The book begins with the first moment Nadia Boulanger heard the music of Igor Stravinsky, at the 1910 premiere of L’Oiseau de feu. This chapter then transports Boulanger and Stravinsky from the end of the dizzying Belle Époque in Paris to the devastated aftermath of World War I and reconstruction. I consider both how Boulanger and Stravinsky fit into the cultural fabric of postwar Paris and the roles they played in supporting the emerging neoclassical aesthetic. The introduction presents the work of Pierre Bourdieu and his notions of cultural capital and the field of cultural production, tying them to Boulanger’s activity as a cultural agent and increasingly fervent supporter of Stravinsky’s music.
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