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,” Le Monde Musical 32, nos. 7 and 8 (April 1921): 129-30 (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
March 20, 1921
La Damnation de Faust, op. 24, Hector Berlioz
March 25, 1921
Parsifal, WWV. 111, “Great religious scene,” Act I, scene 2, Richard Wagner
Mass (“Missa solemnis”), D major, op. 123, Ludwig van Beethoven
Symphony no. 9, D minor, op. 125, Ludwig van Beethoven
March 26, 1921
Symphonie fantastique, op. 14, Hector Berlioz
Rhapsodic d’Auvergne, C major, op. 73, Camille Saint-Saëns
Ramuntcho, Gabriel Pierne
Chansons populaires
L’Arlesienne, suite no. 1, op. 23bis, Georges Bizet
April 2, 1921
Parsifal, WWV. 111, “Great religious scene,” Act I, scene 2, Richard Wagner
Symphony no. 9, D minor, op. 125, Ludwig van Beethoven
April 3, 1921
La Damnation de Faust, op. 24, Hector Berlioz
April 9, 1921
Die Meistersinger von Nürnberg, WWV. 96, “Overture,” Richard Wagner
Symphony no. 3, E-flat major, op. 55, Ludwig van Beethoven Le Chasseur maudit, César Franck
Ma mère l’Oye, Maurice Ravel
Zhar’-ptitsa [TheFirebird], Igor Stravinsky
Feyerverk [Fireworks], op. 4, Igor Stravinsky
The Concerts Colonne, to finish the season, have given a few concerts that, through their unity, through the splendor of the works and the fervor with which they were played, have reached the highest peaks of music. Some people believe that it serves music poorly to continually return to these essential points, which nevertheless remain like incompletely grasped truths, so great are their depths. Other people find that attracting the audience in this way is too easy. Still others consider that this delays artistic evolution and prevents new works from finding their place.
I do not think these objections are justified, for contact with the past cannot harm that which tomorrow will be merged with it, and juxtaposition attempted with discernment, of even very different periods, cannot create uneasiness and does not damage modern art, except insofar as the latter distances itself from unchanging principles of harmony, balance, and unity.
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- Nadia BoulangerThoughts on Music, pp. 152 - 155Publisher: Boydell & BrewerPrint publication year: 2020