10 September 2025

Scoring: Flexible with parts for 3fl(or fl.rec.ob).2cl.alt sax.bn-2hn.tpt.tbn.tba-perc(triangle/sus.cymbal/glock)-pno-strings(no double bass)

Duration: c. 5 minutes

Date: 1917-18

Availability of performing materials: Free download at BBC Ten Pieces

I first came across Lili Boulanger's D'un Matin de Printemps in May 2024 through a live, lunchtime performance given by the Polish National Radio Symphony Orchestra, conducted by Zoi Tsokanou, in the remarkable surroundings of the NOSPR Concert Hall in Katowice, Poland. I was struck by the brilliant orchestration and the evanescent quality of the performance.

Shortly after attending the Katowice concert I found the work had been chosen as one the BBC Ten Pieces. The BBC Ten Pieces website is primarily geared towards teaching materials for classroom use but it also offers adapted performing materials. If you scroll down to the bottom of the D’un Matin de Printemps web page you will find two arrangements, flexibly scored, by Fiona Brice: one for instrumentalists Grade 3-5 and another for Grade 5 and above. The score and parts of Brice's arrangements are available to download free of charge. In these arrangements, the middle section of the original score has been cut which is a shame, I think. The Grade 5+ arrangement was ideally suited to Chester Sinfonia, a group of players of broadly Grade 6-8 standard. 

The score is interesting as the motivic material is largely made up of five, small cells which are treated to, sometimes abrupt, changes in permutation and instrumentation rather than sequential development. The cells are often 'tossed' between instruments in quick succession which means players need to be able to count well and become aware of what is happening around them. One exception is at rehearsal figure 6 where the opening cell is expanded into a waltz-like theme that is given to the violas and marked 'ardent'. The harmonic language is distinctly chromatic with parallel movement rather than conventional triadic progressions and there is a great range of dynamics overall and interesting dynamic layering within sections. There is some tempo variation which needs to be thought through but is fairly easy to negotiate and the beat remains in triple time throughout. The final section reaches an effective, explosive climax.

Our first rehearsal was slightly chaotic as the orchestra struggled to ‘grasp’ the cellular material having been more used to playing standard Classical and Romantic repertoire. Once the players became more familiar with the work we really enjoyed developing a range of orchestral colours and, I hope, produced quite a nuanced reading. Much of the string writing involves arco, staccato quavers marked piano or pianissimo and it took us some time to get what we felt was the right sound for this material (upper part of the bow nearer the fingerboard). Some of the flute writing is expectionally low at the start so balance needed to be addressed and repeatedly reinforced in rehearsals. After some initial scepticism the players expressed enthusiasm for the piece and one member highlighted on our group WhatsApp that it has been programmed at this year's BBC Proms. It was particularly rewarding to be able to ask my Polish friend, with whom I had attended the concert in Katowice, to join us on piano for one of our rehearsals during her return visit to the UK.

Chester Sinfonia does not do conventional concerts but we did play the piece to friends and family (with some panache!) in an informal sharing event and it was well received. As in the performance in Katowice, my overriding impression was of something brilliant and fleeting which, unfortunately, mirrors the composer’s own life.