H. Colin Slim Stravinsky Collection

Annotated catalogue of the H. Colin Slim Stravinsky collection donated by him to the University of British… Slim, H. Colin (Harry Colin) 2002

Item Metadata

Download

Media
stravinsky-1.0377459.pdf
Metadata
JSON: stravinsky-1.0377459.json
JSON-LD: stravinsky-1.0377459-ld.json
RDF/XML (Pretty): stravinsky-1.0377459-rdf.xml
RDF/JSON: stravinsky-1.0377459-rdf.json
Turtle: stravinsky-1.0377459-turtle.txt
N-Triples: stravinsky-1.0377459-rdf-ntriples.txt
Original Record: stravinsky-1.0377459-source.json
Full Text
stravinsky-1.0377459-fulltext.txt
Citation
stravinsky-1.0377459.ris

Full Text

   Annotated Catalogue of the
H. Colin Slim
Stravinsky Collection
Donated by him
to The University of British Columbia Library
 © The University of British Columbia Library 2002
All rights reserved. No part of this publication may be reproduced, stored
in a retrieval system, or transmitted, in any form or by any means, without
prior written permission of the publisher, or, in Canada, in the case of
photocopying or other reprographic copying, a licence from CANCOPY
(Canadian Copyright Licensing Agency), 900 — 6 Adelaide Street East,
Toronto, ON M5C 1H6.
National Library of Canada Cataloguing in Publication Data
University of British Columbia Library,
Special Collections and University Archives Division.
Annotated cataloque of the H. Colin Slim Stravinsky collection
donated by him to the University of British Columbia Library
ISBN 0-88865-221-6
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). II. Tide.
ML134.S96S54 2002 016.78'092 C2001-911513X
The Library gratefully acknowledges the financial support and collecting
commitment of Dr. H. Colin Slim that made this catalogue possible. This
catalogue is not for sale. It is distributed gratis to conservatories of music,
scholarly institutions, and to individuals with an interest in Igor Stravinsky.
Its intent is to increase an appreciation of the composer's achievements and
to stimulate further research about him and his works.
Printed and bound in Canada by Benwell-Atkins
Set in Bembo and Univers by Artegraphica Design Co. Ltd.
Copy editor: Susan Quirk
Designer: Irma Rodriguez, Artegraphica Design Co. Ltd.
Proofreader: Gail Copeland
Indexer: Patricia Buchanan
The University of British Columbia Library
1956 Main Mall
Vancouver, BC V6T 1Z1
Tel: (604) 822-4879
Fax: (604) 822-9587
spcoll@interchange.ubc.ca
www.Hbrary.ubc.ca/spcoll
 For
Lucy, Mattie, Gib, and Gibson
and in memory of
Harry Slim (1900-72)
and
Marjorie Ann Slim (nee Collins, 1902-57),
loving and beloved parents
I CANNOT, UNDERSTAND ME, CANNOT,
COMPOSE WHAT OTHERS WANT FROM ME - THAT IS,
TO REITERATE: REPEAT ANYBODY YOU LIKE BUT NOT YOURSELF -
BECAUSE THAT IS EXACTLY HOW PEOPLE
WRITE THEMSELVES OUT.
Stravinsky, letter to Benois, 3 October 1913,
I.F. Stravinsky: Perepiska s russkimi korrespondentami: Materali k biographi,
ed. Viktor Varunts (Moscow: Kompozitor, 2000), vol. 2 (1913-22), pp. 146-7.
Translation provided by Stanislav Shvabrin and Michael Green.
the letters and journals we leave behind
and the impressions we have made on our contemporaries
are the mere husk of our essential life.
When we die, the kernel is buried with us.
Janet Malcolm,
"Travels with Chekhov," The New Yorker, 21 and 28 February 2000: 248
 Acknowledgments
Madame Denise Strawinsky, Fondation Theodore Strawinsky, Geneva, and John
Stravinsky, Bellport, New York, have graciously permitted the reproduction of
printed, written, and visual materials by and pertaining to Igor Stravinsky in this
catalogue.
Regarding the commentary to many of its entries, I am indebted to a modern
"Mighty Five," all of them multiple contributors. Their patriarch is Robert Craft,
whom I do not know personally (although I once sang Zvezdolikiy under his
direction). His many publications obligate all admirers of the composer. My
colleagues Stephen Walsh and Richard Taruskin have rendered the utmost
assistance. Viktor Varunts generously sent me the initial two volumes of his
meticulous edition in progress of Stravinsky's Russian correspondence. For this
catalogue I did not utilize the riches of the recently published Stravinsky Inside Out,
by Charles M. Joseph, though several of his earlier publications are cited here. One
can only stand in awe of such a collective expertise. Without their extraordinary
knowledge of the composer and his works, the catalogue could never have been
completed, and I wish to thank them most heartily.
Among those responsible for scholarly collections who have so kindly aided me,
I must single out Johanna Blask, Paul Sacher Foundation, Basel; Charlotte B. Brown,
Jefferey Rankin, and Octavio Olvera, Special Collections, Charles E. Young
Research Library, University of California, Los Angeles; Kate Rivers, Music
Division, Library of Congress; John Roberts and (formerly) Judy Tsou, Music
Library, University of California, Berkeley; and J. Rigbie Turner, The Morgan
Library, New York.
For help with myriad details great and small - too many to explicate here - I
gratefully acknowledge the late Frances Marr Adaskin, Gordon Adaskin, Sally Avila,
M. Elizabeth Bartlet, Ullrich Bethe, Bonnie J. Blackburn, Richard Boursey, Jeanice
Brooks, Malcolm H. Brown, William Theophilus Brown, James Camner, Paul
Cary, Lenore Coral, Lisa Cox, Caleb Cushing, Annette Fern, Elliot Forbes, Julio
Gonzales, Michael Green, Ralph Grierson, Diane Haskell, Daniel Heartz, Robert
Heylmun, Monika Holl, Dell Anne Hollingsworth, the late Dorothy Ellis McQuoid
Hopper, Carol S. Jacobs, Owen Jander, Leonard W. Johnson, Charles M. Joseph,
iv I Acknowledgments
 Simon Karlinsky, Patricia Kellogg, Warren Kirkendale, Steven Lacoste, James
Lambert, Vladimir and Victorina Lefebvre, Harry Locke, Lewis Lockwood, J. & J.
Lubrano, Gibson Mann, Esperanza Martinez, the late Roddy McDowall, Timothy
J. McGee, Barbara Meloni, Seymour Menton, Carol Merrill-Mirsky, Ronald L.
Milne, Hiroyuki Minamino, Jean Mongredien, Marcia P. Neville, Linda K. Ogden,
Thomas Peattie, Audrey Piggott, Katherine Powers, Jesse Read, Dale Reubart,
Richard Romm, Kay Kaufman Shelemay, John Shepard, Stanislav Shvabrin, Martin
A. Silver, George Sponhaltz, Dean Carl Trock, Viktor Varunts, Elisabeth Vilatte,
Frank Villella, Ronald W. Wakefield, Michael Walensky, James Westby, Ross
Whitney, Marianne Wurlitzer, and Gene Bruck.
This catalogue is not for sale. It is distributed gratis to conservatories of music,
scholarly institutions, and to individuals with an interest in Igor Stravinsky. Its intent
is to increase an appreciation of the composer's achievements and to stimulate further
research about him and his works.
Acknowledgments I v
 Conspectus
1 1911 Autograph letter to [Michel-Dimitri Calvocoressi], mentioning
[Nicolai Andreyevich] Rimsky-Korsakov / 22
2 1911 Russian postcard (uninscribed) with 1911 photograph of
Stravinsky / 27
3 1911 Autograph miniature, excerpt from Deux poemes (1911) copied on
reverse side of photograph of Stravinsky's villa at Ustilug / 28
4 1913 Autograph postcard to [Michel-Dimitri] Calvocoressi / 32
5 1914 Russian postcard (uninscribed) with 1898 photograph of Stravinsky's
father, Fyodor Ignatyevich / 34
6 1914 Autograph postcard to Edwin Evans / 35
7 1914 Autograph postcard to Alfredo Casella, including Stravinsky's
quotation from Casella's music / 38
8 1915 Autograph postcard to Madame Casella, messages also by Casella,
[Marya Freund], Sergei Diaghilev / 44
9 1915 Autograph picture postcard to Casella, mentioning Diaghilev
and Maurice Ravel / 47
10 1915 Autograph picture postcard to Marya Freund / 50
11 1916 Autograph letter to Jacques Rouche about Colette / 56
12 1916 Autograph letter to Alexander Semyonovich [Sakharoff] / 59
13 1917 Signed typed letter and envelope to Genossenschaft Deutscher
Tonsetzer, Berlin / 63
14 1918 Autograph letter to Paul Laffitte / 66
15 1920 Autograph picture postcard to Roland-Manuel / 69
16 1920 Autograph letter to Robert Lyon / 72
17 1920 Autograph letter to Roland-Manuel for Diaghilev / 74
18 1921 Autograph fragment of letter to Verochka [Vera Sudeykina] / 76
19 1921 Autograph letter to Verochka [Vera Sudeykina] / 83
20 c. 1921 Autographed salutation on engraved catling card / 91
21 1923 Autograph half-page of Les Noces, sketches for player piano / 92
22 1923 Inscribed photograph of Stravinsky to Georges Auric / 99
23 1923 Autograph three-page letter to Madame [Vera Janacopulos-Staal] / 102
vi I Conspectus
 24 1923 Autograph two-page letter to Vasiliy Fyodorovich [Kibalchich] / 110
25 1923 Signed typed picture postcard to Jean Cocteau / 114
26 1923 Signed typed letter to Madame Janacopulos-Staal / 116
27 1924 Signed typed letter to Madame Janacopulos-Staal / 120
28 1924 Inscribed photograph of Stravinsky with Amar-Hindemith String
Quartet / 123
29 1925 Inscribed 1925 photograph by [Horace] Scandlin of Stravinsky,
to Aeolian Company / 126
30 1925 Autograph letter to Dr. A[braham Leon] Garbat / 128
31 1925 Autograph letter to Steinway and Sons / 129
32 1925 Autograph two-page letter to unnamed friends, mentioning
Picasso / 131
33 c. 1925 Etching after his son, Theodore, of Stravinsky / 135
34 1926 Autograph picture postcard to Princesse Edmond de Polignac with
inscribed 1911 photo by Erik Satie of Claude Debussy and Stravinsky / 137
35 1926 Autograph picture postcard to Paul Kochanski / 140
36 1927 Autograph letter to Arthur Lvovitch Rabeneck / 144
37 1927 Autograph picture postcard to Diaghilev with greetings also by
Vera Sudeykina / 147
38 1930 Signed typed letter to Sam [Salomon] Bottenheim / 148
39 1935 Drawing in ink by Aline Fruhauf of Stravinsky / 152
40 1935 Two photographs (uninscribed): (a) Stravinsky and Edward
G. Robinson; (b) Stravinsky, Robinson, and Alexis Fyodorovich Kail / 154
41 1935 Signed Washington, DC, program of duo-recital with Samuel
Dushkin / 160
42 1936 Autograph letter to E. Mounez / 161
43 1936 Inscribed volume 1 of first edition, Chroniques de ma vie (1935),
to David Ponsonby with volume 2 (uninscribed) / 163
44 1936 Inscribed photograph by L[azaro] Sudak of Stravinsky, to A[ida]
Mastrazzi / 165
45 1936 Autograph two-page manuscript of [Divertimento] with inscription
tojfuanjose] Castro / 169
46 1936 Signed first edition (US) of Autobiography / 178
47 1937 Autograph letter to Madame [Clara Gehring] Bickford / 180
48 1937 Autograph musical quotation from Firebird for [Clara Bickford] / 187
49 1937 Autograph musical quotation from Petrushka for [Clara Bickford] / 187
50 1937 Autograph musical quotation from Rite of Spring for
[Clara Bickford] / 188
Conspectus I vn
 51 1937 Autograph musical quotation from Song of the Nightingale for
[Clara Bickford] / 189
52 1937 Autograph musical quotation from The Soldier's Tale for
[Clara Bickford] / 189
53 1937 Autograph musical quotation from Pulcinella for [Clara Bickford] /
190
54 1937 Autograph musical quotation from Mavra for [Clara Bickford] / 190
55 1937 Autograph musical quotation from The Wedding for
[Clara Bickford] / 191
56 1937 Autograph musical quotation from Octet for [Clara Bickford] / 192
57 1937 Autograph musical quotation from Oedipus Rex for
[Clara Bickford] / 192
58 1937 Autograph musical quotation from Apollo for [Clara Bickford] / 193
59 1937 Autograph musical quotation from Symphony of Psalms for
[Clara Bickford] / 193
60 1937 Autograph musical quotation from Violin Concerto for
[Clara Bickford] / 194
61 1938 Signed program of a Brussels concert, also signed by his pianist son,
Svyatoslav (Soulima, Svetik) / 194
62 1939 Autograph musical quotation from [Song of the Nightingale for
Dean Carl Trock] / 196
63 1939 Autograph picture postcard photograph of Stravinsky,
to Vittorio Gui / 197
64 1939 Signed typed letter to Roland-Manuel / 200
65 1939 Signed typed letter with autograph annotations to
Pierre Monteux / 204
66 1939 Autograph musical quotation from [Jeu de cartes, probably for
Dr. Moses Joel Eisenberg] / 209
67 1939 Photograph (uninscribed) by Dorothy Ellis McQuoid of Stravinsky
and her son, Cary Ellis McQuoid / 211
68 1939 Inscribed edition of Petrushka for Dorothy Ellis [McQuoid] / 213
69 1940 Photograph (uninscribed) by Alexis Fyodorovich Kail of Vera and
Stravinsky / 214
70 1940 Autograph picture postcard to E[dwin] and Dorothy [Ellis] McQuoid,
message also by Vera Stravinsky / 215
71 1940 Autograph letter [to the McQuoids] with two musical quotations
from [Tchaikovsky, Symphony no. 2:IV] / 218
72 1940 Inscribed 1934 photograph by [George Hoyningen-Huene] of
viii I Conspectus
 Stravinsky, to Dorothy [Ellis McQuoid] / 222
73 1940 Photograph (uninscribed) by Edwin McQuoid of Stravinsky / 224
74 1941 Autograph New Year's greetings to [the McQuoids] / 226
75 1941 Inscribed first edition of Star-Spangled Banner, arranged by Stravinsky,
to Dorothy [Ellis] McQuoid / 228
76 1941 Inscribed Christmas card and autograph quotation from Star-Spangled
Banner with French text / 233
77 1942 Signed typed letter, with envelope, to Julian Brodetsky / 235
78 1942 First edition, Poetique musicale (uninscribed) / 238
79 1942 Autograph letter, with envelope, to Julian Brodetsky / 239
80 1943-4 Autograph manuscript, Scherzo a la Russe, on fourteen pages of
transparencies, for two pianos / 241
81 1944 Three signed legal contracts for Scherzo and Sonata / 249
82 1944 Signed typed letter to Swiss diplomat pr. Walter Adolphe]
de Bourg / 252
83 1945 Signed typed letter to J. Nizon, with envelope / 254
84 1946 Inscribed 1944 photograph of Stravinsky to Harry Freistad[t] / 256
85 1947 Signed typed letter to Nathan van Patten / 258
86 1948 Inscribed first edition in English, Poetics of Music (1947),
to Merle Armitage / 260
87 1951 Inscribed photograph by Erio Piccagliani of Stravinsky,
to T[rudy] Goth / 263
88 1951 Inscribed photograph of Stravinsky and inscribed program,
to Werner Hessenland / 265
89 1952 Signed program notes for a concert at University of California / 268
90 1952 Printed program of two Canadian premieres at University of British
Columbia / 269
91 1952 Inscribed 1948 photograph by Gene Fenn of Stravinsky,
to Harry Adaskin / 270
92 1952 Photograph (uninscribed) by Eric Skipsey of Stravinsky,
taken in Vancouver / 275
93 1952 Inscribed copy of 1952 periodical essays, Musik der Zeit:
Igor Strawinsky, to the Adaskins / 276
94 1952 Inscribed copy of Poetique musicale (1952), to the Department of Music
at University of British Columbia / 277
95 1953 Signed typed letter to Dylan Thomas, with envelope / 278
96 1954 Inscribed 1951 photograph by Douglas Glass of Stravinsky, to Glass / 284
97 1954 Signed typed letter to L. Arnold Weissberger / 285
Conspectus I ix
 98 1954 Signed typed letter to L. Arnold Weissberger / 289
99 1954 Signed typed letter to L. Arnold Weissberger / 292
100 1956 Signed autograph tracing of Stravinsky's right hand / 294
101 1957 Autograph letter to Charles Cushing, with envelope / 298
102 1957 Signed typed letter (signature of Andre Marion forged by Stravinsky)
to Doda Conrad / 301
103 1957 Signed typed letter to L. Arnold Weissberger / 303
104 1958 Signed typed letter to Deborah Ishlon / 305
105 1958 Photograph (uninscribed) by Ingi of Stravinsky / 309
106 1959 Autograph musical quotation from Threni for Edward [Elias]
Lowinsky / 310
107 1959 Inscribed 1951 photograph by Douglas Glass of Stravinsky,
to Glass / 314
108 1960 Signed typed memorandum note to Broude Brothers / 316
109 1960 Inscribed first edition of Monumentum to Virgil Thomson / 318
110 1962 Telegram sent to the New York Herald Tribune / 321
111 1962 Twelve photographs by Fred Fehl of Stravinsky rehearsing the
New York Philharmonic / 324
112 1963 Inscribed book of 1962 essays, Igor Strawinsky, to Dr. Max[imilian]
Edel / 327
113 1964 Signed typed letter to Paul Kohner, Inc. / 329
114 1965 Inscribed photograph (c. 1957) of Stravinsky, to Marshall E.
Bean / 332
115 1966 Autograph musical quotation from [Firebird] with portrait of
Stravinsky by, and inscribed to, E. Maurice Bloch / 334
116 1966 Inscribed 1965 photograph by Roddy McDowall of Stravinsky,
to Arthur Mourcale / 336
117 1967 Signed typed letter to John McClure / 339
118 1967 Inscribed first day cover for "Voice of America" / 342
119 1967 Two autograph musical quotations from [Petrushka] / 343
120 1970 Signed typed letter to George Pizza / 345
121 1971 Poster for funeral of Stravinsky in Venice / 348
122 1972 Commemorative bronze medal of Balanchine Festival, donated to
Olga Maynard by Vera Stravinsky / 349
123 1982 One hundred United States stamps commemorating the hundredth
birthday of Stravinsky / 350
x I Conspectus
 Annotated Catalogue of the
H. Colin Slim
Stravinsky Collection
  Introduction
A few words seem in order to introduce this catalogue, to explain my great interest
in the twentieth-century composer, Igor Fyodorovich Stravinsky (1882-1971),1 and
to describe how the collection came to be assembled. Other Stravinsky enthusiasts
have offered various degrees of competition. For example, the Foundation in Basle
set up in 1973 by Paul Sacher (1906-99) - which, since 1983, houses the largest
archive of the composer's music manuscripts, documents, and memorabilia - has had
almost unHmited buying power. And during the past thirty years the Pierpont
Morgan Library in New York has added significantly to its already outstanding
holdings. Obviously, the present collection is not comparable in scope to either of
these collections.
Still, it has proved possible over the thirty years since Stravinsky's death to
assemble a modest collection, even this slim one. Every period of the composer's
extraordinarily rich and varied life is represented here, although his career in Russia
is touched on in just two entries.
His Russian period — before he arrived in Paris in June 1910 for the premiere of
The Firebird — is alluded to in Entry 1 by a reference to his teacher, Nicolai Pdmsky-
Korsakov (1844-1908). He returned to Russian territory mostly in the summers to
his estate in Ustilug until the beginning of the First World War, during which and for
a year and a half afterward he lived in Switzerland with his family. For all intents and
purposes, by the premiere of The Firebird, Stravinsky had emigrated to the West.
Entry 3, however, is much more than an allusion to Stravinsky's Russian career.
It is a precious and concrete musical quotation - albeit a miniature one - from Deux
poemes, his second-last work to be conceived and completed on Russian soil, during
the summer of 1911 at Ustilug. One hopes that the relative paucity of representation
of his Russian years in the collection will some day be rectified. Such early items still
surface on the market, even if rarely.2
Even though this collection has no correspondence dating before 1911, three
men who figure in it knew Stravinsky earlier in Russia. His friendship spanning the
longest number of years was with Alexis Fyodorovich Kail (1878-1948). In 1940 Kail
stated that he had known Stravinsky four decades earlier, that is, during some of their
Annotated Catalogue of the H. Colin Slim Stravinsky Collection I 3
 years together at the University of St. Petersburg. And indeed, both men were
reported together at Rimsky-Korsakov's home in November of 1903. In this
collection, however, Kail first surfaces only in 1935, in a photograph with Stravinsky
and the actor Edward G. Robinson taken in Los Angeles (Entry 40), then again in late
1939 at Cambridge, Massachusetts, as mentioned in Stravinsky's letter to Pierre
Monteux (Entry 65), and finally in 1940 as a photographer of the composer and his
second wife, Vera, aboard ship on their way to Kali's home in Los Angeles (Entry 69).
The second of these figures is Alfredo Casella (1883-1947). Stravinsky first met
him in November 1907 at an orchestral rehearsal in St. Petersburg, even though
Casella forgot this encounter until Stravinsky reminded him of it four years later in
Paris. Relatively early in their relationship, the Stravinsky-Casella correspondence is
represented by three postcards in the period 1914-15 (entries 7-9).
Although of the shortest duration, the friendship which exerted by far the
greatest influence upon Stravinsky was the one with Sergei Pavlovich Diaghilev
(1872-1929). Attending the premiere of the Scherzo fantastique (1908) in January
1909, Diaghilev quickly commissioned from the young composer two orchestrations
of Chopin for the appearance of the Russian Ballet in Paris that June. By the time
Diaghilev's official commission for The Firebird (1910) arrived in December 1909,
Stravinsky recalled that he had already been composing it for a month.3 Diaghilev's
name is already implicit in the present collection's first item with its mention of The
Firebird and Petrushka; indeed, Stravinsky was with Diaghilev in Rome when he was
finishing this second ballet score in May 1911. Diaghilev's name appears explicitly
thereafter (entries 4, 6, 8-9, 17, 19, 37, 43, 46, 78, 86, 94).
In respect to my native city, Vancouver, the collection contains four items
(entries 91-4) relating to Stravinsky's first visit. Accompanied by his daughter Milene
and her husband Andre Marion, his secretary, Stravinsky rehearsed and conducted
the Vancouver Symphony Orchestra, 2-5 October 1952. Additional materials
concerning this visit certainly remain in the city.4
Sadly, however, there is nothing whatever concerning his second visit in mid-
July 1965 to conduct the orchestra at the Vancouver Festival. This time his second
wife, Vera, his brilliant associate, the conductor Robert Craft, and his putative
biographer, Lawrence Morton, accompanied him. Because I had not lived in
Vancouver for ten years and was that very July occupied with moving from Chicago
to California, I missed attending Stravinsky's last concerts in Vancouver. Surely
mementoes of this 1965 visit still exist in Vancouver?5 Owners of such memorabilia
might well want to consider donating them to the University of British Columbia
(UBC), the home of this collection.
4 I Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 Over the years, this collection has grown through the generosity of friends,
colleagues, and dealers. To them I extend my thanks as well as appreciation for their
tolerance of the peculiar obsession called collecting.
Among the first Stravinsky works I recall hearing in Vancouver - admittedly
with considerable perplexity at age sixteen - was the Sunday afternoon broadcast
premiere on 27 January 1946 of the Symphony in Three Movements (1945) with him
conducting the New York Philharmonic. (This performance is now available on
CD.) To anticipate a little, a mere fifteen years later at the University of Chicago, its
first movement was being taught to freshmen humanities students. Even then,
however, this was not without contentious and sometimes bitter debate among that
fractious faculty - which included me at the time - about the structure and meaning
of this compelling work.
Interest in Stravinsky's music quickened when I discovered The Rite of Spring
(1913) on a 1948 recording by the Amsterdam Concertgebuow under Edward van
Beinum. As an undergraduate in the period 1947-51 pursuing a triple major in
English, German, and Music at UBC, I purchased my first miniature score of that
very work, soon followed by the miniature score to his 1947 revision of Petrushka
(1911). Then, as now, scores were expensive. Canada added, moreover, a hefty
additional twenty-five percent tariff- not helpful for a college music student in the
slowly recovering post-Second World War Canadian economy.
For the record then, before departing Vancouver in September 1953 to enrol in
Harvard's graduate school, I had already met Stravinsky and heard him rehearse the
Vancouver Symphony Orchestra — but more of that below. By this time, I had
acquired seven more scores: in July 1951, the Concerto per due pianoforti soli (1935) and,
in August, Les Noces (1923); in September 1952, the 1919 Firebird Suite; in
November, the Symphony of Psalms (1930); in December, Apollon Musagete (1928);
and, sometime that year, the Suite no. 2 for Small Orchestra (1921). Early in 1953,
having heard Stravinsky conduct it in Vancouver the previous season, I bought a
miniature score of the symphonic version of Scherzo a la Russe (1945). Except for
Apollon Musagete — which full score, with the Symphony of Psalms, I got by joining
Boosey and Hawkes's "Score of the Month Club" - his works thus acquired were
vital for me to conduct and perform them, first in Vancouver in 1952, then in
Concord in 1956, later in Chicago in 1959-65, and, lastly, in Los Angeles in 1966.
Studying in Vancouver during 1952-53 for entrance examinations to graduate
school, I took the opportunity that March to become acquainted with Stravinsky's
Poetics of Music (Cambridge, MA, 1947), a translation (Entry 86) of six lectures he had
delivered in French at Harvard in 1939-40 as the Charles Eliot Norton Professor of
Annotated Catalogue of the H. Colin Slim Stravinsky Collection I 5
I
 Poetry (Entry 78). While journeying shortly thereafter to Ottawa late in April 1953
with co-pianist John Brockington (1929-) to accompany the British Columbia Ballet
at the Fifth Canadian Ballet Festival, I bought in a small Montreal bookshop a first
edition of his Chroniques de ma vie (Paris, 1935) and the Plon re-edition of the Poetique
Musicale (1952). Inscribed copies of both — the former to his English translator and the
latter to the Music Department at UBC — are in this collection (entries 43 and 94).
Stravinsky scores I acquired early in Vancouver and the remainder of his works,
bought mostly at Chicago in 1962, formed the basis for teaching courses about his
music at the University of Chicago, 1959-65, as well as at the University of
California, Irvine, from 1965 until my retirement in 1994, and in a graduate seminar
there in the spring of 2001. And although Stravinsky certainly never knew it, several
of his scores bought earlier in Vancouver — the Concerto per due pianoforti soli, Les
Noces, The Firebird Suite, and the Symphony of Psalms — were, directly or indirectly,
responsible for my two brief encounters with him: one in Vancouver in 1952, the
other in Los Angeles fourteen years later.
To tell of the first encounter requires going back to the fall of 1951. With John
Brockington as co-pianist, I had begun to practise the Concerto per due pianoforti soli,
at the same time preparing myself in order to conduct Les Noces at UBC. Both works
soon had their Canadian premieres at the university, early in April 1952. We were
coached in the concerto by our mutual teacher, the distinguished pianist, Frances
Marr Adaskin (1900-2001). With her husband, Harry Adaskin (1901-94), the first
professor of Music at UBC, she also performed the Duo Concertant (1932). She joined
Brockington, faculty member the late Barbara Pentland (1912-2000), and student
Franklin Fetherstonhaugh (1931- ) in playing the four pianos required for Les Noces.
Our performance in April 1952 of these three works at UBC (see Entry 90) was
ultimately responsible for an invitation to Stravinsky to lead the Vancouver
Symphony Orchestra the following October. Even before our concert, Professor
Adaskin had written him, on 27 February, inviting him to UBC around 7 April to
lecture about his music, an engagement that he was unable to accept. On 8 April he
thanked Adaskin for having sent him the program, hoping it had been successful, and
enquiring about possibly conducting the Vancouver Symphony Orchestra late in
September. Adaskin put the Board of Directors of the Symphony Society in touch
with him and, on 25 April the orchestra's business manager C.E. Barraclough
tentatively suggested 5 October to Stravinsky. The same day (5 May) that
Barraclough mailed a formal invitation, Adaskin wrote too, suggesting that he also
conduct a concert of his chamber music at UBC in October for which Adaskin
would rehearse the players. He agreed and proposed including his son, Soulima (see
Entry 61). Unfortunately, the entire project fell through because Adaskin was unable
6 I Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 to raise sufficient funds for what he deemed would necessarily entail a large number
of rehearsals, characterizing professional musicians in Vancouver at that time as
insufficiently experienced in modern music.6
Arriving in Vancouver from Seattle by train on 1 October 1952 with his
daughter Milene and her husband Andre Marion (1909-83) (see entries 6 and 102),
Stravinsky rehearsed the orchestra hard on 2 October through 4 October, and on the
morning of 5 October.7 The autographed photograph that he presented to Harry
Adaskin on 3 October in his home at UBC and one of Stravinsky taken two days later
by Eric Skipsey are in this collection (entries 91-2).
To the final (semi-public) rehearsal on Sunday morning 5 October, Barraclough
drove Stravinsky and me, mostly tongue-tied, from the Hotel Vancouver to the
Orpheum Theatre. Haifa century later, I still cannot fully explain not mentioning to
him our performances of his music at UBC the previous April. After being introduced to him, I instinctively remained quiet, sensing that he was concentrating on
the coming rehearsal. There, with a Kalmus pirated edition in hand, I followed and
annotated in it his quite fluid conducting of the 1919 Firebird Suite. Hearing also at
this rehearsal for the first time the "Little Russian" symphony by Tchaikovsky (1840-
93), I vividly recall him turning his back to the first violins whenever any lyric passage
would occur. One of my early teachers in Vancouver, the Viennese-born Dr. Ida
Halpern (1910-87), substantiated this recollection. Reviewing the concert, she
wrote: "There was none of the over-emotionalism of Tschaikovsky's latest [recte: last]
symphony in this work."8 A photograph shows Stravinsky rehearsing the first
movement of this symphony at Aspen Colorado at the beginning of August 1950.9
A decade earlier Edwin and Dorothy Ellis McQuoid had heard Stravinsky lead both
the "Little Russian" and the 1919 Firebird Suite at the Hollywood Bowl. Their
souvenir from him of that occasion, 27 August 1940, is in the present collection
(Entry 71).
Mrs. Adaskin published in 1994 a charming anecdote about Stravinsky's 1952
appearance in Vancouver,10 to which she kindly confided additional details during
my summer visits to Vancouver in 1995 and 1997. Playing for Stravinsky his
Divertimento - arranged by him and Samuel Dushkin [1891-1976], published 1934 in
Berlin - on the evening of 3 October in their home at UBC, a work which the
Adaskins were then preparing for public performance, they asked his opinion
concerning two pitches - A and A-flat. (These notes appear in the piano part of its
"Sinfonia" p. 5, mm. 6-7, and her copy contains her inked-in cautionary A-natural
sign, m. 6.) Uncertain which note was correct, he tried out on their piano the passage
in question both ways several times from the beginning, ultimately declaring that it
"could be eizer," though preferring A. Their dilemma was resolved when the
Annotated Catalogue of the H. Colin Slim Stravinsky Collection I
 Adaskins indeed heard the cellos play A during his performance of the orchestral
Divertimento (p. 7, two measures before rehearsal no. 10) he led with the Vancouver
Symphony Orchestra two days later, a work that I had heard him rehearse that very
morning. Two autograph pages of it are in the collection (Entry 45).
As a teaching assistant at Harvard in 1956 for Professor Arthur Tillman Merritt
(1902-98) in his course, "Form and Analysis," I had the good fortune to study the
Dumbarton Oaks Concerto (1938) with Merritt and with his undergraduates. He was
a former student (1927-28) in Paris of Nadia Boulanger, who conducted the work's
premiere at Dumbarton Oaks in 1938, and he was a professor in the Harvard music
department at the time of Stravinsky's residence as the Charles Eliot Norton
Professor of Poetry. A long-time scholar of his music, Merritt brought an uncommon
degree of familiarity with and insight into Stravinsky's music.11
During my graduate student years in Cambridge, the nearby Concord Orchestra
had appointed me its conductor (1955-58). On 1 February 1956, with these
adventurous and well-educated amateur adult musicians I led, for their and for my first
time, Stravinsky's Suite no. 2 for Small Orchestra (1921). This same suite I programmed
again at the University of Chicago on 9 December 1960, during my time as assistant
professor and conductor of the university's symphony orchestra (1959-65).
Thereafter, his music frequently appeared on our orchestra's concerts: Scherzo a la
Russe on 27 May 1961, Circus Polka (1942), and his arrangement of The Star-Spangled
Banner (1941) on 1 December 1962, his arrangement of the Song of the Volga Boatmen
(1917) on 25 May 1963, and the Symphonies of Wind Instruments (1920) the following
year, 8 and 23 May. At Chicago in the spring quarter of 1963, I also offered
undergraduate courses on Stravinsky. With Professor Grosvenor Cooper (1913-84)
kindly assisting at piano I, we played the Concerto per due pianoforti soli for the students
who were at that time studying it, thus bringing an immediacy of experience of this
splendid composition to our classroom.
The next summer, on 18 July 1964, I heard Stravinsky conduct his Orpheus
(1947) at Ravinia Park with the Chicago Symphony Orchestra, a work he recorded
two days later with that great ensemble. And shortly before resigning from the
University of Chicago the following year to join the new Irvine campus of the
University of California, I had the good fortune to hear, in Chicago on 17 April,
world premieres of Variations Aldous Huxley in Memoriam (1964) and the Introitus T S.
Eliot in Memoriam (1965), with Robert Craft conducting and Stravinsky in the
audience.
A second and slightly longer conversation than the one I had with him in
Vancouver took place in Los Angeles early in 1966, shortly after being appointed
associate professor and chairman of the music department at Irvine. Late in the
8 I Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 IN
previous fall, one of my adult students, EHzabeth Mason, who then belonged to the
Roger Wagner Chorale in Los Angeles, mentioned that additional male singers were
being sought for performances of Zvezdolikiy (1911), to be conducted by Craft, as
well as for the Symphony of Psalms and for Stravinsky's arrangement of Bach's
Chorale-Variations on Vom Himmel hoch (1956). The latter two works he was to lead
in 1966 with the Los Angeles Philharmonic, 27-28 January.12 Though assuredly not
an accomplished singer, I felt the opportunity to perform under the eighty-three-
year-old composer was too good to pass up. At intermission of the final chorus
rehearsal on 26 January which he attended, I made bold to present him a copy of my
edition of Musica nova 1540 (Chicago and London: University of Chicago Press,
1964), together with a brief letter thanking him for the pleasure his works afforded
me. Pointing out the volume to Craft, he accepted it and nodded appreciatively in
my direction.
While Craft led the Symphony in C (1940) on 27 January, I sat backstage reading
my miniature score about a metre from Stravinsky who, with his full score, was
timing Craft's excellent performance. At its close, I turned to him and said: "Thank
you, maestro, for composing such a beautiful work." In his basso profondo and an
accent hardly possible even to approximate, he replied: "Zchew know, I like eet
myzelf."
As a professor at the Irvine campus (1965-94), I again played his music and
several times taught students about it. With my colleague, ArnoldJuda (1913-88), we
programmed his Eight Easy Pieces for Piano Duet (1914-17) at a recital in the early
1970s to raise funds for student scholarships. In the fall of 1968, and during the spring
quarters of 1972 and 1978,1 offered courses for undergraduates on his music. And for
the Music department's required course, "Form and Analysis," I often assigned his
1923 Octet (see Entry 56). Our analyses of it helped produce an excellent public
performance in 1993 by several undergraduate wind players who had taken this
course.
Happily enough, two scores I had bought at Vancouver in the early 1950s, Les
Noces and the Scherzo a la Russe, not only related to my conducting career at
Vancouver and Chicago but, more than forty years later, were themselves to enter
my collection, though in a different medium. For the Scherzo I obtained the
autograph of the composer's own earlier arrangement for two pianos as well as some
business contracts relating to the sale of his version for jazz band (entries 80-1).
For Les Noces, a work particularly close to my heart, I have been even luckier.
The collection includes: one page of Stravinsky's sketches for his arrangement early
in 1923 for player piano; an inscribed 1923 photograph to George Auric, one of the
ballet's four original pianists; a letter from Stravinsky in Monte Carlo mentioning its
Annotated Catalogue of the H. Colin Slim Stravinsky Collection I 9
 rehearsals there by the Ballets Russes in April 1923 (two months before its premiere
in Paris); a letter of thanks written a month after the premiere to Vasily Fedorovitch
Kibalchich, the chorus director; and a brief autograph quotation from its final tableau,
copied out in 1937 (entries 21-4, and 55).
That first Sunday morning of October 1952 during which I heard him rehearse
compositions by Glinka and Tchaikovsky, as well as four of his own works, remains
indelibly printed in my memory. Appropriately enough, Stravinsky autographs -
mostly in excerpts - of four works he conducted in Vancouver, as well as references
to three of them, are in the collection. In the order of his Vancouver program they
are: Tchaikovsky's Second Symphony (entries 65, 71), and his own Scherzo a la Russe
(entries 80-1), Divertimento (45), and The Firebird (1, 48, 61, and 115).
I did not begin serious collecting of Stravinskiana until 1977 (Entry 10), when
I had paid off the mortgage on my house in Laguna Beach and enjoyed a comfortable
income as full professor at Irvine. The mania accelerated in 1985 after I became an
above-scale professor. And from the time I had attained the income of an emeritus
professor in 1994, it raged unchecked until editing this catalogue late in 2000
necessarily put out the conflagration.
A visit in June 1994 to Dorothy Louise Ellis McQuoid Hopper (1911-98),13 who
resided in nearby San Clemente, fanned these flames. I wanted to thank her
personally for having donated an autograph postcard by Igor and Vera Stravinsky
(Entry 70) to the music department for presentation upon my retirement from the
University of California. She had first met Stravinsky in mid-December 1939
detraining from San Francisco, when she drove him and his long-time friend, her
piano teacher Alexis Kail (entries 40 and 65), from Union Station in Los Angeles to
Kali's home (entries 67-8). She and her first husband, Edwin Kerien McQuoid
(1910-50), then a screen projectionist for Paramount Pictures and a professional
photographer, subsequently befriended the Stravinskys shortly after their arrival in
Hollywood on 26 May 1940 (see entries 69-75). Apparently Mrs. Hopper's closest
contacts with the Stravinskys were from December 1939 through the summer of
1942, after which her third child, daughter Alexis - named to honour Kail - born that
November, occupied her attention. As late as the 1950s, however, she sent them an
invitation to the wedding of one of her sons.
Her recollections of playing the piano for and with Stravinsky in 1940-41
remained vivid. In 1996-97 she sold me half a dozen mementoes of her association
with him (entries 68, 71-5). Her charming account of her 1940 "Firebird" hat as well
as a recollection in September 1994 by her second son, Cary Ellis McQuoid (1934-
97), of a near-disaster backstage for Stravinsky's dress shirt at the Hollywood Bowl on
27 August 1940, are hereby preserved (Entry 71).
10 I Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 Very generously, she allowed me photocopies of other items Stravinsky had
inscribed for her and for her first husband during this period. Following her death
early in 1998, the originals passed to her first son and daughter. For the record and
in chronological order they are: a picture-postcard of Stravinsky on the back of
which on 17 December 1939 he set to music his sentence in English praising her (see
Entry 67); a small uninscribed photograph of her piano teacher Alexis Kail and
Stravinsky at Gerry's Landing, Cambridge, taken 5 May 1940;14 a small photograph
taken by Stravinsky early in June 1940 at the Hollywood Farmers Market of her,
Edwin McQuoid, and Vera Stravinsky;15 a newspaper photograph she clipped from
the Hollywood Citizen-News of 9 August 1940 depicting the return of the Stravinskys
from Mexico that morning, a photograph she recalled taking;16 a copy inscribed by
Stravinsky of Eva vB. Hansel and Helen L. Kaufmann, Minute Sketches of Great
Composers (New York, NY: Grosset and Dunlap, 1932), which biographical sketch
Stravinsky in the summer or fall of 1940 rightly dubbed "perfectly idiotic"; and an
undated note from Vera Stravinsky congratulating Dorothy and her husband on the
birth, 2 November 1942, of her daughter, Alexis.
Materials in my collection encompass a sixty-year period from The Firebird until
the composer's funeral in Venice. They fall into nine broad categories:
1 photographs of the composer (many of them signed)
2 portraits — an etching, a drawing, and a pastel (the latter with his inscription and
musical quotation)
3 personal and business letters, postcards, handwritten and typed memoranda, and
a telegram
4 philatelic items
5 programs (three signed) and a funeral poster
6 publishers' contracts
7 printed music and books: inscribed copies of the composer's arrangement of The
Star-Spangled Banner, of his Monumentum, of his Chroniques de ma vie and
Autobiography, of his Poetique musicale and of its translation, Poetics of Music, and
of two volumes of essays in German celebrating his seventieth and eightieth
birthdays
8 a signed autograph drawing of his right hand
9 autograph music - signed quotations, including a miniature manuscript, a page
of sketches, a two-page preliminary manuscript orchestral score, and a fourteen-
page set of transparencies
Although Stravinsky was an inveterate taker of photographs, according to Mrs.
Hopper, he was sometimes a reluctant subject in them. I have avoided purchasing
work by such well-known - and expensive - American photographers as Edward
Annotated Catalogue of the H. Colin Slim Stravinsky Collection I 11
 Weston, George Piatt Lynes, Arnold Newman, and Richard Avedon whose portraits
of him are so often reproduced. Instead, I have sought out photographs less often
seen, such as those by Horace Scandlin, Ingi, Roddy McDowall, and Douglas Glass,
or those almost never reproduced by Fred Fehl in New York, by Lazaro Sudak in
Buenos Aires, and Erio Piccagliani in Milan, and by such amateurs as Edwin and
Dorothy Ellis McQuoid in California, and Alexis Kail. Two exceptions are an
inscribed photograph by Eric Satie of Debussy and Stravinsky, apparently taken in
1911, and a rephotograph by the well-known French fashion photographer, George
Hoyningen-Huene taken in 1934. One anonymous photograph inscribed to
Georges Auric of early 1923 shows Stravinsky standing outside an unidentified
house; another inscribed anonymous Dutch one of the following year pictures Paul
Hindemith, then violist of the Amar Quartet, standing next to a seated Stravinsky.
Only reluctantly have uninscribed rephotographs been included. One of the two
exceptions is the 1935 image of Alexis Kail, Stravinsky's friend in Los Angeles (Entry
40). Reasons for including it are not only because of his connection with Stravinsky
and Edward G. Robinson. From about 1923 Kail was also the piano teacher of
Dorothy Ellis (from 1931-50, Mrs. Edwin McQuoid and, from 1984-88, Mrs. Jerry
Hopper) to whom he introduced Stravinsky in December 1939 and from whom I
purchased many mementoes inscribed by the composer. The other rephotograph
included here is of a photograph of Stravinsky taken during his first visit to Vancouver
in 1952 by Eric Skipsey, then resident in the city. To my knowledge, it is the only
formal portrait of him taken in Vancouver that year (Entry 92).
An examination of the list of Stravinsky's correspondents in the archives of the
Sacher Foundation has disclosed that he wrote to more than 4000 different people!17
Although the composer kept a "Copie des lettres" with an index, 1912-27, Craft
notes that some copies are illegible.18 Thus, several letters in the present collection
written during those years will be unica, probably the case for many, if not all, of the
postcards. Both categories may well increase that already remarkable number of
correspondents.
A substantial portion of his correspondence was with the most famous persons of
his day. In this collection such persons, mention of, or depictions of them, include
Rimsky-Korsakov (Entry 1), Sergei Diaghilev (entries 4, 6, 8-9, 17, 19, 37), Alfredo
Casella (entries 7-9), Willem Mengelberg and Sir Henry Wood (Entry 7), Maurice
Ravel (Entry 9), Colette (Entry 11), Alexander Sakharoff (Entry 12), Coco Chanel
(Entry 16), Leon Bakst (Entry 19), Georges Auric (Entry 22), Ernest Ansermet
(entries 23-4, 38), Jean Cocteau (Entry 25), Paul Hindemith (Entry 28), Pablo
Picasso (Entry 32), the Princesse de Polignac, Arturo Toscanini, and Claude Debussy
(Entry 34), Edward G. Robinson (Entry 40), Vittorio Gui (Entry 63), Victoria
12 I Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 Ocampo, Nadia Boulanger, and Alfred Cortot (Entry 64), Pierre Monteux (Entry
65), Dylan Thomas and Aldous Huxley (Entry 95), Lincoln Kirstein (Entry 103),
T.S. Eliot, Stephen Spender, Aldous Huxley, and Victoria Ocampo (Entry 104),
Virgil Thomson (Entry 109), J. Robert Oppenheimer (Entry 117), and George
Balanchine (Entry 122).
To be noted, especially in the postcards, is his frugal habit of occupying every
possible centimetre of space for his message (see Entry 6). His tiny manuscript of most
of his 1911 Balmont song is surely a locus classicus of this art (Entry 3).
Most correspondents are represented here by only a single item. Seven exceptions, however, each embodying closely proximate communications, deserve
mention. They are: two to the critic Michel-Dimitri Calvocoressi (entries 1,4); three
postcards to the composer-conductor Alfredo Casella (entries 7-9); three items to
Stravinsky's later literary collaborator, Roland-Manuel (entries 15,17, and 64); three
letters to the singer Vera Janacopulos (entries 23 and 26-7); two to the Russian
emigre violinist-teacher, Julian Brodetsky (entries 77 and 79); four to his New York
lawyer, Arnold Weissberger (entries 97-9, and 103); and two letters to his lover, Vera
Sudeykina (1888-1982) (entries 18-19), who became his mistress in July 1921 and,
in March 1940, his wife.
The extraordinarily well-protected inner man reveals himself with every guard
down in those two passionate love letters to Vera Sudeykina late in the autumn of
1921. The earlier one, of which just a fragment survives (Entry 18), is unprecedented
in acknowledging that he feels little shame in speaking out through music, a process
that he subsequently either hedged about or denied outright. Equally fervent, the
other love letter (Entry 19) also reveals fear that either his wife, Catherine (1882-
1939), or Vera's husband, Sergei Sudeykin, might discover their affair — although
apparently by this time Sudeykin well knew what was going on.
Twenty-two autographs include musical quotations (all but three of his own
music): entries 3 (1911), 7 (1914, a work by Casella), 48-60 (1937), 62 and 66 (1939),
71 (1940, a work by Tchaikovsky), 76 (1941, the US national anthem), 106 (1959),
115 (1966), and 119 (1967). They strikingly parallel his credo to Benois in 1913 about
composing (quoted at the beginning of this essay) and also bear out Craft's
observation in 1994 about Stravinsky's originality in autographing.19
All of the items formerly belonging to Mrs. Clara Bickford (1903-85) in
Cleveland (entries 47-60), to Mrs. Hopper in Los Angeles and San Clemente (entries
67-8 and 70-5), and to Professor and Mrs. Harry Adaskin in Vancouver (entries 91
and 93-4) have a clear provenance. But there is an added satisfaction. Mrs. Bickford's
Stravinsky collection has been preserved in its original state, Mrs. Hopper's and the
Adaskins' mostly so, away from the grasp of dealers - some of whom eagerly
Annotated Catalogue of the H. Colin Slim Stravinsky Collection I 13
I
 dismember historical collections for the sake of a fast buck. Entry 100 testifies all too
eloquently to this barbarous practice.
Stravinsky had a keen instinct for financial and business negotiations. His training
in law at St. Petersburg University manifests itself here in five areas. Unashamedly, he
extracted a substantial loan in 1923 from the Brazilian singer Vera Janacopulos-Staal.
In return he promised to collaborate with her and to support her concert life in the
future (Entry 23).
Concerning royalties and music publishing, there is Stravinsky's curt letter in
1917 to the German Institute for Musical Performing Rights (Entry 13), a savvy letter
of 1918 to the publisher of the Editions de la Sirene (Entry 14), and one in 1927 to
an editor in the Edition russe de musique (Entry 36), not to speak of the nine-page
contract of 1944 with the Blue Network, Associated Music Publishers, and Chappell
(Entry 81). This last is of such three-way complexity that it required one further page
of a lawyer's services to bring the parties together. Signed in an exceedingly shaky
hand, a final letter in 1970 (Entry 120) concerns his possible loss or misplacing of a
contract with J. and W. Chester in England.
In the realm of recording there are three letters from the summer of 1954
between him and his New York lawyer, Arnold Weissberger, and one to the
producer John McClure in 1967. All deal with Columbia Records (entries 97-9 and
117).
In respect to book pubHshing, his 1957 letter to Weissberger concerns reprinting
his 1936 autobiography (Entry 103). One the next year to Deborah Ishlon (104) seeks
publishers in New York, London, and Buenos Aires for his first book of
conversations with Craft.
Stravinsky long wanted to tap into Hollywood's pot of gold by writing movie
scores. For example, the fourteen pages of autograph transparencies (Entry 80) began
life early in 1943 as sketches for film music, a project later aborted. His wish to write
for the movies is documented for a final time in 1964 (Entry 113).
The 1956 drawing of his own hand (Entry 100) is chronologically the third one
he had made for friends and admirers. The present locations of the first two (1924 and
c. 1950) are unknown. The exemplar in this collection, however, has finer details
than another (perhaps the last one) he made six years later.
A sketch page for Les Noces (Entry 21) shows him at work in 1923 on his
arrangement for player piano of the final part of that work's second tableau. It features
an accompanimental figure not found in any of the different versions of Les Noces he
made in 1917 and 1919, and the finished scoring in 1923.
His two-page holograph orchestral score for the Divertimento (Entry 45), though
lacking a few woodwind chords, is apparently a working draft in the process of
14 I Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 ^^
selecting materials suitable for his 1934 orchestral suite drawn from its parent ballet,
Le baiser de la fee (1928). Its two pages are all that survive from this process.
Both the 1911 miniature (Entry 3) and the 1943-44 holograph of the two-piano
version of the Scherzo a la Russe (Entry 80), fully justify Janet Flanner's observations
made in The New Yorker, "his manuscripts, which used to be in colors, like liturgies,
are now in mere black and white, but museum pieces for meticulousness."20 Indeed,
Stravinsky had chided composer Nicholas Nabokov (1903-78) at their first meeting
in 1927 for the sloppiness of Nabokov's music manuscript.21 He was not shy about
his music copying - for example, in a letter of 3 September 1930 to the conductor,
Ernest Ansermet about the Symphony of Psalms: the orchestra score "which I wrote
calligraphically so as to make the best copyists envious(!)";22 on 30 August 1943,
Stravinsky proudly wrote his publisher that "my calligraphic manuscripts resemble
those of no other author."23
Many others besides Flanner agreed with his own evaluations. Interviewing him
at Hollywood in 1946, J. Douglas Cook wrote: "His manuscripts are marvels of
beauty and accuracy."24 Late in life, Nadia Boulanger observed apropos his
calligraphy: "il n'y a pas une barre de mesure qui soit moins bien tiree, pas une cle qui
soit moins belle que l'autre!"25 Craft's unrivalled acquaintance with Stravinsky's
manuscripts allowed him in 1978 to speak in a similar vein.26
Collecting these materials over some twenty years was great fun, with one
exception. Negotiations for it dragged over some thirteen months and resulted in
some unpleasantness, which I am glad to say was ultimately resolved. As one browses
the catalogue entries, one might want to ponder that, if items in the collection have
historical value and continuing relevance, it is not only because of who signed them
but also for whom Stravinsky did so — the great and the humble alike.
Notes
The finest summation of the composer's life and works is by Stephen Walsh, "Stravinsky,
Igor," The New Grove Dictionary of Music and Musicians, 2nd ed., ed. Stanley Sadie and John
Tyrrell (London: Macmillan, 2000). (Regarding the spelling of "Stravinsky," see the
commentary for Entry 46.)
For example, his manuscript of his unpublished orchestration of Chopin's Nocturne in A-flat
major (op. 32, no. 2), commissioned by Diaghilev for the ballet Les Sylphides and premiered
at Paris, 2 June 1909, was auctioned by Sotheby's London on 15-16 May 1997, lot 301 with
plate. The Paul Sacher Foundation purchased it for £13,800: see Felix Meyer, ed., Settling
New Scores (Mainz: Schott, 1998), p. 70, no. 20 with a different plate. See also Albi Rosenthal,
"The Paul Sacher Foundation at the Crossroads: The Purchase of the Igor Stravinsky
Archive," Paul Sacher in memoriam (Basle: Sacher Foundation, 2000), pp. 37-40.
Annotated Catalogue of the H. Colin Slim Stravinsky Collection I 15
I
 Richard Taruskin, Stravinsky and the Russian Traditions (Berkeley and Los Angeles, CA:
University of California Press, 1996), n. 113 on p. 418, pp. 579-80.
For example, he signed his name on 3 October 1952 in the Adaskin's guest book, owned by
the late Frances Marr Adaskin. An extensive dossier in the Stravinsky archives of the Paul
Sacher Foundation, Basle, includes a letter of 6 November 1952 from Harry Adaskin
thanking Stravinsky for "your parcel of autographed books, inscribed so warmly and
generously." A letter of 5 December 1952, from A.E. Lord, Honourary Secretary, Board of
Governors of University of British Columbia, thanks him for copies of his Poetique musicale
and of Musik der Zeit, both inscribed by him to the Department of Music, on which see
entries 93-4. On 16 October 1952, Barbara Pentland (1912-2000) thanked him for sending
her a "drawing of him in action by Madame Marion [his married daughter, Milene]," about
whom see Entry 6. A copy of the orchestra's program, 5 October 1952, is in the archives of
the symphony society. Numerous photographs appear in the three local newspapers 2-6
October 1952 (i.e., The Vancouver Sun, The Vancouver Daily Province, and The News-Herald,
one in the latter taken 3 October by D'Arcy). Another taken at the same occasion is in Les
Cahiers canadiens de musique/The Canada Music Book 4-5 (1972): 26. For a photograph taken
of him after the last rehearsal, see Entry 92.
Among them is a signed program of the July 1965 concert held by the Vancouver Symphony
Society, as well as photographs from local newspapers; one of the latter, from The Vancouver
Daily Province, appears with an interview from The Vancouver Sun in Robert Craft, A
Stravinsky Scrapbook 1940-1911 (New York, NY: Thames and Hudson, 1983), pp. 130-1. A
plate of Stravinsky conducting the Vancouver Symphony Orchestra, reproduced in Les
Cahiers canadiens de musique/The Canada Music Book 4-5 (1972): 28, erroneously notes the date
as June rather than July 1965. The cropped photograph of Igor Stravinsky with the
Vancouver Symphony Orchestra in 1965 in Lloyd Dykk's article, "Igor Stravinsky, the five-
foot-four-inch giant of contemporary music, visited Vancouver twice," The Vancouver Sun,
20-27 July 2000, p. C31, appears in a fuller form in Festival Vancouver 2000, Program Book, p.
4.
This account is based on documents held by the Paul Sacher Foundation, Stravinsky papers:
Vancouver (1952), neither Adaskin nor the symphony society having preserved their records;
see also Harry Adaskin, A Fiddler's Choice, Memoirs 1938 to 1980 (Vancouver, BC: November
House, 1982), pp. 132-7.
See Wright Balfour, "Igor Stravinsky Arrives for Symphony Concert," The News-Herald, 2
October 1952, p. 1 with picture; Jack Delong, "Igor Doesn't Give Hoot, Out They [Visitors]
Go," The Vancouver Sun, 4 October 1952, p. 6 with picture; and Dr. Ida Halpern, "Rehearsals
Start: Stravinsky, Orchestra Happy," The Vancouver Daily Province, 3 October 1952, section
2, p. 2 with picture.
"Expectations Fulfilled: Stravinsky, Orchestra in Great Concert," The Vancouver Daily Province,
6 October 1952, p. 15. In a copy of Halpern's review, now in the Paul Sacher Foundation,
Stravinsky underlined (as false, obviously): "Tchaikovsky, whom he [Stravinsky] heard conducting his
16 I Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 own works." Nevertheless, he sent her a gift which she acknowledged in November, "thanking
you for your delightful book," and again on 6 February 1953.
9  Robert Craft, ed., Dearest Bubushkin: The correspondence of Vera and Igor Stravinsky, 1921-1954,
with excerpts from Vera Stravinsky's diaries, 1922-1911, trans. Lucia Davidova (New York, NY:
Thames and Hudson, 1985), p. 149, pi. 109.
10 Frances Adaskin, "The Evolution of a Musical Vancouver," The Weekend Sun, 24 September
1994, Saturday Review section, D10. She is recalling - without acknowledging it - a more
detailed account in Harry Adaskin, A Fiddler's World, Memoirs to 1938 (Vancouver, BC:
November House, 1977), p. 174.
11 Merritt is mentioned in Vera Stravinsky's diary, in entries for 29 April 1940 and 22 January
1941 (Dearest Bubushkin, ed. Craft, trans. Davidova). A facsimile of a letter in 1943 from
Stravinsky in Hollywood to Merritt, "my dear friend," is in Elliot Forbes, A History of Music
at Harvard to 1912 (Cambridge, MA: Harvard University Press, 1988), p. 75.
12 See the Los Angeles Times Calendar, Sunday, 23 January 1966, p. 24, and a review, Los Angeles
Times, 29 January 1966, section 1, p. 20, both with photographs.
13 On her, see Ruth Holmes Hansen, "Dorothy Ellis, the Author," The Baton of Phi Beta (March
1939): pp. 21, 26; "Dorothy Louise Ellis (Mrs. Edwin Kerien McQuoid)," Who's Who in
California 1942-1943, ed. Russell Holmes Fletcher (Los Angeles: Who's Who Publications,
1941 [sic]), vol. 1, pp. 277-8; "Ellis, Dorothy," in Music and Dance in California and the West,
ed. Richard Drake Saunders (Hollywood: Drake-William, 1948), pp. 198-9 (with photo);
and Robin Hinch, "Music Was Theme of Dorothy Hopper's life; Obituary," The Orange
County Register, 28 February 1998, Metro section, p. 7.
14 Another, virtually identical, version is part of a series of photographs owned by Professor
Elliot Forbes of Cambridge, Massachusetts, who kindly allowed Dr. Slim copies of them in
1995.
15 A cropped reproduction is in Dearest Bubushkin, ed. Craft, trans. Davidova, p. 113, pi. 90.
16 Reproduced in Igor and Vera Stravinsky, a photograph album 1921 to 1911, ed. Robert Craft
(New York, NY: Thames and Hudson, 1982), p. 97, pi. 161.
17 Volker Scherliess, "Strawinsky in Amerika," in Biographische Konstellation und kunstlerisches
Handeln, ed. Giselher Schubert (Mainz: Schott, 1997), p. 170.
18 Vera Stravinsky and Robert Craft, Stravinsky in Pictures and Documents (New York, NY:
Simon and Schuster, 1978), p. 613, n. 146.
19 Robert Craft, Stravinsky: Chronicle of a Friendship, 2nd ed. (Nashville, TN, and London:
Vanderbilt University Press, 1994), n. on p. 506.
20 Janet Flanner, "Russian Firebird," The New Yorker 11 (5 January 1935): 28.
21 Stravinsky and Craft, Stravinsky in Pictures and Documents, p. 293.
22 Claude Tappolet, ed., Correspondance Ernest Ansermet-Igor Strawinsky (1914-1961) (Geneva:
Georg, 1990-92), vol. 2, p. 245, no. 367 (trans. H. Colin Slim); Robert Craft, ed., Stravinsky
Selected Correspondence (New York, NY: Alfred A. Knopf, 1982-85), vol. 1, pp. 215-16.
Annotated Catalogue of the H. Colin Slim Stravinsky Collection I 17
 23 Craft, ed., Stravinsky Selected Correspondence, vol. 3, p. 286.
24 San Francisco Opera, Concert and Symphony 11, 10 (1946): 25.
25 See Bruno Monsaingeon, Mademoiselle. Entretiens avec Nadia Boulanger (Paris: Van de Velde,
1981), p. 90.
26 Stravinsky and Craft, Stravinsky in Pictures and Documents, p. 14.
18 I Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 Catalogue
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
Russian is by Stanislav Shvabrin and Michael Green unless otherwise noted. Leonard
W. Johnson provided almost all the French translations.
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. Size of photographs is of the image only,
unless otherwise stated. Repairs made to any entry by Linda K. Ogden, Berkeley,
California, are described. 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
in the works consulted:
C.    concerti
n.    note or footnote
no. number
P.    programmi
S.    scritti
Sigla
JAMS        fournal of The American Musicological Society.
MGG Die Musik in Geschichte und Gegenwart, ed. Friedrich Blume. Cassel:
Barenreiter, 1949-86. 17 vols.
NG The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie.
London: Macmillan, 1980. 20 vols; rev. 2nd ed. Stanley Sadie and John
Tyrrell. London: Macmillan, 2000. 29 vols. References in this catalogue
are to the 1980 edition, unless otherwise specified.
SAc Theodore and Denise Strawinsky. Au coeur du Foyer. Catherine et Igor
Strawinsky 1906-1940. Bourg-la-Reine, France: ZurfluH, 1998.
Annotated Catalogue of the H. Colin Slim Stravinsky Collection I 19
 SBu Dearest Bubushkin: The Correspondence of Vera and Igor Stravinsky, 1921-
1954, with excerpts from Vera Stravinsky's diaries 1922-1911, ed. Robert
Craft, trans. Lucia Davidova. New York, NY: Thames and Hudson,
1985.
SChron      Igor Stravinsky. Chroniques de ma vie. Paris: Denoel and Steele, 1935. 2 vols.
SConv       Igor Stravinsky and Robert Craft.  Conversations with Igor Stravinsky.
Garden City, NY: Doubleday; London: Faber and Faber, 1959.
SC&I Theodore Stravinsky. Catherine & Igor Stravinsky: a family album. London:
Boosey and Hawkes, 1973.
SD Igor Stravinsky and Robert Craft. Dialogues. London: Faber and Faber,
1982.
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, CA:
University of California Press, 1981.
SI&V Vera Stravinsky, Rita McCaffrey, and Robert Craft, ed. Igor and Vera
Stravinsky, a photograph album 1921 to 1911. London and New York, NY:
Thames and Hudson, 1982.
SM&C       Igor Stravinsky and Robert Craft. Memories and Commentaries. Garden
City, NY: Doubleday, 1960; repr. Berkeley and Los Angeles, CA:
University of California Press, 1981.
SP&D        Vera Stravinsky and Robert Craft. Stravinsky in pictures and documents.
New York, NY: Simon and Schuster, 1978.
SP&RK     IF. Stravinsky: Perepiska s russkimi korrespondentami. Materiali k biographi.
ed. Viktor Varunts. Moscow: Kompozitor, 1998-2000. 2 vols (1882-
1912, 1913-22).
SSC Igor Stravinsky. Selected Correspondence, ed. Robert Craft. New York,
NY: Alfred A. Knopf, 1982-85. 3 vols.
SScrbk       Robert Craft. A Stravinsky Scrapbook  1940-1911.  New York, NY:
Thames and Hudson, 1983.
ST&C        Igor Stravinsky and Robert Craft.  Themes and Conclusions. London:
Faber,   1972;  repr.  Berkeley and Los Angeles,  CA:  University of
California Press, 1982.
ST&E        Igor Stravinsky and Robert Craft. Themes and Episodes. New York, NY:
Alfred A. Knopf, 1966.
20 I Annotated Catalogue of the H. Colin Slim Stravinsky Collection
  (1911). Autograph letter on both sides of a thick card with
rounded edges, 11.4 x 8.9 cm, in French in black ink, 22 May 1911,
to Michel-Dimitri Calvocoressi (1877-1944) (as ascertained from
content):
22-V 1911 Rome
Cher ami,
Merci pour votre charmant envoi, que j'ai eu le plus grand
plaisir a lire. Je m'empresse settlement de Vous indiquer une
petite erreur de fait: c'est que les paroles de Rimsky ont ete
prononcees d'une autre oeuvre moderniste (le nom de l'auteur
m'echape)
Quant a mon "Oiseau de Feu"- il [crossed out in ink] ete a
ete compose 2 ans apres la mort de Rimsky.
II va sans dire que je serai heureux de vous avoir a la
premiere de "Petrouchka".
Je viendrai a Paris au comencement de juin. Quelle joie de
[reverse side] se retrouver de nouveau entre des amis.
Mes respectieux hommages a Madame Calvocoressi ainsi
que ceux de ma femme. Pour Vous cher ami mes souvenirs
sinceres
AfFectieusement
votre Igor Strawinsky
Roma
Albergo d'ltalia
[Michel-Dimitri Calvocoressi] Rome
[Paris] 22 May 1911
Dear friend:
Thanks for your delightful enclosure which I've had the greatest
pleasure reading. I only hasten to tell you about a small factual error:
Rimsky's comments were made about a different modernist work
(the name of the composer escapes me)[.]
22 I Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 v^
As for my Firebird - it was composed two years after Rimsky's
death.
It goes without saying that I shall be happy to have you at the
premiere of Petrushka.
I'm coming to Paris at the beginning of June. What joy to find
oneself again among friends.
My respectful compliments to Mrs. Calvocoressi, as well as those
of my wife. For you, dear friend, my sincere regards[.]
Affectionately,
your Igor Strawinsky
Acquisition: H. Colin Slim 8 May 1996 from "Les Autographes" -
Thierry Bodin, 45, rue de l'Abbe Gregoire, 75006 Paris, his Catalogue
61 (July 1995), item 275. The letter is accompanied by a "Certificat
pour un bien culturel," dated Paris 17 April 1996, from the Ministere
charge de la culture.
Provenance: Probably from the archive of Calvocoressi, later belonging
to Gerald Abraham (1904-88).
Commentary
The letter is unpublished, its envelope missing. The unnamed addressee
can readily be deduced from Stravinsky's mention of Madame Calvocoressi, the critic's mother; he married in 1916.
Written four days before Stravinsky completed Petrushka at Rome,
Entry 1 may well stem from Calvocoressi's archive - administered until
1988 by his colleague in England from the 1930s, Gerald Abraham, his
collaborator in Studies in Russian Music (London: H. Reeves, 1935).
Another letter from Stravinsky to Calvocoressi, the first in their selected
correspondence 1912-14, published by Craft, was sold at auction for
DM3,200 in 1988, the year of Abraham's death.
Entry 1 is not the earliest extant letter to Calvocoressi: the Pierpont
Morgan Library, New York, holds one (acquired in 1975) that
Stravinsky wrote him a month earlier, on 20 April, from Beaulieu-sur-
Mer commenting favourably on his translation of the Deux melodies
(1907-08). In it he is further pleased that Calvocoressi has been
requested to write an article about him. In context, the "charmant
envoi" of Entry 1 was surely an essay about him by Calvocoressi, and
Annotated Catalogue of the H. Colin Slim Stravinsky Collection I 23
 probably the one to which he refers in his April letter held by the
Morgan Library.
Born in Marseilles and educated in Paris, Calvocoressi had already
by 1907 published a book on Russian music and the following year one
on Musorgsky. In May 1907 he assisted Sergei Diaghilev in presenting
five concerts of Russian music in Paris. The first one featured Nicolai
Rimsky-Korsakov as conductor, the same year Rimsky engaged
Calvocoressi for the French translation of The Golden Cockerell. Known
to Pdmsky-Korsakov since 1905, he met Stravinsky at the time of The
Firebird (1910).
Calvocoressi's two factual errors noted by Stravinsky in Entry 1 -
Pdmsky-Korsakov speaking about some other work by a modernist
composer (not one by Stravinsky), and the correction about composing
The Firebird two years after his death — are exactly the same two mistakes
in Calvocoressi's article which appeared shortly thereafter, on 1 August
1911 in The Musical Times. Taruskin characterizes it as "a milestone: the
first critical article devoted entirely to the new composer to be
published anywhere." Calvocoressi nonetheless went astray when he
reported in it: "Pdmsky-Korsakov appears to have found his young
pupil's independence and daring rather startling, but not repellent; and
when he heard for the first time the music of The Bird of Fire he is said
to have tersely given vent to his feelings in this sentence; 'Look here,
stop playing this horrid thing, otherwise I might begin to enjoy it.' "
This erroneous anecdote, which Taruskin suggests went the rounds in
St. Petersburg, was perpetuated, for example, in 1915 by Carl Van
Vechten and persisted in the 1925 Chicago Symphony Program Notes
when Stravinsky conducted The Firebird there on 20-21 February.
Pdmsky, of course, never heard a note of The Firebird. And
Stravinsky is correct. Rimsky apparently passed his remark not about
him but, as Steven Baur shows, about a "moderniste" work by Ravel
which both he and Rimsky heard in St. Petersburg at one of the
'Evenings of Contemporary Music' in November 1907. In his Chroniques
de ma vie, Stravinsky later wrongly identified the "moderniste" composer
as Debussy. Taruskin observes: "fairly hilarious is Calvocoressi's
garbling of an anecdote."
To judge by the first sentence in Entry 1, the essay apparendy
pleased Stravinsky, even though Calvocoressi also incorrecdy mentions:
"Petrushka, finished last winter." As he penned Entry 1 to Calvocoressi,
24 I Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 '■^
Stravinsky still had four more days' work in order to complete his score.
By the time his corrections reached Calvocoressi, apparently it was too
late to alter the essay submitted to The Musical Times, for these mistakes
do not appear in his essay a month earlier about Petrushka in The Monthly
Musical Record. (The same mistakes may occur in an article by Calvocoressi about The Firebird published at Moscow in a June 1911 issue of
Muzika, but only excerpts from it appear in Taruskin's source, a study
by Valery Smirnov.)
Although Calvocoressi had first met him during the final eight
rehearsals of The Firebird, which had brought the composer to Paris on
7 June 1910, he did not become a friend until the following winter at
Beaulieu-sur-Mer (near Nice), where Stravinsky lived with his family
from November 1910 until 6 May 1911, except for a brief excursion to
St. Petersburg late in December 1910. At Beaulieu, Stravinsky played
him parts of Petrushka, which, by 26 January 1911, he had already
finished composing into the latter half of the fourth tableau.
Quarrelling in 1910 with Diaghilev, Calvocoressi resigned at the
close of that season featuring the premiere on 25 June of The Firebird. In
November of the following year Calvocoressi signed his French
translation ofV. Svedov [V.I. Ivchenko], Le ballet contemporain (1912).
Although Stravinsky knew its original Russian version, he did not like
the book. In it, Calvocoressi himself discusses both The Firebird and
Petrushka. From 1911-14 he made translations into various languages of
vocal works by Stravinsky for publication. The closeness of their
friendship can be gauged from the gift he made to Calvocoressi on 6
July 1913 of a notebook containing the sketches of his arrangement
(April 1913) of the final chorus of' Khovanshchina (now owned by Oliver
Neighbour, London).
Much of Calvocoressi's music criticism during this period appeared
in Comoedia illustre and some of it was about Stravinsky. For example,
"Aux concerts" of December 1910 contains a photograph of him and
a discussion of Fireworks and The Firebird, preceding the discussions of
the latter in the Russian and English press cited by Taruskin. At the
outbreak of the First "World War, Calvocoressi settled in England,
where he worked as a music historian until his unexpected demise.
Leaving the Ballets Russes at Monte Carlo and returning to
Beaulieu late in April 1911, Stravinsky joined Diaghilev in Rome on 6
May and also Alexandre Benois (1870-1960), the author of the scenario
Annotated Catalogue of the H. Colin Slim Stravinsky Collection I 25
 and the designer of Petrushka. He and Benois stayed at the Alb ergo
d'ltalia, near the Quattro Fontane. There, with the Barberini Gardens
near their hotel, he worked on the last pages of his ballet, finishing it on
26 May. A drawing by Benois, reproduced by Vera Stravinsky and
Craft, shows him composing Petrushka at the piano in shirtsleeves in the
basement of the Teatro Costanzi. Choreographed by Michel Fokine
(1880-1942) in Rome before Stravinsky and the company left for Paris
on 31 May, the ballet received its premiere on 13 June and Calvocoressi
did indeed attend. For a 1913 postcard from Stravinsky to the critic, see
Entry 4.
For photographs of Stravinsky rehearsing The Firebird in 1962, see
Entry 111 and for autograph quotations from its "Introduction," and
"Berceuse," see entries 115 and 48. For discussions about Petrushka, see
entries 6-9, for an inscribed printed copy, Entry 68, and for autograph
quotations from its "Magic Trick" and "Russian Dance," see entries 49
and 119.
Works Consulted
Abraham, Gerald. "Calvocoressi." NG. vol. 3, pp. 633-4.
Argonautes sale. Paris, 1975, lot 72.
Baur, Steven. "Ravel's 'Russian' Period: Octatonicism in the Early Works,
1893-1908." JAMS 52 (1999): 561-8, 590.
Buckle, Richard. Diaghilev. New York, NY: Atheneum, 1979. pp. 96-101,
178, 195-202.
Calvocoressi,   Michel-Dimitri.   "A  Russian   Composer  of To-Day:   Igor
Stravinsky." The Musical Times 52 (1 August 1911): 511-12.
-. "Aux concerts," Comoedia illustre 3, 6 (December 1910): 180.
-. "Ballet Russes: Deuxieme Serie: Petrouchka, Scheherazade," Comoedia illustre
3, 19 (July 1911): 614-21.
-. "Petrouchka," The Monthly Musical Record 41 (1 July 1911): 171.
-. Music and Ballet. Recollections. London: Faber and Faber, 1934; repr. New
York, NY: AMS Press, 1978. pp. 178, 221.
Chicago Symphony Program Notes. 20-21 February 1925. p. 193.
Music Letters in the Pierpont Morgan Library. A Catalogue. December 1993. p. 394:
Koch 400 (Box 66).
Pdmsky-Korsakov, Nicolai Andreyevich. Polnoye sobraniye sochineiy: literatur-
niye proizvedeniya i perepiska. [Literary Production and Correspondence:
Complete Collected Writings.] Moscow: Muzgiz/Muzi'ka, 1970. vol. 7.
p. 312.
26 I Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 "N
Schouvaloff, Alexander. The Art of Ballets Russes: The Serge Lifar Collection of
Theater Designs, Costumes, and Paintings at the Wadsworth Atheneum, Hartford,
Connecticut. New Haven, CT and London: Yale University Press, 1997.
pp. 117-27.
Smirnov, Valery. Tvorcheskoye formirovaniye IF. Stravinskogo. [I.F. Stravinsky's
Creative Process.] Leningrad: Muzika, 1970. n. 1, p. 9.
Stargardt, J.A. Autographen aus alien Gebieten. Katalog 641. Marburg, 9-10
March 1988, lot 1068. p. 356.
SChron. vol. 1, p. 41.
SP&D. p. 69. pi. on p. 71.
SP&PJC. vol. 1, pp. 315-16 (trans. Stanislav Shvabrin and Michael Green), p. 521
(index: Calvocoressi); vol. 2, p. 748 (index: Calvocoressi).
SSC. vol. 2, p. 98.
Svedov, Valerian. [V.I. Ivchenko], Le ballet contemporain, trans. Calvocoressi.
Paris: de Brunoff, 1912. pp. 115-16, 128-9.
Taruskin, Richard. Stravinsky and the Russian Traditions. Berkeley and Los
Angeles, CA: University of California Press, 1996. 2 vols. n. 17 on p. 376,
pp. 639-41, 683, 686-7, fig. 13.1 on p. 979, n. 48 on p. 1053.
—.   "Stravinsky's  Petrushka,"  Petrushka.   Sources and  Contents,  ed.  Andrew
Wachtel. Evanston, IL: Northwestern University Press, 1998. p. 111.
Van Vechten, Carl. Music after the Great War and other studies. 2nd ed. New
York, NY: Schirmer, 1915. p. 104.
Walsh, Stephen. Stravinsky, A Creative Spring: Russia and France, 1882-1934.
New York, NY: Alfred A. Knopf, 1999. pp. 160-2.
White, Eric Walter. Stravinsky: The Composer and His Works. 2nd ed. Berkeley
and Los Angeles, CA: University of California Press, 1979; repr. 1984. p.
545.
(1911). Original, unsigned Russian picture postcard, 13.6 x 8.6 cm,
depicting "Igor Strawinsky" with his name in Cyrillic characters
above left and numbered "55" at lower left; on reverse side (in
Russian): "Music Store of Russian Music. Published Moscow.
1911."
Acquisition: H. Colin Slim in New York on 22 April 1995 from
Wurlitzer-Bruck (60 Riverside Drive / New York).
Provenance: Unidentified elderly ballet dancer in New York, c. 1995.
Annotated Catalogue of the H. Colin Slim Stravinsky Collection I 27
 Commentary
The photograph itself in this postcard dates from around the time of the
premiere of Petrushka, 13 June 1911, when the composer was living
mostly in France and Switzerland. The same image, captioned and
printed in Russian: "Kompozitor Igor Stravinsky / (Cm. 'Peterburgskiy
Listok' No. 266)," i.e., "Composer Igor Stravinsky / (see the 'Petersburg
[News-]Sheet' No. 266)," appears in a newspaper clipping he inscribed
and dated in ink: "Pesrg. Listok 27 Sept. 1912," in one of his photograph albums. On another copy of this picture postcard he wrote a note
of 23 February 1912 to Florent Schmitt. A modern image of the
postcard, slightly enlarged to 14.7 x 9.5 cm but cropped a little, was
reproduced c. 1989 from the New York Public Library of the Performing
Arts by Crossing Cards (Crossing Press / Box 1048 / Freedom, CA /
95019), no. 122. Entry 2 is framed (right) with Entry 5.
Works Consulted
Lesure, Francois. Igor Stravinsky. La carriere europeenne. Paris: Musee d'Art
Moderne, 1980. p. 19, no. 44.
SE&D. 1962. pi. 7 btn pp. 72 and 73; 1981. pi. 4 facing p. 32.
(1911). Autograph signed and dated miniature manuscript (on
the reverse of the right side of an unevenly cut-down photograph
of Stravinsky's villa at Ustilug), 8.85 x c. 6.35 cm, of the last twelve
bars of his song "Myosotis" [Forget-me-not] from Deux poemes
(1911) on Russian texts by Konstantin Dimitriyevich Balmont
(1867-1942), copied (without poem), in French, in black ink on
nine hand-ruled staves, Ustilug, [July] 1911, to an unnamed
correspondent, probably in France:
[heading] chansons de "myosotis" / que je vien de composer.
[above top four staves] Chant. Lento
[middle pair] Encore plus lent [and sideways at extreme left]
Chant et piano
[below last three staves] Oustilog 1911 / tout a vous Igor /
Strawinsky.
28 I Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 in
Songs [sic] of "Forget-me-not" which I have just composed.
[above top four staves] Voice. Slowly
[middle pair] Yet more slowly [and sideways at extreme left] Voice
and piano
Ustilug 1911. Yours, Igor Strawinsky.
Acquisition: H. Colin Slim in Los Angeles on 11 February 2000 from La
Scala Autographs, Inc. (Pennington, NJ).
Provenance: Sotheby's, Printed and Manuscript Music (London: 9 December,
1999), lot 243, p. 125 (unsold), with ill. of music.
Commentary
In its complete form, Entry 3 was the second Russian song dedicated to
his mother, Anna, in the composer's manuscript copy (pp. 6-8) sent to
the printer (auctioned by Christie's in 1996, both songs are now in the
Pierpont Morgan Library, Lehman Deposit). In 1912, it was published
by the Russischer Musik Verlag (no. 130) as the first of the pair, both
reprinted by Boosey and Hawkes in 1947. In 1954 he revised both
songs, adding a chamber ensemble, the 1956 published version for
voice and piano reflecting these revisions.
Annotated Catalogue of the H. Colin Slim Stravinsky Collection I 29
 Basing its observations only on the 1954 revision, Sotheby's
catalogue therefore speaks incorrectly of divergences in the bass, mm.
2-3, of Entry 3. The only note difference between it and the autograph
song, on the one hand, and all the printed editions, on the other, occurs
in the left hand of the piano's final bar of the central section. There
Entry 3 and the autograph of the song read B for the second eighth note,
whereas all printed versions have D.
For whomever this tiny, remarkable calligraphic manuscript was
intended, it was probably sent in an envelope — and perhaps accompanied by a letter - not to a Russian, but to a Frenchman, probably a
composer or a critic. Entry 3, or rather the Deux poemes, bears the
distinction of being the penultimate work Stravinsky was to initiate and
to finish on Russian soil.
On 18 June 1911, after the final performances of Petrushka,
Stravinsky and his wife, Ekaterina [Catherine], had left Paris for their
villa at Ustilug in Volhynia, southwest Ukraine (on the border between
present-day Poland and Russia). There, from late June to mid-July, he
set two poems by Balmont: "Nezabudochka-tsvetochek" [The Little
Flower Forget-me-not] and "Golub" [The Dove] for high voice and
piano. By 20 July he seems to have finished them for, on that day, he
wrote Florent Schmitt (1870-1958) in Paris that he had begun setting
Balmont's "Zvezdolikiy" [The Star-Faced One] for male chorus and
orchestra. His heading in Entry 3: "the song 'myosotis' which I have
just composed" suggests the song is very recent (i.e., no later than
mid-July).
In reviewing the two songs on 22 August 1912, Nikolai Mias-
kovsky wrote of their "harmonious combination of French grace and
subtlety with a genuinely Slavic sincerity and profound tenderness"
(Brown, p. 41). They received their premiere that year at St. Petersburg
on 11 December, having been published with translations in French,
German, and English, the French one being the work of Calvocoressi.
In view of this, of his having pleased Stravinsky in April 1911 with his
translation of the composer's Deux melodies (see Entry 1), and of his later
hopes in 1913 for translating The Nightingale - which were, in fact,
fulfilled (see Entry 4) - it seems possible that Calvocoressi in Paris was
the intended recipient of Entry 3.
Equally feasible candidates would have been Florent Schmitt or
Maurice Delage (1879-1961), composer-friends with whom Stravinsky
30 I Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 "X
frequently corresponded. For example, that 1911 summer at Ustilug
produced the celebrated - and carefully posed - snapshot of the nude
composer standing on the east bank of the Luga River (tributary of the
River Bug) on the other side of which grazes a white horse. He sent
copies to both Delage and Schmitt. (On Delage, see Entry 4.)
Using the back of a photograph of his Ustilug home - finished in
1908 - for Entry 3 and inscribing its location below his music seem
particularly felicitous. We know that he enjoyed the area for many a
summer from 1890 to 1914. This fragmentary photograph is probably
one of the few contemporary views extant of the rear of his villa. The
Stravinsky estate there was ravaged by the Austro-German army in the
summer of 1915 and his house damaged. Remodelled, it
survived the 1941 invasion, losing only a chimney, although in 1994
Walsh reports that it had been turned into a museum with a not very good
bust of him outside.
Works Consulted
Brown,  Malcolm Hamrick.   "Stravinsky and Prokofiev:   Sizing Up  the
Competition." Confronting Stravinsky: Man, Musician, and Modernist, ed.
Jann Pasler. Berkeley and Los Angeles, CA, and London: University of
California Press, 1986. p. 41.
Christie's,  Valuable Printed Books, Music and Manuscripts. London, 26 June
1996, lot 290. pp. 228-9, with ills.
Craft, Robert. Stravinsky: Chronicle of a Friendship. 2nd ed. Nashville, TN, and
London: Vanderbilt University Press, 1994. p. 524: 18 July 1970.
Hucher, Yves. Florent Schmitt. Paris: Plon, 1953. p. 163: letter of 2 February
1912; misdated as 2 November 1912.
Lesure, Francois. Igor Stravinsky. La carriere europeenne. Paris: Musee d'Art
Modeme, 1980. p. 19, no. 41.
Lesure, Francois, ed. Stravinsky. Etudes et temoignages. Paris: Jean Claude Lattes,
1982. p. 231.
SC&I. pi. [22]: front view of Ustilug villa.
SI&V. pi. 85 on p. 69 (misdated as 1912).
SP&D. pp. 38-9.
SP&RK. vol. 1. n. 4 on p. 281; p. 497, no. 24.
SSC. vol. 2. p. 104: 2 February 1912; misdated as 2 November 1911.
SScrbk. pi. 90, p. 43.
Taruskin, Richard. Stravinsky and the Russian Traditions. Berkeley and Los
Angeles, CA: University of California Press, 1996. pi. 9.5b (misdated as
1912) on p. 651, pp. 779-807.
Annotated Catalogue of the H. Colin Slim Stravinsky Collection I 31
 1
Walsh, Stephen. The Music of Stravinsky. Oxford: Oxford University Press,
1988. pp. 35-9, n. 11 on p. 278.
-. Stravinsky, A Creative Spring: Russia and France, 1882-1934. New York, NY:
Alfred A. Knopf, 1999. pp. 115-16, 168-72, pi. [5, lower: Ustilug villa] btn
pp. 172-3, p. 178, n. 45 on p. 592.
(1913). Autograph pre-stamped Swiss postcard, 9.0 x 14.0 cm,
announcing the Schweizer. Landesaustellung, 15.Mai-15.Okt.
1914 BERN, three times postmarked Clarens 19 X.13.XII [a.m.],
with a Par expres sticker and circular stamp, Hotel des Cretes,
Clarens-Montreux, written in French, in brown ink on both sides,
19 October 1913, to [Michel-Dimitri] Calvocoressi:
Monsieur Calvocoressi
164 Rue de Courcelles
Paris
EXPRES
[postscript lower left] Donnez moi s.v.p. des nouvelles de
Delage je vous en supplie!
[reverse]       Clarens 19 X 1913
Vieux! Merci d'avoir penser a mon Rossignol. Certainement
que cela m'arrangerai mais je suis oblige moralement de de-
mander d'abord Diaghilew car il avals l'intention de le jouer ce
printemps a Paris. Je ne suis pas encore sur si il le fera. Je m'en
vais lui telegraphier instantanement et vous repondrai ce qu'il
dira.
A vous toujours IStrawinsky
32 I Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 ;"N
Michel-Dimitri Calvocoressi Clarens
Paris 19 October 1913
Old pal!
Thanks for having considered my Nightingale. Certainly that would
suit me, but I am morally obliged to ask Diaghilev first because he
intends to perform it this spring in Paris. I am still not certain that he
will do so. I'm going to telegraph him about it immediately and shall
tell you what he says.
Yours as ever, I Strawinsky
p.s. Please give me news about [Maurice] Delage, I beseech you!
Acquisition: H. Colin Slim in Los Angeles on 11 February 2000 from La
Scala Autographs.
Provenance: Private collector, Paris, December 1999.
Commentary
Entry 4 is written on a postcard bearing the stamp of the hotel in which
Ravel lived while working with Stravinsky at Clarens the previous
March and April. The hotel stamp points to a life-long habit of using
stationery at hand; other examples are entries 17,23,30-31,47,71, and 74.
The postcard responds to Calvocoressi's enquiry from Paris of 16
October 1913 as to whether anyone had yet been chosen to make the
English translation of his opera, Le Rossignol (1909; 1914), upon which
Stravinsky was then still working. As promised, the composer did
indeed cable Diaghilev who telegraphed him at Clarens on 20 October
1913: "Yes, I am planning to mount The Nightingale [in] Paris and
London." It was premiered by Diaghilev at the Paris Opera on 26 May
1914.
At its publication in 1923, the opera had a French translation by
Calvocoressi; there was not one in English until Robert Craft's,
copyrighted in 1956. Acknowledging that the composer's "solution is
the best one" (not further explained), Calvocoressi's letter to Stravinsky
of 5 November 1913, thanking him for Entry 4, perhaps refers to the
matter of translation. At any rate, Calvocoressi acknowledged receipt of
the opera's "second act for translation" on 16 January 1914. He was to
publish an important interview with Stravinsky about the opera that
June, coinciding with its London production. Maurice Delage, a pupil
Annotated Catalogue of the H. Colin Slim Stravinsky Collection I 33
 of Ravel, was an early Parisian friend and a frequent correspondent. He
was photographed already in December 1910 at Stravinsky's apartment
in Beaulieu-sur-Mer and is mentioned in Entry 6, written on an
identical pre-stamped Swiss postcard. (See also Entry 3.)
Works Consulted
Calvocoressi, Michel-Dimitri. "M. Igor Stravinsky's Opera: 'The Nightingale'."
The Musical Times 55 (1 June 1914): 372-4.
SAc. pis. on pp. 36-7.
SP&D. pi. on p. 73.
SP&RK. vol. 1. p. 518 (index: Delage); vol. 2. p. 156 (trans. Stanislav Shvabrin
and Michael Green), p. 744 (index: Delage).
SSC. vol. 1. nn. 1-2 on p. 23; vol. 2. pp. 9, 100-2.
Walsh, Stephen. Stravinsky, A Creative Spring: Russia and France, 1882-1934.
New York, NY: Alfred A. Knopf, 1999. p. 198.
(1914). Original, unsigned Russian picture postcard, 13.6 x 8.6 cm,
taken c. 1898, depicting "Fedor Strawinsky / (1843-1902)" with a
facsimile of his signature above and numbered "180" at lower
left; on reverse (in Russian): "Music Store of Russian Music.
Published Moscow. St. Petersburg 1914."
Acquisition: H. Colin Slim in New York on 22 April 1995 from
Wurlitzer-Bruck.
Provenance: Same as Entry 2.
Commentary
The photograph itself in the postcard had already appeared in 1898 in
the Russian musical gazette for March. Fyodor Ignatyevich Stravinsky,
father of the composer, was a celebrated basso at the Maryinsky Theatre
in St. Petersburg from 1876 until shortly before his death. Many photographs of him survive in and out of costume. Entry 5 is framed (left)
with Entry 2.
Works Consulted
Craft, Robert. Stravinsky: Glimpses of a Life. London: Lime Tree, 1992; New
York, NY: St. Martin's Press, 1993. pp. 282-3.
34 I Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 Spencer, Jennifer and Edward Garden. "Stravinsky, F.I." NG. vol. 18. pp.
239-40.
SC&I. pis. [2-5].
SE&D. pi. 1.
SM&C. 1960. pi. on p. 48; 1981. pi. 4.
SP&D. pp. 42-4.
SP&RK. vol. 1. pp. 410-13, no. 2.
SSC. vol. 1. pp. 435-6, app. K.
Taruskin, Richard. Stravinsky and the Russian Traditions. Berkeley and Los
Angeles, CA: University of California Press, 1996. pp. 77-92, esp. fig. 2.1a
on p. 79.
Walsh, Stephen. Stravinsky, A Creative Spring: Russia and France, 1882-1934.
New York, NY: Alfred A. Knopf, 1999. pp. 4-5, 8-15, 48-50, 63-4, and
pi. facing p. 172.
(1914). Autograph pre-stamped Swiss postcard, 9.0 x 14.0 cm,
announcing the Schweizer. Landesausstellung, 15.Mai-15.Okt.
1914 BERN, postmarked Leysin 13.ll.14.XI[a.m.], and written in
French in blue ink on both sides, except for the place and date
headed in red ink, 12 February 1914, to Edwin Evans (1874-1945):
Monsieur
Edwin EVANS
31, Coleherne road
Earls court
London S/W
[reverse] Leysin 12/11 1914
Cher ami, recu votre lettre. Vous promet de faire mon possible
aupres de Diaghilew. A ce moment ci je suis avec ma femme
dans un sanatorium a Leysin (non loin de Montreux) a la
hauteur de 1450 metres, car apres 1'accouchement a Lausanne
(fillette-Milene) ma femme a eu une pleurisie avec une nouvelle
poussee de son ancienne maladie (tuberculose).
Annotated Catalogue of the H. Colin Slim Stravinsky Collection I 35
 "1
Je viens d'ecrire a mon Editeur que vous avez traduit mes
poesies japonaises. Voulez vous lui ecrire de votre part qtt en
lui demandant quant il faut les envoyer. Il vous payerons
comme d'habitude 25 francs [on address side] pour piece ce qui
fera 75 fr. le tout. C'est ce qu'il ont paye a Delage pour sa
traduction francaise. Il fau que vous lui ecrivissiez a Tinstant!
On vous enverra la partition d'orch. de "Petrouchka" des
qu'elle paraitera en 2- tirage car le 1- est epuise. Mon adresse
est Strawinsky Tyrol (Grand Hotel) Leysin, Suisse.
Bien afFectieusement
a vous I. Strawinsky
Edwin Evans Leysin
London 12 February 1914
Dear friend, received your letter. Promise to do my best with
Diaghilev. Right now I am with my wife in a sanatorium at Leysin
(not far from Montreux) at an altitude of 1450 metres because after
her delivery at Lausanne (baby girl: Milene) my wife had pleurisy
with a renewed outbreak of her former disease (tuberculosis).
I have just written my publisher that you have translated my
fapanese Lyrics. Would you please write him, too, asking him when
they should be sent. He will pay you, as usual, 25 francs per poem
which will make 75 francs in all. That's what he paid [Maurice]
Delage for his French translation.
You should write him immediately] The orchestra score of
Petrushka will be sent to you as soon as its second run is published
because the first one is sold out. My address is Strawinsky Tyrol
(Grand Hotel) Leysin, Switzerland.
Very affectionately yours,
I. Strawinsky
Acquisition: H. Colin Slim on 13 May 1995 from Gary E. Combs Inc.
Autographs (3 Sheridan Square / New York) through Martin A. Silver
Musical Literature (7221 Del Norte Drive / Goleta, CA.).
Provenance: Unknown.
36
Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 ^1
Commentary
Stravinsky and his family had been in Switzerland since late September
1913, their home throughout the First World War and after it until June
1920. He had first met Edwin Evans in London early in February 1913.
Unpublished in their correspondence (1913-37), Entry 6 is his response
to Evans's letter of 5 February 1914 from London. Therein Evans tells
the composer of his English translation of the Three Japanese Lyrics
(1913) - already translated into French that year by Maurice Delage -
and of Evans's interest in acting as a publicity agent for Diaghilev. For
the translation Evans had apparently acted either on his own or on the
initiative of Stravinsky because, on 28 February, Nicolas G. von Struve,
head of the Russischer Musik Verlag in Berlin, wrote: "We received
the letter from Evans in London, who writes that he has made a
translation of your Japanese songs into English. We didn't order any
translation from him!"
Reference to a forthcoming second edition of Petrushka is to the
composer's work on a revised edition, in proofs by June 1914 but never
published because of the First World War. Even during the war,
however, there were plans to publish the revision. Reference to it
appears again in a letter to Evans of 9 January 1918, partly edited by
Craft.
Declaring his "Cher ami" a year later as "splendid (naive and not
very intelligent)," Stravinsky is said to have attended a dinner in
London on 21 January 1923 honouring Evans. For a six-roll edition for
player piano of The Firebird in 1928-29, Evans translated program notes
and synopses written by Stravinsky in 1927 which were printed directly
on the rolls. Music critic for London newspapers and a frequent
contributor to English musical journals, he wrote a booklet entided,
The Fire-Bird and Petrushka, published in 1933.
Catherine Stravinsky had suffered a renewed attack of tuberculosis
following the birth on 15 January of her last child, Milene. This disease
was eventually to kill her in 1939. As noted in the Introduction, some
thirty-eight years later, in 1952, Milene was to journey to Vancouver
with Stravinsky and her husband, Andre Marion, where she sketched
her father conducting its Symphony Orchestra. (On Delage, see entries
3 and 4.)
Annotated Catalogue of the H. Colin Slim Stravinsky Collection I 37
 Works Consulted
Colles, H.C., Frank Howes, and Rosemary Williamson. "Evans, Edwin." NG.
vol. 6. p. 318.
"Dinner and Presentation to Edwin Evans." The Musical Times 64 (1 February
1923): 127.
Evans, Edwin. Stravinsky.  The Firebird and Petrushka. Oxford and London:
Oxford University Press, 1933.
Joseph, Charles M. "Diaghilev and Stravinsky." The Ballets Russes and Its
World, ed. Lynn Garafola and Nancy Van Norman Baer. New Haven,
CT, and London: Yale University Press, 1999. ill. p. 210.
Meyer, Felix, ed. Settling New Scores. Music Manuscripts from the Paul Sacher
Foundation. Mainz: Schott, 1998. p. 72, no. 25.
Sotheby's.   Continental Printed  Books,   Manuscripts  and Music.   London,   3-4
December 1992, lot 634.
SAc. pi. on p. 38.
SP&D. p. 527, n. 169 on p. 613.
SP&RK. vol. 2. pp. 105, 227 (trans. Stanislav Shvabrin and Michael Green),
254-5, 273, n. 6 on p. 276, p. 669, no. 120.
SSC. vol. 1. n. 23 on pp. 11-12, pp. 26-7, n. 30 on p. 66, pp. 75, 138, 391-2,
app. C; vol. 2. pp. 116, 120, pi. [15] btn pp. 146-7.
Taruskin, Richard. Stravinsky and the Russian Traditions. Berkeley and Los
Angeles, CA: University of California Press, 1996. n. 76 on p. 587, p. 589,
Ex. 9.7a on p. 592.
Walsh, Stephen. Stravinsky, A Creative Spring: Russia and France, 1882-1934.
New York, NY: Alfred A. Knopf, 1999. pp. 224, 283.
(1914). Autograph pre-stamped Swiss postcard, 9.0 x 14.0 cm, in
French in black ink on both sides, Salvan (Valois), Switzerland 27
V11914 [sic] (27 June 1914), but postmarked Salvan Valois 28 VII
14 1[a.m.] and thus written on 27 July 1914, to Alfredo Casella
(1883-1947):
Al Signor
Alfredo Casella
via Torino-Pont Canavese
per Cuorgne
a Prascorsano
Italia.
38 I Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 "\
[reverse]
Pension Bel-Air. Salvan (Valais)
Suisse 19 27/VI 14
Mon cher Alfredo,
Ne pensez pas que je vous oublie! Je suis comme toujours tres
occupe. Je compose a ce moment ci des pieces pour Quattuor a
cordes, que le celebre quattuor de Flonzalay va jouer cet hiver
a beaucoup d'endroits de l'Europe et Amerique. Quant a un
morceau de piano — je le ferai volontier en vous le dediant des
que rinspiration viendra. Pour le moment j'ai termine 3 pieces
de caractere absolument different. D'ailleurs ce recueil portera
le nom de "Variete" et sera le premier recueil de musique de
chambre. Je m'interesse a vos pieces de piano et je viens de
jouer votre morceau de piano et Flute. Cela est un heureux
travaile
[directly below: two bars of music on one three-stave system
marked "Fl." and "Piano" copied from the 5th and 4th bars,
and marked "etc," from the close of the Sicilienne of Casella's
Sicilienne et burlesque, op. 23 for flute and piano (Paris: Evette
et Schaeffer, 1914), but lacking the piano's sustained octave
low Cs]
[continuation on address side] et je vous en remercie pour le
plaisir que ca me fait. Egalement je vous remercie pour la
direction de L'oiseau de feu chez Mengelberg et l'etude
harmonique du "Sacre" et du "Rossignol"[.] Je suis fort
heureux que c'est vous qui le ferez! Ne preferiez vous pas peut
etre de dinger Petrouchka? Quant a moi je dirige a Londres en
Avril chez Wood la 2= moitie de son concert consacre a votre
aimable serviteur.
Igor Strawinsky
[postscript upside down at top] Mille affections de nous deux a
vous deux. IStraw.
Annotated Catalogue of the H. Colin Slim Stravinsky Collection
39
 Alfredo Casella Salvan (Valois)
Prascorsano 27 July [sic] 1914
My dear Alfredo:
Don't think that I'm forgetting you! I am, as always, very busy.
Right now, I am composing some pieces for string quartet which the
celebrated Flonzaley Quartet will play this winter in many places in
Europe and America. As for a piano piece, I shall gladly write one,
dedicating it to you, as soon as inspiration comes. Just now I have
finished three pieces of an entirely different kind. Moreover, this
group will be titled Variety and will be my first collection of chamber
music. I am interested in your piano pieces and I just played your
piece for piano and flute. It is a delightful work and I thank you for
the pleasure it gives me. I also thank you for conducting the Firebird
with Mengelberg's [orchestra] and for your harmonic study of The
Rite of Spring and of The Nightingale. I am mightily glad that it is you
who are doing these things! Do you not perhaps [also] want to
conduct Petrushka! As for me, I shall conduct in London in April [Sir
Henry] Wood's [orchestra], the second half of his concert devoted to
your obliging servantf,] Igor Strawinsky
p.s. A thousand affectionate greetings from us two to you two.
Acquisition: H.  Colin Slim on 11 December 1997 from La Scala
Autographs.
Provenance: An unidentified dealer/collector in 1997 in England.
Commentary
The postcard is unpublished. Stravinsky was living with his family at the
pension Bel-Air in Salvan, Switzerland.
Although much later, Stravinsky failed to recall it, Alfredo Casella
first met Stravinsky on 12 November 1907 in St. Petersburg at an
orchestral rehearsal led by Alexander Siloti. Requesting Casella's recent
orchestration of Balakirev's Islamey for study, he returned it after two
hours, giving Casella his name. Meaning nothing to him, Casella forgot
the name until, according to Casella, Stravinsky reminded him four
years later, after the first performance of Petrushka, of their previous
meeting.
40 I Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 Entry 7 responds to Casella's letter from Prascorsano of 20 July
1914 (in the Paul Sacher Foundation at Basle). Clearly he had neglected
writing for some time, for on 5 February Maurice Delage had urged
him to write to Casella. Six days later Pierre Monteux wrote Stravinsky
inviting him to play the important piano part in Petrushka at its concert
premiere in Paris on 1 March. Owing to his wife's poor health, he
declined. Casella reviewed Monteux's concert. Thus, Stravinsky's
query "Ne preferiez vous pas peut etre de diriger Petrouchka!" may refer
to an ambition Casella already harboured, one fulfilled by conducting
the Italian premiere at Rome in February the following year and then
leading it at Paris that June. (See entries 8 and 9.)
The three compositions for strings by Stravinsky, finished 26 April,
2 July, and 25 July 1914, were his Three Pieces for String Quartet,
prompted by a commission from the Flonzaley Quartet negotiated by
Ernest Ansermet. (The first of these was originally a movement for
piano four-hands.) On 26 July 1914, he described them as "three pieces
from my new chamber-music album, which will consist of five pieces
in all" (SSC 1, p. 407 n. 5). The Flonzaley Quartet played it the following
year in Chicago on 8 November, the work apparendy having received
a private performance at Geneva earlier in the year. Although Casella
reported that they were to be premiered in Paris on 19 May 1915, the
first performance there was probably six days earlier.
The promised piano piece for Casella was the "Marche", one of
three such four-handed works. Dated 19 December 1914, the "Marche"
manuscript is headed "A Alfredo Casella!" and decorated with exploding cannons, referring to the First World War. Stravinsky did not
immediately send the "Marche" to Casella who asked in postcards of 13
July and 3 September 1915 about "my piano piece." Although it had
not arrived by 4 March 1917, Stravinsky dedicated it to him when it was
published that year, seemingly acknowledged by Casella on 10 July.
What Stravinsky calls Variete in Entry 7 is the above-mentioned
Three Pieces for String Quartet, completed just two days earlier. The
second piece of the three is an homage to the English clown and juggler,
Little Tich (Harry Relph, 1868-1928), whom Stravinsky had seen in a
London music hall in June 1914.
Stravinsky copied the musical excerpt by Casella on staves ruled by
his special bronze stylus (rastrum). Inventing this device around 1911,
Annotated Catalogue of the H. Colin Slim Stravinsky Collection I 41
 he used it as early as his sketches that summer for Le Sacre du Printemps.
(See also entries 48-60, 62, 71, 76, 106, and 115.)
Casella's letter of 20 July informs him that he will conduct The
Firebird Suite at Amsterdam on 15 October 1914. He also tells Stravinsky
that he has promised to write for the coming October issue of the Monde
Musical an "etude tres detaille" about Le Sacre and Le Rossignol, assuring
him that he will send his essay before publication. In the event, Casella's
study did not appear in France, but in Italy. On 17 March 1915 he
requested his Roman editor to send Stravinsky a copy of his article,
"Igor Strawinsky e la sua arte," La riforma musicale 3 (7-14 March 1915).
Although hardly an "etude harmonique," this essay, which also
discusses Petrushka, duly arrived and is now in the Paul Sacher Foundation.
For his London concert in April 1915 with Sir Henry Wood and
his Queen's Hall orchestra, Stravinsky wrote to his publisher, B.P.
Jurgenson, on 24 July 1914, that he would be conducting excerpts from
The Firebird and the Scherzo Fantastique. The concert never took place.
His public debut as conductor of his own music had occurred at
Montreux on 16 April 1914, his Paris debut in a similar capacity only on
29 December 1915. Apropos the Queen's Hall orchestra, the Musical
Times noted in June 1915 that "the War also made it impossible to
procure foreign novelties, even if it had been considered to introduce
them here at such a moment."
Correspondence between him and Casella is larger than Craft's
selection might initially suggest. In addition to entries 7-9, at least seven
more communications were still in private hands in 1972 and one from
1913 was auctioned in 1990. Craft's opinion that "Stravinsky seems
never to have had a good word for Casella" perhaps warrants
modification, not only by these materials — above all the encomia in
entries 7 and 8 - but also by an inscribed photograph: "A Alfredo
Casella en souvenir d'une amitie de plus de vingt ans. Qu'elle dure au
moins autant / Igor Strawinsky / Paris le 30 Janv. / 1934" [To Alfredo
Casella in memory of a friendship of more than twenty years. May it last
at least as long again. Paris 30 January 1934].
Works Consulted
Calabretto, Roberto, ed. Alfredo Casella,  Gli anni di Parigi. Dai documenti.
Florence: L.S. Olschki, 1997. p. 215, n. 27 on p. 350.
42 I Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 Casella, Alfredo. Music in My Time, trans. Spencer Norton. Norman, OK:
University of Oklahoma Press, 1955. pp. 78, 99.
Colajanni, Anna Pita, F.R. Conti, M. de Santis, et al., ed. Catalogo critico del
fondo Alfredo Casella, Florence: L.S. Olschki, 1992. vol. 1. p. 153, letter
805; vol. 2. p. 49, item 58.
Gordon, Tom. "Streichquartett-Komponist 'wider Willen' " in Igor Strawinsky:
Trois Pieces pour quatuor a cordes: Skizzen, Fassungen, Dokumente, Essays:
Festgabefiir Albi Rosenthal, ed. Hermann Danuser, Felix Meyer, andUlricfi
Mosch. Basle and Winterthur: Amadeus, 1994. pp. 34-8.
Meyer, Felix, ed. Settling New Scores. Music Manuscripts from the Paul Sacher
Foundation. Mainz: Schott, 1998. p. 73, no. 28.
Musical Times 56 (1 June 1915): p. 340.
Nicolodi, Fiamma. "Casella e la musica di Stravinsky in Italia. Contributo a
un'indagine sul neoclassicismo." Chigiana 29-30 (1972-73): 48-51 (trans.
Leonard W. Johnson).
Sotheby's, Fine Printed and Manuscript Music. London: 21 November 1990, lot
295.
SConv. p. 38.
SP&D. pp. 58-9, 126-9, 176, n. 213 on p. 617.
SP&RK vol. 2. pp. 441 and 748 (index: Casella).
SSC. vol. 1. pp. 130-1, n. 234 on p. 203, n. 5 on p. 407, p. 413; vol. 2. pi. on
p. 21, pp. 125-34, 225.
Strawinsky. Sein Nachlass. Sein Bild [with] Katalog der ausgestellten Bildnisse und
Entwurfe fiir die Ausstattung seiner Buhnenwerke. Basle: Kunstmuseum and
Paul Sacher Stiftung, 1984. colour pi. on p. 62.
Tappolet, Claude, ed. Correspondance Ernest Ansermet-Igor Strawinsky (1914-
1961). Geneva: Georg, 1990-92. vol. 1. pp. 42, no. 38, 44, no. 40 (trans.
H. Colin Slim).
Taruskin, Richard. Stravinsky and the Russian Traditions. Berkeley and Los
Angeles, CA: University of California Press, 1996. n. b on p. 1446, pp.
1465-73.
-. "Stravinsky and the Subhuman: Notes on Svadebka" in Defining Russia
Musically. Princeton, NJ: Princeton University Press, 1997. pp. 414-24.
Walsh, Stephen. Stravinsky, A Creative Spring: Russia and France, 1882-1934.
New York, NY: Alfred A. Knopf, 1999. pp. 225, 232, 235-42, 250, n. 44
on p. 609.
Yastrebstev, Vasiliy Vasilyevich. Reminiscences [abridged] of Rimsky-Korsakov.
ed. and trans. Florence Jonas. New York, NY: Columbia University Press,
1985. p. 419.
Annotated Catalogue of the H. Colin Slim Stravinsky Collection I 43
 8 (1915). Autograph pre-stamped Italian postcard, 8.9 x 13.9 cm,
with messages by Sergei Diaghilev, Alfredo Casella, Mimi [Marya
Freund], and Stravinsky in French in various black inks on both
sides, postmarked Rome 9-10/15.11/1915 [15 February 1915, 9-10
a.m.], countermarked Paris 17 February 1915, addressed by
Casella, Sunday evening [14 February 1915], to his wife, Madame
[Helene] Casella in Paris:
M^ Casella
12, Avenue de
la G^ Armee
Paris
Toutes mes felicitations de la grande victoire italo-russe[.]
S. Diaghilew.
[reverse]
Dimanche soir -
Le concert est admirablement passe. L'execution magnifique,
e Mimi* merveilleuse. Nous dinons avec Igor et Diaghilew.
Baisers, A.
*merci - Mimi. Si contente d'avoir ete la premiere a chanter
la Notte ici! -
Tout cela est parfaitement exacte et plus que cela	
"Petrouchka", particulierement etait admirablement bien
interprets et la Notta de notre cher Alfred avait beaucoup
impressione le publique par sa richesse sonore[.] Tres
cordialement
a vous Igor Strawinsky
44 I Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 Madame Casella Rome
Paris [14 February 1915]
All my congratulations on the great Italo-Russian victory.
S. Diaghilev.
Sunday evening. The concert went extremely well. The performance magnificent, and Mimi* marvellous. We are dining with Igor
and Diaghilev. Kisses, Apfredo].
*Thanks - Mimi. So pleased to have been the first to sing La Notte
here! [Marya Freund]
All this is completely accurate and even more than that ... Petrushka,
especially, was marvellously well interpreted and La Notte by our
dear Alfredo very much impressed the public by its rich sonorities.
Very cordially to you,
Igor Strawinsky
Acquisition: H. Colin Slim on 11 December 1997 from La Scala
Autographs.
Provenance: Same as Entry 7.
Commentary
The postcard is unpublished. Leaving Geneva on 7 February 1915,
Stravinsky was in Rome from the 8th to the 17th, returning to
Switzerland the next day. The addressee was the first wife, Helene (nee
Kahn), pianist and singer whom Casella married in 1907 and separated
from in 1919, their union being annulled two years later.
Correspondence between Stravinsky and Casella about obtaining
the score and parts for Petrushka for the Augusteo concert on 14
February is in a group of postcards from 26 December 1914 until 29
January 1915. Conducted by Casella, the program on 14 February was:
Suite francaise by Jean Roger-Ducasse (1873-1954); Hymne a la justice by
Alberic Magnard (1865-1914); Petrushka; Casella's Notte di maggio
(1913); and the second suite from Daphnis et Chloe by Maurice Ravel
(1875-1937). The glowing praise by Stravinsky of Casella's ability
contrasts sharply with the St. Petersburg newspaper review in New
Annotated Catalogue of the H. Colin Slim Stravinsky Collection I 45
 Russian Word, 15 February 1915: "In spite of the undistinguished
performance and the bad conducting by Casella, Stravinsky's music
captivated the Roman audience, which gave the composer, present at
the performance, a noisy ovation."
Just before the war, when he was in London for performances of Le
Rossignol, Stravinsky had met the painter Filippo Tomasso Marinetti
and the composer Luigi Russolo at a "Grand Futurist Concert of
Noises" held in the Coliseum on 15 June. The day before the February
14 concert at Rome in 1915, the sculptor Umberto Boccioni (1882-
1916) had been invited to a tea given by Diaghilev at the Grand Hotel
to meet him: "He wants to meet me and do something with futurist...
color, dance, and costume" (Walsh, p. 249). At this tea he and Casella
played four-hands the Three Pieces for string quartet. Following the
performance of Petrushka on the 14th, Marinetti shouted from his loge:
"Abasso Wagner, viva Stravinsky!" (SP&D, p. 152). On the return trip
to Switzerland, he wrote his mother: "All of the Italian Futurists were
there in person and greeted me noisily [;] Marinetti came especially from
Milan for this" (SP&PJC, vol. 2, p. 310).
The program of the 14 February concert reveals that "Mimi" is the
singer, Marya Freund (1876-1966). Casella had known her since at
least 1911, dedicated Notte di Maggio to her, and had premiered it with
her at the Concerts Colonne in Paris on 29 March 1914. She and
Casella had just given a concert in Turin on 21 December 1914 and
had accepted another date together at Venice the following year.
More-over, Stravinsky had accompanied her in some of his songs at
Rome in the week preceding the Augusteo concert. (For more on her,
see Entry 10.)
Works Consulted
Buckle, Richard. Diaghilev. New York, NY: Atheneum, 1979. p. 288, n. 17
on p. 563.
Casella, Alfredo. Music in My Time, trans. Spencer Norton. Norman, OK:
University of Oklahoma Press, 1955. pp. 119-20, 123-4.
Colajanni, Anna Pita, et al., ed.  Catalogo critico del fondo Alfredo Casella,
Florence: L.S. Olschki, 1992. vol. 1. p. 194 letters 1138-39, p. 648 letters
4738-41; vol. 2. p. 218 P.13.
Garafola, Lynn. Diaghilev's Ballets Russes. New York, and Oxford: Oxford
University Press, 1989. p. 77.
46 I Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 Nicolodi, Fiamma. "Casella e la musica di Stravinsky in Italia. Contributo a
un'indagine sul neoclassicismo." Chigiana 29-30 (1972-73): 50-1 (trans.
Leonard W. Johnson).
Regia Accademia di Santa Cecilia [Rome], Annuario dal 1° luglio 1914 al 30 giugno
,     1915. 330-2 (1915): 112.
SP&D. p. 152, n. 201 on p. 616.
SP&RK. vol. 2. n. 2 on p. 306, p. 310 (both trans. Stanislav Shvabrin and
Michael Green).
SSC. vol. 2. n. 25 on pp. 17-18.
Walsh, Stephen. Stravinsky, A Creative Spring: Russia and France, 1882-1934.
New York, NY: Alfred A. Knopf, 1999. pp. 248-9.
(1915). Autograph Swiss picture postcard, 9.0 x 13.8 cm, in French
in black ink, printed on front: "A. Lenzi edit. phot. Chateau d'Oex"
and on reverse: "A. L. 148. Chateaux d'Oex - Vieux chalet" (also
depicting at lower left the "Pension Richemont"), postmarked
Clarens 20.III.15.XII [20 March 1915, 12 noon], to Alfredo Casella
in Paris:
Monsieur Alfredo Casella
12 Avenue de la Grande Armee
A-bas les Boches! Paris Vive la France!
Viex:
Suis ravi que vous jouer "Petrouchka" [;] dites mille choses a
Massager de ma part et donnez moi de vos nouvelles ainsi que
celles de "Petrouchka" apres son execution. Je suis encore a
Clarens - je dis encore puisque je devais aller a Milan pour voir
Diaghilew, Ricordi et encore des gents. J'attend toujours son
telegramme pour y aller. Des qu'il y aura quelque-chose
d'interressant je vous ecrirai. Je vous embrasse
votre viex Igor Strawinsky
[postscript upside down at top] Ou est Ravel? Si il est toujours
a Paris - qu'il m'ecrive un mot!
Annotated Catalogue of the H. Colin Slim Stravinsky Collection I 47
 [second postscript top right of photo] Et ma lettre a vous et a
1'orchestre de L'Augusteum etait-elle publie? - je n'en ai pas eu
de novelles ...
[third postscript top left of picture] Mille chos a votre chere
femme IStry
[fourth postscript below picture, upside down] Si je vais a Milan
- j'y vais pour un, deux jours tout au plus et revien a Montreux
avec Diaghilew.
Alfredo Casella Clarens
Paris 20 March 1915
Down with Germans! Long Live France!
Old pal!
I'm delighted that you are to conduct Petrushka; say a thousand nice
things to [Andre] Messager from me and give me your news as well
as news about Petrushka after its performance. I'm still at Clarens — I
say still because I'm supposed to go to Milan to see Diaghilev, [Tito]
Ricordi, and other people. I'm still "waiting for his telegram in order
to go there. As soon as something interesting turns up, I'll write you.
I embrace you.
Your old pal Igor Strawinsky
p.s. Where is Ravel? If he is still in Paris, have him drop me a line.
p.p.s. And my letter to you and to the Augusteo orchestra, has it
been published? I have had no news about it...
p.p.p.s. All the best to your dear wife, I Str[awinsk]y
p.p.p.p.s. If I go to Milan, I'll go there for one or two days at most
and return to Montreux with Diaghilev.
Acquisition: H.  Colin Slim on 11 December 1997 from La Scala
Autographs.
Provenance: Same as Entry 7.
Commentary
The postcard is unpublished. Apparendy the Stravinsky letter to Casella
and the Augusteo  orchestra mentioned in the postscript has not
48 I Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 survived. Entry 9 is probably the communication hoped for by Casella
who noted on 13 July 1915: "You have not written since March."
Stravinsky and his family had moved at the beginning of January to the
pension Hotel Victoria in Chateau d'Oex (east of Montreux), but
returned to Clarens in March. Evident enough from Stravinsky's
inscription to the left of the address, his dislike of Germans had already
manifested itself in a letter of 20 September 1914 to Leon Bakst: "My
hatred of Germans grows not by the day but by the hour," and soon
resulted in his piano piece, Souvenir d'une marche boche, dated 1
September 1915.
A force in French musical life c. 1904-15 and general secretary
1911-14 of the Societe Independante Musicale, Casella had already
conducted Petrushka in Rome and was to lead it in Paris at the Odeon
on 27 June 1915. At this time the composer-conductor Andre Messager
(1853-1929) led the Societe du Concerts du Conservatoire.
After many telegrams from Diaghilev, on 22, 28, 29 March and 1
April 1915, Stravinsky did travel briefly to Milan on 2 April, meeting
there Sergei Prokofiev (1891-1953), Diaghilev, Casella, and the publisher,
Tito Ricordi (1865-1933; retired in 1919). Asked by Stravinsky to
introduce him to Ricordi, Casella did so, Stravinsky offering his Three
Easy Pieces for piano duet (1914-15). Publisher and composer could not
come to terms because of the high price Stravinsky wanted, despite a
promised intervention by Diaghilev in March and additional queries
from Casella in May.
Still other "gents" who awaited him at Milan in April included
members of the "Movimento Futurista." Marinetti organized three
evenings of performances honouring him and Diaghilev, where,
among others there participated Francesco Pratella, Carlo Carra,
Boccioni, Leonide Massine, Prokofiev, Buzzi, both Russolo brothers,
the director of La Scala, and Stravinsky himself; Francesco Cangiullo
sketched the composer at least twice. As noted, he returned to
Switzerland by himself. Diaghilev did not arrive in Montreux until 25
April.
Ravel had written from Paris on 2 January 1915, and Stravinsky
was disappointed by the news that he was not coming there and
doubting that he would be visiting him in Switzerland at the end of
January. Although repeatedly trying to enlist during 1915, Ravel did
not go to the front until the following January. (See also Entry 11.)
Annotated Catalogue of the H. Colin Slim Stravinsky Collection I 49
 10
Works Consulted
Lesure, Francois. Igor Stravinsky. La carriere europeenne. Paris: Musee d'Art
Moderne, 1980. pp. 54-7.
Nicolodi, Fiamma. "Casella e la musica di Stravinsky in Italia. Contributo a
un'indagine sul neoclassicismo."  Chigiana 29-30 (1972-73): 54 (trans.
Leonard W. Johnson).
Pratella, F. Balilla. Autobiogrqfia. Milan: Pan Editrice, 1971. pp. 133-5.
SConv. p. 72.
SD. p. 41.
SD&D. p. 72.
SP&D. p. 151, n. 122 on p. 610, n. 250 on p. 621, n. 1 on p. 661.
SP&RK. vol. 2. p. 290 (trans. Stanislav Shvabrin and Michael Green), 755
(index: Messager).
SSC. vol. 2. pp. 20-1, 87, 126-7; vol. 3. p. 20.
Walsh, Stephen. Stravinsky, A Creative Spring: Russia and France, 1882-1934.
New York, NY: Alfred A. Knopf, 1999. pp. 247-9, 252.
(1915). Autograph Swiss picture postcard, 9.0 x 13.5 cm, in French
in black ink. [entire address side printed in red] CARTE POSTALE
[at left] A. Zoller, Geneve. No. 123. [and at right of a dividing red
line] Adresse, and postmarked: Morges/25 V115.6 [25 June 1915,
6 a.m.]. Its reverse side depicts the "Villa Rogivue. MORGES."
[avenue des Paquis]. It is addressed in ink to Marya Freund (1876-
1966):
Madame Maria Freund
2, Le Borromees
Lausanne
(Montriond)
Cher madame
L'unique raison de mon silence est que je suis completement
absorbe par le travail. J'espere quand meme vous voir avant
votre depart. Ou allez vous?
Tres respectieusement et cordialement a vous
Igor Strawinsky
50 I Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 Madame Marya Freund Morges
Lausanne 25 June 1915
Dear Madame:
The sole reason for my silence is that I am completely absorbed by
work. Even so, I hope to see you before your departure. Where are
you going?
Very respectfully and cordially yours,
Igor Strawinsky
Acquisition: H. Colin Slim in New York on 17 June 1977 from
Wurlitzer-Bruck.
Provenance: Doda Conrad (1905- ), son of Marya Freund.
Commentary
The postcard, unpublished, may be the earliest known communication
by Stravinsky from the Villa Rogivue in Morges, Switzerland, and
perhaps the earliest surviving one to Marya Freund. It and other notices
of her in this collection (entries 8 and 102), and Stravinsky's letters to
Vera Janacopulos (entries 23 and 26-7), effectively challenge Austin's
and Pasler's views of "Stravinsky's apparent lack of substantial
collaboration with singers."
Photographs show Stravinsky and his family at the Villa Rogivue
(built 1880). For slighdy more than two years, it was to be their first
stable home since leaving Russia. Evidence about precisely when the
family moved to the Rogivue is conflicting. Theodore "Fedik" (1907-
89) signed two watercolours of his father: "Morges 1915," recalling
their interiors as depicting this villa, and also stated that the family rented
the villa from the spring of 1915. In July 1915 and in April 1916
Stravinsky sent four postcards identical to Entry 10 from Morges to his
friend in Paris, Prince Vladimir Argoutinsky Dolgoroukov (1874-
1941). On the earliest of the four, 15 July 1915, and on the second one,
23 July, he circled an upper rear window on the right side of the villa
as "votre chambre." The Swiss writer Charles-Ferdinand Ramuz
(1878-1947) sent him a letter there dated 9 August 1915; and Fernand
Auberjonois, son of the painter Rene Auberjonois (1872-1957), also
located him there the same year.
Annotated Catalogue of the H. Colin Slim Stravinsky Collection I 51
 Walsh hypothesizes that Stravinsky rented the Rogivue and, while
renovating it, was still living at the Villa Les Sapins - for he believes that
Stravinsky's letter to Alexander Siloti of 15 July was sent from Les
Sapins, rather than from the Rogivue. The family certainly resided in
the latter villa by the summer of 1915, although Walsh opts for "by
September." Although at first glance Entry 10 - and the other four
postcards — seems to depict him and his two sons, Theodore and
Svyatoslav Soulima "Svetik" (1910-94), in the villa's garden with his
first wife, Catherine, standing above on its balcony, closer inspection
shows the figures to be too small for certain identification.
In 1928 Ramuz recalled the first Stravinsky residence in Morges as
"the turreted villa with the slate roof... in the outskirts" and that the
composer had decorated his study with wallpaper "of an extraordinary
blue, a washing-powder blue." Stravinsky and Ernst Ansermet were
photographed in this study. He himself inscribed a copy of this photograph: "Moi avec Ansermet a Morges (Villa Rogivue) dans ma chambre
bleu en 1915 ou en 1916" (Craft, Catalog). Craft identifies this as the
Villa La Pervenche in Clarens, to which the family moved in December
1914, and again lived in during the following April-May. According to
Ansermet, by July 1915, the Stravinskys had moved to the Villa Les Sapins
in Morges. Two friends visiting him in Switzerland in 1915-16, C. Stanley
Wise, and the Princesse de Polignac (1865-1945) — the latter with a
charming account of a dinner given by the Stravinskys at the Villa Rogivue
on 5 or 6 February 1916 - offer their impressions of him at this period.
Marya Freund, mezzo soprano, made her Berlin debut in 1903 and
her Parisian one in 1910. A letter from Catherine Stravinsky to the
composer's mother early in January 1915 from Clarens reveals that
Stravinsky had known her previously in Paris. Freund was rehearsing
with him in Clarens his Two Songs (1908), Two Poems ofBalmont (1911),
Three Japanese Lyrics and would soon rehearse Pribaoutki (1914).
Catherine believed, however, that the Japaense Lyrics were "not in the
least suited to her."
Obviously, Freund had recently chastised Stravinsky for not
writing. But "mon silence" in Entry 10 could not have exceeded four
months. On 13 (or 15) February 1915, he had accompanied her in
Rome in the first two of his Japanese Lyrics - and probably the other
works he had been rehearsing with her at Clarens (see Entry 8). In a
52 I Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 postcard of 22 November that year, he complimented her on her
singing: "votre admirable voix slavel" His "travail" in June mentioned in
Entry 10 included work on the Cat's Cradle Songs (1915), Les Noces
(1923), and possibly Renard (1916).
Having heard Schoenberg's Pierrot Lunaire at Berlin on 8 December
1912, Stravinsky was also to hear Freund sing its French premiere with
the text translated into its original French at Paris, early in 1922. Six
months later, on 15 August, he called her "la reine des cantatrices" and
was again to praise her work in Mavra (1922) in Frankfurt in November
1925. She made her American debut in Chicago on 3 December 1923
and, on 25-26 of the ensuing January, sang Monteverdi and Mahler
with the Boston Symphony under Pierre Monteux.
Stravinsky's question in Entry 10 about Freund's departure may
refer to her forthcoming trip to Breslau c. October 1915 where she
would take and leave behind two of his Pribaoutki manuscripts. (She
later signed a copy of the 1917 first edition.) Just before and during the
first years of the First World War, Alfredo Casella often accompanied
her. He also reviewed her two concerts at Paris in May 1913 and 1914.
Ravel, another close friend, accompanied her in a recital of his own
music at Vienna in October 1920 and, in a letter of 18 December 1925
to Alexandre Tansman (1897-1986), another future biographer of
Stravinsky, he wrote: "Whether or not Marya Freund sings Schoenberg
better than Debussy is a matter of personal taste." Freund was again to
sing Pierrot Lunaire under Schoenberg in Paris on 8 and 15 December
1927. In addition to the premiere of Satie's Socrate in June 1920 and her
French premieres in Paris during the 1920s of Schoenberg's Pierrot
Lunaire, Das Buch der hdngende Garten, and his Second String Quartet,
Freund sang works by Tansman, Szymanowski, and De Falla and, in
May 1930, the European premiere of Offrandes by Varese. She was
frequently reviewed by the Parisian press, which, for example,
announced in mid-October 1934 her series often lecture-recitals about
singing Debussy.
A decade after Entry 10, Cole Porter (1891-1964) wrote from
Venice to his then-lover, Boris Kochno (1904-90) that he had just
heard Freund sing one evening in 1925: "une soiree charmante ce soir
- une vieille chanteuse qui a choisi toutes les chansons les plus tristes du
monde - Madame [Marya] Freund."
Annotated Catalogue of the H. Colin Slim Stravinsky Collection I 53
 A lifelong friend of Stravinsky, Freund attended the premiere at
Venice of The Rake's Progress on 11 September 1951. While in London
on 11 December 1956, he noted in his "Medical Diaries" her address
c/o her son, Doda Conrad. For a letter to Conrad in 1957 from him
(masquerading as his son-in-law secretary, Andre Marion), see Entry
102.
Works Consulted
Auberjonois, Fernand. "The Swiss Years of Igor Stravinsky: 1914-1920."
ADAM International Review 39 (1973-74): 76.
Austin,   William.   "Stravinsky's   'Fortunate   Continuities'   and   'Legitimate
Accidents,' 1882-1982." Stravinsky Retrospectives, ed. Ethan Haimo and
Paul Johnson. Lincoln, NB, and London: University of Nebraska Press,
1987. p. 13.
Boston Symphony Program Notes. 25-26 January 1924. pp. 877, 902.
Buckle, Richard. Diaghilev. New York, NY: Atheneum, 1979. p. 288.
Colajanni, Anna Rita, et al., ed.   Catalogo critico del fondo Alfredo Casella.
Florence: L.S. Olschki, 1992. vol. 2. pp. 43, 47, items S. 6 and 46.
Cox, Lisa. Catalogue B/6 Winter Spring 1995. Exeter, 1995. no. 477.
Craft, Robert. "Catalog of the Library of Robert Craft." Typescript: Library
of Congress, Music Division. XII, Photographs: Stravinsky with others, p.
187, no. 3.
—. Stravinsky: Glimpses of a Life. London: Lime Tree, 1992; New York, NY: St.
Martin's Press, 1993. pp. 340-1.
-. Stravinsky: Chronicle of a Friendship. 2nd ed. Nashville, TN, and London:
Vanderbilt University Press, 1994. p. 62.
Goubault, Christian. Igor Stravinsky. Paris: H. Champion, 1991. p. 36.
La Revue Musicale 3-4 (1922-23); 7 (October 1926): 252; 11 (June 1930): 540.
Le Figaro. 14 October 1934, 6.
Lesure , Francois. Igor Stravinsky. La carriere europeenne. Paris: Musee d'Art
Moderne, 1980. pp. 45, nos. 132-3, 137 (1915); 111 (June 1915).
"Memoirs of the late Princesse Edmond de Polignac." Horizon 12 (1945):
134-5.
Milhaud, Darius. An Autobiography. Notes without Music, trans. Donald Evans.
New York, NY: Alfred A. Knopf, 1953. pi. facing p. 148.
Morelli,  Giovanni, ed. Alfredo  Casella negli anni di apprendistato a Parigi.
Florence: L.S. Olschki, 1994. pp. 9, 149, 159.
Morton, Lawrence. Papers. Box 9. Special Collections 1522. Charles E.
Young Research Library. University of California at Los Angeles.
54 I Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 Nicolodi, Fiamma. "Falla e l'ltalia." Manuel de Falla tra la Spagna e VEuropa. ed.
Paolo Pinamonti. Florence: L.S. Olschki, 1989. pp. 240, 243.
Orenstein, Arbie, ed. A Ravel Reader. New York, NY: Columbia University
Press, 1990. n. 2 on p. 198, n. 3 on p. 205, p. 266 letter 258.
Pasler, Jann.   "Introduction:   Issues  in  Stravinsky  Research."   Confronting
Stravinsky: Man, Musician, and Modernist, ed. Jann Pasler. Berkeley and Los
Angeles, CA, and London: University of California Press, 1986. n. 12 on
p. xviii (Austin: 1982-84).
Ramuz,  Charles-Ferdinand.   Souvenirs sur Igor Stravinsky.  Paris:  Nouvelle
Revue Francaise, 1929. pp. 36-7 (trans. Leonard W. Johnson).
Schaeffher, Andre. Strawinsky. Paris: Les Editions Rieder, 1931. pi. xxxiii,
no. 2.
Sotheby's. Collection Boris Kochno. Monaco, 11-12 October 1991, lot 384.
-. Fine Music and Continental Manuscripts. London, 15-16 May 1997, lot 306.
-. Fine Printed and Manuscript Music. London, 17 May 1990, lot 270.
SAc. p. 47, pis. on pp. 48-50.
SC&I. pis. [52], [58], and [60].
SE&D. 1962: p. 79; 1981: p. 68.
SP&D. pp. 136-8, 273: poster (recte: 1921), nn. 215 and 227 on pp. 617-18, n.
275 on p. 623.
SP&RK. vol. 2. pp. 302-3 (trans. Stanislav Shvabrin and Michael Green),
333-5.
SSC. vol. 1. p. 160, n. 181 on p. 186, pi. [8] btn pp. 202-3; vol. 3. p. 28.
SScrbk. p. 159 (medical diaries).
Stravinsky, Igor. Four unpublished postcards (1915-16) to Prince Argoutinsky
Dolgoroukov, Theatre Collection, Harvard University, Cambridge. [See
also Sotheby's 1997 sale, lot 306.]
Strawinsky. Sein Nachlass. Sein Bild [with] Katalog der ausgestellten Bildnisse und
Entwiirfe fur die Ausstattung seiner Buhnenwerke. Basle: Kunstmuseum and
Paul Sacher Stiftung, 1984. item 255.
Tappolet, Claude, ed. Correspondance Ernest Ansermet-Igor Strawinsky (1914-
1961). Geneva: Georg, 1990-92. vol. 1. p. 34, no. 31; vol. 2. p. 21, no.
192.
Taruskin, Richard. Stravinsky and the Russian Traditions. Berkeley and Los
Angeles, CA: University of California Press, 1996. pp. 1138-40, table 2.
Walsh, Stephen. Stravinsky, A Creative Spring: Russia and France, 1882-1934.
New York, NY: Alfred A. Knopf, 1999. p. 253, n. 1 on p. 650.
Wiener, Jean. Allegro appassionato. Paris: P. Belfond, 1978. pp. 48, 50-1.
Wise, C. Stanley. "Impressions of Igor Strawinsky." The Musical Quarterly 2
(1916): 249-56.
Annotated Catalogue of the H. Colin Slim Stravinsky Collection I 55
 11
(1916). Autograph letter, 27.0 x 21.0 cm, folded four times, in
French in black ink, 2 May 1916, to Jacques Rouche (1862-1957):
Cher Monsieur Rouche,
J'espere que vous ne m'envoudrez pas si je vous dis que je
refuse a tout le monde toute collaboration quelconque au livret,
si beau soit-il. C'est trop long a expliquer dans une lettre;
j'espere le faire quand je vous verrai ce qui aura lieu
probablement au courant de ce moi (vers le milieu) [.]
Je vous envoie, cher Monsieur Rouche [crossed out in ink]
totrs mes souvenirs les meilleurs
Votre devoue
Igor Strawinsky
Je vous prie de presenter mes hommages respectieux a Madame
Rouche.
Morges
2 Mai
1916
[postscript top left] Avez vous recu le materiel de mon
"Scherzo fantastique"? La maison Foeutich Freres attend de nos
nouvelles.
[second postscript top right] Je ne vous envoie pas pour poste le
livret de Me. Colette car cela sera plus sur que je le prenne
avec moi, quand j'irai a Paris[.]
Jacques Rouche Morges
Paris 2 May 1916
Dear Mr. Rouche:
I hope you won't be annoyed with me if I tell you that I refuse any
collaboration whatsoever with anyone in the libretto, as fine as it is.
That's too long to explain in a letter; I hope to do this when I see
56
Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 you which will probably be during the course of this month (toward
the middle).
I send you, dear Mr. Rouche, my best regards,
Your devoted
Igor Strawinsky
Please convey my respects to Mrs. Rouche.
p.s. Have you received the orchestra parts for my Fantastic Scherzo?
The firm of Foetisch Brothers is waiting to hear from you.
p.p.s. I am not sending you Madame Colette's libretto by post
because it will be safer if I bring it with me when I come to Paris[.]
Acquisition: H. Colin Slim on 10 June 1997 from La Scala Autographs,
bidding for him at Pierre Beres and PIASA (Picard, Audap, Solanet et
associes), Collections musicales du Docteur Barbier et du Professeur de musicologie
en Sorbonnejean Mongredien. Vente aux encheres (Paris: Drouot-Richelieu,
30 April 1997), lot 317.
Provenance: Probably estate of Jacques Rouche; Henri Barbier (Swiss or
French musicologist and collector of Handel and Lully from the 1930s).
Commentary
The letter is published in facsimile in Collections musicales, opposite lot
317. Its envelope is missing. He wrote it on paper watermarked:
Original / Special Bank. / 1090, at Morges in the Villa Rogivue
(pictured in Entry 10).
Professor Jean Mongredien (letter of 22 July 1997) kindly advises
Entry 11 was not his property and that Henri Barbier was Swiss,
although J. and J. Lubrano identify him as French. A provenance from
Barbier is established by comparing lots 101, 178-79, 181, and 195 of
the above catalogue with lots 107, 159-61 and 189, respectively, in
Lubrano's 1998 Catalogue 54 (also illustrating Barbier's bookplate, not
present in Entry 11).
Early in the summer of 1914 Jacques Rouche, director of the Paris
Opera (1914-45), was requested by Sidonie-Gabrielle Colette (1873-
1954) to send Stravinsky the scenario of her ballet which she variously
called Le Ballet pour mafille, Divertissement pour mafille, and Divertissement
pour ma petite-fille. Following the birth of a daughter in July 1913, she
Annotated Catalogue of the H. Colin Slim Stravinsky Collection I 57
 wrote it for Rouche who had commissioned shortly before the First
World War a "feerie-ballet." She then wrote Stravinsky asking him to
compose music for it in which the Swiss painter and pianist, Paul
Thevenaz (1891-1921), would dance the role of "Fire." (Whether this
is connected with a report of 30 March 1914 in RecK that Stravinsky,
collaborating with Thevenaz in Switzerland, was then "writing music
for rhythmical dances," remains unknown.) Colette also tells Stravinsky
how much she would miss performances of Le Rossignol — presumably
she had attended one or both at the Paris Opera, 26 and 28 May 1914.
Not long after Stravinsky mailed Entry 11 and then returned
Colette's libretto to Paris, Rouche sent her ballet in 1916 to Ravel at
the front, where it was lost. A second copy reaching Ravel only after his
discharge from the army in 1917, he set it between 1920 and 1925 as his
opera L'Enfant et les sortileges.
Rouche not only received the orchestra parts of the Scherzo
fantastique (1908) mentioned on the left side of Entry 11 which were
forwarded by Foetisch Freres (a Swiss publishing company in Lausanne),
but they were still at the Paris Opera in March 1918. Stravinsky had also
sent Rouche the orchestra score, which, on 5 October 1916, he asked
the Princesse de Polignac to bring with her when she visited him in
Switzerland.
Stravinsky's reason for sending Rouche these materials and for
requesting the return of the full score was his forthcoming trip to Paris
in mid-November 1916 to approve the choreography by Leo Staats for
Les Abeilles, a ballet set to the Scherzo fantastique. He was planning to
conduct its gala premiere on 10 January at the Opera after rehearsing it
there in December. In the event, severe illness — an attack of intercostal
neuralgia - in mid-December prevented him from doing both, as
reported in his letter of 27 December 1916 to Alexander Sakharoff (see
Entry 12). In May 1919 Beata Bolm (wife of the celebrated dancer)
wrote to him from New York, mentioning Les Abeilles as one ballet
among several that her husband, Adolph, was considering mounting.
By this period, Stravinsky was apparenuy not yet ready to suppress
his original program for the Scherzo fantastique based on Maurice
Maeterlinck's La Vie des Abeilles (1901), a program he had communicated
to Rimsky-Korsakov and others in 1907-8. Maeterlinck withdrew his
threat to sue following the ballet's premiere when Stravinsky wrote on
58 I Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 6 February 1917 that he had not intended any deception. A description
translated from the composer's signed but undated program note in
French, which excludes, however, Maeterlinck's name, appears in
program notes used for performances during his first (1925) tour of the
United States, for example, in program notes of the Chicago Symphony
Orchestra. He certainly prevaricated in 1959, however, not only in
responding "No" to Craft's question whether he had had Maeterlinck's
work in mind for the 1908 Scherzo but also in averring that the 1916
"bee" choreography was not authorized by him.
Works Consulted
Chicago Symphony Program Notes. 20-21 February 1925. pp. 296-1.
Colette. Lettres a Anne de Pene et Germaine Beaumont, ed. Francine Dugast.
Paris: Flammarion, 1995. n. 3 on p. 100, no. 69.
Darbellay, Etienne. "Foetisch, Charles." NG. vol. 6. p. 685.
Lubrano, J. and J. Rare Printed Music & Musical Literature, Catalogue 54. Great
Barrington, MA, Spring 1998, lots 107, 159-61, 189.
Orenstein, Arbie. "L'Enfant et les sortileges: correspondance inedite de Ravel et
Colette." Revue de Musicologie 42 (1966): 215-16.
Orenstein, Arbie, ed. A Ravel Reader. New York, NY: Columbia University
Press, 1990. n. 4 on p. 437.
SP&D. pp. 47-8, 120.
SPR&K. vol. 2. n. 13 on p. 303, p. 448 (both trans. Stanislav Shvabrin and
Michael Green).
SSC. vol. 2. n. 35 on p. 28; vol. 3. n. 11 on p. 29, n. 19 on p. 34.
Taruskin, Richard. Stravinsky and the Russian Traditions. Berkeley and Los
Angeles, CA: University of California Press, 1996. pp. 6-8, 303, 316-18.
Walsh, Stephen. The Music of Stravinsky. Oxford: Oxford University Press,
1988. pp. 17.
-. Stravinsky, A Creative Spring: Russia and France, 1882-1934. New York, NY:
Alfred A. Knopf, 1999. pp. 106-8, 227, 271-3.
12 (1916). Autograph letter, 27.7 x 21.7 cm, folded twice, in Russian
in pencil, 27 December 1916, to Alexander Semyonovich
[Sakharoff, (1886-1963)]:
Annotated Catalogue of the H. Colin Slim Stravinsky Collection I 59
 Morges 27 XII
1916
Mnogouvazhayemyi Aleksandr Semenovich!
Prostite, chto pishu karandashem[.] Ya sil'no bolen. Pis'mo
Vashe prishlo v moem otsutstvii (byl v Rime i Parizhe gde
prozhil bez malogo mesyats)[.] Vernuvshis' domoi ya sil'no
zanemog revmatizmom i nevralgiei na gripal'noi pochve.
Bolezn' kraine muchitel'naya i popravlenie sovershenno
razshatannogo zdorov'ya po uvereniyu vrachei potrebuet nedel'.
Uzhasnaya perspektiva! Poetomu otkladyvayu vse razgovory i
dela do polnogo popravleniya. Zhelayu Vam vsego luchshego k
novomu godu[.]
Igor' Stravinskii
Alexander Sakharoff Morges
Lausanne[?] 27 December 1916
Much respected Alexander Semyonovich!
Forgive me for writing in pencil. I am seriously ill. Your letter
arrived in my absence (I was in Rome and Paris, where I resided just
short of a month). Returning home, I came down with rheumatism
and neuralgia based on the flu. This illness is extremely tormenting
and the recovery of my entirely shattered health will, in the opinion
of the doctors, require weeks. Dreadful prospect! Because of this I am
postponing all conversations and business until I am fully recovered.
I wish you all the best for the New Year.
Igor Stravinsky
Acquisition: H. Colin Slim on 23 February 1998 from Lion Heart
Autographs Inc. (470 Park Avenue South / Penthouse, New York
10016-6819), their no. 10397, inventory no. 635. Entry 12 was repaired
by removing previous mending tapes; numerous edge tears and tears
along fold lines and thinning at corners and a loss at the lower left
corner, and a tear through the signature were repaired with Japanese
paper and rice starch paste by Linda K. Ogden of Berkeley, CA, on 24
March 1998.
60 I Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 Provenance: Kenneth W. Rendell, Inc. Autograph Letters Manuscripts
(Somerville, MA, May 1973). Previous dealers' erased pencil markings
at upper left margin: "R.A[?] / idoka[Iolas??], / A2304X / I S. T" and
along the upper margin in a hand from 1973 (or earlier): "STRJWIN-
SKY, I. ALS 12-27-16;" on reverse side in pencil (by Lion Heart Autographs): "#10397" and at upper right corner: "St."
Commentary
The letter, unpublished, is on paper watermarked with three randomly
placed five-pointed stars. Its missing envelope would have furnished
the family name of its addressee. Without citing his patronymic,
RendeU's 1973 advertisement identifies the addressee as "the noted
dancer Sakharoff."
Alexander Sakharoff, dancer, choreographer, teacher, and costume
designer, was the last of seven sons born to Simon Zuckermann on 25
May 1886 in Mariupol, Russia. He died at Siena on 26 September
1963. His father, a rich Jewish banker, placed his son in a good school
in St. Petersburg. Already as a nine-year-old, the boy was fascinated
with painting. After finishing high school, Alexander went at age
seventeen to Paris, where he initially studied law at the university and
also enrolled in painting courses with Bouguereau. By 1904 he found
himself interested in the theatre and shortly thereafter began serious
study in dance. Following his dance debut in Munich in 1910, he
attracted great attention and soon met his professional partner and
future wife, the dancer, Clotilde von Derp (1895-1974). At the
beginning of the First World War, Sakharoff moved from Munich to
Lausanne. Joined by Clotilde (probably late in 1916), they lived at
Zurich from 1917 and were married there two years later.
Sakharoff thus presumably mailed his letter to Stravinsky from
Lausanne and it arrived at Morges between 7 and 21 November, the
composer having left Lausanne for Rome on the 7th. There, he
discussed Le Chant du Rossignol with Diaghilev from 8 to 14 November,
after which he returned to Morges on the 21st by way of Paris. While
not indicating an extremely close relationship between the two men,
Entry 12 with its statements about health is sufficiently personal as to
suggest that Sakharoff was already more than a mere acquaintance. Still,
at this period nothing is known of any projects between them.
Annotated Catalogue of the H. Colin Slim Stravinsky Collection I 61
 A postcard from Stravinsky to Sakharoff of 3 October 1930,
however, informs the dancer that he is pleased with Sakharoffs
projected restaging for his wife Clotilde of the "Berceuse" from The
Firebird, advising that she be guided by his new Columbia recording of
that work (November 1928). The program for their joint dance recital
in Paris at the Theatre des Champs-Elysees on 29 November and
2 December 1930 duly announced that the Berceuse, "creee par
Clotilde, est d'une conception absolument nouvelle qui a obtenu la
complete adhesion d'Igor Strawinsky." Given his aversion to excerpts
from his music, his permission, let alone his approval, is tangible
evidence of his confidence in the Sakharoffs.
A search for additional known acquaintances of Stravinsky named
Alexander has yielded no one else with the patronymic of Semy-
onovich. If the addressee lived in Russia, he might have been the St.
Petersburg lawyer, Alexander Semyonovich Stishinsky, mentioned
with disdain by Rimsky-Korsakov in 1905 as a newly appointed
conservative senator to the Duma, and again in 1906. There is no
evidence, however, that Stravinsky knew either him or an Alexander
Semyonovich Archangelsky (1854-1926), a literary historian (the latter
name kindly furnished by Stephen Walsh). Both Alexander Semyonovich Rabinovich (1900-43), born in St. Petersburg and Oles
(Alexander) Semyonovich Chishko (1895-1976) were too young to have
been addressed in 1916 as "Much respected" and nothing documents
Stravinsky's knowledge of either composer.
The illness cited in Entry 12 and mentioned also by Diaghilev on
17 December 1916 in a letter to Catherine Stravinsky was intercostal
neuralgia, owing to abuses of tobacco and alcohol. It prevented him
from conducting at Paris the following January (see Entry 11). I am
obliged to Richard Taruskin, to Michael Green, and especially to a
young scholar visiting from the Nizhny Novgorod Pedagogical
University, Stanislav Shvabrin, for the transliteration and translation.
Works Consulted
Muzykal'naia Entsiklopediia. [Music Encyclopedia.] ed. Y.V. Keldysh. Moscow:
Sovetskiy Kompozitor, 1973-82. vol. 4. p. 509; vol. 6. p. 250.
Fimsky-Korsakov, Nicolai. Polone sobranie sochinenii. [Collected Thoughts on
Composition.] Moscow: Muzgiz/Muzika, 1982. vol. 8b. pp. 171-2, no.
456 (n. 4), 229-30 (index).
62 I Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 Sakharoff, Alexander and Clotilde. Papers. Box 7, folder 9 (souvenir
programs). dbMS Thr 398. Theatre Collection. Harvard University.
Sequi, Sandro. "Sakharoff," Enciclopedia dello Spettacolo. Rome: Casa editrice
Le Maschere, 1953-68. vol. 8. pp. 1409-10.
SP&D. p. 47.
SP&RK. vol. 1. n. on p. 425.
SSC. vol. 2. p. 33, n. 3 on p. 182.
Stuart, Philip. Igor Stravinsky - The Composer in the Recording Studio. A Comprehensive Discography. New York, NY, Westport, CT, London: Greenwood
Press, 1991. p. 27, no. 7.
Veroli, Patrizia. | 'La vita che abbiamo danzato' itinerario attraverso la vita e
l'arte dei Sakharoff" in I Sakharoff un mito della danzafra teatro e avanguardie
artistiche. ed. Veroli. Bologna: Edizioni Bora, 1991. pp. 15-41, 164-5, 174.
Vuillermoz, Emile. Clotilde et Alexandre Sakharoff. Lausanne: Editions
Centrales, 1933. pp. 15, 22, with many pis. of both dancers.
Yastrebstev, Vasily Vasilyevich. Nikolai Andreyevich Rimskiy-Korsakov:
vospominaniya 1886-1908. [Reminiscences of Rimsky-Korsakov.] ed.
Alexander V. Ossovsky. Leningrad: Muzgiz, 1959-60. vol. 2. p. 386.
(1917). Signed typed registered letter, 28.1 x 24.0 cm, folded four
times, with autograph addressed envelope, 9.7 x 15.3 cm, postmarked 22 V.17-4 but lacking its stamps, in German in black ink,
19 May 1917, to unnamed executives of the Genossenschaft
Deutscher Tonsetzer (Anstalt fiir musikalisches Recht [sic, recte:
Auffuhrungsrechte]) (Association of German Composers; Institute for Musical [Performing] Rights), Berlin:
[envelope]
[sticker] R Morges / No. 946
[written by Stravinsky] Die Genossenschaft
Deutscher Tonsetzer
Wilhelmstrasse 57/58
Berlin W. 66
Deutschland
13
Annotated Catalogue of the H. Colin Slim Stravinsky Collection I 63
 Absander: [stamp] IGOR STRAWINSKY a MORGES
[printed on reverse of envelope] Militarischerseits unter /
Kriegsrecht geoffhet / Berlin O 17, den [written] 25 V
[printed] 1917 / [signed] [illegible] / [printed]
Uberwachungsoffizier [the same stamped below; envelope
postmarked] BERLIN 25.5.17.
[typed letter]
MORGES (Schweiz) den 19. Mai 1917
Eingeschrieben
Genossenschaft Deutscher Tonsetzer
(Anstalt fiir musikalisches Recht)
Berlin .W.66
Sehr geehrte Herren,
Herr Ad.HENN, mein Vertreter, hat ["mit" corrected to] mir
Ihren gesch. Brief vom 10. d.M. mitgeteilt.
Ich beeile mich Ihnen zur Kenntniss zu bringen dass ich mit
dem Inhalte des letzten Paragraphen obergenanntes Briefes
einverstanden bin; d.h. dass die beiden Vertrage die ich mit
Ihrer Genossenschaft unterzeichnet hatte mit dem 31. Dezember
dj. aufgehoben werden und ab dieses Datum kein Wert mehr
haben.
Hochachtungsvollst
[in black ink] Igor Strawinsky
Association of German Composers Morges
Berlin 19 May 1917
Very honoured sirs:
Mr. Ad[dolfe] HENN, my representative, has shared with me your
handwritten letter of the 10th of this month.
I hasten to bring to your attention that I am in accord with the
content of the final paragraph of the above-mentioned letter; that is,
64 I
Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 that both agreements that I had signed with your Association will be
cancelled on the 31st of December this year and from that date have
no further validity.
Most respectfully,
Igor Strawinsky
Acquisition: H. Colin Slim on 30 June 1998 from La Scala Autographs.
Entry 13 had been attached to a single sheet of watercolour paper by
hinges of glassine tape; Linda K. Ogden removed these and repaired
small edge tears in the letter with Japanese paper and rice starch paste on
8 September 1998.
Provenance: Unidentified dealer at an antiquarian show, spring 1998,
Palm Beach, Florida.
Commentary
Unpublished, the letter is on paper watermarked EXPRESS Z.P.S. The
reverse side of its accompanying envelope shows that it was opened by
the military censor in Berlin before reaching its addressee. Entry 13 was
written at the Villa Rogivue, the family not leaving it for the mountains
that summer until 14 July.
The precise nature of a previous letter of 10 May sent by the Anstalt
of the Genossenschaft — both organizations founded at Berlin in 1903 —
to Adolphe Henn (1872-1954), bookseller and music publisher in
Geneva from 1896 until his death, remains unknown. The Anstalt
functioned to administer copyright in Germany and to collect royalties
for musical works by members of the Genossenschaft. By 2 February
1913 Stravinsky had acknowledged: "I am a member" (SP&RK vol. 2,
p. 17). As a Russian citizen, even though living in neutral Switzerland,
he would have been regarded by Germany as an enemy. After the
abdications by the czar and his son (15 and 16 May 1917), Russia's
provisional government continued war against the central powers until
the Bolsheviks concluded an armistice on 15 December, followed on 3
March 1918 by the Treaty of Brest-Litovsk.
Two weeks later Stravinsky was to sign a contract, on 1 June 1917,
with Henn. The 10 May letter to Henn had perhaps originated from
knowledge concerning Henn's forthcoming publications of five works
at Geneva during July and August: Pribaoutki (1914), Three Easy Pieces
Annotated Catalogue of the H. Colin Slim Stravinsky Collection I 65
 (1914-15), Cat's Cradle Songs (1915), Renard (1916), and Five Easy Pieces
(1917). Because Koussevitsky's Russische Musikverlag had had to
discontinue its operations in wartime Berlin — its final Stravinsky
publication there was Three Little Songs (1913) in 1914- and owing to
the chaos in Russia during 1917, it seems possible that Entry 13 also
relates to Henn's (short-lived) emergence as his publisher - all five
works later being taken over by J. and W. Chester of London in the
1920s.
Works Consulted
Gaillard, P.-Andre. "Henn." MGG. vol. 6. col. 150-1.
McFarlane, Gavin. "Copyright Collecting Societies." NG. vol. 4. p. 755, item 6.
Schulze, Erich. "Gesellschaften fiir musikalische Urheberrechte." MGG. vol.
5. col. 2.
SP&RK. vol. 2. pp. 17 (trans. Stanislav Shvabrin and Michael Green), 417,
439, 447.
SSC. vol. 2. pp. 117, 143-4, n. 19 on p. 148, n. 16 on p. 218.
Walsh, Stephen. The Music of Stravinsky. Oxford: Oxford University Press,
1988. pp. 300-01.
—. Stravinsky, A Creative Spring: Russia and France, 1882-1934. New York, NY:
Alfred A. Knopf, 1999. pp. 272, 280, 294, 299, 545.
(1918). Autograph letter, 27.2 x 21.3 cm, folded twice, in French in
pencil, 19 December 1918, to Paul Laffitte:
Morges Monsieur
19 Dec. 1918 Paul Laffitte
a Paris
Monsieur
Je vous retourne ci joint un exemplaire de notre contrat muni
de ma signature, l'autre exemplaire reste done chez moi. J'atrire
seulement votre attention sur le § III ou vous avez oublie de
mentionner la Souede ou [crossed out] est reserves egalemeiit
les droits de reproductions, d'executions etc sont egalement
66 I Annotated Catalogue of the H. Colin Slim Stravinsky Collection
14
 reserves, comme dans la Norvege, le Danemark[,] l'Amer. du
Sud. J'espere que cette omission ne creera aueun malentendu
dans l'avenir. Par contre je suis plainement d'accord, quand au
privilege de la 2eme edition que vous avez voulu vous reserve
dans le present contrat.
Je vous enverrai dans quelque jours la copie de la partition
de piano du Rag-time.
En attendant le plaisir de vous lire je vous prie de trouver
ici, Monsieur mes salutations les meilleurs
Igor Strawinsky
Paul Laffitte Morges
Paris 19 December 1918
Sir:
Enclosed, I'm returning to you one copy of our contract signed by me,
the other copy, of course, I'm keeping. I would draw your attention
only to article III where you have forgotten to mention Sweden where
rights of reproduction, of performances, etc., are likewise reserved, as in
Norway, Denmark, South America. I hope that this omission will
create no misunderstanding in the future. On the other hand, I fully
agree with the licence for the second edition that you wanted to keep
for yourself in the present contract.
I shall send you the copy of the piano score ofRagtime in a few days.
Awaiting the pleasure of your reply, I remain, Sir, yours faithfully,
Igor Strawinsky
Acquisition:   H.   Colin   Slim   on   12   September   1996   from   Les
Autographes - Thierry Bodin, Paris, his Catalogue 12 (July 1996), item
275. The letter is accompanied by a release, "Certificat pour un bien
culturel," dated 27 August 1996, from the Ministere charge de la
culture.
Provenance: Unknown; below the signature in another hand in blue
pencil is "Stravinsky," now mostly erased.
Annotated Catalogue of the H. Colin Slim Stravinsky Collection I 67
 Commentary
The envelope of this letter and its enclosed contract are lacking. But the
latter's terms can be deduced from a contract proposal Stravinsky had
made to the poet Blaise Cendrars (1887-1961) on 11 November 1918
in which he also asked Cendrars to: "remind Picasso of his promise to
design a cover ... for the Ragtime."
Stravinsky wrote Entry 14 with a hard pencil to make a good
carbon copy, traces of which still appear on this letter's reverse side. It
is also available in a different English translation by Craft (probably
made from the copy in the Paul Sacher Foundation, Basle). At this
period he was at his last Swiss residence before departing for France. He
had moved his family from the Villa Rogivue early in October 1917 to
the Maison Bornand in the Place St. Louis, Morges.
Laffitte, the addressee, was director-in-chief of the Editions de la
Skene (12 rue La Boetie, Paris). With Cocteau, Cendrars was its co-
founder and director. Negotiations by Cendrars with Stravinsky for the
publication of the piano reduction of Ragtime had begun on 14 May
1918 and concluded on 22 December 1919 with his receipt of "two
completely crumpled copies Ragtime" and a "frightful [spelling] error in
dedication to Madame [Eugenia] Errazuriz [1860-1951]," his patroness
in Paris from 1916 (SSC, vol. 2, pp. 184-9). (The autograph which he
dated "Hiver 1918/Morges" and presented to her is now in the
Pierpont Morgan Library, Lehman Deposit.) The delay resulted from
the printing house used by La Sirene having gone out of business and
from Picasso having designed a succession of covers, of which four
preceded the final version. Stravinsky had first met the artist at Rome
early in April 1917, at which time Picasso drew an initial portrait of the
composer.
With its famous Picasso cover, Ragtime was finally published in
1919 by La Sirene. Released the following January in an edition of 1000
copies, exemplars are now rare, one being offered in 1996, and another
in 1999. The Music Library at UBC acquired the first edition in 2000.
A1920 reprint of Ragtime, London: J. and W. Chester, is in the personal
library of H. Colin Slim.
68 I Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 Works Consulted
Cox, Lisa. Catalogue B/l Keyboard Music Winter/Spring 1996. Exeter, 1996,
item 811.
-. Cox's Gallimaufrey, 4 February 1999. Exeter, 1999, item 148.
Geelhaar, Christian. "Strawinsky und Picasso - zwei ebenbiirtige Genies" in
Strawinsky. Sein Nachlass. Sein Bild [with] Katalog der ausgestellten Bildnisse
und Entwurfefur die Ausstattung seiner Buhnenwerke. Basle: Kunstmuseum
and Paul Sacher Stiftung, 1984. pp. 288-93.
SP&RK. vol. 2. pp. 439-40, item 7.
SSC. vol. 2. pp. 184-9.
Walsh, Stephen. Stravinsky, A Creative Spring: Russia and France, 1882-1934.
New York, NY: Alfred A. Knopf, 1999. pp. 276, 283, 294-5, 546.
1 0 (1920). Autograph picture postcard of CARANTEC (Finistere), Le
Grand Hotel du Kelenn et la Rue de I'Eglise, 9.0 x 13.8 cm, in
French in black ink, postmarked Carantec 28 June, 27 June 1920,
to Roland-Manuel (1891-1966):
/J
Annotated Catalogue of the H. Colin Slim Stravinsky Collection I 69
 Monsieur
Roland-Manuel
1 rue Chazelles
Paris(XVIIe)
Carantec
27 Juin 20
Cher ami,
Je vous envois de Carantec (ou je passe l'ete) mes meilleurs
amities.
Je viens de recevoir "L'amour de l'art", ou j'ai trouve votre
article sur "Pulcinella". qui m'a beaucoup touche.
Merci
I Strawinsky
Roland-Manuel Carantec
Paris 27 June 1920
Dear friend:
I send you my best regards from Carantec (where I am spending the
summer).
I have just received L'amour de l'art in which I found your article
about Pulcinella which touched me gready.
Thank you,
I Strawinsky
Acquisition: H. Colin Slim in Los Angeles on 26 September 1999 from
La Scala Autographs.
Provenance: Thierry Bodin, Paris, summer 1999 (perhaps from the 14
May 1986 auction at Paris by Paul Renaud of the Roland-Manuel
archives, part 1).
Commentary
The postcard is unpublished. With family and in-laws, Stravinsky had
left Morges on 8 June 1920, bypassed Paris, and arrived two days later
at sea-side Carantec in Brittany, remaining there three months. Househunting with his wife in Paris late that July, they ran into Gabrielle
70 I Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 Bonheur (Coco) Chanel (1883-1971), who invited them all to her
house at Garches, to which they moved in mid-September (see Entry
16). The full extent of his Carantec correspondence in the summer of
1920 is not known. Another letter, this time in Russian, of 7 July to
Jacques Handschin (1886-1955) in Basel, has only recently surfaced.
Ravel had introduced Stravinsky in 1911 to his (Ravel's) young
student, the later composer and critic Roland-Manuel, a pseudonym of
Roland Alexis Manuel Levy. Pulcinella opened in Paris on 15 May 1920
and in London on 10 June. The critic's short essay, "Pulcinella, Ballet de
Stravinsky-Pergolese," marvels at the happy and fraternal collaboration
with a composer who likewise possessed such a sense of concise musical
expression devoid of parasitic ornamentation. In it, Roland-Manuel
quotes Stravinsky as having confided: "Je suis le fiance de la melodie
italienne."
Even after a less-than-enthusiastic review of Mavra two years later
by Roland-Manuel—to which Stravinsky responded with uncharacteristic
gendeness (even with "beaucoup de plaisir") — they remained friends.
Commuting between Paris and Sancellemoz in the summer of 1939, he
was to ghost-write with the composer six lectures (later entided La
Poetique musicale) which Stravinsky delivered at Harvard University as
the incumbent of the Charles Eliot Norton Chair of Poetry, 1939-40.
(See also entries 17, 64, 78, 86 and 94.)
Works Consulted
Cox, David. "Roland-Manuel." NG. vol. 16. p. 111.
Knjazeva, Janna. "Jacques Samuel Handschin - Igor' Stravinsky: Eine noch
unbekannte Seite des Dialogs." Die Musikforschung 52 (1999): 207-11.
Lesure, Francois. Igor Stravinsky. La carriere europeenne. Paris: Musee d'Art
Moderne, 1980. p. 83, no. 267.
Renaud, Paul, and Thierry Bodin. Archives Roland-Manuel [part 2]. Paris: 24
March 2000, lots 229-34. p. 69.
Roland-Manuel. "Pulcinella, Ballet de Stravinsky-Pergolese." L Amour de I'Art
1 (1920): 71.
Samuel, Claude. "Roland-Manuel." Encylopedie de la Musique Fasquelle. Paris:
Fasquelle, 1958-61. vol. 3. p. 582.
SAc. pi. on p. 76.
Walsh, Stephen. Stravinsky, A Creative Spring: Russia and France, 1882-1934.
New York, NY: Alfred A. Knopf, 1999. pp. 315-18, 351-2.
Annotated Catalogue of the H. Colin Slim Stravinsky Collection I 71
 1 6     (1920). Autograph letter, 26.2 x 21.0 cm, folded twice, in French in
     black ink, 24 September 1920, to Robert Lyon (1884-1965):
Monsieur
Robert Lyon
a Paris
Cher Monsieur
II y a deux fois que j'etais venu vous voir au magasin et chaque
fois vos employers me disaient que vous etiez toujours
souffrant. J'etais vraiment navre de l'apprendre. Comment allez
vous maintenant et si vous pouvez m'ecrire un mot de vos
nouvelles vous me feriez grand plaisir. J'espere qu'il n'y a rien
de grave.
Croyez moi cher Monsieur votre bien devoue
I Strawinsky
[stamped lower right] IGOR STRAWINSKY / VILLA BEL
RESPIRO / Av. Alphonse de Neuville / GARCHES (Seine-a-
Oise) / France
[dated below by him in pen] 24/IX 20
Robert Lyon Garches
Paris 24 September 1920
Dear Sir:
I've been to see you twice at the shop and each time your employees
told me that you are still unwell. I was really sorry to learn this. How
are you now and if you could drop me a line with news about
yourself, you would give me great pleasure. I hope it's nothing
serious.
Believe me, dear Sir, your very devoted
I Strawinsky
72 I Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 Acquisition: H. Colin Slim on 8 November 1994 from Wurlitzer-Bruck.
Provenance: Unknown.
Commentary
The letter is unpublished, its envelope missing. The Garches address -
"the very command center of Paris chic" in Taruskin's memorable
phrase - is that of Gabrielle Bonheur (Coco) Chanel, briefly then
Stravinsky's mistress. Her villa served as his family's temporary
residence until he moved himself in April 1921 to Paris in a studio in the
Maison Pleyel, then moved with his family that May to Anglet, near
Biarritz.
Offering him a studio at the Maison Pleyel in February 1921,
Robert Lyon — later director of Pleyel et Cie in Paris until c. 1930 and
of the magazine, Musique (ed. Marc Pincherle) - was a friend and
business manager of Stravinsky until at least 1932. He appears a final
time in Vera Sudeykina's published diary on 21 February 1931. From
early July 1910, Stravinsky had known the Lyon family, at whose home
he first met Nadia Boulanger. (Further on the friendship and business
association with Robert Lyon, see entries 21 and 23.)
Works Consulted
Rosenstiel, Leonie. Nadia Boulanger. A Life in Music. New York, NY: W.W.
Norton, 1982. pp. 90-1.
SAc. pi. on p. 88 (Anglet).
SBu. p. 53: 21 February 1931.
SP&D. pp. 47, 210, 254, n. 173 on p. 614, n. 20 on p. 628.
SP&RK. vol. 2. n. 1 on p. 480, n. 1 on p. 497, p. 515, n. on p. 533.
SSC. vol. I pp. 188, 195, n. 288 on p. 221; vol. 2. n. 51 on p. 41, n. 23 on p.
250, pp. 268-9, 364, n. 1 on p. 475; vol. 3. n. 58 on p. 55, n. 70 on p. 82,
p. 203.
ST&C. (both ed.) pi. facing p. 33.
Taruskin, PJichard. Stravinsky and the Russian Traditions. Berkeley and Los
Angeles, CA: University of California Press, 1996. pp. 1516-17.
Walsh, Stephen. Stravinsky, A Creative Spring: Russia and France, 1882-1934.
New York, NY: Alfred A. Knopf, 1999. pp. 318-23, 385-6.
Annotated Catalogue of the H. Colin Slim Stravinsky Collection I 73
 1 7 (1920). Autograph singly folded express letter, 16.0 x 11.5 cm, half
the reverse side forming its envelope, in French in black ink on
pinkish paper serrated on all sides, 19 November 1920, to Roland-
Manuel. The lower half of the envelope is postmarked: Paris 44
20-11 20 R. de Grenelle; next to two stamps of 25 and 10 centimes
(affixed to the top of the envelope) is printed: HOTEL CONTINENTAL / 3 RUE CASTIGLIONE / PARIS. Above the stamps
Stravinsky wrote: Pneumatique and below them:
Monsieur
Roland-Manuel
42, rue de Bourgogne
Paris
[reverse of envelope]
Cher Monsieur,
Mon ami Serge de Diaghilew ne connaissant pas votre adresse
m'a prie de vous demander si vous pouvez venir ce dimanche
vers 12% a l'hotel Continental pour dejeuner avec nous. Vous
seriez bien gentil de lui envoyer un mot de reponse au Continental qu'il habite.
Dans l'espoire de vous voir apres demain je vous serre bien
cordialement la main
Igor Strawinsky
19/XI/20
Roland-Manuel Paris
Paris 19 November 1920
Dear Sir:
My friend, Sergei Diaghilev, not knowing your address, has requested me to ask if you could come this Sunday about 12:45 to
74 I Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 lunch with us at the Hotel Continental. Please be so kind as to send
him a reply to the Continental where he is living.
Hoping to see you the day after tomorrow, I very cordially
shake your hand,
Igor Strawinsky
Acquisition: H. Colin Slim on 5 August 1997 from La Scala Autographs.
Provenance: Thierry Bodin, Les Autographes, (Paris, March 1996); Les
Autographes, Catalogue 16 (Paris, May 1997), item 277 (perhaps from
the 14 May 1986 auction at Paris by Paul Renaud of the Roland-
Manuel archives, part 1).
Commentary
The letter is unpublished. Diaghilev was perhaps interested in
commissioning a work from Roland-Manuel for the Ballets Russes,
although no such work is known (see also Entry 15).
Diaghilev first introduced Stravinsky in 1921 to Vera Sudeykina,
who later became his second wife. Vera, who knew Diaghilev since at
least 1913, realized better than anyone the extent of his influence on the
composer. For example, in 1949, she cited "certain aesthetic attitudes
as virtually parroted from him," stating that Stravinsky only paid
attention to criticism when made by Diaghilev. Furthermore, in
Moscow in 1962, Craft reported that she believed Stravinsky was
affected by Diaghilev. Charles Joseph's study of their "tangled
relationship" explores the composer's feelings about Diaghilev:
"gratitude, indebted-ness, admiration, anger, guilt, hostility."
Works Consulted
Craft, Robert. Stravinsky: Chronicle of a Friendship. 2nd ed. Nashville, TN, and
London: Vanderbilt University Press, 1994. pp. 28, 319.
Joseph, Charles M. "Diaghilev and Stravinsky." The Ballets Russes and Its
World, ed. Lynn Garafola and Nancy Van Norman Baer. New Haven,
CT, and London: Yale University Press, 1999. pp. 189-215.
Renaud, Paul, and Thierry Bodin. Archives Roland-Manuel [part 2]. Paris: 24
March 2000, 2.
Annotated Catalogue of the H. Colin Slim Stravinsky Collection I 75
 18 (1921). Autograph fragment of a single-page two-sided love
letter signed "I.," 13.4 x 20.9 cm, folded seven times, in Russian in
black ink on both sides (some fading and also browning of
paper), undated and without place or heading (but probably
mailed shortly after mid-November 1921 from Biarritz to Boris
Kochno in London for delivery there), to Vera Sudeykina:
[... ot-]pravila mne etikh pisem ne dozhidayas' moego otcheta o
svidanii s S. Yu. ved' ya tak zhdal ot tebya imenno seichas zhe
po priezde pisem i vse tekh zhe slov[,] kot.[orye] mne tak
nuzhny, esli by ty tol'ko znala. Verochka[,] pishi mne chasto,
k[a]k tol'ko zakhochetsya, a chto khochetsya teper' i byt'
mozhet budet prodolzhat'sya khotet'sya va khochnu v etom
byt' uverennym. ibo vse chto sluchilos' mezhdu nami slishkom
sil'no menia obozhglo i khranitsya u menya kak svia- [reverse]
tynya ochen' gluboko, no ob etom govorit' ya ne khochu i ne
lyublyu, tak uzh ya sozdan, mne kazhutsya vsegda moi slova
men'she togo chto vo mne delayetsya i chto ya chuvstvuyu —
muzyka anonimneye i ot togo mne stydno vyskazyvat'sya, a
mozhet byt' muzyka i sovsem drugaya[.] No ty pishi[;] ya
strastno zhdu ot tebya slov liubvi tvoei ko mne, kotoraya mne
bezumno nuzhna[.] beskonechno nuzhna! Pishi ezhe[-]dnevno,
esli mozhesh tol'ko[,] Verochkaf,] moya dorogaya dorogaya
lyubov'[.]
I.
Vera Sudeykina Biarritz
London c. 15 November 1921
[...] you sent me these letters not waiting for my account of my
meeting with S[ergey] Yu[ryevich Sudeykin]. You see, I was so
much awaiting a letter from you and right away with words like "I
need you so much, if you only knew." Verochka, write me often, as
soon as you want, and since you want to now, perhaps you'll continue to want to write me. I want to be certain of that, since everything
that has happened between us is too powerful; it has seared me, and
76 I Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 is watched over by me like something sacred [reverse] deep inside
me, but I don't want to talk about it, and I don't care to: that's just
the way I am created. It always seems to me that my words are less
than what is going on inside me and what I feel - music [is] more
anonymous [impersonal(?)] and for this reason I feel less strongly
ashamed to speak out [through it], but perhaps music is something
completely different. But write, I passionately await from you words
of your love for me, which is insanely needed by me, infinitely
needed! Write every day, only if you can, Verochka, my dear dear
love.
I.
Acquisition: H. Colin Slim on 31  October 1997 from Lion Heart
Autographs.
Provenance:    Boris    Petrovich    Mikhailovich   Kochno    (1904-90);
Sotheby's, Collection Boris Kochno (Monaco, 11-12 October 1991), lot
405, righdy conjectured that the letter may be incomplete; dealer's
pencil mark on p. 1, top left: 22:95.
Commentary
The fragmentary letter is unpublished, its envelope missing. Dr. Slim is
indebted to Simon Karlinsky, to Stanislav Shvabrin, and to Michael
Green for the transliteration and translation. Readings by the latter two
scholars differ in several respects from the brief excerpts in Sotheby's
auction catalogue and from the translation provided by Lion Heart
Autographs. In particular, the reading by Sotheby's of "anonimneye" as
"instinktivenii," and subsequent translations of this word are, therefore,
incorrect.
Although its exact date is difficult to establish, Entry 18 may be
among the earlier surviving love letters from Stravinsky to Vera
Arturovna de Bosset-Luryi-Shilling-Sudeykina - and, ultimately,
Stravinskaya — which the seventeen-year-old Boris Kochno passed to
her late in 1921 and early the next year. Entry 18 was among half a
dozen which the young poet-balletomane either never delivered, or
did so and she then asked him to retain. Living with Diaghilev at the
Savoy Hotel in London during most of the run of The Sleeping Princess
(November 1921-February 1922), Kochno was acting as intermediary
between the two lovers - separated by the English Channel - during
Annotated Catalogue of the H. Colin Slim Stravinsky Collection I 77
 November and early December 1921. These undated letters - lots 400-
05 in the above-cited 1991 Sotheby sale, which assigned them dates
accepted by Craft in 1992, Walsh in 1999, and Varunts in 2000 - are
perhaps all that have survived. Vera declared that, at the request of
Stravinsky, she burned all his love letters in 1940 before emigrating to
the United States. Craft reports that he burned Stravinsky letters to Vera
after the composer's death, on his instructions.
With Sergei Yuryevich Sudeykin (1882-1946), her third husband,
Vera had been introduced to Stravinsky by Diaghilev in Montmartre on
19 February 1921 during an evening at the Chauve-Souris, a theatre
troupe relocated from Moscow. Stravinsky was soon involved in a brief
affair in Paris with the troupe's young dancer, Yevgeniya (Zhenya)
Nikitina, following one with Coco Chanel, and before that (1916) with
Lydia Lopukhova, future wife of Maynard Keynes. (On Chanel, see
Entry 16.)
Shortly thereafter, Vera and Stravinsky fell in love and, by March,
had apparendy rendezvoused behind the backs of their respective
spouses. Before he left a month later for Spain with Diaghilev and
Kochno on 16 March, Stravinsky had inscribed at Paris in one of her
albums the opening of The Firebird, over which her husband later
spitefully drew a bird having thistles for its tail. Although Stravinsky
may have had a brief affair in London in June with another married
woman, Juanita Gandarillas, by Bastille Day 1921, the affair between
Stravinsky and Vera had been consummated, the pair thereafter
celebrating 14 July as their "marriage."
About 26 February 1921, the Sudeykins, who had known Kochno
in the Caucasas in 1917-18, had introduced that young man to
Diaghilev. For a short while the impresario's lover and, by that spring,
his secretary for life, Kochno was soon courting the bisexual Sudeykin,
who had himself briefly been Diaghilev's lover in 1906.
A group of summer letters from Vera to Stravinsky, from late July
to 19 September 1921, suggests that Kochno was already their
confidant. While Stravinsky and Kochno were in London, 7-10 June
1921, for the premiere of Symphonies of Winds Instruments and for a
concert performance of Le Sacre, and there again late that month for
performances by the Ballets Russes, he had invited Kochno to write the
libretto for Mavra. Back in Paris on 30 September, while Sudeykin was
78 I Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 away in London, Stravinsky and Kochno inscribed the same page in one
of Vera's albums.
Near the beginning of October, Diaghilev invited Vera to play the
mimed role of the Queen in the Ballets Russes's revival in London of
Tchaikovsky's The Sleeping Beauty, which Diaghilev renamed The
Sleeping Princess. For this production, Stravinsky orchestrated two
numbers and some transitions. By mid-October, Diaghilev had arrived
in London with Kochno to supervise rehearsals, which included Vera
who was there by 27 October.
In letters of October to Ansermet and Ramuz, Stravinsky noted
that he would be going to London on 24 or 25 October, adding in
Ansermet's that he would be staying "close to a week, at the Savoy,"
that is, in the same hotel as Vera, Diaghilev, Kochno, and Leon Bakst
(the ballet's designer). From the Savoy he wrote Ramuz on 30 October
stating that he would be leaving London "on my way home (in a
week)," that is, 6 November, and that he would have only a little time
in Paris because he was proceeding directly to Biarritz.
Because he wired Kochno from Biarritz on Tuesday 15
November, "Astonished a week without news," Stravinsky must have
arrived there by the 8th. An undated Thursday letter to Vera (lot 401)
states that he had received a letter from Kochno the previous day, that
is, the 16th, so lot 401 may well date from the 17th. A letter which
Ansermet addressed to him in Biarritz on 16 November assumes that he
had already returned home and one of 19 November from Ramuz to
him indeed suggests that he did not stay in Paris on his return to Biarritz.
(A translation of a letter to Ansermet of 22 November placing the
composer in Paris, is really dated 22 February of the following year.)
Opening in London at the Alhambra Theatre on 2 November, The
Sleeping Princess closed there on 4 February 1922. At some point -
presumably after he had left London for Biarritz early in November -
Stravinsky wrote Kochno to hand some letters to Vera and to mail
others: "give the enclosed yellow letter to Vera, post the other one with
an English stamp and write the address so that the handwriting will not
be recognized by someone" (Sotheby's Kochno, lot 399).
On what Stravinsky called "that Thursday which was so memorable
for me" in an undated letter (lot 401), itself headed "Thursday" (perhaps
of 17 November), Sudeykin had confronted him. (Craft and Varunts
Annotated Catalogue of the H. Colin Slim Stravinsky Collection I 79
 place the meeting in his Pleyel studio at Paris - and Varunts as before
Stravinsky went to London - Walsh at Biarritz.) This must be "my
meeting with S. Yu." referred to in Entry 18 and also "our meeting"
mentioned in Entry 19 (formerly lot 403). In this "Thursday" letter (lot
401), he also reported to Vera that he and Sudeykin parted "in harmony
and peace, and seemingly reconciled." Unless he stayed in Paris on his
way home to Biarritz about 7 November or returned there almost
immediately upon reaching Biarritz, the "Thursday which was so
memorable" in lot 401 can only be Thursday 10 November.
An undated letter (probably of late November) by Sudeykin from
Paris to Diaghilev mentions a breakfast between Stravinsky and
Sudeykin at which Stravinsky experienced the full force of his jealous
rage. (From this letter, Walsh concludes that Sudeykin visited him at
Biarritz, and probably on Thursday 10 November.) Writing Ansermet
from Biarritz on Friday 2 December, Stravinsky reported he had seen
no one for three weeks. Three weeks earlier would be Friday 11
November, so 10 November for the "memorable" Thursday of lot 401
seems probable.
Presumably Stravinsky had written Vera immediately following his
encounter with Sudeykin at Biarritz on the 10th. But Entry 18 responds
to letters from Vera which she wrote before receiving any news from
him of his "Thursday" encounter on the 10th in Biarritz with
Sudeykin. Entry 18 thus dates shortly after 17 November. (For what it
is worth, Stravinsky mailed Kochno a letter on 21 November, as can be
deduced from the postmark of its envelope, lot 399, though whether it
contained Entry 18 is not known: see also Entry 19.)
Entry 18 includes a reference to Stravinsky's expression of his
feelings. Taruskin rightly observed: "Stravinsky's later - and oh so
celebrated - squeamishness about the use of the word express." He
points to an early lack of squeamishness about exprimer evident in a
Stravinsky article published 29 May 1913 which, despite his later
protestations, he had certainly authorized. "Ce que j'ai voulu exprimer
dans Le Sacre du Printemps" uses the identical French infinitive twice
more on the same page.
Though contesting on 25 August a few lexical meanings in its
Russian translation of 3 August, Stravinsky allowed an equivalent verb,
vyrazhat', to stand for exprimer, being assured by his Russian editor that
80 I Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 its translator "has a mastery of French like a born Parisian" (SP&RK,
vol. 2, p. 133). Dictionary meanings of vyrazhat' are "to express, show"
and, when followed by slovamii, "to put into words." Less than a year
later, under the influence of Jacques Riviere, Stravinsky adopted a quite
different attitude about exprimer. Interviewed at Paris - presumably in
French - in May 1914 by his friend Calvocoressi about his opera The
Nightingale, he now averred: "I want neither to suggest situations or
emotions, but simply to manifest, to express them" and "I always aim
at straightforward expression in its simplest form."
The sentence seven years later in Entry 18, "music [is] more
anonymous and for this reason I feel less strongly ashamed to speak out
[through it]" with its verb, vyskazyvat,' thus deserves some examination.
This verb, "to express, tell, give," when used reflexively (vyskazyvat'syd),
as here means "to speak up (or out), to express one's self, opinion, thoughts
(about something); to declare one's self (for, or against, something)." In
that most private of communications, a love letter — one which he
certainly never expected to see printed — he frankly admits his aim, so
strongly contrasting with all his other public statements except one —
that of February 1934. In Entry 18, he not only uses a different Russian
verb, one which is more intimate (vyskazyvat', "to speak out") but he
also employs it reflexively, personally, (vyskazyvat'sya).
In light of Entry 18, Taruskin's observations require amplification,
although the matter is too lengthy for discussion here. Such a study will
want to consider additional uses by Stravinsky of such verbs, for
instance, in 1924 to a Warsaw interviewer (French); 1929 to Walter
Nouvel (Russian); 1934 to Walter Cameron and Maurice Perrin (both
in French); 1939-40 in the Poetique musicale; 1945 to J. Nizon (French;
see Entry 83); and 1962 to Craft (English).
Finally, the music to which Stravinsky refers in Entry 18 is surely
Mavra, which he was then composing. In another love letter to Vera
about two weeks later (lot 402), he calls Mavra "such music as would
touch you" and in yet another (lot 404), "Oh, how I wish you could
hear it now!" (See also entries 43, 46, and 54.)
Works Consulted
Bowlt, John E., ed. and trans. The Salon Album of Vera Sudeikin-Stravinsky.
Princeton: Princeton University Press, 1995. nos. 48-9b and 123; item S5
on p. 98.
Annotated Catalogue of the H. Colin Slim Stravinsky Collection I 81
 Calvocoressi, Michel-Dimitri. "M. Igor Stravinsky's Opera: 'The Nightingale'."
The Musical Times 55 (1 June 1914): 374.
Craft, Robert. "Catalog of the Library of Robert Craft." Typescript: Library
of Congress, Music Division. IX: Vera's archive, C, nos. 3-8 on p. 174.
-. Stravinsky: Chronicle of a Friendship. 2nd ed. Nashville, TN, and London:
Vanderbilt University Press, 1994. pp. 228, 569.
-. Stravinsky: Glimpses of a Life. London: Lime Tree, 1992; New York, NY: St.
Martin's Press, 1993. pp. x-xiii.
—. Review of Taruskin's  Stravinsky in the  Times Literary Supplement.  13
September, 1996. p. 5.
Kochno, Boris. Diaghilev and the Ballets Russes. trans. Adrienne Foulke. New
York, NY, and Evanston, IL: Harper and Row, 1970. pp. 152-5.
Lesure, Francois, ed. Le Sacre du Printemps. Dossier de Presse. Geneva: Editions
Minkoff, 1980. p. 76.
Perrin, Maurice. "Strawinsky dans une classe de composition [1934-35]."
Feuilles musicales et revue Suisse du disque 3 (December 1951): 207-12.
Scherliess, Volker. " Je deteste l'Ausdruck' - Uber Strawinsky als Interpreten"
in Traditionen — Neuansdtze Fur Anna Amalie Abert (1906-1996). ed. Klaus
Hortschansky (Tutzing: Hans Schneider, 1997). pp. 475-92.
Sotheby's. Ballet Material and Manuscripts from the Serge Lifar Collection. London,
9 May 1984. lot 225, ill.
SAc. pi. on p. 89 (Biarritz).
SBu. pp. 13-16, esp. n. 2 on p. 13.
SChron. vol. 1. pp. 116-17; vol. 2. p. 160.
SE&D. (1962) pp. 114-15; (1981) p. 101.
SI&V. pi. 51 on p. 52.
SP&D. pp. 199, 240-1, 524-5, nn. 228 and 231 on p. 618, n. 10 on p. 627.
SP&RK. vol. 2. pp. 133, 489-515, nos. 1016-17 (trans. Stanislav Shvabrin and
Michael Green).
SSC. vol. 1. n. 17 on p. 54, pp. 57, 152; vol. 3. pp. 63, 65.
Stravinsky, Igor. "I - AS I SEE MYSELF (In an interview with Norman
Cameron)." The Gramophone 12, 135 (August 1934): 85-6.
-. "Quelques mots de mes dernieres oeuvres." Muzyka 1, 1 (December 1924):
12-15.
Tappolet, Claude, ed. Correspondance Ernest Ansermet-Igor Strawinsky (1914-
1961). Geneva: Georg, 1990-92. vol. 1: pp. 179-80, no. 158, p. 196, no.
173, pp. 198-99, no. 175.
Taruskin, Richard. Stravinsky and the Russian Traditions. Berkeley and Los
Angeles, CA: University of California Press, 1996. pp. 990-95, figs. 13.6a-
b on pp. 1000-01, pp. 1107-8, 1546.
82 I Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 19
-. "Stravinsky and the Subhuman: Notes on Svadebka" in Defining Russia
Musically. Princeton, NJ: Princeton University Press, 1997. pp. 365-88.
Tuohy, William. "Vera Stravinsky's Rite of Spring: Work, Memories," Los
Angeles Times. 16 March 1978, 28.
Walsh, Stephen. Stravinsky, A Creative Spring: Russia and France, 1882-1934.
New York, NY: Alfred A. Knopf, 1999. pp. 265-6, 318-19, 324-8, 333,
344-5, 395, 459, 549, n. 6 on p. 630, n. 3 on p. 632.
White, Eric Walter. Stravinsky: The Composer and His Works. 2nd ed. Berkeley
and Los Angeles, CA: University of California Press, 1979; repr. 1984. p. 585.
(1921). Autograph single-page two-sided love letter, signed "I,"
27.0 x 21.0 cm, folded four times, in Russian in black ink on both
sides, dated only "Subbota" (Saturday), without place (but
probably mailed from Biarritz on 26 November 1921 to Boris
Kochno in London for eventual delivery), to Vera Sudeykina:
Subbota
Verochka, Verochka moya[,] chital pis'mo tvoe, gde ty pishesh'
o svoem vozvrashchenii (cherez 2 nedeli) k S. Yu. v Parizh[.]
Chital i perechityval po mnogu raz ego i ne mog otorvat'sya ot
nego! Akh Verochka - dumayu, chto eto neizbezhno, chto,
verno tak i dolzhno byt', chto ty dolzhna vernut'sya k nemu.
Odno ili drugoye, tret'ego ne mozhe byt', ibo ya soglasen s
toboi chto svoego schast'ya nel'zya stroit' na chuzhom gore -
eto nachalo antikhristianskoye. Dushevno zhe mne tvoi vozrat
v Parizh bezumno tyagosten[.] Ya etogo ot tebya skryt' ne
mogu. Tyagosten i za sebya i glavnym obrazom za tebya[.]
moya Verochka. Dai Bog tebe spravit'sya s tvoim chuvstvom
ko mne a nichem ego ne obnaruzhit' S. Yu. Pisal li on tebe
podrobno ob nashem svidanii? ili tol'- [page 2]-ko namekami
kosnulsya ego, potomu chto ty pishesh' chto on skazal "my s
Igorem rasstalis' v khoroshikh otnosheniyakh", a do etogo v
etom pis'me pisal li on chto-nibud'? Ya tebe zavtra napishu
ofitsiyal'nye pis'ma v Savoyu i kosnus' vskol'z' i mimokhodom
S. Yu., ego nervoznogo nastroyeniya i posovetuyu tebe ego ne
Annotated Catalogue of the H. Colin Slim Stravinsky Collection I 83
 &£*£*,?     &&   Tfkf^s/tg    ^S^^ftb|£ Zr^t^^r^c^
V7 r*
^ ^fc^-J^k^*.!* . <^p£j 7ZL*<z
84 I Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 ostavlyat' nadolgo odnogo - esli vozmozhno ty poprosish'
dazhe Dyagileva tebya otpustit' v Parizh. Esli S. Yu. tebya
budet sprashivat' v kakom korridore ty v Savoe zhila, v torn
zhe li chto i ya[,] skazhi chto sovsem v drugom etazhe[,]
pol'zuyas' tern, chto ty seichas v torn etazhe gde Bakst i
Valechka. Napishi mne seichas zhe tozhe ofitsiyarnoye
pis'mo[.] Ya[,] mezhdu prochim[,] Ek. Gavr. rasskazal o stsene
revnosti S. Yu., no[,] razumeyetsya[,] etim i ogranichilsya. Ya
skazal ei[J chto lyublyu tebya [left margin] k[a]k sestru.
Verochka[,] konchayu na segodnya, bezkonechno sil'nymi
ob"yatiami i uveryayu tebya[,] chto ty tozhe ne podozrevaesh'
k[a]k u menya rastet i krepnet samoe bol'shoe chuvstvo k tebe.
I
Vera Sudeykina Biarritz
London Saturday, 26[?] November 1921
Verochka, Verochka mine, I read [past tense] your letter where
you speak of your return (in two weeks) to S[ergey] Yu[ryevich
Sudeykin] in Paris. I read it and reread it many times and couldn't
tear myself away from it! Ah, Verochka, I think it unavoidable, and
that's exacdy how it should be, that you must return to him. There's
either one solution or another, there can't be a third, for I agree with
you that it is impossible to build your happiness on another's misery —
that's an anti-Christian principle. Spiritually, for me, your return to
Paris is overwhelmingly burdensome. I can't hide this from you. It
burdens me and especially burdens you, my Verochka. May God give
you the ability to deal with your feeling for me and not let [it] be
revealed in any way to S. Yu. Did he write you in detail about our
meeting? or did [page 2] he simply touch on it because you write
that he said "Igor and I parted on good terms." But did he write
anything in that letter before that? Tomorrow I'll write you official
letters to the Savoy [Hotel, London] and I'll make passing mention
of S. Yu. and his rather nervous mood, and I'll advise you not to
leave him alone for long - if possible you should even ask Diaghilev
to let you go to Paris. If S. Yu. should be asking you what corridor
was yours at the Savoy, whether it was the same one that I stayed on,
Annotated Catalogue of the H. Colin Slim Stravinsky Collection I 85
 tell him it was a completely different floor, taking advantage of the
fact that you stayed on the same floor as [Leon] Bakst and Valechka
[Walter Nouvel]. Write me an official letter right now as well.
Among other things, I told Ek. Gavr. [Ekaterina Gavrilovna,
Stravinsky's wife] about the jealous scene made by S. Yu., but
naturally I stopped at that. I told her that I loved you [left margin]
like a sister. Verochka[,] I'm stopping there for today, with infinitely
strong embraces, and I assure you that you also don't suspect how the
greatest feeling grows and strengthens within me toward you.
pSfi
Acquisition: H. Colin Slim on 13 October 1998 from Lion Heart
Autographs.
Provenance: Same as Entry 18; Sotheby's 1991 catalogue, lot 403, dating
it "Biarritz, 19 November 1921." (Written the same day, a second love
letter of three pages, sold at Sotheby's, lot 404, was available in 1998
from Lion Heart Autographs; it has since been sold.)
Commentary
The letter is unpublished, its envelope missing. Transliteration and
translation were kindly provided by Stanislav Shavbrin and Michael
Green. Their translation of Entry 19 differs in several details from the
one provided me by Lion Heart Autographs and from the excerpts in
Sotheby's catalogue.
Headed only "Saturday," Entry 19 is said to be of 19 November
1921. The parenthesis "(in two weeks)" is not likely, however, to refer
to any return to Paris by Vera about 16 November after only two weeks
of performing in London — a period dating from her first appearance on
2 November in London as the Queen in The Sleeping Princess. Instead,
the parenthesis more likely refers to plans she had recently made to
return to Paris in two weeks from the time she wrote to Stravinsky her
now-destroyed letter, to which Entry 19 responds. Moreover, another
letter (lot 404) Stravinsky wrote to her on the same Saturday as Entry 19
places her still in London.
During the run of the ballet, Vera became ill. On Saturday, 19
November (this date kindly confirmed by M. Elizabeth Bartlet at Paris
in 1998), some two and a half weeks after its opening, her husband
telegraphed Diaghilev in London about her health and the care being
86 I Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 taken for her, asking whether he should come: "Priere de repondre
immediatement comment va la sante de ma femme[.] J[']espere a tous
les soins necessaires[.] Faut il venir[?] - Soudeikine." An undated letter
from Stravinsky to Kochno in London, presumably also from about this
time, expresses the same concerns: "Write to me what Vera's condition
is like, how is her health and how does she feel about herself. Does she
go out yet?" (lot 399).
Two undated letters from Sudeykin to Diaghilev (probably late
November and early December) beg Diaghilev to return Vera to him.
In the second of these he states that he had not expected the ballet to run
for two months, that she had been away fifty days, and had given thirty
performances. Obviously these letters postdate Sudeykin's telegram of
19 November to Diaghilev about her health. She had certainly arrived
in London by 27 October for rehearsals and perhaps even earlier, with
Diaghilev on 15 October. If the former, Sudeykin's second letter would
have been written about 4 December.
An approximate date for her withdrawal from her role as Queen in
the ballet is probably found in a note to Vera which Leon Bakst signed
"London 27 Novembre 1921" wherein he declared himself a "loyal
subject" of the "beautiful Queen of 'Sleeping Beauty'." This could
mark either his own farewell upon leaving London or her coming
departure from that city. Presumably Bakst gave her this note while she
(and he) were still in London together. (He himself was in Paris by 12
December.)
By early to mid-December the cast of The Sleeping Princess had
altered slightly, as a second edition of the program booklet reveals. A
copy of the first edition, inscribed merely "December 1921" on the
cover by its owner Edward Knoblock (1874-1945), has Vera playing
the non-dancing role of the Queen and an English actor playing the
King. On the second edition of the program its (unknown) owner
inscribed the cover in ink "January 25 1922." Here Vera and the actor
have been replaced by two dancers from the company.
Approximately when this revised program for the ballet was
printed can be deduced from an advertisement newly added in it for a
memorial exhibition of works by the artist, C. Lovat Fraser (1890-
1921). The Fraser memorial was first announced in issues of the London
Times on 19 and 28 November, stating that it would open privately on
2 December and publicly the following day; it was duly reviewed on 3
Annotated Catalogue of the H. Colin Slim Stravinsky Collection I 87
 88
December. The advertisement in the second edition of The Sleeping
Princess program, however, gives no opening date for the Fraser
memorial exhibition, but states it would be "Open daily until
Christmas." Since the opening date of the exhibition is not mentioned,
the revised program was probably printed after 3 December. Just when
Vera left the ballet company cannot, therefore, be precisely ascertained,
but it was probably early that month, and, as suggested below, before
the 13th.
Therefore, on the one hand, Entry 19, revealing knowledge of
Vera's plan to return to Paris, can scarcely date from 19 November, the
very Saturday that Sudeykin telegraphed Diaghilev. It was most likely
written on the following Saturday, the 26th. Somewhat less than two
weeks from 26 November would place her return to Paris around
December 10, which is compatible with the date of 13 December
entered in her album by Mikhail Struve in Paris (see below).
On the other hand, dating Entry 19 as the first Saturday of
December seems too late. On that very Saturday, 3 December,
Stravinsky telegraphed Kochno at the Savoy Hotel: "[Dite Vera que]
poste livrera lettres seulement contre piece [d'identite do]nc ne pourrais
envoyer lettres qu'a son nom [stop agira]i pas autrement craignant la
laisser sans mes [nouvelle]s Igor" [Tell Vera post office will only deliver
letters if shown identity card so could only send letters in her name —
(stop) will do this afraid to leave her without hearing from me]
(incompletely reproduced in lot 399, provisional reconstruction and
translation by Leonard W. Johnson, the former kindly confirmed by
Stephen Walsh who had copied it out in 1994). This telegram of 3
December suggests that new love letters cannot be safely forwarded to
her in Paris and also that Stravinsky was now concerned about how to
communicate with her. Craft's report that "she returned in December"
is perhaps confirmed by a poem, "To the Sudeykins," by Struve (1890-
1948) entered in one of Vera's albums, which poem he signed "Paris,
13 December 1921." Moreover, she wrote a letter from Paris to
Diaghilev on 28 December, in which she thanked him on that date:
"very belatedly." (Although very late in fife, she recalled requesting
Diaghilev to release her from the ballet in mid-January 1922, in fact her
diary for 1922 records her back in Paris by 3 January.)
Writing in Entry 19 that he will pretend ignorance in his "official
letters" to her at the Savoy Hotel about her forthcoming return to Paris
I Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 and that he will reflect anxieties (previously expressed to him in Biarritz,
probably on 10 November) by her husband, Stravinsky obviously
already knew of Vera's plan to return to Paris by the time he wrote
Entry 19. He had also learned - presumably from her or from Kochno
- of Sudeykin's telegram to Diaghilev of 19 November and perhaps
even about one of her husband's undated letters. Clearly his ruse in
Entry 19 was meant to hide from Sudeykin his secret communications
with her by letters through Kochno.
Quarrelling with Sudeykin over an invitation from Stravinsky to
attend the gala premiere of Mavra on 29 May 1922 in the ballroom of
the Hotel Continental in Paris, Vera separated from her husband about
4 June. On 19 August, he emigrated permanently to the United States,
where he died in 1946.
Leon Bakst (Lev Samoylovich Rosenberg, 1866-1924), the
designer of the sets and costumes for The Sleeping Princess, was associated
with Diaghilev's enterprises as early as 1898. He designed many Ballets
Russes productions, 1909-17, and had an extensive correspondence
with Stravinsky, for example, proposing in 1917 their collaboration in
a production of Shakespeare's Anthony and Cleopatra (which never
materialized with music by Stravinsky). His only other professional
association was as an assistant designer for The Firebird, a costume design
for Anna Pavlova surviving at the St. Petersburg Theatre Museum.
"Valechka," Walter Nouvel (Valter Fyodorovich Nuvel', 1871-
1949), was a classmate of Diaghilev; in Taruskin's words, he was a
"Sunday composer," a co-founder of the Evenings of Contemporary
Music at St. Petersburg in 1901, and also a life-long friend of Stravinsky.
In 1934-35, Nouvel collaborated with him in writing the Chroniques de
ma vie (see entries 42-3, 46, 83, 103).
Stravinsky informed his wife, Catherine, about his liaison with
Vera in the spring or summer of 1922. After Catherine's death in Paris
in 1939, he emigrated to the US and Vera arrived the following year.
They were married at Bedford, Massachusetts, on 9 March 1940.
Works Consulted
Baer, Nancy Van Norman, ed. The Art of Enchantment. Diaghilev's Ballets
Russes, 1909-1929. San Francisco: Fine Arts Museums, 1988. pi. facing p.
91, p. 142 {L'Oiseau de Feu), pp. 157-58, nos. 123-36.
Annotated Catalogue of the H. Colin Slim Stravinsky Collection I 89
 Bowlt, John E., ed. and trans. The Salon Album of Vera Sudeikin-Stravinsky.
Princeton, NJ: Princeton University Press, 1995. pi. 163; p. 95, no. 163.
Buckle, Richard. Diaghilev. New York, NY: Atheneum, 1979. p. 394, n. 100
on p. 573.
Craft, Robert. Stravinsky: Glimpses of a Life. London: Lime Tree, 1992; New-
York, NY: St. Martin's Press, 1993. pp. xii-xv.
-. Places. A Travel Companion for Music and Art Lovers. New York, NY: Thames
and Hudson, 2000. p. 171.
Garafola, Lynn. Diaghilev's Ballets Russes. New York, and Oxford: Oxford
University Press, 1989. p. 386 (Firebird).
Knoblock, Edward. Papers. The Sleeping Princess [December 1921]. Theatre
Collection. Harvard University.
Kochno, Boris. Diaghilev and the Ballets Russes. trans. Adrienne Foulke. New
York, NY, and Evanston, IL: Harper and Row, 1970. pp. 168-75.
-. Fonds. Piece 93. Bibliotheque de l'Opera. Paris.
Kodicek, Ann, ed. Diaghilev. Creator of the Ballets Russes. Art. Music. Dance.
London: Barbican Art Gallery/Lund Humphries,  1996. p.  161:   The
Firebird.
Lesure, Francois, et al., ed. Diaghilev. Les Ballets Russes. Paris: Bibliotheque
Nationale, 1979. pp. 104-8.
London Theatres. A-ARG, folder. "Alhambra," The Sleeping Princess [January
1922]. Theatre Collection. Harvard University.
MacDonald, Nesta. Diaghilev Observed by Critics in England and the United States
1911-1929. New York, NY, and London: Dance Horizons, 1975. pp.
277-80.
Schouvaloff, Alexander. The Art of Ballets Russes: The Serge Lifar Collection of
Theater Designs,   Costumes,   and Paintings  at  the   Wadsworth Atheneum,
Hartford,  Connecticut. New Haven, CT, and London: Yale University
Press, 1997. pp. 87-101.
SBu. pp. 13-16, esp. n. 1 on p. 14 (Sudeykin's request is misdated).
SI&V. pi. 54 on p. 55.
SP&D. pi. on p. 230.
SP&RX. vol. 1. n. 1 on p. 376, p. 512 (index: Bakst), p. 527 (Nouvel); vol. 2.
pp. 513-14, nos. 1016-17 (trans. Stanislav Shvabrin and Michael Green),
pp. 734-5 (index: Bakst), p. 758 (Nouvel).
SSC 2. pp. 92-7, app. K on pp. 487-502.
Taruskin, Richard. Stravinsky and the Russian Traditions. Berkeley and Los
Angeles, CA: University of California Press, 1996. pp. 374-75, fig. 7.1 on
p. 425, fig. 8.8b on p. 517, fig. 8.9 on p. 520, p. 1511.
Walsh, Stephen. Stravinsky, A Creative Spring: Russia and France, 1882-1934.
New York, NY: Alfred A. Knopf, 1999. pp. 140, 334-6.
90 I Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 ^" (c-1921). Autograph calling card, 5.6 x 9.4cm, in French, engraved
Igor Strawinsky in italic and inscribed (though unsigned) by him
in French in black ink to an unknown recipient, possibly in Paris:
31
avec mes meilleurs
compliments
[to unknown recipient] [Paris, c. 1921]
with my best regards
Acquisition: by kind gift to H. Colin Slim, 9 April 1979, from Howard
Mayer Brown (1930-93) and Roger W. Weiss (1932-91), both then
professors at the University of Chicago.
Provenance: Probably Marya Freund; her son, Doda Conrad; Wurlitzer-
Bruck (1979).
Commentary
An identically sized engraved calling card to "Mme Soudeikine" (Vera)
dates from 1921 as does probably another to a "Dr. Talliro" [sic] in
London and still another, sent to Rudolph Ganz in August 1922
inscribed "Villa Les Rochers/Biarritz." (The London doctor Talliro of
Stravinsky is probably Diaghilev's "Dr. Talariko" there.)
Retaining the same spelling of his surname, Stravinsky later had this
card reprinted on larger-sized papers, often using them for brief
correspondence. One, 7.9 x 10.9 cm, of 8 December 1962, is to Ginny
Carpenter Hill; another, the following day, concerns a Columbia
contract he had signed and endorsed; another of 19 March 1965 is in the
Chicago Symphony Archives; and still another one is inscribed to
Warren Kirkendale on 19 September 1963. Kirkendale owns yet
another, 6.3 x 8.3 cm, inscribed 13 December 1962; see also cards
inscribed 16 November 1960 and 4 July 1963 to Mario Bois; and one
to Deborah Ishlon of 9 March 1961.
An unemployed Russian taking the name Prince Serge de
Temmenoffalso had such a card printed in the 1920s, writing messages
and forging the composer's signature. Entry 20 is, however, surely
authentic - compare its "meilleurs" with the same word in his 1925
Annotated Catalogue of the H. Colin Slim Stravinsky Collection I 91
 21
letter to Dr. Garbat, Entry 30. Since the provenance of Entry 20 is Doda
Conrad, Stravinsky may well have sent the calling card to Conrad's
mother, Marya Freund, whom he knew from at least 1915 and who was
in Paris during the 1920s (see entries 8 and 10). A visiting card inscribed
c. 1912 by him "Clarens Hotel de Chatelard, Suisse" was offered by Lisa
Cox in 1998 for £200. Entry 20 is framed with Entry 33.
Works Consulted
Bois, Mario. Pres de Strawinsky 1959-10. Paris: Marval, 1996. pis. on pp. 11,
122.
Buckle, Richard. Diaghilev. New York, NY: Atheneum, 1979. pp. 398, 528.
Carpenter, John Alden. Papers. Box 1, folder S. The Newberry Library,
Chicago.
Chicago Symphony Orchestra, Archives.
Cox, Lisa. Gallimaufrey 3 August 1998. Exeter, 1998, no. 177.
Erasmushaus. Katalog 903. Autographen. Basle, October 2000, item 194 on p.
81 with ill.
Ganz papers. Incoming Correspondence (excluding family) S-Z, folder 332.
The Newberry Library, Chicago.
Kirkendale, Warren. Personal archive, Rome.
Schneider, Hans. Katalog Nr. 156. Tutzing, 1970. p. 47, no. 124.
Schulson, David, Autographs Limited. The fanuary Sale Catalog. New York,
January 2000, item 108 on p. 40.
Stargardt, J.A., Katalog 612. Berlin, 16-17 November 1999, lot 819, pi. on p.
321.
SP&D. n. 258 on p. 621.
SScrbk. pi. 294 on p. 149.
(1923). Autograph sketches in pencil near the close of the second
tableau for Svadebka [Les Noces), arranged for player piano on
one side of the severed lower portion of a twice-folded page,
now 17.9 x 27.0 cm with only fourteen printed staves, marked by
Stravinsky in blue pencil: "Les Noces" and with additional autograph annotations in pencil: "page 67 A B C; x y z; 1 2 3 4 5 6;
Chorus; les femmes hommes." Neither 1915-17 in pencil near
the top of the left margin (partially erased but visible under
ultraviolet light) nor 1800 within an ellipse at the upper right
92 I Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 corner is autograph. The reverse side, with fourteen printed
staves, has only non-autograph pencil annotations by various
dealers.
Acquisition: H. Colin Slim on 11 October 1995 from Lisa Cox Antiquarian Music, Books, Autographs & Ephemera (20 Old Tiverton
Road Exeter / Devon, England), Catalogue 30. Autumn 1995, item 181.
Provenance: Possibly Dr. Ernst August Schroder of Essen who, in
November 1988, had described his collections - containing player
piano sketches for Les Noces (now at the Pierpont Morgan Library, Cary
MS 567) — for the German auctioneer, Stargardt: "Autographen - das
war etwas fiir mich. Von alien Gebieten, die die Stargardt-Kataloge
anbieten, liegt mir das Gebiet 'Geschichte' am meisten, neben Literatur
und Musik"; Kenneth W. Rendell, Inc. (Wellesley, MA, and New
York) marked on reverse side: STRAVINSKY, I. AMusMS N3133
SBMX, followed by another hand: 11302 / Les Noces / 102;
unidentified dealer in England (1995).
Annotated Catalogue of the H. Colin Slim Stravinsky Collection I 93
 94 I
Commentary
The sketches are unpublished. Rex Lawson observes: "on the whole
the similar sketches for other arrangements [of Stravinsky's works] are
either not in public hands or simply do not exist" (Liner Notes, p. 10).
In 1921, Stravinsky signed a six-year contract with Pleyel at Paris
for player piano (i.e., Pleyela, pianola) transcriptions of all his works, Les
Noces being the thirteenth of these to appear. A notice published in the
Pleyel house journal in October 1923 of his works for sale on these rolls
does not yet include Les Noces, but it was advertised as available on four
of them from 1 January 1924. It must, however, have been ready for sale
the previous December when the back cover of a special Stravinsky
issue of the Revue musicale advertised it that month.
Lawson correctly estimates the date of its commercial issue as "late
1923." Stravinsky must, however, have finished working on it with the
head of the music rolls department at Pleyel, Jacques Larmanjat (1878-
1952) and his assistants well before the premiere of the ballet at Paris on
13 June that year. Indeed, he played excerpts from Les Noces, apparently
on the player piano, for the poet Vladimir Mayakovsky (1893-1930),
who arrived in Paris on 18 November 1922 for a week's stay: "He
played for us at Lyon's [Pleyel]. He played [from] The Nightingale, The
[Chinese] March, The Two Nightingales, The Nightingale and the Chinese
Emperor, and also his latest things: Spanish Etude for pianola [recorded
September 1921], Les Noces, a ballet with chorus, which is to be
performed in the spring by Diaghilev, and fragments from his opera,
Mavra." Mayakovsky observed the composer's vivid enthusiasm for the
player piano - "writing for eight, for sixteen, for twenty-two hands!"
The Harvard Theatre Collection owns a souvenir program of the
Ballets Russes at the "Gaite Lyrique 1923" (the theatre where the
premiere of Les Noces took place), which includes an advertisement in
the form of an inserted slip-sheet. Its contents are very close to that of
the advertisement in the December 1923 issue of the Revue musicale
cited above. The slip-sheet reads in part: "Sous Presse / pour paraitre
incessamment / en Exclusivite / Les Transcriptions, enregistrees et
adaptees par Igor STRAWINSKY pour le PLEYELA 88 Notes, des
OEuvres suivantes." Among the works listed is "Les Noces, (6
rouleaux)" (as opposed to the "4 rouleaux" advertised in the December
Revue musicale).
Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 Stravinsky would have given rough musical sketches, similar to
those in Entry 21, to the technicians who then marked up master rolls
and punched them out for his corrections and approval. The November
1923 issue of the Revue Pleyel contains an illuminating comparison by
Larmanjat between the piano reduction of Le Chant du Rossignol and its
player piano transcription from the orchestral score.
Player piano sketches of Les Noces antedate the work's private
concert premiere - at the home of the Princesse de Polignac on 10 June
and the choreographed public one three days later - for two other
reasons. Serge Lifar (1905-86) reported that Stravinsky, who played the
piano and supervised the rehearsals of Les Noces at Monte Carlo in the
spring of 1923, "fit venir de Paris un orgue de Barbarie sur les bandes
duquel etait inscrite la musique du ballet. On assista alors a ce spectacle
surprenant de l'accompagnatrice metamorphosee en mecanicien et
tournant la manivelle!" [had brought out from Paris a barrel organ with
the ballet's music on its rolls. Thus we saw the surprising spectacle of the
(woman) accompanist transformed into a worker and turning the
handle!] Lifar, auditioned in Paris by Diaghilev on 13 January 1923 and
travelling to Monte Carlo the next day to join the corps-de-ballet, was
among the twenty-one male dancers at its premiere. Stravinsky, who
had installed his family in Biarritz, was in Paris most of January and
February, in Biarritz most of March and briefly in Paris at its close, and
was in Monte Carlo from early in April, returning to Paris by mid-May.
Therefore, the incident reported by Lifar took place in April or May at
Monte Carlo. Ninette de Valois observed that, for Les Noces, "we
always had to rehearse with a pianola," but her first performance in this
ballet was in the following year.
Second, at the invitation of Stravinsky on the day following the
premiere of Les Noces, George Antheil (1900-59) and his future wife
visited Pleyel's: "where he [Stravinsky] said, he would play the rolls of
the pianola version of Les Noces for us ... and Stravinsky himself played
Les Noces, this time on an electric pianola. I liked the second version
even better than the one which we had heard last night; it was more
precise, colder, harder." Craft has the date correcdy as 1923 for the
pianola transcription.
More than a year later in the September 1924 issue of the Revue
Pleyel listing "Les Noces 4 rouleaux," Stravinsky self-endorsed the
Annotated Catalogue of the H. Colin Slim Stravinsky Collection I 95
 player piano rolls, "adaptes par l'auteur," for his works: "Igor Strawinsky,
en particulier, s'est donne a cette tache avec sa puissante maitresse et une
ardente conviction, realisant meme des arrangements speciaux pour
certaines de ses oeuvres pianistiques ou vocales. II a trouve, dit-il, dans
le Pleyela des ressources et une precision que lui refuse l'orchestre."
[Igor Stravinsky, in particular, devoted himself to this task (of
transcription) with his powerful mastery and fervent conviction, even
working out special arrangements for his piano and vocal works. He
found, he said, in the Pleyela certain possibilities and a precision that he
can't get from an orchestra.]
Because he was still a Russian citizen and the US did not recognize
any copyrights by him, his friend Robert Lyon of Pleyel (see Entry 16)
assisted him by signing each of these rolls: "Special Arrangement for
Piano Player by Robert Lyon," thereby maintaining copyright. Several
other contemporaries, including Vera Sudeykina and Jean Cocteau,
observed him making the rolls and an August 1923 photograph shows
him at work seated at the Pleyela.
Although at one time Entry 21 certainly belonged to some
companion pages, it was not in 1988 among twenty-four pages of
sketches for mechanical piano on six different kinds of paper (with
thirty-two, twenty-eight, twenty-six, twenty, fourteen, and eight staves)
plus two small slips with instructions. These pages are now held by the
Pierpont Morgan Library, which bought them in March 1988 for
DM32,000.
The dimensions of Entry 21 and the size of its staves, 21.5x0.5 cm,
show that it came from twenty-eight—staved paper, 35.2 x 27.0 cm.
The single extant full sheet of such sized paper in the Morgan Library
is folded (in the same way that Entry 21 is) at stave 14 and down the
middle. On one side only, this full sheet contains notations for "[p.]44
[at rehearsal] 46, 49, 55." From the same sized paper, the Morgan
Library's collection also includes one double half-sheet (of four pages),
and one single half-sheet (two pages marked, on one side only, "page
100 [at rehearsal] 92"), these also torn at stave 14.
The nature of the tear on Entry 21 suggests that it could well be the
lower half of the Morgan Library's four-paged double half-sheet. This
latter contains annotations on its four sides: "p. 99/p. 96;" "p. 95 [at
rehearsal] 90;" "p. 56;" and "4/4."
96 I Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 The majority of notations in Entry 21 relates to the second tableau,
pp. 56-8 at rehearsals 62-3, of the full score of the final instrumentation
of Les Noces, finished in 1923 and published that year in London.
Employing French (as do the Morgan's pages) rather than Russian,
signalling the presence of a verbal text merely by "les femmes
hommes," and locating these sketches at a "page 67," all suggest
revising something already composed and perhaps even printed, rather
than beginning composition.
Indeed, final versions of most of these "page 67" sketches do occur
on a "p. 67 [at rehearsal] 63" in a 140-page holograph manuscript,
including autograph page and rehearsal numbers, dating from 1921-23.
This manuscript comprises the instrumental accompaniment only -
four pianos and percussion — and is on deposit in the British Library
from the London publisher of Les Noces, J. and W. Chester. A similar
holograph with the same instrumentation and pagination is in the Paul
Sacher Foundation at Basle. For Entry 21, Stravinsky was working
either from his manuscripts or from Chester's printed piano/vocal
edition of 1922. In the latter, to which the technicians at Pleyel would
have had access, the vocal music used from [rehearsal] 63 appears on p.
68, but the three musical figures marked "A B" and "C" do in fact
precede on p. 67.
The music in Entry 21 on staves 3-5 directly below "A B" and "C"
corresponds to eighth-note passages in pianos 1, 2, and 3 and the
xylophone from rehearsal 62 through 64 in the printed score. "A B"
and "C" could thus signify pianos 1, 2, and 3 (piano 4 playing the
ostinato only). As musical materials, however, "B" and "C" each appear
only once (between rehearsals 62 and 63), whereas "A" appears four
times, followed by three more statements during which its rising third
interval expands to a rising fifth. (A similar use of majuscules appears in
sketches for The Rite of Spring.)
The music copied below numbers "12 3 4 5 6" corresponds most
closely to pianos 1 and 3 during the first two measures at rehearsal 63,
except for a missing initial eighth rest. The part marked "Chorus" is the
initial four measures after rehearsal 63, but written here entirely on just
one staff (the 11th) in the treble clef and lacking text (Russian or
French). It begins with tenors and basses and continues with sopranos
and altos: "les femmes," but the sketch does not musically notate the
ensuing answer by the tenors and basses: "hommes."
Annotated Catalogue of the H. Colin Slim Stravinsky Collection 1 97
 A wavy line through staves 1-7 separates their materials from
related ideas not used in the final 1923 version set for four pianos and
percussion. Here Stravinsky's observation to Ramuz on 18 August
1921 about preparing his works for player piano is relevant: "This
mechanization interests me a great deal, and I have invented some
splendid tricks." Directly below on staff 12 alternating "X" "Y" and
"Z" notate similar chordal materials found in pianos 1, 2, and 3, this
time with the requisite eighth rest. Obviously, he wanted to combine
"X" and "Z" with the group of quintuplet triads notated on staves 13-
14, which gradually become more thickly textured during their next
three appearances. (For an autograph quotation from the fourth tableau
of Svadebka, see Entry 55; for his citations about the ballet, see entries
23-4.)
Works Consulted
Antheil, George. Bad Boy of Music. Garden City, NY: Doubleday, Doran,
1945. p. 104.
"Avis Divers." Revue Pleyel 1 (15 October 1923): 20.
Craft, Robert. Stravinsky: Glimpses of a Life. London: Lime Tree, 1992; New
York, NY: St. Martin's Press, 1993. p. 264.
Goubault, Christian. Igor Stravinsky. Paris: H. Champion, 1991. p. 187.
Hirsbrunner,  Theo.   "La musica  di  Stravinsky  per  'Les  Noces,'"   Oskar
Schlemmer, Les Noces. ed. Manuela Kahn-Rossi. Milan: Fabbri, 1988. p. 75.
Jans, Hans Jorg, and Lukas Handschin, ed. Igor Strawinsky. Musikmanuskripte.
("Inventare der Paul Sacher Stiftung," 5 [Winterthur: Amadeus, 1989].)
26: "Partitur (1923; 141 pp)."
Joseph, Charles M. "Diaghilev and Sttavinsky." The Ballets Russes and Its World.
ed. Lynn Garafola and Nancy Van Norman Baer. New Haven, CT, and
London: Yale University Press, 1999. pp. 206-7, n. 16 on p. 374.
Larmanjat, Jacques. "Transcriptions des Oeuvres d'Orchestre pour le Pleyela."
Revue Pleyel 2 (15 November 1923): 29-30.
Lawson, Rex. "Stravinsky and the Pianola" in Confronting Stravinsky: Man,
Musician, and Modernist, ed. Jann Pasler. Berkeley and Los Angeles, CA,
and London: University of California Press, 1986. p. 297, no. 5, p. 300,
nos. 37-41.
-. "Stravinsky and the Pianola (part 2)." The Pianola Journal 2 (1989): 14.
-. Liner Notes (1993) to CD, Igor Stravinsky, Pianola Works. Music Master
Classics, 1994. pp. 10-11.
98 I Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 "Les Rouleaux 'Pleyela' de transcription d'orchestre." Revue Pleyel 12 (15
September 1924): 28 (trans. Leonard W.Johnson).
Lesure, Francois. Igor Stravinsky. La carriere europeenne. Paris: Musee d'Art
Modeme, 1980. pp. 89-92, n. 4 on p. 105.
Lesure, Francois, and Nanie Bridgman, ed. Collection Musicale Andre Meyer.
Abbeville: F. Paillart, 1960. pis. 250-1.
Lifar, Serge. Ma  Vie. Paris: R. Juilliard, 1965. p. 51  (trans. Leonard W.
Johnson).
Mayakovsky, Vladimir. "Parizhskiye Ocherki." Polnoye Sobraniye Sochineniy.
Moscow:  Gosudarstvennoye Izdatelstvo Khudozhestvennoy Literaturi,
1957. vol. 4. p. 229 (trans. Stanislav Shvabrin and Michael Green).
Schouvaloff, Alexander. The Art of Ballets Russes: The Serge Lifar Collection of
Theater Designs,   Costumes,   and Paintings  at the   Wadsworth Atheneum,
Hartford,  Connecticut. New Haven, CT, and London: Yale University
Press, 1997. pp. 208-11.
"Service du Pleyela." Revue Pleyel 6 [15 March 1924]: 29.
Stargardt, J.A. Autographen aus alien Gebieten. Katalog 641. Marburg, 9-10
March 1988, lot 1067. pp. 354-5.
—. Beschriebenen Autographen aus alien Gebieten.  Katalog 642. Marburg, 30
November-1 December 1988. p. 6.
SBu. p. 18.
SI&V. pis. 56-60 on pp. 56-7.
SP&D. pp. 157-8, pi. on p. 242, pi. on p. 245 (lower).
SSC. vol. 1. n. 61 on p. 151, pp. 165-8; vol. 3. p. 61.
Stravinsky, Igor. The Rite of Spring: Sketches 1911-1913. Facsimile Reproductions
from the Autographs. London: Boosey and Hawkes, 1969. p. 88.
Taruskin, Richard. Stravinsky and the Russian Traditions. Berkeley and Los
Angeles, CA: University of California Press, 1996. fig. 18.3a on p. 1454.
-. "Stravinsky and the Subhuman: Notes on Svadebka" in Defining Russia
Musically. Princeton, NJ: Princeton University Press, 1997. pp. 389-467.
Walsh, Stephen. Stravinsky, A Creative Spring: Russia and France, 1882-1934.
New York, NY: Alfred A. Knopf, 1999. pp. 361-2.
22 (1923). Inscribed photograph, 13.9 x 9.5 cm, of Stravinsky standing outside a wooden structure, in French in black ink (lower left),
12 February 1923, to Georges Auric (1899-1983):
n
Annotated Catalogue of the H. Colin Slim Stravinsky Collection I 99
 A Georges Auric
mes oreilles encore
pleines de sa tres
bonne musique
des Facheux
I Strawinsky
Paris le 12 II 23
Georges Auric Paris
Paris 12 February 1923
For Georges Auric, my ears still full of his very fine music for Les
Facheux,
I Strawinsky
Acquisition: H. Colin Slim in Los Angeles on 26 Septemer 1999 from La
Scala Autographs.
Provenance: Lisa Cox, Catalogue 36 (Exeter, Summer [July] 1999), item
120.
Commentary
When and where the photograph was taken remain uncertain. A
dealer's pencil remark on its reverse side: "Unofficial informal photo,
signed and inscribed to Auric" is duplicated in Cox's catalogue. Above
this is "AM 63," the number repeated in red pencil below. He inscribed
a copy of the same image in 1923 to Boris Kochno and the following
year one to Ansermet: "Geneve/27/Nov./1924."
Auric wrote incidental music for the four performances of
Moliere's Les Facheux staged by the Comedie-Francaise at the Theatre
de l'Odeon in mid- and late April 1921, celebrating the 300th
anniversary of the dramatist's birth. (Confusion about the year of these
performances - even by Auric himself! - probably stems from the later
run of Moliere's play with incidental music by Beauchamp and Lully at
the Comedie-Francaise from 1 October 1921 into 1922.)
Having heard one of these April 1921 play performances,
Diaghilev was sufficiently impressed to commission the twenty-two-
year-old Auric for music to a ballet by Boris Kochno after Moliere, in
100 I Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 which Jean Cocteau also had a hand. The latter entitled his undated
drawing: "Georges Auric ecrit les Facheux." Stravinsky, too, may have
heard Auric's incidental music to Moliere's play, or had early access to
the piano score of Auric's ballet: "Avignon. Ete 1921 / Malines. Fevrier
1923" (published at Paris late in 1923). Whatever the case, Auric played
his score to Stravinsky the very day the latter inscribed Entry 22, as
shown by Auric's letter to Paul Collaer: "Vu aussi Strawinsky, a qui je
vais cet apres-midi jouer Les Facheux" (reference kindly provided in July
2000 by Walsh). Perhaps then, the photograph was indeed taken in
Paris.
Although the inscription in Entry 22 contradicts Walsh's earlier
assertion that: "What Stravinsky thought of Auric's Les Facheux... is not
directly recorded," it confirms his intuition that Stravinsky would have
liked it. In reviewing the 1924 Ballets Russes premieres of Auric's ballet
score at Monte Carlo in January and at Paris in June, neither de
Schloezer nor Prunieres mention Auric's earlier incidental music to
Moliere's play.
Stravinsky may have met Auric as early as the fall of 1920, when he
was invited to attend a series of concerts in Paris with Satie and Auric.
Emerging with the latter from his Pleyel studio one evening in 1923,
Stravinsky asked him to play one of the four piano parts at the
forthcoming premiere of Les Noces on 13 June. Auric and Francis
Poulenc - the latter ailing at the premiere and initially replaced by
Edouard Flament - continued to be the pianists at later performances in
1924 (on the same program, 4 June, with the Parisian premiere of Les
Fdcheux); in 1926 in Paris and at its London premiere; and in 1928 at
Paris and London.
Works Consulted
Ansermet, Anne. Ernest Ansermet, monpere. Lausanne and Tours: Payot, 1983.
pi. on p. 161.
Auric, Georges. Quand j'etais la. Paris: B. Grasset, 1979. pp. 52, 181-6.
Bordier-Nikitine, Michele, ed. Visages d'Igor Strawinsky. Le Mans: Musee de
Tesse, 26 February-25 April 1976. pi. 191 (Stravinsky and Auric at Biarritz
in 1923).
Buckle, Fdchard. Diaghilev. New York, NY: Atheneum, 1979. pp. 428-9,
471, 501, 504.
Collaer, Paul. Correspondance avec des amis musiciens. ed. Robert Wangermee.
Liege: P. Mardaga, 1996. p. 126, nos. 23-7.
Annotated Catalogue of the H. Colin Slim Stravinsky Collection I 101
 23
Garafola, Lynn. Diaghilev's Ballets Russes. New York, and Oxford: Oxford
University Press, 1989. p. 254.
Hitchcock, H. Wiley. "Moliere." NG. vol. 12. p. 464.
Houle, George, ed. Le Ballet des Facheux: [Pierre] Beauchamp's Music for Moliere's
Comedy. Bloomington and Indianapolis: Indiana University Press, 1991.
Kochno, Boris. Diaghilev and the Ballets Russes. trans. Adrienne Foulke. New
York, andEvanston, IL: Harper and Row, 1970. pis. on pp. 190, 194, pp.
210-13.
D Figaro, 11 January 1921, p. 3; 3 April 1921, p. 3; 4 April, p. 5; 7, 14, 18, 24
April, each on p. 3; 30 September, p. 5.
Lesure, Francois. Igor Stravinsky. La carriere europeenne. Paris: Musee d'Art
Modeme, 1980. p. 89.
Lesure, Francois, and Nanie Bridgman, ed. Collection Musicale Andre Meyer.
Abbeville: F. PaiUart, 1960. pis. 49, 249 (1926 or 1928).
Lesure, Francois, et al., ed. Diaghilev. Les Ballets Russes. Paris: Bibliotheque
Nationale, 1979. pp. 113-14, 122-4, 163-4.
Prunieres, Henri. Review of Les Facheux (at Paris). La Revue Musicale 5, 9 (July
1924): 61-3.
Renaud, Paul, and Thierry Bodin. Archives Roland-Manuel [part 2]. Paris: 24
March 2000, lots 2 and 4. pp. 3-4.
Schloezer, Boris de. Review of Les Fdcheux (at Monte Carlo). La Revue
Musicale 5, 4 (1 February 1924): 166-7.
SchouvalofT, Alexander. The Art of Ballets Russes: The Serge Lifar Collection of
Theater Designs,   Costumes,   and Paintings  at  the   Wadsworth Atheneum,
Hartford,  Connecticut. New Haven, CT, and London: Yale University
Press, 1997. pp. 147-9.
SAc. pi. on p. 102 (Stravinsky and Auric at Biarritz in 1923).
SP&RK. vol. 2. pp. 476-7 (trans. Stanislav Shvabrin and Michael Green).
Steegmuller, Francis. Cocteau: A Biography. Boston, MA, and Toronto, ON:
Little, Brown, 1976. p. 321.
Walsh, Stephen. Stravinsky, A Creative Spring: Russia and France, 1882-1934.
New York, NY: Alfred A. Knopf, 1999. pp. 391-2.
(1923). Autograph three-page letter, pp. 1-2 on one twice-folded
sheet 20.9 x 27.0 cm, on Pleyel (Paris) letterhead, with p. 3 on a
severed twice-folded half-sheet, 20.9 x 13.4 cm, in French in black
ink, 19 April 1923, to an unnamed Parisian woman, established as
Madame Vera Janacopulos-Staal (1892-1955):
102 I Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 Montecarlo 19 Avril 1923
Bien chere Madame,
Je vous remercie beaucoup de votre lettre et des interessantes
nouvelles que vous m'annoncez.
Il m'est difficile de vous repondre en ce moment d'une
maniere precise au sujet des melodies a instrumenter pour notre
concert d'Anvers. Nous pourrons nous entendre a ce sujet a
Paris et je ferai ce travail pendant les vacances.
Quand a votre proposition pour le concert du 29 mai, vous
comprendrez que je dois reserver ma participation personnelle
aux concerts seulement pour les cas qui [page 2] peuvent
comporter des cachets assez eleves car ma situation financiere
m'oblige a menager cette source de gain! Mais votre lettre m'a
suggere une idee que je me permets de vous exposer entr toute
franchise. Des tractations pour l'edition de plusieurs de mes
oeuvres manuscrites qui trainent en longueur me mettent juste
en ce moment dans une situation des plus difficiles. Je vous
avoue que je dois absoluement trouver dans le delai de dix
jours une somme d'environ 4000 fr. S'il vous etait possible de
trouver pour moi cette somme a titre de pret, vous me rendriez
un grand service et je participerai avec plaisir a votre concert
comme vous le desirez, trop heureux de trouver la une occasion de vous temoigner ma reconnaissance dans la mesure de
mes possibilites actuelles.
Repondez moi je vous prie a l'hotel des Princes —
Montecarlo ou [page 3] je me trouve pour les repetitions des
"Noces" avec le "ballet russe."
En attendant votre reponse je vous prie de croire, chere
Madame a mes sentiments tout devoues
Igor Strawinsky
p.s. Mon ami Ansermet qui est ici a Montecarlo egalement me
dit qu'il compte fermement obtenir pour vous un engagement
en Suisse pour cet hiver ainsi que je lui en avais souvent parle[.]
Annotated Catalogue of the H. Colin Slim Stravinsky Collection I 103
 104
Vera Janacopulos-Staal Monte Carlo
Paris 19 April 1923
Very dear Madame:
Thank you very much for your letter and for the interesting news
you tell me.
It is difficult for me to reply at this time in an exact way about
orchestrating the songs for our Antwerp concert. We can discuss this
in Paris and I could undertake this work during summer vacation.
As for your proposal about the May 29 concert, you understand
that I must reserve my personal participation in concerts only for
those occasions which can provide quite high fees, because my
financial situation obliges me to pursue this source of income! But
your letter has suggested an idea which I allow myself to share with
you in all frankness. Negotiations for the publication of several of my
works [still] in manuscript which have dragged on have put me just
now in a very difficult position. I confess that I absolutely must find
within ten days the sum of about 4,000 francs. If it were possible for
you to find this sum for me as a loan, you would render me a great
service and I would participate with pleasure in your concert as you
desire, too happy to find there the chance to demonstrate my
gratitude as far as my present circumstances allow.
Please reply to me at the Hotel Princes — Monte Carlo where I
am staying for rehearsals of The Wedding with the Ballets Russes.
Awaiting your reply, I am, dear Madame, yours very sincerely,
Igor Strawinsky
p.s. My friend, Ansermet, who is also here in Monte Carlo, tells me
that -just as I have often asked him — he firmly counts on obtaining
an engagement for you in Switzerland this winter.
Acquisition: H.  Colin Slim on 11  December 1997 from La Scala
Autographs.
Provenance: An unidentified collector in England in 1997.
Commentary
The letter is unpublished, its envelope missing. Stravinsky was with
Ansermet for rehearsals by the Ballets Russes of Les Noces in Monte
Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 Carlo, where, almost a year earlier, he had signed proofs on 11 May
1922 for the piano/vocal score. On the day he wrote Entry 23, Les
Noces was rehearsed at Monte Carlo from 10 a.m. to 1 p.m.
Unnamed, the addressee of Entry 23 is identifiable from mention
of her concert in Paris on 29 May 1923 and from another one
forthcoming in Antwerp (7 January 1924) (see Entry 26). Because only
one musical dictionary cites Janacopulos - and that very briefly - the
following sketch of her career may be found useful not only in itself but
for the light it sheds on her collaboration with many composers,
including Stravinsky. It draws on her Memorias (requiring caution in
respect to relevant dates in French) and on information in Boston
Symphony program notes, and in US newspapers and in several music
journals of the period. Dr. Slim thanks Seymour Menton for his
translations from the Portuguese.
Born in Petropolis near Pdo de Janeiro, Vera Janacopulos went as
a child to France in 1896. She studied violin with George Enesco until
1908 when she began singing lessons with Reja Bauer, giving her first
vocal recital at the Salle Gaveau in May 1915. She spent the First World
War partly in Geneva and in Paris, where she studied with Jean de
Reszke, continuing with Jean Perier, W. Thorner in New York, and
lastly with Lilli Lehmann in Salzburg in 1923-24.
Making her US debut in Aeolian Hall, New York, on 14
December 1918 — where Prokofiev was to have accompanied her -
Janacopulos gave a second New York concert on 29 December in the
Hippodrome with the Russian Symphony Orchestra led by Modeste
Altschuler. She remained in New York to give the premiere of Three
Poems (1918) by Charles Griffes, with him at the piano on 22 March
1919, at which Prokofiev also accompanied her in three of his own
songs and Maurice Dambois in several of his, to laudatory reviews. After
two further concerts in New York on 12 April and 23 May, she sailed
to Brazil and Argentina, performing in the latter country under Felix
Weingartner.
Janacopulos returned to New York to sing on 1 November in
Aeolian Hall. On the 13th she sang with the Boston Symphony under
Pierre Monteux in Sanders Theatre at Harvard. Two days after a
"Musical Morning" held at the Copley Plaza Hotel on 8 December by
a local Boston voice teacher, she was in New York to give the US
premiere of Pribaoutki (1914) in Aeolian Hall, her audience including
Annotated Catalogue of the H. Colin Slim Stravinsky Collection I 105
J
 Prokofiev and Michel Fokine. The former wrote Stravinsky in
Switzerland that she was "a very talented singer ... approaching them
lovingly and singing them excellently, except, perhaps, for Kornila
["Uncle Armand"], which is too low for her voice. It was a great
success; all four pieces were encored." (Dating his letter as 10
December, Prokofiev understandably led Craft and Varunts to identify
the date of her concert as the 9th.)
In the 1920s and early 1930s, Janacopulos ranked among the chief
singers of new music in Paris. During May 1921, she gave four
successive concerts at the Salle des Agriculteurs. At the last one - (20
May) which also included music by Villa-Lobos, Ravel, and Prokofiev
- she sang Pribaoutki with instrumental accompaniment. At a fifth
concert on 31 May with the Colonne orchestra conducted by Pierre
Monteux, she performed Ravel's Scheherazade (1903) to the great
pleasure of the composer in the audience who inscribed her copy. By
1924 she had sung the Ravel also under Ernest Ansermet, Franz
Ruhlmann, and Serge Koussevitsky.
For a "Friends of Music" concert in New York on 10 February
1924, Janacopulos sang Scheherazade at Town Hall with Erwin
Bodansky and Ernest Bloch's Two Psalms (1912-14) with the composer
conducting the Metropolian Opera orchestra. Olin Downes wrote a
glowing review of her 27 February recital in Aeolian Hall, which
included Pastorale (1907) and "Tilim-bom" (1917) by Stravinsky,
following which she journeyed to Boston. There she sang Scheherazade
again under Monteux on 29 February and 1 March with the Boston
Symphony, its program notes reporting that she had sung in France,
Belgium, Switzerland, Spain, and Portugal. Her repertoire of 500 songs
in seventeen languages included concerts with Stravinsky, Prokofiev,
de Falla, Milhaud, Poulenc, Enesco, and Griffes, with these composers
playing piano or conducting.
In Paris, Janacopulos premiered works by Carlos Pedrell and her
countryman, Heitor Villa-Lobos, the latter who dedicated to her
Historietas (1921), and a Suite para canto e violino (1923) to her, her
husband - A. Staal, and violinist Yvonne Astruc. With Artur
Rubinstein, she gave two important concerts of Villa-Lobos's music in
April and May 1924 and with Villa-Lobos conducting she sang the
premiere there of his Tres poemas indigenes on 5 December 1927.
106 I Annotated Catalogue of the H. Colin Slim Stravinsky Collection
 Rubinstein observed that, during the 1920s, he and Prokofiev were
often in Paris together, and sometimes both of them with Janacopulos,
"who sang Prokofiev's songs to his liking (she had a dreadful husband,
however, a bearded Russian who drank vodka in great quantities)."
Helping to translate Prokofiev's opera The Love for Three Oranges into
French in 1919, she gave a recital with him in Paris on 28 October 1922.
Janacopulos sang with de Falla in Amsterdam on 26 April 1926 and
the following year on 22-23 June performed with him in London. She
was active with such other composers as Milhaud and Arthur Honegger
in December 1927 and with Albert Roussel in 1932. By this latter date,
she had sung in all the major cities of Europe, not only with the above-
mentioned conductors, but also under Willem Mengleberg, Bruno
Walter, Clemens Krauss, Walter Abendroth, Vladimir Golschmann,
and Dimitri Mitropolous. In 1929 she undertook a tour of the Dutch
East Indies, giving some thirty-two concerts in Java, Sumatra, and the
Celebes.
Not only Prokofiev's favourable assessment of her in 1919, but her
extraordinary beauty undoubtedly attracted the attention of Stravinsky.
They may have first met in 1920 when he came from Switzerland to
Paris for the premieres of Le Chant du Rossignol and Pulcinella at the
Opera on 2 February and 15 May, respectively, she having recently
returned from Brazil. Perhaps he coac