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 * Pie Jesu

Psalm 24
Lili Boulanger composed three psalms: Psalms 24, 129 and 130. Psalm 24, entitled “La terre appartient à l’Eternel” (The earth is the Lord’s), was composed in 1916 while she was resident in Rome. The work is dedicated to Monsieur Jules Griset, who was the director of Choral Guillot de Saint-Brice. The work was published by Durand in 1924. The work is scored for choir (consisting of soprano, alto, tenor and bass), accompanied by organ and brass ensemble (consisting of 4 horns, 3 trumpets, 4 trombones, 1 tuba), timpani and 2 harps. Boulanger's score uses brass fanfares and homophonic choral passages: the contrast of sections contrast to the style of her 1912 Prix de Rome winning cantata, Faust et Hélène, as heard in Yan Pascal Tortelier's recording.

Psalm 129
Psalm 129 was also composed in 1916 in Rome. This psalm is much longer than Psalm 24 and is composed for full orchestra. The premiere performance was held at the Salle Pleyel in 1921, conducted by Henri Busser.

Psalm 130
“Du fond de l’abîme”, Psalm 130, is composed for voice & orchestra and is dedicated to the memory of her father, as noted at the top of the score. These psalms convey Boulanger's catholic faith. Lili Boulanger was only 22 when this work was completed, yet it sounds mature and conveys her developed compositional style.

Prix de Rome
Lili Boulanger was the first female composer to win the distinguished Prix de Rome in music, with her cantata Faust et Hélène (1913). This work had many performances during Lili's lifetime. The text was written by Eugene Adenis (1854-1923) based on Goethe's Faust.[11] She worked with Georges Caussade, and with Paul Vidal at the Paris Conservatoire, in order to prepare for this competition. She gained a contract with the publisher Ricordi after winning the Prix de Rome.

Pie Jesu
Lili Boulanger wrote this Pie Jesu (1918) towards the end of her life: as noted by her sister, Nadia, she dedicated the work to her. The work is a requiem for herself. Scored for strings, harp and organ, Boulanger's setting is sparse.

Vieille Prière bouddhique
This sacred hymn is written for tenor and chorus (Soprano, Alto, Tenor and Bass), accompanied by Orchestra. There is a large orchestra consisting of: 2 flutes, 2 oboes, English horn, 2 clarinets (B♭), bass clarinet (B♭), 2 bassoons, sarrusophone + 4 horns (F), 4 trombones, tuba + drums, cymbals, bass drum + celesta + 2 harps, strings. Composed during 1914-1917, as many of her works, it was not performed until after World War 1, in 1921. Interestingly, this work is not based within Catholicism, as her psalms. Rather, it sets a Buddhist daily prayer. James Briscoe notes that this work shows similarities to Stravinsky but also to the next generation.

Les sirènes
Les sirènes (1911) is written for solo soprano and three part choir. The topic, mermaids, uses a text by Charles Grandmougin. The work is dedicated to Madame Jane Engel Bathori. Bathori, a soprano, was known for her concert organisation, as detailed by Barbara Kelly. Bathori supported many new artists and composers.

Clairières dans le ciel
This work is a collection of 13 songs, a song cycle:
 * 1. Elle était descendue au bas de la prairie
 * 2. Elle est gravement gaie
 * 3. Parfois, je suis triste
 * 4. Un Poète disait
 * 5. Au pied de mon lit
 * 6. Si tout ceci n'est qu'un pauvre rêve
 * 7. Nous nous aimerons tant
 * 8. Vous m'avez regardé avec toute votre âme
 * 9. Les lilas qui avaient fleuri
 * 10. Deux ancolies
 * 11. Par ce que j'ai souffert
 * 12. Je garde une médaille d'elle
 * 13. Demain fera un an
 * A performer's analysis can be found here:
 * The texts come form poems by Francis Jammes: her friend Miki Piré had gavin her the book, Clarières dans le ciel, after which the cycle is named - Clearings in the Sky. She worked on the piece during her residency in Rome.

D'un soir triste
This instrumental work was the last Boulanger was able to composer by her own hand, without help in writing.

D’un matin de printemps
This symphonic poem is one of the last pieces Lili Boulanger completed. Different arrangements were produced including a version for violin, for flute, and for piano, another for piano trio, and another for orchestra. Although she finished both these instrumental works, her sister Nadia reportedly edited the works to add dynamics and performance directions.


 * Faust et Hélène, cantata for mezzo-soprano, tenor, baritone, and orchestra (1913)
 * D'un matin de printemps, orchestra (1917–18)
 * D'un soir triste, orchestra (1917–18)
 * Les Sirènes, soprano, female choir and piano (1911)
 * Psaume 24, tenor, choir, organ, and orchestra (1916)
 * Psaume 129
 * Psaume 130 (Du fond de l'abîme) - alto, tenor, choir, organ, and orchestra (1910–17)
 * Vieille prière bouddhique
 * Pie Jesu