30 10 1009 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/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/f0090893aab987823262b7a73bbd1a56.pdf 0a9c29866096f9b19d93f21afe1772cc https://digex.lib.uoguelph.ca/files/original/47b107c5294e6acc9e515ee2f7329741.pdf c05482542cc64d94cf08b360bce92e86 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 1952 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 22 January 1952 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, IX (FRANCE) January 22, 1952 My dear Nadia, Thank you for your affectionate letter (of January 17). You did well in keeping a copy of the little chorale for yourself, because one of the two was in fact intended for you, the other for you to give to Gavoty at Le Figaro, which you have surely done. I am happy and reassured to know you have finally received the three volumes of The Rake (photocopy of my summary sketches). Do you know a professor (I do not know of what) by the name of Leon Oleggini? I recently received a letter from the editors Maurice and Pierre Foetisch, of Lausanne, telling me that they had bought the manuscript of a book written about me by this gentleman. They asked me to supply them with photos to illustrate the book that they propose to publish with a catalogue of my works!!! I calmed them down, knowing neither the author nor the book and not having the time to dedicate to them. But on the other hand, I am in the process of making, on my own, and little by little, a complete (and, for the first time, exact) catalogue of my complete works. Nabokov tells me that they, in principle, agree I may conduct The Rake at the opera, but that Lehmann cannot decide anything for three weeks. On the other hand, Dr. Roth writes me from London that Bondeville is managing the opera. Ultimately, I do not understand who is in charge of whom or what. Nabokov pointed out to me new singers that I of course do not know: Janine Michaud (Anne), Roger Bourdin (Shadow). Do you know them? Have you seen the French translation? If so, what do you think of it? Be an angel and respond to me as quickly as possible, it would be a pleasure to hear from you. Love, I Str. � Stravinsky à Boulanger 1260 North Wetherly Drive Hollywood 46, California Mademoiselle Nadia Boulanger 36 rue Ballu Paris 9ème (FRANCE) 22 janvier 1952 Chere Nadia, Merci de votre affectueuse lettre (du 17 Janvier). Vous avez bien fait de garder pour vous un exemplaire du petite chorale [sic] car l’un des deux vous etait en effet destine, l’autre devant etre remis par vos soins a Gavoty, du Figaro, ce que vous avez surement fait. Je suis content et rassure d’apprendre que vous avez enfin reçu les trois volumes du RAKE (photocopie de mes summary sketches). Connaissez-vous un professeur (je ne sais de quoi) du nom de Leon Oleggini ? J’ai reçu dernierement une lettre des editeurs Maurice et Pierre Foetisch, de Lausanne, me disant qu’ils avaient acheté le manuscrit d’un livre ecrit sur moi par ce monsieur. Ils me demandaient de leur fournir differentes photos pour illustrer l’ouvrage qu’ils se proposent de publier avec le catalogue de mes œuvres !!! Je les ai calmes, ne connaissant ni l’auteur ni l’ouvrage et n’ayant pas de temps a leur consacrer. Mais par contre je suis en train de faire moi-meme, petit a petit, un catalogue complet (et pour la premiere fois exact) de mon œuvre complete. Nabakov m’ecrit qu’on est en principe d’accord pour que je dirige le RAKE a l’Opera , mais que Lehmann ne peut rien decider avant 3 semaines. D’autre part le Dr. Roth m’ecrit de Londres que l’Opera est entre les mains de Bondeville. Finalement je ne comprends pas qui commande qui et quoi. Nabokov me signale des chanteurs nouveaux que je ne connais evidemment pas : Janine Michaud (Anne), Roger Bourdin (Shadow). Les connaissez-vous ? Avez-vous vu la traduction francaise, si oui qu’en pensez-vous ? Soyez un ange, et repondez-moi le plus vite possible, vous me ferez plaisir. Love, I Str. � 1952 Author: Igor Stravinsky Bernard Gavoty Ernst Roth Igor Location: California Janine Michaud Leon Oleggini Maurice Lehman Nadia Location: 36 rue Ballu Nicolas Nabokov Recipient: Nadia Boulanger Roger Bourdin The Rake's Progress 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/e507c13b1824283b9ba9611c5b0d203a.pdf 3a80659de69df791b1d8ccc16094260d https://digex.lib.uoguelph.ca/files/original/0ff7b8619d7b694f9293eb3bf6f2d90b.pdf c3f1b34d5b4b8a35c7e62fd99680c283 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 November 1954 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 22 November 1954 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 November 22, 1954 My dear Nadia, Received your charming letter . . . I am sorry not to be able to respond to you favorably, but this jury business in Monaco is completely impossible for me. I want to stay in Rome for a few days to rest before going directly to Baden-Baden, where I will have more work than normal because of Rosbaud's absence at the moment. On the other hand, I look forward to seeing you in Rome, where I will stay as usual at the Hassler. We will arrive there on March 31. All my congratulations on fifty years of teaching . . . What an important number! I, who am older than you, cannot say the same, because my career as a composer started in 1907 with my first Symphony and my Suite for Voice and Orchestra, Le Faune et la Bergère, for which Rimsky arranged a performance in the Imperial Court. See you soon, Fond and affectionate wishes, Love, I. Str. � Stravinsky à Boulanger 1260 North Wetherly Drive Hollywood 46, California Mademoiselle Nadia Boulanger 36 rue Ballu Paris 9eme , France 22 novembre 1954 Chere Nadia, Votre charmante lettre recue… Je suis navre de ne pas pouvoir vous repondre favorablement mais cette affaire de jury a Monaco est tout a fait impossible pour moi. Je veux rester a Rome quelques jours pour me reposer avant d’aller directement a Baden-Baden ou j’aurai plus de travail que d’habitude a cause de l’absence de Rosbaud a ce moment. Par contre je compte vous voir a Rome ou je descendrai comme d’habitude au Hassler. Nous y arriverons le 31 Mars. Toutes mes felicitations pour vos 50 ans de professorat… Quel chiffre important ! Moi qui suis plus age que vous je ne peux pas en dire autant puisque ma carriere de compositeur a commence en 1907 avec ma premiere Symphonie et ma Suite pour Chant et Orchestre, Le Faune et la Bergere, dont Rimsky avait arrange l’execution dans un concert de la cour imperiale. A bientôt, Je vous embrasse bien affectueusement, Love I. Str. � 1954 Author: Igor Stravinsky Hans Rosbaud Igor Location: California Nadia Location: 36 rue Ballu Nikolai Rimsky-Korsakov Recipient: Nadia Boulanger https://digex.lib.uoguelph.ca/files/original/8c82756c5136f3d6d2990604b3781cb2.pdf 1b00e020d8aeeb0d736ff1fd273f3e01 https://digex.lib.uoguelph.ca/files/original/f767c754f55095c5844ac84e07c851eb.pdf 1802d7d1940bf01795166cc6c8db4e01 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, 23 March 1954 Creator An entity primarily responsible for making the resource Soulima 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 23 March 1954 Type The nature or genre of the resource Letter UG Extracted Text Soulima Stravinsky to Boulanger University of Illinois March 23, 1954 My dear Nadia, Your words, your thoughts have touched me infinitely. I would like to tell you that we were also very close to you, we are always, but most especially this month. And soon [we will have] the joy of seeing you. But will you be in Paris at the end of June? I hope this with all my heart. We arrive in Paris on June 12 and will stay there until the end of the month. Then we’re going to spend two months in southern France and will leave again around September 1. May this letter find you in good health. Wholehearted and fond wishes, Soulima � Soulima Stravinsky à Boulanger University of Illinois 23 mars 1954 Chère Nadia, Vos lignes, vos pensées m’ont infiniment touché. Je voudrais vous dire que nous étions aussi très près de vous, nous le sommes toujours, mais plus particulièrement ce mois-ci. Et bientôt la joie de vous voir. Mais serez-vous à Paris fin juin ? Je l’espère de tout mon cœur. Nous arriverons le 12 juin à Paris et y resterons jusqu’à la fin du mois. Puis nous irons passer deux mois dans le Midi et repartons autour du 1er septembre. Que ces lignes vous trouvent en bonne santé. Je vous embrasse de tout cœur. Soulima � 1954 Author: Soulima Stravinsky Recipient: Nadia Boulanger Soulima Stravinsky Location: Illinois 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/fbc2a387b60964ba105714221a1ec144.pdf e4da91a2ab8e38e455b055cef87826a6 https://digex.lib.uoguelph.ca/files/original/5f2824ed108678925c90f0a5eb3bd1de.pdf 84aff08335658453b778fdfc23a66d10 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 December 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 Paul Sacher Stiftung Date A point or period of time associated with an event in the lifecycle of the resource 25 December 1951 Type The nature or genre of the resource Letter UG Extracted Text Boulanger to Stravinsky 36 rue Ballu Paris, IX [December 25, 1951] Will this arrive on the intended day so that my wishes might convey to you my constant thoughts? What prayers wouldn’t I say so that you would conduct The Rake, Dear Igor, but I don’t dare believe it yet! Recently heard an incredibly striking rehearsal for Noces—amateur choir, disoriented at first, soon took the score on, and ultimately were overtaken by a not impeccable enthusiasm, but modestly did their best. Good soloists, a conductor who knew his role, [but a] foolish public. It’s running for only one repeat performance. Excuse this second letter—about the theme—I doubt you have accepted, but understand that Gavoty insisted I countersign his letter. Try to pull yourself away from the delights of Capone and come quickly—we need you here! And everywhere. How I miss my couch and those days in Hollywood! But telling you how much I miss you, I wonder if you know, and think sometimes of me? Lie [if you must], but just tell me that you do. Dear Vera, dear Igor, with hugs and kisses, I love you deeply. Your Nadia B. [P.S.] MERRY CHRISTMAS [P.P.S.] Finally have “my” orchestral score for The Rake’s—what joy! � Boulanger à Stravinsky 36 rue Ballu Paris, IX [le 25 décembre 1951] Arriverai-je au jour dit pour que mes vœux vous disent ma constante pensée. Quelles prières ne fais-je pas pour que le Rake’s soit conduit par vous, Cher Igor, mais je n’ose encore y croire ! Entendu dernièrement une audition de Noces très frappante—chœur d’amateurs, d’abord désorienté, bientôt se procurant la partition, et finalement, pris d’un enthousiasme pas toujours impeccable, mais modestement s’y efforçant. Bons solistes—chef connaissant bien son affaire, public fou, coulant qu’un bisse. Pardon pour la 2de lettre—au sujet thème—je doute que vous acceptiez mais, je comprends bien que Gavoty ait [sic] insisté pour que je contresigne sa lettre. Tâchez de vous arracher aux délices de Capone, et d’arriver vite [sic]—on a besoin de vous ici ! Et partout. Que je regrette mon canapé—et ces jours à Hollywood ! Mais vous dire combien vous me manquez—je me demande si vous le savez—et pensez parfois à moi ? Mentez—mais dites-moi que oui. Chère Vera, Cher Igor, je vous embrasse—et vous aime profondément. Votre Nadia B. BON NOËL [P.-S.] Ai enfin « ma » partition d’orchestre du Rake’s—quelle joie ! � 1951 Author: Nadia Boulanger Bernard Gavoty Les Noces Nadia Location: 36 rue Ballu Recipient: Igor Stravinsky The Rake's Progress 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/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