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                <text>Boulanger to Stravinsky
Ecoles d’art américaines
Fondation reconnue d’utilité publique
Bureau New-York: Fontainebleau Schools, 122 East 58 St. N.Y. 22
Conservatoire de musique – Ecole des beaux-arts
Palais de Fontainebleau
March 2, 1963
My Friend,
So many thoughts go toward you as March 2 approaches, and so tenderly unites me to you, in the
tenderness I am going to carry to Her, the one who knew the words to illuminate the shadows.
I’ve read your very important notes in New Perspectives with great interest. What order they
bring to such troubling confusion. We will all thank you—Bob and you—for the clarification.
Bergson puts it well: the first sign of strength is precision. And also [thank you] for, as much as
you are able, protecting us and putting us on the right path. It’s always with the same feeling
when I think about this March 2, about these painful years, about Mika!
My most profound tenderness,
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, 122 East 58 St. N.Y. 22
Conservatoire de musique – École des beaux-arts
Palais de Fontainebleau
Le Directeur
2 mars 1963
Mon Ami,
Que de pensées vont vers vous à l’approche de ce 2 mars qui m’unit à vous si tendrement,
dans la tendresse aussi que je vais porter à Elle qui a su les paroles qui éclairent l’ombre.
Lu avec grand intérêt vos notes si importantes dans New Perspectives. Que d’ordre elles
apportent dans une confusion si troublante. Nous devons tous vous remercier Bob et
vous—et de ces précisions. Bergson dit bien : le premier signe de la force est la
précision—et aussi de tant de vous qui peuvent nous protéger et nous mettre dans le droit
chemin.
C’est toujours avec une même émotion que je pense à ce 2 mars, à ces années si
douloureuses, à Mica !
Je vous embrasse avec une tendresse profonde,
Nadia B
�</text>
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                <text>Boulanger to Théodore Strawinsky
[No Date] [1962]
Dear Théodore,
Sorry I still haven’t written you. I am so shaken up. I spent Sunday afternoon with your Father—
surprising strength, enthusiasm and tenderness. The worry he creates for himself, for Denise, for
you, for Kitty. Perhaps he seems to remain silent, but he lives with those who are his life and
every detail remains engraved—all hidden in a seemingly contradictory appearance, but
nevertheless rooted within.
His impressions, his trip, this return to his childhood, his sense of modesty, his way of saying
nothing but what he wants to, and how the words must veil or divulge. It is true, he walks with
difficulty, it’s the only time where one can see the signs of the shocks he has undergone. His
spirit is young, alive, innovative, mobile, and what clairvoyance, what conviction as well, which
sometimes creates incontrollable, spontaneous reactions.
Unfortunately, I must hurry, I can spare anything but time, but I am with you, sharing in your
hopes, your expectations, knowing the weight of your intense patience.
Give Denise my love and know, both of you, that my thoughts never leave you. Thank you
again.
Yours,
NB
�</text>
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                <text>* * *
Boulanger à Théodore Strawinsky
[sans date] [1962]
Cher Théodore,
Pardon de ne pas vous avoir écrit encore. Suis si bousculée. Passé l’après-midi de
dimanche avec votre Père, étonnant de force, d’enthousiasme et de tendresse. Le souci
qu’il se fait pour Denise, pour vous, pour Kitty. Peut-être semble-t-il rester silencieux
mais il vit avec ceux qui sont sa vie et chaque détail resté gravé. Tout cela caché, en
apparence contradictoire, et pourtant si enraciné.
Ses impressions, son voyage, ce retour à son enfance, sa pudeur, son art de ne dire que ce
qu’il veut, et comment les termes doivent voiler ou découvrir. Il est vrai, il marche mal,
c’est le seul moment où l’on voit des signes de chocs qu’il a subis, l’esprit est jeune, vif,
novateur, en mouvement, et quelle clairvoyance, quelle conviction aussi qui crée parfois
des réactions d’une spontanéité incontrôlables.
Hélas il faut aller vite, je ne dispose de rien comme temps mais suis avec vous partageant
vos espoirs, votre attente, sachant le poids de cette patience si longue !
Embrassez Denise et sachez tous deux que ma pensée ne vous quitte pas. Merci encore.
Votre
NB
�</text>
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                <text>Boulanger to Stravinsky
Ecoles d’art américaines
Fondation reconnue d’utilité publique
New York Office: Fontainebleau Schools, 122 East 58 St. N.Y. 22
Conservatoire de musique – Ecole des beaux-arts
Palais de Fontainebleau
Le Directeur du Conservatoire
June 18, 1962
Very dear Igor,
Soon will be the birthday the entire world celebrates yet does not know how to celebrate enough.
But once again I find myself near you in Hollywood—but also in Paris—I believe I’m sharing
some of your views toward the Past, some of your silence in the Present, and your view of the
new possibilities the material offers you and your mind.
I don’t dare tell you what leads me always to this struggle before you, one that has no beginning
and no end. In it I see your pain, your wounds, your aspirations, and I repeat, from the bottom of
my heart, “May Peace be with you.”
Your burden is heavy if it brings with it light, and I believe I feel and understand. I love you so
much.
I send you all my love, I say to you thank you, and I hear you wherever you may be, always
there,
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, 122 East 58 St. N.Y. 22
Conservatoire de musique – Ecole des beaux-arts
Palais de Fontainebleau – Le Directeur du Conservatoire
18 juin 1962
Très cher Igor,
Bientôt cet anniversaire que le monde entier célèbre et ne saurait assez célébrer. Mais,
moi, je me retrouve, près de vous, à Hollywood—mais aussi à Paris— je crois partager
certains de vos regards vers le Passé, certaines de vos silences dans le Présent, et votre
perception de la nouvelle possibilité que vous offre la matière, et votre esprit.
Je n’ose vous dire ce qui m’ément[sic] toujours devant cette lutte avec vous-même qui
n’a commencement ni fin. J’y vois aussi vos peines, vos blessures, vos aspirations—et je
vous redis, du plus profond de mon cœur, « que la Paix soit avec vous ».
Votre fardeau est lourd, s’il est porteur de lumière, et je crois sentir, et comprendre. Je
vous aime tant.
Je vous embrasse, je vous dis merci, et je vous entends où que vous soyez, toujours là,
Votre,
Nadia B
�</text>
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            <elementTextContainer>
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                <text>Boulanger to Denise Stravinsky
February 18, 1962
Dear Denise,
Without news for a long time, but I feel close [to you] and my thoughts are always with you. I do
hope that you are suffering less. But it has been so long—it’s a burden to be so patient.
I saw your father-in-law upon his return from Moscow, walking with a bit of difficulty, but with
an extraordinary presence—so preoccupied by you, by you all.
The recording of the Flood is impressive and allows for an understanding of the grandeur of the
work. Regarding A Sermon, Narration, Prayer [sic], which I heard on the radio, it is profoundly
moving. And if mastering these ever-new means is stupefying, the emotion that emanates from
this sublime work is inexpressible. What a supreme force of thought and feeling —which
[others] want to ignore!
Hug one another [for me] and know I am your,
Nadia B.
P.S. Not yet been able to write to Kitty. Going to do it one of these days I hope!
�</text>
              </elementText>
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                <text>* * *
Boulanger à Denise Stravinsky
18 février 1962
Chère Denise,
Sans nouvelles depuis longtemps, je me sens pourtant proche et ma pensée ne vous quitte
pas. Je veux espérer que vous souffrez moins. Mais c’est si long—et une telle patience si
lourde.
Vu votre beau-père à son retour de Moscou, marchant avec un peu de difficulté, mais
d’une présence extraordinaire—si préoccupé de vous de vous tous.
Le disque du Flood est impressionnant et permet de comprendre la grandeur de l’œuvre.
Quant à celui de Sermon, Narration Prayer[sic], entendu à la radio, il est profondément
émouvant. Et si la maîtrise de moyens toujours nouveaux est stupéfiante, l’émotion qui se
dégage de cette œuvre sublime, elle est indicible.
Quelle force suprême de la pensée et de la sensibilité—ce que l’on veut ignorer !
Embrassez-vous les uns les autres et sachez-moi votre.
Nadia B.
P.S. N’ai pas encore pu écrire à Kitty. Vais le faire ces jours-ci j’espère !
�</text>
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        <name>Recipient: Denise Stravinsky</name>
      </tag>
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                <text>Stravinsky to Boulanger
London
Mlle Nadia Boulanger
36 rue Ballu
Paris IX
October 30, 1961
Just a word, dear Nadia, to tell you that I was touched by your letter and that I am flying to New
Zealand in ninety-four hours via Cairo and Sidney [sic].
I should be in Hollywood beginning of Dec.
With heartfelt fondness,
Yours,
I Str.
�</text>
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                <text>* * *
Stravinsky à Boulanger
Londres
Mlle Nadia Boulanger
36 rue Ballu
Paris (IXè)
Le 30 Oct, 1961
Juste un mot, chère Nadia, pour vous dire que je suis touché par votre mot et que je vole à
la New Zealand dans 94 heures par Cairo—Sidney [sic].
Dois être à Hollywood debut Dec.
Vous embrasse affectueusement
Votre
I Str.
�</text>
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        <name>Igor Location: London</name>
      </tag>
      <tag tagId="359">
        <name>Nadia Location: 36 rue Ballu</name>
      </tag>
      <tag tagId="361">
        <name>Recipient: Nadia Boulanger</name>
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              </elementText>
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          <element elementId="40">
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                <text>Boulanger to Stravinsky
Ecoles d’art américaines
Fondation reconnue d’utilité publique
New York Office: Fontainebleau Schools, 122 East 58 St. N.Y. 22
Conservatoire de musique – Ecole des beaux-arts
Palais de Fontainebleau
Le Directeur
October 26, 1961
Dear Igor,
Up to the last minute I held on to the hope of coming and greeting you in London. What
disappointment I feel about it all. I had such a great need, such a great desire to see you. It has
been so long!
And the time is equally as long because you use it in such a way that you are far ahead of the rest
even before they get started.
And I needed to breathe some of your air (as if it were possible!) and to try to follow you. But to
be honest, each of your steps is so decisive that unless we are hopelessly stupid and obtuse, we
walk with you, renewed and new.
I love you so much, honestly as much as I admire you, and I’m sorry I can’t rush to you.
To Vera, to you, and with many thoughts for Bob,
Nadia B
�</text>
              </elementText>
              <elementText elementTextId="16722">
                <text>* * *
Boulanger à Stravinsky
Ecoles d’art américaines
Fondation reconnue d’utilité publique
Bureau New-York : Fontainebleau Schools, 122 East 58 St. N.Y. 22
Conservatoire de musique – Ecole des beaux-arts
Palais de Fontainebleau – Le Directeur du Conservatoire
26 octobre 1961
Cher Igor,
L’espoir de venir vous embrasser à Londres, je l’ai gardé jusqu’au dernier moment.
Quelle déception j’en éprouve. J’avais si grand besoin, si grand désir de vous voir. Il y a
si longtemps !
Et le temps est d’autant plus long que vous l’employez d’une telle manière que vous êtes
loin avant que les autres ne se soient mis en route.
Et il me fallait respirer votre air (s’il se peut !) et essayer de vous suivre. Mais à vrai dire
chacun de vos pas est si décisif qu’à moins d’être désespérément stupide et obtus, on
marche avec vous, renouvelé et neuf.
Je vous embrasse, je vous aime tant à vrai dire autant que je vous admire, et c’est triste de
ne pas accourir.
A Véra, à vous, et avec tant de pensées pour Bob
Nadia B
�</text>
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        <name>Recipient: Igor Stravinsky</name>
      </tag>
      <tag tagId="320">
        <name>Robert Craft</name>
      </tag>
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                <text>Boulanger to Stravinsky
36 rue Ballu
Paris IX, France
Tel: Tri. 57-91
Dear Igor,
Many thoughts sent your way for March 2—so many thoughts for your work. We’ve just worked
on Threni, this marvel in which every note has been chosen and found.
I don’t want to bother you after you’ve started Noah [sic]. You are a world of energy, of
invention, and of courage—always taking up the struggle again.
I’m sad to have no news of you, but I understand.
I am fondly your,
Nadia B
[P.S.] For March 2, 1961
�</text>
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                <text>* * *
Boulanger à Stravinsky
36 rue Ballu
Paris, IXè
, France
Tel. Tri. 57-91
Cher Igor,
Tant de pensées vont vers vous pour le 2 mars—tant de pensées vers votre travail.
Venons de travailler Threni, la meveille[sic] de ce tout où chaque note est coisie[sic],
trouvée.
Ne veux pas vous importuner après qu’avez commencé Noah[sic]. Vous êtes un monde
d’énérgie[sic], d’invention, et de courage. Toujours recommencer la lutte.
Suis triste de ne rien savoir de vous, mais comprends.
Je vous embrasse, suis votre,
Nadia B
[P.-S.] Pour le 2 mars 1961
�</text>
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                <text>Stravinsky to Boulanger
Hollywood
Miss Nadia Boulanger
36 rue Ballu
Paris IX
France
March 6, 1961
My very dear Nadia,
I was deeply touched by your affectionate message and send you all my love.
I’ve finished (we are in the process of correcting the proofs in London) the composition for
Sacher (Basel*)—a sort of cantata (alto, tenor, choral, orch., and a narrator): A Sermon, a
Narrative, and a Prayer and have put myself to work on “Flood.” That one will be good to
compose.
Good health for the moment. Beginning March in Mexico (for ten days—Easter), where I am
conducting The Rite and Vera will have an exhibition of her gorgeous paintings.
Heartfelt wishes,
Yours,
I Str.
[P.S.] In July in Santa Fe—conducting Oedipus and Perséphone. End of August–September we
are planning to go to Australia with Bob. October in Berlin with Santa Fe Opera, with Radio
Brussels and BBC in London.
�</text>
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                <text>* * *
Stravinsky à Boulanger
Hollywood
Miss Nadia Boulanger
36 rue Ballu
Paris IX-eme
France
6 mars 1961
Très chère Nadia,
Je suis profondément touché par votre affectueux message et vous embrasse de tout cœur.
Fini (on est en train de corriger à Londres les épreuves) la composition pour Sacher
(Bâle*) d’une sorte de cantate (alto, tenor , choral, orch., et une narrator) : A Sermon, A
Narrative, and a Prayer et me suis mis au travail du Flood. Cela sera bons composer.
Les santés bonnes pour le moment. Commencement mars à Mexico (pour 10 jours—
Pâques) où je dirige le Sacre et Vera aura une exposition de ses ravissants tableaux.
Vous embrasse sans cesse
Votre
I Str.
[P.-S.] En juillet à Santa Fe—dirige Œdipes et Perséphone. Fin Aout—Sept. Projettons
l’Australie avec Bob. Oct. à Berlin avec l’Opera de Santa Fe, puis radio Bruxelles et BBC
de Londres.
�</text>
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                <text>Boulanger to Stravinsky
New York Office: Fontainebleau Schools, 122 East 58 St. N.Y. 22
Conservatoire de musique – Ecole des beaux-arts
Palais de Fontainebleau
October 29, 1960
The book has arrived, I am reading it eagerly and thank you both, Bob and you, Dear Friend,
with all my heart. I hear again the comments made at Gargenville, here, at Foch Avenue—and
you rekindle them in such a way that the eyes and ears are revived by these distant voices.
And how many things most people, fortunately, will not see! Concerning the Monumentum—
each note is significant . . . alas, I cannot write [about] it. It seems to me that I see, and read, and
understand. It’s sad not being able to communicate it, and above all perfectly useless.
All my heartfelt love,
Your
Nadia B
P.S. My tenderness to Vera and best wishes to Bob—how intelligent he is! A constant joy. And
the strength of all that you keep silent wells up—and drives everything.
�</text>
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                <text>* * *
Boulanger à Stravinsky
Ecoles d’art américaines
Fondation reconnue d’utilité publique
Bureau New-York : Fontainebleau Schools, 122 East 58 St. N.Y. 22
Conservatoire de musique – Ecole des beaux-arts
Palais de Fontainebleau
29 octobre 1960
Le livre est arrivé, je le lis avec avidité et vous remercie, Bob et vous, Cher Ami, de tout
cœur. J’entends encore bien des propos qui ont été tenus, à Gargenville, ici, avenue
Foch—et vous les ravivez de telle manière que les yeux et les oreilles se réveillent à ces
voix lointaines.
Et que de choses d’une portée que tout le monde, heureusement, ne verra pas ! Quant aux
Monumentum—chaque note est signification—hélas, que ne sais-je écrire. Il me semble
que je vois, et lis, et comprends—Triste de ne pouvoir le communiquer—et au surplus
parfaitement inutile.
Vous embrasse, et suis du meilleur de mon cœur,
Votre
Nadia B
[P.-S.] Ma tendresse à Vera et tant d’amitiés à Bob—qu’il est donc intelligent ! Une joie
constante. Et la force de tout ce que vous taisez, qui sourd—pousse tout.
�</text>
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                <text>Théodore Stravinsky, Théodore Strawinsky </text>
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                <text>Théodore Strawinsky to Boulanger
Geneva
October 3, 1960
Dear Nadia,
Denise and I have just come back from Venice and I found your letter. Thank you for these lines,
thank you for your thoughts, and above all thank you for your faithful friendship: it is so precious
to us.
A present where the past ceases to remain alive would seem suspicious to me, not to mention a
lie. And I am certain that the past is not dead for my father, but he shrouds in self-imposed
silence—in addition to a certain innate sense of “modesty”— the whole array of exterior
circumstances we know of.
We found him quite disabled because of his leg, which he can no longer rehabilitate—which
humiliates him a lot and distresses us. He conducted Orpheus and Monumentum Gesualdo
without excessive fatigue. These are not exactly the types of works to be appreciated by the
public of Venice . . . Your presence (which we had hoped for) and the reassurance of your
friendship were very much missed!
When will you see us, dear Nadia? Kitty joins Denise and myself in sending you our love, and
we want to tell you of our great devotion and our affection,
Théodore
�</text>
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                <text>* * *
Théodore Strawinsky à Boulanger
Genève
3 octobre 1960
Chère Nadia,
Nous venons, Denise et moi, de rentrer de Venise et je trouve votre lettre. Merci pour ces
lignes, merci de vos pensées, merci surtout de votre amitié fidèle : elle nous est si
précieuse.
Un présent où le passé ne resterait pas vivant me paraitrait suspect pour ne pas dire
mensonger. Et je suis certain que le passé n’est pas mort pour mon père, mais il
l’ensevelit dans un silence s’imposer [sic]—plus qu’une certain « pudeur », native chez
lui—tout le faisceau de circonstances extérieur que nous savons.
Nous l’avons trouvé bien handicapé à cause de sa jambe et de cela il ne peut plus le
remettre—ce qui l’humilie beaucoup et nous bouleverse. Il a dirigé sans excessive fatigue
Orphée, et Monumentum Gesualdo. Ce ne sont pas là précisément des œuvres faites pour
être appréciés par le public de Venise…Votre présence (que nous espérions) et le
réconfort de votre amitié nous y ont tellement manqué !
Quand vous verrons-nous, chère Nadia ? Kitty se joint à Denise et à moi pour vous
embrasser et vous dire notre grand dévouement et notre affection.
Théodore.
�</text>
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