its secrets to me every day [and] that has dazzled me with its beauty since the first reading. What a marvelous composition. What beautiful music. What order and what invention. Every . . . but what ridicule I set myself up for. I see myself explaining your own score to you. How naïve. I know well enough that in front of you we must listen and keep quiet. I only want to speak so as to provoke and incite your reactions. How far away they are, and so present, the beautiful, dear days spent at your house. I think of them with joy, and find in them an ever-renewed spring that nourishes and drives me. Dear Igor, Dear Vera, I love you tenderly. I discover this with renewed feeling following your seemingly certain arrival. And now Easter’s here. I remember its promise and again want to believe in our reunion, God knows where and when. With fondness, I am your NB P.S. Tell me what I owe you for the score. I am so happy to have it. I liked Haïeff’s article a lot! � Boulanger à Stravinsky 36 rue Ballu 23 mars 1948 Que vous dire, mon Ami, je comprends. Je me réjouis pour vous, mais je suis triste, très triste. C’était un si grand, un si nécessaire bonheur. Nous avions tous si grand besoin de vous. L’accord qui vous attendait vous aurait touché. Il n’en peut être ainsi, c’est un malheur pour nous, une cruelle déception. Mais je me persuade que c’est mieux, que vous avez raison. Pardon de ne pouvoir vous écrire, je ne ferais que des Variations sur un seul thème, ostinato, et vous me trouveriez l’ennui personnifié. Donc, vous ayant dit tout de même mon chagrin, je vous remercie de cet Orpheus qui chaque jour me livre un peu de ses secrets, avoir m’avoir ébloui par sa beauté dès la 1ère lecture. Quelle merveilleuse composition. Quelle belle musique. Quel ordre et quelle invention. Chaque…mais dans quel ridicule ne vais-je pas tomber. Je me vois vous expliquant votre partition. Comme on est naïf. Allons, je sais bien qu’il faut, devant vous, écouter, et se taire. Seulement j’ai envie de parler pour vous provoquer et susciter vos réactions. Qu’ils sont lointains, et si présents, les beaux, chers jours passés chez vous. J’y pense de la joie, et y trouve une source toujours renouvelée qui me nourrit, me pousser[sic]. Cher Igor, Chère Véra, je vous aime tendrement. Je le découvre, avec un nouveau sentiment, votre venue paraissant si sûre. Voici Pâques. J’en retiens la promesse et veux encore croire à notre réunion. Dieu sait où et quand. Je vous embrasse et suis votre, NB P.-S. Dites-moi ce que je vous dois pour la partition. Que je suis heureuse de l’avoir. Aimé beaucoup l’article de Haïeff ! � 1948 Alexei Haïeff Author: Nadia Boulanger Nadia Location: 36 rue Ballu Orpheus Recipient: Igor Stravinsky Vera Stravinsky https://digex.lib.uoguelph.ca/files/original/63096cc89a84965c236ac071ba72cab7.pdf 1f262a7c7d0d86345e76bc7d11a9c646 https://digex.lib.uoguelph.ca/files/original/dacb40ab4e5cdf9bcaf93ae4d9821b9a.pdf 55cea4b26a7a8e6de8ca6ce654e3ebdb 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 February 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 14 February 1948 Type The nature or genre of the resource Letter UG Extracted Text Boulanger to Stravinsky February 14, 1948 Dear Igor, Official letter today. It has to do with assigning the Lili Boulanger award. If you agree, we could give $250 to Paul DesMarais and $350 to Claudio Santoro, a young Brazilian, a very talented, true musician, and great worker. In the event that you would be ready to agree to this project, the ballot is attached here. You only have to sign it and return it. I play Orpheus all day long. We are overwhelmed by this score where everything is in harmony and everything seems new, now and always. I seem rather stupid, but I assure you that I have heard and understood everything, and that I am very proud to love you so much, you whom I admire more than I know how to say. It seems that I destroy your secrets. And this orchestration, these relationships, these distances. This writing—the score sings in my ears and its order is in my spirit. You cannot help me anymore. It is entirely my fault, but I suffer for it. To Vera and to you, all my love, N � Boulanger à Stravinsky 14 February 1948 Cher Igor, Lettre officielle aujourd’hui. Il s’agit de décerner le Lili Boulanger award. Si vous êtes d’accord on pourrait donner $250 à Paul DesMarais et 350 à Claudio Santaro, un jeune Brésilien, très doué, vrai musicien, grand travailleur. Dans le cas où vous soyez prêt à souscrire à ce projet, un bulletin est joint. Vous n’aurez qu’à le signer, et le renvoyer. Je joue Orpheus toute la journée. Nous sommes bouleversés par cette partition où tout s’accorde où tout est nouveau et semble de toujours. J’ai l’air très bête, mais je vous assure que j’ai tout entendu, compris, et que, je suis très fière de tant vous aimer, vous que j’admire plus que je ne sais dire. Il me semble que je détruis vos secrets. Et cet orchestre, ces rapports, ces distances. Cette écriture, la partition chante dans mes oreilles et son ordre dans mon esprit. Vous ne m’aidez plus. C’est bien de ma faute, mais, j’en ai de la peine. A Vera, à vous, de toute ma tendresse, N � 1947 Author: Nadia Boulanger Claudio Sentaro Orpheus Paul DesMarais Recipient: Igor Stravinsky Vera Stravinsky https://digex.lib.uoguelph.ca/files/original/1ac2e830f7c1910ee420dd8dafd8d4c1.pdf f9dc6ca70215b1cc7a5f357e65ad07da https://digex.lib.uoguelph.ca/files/original/55365aecae9fe0f14a6328f1e50b2640.pdf f2e6866cf4ae3880d6ec89cb49530df6 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, 19 April 1947 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 19 April 1947 Type The nature or genre of the resource Letter UG Extracted Text Stravinsky to Boulanger Hollywood Miss Nadia Boulanger 36 rue Ballu, 9th Paris, France April 19, 1947 Carissima Nadia, Instead of Paris, here we are embarking for Washington, where Mrs. Bliss is waiting for me for my Dumbarton Oaks Concerto that I will conduct in Dumbarton Oaks itself. It's been nine years since you yourself conducted the premiere. Your shadow (or rather your light) will be evoked with dignity. We are passing through NY where I am rehearsing with the musicians. The concert at Dumbarton O. is April 25 and the next day the same program in public. The program: Vivaldi D Minor Concerto Mozart Divertimento in D Major (no. 11) with oboe and two horns Stravinsky D.O. Concerto Falla Harpsichord Concerto Stravinsky D.O. Concerto (second time) The decision to postpone our trip to Europe was very beneficial for me even though I had to live through some rather difficult times before regaining my equilibrium and continuing my work. This work, as you probably know, is Orpheus. Balanchine is expecting it in the autumn. Its premiere—probably the end of November. Two thirds (including orchestration) already done. I have great hopes that you will like this music. What a joy to finally have Milène here and also to see her so happy. All three of them shine with happiness. Attached are two little pages that require your signature, without which it’s impossible to renew the registration on your car. Vera, who's packing the suitcases right now and who sends you her love, lent this car to a young man just back from the war who had not a cent to his name but who has a wife and two children. You will make this young man happy in returning these two little sheets filled in with your kind signature to us,* if possible by return post (and by air mail). I will write to you after our return from Washington, i.e., after May 4, and in the meantime please find here, carissima Nadia, my affectionate love and many, many kisses from, Always yours, I Str �[P.S.] Have you received my Ode, that has finally been published? This is not so that you thank me, but to know if it reached you. *Before a Witness (and their address). Don’t forget a legal signature complete with a “stamp.” � Stravinsky à Boulanger Hollywood Miss Nadia Boulanger 36 rue Ballu, 9ème Paris, France 19 avril 1947 Carissima Nadia, Nous voila au lieu de Paris, embarques pour Washington ou Mme Bliss m’attent [sic] pour mon Dumbarton Oaks Concerto que je dirigerai a Dumbarton Oaks meme. Il y a 9 ans vous l’aviez dirige vous en premiere. Votre ombre (plutôt votre lumière) sera evoquee dignement. Nous passons par NY ou je repete avec les musiciens. Le 25 avril le concert a Dumbarton O. et le lendemain le meme programme en public. Le programme : Vivaldi Concerto en RE min Mozart Divertimento en RE maj. (No. 11) avec Hautb. Et 2 Cors Stravinsky D.O. Concerto Falla Concerto p. Clavecin Stravinsky D.O. Concerto (deuxieme fois) La decision d’ajourner notre voyage en Europe fut tres salutaire pour moi bien que j’ai [sic] du [sic] passer par des journees assez penibles avent de reprendre l’equilibre et de continuer mon travail. Ce travail, comme vous le savez probablement, est Orphée. Balanchine l’attend pour l’automne. Sa premiere—probablement fin novembre. Deux tiers (orchestration comprise) deja faites. J’ai grand espoir que vous aimerez cette musique. Quel bonheur d’avoir enfin Milene ici et aussi de la voir si heureuse. Tous les trois rayonnent de bonheur. Ci-joint deux petites feuilles qui reclament votre signature sans laquelle impossible de renouveler la license de votre voiture. Vera qui fait les bagages en ce moment-ci et qui vous envoie ses affections, preta cette voiture a un jeune homme revenu de la guerre qui n’a pas le sou mais qui a une femme et deux enfants. Vous le rendrez heureux, ce jeune homme, en nous renvoyant ces deux petites feuilles munies de votre sympathique signature, *) si possible par ret. du cr. et par avion. Je vous ecrirai apres notre retour de Washington, c. a d. apres le 4 mai et en attendant veuillez trouver ici carissima Nadia my affectionate love and many, many kisses from Always yours I Str �[P.-S.] Avez-vous recu mon Ode, enfin parue ? Ce n’est pas pour que vous me remerciez mais pour savoir si cela vous est parvenu. *before a Witness (et son adresse) ; ne l’oubliez pas, c. a d. signature legalise [sic] avec un “stamp” � 1947 Author: Igor Stravinsky Dumbarton Oaks Concerto George Balanchine Igor Location: California Mildred Woods Bliss Milène Marion Nadia Location: 36 rue Ballu Orpheus Recipient: Nadia Boulanger Vera Stravinsky Wolfgang Amadeus Mozart https://digex.lib.uoguelph.ca/files/original/b60702a21a81de75cddef84c5c48d451.pdf 6b64770c6deaa3dcd492370bcb2f1964 https://digex.lib.uoguelph.ca/files/original/eb821fdf5ad3e965c81dcb439851cf64.pdf a882935e9dea53db1b69f6fc60c3481d 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, Undated 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 Undated Type The nature or genre of the resource Letter UG Extracted Text Boulanger to Stravinsky 36 rue Ballu Paris, IXème [N.D.] Dear Friend, How can I tell you what these rehearsals and concert were like. The Symphonie en ut, Orpheus, the Chant du Rossignol. A perfect performance: clean, honest, intelligent. Another rehearsal, and relaxation (l’aisance) would have given a je ne sais quoi that was lacking in places. But on the whole, good. All of us . . . we all rediscovered Rossignol (outstanding soloists), the Symphonie, and we all discovered Orpheus. How marvelous, what a sound. Everything was surprising, everything was obvious. You know better than I the extraordinary quality of this material, which determines the entire character of the work by its very nature. We are continually surprised at each interval, with each instrument, each connection seems new. And the sound, because never again [will it] be assembled just so, placed just so. Everything is found, everything is known, everything is discovered. One feels the joy you must have had, you must have known how to seize and organize [it]. You are extremely lucky. I don’t have the time to try to impress you, without a doubt. I told you everything I heard note by note. And you’ll see that I believe nothing has escaped me. Only, every time I pick up the score it is the same, stunning delight. It will always be the first time, because this music preserves the freshness of its surprises and its evidence. How I love this score, how beautiful, harmonious, alive, [and] unexpected it is. But enough—I feel ridiculous and I know that I am, [because] to speak to you about things that surpass me in all respects is inconceivable. Orchestra was dazzled by the richness of Rossignol, [which] was dominated by simplicity, the melodies of Orpheus, of the Symphony, and the new shape it is clearly taking. The harpist understood, admirably, after being shocked at seeing so few glissandi markings. But she played better than anyone, and understood everything and succeeded. Ah, how I so want to say: here and there, this and that. I want to dazzle you but no, I want to thank you. What direction, what style, what a benefit from this music . . . . It is difficult to leave you, but this letter is poorly written . . . and if I continue I will just be setting my confused and disorganized effusions next to the transparency and balance [of your music]. My affection, and my deep pride in loving you so much, Your faithful Nadia P.S. My affection to Vera and to all. How I would like to see you!!! � Boulanger à Stravinsky 36 rue Ballu, 9 Téléph. Trinité 90-17 Cher Ami, Comment vous dire ce qu’ont été ces repétitions [sic] et ce concert. La Symphonie en Ut, Orpheus, le Chant du Rossignol. Exécution bien mise au point, propre, honnête, intelligente. Encore une répétition, et l’aisance aurait donné ce je ne sais quoi qui manquait par endroits. Mais ensemble bien. Nous, tous…tous de retrouver Rossignol (solistes épatants) la Symphonie, tous de découvrir Orpheus. Quelle merveille, quelle sonorité, tout surprenant, tout évident. Vous savez mieux que moi l’extraordinaire qualité de cette matière—qui détermine par son être même, tous le caractère de l’œuvre. On passe de surprise en surprise chaque intervalle, chaque instrument, chaque rapport semble neufs [sic]. Et le son—car jamais encore ainsi assembler[sic], ainsi placés. Tout est trouvé, tout est connu, tout est découverte. On sent la joie que vous avez dû avoir, que vous avez su saisir, et organiser. Vous avez une chance folle, je n’ai pas le temps, sans cela, pour vous épater, sans doute. Je vous disais, note par note tout ce que j’ai entendu. Et vous verriez que je crois que rien ne m’a échappé. Seulement, chaque fois que je reprends la part[ition] c’est le même ravissement étonné. Ce sera toujours la 1ère fois, parce que cette musique garde, fraîches, ces surprises, ces évidences. Que j’aime cette partition, qu’elle est belle, harmonieuse, vivante, imprévisible. Mais assez, je me sens ridicule, et sais l’être, parler de ce qui vous dépasse de toutes parts, et à vous, c’est inconcevable. Orchestre ébloui par la richesse de Rossignol dominé par la simplicité, les mélodies d’Orpheus de la symphonie, et du nouvel aspect qu’il se voit prendre. La harpiste a compris, admirablement, après s’être étonnée de l’écriture si peu « glissandi ». Mais elle a joué on ne peut mieux, et à tout compris, et réussi. Ah—que j’ai envie de dire : ici—et là, et ceci, et cela, j’ai envie de vous éblouir mais non, j’ai envie de vous remercier. Quelle direction, quel style –quel bienfait qu’une telle musique…Difficile de vous quitter, mais ces mots sont mal composés…et je vais seulement faire jaillir à coté de cette transparence, de cet équilibre la confusion des enthousiasmes désordonnés ! Je vous embrasse, et me sens très fière de tant vous aimer Votre fidèle Nadia P.-S. Ma tendresse à Vera et à tous ! Que je voudrais vous voir !!! � 1946 Author: Nadia Boulanger Le Chant Du Rossignol Nadia Location: 36 rue Ballu Orpheus Recipient: Igor Stravinsky Vera Stravinsky