Nadia Boulanger: Thoughts on Music (Eastman Studies in Music, 166)

The first collection ever of essays and reviews by the renowned pedagogue, composer, and conductor, providing fresh perspectives on her musical influence and impact.The impact of Nadia Boulanger (1887-1979) on twentieth-century music was vast: as composer, keyboard performer, conductor, impresario, and pedagogue. Her extensive musical networks included figures such as Fauré, Stravinsky, and Poulenc, and her advocacy helped establish the compositions of her sister Lili Boulanger. Few today realize, though, that Boulanger wrote numerous essays and reviews at various times in her career. These offer unparalleled insight into her thinking and illuminate aspects of musical culture in Europe and America from the rare point of view of an internationally prominent female artist. Nadia Boulanger: Thoughts on Music provides a translation and critical edition of selected writings chosen for their quality and interest. The previously published articles and essays have never been reissued since their original appearance; the remaining materials are presented to readers here for the first time. The volume renders all these materials widely available, providing an important new resource for teaching and scholarship on twentieth-century music as well as an engaging collection of musical essays for the general reader. 01.0_pp_i_iv_Frontmatter 02.0_pp_v_viii_Contents 03.0_pp_ix_x_List_of_Illustrations 04.0_pp_xi_xii_Acknowledgments 05.0_pp_xiii_xiv_Editorial_Apparatus_and_Critical_Notes 06.0_pp_xv_xvi_Note_on_Translations 07.0_pp_xvii_xviii_List_of_Abbreviations 08.0_pp_xix_xxiv_Timeline_of_Nadia_Boulangers_Life 09.0_pp_1_68_Introduction 10.0_pp_69_70_Journalism_Criticism_Tributes 10.1.1_pp_71_81_Concerts_Colonne-Lamoureux_Le_Monde_musical_30_no_1_January_1919_12-15_excerpt 10.1.2_pp_82_90_Simples_Reflexions_Colonne-Lamoureux_Le_Monde_musical_30_no_3_March_1919_68-70_excerpt 10.1.3_pp_91_96_Concerts_Colonne-Lamoureux_Le_Monde_Musical_30_no_5_May_1919_136-37_excerpt 10.1.4_pp_97_104_Concerts_Colonne_Le_Monde_Musical_30_no_11_November_1919_36-28_excerpt 10.1.5_pp_105_116_Concerts_Colonne_Le_Monde_Musical_30_no_12_December_1919_350-53_complete_text 10.1.6_pp_117_122_Walter_Damrosch_et_le_New-York_Symphony_Orchestra_a_Paris_Le_Monde_musical_31_nos_910_May_1920_15657 10.1.7_pp_123_129_Le_Jubile_de_W_Mengelberg_Le_Monde_musical_31_nos_11_and_12_June_1920_182-83_complete_text 10.1.8_pp_130_145_Concerts_Colonne_Le_Monde_Musical_31_nos_23_and_24_December_1920_358-62_complete_text 10.1.9_pp_146_151_Concerts_Colonne_Le_Monde_Musical_32_nos_5_and_6_March_1921_8687_excerpt 10.1.10_pp_152_155_Concerts_Colonne_Le_Monde_Musical_32_nos_7_and_8_April_1921_129-30_excerpt 10.1.11_pp_156_158_Salle_Gaveau_Flonzaley_Quartet_Le_Monde_Musical_32_nos_19_and_20_October_1921_317_complete 10.1.12_pp_159_172_Concerts_Colonne_Le_Monde_Musical_32_nos_21_and_22_November_1921_347-50_complete_text 10.1.13_pp_173_174_Concerts_Koussevitzky_Le_Monde_Musical_32_nos_21_and_22_November_1921_353-54_complete_text 10.1.14_pp_175_179_LHeure_Espagnole_Le_Monde_Musical_32_nos_23_and_24_December_1921_382-83_excerpt 10.1.15_pp_180_185_Concerts_Koussevitzky_Le_Monde_Musical_32_nos_23_and_24_December_1921_400401_excerpt 10.1.16_pp_186_190_Concerts_Koussevitzky_Le_Monde_Musical_34_nos_21_and_22_November_1923_365_and_367_excerpt 10.1.17_pp_191_192_Le_Traite_deimprovisation_de_Marcel_Dupre_Le_Monde_Musical_37_no_1_January_1926_7_complete_text 10.1.18_pp_193_200_Le_Chevalier_a_la_Rose_Le_Monde_Musical_38_no_2_February_1927_57-59_complete_text 10.2.1_pp_201_207_La_Musique_Religieuse_La_Revue_Musicale_4_no_11_October_1922_special_number_devoted_to_Gabriel_Faure 10.2.2_pp_208_232_LOeuvre_Theatrale_dAlbert_Roussel_La_Revue_Musicale_10_no_6_April_1929_10412_continued_in_10_no_7_Ma 10.3.1_pp_233_234_Le_miracle_de_Toscanini_Spectateur_2_no_55_June_18_1946_3_complete_text 10.3.2_pp_235_237_Voici_Revenue_La_Saison_Des_Concerts_Spectateur_2_no_70_October_1_1946_1_and_7_complete_text 10.3.3_pp_238_240_Concerts_symphoniques_Premieres_auditions_Spectateur_2_no_73_October_22_1946_7_complete_text 10.3.4_pp_241_242_La_symphonie_dIgor_Strawinsky_Spectateur_2_no_78_November_26_1946_6_complete_text 10.3.5_pp_243_246_Les_Concerts_Symphoniques_Spectateur_2_no_80_December_10_1946_6_complete_text 10.3.6_pp_247_251_Les_Concerts_Symphoniques_Spectateur_2_no_81_December_17_1946_6_complete_text 10.3.7_pp_252_256_Les_Concerts_symphoniques_Spectateur_3_no_84_January_7_1947_6_complete_text 10.3.8_pp_257_259_Les_Premieres_Auditions_Spectateur_3_no_84_January_7_1947_6_complete_text 10.3.9_pp_260_262_Les_Concerts_Symphoniques_Un_Nouveau_Chef-doeuvre_dIgor_Strawinsky_Spectateur_3_no_89_February_11_19 10.3.10_pp_263_266_Igor_Markevitch_Dinu_Lipatti_Jean_Francaix_Spectateur_3_no_93_March_11_1947_2_complete_text 10.3.11_pp_267_273_Karol_Szymanowski_Spectateur_3_no_96_April_1_1947_6_complete_text 10.3.12_pp_274_276_Les_Concerts_Symphoniques_Spectateur_3_no_97_April_8_1947_6_complete_text 10.3.13_pp_277_279_Les_Grands_Concerts_Bela_Bartok_Spectateur_3_no_99_April_22_1947_6_complete_text 10.3.14_pp_280_281_Les_Grands_Concerts_Figure_humaine_de_Francis_Poulenc_Spectateur_3_no_106_June_10_1947_4_complete_te 10.3.15_pp_282_284_Les_Grands_Concerts_Spectateur_3_no_108_June_24_1947_6_complete_text 10.3.16_pp_285_288_Fin_de_Saison_Spectateur_3_109_July_1_1947_6_complete_text 10.4.1_pp_289_291_In_Memoriam_Tribute_and_Speech_for_the_State_Funeral_for_Gabriel_Faure_1924_Tribute_first_published_ 10.4.2_pp_292_294_Le_Professeur_Auguste_Chapuis_Paris_Durand_1934_45-48_complete_text 10.4.3_pp_295_297_In_Memoriam_Speech_on_the_Twenty-Fifth_Anniversary_of_Gabriel_Faures_Death_1949_complete_text 10.4.4_pp_298_301_In_Memoriam_Dinu_Lipatti_untitled_contribution_to_Hommage_a_Dinu_Lipatti_Edited_by_Madeleine_Lipatti 10.4.5_pp_302_303_In_Memoriam_Roger-Ducasse_Allocution_de_Mademoiselle_Nadia_Boulanger_23_May_1955_complete_text 10.4.6_pp_304_305_Tribute_Igor_Markevitch_Carnets_Lamoureux_Bulletin_dinformation_de_lassociation_des_Concerts_Lamoure 10.4.7_pp_306_307_In_Memoriam_Jean_Binet_untitled_Contribution_to_Jean_Binet_17_octobre_1893-24_fevrier_1960_Nyon_Cour 10.4.8_pp_308_309_In_Memoriam_Marie-Blanche_Comtesse_Jean_de_Polignac_Untitled_contribution_to_Hommage_a_Marie-Blanche 10.4.9_pp_310_311_Un_Soir_inoublie_Tribute_Yehudi_Menuhin_January_1967_complete_text 10.4.10_pp_312_314_In_Memoriam_Andre_Caplet_untitled_contribution_to_Hommage_a_Andre_Caplet_edited_by_Yvonne_Gouverne_S 11.0_pp_315_316_Lectures_Classes_Broadcasts 11.1.1_pp_317_336_Modern_Music_Taken_from_the_Stenographers_Transcription_of_the_Lectures_Le_Monde_musical_37_no_2_Feb 11.1.2_pp_337_344_La_visite_de_lEcole_Normale_de_Musique_Conferencia_Journal_de_lUniversite_des_Annales_24_Dec_1_1933_ 11.1.3_pp_345_352_Le_Piano_Cours_dInterpretation_de_Mlle_Nadia_BoulangerMozart_Le_Monde_musical_47_no_7_July_1936_211- 11.3.1_pp_353_363_Claude_Achilles_Debussy_Rice_Institute_Lecture_no_1_January_27_1925_Unpublished_Stenographers_Transc 11.3.2_pp_364_374_French_Music_Modern_and_Ultra_Modern_Rice_Institute_Lecture_no_2_January_28_1925_unpublished_stenogr 11.3.3_pp_375_386_Igor_Stravinsky_Rice_Institute_Lecture_no_3_January_29_1925_unpublished_stenographers_transcript_ori 11.3.4_pp_387_398_Teachers_Lecture_January_29_1925_Unpublished_Stenographers_Transcript_original_English_text 11.3.5_pp_399_406_Lecture_on_Gabriel_Faure_undated_between_194049 11.3.6_pp_407_408_On_Hearing_Lecture_Notes_Unknown_Event_1940-49_complete_text 11.4.1_pp_409_413_Lecture_for_the_British_Broadcasting_Corporation_Introductory_Talk_to_Series_of_Recitals_of_French_C 11.4.2_pp_414_416_Lecture_for_the_British_Broadcasting_Corporation_Music_of_the_Week_November_7_1937_original_English_ 11.4.3_pp_417_420_Lecture_for_the_British_Broadcasting_Corporation_Music_of_the_Week_Dumbarton_Oaks_Concerto_October_3 11.4.4_pp_421_424_La_Musique_Et_La_Vie_Quotidienne_Music_and_Everyday_Life_The_Listener_20_no_515_November_24_1938_115 11.4.5_pp_425_430_Script_for_a_Program_of_Bach_Cantata_Excerpts_Recorded_December_18_1947_for_the_Club_DEssai 11.4.6_pp_431_434_Script_for_a_Program_of_Haydn_Trios_Recorded_January_21_1948_for_the_Club_DEssai 11.5.1_pp_435_440_Propos_Impromptus_Nadia_Boulanger_Remarks_Collected_by_Raymond_Lyon_Le_Courier_Musical_61_1978_5-8_c 12.0_pp_441_444_Bibliography_of_Nadia_Boulangers_Published_Writing 13.0_pp_445_454_General_Bibliography 14.0_pp_455_484_Index The impact of Nadia Boulanger (1887-1979) on twentieth-century music was vast: as composer, keyboard performer, conductor, impresario and pedagogue. Her extensive musical networks included figures such as Fauré, Stravinsky and Poulenc, and her advocacy helped establish the compositions of her sister Lili Boulanger. Few today realize, though, that Boulanger wrote numerous essays and reviews at various times in her career. These offer unparalleled insight into her thinking and illuminate aspects of musical culture in Europe and America from the from the rare point of view of an internationally prominent female artist. Nadia Boulanger: Thoughts on Music provides a translation and critical edition of selected writings chosen for their quality and interest. The previously published articles and essays have never been reissued since their original appearance; the remaining materials are presented to the reading public here for the first time. The volume renders all these materials widely available, providing an important new resource for teaching and scholarship on twentieth-century music as well as an engaging collection of musical essays for the general reader. JEANICE BROOKS is Professor of Music at the University of Southampton. KIMBERLY FRANCIS is Associate Professor of Music at the University of Guelph The first collection ever of essays and reviews by the renowned pedagogue, composer, and conductor, providing fresh perspectives on her musical influence and impact. The impact of Nadia Boulanger (1887-1979) on twentieth-century music was vast: as composer, keyboard performer, conductor, impresario, and pedagogue. Her extensive musical networks included figures such as Faur, Stravinsky, and Poulenc, and her advocacy helped establish the compositions of her sister Lili Boulanger. Few today realize, though, that Boulanger wrote numerous essays and reviews at various times in her career. These offer unparalleled insight into her thinking and illuminate aspects of musical culture in Europe and America from the rare point of view of an internationally prominent female artist. Nadia Boulanger: Thoughts on Music provides a translation and critical edition of selected writings chosen for their quality and interest. The previously published articles and essays have never been reissued since their original appearance; the remaining materials are presented to readers here for the first time. The volume renders all these materials widely available, providing an important new resource for teaching and scholarship on twentieth-century music as well as an engaging collection of musical essays for the general reader.