Chapter 1, 1931


Chapter 1, 1931


Igor Stravinsky


Nadia Boulanger




Paul Sacher Stiftung



Extracted Text

Symphonie de psaumes
Boulanger to Stravinsky
[No Date, ca. 1931]
1. Dedication—omitted—voluntarily?
—Psalm numbers, can they be indicated?
2. Domine in capital letters beginning at the fourth measure after R17
—Should we reserve putting Dominum in capital letters until the end—or for the third
movement, for the end of the second, or is it to be in capital letters throughout?
3. At R9, the part in ♪:
At R12:
Is this correct?
4. Fugue
Sixth measure of R4, orchestra: sub. meno f
piano: sub. dolcissimo
—The second version seems more accurate
Remarks on the recording
At R4, left hand staccatissimo
7 after R12 the altos sing B-natural on the record—the correction seems to indicate C-natural on
the first beat.
II Fugue
Before R12, retenu
3) à [R]9 la partie en nu
1 after R13 retenu
The movement is slower than 60 = ♪ in the fugue.
6 after R2, the sopranos and altos drop out on the third beat—this creates a silence which I find
excellent before the tenors’ Laudate, don’t you think?
R20 is a little closer to 66 =  noticeably slower than 48 to the 
At R22, the tempo is nearly OK here, maybe it’s slightly slower than 48=  , but only slightly
3 after R28 there is a C-natural in the recording, but I believe I heard a C-sharp at the
performance. You corrected this as a C-sharp—Is it better like this?
II Fugue
3 after R8, luto or lato?
4 after R17, Do’ mi – no (the comma’s in the right place, yes?)
Aren’t you afraid that by writing:
there will be an emphasis on the “i” rather than the “u?” Shouldn’t you isolate the “i?”
 
Al-le-lu...i – a
R1, maybe indicate poco meno p and reserve the p for four after R1.
3 after R2, fir-ma-men-to or tés ?
3 after R2 you’ve indicated in the piano me-nto, but left in the orchestral part: men-to?
5 after 22 in the trumpet (actual notes):
But at 5 after R26:
Are the two different versions accurate? I think so, but . . .
Boulanger à Stravinsky
[sans date, ca. 1931]
1) Dédicace—omise—volontairement ?
—Numéro des Psaumes, peut-on les indiquer ?
2) Domine en Majuscules à partir de la 4ème
mes de [R]17
—Faut-il réserver Dominum en Majuscules [sic] pour la fin—pour le 3ème
morceau, pour
la fin du 2nd
, ou le mettre partout en majuscules.
à [R]12…
Bien exact ?
4) Fugue
de [R]4 orchestre : sub. meno f
piano : sub. dolcissimo
Le 2nd
pte paraît plus exact
remarques faites d’après les disques
à [R]4 m.g. staccatissimo
7 + [R]12 les contr. chantent si dans le disque—la correction porte do sur le 1er
II Fugue
Avant [R]12 ret.
4 + [R]13 retenu
Le mt. est plus lent que 60 = ♪ dans la fugue
6 + [R]2 sopr. + contr. quittent au 3e
temps—cela fait un silence avant le Laudate des ténors,
excellent il me semble ?
[R]20 à peu près 66 = sensiblement plus lent que 48 à la
à [R] 22 le métronome est presque d’accord ici peut-être un petit peu plus lent que 48= mais
3 + [R] 28 dans les disques do —mais à l’orchestre je croyais avoir entendu c-dièse—vous avez
corrigé c-dièse—bon, n’est-ce pas
II Fugue
3 + [R] 8 luto ou lato
4 + [R]17 Do’ mi – no (virgule bien exacte, n’est-ce pas?)
Ne craignez-vous pas qu’en écrivant :
On appuie sur i au détriment de u faut-il isoler l’i
[R]1 Peut-être indiquer poco meno p. pour réserver p pour 4 + [R]1
3 + [R]2 fir-ma-men-to ou tés ?
3 + [R]2 Vous avez indiqué sur le piano me-nto, laisse sur l’orchestre: men-to?
les 2 versions différentes sont-elles exactes? Je crois mais…
5 + [R]22 tromp en ré (notes réelles) :
à 5 + [R] 26



Nadia Boulanger, “Chapter 1, 1931,” Digital Exhibits, accessed July 17, 2024,

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