BOULANGER, NADIA


Meaning of BOULANGER, NADIA in English

born Sept. 16, 1887, Paris died Oct. 22, 1979, Paris French conductor and one of the most influential teachers of musical composition of the 20th century. Boulanger's family had been associated for two generations with the Paris Conservatoire, where her father and first instructor, Ernest Boulanger, was a teacher of voice. She received her formal training there in 18971904, studying composition with Gabriel Faur and organ with Charles-Marie Widor. She later taught composition at the conservatory and privately. She also published a few short works and in 1908 won second place in the Prix de Rome competition with her cantata La Sirne. She ceased composing, rating her works useless, after the death in 1918 of her talented sister Lili, also a composer. In 1921 Boulanger began her long association with the Conservatoire Amricain, founded after World War I at Fontainebleau by the conductor Walter Damrosch for U.S. musicians. She was organist for the premiere (1925) of the Symphony for Organ and Orchestra by Aaron Copland, her first U.S. pupil, and appeared as the first woman conductor of the Boston, New York Philharmonic, and Philadelphia orchestras in 1938. She had already become (1937) the first woman to conduct an entire program of the Royal Philharmonic in London. In the late 1930s Boulanger recorded little-known works of Claudio Monteverdi, championed rarely performed works by Heinrich Schtz and Faur, and promoted early French music. She spent the period of World War II in the United States, mainly as a teacher at the Washington (D.C.) College of Music and the Peabody Conservatory in Baltimore, Md. Returning to France, she taught again at the Paris and American conservatories, becoming director of the latter in 1949. Boulanger's pupils included the composers Arthur Berger, Lennox Berkeley, Easley Blackwood, Marc Blitzstein, Elliott Carter, Aaron Copland, David Diamond, Jean Franaix, Roy Harris, Darius Milhaud, Walter Piston, and Virgil Thomson. Her influence as a teacher was always personal rather than pedantic: she refused to write a textbook of theory. Her aim was to enlarge the student's aesthetic comprehensions while developing his individual gifts.

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