1 10 14 https://digex.lib.uoguelph.ca/files/original/61cad1237f3a0d4d72202fb931ad0188.pdf 782efb5804df2654e1a8419c8e858c58 https://digex.lib.uoguelph.ca/files/original/b712e4f3fd78286da305abe46a7646e4.pdf 9f78225372d7f656a5420cae77b480e0 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/602cf85e0a60892e0e1007f3002839fa.pdf f6c12e842c161e824b76cfd8ca802a41 https://digex.lib.uoguelph.ca/files/original/b8d27860f0af8176b11fa77d79746cda.pdf 329eeb00bd349e765996a9c2be2a6077 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/fee2429908044c1ac61b6058c3c69448.pdf 6343d3facd6326c23430e50987ad807a https://digex.lib.uoguelph.ca/files/original/a8033e95c9aea27efe76127c87a896b8.pdf c3232ff7068534175cb7f39b48b972cf 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/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/fbde59db503980776b536b0603757f78.pdf 32a9940774f29800bf93b7bde01ec1f6 https://digex.lib.uoguelph.ca/files/original/7bfd8a00406aa16e9a36f8fd86f051c4.pdf e3e1307cd07ccf0a972006fff26ca3e5 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/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/2f912daa3229a108f8cb4bae2c9fadf2.pdf a0fa87ef5735180abc0fae74783b671a https://digex.lib.uoguelph.ca/files/original/568cd800b62689705d54437d5aef85b5.pdf 53331791c9a9248f9b828bac05dad48f 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 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/607536e813926cd1996629fe3cb94c1e.pdf ef740a17f6773c6524a145331c261c42 https://digex.lib.uoguelph.ca/files/original/2bb04e42d1cfd4e07f208b2c0866eba2.pdf 1663a1d8aae679e8b08f037be1d8aa30 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 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