61 10 1009 https://digex.lib.uoguelph.ca/files/original/4584d1d04d9f24f325fad36bd29fce3d.pdf 34dec6692b2f6abf9a3e3cfba575ed57 https://digex.lib.uoguelph.ca/files/original/c7aafe98f97d8ff911ccaab2f04be2b5.pdf 306394b2d07ab2f4be24c9b9d9f42296 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 4 Description An account of the resource English translation and transcription of French originals from Chapter 4 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 4, 1 September 1950 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 Bibliothèque Nationale De Paris Date A point or period of time associated with an event in the lifecycle of the resource 1 September 1950 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 September 1, 1950 Dear Friend, Why do I never write you? I have too many things to tell you, no time, and lack the means to tell you what a place you hold in all our lives, in mine, in such an absolute fashion. And yet, I speak so much of you, with you, through your works, that it saves me the struggle of trying to tell you what I would like to. But today: Gunsbourg, oh yes, Gunsbourg, can mount your opera in Monte-Carlo. Because he is certain [ne doute rien], he says (he is ninety-two years old) “if not in 1951, then in 1952.” Didn’t speak of business, but said: “Of course I could only give this opera in French. The English title, translated, is: La Carrière d’un roué, not the best for advertising an opera. So, [we’ll use] the name of the principal character ‘Thomas Rakewell.’” If this interests you, will you tell me if this title and the idea of the opera in French seem acceptable to you, and what amount you would request to reserve the premiere for Monte-Carlo? From the 10th to 16th of September at Accademia Chigiana, Sienna, Italy. Then, after a few days, Paris. You know, don’t you, that I don’t spend a day far from you, but I have nevertheless refused Koussevitzky’s very friendly offer for Tanglewood next year. It is impossible to abandon the school here. It has its thirtieth anniversary next year and then, given the state of things, a departure can be planned, but can a return on a fixed date be [guaranteed]? I have so many things to tell you. Let’s move along, it’s hopeless. Yet I must ask one thing: May I, is there any way I might read the opera? All those who know it are making me frightfully jealous. It’s not good for my mental health . . . nor my physical state. My love to you and Vera and Milène and Soulima and Françoise and Jean and André and Madubo. But . . . Don’t just say that I send my love to everybody. Your Nadia B [P.S.] My thoughts to Berman, Dahl, and Gnau and, my love once again! � Boulanger à Stravinsky Ecoles d’art américaines Fondation reconnue d’utilité publique Conservatoire de Musique—Ecole des beaux-arts Palais de Fontainebleau 1 septembre 1950 Cher Ami, Pourquoi je ne vous écris jamais ? J’ai trop de choses à vous dire, pas de temps, pas le moyen de vous dire quelle place vous tenez dans notre vie à tous, dans la mienne, d’une manière si absolue. Et puis, je parle tant de vous, avec vous, à travers vos œuvres, que je m’épargne la lutte que représente d’essayer de vous dire ce que je voudrais. Mais aujourd’hui : Gunsbourg, mais oui Gunsbourg peut monter votre opéra à Monte-Carlo. Comme il ne doute de rien, il dit (il a 92 ans) « si pas en 1951, alors en 1952. Ne parle pas affaires, mais dit : bien entendu je ne pourrai donner cet opéra que dans une version française. Le titre anglais, traduit, donne : La Carrière d’un roué, pas heureux pour une affiche d’opéra. Alors, le nom du principal personnage « Thomas Rakewell » » Si cela vous intéresse, voulez-vous me dire si ce titre et l’idée de l’Opéra en français vous parait acceptable, et quelle somme vous demanderiez pour réserver la 1ère en Europe à Monte-Carlo. Du 10 au 16 sept Accademia Chigiana Sienne Italie. Après à petites journées, Paris. Vous savez, n’est-ce pas que je ne passe pas un jour vraiment loin de vous, mais j’ai pourtant refusé l’offre très amicale de Koussevitzky pour Tanglewood l’an prochain. Impossible d’abandonner l’école ici. 30è anniversaire l’an prochain, et puis, dans l’état des choses, on peut prévoir partir, mais pourrait-on revenir à date fixe ? Que de choses j’ai à vous dire. Passons c’est sans espoir. Une pourtant domine : ne puis-je, n’y a-t-il pas un moyen que je lise l’opéra. Tous ceux qui le connaissent me donnent une affreuse jalousie. Ce n’est pas bon pour la santé morale…ni physique. Je vous embrasse, j’embrasse Vera, et Milène, et Soulima, et Françoise, et Jean, et André, et Madubo. Mais…n’allez pas dire que j’embrasse tout le monde. Votre Nadia B Mon souvenir à Berman, à Dahl, à Gnau Et Je vous embrasse encore ! � 1950 André Marion Author: Nadia Boulanger Eugene Berman Françoise Stravinsky Ingolf Dahl Madubo Milène Marion Milène Stravinsky Mina Svitalski Nadia Location: Fontainebleau Raoul Gunsbourg Recipient: Igor Stravinsky Soulima Stravinsky Thomas Rakewell Vera Stravinsky https://digex.lib.uoguelph.ca/files/original/460b7e72078765dbcdf47bd79e286373.pdf 577429fd7d233672099da5e5390eb6f2 https://digex.lib.uoguelph.ca/files/original/fc4b0189f67cc236905dccd98b82ddb7.pdf b3e0655d32ddb5e5cc59105520f2f8de 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 4 Description An account of the resource English translation and transcription of French originals from Chapter 4 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 4, Undated Creator An entity primarily responsible for making the resource Igor Stravinsky Subject The topic of the resource Nadia Boulanger Source A related resource from which the described resource is derived Paul Sacher Stiftung Date A point or period of time associated with an event in the lifecycle of the resource Undated Type The nature or genre of the resource Telegram Author: Igor Stravinsky Igor Location: California Nadia Location: 36 rue Ballu Recipient: Nadia Boulanger https://digex.lib.uoguelph.ca/files/original/09b746cdcdd25773786dd2b3ea7ff2bc.pdf 5a69d3b6dee0879d111916bead4a0c50 https://digex.lib.uoguelph.ca/files/original/0f95698c1ce6797b4d36428a02291b2a.pdf a7979325be979c2923fb6a7ee53be188 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 4 Description An account of the resource English translation and transcription of French originals from Chapter 4 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 4, 27 January 1950 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 Bibliothèque Nationale De Paris Date A point or period of time associated with an event in the lifecycle of the resource 27 January 1950 Type The nature or genre of the resource Letter UG Extracted Text Boulanger to Stravinsky PARIS 1260 NORTH WETHERLY DRIVE, HOLLYWOOD, CALIFORNIA January 27, 1950, 3:00 A.M. WOULD YOU ALLOW US TO COPY SCHERZO A LA RUSSE PERFORMANCE AT MONTECARLO DURING PRIVATE CELEBRATIONS FOR CORONATION OF YOUNG PRINCE. OR CAN YOU SEND IT URGENTLY STOP WHAT ROYALTY MUST WE EXPECT TO PAY PLEASE CABLE SO DESIRE SCHERZO IN PROGRAMME FAITHFULLY= NADIA � Boulanger à Stravinsky PARIS STRAWINSKY 1260 NORTH WETHERLY DRIVE, HOLLYWOOD, CALIFORNIA 27 JANVIER 1950, 3H00 PERMETTEZ VOUS COPIER MATERIEL SCHERZO A LA RUSSE EXECUTION MONTECARLO DURANT FETES PRIVEES POUR INTRONISATION JEUNE PRINCE OU POUVEZ VOUS L ENVOYER URGENCE STOP QUELLE REDEVANCE FAUT IL PREVOIR VEUILLEZ CABLER DESIR TANT SCHERZO AU PROGRAMME FIDELEMENT = � 1950 Author: Nadia Boulanger Igor Location: California Prince Rainier of Monaco Recipient: Igor Stravinsky Scherzo https://digex.lib.uoguelph.ca/files/original/fee2429908044c1ac61b6058c3c69448.pdf 6343d3facd6326c23430e50987ad807a https://digex.lib.uoguelph.ca/files/original/a8033e95c9aea27efe76127c87a896b8.pdf c3232ff7068534175cb7f39b48b972cf 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 4 Description An account of the resource English translation and transcription of French originals from Chapter 4 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 4, 13 January 1950 Creator An entity primarily responsible for making the resource Soulima Stravinsky Subject The topic of the resource Nadia Boulanger Source A related resource from which the described resource is derived Bibliothèque Nationale De Paris Date A point or period of time associated with an event in the lifecycle of the resource 13 January 1950 Type The nature or genre of the resource Letter UG Extracted Text Soulima Stravinsky to Boulanger Hotel Hargrave 112 West 72 St. New York City January 13, 1950 My dear Nadia, Let me tell you first and foremost that we will have the extreme joy of seeing you again in the month of May. The Île de France will drop us off on May 10 and will collect us at the end of June. I have to teach again this summer at the Academy of the West in Santa Barbara, starting in July, which will cut our stay in France very short. But short as it is, we will be thoroughly delighted to spend it with you. We have left Los Angeles for good. There was no work for me there, and something depressing about the climate. I’m happy to be in N.Y. for a few months with the prospect of more work here in the winter than I’ve had in eighteen months in California. A marvelous project is taking shape. I was asked to teach piano in a permanent capacity at the University of Illinois where the Music Director, Mr. John Kuypers, whom you no doubt know, at least by reputation, is a first-class musician. The business is settled in principle, with only formalities to carry out. Among these are my letters of reference. I don't believe I could do better than to ask you for this favor—all while [not] wishing to bother you about it. Two words from you to Mr. Kuypers—University of Illinois, Urbana, Ill.—would lend enormous weight to this application, which they are putting the greatest effort into, so as to [have it] approved. As always in these cases, the interested persons have to present the thing to committees that are less competent but upon which the final decision rests, and they wish to ensure the highest and the best recommendations possible. Thank you in advance a thousand, thousand times. My father is coming soon to N.Y. to conduct L’Oiseau de feu and Orphée with Balanchine. Meanwhile Rake’s Progress, and it is so beautiful that there are no words . . . Françoise asks me to send you her tender wishes. (Zizi) Jean is becoming a strong, disobedient, but very kind boy. You would no longer recognize him. Personally, I have you so often in my thoughts, you guide me from afar through all of my musical hesitations . . . With fondest wishes, I am always your, Soulima � Soulima Stravinsky à Boulanger Hotel Hargrave 112 West 72 St. New York City 13 janvier 1950 Chère Nadia, Laissez-moi vous announcer [sic] tout d’abord que nous aurons l’extrème [sic] joie de vous revoir au mois de mai. L’Ille [sic] de France nous déposera le 10 mai prochain et nous reprendra fin juin. Je dois enseigner de nouveau cet été à l’Academy of the West à Sta. Barbara à partir de juillet ce qui rend notre séjour en France très court. Mais si court qu’il soit nous vous en réjouissons infiniment. Nous avons quitté Los Angeles définitivement. Il n’y avait là aucune issue pour mon travail et quelque chose d’assez dépriment dans le climat. Heureuse d’être à N.Y. pour quelques mois et plus de travail ici en perspective pour cet hiver que je n’en ai eu en 18 mois à California. Un projet merveilleux prend corps. On m’a demandé d’enseigner de piano d’une façon permanent à l’University of Illinois dont le Directeur Musical, Mr. John Kuypers que vous connaissez sans doute, du moins de réputation, est un musicien de premier ordre. L’affaire est conclue au principe il reste à remplir les formalités. Il y a parmi celles-ci, l’article références. Je ne crois pas pouvoir mieux faire que de vous demander cette faveur—tout en m’en voulant de vous importuner. Deux mots de vous à Mr. Kuypers—University of Illinois, Urbana, Ill., donneraient un poids énorme à cette candidature qu’ils mettent la meilleure volonté du monde à agréer. Comme toujours dans ces cas, les personnes intéressées ont à présenter la chose à des comités moins compétant mais dont dépend la décision finale et elles tiennent à s’assurer le plus et les meilleures recommandations possibles. Merci d’avance mille et mille fois. Mon père viendra bientôt à N.Y. pour y diriger l’Oiseau de Feu et Orphée chez Balanchine. En attendant Rake[’]s Progress et c’est si beau qu’il n’y a pas de mots… Françoise me charge de vous embrasses tendrement. (Zizi) Jean devient un fort et désobéissant mais très gentil garçon. Vous ne le reconnaîtrez plus. Moi, je vous ai si souvent en pensées, vous guidez de loin tout de mes hésitations musicales…Je vous embrasse affectueusement et suis toujours votre, Soulima � 1950 Author: Soulima Stravinsky Françoise Stravinsky George Balanchine John Kuypers Orpheus Recipient: Nadia Boulanger Soulima Stravinsky Location: New York City The Firebird https://digex.lib.uoguelph.ca/files/original/ce84fd8980e2821947d3eebace13b204.pdf 9d213d07bd08bbfd9e43733572d683bb https://digex.lib.uoguelph.ca/files/original/ebfb3db9e0b933f5acd5c889ae72782d.pdf c91ea0eae8486432e25edaef68c6a5ba 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 4 Description An account of the resource English translation and transcription of French originals from Chapter 4 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 4, 30 October 1949 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 30 October 1949 Type The nature or genre of the resource Letter UG Extracted Text Boulanger to Stravinsky 36 rue Ballu Paris, IXème Mr Igor Strawinsky 1260 N. Wetherly Drive Hollywood, California U.S.A. October 30, [1949?] Dear Friend, One of my most treasured dreams has finally been realized. I conducted Apollon, Dumbarton Oaks and the Mass in London. I had missed all the performances of them. It was therefore, for me, my first real, living contact with [the work]. I cannot tell you what the rehearsals were like— not only was I myself going through discovery after discovery, better understanding the value of each note, but [also] the musicians [were] dazzled because you permitted them to do such things with notes that at first seemed so simple—they understood, and played with an ever-growing joy. They went to the trouble of really doing what you asked of them: breaths, phrases, silences, ratios (rapports de quantité), and at the end of the performance, they all came to tell me of the extraordinary feeling they had about the result you allowed them to achieve. The choirs were good, with women, unfortunately, but the English sound production was not shocking. The soprano and the contralto solos were well done, the tenor and bass less so. In the Gloria, I had to hurry the tempo after the opening, because it was bad, the voices were unstable. Everything became shaky. I therefore deliberately inserted a mistake in order to obtain something close to correct, glossing over, in a manner of speaking and with decency, a few measures before the Hosanna. [Stravinsky’s annotation: What does this mean?] Since then, I’ve wanted to write to you, but, what could I say? I believe truly that I understood everything, that the concert was as good as possible without you. Now, speaking of the Mass seems presumptuous and impossible. Silence suits it better. I send my love, I thank you, and I know that once again, you have succeeded. You have renewed the old, betrayed, misunderstood, and forgotten tradition. But not by looking behind you, by moving forward. What admirable music, what spirit. But, I stray and in my own turn betray. What you have given this Mass is of an immeasurable significance. Now, no one has the right to ignore it, and [will see in it] what they ought not to do, and what they ought to. The path is newly opened. Everyone seems to have understood—how happy I am. We’ve performed Apollon again in Birmingham three times in two weeks. It is also thanks to you that the Brandenburg [Concertos] have been played with their [proper] rhythms, because I could show what I wanted, what is required in Bach, thanks to what you accomplished in Dumbarton. It’s always the present that clarifies the past and vice versa, the real meaning of the tradition. �I admire you, love you, and thank you a little more each day because you always open new paths for me. Your Nadia [P.S.] My love to Vera � Boulanger à Stravinsky * Annotations de Stravinsky 36 rue Ballu Paris, IXème Monsieur Igor Strawinsky 1260 N. Wetherly Drive Hollywood 46 Californie U.S.A. 30 octobre [1949?] Cher Ami Un de mes plus chers rêves s’est enfin réalisé. J’ai dirigé à Londres Apollon, Dumbarton Oaks et la Messe. J’en avais manqué toutes les auditions. C’était donc pour moi le premier contact avec elle, vivante, réelle. Je ne peux vous dire ce qu’ont été les repétitions [sic], car non seulement j’allais moi-meme [sic] de découverte en découverte, comprenant mieux la valeur de chaque note, mais les musiciens éblouis parce que vous leur permettez de faire avec des notes en apparence si simples, ont compris, se sont donnés avec une joie sans cesse grandissante, la peine de faire vraiment ce que vous demandiez, respirations, phrasés, silences, rapports de quantité, et ils sont tous venus, à la fin de l’exécution me dire quel extraordinaire impression ils avaient ressentie devant le résultat que vous leur permettiez d’atteindre—les chœurs, bons, des femmes hélas, mais avec l’émission anglaise pas choquant. Le sopr et le contralto solos, bien, tenor et basse, moins bien. J’ai du dans le Gloria, presser leurs mesures après le début, car c’était mauvais, voix pas stables. Tou[t] devenait vacillant. J’ai donc, délibérément faute de pouvoir obtenir quelque chose de propre, glisser en quelques sorte quelques mesures avant l’Hosanna, mais, avec décence. ([Stravisnky a écrit] What does it mean?) Depuis, je veux vous écrire, mais, que puis-je vous dire. Je crois vraiment que j’ai tout compris, et que l’exécution a été aussi bien que possible sans vous. Maintenant, parler de la Messe. Cela me semble outrecuidant et impossible. Le silence convient mieux. Je vous embrasse, je vous remercie, et je sais qu’une fois de plus, vous avez réussi. La veille tradition oubliée, trahie, méconnue, vous l’avez renouvée [sic]. Mais pas en regardant en arrière, en allant en avant. Quelle musique admirable, quel esprit. Mais, je m’égare et à mon tour trahis. Que vous ayez donné cette Messe est d’une signification sans mesure. Maintenant personne n’a plus le droit d’ignorer, et ce qu’il ne faut pas faire, et ce qu’il faut faire. Le chemin est à nouveau ouvert. Tout le monde semblait comprendre, que je suis heureuse. Avons redonné Apollon à Birmingham, donc 3 fois en 15 jours. C’est aussi grâce à vous que les Brandebourgeois ont été joués avec leur rythme car j’ai pu montrer ce que je voulais, ce qu’il fallait dans Bach, grâce à ce que vous avez réalisé dans Dumbarton. Toujours le présent qui éclaire le passé et réciproqu[em]ent vrai sens de la tradition. �Je vous admire, vous aime, et vous remercie chaque jour un peu mieux car vous m’ouvrez toujours de nouveaux chemins. Votre Nadia [P.-S.] Tendresses à Véra � 1949 Apollon Musagètes Author: Nadia Boulanger Dumbarton Oaks Concerto Igor Location: California Mass Nadia Location: 36 rue Ballu Recipient: Igor Stravinsky https://digex.lib.uoguelph.ca/files/original/d55ead488638d4f7fffadd3bb998e353.pdf d13af58e5d7970ce568be067cbb7973b https://digex.lib.uoguelph.ca/files/original/89aabc11b758167c935b987c92a27bc3.pdf 62f77b3f454201d9a865b5478a7bb113 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 4 Description An account of the resource English translation and transcription of French originals from Chapter 4 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 4, 4 May 1949 Creator An entity primarily responsible for making the resource Soulima Stravinsky Subject The topic of the resource Nadia Boulanger Source A related resource from which the described resource is derived Bibliothèque Nationale De Paris Date A point or period of time associated with an event in the lifecycle of the resource 4 May 1949 Type The nature or genre of the resource Letter 1949 Arthur Sachs Author: Soulima Stravinsky Claude Debussy Dinu Lipatti Françoise Stravinsky Recipient: Nadia Boulanger Soulima Stravinsky Location: California Wolfgang Amadeus Mozart https://digex.lib.uoguelph.ca/files/original/d3e765635304e8aba31288c4939aece6.pdf cb25a76e09b7124a145dd5bd11b7ea69 https://digex.lib.uoguelph.ca/files/original/235f23e81105083ec83a126b8d8b8913.pdf 27de263913c22e0eec8df01449515631 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 4 Description An account of the resource English translation and transcription of French originals from Chapter 4 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 4, Undated 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 Undated Type The nature or genre of the resource Letter UG Extracted Text Boulanger to Stravinsky La Moubra, Montana (I’ll be here April 1; [return to] Paris around May 1) Dear Friend, You can imagine with what joy I received your letter and the prayer settings with the Latin verses. This translation will be a big help as it was too bad that the Russian pronunciation created a sort of anxiety among the singers. I missed the Mass in London by one day. But it seemed that it was very well done by Ansermet and very well sung by the BBC choirs. Certainly the children’s voices have to be omitted, but the vocal production of the English must have made it less noticeable than elsewhere. We await your recordings with such impatience! You alone can establish a tradition that corresponds completely to your music. And in the middle of so many horrors, created by the awful notion of “performers.” What will they not deform to distinguish themselves from one another? Who will be their Molière, because they deserve the satire with which you have already assassinated them. I came here to try and get rid of a flu that left me in a wretched state. I also wanted to see my dear Dinu Lipatti, who is very ill. How you would like his playing, his spirit, his thought. Alas . . . he will never do it again. Every word that you said when you came to his classes is present, and you are mixed in with his life. He is sleeping right now . . . and the future is dark for him. He asked me to assure you of his respect and to thank you. When he speaks your name, a beautiful joy illuminates his poor face. You will never know how sad I am not to see you, but it is too late to divide up my life. Already so difficult to do something properly while concentrating on something else. I received the proposals for the Oja [sic] festival. I will respond to them soon. They are certainly making quite the effort in paying all the travel costs, but I would have to give up everything that I earn here, and I don’t believe I’m able to take such a heavy financial loss. And then, am I capable of conducting L’histoire du soldat? I will keep you up to date. My warmest thoughts for Vera, Soulima, Françoise. Tell me how you and the little one [grandson] are getting along, and know with what warmth and deep attachment I am with you all, Nadia � Boulanger à Stravinsky La Moubra, Montana (serai 1 avril ; à Paris vers la 1 mai) Cher Ami, Vous imaginez avec qu’elle joie j’ai reçu votre lettre, et les prières avec les paroles latines. Cette traduction sera d’un grand secours car il était dommage que la prononciation du russe crée un sort d’anxiété chez les chanteurs. J’ai raté d’un jour la Messe à Londres. Mais il parait qu’elle a été très bien donnée par Ansermet et très bien chantée par les chœurs de la BBC. Certes les voix d’enfants ont dû manquer, mais l’émission vocale des Anglais a dû rendre cela moins sensible que partout autre part. Avec quelle impatience n’attendons-nous pas vos disques ! Vous seul pouvez établir une tradition correspondant entièrement avec votre musique. Et [au] milieu de tant d’horreurs créées par l’affreuse notion « interprète »—que ne déforment-ils pas pour se distinguer les uns des autres. Qui sera leur Molière, car ils valent la satire que vous leur avez d’ailleurs déjà assainée [assassiné]. Suis venue ici essayer de me remettre d’une grippe qui m’a laissé en fâcheux état. Voulais aussi voir mon cher Dinu Lipatti, bien malade. Comme vous aimeriez son jeu, son esprit, sa pensée. Hélas…se remettra-t-il jamais. Chacune des paroles que vous avez dites quand vous veniez au cours lui est présente, et vous êtes mêlé à sa vie. Il est couché maintenant…et l’avenir est sombre pour lui. Il m’a demandé de vous assurer de son respect, et de vous remercier. Quand il prononce votre nom, c’est une telle joie qui illumine son pauvre visage. Vous ne saurez jamais combien je suis triste de ne pas vous voir, mais il est trop tard pour diviser ma vie. Déjà si difficile de faire quelque chose de propre en se concentrant sur une chose. Ai reçu des propositions du festival d’Oja. Vais leur répondre ces jours-ci. Certes ils font un gros effort en payant tous les frais de voyage, mais il faut perdre tou[t] ce que je gagne ici, et je ne crois pas pouvoir faire une aussi lourde perte matérielle. Et puis, suis-je capable de diriger l’Histoire du Soldat. Vous tendre[tiendrai] au courant. Embrassez Véra, Soulima, Françoise. Dites-moi comment vous et le petit vous entendez, et sachez de quel cœur je suis avec vous. Tous en profond attachement, Nadia � 1949 Ansermet Author: Nadia Boulanger Dinu Lipatti Françoise Stravinsky L'Histoire du Soldat Mass Recipient: Igor Stravinsky Soulima Stravinsky Vera Stravinsky https://digex.lib.uoguelph.ca/files/original/27250514ab4b2ce2521d3e0a83366e1f.pdf fcdaeeefe58cd6659e09d570ff8d3198 https://digex.lib.uoguelph.ca/files/original/dbe2112a46ad6e2294bc5fb636a1c94a.pdf 188fd2b2be87391b4450b0f1247cdd7a 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 4 Description An account of the resource English translation and transcription of French originals from Chapter 4 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 4, 18 March 1949 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 March 1949 Type The nature or genre of the resource Letter UG Extracted Text Boulanger to Stravinsky March 18, 1949 Dear Igor, This note is not what I need to write to you, but it is what I must write to you. It has to do with the Lili Boulanger Memorial Fund. For reasons I believe you will judge to be unnecessary to expose you to, I hope this year that the prize can be shared between Preger, whom you like and appreciate as I do, and a little, immensely talented Czech student, Karel Husa, who must at all costs be helped right now. I would rather have sent you one of his manuscripts, but he isn’t able to photograph them. He has had many manuscripts lost and I don’t dare to ask him to send the sole examples that he possesses. I therefore ask you to trust me. I am certain that you would agree. Thank you for the telegram that touched me so much. I have a million things to tell you, but this cold has done me a nasty turn. I am, once again, very tired and can’t even do what is required of me each day. I think of you ceaselessly and am more than sad not to see you anymore. It is such a great sorrow. I send you both my love, and know that I am your, Nadia [P.S.] I cannot speak to you about the Mass this way. It is of an incalculable importance, and an unlimited significance. I love it more than I know how to say. It is ridiculous to try to express such things. But you know them . . . � Boulanger à Stravinsky 18 March 1949 Cher Igor Ce mot n’est pas celui que j’ai besoin de vous écrire, mais celui que je dois vous écrire. Il s’agit du Lili Boulanger Memorial Fund. Pour des raisons que je crois vous jugeriez superflu de vous voir exposer, je souhaite que le Prix cette année soit partagé entre Preger que vous aimez et appréciez comme moi, et un petit Tchèque de grand talent, Karel Husa, qu’il faut à tous prix aider en ce moment. J’aurais voulu vous envoyer un de ses manuscrits, mais il ne peut faire photographier. Il a eu plusieurs partitions perdues et je n’ose lui demander d’envoyer les exemplaires uniques qu’il possède. Je vous demande donc de me faire confiance. Je crois être sûr que vous seriez d’accord. Merci pour le télégramme qui m’a tant touchée. J’ai mille choses à vous raconter, mais la grippe m’a joué un tour pendable. Je suis encore très fatiguée et ne fais pas même ce que chaque jour exige. Je pense à vous sans cesse et suis plus que triste de ne plus vous voir. C’est un grand chagrin. Embrassez-vous tous de ma part, et sachez que je suis votre, Nadia [P.-S.] Ce n’est pas ainsi que je peux vous parler de la Messe. Elle, est d’une importance incalculable, et d’une portée sans limites. Je l’aime plus et mieux que je ne sais vous le dire. Il est si ridicule d’essayer d’exprimer de telles choses. Mais vous les savez… � 1949 Author: Nadia Boulanger Karel Husa Leo Préger Lili Boulanger Recipient: Igor Stravinsky https://digex.lib.uoguelph.ca/files/original/fbde59db503980776b536b0603757f78.pdf 32a9940774f29800bf93b7bde01ec1f6 https://digex.lib.uoguelph.ca/files/original/7bfd8a00406aa16e9a36f8fd86f051c4.pdf e3e1307cd07ccf0a972006fff26ca3e5 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 4 Description An account of the resource English translation and transcription of French originals from Chapter 4 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 4, 18 March 1949 Creator An entity primarily responsible for making the resource Igor Stravinsky Subject The topic of the resource Nadia Boulanger Source A related resource from which the described resource is derived Bibliothèque Nationale De Paris Date A point or period of time associated with an event in the lifecycle of the resource 18 March 1949 Type The nature or genre of the resource Letter UG Extracted Text Stravinsky to Boulanger 1260 N. Wetherly Drive Hollywood, California March 18, 1949 Dearest Nadia, Just a note accompanies this Latin version of my a cappella chorale works with which you are familiar—“Pater Noster” and “Ave Maria.” I have just arranged this version for use in the Catholic Church, of course, but it would certainly be desirable for Protestant churches to take advantage of them as well. Did you hear my Mass by Ansermet in London (BBC) not long ago? The BBC also performed Orpheus.* I’ve just recorded both of them (Mass and Orpheus) in New York (Victor). Orpheus will come out in September and the Mass at Christmas. I did the latter with children (not with women, like Ansermet) who were unfortunately not quite of the highest level. Unlike in Europe, here they don't have the tradition of training Discanti and Alti. However, I had to settle on the children, because the presence of women's voices, however perfect they might be, would be a much more serious error in the music of my Mass (for the sense and the spirit of this music) than the imperfection of a children's choir. Love, I Str. *I tremble at the idea of what the music of my poor Orpheus must have been in the hands of Mr. Lichine and the Ballet des Champs Elysees! � Stravinsky à Boulanger 1260 N. Wetherly Drive Hollywood, California 18 mars 1949 Dearest Nadia, Juste un mot accompagnant cette version latine de mes chœurs a capella que vous connessez [sic] —Pater Noster et Ave Maria. Je viens d’arranger cette version pour l’usage du culte catholique bien entendu, mais il serait certainement souhaitable que les eglises [sic] protestante en profitent eux aussi. Avez-vous entendu dernierement ma Messe par Ansermet a Londres (BBC) ? Il y joua egalement Orphée.* Viens d’enregistrer tous les deux (Messe et Orphée) a New York (VICTOR). Orphée paraitra en Septembre et la Messe a Noel. Cette derniere, je l’avais fait avec des enfants (pas avec des femmes, comme Ansermet) qui etaient malheureusement pas tout a fait de premier ordre. Ici, ils n’ont pas, comme en Europe, la tradition des metrieses [sic] des Discanti et Alti. Cependant j’ai du me decider pour les enfants car la presence des voix de femmes, aussi parfaites soient-elles, dans la musique de ma Messe serait une imprudence bien plus grave (pour le sens et l’esprit de cette musique) que l’imperfection d’un chœur d’enfants. Love I Str. *Je tremble a l’idee [sic] de ce qui a du etre la musique de mon pauvre Orphée entre les mains de Mr. Lishine et le Ballet des Champs Elysees ! � 1949 Author: Igor Stravinsky Ave Maria David Linchine Igor Location: California Mass Orpheus Pater Noster Recipient: Nadia Boulanger https://digex.lib.uoguelph.ca/files/original/37d86b51a6b04983ab3be010248dcfb5.pdf 9184fea0add51a67d52c6c520335db7a https://digex.lib.uoguelph.ca/files/original/322a655d507fb95eeb94b0e8eee4a0e7.pdf d362756853fd0cbcd50f287d4c93aa49 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 4 Description An account of the resource English translation and transcription of French originals from Chapter 4 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 4, 5 September 1948 Creator An entity primarily responsible for making the resource Igor Stravinsky Subject The topic of the resource Nadia Boulanger Source A related resource from which the described resource is derived Bibliothèque Nationale De Paris Date A point or period of time associated with an event in the lifecycle of the resource 5 September 1948 Type The nature or genre of the resource Letter UG Extracted Text Stravinsky to Boulanger Hollywood September 5, 1948 How to thank you for your nice letter and for the program (Bryant [sic] Summer School) with this impressive collection of signatures. I am very touched by them. I would so like to write to you (volumes!)—but when? All my time (three months already) has been devoted to composing the opera The Rake's Progress—three Acts, eight tableaux. And I am still [working on] the end of the first tableau (it is true, it's the longest). Soprano, alto, tenor, and two basses as characters and a small orch. (same as in The Marriage of Figaro), small choir, Recit.—Harpsichord or Piano. Forgive me* and accept, very dear Nadia, a very affectionate kiss from Your I Str., who loves you *for not having written you a longer letter. � Stravinsky à Boulanger Hollywood 5 septembre 1948 Comment vous remercier pour votre bonne lettre et du programme (Bryant Summer School) avec cette impressionnante collection de signatures. J’en suis bien touchée. Je voudrais tellement vous écrire (des volumes !)—mais quand ? Tout mon temps s’en va (depuis déjà 3 mois) à la composition de l’opéra The Rake's Progress—3 Actes, huit tableaux. Et j’en suis encore à la fin du premier tableau (c’est vrai, c’est le plus long). Soprano, Alto, Tenor et two Basses comme personnages et un petit orch. (pareil aux Noces de Figaro), petit chœur, Recit—Harpsichord ou Piano. Pardonnez-moi* et acceptez, très chère Nadia, un very affectionate kiss de Votre I Str., qui vous aime *de ne pas vous écrire plus longuement. � 1948 Author: Igor Stravinsky Igor Location: California Recipient: Nadia Boulanger The Marriage of Figaro The Rake's Progress Wolfgang Amadeus Mozart