44 10 1009 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/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/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/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/662ebf3a925e2bb1e8e7a04b4df77c95.pdf 2bdc3c7f45495f95656b7d815d00e1b4 https://digex.lib.uoguelph.ca/files/original/f93e83ad38c41f956f0de43452dcba45.pdf 3cdb9da208295f6789ec51cd8efec791 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, 10 June 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 10 June 1954 Type The nature or genre of the resource Letter UG Extracted Text Boulanger to Stravinsky * annotations Stravinsky’s 36 rue Ballu Paris, IX June 10, 1954 [This is] to say that I will not be near you, my dear friend, on the 18th. I would like to come and bring you all the most beautiful surprises, you who give me so much, all the time. What joy these days in London have been. But . . . I will control myself, because my effusions know no limit. In one instant, in one gesture, you render everything clear, inevitable, evident: what a lesson! But . . . I am not going to explain to you what you know better than I. What I can tell you is that these performances, this concert have highlighted and put things in order. I will make fewer mistakes when trying to guide all my students toward your work. I couldn’t listen to your records of the Septet without hearing what life you have given to the rhythm. We remain ignorant of its essential character. On Sunday (June 6) I heard your concert from Lugano (??) which was broadcast everywhere. Have you definitively deleted the canon from the Scherzo à la Russe (???). I like it so much and regretted [not hearing it]. I haven’t seen the edition and hope [the omission of the canon] was . . . just something that happened during the broadcast. I still have so many things to tell you, but want these wishes to leave tonight. Fond wishes to you, and to Vera and yourself my deepest attachment. Thinking of Bob and my affection to Milène, Your N [P.S.] Do not forget the Webern [P.P.S.] Thank you again for London � Boulanger à Stravinsky *annotations par Stravinsky 36 rue Ballu Paris, IX 10 juin 1954 Dire que je ne serai pas, mon cher Ami, près de vous le 18. Je voudrais entrer, et vous apporter toutes les plus belles surprises, vous qui me donnez tant, tous les jours, toujours. Quelle joie que ces jours de Londres—mais…je me retiens, car mes effusions ne connaissent aucune limite. En un instant, d’un geste, vous rendez tout clair, inévitable, évident, quelle leçon. Mais…je ne vais pas vous expliquer ce que vous savez mieux que moi. Ce que je puis vous dire c’est que ces répétitions, ce concert ont mis de l’ordre, et de la lumière. Je me tromperai moins en essayant de guider tous mes élèves à travers votre œuvre. Que n’ai-je pu entendre vos disques du Septet, avant d’avoir entendu ce que vous donnez de vie à un rythme, on en ignore le caractère essentiel. Entendu dimanche [Juin 6 [sic]] votre concert de Lugano [??] que tout sonnait, avez-vous supprimé définitivement le canon du Scherzo à la russe [???]. Je l’aime tant et le regrette, je n’ai pas vu l’édition et espère que ce n’est…que je ne sais quel incident qui l’a fait sauter de la transmission. Mille choses encore à vous dire mais veux que ces vœux partent ce soir. Je vous embrasse et vous dis à Vera et à vous mon profond attachement. Mille pensées pour Bob et ma tendresse à Milène Votre N [P.-S.] N’oubliez pas Webern. [P.P.-S.] Merci encore pour Londres � 1954 Anton Webern Author: Nadia Boulanger Milène Marion Nadia Location: 36 rue Ballu Recipient: Igor Stravinsky Robert Craft Scherzo Septet https://digex.lib.uoguelph.ca/files/original/25d2e921327ea5c5513d70ad67e90585.pdf 810f7ee6876efe8bc23402109ec0e7ff https://digex.lib.uoguelph.ca/files/original/7f47dae9f71da6419cffac3f0e101674.pdf a38c19e62eff079ac2311104219a5bc8 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, 7 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 7 November 1954 Type The nature or genre of the resource Letter UG Extracted Text Boulanger to Stravinsky *Annotations Stravinsky’s Ecoles d’art américaines Fondation reconnue d’utilité publique Conservatoire de musique—Ecole des beaux-arts Palais de Fontainebleau 36 rue Ballu Paris IX Monsieur Igor Strawinsky 1260 N. Wetherly Drive Hollywood, California U.S.A. November 7, 1954 Dear, dear friend, What a long time has passed without news from you. I dare not ask you to write to me, but . . . I hope that you have an irresistible desire to do so. The In Memoriam—what music, everything is there. I would like to speak to you about every note, but . . . you know these truths better than me. What we have in our hands is real, concrete, and thus we acquire what I will not have the poor taste to express. When are you coming to Europe? Where, if you are coming? We all need you furiously, but, despite my selfishness, I will choose to leave you to your work. Why are the distances so great and the expenses so high? I would come to see you, but . . . it is only a dream. We’ve recently had a festival—lots of notes, “impressions,” “emotions,” and little music. Many systems, without any real technique, and one quickly perceives that these types of complications are only a crutch. But, no matter what language they choose . . . the result would be in vain, because they produce nothing more than the banal and the odd. Desire is what is missing from their music. Wasn’t able to hear Noces yesterday. Scherchen conducted. It was likely good but dogmatic. Nothing else to tell you that is worth being said. I send my love, thank you and I believe I benefit completely from everything you have given us. With all my heart, your faithful Nadia B � Boulanger à Stravinsky Ecoles d’art américaines Fondation reconnue d’utilité publique Conservatoire de musique – Ecole des beaux-arts Palais de Fontainebleau (36 rue Ballu Paris IX) Monsieur Igor Strawinsky 1260 N. Wetherly Drive Hollywood, California USA 7 novembre 1954 Bien cher Ami, Que le temps est long qui me laisse sans nouvelles de vous—je n’ose pourtant pas vous demander d’écrire, mais…Je souhaite que vous en ayez l’irrésistible désir! L’In Memoriam— quelle musique—tout est là. Je voudrais parler de chaque note, mais…vous savez mieux que moi ces vérités. On a dans les mains du réel, du concret, et ainsi on atteint ce que je n’aurai pas le mauvais gout d’exprimer. Quand venez[-]vous en Europe ? Où, si vous venez ? Nous avons tous un furieux besoin de vous, mais, malgré mon égoïsme, je choisis de vous laisser à votre travail. Pourquoi les distances si grandes, les dépenses si élevées ? Je viendrais vous embrasser, mais…c’est là rêver. Avons eu un festival, dernièrement—beaucoup de notes, « d’impressions », « d’émotions » peu de musique. Beaucoup de systèmes, sans vraie technique—et vite, on s’aperçoit que ce genre de complications n’est qu’une facilité. Mais qu’importe le langage qu’ils choisissent…le résultat serait vain, car ils ne tirent pas plus du banal que du singulier, c’est la salive qui leur manque. N’ai pu entendre hier Noces. Scherchen dirigeait. Ce devait être bien, mais dogmatique. Rien à vous raconter qui vaille [sic] d’être dit. Je vous embrasse, vous remercie et je crois, profite pleinement de tout ce que vous nous donnez. De tout cœur votre fidèle, Nadia B. � 1954 Author: Nadia Boulanger Hermann Scherchen Igor Location: California In Memoriam Dylan Thomas Les Noces Nadia Location: 36 rue Ballu Recipient: Igor 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/d45c22000535a2cdb41d312291d849bd.pdf b00f5b948ba8259b92716dc5a0c203bc https://digex.lib.uoguelph.ca/files/original/ae28fb389874ea79dcdf083adcb0462e.pdf 0cb59c871b23fe88946321f93e4bab73 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, 7 December 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 7 December 1954 Type The nature or genre of the resource Letter UG Extracted Text Boulanger to Stravinsky Écoles d’art américaines Fondation reconnue d’utilité publique Conservatoire de musique – École des beaux-arts Palais de Fontainebleau December 7, 1954 It’s me again, my very Dear Friend!! After you so kindly complained of my silence, you’re going to regret it! But I’ll quickly support Passerone’s request, he has much talent, he is serious, so “informed” and so modest. How the Rome plan tempts me. It is so sad to see you so rarely. I think of Santa Barbara, of those hours with you. Nothing seems more important to me, and yet, I sacrifice them. The so-called “modern” works triumphed, [there was] a violent reaction to Varèse. [The critics] are so old-fashioned and pretentious. Bah! Water rushes, washes them away, and . . . nothing remains. I send my love to you both and am with all my heart, Your NB [P.S.] Don’t take the trouble to write to Passerone, just tell me if you are in agreement . . . or not. � Boulanger à Stravinsky Ecoles d’art américaines Fondation reconnue d’utilité publique Conservatoire de musique – Ecole des beaux-arts Palais De Fontainebleau 7 décembre 1954 Encore moi, Bien cher Ami !!! Après vous être si gentiment plaint de mon silence, vous l’allez regretter ! Mais, j’appuie très vivement la requête de Passerone—il a tant de talent, est si sérieux, si « informé », et si modeste. Que la projet Rome me tente—c’est si triste de si peu vous voir. Je pense à Santa Barbara, à ces heures chez vous. Rien ne me parait plus important, et pourtant, je le sacrifie. Les œuvres dites « modernes » ont sévi, pour Varèse, violente réaction. Qu’ils sont donc démodés et prétentieux. Bah ! L’eau coule, les entraine, et…rien ne subsiste. Je vous embrasse et suis de tout cœur, Votre NB [P.-S.] Ne prenez pas la peine d’écrire à Passerone, Dites-moi seulement si vous êtes d’accord…ou non. � 1954 Author: Nadia Boulanger Felix Passerone Nadia Location: Fontainebleau Recipient: Igor 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/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