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  3. The Musical Work of Nadia Boulanger
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    • Publisher:
      Cambridge University Press
      Publication date:
      05 May 2013
      25 April 2013
      ISBN:
      9780511920646
      9781107009141
      9781316616383
      DOI:
      https://doi.org/10.1017/CBO9780511920646
      Dimensions:
      (247 x 174 mm)
      Weight & Pages:
      0.69kg, 306 Pages
      Dimensions:
      (244 x 170 mm)
      Weight & Pages:
      0.55kg, 306 Pages
      • Subjects:
      Twentieth-Century and Contemporary Music, Music, Music Performance
      Series:
      Musical Performance and Reception
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    Subjects:
    Twentieth-Century and Contemporary Music, Music, Music Performance
    Series:
    Musical Performance and Reception
    Information

    Book description

    Nadia Boulanger - composer, critic, impresario and the most famous composition teacher of the twentieth century - was also a performer of international repute. Her concerts and recordings with her vocal ensemble introduced audiences on both sides of the Atlantic to unfamiliar historical works and new compositions. This book considers how gender shaped the possibilities that marked Boulanger's performing career, tracing her meteoric rise as a conductor in the 1930s to origins in the classroom and the salon. Brooks investigates Boulanger's promotion of structurally motivated performance styles, showing how her ideas on performance of historical repertory and new music relate to her teaching of music analysis and music history. The book explores the way in which Boulanger's musical practice relied upon her understanding of the historically transcendent masterwork, in which musical form and meaning are ideally joined, and shows how her ideas relate to broader currents in French aesthetics and culture.

    Reviews

    '[An] excellent introduction … well-researched, conscientiously written …'

    Source: Classical Music

    'A well-researched and compiled portrait.'

    Source: Gramophone

    'This is an informative, inspiring book, about one of the twentieth century’s most influential musicians … The book is not only a thoroughly researched and scholarly work, but also a jolly good read. Jeanice Brooks situates Boulanger in a context of her time, referring to biographical and world events and contemporary philosophical ideas about the arts, in a way that shows how Boulanger was both very much a woman of her age, and how extraordinary she was.'

    Monica Buckland Source: Journal of the International Alliance for Women in Music

    'Brooks’ study is underpinned by painstaking archival work, draws usefully throughout on insights gleaned from Boulanger’s own critical writing, and is illustrated by copious examples from Boulanger’s annotated scores and concert programmes, a good number of which are beautifully reproduced in the text. The companion website provides helpful sound clips which illustrate Boulanger’s musical approach. This study presents a new, valuable and fruitful approach to considering Nadia Boulanger. It will contribute tremendously to understanding her near mythical reception and revising the foundations on which her legacy lies.'

    Laura Hamer Source: Journal of the Royal Musical Association

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    Contents

    Contents
    References

    Bibliography

    Archival and manuscript sources

    Caversham, UK, BBC Written Archives Centre (GB-CaBBC)

    • Nadia Boulanger Artist File I

    • Doda Conrad Artist File I

    London, British Library (GB-Lbl)

    • Clifford Curzon Collection

    • National Sound Archive

    Paris, Bibliothèque Nationale de France (F-Pn)

    Département de la Musique (Louvois)

    • Nadia Boulanger papers. I have relied especially on the following large series of documents, as well as on individual scores and documents cited in the notes:

      • Nouvelles lettres autographes (NLa), volumes 50–118: correspondence

      • Rés. Vm dos. 119–98: papers and administrative correspondence, concert programs

      • Rés. Vmf ms. 60–109: personal agendas and datebooks, 1907–79

    Bibliothèque François-Mitterand (Tolbiac)

    • Nadia Boulanger sound archives

    Département des Arts du Spectacle (Richelieu)

    • Programs of the Orchestre Symphonique de Paris

    Paris, Centre Nadia et Lili Boulanger (CNLB)

    • Uncatalogued teaching and concert material, draft writings, lecture notes, letters, press cuttings, concert programs and memorabilia

    Lyon, Conservatoire National Supérieur de Musique et Danse (F-LYc)

    • Fonds Nadia Boulanger (principally teaching and performance material, including annotated scores)

    Cambridge, Pusey Library, Harvard University Archive (HUA)

    • Papers of Robert Woods Bliss and Mildred Barnes Bliss

    Washington, DC, Library of Congress (US-Wc)

    • Old Correspondence 1937–47, unalphabetized files

    Basel, Paul Sacher Stiftung, Bibliothek (Ch-Bps)

    • Sammlung Igor Stravinsky

    Writings of Nadia Boulanger

    Le Monde musical

    “Concerts Colonne-Lamoureux.” MM 30, no. 1 (January 1919): 12–15.
    “Concerts Colonne-Lamoureux.” MM 30, no. 2 (February 1919): 42–3.
    “Simples réflexions” and “Colonne-Lamoureux (Salle Gaveau).” MM 30, no. 3 (March 1919): 68–70.
    “La Tragédie de Salomé de Florent Schmitt” and “Concerts Colonne-Lamoureux.” MM 30, no. 4 (April 1919): 100 and 102–4.
    “Concerts Colonne-Lamoureux.” MM 30, no. 5 (May 1919): 136–7.
    “Pierre Menu” and “Concerts Colonne.” MM 30, no. 11 (November 1919): 321 and 326–8.
    “Concerts Colonne.” MM 30, no. 12 (December 1919): 350–3.
    “Concerts Colonne.” MM 31, nos. 1–2 (January 1920): 16–17.
    “Concerts Colonne.” MM 31, nos. 5–6 (March 1920): 89–91.
    “Concerts Colonne” and “Walter Damrosch et le New-York Symphony Orchestra à Paris.” MM 31, nos. 9–10 (May 1920): 154–5 and 156–7.
    “Le Jubilé de W. Mengelberg.” MM 31, nos. 11–12 (June 1920): 182–3.
    “À propos d’Antoine et Cléopatre” and “Concerts Colonne.” MM 31, nos. 19–20 (October 1920): 292–3 and 304–5.
    “Salle Erard, Cella Delavrancea.” MM 31, nos. 21–2 (November 1920): 334.
    “Concerts Colonne.” MM 31, nos. 23–4 (December 1920): 358–62.
    “Concerts Colonne.” MM 32, nos. 1–2 (January 1921): 4–16.
    “Concerts Colonne.” MM 32, nos. 5–6 (March 1921): 86–7.
    “Concerts Colonne.” MM 32, nos. 7–8 (April 1921): 129–30.
    “Concerts Colonne” and “Salle Gaveau: Flonzaley Quartet.” MM 32, nos. 19–20 (October 1921): 315–16 and 317.
    “Concerts Colonne” and “Concerts Koussevitsky.” MM 32, nos. 21–2 (November 1921): 347–50 and 353–4.
    “L’Heure espagnole” and “Concerts Koussevitsky.” MM 32, nos. 23–4 (December 1921): 382–3 and 400–1.
    “Concerts Colonne.” MM 33, nos. 1–2 (January 1922): 23–6.
    “Concerts Colonne.” MM 33, nos. 7–8 (April 1922): 137–41.
    “Concerts Colonne.” MM 34, nos. 19–20 (October 1923): 323–6.
    “Concerts Koussevitsky.” MM 34, nos. 21–2 (November 1923): 365, 367.
    [Untitled funeral address], contribution to “Hommage à Gabriel Fauré.” MM 35, nos. 21–2 (November 1924) [Also published in Comoedia 4339 (November 18, 1924).]

    Le Spectateur

    “Le Miracle de Toscanini.” Le Spectateur 2, no. 55 (June 18, 1946), 3.
    “Voici revenue la saison des concerts.” Le Spectateur 2, no. 70 (October 1, 1946), 1 and 7.
    “Concerts symphoniques: Premières auditions.” Le Spectateur 2, no. 72 (October 15, 1946), 7.
    “Les Grands Concerts: À propos de choses et d’autres.” Le Spectateur 2, no. 73 (October 22, 1946), 7.
    “Concerts symphoniques.” Le Spectateur 2, no. 74 (October 29, 1946), 6.
    “Premières auditions.” Le Spectateur 2, no. 77 (November 19, 1946), 6.
    “La Symphonie d’Igor Strawinsky”, Le Spectateur 2, no. 78 (November 26, 1946), 6.
    “Les Concerts symphoniques.” Le Spectateur 2, no. 79 (December 3, 1946), 6.
    “Les Concerts symphoniques.” Le Spectateur 2, no. 80 (December 10, 1946), 6.
    “Les Concerts symphoniques.” Le Spectateur 2, no. 81 (December 17, 1946), 6.
    “Premières auditions: Harnasie de Carol Szymanowski.” Le Spectateur 2, no. 82 (December 24, 1946), 9.
    “Les Concerts symphoniques.” Le Spectateur 2, no. 83 (December 31, 1946), 6.
    “Les Concerts symphoniques.” Le Spectateur 3, no. 84 (January 7, 1947), p. 6.
    “Les Concerts symphoniques: Orphée, de Jean-Louis Martinet.” Le Spectateur 3, no. 85 (January 14, 1947), 6.
    “Les Premières Auditions.” Le Spectateur 3, no. 86 (January 21, 1947), 6.
    “Les Concerts symphoniques.” Le Spectateur 3, no. 87 (January 28, 1947), 6.
    “Les Concerts symphoniques.” Le Spectateur 3, no. 88 (February 4, 1947), 6.
    “Les Concerts symphoniques: Un nouveau chef-d’oeuvre d’Igor Strawinsky.” Le Spectateur 3, no. 89 (February 11, 1947), 6.
    “Igor Markevitch, Dinu Lipatti, Jean Françaix.” Le Spectateur 3, no. 93 (March 11, 1947), 5.
    “Les Grands Concerts.” Le Spectateur 3, no. 95 (March 25, 1947), 6.
    “Karol Szymanowsky” and “Les Grands Concerts.” Le Spectateur 3, no. 96 (April 1, 1947), 6.
    “Les Concerts symphoniques.” Le Spectateur 3, no. 97 (April 8, 1947), 6.
    “Les Grands Concerts.” Le Spectateur 3, no. 98 (April 15, 1947), 4.
    “Les Grands Concerts: Béla Bartok.” Le Spectateur 3, no. 99 (April 22, 1947), 6.
    “Les Grands Concerts.” Le Spectateur 3, no. 101 (May 6, 1947), 4.
    “Les Grands Concerts.” Le Spectateur 3, no. 103 (May 20, 1947), 6.
    “Les Grands Concerts.” Le Spectateur 3, no. 104 (May 27, 1947), 7.
    “Les Grands Concerts.” Le Spectateur 3, no. 105 (June 3, 1947), 6.
    “Les Grands Concerts: Figure humaine de Francis Poulenc.” Le Spectateur 3, no. 106 (June 10, 1947), 4.
    “Les Grands Concerts: À Strasbourg et ailleurs.” Le Spectateur 3, no. 107 (June 17, 1947), 7.
    “Les Grands Concerts.” Le Spectateur 3, no. 108 (June 24, 1947), 6.
    “Fin de saison.” Le Spectateur 3, no. 109 (July 1, 1947), 6.

    Other publications

    “Semaine théâtrale.” Le Ménestrel 4277 (March 15, 1913), 82–3.
    “La Musique religieuse.” La Revue musicale 4, no. 11, special number on Gabriel Fauré (1922): 104–11/296–303 (double pagination).
    “L’Oeuvre théâtrale d’Albert Roussel.” La Revue musicale 10, special double number on Albert Roussel (April 1929): 104–12, continued in 10 (May 1929): 37–52.
    “Le Professeur.” In Auguste Chapuis, edited by René Dommange et al., 45–8. Paris: Durand, 1934.
    “La Musique et la vie quotidienne.” The Listener (November 24, 1938): 1153.
    “Gabriel Fauré.” Amérique Française 21 (January 1943), 9–12.
    “Music in France.” Vogue (August 1946), 174–5 and 219–22.
    “Préface.” In Jacques Chailley, Traité historique d’analyse musicale. Paris, Leduc, 1951, pp. ii–iii.
    [Untitled contribution]. In Hommage à Dinu Lipatti, edited by Madeleine Lipatti. Geneva: Labor & Fides, 1952, 3–34.
    “Les 100 disques qu’il faut avoir: Nadia Boulanger les a choisis pour vous; Sept décorateurs vous proposent le coin de musique dans votre maison.” Maison & Jardin 24 (November 1954): 47–51 and 104–7.

    Published transcriptions of lectures by Nadia Boulanger

    Lectures on Modern Music. Delivered under the auspices of the Rice Institute Lectureship in Music, January 27, 28 and 29, 1925. Rice Institute Pamphlet 13, no. 2 (1926).
    “La Musique moderne” (d’après la sténographie des cours à l’École Normale de Musique), MM 37, no. 2 (February 1926): 59–61.
    “Les Cours de Mlle Nadia Boulanger, à l’École Normale de Musique.” MM 37, no. 5 (May 1926): 201.
    “Les Cours de musique moderne de Nadia Boulanger.” MM 37, no. 6 (June 1926): 242–4.
    “Cours d’interprétation de Mlle Nadia Boulanger: Mozart.” MM 47, no. 7 (July 1936): 211–12.

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    Discography

    Recordings by Nadia Boulanger

    Lili Boulanger, Introduction et Cortège; Nocturne. Yvonne Astruc, violin; Nadia Boulanger, piano. Columbia LF 15. One 78rpm disc (1930).
    Mozart, Concerto for two pianos in D major, K 448, and works by Bach, Schubert, Schumann, and Lennox Berkeley. Nadia Boulanger and Clifford Curzon, pianos. Concert, recorded for Radio Paris. Seven Pyral discs, F-Pn B 2813-2819 (1936).
    J. S. Bach, Cantata BWV 4, Christ lag in Todesbanden. Ensemble Nadia Boulanger. Two takes yielding test pressings of six 78rpm discs each, not released. F-Pn SD 78-7499 (first take); SD 78-7500 (second take) (1937).
    Jean Françaix, Concerto pour Piano et Orchestre. Jean Françaix, piano; Orchestre Philharmonique de Paris, directed by Nadia Boulanger. Gramophone DB 5034-35. Two 78rpm discs (1937).
    Claudio Monteverdi. Ensemble Nadia Boulanger. Gramophone DB 5038-5042. Five 78rpm discs (1937).
    Johannes Brahms, Liebesliederwalzer, Op. 52; Valses, Op. 39 [also includes vocal chamber works Op. 31, no. 3; Op. 60, no. 1; Op. 66, no. 2; and Op. 22, no. 3]. Ensemble Nadia Boulanger, with Dinu Lipatti, piano. Gramophone 5057-5061. Five 78rpm discs (1938).
    Gabriel Fauré, Requiem, Op. 48. The Musical Union, A Cappella Choir, and Conservatory Orchestra of the Oberlin Conservatory of Music, directed by Nadia Boulanger. Recorded for WJZ Radio, New York, not released. Private collection (1939).
    Gabriel Fauré, Requiem, Op. 48. Gisèle Peyron, soprano, Doda Conrad, bass, Maurice Duruflé, organ; Chorale Yvonne Gouverné and Orchestre Philharmonique de Paris, directed by Nadia Boulanger. Gramophone, four takes yielding test pressings of twenty 78rpm discs, not released. F-Pn SD 78 30-5363 (first take, seven discs); SD 78 30-9055 (second take, eight discs); SD 78 30-9056 (third take, four discs); SD 78 30-9054 (fourth take, one disc) (1948).
    Petit concert sous la direction de Nadia Boulanger. La Polyphonie vocale française à travers les siècles. Ensemble Nadia Boulanger. Éditions de la Boîte à Musique BAM 79–82. Four 78rpm discs (1949).
    “Petit Concert” of French Vocal Music from 12th–20th Century. Ensemble Nadia Boulanger. Vox Turnabout PL 6380. One 33rpm disc (1950).
    Musique chorale française / French Renaissance Vocal Music. Ensemble Nadia Boulanger. Decca UMT 233102 and New York Decca DL 9629. One 33rpm disc (1952).
    Gabriel Fauré, Requiem, Op. 48. Reri Grist, soprano; Donald Gramm, baritone; Vernon de Tar, organ; The Choral Art Society and the New York Philharmonic Orchestra, directed by Nadia Boulanger. Concert, recorded for broadcast (1962).
    Gabriel Fauré, Requiem, Op. 48; Lili Boulanger, Pie Jesu; Psaume 24; Psaume 130. Janet Price, soprano; Bernadette Greevy, contralto; Ian Partridge, tenor; John Carol Case, bass; BBC Chorus and Symphony Orchestra, directed by Nadia Boulanger. Concert for the 50th anniversary of the death of Lili Boulanger, recorded for broadcast (1968).
    Fauré: Requiem – Monteverdi: Madrigali e Arie profane. EMI Références, CDH 761025 2. Compact disc (1988). [Digital release of Fauré 1939 and Monteverdi 1937, above.]
    Brahms Walzer and Liebeslieder Walzer. EMI Classics Références 5664252. Compact disc (1997). [Includes digital release of Brahms, above]
    Gabriel Fauré, Requiem, Op. 48. New York Philharmonic: The Historic Broadcasts, 1923–1987. Vol. 4. New York Philharmonic Special Editions 9708/09. Compact disc (1997). [Includes digital release of Fauré 1962, above.]
    Great Performers of the Twentieth Century: Boulanger. BBC Legends BBCL 4026-2. Compact disc (1999). [Digital release of Fauré/Boulanger 1968, above.]
    Hommage à Nadia Boulanger: Enregistrements réalisés à Paris, 1930–49. Cascavelle VEL 3081. Two compact discs (2004). [Digital release of all Boulanger recordings above, 1930–49.]
    Les Introuvables: Le Baroque avant le Baroque. EMI Classics 0946 351904 2. Four compact discs (2006). [Includes digital release of Bach 1937, above.]

    Other recordings

    L’Anthologie sonore. Directed by Curt Sachs. Disc 7, Clément Janequin. La Chanterie de la Renaissance Française, directed by Henry Expert. One 78rpm disc (c. 1935).
    Bartók: Recordings from Private Collections 1. Hungaroton Classic HCD 12334-35. Compact disc (1995).
    Alfred Cortot. EMI Classics, 50999 2 17304 2 9. Master Pianists series. Seven compact discs (2008).
    Clifford Curzon: Decca Recordings 1949–1964. Vol. 1. Decca Original Masters 473 116-2. Four compact discs (2003).
    Guilbert, Yvette.La Chanson d’hier et aujourd’hui. Gramophone K7064-7068. Six 78rpm discs (c. 1933).
    Le Jeune, Claude.La Belle Aronde; Anthoine de Bertrand, Las je m’y plains. La Chanterie de la Renaissance, directed by Henri Expert. Columbia DFX 54. One 78rpm disc (1930).
    Legendary Piano Recordings: Complete Recordings of Grieg, Saint-Saëns, and Pugno. Marston 52504. Compact disc (2006).
    Dinu Lipatti. EMI Classics, 50999 2 07318 2 3. Master Pianists series. Seven compact discs (2008).
    Stravinsky, Igor.Concerto in E flat for Chamber Orchestra. Dumbarton Oaks Festival Orchestra, directed by Igor Stravinsky. Keynote DMI K2001 A-B, K2002 A-B. Two 78rpm discs [1947].
    Igor Stravinsky: Composer and Performer. Vol. 2, 1930–1950. Andante Sc-A-1100. Compact disc (2003). [Includes digital release of concerto, 1947, above.]

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