[Roger DÉSORMIÈRE]. Colette STEINLEN (1888-1963)... - Lot 67 - Ader

Lot 67
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2000 - 2500 EUR
[Roger DÉSORMIÈRE]. Colette STEINLEN (1888-1963)... - Lot 67 - Ader
[Roger DÉSORMIÈRE]. Colette STEINLEN (1888-1963) daughter of the designer, wife (1942) of Désormière. About 200 L.A.S. (most of them "Colette"), 1931-1951, to Roger Désormière; about 450 pages of various sizes (some letters incomplete). Important love correspondence between Colette Steinlen and Roger Désormière, her second husband (divorced from D.-E. Inghelbrecht, she had married Désormière in 1942, after more than twenty years of cohabitation), maintained during the latter's numerous professional trips, his military service and his frequent European trips. She called him "dear Coq", "old Coq", "very dear z'oiseau", "dear little Déso". This abundant correspondence offers a wealth of information on musical life. We can only quote a few letters here. 13 November 1931. "I am thinking about your rehearsals for your concert this evening. I hope you will be happy. Since you will not be here for Igor's [Markevitch's] concert, perhaps you would do well to stay in Rome one or two more days for your pleasure. [...] Milhaud phoned me and I promised to come to dinner with them tomorrow. It seems that Sauguet is not well disposed these days. Trouble with his entertainment material. [Paul] Collaer wrote to him that he could not undertake to have it copied, that he would send the score back to him"... August 14, 1932. "Darius [Milhaud] is quite better today. He had a violent attack of facial neuralgia which has now dissipated. The story about the burn was nothing but it caused the neuralgia. I'm going to pay him a little visit later."... - Petit Port September 15 [1932]. "Igor [Markevich] is working, he is finishing ballet No. I. In the end the music he wrote for Massine's little ballet [Rebus] was not used despite the recording. Everyone found it horrible and the ballet and music were removed. It will undoubtedly be made into a record. It is a great proof of confidence on the part of Igor to have told me the whole truth and it is necessary to keep the secret because he does not present things quite like that to the "little comrades" so that they do not have to rejoice in a failure and proclaim it everywhere. [...] It appears that Massine and Igor worked without worrying in the least about the ensemble into which their ballet was to be inserted and that it really didn't fit. Igor recognizes this"... - Petit Port September 22, 1932. "Another time, when you separate from me to run the world, you will make me an approximate plan of your trip and I will sprinkle the area with small letters poste restante so that you can go and get them if you feel like it. I also love you very much, of course our life would be otherwise pleasant if there were not this terrible reason I have to carry you on the system (to speak roughly) but I still hope that you will end up arranging a little life on this side although it is not easy too attached to each other to be able to really take advantage of the freedom that we allow ourselves For me, I am almost an old lady and I have given up everything. [...] I have my ugly face that I see every morning in the mirror and which is a good brake on the outbursts of the imagination"... January 16, 1934. "Auric, passing through Paris, phoned me, I told him about your setbacks and we lamented together. In the evening I went to Darius' house before going to dinner with the family (Inghel, Germaine, Biche, Rickel) [...] it was a real reunion around Darius sitting in his armchair in the living room buried under the plaids. Auric who had more recent news than your letter gave me"... - January 19, 1934. On Inghelbrecht, her first husband: "Poor Inghel is in a terrible state of nervousness [...] I wonder how his orchestra was able to work with such a gesticulating and agitated conductor, although Pelléas was very beautiful, but one should neither listen to nor look at Inghel, it was frighteningly distressing"... - January 22, 1934. "Inghel's concert was quite good, auditions of this quality must serve him enormously and it gave me double pleasure, for the music I heard and for him. He is in charge of setting up an orchestra but his situation is not yet defined [...]. We had fragments of La Belle Hélène, Les Huguenots, L'Arlésienne and, for the concert genre, Le Chasseur maudit. Féart sang well, Cathla less well than in the rehearsals, we were in the front of the stage and I was heartbroken to see how much his music trembled in his hands "... Cusset June 17-18 [1940]. "A lot of nurses came here and I questioned some of them. In general, they are affirmative in saying that all the hospitals in Paris are evacuated, but one of them says in a very certain tone that the Val de
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