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Finding aid for the Igor Stravinsky correspondence on The Rake's Progress 0302
0302  
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Table of contents What's This?

Box 1, Folder 1

Letter from Stravinsky to Weissberger 1950 May 18

Scope and Content

Mentioning his collaboration with Aaron Sapiro and his dislike of La Scala as a venue for the opera.
Box 1, Folder 2

Correspondence with F. H. Ricketson, Jr 1950 May-June

Scope and Content

Discussion of possibility of Denver's Central City Opera House Association producing the Rake's Progress in 1951 and Stravinsky's hope of finishing the work by the beginning of 1951.

General note

Copies.
Box 1, Folder 3

Letters from Stravinsky to Weissberger, Lincoln Kirstein 1950 June 2

Scope and Content

Note regarding forwarding of Stravinsky's letter to Lincoln Kirstein; discusses firming up Kirstein's interest in producing the opera.

General note

Kirstein letter is a copy.
Box 1, Folder 4

Correspondence with F. H. Ricketson 1950 June 14, 19

Scope and Content

Ricketson relays his conversation with Ralph Hawkes regarding the latter's interest in a Denver production of the opera; asks Stravinsky if he will be visiting Denver in July; Stravinsky assures Ricketson of his intention to work with him on the artistic side of the production.

General note

Copies.
Box 1, Folder 5

Letter from Stravinsky to Weissberger 1950 June 8

Scope and Content

Discusses the stalling of the project with Kirstein, negotiations with Ricketson.
Box 1, Folder 6

Letter from Stravinsky to Weissberger 1950 June 29

Scope and Content

Discusses contract with Boosey & Hawkes regarding the opera, negotiations with Ricketson, financial compensation.
Box 1, Folder 7

Letter from Stravinsky to Weissberger 1950 July 21

Scope and Content

Discusses complications with Ricketson; Boosey & Hawkes; La Scala.
Box 1, Folder 8

Letter from Stravinsky to Weissberger 1950 September 13

Scope and Content

Discusses "shocking" news of Ralph Hawkes' death; potential new patronage for the opera.
Box 1, Folder 9

Letter from Stravinsky to Weissberger 1950 September 22

Scope and Content

Discusses potential patronage of Blevin Davis; concerned that he has not received any news from his publishers regarding the handling of his business.
Box 1, Folder 10

Letter from Stravinsky to Harold Taubmann 1950 November 3

Scope and Content

Relative to a letter Stravinsky sent to the New York Times regarding publication of this letter and clarification for Olin Downes of various iterations of the Firebird--ballet, and 1919 versus 1945 symphonic excerpts.

General note

Copy.
Box 1, Folder 11

Letter from Stravinsky to Weissberger 1950 November 6

Scope and Content

Discusses collapse of Sher-Hartford deal, Ricketson deal, and includes copy of the "expose" sent to Betty Bean; discusses with Betty Bean the collapse of the Ricketson deal, possible premier of the opera at USC in 1951, and financial arrangements for that premier.

General note

Betty Bean letter is a copy.
Box 1, Folder 12

Letter from Stravinsky to Weissberger 1950 November 17

Scope and Content

Discusses copy of letter to [Erich] Leinsdorf, Ricketson letter, Rochester, and USC.
Box 1, Folder 13

Letter from Stravinsky to Weissberger 1950 December 19

Scope and Content

Discusses break down of USC performance planning; contract issues with Boosey & Hawkes regarding the completion of the opera, the world premier, and his creation of the "tradition" of his work; and his willingness to sacrifice some financial gain for more control over a potential production.
Box 1, Folder 14

Letter from Stravinsky to Weissberger 1951 January 30

Scope and Content

Discusses problems with Boosey & Hawkes and Covent Garden premier against his wishes, Venice festival, and expresses appreciation for Weissberger's help.
Box 1, Folder 15

Letter to Weissberger, correspondence with Lincoln Kirstein 1951 February-March

Scope and Content

Letter to Weissberger that discusses the enclosed correspondence with Kirstein: Kirstein discusses possibility of new backer, possible costs for New York production, ways to save money by using Venice cast in New York, and asks how much Stravinsky would need in financial compensation for conducting? Stravinsky's reply discusses difficulties in using Venice cast, quotes a price for his conducting services. Stravinsky's letter to Weissberger expresses confusion regarding subsequent developments in the New York production of the opera.

General note

Copies.
Box 1, Folder 16

Letter from Stravinsky to Weissberger 1951 April 11

Scope and Content

Discusses meeting potential backers Cowles and Farrell, possibility of conducting New York premier, role of Kirstein in the production.
Box 1, Folder 17

Letter from Stravinsky to Weissberger, Dr. E. Roth 1951 May 9

Scope and Content

Describes letter written to Dr. Roth, of Boosey & Hawkes in London (and of which he encloses a copy) regarding Betty Bean's lack of enthusaism for the New York premier at a Broadway theater.

General note

Roth letter is a copy.