1 10 8 https://digex.lib.uoguelph.ca/files/original/ad74941da71941402fbce04fc66c7c30.pdf 1d33803f439c5ebe2e9fbcc969e712e5 https://digex.lib.uoguelph.ca/files/original/4c88f0c7145a7e8307474fc96efec2e3.pdf 8bab78cf2aa23f1fdc0915bce3a49c76 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 June 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 13 June 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) June 13, 1951 My dear Nadia, Your letter touched me greatly; we were all affected as well by the swift and almost unexpected death of Koussevitzky. At the request of Time magazine, I wrote these few lines included below: “That Serge Koussevitzky was a great celebrity, everybody knows; but that many careers were created by his generosity, very few know. When a man passes away those wishing to pay tribute to his memory recollect his good deeds, the things he did most ostensibly. Let us dwell today on those things that Serge Koussevitzky did for others without telling anyone about it. And for these secret things let him be rewarded manifestly.” I think my homage, limited to what is true, is in this way more sincere than many of the others that are being published right now. What is this pessimistic news that you’re only partially sharing with me? You seem to know more in France about the Italian premiere of The Rake than I do here. As for myself, I have a solid contract in my pocket with the Biennale and I will be in Italy on the scheduled dates (mid- August) to perform it. A couple of days ago I learned officially that La Scala has agreed with the Biennale to mount the Venetian production. But I have no other details; these Italians don’t seem to like to write. Therefore, I would like to know more about this from you if—as your letter left me to assume—you are collecting information from various sources. Who is saying what??? In Italy or elsewhere about my Rake??? . . . Don't leave me in the dark. Vera and I send you our great affection, I Str. � Stravinsky à Boulanger 1260 North Wetherly Drive Hollywood 46, California Mademoiselle Nadia Boulanger 36 rue Ballu Paris 9eme (FRANCE) 13 juin 1951 Chere [sic] Nadia, Vos lignes m’ont beaucoup touche; nous avons tous ete egalement atteints par la disparation si rapide et presqu’inattendue [sic] de Koussevitzky. J’ai ecrit—a la demande de Time magazine, les quelques lignes ci-dessous: “That Serge Koussevitzky was a great celebrity, everybody knows; but that many careers were created by his generosity, very few know. “When a man passes away those wishing to pay tribute to his memory recollect his good deeds, the things he did most ostensibly. “Let us dwell today on those things that Serge Koussevitzky did for others without telling anyone about it. And for these secret things let him be rewarded manifestly.” Je pense que mon hommage, limite a ce qui est vrai, est ainsi plus sincere que beaucoup de ceux qui sont publies a cette heure. Quelles sont ces nouvelles pessimistes dont vous me transmettez seulement quelques echos? Vous avez l’air d’en savoir en France plus que je n’en sais moi-meme ici, en ce qui concerne la premiere italienne du Rake. Pour ma part j’ai un solide contrat dans ma poche avec la Biennale et je me rendrai en Italie aux dates prevues (mi-Aout [sic]) pour l’executer. J’ai appris officieusement il y a quelques jours que la Scala se serait entendue avec la Biennale pour mettre sur pied la production venitienne. Mais je n’ai pas d’autres details; ces Italiens semblent ne pas aimer ecrire. Aussi aimerais-je en savoir plus long par vous si—comme votre lettre me le laisse supposer—vous recoltez des informations de sources variées. Qui dit quoi??? en Italie ou ailleurs au sujet de mon Rake???... Ne me laissez pas dans l’incertitude. Vera et moi vous embrassons bien affectueusement.— - I Str. � 1951 Author: Igor Stravinsky Igor Location: California Nadia Location: 36 rue Ballu Recipient: Nadia Boulanger Sergei Koussevitzky The Rake's Progress https://digex.lib.uoguelph.ca/files/original/15b143bd722992efbceaec3fb7bef57f.pdf c0899de1809362623996b46918de5b24 https://digex.lib.uoguelph.ca/files/original/ab94aecef59dd70ef4f32e1c5acf20fb.pdf 4c45441e1208894855bc226b09e49b8a 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, 6 June 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 Bibliothèque Nationale De Paris Date A point or period of time associated with an event in the lifecycle of the resource 6 June 1951 Type The nature or genre of the resource Letter UG Extracted Text Boulanger to Stravinsky 36 rue Ballu Paris IX Mr Igor Stravinsky 1260 N. Wetherly Drive Hollywood 46 California U.S.A. June 6, 1951 Such memories go with S. K. I imagine, Dear Igor, your sadness, and am so close to you. Useless, isn’t it, to say what we think when the heart and mind are in agreement. He reached so deep within himself and gave so much. What sadness to survive [ . . . ] Could it be true that you are not coming and that your work will not be given on September 9? I beg of you, send a card—everything is hanging on this project. Impossible to imagine such a disappointment! With such tenderness for Vera and you, Your Nadia � Boulanger à Stravinsky 36 rue Ballu Paris IX Monsieur Igor Stravinsky 1260 N. Wetherly Drive Hollywood 46 Californie U.S.A. 6 juin 1951 Que de souvenirs s’en vont avec S.K. Je devine, Cher Igor, votre peine—et suis si près de vous. Inutile, n’est-ce-pas, de dire ce que nous pensons en plein accord de cœur et d’esprit. Il avait tant tiré de lui-même—et tant donné. Quelle tristesse de survivre […] Pourrait-il être vrai que vous ne venez pas et que votre ouvrage ne soit pas donné le 9 sept. ? Je vous supplie, une carte—tout est suspendu à ce projet. Impossible d’imaginer une telle déception ! Avec quelle tendresse je vous embrasse, Vera et vous, Votre Nadia � 1951 Author: Nadia Boulanger Igor Location: California Nadia Location: 36 rue Ballu Recipient: Igor Stravinsky Sergei Koussevitzky 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/c19c37aad1fac5c483f8255bd7ea7a9a.pdf dc31fe2789a49f3f4547da5ccca49ad2 https://digex.lib.uoguelph.ca/files/original/f31cf938da55d00b30db89ca73637957.pdf e57ccbe767902d826c1544526b53e8bc 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 September 1950 Creator An entity primarily responsible for making the resource Nadia Boulanger Subject The topic of the resource Vera Stravinsky 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 14 September 1950 Type The nature or genre of the resource Letter UG Extracted Text Boulanger to Vera Stravinsky Ecoles d’art américaines Palais de Fontainebleau Fondation reconnue d’utilité publique Conservatoire de musique Le Directeur (Le Moubra, Montana, Suisse) Mrs. Igor Strawinsky 1260 N. Wetherly Drive Hollywood 46 California U.S.A September 14, 1950 Dear Vera, soon it will be your birthday! Where is Santa Barbara? “Where are the snows of yesteryear?” I miss you so, both of you who occupy my thoughts day after day. And only silence between us, because I live life too quickly, because. . . And time passes, and ultimately, though we love each other, we live like strangers. Well, here at least are some wishes so that one day per year you see I am with you. I remember everything, and I can’t accept the idea we won’t see each other anymore. It is too absurd. Why is the world so big and Hollywood so far from Paris? Koussevitzky had asked me to come to Tanglewood next year. I think I wrote about this to Igor, but everything makes this trip impossible, and I declined, after weeks of indecision. Certainly, if I thought I would have seen you, something inside me would have rebelled. But I would have had to arrive for the opening of classes by plane and leave the following day. So, California was out of the question. And, honestly, I cannot hope that you’ll come to Europe, a Europe that everything threatens. What savages, what fools we are who, no matter what, want to find nothing more than perfect ways to destroy everything. But . . . all I need is to think of Igor, working at his opera, to prepare the Symphonie de psaumes that I am conducting seven times in four days in Brussels (imagine my joy, and my terror, after everything the symphony is—and I risk nothing, I alone am in danger, and that gives me courage, one feels so small. I hear Igor’s pulse, I know all too well how far away, and it can be no other way, but I am so happy to have this project), and, when confronted with the only values that matter, we fight, each in his own way. Has Igor read Gisele Brelet’s book, Le temps musical? I would like to know what he thinks of it, but doubt that he has been able to immerse himself in these two dense volumes. Like a child, I tell myself stories. I dream that I am arranging my cushions at your place so I can sleep on the couch. I watch Igor’s hand, his fingers, moving a marble in Chinese Checkers. I see his table again, the frame he rebuilt so patiently for George, the telegram from Dolin, the Sonate at Milhaud’s. Altogether, these small details make me believe, once I really start to imagine, that we are together and the conversation will begin again. �Why is this only a dream? I forgot to tell you, in July I saw Théodore, Denise, and little, adorable Kitty. She’s very fragile, but so well looked after. And so happy to be with “a dad and a mum.” Dear Vera, I send my love to you and Igor and have the pretension, foolish perhaps, to believe quite certainly there is no one who loves you more than your, Nadia � Boulanger à Vera Stravinsky Ecoles d’art américaines Palais de Fontainebleau Fondation reconnue d’utilité publique Conservatoire de Musique Le Directeur (Le Moubra, Montana, Suisse) Madame Igor Strawinsky 1260 N. Wetherly Drive Hollywood 46 California USA 14 septembre 1950 Cher Véra, bientôt notre fete [sic] ! Où est Santa Barbara ? « Où sont les neiges d’antan ? Vous me manquez tant, vous deux qui occupez ma pensée jour après jour. Et seul le silence entre nous, parce que la vie va trop vite, parce que…Et le temps passe, et finalement, alors qu’on s’aime, on vit comme des inconnus. Enfin, voici du moins des vœux, pour qu’un jour par an, vous voyez [sic] que je suis avec vous. Je me souviens de tout, et je ne [me] fais pas à l’idée de ne plus vous voir. C’est trop bête. Pourquoi le monde est-il si grand, et Hollywood si loin de Paris. Koussevitzky m’avait demandé de venir l’an prochain à Tanglewood. Je crois l’avoir écrit à Igor, mais tout rend ce départ impossible, et j’ai déclin[é], après des semaines de perplexité. Certes, si je pensais que je vous aurais vu quelque chose en moi se révolterait. Mais il s’agissait d’arriver pour l’ouverture des cours, en avion, et repartir le lendemain. Donc, la Californie était exclue. Et, honnêtement, je ne peux pas souhaiter que vous veniez en Europe, une Europe que tout menace, quels sauvages, et quels fous nous sommes qui, pourtant arranger, ne cherchons que des moyens de plus en plus perfectionnés pour tout détruire. Mais…il me suffit de penser à Igor, travaillant à son opéra, à préparer la Symphonie de psaumes que je dirige 7 fois en 4 jours à Bruxelles (imaginez ma joie, et ma terreur, après tout la symphonie est—et ne risque rien, moi seule suis en danger, et cela me donne le courage, on se sent si petit. J’entends la pulsation d’Igor, je sais trop bien à quelle distance, et il n’en peut être autrement, je sais, mais, j’ai un si grand bonheur de ce projet), et, devant les valeurs qui seules comptent, on lutte, à sa mesure. Igor a-t-il lu le livre de Gisele Brabet, Le temps musical. J’aimerais savoir ce qu’il en pense, mais doute qu’il ait pu se plonger dans ces denses deux volumes. Comme quand on est petit, je me raconte des histoires, je rêve que j’arrange mes coussins, chez vous, pour dormir sur le canapé. Je regarde la main, les doigts d’Igor, déplaçant la bille du Chinese Checkers. Je revois sa table, le cadre qu’il avait refait avec quelle patience, pour George, le télégramme de Dolin, la Sonate chez Milhaud. Tout et tout, ces petits détails me font croire quand j’entre bien dans le jeu, que nous sommes ensemble, et que la conversation va reprendre. �Que n’est-ce qu’un rêve. Ai oublié de vous dire, en Juillet, ai vu Théodore, Denise et la petite Kitty, adorable, très fragile, mais si bien surveillée. Et si heureuse d’être avec « un papa et une maman » Chère Véra, je vous embrasse, j’embrasse Igor et j’ai la prétention, folle peut-être, mais très assurée qu’il n’y a personne qui vous aime plus. Que votre, Nadia � 1950 Author: Nadia Boulanger Darius Milhaud Denise Stravinsky Denise Strawinsky Gisèle Brelet Igor Location: California Nadia Location: Fontainebleau Recipient: Vera Stravinsky Sergei Koussevitzky Symphonie De Psaumes Symphony of Psalms Théodore Stravinsky Theodore Strawinsky https://digex.lib.uoguelph.ca/files/original/d2fb18b9833a65bbff309a35c2a8635e.pdf c71d5aa7cbf225bd480aad9d512b03ab https://digex.lib.uoguelph.ca/files/original/7db1d85aeb26a35232eb1437228f0878.pdf a06eff56f010c858530985e70f30b7c7 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 3 Description An account of the resource English translation and transcription of French originals from Chapter 3 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 3, 16 November 1945 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 Bibliothque Nationale De Paris Date A point or period of time associated with an event in the lifecycle of the resource 16 November 1945 Type The nature or genre of the resource Letter UG Extracted Text Stravinsky to Boulanger Beverly Hills California 1260 Wetherly Drive Hollywood H6 (46?), Calif Miss Nadia Boulanger 122 Bay State Road Boston, Mass. November 16, 1945 My very dear Nadia, Moved by your words, moved by your departure. I wonder, however, if this departure is truly permanent in view of the upheaval created by de Gaulle’s leaving. Have you heard Prokofieff's [sic] Symphony no. 5 (what are the other four that we have never heard)? Unfortunately, at the same time as the broadcast, I had my rehearsal for Babel, conducted by Werner Janssen—less helpless than the Dumbarton Oaks Concerto last year. I don't think that this indicates progress on his part, simply that the piece is less difficult to conduct They say that Koussevitzky is having Shostakovsky [sic] come from Russia in March and it’s also been said that Koussevitzky is retiring and giving up the baton at the beginning of the next season to Mitropoulos. Sounds so exciting, but is it true? Why do you bring up money (photostats of my Symphony). I can give you a gift, too—it's true, it's nothing big, all the more reason to—why talk about it. You owe me nothing save a few “love and kisses” in your next letter. (Pencil please—to erase) Your I Str. Who loves you, who loves you, who loves you. [P.S.] Received very kind words from Abbot Fortier (for the birth of little Jean)—don’t even have time to respond to him. Tell him how touched I was. Thanks. � Stravinsky à Boulanger Beverly Hills, California 1260 Wetherly Drive Hollywood H6 (46?), Calif Miss Nadia Boulanger 122 Bay State Road Boston, Mass. 16 Nov 1945 Nadia très chère, Touché par votre mot, touché par votre départ. Je me demande cependant si ce départ est vraiment définitif vu le chambardement crée par le depart [sic] de De Gaulle. Avez-vous entende [sic] la Symphonie de Prokofieff No. 5 (quelles sont les autres 4 qu’on a [sic] jamais entendu ?). Malheureusement au moment du broadcast j’ai eu ma repetition [sic] de Babel conduite par Werner Janssen moins « helpless » que Dumbarton Oaks Concerto l’année dernière. Pense pas que cela signifie un progrès de sa part, simplement la pièce est moin [sic] difficile de conduire. On dit que Koussevitzky fait venir Shostakovsky [sic] de Russie en mars et on dit que Koussevitzky se retire et cède la baguette à partir de la saison prochaine à Mitropoulos. So exciting tout ça, mais est-ce vrai? Pourquoi me parlez-vous d’argent (photostates de ma Symphonie). Je peux aussi vous faire un cadeau—c’est vrai, ce n’est pas grand-chose, raison de plus—pourquoi en parler. Vous ne me devez rien sauf quelques « love and kisses » dans votre prochaine lettre. (crayon S.V.P. pour effacer) Votre I Str. Qui vous aime, qui vous aime, qui vous aime. [P.-S.] Reçu un très gentil mot de l’Abbé Fortier (pour la naissance du petit Jean)—même pas de temps à lui répondre. Dites-lui combien j’ai été touché. Merci. � 1945 Abbot Fortier Author: Igor Stravinsky Babel Hans-Werner Janssen Igor Location: California Nadia Location: Boston Recipient: Nadia Boulanger Sergei Koussevitzky Sergei Prokofiev https://digex.lib.uoguelph.ca/files/original/0af9d1d074d0b377b80554d9c7e2f905.pdf f06724930f2b2c87bb680299c49f0ae3 https://digex.lib.uoguelph.ca/files/original/818027bc6152aeaaf747b16dd726876a.pdf ec53566e715a066c33b7a50c4fa80e56 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 3 Description An account of the resource English translation and transcription of French originals from Chapter 3 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 3, 15 January 1944 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 15 January 1944 Type The nature or genre of the resource Letter UG Extracted Text Boulanger to the Stravinskys Featherhill Ranch Montecito Santa Barbara, California Mr and Mrs I. Strawinsky 1260 N Wetherly Drive Hollywood Cal January 15, 1944 My Dears, We are awaiting the concert with impatience—oh, what this week will have been for you: the rehearsals. Have you heard any news about Koussev[itsky’s]’s project? All of us would finally like to know—we miss you a lot. I hope that all is in order for Madison. You will find your tickets to Chicago. I also wrote to the University [asking] for the cheque, saying you are a resident. Fond and heartfelt wishes to both of you, NB � Boulanger aux Stravinsky Featherhill Ranch Montecito Santa Barbara, California Mr and Mrs I. Strawinsky 1260 N Wetherly Drive Hollywood Cal 15 jan. 1944 Mes très Chers, Nous attendons le concert avec impatience—qu’aura été cette semaine pour vous, les répétitions, aurez-vous eu des nouvelles du projet Koussev. Enfin, tout, nous voudrions savoir—vous nous manquez tant. J’espère que tout est en ordre avec Madison. Vous trouverez vos billets à Chicago. J’ai écrit aussi à l’Université pour le chèque disant que vous êtes résident. Vous embrasse tous deux de tout cœur NB � 1944 Author: Nadia Boulanger Igor Location: California Nadia Location: California Recipient: Igor Stravinsky Sergei Koussevitzky https://digex.lib.uoguelph.ca/files/original/35b5da48e59bc0b6d8aa16e15ed5c242.pdf f27d1770da4e9f92c7c36e1e387eee11 https://digex.lib.uoguelph.ca/files/original/aecc31d7cac3d16a586075f152ad8f53.pdf 5a508c4a2472c4adf044dd05eb42eaa5 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 3 Description An account of the resource English translation and transcription of French originals from Chapter 3 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 3, 3 January 1943 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 3 January 1943 Type The nature or genre of the resource Postcard UG Extracted Text Boulanger to Stravinsky January 3, 1943 [Postcard inscription: Art is born of constraint, lives of struggle, dies of liberty. André Gide] You cannot know the pleasure that you brought me, Dear Igor, and . . . what a lesson in this score! Koussev[itzky] is putting on Oedipus and “is thinking” about doing it on the same day as the Symphony—we are so delighted, but . . . you will not see it! Many warm wishes, and with very profound affection. A kiss for both of you, Nadia B � Boulanger à Stravinsky 3 janvier 1943 « L’art naît de contrainte, vit de lutte, meurt de liberté. » André Gide Vous ne pouvez pas savoir le plaisir que vous m’avez fait, Cher Igor—et…quelle leçon dans cette partition ! Koussev. donne Œdipe et « pense » à donner le même jour la Symphonie—nous nous réjouissons tant, mais…que ne verrez-vous! Tant de vœux, et une si profonde affection. Je vous embrasse tous deux, Nadia B � 1943 André Gide Author: Nadia Boulanger Oedipus Rex Recipient: Igor Stravinsky Sergei Koussevitzky https://digex.lib.uoguelph.ca/files/original/4b72ffa0928ccdaf53d9bb263ee7357e.pdf 8b63ecd1a4e2c75766129d4722db3432 https://digex.lib.uoguelph.ca/files/original/17e44ac20b90dcab3be386ebbe3d642d.pdf a31f59c7028f6fadad0e60975746c5ee 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 3 Description An account of the resource English translation and transcription of French originals from Chapter 3 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 3, 4 December 1940 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 Bibliothque Nationale De Paris Date A point or period of time associated with an event in the lifecycle of the resource 4 December 1940 Type The nature or genre of the resource Letter UG Extracted Text Stravinsky to Boulanger December 4, 1940 My very dear Nadia, I was so happy to have your letter. We hope to see you soon in January, when we will be in Boston for the week of my concerts. The Forbeses have invited us to come down to their place—it’s very kind on their part. I am writing them a letter to thank them. I’ll accept their invitation [if] it also allows us to see you for a little longer. How I missed your absence in Chicago (or in Cincinnati) where I had some beautiful performances of my Symphony! In Boston, where Koussevitzky wanted me to conduct as well (for rehearsals of Oedipus Rex, too), they asked me to supply the orchestral material, i.e., to pay for the rental [of the parts]. I am quite afraid that this very unexpected condition will make the performance nearly impossible. I have never paid for the rental of my compositions, never, anywhere. It would be all the stranger for me to do this at the Boston Symphony, i.e., chez Koussevitzky where I have always been considered a “member of the family.” Someone has probably made a mess, imposing this ludicrous condition on me behind Koussevitzky’s back, and I want to hope that he will intervene to cancel it. See you soon, Nadia, with sincere affection. Yours, Igor Stravinsky [P.S.] We are here until December 13, then in Minneapolis for a week, then coming back here for January 10. [P.P.S.] With tender thoughts, I am very impatient to see you soon. —Your Vera � Stravinsky à Boulanger 4 Decembre 1940 Ma très chère Nadia, J’étais si heureux d’avoir votre mot. Nous espérons vous voir bientôt, en janvier, quand nous serons à Boston pour la semaine de mes concerts. Les Forbes nous demandent de descendre chex [sic] eux—c’est si gentil de leur part. Je leur écris un mot pour les remercier. J’accepterai leur invitation [si] cela nous permettera aussi de vous voir un peu plus longuement. Que j’ai regretté votre absence à Chicago (ou à Cincinnati) où j’ai eu des belles exécutions de ma Symphonie ! A Boston où Koussevitzki voulait que je la dirige également (en repétant [sic] Oedipus Rex aussi) on me demande de fournir le matériel d’orchestre, c.a.d. en bon français de payer la location. J’ai bien peur que cette condition si innatendue [sic] rende l’exécution quasi impossible. Je n’ai jamais payé la location de mes compositions, jamais, nulle part. Il serait d’autant plus étrange que je le fasse à la Boston- Symphony, c.a.d chez Koussevitzki où j’ai été toujours consideré [sic] comme « membre de la famille ». On a probablement taché de m’imposer cette condition ridicule à l’insu de Koussevitzki et je veux espérer qu’il va intervenir pour l’annuler. À bientôt, Nadia, nous vous embrassons très affectueusement. Votre Igor Stravinsky *Nous sommes ici jusqu’au 13 déc ensuite pour une semaine à Minneapolis, puis de revenir ici pour 10 janvier [P.-S.] Je vous embrasse, chère Nadia bien tendrement et suis très impatiente de vous voir bientôt. —Votre Vera � Author: Igor Stravinsky Edward Forbes Oedipus Rex Recipient: Nadia Boulanger Sergei Koussevitzky Vera Stravinsky