Is it mere coincidence that Nadia Boulanger’s “La ville morte” and Korngold’s “Die tote Stadt” fixate so obsessively on the past? In both works, the “dead city” is less a place than a psychological condition. Yet whereas Korngold’s necrophilia is filtered through Freudian “psychologie pathologique,” Boulanger’s figures inhabit a Symbolist world of ancestral trauma and fatality. “La ville morte” reads {…}