The ''Conservatoire de Paris'' () is a college of music and dance founded in 1795, now situated in the avenue Jean Jaurès in the 19th arrondissement of Paris, France. The ''conservatoire'' offers instruction in music, dance, and drama, drawing on the traditions of the "French School." In 1946 it was split into two ''Conservatoires'', one for acting, theatre and drama, known as the ''Conservatoire national supérieur d'art dramatique'' (CNSAD), and the other for music and dance, known as the ''Conservatoire national supérieur de musique et de danse de Paris'' (CNSMDP).

The conservatories operate under the auspices of the Ministry of Culture and Communication.

History[link]

Origins[link]

The origins of the Paris Conservatoire can be traced back to the creation of the ''École Royale de Chant'' (literally, ''The Royal School of Singing'') by decree of Louis XIV on 28 June 1669. It was reconstituted by the composer Gossec in 1784.

In 1793, the ''Ecole Royale'' was combined with a school for musicians of the National Guard, and named the ''Institut national de musique''.

In 1795, the National Convention established during the French Revolution refounded it as the ''Conservatoire national supérieur de musique'', and the Conservatoire's first 350 pupils commenced their studies in October 1796.

Present[link]

By the 1940s, the Paris Conservatories had grown and become one of the biggest and most prestigious in Europe. In 1946, the Conservatoire was split into three Conservatories; one for music and dance, and one for the dramatic arts. The conservatories train more than 1,200 students in structured programs, with 350 professors in nine departments.

CNSAD[link]

The Conservatoire national supérieur d'art dramatique ("National Superior Conservatory of the Dramatic Arts") is the conservatory for acting, drama, and theatre, known by its acronym CNSAD.

The Conservatoire resides in the original historic building of the Conservatoire de Paris on the rue du Conservatoire at rue Sainte-Cécile in the 9th arrondissement of Paris. Free public performances by students at the CNSAD are given frequently in the Conservatoire's theatre.

CNSMDP[link]

The Conservatoire national supérieur de musique et de danse de Paris ("National Superior Conservatory of Paris for Music and Dance", acronym CNSMDP) is a separate conservatory for music and dance. The French government built the impressive new campus with strikingly modern architecture in the 19th arrondissement of Paris.

The organ on site was built in 1991 by a firm from Austria.

Students[link]

A listing of former students can be found at List of former students of the Conservatoire de Paris

Former teachers[link]

A listing of former teachers can be found at List of former teachers at the Conservatoire de Paris

Current teachers[link]

A complete list of teachers and accompanists at the Conservatoire de Paris can be found here: Les enseignants

See also[link]

''Conservatoire national supérieur de musique et de danse de Lyon'' (''Conservatoire de Lyon'')

Conservatoire

Prix de Rome

References[link]

Pierre, Constant, editor (1900). ''Le Conservatoire national de musique et de déclamation. Documents historiques et administratifs''. Paris: Imprimerie National. 1031 pages. View at Google Books.

External links[link]

CNSAD website

CNSMDP website {English}

Effects of the Bologna Declaration on Professional Music Training in Europe

European Association of Conservatoires (AEC)

Category:Music schools in Paris Category:19th arrondissement of Paris Category:1795 establishments in France Category:Educational institutions established in the 1790s Category:Audio engineering schools in France

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Name	Uwe Schmidt
Background	non_vocal_instrumentalist
Birth name	Uwe H. Schmidt
Born	August 27, 1968
Origin	Frankfurt am Main, Germany
Genre	Electronic music; Postmodern music; Glitch; IDM; Latin Dance; Techno; Experimental; Easy Listening
Occupation	composer, programmer, musician, producer, graphic designer
Years active	1990–present
Label	Rather Interesting, Raster-Noton, Nacional Records
Associated acts	Pete Namlook
Website	www.atom-heart.com/www.senor-coconut.com/
Past members	}}

Uwe Schmidt (aka Atom Heart, Atom™, Señor Coconut; born August 27, 1968), is a German composer, musician and producer of electronic music. He is often regarded as the father of electrolatino, electrogospel and acitón (acid-reggaeton) music.

Career [link]

Schmidt was born in Frankfurt am Main, West Germany. During the early 1990s, he produced dance music under a number of monikers including ''Atom Heart''. In 1994, Schmidt started his own label, ''Rather Interesting'', with the aim of developing music that doesn't follow the "traditional paths of electronic music".

In 1996 he invented the ''Señor Coconut'' moniker, and released the album ''El Gran Baile'' in 1997, right after he had moved to Santiago, Chile, in order to detach from the European music scene.

His next release, in 2000, was ''El Baile Alemán'', which featured several Kraftwerk classics reworked with Latin instrumentation and rhythms.

He has often stated Latin American, and particularly Brazilian, music as a big influence.

The album was credited to ''Señor Coconut y Su Conjunto'', but the album was entirely the work of Schmidt on synthesizers and samplers, with the aid of three vocalists. It received just enough critical acclaim in the U.S. for Schmidt to put together a short headlining tour. In March 2001, Señor Coconut, complete with a seven-piece backing band, set off for North America, but visa problems with some of the Chilean musicians forced Schmidt to cancel the tour.

Aliases[link]

Almost Digital

Atom™

Atom Heart

Atomu' Shinzo

BASS

Bi-Face

The Bitniks

Brown

Bund Deutscher Programmierer

CMYK

Coeur Atomique

DATacide (a collaboration with Tetsu Inoue)

The Disk Orchestra

Don Atom

DOS Tracks

Dots

Dr. Atmo

Dr. Mueller

Dropshadow Disease

Erik Satin

Flanger (a collaboration with Burnt Friedman)

Flextone

Fonosandwich

Geeez 'N' Gosh

Gon (a collaboration with Dandy Jack)

HAT (a collaboration with Haruomi Hosono and Tetsu Inoue)

H. Roth

i

Interactive Music

Jet Chamber (a collaboration with Pete Namlook)

Lassigue Bendthaus

Le Diapason

Lisa Carbon

Lisa Carbon & Friends

The Lisa Carbon Trio

Los Negritos

Los Sampler's

Machine Paisley

Masters of Psychedelic Ambiance (a collaboration with Tetsu Inoue)

Midisport

Mike Mc Coy

Millennium

Mono™

M/S/O

+N (a collaboration with Victor Sol)

Naturalist

Ongaku

Pentatonic Surprise

Pornotanz

Real Intelligence

The Roger Tubesound Ensemble

Schnittstelle

Second Nature (a collaboration with Tetsu Inoue and Bill Laswell)

Semiacoustic Nature

Señor Coconut

Silver Sound

Slot

Softcore

Soundfields

Subsequence

Superficial Depth

Surtek Collective (a collaboration with Original Hamster)

Synthadelic

Urban Primitivism

VSVN

Weird Shit

Partial discography[link]

As Lassigue Bendthaus[link]

''The Engineers Love'' (1988)

''Matter'' (1991)

''Cloned'' (1992)

''Cloned:Binary'' (1992)

''Overflow'' (1994; single)

''Render'' (1994)

''Render (U.S. Remixes)'' (1994)

''Pop Artificielle'' (2000; credited as LB)

As Atomu Shinzo[link]

''Act'' (1993)

As Atom Heart[link]

''Elektroniikkaa'' (1992; with Pink Elln)

''Coeur Atomique'' (1993)

''Orange'' (1994)

''Live at Sel I/S/C'' (1994)

''ex.s'' (1993) (with Victor Sol & Alain "Stocha" Baumann, credited as +N)

''plane'' (1994) (with Victor Sol, credited as +N)

''Second Nature'' (1994; with Tetsu Inoue and Bill Laswell, credited as Second Nature)

''Dots'' (1994; credited as Dots)

''Softcore'' (1994)

''Aerial Service Area'' (1994; with Victor Sol and Niko Heyduck, credited as Aerial Service Area)

''VSVN'' (1995; credited as VSVN)

''Mu'' (1995; credited as Masters of Psychedelic Ambience)

''Semiacoustic Nature'' (1995; credited as Semiacoustic Nature)

''Silver Sound 60'' (1995; credited as Silver Sound)

''Binary Amplified Super Stereo'' (1995; credited as BASS)

''Real Intelligence'' (1995)

''Machine Paisley'' (1996; credited as Machine Paisley)

''Tokyo - Frankfurt - New York'' (1996; with Haruomi Hosono and Tetsu Inoue, credited as HAT)

''Brown'' (1996; credited as Brown)

''Apart'' (1996)

''Real Intelligence II'' (1996)

''built.'' (1996; Victor Sol, credited as +N)

''Digital Superimposing'' (1997; credited as Superficial Depth)

''Schnittstelle'' (1998; credited as Schnittstelle)

''DSP-Holiday'' (1998; with Haruomi Hosono and Tetsu Inoue, credited as HAT)

''Real Intelligence III'' (1998)

''Real Intelligence IV'' (2002)

As Lisa Carbon ("& Friends" or "Trio")[link]

''Stereo Cocktail'' (1993; titled ''Experimental Post Techno Swing'' in the US)

''Polyester'' (1995)

''Trio de Janeiro'' (1997)

''Standards'' (2003)

As DATacide (with Tetsu Inoue)[link]

''DATacide'' (1993)

''DATacide II'' (1994)

''Flowerhead'' (1995)

''Ondas'' (1996)

As Flanger (with Bernd Friedmann)[link]

''Templates'' (1999)

''Midnight Sound'' (2000)

''Inner Spacesuit'' (2001; single)

''Outer Space / Inner Space'' (2001)

''Spirituals'' (2005)

''Nuclear Jazz'' (2007; compilation)

As Geeez 'N' Gosh[link]

''My Life with Jesus'' (2000)

''Nobody knows'' (2002)

As Bund Deutscher Programmierer[link]

''Stoffwechsel'' (2000)

As Señor Coconut ("y Su Conjunto", later "and his Orchestra")[link]

''El Gran Baile'' (1997)

''El Baile Alemán'' (2000)

''Fiesta Songs'' (2003)

''Señor Coconut presents Coconut FM'' (2005)

''Yellow Fever!'' (2006)

''Around the World with Señor Coconut'' (2008)

As The Disk Orchestra[link]

''[k]'' (2001)

As Midisport[link]

''14 Footballers in Milkchocolate'' (2001)

As Dos Tracks[link]

'':)'' (2002)

As Atom™[link]

''CMYK'' (2005)

''iMix'' (2005)

''Re-invents the Wheel'' (2006)

''Son of a Glitch'' (2007)

''Liedgut'' (2009)

''Muster'' (2009)

''Music Is Better Than Pussy'' (2010)

''Winterreise'' (2012)

As Los Negritos[link]

''Speed-Merengue Mega-Mix 2005'' (2005)

As Surtek Collective (with Original Hamster)[link]

''The Birth of Acitón'' (2007)

References [link]

External links[link]

Atom™ news official site

Atom™ fan site

Senor Coconut official site

A Is for Atom™ - photos from NYC show, April 2011

Atom Heart discography

Senor Coconut at RockEnEspanol.com

Atom Heart RBMA lecture

Category:1968 births Category:Living people Category:People from Frankfurt Category:German musicians Category:German electronic musicians Category:Intelligent dance music musicians

de:Uwe Schmidt (Musiker) es:Uwe Schmidt fr:Uwe Schmidt hr:Uwe Schmidt it:Uwe Schmidt pl:Uwe Schmidt ru:Шмидт, Уве

Pierre Boulez () (born 26 March 1925) is a French composer of contemporary classical music, a pianist, and a conductor.

Biography[link]

Early years[link]

Boulez was born in Montbrison, Loire, France. As a child he began piano lessons and demonstrated aptitude in both music and mathematics. He pursued the latter at Lyon before pursuing music at the Paris Conservatoire under Olivier Messiaen and the wife of Arthur Honegger, Andrée Vaurabourg.

Through Messiaen, Boulez discovered twelve-tone technique — which he would later study privately with René Leibowitz — and went on to write atonal music in a post-Webernian serial style. Boulez was initially part of a cadre of early supporters of Leibowitz, but due to an altercation with Leibowitz, their relations turned divisive, as Boulez spent much of his career promoting the music of Messiaen instead.

The first fruits of this were his cantatas ''Le visage nuptial'' and ''Le soleil des eaux'' for female voices and orchestra, both composed in the late 1940s and revised several times since, as well as the ''Second Piano Sonata'' of 1948, a well-received 32-minute work that Boulez composed at the age of 23. Thereafter, Boulez was influenced by Messiaen's research to extend twelve-tone technique beyond the realm of pitch organization, serialising durations, dynamics, mode of attack, and so on. This technique became known as integral serialism.

Boulez quickly became one of the philosophical leaders of the post-war movement in the arts towards greater abstraction and experimentation. Many composers of Boulez's generation taught at the Internationale Ferienkurse für Neue Musik in Darmstadt, Germany. The so-called Darmstadt School composers were instrumental in creating a style that, for a time, existed as an antidote to music of nationalist fervor; an international, even cosmopolitan style, a style that could not be 'co-opted' as propaganda in the way that the Nazis used, for example, the music of Ludwig van Beethoven. Boulez was in contact with many composers who would become influential, including John Cage and Karlheinz Stockhausen. Early in his career, he performed as a specialist on the ondes Martenot.

Serialism[link]

Boulez's totally serialized, punctual works consist of ''Polyphonie X'' (1950–51; withdrawn) for 18 instruments, the two musique-concrète ''Études'' (1951–52), and ''Structures, book I'' for two pianos. ''Structures'' was also a turning point for Boulez. As one of the most visible totally serialized works, it became a lightning rod for various kinds of criticism. György Ligeti, for example, published an article that examined its patterns of durations, dynamics, pitch, and attack types in great detail, concluding that its "ascetic attitude" is "akin to compulsion neurosis", and that Boulez "had to break away from it... And so he created the sensual feline world of the 'Marteau'".

These criticisms, combined with what Boulez felt was a lack of expressive flexibility in the language, as he outlined in his essay "At the Limit of Fertile Land..." had already led Boulez to refine his compositional language. He loosened the strictness of his total serialism into a more supple and strongly gestural music, and did not publicly reveal much about these techniques, which limited further discussion. His first venture into this new kind of serialism was a work for 12 solo voices titled ''Oubli signal lapidé'' (1952), but it was withdrawn after a single performance. Its material was reused in the 1970 composition ''Cummings ist der Dichter''.

''Le marteau sans maître''[link]

Boulez's strongest achievement in this method is his masterpiece ''Le marteau sans maître'' (''The Hammer without a Master'') for ensemble and voice, from 1953 to 1957, a "keystone of 20th-century music", and one of the few works of advanced music from the 1950s to remain in the repertoire. ''Le marteau'' was a surprising and revolutionary synthesis of many different streams in modern music, as well as seeming to encompass the sound worlds of modern jazz, the Balinese Gamelan, traditional African musics, and traditional Japanese musics.

Boulez described one of the work's innovations, called "pitch multiplication", in several articles, most importantly in the chapter "Musical Technique" in Boulez 1971. It was Lev Koblyakov, however, who first described its presence in the three "L'artisanat furieux" movements of ''Le marteau sans maître'', and in his 1981 doctoral thesis. However, an explanation of the processes themselves was not made until 1993. Other techniques used in the "Bourreaux de solitude" cycle were first described by Ulrich Mosch, and later fully elaborated by him.

Experimentation[link]

After ''Le marteau sans maître'', Boulez began to strengthen the position of the music post-WWI modern composers through conducting and advocacy. He also began to consider new avenues in his own work. With ''Pli selon pli'' for orchestra with solo soprano, he began to work with an idea of improvisation and open-endedness. He considered how the conductor might be able to 'improvise' on vague notations, such as the fermata, and how the players might 'improvise' on irrational durations, such as grace notes. In addition, he worked with the idea of leaving the specific ordering of movements or sections of music open to be chosen for a particular night of a performance, an idea related to the polyvalent form of Karlheinz Stockhausen. Interestingly, though the two works sound similar today, and certainly represent the same impeccable craft, ''Pli selon pli'' was not received as well as ''Le marteau''. This is perhaps more of a cultural barometer than a reflection on the work itself.

During the time that Boulez was testing these new ideas, those colleagues who had never been entirely comfortable with the prominence of a rigorous musical language, such as György Ligeti, had brought a convincing musical counter argument to Boulez's musical ideals. In a poetic twist, Boulez had moved from peerless respect for ''Le marteau sans maître'' to seeming defeat with ''Pli selon pli'' (Fold upon fold), which sets a Stéphane Mallarmé poem about the tripping impotence of a swan, unable to take flight from a frozen lake.

Controlled chance[link]

From the 1950s, beginning with the Third Piano Sonata (1955–57/63), Boulez experimented with what he called "controlled chance" and he developed his views on aleatoric music in the articles "Aléa" and "Sonate, que me veux-tu?". His use of chance, which he would later employ in compositions like ''Éclat'' (1965), ''Domaines'' (1961–68) and ''Rituel in Memoriam Bruno Maderna'' (1974–75), is very different from that in the works of, for example, John Cage. While in Cage's music the performers are often given the freedom to create completely unforeseen sounds, with the object of removing the composer's intention from the music, in works by Boulez they only get to choose between possibilities that have been written out in detail by the composer—a method that, when applied to the successional order of sections, is often described as "mobile form", a formal technique innovated by his colleague Earle Brown in 1952 and originally inspired by Alexander Calder's sculptures.

1970s[link]

Boulez's output since the late 1970s has been of a different kind since the early works that brought him to initial prominence. After a rapid succession of explosive works, such as the three cantatas on poetry by René Char, the first two piano sonatas, and other chamber music, compositions have tended to be contemplated and expanded over a long period of time, during which they were performed in various stages of development. ''...explosante-fixe...'', now resembling a flute concerto with electronics, was first published in 1971 as a sketch in the journal ''Tempo'' as a memorial tribute to Stravinsky, then worked out in various versions, including one for mixed octet with electronics performed in 1973. ''Éclat/Multiples'' has remained a large fragment, and ''Dérive II'' (1988/2002/2006) and ''Répons'' (1980/82/84) have been performed in various stages of development.

The desire to expand unrealized possibilities has also led Boulez to create related works in series. His early twelve miniatures for piano, ''Notations'' (1945), has, since the 1970s, been in the process of being expanded as an orchestral cycle. To date, at least seven movements have been completed, although only five have been performed. The material contained in ''Anthèmes'' for solo violin was later expanded into an extended composition for violin and electronics ''Anthèmes 2'' and Boulez is currently developing it further into a large-scale work for violin and orchestra. ''Incises,'' a short work for solo piano, has since exploded into ''Sur Incises'' for three percussive groups (pianos, harps, percussion) in two very extended movements.

Electronic music[link]

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 ''...explosant/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.

Recent years[link]

Today, Boulez continues to be one of the leading exponents of music of the 20th century. His compositions have made a contribution to musical culture, and his advocacy of modern and postmodern music has been decisive for many. Boulez continues to conduct and compose. From 1976 to 1995, Boulez held the Chair in "Invention, technique et langage en musique" at the Collège de France. In 2002, he was awarded the Glenn Gould Prize for his contributions. In 2004, with festival director Michael Haefliger, he founded the Lucerne Festival Academy, a summer orchestral institute for young musicians, dedicated to music of the twentieth and twenty-first centuries. The resident professors are members of the Ensemble intercontemporain.

Boulez as a conductor[link]

Boulez is also a conductor, known the world over having directed most of the world's leading symphony orchestras and ensembles since the late fifties. He served concurrently as musical advisor of the Cleveland Orchestra from 1970 to 1972, chief conductor of the BBC Symphony Orchestra from 1971 to 1975, and music director of the New York Philharmonic from 1971 to 1977. He is currently the Conductor Emeritus of the Chicago Symphony Orchestra, after having been its Principal Guest Conductor. The orchestras which he has conducted in recent years include the Berlin and Vienna Philharmonics, the London Symphony Orchestra (2004 tour), the Orchestre de Paris, the Ensemble InterContemporain, the Mahler Chamber Orchestra. In 2005, he began a collaboration with the Staatskapelle Berlin.

Boulez is particularly famed for his polished interpretations of twentieth century classics—Alban Berg, Claude Debussy, Gustav Mahler, Arnold Schoenberg, Igor Stravinsky, Béla Bartók, Anton Webern and Edgard Varèse—as well as for numerous performances of contemporary music. Clarity, precision, rhythmic agility and a respect for the composers' intentions as notated in the musical score are the hallmarks of his conducting style. In 1984, he collaborated with Frank Zappa and conducted the Ensemble Intercontemporain, who performed three of Zappa's pieces. He never uses a baton, conducting with his hands alone. His nineteenth century repertoire focuses upon Ludwig van Beethoven, Hector Berlioz, Robert Schumann and especially Richard Wagner. His recording of Anton Bruckner's Eighth Symphony has met with considerable critical acclaim. In 1974, he also recorded Maurice Ravel's then little-known orchestral version of "Une Barque sur l'océan" from ''Miroirs'', when there was still no printed score. The score was published only in 1983, and even then only in the first of two slightly different versions Ravel had made.

During his tenure as music director of the New York Philharmonic, he was criticized, even by members of the orchestra, for his concentration on modern repertoire at the expense of works by earlier composers. Nonetheless, Boulez' controversial "Rug" concerts of contemporary music with members of the New York Philharmonic played a significant role in "bridging" the widening gap between the New York downtown music scene with concerts of "uptown" music, directed primarily at Columbia University by a former classmate at the Paris Conservatoire and a pupil of Leibowitz, Jacques-Louis Monod. In his 1981 volume of compilation of reviews from ''The New York Times'', ''Facing the Music'', critic Harold C. Schonberg includes a column in which he details how unhappy some members of the New York Philharmonic orchestra were with Boulez during his tenure.

Boulez has also conducted opera productions and made several recordings of opera. He joined the Bayreuth Festival's roster for 1966's ''Parsifal'', after Hans Knappertsbusch died. Subsequently, he was the conductor for the 1976 centenary production of Richard Wagner's ''Der Ring des Nibelungen'', directed by Patrice Chéreau, recordings of which were commercially released in audio and video formats. Boulez reunited with Chéreau for a late seventies production of Alban Berg's ''Lulu'' at the Paris Opera (the first-ever production of the completed opera) and a 2007 production originating at Vienna's Theater an der Wien, later traveling to Amsterdam, of Leoš Janáček's ''From the House of the Dead'', in what Boulez said was the last opera production that he would ever conduct. In 2004 and 2005, Boulez returned to Bayreuth to conduct a controversial new production of ''Parsifal'' directed by Christoph Schlingensief. Other operas Boulez conducted include Berg's ''Wozzeck'' (Opéra National de Paris), Wagner's ''Tristan und Isolde'' (Bayreuth, Japan tour), Bartók's ''Bluebeard's Castle'' (Aix-en-Provence Festival, choreographed by Pina Bausch, and concert performances), Debussy's ''Pelléas et Mélisande'' (productions for Covent Garden and WNO and concert performances with the Cleveland Orchestra) and Arnold Schoenberg's ''Moses und Aron'' (Amsterdam and Salzburg). On 15 August 2008, he conducted a concert of the music of Leoš Janáček for the BBC Proms at the Royal Albert Hall, preceded by a discussion of the music with Roger Wright, Director of the Proms, in the Royal College of Music. In 2010, Boulez finished recording his 15-year, multi-orchestra Mahler cycle for Deutsche Grammophon with the Adagio from Mahler's uncompleted Tenth Symphony with the Cleveland Orchestra. To celebrate Boulez’s 85th birthday Deutsche Grammophon releases his first-ever Karol Szymanowski recording featuring the composer’s popular Violin Concerto no. 1 and Symphony no. 3 “Song of the Night”, with the Wiener Philharmoniker, violinist Christian Tetzlaff, tenor Steve Davislim and the Wiener Singverein.

Boulez as a writer[link]

Boulez is also an articulate, perceptive and sweeping writer on music. He has written on questions of technique and aesthetics in a deeply reflective if sometimes elliptical manner. These writings have mostly been republished under the titles ''Stocktakings from an Apprenticeship'', ''Orientations: Collected Writings'', and ''Boulez on Music Today'', as well as in the journal of the Darmstadt composers of the time, ''Die Reihe''. A third edition of the French texts, with previously uncollected material, has appeared under the title ''Points de repère'' I, II, and III.

Two interviews with Pierre Boulez were published in 2007 and 2008.

Awards[link]

Ernst von Siemens Music Prize (1979)

Sonning Award (1985) Denmark

Polar Music Prize (1996)

Wolf Prize (2000) Israel

Grawemeyer Award (2001) United States for ''Sur Incises''

Glenn Gould Prize (2002) Canada

Yale University's Sanford Medal.

Kyoto Prize (2009) Arts & Philosophy

Edison Award (2010) Classical Music

Gramophone Hall of Fame entrant (2012)

Compositions[link]

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)

''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)

''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)

Bibliography[link]

References[link]

External links[link]

Pierre Boulez biography and works on the UE website (publisher)

Pierre Boulez Interview with Andy Carvin, 1992

Pierre Boulez CompositionToday articles and review of works

Pierre Boulez Photographic portrait by Philippe Gontier

Tommasini, Anthony, "Boulez Salutes Bits and Bytes With an Artistic Partnership". ''New York Times'', 25 April 2005.

Clements, Andrew and Service, Tom (compilers), "A master who worked with a very small hammer". ''The Guardian'', 25 March 2005.

Boulez interviewed by Charles Amirkhanian, with Andrew Gerzso, 16 February 1986

Category:1925 births Category:Living people Category:People from Montbrison, Loire Category:20th-century classical composers Category:21st-century classical composers Category:BBC Symphony Orchestra Category:Collège de France faculty Category:French composers Category:French conductors (music) Category:Grammy Award winners Category:Grawemeyer Award winners Category:Wolf Prize in Arts laureates Category:Modernism Category:Recipients of the Pour le Mérite (civil class) Category:Royal Philharmonic Society Gold Medallists Category:Members of the European Academy of Sciences and Arts Category:Alumni of the Conservatoire de Paris Category:Honorary Members of the Royal Academy of Music Category:Honorary Members of the Royal Philharmonic Society Category:Ondists Category:Composers for piano Category:Composers for violin Category:Composers for cello

an:Pierre Boulez ca:Pierre Boulez cy:Pierre Boulez da:Pierre Boulez de:Pierre Boulez et:Pierre Boulez es:Pierre Boulez eu:Pierre Boulez fa:پیر بولز fr:Pierre Boulez ko:피에르 불레즈 it:Pierre Boulez he:פייר בולז la:Petrus Boulez hu:Pierre Boulez mk:Пјер Булез nl:Pierre Boulez ja:ピエール・ブーレーズ no:Pierre Boulez pl:Pierre Boulez pt:Pierre Boulez ru:Булез, Пьер simple:Pierre Boulez fi:Pierre Boulez sv:Pierre Boulez uk:П'єр Булез zh:皮埃尔·布莱兹

Olivier Latry (born 22 February 1962) is a French organist, improviser and Professor of Organ in the Conservatoire de Paris.

Latry was born in Boulogne-sur-Mer, France. After having begun his musical studies in Boulogne-sur-Mer, in 1978 he enrolled in the organ class under Gaston Litaize at the Academy of Saint-Maur, and took composition classes with Jean-Claude Raynaud at the Paris Academy. After becoming Professor of organ in the Catholic Institute of Paris in 1983 and subsequently at the Academy of Rheims, he succeeded Gaston Litaize at the Academy of Saint-Maur in 1990. In 1995, Latry was named professor of organ in the Academy of Paris, a post held jointly with Michel Bouvard.

In 1985, at 23 years of age, Latry was awarded the post of one of four ''titulaires des grands orgue'' of Notre-Dame, Paris alongside Yves Devernay, Philippe Lefèbvre and Jean-Pierre Leguay, following the death of Pierre Cochereau.

In addition to this role and his teaching positions, Latry carries out an active career as concert performer: he has played in over forty countries across five continents, in particular in the United States, where he made his first tour in 1986, becoming one of the most popular French organists in that country.

Latry did not want to specialize in music of a specific time period, but has gained a reputation for performing music by his contemporaries. He is renowned for his performances of the works of Olivier Messiaen and has recorded the complete organ works of Messiaen for Deutsche Grammophon. Latry is also considered to be a distinguished improviser, in the tradition of an exceptional French line that runs from Charles Tournemire through to Pierre Cochereau.

External links[link]

Olivier Latry's biography in French and English

Sacred Music at Notre-Dame de Paris in French

Conservatoire de Paris staff page in French

Réjean Beaucage, ''Olivier Latry: Playing the King of Instruments'', La Scena Musicale - Vol. 8, No.10 July 2003, accessed at July 17, 2006

Cultural Services of the French Embassy in the US

Latry's USA artist representative, Karen McFarlane Artists http://www.concertorganists.com/site2009/artist2.aspx?id=61

Category:1962 births Category:Living people Category:Organ improvisers Category:French classical organists Category:Cathedral organists

cs:Olivier Latry de:Olivier Latry fr:Olivier Latry it:Olivier Latry

name	Magda Tagliaferro
birth date	January 19, 1893
birth place	Petropolis, Brazil
death date	September 09, 1986
background	non_vocal_instrumentalist
instrument	Piano
years active	}}

Magdalena Maria Yvonne Tagliaferro (19 January 18939 September 1986) was a Brazilian-born pianist of French extraction. Born in Petropolis, Brazil, she studied under Antonin Marmontel at the Paris conservatoire, then with Alfred Cortot. She developed a reputation for striving towards the realization of the musical ideals exemplified by Cortot: a perfect union of clarity and tenderness, inner strength and emotion, and classical balance in shaping the works being interpreted.

Tagliaferro's expertise at the piano in French repertoire led Gabriel Fauré to request that she tour with him, and she performed many of his compositions. Throughout her long career, her recital engagements took her to the musical centers of more than 30 countries in Europe, Africa, South America, and Asia. She was also very active as a soloist performing with celebrated orchestras. Tagliaferro appeared with the elite of 20th century conductors, among them Weingartner, Dobroven, Monteux, Furtwängler, Knappertsbusch, Paray, d'Indy, Inghelbrecht, Ionescu-Galati and Georgescu. Other solo artists, such as Cortot, Thibaud, Enescu, and Casals, performed with her in joint recitals. Composers sought her for premieres of their works, sometimes specifically intending that Tagliaferro be the first artist to perform the piece. She, in turn, applied herself to performing new works by composers such as Hahn, Rivier, Pierné, and Villa-Lobos.

Tagliaferro maintained a critically acclaimed capacity for beautifully crafted playing into her nineties. She died in Rio de Janeiro, Brazil.

External links[link]

Profile at Naxos

Category:1893 births Category:Brazilian classical pianists Category:École Normale de Musique de Paris alumni Category:Brazilian people of Italian descent Category:Brazilian people of French descent Category:1986 deaths

de:Magda Tagliaferro es:Magda Tagliaferro fr:Magda Tagliaferro ja:マグダ・タリアフェロ pl:Magda Tagliaferro pt:Magda Tagliaferro ru:Тальяферро, Магда