About Nadia Boulanger

10.34690/142 ◽  
2021 ◽  
pp. 211-222
Author(s):  
Кшиштоф Мейер
Keyword(s):  
Nadia Boulanger

La Guerre en dentelles: Women and the Prix de Rome in French Cultural Politics

1998 ◽  
Vol 51 (1) ◽  
pp. 83-129 ◽  
Author(s):  
Annegret Fauser
Keyword(s):  
Twentieth Century ◽  
Case Studies ◽  
Cultural Politics ◽  
Music Composition ◽  
Public Recognition ◽  
Nadia Boulanger ◽  
First Time

In 1903, one hundred years after the Prix de Rome had been created in music composition, women were allowed to participate in the competition for the first time. In 1913, Lili Boulanger became the first woman to win the prize, crowning the efforts of three others-Juliette Toutain, Hélène Fleury, and Nadia Boulanger-to achieve this goal. Their stories are fascinating case studies of the strategies women employed to achieve success and public recognition within the complex framework of French cultural politics at the beginning of the twentieth century.

scholarly journals Grażyna Bacewicz – The Polish Sappho

2019 ◽  
Vol 16 (1) ◽  
pp. 65-102
Author(s):  
Małgorzata Gąsiorowska
Keyword(s):  
String Quartet ◽  
Women Composers ◽  
The Political ◽  
String Orchestra ◽  
Limited Extent ◽  
Avant Garde ◽  
Political Transformations ◽  
New Type ◽  
Nadia Boulanger ◽  
Artistic Career

Abstract The paper is an attempt at a synthetic presentation of the Polish composer Grażyna Bacewicz’s (1909–1969) musical output and artistic career, presented against the background of events in her personal life, and of major events in Polish and European history in the first seven decades of the 20th century. Bacewicz was called ‘the Polish Sappho’ already in the years between World Wars I and II, when there were very few women-composers capable of creating works comparable to the most eminent achievements of male composers. Her path to success in composition and as a concert soloist leads from lessons with her father, the Lithuanian Vincas Bacevičius, to studies at the Łódź and Warsaw Conservatories (violin with Józef Jarzębski, composition with Kazimierz Sikorski), and later with Nadia Boulanger at the École Normale de la Musique, as well as violin lessons with André Tourret. Her oeuvre has for many years been linked with neoclassicism, and folkloric inspirations are evident in many of her works. Her crowning achievement in the neoclassical style is the Concerto for String Orchestra of 1948, while influences from folklore can distinctly be heard in many concert pieces and small forms. The breakthrough came around 1958, under the influence of avant-garde trends present in West European music, which came to be adapted in Poland thanks to the political transformations and the rejection of socialist realism. In such pieces as Music for Strings, Trumpets and Percussion of 1958, Bacewicz transforms her previously fundamental musical components (melody, rhythm, harmony) into a qualitatively new type of sound structures, mainly focused on the coloristic aspects. Grażyna Bacewicz also applied the twelve-note technique, albeit to a limited extent, as in String Quartet No. 6 (1960). Her last work was the unfinished ballet Desire to a libretto by Mieczysław Bibrowski after Pablo Picasso’s play Le désir attrapé par la queue.

Les trois vies de Nadia Boulanger

2014 ◽  
Vol n° 46 (1) ◽  
pp. 77
Author(s):  
Alexandra Laederich ◽  
Rémy Stricker
Keyword(s):  
Nadia Boulanger

Carter, Elliott (Cook Jr.) (1908–2012)

2018 ◽  
Author(s):  
Brenda Ravenscroft
Keyword(s):  
New York ◽  
English Literature ◽  
Modern World ◽  
Musical Language ◽  
Charles Ives ◽  
Harvard College ◽  
Elliott Carter ◽  
Gustav Holst ◽  
Nadia Boulanger ◽  
Walter Piston

Born in 1908 into a wealthy New York City family, Elliott Carter enjoyed a cosmopolitan childhood, spending time in Europe and learning French at an early age. The composer Charles Ives mentored the young Carter, taking him to concerts in New York and encouraging his developing interest in music. Carter’s childhood, characterized by immersion in a culturally enriched environment and exposure to the modern world, provided the elements from which his artistic aesthetic and musical language would later be forged. When Carter entered Harvard College, he focused his studies on English literature, Greek, and philosophy, although musical activities continued in the form of lessons with Walter Piston and Gustav Holst, as well as singing with the Harvard Glee Club. Carter completed a master’s degree in music at Harvard in 1932, after which he moved to Paris to study composition with Nadia Boulanger for three years. He received a doctorate in music from the École Normale de Musique in Paris in 1935.

An Imperfect Mahlerite

2018 ◽  
Vol 35 (1) ◽  
pp. 76-103
Author(s):  
Matthew Mugmon
Keyword(s):  
Twentieth Century ◽  
World War I ◽  
Documentary Evidence ◽  
Aaron Copland ◽  
World War ◽  
Public Events ◽  
French Music ◽  
Early Twentieth Century ◽  
Nadia Boulanger ◽  
And Performance

As one of the chief representatives of French music in the early twentieth century, Nadia Boulanger is typically ignored in discussions of the reception of Gustav Mahler’s music, which—like most studies of reception—focus primarily on press accounts and public events. Moreover, Boulanger is usually considered in the context of a broader French aversion, in the first half of the twentieth century, to Mahler’s late-Romantic Austro-German idiom. But a range of documentary evidence concerning her attendance at the 1920 Mahler festival in Amsterdam, including previously unexamined correspondence as well as scores annotated in her hand, reveals that, motivated by a post-World War I spirit of internationalism, Boulanger contributed materially to the study and performance of Mahler. She encouraged audiences to consider his music’s emotional power and analyzed it in a way that drew attention to its orchestration and the horizontal aspects of its construction. She also introduced such figures as Aaron Copland to Mahler’s music, preparing him to approach it in a way that centered on the vocabulary of neo-classicism. Boulanger’s engagement with Mahler not only contributes to our picture of the composer’s reception, but also reveals the historiographical value of discourses that take place behind the scenes.

où l'on retrouve les ailes d'Icare: Notes on the rediscovery of the composer Igor Markevitch

Tempo ◽  
1994 ◽  
pp. 6-12
Author(s):  
David Drew
Keyword(s):  
Nadia Boulanger

It was only in the last five years of his life that Markevitch-the-conductor acknowledged and made some amends to his once-celebrated but long forgotten predecessor Markevitch-the composer. Having ignored if not actively suppressed his compositions for some 30 years, he began in 1978 to review them with the mingled delight and anxiety of a prodigal father returning to his offspring after a protracted and neglectful absence. In the intervening years, his cherished friend and onetime teacher Nadia Boulanger had been almost alone among prominent musicians to deplore the disappearance of a major composer, and his supercession by a (mere?) conductor, however brilliant and successful.

Walter Piston 1894–1976

Tempo ◽  
1977 ◽  
pp. 23-24
Author(s):  
Paul Rapoport
Keyword(s):  
Harvard University ◽  
Leonard Bernstein ◽  
Main Text ◽  
Elliott Carter ◽  
American Composer ◽  
Nadia Boulanger ◽  
Walter Piston ◽  
Academic Study

Walter Piston, the American composer and teacher, died aged 82 on 12 November 1976. As a young amateur he learned to play nearly all the instruments, but he did not begin academic study of music until he was 25 He graduated from Harvard University with highest honours in 1924, studied for two years in France with Nadia Boulanger, and returned to teach at Harvard for over three decades, retiring in 1960. Among his pupils were Leonard Bernstein and Elliott Carter. His three main text books (Harmony, Counterpoint and Orchestration) have been, widely used for many years.

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