Top 10 Romantic composers

Gramophone
Thursday, January 2, 2025

The Romantic period was one of the most innovative in music history, characterised by lyrical melodies, rich harmonies, and emotive expression. Here's our beginner's guide to the greatest composers of the Romantic period

Hector Berlioz (1803-69)

The arch-Romantic composer, Hector Berlioz’s life was all you’d expect – by turn turbulent and passionate, ecstatic and melancholic.

Key recording:

Les Troyens 

Sols incl DiDonato, Spyres, Lemieux; Strasbourg Philharmonic Orchestra / John Nelson (Gramophone's 2018 Recording of the Year) Read the review

Explore Berlioz:

Top 10 Berlioz albums – 10 great Berlioz recordings by Sir Colin Davis, John Nelson, Régine Crespin, Robin Ticciati and more

---

● Top 10 Baroque composers

● Top 10 Classical era composers

● Top 10 Renaissance composers

---

Fryderyck Chopin (1810-49)

Few composers command such universal love as Fryderyck Chopin; even fewer still have such a high proportion of all their music in the active repertoire. Yet he is the only great composer who wrote no symphonies, operas, ballets or choral works. His chief claim to immortality relies not on large scale works but on miniature forms.

Key recording:

Piano Concertos No 1 & 2 

Martha Argerich pf Montreal Symphony Orchestra / Charles Dutoit (winner of the Gramophone Concerto Award in 1999) Read the review

Explore Chopin:

The 10 greatest Chopin pianists – Stephen Plaistow recalls the illustrious recorded history of Chopin's oeuvre and offers a personal view of great Chopin interpreters.

---

Robert Schumann (1810-56)

Robert Schumann is a key figure in the Romantic movement; none investigated the Romantic’s obsession with feeling and passion quite so thoroughly as him. Schumann died insane, but then some psychologists argue that madness is a necessary attribute of genius.

Key recording:

Symphonies Nos 1-4 

Chamber Orchestra of Europe / Yannick Nézet‑Séguin (Editor's Choice, May 2014) Read the review

Explore Schumann:

Robert Schumann: the story of his prolific ‘year of song’ – Richard Wigmore explores the music of and biography behind Robert Schumann’s miraculous year of song, 1840

---

Franz Liszt (1811-86)

Composer, teacher, Abbé, Casanova, writer, sage, pioneer and champion of new music, philanthropist, philosopher and one of the greatest pianists in history, Franz Liszt was the very embodiment of the Romantic spirit. He worked in every field of music except ballet and opera and to each field he contributed a significant development.

Key recording:

'Transcendental: Daniil Trifonov plays Franz Liszt'

Daniil Trifonov pf (Recording of the Month, October 2016; shortlisted for Instrumental Award 2017) Read the review

Explore Liszt:

Podcast: exploring the music of Liszt – Editor Martin Cullingford is joined by Gramophone writer and expert on both Liszt and the piano, Jeremy Nicholas to discuss the composers's greatest works, and the greatest recordings of his music. 

---

Richard Wagner (1813-83)

No composer has had so deep an influence on the course of his art, before or since. Entrepreneur, philosopher, poet, conductor, one of the key composers in history and most remarkable men of the 19th century, Richard Wagner knew he was a genius. He was also an unpleasant, egocentric and unscrupulous human being.

Key recording:

Parsifal

Sols incl Jess Thomas, George London, Hans Hotter; Bayreuth Festival Chorus & Orchestra / Hans Knappertsbusch Read the review

Explore Wagner:

The Gramophone Collection: Wagner's Ring – Mike Ashman visits the musical immortals and the younger gods of today to deliver his verdict on the complete Ring on record.

---

Giuseppe Verdi (1813-1901)

Giuseppe Verdi was never a theoretician or academic, though he was quite able to write a perfectly poised fugue if he felt inclined. What makes him, with Puccini, the most popular of all opera composers is the ability to dream up glorious melodies with an innate understanding of the human voice, to express himself directly, to understand how the theatre works, and to score with technical brilliance, colour and originality.

Key recording:

Aida

Sols incl Anja Harteros, Jonas Kaufmann, Ekaterina Semenchuk; Coro dell'Accademia Nazionale Di Santa Cecilia, Orchestra dell'Accademia Nazionale di Santa Cecilia / Antonio Pappano (winner of the 2016 Gramophone Opera Award; Recording of the Month, Awards issue 2015) Read the review

Explore Verdi:

Verdi's Otello: a guide to the best recordings – Richard Lawrence finds at least three very special Otellos, and some electric conducting.

---

Anton Bruckner (1824-96)

Anton Bruckner’s reputation rests almost entirely with his symphonies – the symphonies, someone said, that Wagner never wrote.

Key recording:

Symphony No 9

Lucerne Festival Orchestra / Claudio Abbado (Gramophone's 2015 Recording of the Year) Read the review

Explore Bruckner:

Top 10 Bruckner recordings – A beginner's guide to the music of one of the great symphonic composers.

---

Giacomo Puccini (1858-1924)

Whatever the atmosphere he wanted to create, Giacomo Puccini’s sound world is unique and unmistakeable with its opulent yet clear-cut orchestration and a miraculous fund of melodies with their bittersweet, tender lyricism. His masterly writing for the voice guarantees the survival of his music for many years to come.

Key recording:

Tosca

Sols incl Maria Callas, Giuseppe di Stefano, Tito Gobbi; Orchestra and Chorus of La Scala Milan / Victor de Sabata Read the review

Explore Puccini:

Maria Callas: the Tosca sessions – Maria Callas’s famous 1953 Tosca, as Christopher Cook reveals for the first time, was riven by tension and driven by a relentless quest for perfection.

---

Pyotr Il'yich Tchaikovsky (1840-93)

Tchaikovsky is the most popular of all Russian composers, his music combining some nationalist elements with a more cosmopolitan view, but it is music that could only have been written by a Russian. In every genre he shows himself to be one of the greatest melodic fountains who ever lived.

Key recording:

Symphony No 6, Pathétique

MusicAeterna / Teodor Currentzis (Recording of the Month, January 2018) Read the review

Explore Tchaikovsky:

Tchaikovsky's 1812 Overture: the complete guide – How audiences, performers and the composer himself have responded to this iconic and surprisingly controversial work, by Geoffrey Norris.

---

Johannes Brahms (1833-97)

One of the giants of classical music, Johannes Brahms appeared to arrive fully armed, found a style in which he was comfortable – traditional structures and tonality in the German idiom – and stuck to it throughout his life. He was no innovator, preferring the logic of the symphony, sonata, fugue and variation forms.

Key recording:

Symphonies (Complete)

Gewandhaus Orchestra / Riccardo Chailly (Gramophone's 2014 Recording of the Year) Read the review

Explore Brahms:

Brahms's Symphony No 3: a guide to the best recordings – Richard Osborne surveys the finest recordings of the Third Symphony

15 Pieces of Classical Music About Trains

by Emily E. Hogstad, Interlude

Composers have always been inspired by trains, and it’s easy to understand why: the rhythmic chugging of steam engines, the sweeping landscapes viewed from a train window, and the sense of adventure and nostalgia associated with rail travel…

All of these sounds, sights, and feelings have inspired composers to create music that continues to resonate with audiences today.

All aboard as we chug through fifteen pieces of classical music about trains!

Eisenbahn-Lust Waltz by Johann Strauss I (1836) 

Johann Strauss I (the father of the composer of The Blue Danube) was a well-known composer and orchestra leader who wrote many pieces for various dances and celebrations.

In 1836, he wrote this ebullient waltz (which translates into “Train Ride Fun”) to celebrate the construction of early railroads. They were just beginning to connect communities near Vienna to the city proper.

Mikhail Glinka: Travelling Song from A Farewell to Saint Petersburg (1840) 

This work comes from a larger suite of works called A Farewell to St. Petersburg.

Glinka was going through a tough patch at the time, as his marriage was disintegrating (his wife would ultimately leave him for another man). He poured some of his personal feelings about turmoil and transition into this set of songs.

The frantic Travelling Song takes inspiration from the perpetual motion of steam locomotives – and probably the composer’s desire to escape his difficult circumstances!

Charles-Valentin Alkan: Le Chemin de Fer (1844) 

Charles-Valentin Alkan was once viewed as one of the greatest pianists of the nineteenth century, but after being passed over for a prestigious teaching position at the Paris Conservatoire, he largely withdrew from public life.

Today, he is best known for his personal eccentricity and the wonderfully original and staggeringly challenging piano music he left behind.

Although Strauss and Glinka’s works came earlier, this is the first work to graphically portray the sounds and motions of a train. It’s sometimes characterized as banal, but no one can deny that it’s fun!

Hector Berlioz: Le Chant des chemins de fer (1846) 

Le Chant des chemins de fer translates into Railroad Song.

Somewhat amusingly to modern ears, it’s a whole cantata for orchestra and voices dedicated to glorifying the French railroad (as well as a celebration of the labour of all those who made its construction possible).

The occasion of its composition was the opening of the Gare de Lille, the main railroad station in Lille, France.

Berlioz wrote this work over the course of three nights for the money. He wanted a cannonade to go off in the final chords for maximum drama, but unfortunately, one couldn’t be located in time for his grand artistic vision.

Hans Christian Lumbye: Copenaghen Steam Railway Galop (1847) 

Here’s another work composed to celebrate the opening of a railroad. This time, it was the opening of the first railroad in Denmark, which ran between Copenhagen and Roskilde.

Lumbye, a well-known composer of light music, pulled out all the train-based stops here. A bell clangs; whistles go off; percussion instruments unite to imitate the huff and puff of a steam-powered train rushing off to its new destination.

Lustfahrten, Walzer by Eduard Strauss (1879-80) 

Like father, like son! Eduard Strauss, like his father Johann Strauss I, also wrote a work to honour the railroad, this one called Lustfahrten, or “Pleasure Trips.”

It was dedicated to the “Comité des Eisenbahnballes” (The Railway Ball Committee). Presumably, every attendee present found it transporting.

The Great Crush Collision March by Scott Joplin (1896) 

Here’s one of the stranger entries on this list.

In 1896, a man named William George Crush, an agent with the Missouri–Kansas–Texas Railroad decided it would be a good idea to get rid of two of the railroad’s old locomotives by staging a massive trainwreck and selling train tickets to transport eager spectators directly to the scene of the crash.

A bespoke temporary town was built to accommodate the expected crowds. In the end, forty thousand people showed up!

Unfortunately, the crash turned into a disaster. The locomotives’ boilers exploded on impact, and two spectators died in the aftermath.

This extraordinary event was memorialized by up-and-coming composer Scott Joplin, who wrote a strangely upbeat piano piece portraying the deadly disaster.

Of special note are the notes he wrote in the score: “the noise of the trains while running at the rate of ninety miles an hour” and “the collision” (marked fortissimo, of course).

Pacific 231 by Arthur Honegger (1923) 

French composer Arthur Honegger was obsessed with trains. “I have always loved locomotives passionately,” he wrote. “For me, they are living creatures, and I love them as others love women or horses.”

So it makes sense that one of his first big successes was Pacific 231, an imaginative orchestral work that gives the impression of an ever-accelerating train.

It’s easy to tell from moment to moment what stage of its journey the train is in. Six boisterous minutes in, the train decelerates and arrives safely at the station.

Charles Ives: The Celestial Railroad (ca 1924) 

New England composer Charles Ives based his piano work The Celestial Railroad on the work of another New Englander: Nathaniel Hawthorne, and his short story of the same name.

In Hawthorne’s story, the narrator takes a train from the city of Destruction to the Celestial City. He begins talking with Mr. Smooth-It-Away, who is an expert on all things Celestial City, despite having never been there before. The story ends with Mr. Smooth-It-Away revealing his true form as a kind of demon. Luckily, in the end, it turns out to be a dream.

This work satirises the utopian and religious movements common in Hawethorne’s day, and Ives clearly enjoyed exploring the story’s themes in his own music.

When Ives wrote his fourth symphony, he adapted The Celestial Railroad into the symphony’s second movement.

Vladimir Deshevov: Rails (1926) 

There’s not a lot of information available online about composer Vladimir Deshevov besides the fact that he was born in 1889 and died in 1955.

However, this evocative fleeting portrait of a speeding train deserves a spot on this list, anyway!

Heitor Villa-Lobos: The Little Train of Caipira from Bachianas brasileiras No. 2 (1930) 

Translated into rough English, “Bachianas brasileiras” means “Bach-inspired Brazilian pieces.”

Brazilian composer Heitor Villa-Lobos wrote a series of them, combining the European classical tradition with folk music influences from South America.

The finale of the second Bachiana Brasileira is called The Little Train of the Caipira. (A caipira is a person from a more rural area in Brazil.)

This piece follows the caipira’s journey through the countryside of Brazil. It’s up to listeners to decide what happens once the train decelerates and pulls into the station.

Benjamin Britten: Night Mail (1936) 

In 1935, British directors Harry Watt and Basil Wright created a twenty-minute documentary about the distribution of mail in Britain. It may have been an unassuming subject, but the work turned into a classic.

Poet and author W.H. Auden was involved with the production and wrote poetry for it. Meanwhile, his creative partner, composer Benjamin Britten, wrote the score.

The two men fused their efforts in this unusual spoken-word piece featuring both Auden’s poetry and Britten’s music.

Bohuslav Martinů: Le Train Hanté (1937) 

Czech composer Bohuslav Martinů wrote Le Train hante, or The Haunted Train, in 1937 for that year’s World Exhibition in Paris.

The work isn’t about passenger trains but rather an amusement park train ride, which explains the music’s manic, fairground-like qualities.

Steve Reich: Different Trains (1988) 

Steve Reich’s Different Trains was inspired by the fact that, as a Jewish American boy born in 1936, Reich often took train rides across the country to see his relatives. Once he got older, he realised that if he’d been born in Europe at the same time, he might have been forced to ride a train to another destination: a concentration camp.

The work is scored for string quartet and tape. The tapes include interviews with Americans reminiscing about their train journeys and Europeans describing their experiences on trains during the Holocaust. The sounds of sirens, whistles, trains, and even a string quartet were also recorded and woven into the music.

Ian Clarke: The Great Train Race (1993) 

Composer Ian Clarke describes this train-inspired showstopper for flute-like so:

Techniques include residual/breathy fast tonguing, multiphonics, singing & playing, lip bending, explosive harmonics and an optional circular breathing section. A forward with explanations of the techniques is given along with fingerings in the score for easy reference. The multiphonics used are of the more friendly variety; seven from only four different fingerings.

It is astonishing to hear how a talented flutist can evoke an entire train with no other instruments present!

Conclusion

These fifteen pieces of classical music about trains have taken us on quite a musical journey. We hope you’ve enjoyed it. Mind the gap as you disembark onto the platform!

The Paderewski Prize for American Composers

By Georg Predota, Interlude

On exceedingly rare occasions, people with real talent and poise are drafted into political service. Such was the case with the pianist and composer Ignacy Jan Paderewski, who became the prime minister and foreign minister of Poland in 1919. He represented his native country at the Paris Peace Conference but quickly took on the role of Polish Ambassador to the League of Nations.

Ignacy Jan Paderewski

Apparently, he was a skilled orator, and “every speech was a masterpiece of clear thinking and brilliant verbal form.” Musicianship and politics aside, Paderewski was a great humanitarian and philanthropist who established funds for various political and artistic organizations. After his 1895/96 American Tour, he established a fund “for the encouragement of American composers. He placed a sum of 2,000 dollars into the hands of three trustees, of which the interest was to be devoted to triennial prizes for composers of American birth irrespective of age or religion.” Only a couple of years later, Paderewski established a similar fund for Polish Composers in Leipzig in 1898. A panel of judges was quickly assembled, consisting of Arthur Nikisch, Carl Reinecke, Julius Klengel and the music critic Friedrich Pfau. Submissions were to be judged in the genres of chamber music, the symphony, and the concerto.

Sigismond Stojowski

While the chamber music prize was awarded to the “String Quartet” by Woitech Gavronski, the symphony prize went to Sigismond Stojowski (1870-1946). For a good many commentators, Stojowski is considered the missing link between Frédéric Chopin and Karol Szymanowski. Straddling Polish music between the second half of the 19th century and the dawn of modernism, his music somehow never managed to enter the repertoire. Stojowski had been a Paderewski student, and the Symphony in D minor, Op. 21 handily was awarded the first prize at the Leipzig 1898 competition. It was premiered as part of the competition festivities under the baton of Arthur Nikisch. Significantly, it was the first ever published symphony for orchestra by a Polish composer. Stojowski was urged to revise the final movement, and the premiere of the final version took place on 15 November 1900 with the Berlin Philharmonic. 

Emil Młynarski

The concerto prize went to Henryk Melcer-Szczawiński, who won with his Piano Concerto No 2. However, another first was awarded to the Violin Concerto Op. 11 by Emil Młynarski (1870-1935).

Born in Kibarty near Suwałki , Młynarski started his studies at the St Petersburg Conservatory at the age of nine and counted Leopold Auer, Nikolai Rimsky-Korsakov, and Anatoly Lyadov among his teachers. He also took classes with Anton Rubinstein and Pyotr Tchaikovsky, and he began to focus on developing his instrumental career. He would feature as the soloist at the Imperial Music Society and became second violinist of the Leopold Auer Quartet. During a stay in Odessa, Młynarski composed his Op. 11 concerto, a work he submitted to the Paderewski Competition. Crafted in the Romantic tradition, the concerto features a number of surprising harmonic solutions, and the flowing melodies are sprinkled with a dash of originality.

Henry Kimball Hadley

Due to organizational difficulties and political infighting, the Leipzig Paderewski Prize Competition did not continue. As such, Paderewski took the concept and transferred it to the emerging fund already envisioned in the United States. On 15 May 1900, he formally founded the Ignacy Jan Paderewski Trust of 10,000 dollars and defined a series of prizes for the encouragement of American composers. Composers would submit works anonymously, under an assumed name or motto, accompanied by a sealed envelope containing the composer’s name. The initial categories, limited to American composers, were pieces for full orchestra, pieces for chorus with orchestra accompaniment with or without solo voice parts, and pieces for chamber music for any combination of instruments. The rules also stipulated that the works could not have been previously performed in public or offered at any previous competition. 68 compositions were submitted in 1901, and Henry Kimball Hadley, who had studied with Eusebius Mandyczewski in Vienna, won with his Symphony No. 2 in F minor. Subtitled “The Four Seasons,” the work begins with “Winter” before the composer musically encodes the remaining seasons. 

The Paderewski Prize for American Composers was awarded every three years from 1901 to 1948. The first prize for a symphonic work carried a cash reward of $1,000, and chorus and chamber compositions received $500, respectively. “The prestige of the prize far outweighed the cash benefit, as in most cases, the publicity from the prizes led to assurances of international performances.” Horatio William Parker won in the chorus category with “A Star Song,” scored for solo voice, chorus, and orchestra, and the chamber music award in 1901 went to Arthur Bird’s “Serenade for Wind Instruments.” Born in Cambridge, Massachusetts, Bird studied in Europe and spent a year with Franz Liszt at Weimar. His music was popular in Europe, and he was also active as a correspondent and music critic. 

Every competition needs a scandal, and that’s exactly what happened at the Paderewski Prize for American Composers in 1905. Approximately 80 manuscripts were submitted, including a symphonic work titled “Palisades Overture” by John Rice, Jr., of Hudson Heights, New Jersey. In the event, the manuscript submitted was actually the “Le Corsaire Overture” by Hector Berlioz. One of the jurors, the conductor Walter Damrosch had recently presented the work, and the ruse was easily detected. The trustees angrily delivered a letter to Rice demanding an explanation, who denied any knowledge. As expected, there was plenty of media coverage, but the competition was unaffected. Judges made the announcement on 17 November 1905, and the sole winner that year was Arthur Shepherd’s (1880-1958) “Overture Joyeuse.” 

George Whitfield Chadwick, Horatio William Parker, and the founding conductor of the Cincinnati Symphony Orchestra, Frank Van der Stucken, chaired the 1909 competition. Paul Hastings Allen won the symphonic category with his “Pilgrim Symphony” in D Major, and David Stanley Smith was awarded first prize for his cantata “The Fallen Star,” Op. 26. Rubin Goldmark (1872-1936) won the chamber music award with his Piano Quartet in A Major, Op. 12.

Rubin Goldmark

The nephew of composer Karl Goldmark, he studied at the Vienna Conservatory until 1891 and returned to the United States to take up appointments in piano and music theory at the National Conservatory in New York City. He took composition lessons from Antonín  Dvořák, and became best known as the teacher of Aaron Copland and George Gershwin. 

The Paderewski Prize for American Composers took a break between 1911 and 1919, but restarted after the end of World War I in 1921. It was then held at the New England Conservatory and henceforth offered prizes in only two categories: symphonic and chamber music. No award was given in the symphonic category “for a lack of submissions meeting contest criteria,” but the chamber music award went to Wallingford Constantine Riegger (1885-1961).

Wallingford Constantine Riegger

Born in the state of Georgia, the family eventually moved to New York City. He was a gifted cellist and a member of the first graduating class of the Institute of Musical Art, later known as the Juilliard School. Riegger spent three years in Berlin and studied with Max Reger, and after a couple of years back home, he returned to Europe to conduct opera in Germany. He later taught at Drake University in Iowa, and his earliest surviving works are scored in a lush Romantic idiom. Such is the case with the Piano Trio that won him the Paderewski Prize in 1921. It would also be his first published composition.

Charles Haubiel

The trustees Arthur Dehon Hill and Joseph Adamowski announced the winners of the 1928 competition from Boston. Hans Levy Heniot (1900–1960), brother-in-law of Alexander Kipnis took the prize in the symphony category while Homer Corless Humphrey (1880–1966) won the chamber music entry with his Introduction and Allegro: Risoluto for Violin, Violoncello, and Piano. The 1934 winners were announced from New York, and Allan Arthur Willman took the symphony award with his tone poem “Solitude.” Charles Trowbridge Haubiel (1892-1978) received an honorable mention for his piano work “Mars ascending.” He was born in Ohio but educated in Berlin and New York City. He studied piano under Josef and Rosina Lhévinne, and counterpoint with Rosario Scalero. Haubiel received an appointment to teach piano at the Institute Musical Art, and at New York University. He composed three operas and a good deal of orchestral and chamber music. Tellingly, his music “has been described as a combination of Johannes Brahms and Claude Debussy. 

Composers of distinction for the 1938 competition included Walter Helfer, who received first prize for his “Prelude to a Midsummer Night’s Dream,” and Morris Mamorsky for his “Concerto for piano and orchestra.” Three years later the trustees announced the winners for the 1942 competition from Boston.

Gardner Read

Gardner Read (1913-2005) hailed from the state of Illinois, he initially studied piano and organ alongside counterpoint and composition at the School of Music at Northwestern University. A four-year scholarship saw him attend the Eastman School of Music, and he subsequently was active as a composer and administrator. He authored several textbooks on musical notation and technique and composed roughly 150 major works, “all of which demonstrate formidable technique and craftsmanship. His big orchestral canvases are especially notable for their exotic and often graphic colour.” These characteristics undoubtedly swayed the judges, and his foreboding second symphony won first prize in the 1942 Paderewski Fund Competition. The work premiered on 26 November 1943 with the Boston Symphony, Read conducting.

David Diamond

David Diamond (1915-2005) was considered one of the preeminent American composers of his generation. His works are frequently tonal or modally inspired, and his widely spaced harmonies give them a distinctly American flavor. He was a close personal friend of Leonard Bernstein, and he dedicated a number to him, and vice versa. Diamond’s compositional style is described as “lyrical, clear of structure, and marked by contrapuntal interest and the increasing use of chromaticism in his later compositions.” Diamond’s Quartet for Piano and String Trio in E minor was awarded the first prize in the chamber category, but the enormous success he enjoyed in the 1940s and early ’50s was “eclipsed by the dominance of atonal music… As such he became part of what some considered a forgotten generation of great American symphonists.” The initial phase of the Paderewski Fund for the Encouragement of American Composers came to an end in 1945 and 1948, with Herbert Elwell and Phyllis Hoffman taking the final awards. In the 1950s, the fund was renamed Paderewski Fund for Composers and began awarding commissions to composers in lieu of the competition.

Berlioz: Hungarian March from The Damnation of Faust // Sir Simon Rattle

Berlioz: The Damnation of Faust (Hungarian March) conducted by Sir Simon Rattle with the London Symphony Orchestra.

Who was Lili Boulanger?

 Meet the inspiring composer who died tragically young

Lili Boulanger was one of the most talented composers of the 20th century, until her untimely death at the age of 24. Picture: Alamy

By Classic FM

@ClassicFM

 

Lili Boulanger was one of the most exciting composers of the early 20th century, until she died at just 24. Here’s everything you need to know about her life, music, and how her influence lives on today. 

Born on 21 August 1893, Marie-Juliette Olga ‘Lili’ Boulanger was one of the 21st century’s brightest stars in music and the arts.

A promising talent from a very early age, Boulanger was a multi-instrumentalist and pioneering composer, who shared her musical genius with the world right up to her untimely death in 1918, at just 24 years old.

Lili was part of the musically-gifted Boulanger family

Lili Boulanger was born to a prodigious family of musicians, so it’s no wonder she followed the family tradition with several generations’ worth of musical talent flowing through her veins.

Her mother, Raissa Myshetskaya, was a Russian princess who studied at the Paris Conservatoire. It was there that she fell in love with her teacher, Ernest Boulanger.

Boulanger himself was a conductor and composer, and the descendant of fine musical stock: his father, Frédéric was an acclaimed cellist, and his mother, Juliette, was a singer.

Lili Boulanger (right), with her sister Nadia (left). Picture: Alamy

Lili Boulanger was a child prodigy

Lili Boulanger was just two years old when she began to be noticed for her musical prowess. The great composer Gabriel Fauré, a friend of the family, spotted that she had perfect pitch, and the tot was able to sing melodies by ear. 

Her parents nurtured her abilities and encouraged a prestigious music education. Before the age of five she was accompanying her older sister, Nadia, to lessons at the Paris Conservatoire. Later she would attend independently, taking classes in music theory and the organ.

Boulanger also played piano, violin, cello and harp, as well as singing.

The first woman to win the Prix de Rome

In 1912, Lili Boulanger entered the Prix de Rome – the most prestigious honour for artists at the time. First awarded in the 17th century, the prize allowed the winner to live in Rome for three to five years, all expenses paid.

With categories in painting, sculpture, architecture and engraving, the first prize for musical competition was awarded in 1803 to Albert Androt.

Among its winners are some of Europe’s finest composers: Georges Bizet, Hector Berlioz, Claude Debussy, and even Lili’s own father, Ernest, in 1835 at the age of 20.

However, her 1912 entry was ill-fated. Boulanger collapsed from illness during her performance, and was unable to complete her entry. Not easily discouraged, Boulanger attempted once more in 1913, then aged 19, and won.

Her victory made her the first woman to win the Prix de Rome, though the judges couldn’t quite bear to let her enjoy the honour on her own. So they also awarded first prize that year to Claude Delvincourt.

Lili Boulanger: D'un matin de printemps / Cristian Măcelaru and Seattle Symphony

She wrote the cantata ‘Faust et Hélène’ in just four weeks

Faust et Hélène is the piece that gave the Prix de Rome judges no choice but to give her the award.

The rules of the competition stated that the piece had to be written in four weeks – so that’s what the precocious 19-year-old Lili did.

The cantata is 30 minutes long and is written for a full orchestra, telling the story of Faust, the man seduced by the power offered by the demon Mephistopheles.

Boulanger’s retelling of the German legend contains flavours of Wagner and Debussy, and it’s no surprise it won the most prestigious prize of its day. Just listen to this:

Boulanger: Faust et Hélène - Radio Filharmonisch Orkest o.l.v. Karina Canellakis - Live concert HD

A prolific composer and diligent worker, Boulanger continued writing music on her sickbed. Her final piece, a haunting and evocative ‘Pie Jesu’, was completed in her 24th year in 1918.

Initial sketches of the work have been found in the composer’s composition book, used between 1909 and 1913. It was completed with the help of her sister Nadia, who wrote out the work as it was dictated to her.

Lili Boulanger’s illness and death

Much of Lili Boulanger’s short life was afflicted by tragedy. At just two years old, she contracted bronchial pneumonia, an infection of the lungs.

Boulanger recovered, but her immune system was irrevocably weakened by the illness and she suffered from chronic illness for the remainder of her life.

In 1900, when she was just seven years old, her father, who had been 77 at her birth, died. His death affected Boulanger, who was very close to her father, greatly, and much of her work would deal with themes of loss.

In 1918, Boulanger died from intestinal tuberculosis which arose from her life-long health complications. She was buried in the Cemetery of Montmartre, where she was joined by her sister, Nadia, in 1979, as well as both of their parents.

Lili Boulanger’s legacy

Despite such a brief career, cut short by her premature death, Lili Boulanger’s legacy lives on today through both her own music, and that of many other eminent composers.

Lili’s sister, Nadia, who was a fine composer in her own right, was so affected by her sibling’s death that she deemed her own works “useless” and turned her complete attention to teaching, hoping to continue her sister’s legacy through pedagogy.

Nadia Boulanger, pictured with her student Leonard Bernstein. Picture: Getty

Over a lifetime of nurturing young musical talent, Nadia Boulanger’s students became some of the 20th century’s most famous composers and conductors, from Aaron Copland and Leonard Bernstein to Quincy Jones and Daniel Barenboim.

So although Lili Boulanger’s young death may have robbed us from plenty of brilliant music, perhaps if she had lived we may never have had West Side Story, ‘Fanfare for the Common Man’, or the West-Eastern Divan Orchestra.