Lili Boulanger was a French composer and the younger sister of composer and composition teacher Nadia Boulanger.

A Parisian born child prodigy, Boulanger’s talent was apparent at the age of two, when Gabriel Fauré, a friend of the family and later one of Boulanger’s teachers, discovered she had perfect pitch. Her parents, both of whom were musicians, encouraged their daughter’s musical education. Her father was 77 years old when Lili was born and she became very attached to him. Her mother, Raissa Myshetskaya (Mischetzky), was a Russian princess who married her Paris Conservatoire teacher, Ernest Boulanger. Her grandfather Frédéric Boulanger had been a noted cellist and her grandmother Juliette a singer. Lili accompanied her ten-year-old sister Nadia to classes at the Paris Conservatoire before she was five, shortly thereafter sitting in on classes on music theory and studying organ with Louis Vierne. She also sang and played piano, violin, cello and harp.

In 1912 Boulanger competed in the Prix de Rome but during her performance she collapsed from illness. She returned in 1913 at the age of 19 to win the composition prize for her Faust et Hélène, becoming the first woman composer to win the prize. Nadia had given up entering after four unsuccessful attempts and had focused her efforts upon her sister Lili, first a student of Nadia and then of Paul Vidal, Georges Caussade and Gabriel Fauré–the last of whom was greatly impressed by the young woman’s talents and frequently brought songs for her to read. Lili was greatly affected by the 1900 death of her father; many of her works touch on themes of grief and loss. Her work is noted for its colourful harmony, instrumentation and skillful text setting. Influences of Fauré and Claude Debussy can be heard in her compositions.

In 1918, Boulanger died from intestinal tuberculosis which arose from her life-long health complications. I can only imagine what wonderful works the world may have had if her life had not been cut so short at 24 years old. The Nocturne composed in 1911 when she was 18 is absolutely sublime, a colour and emotional journey for the player and listener. A powerful piece.

  The title suggests, the night time was the basis and inspiration for the piece. It reflects her influence of Impressionism, harmony and how the loss of her father affected her and stayed with her through her life. The build up to the climax is one of the most amazing musical experiences I have ever had. It is so emotionally powerful, deep and fades to an emotional calm quicker than one would think by the markings. Note the diminuendo over the G. I was so lucky to have an incredible pianist in Daniel to build that emotional peak with.

The Nocturne was originally scored for violin and piano. Here is my favourite recording of it.

For flute players and teachers, the Nocturne presents a wonderful development and learning exercise. Try Marcel Moyse alternate C fingering. A must for the climax C.

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