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                <text>Boulanger to Stravinsky
Hotel Astoria
103 rue Royale
Brussels, Belgium
Monsieur Igor Stravinsky
1260 North Wetherly Drive,
Hollywood 46
California
U.S.A.
January 24, 1970
My friend,
On Wednesday we have the Requiem Canticles here. You can imagine how I felt, hearing at last
this work that has for so long been in my heart and in my thoughts. It seems that it was prepared
with [illegible] attention and love. My fond wishes to Vera and to you, and give my best to Bob.
Yours, always,
Nadia B.
�</text>
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                <text>* * *
Boulanger à Stravinsky
Hôtel Astoria
103 rue Royale
Bruxelles, Belge
Monsieur Igor Stravinsky
1260 North Wetherly Drive, N.
Hollywood 46
Californie
E.U.A.
24 janvier 1970
Mon ami,
Mercredi Requiem Canticles ici—vous imaginez mon émotion, entendre enfin l’œuvre
qui est depuis longtemps dans mon cœur et dans mon esprit. Il semble qu’elle soit
préparée avec l’attention et l’amour [illisible]. Je vous embrasse, Véra et vous, et dis bien
des pensées à Bob.
Toujours votre,
Nadia B.
�</text>
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      <tag tagId="357">
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      <tag tagId="652">
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                <text>Boulanger to Stravinsky
Ecoles d’art américaines
Fondation reconnue d’utilité publique
Bureau New York: Fontainebleau Schools, 1083 Fifth Avenue, New-York, N.Y. 10.028
Conservatoire de musique
Palais de Fontainebleau
Le Directeur
36, rue Ballu, Paris IX
Monsieur Igor Stravinsky
Essex House
New York
NY
U.S.A.
Ash Wednesday [February 11, 1970]
My thoughts and prayers are united with yours.
May God keep you
Your
Nadia B.
�</text>
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                <text>* * *
Boulanger à Stravinsky
Ecoles d’art américaines
Fondation reconnue d’utilité publique
Bureau New-York : Fontainebleau Schools, 1083 Fifth Avenue, New-York, N.Y. 10.028
Conservatoire de musique
Palais de Fontainebleau
Le Directeur
Monsieur Igor Stravinsky
Essex House
New York
NY
USA
Mercredi des cendres [le 11 février 1970]
Mes prières s’unissent avec vôtres, et mes pensées.
Que Dieu vous garde
Votre
Nadia B.
�</text>
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                <text>Boulanger to Stravinsky
Ecoles d’Art Américaines
Fondation Reconnue d’Utilité Publique
Bureau New-York: Fontainebleau Schools, 1083 Fifth Avenue, New-York, N.Y. 10.028
Conservatoire de musique
Palais de Fontainebleau
Director
36 rue Ballu, Paris, IX
Mr. Igor Stravinsky
Essex House
New-York City
N.Y.
U.S.A.
March 2, 1970
My thoughts are with you in steadfast loyalty, My Friend.
In her memory, I send you all my love,
Nadia B
�</text>
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              <elementText elementTextId="16522">
                <text>* * *
Boulanger à Stravinsky
Ecoles d’art américaines
Fondation reconnue d’utilité publique
Bureau New-York : Fontainebleau Schools, 1083 Fifth Avenue, New-York, N.Y. 10.028
Conservatoire de musique
Palais de Fontainebleau
Le Directeur
36 rue Ballu, Paris, (IXè
)
Monsieur Igor Strawinsky
Essex House
New-York City
N.Y.
U.S.A.
2 mars 1970
Mes pensées sont avec vous, Mon Ami, en inaltrable [sic] fidelité [sic].
Dans son souvenir, je vous embrasse de tout cœur.
Nadia B
�</text>
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                <text>Boulanger to Théodore Strawinsky
May 8, 1970
Dear Théodore,
How kind of you and Denise to have written me.
Death’s great mystery is around your Father, and whatever his faith and our submission may be,
it is certainly a painful time in its stress and severity.
I am with you constantly and send all my love,
NB.
�</text>
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                <text>* * *
Boulanger à Théodore Strawinsky
8 mai 1970
Cher Théodore,
Que vous êtes bons, Denise et vous, de m’avoir écrit.
Le grand mystère de la mort est autour de votre Père, et quelle que soit sa foi et notre
soumission, c’est un moment bien douloureux dans son anxiété et sa gravité.
Je suis avec vous constamment et vous embrasse de tout cœur.
NB.
�</text>
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November 18, 1970
Dear Théodore,
Without a doubt you have received this interview with your Father, a seemingly implausible
interview in all respects.
What can you do, what do you think? Need I tell you with what fondness I am constantly near to
you and Denise. Such drama has played out in this long and terrible battle,
NB.
�</text>
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Boulanger à Théodore Strawinsky
18 novembre 1970
Cher Théodore,
Sans doute avez-vous reçu cette interview de votre Père, interview qui semble à tous
égards invraisemblables.
Que savez-vous, que pensez-vous ? Dois-je vous dire de quel cœur je suis sans cesse
auprès de vous et Denise. Quel drame se joue dans cette longue et terrible lutte.
NB.
�</text>
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February 1, 1971
Dear Théodore,
Your distressing letter affected me so painfully. All that is happening at the moment is
unbearably heartbreaking, and we would like to think it untrue. I am with you with all my heart,
in prayer for him and for those capable of such an act. May God have pity on their misery. We
cannot.
Lovingly yours,
Nadia
�</text>
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                <text>* * *
Boulanger à Théodore Strawinsky
1 février 1971
Cher Théodore,
Votre bouleversante lettre m’atteint bien douloureusement. Tout ce qui se passe en ce
moment est déchirant insupportable et l’on voudrait croire invraisemblable. De quel cœur
je suis avec vous, en prière pour lui et pour ceux capables d’un tel acte. Que Dieu ait pitié
de leur misère nous ne pouvons pas.
Je vous embrasse,
Nadia
�</text>
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                <text>Boulanger to Théodore Strawinsky
May 11, 1971
Dear Théodore,
A letter from Figaro deeply disappointed me, “The article is too long,” they say. I asked them to
send it back to me, and as soon as I return to Paris, I will take care of its publication. I believe the
performance of the Mass will work itself out one of these days, it has to, but . . . I want to hope.
I never leave you!
Your
NB.
�</text>
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                <text>* * *
Boulanger à Théodore Strawinsky
11 mai 1971
Cher Théodore,
Une lettre de Figaro m’a vivement désappointée « l’article est trop long » disent-ils, je
leur ai demandé de me le renvoyer, et dès mon retour à Paris, m’occuperai de sa
publication. Je crois que l’exécution de la Messe va se décider ces jours-ci, il faut mais…
je veux espérer.
Ne vous quitte pas !
Votre
NB.
�</text>
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      </tag>
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        <name>Mass</name>
      </tag>
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      </tag>
      <tag tagId="503">
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                <text>Boulanger to Théodore Strawinsky
June 16, 1971
Dear Théodore,
How my thoughts are particularly close to you in these days once celebrated with joy, but
nothing has disappeared and Peace prolongs the past. I’m happy that you gave the article to
Zygmunt, he is so moved by it. As for H. Monnet’s article, he is certainly right in his enthusiasm,
but is it his place to dig up these stories and stir up controversy? I do not know what to think,
because to let it happen is so revolting.
If you only knew of Mitell.
Yours with tenderness and in deep thought,
Nadia B.
P.S. I have nevertheless telegraphed Vera, telling her that I understand her immeasurable
distress, because I still hope that she gives in and can at least sleep. What a terrible ending.
�</text>
              </elementText>
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                <text>* * *
Boulanger à Théodore Strawinsky
16 juin 1971
Cher Théodore,
Que mes pensées sont particulièrement près de vous en ces jours jadis célébrés avec joie,
mais rien n’a disparu et la Paix prolonge le passé. Suis heureuse que vous donniez
l’article à Zygmunt, il en est si touché. Quant à l’article d’H. Monnet, il a certes raison
dans sa ferveur mais y a-t-il lieu de remuer ces histoires et de créer une polémique ? Je ne
sais que penser, car laisser passer est si révoltant.
Qu’avez-vous su de Mitell.
Avec tendresse, en profonde pensée votre,
Nadia B.
P.-S. Ai pourtant télégraphié Vera lui disant que je comprends son incommensurable
détresse car j’espère encore qu’elle se rend et peut à peine s’endormir. Quelle fin
terrible !
�</text>
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                <text>Chapter 6, 24 November 1972 </text>
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                <text>Théodore Stravinsky, Théodore Strawinsky </text>
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                <text>Fondation Théodore Stravinsky, Théodore Strawinsky</text>
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                <text>Boulanger to Théodore Strawinsky
November 24, 1972
Dear Théodore,
There is nothing to say to your letter, and yet everything to say to you.
We are “revolted” by some facts, which will basically disappear very quickly; and we hold on to
such memories here!
Today we are going to sing “Ave Maria,” “Pater [Noster]” and “Pastorale,” and we have no
doubt that everything else holds no weight next to this music of such spiritual and musical
importance.
I am thinking of you, of Denise, and am, with all my heart, your
NB.
�</text>
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                <text>* * *
Boulanger à Théodore Strawinsky
24 novembre 1972
Cher Théodore,
Il n’y a rien à répondre à votre mot, et pourtant tout à vous dire.
Nous sommes « révoltés » par certains faits qui au fond disparaîtront bien vite, et nous
gardons présents de tels souvenirs !
Nous allons chanter aujourd’hui l’Ave Maria, le Pater et la Pastorale et nous savons bien
que le reste ne pèse rien à côté de cette musique d’une telle signification spirituelle et
purement musicale.
Je pense à vous, à Denise, et suis de tout cœur votre,
NB.
�</text>
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      </tag>
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        <name>Denise Strawinsky</name>
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      <tag tagId="263">
        <name>Pater Noster</name>
      </tag>
      <tag tagId="365">
        <name>Recipient: Théodore Stravinsky</name>
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                  <text>Boulanger and the Stravinskys, Chapter 1</text>
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                  <text>English translation and transcription of French originals from Chapter 1 of Kimberly Francis, Nadia Boulanger and the Stravinskys (University of Rochester Press, 2018)</text>
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                <text>Nadia Boulanger</text>
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                <text>Igor Stravinsky </text>
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              <elementText elementTextId="15905">
                <text>Paul Sacher Stiftung</text>
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                <text>Symphonie de psaumes
Boulanger to Stravinsky
[No Date, ca. 1931]
I
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
I
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.
III
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?)
III
Aren’t you afraid that by writing:
Al-le-lui-a
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 . . .
�</text>
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                <text>SYMPHONIE DE PSAUMES
Boulanger à Stravinsky
[sans date, ca. 1931]
I
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
—6ème
de [R]4 orchestre : sub. meno f
piano : sub. dolcissimo
Le 2nd
pte paraît plus exact
remarques faites d’après les disques
I
à [R]4 m.g. staccatissimo
7 + [R]12 les contr. chantent si dans le disque—la correction porte do sur le 1er
temps
II Fugue
Avant [R]12 ret.
4 + [R]13 retenu
Le mt. est plus lent que 60 = ♪ dans la fugue
III
�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
peu
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?)
III
Ne craignez-vous pas qu’en écrivant :
Al-le-lui-a
On appuie sur i au détriment de u faut-il isoler l’i
Al-le-lu...i—a
[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
�</text>
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      </tag>
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        <name>Recipient: Igor Stravinsky</name>
      </tag>
      <tag tagId="32">
        <name>Symphonie De Psaumes</name>
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        <name>Symphony of Psalms</name>
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