1 10 14 https://digex.lib.uoguelph.ca/files/original/f0ca0230d272f24cfae0249c8635719b.pdf 786d2f47fad0ec613a252a91e5d08676 https://digex.lib.uoguelph.ca/files/original/cf0483adf90abb593a5095613c8ad5cf.pdf c8cabb86e1cc476de31ca8a34d670f71 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 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 https://digex.lib.uoguelph.ca/files/original/6cac4ed71aa39c56fc9cf50eddc3a427.pdf 3e1a89bdd8f25e7dd7e8b8b79763df64 https://digex.lib.uoguelph.ca/files/original/98415e1cd81254a957c9b336d9b9c231.pdf 7a3372ad3a85a3af49d418da0de5e00d 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/ed0a53a8c4e0f7abf1982542d41f3971.pdf cc3f2ad0c8684d6c76e11876635444cc https://digex.lib.uoguelph.ca/files/original/59a0b28a10dfeef4b691c4c650e212eb.pdf f0ca19418215a87117b9d27f69815ae0 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/fe16edc4ead3483665137a5b4f1ebd92.pdf 43b3b9ba033c5f4ba230390aa7341bc6 https://digex.lib.uoguelph.ca/files/original/4f1baad905aa9da9423a73046009d4dd.pdf 45daa43e40dbf4b58a081abb5b24240e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Boulanger and the Stravinskys, Chapter 4 Description An account of the resource English translation and transcription of French originals from Chapter 4 of Kimberly Francis, Nadia Boulanger and the Stravinskys (University of Rochester Press, 2018) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chapter 4, 27 April 1951 Creator An entity primarily responsible for making the resource Igor Stravinsky Subject The topic of the resource Nadia Boulanger Source A related resource from which the described resource is derived Bibliothèque Nationale De Paris Date A point or period of time associated with an event in the lifecycle of the resource 27 April 1951 Type The nature or genre of the resource Letter UG Extracted Text Stravinsky to Boulanger 1260 North Wetherly Drive Hollywood 46 California Mademoiselle Nadia Boulanger 36 rue Ballu Paris—9th (France) April 27, 1951 My dear Nadia, A thousand thanks for your very kind letter of April 11 (Cap d'Antibes). I signed a contract with the Biennale to conduct the premiere of The Rake's Progress at the Venice Festival on September 10. But it seems that my editor [at] Boosey & Hawkes was more or less further along with things at la Scala and, to avoid trouble, (which, personally, shouldn't concern me) he is looking to find a compromise of a nature that satisfies the Biennale as much as la Scala and myself. [A compromise] of the sort that would allow for la Scala to participate in the Festival, because as far as I’m concerned I do not want to modify the time of my arrival in Italy, which must be in Venice, rather than Milan. I have indeed heard murmurs of Markevitch’s success with Le Sacre but I did not know that he had done Mavra and Perséphone. I knew that he had conducted Orphée at the Venice Biennial in 1949, but I did not know that he had given concert performances of it. The opera is finished except for the short Prelude that I am in the process of composing; there will not be an overture. I still have lots of work because Boosey & Hawkes are printing the piano/vocal score, and I am constantly receiving proofs from Germany to correct. I am really counting on us seeing one another in Venice . . . But what madness awaits us there!!! Théodore's family will come from Switzerland with Kitty, and Milène and André (who will be in Nice this summer) will also pop by. Write me always dear Nadia, telling me a bit more about yourself. All my love, unfortunately, as always, with great haste. Your I Str. [P.S.] Where and when did you give the lectures (on my music) that you speak of? And what has become of Gunsbourg’s beautiful project in Monte-Carlo? There’s been no word. � Stravinsky à Boulanger 1260 North Wetherly Drive Hollywood 46 California Mademoiselle Nadia Boulanger 36 rue Ballu Paris—9eme (France) 27 avril 1951 Chere Nadia, Merci mille fois de votre si bonne lettre du 11 avril (Cap d’Antibes). J’ai signé un contrat avec la Biennale pour diriger la premiere du Rake’s Progress au Festival de Venise le 10 Septembre. Mais il semble que mon editeur Boosey & Hawkes s’etait plus ou moins avancé vis-à-vis de la Scala et, pour s’eviter des ennuis, (qui, personnellement, ne devraient pas me toucher) il cherche a trouver un compromis de nature a donner satisfaction tant a la Biennale qu’a la Scala et a moi-meme. En sorte qu’il est possible que la Scala participe au Festival car en ce qui me concerne je ne veux pas modifier l’epoque de ma venue en Italie, ce qui implique forcement Venise et non Milan. J’ai en effet entendu parler du succes de Markevitch avec Le Sacre mais j’ignorais qu’il eut fait Mavra et Persephone. Je savais qu’il avait dirige Orphee a la Biennale de Venise en 1949 mais je ne savais pas qu’il en avait donne des executions de concert. L’opera est termine sauf le court Prelude que je suis en train de composer ; il n’y aura pas d’ouverture. J’ai encore beaucoup de travail car Boosey & Hawkes grave le piano-chant et je recois sans cesse des epreuves a corriger d’Allemagne. Je compte bien que nous nous verrons a Venise… Mais quelle agitation nous attend la-bas!!!Les Theodore[s] y viendront de Suisse avec Kitty, et Milene et Andre (qui seront a Nice cet ete) y feront aussi un saut. Ecrivez-moi toujours chere Nadia, en me parlant un peu plus de vous-même. Je vous embrasse, comme toujours malheureusement en toute hate. Votre I Str. [P.-S.] Où avez-vous fait des conférences (sur ma musique) dont vous parlez et quand ? Et qu’est-ce qui est devenu le beau projet de Gunsburg à Monte-Carlo ? On entend plus parler. � 1951 André Marion Author: Igor Stravinsky Boosey & Hawkes Igor Location: California Igor Markevitch Mavra Milène Marion Milène Stravinsky Nadia Location: 36 rue Ballu Orpheus Perséphone Raoul Gunsbourg Recipient: Nadia Boulanger The Rake's Progress https://digex.lib.uoguelph.ca/files/original/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/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/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/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/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