Stravinsky, Selected Correspondence: Igor, Catherine, and God


Book Description

"This initial selection from the extraordinary lifetime of letters to and from Igor Stravinsky, annotated by his friend and associate Robert Craft, includes correspondence with W. H. Auden, Jean Cocteau, Lincoln Kirstein and other friends, as well as Stravinsky's letters to Nadia Boulanger, Ernest Ansermet, and Craft himself. The book presents a wealth of previously unpublished information about Stravinsky's relationships with other musicians, and about his methods of composition. The opening section, based on letters to Stravinsky from his first wife Catherine, is among the most important material yet made available for an understanding of the composer's personal and family life. If the exchanges with Auden (The Rake's Progress) and Cocteau (Oedipus Rex) take first place for general interest, the letters to Ansermet - who conducted more performances of Stravinsky's music than anyone but the composer himself - give a remarkable view of the musical and ballet worlds, especially of the Diaghilev period, and of the great impresario himself. This book, accompanied by two further volumes, is a major contribution to the Stravinsky canon and to the cultural history of the twentieth century."--whsmith.co.uk.




Stravinsky, Selected Correspondence: Correspondence with Serge de Diaghilev : 1911-1928. Letters from Vaslav Nijinsky : 1913. Correspondence with Pierre Monteux : 1912-1957. Letters from Émile Jaques-Dalcroze : 1913-1918. Correspondence with Léon Bakst : 1912-1917. Correspondence with M.D. Calvocoressi : 1912-1914. Correspondence with Florent Schmitt : 1911-1921. Correspondence with Edwin Evans : 1913-1937. Correspondence with Alfredo Casella : 1913-1934. Correspondence with Gerald Tyrwhitt (Lord Berners) : 1916-1939. Correspondence with Manuel de Falla : 1916-1945. Letters from Jacques Rivière : 1914-1919. Correspondence with Eugenia Errazuriz and Blaise Cendrars : 1917-1932. A letter from Francis Picabia : 1922. The Nightingale in Russia : correspondence with Sanine, Struve, and Siloti. Firebird : a publishing history in correspondence. Correspondence with G.P. Beliankin : the composer as a moneylender, mortgagee, landowner, vodka distiller. "Dear Samsky" : Stravinsky and Samuel Dushkin. Cocteau, Balanchine, and Jeu de cartes. Correspondence with Ernst Krenek : 1952-1967. Letters to Pierre Boulez : 1957-1963. Letters to Nicolas Nabokov : 1929-1967. Appendixes. A, Stravinsky at the Musée d'Art Moderne. B, On premieres of Le sacre du printemps. C, The first scenario of The nightingale and Some letters from S.S. Mitussov. D, On the Piano-rag music. E, On the Symphonies of wind instruments. F, On the chronologies of the composition of the Octet, Serenade, and Concerto per due pianoforti soli. G. On the chronology of the Requiem chronicles. H, The Firmin Gémier affair. I, "Chantage de Mon Secrétaire Alexis Sabine, 1925". J, Stravinsky and the Institut de France. K, Walter Nouvel and Chroniques de ma vie. L, Roland-Manuel and La poétique musicale


Book Description




Nadia Boulanger and the Stravinskys


Book Description

Published for the first time: a rich epistolary dialogue revealing one master teacher's power to shape the cultural canon and one great composer's desire to embed himself within historical narratives.




Igor Stravinsky Correspondence on The Rake's Progress


Book Description

The Igor Stravinsky correspondence on The Rake's Progress consists of correspondence, dated May 1950 to May 1951, between Stravinsky and his lawyer in New York, L. Arnold Weissberger, concerning the mounting of his opera, The Rake's Progress. Also included are copies of letters to F. H. Ricketson of the Central Civic Opera House Association, Denver, Colorado; Lincoln Kirstein; Howard Taubmann of the New York Times; and Betty Bean and Dr. E. Roth of Stravinsky's publishers, Boosey & Hawkes, London. The letters discuss business matters pertaining to the production of the opera, financial support for the work, where to stage the premier (including discussions about a possible staging at USC), locations for the opera's American debut, problems associated with Italian singers performing in English, and various other financial and administrative matters pertaining to the completion and production of the work. Stravinsky's letters to Weissberger are on his personal letterhead with his Los Angeles address, "1260 N. Wetherly Drive, Hollywood 46, California."