Nadia Boulanger

Nadia Boulanger (born Sept. 16, 1887, Paris, France—died Oct. 22, 1979, Paris) was a conductor, organist, 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 Conservatory, where her father and first instructor, Ernest Boulanger, was a teacher of voice. She received her formal training there in 1897–1904, studying composition with Gabriel Fauré 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 Sirène. She ceased composing, rating her works “useless,” after the death in 1918 of her talented sister Lili Boulanger, also a composer.

In 1921 Boulanger began her long association with the American Conservatory, founded after World War I at Fontainebleau by the conductor Walter Damrosch for American musicians. She was organist for the premiere (1925) of the Symphony for Organ and Orchestra by Aaron Copland, her first American 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 Schütz and Fauré, 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.

In addition to Copland, Boulanger’s pupils included the composers Lennox Berkeley, Easley Blackwood, Marc Blitzstein, Elliott Carter, Jean Françaix, Roy Harris, 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 individual gifts.