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                <text>1932 – 1937
Boulanger to Igor Stravinsky
36 rue Ballu 9th
Téléph: Trinité 90-17
June 17, 1932
My dear Friend,
How gladly I would have liked to greet you tomorrow, to join myself with those who love you
and to show you my inexpressible affection.
You are such a great light for us. You give me joy that is renewed each day—and you wish to
honor me with a friendship [and] a trust that is most precious to me.
Difficulties of the sort that you can imagine prevent us—my students and I—from sending you
the souvenir we reserved for you. I would like to hope that we will succeed in the end, because
losing this chance to do something for you is very hard on us.
Happy birthday, dear friend—and thank you, if only I could tell you what affection, what
admiration I have for you,
Yours,
Nadia Boulanger
�</text>
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                <text>1932-1937
Boulanger à Stravinsky
36 rue Ballu 9ème
Téléph:Trinité 90-17
17 juin 1932
Mon cher Ami,
Comme j’aurais aimé vous embrasser demain, me joindre à ceux qui vous aiment et vous
témoigner mon inexprimable attachement.
Vous êtes pour nous une si grande lumière. Nous vous devons des joies qui se renouvellent
chaque jour—et vous voulez bien m’honorer d’une amitié, d’une confiance que [sic] me sont
précieuses entre toutes.
Des difficultés d’un ordre que vous devinez, nous empêchent, mes élèves et moi, de vous
envoyer le souvenir que nous vous destinions. Je veux espérer que nous finirons par réussir, car
perdre cette opportunité de faire quelque chose pour vous, nous est très cruel.
Bonne fête, Cher Ami –et merci si je pouvais vous dire avec quelle affection, quelle admiration
je suis,
Votre
Nadia Boulanger
�</text>
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                <text>Boulanger to Stravinsky
36 rue Ballu
I. Strawinsky
167 Brd. [sic] Carnet
Nice
My dear Friend,
Thank you with all my heart—your thoughts touched me greatly.
I can never tell you what these months with the symphony have been and the daily discoveries
that come from reading and rereading this extraordinary score.
If I knew how, I wish I could express the importance of this work, in all aspects. But actually,
that would be pretentious—it speaks so well for itself!
In this letter, please find our wishes, affection, and fervent admiration,
Nadia Boulanger
�</text>
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                <text>Boulanger à Stravinsky
36 rue Ballu
Téléph : Louvre 03-25
Monsieur I. Strawinsky
167 Brd. Carnet
Nice
Mon cher Ami,
Merci de tout cœur—votre pensée me touche tant.
Jamais je ne pourrai vous dire ce qu’ont été ces mois avec la Symphonie et chaque jour ces
découvertes en lisant et relisant cette extraordinaire partition.
Si je savais parler, comme j’aimerais dire la signification d’un telle œuvre, dans tous les
domaines. Mais à vrai dire, quelle prétention—elle parle si bien pour elle-même!
Trouvez ici nos vœux, notre affection et une fervente admiration.
Nadia Boulanger
�</text>
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        <name>Recipient: Igor Stravinsky</name>
      </tag>
      <tag tagId="32">
        <name>Symphonie De Psaumes</name>
      </tag>
      <tag tagId="33">
        <name>Symphony of Psalms</name>
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          <element elementId="40">
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                <text>Boulanger to Stravinsky
Les Maisonettes
Hanneucourt
By Gargenville (S&amp;O) PTH 28
Isère
Mr. I. Strawinsky
La Vironnière
Voreppe
September 17, 1931
Dear Friend,
I’ve received your letter—everything is finished and sent off. It is unfortunate about the C-sharp
because of the C-natural in the following measure, but . . . at the heart of the matter I am sure
you are correct, naturally.
No need to thank me, we would all be deeply honored and happy if we could help you with
anything at all. These are certainly not tasks for you.
In all haste, and with sincere affection,
Nadia Boulanger
[P.S.] I recommended to Païchadze that he have someone review the orchestral score and ensure
the corrections are incorporated. I hope that there is someone who can do that with care.
�</text>
              </elementText>
              <elementText elementTextId="17192">
                <text>Boulanger à Stravinsky
Les Maisonettes
Hanneucourt
par [sic] Gargenville (S&amp;O) PTH 28
Isère
Monsieur I. Strawinsky
La Vironnière
Voreppe
17 sept. 1931
Cher Ami,
Bien reçu votre lettre—tout est fait, envoyé. Je regrette le do-dièse à cause du do-naturel de la
mesure suivante, mais…au fond je suis sûre, naturellement, que vous avez raison.
Ne me remerciez pas, nous serions tous si fiers et heureux, au fond, si nous pouvions vous aider
en quoi que ce soit. Ce ne sont pas là des besognes pour vous.
En toute hâte, avec tant d’affection
Nadia Boulanger
[P.-S.] Je recommande à Païchadze de bien faire revoir la partition d’orchestre et de veiller à ce
que les corrections soient reportées—j’espère qu’il y [a] quelqu’un qui puisse faire cela avec
soin.
�</text>
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      </tag>
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      </tag>
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        <name>Gavryil Païchadze</name>
      </tag>
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      </tag>
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        <name>Nadia Location: Hanneucourt</name>
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        <name>Recipient: Igor Stravinsky</name>
      </tag>
      <tag tagId="32">
        <name>Symphonie De Psaumes</name>
      </tag>
      <tag tagId="33">
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                <text>Stravinsky to Boulanger
Isère
La Virronière
Voreppe
Les Maisonettes
Hanneucourt
by Gargenville (S&amp;O) PTH 28
September 12, 1931
Very dear friend,
Thank you with all my heart for the trouble you have taken with this, and please kindly forgive
the haste of my responses.
Attached are the blue pages with my answers written beside them in the margins.
As for the first two questions of your letter—(1) indication of the Psalm numbers and (2) the use
of men’s and children’s voices, and in their absence, women’s voices in the composition—it is
completely essential to include this in the piano/vocal reduction. For the rest, if I remember, I’ve
already spoken to Païchadze about the matter. But my memory fails me to such a point [I have
even forgotten what my Symphonie de psaumes is called] that I can’t seem to remember anything
anymore! It’s becoming terrible.
Please believe in my loyal friendship and my infinite thanks,
Your
Igor Strawinsky
�</text>
              </elementText>
              <elementText elementTextId="17194">
                <text>Stravinsky à Boulanger
Isère
La Virronière
Voreppe
Les Maisonettes
Hanneucourt
By Gargenville (S&amp;O) PTH 28
le 12 septembre 1931
Trés [sic] chère amie,
Merci de tout cœur pour la peine que vous y prenez et excusez-moi magnanimement la hâte de
mes réponses.
Ci-joint les pages bleues avec mes réponses à côté de vos questions sur leurs marges.
Quant aux deux premières questions de votre lettre :
1) l’indication des numéros des Psaumes et 2) la mention de la composition du chœur pour voix
d’hommes et d’enfants avec, à leur défaut, des voix de femmes, très indispensable de l’inserrer
[sic] dans cette réduction de piano et chant de chœur. Du reste, s’il m’en souvient, j’en ai parlé
dans ce sens à Païchadze. Mais la mémoire me fait à tel point défaut que [j’ai même oublié
comment s’appelle ma Symphonie de psaumes] je ne me souviens plus de rien! Ca dévient [sic]
terrible
Croyez à ma fidèle amitié et à ma reconnaissance infinie.
Votre
Igor Strawinsky
�</text>
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                <text>Boulanger to Stravinsky
Les Maisonettes
Hanneucourt
By Gargenville (S&amp;O) PTH 28
Igor Strawinsky
Isère
La Virronière
Voreppe
September 8, 1931
Dear Friend,
I see that certain points have already been set by you. I’m only sending you the pages containing
questions. Could you respond to the following all at once:
1) Indication of Psalm numbers?
2) Wouldn’t it be good to indicate that you wanted men’s voices and children’s (or women’s)
voices?)
The rest is as follows:
1) Compare the trumpet on p. 33 with that on p. 35.
2) the A-natural added in pencil but not by yourself on p. 22, second measure of R7.
3) And the chord on the last page—I believe very much that the C-sharp is correct, in spite of the
recordings, because when the issue arose in the orchestral part, you played a C-natural with a
shocked expression—and added the C-sharp immediately after.
Excuse me for having been slightly late—Please be sure, it was not my fault.
With deep devotion,
NB
�</text>
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                <text>Boulanger à Stravinsky
Les Maisonettes
Hanneucourt
By Gargenville (S&amp;O) PTH 28
Monsieur Igor Strawinsky
Isère
La Virronière
Voreppe
8 septembre 1931
Cher Ami,
Je vois que certains points ont été déjà fixés par vous—je ne vous envoie que les pages contenant
des questions—Veuillez en même temps répondre :
1/ indication du no. des Psaumes?
2/ Ne serait-il pas bon d’indiquer que vous avez voulu des voix d’hommes et des voix d’enfants
(femmes à défaut ?)
Reste donc :
1/ la trompette p. 33 à comparer avec p. 35
2/ le la-naturel ajouté au crayon, mais pas de votre main p. 22, seconde mes[ure] de [R]7
3/ et l’accord de la dernière page—mais je crois vraiment au do dièse, malgré les disques, car
vous avez joué, quand la partition d’orchestre avec son do-naturel a soulevé la discussion, ce do-
naturel avec une sorte de révolte—et avez ajouté le dièse aussitôt.
Pardon d’avoir un peu tardé –ce n’est pas de ma faute, soyez-en s[û]r.
En profond dévouement
NB
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                <text>Boulanger to Stravinsky
Les Maisonettes
Hanneucourt
by Gargenville (S&amp;O) PTH 28
Igor Strawinsky
La Virronière
Voreppe
Isère
September 7, 1931
Dear Friend,
I’ve made the corrections—everything is at rue d’Anjou—but unfortunately, a few questions
remain. I’m sorry to bother you, but what can be done? Respond on these sheets, make use of
this envelope, and forgive me for not having spared you this annoyance.
You know with what deep sentiments of admiration, affection, and confidence I call myself your,
NB
[P.S.] My respects to your dear Mother.
�</text>
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                <text>Boulanger à Stravinsky
Les Maisonettes
Hanneucourt
par [sic] Gargenville (S&amp;O) PTH 28
Monsieur Igor Strawinsky
La Virronière
Voreppe
Isère
7 septembre 1931
Cher Ami,
J’ai fait les corrections—tout est rue d’Anjou—mais hélas, il reste quelques questions—Je suis
désolée de vous déranger, mais que faire ? Répondez sur les feuilles—servez-vous de
l’enveloppe et plaignez-moi de ne pouvoir vous épargner cet ennui.
Vous savez avec quel profond sentiment d’admiration, d’affection et de confiance je me dis
votre,
NB
[P.-S.] Mes respects à votre chère Maman.
�</text>
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                <text>Gavryil Païchadze to Boulanger
Paris
22 rue d’Anjou (8ème)
G. Païchadze
Director
Des Editions S &amp; N Koussevitzky:
Editions Russes de Musique
Edition A. Gutheil
September 5, 1931
Dear Mademoiselle,
I sent you the new proofs of Stravinsky’s Symphonie de psaumes (piano/vocal) yesterday by
registered mail along with the exemplar of the first edition that you corrected.
I would ask you to look at these proofs at your first available opportunity and to return them to
me as soon as will be possible for you. This urgency is caused by the fact that the first edition of
the score has been sold out to the last copy for quite some time, and we have been forced to
refuse requests for this work, which is most unpleasant for both the composer and the editor. The
new printing is therefore very urgent, especially because we must give several performances of
the Symphonie during the first months of this upcoming season.
In the hopes that you will understand this S.O.S. call and thanking you in advance, please accept
my most respectful sentiments, Madame.
Sincerely,
G. Païchadze
�</text>
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Paris
22 rue d’Anjou (8éme
)
G. Païchadze
Directeur
Des Éditions S &amp; N Koussevitzky :
Edition Russe de Musique
Edition A. Gutheil
5 septembre 1931
Chère Mademoiselle,
Je vous ai envoyé hier sous bandes recommandées les nouvelles épreuves de la Symphonie de
psaumes de Strawinsky (chant et piano) avec l’exemplaire de la première édition que vous avez
corrigé.
Je me permets de vous prier de regarder ces épreuves à votre premier moment libre et de me les
renvoyer aussi vite que ce sera possible pour vous. Cette urgence est causée par le fait que la
première édition de cette partition s’est épuisée jusqu’au dernier exemplaire il y a déjà un bon
moment et nous sommes obligés de refuser les demandes pour cette œuvre ce qui est très
désagréable pour le compositeur et pour l’éditeur. Le nouveau tirage presse donc beaucoup
d’autant plus que nous devons avoir beaucoup d’exécutions de cette Symphonie pendant les
premiers mois de cette saison.
Espérant que vous voudrez bien entendre cet appel de S.O.S. et vous remerciant d’avance, je
vous prie, chère Mademoiselle, de croire à mes sentiments respectueux.
G. Païchadze
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                <text>Boulanger to Stravinsky
Les Maisonettes
Hanneucourt
by Gargenville (S&amp;O) PTH 28
Mr. Igor Stawinsky
August 13, 1931
Dear Friend,
It is not because of negligence, but out of respect for your work that I have not responded—given
the circumstances, I thought that the only reasonable solution would be to send you the proofs:
they arrived today at the same time as your letter.
Unfortunately, I’m leaving for Fontainebleau. They will be corrected. No, I will send you as
early as today the exemplar Païchadze returned to me. Would you please answer my questions as
soon as you can, on this exemplar, and I will transfer them to the proofs.
(I hope that you still have my little list.)
I am sorry at the thought of annoying you with all this, but though there are several cases where
I’m not afraid to take “responsibility,” there are also two or three spots where you alone can
decide.
Need I tell you what a place you hold here in all our minds and hearts? Unbeknownst to you, you
are constantly present through your work. You have managed to inspire such affection that is, I
believe, only equaled by the admiration we have for you. And so . . .
Our very faithful thoughts surround you.
To you, Dear, Great Friend, all we have that is the most sincere and profound,
Nadia Boulanger
�</text>
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                <text>Boulanger à Stravinsky
Les Maisonettes
Hanneucourt
par Gargenville (S&amp;O) PTH 28
Mr. Igor Strawinsky
La Virronière
Voreppe
Isère
13 août 1931
Cher Ami,
Ce n’est pas par négligence, mais par respect de votre travail que je ne vous ai pas répondu—
étant donné les circonstances j’ai pensé que la seule solution raisonnable était de vous envoyer
les épreuves : elles arrivent aujourd’hui en même temps que votre mot—Hélas, je pars pour
Fontainebleau—Elles seront corrigées…Non, je vous envoie dès aujourd’hui l’exemplaire que
me retourne M. Païchadze—–veuillez répondre à mes questions dès que vous le pourrez, sur cet
exemplaire—et je les reporterai sur les épreuves.
(J’espère que vous avez encore ma petite liste)
Je suis navrée à la pensée de vous ennuyer avec tout cela mais s’il a plusieurs cas où la
« responsabilité » ne m’effraie pas, il y a aussi deux ou trois endroits où vous seul pouvez
décider.
Dois-je vous dire quelle place vous tenez ici dans tous les esprits et dans nos cœurs ? Inconnu
vous seriez sans cesse présent par votre œuvre—Vous avez su inspirer ici des affections qui, je
crois, arrivent à égaler l’admiration qu’on a pour vous. Alors…
Autour de vous de très fidèles pensées
À vous, Cher, grand Ami, tout ce que nous avons de plus sincère et profond,
Nadia Boulanger
�</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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                <text>Catherine Stravinsky to Boulanger
Nice
May 7, 1931
Dear Friend,
Thank you so much for your very sincere letter reassuring us.
We are very grateful to you for having honestly shared your feelings and your point of view with
us. Unfortunately, it differs significantly from our own, but as you have given us your promise
that, in appearance, you will support us, we are firmly counting on you. Besides, the attitude to
take right now concerning young people is to interfere in no way in their relationships. The
young woman will return to America soon; one need neither try to make her return, nor oppose
it, but as for the future, leave it all up to the will of God, because it is not up to us to unite or
separate them. It is only important that Nini does not extend any formal promises, that is all.
I hope that everything is now clear between us.
I have not yet thanked you for having thought of us (Nini’s performance). Your telegram was a
great joy for us all.
Sviétik wrote to me that he will defer his exams until next year. So much the better! We approve
of it entirely. It was an effort well beyond his abilities as he now understands.
I will finish this letter by thanking you very sincerely for all the interest you have shown our son
and for your kind friendship toward us.
Believe that I am, dear Friend, your cordially devoted,
C. Stravinsky
�</text>
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                <text>Catherine Stravinsky à Boulanger
Nice
le 7 mai 1931
Chère Amie,
Merci beaucoup de votre lettre si sincère qui nous rassure.
Nous vous sommes très reconnaissants de nous avoir exposé en toute franchise vos sentiments et
votre point de vue ; il diffère malheureusement sensiblement de nôtre [sic] mais comme vous
nous donnez la promesse de nous soutenir quoiqu’en apparence nous comptons fermement sur
vous. Du reste l’attitude à prendre maintenant vis-à-vis des jeunes gens est de n’intervenir
d’aucune façon dans leurs rapports. La jeune fille retournera bientôt en Amérique; il ne faut ni
tâcher de la faire revenir, ni s’y opposer, mais laisser tout à la volonté de Dieu quant à l’avenir,
car ce n’est pas à nous de les unir ou de les séparer. Il importe seulement que Nini ne se lie pas
de promesse formelle, voilà tout.
J’espère que tout est clair entre nous maintenant.
Je ne vous ai pas encore remerciée d’avoir pensé à nous (l’audition de Nini). Votre télégramme
nous a fait à tous grand plaisir.
Sviétik m’écrit qu’il remet ses examens à l’année prochaine. Tant mieux ? Nous l’approuvons
entièrement. C’était un effort vraiment audissus [sic] de ses forces comme il l’a compris
maintenant.
Je finis ma lettre et vous remercie bien sincèrement de tout l’interêt [sic] que vous portez à notre
fils et de votre bonne amitié envers nous.
Croyez-moi, chère Amie, votre très cordialement dévouée,
C. Stravinsky
�</text>
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