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703

Igor Stravinsky

Currency:USD Category:Collectibles / Autographs Start Price:NA Estimated At:3,000.00 - 5,000.00 USD
Igor Stravinsky

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Auction Date:2010 Dec 08 @ 19:00 (UTC-05:00 : EST/CDT)
Location:5 Rt 101A Suite 5, Amherst, New Hampshire, 03031, United States
ALS - Autograph Letter Signed
ANS - Autograph Note Signed
AQS - Autograph Quotation Signed
AMQS - Autograph Musical Quotation Signed
DS - Document Signed
FDC - First Day Cover
Inscribed - “Personalized”
ISP - Inscribed Signed Photograph
LS - Letter Signed
SP - Signed Photograph
TLS - Typed Letter Signed
A collection of 14 TLSs, all signed either “Igor Stravinsky,” or “I. Stravinsky,” dating from May 1950 to May of 1951, all to his attorney in New York, Arnold Weissberger, all relating to the production of his opera The Rake’s Progress. Stravinsky writes of his many issues, problems, and decisions concerning the production. He discusses him not wanting the opera to be performed at La Scala, where the American premiere should be, financial support, the problem of Italian singers performing in English, and other obstacles on the way to a premiere. The letters also illustrate Stravinsky as a shrewd negotiator. A small selection of the letters follows:

May 18, 1950: “Of course I am not interested at all in the millions of La Scala because, as you have understood, it is not a place for the ‘Rake’s.’”

June 8, 1950 - Stravinsky discusses a letter from ballet promoter Lincoln Kirstein and negotiations with an opera company in Central City, Colorado. “Useless to say how sorry I am; it is too bad indeed that the project we all were cherishing seems to be stalled for good this time … I have resumed negotiations with Mr. F. H. Ricketson Jr of Central City, Colorado … I want to point out that my only preceding contacts a year ago with Mr. Ricketson and his company unveiled nothing but their desire of securing for themselves the world premiere of the ‘Rake’ …”

June 29, 1950 - Discussing negotiations and compensation. “The whole problem is for me to get a substantial amount of money for a ‘non-commissioned work … The ‘pressure’ I can use at will is not to deliver the completed opera under any kind of pretext. This, Boosey & Hawkes can do nothing against as no compulsory date has ever been set for delivery in the contract with them … what I want really now is a set fee (for I did not dare using [sic] the word so far).”

July 21, 1950 - “Regarding Boosey & Hawkes they certainly have less concern than I do about the launching of my opera. It would be ridiculous to think of La Scala because my chamber opera is not in Italian language and it just is not the thing for La Scala.”

September 22, 1950 - Stravinsky writes of the death of Ralph Hawkes and the delay tactics of his potential financier. “In view of Mr. Ricketson’s cagey and delaying tactics this first contact at least looks encouraging … Do you know what is brewing there and where the wind is going to blow from? … I am anxious to know who is going to take the wheel … in connection with the negotiations about ‘The Rake’ especially in Europe where Hawkes had secured for himself a rather advanced foothold.”

May 9, 1951 - In the archive’s final letter, Stravinsky writes of his efforts to arrange a New York premiere for his opera, and writes about a cold shoulder from a pair of possible New York backers. “I have immediately written Dr. Roth who is the Boosey & Hawkes director in London and who, by the way, is the only one on board to know something about serious music. You will find enclosed a copy of my letter to him. I hope he will bring Betty Bean to her senses … let me know whether you notice any change in her attitude … I suspect she may have in mind some fancy ideas which she gets all pepped up about during her luncheon hours … I wish you will be able to keep your Chandler Cowles Farrell clients well in hand in order not to let them be discouraged and drift away just because Betty Bean is digesting her luncheon ideas.” A photocopy of Stravinsky’s letter Roth is included speaking frankly about the situation and reads, in part: “Even if a Broadway house is not as ideal a setting as La Fenice, for example, it offers by far a much better deal for both.”

In overall fine condition, with expected folds, punch holes, and office stamps.

The Rake's Progress is Stravinsky's longest work and is widely considered one of the few great operas composed since the 1920s. Via this archive, Stravinsky addresses the decisions and problems involved with getting his work to the stage—culminating in its 1951 premiere in Venice. Unlike other works, this was not written on commission—testament to his dedication and indicative of his desire to produce this opera on his terms, as indicated by this archive. The Rake’s Progress shows the composer’s loyalty to neoclassic principles, with this particular work inspired by a series of paintings by 18th century artist William Hogarth. Insightful ‘behind-the-scenes’ look into the process of bringing an operatic work to life on the stage.
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