Written by Edward Bailey, used by permission.

Lili Boulanger, Composer (1893-1918)

Introduction

Early in the 1900s an exceptionally gifted young girl had a profound and lasting effect upon the classical music scene.
Marie-Juliette Olga “Lili” Boulanger (1893-1918), born to musical parents, showed talent for composition at a very early age. It was discovered she had perfect pitch aged two and went on to become the first woman to win the coveted Prix de Rome aged 19.
Unfortunately also at a young age she suffered from chronic illness, beginning with a case of bronchial pneumonia at age two that weakened her immune system, leading to the intestinal tuberculosis that ended her life at the age of 24.
Lili’s older sister Nadia after caring for Lili and assisting her in her work lived for many years more. She taught many of the leading composers and musicians of the 20th century.

Premise of this Article

Lili Boulanger’s musical compositions demonstrate how rhythm is not necessarily a required part of musical composition. Indeed, tone, harmony, colour, layers and textures may just as easily be used separately and/or intertwined to achieve a suitable and even entertaining result.
By extension, it follows also that an automatic requirement for rhythm cannot be applied to disciplines such as poetry and dance.

Music Which Should be Heard

Lili produced many and varied compositions in her short lifetime. Not being musically trained I must defer to others for suitable description of the style and origins of Lili’s tantented output.

Boulanger grew up in a time of musical transition and her music fits easily into what was becoming defined as a post-Romantic style. Like Debussy, Boulanger associated herself more with Symbolism than Impressionism, with her music featuring the sense of obscurity and indirection more common in Symbolism. Smith-Gonzalez, April (2001). Lili Boulanger (1893-1918): Her Life and Works (doctoral thesis). Florida Atlantic University

However, she also “explored the ‘Impressionists’ palette of nonfunctional seventh and ninth chords, parallel chords, and modal progressions.”. While much of Boulanger’s music reflects the feelings of isolation and alienation that were starting to emerge during the twentieth century, it also reveals her own struggles with depression and loneliness caused by her long-term illness. Citron, Marcia (1991). Pendle, Karin (ed.). Women and Music. Bloomington: Indiana University Press. pp. 123–142.

https://en.wikipedia.org/wiki/Lili_Boulanger

Her musical style was based to some extent upon the style of the era, though she developed something much more expansive, urged upon it seems by a desire to break boundaries. Or at least using the foundation of her training and talents to express a new and different style of composition. In that sense she could be said to be a trailblazer, though not necessarily a renegade.

In our time many listeners upon hearing her works for the first time are captivated by not only the originality but also the feeling and emotion of her works. Where it becomes even more interesting though is when you realise that a number of her works do not follow predictable rhythms. That is, we are used to melodies which often seem to build and progress in predictable ways. If you hum along you will likely sense where the tune will go next.

A good example of this style of Lili’s is found in Psalm 130. Again I defer to the better knowledge of others.

Psalm 130. In the opening, a soft moan emerges above a deep tectonic rumble. Double basses strain upward and release a quiet exhalation in violins and violas. Sigh follows sigh, breaking apart into a contrapuntal shimmer of suffering. The chorus finally enters with its plaintive chant, exhausted before it has even begun, and then subsides into a closemouthed murmur. We are in the presence of a virtuoso of transcendent pain. Even more startling is the high-voltage current that runs through the piece, and the orchestral finesse that most composers only acquire through years of experience, often on the podium.
https://www.vulture.com/2020/01/its-time-we-all-heard-the-music-of-lili-boulanger.html

When we look at the definition of rhythm we find that it is essentially to do with patterns. This can be noticeable in poetry and dance as much as in music. Here rhythm may be seen as a repeatable pattern. It may be that a dancer will present a routine which, in possibly following the music, seems to progress in a way one might expect. That part may then progress on to another. But what if that progression was not predictable?

In Lili’s music rhythm at times is replaced by an almost random progression from one theme or tone to another, not always a partially related and connected one. Even the harmony changes, as seen in her choral pieces where multiple voices weave and interact together, but does not necessarily follow a clear pattern. It could be said that her music and style at times depends more upon harmony than rhythm.

It has been said that many of her works are darker in character and harmony. It might also be said that at least some of her works seem abstract in style. But she shows that it is possible to create a composition without following expected rules. That which an otherwise casual listener to popular classical music might grow to expect.

Music examples

Soir Sur La Plaine 1913, 8’.37”, moderate sized choral piece
https://www.youtube.com/watch?v=79u8Cv-W9xo

Psalm 130, 24’.08”, full orchestra and choir, an infusion of different instruments and voices etc, different speeds, no great indication of what comes next
https://www.youtube.com/watch?v=gYj3nP6l6DA&t=328s

Faust et Hélène 30’ 01”, the winning piece from Prix de Rome
https://www.youtube.com/watch?v=3BQgfSfMG4E

Vielle prière bouddhique, For Tenor, Chorus And Orchestra, 8’ 27”
https://www.youtube.com/watch?v=VNCZ5_KeK9U

References

https://orchestrationonline.com/lili-boulanger-in-her-own-right/ history, description of various musical pieces

https://www.oxfordlieder.co.uk/composer/174 biography

https://imslp.org/wiki/List_of_works_by_Lili_Boulanger list of musical works

https://www.classical-music.com/composers/boulanger-lili/ biography, the Prix de Rome, what kind of music did Lili Boulanger write?

https://nac-cna.ca/en/bio/lili-boulanger biography, music style

Author: Paul