Prélude in D-flat Major

Composition: Completed on March 12, 1911 [Paris]

Manuscript: Bibliothèque nationale de France

This piece was composed approximately one year after Boulanger began studying with her first composition teacher, Georges Caussade. At the time, Boulanger had just started her composition studies with the aim of winning the Prix de Rome, and neither she nor those around her likely had any intention of publishing this work. Perhaps for this reason, no performance indications such as dynamics or tempo are included. The title was not given by Boulanger herself; it was later inscribed on the manuscript by Cécile Armagnac (1913–1997), a student of Nadia Boulanger. Although the original title of this work, Prélude en ré♭, literally translates to “Prelude in D-flat,” the piece is written in a major key. In Japan, it is common to specify the mode (major or minor), hence it is generally referred to as “Prélude [in D-flat Major].

Around this time, Boulanger began attending Vidal's composition class at the Conservatoire de Paris. Throughout 1911, she composed works such as Nocturne, three choral pieces, two cantatas, and songs with orchestral accompaniment, demonstrating a prolific creative drive. Elements characteristic of Boulanger's works, such as the contrast between high and low registers and the emphasis on melodic lines, are already present in this piece. When performing, pay close attention to D-flat, which is the most important note throughout the piece. Furthermore, especially at the beginning, be careful not to slow down the tempo too much. Give the piece an appropriate sense of dynamism by being mindful of the quarter note, half note, quarter note pattern in the left hand at the beginning, and the syncopation in the left hand at measures 21–22.This commentary is a revised version of the text published in Lili Boulanger Piano Works (edited by Takatoshi Hirano, Kawai Publishing, 2015), adapted for the PTNA Piano Encyclopedia.