Book contents
- Frontmatter
- Contents
- List of Illustrations
- Acknowledgments
- Editorial Apparatus and Critical Notes
- Note on Translations
- List of Abbreviations
- Timeline of Nadia Boulanger’s Life
- Introduction
- Part One Journalism, Criticism, Tributes
- Part Two Lectures, Classes, Broadcasts
- Bibliography of Nadia Boulanger’s Published Writing
- General Bibliography
- Index
“Concerts Colonne-Lamoureux,” Le Monde musical 30, no. 1 (January 1919): 12-15 (excerpt)
Published online by Cambridge University Press: 15 October 2020
- Frontmatter
- Contents
- List of Illustrations
- Acknowledgments
- Editorial Apparatus and Critical Notes
- Note on Translations
- List of Abbreviations
- Timeline of Nadia Boulanger’s Life
- Introduction
- Part One Journalism, Criticism, Tributes
- Part Two Lectures, Classes, Broadcasts
- Bibliography of Nadia Boulanger’s Published Writing
- General Bibliography
- Index
Summary
Concerts Reviewed
(* indicates premiere)
December 8, 1918
Rédemption, César Franck
Ghiselle, Prélude and Act II, Scene 1, César Franck
Le Chasseur maudit, César Franck
Le Poème de la forêt, Albert Roussel
Le Ciel en nuit s’est déplié, Louis de Serres
Bernadette, Pierre de Bréville
Le Jet d’eau, Claude Debussy
Roméo et Juliette, op. 17, Hector Berlioz
December 15, 1918
Le Carnaval romain, “Ouverture caractéristique,” op. 9, Hector Berlioz
Rapsodie de printemps, Désiré-Émile Inghelbrecht*
Fantaisie sur deux airs populaires angevins, Guillaume Lekeu
Piano Concerto, Edvard Grieg
Shah Féridoûn, op. 39, Blair Fairchild*
Symphony no. 5, C minor, op. 67, Ludwig van Beethoven
December 22, 1918
Symphony no. 4, C-sharp minor, op. 21, Albéric Magnard
Tentation, Scène lyrique pour chant et orchestre, Alfred Kullmann*
Rêves, op. 65, Florent Schmitt
Orpheus, Poème symphonique, Franz Liszt
Sheherazade, op. 35, Nikolay Rimsky-Korsakov
December 29, 1918
L’Enfance du Christ, op. 25, “Le Repos de la Sainte Famille pendant la fuite en Egypte,” Hector Berlioz
Movements from the Weihnachtsbaum Suite: “La Nuit de Noël” and “Les Trois rois mages,” Franz Liszt
Les Béatitudes, no. 4, “Quatrième Béatitude,” César Franck
Oratorio de Noël, op. 12, “Tecum principium (m. VII, trio),” Camille Saint-Saëns
Six pièces pour le grand orgue, op. 16-21, “Prélude, Fugue and Variation,” in B minor, and “Finale,” in B-flat major, César Franck
Tableaux pittoresques, op. 56, “Le matin dans la campagne,” “Paysage de montagne,” and “Fête populaire,” Joseph Jongen
L’Apprenti sorcier, Paul Dukas
To understand music, one should have neither sentimentality, nor hostility; to judge it, one should feel only revolt, indifference, or confidence; to love it, one should be either emotionally sensitive enough to recognize Beauty no matter what its mode of expression, or educated enough to find the “directing thought” no matter the era in which it was expressed.
Indeed, a certain number of unchanging feelings, of continuously renewed impressions, have been translated through the ages, during periods that have each had their development, their climax, and their decline. These periods link together, overlap in such a way that each climax calls forth a new progression, each decline sees an apogee.
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- Information
- Nadia BoulangerThoughts on Music, pp. 71 - 81Publisher: Boydell & BrewerPrint publication year: 2020