Pierre Boulez
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| - | '''Pierre Boulez''' (b. [[March 26]] [[1925]]) is a [[France|French]] [[composer]] and [[Conducting|conductor]] of [[contemporary classical music]]. | ||
| - | ====Electronic music==== | ||
| - | After the 1960s, in which he had produced little, Boulez began to turn back to the electronic medium and to large extended works. Although unsatisfied with the products of his work with tape in the 1950s (''Two Studies'', ''Poésie pour pouvoir'') he began to explore the possibilities of live electronic sound manipulation. His first attempt was the 1973 version of ''...explosant/fixe...'' However, at around this time [[President of France|president]] [[Georges Pompidou]] began to discuss with Boulez the possibility of creating an institute for the exploration and development of modern music where there would be a chance to explore the medium seriously. This was to become [[IRCAM]]. At IRCAM, Boulez created an environment where composers would have at hand the best performers available, and where the most advanced technology and computer scientists would be at their service. Boulez now began to explore the use of electronic sound transformation in real time. Previously electronic music had to be recorded to tape, which thus 'fixed' it. The temporal aspect of any live music making in which it played a part had to be coordinated with the tape exactly. Boulez found this impossibly restrictive. Now at IRCAM, he composed [[Répons]], for six instrumental groups, chamber orchestra, and electronics. With the assistance of [[Andrew Gerzso]] Boulez fashioned a work in which the computer captured the [[resonance]] and [[spatialization]] of sounds created by the ensemble and processed them in real time. | ||
| - | ==Compositions== | ||
| - | *[[Piano sonatas (Boulez)|Piano Sonata No. 1]] (1946) | + | '''Pierre Boulez''' (26 March 1925 – 5 January 2016) was a French composer, conductor, prolific writer, and pianist. He was also the founder and former director of the Paris based Institut de Recherche et Coordination Acoustique/Musique ([[IRCAM]]). |
| - | *''Le visage nuptial'' ([[soprano]], alto, female [[Choir|chorus]] and orchestra, 1946/51/88-89) | + | |
| - | *[[Piano sonatas (Boulez)|Piano Sonata No. 2]] (1947-48) | + | In his early career, Boulez played a key role in the development of [[integral serialism]], [[Aleatoric music|controlled chance]] and [[electronic music]]. This, coupled with his highly polemical views on the evolution of music, gained him the image of an ''enfant terrible''. |
| - | * ''Le Soleil des eaux'' (soprano solo, mixed choir, orchestra, 1948/50/58/65) | + | |
| - | *''Livre pour quatuor'' (string quartet, 1948-9) | + | As a conductor, Boulez was known mainly for his performances of [[Béla Bartók]], [[Alban Berg]], [[Anton Bruckner]], [[Claude Debussy]], [[Gustav Mahler]], [[Maurice Ravel]], [[Arnold Schoenberg]], [[Igor Stravinsky]], [[Edgar Varèse]], [[Richard Wagner]], and [[Anton Webern]]. He was awarded a total of 26 [[Grammy Awards]] during his career. |
| - | *''[[Polyphonie X]]'' (1951) | + | |
| - | *''[[Structures (Boulez)|Structures]]'', Livres I et II (2 [[piano]]s, 1952 and 1961, respectively) | + | ==Electronic music== |
| - | *''[[Le marteau sans maître]]'' ([[alto (voice)|alto]], alto [[flute]], [[guitar]], [[vibraphone]], [[xylorimba]], [[percussion instrument|percussion]] and [[viola]], 1953-55) | + | After the 1960s, during which he had produced little, Boulez began to turn back to the electronic medium and to large extended works. Although unsatisfied with the products of his work with tape in the 1950s (''Two Studies'', ''Poésie pour pouvoir''), he began to explore the possibilities of live electronic sound manipulation. His first attempt was the 1973 version of ''...explosante-fixe...''. However, at around this time president [[Georges Pompidou]] began to discuss with Boulez the possibility of creating an institute for the exploration and development of modern music where there would be a chance to explore the medium seriously. This was to become [[IRCAM]]. |
| - | *[[Piano sonatas (Boulez)|Piano Sonata No. 3]] (1955-57/63 ...) (Unfinished: only two of the five movements have been published in final form.) | + | |
| - | *''[[Pli selon pli]]'' (soprano and orchestra, 1957-62) | + | At IRCAM, Boulez created an environment where composers would have at hand the best performers available, and where the most advanced technology and computer scientists would be at their service. Boulez now began to explore the use of electronic sound transformation in real time. Previously, electronic music had to be recorded to tape, which thus 'fixed' it. The temporal aspect of any live music-making in which it played a part had to be coordinated with the tape exactly. Boulez found this impossibly restrictive. Now at IRCAM, he composed ''[[Répons]]'', for six soloists, chamber orchestra, and live electronics. With the assistance of [[Andrew Gerzso]], Boulez fashioned a work in which the computer captured the [[resonance]] and [[spatial music|spatialization]] of sounds created by the ensemble and processed them in real time. |
| - | *''Figures, Doubles, Prismes'' (large orchestra, 1957-68) | + | |
| - | *''Éclat/Multiples'' (ensemble, 1965-1970) | + | ==Selected compositions== |
| - | *''Domaines'' ([[clarinet]] solo, 1968-69) | + | * [[Piano sonatas (Boulez)|Piano Sonata No. 1]] (1946) |
| - | *''Domaines'' ([[clarinet]] and ensemble, 1968-69) | + | * ''Le visage nuptial'' ([[soprano]], alto, female [[Choir|chorus]] and orchestra, 1946/51/88–89) |
| - | *''Cummings ist der Dichter'' (for [[Choir|chorus]] and ensemble, 1970) | + | * [[Piano sonatas (Boulez)|Piano Sonata No. 2]] (1947–48) |
| - | *''[[Rituel in Memoriam Bruno Maderna|Rituel: In Memoriam Bruno Maderna]]'' (orchestra, 1974-75) | + | * ''Le soleil des eaux'' (soprano solo, mixed choir, orchestra, 1948/50/58/65) |
| - | *''Messagesquisse'' (seven cellos, 1976-77) | + | * ''Livre pour quatuor'' (string quartet, 1948–49, rev. 2011–12) |
| - | *''Notations'' (piano version 1945, orchestral version 1978/1999-...) | + | * ''[[Polyphonie X]]'' (1951) |
| - | *''[[Répons]]'' (two [[piano]]s, [[harp]], vibraphone, [[glockenspiel]], [[cimbalom]], orchestra and electronics, 1980-84) | + | * ''[[Structures (Boulez)|Structures]]'', Livres I et II (2 pianos, 1952 and 1961, respectively) |
| - | *''Dialogue de l'ombre double'' (for clarinet and electronics, 1982-85) | + | * ''[[Le marteau sans maître]]'' ([[alto (voice)|alto]], alto flute, guitar, [[vibraphone]], [[xylorimba]], percussion and [[viola]], 1953–55) |
| - | *''Dérive 1'' (for six instruments, 1984) | + | * [[Piano sonatas (Boulez)|Piano Sonata No. 3]] (1955–57/63 ...) (Unfinished: only two of the five movements have been published in final form.) |
| - | *''Dérive 2'' (for eleven instruments, 1988-2006) | + | * ''[[Pli selon pli]]'' (soprano and orchestra, 1957–89) |
| - | *''...explosante-fixe...'' (first version for flute, clarinet and trumpet, 1972; second version for octet and electronics, 1973-74; third version for vibraphone and electronics, 1985; fourth version for MIDI-flute, chamber orchestra and electronics, 1991-93) | + | * ''Figures, doubles, prismes'' (large orchestra, 1957–68) |
| - | *''[[Incises (Boulez)|Sur Incises]]'' (3 [[piano]]s, 3 [[harp]]s and 3 [[mallet]] instruments, 1996-98) | + | * ''Éclat/Multiples'' (ensemble, 1965–70) |
| - | *[[Anthèmes]] 2 ([[violin]] and [[electronics]], 1998) | + | [[File:London, Barbican Hall, 2015-5.JPG|thumb|The [[Ensemble InterContemporain]] after a performance of ''[[Sur Incises]]'' in [[Barbican Hall]], London, April 2015]] |
| - | *''Une page d’éphéméride'' (piano, 2005) | + | * ''Domaines'' (clarinet solo, 1968–69) |
| + | * ''Domaines'' (clarinet and ensemble, 1968–69) | ||
| + | * ''Cummings ist der Dichter'' (for [[Choir|chorus]] and ensemble, 1970) | ||
| + | * ''[[Rituel in Memoriam Bruno Maderna|Rituel: In Memoriam Bruno Maderna]]'' (orchestra, 1974–75) | ||
| + | * ''Messagesquisse'' (seven cellos, 1976–77) | ||
| + | * ''Notations'' (piano version 1945, orchestral version 1978/1999–...) | ||
| + | * ''[[Répons]]'' (two pianos, [[harp]], vibraphone, [[glockenspiel]], [[cimbalom]], orchestra and electronics, 1980–84) | ||
| + | * ''Dialogue de l'ombre double'' (for clarinet and electronics, 1982–85) | ||
| + | * ''Dérive 1'' (for six instruments, 1984) | ||
| + | * ''Dérive 2'' (for eleven instruments, 1988–2006) | ||
| + | * ''...explosante-fixe...'' (first version for flute, clarinet and trumpet, 1972; second version for octet and electronics, 1973–74; third version for vibraphone and electronics, 1985; fourth version for MIDI-flute, chamber orchestra and electronics, 1991–93) | ||
| + | * ''[[Incises|Sur Incises]]'' (3 pianos, 3 [[harp]]s and 3 percussion parts, 1996–98) | ||
| + | * ''Dialogue de l'ombre double'' (transcribed for bassoon and electronics, 1985/1995) | ||
| + | * ''[[Anthèmes]] 2'' (violin and [[electronics]], 1998) | ||
| + | * ''Une page d'éphéméride'' (piano, 2005) | ||
| {{GFDL}} | {{GFDL}} | ||
Revision as of 12:24, 6 January 2016
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Pierre Boulez (26 March 1925 – 5 January 2016) was a French composer, conductor, prolific writer, and pianist. He was also the founder and former director of the Paris based Institut de Recherche et Coordination Acoustique/Musique (IRCAM).
In his early career, Boulez played a key role in the development of integral serialism, controlled chance and electronic music. This, coupled with his highly polemical views on the evolution of music, gained him the image of an enfant terrible.
As a conductor, Boulez was known mainly for his performances of Béla Bartók, Alban Berg, Anton Bruckner, Claude Debussy, Gustav Mahler, Maurice Ravel, Arnold Schoenberg, Igor Stravinsky, Edgar Varèse, Richard Wagner, and Anton Webern. He was awarded a total of 26 Grammy Awards during his career.
Electronic music
After the 1960s, during which he had produced little, Boulez began to turn back to the electronic medium and to large extended works. Although unsatisfied with the products of his work with tape in the 1950s (Two Studies, Poésie pour pouvoir), he began to explore the possibilities of live electronic sound manipulation. His first attempt was the 1973 version of ...explosante-fixe.... However, at around this time president Georges Pompidou began to discuss with Boulez the possibility of creating an institute for the exploration and development of modern music where there would be a chance to explore the medium seriously. This was to become IRCAM.
At IRCAM, Boulez created an environment where composers would have at hand the best performers available, and where the most advanced technology and computer scientists would be at their service. Boulez now began to explore the use of electronic sound transformation in real time. Previously, electronic music had to be recorded to tape, which thus 'fixed' it. The temporal aspect of any live music-making in which it played a part had to be coordinated with the tape exactly. Boulez found this impossibly restrictive. Now at IRCAM, he composed Répons, for six soloists, chamber orchestra, and live electronics. With the assistance of Andrew Gerzso, Boulez fashioned a work in which the computer captured the resonance and spatialization of sounds created by the ensemble and processed them in real time.
Selected compositions
- Piano Sonata No. 1 (1946)
- Le visage nuptial (soprano, alto, female chorus and orchestra, 1946/51/88–89)
- Piano Sonata No. 2 (1947–48)
- Le soleil des eaux (soprano solo, mixed choir, orchestra, 1948/50/58/65)
- Livre pour quatuor (string quartet, 1948–49, rev. 2011–12)
- Polyphonie X (1951)
- Structures, Livres I et II (2 pianos, 1952 and 1961, respectively)
- Le marteau sans maître (alto, alto flute, guitar, vibraphone, xylorimba, percussion and viola, 1953–55)
- Piano Sonata No. 3 (1955–57/63 ...) (Unfinished: only two of the five movements have been published in final form.)
- Pli selon pli (soprano and orchestra, 1957–89)
- Figures, doubles, prismes (large orchestra, 1957–68)
- Éclat/Multiples (ensemble, 1965–70)
[[File:London, Barbican Hall, 2015-5.JPG|thumb|The Ensemble InterContemporain after a performance of Sur Incises in Barbican Hall, London, April 2015]]
- Domaines (clarinet solo, 1968–69)
- Domaines (clarinet and ensemble, 1968–69)
- Cummings ist der Dichter (for chorus and ensemble, 1970)
- Rituel: In Memoriam Bruno Maderna (orchestra, 1974–75)
- Messagesquisse (seven cellos, 1976–77)
- Notations (piano version 1945, orchestral version 1978/1999–...)
- Répons (two pianos, harp, vibraphone, glockenspiel, cimbalom, orchestra and electronics, 1980–84)
- Dialogue de l'ombre double (for clarinet and electronics, 1982–85)
- Dérive 1 (for six instruments, 1984)
- Dérive 2 (for eleven instruments, 1988–2006)
- ...explosante-fixe... (first version for flute, clarinet and trumpet, 1972; second version for octet and electronics, 1973–74; third version for vibraphone and electronics, 1985; fourth version for MIDI-flute, chamber orchestra and electronics, 1991–93)
- Sur Incises (3 pianos, 3 harps and 3 percussion parts, 1996–98)
- Dialogue de l'ombre double (transcribed for bassoon and electronics, 1985/1995)
- Anthèmes 2 (violin and electronics, 1998)
- Une page d'éphéméride (piano, 2005)
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