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https://digex.lib.uoguelph.ca/files/original/9b1d660e2c9c223bfe1465266ac60ae8.pdf
fe478f7a1a75936862d64e899372c185
https://digex.lib.uoguelph.ca/files/original/88e8e1e73badd51d99877fc0872f90a4.pdf
7089dffa273aa7d182a34c7646337eab
Dublin Core
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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