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Pierre Boulez

March 26, 1925 -
born in Montbrison, France, composed during the Contemporary period
Pierre Boulez (b. 1925), French composer, conductor, and music theorist, is regarded as a leading composer of the post-Webern serialist movement who also embraced elements of aleatory and electronics. As a child Boulez demonstrated a formidable aptitude in mathematics, but left for Paris in 1942 to enroll in the Paris Conservatoire. His studies there often ran into difficulties, as he was rapidly developing revolutionary -- "Praise be to amnesia" -- attitudes towards all things traditional. But two decisive influences during those years helped to shape his musical personality. The first was Messiaen's famous analysis course, the other was René Leibowitz, who introduced him to serial music, where Boulez found "a harmonic and contrapuntal richness and a capacity for development an extension of a kind I have never found anywhere else."

By the late 1940s, Boulez began using a technique known as total serialization. A work which soon gave Boulez public notice was his Second Piano Sonata (1948), following a much publicized concert in Darmstadt in 1952 by Yvonne Loriod, Messiaen's wife. The piece from the 1950s that sealed his reputation was Le Marteau sans Maître from 1954 (revised in 1955), for singer and chamber ensemble. The instrumentation gives prominence to exotic percussion, extended vocal techniques, and textures that are often brittle but also lyrical. Rigorously organized, Le Marteau nonetheless goes beyond strict serialism to a more personal style. The premiere took place in Germany in 1955 under Hans Rosbaud. The Südwestfunk Radio underwrote an astounding 50 rehearsals in order that the piece be properly performed. During the latter 1950s he began allowing greater freedom for the performer in works like Improvisations sur Mallarmé for soprano and chamber ensemble. In his Third Piano Sonata (1957), the pianist can reorder the five movements in a variety of ways, and certain passages within the movements offer alternate paths, thereby making the artist select which to play and which to omit. In 1957, Boulez embarked on Pli Selon Pli, a work in five movements for soprano and orchestra to texts by Mallarmé, making use of a more restrained open-form technique. The middle movements are scored for sub-groups of the orchestra, balancing the larger forces of the outer movements. Boulez is also known for withdrawing and rewriting his compositions, making nearly everything he writes "a work in progress." For instance, ...explosante-fixe..., first sketched in 1971 has engendered a number of works and transitory phases over approximately twenty five years, including a 1996 version for Solo MIDI Flute and Chamber Ensemble. In 2000, he also received the prestigious Grawemeyer Award in Composition for his forty minute chamber piece Sur Incises for three pianos, three harps, and three percussionists.

Boulez is also one of the twentieth century's most influential conductors, known for extraordinarily precise performances of contemporary works by Bartok, Ligeti, Messiaen, and Varése, among many others. In 1968 he was named Music Director of both the BBC Symphony Orchestra and New York Philharmonic. In 1969, the Cleveland Orchestra named him Principal Guest Conductor. In 1970 French President Pompidou announced the experimental electronic music institute, Institut de Recherche et de Coordination Acoustique/Musique (IRCAM) to be under Boulez's administration, eventually causing him to withdraw from the BBC and New York posts. In 1975, he formed the Ensemble Inter Contemporain, an ensemble devoted entirely to the performance of new music, including his own Repons (1980). He was also appointed Principal Guest Conductor of the Chicago Symphony Orchestra in 1995. As a conductor, Boulez has made many notable recordings; in 1996 he won a Grammy for his recording of Debussy's La Mer with the Cleveland Orchestra. Active in his eighties, Boulez's repertoire has expanded to include works by such composers as Janacek and Szymanowski. ~ Joseph Stevenson, Rovi
full bio

Selected Discography

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Track List: Boulez Conducts Boulez

Title: Le Marteau Sans Maître, For Alto, Alto Flute, Guitar, Vibes, Xylorimba, Percussion & Viola
Title: Dérive I, for Flute, Clarinet, Piano, Vibes, Violin & Cello
Title: Dérive II, For Chamber Ensemble
x

Track List: Boulez: Domaines

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Track List: Boulez: Sonatine for Flute & Piano, Piano Sonata No.1, Derive, Memoriale, Dialog

Title: Sonatine, for Flute & Piano
Title: Piano Sonata No. 1
Title: Dérive I, for Flute, Clarinet, Piano, Vibes, Violin & Cello
Title: Mémoriale, for Flute & 8 Instruments
Title: Dialogue De L'ombre Double
Title: Cummings Ist Der Dichter, for 16 Solo Voices, Mixed Chorus & Chamber Orchestra
x

Track List: Pierre Boulez: Répons / Dialogue De L'Ombre Double (20/21 Series)

Title: Rèpons, For 2 Pianos, Harp, Vibes, Glock, Cimbalon, Orchestra & Electronics
Title: Dialogue De L'ombre Double

Comments

Boulez is a mathematicia n as well as a composer; integral serialism is organized and determined through matrices (i.e., magic squares). It is no more arbitrary than many medieval techniques (such as mensuration canons), and it is no accident that B's main influence, Webern, was a musicologist and student of medieval techniques such as the hocket (which resulted in W's klangfarbenm e l o d i e ) . (Composition majors don't need google to recognize these connections. )
Deconstructi o n is a postmodern device and Boulez is a modernist. His technique grew out of taking Webern's principle of structural palindromes and non-repetiti o n to the furthest mathematical place and avoiding the possibility of monotony through sheer dogged skill (for lack of contrast and interest, see Babbitt using the same techniques). Integral serialism is not deconstructi o n .
This is what you get when you apply deconstructi o n to music. Surprisingly , this is still better than rap, Lady Gaga, Katy Perry, and various other uber-popular artists combined.
2deep4u
bashkii
it's just mambo-jumbo disguised as "great" intellectual i s m . Total serialism is anti-music.

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