After the medical examination, the Russian consulate denied me a passport for reasons of poor health. It is absolutely impossible for me to meet you. Come here immediately.
When will you arrive and why are you not replying? Warm regards.
I continued my work on the last scene of Les Noces throughout the summer, and finished a piece for the pianola. In an effort, perhaps, to avoid losing ground on my predecessors, who, on their return from Spain, would nail down their impressions in pieces inspired by Spanish music, I too indulged myself and paid tribute to this tradition. See more
My piece was inspired by the curious and unusual combinations of melodies – performed on mechanical pianos and orchestrinas – that resounded in the streets of Madrid and in its small night taverns.
Dearest Lev, allow me to add a few more lines to yesterday’s telegram. Please come and see me in Morges, and together we will work something out. I am convinced that the remaining questions hanging over the production can be solved only if we work together. See more
There is no way I can leave my family, which means you, dear friend, simply must come here for further negotiations concerning the Shakespeare production. I am absolutely sure that everything will fall into place if you come, and then I could begin work on the music. Thus I await your answer. Please write, or better telegram, to inform me of the details of your arrival to Morges.
I am absolutely broke!! I would be most grateful if you could see your way to sending me those 300 francs you still owe me. See more
What horrors in Russia! Can there really be no end to the intrigues of the German-socialists and to the rest of this shit?
Where you are, you imagine that we are living in a kingdom of freedom, but in actual fact, it is a kingdom of nonsense without freedom, or at any rate, without any effective sense of freedom. My dear friend, it is very bad here and very bleak, and Akitsa and I envy you more than ever, for being too far away to see this nightmare in its entirety. See more
The most awful thing of all is that it is an orgy of imbecility and mediocrity. All-pervasive mediocrity. There is still some sort of hope in that mystical essence known as “the people”, but one clings to this hope more out of habit than anything else. Where you are, I am sure, it is all being portrayed in a different light. Perhaps it is seen as being a little bit more terrible than is actually the case, but also as more tragic and impressive. Think yourselves lucky, and thank heaven with all your souls for the good fortune that has been granted to you.
Dearest Igor, I beseech you, write me a line or two, so that we know you have not forgotten us. And I want to know how things are with you, how you’re feeling, what you’re thinking and what you’re working on.
If you want me to write music for Shakespeare, it is absolutely necessary that you come here. Strongly refuse to discuss anything in writing. I'm waiting for you.
Dear Igor, alas, I cannot make my way to Paris until I have finished some urgent work here. I read your telegram to Ida Rubinstein and she said that such letters, no matter how detailed, are always open to interpretation. She bases this fear on her over-the-post experience with Sebastian and Salome (for which she ordered music from Glazunov). See more
She begs of you to make sure that the music in the scene of Cleopatra’s death truly mirrors the action. You know, I am sure, the scene, which must be one of the greatest examples of the genius of human inspiration. But everything is subject to your choice - the length, the interpretation and the instrumentation. Write to me with your questions and I will answer immediately. I think that the work will be staged in the Paris Opera (but this should be a secret). Also write to me about your schedule and similar conditions. That’s it, I will quit with this verbosity, which will be for the better.
I warmly embrace you.
I will gladly compose music for you, but I can not decide upon anything until I see you. I can not come to Paris. Telegraph me.
During this visit to Paris, Stravinsky introduced me to his great friend Maurice Ravel. The meeting took place in his studio, on the outskirts of Paris. The thirty-year-old Ravel, who has already written the music to the ballet “Daphnis and Chloe” was a smart and erudite interlocutor. For a long time we discussed the idea, suggested to me by the painting of Robert Delaunay, of showing a football match by means of choreography. See more
Positions, movements, the rhythm and the virtuosity of sport, according to him, was not hard to turn into forms of contemporary ballet. I was also interested in the image of the ball flying from one group of dancers to another, and agreed, that this subject would be very fitting for creating new, various movements and combinations.
Before the war I have seen one of Diaghilev’s ballets that caused a scandal—Stravinsky’s “Rite of Spring.” But I have never seen anything like what happened at the “Parade.” People, sitting in the orchestra, rushed towards the stage, and angrily screamed, “Curtain!” See more
While at the same time a horse with a cubist muzzle came on stage and began to perform circus tricks—went on its knees, danced, bowed. The spectators, it seemed, thought that the artists were making fun of them and have completely lost their heads, screaming, “Death to the Russians! Picasso—Boche! Russians—Boches!”
I will never forget an adventure which happened to me on the border of Chiasso. I was travelling with a portrait of myself, which had been painted by Picasso not long before that. When the military authorities searched my luggage, they discovered the painting and refused to let it through. I was asked what the painting was, and when I replied that this was my portrait painted by a famous artist, they did not believe me: "This is not a portrait, but a plan", - they said. See more
"Yes, this is a plan of my face, but not of anything else", - I tried to convince them. However, I was unable to persuade these gentlemen. These arguments took a lot of time and I missed my train, and I had to stay in Chiasso until the following morning. Regarding my portrait - I had to leave it in the British embassy in Rome, addressing it to Lord Berners, who eventually sent it to me in Paris by diplomatic mail.
I was expecting Naples to greet me with bright skies and azure waters, but have found in their place only grey clouds, including one, small and immobile, hanging threateningly over Vesuvius. I used my leisure time to go sightseeing, more often than not in Picasso’s company. We were particularly struck by the aquarium, and spent many long hours there. See more
We made something of a hobby out of collecting Neapolitan watercolours, and during our frequent wanderings around the city made numerous sallies against the city’s flea markets and antique stores.
Diagilev went to Rome where the "Russian ballet" season is set to begin. He asked me to come and conduct The Firebird and Fireworks, for which he hired the Italian futurist Balla to do a special kind of illustrative set with light effects. I went to Rome. See more
At the apartment Diagilev rented, I found the whole company gathered around a richly laid out table. There were Ansermet, Bakst, Picasso, whom I then met, Cocteau, Balla, Lord Berner, Massine and many others. The season opened at the Teatro Costanzi with a ceremonial performance for the Italian Red Cross. The February Revolution had just occurred in Russia. The tsar abdicated, and the Provisional Government now ran the country. Usually the Russian national anthem was performed before the Russian performance, but now it was really inappropriate to sing "God Save the Tsar.” An alternative was needed. Diagilev got the idea to open the play with a Russian folk song. He chose the famous Song of Volga Boatmen ("Hey, hey ho"). The orchestra was supposed to perform it, but they didn’t have the orchestration. Diagilev begged me to urgently compose it. I had to get right to work, and on the eve of the gala performance I sat at the piano all night long in Berners's apartment, orchestrating the song for the wind orchestra. I dictated the score to Ansermet chord by chord and the interval by interval, and he transcribed it.
The orchestral parts were quickly drawn up so that in the morning rehearsal of the evening program, I was able to hear my orchestration under Ansermet’s conduction. In the evening a solemn performance was staged started by the Italian national anthem and "Hey, hey-ho" instead of the Russian anthem. I directed The Firebird and Fireworks against Balla’s aforementioned illuminated set.