D'un Matin de Printemps for Violin (or Flute) and Piano Cover Image

D'un Matin de Printemps for Violin (or Flute) and Piano: Violin, Solo with Piano, Solo and Piano

$8.95 USD
$8.95 USD
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D'un Matin de Printemps for Violin (or Flute) and Piano Cover Image
D'un Matin de Printemps for Violin (or Flute) and Piano: Violin, Solo with Piano, Solo and Piano

D'un Matin de Printemps for Violin (or Flute) and Piano: Violin, Solo with Piano, Solo and Piano

By Lili Boulanger

Item: 36-M287191
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Description
Lili Boulanger originally composed D'UN MATIN DE PRINTEMPS for violin and piano in 1917. Later that year the piece was adapted for violin, cello and piano as well as for flute and piano by the composer. Boulanger wrote the orchestral version at the beginning of 1918 and was the last orchestral work she composed before her death later that year. Reprint edition.

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Additional Details
Series: Master String Series - LudwigMasters
Publisher: Keiser Productions, Inc.
ISBN10: 1-63-361814-5
ISBN13: 978-1-63-361814-5
UPC: 660355152894
SKU: 36-M287191
Instrumentation: Violin (or Flute) and Piano

More about this title

About the Composer: Lili Boulanger

Lili Boulanger (1893-1918) was a French composer whose output, though brief, secured her place as one of the most gifted musicians of the early twentieth century. She won the prestigious Prix de Rome in 1913 at age 19, becoming the first woman to receive this honor. Despite dying of tuberculosis at only 24, she left behind a catalog of refined chamber works and vocal music that reveal exceptional harmonic sophistication and lyrical gift.

Boulanger's compositions stand apart for their restraint and emotional clarity. Rather than pursuing the bold harmonic experimentation of some contemporaries, she cultivated a deeply personal voice that prizes melodic beauty and intimate expression. Her chamber works remain standards in the repertoire precisely because they reward close listening and offer performers a direct path to musical communication.

Why we love this

This piece captures the essence of Boulanger's gift for melody and restraint. The writing sits naturally on the violin while the piano part contributes genuine musical substance rather than mere accompaniment, making it genuinely rewarding to perform as a duo. For recitals, it fills the need for a short lyrical work that audiences find immediately accessible yet does not sacrifice musical integrity.

What to expect

D'un Matin de Printemps unfolds like a moment of quiet reflection in spring sunlight. The melody moves with unhurried grace while the piano weaves elegant figures that evoke garden atmosphere without ever becoming descriptive. The overall effect is intimate and contemplative, never sentimental.

Who it's for

Intermediate to advanced high school violinists and mature piano students looking for chamber literature with genuine artistic depth. This work suits both recital contexts and concert programming where a lyrical, refined piece is needed.

How to get the most out of it

  • Shape the opening melody with gentle, singing phrasing; the flowing line benefits from thinking through phrases rather than note-by-note articulation.
  • Balance the violin and piano carefully so that the accompaniment figures support rather than overshadow the melody. Rehearse the duo as equal partners.
  • Allow the piece to breathe naturally at phrase endings; resist the urge to maintain tempo rigidly when the music calls for subtle elasticity.
  • Listen to recorded versions to absorb the traditional French approach to Romantic-era salon music, which emphasizes refinement over drama.

How to use it

Pair this with a more substantial violin sonata to create a balanced chamber recital, or place it as a graceful interlude between heavier works on a concert. Its modest length and transparent orchestration make it ideal for coffee house performances or chamber music series focused on French repertoire.

Skills your students will build

  • Sustaining long, singing lines with control of vibrato and tone color
  • Balancing violin and piano as true chamber partners rather than soloist and accompanist
  • Interpreting Romantic-era phrasing and subtle tempo flexibility
  • Reading and performing music that prioritizes harmonic refinement over surface virtuosity
  • Ensemble communication and listening in a two-person setting

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