Trois Morceaux Pour Piano
Lili Boulanger
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Browse piano sheets by Lili Boulanger on Zen Virtual Piano. Marie-Juliette Olga Boulanger was born on August 21, 1893, to a middle-class musical family in Paris's ninth arrondissement. Lili's parents and her sister Nadia enthusiastically encouraged her musical education, and by the age of two she could sing melodies by ear. Her father, Ernest, died in Brussels in 1900, and the family was profoundly affected; the loss later partly shaped the tone of much of her work. A middle-class musical family and the profound effect of her father's death in 1900 may suggest that music and family loss were closely tied in her early life. Recurrent illness interrupted her formal studies between the ages of six and 16. After much waiting she studied harmony with Georges Caussade and composition with Paul Vidal. In 1912 she entered the Prix de Rome, inspired by Nadia's pursuit of the prize and by her father's victory in 1835, and she collapsed from illness during a performance of her cantata Maïa. Her father's death in 1900 and his 1835 victory, which inspired her 1912 entry, may suggest that his name stayed linked to her path in more than one way. Gabriel Fauré was impressed by her talent and frequently brought songs for her to read. Fauré's habit of bringing her songs to read and the illness that interrupted her formal studies may suggest that her musical development did not depend only on regular schooling. The Franco-American Committee of the Conservatoire was founded in 1915 by her and her sister Nadia; letters and care packages were its way of reaching Paris Conservatoire students and alumni serving in the First World War. The committee founded with Nadia in 1915 and Nadia's encouragement of her musical education may suggest that the sisters' shared effort reached beyond music lessons into service work. Her father Ernest is remembered in Du fond de l'abîme (Psalm 130), a work for chorus and large orchestra dedicated to his memory. Although she wrote it at twenty-two, critics revere it for its developed and well-formed style. Her devout Catholicism inspired three psalm settings, Psalms 24, 129 and 130, and religious themes recur in her work. In her final years she worked to finish as many pieces as possible, yet the opera La princesse Maleine, begun in February 1916, was left unfinished. Faust et Hélène, one of her works, was performed various times during her lifetime. The three psalm settings and the dedication of Du fond de l'abîme to her father may suggest that religious faith and family memory could meet in a single work.
Browse piano sheets by Lili Boulanger on Zen Virtual Piano.
Marie-Juliette Olga Boulanger was born on August 21, 1893, to a middle-class musical family in Paris's ninth arrondissement. Lili's parents and her sister Nadia enthusiastically encouraged her musical education, and by the age of two she could sing melodies by ear. Her father, Ernest, died in Brussels in 1900, and the family was profoundly affected; the loss later partly shaped the tone of much of her work. A middle-class musical family and the profound effect of her father's death in 1900 may suggest that music and family loss were closely tied in her early life.
Recurrent illness interrupted her formal studies between the ages of six and 16. After much waiting she studied harmony with Georges Caussade and composition with Paul Vidal. In 1912 she entered the Prix de Rome, inspired by Nadia's pursuit of the prize and by her father's victory in 1835, and she collapsed from illness during a performance of her cantata Maïa. Her father's death in 1900 and his 1835 victory, which inspired her 1912 entry, may suggest that his name stayed linked to her path in more than one way.
Gabriel Fauré was impressed by her talent and frequently brought songs for her to read. Fauré's habit of bringing her songs to read and the illness that interrupted her formal studies may suggest that her musical development did not depend only on regular schooling. The Franco-American Committee of the Conservatoire was founded in 1915 by her and her sister Nadia; letters and care packages were its way of reaching Paris Conservatoire students and alumni serving in the First World War. The committee founded with Nadia in 1915 and Nadia's encouragement of her musical education may suggest that the sisters' shared effort reached beyond music lessons into service work.
Her father Ernest is remembered in Du fond de l'abîme (Psalm 130), a work for chorus and large orchestra dedicated to his memory. Although she wrote it at twenty-two, critics revere it for its developed and well-formed style. Her devout Catholicism inspired three psalm settings, Psalms 24, 129 and 130, and religious themes recur in her work. In her final years she worked to finish as many pieces as possible, yet the opera La princesse Maleine, begun in February 1916, was left unfinished. Faust et Hélène, one of her works, was performed various times during her lifetime. The three psalm settings and the dedication of Du fond de l'abîme to her father may suggest that religious faith and family memory could meet in a single work.
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Common questions
Lili Boulanger was a composer born in Paris in 1893, the sister of Nadia Boulanger.
She entered the Prix de Rome, inspired by Nadia's pursuit of the prize and their father's victory in 1835, and collapsed from illness during a performance of her cantata Maïa.
It is a setting of Psalm 130 for chorus and large orchestra, dedicated to the memory of her father.
Lili and Nadia set up the Franco-American Committee of the Conservatoire in 1915, so that Paris Conservatoire students and alumni serving in the First World War could stay in touch through letters and care packages.