Fantaisie variée · Nadia Boulanger

Alexandra Dariescu

As part of my fascinating journey to programme concertos in equal balance between male and female composers each season, I stumbled across a true gem: Nadia Boulanger’s Fantaisie variée (literally, “Varied Fantasy”). From the very first reading, I was captivated by its vibrant energy, daring harmonic language and sheer originality.

To understand the significance of this work, we must step into early 20th-century Paris — a cultural melting pot buzzing with the genius of Hemingway, Stravinsky, Picasso, and Diaghilev with his Ballets Russes. Amidst this electrifying backdrop emerged Nadia Boulanger, a towering figure who would forever change the musical landscape. In a world overwhelmingly dominated by men, she carved her own path, becoming not only one of the most revered pedagogues in history but a symbol of integrity and excellence. Her students — a staggering list including Aaron Copland, Daniel Barenboim, Quincy Jones, Philip Glass, Elliott Carter, Dinu Lipatti, and even Sesame Street’s Joe Raposo — speak volumes about her reach and legacy.

Boulanger was the first woman to conduct the New York Philharmonic, Boston Symphony and the BBC Symphony Orchestra. And she did so with clarity, grace and authority. A famous anecdote recalls her facing resistance from the concertmaster at her New York Philharmonic debut. Calmly, she diffused the tension with a simple line: “Gentlemen, let’s focus on the music. That’s what we’re here for.”

Her work ethic was legendary. She would begin her day with mass, reply to correspondence by 8am, and teach into the night. Her standards were unrelenting, driven by a belief in total musical honesty. Copland once said, “Mme Boulanger never allows me to make any mistakes.” A young Barenboim recalled being asked to transpose a Bach fugue on the spot — she believed that only by such tests could true musical understanding be achieved. Stravinsky admired her acute ear, and Quincy Jones remembered her wise words: “To achieve total freedom, you must have restriction. Establish the periphery, and then you will achieve freedom.”

Composed in 1912 and premiered the following year — with Boulanger herself conducting and her teacher and close friend Raoul Pugno at the piano — Fantaisie variée is a bold and imaginative work. Its influences range from Fauré and Franck to hints of Stravinsky, but the voice is unmistakably hers. It’s a thrilling piece to perform and to hear: poetic, dramatic and utterly compelling.

I’ve had the privilege of championing this concerto around the world, giving its debut performances in Norway with Oslo Philharmonic, the UK with the BBC Symphony Orchestra, Germany, Poland and Romania and also its long awaited US debut with the Houston Symphony, more than a century after it was written. Audiences and orchestras alike have responded with a lot of enthusiasm, proving that this music resonates deeply today.

As I prepare to perform it with the Brussels Philharmonic and Kazushi Ono for the season opening (and also my exciting debut with these wonderful musicians!), I hope this marks another step toward giving Nadia Boulanger — and other equally gifted yet underrepresented composers — the space they truly deserve on our stages.