published: 25 Aug 2008
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Baltic states
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Bayreuth Festival
The Bayreuth Festival () is a music festival held annually in Bayreuth, Germany, at which performances of operas by the 19th century German composer Richard Wagner are presented. Wagner himself conceived of and promoted the idea of a special festival to showcase his own works, in particular his monumental cycle and Parsifal.
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Collège de France
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Denmark
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IRCAM
IRCAM (Institut de Recherche et Coordination Acoustique/Musique) is a European institute for science about music and sound and avant garde electro-acoustical art music. It is situated next to, and is organizationally linked with, the Centre Pompidou in Paris. The extension of the building has been designed by Renzo Piano and Richard Rogers.
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Israel
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Royal Opera House
The Royal Opera House is an opera house and major performing arts venue in the London district of Covent Garden. The large building is often referred to as simply "Covent Garden", after a previous use of the site of the opera house's original construction in 1732. It is the home of The Royal Opera, The Royal Ballet and the Orchestra of the Royal Opera House. Originally called the Theatre Royal, it served primarily as a playhouse for the first hundred years of its history. In 1734, the first ballet was presented. A year later Handel's first season of operas began. Many of his operas and oratorios were specifically written for Covent Garden and had their premieres there.
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Theater an der Wien
The Theater an der Wien (The Theatre on the Wien River) is an opera house in Vienna.
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Yale University
Yale University is a private Ivy League university located in New Haven, Connecticut. Founded in 1701 in the Colony of Connecticut, the university is the third-oldest institution of higher education in the United States.
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Aaron Jay Kernis
Aaron Jay Kernis (born January 15, 1960) is an American composer.
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Adolf Neuendorff
Adolf Heinrich Anton Magnus Neuendorff, also known as Adolph Neuendorff (June 13, 1843 Hamburg - December 4, 1897 New York City) was a German-American composer, violinist, pianist and conductor, stage director and theater manager.
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Adrian Boult
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Alan Gilbert
Alan Gilbert (born February 23, 1967) is an American violinist and conductor. He is currently the Music Director of the New York Philharmonic, making his debut performance as the orchestra's music director on September 16, 2009.
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Alban Berg
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Aldo van Eyck
Aldo van Eyck or van Eijk (16 March 1918, Driebergen, Utrecht, Netherlands - 14 January 1999) was an Architect from the Netherlands.
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Alexander Calder
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Alfred Brendel
Alfred Brendel KBE (born 5 January 1931) is an Austrian pianist, born in Czechoslovakia and a resident of the United Kingdom. He is also a poet and author of the surreal.
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András Schiff
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André Previn
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Andrée Vaurabourg
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Andrés Segovia
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Anne-Sophie Mutter
Anne-Sophie Mutter (born June 29, 1963) is a German violin virtuoso.
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Anselm Kiefer
Anselm Kiefer was born on March 8, 1945, in Donaueschingen. He is a German painter and sculptor. He studied with Joseph Beuys during the 1970s. His works incorporate materials such as straw, , clay, lead, and shellac. The poems of Paul Celan have played a role in developing Kiefer's themes of German history and the horror of the Holocaust, as have the theological concepts of Kabbalah.
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Antal Doráti
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Anton Bruckner
Anton Bruckner (4 September 182411 October 1896) was an Austrian composer known for his symphonies, masses, and motets. The former are considered emblematic of the final stage of Austro-German Romanticism because of their rich harmonic language, complex polyphony, and considerable length. Bruckner's compositions helped to define contemporary musical radicalism, owing to their dissonances, unprepared modulations, and roving harmonies.
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Anton Seidl
Anton Seidl (7 May, 1850, – 28 March, 1898) was a Hungarian conductor.
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Anton Webern
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Antoni Tàpies
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Arnold Schoenberg
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Arthur Honegger
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Arthur Rubinstein
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Artur Rodziński
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Arturo Toscanini
Arturo Toscanini (; March 25, 1867 – January 16, 1957) was an Italian conductor. One of the most acclaimed musicians of the late 19th century and 20th century, he was renowned for his brilliant intensity, his restless perfectionism, his phenomenal ear for orchestral detail and sonority, and his photographic memory. As music director of the NBC Symphony Orchestra he became a household name through his radio and television broadcasts and many recordings of the operatic and symphonic repertoire. He is widely considered to have been one of the greatest conductors of the 20th century.
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Arvo Pärt
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B.B. King
Riley B. King (born September 16, 1925), known by the stage name B.B. King, is an American blues guitarist and singer-songwriter acclaimed for his expressive singing and guitar playing.
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Benjamin Britten
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Birgit Nilsson
Birgit Nilsson (May 17, 1918 – December 25, 2005) was a celebrated Swedish dramatic soprano who specialized in operatic and symphonic works. Her voice was noted for its overwhelming force, bountiful reserves of power and the gleaming brilliance and clarity in the upper register.
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Björk
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Bob Dylan
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Brett Dean
Brett Dean (born 23 October 1961 in Brisbane) is a contemporary Australian composer, violist and conductor.
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Bruce Nauman
Bruce Nauman (born December 6, 1941, in Fort Wayne, Indiana) is a contemporary American artist. His practice spans a broad range of media including sculpture, photography, neon, video, drawing, printmaking, and performance.
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Bruce Springsteen
Bruce Frederick Joseph Springsteen (born September 23, 1949), nicknamed "The Boss", is an American singer-songwriter who records and tours with the E Street Band. Springsteen is widely known for his brand of Heartland rock infused with pop hooks, poetic lyrics, and Americana sentiments centered on his native New Jersey.
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Bruno Walter
Bruno Walter (September 15, 1876February 17, 1962) was a German-born conductor. One of the most famous conductors of the 20th century, he was born in Berlin, but moved to several countries between 1933 and 1939, finally settling in the United States in 1939. He was born Bruno Schlesinger, but began using Walter as his surname in 1896, and officially changed his surname to Walter upon becoming naturalised in Austria in 1911. Bruno Walter was for many years active as a composer, but his works have not entered the repertoire.
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Béla Bartók
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Carl Bergmann
Carl Bergmann (born Ebersbach, Saxony, April 12, 1821, died New York, August 10, 1876) was a German-American cellist and conductor.
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Cecilia Bartoli
Cecilia Bartoli (; born June 4, 1966 in Rome) is an Italian mezzo-soprano opera singer and recitalist. She is best-known for her interpretation of the music of Mozart and Rossini, as well as for her performances of lesser-known Baroque and classical music. She is known for having the versatility to play both soprano and mezzo roles, and is sometimes considered a soprano with a low tessitura. Bartoli's coloratura skill has earned her the title the Queen of Agility.
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Chinary Ung
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Christian Tetzlaff
Christian Tetzlaff (born April 24, 1966) is a German violinist.
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Claude Debussy
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Claudio Abbado
Claudio Abbado, Cavaliere di Gran Croce OMRI (; born June 26, 1933), is an Italian conductor. He has served as music director of the La Scala opera house in Milan, principal conductor of the London Symphony Orchestra, principal guest conductor of the Chicago Symphony Orchestra, music director of the Vienna State Opera, and principal conductor of the Berlin Philharmonic orchestra from 1989 to 2002, when he retired from the position for health reasons.
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Colin Davis
Sir Colin Rex Davis, CH, CBE (born 25 September 1927) is an English conductor. His repertoire is broad, but among the composers with whom he is particularly associated are Mozart, Berlioz, Elgar, Sibelius, Stravinsky and Tippett.
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Daniel Barenboim
Daniel Barenboim (born 15 November 1942) is an Argentine-born Israeli pianist and conductor. He is also known for his work with the West-Eastern Divan Orchestra, a Sevilla-based orchestra of young Arab and Jewish musicians.
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Denys Lasdun
Sir Denys Lasdun CH (8 September 1914–11 January 2001) was an eminent English architect of the 20th century. Probably his best known work is the Royal National Theatre, on London's South Bank of the River Thames, which is a Grade II listed building and one of the most notable examples of Brutalist design in the United Kingdom.
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Dimitri Mitropoulos
Dimitri Mitropoulos () ( – 2 November 1960), was a Greek conductor, pianist, and composer. Also known as Dimitris Mitropoulos.
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Dizzy Gillespie
John Birks "Dizzy" Gillespie (; October 21, 1917 – January 6, 1993) was an American jazz trumpet player, bandleader, singer, and composer.
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Dmitri Shostakovich
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Earle Brown
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Edgard Varèse
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Elton John
Sir Elton Hercules John, CBE (born Reginald Kenneth Dwight; 25 March 1947) is an English singer-songwriter, composer and pianist. He has worked with his songwriting partner Bernie Taupin since 1967; they have collaborated on more than 30 albums to date.
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Emil Paur
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Ennio Morricone
Ennio Morricone, Grande Ufficiale OMRI (born November 10, 1928) is an Italian composer and conductor.
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Erich Leinsdorf
Erich Leinsdorf (born Erich Landauer) (February 4, 1912 – September 11, 1993) was a naturalized American Austrian conductor. He performed and recorded with leading orchestras and opera companies throughout the United States and Europe, earning a reputation for exacting standards as well as an acerbic personality. He also published books and essays on musical matters.
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Esa-Pekka Salonen
Esa-Pekka Salonen (; born June 30, 1958) is a Finnish orchestral conductor and composer. He is currently Principal Conductor and Artistic Advisor of the Philharmonia Orchestra in London and Conductor Laureate of the Los Angeles Philharmonic.
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Frank Gehry
Frank Owen Gehry, CC (born Frank Owen Goldberg; February 28, 1929) is a Canadian-American Pritzker Prize-winning architect based in Los Angeles, California.
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Frank Zappa
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Frei Otto
Frei Paul Otto (31 May 1925) is a German architect and structural engineer.
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Fumihiko Maki
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George Szell
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George Tsontakis
George Tsontakis (born Astoria, Queens (New York City), October 24, 1951) is an American composer and conductor.
http://wn.com/George_Tsontakis -
Georges Pompidou
Georges Jean Raymond Pompidou (; 5 July 1911 2 April 1974) was a French politician. He was Prime Minister of France from 1962 to 1968, holding the longest tenure in this position, and later President of the French Republic from 1969 until his death in 1974.
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Gerhard Richter
Gerhard Richter (born February 9, 1932) is a German visual artist.
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Giancarlo De Carlo
Giancarlo De Carlo (December 12, 1919 - June 4, 2005) was an Italian architect.
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Gidon Kremer
Gidon Kremer () (born February 27, 1947) is a Latvian violinist and conductor. In 1980 he left the USSR and settled in Germany.
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Giya Kancheli
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Gustav Mahler
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György Kurtág
http://wn.com/György_Kurtág -
György Ligeti
http://wn.com/György_Ligeti -
Harold C. Schonberg
Harold Charles Schonberg (November 29, 1915 – July 26, 2003) was an American music critic and journalist, most notably for The New York Times. He was the first music critic to win the Pulitzer Prize for Criticism (1971). He also wrote a number of books on musical subjects, and one on chess.
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Hector Berlioz
Hector Berlioz (December 11, 1803 – March 8, 1869) was a French Romantic composer, best known for his compositions Symphonie fantastique and Grande messe des morts (Requiem). Berlioz made significant contributions to the modern orchestra with his Treatise on Instrumentation. He specified huge orchestral forces for some of his works; as a conductor, he performed several concerts with more than 1,000 musicians. He also composed around 50 songs.
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Heinz Holliger
Heinz Holliger (born ) is a Swiss oboist, composer and conductor.
http://wn.com/Heinz_Holliger -
Hildegard Behrens
Hildegard Behrens (9 February 1937 in Varel, Germany18 August 2009 in Tokyo, Japan) was a German soprano with a wide repertory including Wagner, Weber, Mozart, Richard Strauss, and Alban Berg roles.
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Igor Stravinsky
http://wn.com/Igor_Stravinsky -
Isaac Stern
http://wn.com/Isaac_Stern -
Ivan Tcherepnin
http://wn.com/Ivan_Tcherepnin -
Jacques-Louis Monod
Jacques-Louis Monod (born February 25, 1927) is an influential French-born, American domiciled composer, pianist and conductor of 20th century and contemporary music.
http://wn.com/Jacques-Louis_Monod -
James Turrell
James Turrell (born 1943, Pasadena, California). He is an artist primarily concerned with light and space. Turrell was a MacArthur Fellow in 1984. He is represented by The Pace Gallery in New York.
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Janet Baker
Dame Janet Abbott Baker, CH, DBE, FRSA (born 21 August 1933) is an English mezzo-soprano best known as an opera, concert, and lieder singer.
http://wn.com/Janet_Baker -
Jasper Johns
Jasper Johns, Jr. (born May 15, 1930) is an American contemporary artist who works primarily in painting and printmaking.
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Jean Nouvel
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Jean-Pierre Rampal
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Jiří Bělohlávek
http://wn.com/Jiří_Bělohlávek -
Joan Tower
Joan Tower (born September 6, 1938 in New Rochelle, New York) is a Grammy-winning contemporary American composer, concert pianist and conductor. Lauded by the New Yorker as "one of the most successful woman composers of all time", her bold and energetic compositions have been performed in concert halls around the world. After gaining recognition for her first orchestral composition, Sequoia (1981), a tone poem which structurally depicts a giant tree from trunk to needles, she has gone on to compose a variety of instrumental works including Fanfare for the Uncommon Woman, which is something of a response to Aaron Copland's Fanfare for the Common Man, the Island Prelude, two string quartets, and an assortment of other tone poems. Tower was pianist and founding member of the Naumburg Award-winning Da Capo Chamber Players, which commissioned and premiered many of her early works, including her widely-performed Petroushskates.
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John Barbirolli
http://wn.com/John_Barbirolli -
John Cage
http://wn.com/John_Cage -
John Corigliano
John Corigliano (born February 16, 1938, New York City, New York) is an American composer of classical music and a teacher of music. He is a distinguished professor of music at Lehman College in the City University of New York.
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John Eliot Gardiner
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Jonathan Nott
Jonathan Nott (born Solihull, England in 1962) is an English conductor, the son of a priest. He was a music student and choral scholar at the University of Cambridge, and also studied singing and flute in Manchester at the Royal Northern College of Music. Nott was also a conducting student in London. He left London to develop his conducting career in Germany via the traditional Kapellmeister system.
http://wn.com/Jonathan_Nott -
Joni Mitchell
Joni Mitchell, CC, (born Roberta Joan Anderson; November 7, 1943) is a Canadian musician, songwriter, and painter.
http://wn.com/Joni_Mitchell -
Jordi Savall
Jordi Savall i Bernadet (born 1941, in Igualada, Catalonia, Spain) is a Spanish Catalan viol player, conductor, and composer. He has been one of the major figures in the field of early music since the 1970s, largely responsible for bringing the viol (viola da gamba) back to life on the stage. His characteristic repertory ranges from Medieval to Renaissance and Baroque music, though he has occasionally ventured into the classical or even the romantic period.
http://wn.com/Jordi_Savall -
Josef Stránský
Josef Stransky (September 9, 1872 – March 6, 1936) was a Czech conductor and composer.
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Josef Tal
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José Antonio Abreu
http://wn.com/José_Antonio_Abreu -
Jørn Utzon
http://wn.com/Jørn_Utzon -
Karel Husa
Karel Husa (born August 7, 1921 in Prague) is a Czech-born classical composer and conductor, winner of the 1969 Pulitzer Prize and 1993 Grawemeyer Award in Music. In 1954 he came to the United States and became American citizen in 1959.
http://wn.com/Karel_Husa -
Karol Szymanowski
http://wn.com/Karol_Szymanowski -
Keith Jarrett
Keith Jarrett (born May 8, 1945, in Allentown, Pennsylvania) is an American pianist/composer who has performed in both jazz and classical music.
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Krystian Zimerman
Krystian Zimerman (born December 5, 1956) is a Polish classical pianist who is widely regarded as one of the finest pianists alive.
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Krzysztof Penderecki
http://wn.com/Krzysztof_Penderecki -
Kurt Masur
Kurt Masur (born 18 July 1927) is a German conductor, particularly noted for his interpretation of German Romantic music.
http://wn.com/Kurt_Masur -
Leonard Bernstein
Leonard Bernstein (, ; August 25, 1918 – October 14, 1990) was an American conductor, composer, author, music lecturer and pianist. He was among the first conductors born and educated in the United States of America to receive worldwide acclaim. He was probably best known to the public as the longtime music director of the New York Philharmonic, for conducting concerts by many of the world's leading orchestras, and for writing the music for West Side Story, Candide, Wonderful Town, and On the Town. Bernstein was the first classical music conductor to make numerous television appearances between 1954 and 1989. He had a formidable piano technique and as a composer also wrote symphonies and other concert music. According to The New York Times, he was "one of the most prodigiously talented and successful musicians in American history."
http://wn.com/Leonard_Bernstein -
Leonard Cohen
Leonard Norman Cohen, CC, GOQ (born 21 September 1934) is a Canadian singer-songwriter, musician, poet and novelist. Cohen published his first book of poetry in Montreal in 1956 and his first novel in 1963. His work often deals with the exploration of religion, isolation, sexuality and interpersonal relationships. Famously reclusive, having once spent several years in a Zen Buddhist monastery, and possessing a persona frequently associated with mystique, he is extremely well-regarded by critics for his literary accomplishments, for the richness of his lyrics, and for producing an output of work of high artistic quality over a five-decade career.
http://wn.com/Leonard_Cohen -
Leonard Slatkin
Leonard Edward Slatkin (born September 1, 1944) is an American conductor and composer.
http://wn.com/Leonard_Slatkin -
Leopold Damrosch
Leopold Damrosch (October 22, 1832 – February 15, 1885) was a German American orchestral conductor.
http://wn.com/Leopold_Damrosch -
Leoš Janáček
http://wn.com/Leoš_Janáček -
Lorin Maazel
Lorin Varencove Maazel (born March 6, 1930) is a conductor, violinist and composer.
http://wn.com/Lorin_Maazel -
Louis Andriessen
Louis Andriessen (born 6 June 1939) is a Dutch composer and pianist based in Amsterdam. He teaches composition at the Royal Conservatory of the Hague. He was recipient of the Gaudeamus International Composers Award in 1959.
http://wn.com/Louis_Andriessen -
Luciano Berio
Luciano Berio, Cavaliere di Gran Croce OMRI (October 24, 1925 – May 27, 2003) was an Italian composer. He is noted for his experimental work (in particular his 1968 composition Sinfonia for voices and orchestra and his series of numbered solo pieces titled Sequenza) and also for his pioneering work in electronic music.
http://wn.com/Luciano_Berio -
Ludwig van Beethoven
http://wn.com/Ludwig_van_Beethoven -
Mahler
http://wn.com/Mahler -
Malcolm Sargent
http://wn.com/Malcolm_Sargent -
Marc Chagall
http://wn.com/Marc_Chagall -
Marie-Claire Alain
Marie-Claire Alain (born August 10, 1926) is a French organist and organ teacher best known for her prolific recording career. She is particularly known for her ability to perform substantial works entirely from memory.
http://wn.com/Marie-Claire_Alain -
Maurice Ravel
Joseph-Maurice Ravel (March 7, 1875December 28, 1937) was a French composer of Impressionist music known especially for his melodies, orchestral and instrumental textures and effects. Much of his piano music, chamber music, vocal music and orchestral music has entered the standard concert repertoire.
http://wn.com/Maurice_Ravel -
Michala Petri
Michala Petri (born 7 July 1958 in Copenhagen, Denmark) is a Danish recorder player. Petri is sought after as a soloist with many noted orchestras, including the Academy of St. Martin in the Fields. She has released 34 recordings, toured extensively over four continents, and has had dozens of pieces written for her. Her debut as a soloist was in 1969.
http://wn.com/Michala_Petri -
Miles Davis
http://wn.com/Miles_Davis -
Mogens Wöldike
http://wn.com/Mogens_Wöldike -
Nikolai Sokoloff
Nikolai Sokoloff (28 May 1886 – 25 September 1965), was a Russia-American conductor and violinist. He was born in Kiev, and studied music at Yale. From 1916 to 1917 he was musical director of the San Francisco People's Philharmonic Orchestra, where he insisted on including women in his orchestra and paying them the same as men. Sokoloff was the founding conductor and music director of the Cleveland Orchestra in 1918 where he remained until 1932. Between 1935 and 1938 he directed the Federal Music Project, a New Deal program that employed musicians to perform and educate the public about music. From 1938 to 1940 he directed the Seattle Symphony Orchestra.
http://wn.com/Nikolai_Sokoloff -
Nikolaus Harnoncourt
Nikolaus Harnoncourt ('''Count Nikolaus de la Fontaine und d'Harnoncourt-Unverzagt''') (born 6 December 1929) is an Austrian conductor, particularly known for his historically informed performances of music from the Classical era and earlier.
http://wn.com/Nikolaus_Harnoncourt -
Olivier Messiaen
http://wn.com/Olivier_Messiaen -
Oscar Peterson
http://wn.com/Oscar_Peterson -
Patti Smith
Patricia Lee "Patti" Smith (born December 30, 1946) is an American singer-songwriter, poet and visual artist, who became a highly influential component of the New York City punk rock movement with her 1975 debut album Horses. Called the "Godmother of Punk", she integrated the beat poetry performance style with three-chord rock. Smith's most widely known song is "Because the Night", which was co-written with Bruce Springsteen and reached number 13 on the Billboard Hot 100 chart in 1978. In 2005, Patti Smith was named a Commander of the Ordre des Arts et des Lettres by the French Minister of Culture, and in 2007, she was inducted into the Rock and Roll Hall of Fame.
http://wn.com/Patti_Smith -
Paul McCartney
http://wn.com/Paul_McCartney -
Per Nørgård
http://wn.com/Per_Nørgård -
Peter Eisenman
Peter Eisenman (born August 11, 1932 in Newark, New Jersey) is an American architect. Eisenman's fragmented forms are identified with an eclectic group of architects that have been labeled as deconstructivists.
http://wn.com/Peter_Eisenman -
Peter Gabriel
http://wn.com/Peter_Gabriel -
Peter Lieberson
Peter Lieberson (born 25 October 1946 in New York City) is an American composer. His mother Eva Brigitta Hartwig was a ballerina and choreographer, also professionally known as Vera Zorina. His father, Goddard Lieberson, was president of Columbia Records.
http://wn.com/Peter_Lieberson -
Peter Schreier
Peter Schreier (born July 29, 1935) is a German tenor and conductor.
http://wn.com/Peter_Schreier -
Pierre Boulez
Pierre Boulez () (born March 26, 1925) is a French composer of contemporary classical music and a conductor.
http://wn.com/Pierre_Boulez -
Pina Bausch
Philippine "Pina" Bausch (27 July 1940 – 30 June 2009) was a German modern dance choreographer and a leading influence in the development of the Tanztheater style of dance.
http://wn.com/Pina_Bausch -
Plácido Domingo
http://wn.com/Plácido_Domingo -
Péter Eötvös
http://wn.com/Péter_Eötvös -
Quincy Jones
http://wn.com/Quincy_Jones -
R. Murray Schafer
http://wn.com/R_Murray_Schafer -
Rafael Kubelík
http://wn.com/Rafael_Kubelík -
Ravi Shankar
Ravi Shankar (; born 7 April 1920), often referred to by the title Pandit, is an Indian musician and composer who plays the plucked string instrument sitar. He has been described as the best known contemporary Indian musician by Hans Neuhoff in Musik in Geschichte und Gegenwart.
http://wn.com/Ravi_Shankar -
Ray Charles
Ray Charles Robinson (September 23, 1930June 10, 2004), better known by his shortened stage name Ray Charles, was an American musician. Ray was a pioneer in the genre of soul music during the 1950s by fusing rhythm & blues, gospel, and blues styles into his early recordings with Atlantic Records. He also helped racially integrate country and pop music during the 1960s with his crossover success on ABC Records, most notably with his Modern Sounds albums. While with ABC, Charles became one of the first African-American musicians to be given artistic control by a mainstream record company.
http://wn.com/Ray_Charles -
Renée Fleming
http://wn.com/Renée_Fleming -
Riccardo Muti
Riccardo Muti, Cavaliere di Gran Croce OMRI (; born July 28, 1941) is an Italian conductor. In May 2008 he was appointed the 10th music director of the Chicago Symphony Orchestra, effective with the 2010-11 season.
http://wn.com/Riccardo_Muti -
Richard Wagner
Wilhelm Richard Wagner (, ; 22 May 1813 13 February 1883) was a German composer, conductor, theatre director and essayist, primarily known for his operas (or "music dramas", as they were later called). Wagner's compositions, particularly those of his later period, are notable for their complex texture, rich harmonies and orchestration, and the elaborate use of leitmotifs: musical themes associated with individual characters, places, ideas or plot elements. Unlike most other opera composers, Wagner wrote both the music and libretto for every one of his stage works. Famous extracts from his operas include the "Ride of the Valkyries" and the Bridal Chorus from Lohengrin, popularly known as the wedding march "Here Comes the Bride".
http://wn.com/Richard_Wagner -
Robert Moog
Dr. Robert Arthur Moog (, respell|), commonly called Bob Moog (May 23, 1934 – August 21, 2005) was an American pioneer of electronic music, best known as the inventor of the Moog synthesizer.
http://wn.com/Robert_Moog -
Robert Schumann
Robert Schumann, sometimes known as Robert Alexander Schumann, (8 June 181029 July 1856) was a German composer, aesthete and influential music critic.
http://wn.com/Robert_Schumann -
Rosemarie Trockel
Rosemarie Trockel (born 1952 in Schwerte, Germany) is a German Artist, and an important figure in the international contemporary art movement.
http://wn.com/Rosemarie_Trockel -
Rudolf Kempe
http://wn.com/Rudolf_Kempe -
Sergiu Celibidache
http://wn.com/Sergiu_Celibidache -
Simon Bainbridge
Professor Simon Bainbridge (born 30 August 1952 in London) is a British composer, and a professor and former head of composition at the Royal Academy of Music, London, and visiting professor at the University of Louisville, Kentucky in the United States.
http://wn.com/Simon_Bainbridge -
Simon Rattle
Sir Simon Denis Rattle, CBE, FRSA, (born 19 January 1955) is an English conductor. He rose to international prominence as conductor of the City of Birmingham Symphony Orchestra and since 2002 has been principal conductor of the Berlin Philharmonic (BPO).
http://wn.com/Simon_Rattle -
Sofia Gubaidulina
Sofia Asgatovna Gubaidulina, (, ) (born October 24, 1931) is a Russian composer of half Russian, half Tatar ethnicity.
http://wn.com/Sofia_Gubaidulina -
Sonny Rollins
Theodore Walter "Sonny" Rollins (born September 7, 1930 in New York City) is a Grammy-winning American jazz tenor saxophonist. Rollins is widely recognized as one of the most important and influential jazz musicians. A number of his compositions, including "St. Thomas", "Oleo", "Doxy", and "Airegin", have become jazz standards.
http://wn.com/Sonny_Rollins -
Stanley Sadie
Stanley Sadie CBE (30 October 1930 – 21 March 2005) was a leading British musicologist, music critic, and editor. He was editor of the sixth edition of the Grove Dictionary of Music and Musicians (1980), which was published as the first edition of the New Grove Dictionary of Music and Musicians.
http://wn.com/Stanley_Sadie -
Steve Reich
http://wn.com/Steve_Reich -
Stevie Wonder
Stevland Hardaway Judkins (born May 13, 1950), name later changed to Stevland Hardaway Morris, known by his stage name Stevie Wonder, is an American singer-songwriter, multi-instrumentalist, record producer and activist. Blind from shortly after birth, Wonder signed with Motown Records' Tamla label at the age of eleven, and continues to perform and record for Motown to this day.
http://wn.com/Stevie_Wonder -
Stéphane Mallarmé
http://wn.com/Stéphane_Mallarmé -
Susanna Mälkki
http://wn.com/Susanna_Mälkki -
Sviatoslav Richter
http://wn.com/Sviatoslav_Richter -
Tan Dun
Tan Dun ( (born 1957, Si Mao, Hunan) is an Academy Award winning Chinese contemporary classical composer, most widely known for his scores for the movies Crouching Tiger, Hidden Dragon and Hero.
http://wn.com/Tan_Dun -
Theodore Eisfeld
http://wn.com/Theodore_Eisfeld -
Toru Takemitsu
http://wn.com/Toru_Takemitsu -
Tōru Takemitsu
was a Japanese composer and writer on aesthetics and music theory. Largely self-taught, Takemitsu possessed consummate skill in the subtle manipulation of instrumental and orchestral timbre. He drew from a wide range of influences, including jazz, popular music, avant-garde procedures and traditional Japanese music, in a harmonic idiom largely derived from the music of Claude Debussy and Olivier Messiaen.
http://wn.com/Tōru_Takemitsu -
Unsuk Chin
http://wn.com/Unsuk_Chin -
Ureli Corelli Hill
http://wn.com/Ureli_Corelli_Hill -
Valery Gergiev
Valery Abisalovich Gergiev (; ; born 2 May 1953) is a Russian conductor and opera company director. He is general director and artistic director of the Mariinsky Theatre and principal conductor of the London Symphony Orchestra. Valery Gergiev is the artistic director of the White Nights Festival in St. Petersburg.
http://wn.com/Valery_Gergiev -
Vasily Safonov
Vasily Ilyich Safonov (, also known as Wassily Safonoff) (6 February 1852 – 27 February 1918) was a Russian pianist, teacher, conductor and composer.
http://wn.com/Vasily_Safonov -
Vladimir Horowitz
Vladimir Samoylovich Horowitz (; ) (October 1, 1903 – November 5, 1989) was a Russian-American classical virtuoso pianist and minor composer. His technique and use of tone color and the excitement of his playing were and remain legendary. He is widely considered one of the greatest pianists of the 20th century.
http://wn.com/Vladimir_Horowitz -
Walter Damrosch
Walter Johannes Damrosch (January 30, 1862 – December 22, 1950) was a German-born American conductor and composer. He is best remembered today as long-time director of the New York Symphony Orchestra and for conducting the world premiere performances of George Gershwin's Piano Concerto in F (1925), and An American in Paris (1928).
http://wn.com/Walter_Damrosch -
Willem Mengelberg
http://wn.com/Willem_Mengelberg -
Witold Lutosławski
http://wn.com/Witold_Lutosławski -
Yehudi Menuhin
http://wn.com/Yehudi_Menuhin -
Yo-Yo Ma
Yo-Yo Ma (; born October 7, 1955) is an American cellist, virtuoso, orchestral composer and winner of multiple Grammy Awards. He is one of the most famous cellists of the modern age.
http://wn.com/Yo-Yo_Ma -
York Höller
http://wn.com/York_Höller -
Zubin Mehta
Zubin Mehta (born 29 April 1936) is an Indian conductor of Western classical music.
http://wn.com/Zubin_Mehta -
Álvaro Siza Vieira
http://wn.com/Álvaro_Siza_Vieira
Boulez, Pierre Filmography
- Karlheinz Stockhausen - Musik für eine neue Welt (2009)
- For Art's Sake: The Story of Ballets Russes (2009)
- De la maison des morts (2008)
- Betty Freeman: A Life for the Unknown (2005)
- A Labyrinth of Time (2004)
- Multiple Identities: Encounters with Daniel Barenboim (2002)
- Frank Zappa: Phase II - The Big Note (2002)
- Claudio Abbado: The Silence That Follows the Music (1996)
- Jean Genet, le vagabond: Jean Genet, l'écrivain (1996)
- Eclat (1993)
- Opus 20 Modern Masterworks: Edgard Varèse (1992)
- Opus 20 Modern Masterworks: Olivier Messiaen (1992)
- Peefeeyatko (1991)
- Le grand escalator (1987)
- Jean-Louis Barrault, un homme de théâtre (1983)
- Jean-Louis Barrault, un homme de théâtre (1983)
- Sept sur sept (1971)
- Le soleil des eaux (1969)
- Sounds of Summer: The Blossom Music Center with Pierre Boulez (1969)
- A Stravinsky Portrait (1966)
RELEASE
ALBUMS
- Etude Concrete
- Nr 5 Zeitmasse (Time-measures) foor five woodwinds
- Le Marteau Sans Maitre (The Hammer Without a Master): Avant "L'artisanat furieux"
- Le Marteau Sans Maitre (The Hammer Without a Master): Commentaire I de "Bourreaux de solitude"
- Le Marteau Sans Maitre (The Hammer Without a Master): "L'artisanat furieux" (text by Rene Char)
- Le Marteau Sans Maitre (The Hammer Without a Master): Commentaire Il de "Borreaux de solitude"
- Le Marteau Sans Maitre (The Hammer Without a Master): "Bel edifice et les pressentiments", version premiere (text by Rene Char)
- Le Marteau Sans Maitre (The Hammer Without a Master): "Borreaux de solitude" (text by Rene Char)
- Le Marteau Sans Maitre (The Hammer Without a Master): Apres "L'artisanat furieux"
- Le Marteau Sans Maitre (The Hammer Without a Master): Commentaire Ill de "Bourreaux de solitude"
- Le Marteau Sans Maitre (The Hammer Without a Master): "Bel edifice et les pressentiments", double (text by Rene Char)
- Klavierstuck XI: XI/1
- Klavierstuck XI: XI/2
- Klavierstuck XI: XI/3
- Klavierstuck XI: XI/4
- Act 2: Scene 1. Was die Steine glänzen?
- Act 2: Scene 2. Wohin so eilig, geehrtester Herr Sargnagei?
- Act 2: Scene 3. Guten Tag, Franz
- Act 2: Scene 4. Ich hab'ein Hemdlein an, das ist nicht mein
- Act 2: Scene 5. Andres! Andres! Ich kann nicht schlafen
- Act 3: Scene 1. Und ist kein Betrug in seinem Munce erfunden worden
- Act 3: Scene 2. Dort links geht's in die Stadt
- Act 3: Scene 3. Tanzt Alle; tanzt nur zu, springt, schwitzt un stinkt
- Act 3: Scene 4. Das Messer? Wo ist das Messer?
- Orchester-Epilog - Act 3: Scene 5. Ringel, Ringel, Rozenkranz, Ringelreih'n
- Premiére Sonate pour piano: Lent
- Premiére Sonate pour piano: Assez large
- Deuxiéme Sonate pour piano: Extrêmement rapide
- Deuxiéme Sonate pour piano: Lent
- Deuxiéme Sonate pour piano: Modéré, presque vif
- Deuxiéme Sonate pour piano: Très librement, avec de brusques oppositions de mouvement et de nuances
- Troisième Sonate pour piano: Formant 2, Trope - Parenthèse
- Troisième Sonate pour piano: Formant 2, Trope - Glose
- Troisième Sonate pour piano: Formant 2, Trope - Commentaire
- Troisième Sonate pour piano: Formant 2, Trope - Text
- Troisième Sonate pour piano: Formant 3, Constellation - Miroir, Mélange points et blocs
- Troisième Sonate pour piano: Formant 3, Constellation - Miroir, Points 3
- Troisième Sonate pour piano: Formant 3, Constellation - Miroir, Blocs II
- Troisième Sonate pour piano: Formant 3, Constellation - Miroir, Points 2
- Troisième Sonate pour piano: Formant 3, Constellation - Miroir, Blocs I
- Troisième Sonate pour piano: Formant 3, Constellation - Miroir, Points 1
Pli Selon Pli / Le Visage Nuptial / Le Soleil des eaux / Figures, Doubles, Prismes (BBC Symphony Orchestra feat. conductor: Pierre Boulez)
Released [2005]
Released [2005]
- Pli selon pli: Don
- Pli selon pli: Improvisation I.Sur Mallarmé
- Pli selon pli: Improvisation: II.Sur Mallarmé
- Pli selon pli: Improvisation: III.Sur Mallarmé
- Pli selon pli: Tombeau
Le marteau sans maître / Dérive 1 & 2 (Ensemble Intercontemporain feat. conductor: Pierre Boulez)
Released [2005]
Released [2005]
- Le marteau sans maître: I. Avant l'Artisanat furieux. Rapide
- Le marteau sans maître: II. Commentaire I de Bourreaux de solitude. Lent
- Le marteau sans maître: III. L'Artisanat furieux. Modéré sans riguer
- Le marteau sans maître: IV. Commentaire II de Bourreaux de solitude. Rapide
- Le marteau sans maître: V. Bel édifice et les pressentiments - version première. Assez vif
- Le marteau sans maître: VI. Bourreaux de solitude. Assez lent
- Le marteau sans maître: VII. Après l'Artisanat furieux. Rapide
- Le marteau sans maître: VIII. Commentaire III de Bourreaux de solitude. Assez lent
- Le marteau sans maître: IX. Bel édifice et les pressentiments - double. Tempo libre de rècit
- Dérive 1
- Dérive 2
- Notations: I. Fantasque - Modéré
- Notations: II. Très vif
- Notations: III. Assez lent
- Notations: IV. Rythmique
- Notations: V. Doux et improvisé
- Notations: VI. Rapide
- Notations: VII. Hiératique
- Notations: VIII. Modéré jusqu'à très vif
- Notations: IX. Lointain - Calme
- Notations: X. Mécanique er très sec
- Notations: XI. Scintillant
- Notations: XII. Lent - Puissant et âpre
- Structures pour deux pianos: Chapitre I
- Structures pour deux pianos: Chapitre II (Pièces 1-2, Encarts 1-4, Textes 1-6)
- ...explosante-fixe...
- Rituel in memoriam Maderna 1974-1975 pour orchestre en huit groupes
- Notations I 1980
- Notations VII 1980
- Notations IV 1980
- Notations III 1980
- Notations II 1980
- Figures-Doubles-Prismes 1963-1968
- Overture
- Part I: Garden Scene - Du kanntest mich, o kleiner Engel, wieder
- Part I: Gretchen in Front of the Image of the Mater Dolorosa - Ach neige, Du Schmerzensreiche
- Part I: Cathedral Scene - Wie anders, Gretchen, war dir's
- Part II: Ariel. Sunrise - Die ihr dies Haupt umschwebt im luft'gen Kreise
- Part II: Midnight - Ich heiße der Mangel
- Part II: Faust's Death - Herbei, herbei! Herein, herein!
Pli selon Pli (Ensemble Intercontemporain feat. conductor: Pierre Boulez, soprano: Christine Schäfer)
Released [2002]
Released [2002]
- Pli selon Pli: I. Don [du poème]: Je t'apporte l'enfant d'une nuit d'Idumée!
- Pli selon Pli: II. Improvisation sur Mallarmé I: Le vierge, le vivace et le bel aujourd'hui
- Pli selon Pli: III. Improvisation sur Mallarmé II: Une dentelle s'abolit
- Pli selon Pli: IV. Improvisation sur Mallarmé III: À la nue accablante tu
- Pli selon Pli: V. Tombeau: Un peu profond ruisseau colmnié la mort
- Das Lied von der Erde: I. Das Trinklied vom Jammer der Erde
- Das Lied von der Erde: II. Der Einsam im Herbst
- Das Lied von der Erde: III. Von der Jugend
- Das Lied von der Erde: IV. Von der Schonheit
- Das Lied von der Erde: V. Der Trunkene um Fruhling
- Das Lied von der Erde: VI. Der Abschied
Répons / Dialogue de l'ombre double (Ensemble Intercontemporain feat. conductor: Pierre Boulez)
Released [1996]
Released [1996]
- Répons: I. Introduction
- Répons: II. Section 1
- Répons: III. Section 2
- Répons: IV. Section 3
- Répons: V. Section 4
- Répons: VI. Section 5
- Répons: VII. Section 6
- Répons: VIII. Section 7
- Répons: IX. Section 8
- Répons: X. Coda
- Dialogue de l'ombre double: I. Sigle initial
- Dialogue de l'ombre double: II. Strophe 1
- Dialogue de l'ombre double: III. Transition 1 & II
- Dialogue de l'ombre double: IV. Strophe II
- Dialogue de l'ombre double: V. Transition II & III
- Dialogue de l'ombre double: VI. Strophe III
- Dialogue de l'ombre double: VII. Transition III & IV
- Dialogue de l'ombre double: VIII. Strophe IV
- Dialogue de l'ombre double: IX. Transition IV & V
- Dialogue de l'ombre double: X. Strophe V
- Dialogue de l'ombre double: XI. Transition V & VI
- Dialogue de l'ombre double: XII. Strophe VI
- Dialogue de l'ombre double: XIII. Sigle Final
- Premiere Sonate: Lent - Beaucoup plus allant
- Premiere Sonate: Assez - Rapide
- Deuxieme Sonate: Extremement rapide - Encore plus vif
- Deuxieme Sonate: Lent
- Deuxieme Sonate: Modere, presque vif
- Deuxieme Sonate: Vif - Tres modere... Tres librement...
- Troisieme Sonate: Formant 2: Trope: Glose
- Troisieme Sonate: Formant 2: Trope: Texte
- Troisieme Sonate: Formant 2: Trope: Parenthese
- Troisieme Sonate: Formant 2: Trope: Commentaire
- Troisieme Sonate: Formant 3: Constellation - Miroir
Sonate pour piano n°1 - Sonatine (BBC Singers, Ensemble InterContemporain feat. director: Pierre Boulez)
Released [1991]
Released [1991]
- Sonatine
- Première Sonate - Lent
- Première Sonate - Assez Large
- Dérive
- Mémoriale (...explosante-fixe...Originel)
- Dialogue de L'Ombre Double
- Cummings ist der Richter
Boulez: Le marteau sans Maître / Sonatine / Messiaen: 7 Haïkaï (feat. conductor: Pierre Boulez)
Released [1964]
Released [1964]
- Le Marteau sans maître: I. Avant "l'artisanat furieux"
- Le Marteau sans maître: II. Commentaire I de "bourreaux de solitude"
- Le Marteau sans maître: III. "l'artisanat furieux"
- Le Marteau sans maître: IV. Commentaire II de "bourreaux de solitude"
- Le Marteau sans maître: V. "Bel édifice et les pressentiments", version première
- Le Marteau sans maître: VI. "Bourreaux de solitude"
- Le Marteau sans maître: VII. Après "l'artisanat furieux"
- Le Marteau sans maître: VIII. Commentaire III de "bourreaux de solitude"
- Le Marteau sans maître: IX. "Bel édifice et les pressentiments", double
- Sonatine
- 7 Haïkaï: I. Introduction
- 7 Haïkaï: II. Le parc de Nara et les lanternes de pierre
- 7 Haïkaï: III. Yamanaka-Cadenza
- 7 Haïkaï: IV. Gagaku
- 7 Haïkaï: V. Miyajima et le Torii dans la mer
- 7 Haïkaï: VI. Les oiseaux de Karuizawa
- 7 Haïkaï: VII. Coda
- Don
- Improvisation I - Sur Mallarmé: 'Le vierge, le vivace et le bel aujourd'hui'
- Improvisation II - Sur Mallarmé: 'Une dentelle s'abolit'
- Improvisation III - Sur Mallarmé
- Tombeau
Sur Incises / Messagesquisse / Anthèmes 2 (Ensemble Intercontemporain feat. conductor Pierre Boulez)
- Sur Incises: Moment I
- Sur Incises: Moment II
- Messagesquisse: Très lent
- Messagesquisse: Très rapide
- Messagesquisse: Sans tempo, libre
- Messagesquisse: Aussi rapide que possible
- Anthèmes 2: Libre
- Anthèmes 2: I. Très lent, avec beaucoup de flexibilité. Libre
- Anthèmes 2: II. Rapide, dynamique, très rythmique, rigide. Libre
- Anthèmes 2: III. Lent, régulier. Nerveux, irrégulier. Libre
- Anthèmes 2: IV. Agité,instable. Libre
- Anthèmes 2: V. Très lent, avec beaucoup de flexibilité. Subitement nerveux et extrêmement irrégulier. Libre
- Anthèmes 2: VI-I. Allant, assez serré dans le tempo
- Anthèmes 2: VI-II. Calme, régulier. Agité. Brusque
- Anthèmes 2: VI-III. Calme, sans traîner, d'un mouvement trèsrégulier. Libre
Stravinsky: Pétrouchka / Prokofiev: Sonate No. 7 / Webern: Variationen, Op. 27 / Boulez: Sonate No. 2
- Three Movements from "Pétrouchka": I. Danse russe. Allegro guisto
- Three Movements from "Pétrouchka": II. Chez Petrouchka
- Three Movements from "Pétrouchka": III. La semaine grasse. Con moto - Allegretto - Tempo giusto - Agitato
- Piano Sonata No. 7 in B-flat major, Op. 83: I. Allegro inquieto - Andantino
- Piano Sonata No. 7 in B-flat major, Op. 83: II. Andante caloroso
- Piano Sonata No. 7 in B-flat major, Op. 83: III. Precipitato
- Variations for Piano, Op. 27: I. Sehr mäßig
- Variations for Piano, Op. 27: II. Sehr schnell
- Variations for Piano, Op. 27: III. Ruhig fließend
- Second sonata for Piano: I. Extrêmement rapide
- Second sonata for Piano: II. Lent
- Second sonata for Piano: III. Modéré, presque vif
- Second sonata for Piano: IV. Vif
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Pierre Boulez: ...explosant-fixe... (1/4)
- Order: Reorder
- Duration: 9:43
- Published: 25 Aug 2008
- Updated: 21 Oct 2012
Views: 44425 http://wn.com/Pierre_Boulez_explosant-fixe_1_4
Pierre Boulez talks about his music
- Order: Reorder
- Duration: 19:07
- Published: 14 May 2012
- Updated: 26 Oct 2012
Views: 2434 http://wn.com/Pierre_Boulez_talks_about_his_music
Boulez - Sur Incises (extract) - Ensemble InterContemporain
- Order: Reorder
- Duration: 7:17
- Published: 05 Oct 2007
- Updated: 19 Oct 2012
Views: 68142 http://wn.com/Boulez_Sur_Incises_extract_Ensemble_InterContemporain
Pierre Boulez - Dérive I (1984)
- Order: Reorder
- Duration: 5:50
- Published: 24 Feb 2011
- Updated: 23 Oct 2012
Views: 12605 http://wn.com/Pierre_Boulez_Dérive_I_1984
Pierre Boulez ~ Anthemes
- Order: Reorder
- Duration: 8:37
- Published: 11 Jul 2011
- Updated: 22 Oct 2012
Views: 13190 http://wn.com/Pierre_Boulez_~_Anthemes
Pierre Boulez. Dérive 2.
- Order: Reorder
- Duration: 15:18
- Published: 01 May 2012
- Updated: 14 Oct 2012
Views: 1073 http://wn.com/Pierre_Boulez_Dérive_2
Pierre Boulez - Repons (1) Film of performance
- Order: Reorder
- Duration: 9:50
- Published: 01 Jun 2012
- Updated: 27 Oct 2012
Views: 7806 http://wn.com/Pierre_Boulez_Repons_1_Film_of_performance
Pierre Boulez. Cummings ist der Dichter
- Order: Reorder
- Duration: 12:51
- Published: 11 May 2012
- Updated: 08 Oct 2012
Views: 694 http://wn.com/Pierre_Boulez_Cummings_ist_der_Dichter
Pierre Boulez on Frank Zappa
- Order: Reorder
- Duration: 1:29
- Published: 25 Aug 2011
- Updated: 25 Oct 2012
Views: 31632 http://wn.com/Pierre_Boulez_on_Frank_Zappa
Pierre Boulez Sonata no. 1
- Order: Reorder
- Duration: 10:04
- Published: 09 Mar 2012
- Updated: 14 Oct 2012
Views: 1825 http://wn.com/Pierre_Boulez_Sonata_no_1
Bartók's Concerto for Orchestra ( 2007 ) Pierre Boulez - Masterpieces of Classical Music
- Order: Reorder
- Duration: 27:56
- Published: 15 Dec 2011
- Updated: 24 Oct 2012
Views: 5011 http://wn.com/Bartók's_Concerto_for_Orchestra_2007_Pierre_Boulez_Masterpieces_of_Classical_Music
A. Scriabin : The Poem of Ecstasy - Le Poème de l'Extase op. 54 (Boulez)
- Order: Reorder
- Duration: 22:19
- Published: 01 Jun 2012
- Updated: 27 Oct 2012
Views: 1856 http://wn.com/A_Scriabin_The_Poem_of_Ecstasy_Le_Poème_de_l'Extase_op_54_Boulez
Pierre Boulez: Le soleil des eaux
- Order: Reorder
- Duration: 10:35
- Published: 15 Apr 2007
- Updated: 25 Oct 2012
Views: 78953 http://wn.com/Pierre_Boulez_Le_soleil_des_eaux
Pierre Boulez - Piano Sonata No. 2 - I. Extrêmement rapide
- Order: Reorder
- Duration: 6:07
- Published: 16 Nov 2009
- Updated: 26 Oct 2012
Views: 55432 http://wn.com/Pierre_Boulez_Piano_Sonata_No_2_I_Extrêmement_rapide
Pierre Boulez conducts Stravinsky's The Rite of Spring (Part 1,a)
- Order: Reorder
- Duration: 3:25
- Published: 06 Nov 2010
- Updated: 26 Oct 2012
Views: 22259 http://wn.com/Pierre_Boulez_conducts_Stravinsky's_The_Rite_of_Spring_Part_1,a
Pierre Boulez SHREDS
- Order: Reorder
- Duration: 5:01
- Published: 12 Dec 2009
- Updated: 25 Sep 2012
Views: 22622 http://wn.com/Pierre_Boulez_SHREDS
School for the Ear - Barenboim - Day 3 - Part 1/5
- Order: Reorder
- Duration: 10:11
- Published: 27 Jun 2009
- Updated: 10 Sep 2012
Views: 3205 http://wn.com/School_for_the_Ear_Barenboim_Day_3_Part_1_5
Pierre Boulez Dérive 1.
- Order: Reorder
- Duration: 6:37
- Published: 01 May 2012
- Updated: 22 Oct 2012
Views: 913 http://wn.com/Pierre_Boulez_Dérive_1
Strawinsky - La sagra della Primavera - Boulez - LSO
- Order: Reorder
- Duration: 46:07
- Published: 16 Dec 2011
- Updated: 27 Oct 2012
Views: 14827 http://wn.com/Strawinsky_La_sagra_della_Primavera_Boulez_LSO
La Semaine du Son 2011 - Pierre Boulez
- Order: Reorder
- Duration: 23:30
- Published: 08 Jan 2012
- Updated: 22 Oct 2012
Views: 1537 http://wn.com/La_Semaine_du_Son_2011_Pierre_Boulez
Alban Berg - 『Lulu Suite』 ( Pierre Boulez / Wiener Philharmoniker ) 1 / 5
- Order: Reorder
- Duration: 12:23
- Published: 19 Aug 2012
- Updated: 26 Oct 2012
Views: 851 http://wn.com/Alban_Berg_『Lulu_Suite』_Pierre_Boulez_Wiener_Philharmoniker_1_5
Biennale Musica 2012 - Pierre Boulez
- Order: Reorder
- Duration: 5:35
- Published: 31 Jul 2012
- Updated: 07 Oct 2012
Views: 1369 http://wn.com/Biennale_Musica_2012_Pierre_Boulez
Mahler: Adagio from Symphony no. 10 (Cleveland Orchestra, Boulez)
- Order: Reorder
- Duration: 24:11
- Published: 09 May 2012
- Updated: 22 Oct 2012
Views: 3027 http://wn.com/Mahler_Adagio_from_Symphony_no_10_Cleveland_Orchestra,_Boulez
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0880242786289 - Pierre Boulez live at the Louvre
- Order: Reorder
- Duration: 3:11
- Published: 19 May 2010
- Updated: 11 Dec 2011
IGOR STRAVINSKY The Firebird Feu dArtifice The Firebird (1910 ballet score) Feu dArtifice op. 4 Orchestre de Paris ORCHESTRE DE PARIS Pierre Boulez, conductor Picture format: NTSC 16:9 Sounds formats: PCM Stereo, DD 5.1, DTS 5.1 Booklet notes: English, German, French Running time: 51 mins (Performance) + 54 mins (Documentary) Region code: 0 Bonus Pierre Boulez introduces Stravinskys Firebird FSK: 0
http://wn.com/0880242786289_Pierre_Boulez_live_at_the_Louvre
Pierre Boulez conducts Prokofiev's Scythian Suite ('live')
- Order: Reorder
- Duration: 21:06
- Published: 28 Mar 2012
- Updated: 18 Sep 2012
Pierre Boulez conducts the Cleveland Orchestra
http://wn.com/Pierre_Boulez_conducts_Prokofiev's_Scythian_Suite_'live'
Pierre Boulez conducts the Infernal dance from Stravinsky's Firebird
- Order: Reorder
- Duration: 2:59
- Published: 29 Dec 2010
- Updated: 18 Sep 2012
Full movie on www.medici.tv L'Oiseau de feu (The Firebird): Infernal dans of all Kashchei's subjects (1910 Ballet Score) Pierre Boulez: conductor Orchestre de Paris Excerpt from Andy Sommer's movie, Pierre Boulez: Live at the Louvre. © 2009 Idéale Audience
http://wn.com/Pierre_Boulez_conducts_the_Infernal_dance_from_Stravinsky's_Firebird
Pierre Boulez - Master class in conducting at the Lucerne Festival
- Order: Reorder
- Duration: 4:26
- Published: 14 Sep 2009
- Updated: 11 Oct 2010
Daniel Cohen and Jeffrey Means were the two lucky young conductors to get to work with Maestro Boulez on his Mammoth-of-a-piece: 'Repons' for an instrumental ensemble of 24 players and six soloist with live-electronics. The piece was performed an ensemble of the Lucerne Festival Academy and soloist from the Academy - the first time the piece has been performed by Boulez not with Ensemble InterContemporain. The live electronics was done, as usual, by the technicians from IRCAM.
http://wn.com/Pierre_Boulez_Master_class_in_conducting_at_the_Lucerne_Festival
![Pierre Boulez - Dialogue de l'ombre double (1982-85) for clarinet and electronics [1/2]](http://web.archive.org./web/20121028104143im_/http://i.ytimg.com/vi/xm_ux73L430/0.jpg "Pierre Boulez - Dialogue de l'ombre double (1982-85) for clarinet and electronics [1/2]")
Pierre Boulez - Dialogue de l'ombre double (1982-85) for clarinet and electronics [1/2]
- Order: Reorder
- Duration: 7:20
- Published: 06 Jul 2010
- Updated: 09 Oct 2012
Pierre Boulez (*1925) Dialogue de l'ombre double for clarinet and electronics (1982-85) Alain Damiens, clarinet French composer Pierre Boulez wrote Dialogue de l'ombre double to celebrate Luciano Berio's sixtieth birthday in 1985. The title, which translates to Dialogue of the Double Shadow, was inspired by an excerpt from the 1924 play Le Soulier de satin by Paul Claudel. Written for live clarinet and its pre-recorded counterpart, it is an atonal tour de force of technical virtuosity and timing. The work is divided into thirteen sections beginning with "Sigle initial" and ending with "Sigle final" with alternating Strophes (live clarinet) and Transitions (pre-recorded clarinet). The "shadow" effect and interplay between the two entities is spellbinding, as the tape serves not only as a reflection of the soloist but also as a means of transformation and magnification. As in other compositions by Boulez, spatial relationships dictated by the placement of performers and audience play an integral part. The soloist is stationed in the center of the hall, surrounded by the audience. They, in turn, are placed between the clarinetist and a six-point speaker system resulting in a fascinating challenge to the listener's acoustical perspective. Because the direction of the sound of the same instrument emanates from various speakers, it is like looking at a piece of sculpture from different sides. From chaos to tranquility, one is struck by the emotional contrasts that transcend the <b>...</b>
http://wn.com/Pierre_Boulez_Dialogue_de_l'ombre_double_1982-85_for_clarinet_and_electronics_1_2_
Pierre Boulez - Live at the Louvre
- Order: Reorder
- Duration: 3:11
- Published: 10 May 2011
- Updated: 25 Jun 2012
Composer and conductor Pierre Boulez is renowned for his interpretations of twentiethcentury music, and especially the work of Igor Stravinsky. His inspired performance in December 2008 of The Firebird and Fireworks, with the dynamic Orchestre de Paris, proved to be no exception to this rule. Held inside the spectacular Louvre Pyramid before a rapt audience of two thousand people, it was a truly extraordinary musical event. This release also features a presentation of the work with Boulez, in which he discusses the music and genesis of the ballet in depth.
http://wn.com/Pierre_Boulez_Live_at_the_Louvre
Pierre Boulez (*1925) : Incises (version 2001)
- Order: Reorder
- Duration: 10:46
- Published: 15 Jul 2010
- Updated: 17 Oct 2012
Pierre Boulez (*1925) : Incises (version 2001) Yin Chiang (江瀅) , piano live concert recording 9. April 2010 National Recital Hall Taipei, Taiwan
http://wn.com/Pierre_Boulez_*1925_Incises_version_2001
![Pierre Boulez - Dialogue de l'ombre double (1982-85) for clarinet and electronics [2/2]](http://web.archive.org./web/20121028104143im_/http://i.ytimg.com/vi/Rqm7VpRfGyo/0.jpg "Pierre Boulez - Dialogue de l'ombre double (1982-85) for clarinet and electronics [2/2]")
Pierre Boulez - Dialogue de l'ombre double (1982-85) for clarinet and electronics [2/2]
- Order: Reorder
- Duration: 10:25
- Published: 06 Jul 2010
- Updated: 16 Jun 2012
Pierre Boulez (*1925) Dialogue de l'ombre double for clarinet and electronics (1982-85) Alain Damiens, clarinet French composer Pierre Boulez wrote Dialogue de l'ombre double to celebrate Luciano Berio's sixtieth birthday in 1985. The title, which translates to Dialogue of the Double Shadow, was inspired by an excerpt from the 1924 play Le Soulier de satin by Paul Claudel. Written for live clarinet and its pre-recorded counterpart, it is an atonal tour de force of technical virtuosity and timing. The work is divided into thirteen sections beginning with "Sigle initial" and ending with "Sigle final" with alternating Strophes (live clarinet) and Transitions (pre-recorded clarinet). The "shadow" effect and interplay between the two entities is spellbinding, as the tape serves not only as a reflection of the soloist but also as a means of transformation and magnification. As in other compositions by Boulez, spatial relationships dictated by the placement of performers and audience play an integral part. The soloist is stationed in the center of the hall, surrounded by the audience. They, in turn, are placed between the clarinetist and a six-point speaker system resulting in a fascinating challenge to the listener's acoustical perspective. Because the direction of the sound of the same instrument emanates from various speakers, it is like looking at a piece of sculpture from different sides. From chaos to tranquility, one is struck by the emotional contrasts that transcend the <b>...</b>
http://wn.com/Pierre_Boulez_Dialogue_de_l'ombre_double_1982-85_for_clarinet_and_electronics_2_2_
Pierre Boulez "Anthemes 2" with Rachel Field, violin
- Order: Reorder
- Duration: 5:59
- Published: 10 Oct 2009
- Updated: 25 Jul 2012
Thanks to the Lucerne Festival Academy and IRCAM and to EI violinist Hae-Sun Kang for her unceasing support, coaching, and expertise. She is and will always be the master of this piece.
http://wn.com/Pierre_Boulez_Anthemes_2_with_Rachel_Field,_violin
"Dialogue de l'ombre double" de Pierre Boulez 1/2
- Order: Reorder
- Duration: 10:39
- Published: 21 May 2010
- Updated: 15 Sep 2012
Full video: www.vimeo.com Boulez: Dialogue de l'ombre double Javier Trigos: Clarinette & clarinette double Antonio Flores: Electronic. Zahir Ensemble in concert. Seville. 27-4-2010
http://wn.com/Dialogue_de_l'ombre_double_de_Pierre_Boulez_1_2
![[Ideale Audience 3078628] STRAVINSKY, I.: Firebird / Feu d'artifice (Live at the Louvre)](http://web.archive.org./web/20121028104143im_/http://i.ytimg.com/vi/ECXhW5LsZTg/0.jpg "[Ideale Audience 3078628] STRAVINSKY, I.: Firebird / Feu d'artifice (Live at the Louvre)")
[Ideale Audience 3078628] STRAVINSKY, I.: Firebird / Feu d'artifice (Live at the Louvre)
- Order: Reorder
- Duration: 3:11
- Published: 26 Apr 2010
- Updated: 13 Jun 2012
Orchestre de Paris Pierre Boulez This DVD will be released in May 2010. Composer and conductor Pierre Boulez is renowned for his interpretations of twentiethcentury music, and especially the work of Igor Stravinsky. His inspired performance in December 2008 of The Firebird and Fireworks, with the dynamic Orchestre de Paris, proved to be no exception to this rule. Held inside the spectacular Louvre Pyramid before a rapt audience of two thousand people, it was a truly extraordinary musical event. This release also features a presentation of the work with Boulez, in which he discusses the music and genesis of the ballet in depth. www.naxos.com
http://wn.com/_Ideale_Audience_3078628_STRAVINSKY,_I_Firebird_Feu_d'artifice_Live_at_the_Louvre
Pierre Boulez Sonata no. 1
- Order: Reorder
- Duration: 10:04
- Published: 09 Mar 2012
- Updated: 14 Oct 2012
Pierre Boulez's Premiere Sonate (Sonata no. 1) for piano as performed live by Matt Bengtson in Orleans, France. www.mattbengtson.com/video-boulez.html
http://wn.com/Pierre_Boulez_Sonata_no_1
Messagesquisse by Pierre Boulez
- Order: Reorder
- Duration: 10:51
- Published: 22 May 2011
- Updated: 17 Jun 2012
Oliver Coates - Soloist Darren Bloom - Conductor Cellists from the Royal Academy of Music and Guildhall School of Music and Drama Recorded live in concert at the Duke's Hall, Royal Academy of Music.
http://wn.com/Messagesquisse_by_Pierre_Boulez
Pierre Boulez über Frank Zappa
- Order: Reorder
- Duration: 2:02
- Published: 24 Jul 2009
- Updated: 30 Jul 2012
Ausschnitt aus "Zwischen Ton und Technologie", dt. TV-Doku über Boulez anlässlich dessen 80. Geburtstag, Boulez spricht hier über seine Zusammenarbeit mit Frank Zappa. Excerpt from a TV-documentation about Boulez by the occasion of his 80th birthday. Speaker: "...excursions, not only in art and poetry. Boulez also seeked the experiment with strange musical contemporarys like FZ. Their common CD "Boulez conducts Zappa" is something like a crossover between popular and serious music." Boulez: "Zappa was a big exception in the realm of popular music. I am always open and curios on strong personalities. When Zappa came to me and asked me to play something of his, I said: 'Of course, that interests me'. When I decided a program with his works, I have also chosen pieces of Charles Yves and Elliot Carter. I did that consciously to show the audiences, that I not only wanted to blend a little bit of pop into serious music. I wanted to confront this division of music, which Zappa himself considered very serious, with a prestigious and more intellectual composer like Elliot Carter and Charles Yves, an exception in the american world of music. Two exceptionals and one pylon(???). I considered Frank Zappa througout seriously, incidentally I met him everytime when I visited LA and we had spent an evenig together. He explained me his plans for the future, which he just achieved before he died." Warning/Guarantee: This tranlation is better than babel-fish could, even it is not perfect <b>...</b>
http://wn.com/Pierre_Boulez_über_Frank_Zappa
Derive 1 (1984) by Pierre Boulez
- Order: Reorder
- Duration: 7:09
- Published: 25 Jun 2009
- Updated: 02 May 2012
The Stony Brook Contemporary Chamber Players (CCP) performs Derive I by Pierre Boulez (b. 1925) conducted by Eduardo Leandro. Live concert on October 15, 2008, at the Staller Center for the Arts.
http://wn.com/Derive_1_1984_by_Pierre_Boulez
Pierre Boulez ~ Fanfare for the 80th Birthday of Georg Solti
- Order: Reorder
- Duration: 6:06
- Published: 09 Jan 2010
- Updated: 19 Sep 2012
Live performance of the premiere, conducted by Boulez in Chicago.
http://wn.com/Pierre_Boulez_~_Fanfare_for_the_80th_Birthday_of_Georg_Solti
Jean Claude Eloy Equivalences 1963 Pierre Boulez, The Domaine Music Ensemble
- Order: Reorder
- Duration: 8:51
- Published: 21 Oct 2009
- Updated: 12 Oct 2012
Born in the town of Mont-Saint-Aignan, a suburb of the capital of Haute-Normandie région, Rouen, Jean-Claude Éloy studied at the Conservatoire de Paris, where his composition teacher was Darius Milhaud. He attended the summer courses at Darmstadt in 1957, 1960 and 1961, where he studied with Henri Pousseur, Hermann Scherchen, Olivier Messiaen, Pierre Boulez and Karlheinz Stockhausen. From 1961 to 1963 he attended Boulez's composition master classes at the City of Basel Music Academy. Career. One should also say that while at the Conservatoire de Paris, Éloy was awarded first prizes in piano (1957), chamber music (1958), counterpoint (1959), ondes martenot (1960) and composition (1962). From 1966 to 1968 Éloy taught at the University of California, Berkeley. By the end of this period, his compositional style began to show the influence of Asian music, in works such as Faisceaux-Diffractions (1970) and Kâmakalâ (1971).[1] From 1972 to 1973 he worked in the electronic music studio of WDR in Cologne, where he produced Shânti (revised in 1974). At the electronic studio of Tokyo Radio (NHK) in 197778, he created the four-hour-long Gaku-no-michi. In collaboration with the French Ministry of Culture, in 1983 he founded a center for musical research (CIAMI), where he composed the cycle Libérations, later returning to the use of orchestral and choral forces while also exploring the live-electronic possibilities of synthesizer and sampler orchestras. His works have been performed in <b>...</b>
http://wn.com/Jean_Claude_Eloy_Equivalences_1963_Pierre_Boulez,_The_Domaine_Music_Ensemble
Pierre Boulez - Memorial (...explosate - fixe...Originel)
- Order: Reorder
- Duration: 7:10
- Published: 21 Jan 2011
- Updated: 12 Oct 2012
Guy Eshed - Flute Daniel Barenboim - conductor Members of the West - Eastern Divan Orchestra Live performance from the Salzburg Mozarteum, Salzburg Festival 2008
http://wn.com/Pierre_Boulez_Memorial_explosate_fixeOriginel
"Dialogue de l'ombre double" de Pierre Boulez 2/2
- Order: Reorder
- Duration: 10:41
- Published: 21 May 2010
- Updated: 15 Sep 2012
Full video: www.vimeo.com Boulez: Dialogue de l'ombre double Javier Trigos: Clarinette & clarinette double Antonio Flores: Electronic. Zahir Ensemble in concert. Seville. 27-04-2010.
http://wn.com/Dialogue_de_l'ombre_double_de_Pierre_Boulez_2_2
![Boulez conducts Beethoven's 9th Symphony - Movement 1a [1/9]](http://web.archive.org./web/20121028104143im_/http://i.ytimg.com/vi/aaEIO9qlBdE/0.jpg "Boulez conducts Beethoven's 9th Symphony - Movement 1a [1/9]")
Boulez conducts Beethoven's 9th Symphony - Movement 1a [1/9]
- Order: Reorder
- Duration: 7:56
- Published: 27 Mar 2010
- Updated: 23 Aug 2012
March 26, 1827 - Ludwig van Beethoven died March 26, 1925 - PIerre Boulez born In recognition of this admittedly somewhat trivial coincidence, here is Beethoven's famous 9th Symphony in a live performance by Pierre Boulez and the New York Philharmonic. If you enjoy it, you can download it in full (albeit bootleg) quality here: groups.google.com This part contains the first half of the first movement of the symphony (" Allegro ma non troppo, un poco maestoso") *Note: I have also found a recording of Boulez conducting Beethoven's 7th; if there is interest in that, I could post it as well.
http://wn.com/Boulez_conducts_Beethoven's_9th_Symphony_Movement_1a_1_9_
PIERRE BOULEZ about DISORDER/Q: Bas Andriessen
- Order: Reorder
- Duration: 2:20
- Published: 26 Mar 2012
- Updated: 10 Sep 2012
Today (march 26) it is the birthday of the great composer/conductor PIERRE BOULEZ who gets 87 now. I love his music. For one of my favorite pieces of him, "RÉPONS", I even went to Paris to see him conduct it twice with the Ensemble Intercontemporain in -I think it was- 2004. This short clip is PB answering a question I was able to ask him when he was in Amsterdam in 1995. I think he liked the topic because you can see his eyes twinkling. What he says in this few sentences is of course absolutely true. Even more so now -I think- in a time where we in Holland live in a reactionary political climate which is hostile towards anything that has to do with artistic creativity. Filmed october 1995 Hilton Hotel Amsterdam. Question: Bas Andriessen.
http://wn.com/PIERRE_BOULEZ_about_DISORDER_Q_Bas_Andriessen
Boulez: ...explosante fixe... / Pahud · Boulez · Berliner Philharmoniker
- Order: Reorder
- Duration: 2:56
- Published: 26 May 2011
- Updated: 13 Oct 2012
Full-length concert at www.digitalconcerthall.com Pierre Boulez: ...explosante-fixe... for flute with live-electronics, two flutes and ensemble / Emmanuel Pahud, flute · Marion Ralincourt, flute · Sophie Cherrier, flute · Members of the IRCAM Paris, sound direction· Pierre Boulez, conductor · Berliner Philharmoniker / Recorded at the Berlin Philharmonie, 18 September 2010 The Berliner Philharmoniker's Digital Concert Hall: www.digital-concert-hall.com Subscribe to our newsletter www.digitalconcerthall.com Website of the Berliner Philharmoniker: www.berliner-philharmoniker.de
http://wn.com/Boulez_explosante_fixe_Pahud_·_Boulez_·_Berliner_Philharmoniker
Pierre Boulez, Improvisé pour le Dr. K, Argento, 9/19/2010 at ACFNY
- Order: Reorder
- Duration: 2:47
- Published: 06 Jul 2012
- Updated: 06 Jul 2012
Performance by Argento Chamber Ensemble of Improvisé pour le Dr. K, by Pierre Boulez, at the Austrian Cultural Forum in New York City on September 19, 2010. Michel Galante conducts; Erin Lesser (flute); Carol McGonnell (clarinet); Joanna Chao (piano); Miranda Cuckson (violin); Greg Hesselink (cello). Edwin Adkins (director); Claudia Lopez (editor); Yvonne Wang (camera assistant). Argento would like to thank the the Austrian Cultural Forum, our donors, and the audience members for their support of this series.
http://wn.com/Pierre_Boulez,_Improvisé_pour_le_Dr_K,_Argento,_9_19_2010_at_ACFNY
3:11
0880242786289 - Pierre Boulez live at the Louvre
IGOR STRAVINSKY The Firebird Feu dArtifice The Firebird (1910 ballet score) Feu dArtifice ...
published: 19 May 2010
0880242786289 - Pierre Boulez live at the Louvre
IGOR STRAVINSKY The Firebird Feu dArtifice The Firebird (1910 ballet score) Feu dArtifice op. 4 Orchestre de Paris ORCHESTRE DE PARIS Pierre Boulez, conductor Picture format: NTSC 16:9 Sounds formats: PCM Stereo, DD 5.1, DTS 5.1 Booklet notes: English, German, French Running time: 51 mins (Performance) + 54 mins (Documentary) Region code: 0 Bonus Pierre Boulez introduces Stravinskys Firebird FSK: 0
published: 19 May 2010
author: NAXOSvideo
2:59
Pierre Boulez conducts the Infernal dance from Stravinsky's Firebird
Full movie on www.medici.tv L'Oiseau de feu (The Firebird): Infernal dans of all Kashc...
published: 29 Dec 2010
Pierre Boulez conducts the Infernal dance from Stravinsky's Firebird
Full movie on www.medici.tv L'Oiseau de feu (The Firebird): Infernal dans of all Kashchei's subjects (1910 Ballet Score) Pierre Boulez: conductor Orchestre de Paris Excerpt from Andy Sommer's movie, Pierre Boulez: Live at the Louvre. © 2009 Idéale Audience
published: 29 Dec 2010
author: medicitv
4:26
Pierre Boulez - Master class in conducting at the Lucerne Festival
Daniel Cohen and Jeffrey Means were the two lucky young conductors to get to work with Mae...
published: 14 Sep 2009
Pierre Boulez - Master class in conducting at the Lucerne Festival
Daniel Cohen and Jeffrey Means were the two lucky young conductors to get to work with Maestro Boulez on his Mammoth-of-a-piece: 'Repons' for an instrumental ensemble of 24 players and six soloist with live-electronics. The piece was performed an ensemble of the Lucerne Festival Academy and soloist from the Academy - the first time the piece has been performed by Boulez not with Ensemble InterContemporain. The live electronics was done, as usual, by the technicians from IRCAM.
published: 14 Sep 2009
author: GROPIUS ENSEMBLE
7:20
Pierre Boulez - Dialogue de l'ombre double (1982-85) for clarinet and electronics [1/2]
Pierre Boulez (*1925) Dialogue de l'ombre double for clarinet and electronics (1982-85...
published: 06 Jul 2010
Pierre Boulez - Dialogue de l'ombre double (1982-85) for clarinet and electronics [1/2]
Pierre Boulez (*1925) Dialogue de l'ombre double for clarinet and electronics (1982-85) Alain Damiens, clarinet French composer Pierre Boulez wrote Dialogue de l'ombre double to celebrate Luciano Berio's sixtieth birthday in 1985. The title, which translates to Dialogue of the Double Shadow, was inspired by an excerpt from the 1924 play Le Soulier de satin by Paul Claudel. Written for live clarinet and its pre-recorded counterpart, it is an atonal tour de force of technical virtuosity and timing. The work is divided into thirteen sections beginning with "Sigle initial" and ending with "Sigle final" with alternating Strophes (live clarinet) and Transitions (pre-recorded clarinet). The "shadow" effect and interplay between the two entities is spellbinding, as the tape serves not only as a reflection of the soloist but also as a means of transformation and magnification. As in other compositions by Boulez, spatial relationships dictated by the placement of performers and audience play an integral part. The soloist is stationed in the center of the hall, surrounded by the audience. They, in turn, are placed between the clarinetist and a six-point speaker system resulting in a fascinating challenge to the listener's acoustical perspective. Because the direction of the sound of the same instrument emanates from various speakers, it is like looking at a piece of sculpture from different sides. From chaos to tranquility, one is struck by the emotional contrasts that transcend the <b>...</b>
published: 06 Jul 2010
author: Epogdous
3:11
Pierre Boulez - Live at the Louvre
Composer and conductor Pierre Boulez is renowned for his interpretations of twentiethcentu...
published: 10 May 2011
Pierre Boulez - Live at the Louvre
Composer and conductor Pierre Boulez is renowned for his interpretations of twentiethcentury music, and especially the work of Igor Stravinsky. His inspired performance in December 2008 of The Firebird and Fireworks, with the dynamic Orchestre de Paris, proved to be no exception to this rule. Held inside the spectacular Louvre Pyramid before a rapt audience of two thousand people, it was a truly extraordinary musical event. This release also features a presentation of the work with Boulez, in which he discusses the music and genesis of the ballet in depth.
published: 10 May 2011
author: EuroArtsChannel
10:46
Pierre Boulez (*1925) : Incises (version 2001)
Pierre Boulez (*1925) : Incises (version 2001) Yin Chiang (江瀅) , piano live ...
published: 15 Jul 2010
Pierre Boulez (*1925) : Incises (version 2001)
Pierre Boulez (*1925) : Incises (version 2001) Yin Chiang (江瀅) , piano live concert recording 9. April 2010 National Recital Hall Taipei, Taiwan
published: 15 Jul 2010
author: yinchiang
10:25
Pierre Boulez - Dialogue de l'ombre double (1982-85) for clarinet and electronics [2/2]
Pierre Boulez (*1925) Dialogue de l'ombre double for clarinet and electronics (1982-85...
published: 06 Jul 2010
Pierre Boulez - Dialogue de l'ombre double (1982-85) for clarinet and electronics [2/2]
Pierre Boulez (*1925) Dialogue de l'ombre double for clarinet and electronics (1982-85) Alain Damiens, clarinet French composer Pierre Boulez wrote Dialogue de l'ombre double to celebrate Luciano Berio's sixtieth birthday in 1985. The title, which translates to Dialogue of the Double Shadow, was inspired by an excerpt from the 1924 play Le Soulier de satin by Paul Claudel. Written for live clarinet and its pre-recorded counterpart, it is an atonal tour de force of technical virtuosity and timing. The work is divided into thirteen sections beginning with "Sigle initial" and ending with "Sigle final" with alternating Strophes (live clarinet) and Transitions (pre-recorded clarinet). The "shadow" effect and interplay between the two entities is spellbinding, as the tape serves not only as a reflection of the soloist but also as a means of transformation and magnification. As in other compositions by Boulez, spatial relationships dictated by the placement of performers and audience play an integral part. The soloist is stationed in the center of the hall, surrounded by the audience. They, in turn, are placed between the clarinetist and a six-point speaker system resulting in a fascinating challenge to the listener's acoustical perspective. Because the direction of the sound of the same instrument emanates from various speakers, it is like looking at a piece of sculpture from different sides. From chaos to tranquility, one is struck by the emotional contrasts that transcend the <b>...</b>
published: 06 Jul 2010
author: Epogdous
5:59
Pierre Boulez "Anthemes 2" with Rachel Field, violin
Thanks to the Lucerne Festival Academy and IRCAM and to EI violinist Hae-Sun Kang for her ...
published: 10 Oct 2009
Pierre Boulez "Anthemes 2" with Rachel Field, violin
Thanks to the Lucerne Festival Academy and IRCAM and to EI violinist Hae-Sun Kang for her unceasing support, coaching, and expertise. She is and will always be the master of this piece.
published: 10 Oct 2009
author: themadstradder
10:39
"Dialogue de l'ombre double" de Pierre Boulez 1/2
Full video: www.vimeo.com Boulez: Dialogue de l'ombre double Javier Trigos: Clarinette...
published: 21 May 2010
"Dialogue de l'ombre double" de Pierre Boulez 1/2
Full video: www.vimeo.com Boulez: Dialogue de l'ombre double Javier Trigos: Clarinette & clarinette double Antonio Flores: Electronic. Zahir Ensemble in concert. Seville. 27-4-2010
published: 21 May 2010
author: GuilleFilms
3:11
[Ideale Audience 3078628] STRAVINSKY, I.: Firebird / Feu d'artifice (Live at the Louvre)
Orchestre de Paris Pierre Boulez This DVD will be released in May 2010. Composer and condu...
published: 26 Apr 2010
[Ideale Audience 3078628] STRAVINSKY, I.: Firebird / Feu d'artifice (Live at the Louvre)
Orchestre de Paris Pierre Boulez This DVD will be released in May 2010. Composer and conductor Pierre Boulez is renowned for his interpretations of twentiethcentury music, and especially the work of Igor Stravinsky. His inspired performance in December 2008 of The Firebird and Fireworks, with the dynamic Orchestre de Paris, proved to be no exception to this rule. Held inside the spectacular Louvre Pyramid before a rapt audience of two thousand people, it was a truly extraordinary musical event. This release also features a presentation of the work with Boulez, in which he discusses the music and genesis of the ballet in depth. www.naxos.com
published: 26 Apr 2010
author: naxosvideos
10:04
Pierre Boulez Sonata no. 1
Pierre Boulez's Premiere Sonate (Sonata no. 1) for piano as performed live by Matt Ben...
published: 09 Mar 2012
Pierre Boulez Sonata no. 1
Pierre Boulez's Premiere Sonate (Sonata no. 1) for piano as performed live by Matt Bengtson in Orleans, France. www.mattbengtson.com/video-boulez.html
published: 09 Mar 2012
author: mwbengts
10:51
Messagesquisse by Pierre Boulez
Oliver Coates - Soloist Darren Bloom - Conductor Cellists from the Royal Academy of Music ...
published: 22 May 2011
Messagesquisse by Pierre Boulez
Oliver Coates - Soloist Darren Bloom - Conductor Cellists from the Royal Academy of Music and Guildhall School of Music and Drama Recorded live in concert at the Duke's Hall, Royal Academy of Music.
published: 22 May 2011
author: dbloom82
2:02
Pierre Boulez über Frank Zappa
Ausschnitt aus "Zwischen Ton und Technologie", dt. TV-Doku über Boulez anl&...
published: 24 Jul 2009
Pierre Boulez über Frank Zappa
Ausschnitt aus "Zwischen Ton und Technologie", dt. TV-Doku über Boulez anlässlich dessen 80. Geburtstag, Boulez spricht hier über seine Zusammenarbeit mit Frank Zappa. Excerpt from a TV-documentation about Boulez by the occasion of his 80th birthday. Speaker: "...excursions, not only in art and poetry. Boulez also seeked the experiment with strange musical contemporarys like FZ. Their common CD "Boulez conducts Zappa" is something like a crossover between popular and serious music." Boulez: "Zappa was a big exception in the realm of popular music. I am always open and curios on strong personalities. When Zappa came to me and asked me to play something of his, I said: 'Of course, that interests me'. When I decided a program with his works, I have also chosen pieces of Charles Yves and Elliot Carter. I did that consciously to show the audiences, that I not only wanted to blend a little bit of pop into serious music. I wanted to confront this division of music, which Zappa himself considered very serious, with a prestigious and more intellectual composer like Elliot Carter and Charles Yves, an exception in the american world of music. Two exceptionals and one pylon(???). I considered Frank Zappa througout seriously, incidentally I met him everytime when I visited LA and we had spent an evenig together. He explained me his plans for the future, which he just achieved before he died." Warning/Guarantee: This tranlation is better than babel-fish could, even it is not perfect <b>...</b>
published: 24 Jul 2009
author: ursinatorable
Vimeo results:
9:52
UE Mahler Interviews: Pierre Boulez
Composer and conductor Pierre Boulez talks to Universal Edition about his relationship to ...
published: 22 Jun 2009
Author: Universal Edition
UE Mahler Interviews: Pierre Boulez
Composer and conductor Pierre Boulez talks to Universal Edition about his relationship to the music of Gustav Mahler.
19:06
UE Interviews: Pierre Boulez
Pierre Boulez talks to Universal Edition about his own works....
published: 12 May 2011
Author: Universal Edition
UE Interviews: Pierre Boulez
Pierre Boulez talks to Universal Edition about his own works.
3:03
Desy Safan-Gérard & Maria Clark
Exposition-performance de l'artiste Desy Safan-Gérard et du modèle Maria Clark à la galeri...
published: 17 Jun 2012
Author: le modalogue
Desy Safan-Gérard & Maria Clark
Exposition-performance de l'artiste Desy Safan-Gérard et du modèle Maria Clark à la galerie Dufay-Bonnet, Paris
Music by Pierre Boulez
10:50
Messagesquisse by Pierre Boulez
Oliver Coates - Soloist
Darren Bloom - Conductor
Cellists from the Royal Academy of Music ...
published: 22 May 2011
Author: Darren Bloom
Messagesquisse by Pierre Boulez
Oliver Coates - Soloist
Darren Bloom - Conductor
Cellists from the Royal Academy of Music and Guildhall School of Music and Drama
Recorded live in concert at the Duke's Hall, Royal Academy of Music.
Youtube results:
7:09
Derive 1 (1984) by Pierre Boulez
The Stony Brook Contemporary Chamber Players (CCP) performs Derive I by Pierre Boulez (b. ...
published: 25 Jun 2009
Derive 1 (1984) by Pierre Boulez
The Stony Brook Contemporary Chamber Players (CCP) performs Derive I by Pierre Boulez (b. 1925) conducted by Eduardo Leandro. Live concert on October 15, 2008, at the Staller Center for the Arts.
published: 25 Jun 2009
author: edleandro
6:06
Pierre Boulez ~ Fanfare for the 80th Birthday of Georg Solti
Live performance of the premiere, conducted by Boulez in Chicago....
published: 09 Jan 2010
Pierre Boulez ~ Fanfare for the 80th Birthday of Georg Solti
Live performance of the premiere, conducted by Boulez in Chicago.
published: 09 Jan 2010
author: MrGrandsOuttakes
8:51
Jean Claude Eloy Equivalences 1963 Pierre Boulez, The Domaine Music Ensemble
Born in the town of Mont-Saint-Aignan, a suburb of the capital of Haute-Normandie ré...;
published: 21 Oct 2009
Jean Claude Eloy Equivalences 1963 Pierre Boulez, The Domaine Music Ensemble
Born in the town of Mont-Saint-Aignan, a suburb of the capital of Haute-Normandie région, Rouen, Jean-Claude Éloy studied at the Conservatoire de Paris, where his composition teacher was Darius Milhaud. He attended the summer courses at Darmstadt in 1957, 1960 and 1961, where he studied with Henri Pousseur, Hermann Scherchen, Olivier Messiaen, Pierre Boulez and Karlheinz Stockhausen. From 1961 to 1963 he attended Boulez's composition master classes at the City of Basel Music Academy. Career. One should also say that while at the Conservatoire de Paris, Éloy was awarded first prizes in piano (1957), chamber music (1958), counterpoint (1959), ondes martenot (1960) and composition (1962). From 1966 to 1968 Éloy taught at the University of California, Berkeley. By the end of this period, his compositional style began to show the influence of Asian music, in works such as Faisceaux-Diffractions (1970) and Kâmakalâ (1971).[1] From 1972 to 1973 he worked in the electronic music studio of WDR in Cologne, where he produced Shânti (revised in 1974). At the electronic studio of Tokyo Radio (NHK) in 197778, he created the four-hour-long Gaku-no-michi. In collaboration with the French Ministry of Culture, in 1983 he founded a center for musical research (CIAMI), where he composed the cycle Libérations, later returning to the use of orchestral and choral forces while also exploring the live-electronic possibilities of synthesizer and sampler orchestras. His works have been performed in <b>...</b>
published: 21 Oct 2009
author: lendallpitts
7:10
Pierre Boulez - Memorial (...explosate - fixe...Originel)
Guy Eshed - Flute Daniel Barenboim - conductor Members of the West - Eastern Divan Orchest...
published: 21 Jan 2011
Pierre Boulez - Memorial (...explosate - fixe...Originel)
Guy Eshed - Flute Daniel Barenboim - conductor Members of the West - Eastern Divan Orchestra Live performance from the Salzburg Mozarteum, Salzburg Festival 2008
published: 21 Jan 2011
author: eshedilan45
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Pierre Boulez (French pronunciation: [pjɛʁ bu.lɛːz]) (born 26 March 1925) is a French composer of contemporary classical music, a pianist, and a conductor.
Contents |
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.[1]
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.[2] 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.[3] 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.[4]
Serialism[link]
| "[A]ny musician who has not experienced — I do not say understood, but truly experienced — the necessity of dodecaphonic music is USELESS. For his whole work is irrelevant to the needs of his epoch." |
| Pierre Boulez ("Eventuellement...", 1952, translated as "Possibly...")[5] |
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.[6] 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'".[7]
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.[8]
[edit] Le marteau sans maître
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",[9] and one of the few works of advanced music from the 1950s to remain in the repertoire.[citation needed] 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,[10] and in his 1981 doctoral thesis.[11] However, an explanation of the processes themselves was not made until 1993.[12] Other techniques used in the "Bourreaux de solitude" cycle were first described by Ulrich Mosch,[13] and later fully elaborated by him.[14]
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]
| "Why compose works that have to be re-created every time they are performed? Because definitive, once-and-for-all developments seem no longer appropriate to musical thought as it is today, or to the actual state that we have reached in the evolution of musical technique, which is increasingly concerned with the investigation of a relative world, a permanent 'discovering' rather like the state of 'permanent revolution'." |
| Pierre Boulez ("Sonate, que me veux-tu?", 1960)[15] |
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?".[16] 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.[17]
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.[18] 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.[9] 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.[19] 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[20]—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.[21][22][23][24] 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.[25] 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.[26] 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.[citation needed] 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.[27] 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.[28] 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.[29] 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.[30]
Two interviews with Pierre Boulez were published in 2007 and 2008.[31]
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.[32]
- Kyoto Prize (2009) Arts & Philosophy
- Edison Award (2010) Classical Music
- Gramophone Hall of Fame entrant (2012)[33]
Compositions[link]
Main article: List of compositions by Pierre Boulez
- 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]
- Anon. 2008. "Pierre Boulez—Every Composer Chooses His Fathers". In Talking to Kinky and Karlheinz—170 Musicians Get Vocal on the Music Show, edited by Anni Heino, 254–62. Sydney: ABC Books. ISBN 978-0-7333-2008-8.
- Barulich, Frances. 1988. "Pierre Boulez by Dominique Jameux; Pierre Boulez und sein Werk by Theo Hirsbrunner; Pierre Boulez: A Symposium edited by William Glock; Orientations: Collected Writings by Pierre Boulez edited and with an introduction by Jean-Jacques Nattiez and translated by Martin Cooper; Éclats/Boulez edited by Claude Samuel with the collaboration of Jacqueline Muller; Pierre Boulez: Eine Festschrift zum 60. Geburtstag am 26. März 1985 edited by Josef Häusler; Boulez in Bayreuth/Boulez à Bayreuth: Der Jahrhundert-Ring/The Centenary 'Ring'/Le 'Ring' du centenaire Histoire d'un 'Ring' Entretiens sur la 'Tétralogie du centenaire': Pierre Boulez, Jeffrey Tate, Jean-Jacques Nattiez" [book review]. Notes 2nd series, 45, no. 1 (September): 48–52.
- Blaustein, Susan. 1989. “The Survival of Aesthetics: Books by Boulez, Delio, Rochberg”. Perspectives of New Music 27, no. 1 (Winter): 272–303.
- Boulez, Pierre. 1971. Boulez on Music Today, translate by Susan Bradshaw and Richard Rodney Bennett. Cambridge, Mass.: Harvard University Press. ISBN 0-674-08006-8; London: Faber. ISBN 0-571-09420-1
- Boulez, Pierre 1981. Orientations: Collected Writings, collected and edited by Jean-Jacques Nattiez, translated by Martin Cooper. Cambridge, MA: Harvard University Press. ISBN 0-674-64376-3. New edition, translated by Martin Cooper from the second French edition of Points de repère, London and Boston: Faber & Faber, 1986. ISBN 0-571-13811-X (cased); ISBN 0-571-13835-7 (pbk).
- Boulez, Pierre. 1986. "Sonate, que me veux-tu?" (1960). In his Orientations: Collected Writings, translated by, 143–154. London: Faber and Faber. ISBN 0-571-14347-4.
- Boulez, Pierre. 1991a. "Schoenberg is Dead" (1952). In his Stocktakings from an Apprenticeship, collected and presented by Paule Thévenin, translated by Stephen Walsh, with an introduction by Robert Piencikowski, 209–14. Oxford: Clarendon Press; New York: Oxford University Press. ISBN 0-19-311210-8
- Boulez, Pierre. 1991b. "Possibly..." (1952). In his Stocktakings from an Apprenticeship, collected and presented by Paule Thévenin, translated by Stephen Walsh, with an introduction by Robert Piencikowski, 111–40. Oxford: Clarendon Press; New York: Oxford University Press. ISBN 0-19-311210-8
- Boulez, Pierre. 1991c. "Alea" (1957). In his Stocktakings from an Apprenticeship, collected and presented by Paule Thévenin, translated by Stephen Walsh, with an introduction by Robert Piencikowski, 26–38. Oxford: Clarendon Press; New York: Oxford University Press. ISBN 0-19-311210-8
- Boulez, Pierre. 1995. Points de repère. I: Imaginer, edited by Jean-Jacques Nattiez and Sophie Galaise, with the collaboration of Robert Piecikowski. Musique/passé/présent. Paris: Bourgois.
- Boulez, Pierre. 2005a. Points de repère. II: Regards sur autrui, edited by Jean-Jacques Nattiez and Sophie Galaise. Musique/passé/présent. Paris: Bourgois.
- Boulez, Pierre. 2005b. Points de repère. III: Leçons de musique: Deux décennies d'enseignement au Collège de France, edited by Jean-Jacques Nattiez, preface by Jonathan Goldman, foreword by Michel Fouculta. Musique/passé/présent. Paris: Bourgois.
- Boulez, Pierre, and Dan Albertson. 2007. ". . .'ouvert', encore. . .". Contemporary Music Review 26, nos. 3–4 (June–August):.339–40.
- Burnham, Scott G. "Beethoven, Ludwig van, §19: Posthumous influence and reception (iii) Political reception.", Grove Music Online, ed. L. Macy. (Subscription access).
- Di Pietro, Rocco. 2001. Dialogues with Boulez. Lanham, Md.:The Scarecrow Press, Inc. ISBN 0-8108-3932-6
- Ewen, David. 1971. "Pierre Boulez". In David Ewen, Composers of Tomorrow's Music: A Non-technical Introduction to the Musical Avant-garde Movement, 78–93. New York: Dodd, Mead & Co. ISBN 0-396-06286-5
- Griffiths, Paul. 1995. Modern Music and After: Directions Since 1945. London: Oxford University Press. ISBN 0-19-816578-1 (cloth); ISBN 0-19-816511-0 (pbk)
- Harvey, Jonathan. 1971. “A Clear View”. Musical Times 112, no. 1540 (June): 557.
- Hayes, Malcolm. 1992. Review of Stocktakings from an Apprenticeship by Pierre Boulez; Stephen Walsh. Tempo new series, no. 180 (Mar., 1992): 29–30.
- Heinemann, Stephen. 1993. "Pitch-Class Set Multiplication in Boulez's Le Marteau sans maître". DMA thesis. Seattle: University of Washington.
- Heinemann, Stephen. 1998. "Pitch-Class Set Multiplication in Theory and Practice". Music Theory Spectrum 20, no. 1 (Spring): 72–96. Abstract (accessed 17 June 2008)
- Hopkins, G. W., and Paul Griffiths. 2006. "Pierre Boulez", Grove Music Online ed. L. Macy. (Subscription access)
- Humbertclaude Eric. 1999. La Transcription dans Boulez et Murail : de l’oreille à l’éveil, Paris: Harmattan. ISBN 2-7384-8042-X
- Jameux, Dominique. 1991. Pierre Boulez, translated by Susan Bradshaw. Cambridge, Mass.: Harvard University Press. ISBN 0-674-66740-9 London: Faber. ISBN 0-571-13744-X
- Koblyakov, Lev (1977). "P. Boulez Le marteau sans maître: Analysis of Pitch Structure". Zeitschrift für Musiktheorie 8 (1): 24–39.
- Koblyakov, Lev. 1981. "The World of Harmony of Pierre Boulez: Analysis of Le marteau sans maître". Ph.D. diss., Hebrew University of Jerusalem.
- Koblyakov, Lev. 1990. Pierre Boulez: A World of Harmony. Contemporary Music Studies 2. Chur, Switzerland, and New York: Harwood Academic Publishers. ISBN 3-7186-0422-1
- Ligeti, György. 1960. "Pierre Boulez: Decision and Automatism in Structure Ia." Die Reihe 4 (Young Composers): 36-62. (Translated from the original German edition of 1958.)
- McNamee, Ann K. (1992). "Are Boulez and Stockhausen Ready for the Mainstream? A Review". The Musical Quarterly 76 (2): 283–91. DOI:10.1093/mq/76.2.283.
- Mosch, Ulrich (1997). "Wahrnehmungsweisen serieller Musik". Musiktheorie 12: 61–70.
- Mosch, Ulrich. 2004. Musikalisches Hören serieller Musik: Untersuchungen am Beispiel von Pierre Boulez' Le Marteau sans maître. Saarbrücken: Pfau-Verlag. ISBN 3-89727-253-9
- Obrist, Hans Ulrich, and Philippe Parreno. 2008. "An Interview with Pierre Boulez". In Sound Unbound: Sampling Digital Music and Culture, edited by Paul D. Miller, a.k.a. DJ Spooky That Subliminal Kid, 361–74. Cambridge, Mass: MIT Press. ISBN 978-0-262-63363-5
- Orton, Richard, and Hugh Davies. 2001. "Ondes martenot". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
- Peyser, Joan. 1976. Boulez: Composer, Conductor, Enigma. New York: Schirmer Books. ISBN 0-02-871700-7; London: Cassell. ISBN 0-304-29901-4
- Steenhuisen, Paul. 2009. "Interview with Pierre Boulez". In Sonic Mosaics: Conversations with Composers. Edmonton: University of Alberta Press. ISBN 978-0-88864-474-9
- Vermeil, Jean. 1996. Conversations with Boulez: Thoughts on Conducting. Translated by Camille Nash, with a selection of programs conducted by Boulez and a discography by Paul Griffiths. Portland, Oregon: Amadeus Press. ISBN 1-57467-007-7
References[link]
- ^ "Pierre Boulez: A Master With Class". Inspired Minds. http://www.inspiredminds.de/detail.php?id=30. Retrieved 18 August 2009.
- ^ "Boulez Interview". EdWebProject. http://www.edwebproject.org/boulez.html. Retrieved 18 August 2009.
- ^ Scott G. Burnham. "Beethoven, Ludwig van, §19: Posthumous influence and reception (iii) Political reception.", Grove Music Online, ed. L. Macy (accessed 10 February 2007), grovemusic.com (subscription access).
- ^ Orton and Davies 2001.
- ^ Boulez 1991b, 113
- ^ Hopkins and Griffiths 2006
- ^ Ligeti 1960, 62
- ^ Hopkins, G. W., and Paul Griffiths. 2006. "Pierre Boulez", Grove Music Online ed. L. Macy Retrieved on 13 November 2006
- ^ a b Hopkins and Griffiths 2006.
- ^ Koblyakov 1977.
- ^ Koblyakov 1981, published as Koblyakov 1990.
- ^ Heinemann 1993
- ^ Mosch 1997
- ^ Mosch 2004.
- ^ Boulez 1986, 143.
- ^ Boulez 1991c and 1986.
- ^ Audio Culture: Reading in Modern Music by Christoph Cox, Daniel Warner, 2004, p189 - 194.
- ^ Tom Service: 'You just have to impose your will', interview with Boulez, The Guardian, 28 August 2008
- ^ http://www.lucernefestival.ch/en/lucerne_festival_academy/the_academy/
- ^ Vermeil 1996.
- ^ "Press Quotes for Bartók Piano Concertos Nos.1-3 Boulez 4775330". Deutsche Grammophon. http://www.deutschegrammophon.com/artist/pressdetail.htms?PRODUCT_NR=4775330&ART_ID=BOUPI. Retrieved 2007-07-15.
- ^ Kozinn, Allan (1 February 2005). "Peering Into the Mechanism of Stravinsky's 'Rite of Spring'". New York Times. http://www.nytimes.com/2005/02/01/arts/music/01boul.html. Retrieved 15 July 2007.
- ^ Oestreich, James (16 March 2000). "Music Review; Colorful Sounds, Tuned by a Dynamo". New York Times. http://query.nytimes.com/gst/fullpage.html?res=9B05E2D61E3BF935A25750C0A9669C8B63. Retrieved 15 July 2007.
- ^ Tommasini, Anthony (29 January 2005). "A Good Scrubbing for Mahler". New York Times. http://www.nytimes.com/2005/01/29/arts/music/29lond.html?ex=1169096400&en=29d02506a3bd2aa5&ei=5070. Retrieved 15 July 2007.
- ^ Marc Bridle. "Review of Boulez's Bruckner 8th Symphony on CD". MusicWeb International. http://www.musicweb-international.com/classrev/2000/nov00/bruckner8boulez.htm. Retrieved 15 July 2007.
- ^ Boulez at 70: Pierre Boulez as conductor in his recent DG recordings and in conversation with Stephen Plaistow. A Gramophone magazine/Deutsche Grammophon CD (1995)
- ^ Tim Ashley (4 June 2007). "From the House of the Dead". The Guardian. http://music.guardian.co.uk/classical/operalivereviews/story/0,,2094571,00.html. Retrieved 2007-09-07.
- ^ "What's On / Proms by Day—Friday 15 Ausgust". BBC. 2008. http://www.bbc.co.uk/proms/2008/whatson/1508.shtml. Retrieved 2008-08-18.
- ^ Barulich 1988, 50; Blaustein 1989, 273; Harvey 1971, 557; Hayes 1992, 29; McNamee 1992, 286 all cite his writing as "perceptive".
- ^ Boulez 1995, 2005a, and 2005b.
- ^ Boulez and Albertson 2007; Obrist and Parreno 2008.
- ^ Leading clarinetist to receive Sanford Medal
- ^ "Pierre Boulez (conductor and composer)". Gramophone. http://www.gramophone.co.uk/HallofFame/ArtistPage/Boulez. Retrieved 10 April 2012.
External links[link]
 |
Wikiquote has a collection of quotations related to: Pierre Boulez |
- Pierre Boulez at Allmusic
- 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
- Excerpts from sound archives of Boulez's works.
- (French) A biography of Pierre Boulez, from IRCAM's website.
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| Persondata | |
|---|---|
| Name | Boulez, Pierre |
| Alternative names | |
| Short description | Composer, conductor, writer |
| Date of birth | March 26, 1925 |
| Place of birth | Montbrison, France |
| Date of death | |
| Place of death | |
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This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Pierre_Boulez
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This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
| Frank Zappa | |
|---|---|
 Zappa performing in Ekeberghallen, Oslo, on January 16, 1977 |
|
| Background information | |
| Birth name | Frank Vincent Zappa |
| Born | (1940-12-21)December 21, 1940 Baltimore, Maryland, U.S. |
| Died | December 4, 1993(1993-12-04) (aged 52) Los Angeles, California, U.S. due to prostate cancer |
| Genres | Rock, experimental, jazz, classical |
| Occupations | Composer, musician, conductor, producer |
| Instruments | Vocals, guitar, bass, keyboards, synclavier, bicycle, drums |
| Years active | 1955–1993 |
| Labels | Verve, Bizarre, Straight, DiscReet, Zappa, Barking Pumpkin |
| Associated acts | The Mothers of Invention Captain Beefheart Steve Vai |
| Website | zappa.com |
| Notable instruments | |
Frank Vincent Zappa[1] (December 21, 1940 – December 4, 1993) was an American composer, singer-songwriter, electric guitarist, recording engineer, record producer and film director. In a career spanning more than 30 years, Zappa wrote rock, jazz, orchestral and musique concrète works. He also directed feature-length films and music videos, and designed album covers. Zappa produced almost all of the more than 60 albums he released with the band The Mothers of Invention and as a solo artist. While in his teens, he acquired a taste for percussion-based avant-garde composers such as Edgard Varèse and 1950s rhythm and blues music. He began writing classical music in high school, while at the same time playing drums in rhythm and blues bands; he later switched to electric guitar.
He was a self-taught composer and performer, and his diverse musical influences led him to create music that was often impossible to categorize. His 1966 debut album with The Mothers of Invention, Freak Out!, combined songs in conventional rock and roll format with collective improvisations and studio-generated sound collages. His later albums shared this eclectic and experimental approach, irrespective of whether the fundamental format was one of rock, jazz or classical. His lyrics—often humorously—reflected his iconoclastic view of established social and political processes, structures and movements. He was a strident critic of mainstream education and organized religion, and a forthright and passionate advocate for freedom of speech, self-education, political participation and the abolition of censorship.
Zappa was a highly productive and prolific artist and gained widespread critical acclaim. He had some commercial success, particularly in Europe, and for most of his career was able to work as an independent artist. He also remains a major influence on musicians and composers. Zappa was posthumously inducted into the Rock and Roll Hall of Fame in 1995 and received the Grammy Lifetime Achievement Award in 1997. Zappa was married to Kathryn J. "Kay" Sherman from 1960 to 1964. In 1967, he married Adelaide Gail Sloatman, with whom he remained until his death from prostate cancer in 1993. They had four children: Moon Unit, Dweezil, Ahmet Emuukha Rodan and Diva Thin Muffin Pigeen. Gail Zappa manages the businesses of her late husband under the name the Zappa Family Trust.
Contents |
Early life[link]
Frank Zappa was born in Baltimore, Maryland, on December 21, 1940. His mother, Rose Marie Colimore, was of Italian and French ancestry; his father, Francesco Vincente Zappa, was an immigrant from Partinico, Sicily, and was of Greek and Arab ancestry.[2] Zappa was the eldest of four children.[3] The family moved often because his father, a chemist and mathematician, worked in the defense industry. After a time in Florida in the 1940s, the family returned to Maryland, where Zappa's father worked at the Edgewood Arsenal chemical warfare facility of the Aberdeen Proving Ground. Due to their home's proximity to the arsenal, which stored mustard gas, gas masks were kept in the home.[4] This had a profound effect on Zappa, and references to germs, germ warfare and the defense industry occur throughout his work.[5]
Zappa was often sick as a child, suffering from asthma, earaches and sinus problems. A doctor treated his sinusitis by inserting a pellet of radium into each of Zappa's nostrils; little was known about the potential dangers of even small amounts of therapeutic radiation.[6] Nasal imagery and references appear in his music and lyrics, as well as in the collage album covers created by his long-time collaborator Cal Schenkel.
Many of Zappa's childhood diseases may have been due to exposure to mustard gas. His health worsened when he lived in Baltimore.[4][6] In 1952, his family relocated for reasons of health.[7] They moved, next, to Monterey, California, where his father taught metallurgy at the Naval Postgraduate School. They soon moved to Claremont, then to El Cajon, before finally settling in San Diego.[8]
Musical influences[link]
"Since I didn't have any kind of formal training, it didn't make any difference to me if I was listening to Lightnin' Slim, or a vocal group called the Jewels ... , or Webern, or Varèse, or Stravinsky. To me it was all good music."
—Frank Zappa, 1989[9]
Zappa joined his first band at Mission Bay High School in San Diego. He was the band's drummer.[10] About the same time his parents bought a phonograph, which allowed him to develop his interest in music, and to begin building his record collection.[11] R&B singles were early purchases, starting a large collection he kept for the rest of his life.[12] He was interested in sounds for their own sake, particularly the sounds of drums and other percussion instruments. By age 12, he had obtained a snare drum and began learning the basics of orchestral percussion.[10] Zappa's deep interest in modern classical music began[13] when he read a LOOK magazine article about the Sam Goody record store chain that lauded its ability to sell an LP as obscure as The Complete Works of Edgard Varèse, Volume One.[14] The article described Varèse's percussion composition Ionisation, produced by EMS Recordings, as "a weird jumble of drums and other unpleasant sounds". Zappa decided to seek out Varèse's music. After searching for over a year, Zappa found a copy (he noticed the LP because of the "mad scientist" looking photo of Varèse on the cover). Not having enough money with him, he persuaded the salesman to sell him the record at a discount.[14] Thus began his lifelong passion for Varèse's music and that of other modern classical composers.
"The things that were happening in 1955 were cosmic ... in terms of music history."
—Frank Zappa, 1969 Pop Chronicles interview.[15]
Zappa grew up influenced by avant-garde composers such as Varèse, Halim El-Dabh,[16] Igor Stravinsky, and Anton Webern, R&B and doo-wop groups (including the Medallions[15] and local pachuco groups), and modern jazz. His own heterogeneous ethnic background, and the diverse social and cultural mix in and around greater Los Angeles, were crucial in the formation of Zappa as a practitioner of underground music and of his later distrustful and openly critical attitude towards "mainstream" social, political and musical movements. He frequently lampooned musical fads like psychedelia, rock opera and disco.[17][18] Television also exerted a strong influence, as demonstrated by quotations from show themes and advertising jingles found in his later works.[19]
Youth and beginning of career (1955–1960)[link]
By 1956, the Zappa family had moved to Lancaster, a small aerospace and farming town in the Antelope Valley of the Mojave Desert close to Edwards Air Force Base, in northern Los Angeles County. Zappa's mother encouraged him in his musical interests. Although she disliked Varèse's music, she was indulgent enough to give her son a long distance call to the composer as a 15th birthday present.[14] Unfortunately, Varèse was in Europe at the time, so Zappa spoke to the composer's wife. He later received a letter from Varèse thanking him for his interest, and telling him about a composition he was working on called "Déserts". Living in the desert town of Lancaster, Zappa found this very exciting. Varèse invited him to visit if he ever came to New York. The meeting never took place (Varèse died in 1965), but Zappa framed the letter and kept it on display for the rest of his life.[13][20]
At Antelope Valley High School, Zappa met Don Vliet (who later expanded his name to Don Van Vliet and adopted the stage name Captain Beefheart). Zappa and Vliet became close friends, sharing an interest in R&B records and influencing each other musically throughout their careers.[21] Around the same time, Zappa started playing drums in a local band, The Blackouts.[17] The band was racially diverse, and included Euclid James "Motorhead" Sherwood who later became a member of The Mothers of Invention. Zappa's interest in the guitar grew, and in 1957 he was given his first guitar. Among his early influences were Johnny "Guitar" Watson, Howlin' Wolf and Clarence "Gatemouth" Brown.[22] (In the 1970s and '80s, he invited Watson to perform on several albums.) Zappa considered soloing as the equivalent of forming "air sculptures",[23] and developed an eclectic, innovative and highly personal style.
Zappa's interest in composing and arranging proliferated in his last high-school years. By his final year, he was writing, arranging and conducting avant-garde performance pieces for the school orchestra.[24] He graduated from Antelope Valley High School in 1958, and later acknowledged two of his music teachers on the sleeve of the 1966 album Freak Out![25] Due to his family's frequent moves, Zappa attended at least six different high schools, and as a student he was often bored and given to distracting the rest of the class with juvenile antics.[26] He left community college after one semester, and maintained thereafter a disdain for formal education, taking his children out of school at age 15 and refusing to pay for their college.[27]
Zappa left home in 1959, and moved into a small apartment in Echo Park, Los Angeles. After meeting Kathryn J. "Kay" Sherman during his short stay at Pomona College, they moved in together in Ontario, and were married December 28, 1960.[28] Zappa worked for a short period in advertising. His sojourn in the commercial world was brief, but gave him valuable insights into how it works.[29] Throughout his career, he took a keen interest in the visual presentation of his work, designing some of his album covers and directing his own films and videos.
Early 1960s: Studio Z[link]
Zappa attempted to earn a living as a musician and composer, and played different nightclub gigs, some with a new version of The Blackouts.[30] Financially more rewarding were Zappa's earliest professional recordings, two soundtracks for the low-budget films The World's Greatest Sinner (1962) and Run Home Slow (1965). The former score was commissioned by actor-producer Timothy Carey and recorded in 1961. It contains many themes that appeared on later Zappa records.[31] The latter soundtrack was recorded in 1963 after the film was completed, but it was commissioned by one of Zappa's former high school teachers in 1959 and Zappa may have worked on it before the film was shot.[32] Excerpts from the soundtrack can be heard on the posthumous album The Lost Episodes (1996).
During the early 1960s, Zappa wrote and produced songs for other local artists, often working with singer-songwriter Ray Collins and producer Paul Buff. Their "Memories of El Monte" was recorded by The Penguins, although only Cleve Duncan of the original group was featured.[33] Buff owned the small Pal Recording Studio in Cucamonga, which included a unique five-track tape recorder he had built. At that time, only a handful of the most sophisticated commercial studios had multi-track facilities; the industry standard for smaller studios was still mono or two-track.[34] Although none of the recordings from the period achieved major commercial success, Zappa earned enough money to allow him to stage a concert of his orchestral music in 1963 and to broadcast and record it.[35] He appeared on Steve Allen's syndicated late night show the same year, in which he played a bicycle as a musical instrument.[36] With Captain Beefheart, Zappa recorded some songs under the name of The Soots. They were rejected by Dot Records for having "no commercial potential", a verdict Zappa subsequently quoted on the sleeve of Freak Out![37]
In 1964, after his marriage started to break up, he moved into the Pal studio and began routinely working 12 hours or more per day recording and experimenting with overdubbing and audio tape manipulation. This set a work pattern that endured for most of his life.[38] Aided by his income from film composing, Zappa took over the studio from Paul Buff, who was now working with Art Laboe at Original Sound. It was renamed Studio Z.[39] Studio Z was rarely booked for recordings by other musicians. Instead, friends moved in, notably James "Motorhead" Sherwood.[40] Zappa started performing as guitarist with a power trio, The Muthers, in local bars in order to support himself.[41]
An article in the local press describing Zappa as "the Movie King of Cucamonga" prompted the local police to suspect that he was making pornographic films.[42] In March 1965, Zappa was approached by a vice squad undercover officer, and accepted an offer of $100 to produce a suggestive audio tape for an alleged stag party. Zappa and a female friend recorded a faked erotic episode. When Zappa was about to hand over the tape, he was arrested, and the police stripped the studio of all recorded material.[42] The press was tipped off beforehand, and next day's The Daily Report wrote that "Vice Squad investigators stilled the tape recorders of a free-swinging, a-go-go film and recording studio here Friday and arrested a self-styled movie producer".[43] Zappa was charged with "conspiracy to commit pornography".[44] This felony charge was reduced and he was sentenced to six months in jail on a misdemeanor, with all but ten days suspended.[45] His brief imprisonment left a permanent mark, and was key in the formation of his anti-authoritarian stance.[46] Zappa lost several recordings made at Studio Z in the process, as the police only returned 30 out of 80 hours of tape seized.[47] Eventually, he could no longer afford to pay the rent on the studio and was evicted.[48] Zappa managed to recover some of his possessions before the studio was torn down in 1966.[49]
Late 1960s: The Mothers of Invention[link]
In 1965, Zappa was approached by Ray Collins who asked him to take over as the guitarist in local R&B band The Soul Giants, following a fight between Collins and the group's original guitarist.[3] Zappa accepted, and soon he assumed leadership and the role as co-lead singer (even though he never considered himself a singer[50]). He convinced the other members that they should play his music to increase the chances of getting a record contract.[51] The band was renamed The Mothers, coincidentally on Mother's Day.[52] The group increased their bookings after beginning an association with manager Herb Cohen, while they gradually gained attention on the burgeoning Los Angeles underground music scene.[53] In early 1966, they were spotted by leading record producer Tom Wilson when playing "Trouble Every Day", a song about the Watts Riots.[54] Wilson had earned acclaim as the producer for singer-songwriter Bob Dylan and the folk-rock act Simon & Garfunkel, and was notable as one of the few African Americans working as a major label pop music producer at this time.
Wilson signed The Mothers to the Verve Records division of MGM Records, which had built up a strong reputation in the music industry for its releases of modern jazz recordings in the 1940s and 1950s, but was attempting to diversify into pop and rock audiences. Verve insisted that the band officially rename themselves because "Mother", in slang terminology, was short for "motherfucker" — a term that apart from its profane meanings can denote a skilled musician.[55] The label suggested the name "The Mothers Auxiliary", which prompted Zappa to come up with the name "The Mothers of Invention."
[edit] Debut album: Freak Out! (1966)
With Wilson credited as producer, The Mothers of Invention, augmented by a studio orchestra, recorded the groundbreaking Freak Out! (1966) which, preceded by Bob Dylan's Blonde on Blonde, was the second rock double album ever released. It mixed R&B, doo-wop, musique concrète,[56] and experimental sound collages that captured the "freak" subculture of Los Angeles at that time.[57] Although he was dissatisfied with the final product—in a late '60s radio interview (included in the posthumous MOFO Project/Object compilation) Zappa recounted that the side-long closing track "Return of the Son of Monster Magnet" was intended to be the basic track for a much more complex work which Verve did not allow him to complete—Freak Out immediately established Zappa as a radical new voice in rock music, providing an antidote to the "relentless consumer culture of America".[58] The sound was raw, but the arrangements were sophisticated. While recording in the studio, some of the additional session musicians were shocked that they were expected to read the notes on sheet music from charts with Zappa conducting them, since it was not standard when recording rock music.[59] The lyrics praised non-conformity, disparaged authorities, and had dadaist elements. Yet, there was a place for seemingly conventional love songs.[60] Most compositions are Zappa's, which set a precedent for the rest of his recording career. He had full control over the arrangements and musical decisions and did most overdubs. Wilson provided the industry clout and connections to get the group the financial resources needed.[61]
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The opening track on Freak Out!. The album has "consistently been voted as one of top 100 greatest albums ever made".[58]
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During the recording of Freak Out!, Zappa moved into a house in Laurel Canyon with friend Pamela Zarubica, who appeared on the album.[59] The house became a meeting (and living) place for many LA musicians and groupies of the time, despite Zappa's disapproval of their illicit drug use.[62] He labeled people on drugs "assholes in action", and he tried cannabis only a few times, but without any pleasure.[63] He was a regular tobacco smoker for most of his life, and strongly critical of anti-tobacco campaigns.[64] After a short promotional tour following the release of Freak Out!, Zappa met Adelaide Gail Sloatman. He fell in love within "a couple of minutes", and she moved into the house over the summer.[51] They married in 1967, had four children and remained together until Zappa's death.
Wilson nominally produced The Mothers' second album Absolutely Free (1967), which was recorded in November 1966, and later mixed in New York, although by this time Zappa was in de facto control of most facets of the production. It featured extended playing by The Mothers of Invention and focused on songs that defined Zappa's compositional style of introducing abrupt, rhythmical changes into songs that were built from diverse elements.[65] Examples are "Plastic People" and "Brown Shoes Don't Make It", which contained lyrics critical of the hypocrisy and conformity of American society, but also of the counterculture of the 1960s.[66] As Zappa put it, "[W]e're satirists, and we are out to satirize everything."[67] At the same time, Zappa had recorded material for a album of orchestral works to be released under his own name, Lumpy Gravy, released by Capitol Records in 1967. Due to contractual problems, the album was pulled. Zappa took the opportunity to radically restructure the contents, adding newly recorded, improvised dialogue. After the contractual problems were resolved, the album was reissued by Verve in 1968.[68] It is an "incredible ambitious musical project",[69] a "monument to John Cage",[70] which intertwines orchestral themes, spoken words and electronic noises through radical audio editing techniques.[71][72]
New York period (1966–1968)[link]
The Mothers of Invention played in New York in late 1966 and were offered a contract at the Garrick Theater during Easter 1967. This proved successful and Herb Cohen extended the booking, which eventually lasted half a year.[73] As a result, Zappa and his wife, along with The Mothers of Invention, moved to New York.[68] Their shows became a combination of improvised acts showcasing individual talents of the band as well as tight performances of Zappa's music. Everything was directed by Zappa's famous hand signals.[74] Guest performers and audience participation became a regular part of the Garrick Theater shows. One evening, Zappa managed to entice some U.S. Marines from the audience onto the stage, where they proceeded to dismember a big baby doll, having been told by Zappa to pretend that it was a "gook baby".[75]
Situated in New York, and only interrupted by the band's first European tour, The Mothers of Invention recorded the album widely regarded as the peak of the group's late 1960s work, We're Only in It for the Money (released 1968).[76] It was produced by Zappa, with Wilson credited as executive producer. From then on, Zappa produced all albums released by The Mothers of Invention and as a solo artist. We're Only in It for the Money featured some of the most creative audio editing and production yet heard in pop music, and the songs ruthlessly satirized the hippie and flower power phenomena.[77] The cover photo parodied that of The Beatles' Sgt Pepper's Lonely Hearts Club Band.[78] The cover art was provided by Cal Schenkel whom Zappa met in New York. This initiated a life-long collaboration in which Schenkel designed covers for numerous Zappa and Mothers albums.[79]
Reflecting Zappa's eclectic approach to music, the next album, Cruising with Ruben & the Jets (1968), was very different. It represented a collection of doo-wop songs; listeners and critics were not sure whether the album was a satire or a tribute.[80] Zappa has noted that the album was conceived in the way Stravinsky's compositions were in his neo-classical period: "If he could take the forms and clichés of the classical era and pervert them, why not do the same ... to doo-wop in the fifties?"[81] A theme from Stravinsky's The Rite of Spring is heard during one song.
In New York, Zappa increasingly used tape editing as a compositional tool.[82] A prime example is found on the double album Uncle Meat (1969),[83] where the track "King Kong" is edited from various studio and live performances. Zappa had begun regularly recording concerts,[84] and because of his insistence on precise tuning and timing, he was able to augment his studio productions with excerpts from live shows, and vice versa.[85] Later, he combined recordings of different compositions into new pieces, irrespective of the tempo or meter of the sources. He dubbed this process "xenochrony" (strange synchronizations[86]) — reflecting the Greek "xeno" (alien or strange) and "chrono" (time).[85] Zappa also evolved a compositional approach which he called "conceptual continuity," meaning that any project or album was part of a larger project. Everything was connected, and musical themes and lyrics reappeared in different form on later albums. Conceptual continuity clues are found throughout Zappa's entire œuvre.[19][82]
During the late 1960s, Zappa continued to develop the business sides of his career. He and Herb Cohen formed the Bizarre Records and Straight Records labels, distributed by Warner Bros. Records, as ventures to aid the funding of projects and to increase creative control. Zappa produced the double album Trout Mask Replica for Captain Beefheart, and releases by Alice Cooper, Wild Man Fischer, and The GTOs, as well as Lenny Bruce's last live performance.[87]
Disbanding the original Mothers of Invention (1969)[link]
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Zappa and The Mothers of Invention returned to Los Angeles in the summer of 1968, and the Zappas moved into a house on Laurel Canyon Boulevard, only to move again to one on Woodrow Wilson Drive in the autumn.[91] This was to be Zappa's home for the rest of his life. Despite being a success with fans in Europe, The Mothers of Invention were not faring well financially.[92] Their first records were vocally oriented, but Zappa wrote more instrumental jazz and classical oriented music for the band's concerts, which confused audiences. Zappa felt that audiences failed to appreciate his "electrical chamber music".[93][94]
In 1969 there were nine band members and Zappa was supporting the group himself from his publishing royalties whether they played or not.[92] 1969 was also the year Zappa, fed up with MGM's interference, left MGM Records for Warner Bros. Records' Reprise Records subsidiary where Zappa/Mothers recordings would bear the Bizarre Records imprint. In late 1969, Zappa broke up the band. He often cited the financial strain as the main reason,[95] but also commented on the band members' lack of sufficient effort.[96] Many band members were bitter about Zappa's decision, and some took it as a sign of Zappa's concern for perfection at the expense of human feeling.[94] Others were irritated by 'his autocratic ways',[61] exemplified by Zappa's never staying at the same hotel as the band members.[97] Several members would, however, play for Zappa in years to come. Remaining recordings with the band from this period were collected on Weasels Ripped My Flesh and Burnt Weeny Sandwich (both released in 1970).
After he disbanded The Mothers of Invention, Zappa released the acclaimed solo album Hot Rats (1969).[98][99] It features, for the first time on record, Zappa playing extended guitar solos and contains one of his most enduring compositions, "Peaches en Regalia", which reappeared several times on future recordings.[88] It was backed by jazz, blues and R&B session players including violinist Don "Sugarcane" Harris, drummers John Guerin and Paul Humphrey, multi-instrumentalist and previous member of Mothers of Invention Ian Underwood, and multi-instrumentalist Shuggie Otis on bass, along with a guest appearance by Captain Beefheart (providing vocals to the only non-instrumental track, "Willie the Pimp"). It became a popular album in England,[100] and had a major influence on the development of the jazz-rock fusion genre.[88][99]
1970s: From The Mothers to Zappa[link]
In 1970 Zappa met conductor Zubin Mehta. They arranged a May 1970 concert where Mehta conducted the Los Angeles Philharmonic augmented by a rock band. According to Zappa, the music was mostly written in motel rooms while on tour with The Mothers of Invention. Some of it was later featured in the movie 200 Motels.[100] Although the concert was a success, Zappa's experience working with a symphony orchestra was not a happy one.[81] His dissatisfaction became a recurring theme throughout his career; he often felt that the quality of performance of his material delivered by orchestras was not commensurate with the money he spent on orchestral concerts and recordings.[101]
Rebirth of The Mothers and filmmaking (1970)[link]
Later in 1970, Zappa formed a new version of The Mothers (from then on, he mostly dropped the "of Invention"). It included British drummer Aynsley Dunbar, jazz keyboardist George Duke, Ian Underwood, Jeff Simmons (bass, rhythm guitar), and three members of The Turtles: bass player Jim Pons, and singers Mark Volman and Howard Kaylan, who, due to persistent legal and contractual problems, adopted the stage name "The Phlorescent Leech and Eddie", or "Flo & Eddie".[102]
This version of The Mothers debuted on Zappa's next solo album Chunga's Revenge (1970),[103] which was followed by the double-album soundtrack to the movie 200 Motels (1971), featuring The Mothers, The Royal Philharmonic Orchestra, Ringo Starr, Theodore Bikel, and Keith Moon. Co-directed by Zappa and Tony Palmer, it was filmed in a week at Pinewood Studios outside London.[104] Tensions between Zappa and several cast and crew members arose before and during shooting.[104] The film deals loosely with life on the road as a rock musician.[105] It was the first feature film photographed on videotape and transferred to 35 mm film, a process which allowed for novel visual effects.[106] It was released to mixed reviews.[107] The score relied extensively on orchestral music, and Zappa's dissatisfaction with the classical music world intensified when a concert, scheduled at the Royal Albert Hall after filming, was canceled because a representative of the venue found some of the lyrics obscene. In 1975, he lost a lawsuit against the Royal Albert Hall for breach of contract.[108]
After 200 Motels, the band went on tour, which resulted in two live albums, Fillmore East - June 1971 and Just Another Band From L.A.; the latter included the 20-minute track "Billy the Mountain", Zappa's satire on rock opera set in Southern California. This track was representative of the band's theatrical performances in which songs were used to build up sketches based on 200 Motels scenes as well as new situations often portraying the band members' sexual encounters on the road.[109][110]
Accident, attack and their aftermath (1971–1972)[link]
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In December 1971, there were two serious setbacks. While performing at Casino de Montreux in Switzerland, The Mothers' equipment was destroyed when a flare set off by an audience member started a fire that burned down the casino.[111] Immortalized in Deep Purple's song "Smoke on the Water", the event and immediate aftermath can be heard on the bootleg album Swiss Cheese/Fire, released legally as part of Zappa's Beat the Boots II compilation. After a week's break, The Mothers played at the Rainbow Theatre, London, with rented gear. During the encore, an audience member pushed Zappa off the stage and into the concrete-floored orchestra pit. The band thought Zappa had been killed—he had suffered serious fractures, head trauma and injuries to his back, leg, and neck, as well as a crushed larynx, which ultimately caused his voice to drop a third after healing.[111] This accident resulted in him using a wheelchair for an extended period, forcing him off the road for over half a year. Upon his return to the stage in September 1972, he was still wearing a leg brace, had a noticeable limp and could not stand for very long while on stage. Zappa noted that one leg healed "shorter than the other" (a reference later found in the lyrics of songs "Zomby Woof" and "Dancin' Fool"), resulting in chronic back pain.[111] Meanwhile, The Mothers were left in limbo and eventually formed the core of Flo and Eddie's band as they set out on their own.
During 1971–1972 Zappa released two strongly jazz-oriented solo LPs, Waka/Jawaka and The Grand Wazoo, which were recorded during the forced layoff from concert touring, using floating line-ups of session players and Mothers alumni.[112] Musically, the albums were akin to Hot Rats.[113] Zappa began touring again in late 1972.[113] His first effort was a series of concerts in September 1972 with a 20-piece big band referred to as the Grand Wazoo. This was followed by a scaled-down version known as the Petit Wazoo that toured the U.S. for five weeks from October to December 1972.[114]
Top 10 album (1973–1975)[link]
Zappa then formed and toured with smaller groups that variously included Ian Underwood (reeds, keyboards), Ruth Underwood (vibes, marimba), Sal Marquez (trumpet, vocals), Napoleon Murphy Brock (sax, flute and vocals), Bruce Fowler (trombone), Tom Fowler (bass), Chester Thompson (drums), Ralph Humphrey (drums), George Duke (keyboards, vocals), and Jean-Luc Ponty (violin).
By 1973 the Bizarre and Straight labels were discontinued. In their place, Zappa and Cohen created DiscReet Records, also distributed by Warner Bros.[115] Zappa continued a high rate of production through the first half of the 1970s, including the solo album Apostrophe (') (1974), which reached a career-high No. 10 on the Billboard pop album charts[116] helped by the chart single "Don't Eat The Yellow Snow".[117] Other albums from the period are Over-Nite Sensation (1973), which contained several future concert favorites, such as "Dinah-Moe Humm" and "Montana", and the albums Roxy & Elsewhere (1974) and One Size Fits All (1975) which feature ever-changing versions of a band still called The Mothers, and are notable for the tight renditions of highly difficult jazz fusion songs in such pieces as "Inca Roads", "Echidna's Arf (Of You)" and "Be-Bop Tango (Of the Old Jazzmen's Church)".[118] A live recording from 1974, You Can't Do That on Stage Anymore, Vol. 2 (1988), captures "the full spirit and excellence of the 1973–75 band".[118] Zappa released Bongo Fury (1975), which featured live recordings from a tour the same year that reunited him with Captain Beefheart for a brief period.[119] They later became estranged for a period of years, but were in contact at the end of Zappa's life.[120]
Business breakups and touring (1976–1979)[link]
Zappa's relationship with long-time manager Herb Cohen ended in 1976. Zappa sued Cohen for skimming more than he was allocated from DiscReet Records, as well as for signing acts of which Zappa did not approve.[121] Cohen filed a lawsuit against Zappa in return, which froze the money Zappa and Cohen had gained from an out-of-court settlement with MGM over the rights of the early Mothers of Invention recordings. It also prevented Zappa having access to any of his previously recorded material during the trials. Zappa therefore took his personal master copies of the rock-oriented Zoot Allures (1976) directly to Warner Bros., thereby bypassing DiscReet.[122]
In the mid-1970s Zappa prepared material for Läther (pronounced "leather"), a four-LP project. Läther encapsulated all the aspects of Zappa's musical styles — rock tunes, orchestral works, complex instrumentals, and Zappa's own trademark distortion-drenched guitar solos. Wary of a quadruple-LP, Warner Bros. Records refused to release it.[123] Zappa managed to get an agreement with Phonogram, and test pressings were made targeted at a Halloween 1977 release, but Warner Bros. prevented the release by claiming rights over the material.[124] Zappa responded by appearing on the Pasadena, California radio station KROQ, allowing them to broadcast Läther and encouraging listeners to make their own tape recordings.[125] A lawsuit between Zappa and Warner Bros. followed, during which no Zappa material was released for more than a year. Eventually, Warner Bros. issued different versions of much of the Läther material in 1978 and 1979 as four individual albums (five full length LPs) with limited promotion.[126] The four individual albums were not included in the third Old Masters box set released in 1987.[127] When the music was first released on CD in 1991, Zappa chose to release the four individual albums. Läther was released posthumously in 1996.[128]
Although Zappa eventually gained the rights to all his material created under the MGM and Warner Bros. contracts,[129] the various lawsuits meant that for a period Zappa's only income came from touring, which he therefore did extensively in 1975–1977 with relatively small, mainly rock-oriented, bands.[124] Drummer Terry Bozzio became a regular band member, Napoleon Murphy Brock stayed on for a while, and original Mothers of Invention bassist Roy Estrada joined. Among other musicians were bassist Patrick O'Hearn, singer-guitarist Ray White and keyboardist Eddie Jobson. In December 1976, Zappa appeared as a featured musical guest on the NBC television show Saturday Night Live.[130][131] The performances included an impromptu musical collaboration with cast member John Belushi during the instrumental piece "The Purple Lagoon". Belushi appeared as his Samurai Futaba character playing the tenor sax with Zappa conducting.[132] Zappa's song, "I'm the Slime", was performed with a voice-over by SNL booth announcer Don Pardo, who also introduced "Peaches En Regalia" on the same airing.
Zappa's band at the time, with the additions of Ruth Underwood and a horn section (featuring Michael and Randy Brecker), performed during Christmas in New York, recordings of which appear on one of the albums Warner Bros. culled from the Läther project, Zappa in New York (1978). It mixes intense instrumentals such as "The Black Page" and humorous songs like "Titties and Beer".[133] The former composition, written originally for drum kit but later developed for larger bands, is notorious for its complexity in rhythmic structure and short, densely arranged passages.[134][135]
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One of Zappa's complex, percussion-based compositions featured on Zappa in New York.
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Zappa in New York featured a song about sex criminal Michael H. Kenyon, "The Illinois Enema Bandit", which featured Don Pardo providing the opening narrative in the song. Like many songs on the album, it contained numerous sexual references,[133] leading to many critics objecting and being offended by the content.[136] Zappa dismissed the criticism by noting that he was a journalist reporting on life as he saw it.[137] Predating his later fight against censorship, he remarked: "What do you make of a society that is so primitive that it clings to the belief that certain words in its language are so powerful that they could corrupt you the moment you hear them?"[50] The remaining albums released by Warner Bros. Records without Zappa's consent were Studio Tan in 1978 and Sleep Dirt in 1979, which contained complex suites of instrumentally-based tunes recorded between 1973 and 1976, and whose release was overlooked in the midst of the legal problems.[138] Also released by the label without the artist's consent was Orchestral Favorites in 1979, which featured recordings of a concert with orchestral music from 1975.
Zappa as an independent artist (1979)[link]
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The single became a hit in non-English speaking countries and helped Sheik Yerbouti become a best-seller.[139]
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Resolving the lawsuits successfully, Zappa ended the 1970s "stronger than ever",[140] by releasing two of his most successful albums in 1979: the best selling album of his career, Sheik Yerbouti,[141] and the "bona fide masterpiece",[140] Joe's Garage.[142] The double album Sheik Yerbouti was the first release on Zappa Records, and contained the Grammy-nominated single "Dancin' Fool", which reached No. 45 on the Billboard charts,[143] and "Jewish Princess", which received attention when a Jewish group, the Anti-Defamation League (ADL), attempted to prevent the song from receiving radio airplay due to its alleged anti-Semitic lyrics.[137] Zappa vehemently denied any anti-Semitic sentiments and dismissed the ADL as a "noisemaking organization that tries to apply pressure on people in order to manufacture a stereotype image of Jews that suits their idea of a good time".[144] The album's commercial success was attributable in part to "Bobby Brown". Due to its explicit lyrics about a young man's encounter with a "dyke by the name of Freddie", the song did not get airplay in the U.S., but it topped the charts in several European countries where English is not the primary language.[139] The triple LP Joe's Garage featured lead singer Ike Willis as the voice of the character "Joe" in a rock opera about the danger of political systems,[140] the suppression of freedom of speech and music — inspired in part by the Islamic revolution that had made music illegal within its jurisdiction at the time[145] — and about the "strange relationship Americans have with sex and sexual frankness".[140] The album contains rock songs like "Catholic Girls" (a riposte to the controversies of "Jewish Princess"),[146] "Lucille Has Messed My Mind Up", and the title track, as well as extended live-recorded guitar improvisations combined with a studio backup band dominated by drummer Vinnie Colaiuta (with whom Zappa had a particularly good musical rapport)[147] adopting the xenochrony process. The album contains one of Zappa's most famous guitar "signature pieces", "Watermelon in Easter Hay".[23][148]
On December 21, 1979, Zappa's movie Baby Snakes premiered in New York. The movie's tagline was "A movie about people who do stuff that is not normal".[149] The 2 hour and 40 minutes movie was based on footage from concerts in New York around Halloween 1977, with a band featuring keyboardist Tommy Mars and percussionist Ed Mann (who would both return on later tours) as well as guitarist Adrian Belew. It also contained several extraordinary sequences of clay animation by Bruce Bickford who had earlier provided animation sequences to Zappa for a 1974 TV special (which later become available on the video The Dub Room Special (1982)).[150] The movie did not do well in theatrical distribution,[151] but won the Premier Grand Prix at the First International Music Festival in Paris in 1981. The Zappa Family Trust released it on DVD, and it has been available since 2003.[150]
Zappa later expanded on his television appearances in a non-musical role. He was an actor or voice artist in episodes of Shelley Duvall's Faerie Tale Theatre,[152] Miami Vice[153] and The Ren and Stimpy Show.[152] A voice part in The Simpsons never materialized, to creator Matt Groening's disappointment (Groening was a neighbor of Zappa's, and a lifelong fan).[154]
1980s: Productive as ever[link]
In 1980, Zappa cut his ties with Mercury Records after the label refused to release his song "I Don't Wanna Get Drafted."[155] It was picked up by CBS Records and released on the Zappa label in North America and the CBS label internationally.[156] After spending most of 1980 on the road, Zappa released Tinsel Town Rebellion in 1981. It was the first release on his own Barking Pumpkin Records,[157] and it contains songs taken from a 1979 tour, one studio track and material from the 1980 tours. The album is a mixture of complicated instrumentals and Zappa's use of sprechstimme (speaking song or voice)—a compositional technique utilized by such composers as Arnold Schoenberg and Alban Berg — showcasing some of the most accomplished bands Zappa ever had (mostly featuring drummer Vinnie Colaiuta).[157] While some lyrics still raised controversy among critics, in the sense that some found them sexist,[158] the political and sociological satire in songs like the title track and "The Blue Light" have been described as a "hilarious critique of the willingness of the American people to believe anything".[159] The album is also notable for the presence of guitarist Steve Vai, who joined Zappa's touring band in the fall of 1980.[160]
The same year the double album You Are What You Is was released. Most of it was recorded in Zappa's brand new Utility Muffin Research Kitchen (UMRK) studios, which were located at his house,[85] thereby giving him complete freedom to work.[161] The album included one complex instrumental, "Theme from the 3rd Movement of Sinister Footwear", but focused mainly on rock songs with Zappa's sardonic social commentary—satirical lyrics targeted at teenagers, the media, and religious and political hypocrisy.[162] "Dumb All Over" is a tirade on religion, as is "Heavenly Bank Account", wherein Zappa rails against TV evangelists such as Jerry Falwell and Pat Robertson for their purported influence on the U.S. administration as well as their use of religion as a means of raising money.[163] Songs like "Society Pages" and "I'm a Beautiful Guy" show Zappa's dismay with the Reagan era and its "obscene pursuit of wealth and happiness".[163]
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The title track on Shut Up 'N Play Yer Guitar features Zappa's guitar improvisations.
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In 1981, Zappa also released three instrumental albums, Shut Up 'N Play Yer Guitar, Shut Up 'N Play Yer Guitar Some More, and The Return of the Son of Shut Up 'N Play Yer Guitar, which were initially sold via mail order, but later released through the CBS label due to popular demand.[164] The albums focus exclusively on Frank Zappa as a guitar soloist, and the tracks are predominantly live recordings from 1979–1980; they highlight Zappa's improvisational skills with "beautiful performances from the backing group as well".[165] Another guitar-only album, Guitar, was released in 1988, and a third, Trance-Fusion, which Zappa completed shortly before his death, was released in 2006.
From hit single to classical performances[link]
In May 1982, Zappa released Ship Arriving Too Late to Save a Drowning Witch, which featured his biggest selling single ever, the Grammy Award-nominated song "Valley Girl" (topping out at No. 32 on the Billboard charts).[143] In her improvised lyrics to the song, Zappa's daughter Moon Unit satirized the vapid speech of teenage girls from the San Fernando Valley, which popularized many "Valspeak" expressions such as "gag me with a spoon," "fer sure, fer sure," "grody" (gross), and "barf out".[166] Most Americans who only knew Zappa from his few singles successes now thought of him as a person writing "novelty songs", even though the rest of the album contained highly challenging music.[167] Zappa was irritated by this[168] and never played the song live.[167]
In 1983, two different projects were released, beginning with The Man from Utopia, a rock-oriented work. The album is eclectic, featuring the vocal-led "Dangerous Kitchen" and "The Jazz Discharge Party Hats", both continuations of the sprechstimme excursions on Tinseltown Rebellion. The second album, London Symphony Orchestra, Vol. 1, contained orchestral Zappa compositions conducted by Kent Nagano and performed by the London Symphony Orchestra (LSO). A second record of these sessions, London Symphony Orchestra, Vol. 2 was released in 1987. The material was recorded under a tight schedule with Zappa providing all funding, helped by the commercial success of "Valley Girl".[169] Zappa was not satisfied with the LSO recordings. One reason is "Strictly Genteel", which was recorded after the trumpet section had been out for drinks on a break: the track took 40 edits to hide out-of-tune notes.[169] Conductor Nagano, who was pleased with the experience, noted that in "fairness to the orchestra, the music is humanly very, very difficult".[170] Some reviews noted that the recordings were the best representation of Zappa's orchestral work so far.[171] In 1984 Zappa teamed again with Nagano and the Berkeley Symphony for a live performance of A Zappa Affair with augmented orchestra, life-size puppets, and moving stage sets. Although critically acclaimed the work was a financial failure, and only performed twice. Zappa was invited by conference organizer Thomas Wells to be the keynote speaker at the American Society of University Composers at the Ohio State University. It was there Zappa delivered his famous "Bingo! There Goes Your Tenure" address,[172] and had two of his orchestra pieces, "Dupree's Paradise" and "Naval Aviation in Art?" performed by the Columbus Symphony and ProMusica Chamber Orchestra of Columbus.[173][174]
Synclavier[link]
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A Zappa composition for classical ensemble from Boulez Conducts Zappa: The Perfect Stranger.
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For the remainder of his career, much of Zappa's work was influenced by his use of the Synclavier as a compositional and performance tool. Even considering the complexity of the music he wrote, the Synclavier could realize anything he could dream up.[175] The Synclavier could be programmed to play almost anything conceivable, to perfection: "With the Synclavier, any group of imaginary instruments can be invited to play the most difficult passages ... with one-millisecond accuracy—every time".[175] Even though it essentially did away with the need for musicians,[176] Zappa viewed the Synclavier and real-life musicians as separate.[175] In 1984, he released four albums. Boulez Conducts Zappa: The Perfect Stranger, contains orchestral works commissioned and conducted by world-renowned conductor Pierre Boulez (who was listed as an influence on Freak Out!) and performed by his Ensemble InterContemporain, juxtaposed with premiere Synclavier pieces. Again, Zappa was not satisfied with the performances of his orchestral works as he found them under-rehearsed, but in the album liner notes he respectfully thanks Boulez's demands for precision.[177] The Synclavier pieces stood in contrast to the orchestral works, as the sounds were electronically generated and not, as became possible shortly thereafter, sampled.
The album Thing-Fish was an ambitious three-record set in the style of a Broadway play dealing with a dystopian "what-if" scenario involving feminism, homosexuality, manufacturing and distribution of the AIDS virus, and a eugenics program conducted by the United States government.[178] New vocals were combined with previously released tracks and new Synclavier music; "the work is an extraordinary example of bricolage".[179] Finally, in 1984, Zappa released Francesco Zappa, a Synclavier rendition of works by 18th century composer Francesco Zappa (no known relation), and Them or Us, a two-record set of heavily edited live and session pieces.
Senate testimony[link]
On September 19, 1985, Zappa testified before the United States Senate Commerce, Technology, and Transportation committee, attacking the Parents Music Resource Center or PMRC, a music organization co-founded by Tipper Gore, wife of then-senator Al Gore. The PMRC consisted of many wives of politicians, including the wives of five members of the committee, and was founded to address the issue of song lyrics with sexual or satanic content.[180] Zappa saw their activities as on a path towards censorship,[181] and called their proposal for voluntary labelling of records with explicit content "extortion" of the music industry.[182] In his prepared statement, he said:
The PMRC proposal is an ill-conceived piece of nonsense which fails to deliver any real benefits to children, infringes the civil liberties of people who are not children, and promises to keep the courts busy for years dealing with the interpretational and enforcemental problems inherent in the proposal's design. It is my understanding that, in law, First Amendment issues are decided with a preference for the least restrictive alternative. In this context, the PMRC's demands are the equivalent of treating dandruff by decapitation ... The establishment of a rating system, voluntary or otherwise, opens the door to an endless parade of moral quality control programs based on things certain Christians do not like. What if the next bunch of Washington wives demands a large yellow "J" on all material written or performed by Jews, in order to save helpless children from exposure to concealed Zionist doctrine?[183]
Zappa set excerpts from the PMRC hearings to Synclavier music in his composition "Porn Wars" on the 1985 album Frank Zappa Meets the Mothers of Prevention, and the full recording was released in 2010 as Congress Shall Make No Law.... Zappa is heard interacting with Senators Fritz Hollings, Slade Gorton, Al Gore (who claimed, at the hearing, to be a Zappa fan), and in an exchange with Florida Senator Paula Hawkins over what toys Zappa's children played with. Zappa expressed opinions on censorship when he appeared on CNN's Crossfire TV series and debated issues with Washington Times commentator John Lofton in 1986.[184] Zappa's passion for US politics was becoming a bigger part of his life. He had always encouraged his fans to register to vote on album covers, and throughout 1988 he had registration booths at his concerts.[185] He even considered running for President of the United States.[186]
Digital medium and last tour[link]
Around 1986, Zappa undertook a comprehensive re-release program of his earlier vinyl recordings.[187] He personally oversaw the remastering of all his 1960s, 1970s and early 1980s albums for the new digital compact disc medium.[188] Certain aspects of these re-issues were, however, criticized by some fans as being unfaithful to the original recordings.[189] Nearly twenty years before the advent of online music stores, Zappa had proposed to replace "phonographic record merchandising" of music by "direct digital-to-digital transfer" through phone or cable TV (with royalty payments and consumer billing automatically built into the accompanying software).[190] In 1989, Zappa considered his idea a "miserable flop".[190]
The album Jazz from Hell, released in 1986, earned Zappa his first Grammy Award in 1987 for Best Rock Instrumental Performance. Except for one live guitar solo (St. Etienne), the album exclusively featured compositions brought to life by the Synclavier. Although an instrumental album, containing no lyrics whatsoever, Meyer Music Markets sold Jazz from Hell featuring an "explicit lyrics" sticker—a warning label introduced by the Recording Industry Association of America in an agreement with the PMRC.[191]
Zappa's last tour in a rock and jazz band format took place in 1988 with a 12-piece group which had a repertoire of over 100 (mostly Zappa) compositions, but which split under acrimonious circumstances before the tour was completed.[192] The tour was documented on the albums Broadway the Hard Way (new material featuring songs with strong political emphasis), The Best Band You Never Heard in Your Life (Zappa "standards" and an eclectic collection of cover tunes, ranging from Maurice Ravel's Boléro to Led Zeppelin's "Stairway to Heaven"), and Make a Jazz Noise Here (mostly instrumental and avant-garde music). Parts are also found on You Can't Do That on Stage Anymore, volumes 4 and 6.
1990s: Classical music and death[link]
In early 1990, Zappa visited Czechoslovakia at the request of President Václav Havel, and was asked to serve as consultant for the government on trade, cultural matters and tourism. Havel was a lifelong fan of Zappa who had great influence in the avant-garde and underground scene in Central Europe in the 1970s and 1980s (a Czech rock group that was imprisoned in 1976 took its name from Zappa's 1968 song "Plastic People").[193] Zappa enthusiastically agreed and began meeting with corporate officials interested in investing in Czechoslovakia. Within a few weeks, however, the U.S. administration put pressure on the Czech government to withdraw the appointment. Havel made Zappa an unofficial cultural attaché instead.[194] Zappa also planned to develop an international consulting enterprise to facilitate trade between the former Eastern Bloc and Western businesses.[195] On June 24, 1991, Zappa took part at the concert "Adieu Soviet Army", organised in Prague, as the farewell to the last soldiers of Soviet Red Army, leaving Czechoslovakia (the Red Army had occupied Czechoslovakia since the Prague spring). This was probably Zappa's last rock appearance on stage and it is recorded on the album Adieu C. A. (Soviet Army).[196]
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One of Zappa's works for Synclavier on Civilization, Phaze III, cited as his "last great work."[197]
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Most of Zappa's projects came to a halt in 1990, when he was diagnosed with terminal prostate cancer. The disease had been developing unnoticed for ten years and was considered inoperable.[195] After his diagnosis, Zappa devoted most of his energy to modern orchestral and Synclavier works. Shortly before his death in 1993 he completed Civilization, Phaze III, a major Synclavier work which he had begun in the 1980s.[198][199]
In 1991, Zappa was chosen to be one of four featured composers at the Frankfurt Festival in 1992 (the others were John Cage, Karlheinz Stockhausen and Alexander Knaifel).[200] Zappa was approached by the German chamber ensemble, Ensemble Modern, which was interested in playing his music for the event. Although ill, Zappa invited them to Los Angeles for rehearsals of new compositions and new arrangements of older material.[201] In addition to being satisfied with the ensemble's performances of his music, Zappa also got along with the musicians, and the concerts in Germany and Austria were set up for the fall.[201] In September 1992, the concerts went ahead as scheduled, but Zappa could only appear at two in Frankfurt due to illness. At the first concert, he conducted the opening "Overture", and the final "G-Spot Tornado" as well as the theatrical "Food Gathering in Post-Industrial America, 1992" and "Welcome to the United States" (the remainder of the program was conducted by the ensemble's regular conductor Peter Rundel). Zappa received a 20-minute ovation.[202] It would become his last professional public appearance, as the cancer was spreading to such an extent that he was in too much pain to enjoy an event that he otherwise found "exhilarating".[202] Recordings from the concerts appeared on The Yellow Shark (1993), Zappa's last release during his lifetime, and some material from studio rehearsals appeared on the posthumous Everything Is Healing Nicely (1999).
Frank Zappa died on Saturday, December 4, 1993 in his home with his wife and children. At a private ceremony the following day, Zappa was interred in an unmarked grave at the Westwood Village Memorial Park Cemetery in Westwood, Los Angeles,[203][204] next to the eventual (1996) grave of actor Lew Ayres.[205] On Monday, December 6 his family publicly announced that "Composer Frank Zappa left for his final tour just before 6:00 pm on Saturday".[206]
Legacy[link]
Acclaim and honors[link]
Frank Zappa was one of the first to try tearing down the barriers between rock, jazz, and classical music. In the late Sixties his Mothers of Invention would slip from Stravinsky's "Petroushka" into The Dovells' "Bristol Stomp" before breaking down into saxophone squeals inspired by Albert Ayler
The Rolling Stone Illustrated History of Rock & Roll
Zappa earned widespread critical acclaim in his lifetime and after his death. The Rolling Stone Album Guide (2004) writes: "Frank Zappa dabbled in virtually all kinds of music — and, whether guised as a satirical rocker, jazz-rock fusionist, guitar virtuoso, electronics wizard, or orchestral innovator, his eccentric genius was undeniable".[207] Even though his work drew inspiration from many different genres, Zappa was seen establishing a coherent and personal expression. In 1971, biographer David Walley noted that "The whole structure of his music is unified, not neatly divided by dates or time sequences and it is all building into a composite".[208] On commenting on Zappa's music, politics and philosophy, Barry Miles noted in 2004 that they cannot be separated: "It was all one; all part of his 'conceptual continuity'".[209]
Guitar Player devoted a special issue to Zappa in 1992, and asked on the cover "Is FZ America's Best Kept Musical Secret?" Editor Don Menn remarked that the issue was about "The most important composer to come out of modern popular music".[210] Among those contributing to the issue was composer and musicologist Nicolas Slonimsky, who conducted premiere performances of works of Ives and Varèse in the 1930s.[211] He became friends with Zappa in the 1980s,[212] and said "I admire everything Frank does, because he practically created the new musical millennium. He does beautiful, beautiful work ... It has been my luck to have lived to see the emergence of this totally new type of music."[213] Conductor Kent Nagano remarked in the same issue that "Frank is a genius. That's a word I don't use often ... In Frank's case it is not too strong ... He is extremely literate musically. I'm not sure if the general public knows that".[214] Pierre Boulez stated in Musician magazine's posthumous Zappa tribute article that Zappa "was an exceptional figure because he was part of the worlds of rock and classical music and that both types of his work would survive."[215] Many music scholars acknowledge Zappa as one of the most influential composers of his generation.[216][217][218] As an electric guitarist, he has become highly regarded.[219][220][221]
In 1994, jazz magazine Down Beat's critics poll placed Zappa in its Hall of Fame.[222] Zappa was posthumously inducted into the Rock and Roll Hall of Fame in 1995. There, it was written that "Frank Zappa was rock and roll's sharpest musical mind and most astute social critic. He was the most prolific composer of his age, and he bridged genres — rock, jazz, classical, avant-garde and even novelty music — with masterful ease".[223] He received the Grammy Lifetime Achievement Award in 1997.[224] In 2005, the U.S. National Recording Preservation Board included We're Only in It for the Money in the National Recording Registry as "Frank Zappa's inventive and iconoclastic album presents a unique political stance, both anti-conservative and anti-counterculture, and features a scathing satire on hippiedom and America's reactions to it".[225] The same year, Rolling Stone magazine ranked him at No. 71 on its list of the 100 Greatest Artists of All Time.[226] In 2011, he was ranked at No. 22 on the list of the 100 Greatest Guitarists of All Time by the same magazine.[227]
Artists influenced by Zappa[link]
A number of notable musicians, bands and orchestras from diverse genres have been influenced by Frank Zappa's music. Rock artists like Alice Cooper,[228] Primus,[229] Fee Waybill of The Tubes[230] all cite Zappa's influence, as do progressive rock artists like Henry Cow,[231] Trey Anastasio of Phish,[226] and John Frusciante.[232] Paul McCartney regarded Sgt. Pepper's Lonely Hearts Club Band as The Beatles' Freak Out![233] Heavy rock and metal acts like Black Sabbath,[234] Mike Portnoy,[235] Warren DeMartini,[236] Steve Vai,[237] Strapping Young Lad,[238] System of a Down,[239] Clawfinger,[240] and Devin Townsend[241] acknowledge Zappa's inspiration. On the classical music scene, Tomas Ulrich,[242] Meridian Arts Ensemble,[243] Ensemble Ambrosius[244] and the Fireworks Ensemble[245] regularly perform Zappa's compositions and quote his influence. Contemporary jazz musicians and composers Bill Frisell[246] and John Zorn[247] are inspired by Zappa, as is funk legend George Clinton.[248] Other artists whose work is affected by Zappa include new age pianist George Winston,[249] electronic composer Bob Gluck,[250] parodist and novelty composer "Weird Al" Yankovic,[251] industrial music pioneer Genesis P-Orridge,[252] and noise music artist Masami Akita of Merzbow.[253]
References in arts and sciences[link]
Scientists from various fields have honored Zappa by naming new discoveries after him. In 1967, paleontologist Leo P. Plas, Jr. identified an extinct mollusc in Nevada and named it Amaurotoma zappa with the motivation that, "The specific name, zappa, honors Frank Zappa".[254] In the 1980s, biologist Ed Murdy named a genus of gobiid fishes of New Guinea Zappa, with a species named Zappa confluentus.[255] Biologist Ferdinando Boero named a Californian jellyfish Phialella zappai (1987), noting that he had "pleasure in naming this species after the modern music composer".[256] Belgian biologists Bosmans and Bosselaers discovered in the early 1980s a Cameroonese spider, which they in 1994 named Pachygnatha zappa because "the ventral side of the abdomen of the female of this species strikingly resembles the artist's legendary moustache".[257] A gene of the bacterium Proteus mirabilis that causes urinary tract infections was in 1995 named zapA by three biologists from Maryland. In their scientific article, they "especially thank the late Frank Zappa for inspiration and assistance with genetic nomenclature".[258] In the late 1990s, American paleontologists Marc Salak and Halard L. Lescinsky discovered a metazoan fossil, and named it Spygori zappania to honor "the late Frank Zappa ... whose mission paralleled that of the earliest paleontologists: to challenge conventional and traditional beliefs when such beliefs lacked roots in logic and reason".[259]
In 1994, lobbying efforts initiated by psychiatrist John Scialli led the International Astronomical Union's Minor Planet Center to name an asteroid in Zappa's honor: 3834 Zappafrank.[260] The asteroid was discovered in 1980 by Czechoslovakian astronomer Ladislav Brozek, and the citation for its naming says that "Zappa was an eclectic, self-trained artist and composer ... Before 1989 he was regarded as a symbol of democracy and freedom by many people in Czechoslovakia".[261]
In 1995, a bust of Zappa by sculptor Konstantinas Bogdanas was installed in the Lithuanian capital Vilnius. A replica was offered to the city of Baltimore in 2008, and on September 19, 2010 — the twenty-fifth anniversary of Zappa's testimony to the U.S. Senate — a ceremony dedicating the replica was held, with the bust installed at the Southeast Anchor Branch Library in Baltimore's Highlandtown. Speakers at the event included Gail Zappa and Baltimore Mayor Stephanie Rawlings-Blake[262][263] In 2002, a bronze bust was installed in German city Bad Doberan, since 1990 location of the Zappanale, an annual music festival celebrating Zappa.[264] At the initiative of musicians community ORWOhaus, the city of Berlin named a street in the Marzahn district "Frank-Zappa-Straße" in 2007.[265] The same year, Baltimore's mayor Sheila Dixon proclaimed August 9 as the city's official "Frank Zappa Day" citing Zappa's musical accomplishments as well as his defense of the First Amendment to the United States Constitution.[266]
Discography[link]
References[link]
- Day, Nancy (2001). Censorship: Or Freedom of Expression?. Minneapolis: Twenty-First Century Books, Lerner Publications. ISBN 0-8225-2628-X.
- Delville, Michel; Norris, Andrew (2005). Frank Zappa, Captain Beefheart and the Secret History of Maximalism. Oxford: Salt Publishing. ISBN 978-1-84471-059-1.
- DeCurtis, Anthony; Henke, James with Holly George-Warren, ed. (1992). The Rolling Stone Illustrated History of Rock & Roll. Jim Miller (Original Editor) (3rd ed.). New York: Random House. ISBN 0-679-73728-6.
- Gray, Michael (1984). Mother! Is the Story of Frank Zappa. London: Proteus Books. ISBN 0-86276-146-8.
- James, Billy (2000). Necessity Is ...: The Early Years of Frank Zappa & The Mothers of Invention. London: SAF Publishing Ltd.. ISBN 0-946719-51-9.
- Lowe, Kelly Fisher (2006). The Words and Music of Frank Zappa. Westport: Praeger Publishers. ISBN 0-275-98779-5.
- Martin, Bill (2002). Avant Rock: Experimental Music from the Beatles to Björk. Peru, Illinois: Open Court Publishing Company. ISBN 0-8126-9500-3.
- MacDonald, Ian (1994). Revolution in the head: The Beatles' Records and the Sixties. Fourth Estate Ltd.. ISBN 1-85702-099-5.
- Miles, Barry (2004). Frank Zappa. London: Atlantic Books. ISBN 1-84354-092-4.
- Slaven, Neil (2003). Electric Don Quixote: The Definitive Story of Frank Zappa. London: Omnibus Press. ISBN 0-7119-9436-6.
- Sparks, Michael (1982). Cocaine Fiends and Reefer Madness: An Illustrated History of Drugs in the Movies. New York: Cornwall Books. ISBN 0-8453-4504-4.
- Walley, David (1980). No Commercial Potential. The Saga of Frank Zappa. Then and Now. New York: E. P. Dutton. ISBN 0-525-93153-8.
- Watson, Ben (1996). Frank Zappa: The Negative Dialectics of Poodle Play. New York: St. Martin's Griffin. ISBN 0-312-14124-6.
- Watson, Ben (2005). Frank Zappa. The Complete Guide to His Music. London: Omnibus Press. ISBN 1-84449-865-4.
- Zappa, Frank with Occhiogrosso, Peter (1989). The Real Frank Zappa Book. New York: Poseidon Press. ISBN 0-671-63870-X.
- "Frank Zappa", The New Rolling Stone Encyclopedia of Rock & Roll, New York: Simon & Schuster Inc, 1993, ISBN 0-684-81044-1
Notes[link]
- ^ Until discovering his birth certificate as an adult, Zappa believed he had been christened "Francis", and he is credited as Francis on some of his early albums. His legal name was always "Frank", however, never "Francis." Cf. Zappa with Occhiogrosso, 1989, The Real Frank Zappa Book, p. 15.
- ^ Zappa with Occhiogrosso, 1989, The Real Frank Zappa Book, p. 15.
- ^ a b The New Rolling Stone Encyclopedia of Rock & Roll, 1993.
- ^ a b Zappa with Occhiogrosso, 1989, The Real Frank Zappa Book, pp. 20–23.
- ^ Miles, 2004, Frank Zappa, pp. 8–9.
- ^ a b Miles, 2004, Frank Zappa, p. 10.
- ^ Zappa with Occhiogrosso, 1989, The Real Frank Zappa Book, p. 22.
- ^ Mendoza, Bart (November, 2005). "Counter Culture Coincidence". San Diego Troubadour. The San Diego Troubadour. http://www.sandiegotroubadour.com/content/features/fullcircle.aspx?issue=nov_2005. Retrieved September 11, 2010. [dead link]
- ^ Zappa with Occhiogrosso, 1989, The Real Frank Zappa Book, p. 34.
- ^ a b Zappa with Occhiogrosso, 1989, The Real Frank Zappa Book, p. 29.
- ^ Miles, 2004, Frank Zappa, p. 22.
- ^ Miles, 2004, Frank Zappa, p. 36.
- ^ a b Zappa, Frank (June 1971). "Edgard Varese: The Idol of My Youth". Stereo Review: 61–62..
- ^ a b c Zappa with Occhiogrosso, 1989, The Real Frank Zappa Book, pp. 30–33.
- ^ a b Show 14 – Big Rock Candy Mountain: Rock 'n' roll in the late fifties. [Part 4] : UNT Digital Library
- ^ Holmes, Thom (2008). "Early Synthesizers and Experimenters". Electronic and experimental music: technology, music, and culture (3rd ed.). Taylor & Francis. pp. 153–4. ISBN 0-415-95781-8. http://books.google.co.uk/books?id=hCthQ-bec-QC&pg=PA153. Retrieved 2011-06-04.
- ^ a b Watson, 1996, Frank Zappa: The Negative Dialectics of Poodle Play, p. 13.
- ^ Among his many musical satires are the 1967 songs "Flower Punk" (which parodies the song "Hey Joe") and "Who Needs The Peace Corps?", which are critiques of the late-Sixties commercialization of the hippie phenomenon.
- ^ a b For a comprehensive list of the appearance of parts of "old" compositions or quotes from others' music in Zappa's catalogue, see Albertos, Román García, FZ Musical Quotes, Information is Not Knowledge, globia.net/donlope, http://globalia.net/donlope/fz/quotes.html . Retrieved on January 21, 2008.
- ^ On several of his earlier albums, Zappa paid tribute to Varèse by quoting his: "The present-day composer refuses to die."
- ^ Slaven, 2003, Electric Don Quixote, pp. 29–30.
- ^ The Mike Douglas Show, NBC [TV Show], November 1976
- ^ a b The other signature pieces are "Zoot Allures" and "Black Napkins" from Zoot Allures. See Zappa, Dweezil (1996), Greetings music lovers, Dweezil here, Liner Notes, Frank Zappa Plays the Music of Frank Zappa: A Memorial Tribute
- ^ Miles, 2004, Frank Zappa, p. 40.
- ^ Walley, 1980, No Commercial Potential, p. 23.
- ^ Miles, 2004, Frank Zappa, p. 48.
- ^ Miles, 2004, Frank Zappa, p. 345.
- ^ Miles, 2004, Frank Zappa, p. 58.
- ^ Zappa with Occhiogrosso, 1989, The Real Frank Zappa Book, p. 40.
- ^ Miles, 2004, Frank Zappa, p. 59.
- ^ Miles, 2004, Frank Zappa, p. 63.
- ^ Miles, 2004, Frank Zappa, p. 55.
- ^ Gray, 1984, Mother!, p. 29.
- ^ Zappa with Occhiogrosso, 1989, The Real Frank Zappa Book, p. 42.
- ^ Miles, 2004, Frank Zappa, p. 74.
- ^ Slaven, 1996, Electric Don Quixote, pp. 35–36.
- ^ Watson, 1996, Frank Zappa: The Negative Dialectics of Poodle Play, p. 27.
- ^ Zappa with Occhiogrosso, 1989, The Real Frank Zappa Book, p. 43.
- ^ Miles, 2004, Frank Zappa, pp. 80–81.
- ^ Miles, 2004, Frank Zappa. pp. 82–83.
- ^ Watson, 1996, Frank Zappa: The Negative Dialectics of Poodle Play, p. 26.
- ^ a b Miles, 2004, Frank Zappa, p. 85.
- ^ Harp, Ted (March, 1965), "Vice Squad Raids Local Film Studio", The Daily Report (Ontario, California)
- ^ Zappa with Occhiogrosso, 1989, The Real Frank Zappa Book, p. 57.
- ^ Miles, 2004, Frank Zappa, pp. 86–87.
- ^ Miles, 2004, Frank Zappa, p. XV.
- ^ Miles, 2004, Frank Zappa, p. 87.
- ^ Slaven, 1996, Electric Don Quixote, p. 40.
- ^ Miles, 2004, Frank Zappa, pp. 90–91.
- ^ a b Swenson, John (March 1980), Frank Zappa: America's Weirdest Rock Star Comes Clean, High Times
- ^ a b Zappa with Occhiogrosso, 1989, The Real Frank Zappa Book, pp. 65–66.
- ^ Slaven, 2003, Electric Don Quixote, p. 42.
- ^ Walley, 1980, No Commercial Potential, p. 58.
- ^ Miles, 2004, Frank Zappa, p. 103.
- ^ Interview with Frank Zappa, UMRK, Los Angeles, CA: BBC [TV Show], March 1993
- ^ Lowe, 2006, The Words and Music of Frank Zappa, p. 25.
- ^ Walley, 1980, No Commercial Potential, pp. 60–61.
- ^ a b Miles, 2004, Frank Zappa, p. 115.
- ^ a b Miles, 2004, Frank Zappa, p. 112.
- ^ Watson, 2005, Frank Zappa. The Complete Guide to His Music, pp. 10–11.
- ^ a b Miles, 2004, Frank Zappa, p. 123.
- ^ Miles, 2004, Frank Zappa, p. 122.
- ^ Loder, Kurt (1988), "Rolling Stone Interview", Rolling Stone
- ^ He considered such campaigns as yuppie inventions and noted that "Some people like garlic ... I like pepper, tobacco and coffee. That's my metabolism". Zappa with Occhiogrosso, 1989, The Real Frank Zappa Book, pp. 234–235.
- ^ Lowe, 2006, The Words and Music of Frank Zappa, p. 5.
- ^ Lowe, 2006, The Words and Music of Frank Zappa, pp. 38–43.
- ^ Miles, 2004, Frank Zappa, pp. 135–138.
- ^ a b Miles, 2004, Frank Zappa, pp. 140–141.
- ^ Lowe, 2006, The Words and Music of Frank Zappa, p. 56.
- ^ Walley, 1980, No Commercial Potential, p. 86.
- ^ Couture, François, Lumpy Gravy. Review, Allmusic.com, http://www.allmusic.com/album/r22630 . Retrieved on January 2, 2008; Lowe, 2006, The Words and Music of Frank Zappa, p. 56.
- ^ The initial orchestra-only recordings were released posthumously on the box set Lumpy Money (2009). See Dolan, Casey (December 8, 2008), "The Resurrection of Frank Zappa's Soul", LA Weekly (Village Voice Media), http://www.laweekly.com/2008-12-11/music/the-resurrection-of-frank-zappa-8217-s-soul/1 . Retrieved on February 2, 2009.
- ^ James, 2000, Necessity Is ... , pp. 62–69.
- ^ Miles, 2004, Frank Zappa, p. 147.
- ^ Zappa with Occhiogrosso, 1989, The Real Frank Zappa Book, p. 94.
- ^ Huey, Steve, We're Only in It for the Money. Review, Allmusic.com, http://www.allmusic.com/album/r22631 . Retrieved on January 2, 2008.
- ^ Watson, 2005, Frank Zappa. The Complete Guide to His Music, p. 15. Walley, 1980, No Commercial Potential, p. 90.
- ^ As the legal aspects of using the Sgt Pepper concept were unsettled, the album was released with the cover and back on the inside of the gatefold, while the actual cover and back were a picture of the group in a pose parodying the inside of the Beatles album. Miles, 2004, Frank Zappa, p. 151.
- ^ Watson, 1996, Frank Zappa: The Negative Dialectics of Poodle Play, p. 88.
- ^ Lowe, 2006, The Words and Music of Frank Zappa, p. 58.
- ^ a b Zappa with Occhiogrosso, 1989, The Real Frank Zappa Book, p. 88.
- ^ a b Miles, 2004, Frank Zappa, p. 160.
- ^ James, 2000, Necessity Is ..., p. 104.
- ^ In the process, he built up a vast archive of live recordings. In the late 1980s some of these recordings were collected for the 12-CD set You Can't Do That on Stage Anymore.
- ^ a b c Chris Michie (January 2003), We are The Mothers...and This Is What We Sound Like!, MixOnline.com, http://mixonline.com/recording/business/audio_mothers_sound/ . Retrieved on January 4, 2008.
- ^ Bob Marshall, "Interview with Frank Zappa," October 22, 1988.
- ^ Miles, 2004, Frank Zappa, pp. 173–175.
- ^ a b c Lowe, 2006, The Words and Music of Frank Zappa, p. 74.
- ^ Couture, François. "Peaches en Regalia [Song Review"]. Allmusic. http://www.allmusic.com/song/t2677929. Retrieved April 11, 2010.
- ^ Notable covers include: Jon Poole, What's the Ugliest Part of Your Body?; Meridian Arts Ensemble, Prime Meridian; Dixie Dregs, California Screamin'; Dweezil Zappa, Go with What You Know; Phish, Vegas 96; The Roots, How I Got Over
- ^ Miles, 2004, Frank Zappa, p. 178.
- ^ a b Walley, 1980, No Commercial Potential, p. 116.
- ^ Slaven, 2003, Electric Don Quixote, pp. 119–120.
- ^ a b Miles, 2004, Frank Zappa, pp. 185–187.
- ^ Zappa with Occhiogrosso, 1989, The Real Frank Zappa Book, p. 107.
- ^ Slaven, 2003, Electric Don Quixote, p. 120.
- ^ Miles, 2004, Frank Zappa, p. 116.
- ^ Huey, Steve, Hot Rats. Review, Allmusic.com, http://www.allmusic.com/album/r22632 . Retrieved on January 2, 2008.
- ^ a b Miles, 2004, Frank Zappa, p. 194.
- ^ a b Zappa with Occhiogrosso, 1989, The Real Frank Zappa Book, p. 109.
- ^ Zappa with Occhiogrosso, 1989, The Real Frank Zappa Book, pp. 142–156.
- ^ Miles, 2004, Frank Zappa, p. 201.
- ^ Miles, 2004, Frank Zappa, p. 205.
- ^ a b Watson, 1996, Frank Zappa: The Negative Dialectics of Poodle Play, p. 183.
- ^ Miles, 2004, Frank Zappa, p. 207.
- ^ Starks, 1982, Cocaine Fiends and Reefer Madness, p. 153.
- ^ Lowe, 2006, The Words and Music of Frank Zappa, p. 94.
- ^ Zappa with Occhiogrosso, 1989, The Real Frank Zappa Book, pp. 119–137.
- ^ Miles, 2004, Frank Zappa, pp. 203–204.
- ^ During the June 1971 Fillmore concerts Zappa was joined on stage by John Lennon and Yoko Ono. This performance was recorded, and Lennon released excerpts on his album Some Time In New York City in 1972. Zappa later released his version of excerpts from the concert on Playground Psychotics in 1992, including the jam track "Scumbag" and an extended avant-garde vocal piece by Ono (originally called "Au"), which Zappa renamed "A Small Eternity with Yoko Ono".
- ^ a b c Zappa with Occhiogrosso, 1989, The Real Frank Zappa Book, pp. 112–115.
- ^ Lowe, 2006, The Words and Music of Frank Zappa, p. 101.
- ^ a b Miles, 2004, Frank Zappa, pp. 225–226.
- ^ Official recordings of these bands did not emerge until more than 30 years later on Wazoo (2007) and Imaginary Diseases (2006), respectively.
- ^ Miles, 2004, Frank Zappa, p. 231.
- ^ Frank Zappa > Charts and Awards > Billboard Albums, Allmusic.com, http://www.allmusic.com/artist/p74796 . Retrieved on January 3, 2008.
- ^ Huey, Steve, Apostrophe ('). Review, Allmusic.com, http://www.allmusic.com/album/r53148 . Retrieved on January 3, 2008.
- ^ a b Lowe, 2006, The Words and Music of Frank Zappa, pp. 114–122.
- ^ Miles, 2004, Frank Zappa, p. 248.
- ^ Miles, 2004, Frank Zappa, p. 372.
- ^ Miles, 2004, Frank Zappa, p. 250.
- ^ Miles, 2004, Frank Zappa, p. 253; pp. 258–259.
- ^ Lowe, 2006, The Words and Music of Frank Zappa, p. 131.
- ^ a b Miles, 2004, Frank Zappa, p. 261.
- ^ Slaven, 2003, Electric Don Quixote, p. 248.
- ^ Miles, 2004, Frank Zappa, p. 267.
- ^ Ruhlmann, W. (2011 [last update]). "The Old Masters Box 3 [PQRSTUVW] - Frank Zappa & the Mothers | AllMusic". allmusic.com. http://www.allmusic.com/album/r53145. Retrieved 21 July 2011.
- ^ It remains debated whether Zappa had conceived the material as a four-LP set from the beginning, or only when approaching Mercury-Phonogram; see, e.g., Watson, 2005, Frank Zappa. The Complete Guide to His Music, p. 49. In the liner notes to the 1996 release, however, Gail Zappa states that "As originally conceived by Frank, Läther was always a 4-record box set."
- ^ Watson, 2005, Frank Zappa. The Complete Guide to His Music, p. 49.
- ^ Miles, 2004, Frank Zappa, p. 262.
- ^ In 1978, Zappa served both as host and musical act on the show, and as an actor in various sketches.
- ^ Zappa, Frank, 1978, Zappa in New York, Liner Notes.
- ^ a b Lowe, 2006, The Words and Music of Frank Zappa, p. 132.
- ^ Clement, Brett (2004), "Little dots: A study of the melodies of the guitarist / composer Frank Zappa (pdf file)" (PDF), Master Thesis (The Florida State University, School of Music): pp. 25–48, http://etd.lib.fsu.edu/theses/available/etd-04122004-114345/unrestricted/zappathesis3.pdf . Retrieved on December 29, 2007.
- ^ Hemmings, Richard (2006), Ever wonder why your daughter looked so sad? Non-danceable beats: getting to grips with rhythmical unpredictability in Project/Object, richardhemmings.co.uk, http://www.richardhemmings.co.uk/001/research/zappology/saddaughter.html . Retrieved on July 24, 2008.
- ^ Miles, 2004, Frank Zappa, pp. 261–262; Lowe, 2006, The Words and Music of Frank Zappa, p. 134.
- ^ a b Miles, 2004, Frank Zappa, p. 234.
- ^ Lowe, 2006, The Words and Music of Frank Zappa, p. 138.
- ^ a b Watson, 1996, Frank Zappa: The Negative Dialectics of Poodle Play, p. 351.
- ^ a b c d Lowe, 2006, The Words and Music of Frank Zappa, p. 140.
- ^ Groening, Matt; Menn, Don (1992), "The Mother of All Interviews. Act II: Matt Groening joins in on the scrutiny of the central decentralizer", in Menn, Don (ed.), Zappa! Guitar Player Presents, San Francisco, CA: Miller Freeman, p. 61, ISSN 1063-4533
- ^ Both albums made it onto the Billboard top 30. Frank Zappa > Charts & Awards > Billboard Albums, Allmusic.com, http://www.allmusic.com/artist/p74796 . Retrieved on January 6, 2008.
- ^ a b Frank Zappa > Charts & Awards > Billboard Singles, Allmusic.com, http://www.allmusic.com/artist/p74796 . Retrieved on January 6, 2008.
- ^ Peterson, Chris (November 1979), He's Only 38 and He Knows How to Nasty, Relix Magazine
- ^ Miles, 2004, Frank Zappa, p. 277.
- ^ Watson, 2005, Frank Zappa. The Complete Guide to His Music, p. 59.
- ^ Zappa with Occhiogrosso, 1989, The Real Frank Zappa Book, p. 180.
- ^ Watson, 2005, Frank Zappa. The Complete Guide to His Music, p. 61.
- ^ Baby Snakes, 2003, DVD cover, Eagle Vision.
- ^ a b Miles, 2004, Frank Zappa, p. 282.
- ^ Sohmer, Adam (June 8, 2005), Baby Snakes – DVD, Big Picture Big Sound, http://www.bigpicturebigsound.com/article_501.shtml . Retrieved on January 7, 2008.
- ^ a b Frank Zappa, IMDb – The Internet Movie Database, http://www.imdb.com/name/nm0953261/ . Retrieved on July 30, 2008.
- ^ Miles, 2004, Frank Zappa, p. 343.
- ^ Eliscu, Jenny (November 8, 2002), "Homer and Me", Rolling Stone Magazine
- ^ "Times The New York - Google Books". Books.google.com. http://books.google.com/books?id=1_i5f3jhD9UC&pg=PA3054&dq=%22zappa+records%22+%2B+mercury+%2B+drafted&hl=en#v=onepage&q=%22zappa%20records%22%20%2B%20mercury%20%2B%20drafted&f=false. Retrieved 2012-04-30.
- ^ "Frank Zappa - I Don't Wanna Get Drafted! (Vinyl) at Discogs". Discogs.com. http://www.discogs.com/Frank-Zappa-I-Dont-Wanna-Get-Drafted/release/807608. Retrieved 2012-04-30.
- ^ a b Lowe, 2006, The Words and Music of Frank Zappa, p. 161.
- ^ Miles, 2004, Frank Zappa, p. 284.
- ^ Lowe, 2006, The Words and Music of Frank Zappa, p. 165.
- ^ Miles, 2004, Frank Zappa, p. 283.
- ^ Miles, 2004, Frank Zappa, p. 269.
- ^ Huey, Steve, You Are What You Is. Review, Allmusic.com, http://www.allmusic.com/album/r53163 . Retrieved on January 7, 2008.
- ^ a b Lowe, 2006, The Words and Music of Frank Zappa, pp. 169–175.
- ^ Zappa, Frank (November 1982), Absolutely Frank. First Steps in Odd Meters, Guitar Player Magazine, p. 116.
- ^ Swenson, John (November, 1981), Frank Zappa: Shut Up 'N Play Yer Guitar, Shut Up 'N Play Yer Guitar Some More, The Return of the Son of Shut Up 'N Play Yer Guitar, Guitar World
- ^ Huey, Steve, Valley Girl. Frank Zappa. Song Review, Allmusic.com, http://www.allmusic.com/song/t2677879 . Retrieved on January 7, 2008.
- ^ a b Lowe, 2006, The Words and Music of Frank Zappa, p. 178.
- ^ Miles, 2004, Frank Zappa, p. 304.
- ^ a b Zappa with Occhiogrosso, 1989, The Real Frank Zappa Book, pp. 146–156.
- ^ Miles, 2004, Frank Zappa, p. 315.
- ^ Ruhlmann, William, London Symphony Orchestra, Vol. 1. Review, Allmusic.com, http://www.allmusic.com/album/r53172 . Retrieved on January 7, 2008.
- ^ "Bingo! There Goes Your Tenure" by Frank Zappa, 1984
- ^ Miles, 2004, Frank Zappa, p. 323.
- ^ Kelp, Larry (June 18, 1984), "Zappa Pokes Into The Fine Arts", The Oakland Tribune, http://www.afka.net/Articles/1984-06_Tribune.htm, retrieved July 5, 2009
- ^ a b c Zappa with Occhiogrosso, 1989, The Real Frank Zappa Book, pp. 172–173.
- ^ Miles, 2004, Frank Zappa, p. 319.
- ^ Watson, 2005, Frank Zappa. The Complete Guide to His Music, p. 73.
- ^ The musical was eventually produced for the stage in 2003. See Thing-Fish – The Return of Frank Zappa, The British Theatre Guide, http://www.britishtheatreguide.info/otherresources/interviews/Thing-Fish.htm . Retrieved on December 11, 2007.
- ^ Carr, Paul; Hand, Richard J. (2007), "Frank Zappa and musical theatre: ugly ugly o'phan Annie and really deep, intense, thought-provoking Broadway symbolism", Studies in Musical Theatre 1 (1): 44–51., DOI:10.1386/smt.1.1.41/1, http://www.atypon-link.com/INT/doi/abs/10.1386/smt.1.1.41_1?cookieSet=1&journalCode=smt Full article available by free login only. Retrieved on July 28, 2008.
- ^ Day, 2000, Censorship, p. 53.
- ^ Zappa with Occhiogrosso, 1989, The Real Frank Zappa Book, p. 267.
- ^ Zappa with Occhiogrosso, 1989, The Real Frank Zappa Book, p. 262.
- ^ Record Labeling. Hearing before the committee on commerce, science and transportation, U.S. Government printing office, September 19, 1985, http://www.joesapt.net/superlink/shrg99-529/p51.html . Retrieved on December 31, 2007.
- ^ Crossfire with Frank Zappa and John Lofton, CNN [TV Debate], March 1986, http://www.archive.org/details/FrankZappaOnCrossfire
- ^ Miles, 2004, Frank Zappa, p. 348.
- ^ Miles, 2004, Frank Zappa, p. 365.
- ^ Miles, 2004, Frank Zappa, p. 340.
- ^ For a comprehensive comparison of vinyl of CD releases, see The Frank Zappa Album Versions Guide – Index, The Zappa Patio, www.lukpac.org/~handmade/patio, http://www.lukpac.org/~handmade/patio/vinylvscds/index.html . Retrieved on January 7, 2008.
- ^ For example, new drum and bass parts were used on the 1960s albums We're Only in It for the Money and Cruising with Ruben & the Jets. See Miles, 2004, Frank Zappa, p. 327.
- ^ a b Zappa with Occhiogrosso, 1989, The Real Frank Zappa Book, pp. 337–339.
- ^ Nuzum, Eric (2001), Parental Advisory: Music Censorship in America, HarperCollins, pp. 39, 255, ISBN 0-688-16772-1
- ^ Miles, 2004, Frank Zappa, pp. 346–350.
- ^ Mitchell, Tony (May, 1992), "Mixing Pop and Politics: Rock Music in Czechoslovakia before and after the Velvet Revolution", Popular Music. A Changing Europe (Cambridge University Press) 11: 187–203
- ^ Miles, 2004, Frank Zappa, pp. 357–361.
- ^ a b Ouellette, Dan (August 1993), Frank Zappa, Pulse! Magazine, pp. 48–56.
- ^ "Pražský Výběr at the Knitting Factory". http://new-york.czechcentres.cz/program/event-details/prazsky-vyber-at-the-knitting-factory1/.
- ^ Watson, 2005, Frank Zappa. The Complete Guide to His Music, p. 100.
- ^ Miles, 2004, Frank Zappa, pp. 374–375.
- ^ It brought him a posthumous Grammy Award (with Gail Zappa) for Best Recording Package – Boxed in 1994. GRAMMY Winners, GRAMMY.com, http://www.grammy.com/nominees/search . Retrieved on August 18, 2008.
- ^ Menn, Don, ed. (1992), "Andreas Mölich-Zebhauser — Preparing the Ensemble Modern for the Frankfurt Festival", Zappa! Guitar Player Presents, San Francisco, CA: Miller Freeman, pp. 12–13, ISSN 1063-4533
- ^ a b Miles, 2004, Frank Zappa, p. 369.
- ^ a b Miles, 2004, Frank Zappa, p. 371.
- ^ Watson, 2005, Frank Zappa. The Complete Guide to His Music, p. 552.
- ^ Miles, 2004, Frank Zappa, pp. 379–380.
- ^ Frank Zappa (1940–1993) – Find A Grave Memorial
- ^ Slaven, 2003, Electric Don Quixote, p. 320.
- ^ Brackett, Nathan; Hoard, Christian, eds. (2004), The New Rolling Stone Album Guide: Completely Revised and Updated 4th Edition, New York, NY: Fireside, p. 903, ISBN 0-7432-0169-8
- ^ Walley, 1980, No Commercial Potential, p. 3.
- ^ Miles, 2004, Frank Zappa, p. 383.
- ^ Menn, Don (1992), "From the Editor", in Menn, Don, Zappa! Guitar Player Presents, San Francisco, CA: Miller Freeman, p. 3, ISSN 1063-4533
- ^ Kozinn, Allan (December 27, 1996), "Nicolas Slonimsky, Author of Widely Used Reference Works on Music, Dies at 101", The New York Times, http://query.nytimes.com/gst/fullpage.html?res=9C04E6D61539F934A15751C1A963958260&sec=&spon=&pagewanted=all . Retrieved on August 17, 2008.
- ^ In December 1981, the then 87 year old Slonimsky made a guest appearance on piano at a Zappa concert. Miles, 2004, Frank Zappa, p. 295–296.
- ^ Menn, Don, ed. (1992), "Nicolas Slonimsky — The Century's Preeminent Lexicographer Nails Zappa Down", Zappa! Guitar Player Presents, San Francisco, CA: Miller Freeman, pp. 6–7, ISSN 1063-4533
- ^ Menn, Don, ed. (1992), "Kent Nagano — Premiering Zappa with the London Symphony Orchestra", Zappa! Guitar Player Presents, San Francisco, CA: Miller Freeman, pp. 8–11, ISSN 1063-4533
- ^ Isler, Scott (February, 1994), Frank Zappa, Musician Magazine
- ^ Ashby, Arved (1999), "Frank Zappa and the Anti-Fetishist Orchestra", The Musical Quarterly (Oxford University Press) 83 (4): 557–606, DOI:10.1093/mq/83.4.557
- ^ Grier, James (2001), "The Mothers of Invention and "Uncle Meat": Alienation, Anachronism and a Double Variation", Acta Musicologica (International Musicological Society) 73 (1): 77–95, DOI:10.2307/932810, JSTOR 932810
- ^ Cotter, Jim (2002), "Frank Zappa (1940–1993)", in Sitsky, Larry, Music of the Twentieth-century Avant-garde. A Biocritical Sourcebook, Westfort, CT: Greenwood Publishing Group, p. 597, ISBN 0-313-29689-8
- ^ He is ranked 45th in "The 100 Greatest Guitarists of All Time", Rolling Stone, August 27, 2003
- ^ He is ranked 51st in The 100 Wildest Guitar Heroes, Classic Rock Magazine, April 2007
- ^ He is ranked 39th in Gibson.com Top 50 Guitarists of All Time, May 25, 2010, http://www.gibson.com/en-us/Lifestyle/Features/Top-50-Guitarists-525/ . Retrieved on June 27, 2010.
- ^ 1994 Down Beat Critics Poll, Down Beat Magazine, http://www.downbeat.com/default.asp?sect=stories&subsect=story_detail&sid=720 . Retrieved on August 12, 2008.
- ^ Frank Zappa, The Rock and Roll Hall of Fame and Museum, Inc., http://rockhall.com/inductees/frank-zappa . Retrieved on August 14, 2008.
- ^ Lifetime achievement award, GRAMMY.org, http://www.grammy.org/recording-academy/awards/lifetime-awards . Retrieved on February 14, 2012.
- ^ The National Recording Registry 2005, National Recording Preservation Board, The Library of Congress, May 24, 2005, http://www.loc.gov/rr/record/nrpb/registry/nrpb-2005reg.html . Retrieved on August 18, 2008.
- ^ a b "The Immortals", Rolling Stone Magazine, Issue 972
- ^ "45 Frank Zappa". Rolling Stone. http://www.rollingstone.com/music/lists/100-greatest-guitarists-of-all-time-19691231/frank-zappa-19691231. Retrieved June 4, 2011.
- ^ Quigley, Mike (September 1969), Interview with Alice Cooper, Poppin, Issue #5
- ^ Elfman, Doug (October 15, 2003), "Primus plays Hard Rock", Las Vegas Review-Journal, http://www.reviewjournal.com/lvrj_home/2003/Oct-15-Wed-2003/news/22374264.html . Retrieved on March 14, 2009.
- ^ Randall, David (2004), Get Ready to ROCK! Interview with singer and frontman of American rock band The Tubes, Fee Waybill, getreadytorock.com, http://www.getreadytorock.com/10questions/fee_waybill.htm . Retrieved on August 13, 2008.
- ^ Boisen, Myles, allmusic ((( Henry Cow > Biography ))), allmusic.com, http://www.allmusic.com/artist/p4475 . Retrieved on August 13, 2008.
- ^ Cleveland, Barry (September 2006), Exclusive Outtakes from GP's Interview with John Frusciante!, Guitar Player, http://www.eqmag.com/article/exclusive-outtakes-from/sep-06/23282 . Retrieved on August 12, 2008.
- ^ MacDonald, 1994, Revolution in the Head, p. 171.
- ^ Black Sabbath Online: Tony Iommi & Geezer Butler Interview, black-sabbath.com, May 1994, http://www.black-sabbath.com/interviews/tonygeez_0594.html . Retrieved on August 12, 2008.
- ^ about mike, mikeportnoy.com, http://www.mikeportnoy.com/aboutmike/bio.aspx . Retrieved on April 22, 2009.
- ^ Menn, Don, ed. (1992), "Warren De Martini—Ratt Guitarist Turns Zappa Stylist", Zappa! Guitar Player Presents, San Francisco, CA: Miller Freeman, p. 14, ISSN 1063-4533
- ^ Vai.com > All About Steve > Vaiography, Vai.com, http://www.vai.com/vaiography/ . Retrieved on August 12, 2008.
- ^ SOS, Mike (August 2005). "Interview: Strapping Young Lad: An extreme metal all-star squad". In Music We Trust. http://www.inmusicwetrust.com/articles/71h16.html. Retrieved January 31, 2008.
- ^ Sinclair, Tom (May 16, 2005), "Mezmerize (2005): System of a Down", Entertainment Weekly, http://www.ew.com/ew/article/0,,1060789,00.html . Retrieved on June 28, 2010.
- ^ The official Pages, clawfinger.net, http://www.clawfinger.net/main.php?band . Retrieved on August 12, 2008.
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- ^ Tomas Ulrich at All about Jazz, All About Jazz, http://www.allaboutjazz.com/php/musician.php?id=15347 Retrieved on November 13, 2008.
- ^ Meridian Arts Ensemble – About Us, meridianartsensemble.com, http://www.meridianartsensemble.com/about.htm . Retrieved on August 12, 2008.
- ^ Academic Zappa: Seriously Taken Musical Study of Frank Zappa's Music — At Last, ensembleambrosius.com, http://www.ensembleambrosius.com/node/2 . Retrieved December 17, 2010.
- ^ About fireworks, fireworksensemble.org, http://fireworksensemble.org/about/ . Retrieved on August 25, 2008.
- ^ Bill Frisell Biography, Songline/Tonefield Productions, http://www.songtone.com/artists/Frisell/default.html . Retrieved on August 12, 2008.
- ^ Cook, Richard; Morton, Brian (2004), The Penguin Guide To Jazz On CD, Seventh Edition, London: Penguin Books, p. 1721, ISBN 0-14-101416-4
- ^ Bush, John, allmusic ((( George Clinton > Biography ))), allmusic.com, http://www.allmusic.com/artist/p65136 . Retrieved on August 13, 2008.
- ^ George Winston Biography, georgewinston.com, http://www.georgewinston.com/us/biography . Retrieved on June 27, 2010.
- ^ gluckbio.html, electricsongs.com, http://www.electricsongs.com/gluckbio.html . Retrieved on September 1, 2008.
- ^ "Weird Al" Yankovic: Frequently Asked Questions, weirdal.com, http://www.weirdal.com/faq.htm . Retrieved on August 12, 2008.
- ^ Reynolds, Simon (2005). Rip It Up and Start Again: Postpunk 1978–1984, p. 255.
- ^ Martin, 2002, Avant Rock, p. 160.
- ^ Plas, Jr., Leo P. (March, 1972), "Upper Wolfcampian (?) Mollusca from the Arrow Canyon Range, Clark County, Nevada", Journal of Paleontology (SEPM Society for Sedimentary Geology) 46: 249–260.
- ^ Murdy, E. O. (1989), A Taxonomic Revision and Cladistic Analysis of the Oxudercine Gobies (Gobiidae: Oxudercinae), Records of the Australian Museum, ISBN 0-7305-6374-X
- ^ Boero, Ferdinando (April, 1987), "Life cycles of Phialella zappai n. sp., Phialella fragilis and Phialella sp. (Cnidaria, Leptomedusae, Phialellidae) from central California", Journal of Natural History (Taylor & Francis Groups) 21 (2): 465–480, DOI:10.1080/00222938700771131
- ^ Bosmans, Robert; Bosselaers, Jan (October 1995), "Spiders of the genera Pachygnatha, Dyschiriognatha and Glenognatha (Araneae, Tetragnathidae), with a revision of the Afrotropical species", Zoologica Scripta (The Norwegian Academy of Science and Letters) 23 (4): 325–352, DOI:10.1111/j.1463-6409.1994.tb00392.x
- ^ Wassif, Christopher; Cheek, Diana; Belas, Robert (October 1995), "Molecular Analysis of a Metalloprotease from Proteus mirabilis", Journal of Bacteriology (American Society for Microbiology) 177 (20): 5790–8, PMC 177400, PMID 7592325
- ^ Salak, Marc; Lescinsky, Halard L. (July, 1999), "Spygoria zappania New Genus and Species, a Cloudina-like Biohermal Metazoan from the Lower Cambrian of Central Nevada", Journal of Paleontology (Paleontological Society) 73: 571–576.
- ^ Seachrist, Lisa (August 12, 1994), "Random Samples", Science. New Series (American Association for the Advancement of Science) 265: 870–871.
- ^ (3834) Zappafrank, IAU: Minor Planet Center (Smithsonian Astrophysical Observatory), http://www.minorplanetcenter.net/iau/special/rocknroll/0003834.html . Retrieved on August 15, 2008.
- ^ The Baltimore Sun (September 16, 2010), Zappa comes home, The Baltimore Sun, http://articles.baltimoresun.com/2010-09-16/entertainment/bs-ae-zappa-cover-0917-20100916_1_gail-zappa-southeast-anchor-library-lithuania . Dweezil and Zappa Plays Zappa played a free three-hour show to a crowd estimated at more than 3,000. Retrieved on September 19, 2010.
- ^ The Baltimore Sun (September 16, 2010), Zappa-looza: A full guide to the weekend's events, The Baltimore Sun, http://articles.baltimoresun.com/2010-09-16/news/bs-ae-zappa-rail-0917-2-20100916_1_southeast-anchor-library-zappa-plays-zappa-zappa-related . Retrieved on September 19, 2010.
- ^ Zappanale – Startseite, zappanale.de, http://zappanale.de/ . Retrieved on August 14, 2008.
- ^ The Associated Press (July 30, 2007), "Berlin Names Street After Frank Zappa", The Washington Post, http://www.washingtonpost.com/wp-dyn/content/article/2007/07/30/AR2007073000690.html . Retrieved on August 15, 2008.
- ^ Zappa.com > What's New in Baltimore?, zappa.com, http://www.zappa.com/whatsnew/news/baltimore.html . Retrieved on August 15, 2008.
External links[link]
Media related to Frank Zappa at Wikimedia Commons 
Quotations related to Frank Zappa at Wikiquote
- The official Frank Zappa website
- Appearances on C-SPAN
- Frank Zappa at the Internet Movie Database
- Works by or about Frank Zappa in libraries (WorldCat catalog)
- Frank Zappa collected news and commentary at The Guardian
- Frank Zappa collected news and commentary at The New York Times
- Frank Zappa at the Notable Names Database
- Frank Zappa interviewed on the Pop Chronicles (1969).
|
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| Persondata | |
|---|---|
| Name | Zappa, Frank |
| Alternative names | Zappa, Frank Vincent |
| Short description | Composer, musician, bandleader, conductor, record producer |
| Date of birth | 1940-12-21 |
| Place of birth | Baltimore, Maryland, United States |
| Date of death | 1993-12-04 |
| Place of death | Los Angeles, California, United States |
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This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Frank_Zappa
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
Alban Maria Johannes Berg (February 9, 1885 – December 24, 1935) was an Austrian composer. He was a member of the Second Viennese School with Arnold Schoenberg and Anton Webern, and produced compositions that combined Mahlerian Romanticism with a personal adaptation of Schoenberg's twelve-tone technique.
Contents |
Biography[link]
Early life[link]
Berg was born in Vienna, the third of four children of Johanna and Conrad Berg. His family lived comfortably until the death of his father in 1900.
Education[link]
He was more interested in literature than music as a child and did not begin to compose until he was fifteen, when he started to teach himself music. In late February or early March 1902 he fathered a child with Marie Scheuchl, a servant girl in the Berg family household. His daughter, Albine, was born on December 4, 1902.
Berg had little formal music education before he became a student of Arnold Schoenberg in October 1904. With Schoenberg he studied counterpoint, music theory, and harmony.[1] By 1906, he was studying music full-time; by 1907, he began composition lessons. His student compositions included five drafts for piano sonatas. He also wrote songs, including his Seven Early Songs (Sieben Frühe Lieder), three of which were Berg's first publicly performed work in a concert that featured the music of Schoenberg's pupils in Vienna that year. The early sonata sketches eventually culminated in Berg's Piano Sonata, Op. 1 (1907–1908); it is one of the most formidable "first" works ever written.[2]
Berg studied with Schoenberg for six years until 1911. Berg admired him as a composer and mentor, and they remained close lifelong friends.
Among Schoenberg's teaching was the idea that the unity of a musical composition depends upon all its aspects being derived from a single basic idea; this idea was later known as developing variation. Berg passed this on to his students, one of whom, Theodor Adorno, stated: "The main principle he conveyed was that of variation: everything was supposed to develop out of something else and yet be intrinsically different".[3] The Piano Sonata is an example—the whole composition is derived from the work's opening quartal gesture and its opening phrase.
Innovation[link]
Berg was a part of Vienna's cultural elite during the heady fin de siècle period. His circle included the musicians Alexander von Zemlinsky and Franz Schreker, the painter Gustav Klimt, the writer and satirist Karl Kraus, the architect Adolf Loos, and the poet Peter Altenberg. In 1906, Berg met the singer Helene Nahowski, daughter of a wealthy family (said by some to be in fact the illegitimate daughter of Emperor Franz Joseph I of Austria from his liaison with Anna Nahowski);[4] despite the outward hostility of her family, the two were married on May 3, 1911.
In 1913, two of Berg's Five Songs on Picture Postcard Texts by Peter Altenberg (1912) were premièred in Vienna, conducted by Schoenberg. Settings of aphoristic poetic utterances, the songs are accompanied by a very large orchestra. The performance caused a riot, and had to be halted. This was a crippling blow to Berg's self-confidence: he effectively withdrew the work, which is surely one of the most extraordinarily innovative and assured first orchestral compositions in the literature, and it was not performed in full until 1952. The full score remained unpublished until 1966.
From 1915 to 1918, Berg served in the Austrian Army and during a period of leave in 1917 he accelerated work on his first opera, Wozzeck. After the end of World War I, he settled again in Vienna where he taught private pupils. He also helped Schoenberg run his Society for Private Musical Performances, which sought to create the ideal environment for the exploration and appreciation of unfamiliar new music by means of open rehearsals, repeat performances, and the exclusion of professional critics.
[edit] Success of Wozzeck
Three excerpts from Wozzeck were performed in 1924, and this brought Berg his first public success. The opera, which Berg completed in 1922, was first performed on December 14, 1925, when Erich Kleiber directed the first performance in Berlin. Today Wozzeck is seen as one of the century's most important works. Berg completed the orchestration of only the first two acts of his later three-act opera Lulu, before he died. The first two acts were successfully premièred in Zürich in 1937, but for personal reasons Helene Berg subsequently imposed a ban on any attempt to "complete" the final act, which Berg had in fact completed in particell format. An orchestration was therefore commissioned in secret from Friedrich Cerha and premièred in Paris (under Pierre Boulez) only in 1979, soon after Helene Berg's own death. The complete opera has rapidly entered the repertoire as one of the landmarks of contemporary music and, like Wozzeck, remains a consistent audience draw.
Berg had interrupted the orchestration of Lulu because of an unexpected (and financially much-needed) commission from the Russian-American violinist Louis Krasner for a Violin Concerto (1935). This profoundly elegiac work, composed at unaccustomed speed and posthumously premièred, has become Berg's best-known and beloved composition. Like much of his mature work, it employs an idiosyncratic adaptation of Schoenberg's twelve-tone technique that enables the composer to produce passages openly evoking tonality, including quotations from historical tonal music, such as a Bach chorale and a Carinthian folk song. The Violin Concerto was dedicated "to the memory of an Angel", Manon Gropius, the deceased daughter of architect Walter Gropius and Alma Mahler.
Other well-known Berg compositions include the Lyric Suite (1926), which was later shown to employ elaborate cyphers to document a secret love affair; the extraordinarily elaborate post-Mahlerian Three Pieces for Orchestra (completed in 1915 but not performed until after Wozzeck); and the Chamber Concerto (Kammerkonzert, 1923–25) for violin, piano and 13 wind instruments: this latter is written so conscientiously that Pierre Boulez has called it "Berg's strictest composition" and it, too, is permeated by cyphers and posthumously disclosed hidden programs.
Death[link]
Berg died in Vienna, on Christmas Eve 1935, from blood poisoning apparently caused by an insect-sting-induced carbuncle on his back. He had been reduced to near-poverty and it is said that to save money his wife carried out an ill-advised operation using a pair of scissors. Later he was taken to hospital, although too late to prevent the onset of blood poisoning. He was 50 years old.
Legacy[link]
Berg is remembered as one of the most important composers of the 20th century and to date is the most widely performed opera composer among the Second Viennese School.[5] He is considered to have brought more human values to the twelve-tone system, his works seen as more emotional than Schoenberg's.[6] Critically he is seen to have preserved the Viennese tradition in his music.[7][verification needed] His popularity has been more easily secured than many other Modernists since he plausibly combined both Romantic and Expressionist idioms. Though Berg's Romanticism at one time seemed a drawback for some more modernist composers,[weasel words] the Berg scholar Douglas Jarman writes in the New Grove: "As the 20th century closed, the 'backward-looking' Berg suddenly came as [George] Perle remarked, to look like its most forward-looking composer."[8]
Major compositions[link]
See also: List of compositions by Alban Berg
Piano[link]Chamber[link]
Orchestral[link] |
Notes[link]
- ^ Monzo, Joe. "Schoenberg's Harmonielehre", Sonic Arts. 1999 June 5.[unreliable source?]
- ^ Lauder (1986)
- ^ Adorno, p. 33
- ^ Georg Markus, Der Kaiser Franz Joseph I.: Bilder und Dokumente; Anna Nahowski and Friedrich Saathen, Anna Nahowski und Kaiser Franz Joseph : Aufzeichnungen / erstmalig herausgegeben und kommentiert von Friedrich Saathen, Böhlau, 1986.
- ^ Jarman, Grove
- ^ The Complete Book of 20th Century Music, pg.20, by David Ewen, Prentice-Hall Inc. 1963
- ^ The Grove Encyclopedia of Music and Musicians, pg.638, St. Martin's Press, Inc. 1961
- ^ Jarman, Grove
References[link]
- Adorno, Theodor W. Alban Berg: Master of the Smallest Link. Trans. Juliane Brand and Christopher Hailey. New York: Cambridge University Press, 1991.
- Jarman, Douglas. "Alban Berg", Grove Music Online, ed. L. Macy (Accessed April 9, 2007), (subscription access)
- Warrack, John and Ewan West. The Oxford Dictionary of Opera, 1992. ISBN 0-19-869164-5
Further reading[link]
Analytical writings[link]
- Adorno, Theodor W. Alban Berg: Master of the Smallest Link. Trans. Juliane Brand and Christopher Hailey. New York: Cambridge University Press, 1991.
- Bruhn, Siglind, ed. Encrypted Messages in Alban Berg’s Music. New York: Garland Publishing, 1998.
- Headlam, Dave. The Music of Alban Berg. New Haven: Yale University Press, 1996.
- Jarman, Douglas. Dr. Schon's Five-Strophe Aria: Some Notes on Tonality and Pitch Association in Berg's Lulu. Perspectives of New Music 8/2 (Spring/Summer 1970).
- Jarman, Douglas. Some Rhythmic and Metric Techniques in Alban Berg's Lulu. Musical Quarterly 56/3 (July 1970).
- Jarman, Douglas. Lulu: The Sketches. International Alban Berg Society Newsletter, 6 (June 1978).
- Jarman, Douglas. The Music of Alban Berg. Berkeley: University of California Press, 1979.
- Jarman, Douglas. Countess Geschwitz's Series: A Controversy Resolved?. Proceedings of the Royal Musical Association 107 (1980/81).
- Jarman, Douglas. Some Observations on Rhythm, Meter and Tempo in Lulu. In Alban Berg Studien. Ed. Rudolf Klein. Vienna: Universal Edition, 1981.
- Jarman, Douglas. Lulu: The Musical and Dramatic Structure. Royal Opera House Covent Garden program notes, 1981.
- Jarman, Douglas. The 'Lost' Score of the 'Symphonic Pieces from Lulu'. International Alban Berg Society Newsletter 12 (Fall/Winter 1982).
- Lauder, Robert Neil. Two Early Piano Works of Alban Berg: A Stylistic and Structural Analysis. Thesis. Chapel Hill: University of North Carolina, 1986.
- Perle, George. The Operas of Alban Berg. Berkeley: University of California Press, 1980.
- Schmalfeldt, Janet. "Berg’s Path to Atonality: The Piano Sonata, Op. 1". Alban Berg: Historical and Analytical Perspectives. Eds. David Gable and Robert P. Morgan, pp. 79–110. New York: Oxford University Press, 1991.
- Schweizer, Klaus. Die Sonatensatzform im Schaffen Alban Bergs. Stuttgart: Satz und Druck, 1970.
- Wilkey, Jay Weldon. Certain Aspects of Form in the Vocal Music of Alban Berg. Ph.D. thesis. Ann Arbor: Indiana University, 1965.
Biographical writings[link]
- Brand, Juliane, Christopher Hailey and Donald Harris, eds. The Berg-Schoenberg Correspondence: Selected Letters. New York: Norton, 1987.
- Grun, Bernard, ed. Alban Berg: Letters to his Wife. London: Faber and Faber, 1971.
- Floros, Contantin. Trans. by Ernest Bernhardt-Kabisch. Alban Berg and Hanna Fuchs. Bloomington: Indiana University Press, 2007.
- Redlich, H.F. Alban Berg, the Man and His Music. London: John Calder, 1957.
- Reich, Willi. The life and work of Alban Berg. Trans. Cornelius Cardew. New York : Da Capo Press, 1982.
- Monson, Karen. Alban Berg: a biography. London: Macdonald and Jane's, 1979.
- Carner, Mosco. Alban Berg: the man and the work. London: Duckworth, 1975.
- Redlich, Hans Ferdinand. Alban Berg, the man and his music. London: J. Calder, 1957.
- Leibowitz, René. Schoenberg and his school; the contemporary stage of the language of music. Trans. Dika Newlin. New York: Philosophical Library, 1949.
External links[link]
 |
Wikimedia Commons has media related to: Alban Berg |
|
Wikiquote has a collection of quotations related to: Alban Berg |
- Alban Berg biography and works on the UE website (publisher)
- The Lied and Art Song Texts Page greated and mantained from Emily Ezust Texts of the Lieder of Berg with translations in various languages.
- Free scores by Alban Berg at the International Music Score Library Project
- Alban Berg at Pytheas Center for Contemporary Music
- Excerpts from sound archives of Berg's works.
- Three Pieces for Orchestra op.6
|
||||||||||||||
| Persondata | |
|---|---|
| Name | Berg, Alban |
| Alternative names | Berg, Alban Maria Johannes |
| Short description | Composer |
| Date of birth | (1885-02-09)February 9, 1885 |
| Place of birth | Vienna, Austria |
| Date of death | December 24, 1935(1935-12-24) |
| Place of death | Vienna, Austria |
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This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Alban_Berg
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
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