1
10
81
-
https://digex.lib.uoguelph.ca/files/original/e428cd218e99bb08c0b3874dc337394c.pdf
7bd3b1846fdd39d9ea1b31cb3ba46621
https://digex.lib.uoguelph.ca/files/original/67ccfadbd904d81ee71cb551dcdfeeb2.pdf
6a1c5886e4345570902f210bd4936bc4
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 June 1956
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 June 1956
Type
The nature or genre of the resource
Letter
UG
Extracted Text
Boulanger to Stravinsky
36 rue Ballu, 9th
Telephone: Trinité 90-17
Igor Strawinsky
1260 N. Wetherly Drive
Hollywood 46
California
U.S.A.
June 4, 1956
My very dear Friend,
“We leave the 27th”—May or June 27th? And I wonder where my wishes are going to find you.
You are unbelievably lucky: I can’t write—and besides, what letter [could I write] after meeting,
after getting to know the Canticum!!
But, modestly, wisely, I send you my love, I thank you, and I profess myself yours,
N
[P.S.] I’ll be in Venice at the Bauer from September 11 until . . . ! Everything depends on you.
[P.P.S.] All tenderness to Vera and kind regards to Bob.
�
Boulanger à Stravinsky
36 rue Ballu, 9è
Téléph.Trinité 90-17
Monsieur Igor Strawinsky
1260 N. Wetherly Drive
Hollywood 46
California
USA
4 juin 1956
Très cher Ami,
« Le 27 nous nous embarquons » 27 mai, Juin ? Et je me demande où mes vœux vont vous
rejoindre. Vous avez une chance folle : je ne sais pas écrire—sans cela quelle lettre après la
rencontre, la connaissance de Canticum !!
Mais modestement, sagement, je vous embrasse—vous remercie—et me dis votre
N
[P.-S.] Serai à Venise, au Bauer, le 11 septembre jusqu’au… ! Tout dépend de vous.
[P.P.-S.] Mille tendresses à Vera et, amitiés à Bob
�
1956
Author: Nadia Boulanger
Canticum Sacrum
Igor Location: California
Nadia Location: 36 rue Ballu
Recipient: Igor Stravinsky
Vera Stravinsky
-
https://digex.lib.uoguelph.ca/files/original/67c4a5bac9031ba0a7886ad908045d6b.pdf
09845e21ab3386bb55c5469cf3304c0b
https://digex.lib.uoguelph.ca/files/original/9ba33a50ac89d1d3ce312fa647fdcf20.pdf
45bb47409571f2cff2cb012d32474267
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, 25 March 1956
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 March 1956
Type
The nature or genre of the resource
Letter
UG
Extracted Text
Boulanger to Stravinsky
36 rue Ballu
Telephone: Trinité 57-91
March 25, 1956
May all of my thoughts go to you this Easter, Dear Igor, Dear Vera. Is there a way I might
familiarize myself soon with the Venetian work for San Marco? At my peril, I dare confess a
faint glimmer of hope.
Marie Blanche is very sick, complications with the brain. But one must not despair. It is a great
sadness.
I send my love to you on the Day of Light and am your
Nadia
[P.S.] Many kind regards to Bob Craft
�
Boulanger à Stravinsky
36 rue Ballu
Téléph : Trinité 57-91
25 mars 1956
Que pour Pâques, Cher Igor, Chère Véra, toutes mes pensées aillent vers vous. Y-a-t-il un moyen
de connaître bientôt l’œuvre vénitienne San Marco. J’ose à peine avouer ma petite lueur d’espoir.
Marie Blanche est très malade—complication cérébrale. Mais il ne faut pas désespérer. C’est une
grande tristesse.
Je vous embrasse pour le Jour de lumière,
Et suis votre
Nadia
[P.-S.] Tant de bons souvenirs pour Bob Craft
�
1956
Author: Nadia Boulanger
Marie Blanche de Polignac
Nadia Location: 36 rue Ballu
Recipient: Igor Stravinsky
Vera Stravinsky
-
https://digex.lib.uoguelph.ca/files/original/a19da2d24994b7241230a0707a34eb67.pdf
83c215b81e1ad5b1011c258840f279fe
https://digex.lib.uoguelph.ca/files/original/a9e33e5c4a0240dd3df6178a5ef3fc34.pdf
c98433259b8bacc621b670c2e2a3727c
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, 27 February 1956
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 France
Date
A point or period of time associated with an event in the lifecycle of the resource
27 February 1956
Type
The nature or genre of the resource
Letter
UG
Extracted Text
Stravinsky to Boulanger
Beverly Hills, California
Miss Nadia Boulanger
36 rue Ballu
Paris, IXth
France
February 27, 1956
My very dear Nadia,
I have just read your kind letter of Feb. 21 and thank you with all my heart for having thought of
March 2.
What Halffter solicits is at the same time both touching and impossible for me. If you only knew
everything I have to do before embarking in mid-June for Europe (Greece and Constantinople for
our vacation, then concerts: Venice, Switzerland, Germany, Vienna and London, then returning
to New York for Christmas, triple concert with the Philharmonic—Rite and Persephone—and
recording Persephone with Columbia.)*
I finished my Canticum Sacrum (short, 16 minutes, and quite difficult) and now . . . proofs,
which means—corrections!
Having finished the Canticum, I have put myself to work on an instrumental version (with choir)
of J. S. Bach's Canonic Variations on Vom Himmel hoch da komm' ich her, which I have decided
to do with my Canticum in Venice along with other compositions of a religious nature: Andrea
Gabrieli, Schütz, Monteverdi, Gesualdo. The Bach Variations are taking more time than I
thought. I am going to have Bob perform them here in the Ojai Festival in May where I am
conducting my Noces. This work is interrupted by all sorts of things and right at this moment, for
at least a week, by an “abbreviated version of Petroushka” for TV cartoons, length—12 minutes.
They are making episodes of the start, of Petroushka's cell, of the Moor, one part of the
Disguises and of Petroushka's death. In brief —a potpourri; and I am doing it for money!!! Yes,
sir, it is certainly blameworthy but also excusable when one thinks of the taxes that gouge us
without pity.
*All this at the beginning of January 1957 to which a showing of Vera's paintings has just been
added. Tomorrow the showing of her work at the Santa Barbara Museum will take place . . .
Love,
I Str.
�
Stravinsky à Boulanger
Beverly Hills, California
Miss Nadia Boulanger
36 rue Ballu
Paris, IXeme
France
27 fev/[19]56
Tres chere Nadia,
Je viens de lire votre bonne lettre du 21 fvr. et vous remercie de tout cœur d’avoir pense au 2
mars.
La chose que Halffter sollicite est à la fois touchante et irrealisable pour moi. Si vous sachiez
seulement tout ce que j’ai a faire avant de m’embarquer mi-juin pou[r] l’Europe (Grece et
Constantinople pour nos vacances, puis les concerts: Venise, Suisse, Allemagne, Vienne et
Londres, puis retour a New York pour Christmas, triple concert a la Philharmonie—Sacre et
Persephone—et enregistrement de Persephone avec Columbia.)*
J’ai fini mon Canticum Sacrum (court, 16 minutes, et plutot difficile) et maintenant …..
epreuves, j’entends—corrections !
Ayant termine le Canticum je me suis mis au travail d’une version instrumentale (avec chœur)
des Variations canoniques de J.S. Bach sur Vom Himmel hoch da komm’ ich her, que j’ai decide
de faire avec mon Canticum a Venise a cote d’autre composition de caractere religieux : Andrea
Gabrielli, Schutz, Monteverd[i], Gesualdo. Les Variations de Bach me prennent plus de temps
que je pensais. Je vais les faire jouer ici par Bob dans les festivals d’Ojai en mai ou je dirige mes
Noces. Ce travail est interrompu par toute espece de choses et en ce moment pour une semaine
au moins, par une « abreviated [sic] version of Petroushka » pour des dessins animes a la TV,
duree—12 minutes. On prend des episodes du debut, de la cellule de Petrouchka, du Maure, une
partie des Deguises et de la mort de Petr. Bref—un potpourri ; et je la fais pour l’argent !!! yes
[sic] sir, c’est certe blamable mais aussi explicable quand on pense aux taxes qu’on nous extirpe
sans pitie.
*Tout cela debut janvier 1957 a quoi vient de s’ajouter une exposition de tableaux de Vera.
Demain aura lieu le vernissage au musee de Santa Barbara de son exposition par la…
Love
I Str.
�
1956
Andrea Gabrielli
Author: Igor Stravinsky
Bach
Canticum Sacrum
Claudio Monteverdi
Ernesto Halffter
Igor Location: California
Le Sacre Du Printemps
Les Noces
Nadia Location: 36 rue Ballu
Perséphone
Petroushka
Recipient: Nadia Boulanger
Rite of Spring
Variations on von Himmel hoch da komm' ich her
Vera Stravinsky
-
https://digex.lib.uoguelph.ca/files/original/ba065964528c749f00b3a8b4831aaebf.pdf
ff7bc7c0f76a96a1f2656e0e5f2999ac
https://digex.lib.uoguelph.ca/files/original/9ee7a4e9d14ac1fe261231fc8e54ea81.pdf
84d762814a8c44e5e78009b07833bbab
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 February 1956
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 February 1956
Type
The nature or genre of the resource
Letter
UG
Extracted Text
Boulanger to Stravinsky
36 rue Ballu, 9th
Telephone: Trinite 57-91
February 21, 1956
My Dear Friend,
A small note to be close to you on March 2, to tell you my thoughts are with all that remains with
us and enriches our days.
I was so happy for your news from Jacques Dupont and to know that you enjoyed New York,
and had some fun.
Forgive me for boring you, but Halffter is very anxious to know if you will agree to participate in
the hommage to Manuel de Falla. He considers you of capital importance.
Could you ask Vera or Bob to tell me if you are able to write something for Falla before
September. I had told Halffter of the amount of work tying you down, but he thinks primarily of
Falla and this memorial concert, and cannot conceive of the event without you.
I have completed my chore, doubtless upsetting you, but you love me enough to forgive me, no?
Fond wishes,
Nadia
�
Boulanger à Stravinsky
36 rue Ballu 9è
Téléph. Trinité 57-91
21 février 1956
Mon cher Ami,
Un petit mot pour être près de vous le 2 mars, pour vous dire ma pensée vers tout ce qui demeure
présent et enrichit nos jours.
J’ai été heureuse d’avoir de vos nouvelles par Jacques Dupont de savoir que vous avez pris
plaisir à New York, à vous distraire.
Pardon de vous ennuyer, mais Halffter est très anxieux de savoir si vous acceptez de participer à
l’Hommage à Manuel de Falla. Il considère d’une importance capitale : vous.
Voulez-vous demander à Vera—ou à Bob—de me dire si vous pourrez écrire quelque chose pour
Falla avant septembre. J’avais dit à Halffter quel travail vous retient, mais lui pense d’abord à
Falla à ce concert d’hommage qu’il ne peut concevoir sans vous.
J’ai fait mon devoir, consciente de sans doute vous révolter, mais vous m’aimez assez pour me
pardonner, n’est-ce pas.
Je vous embrasse,
Nadia
�
1956
Author: Nadia Boulanger
Ernesto Halffter
Jacques Dupont
Nadia Location: 36 rue Ballu
Recipient: Igor Stravinsky
Robert Craft
Vera Stravinsky
-
https://digex.lib.uoguelph.ca/files/original/82cf7145c8ec8a8edf43adf82b8fb8a2.pdf
8ff3a8312fc33d2e82b5410bb093c46b
https://digex.lib.uoguelph.ca/files/original/630717fef8e6598c74b1fd6fcc7f3ede.pdf
f31ba655f07b97015f5a930cfda7abf8
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, 11 June 1955
Creator
An entity primarily responsible for making the resource
Nadia Boulanger
Subject
The topic of the resource
Igor Stravinsky
Source
A related resource from which the described resource is derived
Paul Sacher Stiftung
Date
A point or period of time associated with an event in the lifecycle of the resource
11 June 1955
Type
The nature or genre of the resource
Letter
UG
Extracted Text
Boulanger to Stravinsky
June 11, 1955
Dear Igor,
Your birthday is soon. I don’t know what it means because . . . do you have an age . . . or are you
always the same, or better yet, always new? This is only meant to bring you wishes full of
affection, fondness, and gratitude. I still don’t know—never know. But with you it’s worse,
because everything seems so small and useless. And yet I cannot stop myself from sending you
this note that is absolutely filled with my affection.
We’ve spoken at length with Nabokov this morning about The Rake. We have been dreaming of
a truly homogeneous performance. For so long, the people have needed some perspective to help
them see, and curiously, despite your recordings and all the directions you have given them, they
continue to “interpret” rather than “to transmit.”
But why rebel? It’s always been the same, and despite everything the great works survive.
How I miss those beautiful days in Rome, to see you again was such a great happiness, you bring
so much to those whom you meet, and as for me . . . I love you so much, Dear Igor, as much as I
admire you.
And now, enough declarations from such a young and beautiful woman . . . what a lack of
restraint!
Give Vera my best. I regret that her exhibit left before I was able to prove to her I had looked at
it carefully.
Best wishes to Bob, my tenderness to Milène, and my constant thoughts to you both.
Fond wishes,
Nadia B.
[P.S.] Could you tell me if Alan Hovhaness has any talent, do you know him?
�
Boulanger à Stravinsky
11 juin 1955
Cher Igor,
Bientôt votre anniversaire—je sais mal ce qu’il signifie, car…avez-vous un âge…ou êtes-vous
toujours le même, toujours nouveau, au surplus. Ceci ne veut que vous porter des vœux plein
d’affection, de tendresse, et de gratitude. Je ne sais pas écrire, jamais, mais à vous, c’est pire, car
tout me parait si petit, et inutile. Et pourtant, je me puis m’empêcher de vous vous [sic] envoyer
ce signe si chargé d’attachement.
Avons parlé longuement des [sic] Rake’s ce matin avec Nabokov. Nous rêvons d’une exécution
vraiment homogène. Pendant si longtemps, les gens ont besoin d’un éclairage qui les aide à
voir—et chose curieuse, malgré vos disques et toutes les directives qu’ils donnent, on continue à
« interpréter » au lieu de « transmettre ». Mais pourquoi se rebeller ? Il en est toujours de même,
et les grandes œuvres survivent, malgré tout.
Que je regrette ces beaux jours de Rome, vous revoir a été un si grand bonheur, vous apporte[z]
tant à ceux qui vous approchent—et moi…Je vous aime tant, Cher Igor, autant que je vous
admire.
Allons, assez de déclarations—d’une si jeune et jolie femme…quel manque de retenue !
Dites à Vera toutes mes pensées. Mon regret d’avoir vu partir son exposition sans avoir pu
prouver que je l’avais bien regardée.
Mille choses à Bob, ma tendresse à Milène, à vous deux mes constantes pensées.
Je vous embrasse.
Nadia B.
[P.-S.] Pouvez[-]vous me dire si Alan Hovhaness a du talent—le connaissez-vous ?
�
1955
Alan Hovhaness
Author: Nadia Boulanger
Milène Marion
Milène Stravinsky
Nicolas Nabokov
Recipient: Igor Stravinsky
Robert Craft
The Rake's Progress
Vera Stravinsky
-
https://digex.lib.uoguelph.ca/files/original/938a2cdda658e205ba769820ecffbf23.pdf
699f56017a1fe491bb5503ac18a9d9e8
https://digex.lib.uoguelph.ca/files/original/867195e7694e59d660d421e62f968125.pdf
d2fd4ce29c23a09a252c46c13cecbdc3
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, 18 November 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
18 November 1954
Type
The nature or genre of the resource
Letter
UG
Extracted Text
Boulanger to Stravinsky
Ecoles d’art américaines
Fondation reconnue d’utilité publique
Conservatoire de musique – Ecole des beaux-arts
Palais de Fontainebleau
November 18, 1954
Dear Friend,
What a letter . . . and what good news!!
And it’s given me a bunch of ideas.
I’m going to do the impossible to be in Rome on the 6th, but, again . . . don’t protest before
having finished the paragraph:
The Olympic Games have opened a competition for the composition of a hymn intended for the
1955 Games. Three minutes of music, a prize of $1000. The jury will meet in Monaco on April
18 (until April 21), invited by the Prince to the Palace, travel included, for example Rome–
Monaco–Baden-Baden. We could begin the 17th (or the 17th to the 20th) (or even 18th to the
19th) (or 16th,17th,18th). It is impossible to tell you how happy I’d be if you agreed to be a part
of this jury. I beg of you to try to to remain open-minded. If the date must be pushed forward a
bit, it will be done.
I will be watching for the mail with utmost impatience!! Tuesday I will conduct a concert that
the radio kindly offered to celebrate my fifty years as a professor. I wouldn’t dare play music in
front of you, but . . . I would love for you to be there, you, who plays such a role in my life.
What success for Vera. I am so happy for her. Truly count on my being there on the 6th. What
hotel are you staying at?
With fond, wholehearted wishes,
Nadia B.
�
Boulanger à Stravinsky
Ecoles d’art américaines
Fondation reconnue d’utilité publique
Conservatoire de musique – Ecole des beaux-arts
Palais de Fontainebleau
18 novembre 1954
Cher Ami,
Quelle lettre…de si bonnes nouvelles !
Et qui me donne des tas d’idées.
Vais faire l’impossible pour être à Rome le 6.
Mais encore…ne protestez pas avant d’avoir fini le paragraphe :
Les Jeux Olympiques ont ouvert un concours pour la composition d’un hymne destiné au jeux
1955. 3 minutes de musique, prix de 1000 dollars—le jury se réussit à Monaco le 18 avril au 21
avril, invité par le Prince au Palais, voyage compris, par exemple de Rome [-] Monaco [-] Baden
Baden [sic]. On pourrait commencer le 17, (ou du 17 au 20), (ou même 18-19), (ou 16, 17,18).
Vous dire ma joie si vous acceptiez de faire partie de ce jury est impossible. Je vous en supplie
tachez de laisser vous attendriez [attendrir]. S’il faut avancer un peu la date, ce sera fait.
Avec quelle impatience, je fais gue[tt]er le courrier !! Mardi je dirige un concert offert très
gentiment par la radio pour fêter mes 50 ans de professorat. Je n’oserais pas faire de la musique
devant vous, mais…j’aurais pourtant aimé que vous fassiez là, vous qui jouez un tel role [sic]
dans ma vie.
Quel succès pour Vera—j’en suis si heureuse. Compte vraiment être là le 6—à quel hotel [sic]
descendez[-]vous ?
Je vous embrasse de tout cœur,
Nadia B.
�
1954
Author: Nadia Boulanger
Nadia Location: Fontainebleau
Recipient: Igor Stravinsky
Vera Stravinsky
-
https://digex.lib.uoguelph.ca/files/original/b2431636ad35e7579a561de85437e37a.pdf
d35131770e1930bc3bc1271d5000ab8d
https://digex.lib.uoguelph.ca/files/original/fc5207364d0983db04e8b26ea6246c23.pdf
ca7fc93a1eaf61ad4512d7a15dbf6f6c
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, 27 February 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
27 February 1954
Type
The nature or genre of the resource
Letter
UG
Extracted Text
Boulanger to Stravinsky
36 rue Ballu
Paris IX
Monsieur I. Strawinsky
1260 N. Wetherly Drive
Hollywood 46
California
U.S.A.
Feb. 27, 1954
So many things to tell you, My Dear—but have no fear, time will not allow me.
For the 3rd—I want, I need to tell you that I remember.
For Rome, I need to tell you that I’m sorry—I’m afraid that for complicated reasons, this trip
will be impossible. It’s sad, but . . . what can be done?
I’ve plunged into the Septet. I do not possess the presumptuousness to speak to you about it, how
could I dare. But I marvel before this masterwork that is all it could be.
What am I doing, these vain sentences are becoming threatening. No more.
Won’t you come to Paris[?]. If Bob Craft were an angel—why say if—he would send me your
dates, places, because . . . how can I accept not seeing you at all.
You are tremendously entwined in life here, in our daily thoughts, it seems you know everything
I do not say. And yet—what would it mean to you? You don’t need anyone, but we cannot do
without you.
While you make decisive gestures and write down notes as you want them, so many [others’]
unfortunate attempts lack power. And it isn’t a question of “what” but a question of “who.” What
a lesson.
My love to both of you and know, Dear Igor, my deep and faithful attachment. I love you so, you
whom I admire more than I know how to say.
To you, to Vera, and best wishes to Bob, to Milène, to André,
Your
Nadia
�
Boulanger à Stravinsky
36 rue Ballu
Paris IX
Monsieur I. Strawinsky
1260 N. Wetherly Drive
Hollywood 46
California
USA
27 fév. 1954
Que de choses à vous dire, Bien Cher—mais n’ayez crainte, le temps ne m’est pas laissé de
m’entendre.
Pour le 3—je veux, j’ai besoin de vous dire que je me souviens.
Pour Rome, je veux vous dire mon regret—des raisons compliquées ne vont pas rendre possible,
j’en ai peur, ce voyage. C’est triste, mais…que faire.
Suis plongée dans le Septett [sic]. Je n’aurai pas l’outrecuidance de vous en parler—comment
l’oserais-je. Mais quel émerveillement devant cette maitrise qui peut tout ce qu’elle veut.
Allons, voilà les phrases vaines qui se font menaçantes. Je m’arrête.
Ne viendrez-vous pas à Paris ? Si Bob Craft était un ange—pourquoi ce conditionnel—il
m’enverrait vos dates, lieux, car…comment accepter de ne pas vous voir du tout.
Vous êtes tellement mêlé à la vie, aux pensées de chaque jour qu’il me semble que vous savez
tout ce que je ne vous dis pas. Et puis—qu’avez-vous à en faire. Vous n’avez besoin de
personne, mais nous ne pouvons-nous passer de vous.
Tandis que vous faites les gestes décisifs et inscrivez les notes telles que vous les voulez, des tas
de tentatives malheureuses marquent l’impuissance. Et ce n’est pas « quoi » qui est en question,
mais « qui. » Quelle leçon.
Embrassez-vous les uns les autres et sachez, Cher Igor, mon profond et fidèle attachement. Je
vous aime tant, vous que j’admire plus que je ne sais le dire.
À vous, à Véra, et Mille pensées à Bob, à Milène, à André,
Votre
Nadia
�
1954
André Marion
Author: Igor Stravinsky
Igor Location: California
Milène Marion
Milène Stravinsky
Nadia Location: 36 rue Ballu
Recipient: Nadia Boulanger
Robert Craft
Septet
Vera Stravinsky
-
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