H. Colin Slim Stravinsky Collection

Supplement to the annotated catalogue of the H. Colin Slim Stravinsky Collection Slim, H. Colin (Harry Colin) 2018

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 Supplement to the Annotated Catalogue of the H. Colin Slim
STRAVINSKY
COLLECTION
Professor Slim
British Columbia
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  Supplement to the Annotated Catalogue of the H. Colin Slim
STRAVINSKY
COLLECTION
Donated by Professor Slim
to the University of
British Columbia Library
fTHE  UNIVERSITYOF BRITISH COLUMBIA
Library
 Acknowledgments
The author owes a particular debt of gratitude to Kevin Madill, the Music
Librarian at the University of British Columbia, for his efforts in advancing the
publication of this monograph.
 The H. Colin Slim Stravinsky Collection is one of the treasures of the UBC
Library. It includes letters, autograph scores, books, and musical quotations
representing every period of the composers life. UBC Library published the
original version of this annotated catalogue in 2002, and it is an honour to
partner again with Dr. Slim to produce this supplement. This publication is a
celebration of a lifelong commitment to Stravinsky, and also signifies Dr. Slim's
strong connection to UBC as an alumnus. Dr. Slim's interest in Stravinsky began
while he was a teenager in Vancouver, but it progressed and deepened during his
years as a music student at UBC. That foundation helped to build Dr. Slim's life
as a musicologist and widely published scholar. It also helped to spark his lifelong
interest in collecting, as well as his desire to enhance the UBC environment
for future students. In sharing this collection through his donation, Dr. Slim
lends his confidence and support to UBC, the UBC Library, and UBC students.
By making the annotated catalogue and its supplement available at no charge
to institutions and conservatories, Dr. Slim has given a gift to music lovers,
performers, and researchers everywhere.
Susan E. Parker
University Librarian
 Conspectus
Catalogue Notes / vi
Introduction / viii
Section i
Twenty new items (1911-82): added to UBC's
Stravinsky collection (as of June 2017) / 1
1 i (1911) Zhar ^-ptitsa / LOiseau de Feu [ The Firebird], 1 st ed., the composer's
piano reduction (finished 21 March 1910) of the entire ballet / 2
41i   (1935) Autograph musical quotation, 27 November 1935, from the
fourth (final) movement of the Concerto for Two Solo Pianos / 4
41ii (1936) Typed two-sided single-page letter to "Mr. S. Dushkin, Ansonia
Hotel New-York" with extensive autograph marginalia / 5
43i (1936) Printed twelve-page program for a concert on 2 May 1936 at the
Teatro Colon, Buenos Aires. Initialled photograph of Stravinsky and
signed photograph of his son Soulima / 8
47i (1937) Autograph, unstamped postcard to "Chere amie," i.e., Dagmar
Godowsky (1897-1975), former silent movie actress and daughter of the
celebrated pianist Leopold Godowsky (1870—1938), and mentioning
[Boris] Morros (1891—1963), then director of Paramount's Music
Department / 9
66i (1939) Large undated autograph signature: "Igor Strawinsky" in black
ink, on an irregularly sheared rectangle of paper / 10
72i Autographed cropped photograph—but in reverse—of Stravinsky taken
by George Hoyningen-Huene at Paris on 16 November 1934 / 13
75i (1941) THE/ STAR-SPANGLED /BANNER /Words by /FRANCIS
SCOTT KEY / Music by /fOHN STAFFORD SMITH / Harmonized
and Orchestrated by / IGOR STRAWINSKY, full score / 14
79i   (1944) Typed single-page letter with autograph marginal annotations
in pencil and ink, to "Walter de Bourg, Esq., Legation de Suisse,
Washington, DC," and signed "Igor Strawinsky" / 15
IV      Conspectus
 82i   (1944) Autographed - now empty - large brown envelope: "to
Walter de Bourg, Esq." / 19
83i   (1945-46)IGORSTRAVINSKY/PETROUSHKA /ABURLESQUE
IN FOUR SCENES (London: Boosey & Hawkes, [1945]), "Hawkes
Pocket Scores," with autograph markings for revisions appearing on
seventy-four pages in ink, in pencil, and in reds, blues, and greens / 20
84i   (1946) Autograph signed letter in Russian, lacking its envelope and
addressee / 24
86i   (1950) Autograph postcard with photograph / 25
11 li (1962) Signed, folded program printed for two performances in
Leningrad by the Leningrad Philharmonic Symphony Orchestra / 26
114i (1965) Autographed photograph inscribed "I Stravinsky/1965" taken
by Barry Glass / 29
RBSC-ADC-1782-1-08 (1965) Original (unrevised) program for the
eighth Vancouver   International   Festival   (1965)   that   saw   both
Stravinsky and Craft conducting / 30
RBSC-ADC-1782-1-07 (1965) Autographed photograph of Stravinsky
conducting   a   recording   rehearsal,  probably   in   New York,   for
Columbia Records / 30
117i (1967) Photograph of Stravinsky and John L. Roberts (1930—) arriving
at a reception after a CBC concert; photograph taken by Paul Smith,
Toronto / 32
122i (1981) Program booklet of the Royal Ballet that included a restoration
of the original 1923 choreography by Bronislava Nijinska for Les
Noces / 33
123i (1982) First day cover bearing a two-cent USA postage stamp of
Stravinsky / 34
Section 2
Corrections and additions to Slim, Annotated
Catalogue (2002) / 35
Index / 45
Conspectus
 Catalogue Notes
Each entry consists of a detailed transcription and, where necessary, translation. In
transcriptions, neither Stravinsky's linguistic errors in French and English, nor his
frequent omissions of French accents, have been rectified. Translation from the
French is by Leonard W Johnson.
Each entry is preceded by a description and followed by acquisition information,
provenance, commentary, and works consulted. In the description, height precedes
width in dimensions. A date in parentheses following a musical composition is
its year of completion. References in the works consulted for each entry are
presented in full, even though they may be repeated elsewhere. The sigla below
are used for the most frequently cited materials on Stravinsky. The following
abbreviations are used:
n.
note or footnote
no., nos.
number, numbers
p., pp.
page, pages
pi., pis.
plate, plates
The use of Roman numerals after an Arabic digit indicates an insertion into the
Annotated Catalogue's original numbering system (a numbering system chosen to
present items by creation date).
Items catalogued beginning with "RBSC" indicate a numerical system unique
to UBC Rare Books and Special Collections. These items belong to the UBC
Stravinsky Collection and have been highlighted in this volume due to their
significance to the project at hand.
VI       Catalogue Notes
 Sigla
ILM
Robert Craft. An Improbable Life: Memoirs. Nashville Vanderbilt
University Press, 2002.
JAMS
fournal of the American Musicological Society.
SAc
Theodore and Denise Strawinsky. Au coeur du Foyer: Catherine et
Igor Strawinsky 1906-1940. Bourg-la-Reine, France: ZurfluH,
1998.
SBu
Dearest Bubushkin: The Correspondence of Vera and Igor Stravinsky,
1921—1954, with Excerpts from Vera Stravinsky's Diaries, 1922—
1971. Edited by Robert Craft. Translated by Lucia Davidova.
NewYork: Thames and Hudson, 1985.
SD&D
Igor Stravinsky and Robert Craft. Dialogues and a Diary.
Garden City, NY: Doubleday, 1963.
SE&D
Igor Stravinsky and Robert Craft. Expositions and Developments.
Garden City, NY: Doubleday, 1962; repr. Berkeley and Los
Angeles: University of California Press, 1981.
SM&C
Igor Stravinsky and Robert Craft. Memories and Commentaries.
Garden City, NY: Doubleday, 1960; repr. Berkeley and Los
Angeles: University of California Press, 1981.
SP&D
Vera Stravinsky and Robert Craft. Stravinsky in Pictures and
Documents. NewYork: Simon and Schuster, 1978.
SP&RK
LF. Stravinsky: Perepiska s russkimi korrespondentami: Materials
k biographi. Edited by Viktor Varunts. Moscow: Kompozitor,
1998-2003.3 vols. (1882-1912,1913-22,1923-39).
SSC
Igor Stravinsky. Selected Correspondence. Edited by Robert Craft.
NewYork: Alfred A. Knopf, 1982-85. 3 vols.
SSE
Stephen Walsh. Stravinsky: The Second Exile: France and America,
1934-1911. NewYork: Knopf, 2006.
Catalogue Notes     VII
 1
 Introduction
Vancouver was the first Canadian city to hear any work by Igor Fyodorovich
Stravinsky (1882-1971). On 15 January 1917, Pierre Monteux (1875-1964) led
two compositions by Frederic Chopin (1810—49) that Stravinsky had orchestrated
early in the spring of 1909 at St. Petersburg for Sergei Diaghilev (1872-1929).
Both orchestrations were for the first season in Paris of the Ballets Russes at
the Theatre Chatelet featuring the premiere, on 4 June 1909, of Les Sylphides,
choreographed by Michel Fokine (1880—1942) and starring Vaslav Nijinsky
(1889—1950). He also danced in the sole Vancouver performance of Les Sylphides
by the Ballets Russes in mid-January 1917 at the old CPR Opera House on the
west side of Granville Street, between Georgia and Robson.
Although Stravinsky had conducted in Toronto (1937) and Montreal (1945),
he did not lead the Vancouver Symphony Orchestra (VSO) until October 1952,
an indirect result of an all-Stravinsky concert the previous April at the University
of British Columbia. That concert — in Brock Hall — had featured Canadian
premieres of his Concerto per due pianoforti soli (1935) and of Les Noces (1923), in
which I participated as duo-pianist and conductor, respectively. In mid-July 1965,
Stravinsky (assisted by Robert Craft [1923—2015]) twice led the VSO, specially
augmented for the city's eighth International Festival.
On Sunday morning, 5 October 1952, I drove with Stravinsky from the
Hotel Vancouver to the Orpheum Theatre for his final VSO rehearsal. On the
VIII     Introduction
 evening of 27 January 1966, after singing in two choral-orchestral works he
conducted in Los Angeles, I sat next to him backstage and we chatted briefly after
a performance of his Symphony in C (1940) led by Craft.
These encounters with Stravinsky stimulated my forming the 123-
item collection that I gave to UBC in 1994. Since then, other donors (and
I) have enriched it, necessitating this supplement. A recent acquisition of the
composer's own printed score of Petrushka (1911), heavily annotated by him in
ink and coloured pencils in preparation for its 1948 revised edition, now joins
nine other items (1911—67) concerning his ballet and testifies to the resources
of UBC's collection.
The bulk of Stravinsky's Nachlass is at Basel, in the Paul Sacher Foundation.
Vancouver is the only Canadian city to house a collection devoted to him and
his music. UBC's current 143 items compare favourably with smaller collections
in US universities and conservatories, and even with major ones in the Morgan
Library, the New York Public Library, and the Library of Congress. The UBC
Library on the Point Grey campus has become an important North American
resource for scholars and music lovers concerned with Stravinsky's life, his works,
and both his critical opinions and those of others.
   1
(1911). Zhar^-ptitsa / L'Oiseau de Feu [The Firebird], 1st ed. (Leipzig and Moscow:
A P. Jurgenson and Rob. Forberg [1911]; repr. Leipzig and Moscow: Jurgenson
—   [1911-18]), 70 pp., pis. 34903-19, c. 30.4 x 23.5 cm, the composer's piano
reduction (finished 21 March 1910) of the entire ballet.
Acquisition: H. Colin Slim in Laguna Beach, CA, in 1997, a gift to him from
Dorothy Ellis McQuoid in nearby San Clemente. Muriel Zanger, the owner
previous to Mrs. McQuoid, inscribed her name in the upper left corner of the
tide page. Donated by Professor Slim in 2002.
Commentary
A photograph taken April 1910 in St. Petersburg for Comoedia Illustre (Paris)
shows left to right: Nikolay Tcherepnin (1873-1945) and Stravinsky seated at
the piano, and choreographer Michel Fokine (1880—1942) leaning on it, during
a Firebird rehearsal at the Catherine Hall (German Club) with Tamara Karsavina
(1885-1978) in the title role. The ballet was premiered on 25 June 1910 at the
Paris Opera.
This first edition for piano of the complete ballet appeared in June—July
1911, pis. 34903-19. The orchestral full score was published in 1912, pi. 34920.
Another copy of Entry 1i is in the Jean Gray Hargrove Music Library, University
of California, Berkeley, and still another was offered for sale by J. & J. Lubrano
in 2002.
Edwin Evans (1874—1945), who knew Stravinsky from early February 1913
in London, was to use a copy of Entry 1 i twenty years later in his analysis of
Firebird. See also Entry 111 i, below
Works Consulted
Craft, Robert. Stravinsky: The Composer, vol. IX, CD record booklet. Oakhurst,
NJ: Music Masters Classics, 1967. pp. 5-14.
Cyr, Louis. Stravinsky, L'oiseau de feu: Facsimile Edition of Autograph Full Score.
Geneva: Minkoff, 1985. p. 192.
Evans, Edwin. Stravinsky: The Fire-Bird and Petrushka. London: Oxford University
Press, 1933. p. 12.
Foster, Andrew R. Tamara Karsavina: Diaghilev's Ballerina. London: Foster, 2010.
pp. 106, 118, 120—21   (ten persons are identified in I.N. Aleksandrov's
rehearsal photograph from Comoedia Illustre [May 1910]: 119), 140-43.
Supplement to the Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 Joseph, Charles M. Stravinsky and the Piano. Ann Arbor, MI: UMI Research Press,
1983. pp. 252-70.
-."Stravinsky Manuscripts in the Library of Congress and the Pierpont Morgan
Library." Thefournal ofMusicology 1, no. 3 (July 1982): 337 (nos. 4, 5).
-. Stravinsky's Ballets. New Haven and London: Yale University Press, 2011.
pp. 26-47.
Krasovskaya, Vera. Nijinsky Translated by John E. Bowlt. NewYork: Schirmer
Books, 1979. pp. 97-98 (lower plates).
Lederman, Minna, ed. Stravinsky in the Theatre. New York: Farrar, Straus and
Giroux, 1949; repr. NewYork: Da Capo, 1975. pi. [3] btn pp. 170-79.
Lerma, Dominique-Rene de. Igor Fedorovitch Stravinsky, 1882—1971: A Practical
Guide to Publications of His Music. Kent, OH: Kent State University Press,
1974. p. 49 (no.09).
Lubrano,J. & J. Dance Literature & Music, 16th—20th Centuries. Great Barrington,
MA: 2002, lot 32.
The Mary Flagler Cary Music Collection: Printed Books and Music, Manuscripts,
Autograph Letters, Documents, Portraits. NewYork: Pierpont Morgan Library,
1970. p. 48 (no. 201, a copyist's full orchestral score of the complete Firebird
ballet with Stravinsky's corrections and additions).
Shepard, John. "L'Oiseau de feu: fac-simile du manuscrit Saint-Petersbourg,
1909—1910." Notes: Quarterly fournal of the Music Library Association 44, no. 4
Qune 1988): 804-7.
"Shilling House Applauds the Russian Ballet." The Christian Science Monitor
(8 October 1913): 11 (about a "new" orchestral suite, played in London).
Slim, H. Colin. Annotated Catalogue of the H. Colin Slim Stravinsky Collection
Donated by Him to the University of British Columbia Library. Vancouver, BC:
University of British Columbia Library, 2002. Entries 1,6,48,61,71, 111, 115.
SP&D. pp. 24, 55, 58-60,377-78, 503-5.
SP&RK. vol. 1. pp. 381-82 (n. 3-4), 494, 536 (index: Tcherepnin, N.N.).
SSC. vol. 2. pp. 219-22 (incorrect first plate number).
Steshkojoni Lynn. "L'Oiseau de feu [1910]." Notes: Quarterly fournal of the Music
Library Association 54, no. 5 (June 1998): 997-1002.
Street, Donald. "A Forgotten Firebird." Musical Times 119, no. 1626 (August
1978): 674-76.
Taruskin, Richard. Stravinsky and the Russian Traditions. Berkeley and Los Angeles:
University of California Press, 1996. pp. 641-42 and n. 124.
Supplement to the Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 41i
Tompakova, O.M. Nicolay Nikolayevich Tcherepnin. Moscow: Musika, 1991. pp. 45
(plate), 53-55,98 (opus 39).
Walsh, Stephen. Stravinsky, A Creative Spring: Russia and France, 1882-1934. New
York: Alfted A. Knopf, 1999. p. 159, pi. [6] (bottom) btn pp. 172-73, p. 589 (n. 39).
White, Eric Walter. Stravinsky: The Composer and His Works. 2nd ed. Berkeley and
Los Angeles: University of California Press, 1979; repr. 1984. p. 182.
(1935). Autograph musical quotation, 27 November 1935, from the fourth (final)
movement of the Concerto per due pianoforti soli, beginning on the right edge
of a Danish newspaper clipping - Dagens nyheder, 14 October 1935 - of the
composer's photograph taken by Herbert Davidsen (1902—71), 22 March 1934,
8.8 X 7.6 cm (including margins), mounted on and concluding on a sheet, 13.4
x 22.7 cm.
Acquisition: Kirsten Walsh for the UBC Music Library on 4 July 2001 from Lisa
Cox,Music Catalogue 39 (Devon: Spring 2001),lot 111.
Provenance: Unknown.
Commentary
Davidsen's original photograph, taken after a joint concert for Danish Radio,
was of Stravinsky and the composer's countryman Nicolai Malko (1883—1961),
a conductor in Denmark, 1928—1939.The Danish newspaper Dagens nyheder ran
the (solo) photograph four times during 1935, the final time as publicity for
Stravinsky's and Samuel Dushkin's concert in Copenhagen on the evening of 14
October (on Dushkin [1891-1976], see Entries 41, 41ii, and 45). Back in Paris,
Stravinsky (or someone else) pasted this newspaper photograph on paper and the
composer autographed it for distribution at concerts where he and his pianist son
Soulima (1910—94) — on whom, see Entries 43i, 44, and 82 — were performing
the Concerto per due pianoforti soli in private homes. This exemplar was perhaps
made for an autograph seeker at the home of Winnaretta Singer, la Princesse
Edmond de Polignac (1865—1943), on whom, see Entry 34.
Works Consulted
Craft, Robert. "Discoveries in Stravinsky's Sketches." The Moment of Existence:
Supplement to the Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 41ii
Music, Literature, and the Arts 1990-1995. Nashville and London: Vanderbilt
University Press, 1996. p. 275.
Slim, H. Colin. "From  Copenhagen  and Paris: A  Stravinsky Photograph-
Autograph at the University of British Columbia." Notes: Quarterly Journal of
the Music Library Association 59, no. 3 (March 2003): 542-55.
(1936). Typed two-sided single-page letter, 27 x 21 cm, in French, 8 January
1936, to "Mr. S. Dushkin, Ansonia Hotel New-York" with extensive autograph
marginalia in ink on both sides. It is signed: "votre [and in Russian script:] Igor
Fedorovich" and dated lower left: "Paris / le 8.1.36," plus a stamped envelope:
"Paris VIII 49 Rue La Boetie 10-1 /1936." and with a typed address and "s/s
COLUMBUS":
Mr. S. Dushkin
Ansonia Hotel
New-York
Tres cher Samski,
J'espere que vous etes en possession de ma reponse telegraphique
ainsi que de ma carte qui etait une reponse (un peu plus substantielle
q'un simple cable) a votre premiere depeche et qui s'etait croisee avec
votre seconde. Quand vous m'aviez cable la premiere fois je me trouvais
en Suisse — d'ou le retard de la reponse dont veuillez m'excuser.
Vers le nouvel an Mme Bouchone m'a transmise une proposition
telegraphique de Jourok (Manager du Ballet de Montecarlo qui
jouait a ce moment au Metropolitan Opera House) — des concerts
en octobre et nov./36 pour une somme globale de 6 mille dolars.
J'ai demande Mme Bouchone de l'envoyer promener: I-mo n'ayant
aucune confiance dans ce type, 2-do l'epoque d'automne n'etant pas
aux Etats-Unis une bonne periode et 3-o croyant pouvoir faire mieux
que ca en Janv.-Fevr./37 avec vous et seul. Et c'est ici que je reviens,
en vous cablant "ACCEPTE EN PRINCIPE," a cette question tant
de fois discutee par nous et resumee dans la "conclusion" de ma lettre
a vous du 16 nov. dernier. Je consentirai a une tournee aus E.-U en
Supplement to the Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 janv.-fevr.(-mars a la rigueur) 1937 si cette tournee pourra m'offrir
des garanties suffisantes morales et materielles. Cette saison de mon
point de vue ne me donnait malheureusement rien de tout cela:
Persephone si brillamment lancee par moi l'annee derniere a Boston
fut rendu aux autres (Philadelphia et N-Y) qui devaient la dinger
dans ma presence, les programmes que j'avais a dinger n'etaient pas
etablis ce qui veut dire en [verso:] bon francais — rien de nouveau et
interessant dans mes programmes symphoniques, toujours la meme
chose: l'Oiseau et Petrouchka! — ca c'est pour le moral. Et pour le
cote materiel vous comprenez vous-meme qu'une somme de quatre
rnille dolars sur laquel selon vous je pouvais compter comme benefice
de trois mois de travail ne se presente pas a mes yeux comme un
avantage suffisant pour me decider a abandonner tout: mon travail de
composition, ma famille et tout ce qui m'est cher. Le succes relatif
moral et materiel de ma derniere tournee me faisait esperer, avec la
reprise des affaires chez vous, quelque chose de bien plus interessant.
Certainement les circonstances malencontreuses dans lesquelles c'est
trouve Merovitch et son Management sont en majeure partie la
cause mais je ne pense pas que meme si les conditions materielles
de Merovitch etaient interessantes que les questions morales seraient
changees a mon avantage. Mais dans tous les cas une garantie de quatre
rnille dolars pour trois mois (ce que vous m'offriez avec Kavenoki) ne
saurait aucunement servir comme base acceptable de garantie pour
nos projets de l'annee prochaine. Pour que ces projets deviennent
une realite il faut que celui qui s'occupera de ma tournee puisse
vraiment me trouver une serie d'engagements valables, presentants
pour moi des avantages aussi bien materiels que morals. Autrement
dit les uns sans les autres (et vous savez mieux que personnes ce
que je desire) ne comptent pas comme valables pour moi.
Chez nous tout est calme pour le moment; fin janv. ma femme
va rejoindre la montagne (probablement en Suisse) pour se fortifier
definitivement (j'espere). Mars — c'est l'Espagne pour moi avec Nini
et un concert en Angleterre aussi avec lui.Avril-Mai probablement
1'Argentine (aussi avec Nini).
Je serai tellement heureux d'avoir de vos nouvelles qu'obstinement
vous ne voulez pas me donner. Par discretion je ne vous demande
pas la cause et vous embrasse simplement de tout coeur.
[signed:] Votre Igor Feodorovich
Supplement to the Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 [marginalia on recto (beginning at left):]
J'attends toujours une reponse a mes lettres: une — le recommendation
de Balanchine au Metropolitan, pour laquelle le maitre de ballet n'pas
juge necessaire de me remercier, malgre que c'etait lui qui ne l'avait
demande (par Paichadze), une autre, tout je vous telegraphiais au sujet
de la commande d'un ballet (aussi par Paichadze) [upper margin:] une
derniere lettre exige egalement une reponse car c'est aussi Balanchine
qui me demande c'est de lui dire ce que j'en pense.Je n'ai rien parle du
cote particulierej'ai seulement demande (en donnant mon acceptance de
principe) qu'on entre en pourparlers avec moi si Ton veut avoir le ballet
l'automne 1936. Ma lettre [right margin:] est partie fin novembre — aucune
reponse! C'est desolant. Gardez tout ca pour vous et agissez discretement
si agir on peut. Je ne sais rien, rien ce qui se passe et le temps passe aussi.
Lam still waiting for a reply to my letters: the one — a recommendation
of Balanchine for the Metropolitan [Opera], for which the ballet master
[Balanchine] did not [even] think it necessary to thank me, even though it
was he who asked me for it (through [Gavryil] Paichadze [in Paris]); the other
[letter] about which I telegraphed you [is] on the subject of the commission
of a ballet (also through Paichadze); this second letter also requires a reply
because it is also Balanchine who asked me to tell him what I think of it.
I said nothing of the business side, I simply asked (while giving my acceptance
in principle) that they should enter into negotiations with me if they want to
have the ballet in the autumn of 1936. My letter left [here] in November [1935]
- no reply! It is distressing. Keep all this to your self and act discreetly if one
can [so] act. I can see nothing, nothing happening, and time is passing also.)
[marginalia on verso (at left):]
Ces Messieurs de la Schola Cantorum m'envient un cable pour
me demander de leur ecrire un article de 200 mots pour la premiere de
Persephone que je voulais tenement moi faire a N.Y Meme 200 dolars ne
me decidera pas a leur faire cet article et je laisse leur cable sans reponse.
These gentlemen from the Schola Cantorum sent me a cable asking me
to write them an article of 200 words for the premiere of Persephone, which
Supplement to the Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 43i
I really wanted to do [i.e., conduct] myself in NewYork. Even 200
dollars could not persuade me to write this article and I have not
responded to their cable.
[marginalia on verso (at right):]
Quand arrive Beveridge?
When does [pianist Webster] arrive?
Acquisition: H. Colin Slim in Berkeley, CA, on 10 October 2012 from J. & J. Lubrano
Music Antiquarians, Lloyd Harbor, NY. Donated by Professor Slim in July 2016.
Provenance: Estate of Samuel Dushkin (1891-1976), and probably thereafter from
the estate of his late wife, Louise (nee Rorimer). Only the typed portion of the
letter is translated in SSC, vol. 2, pp. 305-6 (although with one wrong date and
occasional inaccuracies).
Commentary
The typed portion of Stravinsky's letter exemplifies the challenges, difficulties, and
disappointments he experienced in planning transatlantic tours for 1936 and 1937
from France to the United States and return. His marginalia reveal him attempting
to control negotiations for a new ballet score, Jew de cartes (1935—36), already begun.
In the event, he concertized with his son in 1936 in South America, and in 1937
with Dushkin in the USA and that year — for a first time — in Canada.
Works Consulted
Joseph, Charles M. Stravinsky's Ballets. New Haven and London:Yale University
Press, 2011. pp. 144-45.
SSC. vol. 2. pp. 305-6 (a translation from Stravinsky's carbon copy of his typed
letter, and thus lacking all his marginalia).
SSE. pp. 40-41.
(1936). Printed twelve-page program, 23.2 x 15.9 cm, for a concert on 2 May 1936
at the Teatro Colon, Buenos Aires. Stravinsky initialled his photograph in ink on
p. 1 of the program; his son Soulima signed his photograph on p. 10, facing an
Supplement to the Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 47i
(unsigned) photograph, p. 11, of choreographer Bronislava Nijinska (1891-1972).
Acquisition: H. Colin Slim in Berkeley, CA, in September 2016 from J. & J. Lubrano
Music Antiquarians, Syosset, NY, The Paul J. Jackson Opera Collection, part VII:
R-S (September 2016), lot 760. Donated by Professor Slim in June 2017.
Provenance: Paul J. Jackson, who kindly informed Professor Slim (letter of 4 October
2016) that he acquired this program from La Scala Autographs, Pennington, NJ,
on 3 September 1991.
Commentary
Stravinsky and his son performed several times — separately and together — at the
Teatro Colon during their concert tour to South America in May 1936. At this
all-Stravinsky concert on 2 May, Soulima played four-hands with his father and
was also soloist in his father's Capriccio for piano and orchestra (1929), conducted
by the composer. For another example of Soulima's signature, where he again
played Capriccio led by his father, see Entry 61.
Works Consulted
Levitz, Tamara. "Igor the Angeleno: The Mexican Connection." Stravinsky and
His World. Edited by Tamara Levitz. Princeton and Oxford: Princeton
University Press, 2013. pp. 153-62.
Slim, H. Colin. "A Stravinsky Holograph in 1936 for Juan Jose Castro in Buenos
Aires: 'maitre impeccable de la baguette'." Music Observed: Studies in Memory
of William C Holmes. Edited by Colleen Reardon and Susan Parisi. Warren,
MI: Harmonie Park Press, 2004. pp. 447-58.
SSE. pp. 42-49.
(1937). Autograph, unstamped postcard, 9 x 14 cm, signed 25 March 1937,
but lacking its mailing envelope. On its obverse a colour image depicts
"ALBUQUERQUE, NEW MEXICO, FROM THE AIR." A message in French
mentioning [Boris] Morros (1891-1963), then director of Paramount's Music
Department, is to "Chere amie," i.e., Dagmar Godowsky (1897-1975), former silent
movie actress and daughter of the celebrated pianist Leopold Godowsky (1870-1938):
Supplement to the Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 66i
Dear lady-friend: San Francisco 25 III 37
A thousand best regards from your sincerely devoted I. Stravinsky.
Morros will come to NewYork on 14 or 15 April with a libretto that
is in the process of being prepared for me in Hollywood. If it suits me,
we will conclude this matter which I hope will be profitable for me.
Acquisition: H. Colin Slim, in Berkeley, CA, on 12 November 2004 from J. & J.
Lubrano, Lloyd Harbor, NY, lot 157. Donated by Professor Slim in July 2012.
Provenance: Probably from Christie's sale, Illuminated Manuscripts, Illustrated Books,
Autograph Letters and Music (London: 29 June 1994), pp. 148-49 (lot 124).
Commentary
The message side of the postcard is reproduced (slightly enlarged) and discussed
in Slim, "Chere amie," cited below.
Works Consulted
Slim, H. Colin. "Chere amie:The Mystery of the Unstamped Postcard." Sleuthing
the Muse: Essays in Honor of William F Prizer. Edited by Kristine K. Forney and
Jeremy L. Smith. Hillsdale, NY: Pendragon Press, 2012. pp. 329-48 (including the
original French).
(1939?). Large undated autograph signature:"Igor Strawinsky" in black ink, on an
irregularly sheared rectangle of paper: 7.3 cm (left side) and 8 cm (right side) x
20.3 cm (top and bottom).This slightly uneven rectangle was cut from the upper
portion of a page of medium brown notepaper, watermarked with eight vertical
stripes. The sales cataloguer for J. & J. Lubrano dated 66i as "c. 1939." Careless
shearing cropped part of the long (curling) tail of the last letter of Stravinsky's
surname. The other side of this rectangle bears handwritten observations in a
black ink (shared?) by two persons, one of whom is Mary Rose Bradford, nee
Hinder (c. 1908-post 1963).The other person is an unidentified (female?) friend
of Mrs. Bradford, [M?....lle?] Powers, whose first name of eight letters (perhaps
Michelle? Maybelle? Marianne?) is now unverifiable owing to the angle at which
the paper was cut.
Supplement to the Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 Acquisition: H. Colin Slim in Berkeley, CA, on 22 September 2016 from J. & J.
Lubrano Music Antiquarians, Syosset, NY, The Paul J Jackson Opera Collection, part
VII: R-S (September 2016), lot 759. Donated by Professor Slim in June 2017.
Provenance: Paul J. Jackson, who kindly informed Professor Slim (letter of 4
October 2016) that he had acquired lot 759 at an auction, 13 September 1994,
from Alexander Autographs, a firm variously located in Connecticut.
Commentary
On the recto of this irregularly sized snippet of paper appears in black ink in one
hand: "Lopez -Tops in dance bands / Lopez - Double check tops in band leaders
/ Come back soon, Lopez! / [signed:] Mary Rose Bradford / November 1939
/ New Orleans." Below and slightly to the left, in a different hand (but probably
in the same black ink) is: "I've got to thank Mary Rose / for finally meeting
you — / [Michelle? Maybelle? Marianne?] Powers." (The missing lower portions
of the letters from Powers s first name make its identification uncertain.) Surely
"meeting you" means Vincent Lopez (1895—1975), not Stravinsky.
Mary Rose Bradford (nee Himler) — second wife of the Southern novelist
Roark Bradford (1896—1948), whom she married in the 1930s — was a musician
herself.While in college, c. 1925—27, she played pipe organ at a movie-vaudeville
house in Indianapolis.
The "c. 1939" date assigned by J. & J. Lubrano may well be correct: Lopez
and his band performed in New Orleans in mid-February 1939. Mrs. Bradford
reported to Life that Lopez had dined in February 1938 at her house in the
French Quarter, where he played her Mason & Hamlin piano. Stravinsky was
not in New Orleans in 1938 or 1939, but he perhaps docked there briefly in
mid-May 1940, and was certainly there 10-11 March 1946, 10 February 1950,
1-2 February 1955 (Hotel St. Charles), and 3 December 1955 (Sunset Hotel).
Whether or not he met Lopez (or even Mrs. Bradford) during any of these visits
to New Orleans is unknown.
Lopez had visited the Bradfords in New Orleans in mid-February 1938
during an engagement there with his band at the Tulane Room in the Jung
Hotel, and he performed there again with his band a year later. He probably
received Entry 66i (personally? by mail?) from his hostess fan and her friend
in November 1939, or soon thereafter. A photograph of mid-December 1939
depicts Lopez dining with Stravinsky and Pierre Monteux in San Francisco, the
only time that Lopez and Stravinsky are known to have met. Neither Lopez nor
Supplement to the Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 Stravinsky looks as if he is enjoying the company of the other. (Only Monteux
seems to be having a good time.) At some point in Lopez's travels - perhaps that
very December in San Francisco - and lacking any other piece of paper, he might
have sought Stravinsky's signature on 66i. An avid autograph collector, Lopez
would not have mutilated Stravinsky's signature. Some other collector or a dealer
did so by cutting the paper to its present slightly irregular dimensions.
When in San Francisco, did Stravinsky and Lopez discuss swing? There is no
evidence that Stravinsky, who, late in 1940, professed enjoying "swings," knew of
Lopez's forecast in 1938 that the genre was doomed to extinction by 1944.
Beyond being excellent pianists, Lopez and Stravinsky had little in common.
Both men, however, were pilloried for arranging The Star-Spangled Banner (the
former in 1938, the latter in 1941-42, and especially in 1944).
Works Consulted
Bradford, Mary Rose. "Letter to the Editor." Life 4 (14 March 1938): 2.
-. "My Short Happy Life in the Theater." The Atlantic 211, no. 8 (March 1963):
136-38.
Cogswell, Michael. "Lopez,Vincent." American National Biography, vol. XIII. New
York: Oxford University Press, 1999, pp. 909-10.
Cox, Jim. Musicmakers of Network Radio: 24 Entertainers 1926-1962. Jefferson,
NC, and London: McFarland, 2012. pp. 210—24 (especially on Lopez's charm
for women).
Dehmel, Victor. "Lopez Forecasts 'Swing' to Endure for 6 More Years." [New
Orleans]Times-Picayune (16 February 1938): 22 (with his photograph at the piano).
Lopez, Vincent. Lopez Speaking: An Autobiography. NewYork: Citadel, 1960. pp.
298-300,306,318,338.
Simms,  L.  Moody, Jr. "Bradford,  Roark Whitney Wickliff  (1886-1948)."
American National Biography. NewYork: Oxford University Press, 1999. Ill, 361.
Slim, H. Colin. "Stravinsky's Four Star-Spangled Banners and His 1941 Christmas
Card." The Musical Quarterly 89, nos. 2-3 (Summer-Fall 2006): 347.
SP&D. p. 644 (n. 28).
SSC. vol. 2. pi. 10 (cropped at right side?).
SSE. pp. 124, 601 (n.3).
Supplement to the Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 72i
(1940). Autographed cropped photograph - but in reverse - of Stravinsky taken
by George Hoyningen-Huene at Paris on 16 November 1934, 10.8 x 16 cm,
mounted on same-sized heavy cardboard. Inscribed, probably September 1940,
upper left and middle right in French in black ink in the background, for Mrs.
Marcus Koshland, San Francisco:
Pour Madame
Marcus
Koshland
son admirateur
Igor Strawinsky
1940
Acquisition: Gratis in 2016 from a Berkeley collector. Donated by Professor Slim in July 2016.
Provenance: Private collection, San Francisco. Jean Gray Hargrove Music Library,
Berkeley, deaccessioned in 2015.
Supplement to the Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 75]
Commentary
The photograph is a slighdy cropped image - in reverse - of a 1934 Hoyningen-
Huene photograph. After Stravinsky's Hollywood Bowl concert, 30 August
1940, the Stravinskys drove north for a brief vacation to San Francisco, where,
on 8 September, they stayed with Mrs. Marcus S. Koshland, and returned to
Hollywood five days later. Among musicians, Mrs. Koshland was known to have
the best chef in San Francisco! Presumably Stravinsky inscribed this photograph
during their visit, or sent it to her upon returning to Hollywood.
Works Consulted
Adaskin, Harry. A Fiddler's World: Memoirs to 1938. Vancouver, BC: November
House, 1977. p. 260.
Ewing, William A. The Photographic Art of Hoyningen-Huene. London: Thames and
Hudson, 1986. p. 242 (pi. 96, incorrectly dated by Ewing as 1927).
Lubrano, J. & J. Catalogue 61. Lloyd Harbor, NY: 2004, lot 178 (an [unreversed]
exemplar signed in 1941 and illustrated — its size not furnished — but
described as a "postcard photograph").
Strawinsky, Sein Nachlass. Sein Bild [including a] Katalog der ausgestellten Bildnisse
und Entwurfefur die Ausstattung seiner Buhnenwerke. Basel: Kunstmuseum und
Paul Sacher Stiftung, 1984. pp. 126—[27], upper image.
(1941). THE/ STAR-SPANGLED/BANNER /Words by /FRANCIS SCOTT
KEY / Music by /JOHN STAFFORD SMITH / Harmonized and Orchestrated by
/ IGOR STRAWINSKY, full score, four unnumbered pages, 30.9 x 23.5 cm,
enclosed in same-sized wrapper (NewYork: Mercury Music Corporation, 1941)
— a reissue, lacking red and blue lettering on cover and any information about the
premiere - signed by Murray Adaskin (1906-2002).
Acquisition: Kind donation by Dorothea Adaskin in fall—winter 2002; date
acquired by her husband is unknown.
Provenance: Murray Adaskin, on whom see below, Entry 86i (1950).
Commentary
In October 1941, Stravinsky sent his autograph full score of his arrangement of
14      Supplement to the Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 79i
the US national anthem for chorus and symphony orchestra, finished by 4 July -
together with his handwritten preface - to President Franklin D. Roosevelt. Both
autograph and preface are in the Library of Congress. In the present full score,
75i, Mercury printed Stravinsky's preface, not found in his reduction for piano
and chorus, about which, see Entry 75.
Copies of the piano-vocal and full orchestral scores now in the Jean Gray
Hargrove Music Library at the University of California, Berkeley, both previously
owned by the late Professor Charles C. Cushing (on whom see Entry 101),
were dated in ink by Cushing on their front covers: "Dec. 1941" and "January
1942," respectively. The latter s full score, 32.9 x 23.7 cm, is not only slighdy
larger than Adaskin's exemplar, 75i, but Cushing's cream-coloured front cover
is printed in red and dark blue. As in Adaskin's exemplar, Stravinsky's facsimile
dedication is on a first (unnumbered) recto page, facing the verso of the front
cover. Unlike Adaskin's exemplar, however, Cushing's exemplar has printed
on the verso of its rear cover: "This composition was first performed at the
Embassy Auditorium in Los Angeles, California on October 14th, 1941 by the
Works Projects Administration's Symphony Orchestra (Dr. Karl Wecker, State
Supervisor) and Negro Chorus assisted by Los Angeles Oratorio Society, James
Sample conducting."
Works Consulted
Lerma, Dominique-Rene de. Igor Fedorovitch Stravinsky, 1882-1971: A Practical
Guide to Publications of His Music. Kent, OH: Kent State University Press, 1974.
p. 102 (no.Z15).
Slim, H. Colin. Annotated Catalogue. Entry 75.
-."Stravinsky's Four Star-Spangled Banners and His 1941 Christmas Card."
The Musical Quarterly 89, nos. 2-3 (Summer-Fall 2006): 321-447.
(1944). Typed single-page letter, 28 x 21.5 cm, in French, 5 January 1944, with
autograph marginal annotations in pencil and ink, to Walter de Bourg, Esq.,
Legation de Suisse, Washington, DC, and signed "Igor Strawinsky." Except for
his handwritten additions, Stravinsky's letter lacks all French accents, presumably
unavailable on his typewriter:
Supplement to the Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 1260 N.Wetherly Drive,
Hollywood, 46, Cal
5 January, 1944.
Cher Monsieur de Bourg,
C'etais une grande emotion pour nous, cette lettre de mon fils
que vous avez eu la gentillesse de me faire parvenir. Je vous en remercie
tres cordialement.
Je profite de cette occasion pour lui donner de mon cote de nos
nouvelles que vous avez eu la bonte de bien vouloir lui transmettre.
Voici done le message:
1) Recu sa lettre du 2 novembre,* recu egalement son cable du
30 decembre. [*in pencil:] la seule recue depuis sa lettre du 25 Janv./43
2) Je m'en vais pour une tournee de concerts et serai de retour
— fin Janvier.
3) J'ai fais en plusieurs reprises (depuis le mois d'octobre) la demande
a la Swiss Bank Corporation de NewYork de remettre a mon fils
Theodore, selon la license qui m'etait accordee, des dollars
et non des francs suisses.Jusqu'ici je n'a ai pas pu avoir satisfaction
pour des raisons qui ne me sont pas connues, c'est pour j'ai donne
l'ordre d'arreter ces envois (le cours des francs libres devenant une
vraie ruine). Cependant mes demarches continuent et je ne perds
pas l'espoir de lui obtenir l'envoi en dollars et non en fr. suisses.
4) Par contre je viens d'obtenir pour ma belle fille Denise une
license pour des envois mensuels de $100 et le premier envoi au
cours officiel est effectue le 28 dec. dernier.
5) Lorsque je serai de retour je vais tacher d'agir par la Croix
Rouge pour aider ma fille malade ou du moins faire savoir a son
sanatorium que je me porte garant des depenses que necessite son
etat de sante.
6) Notre sante est bonne. Nous attendons enxieusement
de leurs nouvelles de l'etat de sante de ma fille malade et de
tous les autres. J'espere pouvoir ecrire denouveau a mon retour.
Je veux croire que je n'abuse pas trop de votre gentillesse
et c'est dans cet espoir que je vous prie, cher Monsieur de Bourg,
de trouver ici l'expression de mes sentiments devoues et reconnaissants.
[signed:] Igor Strawinsky
Supplement to the Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 Walter de Bourg, Esq.
Legation de Suisse
Washington, DC.
[below, left, in ink in Stravinsky's hand:]
PS. L'adresse actuelle de / mon filsThedore est: / 40, rue du Marche, Geneve,
[below, right, in ink in Stravinsky's hand:]
x) La seule recue depuis / sa lettre du 25 Janv./43
1260 N.Wetherly Drive,
Hollywood, 46, Cal.
5 January, 1944.
Dear Monsieur de Bourg:
We were deeply moved by my son's [Theodore's] letter that you
so kindly passed on to me. I thank you very much. I should like to use
this occasion to send him word from me about us which you would be
so good as to send on to him.
So here is the message:
1) Received his letter of 2 November,* [pencilled here and in ink,
bottom right of page:] "the only one received since his letter of Jan
25.43" as well as the one of 30 December [1943.]
2) I am leaving for concert tours and will be back at the end of January.
3) I have requested several times (since October [1943]) that the Swiss
Bank Corporation of NewYork send my son Theodore dollars instead of
Swiss francs, as granted by the license I obtained. Since my request has
not been honored for reasons unknown to me, I have ordered the
transfers be stopped (the free francs rate becoming an utter disaster).
However, I am still working on it, and I have not lost hope that I can
arrange a transfer of dollars for him, and not in Swiss fr.
4) On the other hand, I just obtained a license to send monthly
payments of $100 for my daughter-in-law, Denise, and the first transfer
at the official rate went out on Dec. 29.
5) When I return, I shall try to arrange help through the Red Cross
for my sick daughter [Milene], or at least to let her [tuberculosis]
Supplement to the Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 sanatorium [at Sancellemoz] know that I am good for any expenses that
her state of health necessitates.
6) We are in good health. We are awaiting anxiously to hear news
about our sick daughter's state of health and about everybody else. I
expect to write again after my return.
I hope I am not taking too much advantage of your kindness, dear
Monsieur de Bourg, and it is with that hope that I send you most sincere
best wishes and gratitude.
[Signed] Igor Strawinsky
Walter de Bourg, Esq.
Legation de Suisse,
Washington, DC.
Acquisition: H. Colin Slim in Berkeley, CA, from Lion Heart Autographs, Inc.,
NewYork, on 7 May 2015. Donated by Professor Slim in July 2016.
Provenance: Unknown, perhaps the estate of Walter de Bourg.
Commentary
Entry 79i is to be considered in light of Stravinsky s earlier statement on [18?]
October 1941 to his "elderly" student Earnest Andersson (1878—1943) about
"needing to send about 50 [dollars] per month to his daughter [Milene] who
is in a [tuberculosis] sanatorium in unoccupied France," cited in Slim, "Lessons
with Stravinsky," and Stravinsky's letter to de Bourg of 28 October 1944, cited
in Slim, Annotated Catalogue, and also in light of an inscribed photograph: "Pour
Monsieur / Walter de Bourg / avec tous mes / voeux d'un bon / et heureux
/ retour en Suisse / I Strawinsky / Hollywood, / Nov. 1944 " as described in
Autographen Katalog 916 (Basel: Erasmushaus, May 2003), pp. 86-87 (lot 191).
Works Consulted
Slim, H. Colin. Annotated Catalogue. Entry 82.
-."Lessons with Stravinsky: The Notebook of Earnest Andersson (1878-1943)."
JAMS 62, no. 2 (Summer 2009): 400 ([18?] October 1941).
Supplement to the Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 82i
(1944). Autographed - now empty - large brown envelope, 21.5 x 26.7 cm, (its
postage stamps cut away) of 16 November 1944. At upper left, the composer
wrote in black ink: "from Igor Strawinsky / 1260 N.Wetherly Dr. / Hollywood
46, Calif. SPECIAL / DELIVERY." this latter below a printed red, white, and
blue sticker, "VIA AIR MAIL." He addressed this envelope: "to Walter de Bourg,
Esq. / Legation of Switzerland / 2900 Cathedral Avenue, N.W / Washington,
DC." and below, left, he wrote: "REGISTEPJBD." The envelope is stamped by
the post office: "VIA AIR MAIL / Special Delivery" and "P^EGISTEI^ED /
251628."
The envelope's reverse side is circle-stamped seven times in purple ink:
"WEST, CALIF. / NOV / 15 / 1944," once as: "WASHINGTON, DC. / 17 /
NOV / 1944," and once in black ink: "WASHINGTON DC / STATE
DEPTNO.l."
Acquisition: H. Colin Slim in Berkeley, CA, on 14 September 2016 from J. & J.
Lubrano Music Antiquarians, Syosset, NY, The Paul J.Jackson Opera Collection, part
VII: R-S (September 2016), lot 758 (item 23365). Donated by Professor Slim in
June 2017.
This envelope is accompanied by two excerpts from two different - unidentified,
but perhaps British — auction catalogues, plus notations made on them by
Mr. Jackson, probably in late February 1990. Each of these auction catalogues
describes one signed and typed Stravinsky letter in French sent to de Bourg from
Hollywood: lot 249 of 16 September 1944, and lot 252 of 22 October 1944,
respectively, neither traceable.
Provenance: Paul J. Jackson, who kindly informed Professor Slim (letter of 4 October
2016) that he had purchased this envelope, 82i, on 15 February 1990 from the
autograph dealer Robert F. Batchelder, Ambler, PA.
Commentary
The size of the envelope suggests that it could have contained a musical score.
If so, this score was probably destined for Theodore Stravinsky in Switzerland,
rather than for his son Soulima, then in occupied France.
Works Consulted
Slim, H. Colin. Annotated Catalogue. Entry 82.
Supplement to the Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 83i
(1945-46). IGOR STRAVINSKY / PETROUSHKA / A BURLESQUE IN
FOUR SCENES, 24.5 x 16 cm (London: Boosey & Hawkes, [1945]), 152 pp.,
[from the rear wrapper:] "Hawkes Pocket Scores, no. 574." Entry 83i is a reprint
of Serge Koussevitzky's edition (Berlin: Russischer Musikverlag, 1912 [later,
Paris: Edition Russe]). 83i's outer cover page is signed, upper right, in black
ink: "Igor Stravinsky." His autograph markings for revisions appear on seventy-
four pages in ink, in pencil, and in reds, blues, and greens. "PETROUSHKA" -
lettered in upper case in black ink on the spine - is probably also in Stravinsky's
hand, because its first six and last three letters are spaced similarly to the initial
six and final three of "PETROUCHKA" [sic] lettered in ink on the spine of his
autograph score in his library, formerly at 1218 North Wetherly, Hollywood. A
small sticker, "BROUDE BROS. / Music / NEWYOPJC," is affixed to the tide
page of Entry 83i.
Acquisition: H. Colin Slim in Berkeley, CA, on 9 December 2015 - bidding
courtesy Edward C. Hirschland, Chicago, at Bonhams' auction in New York.
Donated by Professor Slim in June 2017.
Provenance: Said by its previous (and anonymous) owner (not Harry E. Gould,
see below) to have been purchased, c. 2005, from a Los Angeles dealer. How it
escaped Stravinsky's possession remains unknown.
Commentary
Stravinsky had no copy of the original 1912 edition at hand — his copy was in
Europe and still unavailable — when he began his revision in 1945.Thus, he was
obliged to obtain and to work from Entry 83i, this Boosey & Hawkes reprinted
edition. The "BROUDE BROS." sticker might well suggest that Stravinsky
bought 83i in NewYork — he was there all January and most of February 1945.
However, Ronald Broude kindly informed me (22 June 2016) that his firm
has no trace of Stravinsky's purchase of 83i (unlike a different item published
by Boosey & Hawkes and cited in the 2002 Annotated Catalogue, Entry 108, an
item also stocked by Broude Bros.). Robert Craft's essay in 1982 about revisions
to Petrushka (though not clarifying whether or not Craft knew about Entry
83i) reveals that Stravinsky sketched variants on his 1260 North Wetherly Drive
notepaper for "Petrushka / Magician" (at rehearsal 130), variants that ultimately
he did not fully adopt in his revised version.
Stravinskys above-cited markings appear on seventy-four of Entry 83i's
Supplement to the Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 pages, i.e., 6-11, 13-14, 16-17, 22-27, 29, 37, 44, 53-57, 73, 78-83, 85-87,
89-91, 97, 100-1, 103-4, 107, 110, 113-18, 123-32, 135, 137, 139-48, and
150-52. These markings were for his forthcoming revision of his ballet score,
issued subsequently as: PETROUCHKA / Burlesque in Four Scenes / Full Score
/ revised 1947 version... copyright 1948, 32.5 x 26 cm, B. & H. 16236, London:
Boosey & Hawkes (1948), 172 pp. (B. & H. reprinted this revised edition in
1965.) Application for copyright was received by the US Copyright Office on
17 January 1947.The 1948 revised edition was then duplicated by an ensuing and
smaller-sized "Pocket Score," 18.5 x 13.5 cm, B. & H. 639, London: Boosey &
Hawkes (April 1950), entailing several (non-musical) typographical divergences.
A sole non-autograph marking: "Side 2," added in pencil by a previous
owner, appears on p. 92, upper left, of Entry 83i at the beginning of the fourth
tableau. (This marking is not in Robert Craft's hand.) Because most recordings
take about twenty minutes for the first three tableaux, the annotation must refer
to some recording of Petrushka — not necessarily conducted by Stravinsky — made
during the LP era from c. 1948 (predating the advent of compact discs).
With its orchestral score composed 1910—11, the ballet was first staged on
13 June 1911 in Paris, Vaslav Nijinsky in the title role, Pierre Monteux leading
the orchestra. The first edition of its score was printed at Berlin by Serge
Koussevitzky's Russischer Musikverlag [Edition Russe] in 1912. Autograph
corrections in red ink and blue and red pencil made in 1911 are in the second
proofs of the orchestra score, now in Paris, Bibliotheque Nationale. As early as
June 1914, Stravinsky's revisions for Petrushka were in proofs but never published,
owing to World War I.
Rehearsing Petrushka late in February 1935 with the Los Angeles
Philharmonic, Stravinsky complained about misplaced accidentals in the orchestra
parts. At Christmas 1939, he told Dorothy McQuoid in Los Angeles that her
score, pirated by Kalmus in 1933, was faulty (see Entry 68). By late November
1945, he had revised the "first part."These revisions, contracted in January 1946
by Boosey & Hawkes and completed mid-October that year, were scored for a
slightly reduced orchestra. On 7 February 1947, Stravinsky wrote to a Boosey &
Hawkes representative in NewYork that he was sending him "the full orchestra
score (157 black negative pages) of the new Petrushka orchestra version which
Mr. Hawkes [in London] also requested."
Craft observed that "many of the 1947 [sic] revisions actually date from 1912."
Hamm rightly called the Petrushka of 1911 and of 1947 "two rather different
Supplement to the Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 pieces." Walsh deemed the result a "radical retexturing," Taruskin finding it "a
considerable impoverishment."
Both Stravinsky manuscripts for his 1911 score of Petrushka and for his
1945^-46 revision of it are in the Morgan Library, NewYork (deposits from the
Robert Owen Lehman Collection). The Juilliard School of Music holds a forty-
six-page sketchbook, dated 29 September 1910, comprising Tableaux I—III. Four
pages of autograph sketches and a photocopy of the revised autograph full score
are in the Library of Congress.
In Entry 83i, the nature of Stravinsky's markings suggests his preliminary
assessment of a coming—and onerous — task of revision. He corrects previous printing
errors, adds beams, and pencils in suggestions for changes, virtually all of which would
appear in the new Boosey & Hawkes 1948 edition, no. 16236, Petrouchka... revised
1947 version, its final page signed: "I. Strawinsky. Hollywood, 1946."
Bibliographical assistance was kindly provided by John Shepard, Jean Gray
Hargrove Music Library at University of California, Berkeley; George Boziwick,
Chief of the Music Division, New York Public Library; and Lisa Shiota, Music
Division, Library of Congress.
Acquisition and donation of Entry 83i complement the nine Petrushka items
previously given by Professor Slim to UBC.They span more than a half-century:
Entries 1 (1911), 6 and 7 (both 1914), 8 and 9 (both 1915), 34 (1926), 49 (1937),
68 (1939), 83i (1946), and 119 (1967). Entry 1 (22 May 1911) in the UBC
collection even precedes Petrushka's premiere by three weeks.
Works Consulted
Bonhams. Fine Books and Manuscripts Including the Autograph Collection of Harry E.
Gould,Jr. NewYork: 9 December 2015, lot 159 (with two illustrations).
Boys, Henry."Note on the New Petrouchka." Tempo (Summer 1948): 15-18.
Craft, Robert. A Stravinsky Scrapbook 1940-1971. London:Thames and Hudson,
1983. p. 21 (pi. 44), p. 100 (pi. 206); both plates illustrate Craft's handwriting.
Etd, Helga. Petruschka. Stuttgart: Klett, 1968. pp. 28, 86-88, n. 26.
Evans, Edwin. Stravinsky: The Fire-Bird and Petrushka. London: Oxford University
Press, 1933.
Hamm, Charles, ed. Igor Stravinsky: Petrushka: An Authoritative Score of the Original
Version, Backgrounds, Analysis, Essays, Views, and Comments. New York: WW.
Norton, 1967. p. 19.
Joseph, Charles M. "Stravinsky Manuscripts in the Library of Congress and the
Supplement to the Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 Pierpont Morgan Library." The Journal ofMusicology 1, no. 3 (July 1982): 337 (no. 8).
-. Stravinsky's Ballets. New Haven and London: Yale University Press, 2011.
pp. 48-72,255-56 (n. 5).
Lerma, Dominique-Rene de. Igor Fedorovitch Stravinsky, 1882-1971: A Practical
Guide to Publications of His Music. Kent, OH: Kent State University Press,
1974. p. 60 (nos. P15 [6] and P16 [1]).
Lesure, Francois, ed. Igor Stravinsky: La carriere europeenne. Paris: Musee d'art
moderne, 1980. p. 29 (no. 77).
Los Angeles Illustrated Daily News. 21 February 1935: 4.
Newman, Arnold, and Robert Craft. Foreword by Francis Steegmuller. Bravo
Stravinsky. Cleveland, OH, and NewYork:World Publishing Company, 1967.
Final unnumbered verso page: a volume lettered at far left, "original 1944
[sic] version..."
Rozhdestvensky, G. "On the Two Editions of Igor Stravinsky's Ballet Petrushka!'
I.F.  Stravinsky:   Stat'i  i  materiali. Edited by L.S. Dyachkova  and B.M.
Yarustovsky. Moscow: Sovetskiy Kompozitor, 1973. pp. 109-43.
Slim, H. Colin. Annotated Catalogue. Entries 1, 6 ("partition d'orch."), pp. 7,9,34,
49,68,108,119.
SE&D.p. 159 (item 2).
SP&D. pp. 68, 85-86 (31 March 1912), 377-78, 610 (n. 118).
SP&RK. vol. 1. pp. 495-96 (no. 23).
SSC. vol. 1. pp. 391-97 (pi. on p. 394); vol. 2. p. 429 (n. 13); vol. 3. pp. 313,318,
322,325,327-28,333, 337.
SSE. pp. 190-91,194-95,207-8.
Stephan, Rudolf. "Vom alten und vom neuen Petruschka." Neue Zeitschrift fur
Musik 123, no. 6 (June 1962): 255-61.
Stuart, Philip. "Petrushka." Igor Stravinsky — The Composer in the Recording Studio:
A Comprehensive Discography. Westport, CT: Greenwood Press, 1991. p. 89.
Taruskin, Richard. Stravinsky and the Russian Traditions. Berkeley and Los Angeles:
University of California Press, 1996. p. 986 (n. 2).
-. Russian Music at Home and Abroad: New Essays. Oakland: University of California
Press, 2016. p. 540 (index: Petrushka).
Wachtel, Andrew, ed. Petrushka: Sources and Contents. Evanston, IL: Northwestern
University Press, 1998.
Walsh, Stephen.'Apollo in the Marketplace: Stravinsky and His Manuscripts." Settling
New Scores: Music Manuscripts from the Paul Sacher Foundation. Edited by Felix
Supplement to the Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 84i
Meyer. Mainz: Schott, for the Paul Sacher Foundation, Basel, 1998. pp. 66-67
(erroneously locating the 1911 MS score of Petrushka at the Library of Congress).
White, Eric Walter. Stravinsky: The Composer and His Works, 2nd ed. Berkeley and
Los Angeles: University of California Press, 1979; repr. 1984. pp. 37, 194
(locating the 1911 Petrushka autograph in NewYork with Boosey & Hawkes),
196-97,201-3, 617 (no. 88).
Yuzefovich, Victor. "Chronicle  of a Non-Friendship: Letters  of Stravinsky
and Koussevitzky." The Musical Quarterly 86, no. 4 (Winter 2002): 821 (no.
85, Stravinsky's letter of 20 November 1945: "Petrouchka, first part [in my
new orchestration]"), 880 (letter 8, n. 2).
(1946). Autograph signed letter, 17.5 x 13.5 cm, 25 September 1946, in Russian
(excepting dates, cities, and "concert tours"), lacking its envelope and addressee.
The letter's single fold suggests that it was mailed to such unidentified Russian-
speaking "Dear friends" as George Balanchine (1904—83), or Alexei Haieff
(1914-94), or Lucia Davidova, but perhaps not to Nicolas Nabokov (1903-78),
then in Europe, returning to the USA in January 1947:
Hollywood
Sept 25
1946
Dear friends,
What should we do? As usual I'll be doing the concert tours during
December and January. From the 12th*) until Christmas I'll be in New
York where I'll be returning later (from the 12th until 19th of January
again in N-Y). After that only on 5th of February in Los Angeles.
I'm waiting for your answer.
Yours,
*) December I. Stravinsky.
Acquisition: H. Colin Slim in Berkeley, CA, on 12 November 2004, from J. & J.
Lubrano Music Antiquarians. Donated by Professor Slim in July 2012; translation
by Richard Taruskin.
Provenance: Unknown.
Supplement to the Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 86i
Commentary
That the addressee was not Nabokov might seem likely because the trustees of his
papers at New Haven and Austin made no attempt to acquire Entry 84i.
Works Consulted
Giroud,Vincent. Nicolas Nabokov: A Life in Freedom and Music. Oxford and New
York: Oxford University Press, 2015. pp. 187,193,202, [447:] Abbreviations.
Lubrano, J. & J. Catalogue 61. Lloyd Harbor, NY: 2004, lot 175 (with translation).
SBu. pp. 138-39 (14-26 December 1946 and 12-16 January 1947).
(1950). Autograph postcard with photograph, 11 x 8.6 cm, with "Igor Strawinsky
/ Septembre 1948" printed below on white paper, 14.9 x 10.6 cm. Its reverse
side, with five inscribed horizontal lines for the addressee, has printed at lower
left: "Aux Editions F. Rouge & Cie S.A., Lausanne / LE MESSAGE D'IGOR
STRAWINSKY / par Theodore Strawinsky. / [exemplaire] 338."This side bears
an autograph note, 15 August 1950, to Murray Adaskin. (A reduced photocopy,
7.6 x 10.6 cm, of the address side is now mounted below the photograph):
Hollywood Aug 15/50
Dear Mr. Adaskin,
How awfully nice of you to send me the charmantes photos of
my grand-son Jean (Zizi). It makes here a real pleasure. Thank you
so much. All best
Sincerely,
Igor Stravinsky
Acquisition: By kind donation in late 2002 from Dorothea Adaskin.
Provenance: Murray Adaskin.
Commentary
The photograph is identical to one, 11 | 8.4 cm, tipped in and facing the title
page of Theodore Stravinsky's Le Message d'lgor Strawinsky, published by F. Rouge
at Lausanne, November 1948, in an edition limited to 2135 copies, of which 135
were not for sale. For example, "exemplaire 1397," Professor Slim's own copy of
Supplement to the Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 llli
Le Message with the same photograph tipped in, was purchased at Montreal in
the summer of 1954.
In mid-August 1950, Igor Stravinsky had just returned to California from
Aspen, CO, where he had conducted concerts on 2 and 8 August. Previous to
his appointment in 1952 as head of the Music Department at the University of
Saskatchewan in Saskatoon, Murray Adaskin had studied composition with
Canadian-born Charles Jones (1910-97) in the summers of 1949—51 at Santa
Barbara, and with Darius Milhaud (1892-1974) there and at Aspen in 1949
and 1950, both of whom knew Stravinsky. Adaskin probably photographed
Stravinsky's grandson John (1945-), nicknamed Zizi, in June of 1950 in Santa
Barbara at the Music Academy of the West, where John's father, Soulima, was
then teaching.
Works Consulted
Aide, William, and Gordana Lazarevich. "Adaskin, Murray." The New Grove
Dictionary of Music and Musicians, 2nd ed., vol. 1. Oxford: Grove, 2001.
pp. 102-3.
Hanson, Jens. "Adaskin, Murray." Encyclopedia of Music in Canada, 2nd ed. Edited
by Helmut Kallmann, Gilles Potvin, and Kenneth Winters. Toronto:
University of Toronto Press, 1992. pp. 6—7.
Lazarevich, Gordana. The Musical World of Frances James and Murray Adaskin.
Toronto: University of Toronto Press, 1988. [p. 6] lower plate, and pp. 142—43.
Lederman, Minna, ed. Stravinsky in the Theater. New York: Farrar, Straus and
Giroux, 1949; repr. New York: Da Capo, 1975, p. 177, offers a different
photograph taken in 1948 of three-year-old John Stravinsky, his father,
and his grandfather. One such photograph, bearing Igor Stravinsky's
autograph dedication, is in SAc, p. 175.
Strawinsky, Theodore. Le Message d'lgor Strawinsky. Lausanne: Rouge, 1948.
(1962). Signed, folded program, 4 pp., 17x12 cm, printed for two performances
in Leningrad: Monday and Tuesday, 8 and 9 October 1962, by the Leningrad
Philharmonic Symphony Orchestra. Each concert was shared by Stravinsky and
Craft. On p. 2, under his portrait, he inscribed "I Stravinsky" in Cyrillic, in black
ink. The program has notes in Russian about the works performed.
Supplement to the Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 Acquisition: H. Colin Slim in Berkeley, CA, on 18 February 2017 from J.B. Muns,
Berkeley, CA, Musical Autographs, List 17-01 (January 2017), no. 35 - Muns
incorrectly describing therein this program as having taken place in Moscow.
Donated by Professor Shm in June 2017.
Provenance: Unknown (Muns owned 111 i from c. 2007).
Commentary
Over the course of a year, thirty thousand people are said to have queued up in
Leningrad for tickets to the identical pair of concerts Stravinsky and Craft led
there on 8 and 9 October 1962. Stravinsky inscribed his name with such force
on the above program (serving for both concerts) that in making the flourish of
his final letter, his pen pierced the page! Several photographs show him leading
the Leningrad Philharmonic at his first concert.
The program has two parts. It opens with the 1908 Fireworks (rev. 1909)
conducted by Stravinsky. Craft then led a suite of four movements, translated as:
"Prologue," "Swiss Dances," "By the Mill," and "Finale and Epilogue," excerpted
from Stravinsky's 1928 The Fairy's Kiss - these four movements found in his
1934 Divertimento / Suite Symphonique. A photograph shows Craft leading the
Divertimento on 8 October.
In the second part of the Leningrad program, the composer conducted
a suite dated there as 1910 from Firebird (the year that his ballet premiered in
Paris).The suite he led in 1962 at Leningrad was not the one that concluded with
the "Infernal Dance," a suite first performed in Russia on 23 October 1910 by
Alexander Ziloti (1863-1945) in St. Petersburg, and published in 1912. As listed by
Taruskin, the five movements that Ziloti led differ from the five that Stravinsky led
at Leningrad in 1962.The five movements listed in Entry 111 i may be translated as:
1. Introduction. Kastchey's Enchanted Garden.
2. Appearance and Dance of the Firebird.
3. Chorovod [Round Dance] of the [Enchanted] Princesses.
4. Arrival of Kastchey. Infernal Dance by All of Kastchey's Subjects.
5. Lullaby. General Rejoicing.
Although the Leningrad program correctly notes that Stravinsky made a
second suite in 1919 from his Firebird ballet, this program neither mentions his
third suite made in 1945 nor clarifies which of the three suites (1910, 1919, or
1945) he led there in 1962.
According to Libman, "there were no rental charges at Moscow [in late
Supplement to the Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 September and early October] for orchestral parts" (where Stravinsky conducted
a Firebird Suite and recorded excerpts from his revised 1947 Petrushka with the
Moscow Philharmonic Orchestra) "because the Russians had their own quite
satisfactory materials." However, Craft observed that the orchestra parts for
Capriccio (which he conducted in Moscow) were "copied from a pirated score,
full of mistakes - missing accidentals, wrong clefs."
Whether or not this was also the case for Firebird in Leningrad remains
unknown. It contradicts jottings about parts that Mario Bois made on 17
September 1962 after the Stravinskys and Craft had arrived in Paris from Israel
via Venice, two weeks before the latter three flew to Moscow. Bois, at that
time an agent for Boosey & Hawkes in Paris, questioned Stravinsky about the
required orchestral materials: "the number of scores, and of string parts" that
the composer wanted to take to Moscow. Libman further noted that during
the 1960s, Stravinsky often programmed his revised 1945 Firebird Suite, even
though the errors in it "used to provoke the lengthiest diatribe [from him]."The
selections he made from the ballet for his 1945 Firebird Suite correspond in only a
general way to the five items translated above in Entry 111 i. For example, there is
no mention in the latter of Prince Ivan, whose folk melody appears in the 1945
Suite, preceding the "Chorovod."
Stravinsky's niece, Xenia Yuryevna (daughter of his deceased older brother,
Yury), recalled hearing Stravinsky's rehearsals at Moscow in late September and
at Leningrad early in October for Fireworks and The Firebird Suite, these latter
rehearsals in company with Igor Blazhkov (assistant conductor of the Leningrad
Philharmonic). Shortly after Stravinsky's final departure on 11 October from
Moscow, the composer's great admirer Professor Maria Yudina (1899—1970), a
brilliant Moscow pianist and pedagogue, wrote that he "amazed everyone with
his conducting, especially Firebird in Leningrad; this was the peak of his might."
Works Consulted
Bois, Mario. Pres de Strawinsky 1959-70. Paris: Marval, 1996. [p. 130].
Craft, Robert. Stravinsky: Chronicle of a Friendship, 2nd ed. Nashville, TN, and
London: Vanderbilt University Press, 1994. pi. 7 (8 October 1962), pis. btn
pp. 302-3, pp. 314-20,323, 330-39.
Cross, Jonathan. Igor Stravinsky. London: Reaktion, 2015. pp. 178-80.
Leiren, Hal [in conversation with Lillian Libman]. "Stravinsky Finds a Typo."
Vancouver Sun (12 July 1965): 3.
Supplement to the Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 114i
Levitz, Tamara. "Stravinsky's Cold War: Letters About the Composer's Return to
Russia, 1960-1963." Stravinsky and His World. Edited by Tamara Levitz.
Princeton, NJ, and Oxford: Princeton University Press, 2013. pp. 300-2
(letter 28).
Libman, Lillian. And Music at the Close: Stravinsky's Last Years, a Personal Memoir.
NewYork:WW Norton, 1972. pp. 134,154 (second footnote).
MunsJ.B. Musical Autographs List 17-01. Berkeley, CA: January 2017, lot 35.
SBu. pp. 209 (pi. 163), 211 (October 1962).
SD&D. pp. 257-61.
SP&D. pp. 469-70.
SSC. vol. 3. pis. 24-25 btn pp. 242-43.
SSE. pp. 428-29, 460-71.
Stravinskaya, Xenia Yuryevna.  O I.F Stravinskom i yego blizkikh. [About LE
Stravinsky and His Intimates]. Leningrad: Muzika, 1978. pp. 133-64, and pi.
btn pp. 155-58.
Stravinsky in Moscow 1962. Moscow: Melodiya, the Russian Label. CD 1962.
Stuart, Philip, igor Stravinsky—The Composer in the Recording Studio:A Comprehensive
Discography. Westport, CT: Greenwood Press, 1991. p. 72: L20 ("Moscow").
Taruskin, Richard. Stravinsky and the Russian Traditions. Berkeley and Los Angeles:
University of California Press, 1996. pp. 641—42, and n. 124.
Walsh, Stephen. Stravinsky, A Creative Spring: Russia and France, 1882-1934. New
York: Alfred A. Knopf, 1999. pp. 150, 544.
White, Eric Walter. Stravinsky: The Composer and His Works, 2nd ed. Berkeley and
Los Angeles: University of California Press, 1979; repr. 1984. pp. 180-81,
189-90,354-55.
See also Entries 1i, 48, 111, and 115.
(1965). Autographed photograph, 26.1 x 23.9 cm, inscribed "I Stravinsky/1965"
taken by Barry Glass, 13 July 1965, in Vancouver, BC.
Acquisition: By kind donation on 13 August 2002 from J.E. Horvath,Vancouver.
Provenance: Mr. Horvath wrote in green ink on the reverse side of his business
card accompanying his donation of this photograph: "Taken at Stravinsky's last
public performance [13 July 1965 in Vancouver, BC], and signed at the dinner
Supplement to the Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 table [in] Mrs. Otto Koerner's house in Vancouver in 1965. He conducted in a
winter coat on a specially secured podium. Aug. 13,2002. [signed:] J.E. Horvath."
This photograph is accompanied by another gift from Mr. Horvath. It is a
pen and ink drawing, 13x6 cm, described by him: "Drawing of [by] Mrs. Sanelta
Molnar Kxisztinkevich, late sister of Mrs. Otto Koerner, of Stravinsky conducting
in orchestra coat as seen by the audience in 1965. Original in our possession.
13 August 2002."
Commentary
Stamped on the back of its mount is: "Photograph by / Barry Glass, / 353
Vinmore Road / Richmond B.C. Canada." Stravinsky's clothing and activity reveal
that Entry 114i's photograph was not taken at a performance, but at a rehearsal
of the Vancouver Symphony Orchestra for its concerts, 12 and 13 July, during the
1965 Vancouver International Festival. Acquisition of this photograph thus meets
a desideratum expressed in the 2002 Annotated Catalogue (p. 4) for UBC's future
collection to include items concerning Stravinsky's second (1965) visit to Vancouver.
Mr. Horvath s remarks on his business card and his description of Mrs.
Krisztinkevich's drawing indicate that both Koerner sisters were at Stravinsky's
second concert, followed by dinner (late) that evening at the spacious home of
the widowed Mrs. Otto (Iby) Koerner (1899-1983) located at 1838 Matthews
Avenue in Vancouver's upscale Shaughnessy neighbourhood.
Works Consulted
Cunningham, Rosemary. "A Debt Acknowledged: Iby Koerner's Contribution
to Vancouver," British Columbia History 39, no. 2 (2006): 12-20.
Helmer, Paul. Growing with Canada: The Emigre Tradition in Canadian Music.
Montreal and Kingston, London, Ithaca: McGill-Queen's University Press,
2009. pp. 10,268-69.
RBSC-ARC-1782-1-08 and -07
(1965)
a) Program for the eighth Vancouver International Festival, 12-13 July 1965.
Stravinsky and Craft conducted, and each initialled its program.
Supplement to the Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 Acquisition: c. 2013 in Vancouver.
Provenance: Unknown.
Commentary
This program, autographed by Stravinsky and Craft for the Vancouver Festival
attendee, reveals the original plan for both performances. Ultimately, the
Symphony in Three Movements and Introitus were deleted. The 1945 Firebird Suite,
led by its composer, was added to conclude the program.
Works Consulted
"Important Program Changes" (advertisement). Vancouver Sun (12 July 1965).
b) Autographed photograph (cropped at right?), 20.5 x 25.5 cm (8 x 10 in.) of
Stravinsky conducting a recording rehearsal, probably in NewYork, 1960s, for
Columbia Records, printed on a black background, marked: "2" (lower left), and
designated as a Sol Hurok (1888-1974) publicity photograph. Stravinsky signed
its lower margin in English in black inkjuly 1965, to Hugh Pickett (1913-2006):
To you, dear Mr. Pickett
Most sincerely
I Stravinsky
July, 1965.
Acquisition: Kevin Madill, UBC Music Librarian, 14 September 2015.
Provenance: Estate of Hugh Pickett, from Love's Auctioneers and Appraisers,
Richmond, BC (2015).
Commentary
Confessedly against his better judgment, Hugh Pickett, manager of "Famous
Players" in Vancouver, was persuaded by impresario Sol Hurok of "Famous Artists"
in NewYork to engage Stravinsky (and Robert Craft) to conduct the (augmented)
Vancouver Symphony Orchestra at the city's eighth International Festival, 12 and
13 July 1965. Years later (in 2002), Pickett stated that "the notoriously hard-to-
handle Igor Stravinsky was terrible at first. Really obnoxious. Slowly he came
around. He was here four days before we really got to know him."
Pickett's autographed photograph may have resulted from some assistance he
Supplement to the Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 —1
117i
was able to offer Stravinsky during an embarrassing episode in 1965 at a dress
rehearsal, as recounted by Lillian Libman. An identical photograph - slighdy
cropped at the right and copyrighted "Sony Classical France" - appeared in a book
by Mario Bois published in 1996 that includes many photographs of Stravinsky.
Along with this photograph, which Pickett allowed to be reproduced in
a 2002 newspaper interview, he stated that Stravinsky "had a 'friend' [male]
who also traveled with him. I got it all very quickly." Pickett could not have
meant Craft, whose vaunted heterosexuality abounds in his diaries and journals.
Apparendy, he meant Lawrence Morton (1904-87), for whom, however, not
a smidgeon of evidence exists for any such relationship with Stravinsky. In so
alleging, Pickett anticipated Craft's accusation in 2013 of Stravinsky engaging in
homosexual relationships, now discredited.
Works Consulted
Bois, Mario. Pres de Strawinsky 1959—70. Paris: Marval, 1996. p. 141, lower image.
Corn, Alfred. "The Ambidexterity of a Musician." The Gay & Lesbian Review 21,
no.l (January-February 2014): 40-41.
Craft, Robert. Stravinsky: Discoveries and Memories. Great Britain: Naxos Books,
2013. pp. 165-73,175.
—. "Vision in Music: Igor Stravinsky's Own Instructions for Dancing The Rite of
Spring!' TheTimes Literary Supplement (21 June 2013): 13-15, at 14.
Leiren, Hal [in conversation with Lillian Libman]. "Stravinsky Finds a Typo."
Vancouver Sun (12 July 1965): 3.
Libman, LilHan. And Music at the Close: Stravinsky's Last Years, a Personal Memoir.
New York: W.W Norton, 1972. pp. 134,188.
Mackie,John."Mr. Impresario," Vancouver Sun (17 August 2002): "MIX," H4-H5.
Slim, H. Colin. "Stravinsky in Vancouver, 1917-2017: Concerts, Premieres,
Collections." The Musical Quarterly (2018): 11-13.
Taruskin, Richard. Russian Music at Home and Abroad: New Essays. Oakland:
University of California Press, 2016. 9-13.
(1967). Photograph (uninscribed), 23.5 x  19 cm, of Stravinsky and John L.
Roberts (1930-) arriving at a reception after a CBC concert, 17 May 1967, at
32      Supplement to the Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 122i
Massey Hall, Toronto. The photograph was taken by Paul Smith, Toronto.
Acquisition: By kind donation in fall-winter 2002 from Dorothea Adaskin.
Provenance: Murray Adaskin, from John Roberts, Toronto, by letter of 20 June 1967.
Commentary
The photograph is stamped on its reverse side:"paul smith / Photography / 546
Richmond Street West / Toronto 28, Canada 369-6003 / Reorder No. 67-206-
49" and was later reproduced by Roberts on p. 32 of his essay cited below. The
photograph records the last time that Stravinsky conducted anywhere. UBC's
photograph is accompanied by Roberts's letter to Murray Adaskin and a Toronto
newspaper clipping from 1982.
Works Consulted
Littler, William."Stravinsky Anniversary Is One Long Party." Toronto Star (29 May
1982): F12.
Litwack, Linda. "Roberts, John." Encyclopedia of Music in Canada, 2nd ed. Edited
by Helmut Kallmann, Gilles Potvin, and Kenneth Winters. Toronto, Buffalo,
and London: University of Toronto Press, 1992. p. 1136.
Roberts, John [L.]. "Stravinsky and the CBC." Les cahiers canadiens de musique /
The Canada Music Book 4—5 (Spring—Summer 1972): 32—36.
(1981). Program booklet of the Royal Ballet, performing at the Royal Opera
House, Covent Garden, Monday, London, 2 February 1981, 22.9 x 13 cm.
The performance included Les Noces, with a restoration of its original 1923
choreography by Bronislava Nijinska. Among the solo singers was UBC graduate
Milla Andrew (1930-).
Acquisition: Donated by Professor Slim in June 2017.
Provenance: H. Colin Slim, London, February 1981.
Commentary
Living in London during a 1981 sabbatical from the University of California,
Irvine, Professor Slim was attracted by an opportunity to see a revival of Nijinska's
choreography for Les Noces. Attending a performance on 2 February 1981 at the
Supplement to the Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 123i
Royal Opera House, he was delighted to see and to hear Milla Andrew sing in
Les Noces (as she had at its Canadian premiere led by him in April 1952 at UBC's
Brock Hall). On 10 April 1953, as conductor of the Vancouver Junior Symphony,
he had also led her in "Air de Salome" from Massenet's Herodiade. Moving to
England in the early 1960s, she went on to a distinguished worldwide stage and
recording career in opera.
Works Consulted
Adaskin, Harry. A Fiddler's  Choice: Memoirs   1938 to   1980. Vancouver, BC:
November House, 1982. pi. 16 btn pp. 94-95.
Anonymous. "Andrew, Milla." Encyclopedia of Music in Canada, 2nd ed. Edited
by Helmut Kallmann, Gilles Potvin, and Kenneth Winters. Toronto, Buffalo,
and London: University of Toronto Press, 1992. p. 24.
Slim, H. Colin. Annotated Catalogue. Entry 90, p. 270.
(1982). First day cover, 9.3 x 16.4 cm, postmarked "NewYork, zip 10001, Nov
18 1982," bearing a two-cent USA postage stamp of Stravinsky and, at the left
side of the envelope, an anonymous caricature by "Krainik '82" of the composer,
and printed at the right side: "AURORA COVERS 5." On the rear side of the
envelope is stamped "157 of 228."
Acquisition: By kind donation from UBC Professor Jesse Read, who purchased it
in December 2001 from Kok, a dealer in Amsterdam.
Provenance: Unknown.
Commentary
The 1982 Krainik caricature is based upon a 1957 photograph taken of Stravinsky
in NewYork hstening to a playback of one of his recordings. The photograph was
reproduced in 1963 and appears on the dustcover of the Stravinsky-Craft book
containing it.
Works Consulted
SD&D. pi. 13 btn pp. 160-61, and dustcover.
Slim, H. Colin. Annotated Catalogue. Entry 123.
Supplement to the Annotated Catalogue of the H. Colin Slim Stravinsky Collection
  Corrections and Additions
p. 3, add: On Alexis Fyodorovich Kail, see H. Colin Slim, "Unknown Words and
Music, 1939-44 by Stravinsky for His Longtime Friend, Dr. Alexis Kail," Words
on Music: Essays in Honor of Andrew Porter on the Occasion of His 75th Birthday, ed.
David Rosen and Claire Brook (Hillsdale, NY: Pendragon Press, 2003), pp. 300-19.
p. 4, following: "in Paris that June." add: Stravinsky's two Chopin orchestrations
were first heard in Canada by Vancouver balletomanes at the old CPR Opera
House on 15 January 1917; see the Vancouver Sun (10 January 1917): 5.
p. 3
, add: Concerning Stravinsky's 1946—47 revision of Petrushka, see Entry 83i.
p. 6, add: SP&RK, vol. 3, p. 851, mistakenly locates the 1952 Canadian premiere
of Les Noces led by Professor Slim as in Montreal, rather than in Vancouver (at
UBC, Brock Hall).
p. 10, n. 13 (on p. 17), add: Crafts avowal, Memoirs, p. 60, that he "was the sole
born-and-bred American" friend of Stravinsky requires correction in view of
friendships in the early 1940s with the McQuoid, Sample, and Andersson families;
about the latter two, see H. Colin Slim, "Lessons with Stravinsky:The Notebook of
Earnest Andersson (1878-1943)," JAMS 62, no. 2 (Summer 2009): 323-412.
p. 11, no. 7, see also Entry 83i, i.e., "Stravinsky's own signed and annotated
printed copy of Petrushka!'
p. 12, paragraph beginning "An examination...," following "will be unica," add:
"above all, Entry 41 ii with its extraordinary handwritten marginalia."
pp. 12—13, add: Dagmar Godowsky (ex Entry 47i).
p. 14, "barbarous practice," revise and add: Entries 100 and 66i testify all too
eloquently to this barbarous practice.
Corrections and Additions
 pp. 26, 34 (Entries 1, 4), to each add: see SP&RK, vol. 3, p. 894 (index:
Calvocoressi).
pp. 43,46,50 (Entries 7,8,9), to each add: see SP&RK, vol. 3, p. 894 (index: Casella).
pp. 46,54 (Entries 8,10), to each add: see SP&RK, vol. 3, p. 915 (index: Freund).
pp. 46, 75,148 (Entries 8,17,37), to each add: see SP&PJC, vol. 3, p. 892 (index:
Diaghilev).
p. 46 (Entry 8), to Works Consulted add: Casella, Alfredo. "Igor Strawinsky e la
sua arte." La riforma musicale III, nos. 10—11 (7—14 March 1915): 1—2.
p. 52 (Entry 10), line 7 from bottom, correct:'Japaense" to "Japanese."
p. 59 (Entry 11), add: see SP&RK, vol. 3, p. 909 (index: Rouche).
p. 63 (Entry 12), add: see SP&RK, vol. 3, p. 910 (index: SacharofI) and especially
no. 1978 (i.e., the same as Entry 12).
pp. 71,75,204 (Entries 15,17,64), to each add: see SP&RK, vol. 3, p. 908 (index:
Roland-Manuel).
p. 73 (Entry 16), add: see SP&RK, vol. 3, p. 898 (index: Lion).
p. 75 (Entry 17), add: further on the character of Diaghilev, see Charles M.
Joseph, Stravinsky & Balanchine (New Haven and London: Yale University Press,
2002), p. 34.
p. 76 (Entry 18), at line 12 of Russian transliteration insert: "menee" between
"mne" and "stydno"; at line 13 correct: "drugaya" to "drugoe"; at line 3 of
translation, following "right away" add: "upon your arrival." These alterations
are courtesy of Professor Richard Taruskin.
p. 99 (Entry 21), to Works Consulted add: Mazo, Margarita. "Stravinsky's 'Les
Noces' and Russian Village Wedding Ritual." JAMS 43, no. 1 (Spring 1990):
90-142.
pp. 109, 120, 123 (Entries 23, 26, 27), to each add: see SP&RK, vol. 3, p. [920]
(index: Janacopulos). Add: further, see Craft's  (undocumented and possibly
Corrections and Additions      37
 erroneous) speculation about an affair between the two, postulated in "An
Interview with Robert Craft. Conversation with Robert Craft" Arete 24 (Winter
2007): 34—35, and in Robert Craft, Stravinsky: Discoveries and Memories (Great
Britain: Naxos Books, 2013), pp. 176-77.
p. 106 (Entry 23), line 4 from bottom: Staal's name was Alexis; thus, to "A"
add: "lexis."
p. 107 (Entry 23), line 19, add: Robert Craft, reviewing Walsh's Stravinsky,
A Creative Spring, vol. 1, in MQ 85 (2001): 397, and in Craft, Stravinsky: Discoveries
and Memories (Great Britain: Naxos Books, 2013), p. 176, states that Stravinsky
and Janacopulos first met in Switzerland during World War I, late 1914 or 1915.
p. 113 (Entry 24), add: see SP&RK, vol. 3, p. 895 (index: Kibalchich), especially
nos. 1082 (= Entry 24), 1123,1147,1497.
p. 116 (Entry 25), add: see SP&RK, vol. 3, p. 896 (index: Cocteau).
p. 135 (Entry 32), add: further on the Murphys and Picasso, see ILM, p. 219.
p. 136 (Entry 33), add: see SP&PJC, vol. 3, p. 913 (index: Stravinsky, F.I.).
pp. 139-40 (Entry 34), add: see SP&RK, vol. 3, pp. 906 (index: Polignac),
909 (index: Satie). A reproduction in Michael Oliver, Igor Stravinsky (London:
Phaidon, 1995), p. 51, correcdy dates the dual image as 1910, as does the one
made by Wikimedia Commons and printed in "Playbill," Program Notes for Cal
Performances, University of California, Berkeley, Saturday, 8 October 2016, p. 34.
p. 143 (Entry 35), add: see SP&PJC, vol. 3, p. 896 (index: Kochanski), especially
their mutual correspondence in nos. 1238,1257,1325, and 1327 (=Entry 35).
p. 146 (Entry 36), add: see SP&RK, vol. 3, p. 907 (index: Rabeneck), especially
nos. 1348a (=Entry 36) and 1603.
p. 148, add: Entry 37 (in Russian) is lacking in SP&RK, vol. 3. See SP&RK, vol. 3,
p. 912 (index: Stravinsky,Vera).
p. 151 (Entry 38), add: see SP&RK, vol. 3, p. 885 (index: Bottenheim).
p. 153 (Entry 39), add: the Fruhauf drawing was twice reproduced in a Danish
38      Corrections and Additions
 newspaper, Dagens nyheder: 1 May and 26 September 1935; see H. Colin Slim,
"From Copenhagen and Paris: A Stravinsky Photograph-Autograph at the
University of British Columbia," Notes: Quarterly Journal of the Music Library
Association 59, no. 3 (March 2003): 548-49. It was also reproduced in Lloyd Dykk,
"Stravinsky Collection Goes to UBC / Legacy of a Musical Giant," Vancouver
Sun {30 March 2002) :A1.
pp. 159, 208, 215 (Entries 40, 65, 69), to each add: see SP&RK, vol. 3, p. 894
(index: Kahl), a photograph of him in 1898 (btn pp. 432-33), and especially
their mutual correspondence from 15 January 1935 in nos. 1782,1785-86,1789,
1791,1801,1808,1831,1839-40,1851,1854,1868,1873,1875,1891,1893-94,
1910,1912-13,1924,1938,1945,1963-64,1969; see also, SP&RK, vol. 3, p. 908
(index: Robinson, Edward).
p. 161 (Entry 41), add: see SP&RK, vol. 3, p. 892 (index: Dushkin).
pp. 163,165 (Entries 42, 43), to each add: see SSE, pp. 21-26.
p. 176 (Entry 45), add: Perhaps dancer Aida Mastrazzi and conductor-composer
Juan Jose Castro both attended the duo-piano recital on 2 May 1936 given by
Stravinsky and his son at the Teatro Colon; see Entry 43i.
p. 177 (Entry 45), add: see SP&PJC, vol. 3, p. 895 (index: Castro). The Slim
item cited on p. 177 was published in 2004, pp. 447—58. For photographs of
Stravinsky, Soulima, and Ocampo, see Tamara Levitz, "Igor the Angeleno: The
Mexican Connection — Dancing on the Volcano: Argentina 1936," in Tamara
Levitz, ed., Stravinsky and His World (Princeton, NJ: Princeton University Press,
2013), pp. 153-60.
p. 183 (Prehminary Remarks to Entries 48-60), add: Stravinsky used the same
paper, BFK Rives (p. 183), for copying some music in 1936; see Slim, "From
Copenhagen and Paris: A Stravinsky Photograph-Autograph at the University of
British Columbia," Notes: Quarterly Journal of the Music Library Association 59, no. 3
(March 2003): 548.
p. 187 (Entry 49), add: see also Entry 83i.
p. 196 (Entry 61), add: see SP&RK, vol. 3, p. 912 (index: Stravinsky, Sviatoslav
Soulima); for another example of Soulima's signature, see Entry 43i.
Corrections and Additions
 p. 199 (Entry 63), add: Stravinsky used the same photograph in November 1944,
inscribing it to Walter de Bourg; see Autographen Katalog 916 (Basel: Erasmushaus,
May 2003), p. 87 (lot 191, 4000 Swiss francs); see also SP&RK, vol. 3, p. 890
(index: Gui).Victoria Ocampo was the diseuse in the Florence performance; see
Tamara Levitz, Modernist Mysteries: Persephone (Oxford and New York: Oxford
University Press, 2012), p. 618 (n. 153).
p. 203 (Entry 64), add: see SSE, pp. 91-96. For Stravinsky's acquaintance from
1938 with Jean Marx, see Joan Evans, "Stravinsky s Music in Hider's Germany,"
JAMS 56, no. 3 (Fall 2003): 572.
p. 206 (Entry 65), add: Stravinsky had paid Paichadze to extract parts from
Tchaikovsky's first and second symphonies; see SP&RK, vol. 3, p. 670 (no. 1926),
andILM,p.79(n.51).
p. 208 (Entry 65), add: see Entry 66i and SP&RK, vol. 3,p. 902 (index: Monteux),
and especially their mutual communication (through Kail), signalled in nos. 1839,
1891,1893,1938, and 1969.
p. 214 (Entry 68), add: For the 1946-47 revision of Petrushka, see Entry 83i.
p. 215 (Entry 69), add: further about Kail, see H. Colin Slim, "Unknown Words
and Music, 1939—44 by Stravinsky for His Longtime Friend, Dr. Alexis Kail,"
Words on Music: Essays in Honor of Andrew Porter on the Occasion of His 75 th Birthday,
ed. David Rosen and Claire Brook (Hillsdale, NY: Pendragon Press, 2003), pp.
300-19.
pp. 222—24 (Entry 72), add: An original print of Hoyningen-Huene s photo,
inscribed "A Monsieur / Jantos / Baruro / Sinceres / Conaissance de / I
Strawinsky / Rio / le ii.VI..36," was offered in Lisa Cox, Music Catalogue 43
(Spring 2003), lot 105. For a version in reverse, autographed by Stravinsky in
1942, see Entry 72i.
p. 225 (Entry 73), in line 10 insert: "Elliot" between "Professor" and "Forbes."
pp. 231-32 (Entry 75), add: Information by Charles M.Joseph, Stravinsky Inside
Out (New Haven and London: Yale University Press, 2001), p. 19, concerning
Stravinsky's so-called arrest in 1940 in Boston; and by Joseph, Stravinsky &
Corrections and Additions
 Balanchine (New Haven and London:Yale University Press, 2002), p. 175; and by
Robert Craft in SM&C, rev. single-volume ed. (London: Faber and Faber, 2002),
p. 216, is incorrect, as are Craft's two dates of 1940 on p. 234; nor was there a
repeat performance of Firebird "on the 30th." Further on Entries 75 and 76, see
H. Colin Slim,"Stravinsky's Four Star-Spangled Banners and His 1941 Christmas
Card," The Musical Quarterly 89, nos. 2-3 (Summer-Fall 2006): 321-447.
p. 235 (Entry 76), add: further on Hammond, a "composition pupil of Nadia
Boulanger in Paris in the 1920s when he met Stravinsky," see ILM, p. 118. By
Christmas of 1941, Hammond was a neighbour of Stravinsky in Hollywood.
p. 236 (Entry 77) in line 5 correct: "thigs" to "things."
p. 251 (Entry 81), add: see also Don Rayno, Paul Whiteman: Pioneer in American
Music, Volume II: 1930-1967 (Lanham, MD, Toronto, and Plymouth, UK:
Scarecrow Press, 2009).
p. 253 (Entry 82), add: see the inscribed photograph:"Pour Monsieur /Walter
de Bourg / avec tous mes / voeux d'un bon / et heureux / retour en Suisse / I
Strawinsky / Hollywood, / Nov. 1944" offered in Autographen Katalog 916 (Basel:
Erasmushaus, May 2003), pp. 86-87 (lot 191), thus revealing that de Bourg did
not leave the USA before November 1944.
pp. 252—54, before and after Entry 82 add: de Bourg Entries 79i (typed letter,
January 1944) and 82i (empty envelope, November 1944).
p. 256 (Entry 100), add: on Hans von Benda, see Joan Evans, "Stravinsky's Music
in Hitler's Germany"JAMS 56, no. 3 (Fall 2003): 561.
pp. 260-63 (Entry 86), in Commentary, on p. 261, first paragraph, lines 5-6,
correct the inscription: "To Merle Armitage / my wonderful ar- / tist manager
/ in gratitude / I Strawinsky / Los Angeles / 29 II 35." Add: Charles M. Joseph,
Stravinsky Inside Out (New Haven and London:Yale University Press, 2001), p. 25,
seems unaware that the (first) English translation to which he refers was by Dr.
Kail. See H. Colin Slim, "Unknown Words and Music, 1939-44 by Stravinsky for
His Longtime Friend, Dr. Alexis Kail," Words on Music: Essays in Honor of Andrew
Porter on the Occasion of His 75th Birthday, ed. David Rosen and Claire Brook
(Hillsdale, NY: Pendragon Press, 2003), p. 309.
Corrections and Additions
 p. 267 (Entry 88), to Commentary add: the 8 October 1951 performance with
Hessenland's narration in German is available on CD 1184, no. 1 (Kensington,
CA: Music & Arts Program of America, Inc., 2006), bands 11-16.
p. 270 (Entry 90), to Commentary, following "lively reading." add: A 1952 UBC
yearbook, The Totem 43, p. 61, "Special Events Program," offers two photographs
of H. Colin Slim rehearsing Les Noces.
p. 274 (Entry 91), to Works Consulted add: anonymous, "Special Events
Program," The [UBC] Totem 43 (1952): 61 (two lower photographs); and add:
Entry 122i.
p. 274 (Entry 91), correct: "Dykl" to "Dykk."
p. 276 (Entry 92), to Commentary following "rarely acknowledged" add: and
also wrongly dated, for example, "Calendar," Los Angeles Times (15 May 1982): 1.
p. 280 (Entry 95), correct:The letter is [add:] unpublished [etc.]; see SSE, p. 309.
p. 282 (Entry 95), following "Deeply upset:" add: Craft, ILM, p. 160, notes that in
January 1954 he suggested that Stravinsky should set Thomas's poem.
pp. 285-94 (Entries 97, 98, 99), add: on Weissberger, see also SSE, pp. 550ff; and
ILM, pp. 180,259,290,301,304,317 (n. 7), 323, 330.
pp. 294—98 (Entry 100), at p. 297, line 4, following "Warsaw" change: "he" to
"Stravinsky." At p. 298 to Works Consulted add: Prokofiev, Sergey. "19 January,
1925." 1924—1933 Prodigal Son.Vol. 3 of Sergey Prokofiev Diaries. Translated and
annotated by Anthony Phillips. Ithaca, NY: Cornell University Press, 2013. pp.
130-31 (citing Stravinsky previously having drawn his left hand [sic] for a Warsaw
hostess, presumably Madame Grossman).
p. 301 (Entry 101), add: further on this concert, see SSE, pp. 364—65.
p. 303 (Entry 102), add: further on this singer, see Doda Conrad, Dodascalies: Ma
chronique du XXe siecle (Aries: Actes Sud, 1997).
p. 305 (Entry 103), add: partially reproduced (after the copy in the Sacher
Foundation, Basel) in Charles M. Joseph, Stravinsky Inside Out (New Haven and
42      Corrections and Additions
 LondonYale University Press, 2001), p. 203; and in his Stravinsky & Balanchine (New
Haven and London: Yale University Press, 2002), p. 404 (n. 2). Further about Kirstein's
(successful) efforts, see Martin Duberman, The Worlds of Lincoln Kirstein (NewYork:
Knopf, 2007), p. 527, and about the Dartington excursions, see ILM, p. 188.
pp. 305-9 (Entry 104), add: on the Eliot correspondence, see ILM, pp. 194,199;
and on Ocampo, pp. 98, 121, 244, 245 (n. 4), 315. Charles M.Joseph, Stravinsky
Inside Out (New Haven and London: Yale University Press, 2001), p. 124, states,
however, that Stravinsky first met Huxley in 1928 in London. Further, see SSE,
pp. 358-59,397-98.Weissberger wrote to Sweden on 3 July 1958; see Stravinsky's
letter to him, 14 July 1959, in J.A. Stargardt, Catalog 673 (Berlin: 11-12 June
2002), lot 988.
p. 310 (Entry 106), at bottom of page, following "1956" add: [sic].
pp. 316-17 (Entry 108), add: Charles M.Joseph, Stravinsky Inside Out (New Haven
and London:Yale University Press, 2001), p. 242, mentions Stravinsky's letter of 20
February 1959 requesting from Broude a copy of Krenek's Tonal Counterpoint.
pp. 318-21 (Entry 109), add: see also ILM, pp. 246-47.
p. 323 (Entry 110), add: Charles M.Joseph, Stravinsky Inside Out (New Haven and
London: Yale University Press, 2001), p. 157, and his Stravinsky & Balanchine (New
Haven and London: Yale University Press, 2002), p. 408 (n. 17), reproduce the
text of the telegram from the version appearing in the New York Herald Tribune.
pp. 324-27 (Entry 111), add: all twelve Fehl photographs of Stravinsky rehearsing
members of the New York Philharmonic at Lewisohn Stadium in New York
are reproduced in Lloyd Dykk, "Stravinsky Collection Goes to UBC," Vancouver
Sun (30 May 2002): A6. To text at p. 326 add: Craft, ILM, p. 257, reports that
"during rehearsals [at Lewisohn Stadium] Marian Ostrovsky photographed
Stravinsky without letup." A photograph by Allyn Baum cited by Craft at p.
325 in Entry 111, showing Stravinsky conducting the concert, also appears in
Anthony Tommasini, "That Summer of Stravinsky's 'Spring'," NewYork Times (5
September 2015): CI, C3, at C3.
p. 328 (Entry 112), add: on Dr. Edel, see ILM, pp. 79,109,127-28,148,165,250,
256,273,432.
Corrections and Additions
 pp. 329-32 (Entry 113), add: Craft, ILM, p. 273, observes that Dr. Edel took the
Stravinskys to dinner with Kohner (on 14 July 1964) "to discuss the possible use
of Stravinsky's public-domain music in Dino de Laurentiis's The Bible" Craft was
apparendy unaware that Entry 113 is dated 27 April 1964. On Montapert, see
also, Craft, ILM, p. 290, and his Stravinsky: Discoveries and Memories (Great Britain:
Naxos Books, 2013), pp. 206,228-32.
pp. 337-38 (Entry 116): add: Misspelling "McDowall," Craft, ILM, 133, notes that
the photographer was friends with Miranda Masocco Davis, who seems to have
introduced McDowall to the Stravinskys. Another possibility for "Bill" might be
Bill Bowman: "among their [the Stravinskys'] closest NewYork friends," ILM, p.
74 (n. 38).
pp. 339-42 (Entry 117), add: on Mrs. Stalvey, see also ILM, pp. 290,303.
pp. 343—44 (Entry 119), add: Stravinsky's "fourteen" days of treatments during
trips to and stays, 2—28 November, in the hospital, cited in Robert Craft, Stravinsky:
Discoveries and Memories (Great Britain: Naxos Books, 2013), pp. 226—27, conflict
"with the number of them cited in Vera's published diary for November, the
composer returning home on 28 November.
p. 349 (Entry 122), add: see SP&RK, vol. 3, p. 883 (index: Balanchine), and
especially Charles M. Joseph, Stravinsky & Balanchine (New Haven and London:
Yale University Press, 2002), passim.
Corrections and Additions
 1
Index
Note: "S" is Igor Stravinsky
Adaskin, Murray, 25-26, 33
Andersson, Earnest, 18
Andrew, Milla, 33-34
Autograph music.
See Music, autograph
Autograph signatures: for Vincent
Lopez, 10-12
Balanchine, George, 24
Ballets Russes, viii
Blazhkov, Igor, 28
Bois, Mario, 28, 32
Boosey & Hawkes (publishers),
20-21,28
Boulanger, Nadia, 41
Bowman, Bill, 44
Bradford, Mary Rose, 10-11
Bradford, Roark, 11
Broude Brothers, 20
Capriccio 0929), 9, 28
Castro, Juan Jose, 39
Chopin, Frederic, viii, 36
Columbia Records, 31
Comoedia Illustre (magazine), 2
Concert and ballet programs/notes:
Buenos Aires concert (1936),
8-9; Leningrad concerts (1962),
26-29; Les Noces, London
(1981), 33-34; Vancouver
concerts (1965), 30-32
Concerto per due pianoforti soli
(1935), viii, 4
Correspondence, overview: See
Letters, autograph; Letters,
typed and signed; Postcards
Craft, Robert: conducting in 1962,
26-28; conducting in 1965, viii,
30-31; conducting in 1966, viii;
friendship with S, 36; on
revisions to Petrushka, 20, 21
Cushing, Charles C, 15
Dagens nyheder (newspaper), 4, 39
Davidova, Lucia, 24
Davidsen, Herbert, 4
de Bourg, Walter, 15-19
de Laurentiis, Dino, 44
Diaghilev, Sergei, viii
Divertimento / Suite Symphonique
(1934), 27
Drawings: of S by Krainik (1982),
34; of S by Molnar
Krisztinkevich (1965), 30
Dushkin, Samuel, 4, 5, 8
Edel, Maximilian, 44
Evans, Edwin, 2
The Fairy's Kiss (1928), 27
Famous Artists, NewYork, 31
Famous Players, Vancouver, 31
The Firebird (1910), 2-4, 27-28
The Firebird Suite (1945), 28, 31
Fireworks (1908), 27, 28
Fokine, Michel, viii, 2
Glass, Barry, 29-30
Godowsky, Dagmar, 9, 36
Godowsky, Leopold, 9
Haieff, Alexei, 24
Hammond, Richard, 41
Horvath, J.E., 29-30
Hoyningen-Huene, George, 14
Hurok, Sol, 31
Introitus 0965), 31
Janacopulos-Staal, Vera, 38
Jeu de cartes (1935-36), 8
Jones, Charles, 26
Kail, Alexis Fyodorovich, 36
Kalmus (publishers), 21
Karsavina, Tamara, 2
Koerner, Mrs. Otto (Iby), 30
Kohner, Paul, 44
Koshland, Mrs. Marcus S., 13-14
Koussevitzky, Serge, 20, 21
Leningrad Philharmonic Symphony
Orchestra, 26-28
Letters, autograph: to de Bourg,
envelope only, 19; to Russian
-speaking friends re US tours,
24-25
Letters, typed and signed: to de
Bourg re money transfers,
15-18; to Dushkin re transatlantic tours, 5-8
Life (magazine), 11
Lopez, Vincent, 11-12
Los Angeles Philharmonic, 21
McDowall, Roddy, 44
McQuoid, Dorothy Ellis, 21
Malko, Nicolai, 4
Mastrazzi, Afda, 39
Mercury Music Corporation, 15
Milhaud, Darius, 26
Molnar Krisztinkevich, Sanelta, 30
Monteux, Pierre, viii, 11-12, 21
Morros, Boris, 9
Morton, Lawrence, 32
Moscow Philharmonic Orchestra, 28
Music, autograph: Concerto per
due pianoforti soli (1935), 4-5
Music Academy of the West, 26
Musical quotations.
See Music,autograph
Nabokov, Nicolas, 24, 25
Les Noces (1923), viii, 33-34, 36
Nijinska, Bronislava, 9, 33
Nijinsky, Vaslav, viii, 21
Paichadze, Gavriyil Gregorievich, 40
Paramount Music, 9
Petrushka (1911/1948), ix, 20-24, 28
Photographs: autographed 1934
photograph of S by Hoyningen
-Huene, 13-14; autographed
1960s photograph of S by
Hurok, 30-32; autographed
1965 photograph of S by Glass,
29-30; uninscribed 1967
photograph of S and Roberts
by Smith, 32-33
Pickett, Hugh, 31-32
Postcards: autograph, with
photograph, to Adaskin, 25-26;
autograph, picture postcard of
Albuquerque, New Mexico, 8-9
Roberts, John L, 32-33
Roosevelt, Franklin D., 15
Rouge (publishers), 25
Royal Ballet, 33
Russicher Musikverlag (publishers), 21
Sample, James, 15
Scores: The Firebird WW), 2-4;
Petrushka (1911) with autograph revisions c. 1945, ix,
20-24; The Star-Spangled
Banner (1941), 14-15
Singer, Winnaretta, la Princesse
Edmond de Polignac, 4
Slim, H. Colin: viii-ix, 33-34, 36
Smith, John Stafford, 14
Sony Classical France, 32
Stamps, commemorative, 34
The Star-Spangled Banner (1941),
12,14-15
Stravinsky, Igor Fyodorovich:
concert in Denmark, 4;
concerts in Canada, viii, 8,
29-33, 36; concerts in South
America, 8-9, 39; concerts in
the Soviet Union, 27-28;
concerts in the USA, 8, 14, 21,
24; financial matters, 8, 18;
homosexual allegations, 32;
orchestration of Chopin, viii;
orchestration of The Star-
Spangled Banner, 12, 14-15;
on swing dancing, 12
Stravinsky, John "Zizi" (grandson
of S), 26
Stravinsky, Milene (daughter of
S), 18
Stravinsky, Soulima (son of S), 4,
8-9, 19, 26
Stravinsky, Theodore (son of S), 19
Stravinsky, Yury (brother of S), 28
Les Sylphides (1909), viii
Symphony in C (1940), viii
Symphony in Three Movements
(1945), 31
Tchaikovsky, Pyotr llich, 40
Tcherepnin, Nikolay, 2
Vancouver: first visit by S (1952),
viii; premiere of S in Canada
(1917), viii; second visit by S
(1965), 29-30, 31
Vancouver International Festival,
viii, 30-31
Vancouver Junior Symphony, 34
Vancouver Symphony Orchestra,
viii, 31
Yudina, Maria, 28
Yuryevna, Xenia (niece of S), 28
Ziloti, Alexander, 27
 © 2018 the University of British Columbia Library
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Library and Archives Canada Cataloguing in Publication
University of British Columbia. Library. Special Collections and
University Archives Division, issuing body
Supplement to the Annotated catalogue of the H. Colin Slim
Stravinsky collection : donated by Professor Slim to the University
of British Columbia.
By H. Colin Slim.
Includes bibliographical references and index.
ISBN 978-0-88865-295-9 (softcover)
1. Stravinsky, Igor, 1882-1971—Archives—Catalogs. 2. University
of British Columbia. Library. Special Collections and University Archives
Division—Catalogs. I. Slim, H. Colin (Harry Colin), author II.Tide.
II.Tide: Stravinsky collection.
ML134.S96S55 2018
016.78092
C2018-904292-3
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Dr. H. Colin Slim, which made the Annotated Catalogue (2002) and this supplement to it
possible. This supplement is not for sale. It is distributed gratis to conservatories of music,
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  lim is an internationally renowned musicologist known for his
investigations into the life and work of the great Russian-born composer
Igor Stravinsky. Professor Slim's Annotated Catalogue of the H. Colin Slim
Stravinsky Collection, published by the University of British Columbia
Library in 2002, marked a special moment in relations between Slim and
his undergraduate alma mater
relations between Slim and
served to acknowledge and
celebrate both the fiftieth
sary of Professor
sky's works at UBC in 1952, when Slim
was a voung musician with the then UBC Department of Mu:
its School), and the donation in 1999 to UBC Lib]
collection of Stravinsky* letters, scores, and memorab
" Slim s essen
This supplement continues the lively commentary on Stravinsky's
professional and personal life as initiated in the Annotated Catalogue while
providing additions and corrections to that volume based on Slim's own
research and that of other Stravinsky scholars since its publication. Slim
remarks on twenty new additions to the collection, which include items
donated direc
mm as well as other sources
greatly to
scholarly research dedicated to Stravinsky and his times.
The University of British Columbia and the UBC
thank Professor Slim for his ongoing donations to UBC
H. Colin SI
isky Collection.
lUBCl     THE  UNIVERSITY OF  BRITISH COLUMBIA
vggy   Library

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