By Caroline Potter
Pioneers of their fields and of the best-known ladies in tune within the 20th century, Nadia and Lili Boulanger have formerly been thought of in isolation from each other. but, as Caroline Potter's new publication demonstrates, their careers have been heavily associated in the course of Lili Boulanger's brief existence (1893-1918) and there are a number of interesting connections among their musical works. This biography additionally offers the 1st complete research of the Boulanger sisters' musical kinds, putting them in the context of French musical heritage. Their lives also are a case research within the problems with gender which encompass song making even to the current day. regardless of an surprisingly privileged upbringing, Nadia and Lili Boulanger exemplify the fight ladies skilled while trying to input the pro tune global. Lili turned the 1st lady to win the Prix de Rome in 1913, and Nadia received moment position in 1908. but, having said that preliminary luck, Naida Boulanger used to be to renounce composing in her thirties and dedicated the rest of her lengthy lifestyles to educating. Her students incorporated a number of of the good composers of the century, together with Aaron Copland and Elliott Carter. This booklet, targeting their musical careers, is key interpreting for a person drawn to French track of the 20 th century.
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Additional info for Nadia And Lili Boulanger
This brutal resolution rather suggests that the composer got bored of the piece and decided to bring it to a swift conclusion. Her Nocturne for flute and piano (1911) is of quite different quality. Although the piece is usually heard as a transcription for violin and piano, the manuscript in the Bibliothèque Nationale clearly shows that it was originally conceived for flute. Not only is the piece more idiomatic for the flute than the violin; the echoes of Debussy’s Prélude à l’après-midi d’un faune are clearer to the listener if the flute is the soloist, as the concluding section of the piece reveals (Ex.
21. His straightforward, often sentimental verse surely did not appeal to Debussy. 31 Towards the Prix de Rome sharp major to a Lydian F, highlighting the word ‘Pleure’ (‘Weep’). The orchestration is also attractive and illustrative of the text, with the harp frequently adding colour, and the chorus are given octave As, with the sopranos above the treble stave, at the climax (p. 15, almost exactly halfway through the work) on the word ‘luit’ (‘shines’). The work is continuous up to p. 28 of the 32-page score, but there are gaps from this point.
8 Lili Boulanger, untitled piece: bars 1–8 Her highly ambiguous harmony – the tonal identity of a chord is often unclear – and frequent use of enharmony show the influence of her sister’s composition teacher Gabriel Fauré. Also characteristic of Fauré is the Neapolitan (flattened second) cadence towards the end of the piece. Here, one has the impression that the piece is about to finish, but the composer adds a four-bar coda which restates some of the earlier harmonic ambiguities before coming to rest on chord I in F sharp major.