2 10 165 https://digex.lib.uoguelph.ca/files/original/662ebf3a925e2bb1e8e7a04b4df77c95.pdf 2bdc3c7f45495f95656b7d815d00e1b4 https://digex.lib.uoguelph.ca/files/original/f93e83ad38c41f956f0de43452dcba45.pdf 3cdb9da208295f6789ec51cd8efec791 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Boulanger and the Stravinskys, Chapter 5 Description An account of the resource English translation and transcription of French originals from Chapter 5 of Kimberly Francis, Nadia Boulanger and the Stravinskys (University of Rochester Press, 2018) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chapter 5, 10 June 1954 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 10 June 1954 Type The nature or genre of the resource Letter UG Extracted Text Boulanger to Stravinsky * annotations Stravinsky’s 36 rue Ballu Paris, IX June 10, 1954 [This is] to say that I will not be near you, my dear friend, on the 18th. I would like to come and bring you all the most beautiful surprises, you who give me so much, all the time. What joy these days in London have been. But . . . I will control myself, because my effusions know no limit. In one instant, in one gesture, you render everything clear, inevitable, evident: what a lesson! But . . . I am not going to explain to you what you know better than I. What I can tell you is that these performances, this concert have highlighted and put things in order. I will make fewer mistakes when trying to guide all my students toward your work. I couldn’t listen to your records of the Septet without hearing what life you have given to the rhythm. We remain ignorant of its essential character. On Sunday (June 6) I heard your concert from Lugano (??) which was broadcast everywhere. Have you definitively deleted the canon from the Scherzo à la Russe (???). I like it so much and regretted [not hearing it]. I haven’t seen the edition and hope [the omission of the canon] was . . . just something that happened during the broadcast. I still have so many things to tell you, but want these wishes to leave tonight. Fond wishes to you, and to Vera and yourself my deepest attachment. Thinking of Bob and my affection to Milène, Your N [P.S.] Do not forget the Webern [P.P.S.] Thank you again for London � Boulanger à Stravinsky *annotations par Stravinsky 36 rue Ballu Paris, IX 10 juin 1954 Dire que je ne serai pas, mon cher Ami, près de vous le 18. Je voudrais entrer, et vous apporter toutes les plus belles surprises, vous qui me donnez tant, tous les jours, toujours. Quelle joie que ces jours de Londres—mais…je me retiens, car mes effusions ne connaissent aucune limite. En un instant, d’un geste, vous rendez tout clair, inévitable, évident, quelle leçon. Mais…je ne vais pas vous expliquer ce que vous savez mieux que moi. Ce que je puis vous dire c’est que ces répétitions, ce concert ont mis de l’ordre, et de la lumière. Je me tromperai moins en essayant de guider tous mes élèves à travers votre œuvre. Que n’ai-je pu entendre vos disques du Septet, avant d’avoir entendu ce que vous donnez de vie à un rythme, on en ignore le caractère essentiel. Entendu dimanche [Juin 6 [sic]] votre concert de Lugano [??] que tout sonnait, avez-vous supprimé définitivement le canon du Scherzo à la russe [???]. Je l’aime tant et le regrette, je n’ai pas vu l’édition et espère que ce n’est…que je ne sais quel incident qui l’a fait sauter de la transmission. Mille choses encore à vous dire mais veux que ces vœux partent ce soir. Je vous embrasse et vous dis à Vera et à vous mon profond attachement. Mille pensées pour Bob et ma tendresse à Milène Votre N [P.-S.] N’oubliez pas Webern. [P.P.-S.] Merci encore pour Londres � 1954 Anton Webern Author: Nadia Boulanger Milène Marion Nadia Location: 36 rue Ballu Recipient: Igor Stravinsky Robert Craft Scherzo Septet https://digex.lib.uoguelph.ca/files/original/61b2497c0399e2db6c941c0d0a14c97e.pdf b0ad09ea078ee23ce87475600f604599 https://digex.lib.uoguelph.ca/files/original/254897948f3193854851ffb23a5ecbdc.pdf b64fe5606e5ba98705a0159d9aac5de6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Boulanger and the Stravinskys, Chapter 5 Description An account of the resource English translation and transcription of French originals from Chapter 5 of Kimberly Francis, Nadia Boulanger and the Stravinskys (University of Rochester Press, 2018) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chapter 5, 21 September 1953 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 21 September 1953 Type The nature or genre of the resource Letter UG Extracted Text Boulanger to Stravinsky 36 rue Ballu 9th September 21, 1953 Very Dear Friend, It’s been impossible to write to you during this overwhelming summer. Certainly, what I am doing is not important, but it is all I can do, and so I put all my energy into it. The Opéra Comique performs the Rake often enough (in a manner of speaking, unfortunately), and the number of people who attend each performance is comforting. The faults of the performances remain the same. I had written on this subject to Beydts, who listened, [but] he just died. But the time will come soon, I believe, when the necessity of staging this work in [the correct] conditions will be imposed. Because, judging by the mail I myself receive regarding it, I understand the extent to which people want this to happen. Sooner or later, it must be retranslated, and the continuity imposed once again. No matter what the design errors of the different performances are, it has been proven that the work has won people over. I will endeavor to send you, one day, excerpts from these letters. It would be worth the trouble. Students performed The Rake at Tours this summer. It was during a general strike. I could not leave the School, but the GD students I sent to listen to it found the whole thing good—excellent orchestra, and an acceptable staging. As for Edinburgh, I understand the production was remarkable. All things considered, the Opéra Comique was not so awful. Little by little, they will all understand. One must give them a lot of time! But the critics are such an impoverished type—pretentious, because they are too aware of their own weakness; or, out of fear of being wrong, they stay quiet; or out of bravado, they rip [the work] apart with relish. Which is to say the only thing left for them is ridicule. The majority among them have never understood anything about anything, and neither the Rake nor the Cantata is an exception. Sometimes I so want to fight with them, but more often, I ignore them. But, I have a request—a request that I imagine must be refused—but nothing ventured, nothing gained. So, here it is. For multiple reasons, I want the École de Fontainebleau to have a real purpose, or else we should let it go. So I choose to fight—and for a well-defined cause. Would you offer the help that will make it even more so? For the piano competition, to which I would like to attract good musicians, I wish (one can hope for the impossible) that you— yes, I said you—would write a concert study around 5–6 minutes long, that you would dedicate to whoever wins first place and who would have the privilege of the premiere. “And . . . ?” I understand that on this point, you must think me completely crazy. I’m not sure I believe it myself, but the crisis hasn’t reached its peak— I have to tell you everything, with as much slight of hand and juggling as it takes . . . but I won’t lie . . . and forgive my audacity—but, I have, despite an enormous effort, [scraped together] only 100,000 fr. It’s ridiculous, shameful. But think, next year will be my fiftieth anniversary as a professor. If I succeed with such an ambitious project, I will feel myself as proud as Artaban. �Ah! Don Quixote, how I need you! Reply in any case, insult me if you must, but consider this for a little while, to find in your heart a little indulgence, and who knows, perhaps an unbelievably charitable impulse. I send fond wishes and say again how much I love you, Your Nadia. � Boulanger à Stravinsky 36 rue Ballu 9è 21 septembre 1953 Bien cher Ami, Impossible de vous écrire durant cet été accablant. Certes, ce que je fais n’est pas important, mais c’est tous ce que je peux faire—et je m’y donne de toutes mes forces. L’Opéra Comique donne assez souvent (c’est une manière de parler hélas) le Rake—et le nombre de gens qui vont à chaque représentation est consolant. Les défauts de ces représentations restent les mêmes—j’avais écrit à ce sujet à Beydts, qui écoutait—il vient de mourir. Mais le temps viendra vite, je crois, où la nécessité de donner cette œuvre dans les conditions [voulais], s’imposera. Car, si j’en juge par le courrier que je reçois, moi seule, à ce sujet, je comprends à quel point les esprits sont attachés à cette idée. Il faudra, tôt ou tard, refaire la traduction, et imposer la continuité. N’importe quelles sont les erreurs de conception des différentes exécutions, il s’avère que l’œuvre a gagné la partie. Tâcherai de vous envoyer, un jour, des extraits de lettres. Cela vaut la peine. Cet été des étudiants ont donné le Rake à Tours. C’était en pleine grève. Je n’ai pu quitter l’École, mais les GD étudiants que j’ai envoyé l’entendre, ont trouvé que l’ensemble était bon, l’orchestre excellent et la scène possible. Quant à Édimbourg, je crois comprendre que la représentation était remarquable. Tout compte fait, l’Opéra Comique n’a pas si mal réussi. Petit à petit, ils comprendront tous. Il leur faut tant de temps ! Mais les critiques sont de pauvres types, prétentieux, parce qu’ils connaissent au fond leur faiblesse, ou ils se taisent, pas peur [de] se tromper, ou par bravade, ils déchirent à pleines dents. Dire qu’il ne leur reste que le ridicule. La plupart d’entre eux n’a rien compris jamais rien à rien—et ils n’ont pas fait exception ni pour le Rake, ni pour la Cantate. Parfois, on a envie de les battre, le plus souvent, de les ignorer. Mais je viens avec une prière—une prière que je devine devoir être repoussée—mais qui ne risque rien n’a rien. Donc, voilà ce dont il s’agit. Pour des raisons multiples, je veux que l’Ecole de Fontainebleau ait une vraie utilité, ou que nous le laissions tomber. Donc, je lutte—et dans une direction bien définie. Voulez-vous m’apporter la seule aide qui la précise. Pour le concours de piano, auquel je voudrais amener de vrais bons musiciens, je voudrais, on a bien le droit de souhaiter l’impossible que vous, oui j’ai dit vous écriviez une étude de concert environ 5 à 6 minutes, que vous dédieriez à celui qui obtiendrait le 1er prix et aurait le privilège de la 1ère audition. « Et quoi encore ? » Je comprends qu’à ce point, vous devez me croire tout-à- fait folle. Je ne suis pas sûre de ne pas le croire moi-même, mais la crise n’est pas à son point culminant—car, puis qu’il faut tout vous dire, en faisant des tours de passe et des jongleries je puis…ne mentez pas…et pardonnez mon audace, vous avouer—enfin je n’ai, et au prix de quel �effort, que 100 000 fr. C’est une dérision, une honte—mais songez—c’est l’année prochaine ma 50è année de professorat. Si je réussissais une telle ambition, je me sentirais fière comme Artaban. Ah ! Don Quixote, que me veux-tu ! Répondez-moi tout de même, insultez-moi si vous voulez, mais réfléchissez un peu, pour trouver de l’indulgence dans votre cœur—et qui sait, un invraisemblable mouvement de charité. Je vous embrasse et vous redis combien je vous aime. Votre Nadia � 1953 Author: Nadia Boulanger Cantata Cantate Fontainebleau Louis Beydts Nadia Location: 36 rue Ballu Recipient: Igor Stravinsky The Rake's Progress https://digex.lib.uoguelph.ca/files/original/9b1d660e2c9c223bfe1465266ac60ae8.pdf fe478f7a1a75936862d64e899372c185 https://digex.lib.uoguelph.ca/files/original/88e8e1e73badd51d99877fc0872f90a4.pdf 7089dffa273aa7d182a34c7646337eab Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Boulanger and the Stravinskys, Chapter 5 Description An account of the resource English translation and transcription of French originals from Chapter 5 of Kimberly Francis, Nadia Boulanger and the Stravinskys (University of Rochester Press, 2018) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chapter 5, 24 June 1953 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 24 June 1953 Type The nature or genre of the resource Letter UG Extracted Text Boulanger to Stravinsky June 24, 1953 Dear Friend, To have not yet written to you is shameful. But life during the Concours is relentless. The Opéra Comique had asked me to help with rehearsals, but I was in Brussels for the Queen Élisabeth competition, and therefore arrived too late to be of any help whatsoever. Certainly, you were greatly missed, but, [it must be said] you alone give some focus to the rhythm of life that makes it seem as if life itself were music. I found Cluytens good, understanding, satisfying. The musicians were enthusiastic, happy to perform a score where each felt the importance of their role and understood it. Some of the soloists were remarkable, and the sound of the ensemble was truly excellent. The staging was very successful, particularly the scene at Mother Goose’s house and at the House of Fools. Set design and costumes were beautiful; a lively production. Michaud (Anne) lacked the mid-range, but sang very well, the berceuse admirably. Simoneau was excellent vocally, a bit neglect[ful] in his acting but infinitely superior to our poor Venitian sort. Nick Shadow, [sung by] Depraz, was remarkable. Each syllable distinct, intelligent, good. Herrand didn’t for an instant allow one to forget Cuénod, but he wasn’t bad. Couderc was very good as Baba after: She was too soft at the beginning of her aria. Trulove, good. The choruses very good at the House of Fools, good enough at Mother Goose’s. One serious error, the pause in staging. It would be better to sacrifice the scenery than to cut the scenes. It was already better at the premiere than it was at the dress rehearsal. I couldn’t go Saturday, but I will go tonight. I forgot the pianist—good enough, but a little indecisive, and it was almost always the same question of approximate values of instead of or a mechanical stiffness. I believe the entire problem arose out of a confusion between the measure and the rhythm. But, to return to the pianist, acceptable. �As far as The Rake is concerned, each time I hear it, its marvels become more noticeable. I can see you, impatient with my useless assessments, but I nonetheless believe I know each note, and just as I adore rereading a score by Mozart, rediscovering it over and over, I discover The Rake—and everything new and eternal it brings me. Enough, I cannot speak to you about your music, I feel ridiculous. But I love it, and I love you. To Vera, to you, all my love, Nadia [P.S.] The audience was very taken; Reviews . . . (I haven’t seen them yet . . . and it doesn’t really matter) [P.P.S.] Have you read the article by Boulez in Musique russe? They tell me you were thrilled with it?? � Boulanger à Stravinsky 24 juin 1953 Cher Ami, Ne pas encore vous avoir écrit est honteux—mais, la vie en ce temps de concours, est impitoyable. L’Opera Comique m’avait demandé d’assister aux répétitions mais j’étais à Bruxelles pour le concours de la Reine Élisabeth—suis donc arrivée trop tard pour servir à quoi que ce soit. Certes, vous manquez [sic] furieusement mais, une fois dit que vous seul donnez certains accent cette vie rythmique qui est la vie même de la musique. J’ai trouvé Cluytens bien, comprenant, réalisant, les musiciens enthousiastes—heureux de jouer une partition où chacun sent l’importance de son rôle et s’entend jouer. Certains solistes remarquables, sonorité d’ensemble vraiment excellente. La scène très réussie, particulièrement le tableau chez Mother Goose et chez les fous. Décors, costumes, beaux. Mise en scène vivante. Micheau (Anne) manque de medium, mais a très bien chanté. La berceuse admirablement. Simoneau excellent vocalement, un peu niais comme gestes—mais infiniment supérieur à notre pauvre type de Venise. Nick Shadow Depraz remarquable chaque syllable distincte—intelligent bien. Herrand ne laissant pas un instant oublier Cuénod, mais pas mal. Couderc bonne Baba très bien à partir de… Pas assez volubile au début de son air, Trulove bien—les chœurs très bons chez les fous, assez bons chez Mother Goose. Une grave erreur—l’arrêt entre le tableau il vaudrait mieux sacrifier les décors que de couper les scènes. C’était déjà mieux à la 1ère qu’à la générale, n’ai [sic] pu aller samedi mais irai ce soir. J’oubliais le pianiste—assez bien mais peu décisif—et c’est presque toujours la même question—ou des valeurs approximatives au lieu de ou une raideur mécanique. Je crois que tou[t] le mal vient de la confusion entre la mesure et le rythme. Mais pour en revenir au pianiste, acceptable. Quand [sic] au Rake’s chaque audition en rend la merveille plus sensible. Je vous vois, impatient de mes inutiles appréciations, mais je crois tou[t] de même que j’en connais chaque note et comme je m’enchante à relire une partition de Mozart, à la découvrir chaque fois, je découvre le Rake—et tout ce qu’il m’apporte de neuf et d’éternel. �Assez, ce n’est pas avec vous que je puis parler de votre musique je me sens ridicule. Mais je l’aime—et vous aime. A Véra, à vous de meilleur de mon cœur, Nadia [P.-S.] Public très pris. Critiques…(pas encore vu et…m’importe peu) [P.P.-S.] Avez-vous lu l’Article de Boulez dans musique russe ? On me dit que vous êtes [sic] très emballé?? � 1953 André Cluytens Author: Nadia Boulanger Pierre Boulez Recipient: Igor Stravinsky René Herent Simone Couderc The Rake's Progress Vera Stravinsky Wolfgang Amadeus Mozart Xavier Depraz https://digex.lib.uoguelph.ca/files/original/fdff5cd34bf9c3236d52742907948d92.pdf 1b5ced145f975f6123ae3ca111e70298 https://digex.lib.uoguelph.ca/files/original/6bcd01579e5868969ca08253d73cb27c.pdf de631cb6c575b41e74914fb5d68756f2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Boulanger and the Stravinskys, Chapter 5 Description An account of the resource English translation and transcription of French originals from Chapter 5 of Kimberly Francis, Nadia Boulanger and the Stravinskys (University of Rochester Press, 2018) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chapter 5, 31 May 1953 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 31 May 1953 Type The nature or genre of the resource Letter UG Extracted Text Boulanger to Stravinsky May 31, 1953 Judging by the letters received from Boston, I suppose you were very happy, Dear Igor, with the performance. I am working a lot here, but I don’t know where I am with it. Will the Cantata go well this evening? I will write to you . . . The more I read and play this work, the more I love it. No, I loved it immediately, but the more I see, the more I hear everything. When we see the excess of notes that the . . . well, alright, the “musicians” give in to, we understand all too well the sad reason for their apparent richness. As Mozart was before, there you are with a few notes—but they are the right ones. There is a great commotion everywhere. “Much ado about nothing” most of the time, but from time to time, a surprise. But I don’t wish to speak to you about aesthetics. I miss you, I’m sad, your presence is so necessary. But we remain so attached to this wish and, after all, try so humbly to lead ourselves toward the right path. Perhaps it is not so bad for those who are capable of so little! My love to Vera and you and I am, always, Your Nadia B. [P.S.] Best wishes to Bob Craft � Boulanger à Stravinsky 31 mai 1953 Si j’en juge par les lettres reçues de Boston, je suppose que vous avez été content, Cher Ami, de la représentation. Ici, on travaille beaucoup—mais où on en est, je l’ignore. Ce soir, la Cantate— sera-ce bien ? Je vous écrirai… Plus je lis, joue, cette partition, plus je l’aime—non, je l’ai aimée tout de suite, mais mieux je vois, j’entends tout. Quand on voit le débordement de notes auquel se livrent encore tant de…enfin, oui, de musiciens, on comprend bien la triste raison de leur apparente richesse. Et vous êtes là, comme fut jadis Mozart, avec quelques notes—mais celle-là sont les vraies. Grande activité, partout. « Beaucoup de bruit pour rien, » souvent, de temps à autre, une surprise. Mais ce n’est pas d’esthétique que je viens vous parler. Vous me manquez—je suis triste, votre présence est une telle nécessité. Mais [on] reste attaché à sa besogne, et après tout, bien humblement on essaie de mener vers le bon chemin. Ce n’est peut-être pas si mal pour ceux qui ne peuvent que si peu ! Je vous embrasse Vera et vous et suis, toujours votre Nadia B. [P.-S.] Mille amitiés à Bob Craft � 1953 Author: Nadia Boulanger Cantata Cantate Recipient: Igor Stravinsky Robert Craft Vera Stravinsky Wolfgang Amadeus Mozart https://digex.lib.uoguelph.ca/files/original/52042051352bbd4ef5be2bd7df43a73a.pdf caff7cfc762545e5c8d48f21cc044847 https://digex.lib.uoguelph.ca/files/original/c4eecfba161a28c25aaba307721b171f.pdf 341090efe1a6c7191c73c97a83498752 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Boulanger and the Stravinskys, Chapter 5 Description An account of the resource English translation and transcription of French originals from Chapter 5 of Kimberly Francis, Nadia Boulanger and the Stravinskys (University of Rochester Press, 2018) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chapter 5, 22 January 1953 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 22 January 1953 Type The nature or genre of the resource Letter UG Extracted Text Boulanger to Stravinsky January 22, 1953 Dear Friend, How do you find the time to think of us still in the midst of your incessant work? We are so far away, so little, and things are difficult over there. The fact is that we take a foolish pleasure in it! How this warmed the heart. And I thank you for it greatly. Now I have the Cantata for piano and orchestra. We sing, read, and study—in your absence, my eloquence is superb, but what can I say to you? Even my emotion seems indiscreet—and vain. You yourself know what the Cantata is, and I think you know that I hear, I see, I understand, and I love this music with my ears, my eyes, my hands, and my mind. Everything sounds [so beautifully], everything is a surprise, nothing could be any other way. A well-made object is a source of unending joy, and henceforth it travels very far, but . . . enough. No unpalatable pedantry! Every day the Cantate brings me new satisfaction, satisfaction that doesn’t lie, and goes far ahead. You are always, each time, different, but always, you. The story is somewhat the same with those few who have changed the face of the earth. But, possibly never to the extent that you have had to—the invincible need to move forward, to always open one’s eyes as if for the first time. Incorrigible babbling. You well know that it is better to just be silent! I send my love, I thank you, I lament at being so far from you and I am yours and Vera’s with all my heart. Nadia B [P.S.] Could you please give this small card to Bob—thank you! � Boulanger à Stravinsky 22 janvier 1953 Cher Ami, Comment trouvez-vous le temps de penser encore à nous, si lointains, si petits, dur de là-bas, au milieu de ce travail incessant ? Le fait est qu’on en a un plaisir fou ! Que cela fait chaud au cœur. Et je vous dis un grand merci. J’ai maintenant la Cantate, piano, orchestre—nous chantons, lisons, étudions—sauf devant vous, je suis d’une éloquence superbe, mais que vous dire à vous. Même mon émotion me parait indiscrète, et vaine. Vous savez bien vous-même ce qu’est la Cantate—et je crois que vous savez que je l’entends, que je vois, que je comprends, et que j’aime cette musique avec mes oreilles, avec mes yeux, avec mes mains, et avec mon esprit. Tout sonne, tout est surprise—et tou[t] est inévitable. Un objet bien fait est source de joie sans fait,[sic] et dès lors il va très loin—mais…assez. Pas de pédants me qui serait [sic] pas digestible ! La Cantate, chaque jour, m’apporte de nouvelles satisfactions, de celles qui ne trompent pas, et vont très avant. Vous êtes toujours, chaque fois, un autre—et toujours, vous. L’histoire est un peu la même avec tous les quelques esprits qui ont changé la face du monde. Mais peut-être jamais au point où vous avez bien dû le faire—dans le besoin invincible d’avancer, d’ouvrir toujours les yeux comme pour la première fois. Incorrigible bavarde. Tu sais bien qu’il vaudrait mieux te taire ! Je vous embrasse, je vous remercie, je me lamente loin de vous et suis à vous et à Vera, de tout cœur. Nadia B. [P.-S.] Voulez-vous remettre à Bob ce petit carré—merci ! � 1953 Author: Nadia Boulanger Cantata Cantate Recipient: Igor Stravinsky Robert Craft Vera Stravinsky https://digex.lib.uoguelph.ca/files/original/43ef794c5b5143942d4d130e810cad0e.pdf d15f3d00fb20e2ae3ee759ff3158a7ed https://digex.lib.uoguelph.ca/files/original/9bf153165a61068a06343334e2fb0f05.pdf 24c2e771af2cfb9c4cc48cc64c167bf6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Boulanger and the Stravinskys, Chapter 5 Description An account of the resource English translation and transcription of French originals from Chapter 5 of Kimberly Francis, Nadia Boulanger and the Stravinskys (University of Rochester Press, 2018) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chapter 5, 4 January 1953 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 4 January 1953 Type The nature or genre of the resource Letter 1953 Author: Nadia Boulanger Cantata Cantate Ernest Bour Igor Location: New York Igor Markevitch Nadia Location: Switzerland Recipient: Igor Stravinsky Robert Craft Roger Lalande Vera Stravinsky https://digex.lib.uoguelph.ca/files/original/7ecdd7b13d60c283b362d19cf10feec8.pdf 20dde4b381000a3095c803a5e525bf07 https://digex.lib.uoguelph.ca/files/original/7a4a7c515e1f57c880b9c261c7b32bd0.pdf 7aaf69a69e5f5cad17563d66be3abb48 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Boulanger and the Stravinskys, Chapter 5 Description An account of the resource English translation and transcription of French originals from Chapter 5 of Kimberly Francis, Nadia Boulanger and the Stravinskys (University of Rochester Press, 2018) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chapter 5, 20 September 1952 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 20 September 1952 Type The nature or genre of the resource Letter UG Extracted Text Boulanger to Stravinsky Ecoles d’art américaines Fondation reconnue d’utilité publique Palais de Fontainebleau (S.&.M.) St Jean de Luz Maitagarria St Jean de Luz B.P. Mr. Igor Stravinsky 1260 N Wetherly Drive Hollywood, California U.S.A. September 20, 1952 One year ago in Venice, The Rake, you, all of us. How far away it is, and [yet] so close. I have not written to you, my Friend, because I hardly dare to take your time. What could I tell you that you don’t already know and that would be worth keeping your attention. All the same, it is so good to think of those wonderful days, it is so marvelous to love you this much, and one day of gushing is allowed, after all. Sometimes it seems that I never left you, because even in silence, or better yet in solitude, your music is a part of my life, as is my memory of you. Perhaps it’s too sentimental, but so true. You do not know how important your visit to Paris has been. Certainly, you had spoken before appearing, and those who could understand must have understood. The fact is that you took them by the hand, and pulled many out of a rut. But, no more long epistles. I wait for you. When will you come back, where? I beg of you, when you manage to think of me, would you send me a copy of your Cantata? Dear Igor, excuse me, we are completely boring you, but that’s the way it is, it is your fault. Will you be in Europe during the summer, in France? Insidious question, full of treachery and hope. Tell Vera that we all found her as beautiful as ever, tell Bob that I would like to get to know him better, so intelligent, lively, and calm, and that I love you all so deeply and tenderly, Your Nadia B. � Boulanger à Stravinsky Ecoles d’art américaines Fondation reconnue d’utilité publique Palais de Fontainebleau (S.&.M.) (St Jean de Luz Maitagarria St Jean de Luz B .P.) Monsieur Igor Stravinsky 1260 N Wetherly Drive Hollywood, Californie USA 20 septembre 1952 Il y a un an, Venise, The Rake, vous, nous tous. Que c’est loin—et si proche. Je ne vous écris pas, mon Ami, parce que j‘ose à peine prendre de votre temps. Que vous dirais-je que vous ne sachiez, et qui ne vaut pas, hélas, de vous retenir. Tout de même c’est si bon de penser à ces beaux jours, c’est si merveilleux de vous aimer tant, qu’un jour d’effusion est tout de même permis. Il me semble parfois que je ne vous quitte jamais, car dans le silence même, et la solitude mieux encore, votre musique est partie de ma vie et votre souvenir aussi. Trop sentimental, il se peut, mais si vrai. Vous ne savez pas de quelle importance a été votre venue à Paris. Certes, vous aviez parlé avant de paraître—et ceux qui pouvaient comprendre devaient avoir compris. Le fait est que vous les avez pris par la main, et plusieurs sont sortis de l’ornière. Mais, fois des longues épîtres—je vous attends—quand revenez-vous—où. Quand, je vous conjure de [sic] penser à moi, m’envoyez-vous un photostat de la Cantate ? Cher Igor, pardon, nous vous ennuyons tous—mais rien à faire, c’est de votre faute. Servez-vous en Europe durant l’été, en France ? Question insidieuse, pleine de perfidie et d’espoir. Dîtes à Vera que nous l’avons tous trouvée aussi belle que toujours, à Bob que je voudrais le connaître mieux, si intelligent, vif, et tranquille—que vous êtes tous ce que j’aime si fortement et si tendrement, Votre Nadia B � 1952 Author: Nadia Boulanger Cantata Cantate Igor Location: California Nadia Location: Fontainebleau Recipient: Igor Stravinsky Robert Craft The Rake's Progress https://digex.lib.uoguelph.ca/files/original/9fb9208391dc76f43cc742a633111e49.pdf 9474c867de4cd95d5193bf4647da3c8a https://digex.lib.uoguelph.ca/files/original/d5656e16d39c1809a8f44c6667572903.pdf d9a141f94afd5eebb4d13aae47331e5c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Boulanger and the Stravinskys, Chapter 5 Description An account of the resource English translation and transcription of French originals from Chapter 5 of Kimberly Francis, Nadia Boulanger and the Stravinskys (University of Rochester Press, 2018) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chapter 5, 9 April 1952 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 9 April 1952 Type The nature or genre of the resource Letter UG Extracted Text Boulanger to Stravinsky Gerry’s Landing Cambridge Massachusetts Trowbridge 7339 1260 North Wetherly Drive Hollywood 46, California Studio 197 Coolidge Hill April 9, 195[2] Dear Igor, Forgive me for writing again! 1) I’ve received the score from Milan, Thank you with all my heart 2) Would you please tell me your exact flight (number, time, day) because I’d like to meet you at Orly. I cannot enter without this information. 3) I’d like you to agree to see some young musicians, then I’ll organize a small reception at the end of Oedipus or of the concert on the 22nd. I am very conceited!! Because I will bring a crowd to your three concerts. Not a word more, I take pity on you. I send you both my fond wishes and deepest affection. Nadia B. � Boulanger à Stravinsky Gerry’s Landing Cambridge Massachusetts Throwbridge 7339 1260 North Wetherly Drive Hollywood 46, California Studio 197 Coolidge Hill 9 avril 195[2] Cher Igor, Pardon écrire encore ! 1) Reçu partition Milan—merci tout cœur 2) Veuillez me faire dire exactement sur quel avion (no., heure, jour) car veux vous embrasser à Orly—ne peux entrer sans ce renseignement. 3) Voudrais que vous acceptiez voir quelques jeunes musiciens, puis, je organiser [sic] petite réception à l’issue d’Oedipus ou du concert du 22 Je suis très conceited !! Car j’amène une foule à vos trois concerts. Pas un mot de plus—j’ai pitié de vous. Vous embrasse tous deux avec la plus profonde affection. Nadia B. � 1952 Author: Nadia Boulanger Igor Location: California Nadia Location: Cambridge Oedipus Rex Recipient: Igor Stravinsky https://digex.lib.uoguelph.ca/files/original/de4748fde2c4ccd209a957f34c4046bd.pdf e3c1182d5f185974880d31051bc0e2e8 https://digex.lib.uoguelph.ca/files/original/720c24551e89ca4e321d58348b0da727.pdf a00226c7854535e51aba36cde6efe36e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Boulanger and the Stravinskys, Chapter 5 Description An account of the resource English translation and transcription of French originals from Chapter 5 of Kimberly Francis, Nadia Boulanger and the Stravinskys (University of Rochester Press, 2018) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chapter 5, 28 March 1952 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 28 March 1952 Type The nature or genre of the resource Letter UG Extracted Text Boulanger to Stravinsky 36 rue Ballu March 28, 1952 Dear Igor, Pardon me, but Dr. Roth has taken the score back and made arrangements for Badet and Désormière to do the translations. God willing they will succeed. Some passages are good, but there are so many things to redo. After having studied the question quite closely and assessing the difficulties, François V. had arrived at the conclusion that a good result was possible. Fond wishes, N.B. [P.S.] Demand to review it before a decision is made. � Boulanger à Stravinsky 36 rue Ballu 28 mars 1952 Cher Igor, Excusez-moi, mais le Dr. Roth a fait reprendre la partition et fait arranger la traduction par Badet et Désomière. Dieu veuille qu’ils réussissent—certains passages sont bien mais tant de choses à refaire. Après avoir étudié la question de très près—et mesurant la difficulté, François V. était arrivé à la conclusion qu’un bon résultat était possible. Je vous embrasse N.B. [P.)S.] Exigez de revoir avant qu’une décision soit prise � 1952 André de Badet Author: Nadia Boulanger Ernst Roth François Valéry Nadia Location: 36 rue Ballu Recipient: Igor Stravinsky Roger Desormière https://digex.lib.uoguelph.ca/files/original/33b72a8af26d80ad67e3942f3c606c7e.pdf 41fd6cdb74828b5504cf75097f13f218 https://digex.lib.uoguelph.ca/files/original/88d78df78f580053fe3fc563fb86813a.pdf d549fe48fdda574feec1d555f36809c2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Boulanger and the Stravinskys, Chapter 5 Description An account of the resource English translation and transcription of French originals from Chapter 5 of Kimberly Francis, Nadia Boulanger and the Stravinskys (University of Rochester Press, 2018) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chapter 5, Undated Creator An entity primarily responsible for making the resource 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 Antonio Ghinghelli Author: Nadia Boulanger François Valéry Mavra Nadia Location: Fontainebleau Recipient: Igor Stravinsky Scherzo Sonata for Two Pianos The Rake's Progress Vera Stravinsky