Teaching Stravinsky: Nadia Boulanger and the Consecration of a Modernist Icon

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Acknowledgements
List of Figures
List of Tables
Note on Translations and Transliterations
Abbreviations
Note on Sources
About the Companion Website
Introduction
Boulanger and Bourdieu
Chapter Overview
PART ONE
1. Foundations (1929-1932)
Membre de famille: Boulanger and Soulima Stravinsky
A trip to Brussels
Lessons and love
2. Master Copy: Correcting the Symphonie de psaumes
Editorial process and power
Soulima Stravinsky and advanced studies
Main idea or major and minor thirds
A dialogue established
3. Surviving the Great Depression: 1932-1936
The last Parisian project: Persephone
Loss and recovery: 1935-36
4. Beyond France: 1937-1939
Dumbarton Oaks
Increasing tensions, failing health
Toward war
PART TWO
5. The War, 1940-1942
Romantic complications
American reunions
6. Together, 1942-1945
1943
1944
1945
A way home
Residue/rupture
7. Redefining a Partnership, Reestablishing an Icon: 1946-1949
Stravinsky's Mass
The beginning of the end
PART THREE
8. The Last Project: The Rake's Progress, 1948-1952
An opera
The premiere: I've never seen such disorder
Composition in early cold war America
After Europe: A Rake's reception
9. Mediating Serialism
A dialogue dissolves
Concerts and commissions post-1952
Boulanger teaches Stravinsky's twelve-tone music
10. Insider/Outsider
Stravinsky's Failing Health
Conclusion
Bibliography

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In 1929 Nadia Boulanger accepted Igor Stravinsky's younger son, Soulima, as her student. Within two years, Stravinsky and Boulanger merged their artistic spheres, each influencing and enhancing the cultural work of the other until the composer's death in 1971. Teaching Stravinsky tells Boulanger's story of the ever-changing nature of her fractious relationship with Stravinksy. Author Kimberly A. Francis explores how Boulanger's own professional activity during the turbulent twentieth-century intersected with her efforts on behalf of Stravinsky, and how this facilitated her own influential conversations with the composer about his works while also drawing her into close contact with his family. Through the theoretical lens of Bourdieu, and drawing upon over one thousand pages of letters and scores, many published here for the first time, Francis examines the extent to which Boulanger played a foundational role in defining, defending, and ultimately consecrating Stravinsky's canonical identity. She considers how the quotidian events in the lives of these two icons of modernism informed both their art and their professional decisions, and convincingly argues for a reevaluation of the influence of women on cultural production during the twentieth century. At once a story of one woman's vibrant friendship with an iconic modernist composer, and a case study in how gendered polemics informed professional negotiations of the artistic-political fields of the twentieth-century, Teaching Stravinsky sheds new light not only on how Boulanger taught Stravinsky, but also how, in doing so, she managed to influence the course of modernism itself.

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