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Yet Lili’s opportunities for hearing the actual sound of her orchestration were limited basically to a few performances of her cantata Faust et Hélène.

Her finest scores – Du fond de l’abîme, Psaume 129, the Vieille prière bouddhique, the Pie Jesu – were never performed in her lifetime; but when they were, no changes were needed apart from a few modifications of dynamics. Du fond de l’abîme also demonstrates that, from a formal point of view, Lili was in complete command of the technical resources she required.

Certainly her masterpiece Du fond de l’abîme (‘De profundis’) is a work of complete technical and spiritual maturity: into it she seems to have compressed the emotional experience and depth of insight of a lifetime. At the age of two she contracted bronchial pneumonia, from which she recovered only with a permanently undermined resistance to infection.

Ultimately it was a form of intestinal cancer which destroyed her, and a protracted and painful business it was.

Biographies of both Nadia and Lili have since appeared containing much fascinating food for thought.Probably her mother’s insistence on intensive concentration helped, and there was also the fact that Boulanger père was already seventy when Nadia was born in 1887, seventy-seven when Lili arrived; adulthood must have been assumed early on by the sisters.Whatever the means, Lili acquired a totally professional technique with unnerving speed and facility. She was essentially a poet-in-sound, with an artist’s feeling for beauty of colour and texture.It must be nearly thirty years since, as a student, I first encountered the music of Lili Boulanger on the classic Markevich record originally issued on the Everest label in the USA (and subsequently available on EMI).I was transported by what I heard and immediately wrote to her sister Nadia, then in her eightieth year but still teaching and functioning with the same formidable energy that had won her pupils and admirers the world over for fifty years.

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