New Solutions for Lili Boulanger's Psaume 130, Du fond de l'abîme
←
→
Page content transcription
If your browser does not render page correctly, please read the page content below
New Solutions for Lili Boulanger’s
Psaume 130, Du fond de l’abîme,
Part 2
Lili Boulanger the day she won the Prix de Rome.
Photo courtesy of Nadia and Lili Boulanger international Fondation’s archives.
John Perkins, DMA, Choral Conducting
Assistant Professor of Music
Visual and Performing Arts
American University of Sharjah
P.O. Box 26666, Sharjah, UAE
jperkins@aus.edu
18 Choral Journal • June/July 2010
P
art I, “A Historical and Pragmatic Approach to Compositional similarities in text setting and melodic
Lili Boulanger’s Psaume 130, Du fond de l’abîme,” construction occur between the Pie Jesu from the fourth
published in the May 2010 issue of the Choral movement of Fauré’s Requiem and Boulanger’s setting of Pie
Journal, addresses issues regarding historical oversight of Jesu for soprano solo, harp, organ, and string quartet. In light
Lili Boulanger and logistical challenges in bringing Psaume of Boulanger’s compositional interest in Fauré’s Requiem,
130 to performance.This article provides solutions to some these similarities led musicologist Benjamin-Gunnar Cohrs
pragmatic score and performance challenges, and presents to a larger hypothesis that, combined together, Pour les
the discussion with a new presentation of Psaume 130’s fune’railles d’un soldat; Psaume 24; Psaume 129; Vielle Prière
analysis.1 bouddhique and Psaume 130, written between 1912 and
This author approached the analysis under the assump- 1917, resemble a non-liturgical requiem, likely influenced
tion that Boulanger composed not only an aesthetically by Fauré’s requiem setting. Cohrs makes a convincing case,
pleasing score, but also a purposeful compositional struc- comparing and analyzing the text, key relations, and histori-
ture. These assumptions proved to be true. Boulanger cal data.7 Furthermore, in her book, Nadia and Lili Boulanger,
purposefully interrelates text, form, and tonality in order to musicologist Caroline Potter’s description of a page from
convey structural continuity. In this article, the brief analysis one of Boulanger’s sketchbooks further suggests that Bou-
is meant to (1) provide new research, which may help langer started a requiem setting in Latin (possibly where
clarify previous research, and (2) help guide the conduc- the Pie Jesu originated) and that she plausibly abandoned
tor through the macro-analysis, or large ideas, from which it for a non-liturgical setting:
further detail may emerge.
In its present form, the score presents logistical chal- The most interesting of these sketches (of the canon
lenges for many conductors.2 The process toward a slightly in measures 342 through 353) suggests that the work
[Psaume 130] was originally going to be a Requiem.
reduced orchestral version of the score, previously pro-
Although only one word of the Requiem text is
posed, is discussed in order to lead conductors to their
present—“Dona” (eis requiem or nobis pacem)— the
own successful modifications of the work. Within such a
dedication of Du fond de l’abîme to the composer’s
modified score, the conductor may afford more program- late father makes the possibility that it was conceived
matic possibilities for Boulanger’s Psaume 130. To begin, a as a Requiem plausible. Instead, the sketch fits the
preliminary approach to the analysis, which offers a contex- words of ‘Car en Iahvé est la miséricorde’ [sic]…as
tual discussion of the work’s size and scope, is addressed. Boulanger sketches rhythmic notation above the
stave which fits these words. A few pages later,
sketches for a Kyrie further reinforce the notion that
Influences on the Size this work was originally intended to be a Requiem.8
and Scope of Psaume 130
In the liner notes to conductor Mark Stringer’s Timpani Cohrs’s detailed hypothesis combined with Potter’s
label recording,3 musicologist Harry Halbreich4 suggests discovery of Latin text in the sketchbook suggest that
that an earlier inspiration for Boulanger’s Psaume 130 was the unusual twenty-five to twenty-nine minute length of
Florent Schmitt’s (1870-1958) Psaume 47.5 Rosenstiel’s Psaume 130 may be the result of a larger scheme within a
biography confirms Boulanger’s fascination and exposure non-liturgical requiem.
to Schmitt’s work: “[Boulanger] was extremely excited by
the premier [of Schmitt’s Psaume 47] in 1904…Lili followed Intersections of Text, Form, and Tonality
every rehearsal with rapt attention.”6 Except for Schmitt’s Lili’s sister, Nadia, provides one of the few primary
choice of percussion (triangle, crash cymbals, and glocken- sources of information about Lili’s approach to composi-
spiel), the scores resemble each other in instrumentation. tion. Nadia spoke mysteriously about Lili’s music: “[Lili]
Even an extended soprano solo appears in the middle of sealed her work in silence. She did not want to lay bare
Schmitt’s work, as it does in Psaume 130. The overall, and her thoughts because only the music counted.”9 Yet, we
likely initial, influence of Schmitt’s Psaume 47 on Boulanger may be able to ascertain, indirectly, Lili’s musical approach
is evident, resulting in similar characteristics between the through Nadia’s thoughts about composition and analysis:
two works: form, instrumentation, and choice of psalmodic “[N]othing happens without reason, it is simply that the
text. reasons sometimes remain unintelligible to us, because
Moreover, Fauré’s influence on Psaume 130 is clear. we do not see very far, [and] because we do not take
Choral Journal • June/July 2010 19
New Solutions for Psaume 130, Du fond de l' abîme
the trouble to look; but they surely exist.”10 form.13 Cohrs adds a more detailed narrative her intersection of text and tonality with the
Psaume 130 seems to unfold structurally in his analysis by labeling certain motives large sections of Psaume 130.
within its own parameters. Cohrs, describes in the “organically” composed work and Boulanger does not present the 130th
this unfolding as “organic.”11 Supporting this discussing Psaume 130 in the context of a psalm,16 also known in the Latin liturgy as De
approach with another Boulanger composi- possible non-liturgical requiem.14 Musicolo- Profundis, in exact sequential order. She re-
tion, musicologist, Bonnie Jo Dopp, in her gist Caroline Potter offers similar information orders stanzas five through seven and omits
article Numerology and Cryptography in the but includes enlightening examples from stanza six (“My soul longs for Yahweh”). In
Music of Lili Boulanger: The Hidden Program Boulanger’s sketchbook.15 These narratives, the middle of stanza seven, Boulanger inserts
in Clairières dans le ciel, demonstrates an however, lack a clear presentation about the her own text “J’espère en toi, j’espère en ta
organic structure based on the number thir- analysis of Psaume 130’s formal structure. parole” [I hope in you, I hope in your word]
teen.12 These accounts and analyses suggest Boulanger begins the work with a low, and “Je crie vers toi” [I cry to you]. Boulanger
a unified and logical structure to Boulanger’s distorted orchestration that reflects the also adds Adonaï to the psalm’s existing
compositional approach, and, more specifi- depths or the abyss mentioned in the first name for God, Yahweh. She further inserts
cally, Psaume 130. line of text: “Du fond de l’abime” [Out of the the exclamation “Ah”—a common trait in
There is little detailed analysis of Psaume depths]. As with the murky orchestration many of her choral works—toward the ends
130 available for researchers. Boulanger’s and dense polyphony, the work’s architec- of large phrases.17 These and other examples
main biographer, Léonie Rosenstiel, offers a ture is non-standard and seems asymmetri- demonstrate Boulanger’s penchant within
general narrative about the piece, discuss- cal; however, Boulanger’s concept of organic Psaume 130 to insert portions of text from
ing text, tonality, orchestration, and general structure becomes clear after comparing other stanzas. This style of inserting texts
Est. 1980
Canada welcomes Adult and Youth Choirs to join us in
celebration of the music & artistic influence of J.S. Bach
July 11-17, 2011
Exeter, Ontario
www.bachmusicfestival.com
Gerald Fagan Concerts•Workshops•Masterclasses
Artistic Director
reg. #2392471
311 Main St., Exeter, Ontario www.musictours-festivals.com 116 - 255 West 1st St., North Vancouver B.C.
519 235-2000 • 1-800-265-7024 email: group@ettravel.com 604 983-2470 • 1-866-983-2470
20 Choral Journal • June/July 2010
from other stanzas, similarly found Table 1 Presentation of Text and Large Sections
in Berlioz’s Requiem, emphasizes the
meaning of the text by re-ordering it
for musical and dramatic purposes. Section I (“Thesis,” measures 1 through 59 – orchestral statement, “penitence”)
Additionally, Boulanger accentuates
Section II (Measures 59 through 134 – first choral statement, “penitence”)
the meaning from the opening lines
of the psalm with a re-ordered “Du fond de l’abîme je t’invoque, From the depths of the abyss I call on you,
text setting. Her local approach of Iahvé. Yahweh.
re-ordering and recycling text does Adonaï, ecoute ma prière! Adonai, hear my prayer!
not alter her broad and successive (Je crie vers toi.) (I cry to you.)
presentation of the stanzas. Que tes oreilles soient attentives May your ears be attentive
For the purpose of this study, the aux accents de ma prière! to the voice of my supplication!”
work is organized into five sections.
Section III (“Development,” measures 134 through 189 – tempo and thematic variation, “penitence”)
Table 1 contains an outline of the
five sections of Psaume 130, and “Si tu prends garde aux péchés, If you take into account your sins, Yahweh,
the general order of the text (using qui donc pourra tenir, Iahvé? who would be able to stand fast?”
Gordan Paine’s translation18) within
each section19 (Table 1). Section IV (“Contrast,” measures 190 through 379 – mezzo-soprano solo, “hope”)
Section I is an orchestral ritornello
and presents the essential motivic “mais la clémence est en toi, But with you there is mercy, and so you are
elements of the piece. Section II afin qu’on le révère. worshipped.
Mon âme espère en Iahvé; My spirit hopes in Yahweh;
contains the first choral statements
j’espère, je compte sur sa parole I hope in and I count on his word
of the work. In Section III, Boulanger plus que les guetteurs de la nuit more than the watchmen of the night
develops the themes from Sections n’aspirent au matin. long for the morning.
I and II through fragmentation, La clemence est en Iahvé. There is mercy in Yahweh.
augmentation, transformation, and (J’espère en toi, j’espère en ta parole.) (I hope in you, I hope in your word.)
modulation. In Section IV, due to the Car en Iahvé est la miséricorde There is mercy in Yahweh,
change of text, Boulanger introduces et l’abondance de la délivrance. and abundant deliverance.”
new modes, new textures and a
Section V (“Conclusion and Juxtaposition of Sections I and IV,” measures 379 through 430 –
mezzo-soprano soloist. Section V
overlap of “penitence” and “hope”)
is a summary of Sections I– III and
Section IV, and affects of both hope “C’est lui qui délivrera Israël It is he who will deliver Israel
and penitence are overlapped. Here, De toutes ses iniquités. From all its iniquities.
Boulanger accordingly overlaps Israël espère en la clémence de Iahvé. Israel, trust in the mercy of Yahweh.”20
previous motives relating to these
affects.
Within this overall presentation
of text, Boulanger forms a musical
presentation in five sections that coalesces
with the two affects of penitence and hope.
In sections I through III (189 measures), the
text reflects a penitential mood. To coun-
terbalance, Section IV, also 189 measures,
contrasts with a hopeful mood. Section
V contains the last, short stanza, which
Boulanger identifies as a summary of the
previous affects in the psalm (“It is he who
will deliver Israel from all its iniquities. Israel,
trust in the mercy of Yahweh”). Therefore,
through musical means, she seems to
present a psychological coexistence of
penitential and hopeful affects (Figure 1).
Cohrs divides the work into thirteen
sections.21 A brief mention of Boulanger’s
Choral Journal • June/July 2010 21New Solutions for Psaume 130, Du fond de l' abîme
fixation with the number thirteen exists in is the predominant mode in the work. (The collections and comprises equal parts of
Rosenstiel’s biography, and is discussed at extended mezzo-soprano solo is one of alternating major and minor seconds. In ad-
length in the aforementioned Dopp article.22 these moments.) They are correct in terms dition to a cohesive structure between her
Dopp demonstrates Boulanger’s interest of melody (horizontally); after analyzing overall form and text setting, Boulanger uses
in the number thirteen with her analysis of the total pitch content in numerous pas- the octatonic scale to reflect another layer of
the song cycle Clairières dans le ciel. Cohrs, sages (vertically and horizontally), however, structural balance in Psaume 130: penitence
without explaining his methodology as Dopp it seems clear that Boulanger frequently em- (minor seconds) balanced with hope (major
has, charts thirteen sections in Psaume 130. ploys octatonic sets as the harmonic and the seconds).The way in which Boulanger allows
(Most subsections occur toward the end melodic fabric of Psaume 130. For example, these two affects to coexist in Section V25
of the work.) Potentially, the analysis in this musical content in Figure 2 is built on an (therefore balancing the form of the piece),
article and Cohrs’s may coexist; however, the octatonic scale, which included the following suggests a similar coexistence of major and
evidence—an exact 189-measure balance of pitches (and their enharmonic equivalents): minor seconds within the octatonic scale.26
sections I-III and IV, which is closely linked to F, G♭, A♭ A♮, B, C, D and E ♭. From this unified, or “organic,” approach,
the text—suggests that a broader analysis Boulanger includes three types of smaller, deeper layers of structure, beyond the scope
better portrays Boulanger’s compositional scalar pitch collections in Psaume 130. She of this article, appear in Psaume 130.27
plan. employs chromatic collections to intensify
Boulanger further conjoins text and form the mood and whole-tone collections to
with her choice of harmonic language. Cohrs 23 relax the tension. She frequently uses the A New Edition
and Potter24 define the work in terms of octatonic scale, which serves as the median When preparing a new edition that
modes.They concur that the Phrygian mode between the chromatic and whole-tone reduces the orchestration, Boulanger’s
compositional style greatly influences the
process.28 In the original edition, Boulanger
doubles instruments to create distinctive
sounds.The English horn is often paired with
other woodwind instruments, and the bass
Choral
clarinet is often paired with the bassoon. In
the new edition, because of the frequency
Conductors Workshop of these doublings the “third” parts of the
triple wind complement (piccolo, English
with Rod Eichenberger horn, bass clarinet and contrabassoon)
A five-day professional were maintained. These instruments also
substitute for some of the eliminated brass
development workshop
instruments. Boulanger rarely uses the en-
for choral conductors tire triple wind complement. Dropping the
at all levels second part—second flute, second oboe,
second clarinet and second bassoon—of
the triple wind complement, loses little of
the original orchestral color; in most cases,
only the dynamic and size of the ensemble
is lessened.
In the Durand edition, the horns either
function as an independent group or sup-
port the brass section. In a few cases, they
double the woodwinds. In a reduced version,
therefore, the horns may easily double in
place of the removed brass parts. In several
Workshop Locations instances, they substitute for trombones in
Alexandria, Virginia Cannon Beach, Oregon order to maintain the brass color. This sub-
July 19 – 23, 2010 August 2 – 6, 2010 stitution only occurs when horns have a har-
monic, rather than melodic, function. When
For more information, contact: horns are unavailable, bassoons substitute
George Fox University well for trombones.
Performing Arts Department Regarding orchestral reduction, decisions
503-554-2620 s CCW@georgefox.edu based upon Boulanger’s compositional ap-
or visit choralconductorsworkshop.com proach must be balanced with practical
considerations. Priorities with regard to
22 Choral Journal • June/July 2010Choral Journal • June/July 2010 23
New Solutions for Psaume 130, Du fond de l' abîme
compositional considerations include main- instruments should be kept together following instrumentation:
taining orchestral colors and balance. Substi- as much as possible.
tutions in the reduced edition are a practical • 2 flutes (the second player doubling
consideration. The following general rules, (5) If #4 is not possible, the instrument piccolo)
in order of priority, should be applied to a from an adjacent family should be se- • 2 oboes (the second player doubling
reduction: lectively placed in the middle (rather English horn)
than on the outside of a chord, where • 1 clarinet
(1) Impor tant motives are given aural it would be more noticeable). For • 1 bass clarinet
priority. instance, in a four-part trombone • 2 bassoons (the second player dou-
chord, in which case, adding the bass bling contrabassoon)
(2) Boulanger’s orchestral style is retained as clarinet was the only solution, the • 2 horns
much as possible. bass clarinet substituted for the third • 2 trumpets
trombone in a portion of the bass • 2 trombones
(3) Balance is achieved with careful rein- clarinet’s range that could be easily • 1 tuba
forcement based on Stringer’s insight. blended. When a choral part needed • timpani
For example, the clarinet is used to to be reinforced—particularly in a • bass drum
reinforce a motive in the string sec- low register—higher voice parts were • tam-tam
tion.29 added to the lower line. • celesta
• organ
(4) When re-voicing chords, families of like Such a proposed edition would result in the • harp and strings
SHAWNEE PRESS PRESENTS
from Dr. Timothy Seelig Conductor, Educator, Speaker, Leader, Singer,
Motivator, Writer, Guide, Friend, Parent & Funny Guy
TIM SEELIG’S THE PERFECT THE PERFECT BLEND THE PERFECT
QUICK FIXES CHORAL WORKBOOK Seriously Fun Vocal REHEARSAL
Prescriptions for Everything You Need Warm Ups Everything You
Every Choral to Organize Your 35022829 Book Wanted to Know
THE MUSIC WITHIN Challenge! Choral Program $24.95 About Rehearsals!
Discovering the Joy – AGAIN! 35023658 Book 35022833 CD-ROM 35022835 Book
One Man’s Story, Everyone’s Journey $12.95 $34.95 $24.99
35027237 DVD $34.99
ORDER TODAY!
Please see any choral music retailer for these
and other fine Shawnee publications.
Visit www.halleonard.com/timseelig for a complete overview of choral resources by Tim Seelig.
24 Choral Journal • June/July 2010Table 2
New Programming Options
for the Choral Conductor Beethoven – Fantasia, Piano, Chorus, and Orchestra, op. 80 (Choral Fantasy), 19’
Mass, op. 86, C major, 43’
A more accurate edition, and
Brahms – Alto Rhapsody, op. 53, 13’
with a rebalanced and reduced
F.J. Haydn – Mass, no. 9, in C major, “Missa in tempore belli/Paukenmesse
orchestration, alleviates budget is-
[Mass in a Time of War],” 45’
sues and increases the possibility
Mass, no. 12, B ♭ major, Theresienmesse, 43’
of performing Psaume 130 with a
Mass, no. 13, B♭ major, Schöpfungmesse, [Creation Mass], 46’
larger variety of choral/orchestral
Mass, no. 14, B♭ major, Harmoniemesse, 48’
works. Shown in table 2 are works
Fauré – Pavane, op. 50 (optional chorus), 7’
that have the same orchestration as
Finzi – In terra pax; Christmas Scene (large chorus, reduced orchestra version), 15’
Psaume 130 or slightly fewer wind/
Honegger – Le roi David [King David], 74’
brass instruments.30
Mendelssohn – Psalm 115, op. 31, Nicht unsern Namen, Herr [Not unto us, O Lord], 12’
The works in Table 3 share a
Mozart – Mass, K. 167, C major (Trinity), 31’
similar orchestration to Psaume
Schubert – Mass(es) nos. 2, 3, and 4, 22– 30’
130 but require one to three more
wind players.
Table 3
Conclusions
Beethoven – Christus am Ölberg (Christ on the Mount of Olives), 52’
Current analyses of Psaume
Brahms – Nänie, op. 82, 14’
130 do not present the work as
Rinaldo, op. 50, 45’
a balanced structure. This author,
Schicksalslied (Song of Destiny), op. 54, 18’
however, believes that such a plan
Bruckner – Mass No. 1, D minor, 49’
exists. The main goal of the analysis
Mass No. 3, F minor (Great), 60’
above provides a point of departure
Missa solemnis, B-flat major, 31’
for conductors as they prepare to
Cherubini – Requiem, C minor, 47’
perform the work. Furthermore,
Solemn Mass, G major, 50’
since Boulanger composed with
Corigliano – Fern Hill (full orchestra), 18’
such a well-conceived structure and
F.J. Haydn – Die sieben letzten Worte, (The Seven Last Words), 60’
purpose, and if she had heard the
Mass, no. 11 in D minor, “Missa in angustiis (Nelsonmesse),” 42’
premier, she may have considered
Stabat Mater, 80’ [Barenreiter edition includes larger wind compliment]
some or all of the suggested practi-
Te Deum, for the Empress Maria Therese, 12’
cal revisions.
Fauré – Requiem, op. 48, 39’
The new programming options,
Finzi – In terra pax; Christmas Scene (large chorus version), 15’
presented above for a slightly re-
Frank – Psalm 150, 5’
duced orchestration, may include
Rédemption, 75’
Psaume 130 with a much larger
Handel – Israel in Egypt, 100’
gamut of choral/orchestral works.
Joshua, 105’
Whether Boulanger intended
Judas Maccabaeus, 100’
such a configuration of her choral/
Hindemith – When Lilacs Last in the Door-Yard Bloom’d, 65’
orchestral works, conductors, us-
Mendelssohn – Christus, op. 97, 21’
ing the Durand edition of Psaume
Die erste Walpurgisnacht, op. 60, 35’
130, may further consider Cohrs’s
Lauda Sion, op. 73, 28’
non-liturgical requiem format for
Lobgesang, op. 52 (“Hymn of Praise” from Symphony no. 2), 27’/67’
a program, and additionally include
Psalm 42, op. 42, “Wie de Hirsch schreit” [As Pants the Heart], 27’
Schmidt’s Psaume 47, as an influence
Psalm 95, op. 46, “Kommt, last uns anbeten” [O Come Let Us Sing], 27’
on Boulanger’s Psaume 130, in this
Psalm 114, op. 51, “Da Israel aus Ägypten zog” [When Israel Came Out of Egypt], 15’
context.
Mozart – Mass(es), K. 257, 258, 262, 317, and 337 (all with same the orchestration), 17-30’
The current edition of Lili
Mass, K. 427 (alternately Davidde penitente,
Boulanger’s Psaume 130 incurred
derived from the mass with different text), 47’
some light editing by her sister
Rossini – Stabat Mater, 61’
Nadia before the 1925 publication
Schubert – Deutsche Messe, D. 872, 2nd version, 22’
by Durand.32 In all likelihood, due
Mass no. 1, 5 and 6, 43-58’
to Nadia’s dedicated reverence
Stabat Mater, D. 383, F minor, 37’27
for her sister’s works, she did not
Choral Journal • June/July 2010 25New Solutions for Psaume 130, Du fone de l' abîme
6 was also an early twentieth century trend,
attempt any major revisions or reductions Léonie Rosenstiel, The Life and Works of Lili Bou-
to the score. On one hand, many musicians langer (Cranbury, New Jersey: Associated exhibited in the works of Debussy and Fauré.
18
might agree with Nadia, that no one should University Presses, 1978), 43. Gordon Paine. Translations and Annotations of
7 Choral Repertoire, Volume III: French and Italian
consider the editing of another composer’s Benjamin-Gunnar Cohrs. “Die fünf grossen
Chorwerke Lili Boulangers,” in Lili-Boulanger- Texts (Covallis, OR: Earthsongs, 2007), 14.
work; on the other hand, given that (1) the 19
Tage, 1993, Bremen: Zum 100. Geburtstag Due to Boulanger’s tendency to excerpt text
composer never heard the premier of the
der Komponistin: Konzerte und Veranstaltungen from other sections, the actual word-for-word
work, (2) other conductors have made
(Zeichen und Spüren, 1993) 19 vol. 22: order of the text does not appear below.
changes in order to secure an orchestrically 20
93–113. The text, not including analysis, above this note is
balanced performance, and (3) the staging 8
Caroline Potter. Nadia and Lili Boulanger quoted from Paine, 13. The quotation marks
of the work incurs difficult programming refer to Paine.
(Aldershot, UK: Ashgate, 2006), 101– 02.
choices and a large budget, a new version 9 21
Cohrs. “Die fünf grossen Chorwerke Lili
Bruno Monsaingeon, Mademoiselle: Conversations
of the work enables more frequent perfor- with Nadia Boulanger (Manchester, England: Boulangers,” 103– 05.
mances of Psaume 130. Carcanet Press, 1985), 80–81.
22
Dopp, 556– 83, cited in Rosenstiel, Léonie, The
10 Life and Works of Lili Boulanger (Madison, N.J:
Alan Kindall, The Tender Tyrant: Nadia Boulanger, a
Life Devoted to Music (Wilton, Conn.: Lyceum, Farleight Dickinson University Press, 1978).
NOTES 1976), 113.
23
Cohrs. “Zur vegetativen Einheit der fünf letzten
11 grossen Chorwerke Lili Boulangers,” 106– 08.
Cohrs, 106.
1 24
Lili Boulanger, Psaume 130 (Du fond de l’abîme), 12
Bonnie Jo Dopp, “Numerology and Crypto- Potter, 101– 02.
full score. (Paris: Durand, 1925). 25
graphy in the Music of Lili Boulanger: The Boulanger’s choices of text, leading to the form
2
John Perkins, “A Historical and Pragmatic Hidden Program in ‘Clairières dans le ciel.’ ” and harmony, were likely autobiographical.
Approach to Lili Boulanger’s Psaume 130, Du 26
The Musical Quarterly 78, no. 3 (Fall 1994): A detailed analysis of the work can be found
fond de l’abîme.” Choral Journal (May, 2010). 556– 83. in the dissertation of John Douglas Perkins
3
Mark Stringer, Lili Boulanger, Choral and Orchestral 13
Rosenstiel, 191– 97. titled “An Analysis and Orchestral Reduction
Works, Sonia de Beaufort, soprano, Martial 14
Benjamin-Gunnar Cohrs. “Zur vegetativen of Psaume 130, Du fond de l’abîme, by Lili
Defontaine, tenor, Vincent le Texier, baritone, Einheit der fünf letzten grossen Chorwerke Boulanger.”
Choeur Symphonique de Namûr, Orchestre 27
Lili Boulangers,” in Lili-Boulanger-Tage, John Perkins, “An Analysis and Orchestral
Philharmonique du Luxembourg, cond. Mark 1993, Bremen: Zum 100. Geburtstag der Reduction of Psaume 130, Du fond de
Stringer, Timpani 1 C1046, compact disc. Komponistin: Konzerte und Veranstaltungen l’abîme, by Lili Boulanger” (DMA document,
4
Harry Halbreich (1999), “The Wind Bloweth (Zeichen und Spüren, 1993) 19 vol. 22: 106. University of Arizona, 2009).
Where it Listeth,” in Lili Boulanger 15 28
Potter, 97– 102. A reduced version containing these solutions is
Orchestral and Choral Works [CD booklet]. 16
The psalm is numbered 129 in the Vulgate and found in Appendix E of Perkins’ document.
Luxembourg: Timpani Records. 29
regarded as one of the seven Penitential John Perkins, “A Historical and Pragmatic
5
Florent Schmitt, Psaume XLVII pour Orchestre, Psalms. Approach to Lili Boulanger’s Psaume 130, Du
Orgue, Choeurs et Solo (Paris: Salabert, 1922). 17
This trend, existing in many of Lili’s compositions, fond de l’abîme.” Choral Journal (May, 2010).
30
There are plenty of Bach cantatas with less
orchestral complement than Psaume 130, but
they are not listed since these works would
likely be a strange programming choice. The
interesting exception is Bach’s setting of
Psalm 130, Cantata 131 (Aus der Tiefen rufe
Connect to the World 31
ich, Herr zu dir).
David Daniels, Orchestral Music, a Handbook,
in the Fourth Edition (Oxford, UK: Scarecrow Press,
Inc., 2005).
32
Great Venues This author found that, upon examining the
original manuscript, Nadia had added some
expression and articulation marks to the
score which were reflected in the published
We do the detailed preparation overseas
version. This is likely due to the fact that
More than just another tour in a new place besides the work’s premier, by Markevitch,
Special collaborations, Socialize with peers Nadia owned the score and likely conducted
Work with your budget to give good value from it in performances.
Concept Tours
A bridge to the world
800-300-8841 212-580-0760 www.concept-tours.com info@Concept-Tours.com
26 Choral Journal • June/July 2010You can also read
