Pierre Boulez Studies
Edward Campbell, Peter O'Hagan
Cambridge University Press, Oct 13, 2016 - Music - 408 pages
Pierre Boulez is acknowledged as one of the most important composers in contemporary musical life. This collection explores his works, influence, reception and legacy, shedding new light on Boulez's music and its historical and cultural contexts. In two sections that focus firstly on the context of the 1940s and 1950s and secondly on the development of the composer's style, the contributors address recurring themes such as Boulez's approach to the serial principle and the related issues of form and large-scale structure. Featuring excerpts from Boulez's correspondence with a range of his contemporaries here published for the first time, the book illuminates both Boulez's relationship with them and his thinking concerning the challenges which confronted both him and other leading figures of the European avant-garde. In the final section, three chapters examine Boulez's relationship with audiences in the United Kingdom, and the development of the appreciation of his music.
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CrossRelations of Determinants
The Quartertone Compositions
Alea and the Concept of the Work in Progress
Unpredictability and Free
Serial Processes Agency and Improvisation Joseph Salem 221
Paolo Dal Molin 270
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aesthetic basic BBC Symphony Orchestra blocs Boulez’s compositional Boulez’s music Cage cells chord complete composer composer’s compositional process concert conductor correspondence Darmstadt Debussy Deliège dodecaphonic Dossier Doubles duration dynamics Edinburgh ensemble Example explosante-fixe Festival figures flute formants Glock groups harmonic Improvisation instrumental Karlheinz Stockhausen Klavierstück XI Leibowitz letter Mallarmé Mappe Marteau sans maître material Messiaen movement multiplication musique narrative O’Hagan Ondes Martenot orchestra organisation Originel Paris Paul Sacher Paul Sacher Stiftung performance piano piece Piencikowski Pli selon pli Polyphonie Polyphonie X première Prismes programme quarter-tones realisation retrograde revision rhythmic row forms Sammlung Pierre Boulez Schoenberg’s score sections semitonal September 1965 sequence serial sketches Sonatine sonores sound Souvtchinsky staves stereo stereophony Stockhausen Stocktakings Stravinsky Strophes structural sur Incises Symphony techniques Tempo texture theme Third Sonata tion Transitoire transpositions twelve-note verse vibraphone vocal Webern William Glock work’s Yvonne Loriod