Stravinsky, Igor. ...

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Stravinsky, Igor. Autograph letter signed, in French, 2 pages (10.62 x 8.37 in.; 270 x 213 mm.), Morges, Switzerland, 11 October 1915, to Claude Debussy; yellowing, splitting along horizontal folds, marginal chipping, mounting remnants along top margins. Igor Stravinsky writes to his dear friend and fellow composer, Claude Debussy. The composer writes in full: Very dear (friend) Going mad is something and that is precisely what the Germans want. As for me rest assured I won't give them that pleasure -- you either! What are you doing, how is you little family, my dear little Chou-Chou (embrace the dear for me), Madame Debussy to whom I send my sincerest devotion and you, dear (friend) I embrace with all my heart give me but one word of your news please. While waiting I'm going to ask you for something My friend Ansermet, about whom I have already spoken to you (on a former occasion) and who is now directing the Geneva symphonic concerts, would like to present your 3 Nocturnes there this winter. It was he who gave (in Montreux) their first entire hearing in Switzerland. Well, he has learned by a composer named Doret that you have done some serious retouching in the orchestration of these pieces. And he would like to present them in the best possible condition, he would be extremely grateful to you if you would permit him to learn these retouches. He asks me to make to you on his behalf, since he has not had the pleasure of making your acquaintance personally, the following proposition: Would it be possible for you to have the corrected passages of the score marked by a copyist and have them sent to him at "Lausanne, rue d'Etraj, 22." Maison Durand can be charged, on your order, to have the work accomplished and expedited quite naturally at Ansermet's expense. Therefore, I am waiting for your next reply? Always yours, Igor Stavinsky Write to me: I. Stravinsky, Merges-Switzerland It's my new address! It is interesting to note that Debussy's two last volumes of works for the piano, the Études (1915) interprets similar varieties of style and texture purely as pianistic exercises and includes pieces that develop irregular form to an extreme as well as others influenced by the young Igor Stravinsky (a presence too in the suite "En blanc et noir for two pianos" of 1915). A charming letter between friends and composers.