- published: 20 Jan 2015
- views: 73471
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Le Marteau sans maître
pour voix d’alto et six instruments
1. Avant l’Artisanat furieux. Rapide
2. Commentaire I de Bourreaux de solitude. Lent
3. L’Artisanat furieux. Modéré sans rigeur
4. Commentaire II de Bourreaux de solitude. Rapide
5. Bel édifice et les pressentiments version première. Assez vif
6. Bourreaux de solitude.Assez lent 7. Après l’Artisanat furieux . Rapide
8. Commentaire III de Bourreaux de solitude. Assez lent
9. Bel édifice et les pressentiments double. Tempo libre de récit
Hilary Summers, mezzo-soprano Ensemble intercontemporain : Pierre Boulez (Emmanuelle Ophèle, flûte en sol - Marie-Thérèse Ghirardi, guitare - Odile Auboin, alto Vincent Bauer, vibraphone - Samuel Favre, xylorimba - Michel Cerutti, percussion
P 2005 . Deutsche Grammophon GmbH, Hambourg, un label Universal Music
Pierre Boulez (1925--), Structures, for two pianos
Premier livre (1952)
00:00 I.
03:36 II.
12:19 III.
Deuxième livre (1961)
14:41 I.
23:28 II.
Alfons Kontarsky, piano
Aloys Kontarsky, piano
Artwork by Otto Freundlich
- published: 19 Apr 2014
- views: 80130
Pierre Boulez in Memoriam (26.03.1925-05.01.2016)
Nachtmusik II from Symphony No 7 by Gustav Mahler
Concertgebouw Orkest Amsterdam
- published: 06 Jan 2016
- views: 11937
In honor of Pierre Boulez‘ 90th birthday, (26.3.2015) EuroArts will publish an extensive edition consisting of 10 DVDs, which will revolve around the most important milestones in the incredible career of the great conductor and composer. The booklet will have a considerable amount of 68 pages. Including nine legendary concert recordings from 1974 until 2009, featuring the Berliner Philharmoniker, the Staatskapelle Berlin, the Lucerne Festival Academy Orchestra, the Wiener Philharmoniker, the Orchestre de Paris, and naturally „his very own “Chicago Symphony Orchestra. Also featuring universally- known soloists such as Diana Damrau, Maria João Pires or Christine Schäfer, as well as the recordings with the New Philharmonia Orchestra (1968), and the BBC Symphony Orchestra (1974 und 1997). Furthermore, this edition will include a special recording of his most prominent composition: „Notations I-IV“ performed by the Chicago Symphony Orchestra and conducted by Daniel Barenboim. Supplemented by the highly absorbing documentaries, “ECLAT“, by Frank Scheffer, “A LESSON BY PIERRE BOULEZ“ by Andy Sommer, and the newly released interview documentary “EMOTION & ANALYSIS”, by Paul Smaczny and Günter Atteln, which is a follow up on the EUROPAKONZERT 2003, one does not only gain insights into the lives of the musicians but especially into that of their engaged teacher and personal mentor, Pierre Boulez. This broad compilation also introduces the documentary “INHERITING THE FUTURE OF MUSIC“, which revolves around Boulez‘ work with the young and aspiring musicians of the Lucerne Festival Academy Orchestra.
View this product in our online-shop: http://shop.euroarts.com/index.php/pierre-boulez-emotion-analysis.html
For more Information: http://www.euroarts.com/artikel/dvd/?id=006100_boulez_dvd_box
- published: 25 Feb 2015
- views: 9709
It is with great sadness that we mourn the loss of our dear friend, conductor, composer, teacher and author Pierre Boulez. Over the course of nearly fifty years, he led The Cleveland Orchestra in over 220 performances at home and on tour. In half a century of service to Cleveland, he has created a peerless legacy of great music, new music, and unrivaled music-making. - These segments were originally played during our 90th Birthday tribute concert, and in memory of our beloved friend are now available as one video.
- published: 06 Jan 2016
- views: 5391
14-15/11/2009
Etudiants de la classe de direction d'orchestre de Zolt Nagy
Orchestre de Lauréats du Conservatoire OLC
Entretien Edouard Fouré Caul-Futy
Le mandarin merveilleux " Bela Bartok
Direction Alexandra Cravero - Alexandre Bloch
Les 14 et 15 novembre 2009, une master-classe réunissait au Conservatoire de Paris, Pierre Boulez et neuf étudiants de la classe de direction de Zsolt Nagy et l'OLC.
A l'issue de ces séances Edouard Fouré Caul-Futy s'est entretenu avec Pierre Boulez et Zsolt Nagy.
Ce film reprend les meilleurs moments de ces deux journées enrichis de larges extraits des entretiens avec Zsolt Nagy et Pierre Boulez.
Réalisation : Service audiovisuel du Conservatoire de Paris
Olivier Maucotel, Roland Broisin, Olivier Banon, Noël Labiche, François Chevreau, cadreurs
Jean-Christophe Messonnier, son
Mariette Girard, assistante son
Véronique Carbel, sonorisation
Catherine de Boishéraud, direction artistique
Baptiste chouquet, conseiller musical
Agnès Démaret, assistante de réalisation et montage
Roland Bouveresse, réalisation
- published: 18 Feb 2015
- views: 36727
Pierre Boulez
Répons
pour six solistes, ensemble de chambre, sons électroniques et électronique temps réel
Ensemble intercontemporain
Matthias Pintscher, direction
Réalisation informatique musicale Ircam Elektronische Verarbeitung der Musik Ircam Andrew Gerzso, Gilbert Nouno
Enregistré à la Philharmonie de Paris – Philharmonie 1, le 11 juin 2015
- published: 18 Dec 2015
- views: 12886
Anthèmes 2, for violin and electronics (1997)
I. Libre
II. 1. Très lent, avec beaucoup de flexibilité - Libre
III. 2. Rapide, dynamique, très rythmique, rigide - Libre
IV. 3. Lent, régulier - Nerveux, irrégulier - Libre
V. 4. Agité, instable - Libre
VI. 5. Très lent, avec beauvoup de flexibilit - Subitement nerveux et extrêmement irrégulier - Libre
VII. 6. 1. Allant, assez serré dans le tempo
VIII. 6. 2. Calme, régulier -Agité - Brusque
IX. 6. 3. Calme, sans traîner, d'un mouvement très régulier - Libre
Hae-Sun Kang, violin
Andrew Gerzso, electro-acoustic realization
Pierre Boulez completed his Anthèmes 2 for solo violin in 1997. The work includes an electronic realization that splits up the sound. In this way, it is comparable to the composer's own Dialogue de l'ombre double from 1985. The latter work is more immediate and perhaps more inventive. Both works double the soloist's sound by technological means so that the performer plays against himself as one's own accompanist. However, Dialogue de l'ombre double places all the work's live properties on the soloist, while Anthèmes 2 requires a second performer to handle the electronic rendering of the sound. The original Anthèmes from 1991 was a seven-minute violin piece without any accompaniment. In Anthèmes 2, a line from an earlier work by Boulez Explosante-fixe ... is developed in an alternate manner. It is in nine movements and slightly over twenty minutes in duration. This is perhaps the only published work by Boulez to feature a collaborator. Andrew Gerzso assisted the composer in realizing the work's electro-acoustic features. The electronic design of the 1997 piece was realized at the IRCAM-Centre Pompidou in Paris. President Pompidou founded an enormous, subterranean studio for musical research in 1970 and made Boulez its first director. For many years, he worked to develop its reputation as a sort of laboratory for new music composition and its performance. He later went on to other projects but still made his valuable presence felt, composing and lecturing there.
Anthèmes 2 is a graceful and elegant work, revealing the composer's innately urban and cool demeanor. The general form is one of episodes that continue only as long as is required in order to display another soundscape, dropping whatever has been set in motion once it has been established. It is free to wander throughout the possibilities that the electronic effects entail. There is no sense of a cathartic rounding up of all the preceding elements in order to create a final summation that is transcendent. Nonetheless, it is a valuable listen, truly beautiful and in no way manipulative. Though the work is clearly virtuosic, the cadenza-like moments do not generate a great deal of heat. One of the most easily recognized features of Boulez's output is its control. Like the work of Bach or Brahms, his music does not lose its composure or allow for the occasional outburst. It is music with an iron will, free of yearning. Unlike the music of Webern, which was Boulez's artistic point of departure from early on in his career, there is none of the genius' stereotypical dissatisfaction or angst. His exterior is seemingly impossible to ruffle, and in that way both the composer and his music are consummately French. With regard to influence and outlook, he is cosmopolitan, and his compositions themselves are unique, featuring a temperament that is as complex as it is artistically rewarding. Anthèmes 2 does not sound like the music of a man in his seventies; there is nothing retiring about it. In fact, there is no less energy in this work than there was in his works from the 1940s. The most notable difference between the youthful and the mature Boulez is a broadening of musical palette, which is bound to happen to any composer who is given to exploration. Like Webern, Boulez seems to have begun his professional career with his talents already fully formed. This work furthers his legacy that has remained small but consistently excellent. [allmusic.com]
Art by Paul Sérusier
- published: 15 Mar 2014
- views: 7529
Piano Sonata No. 1 (1946)
I. Lent -- Beaucoup plus allant
II. Assez large -- Rapide
Idil Biret, piano
Pierre Boulez composed his First Piano Sonata in 1946. The Piano sonata was not as common to the first half of the twentieth century as it was to the nineteenth, and Boulez rarely wrote in a genre that had already been well explored. After Beethoven left behind his legacy of thirty-two sonatas, the most interesting developments have not been in the sonata style. This trend in avoiding territories evincing daunting musical genius has been called "the anxiety of influence," denoting why many composers would steer clear of the sonata genre after Beethoven. It is difficult to hear a sonata without Beethoven coming to mind, and it is equally difficult to avoid making a comparison to Beethoven under those circumstances.
That being the case, the great piano works of composers such as Schumann, Chopin, Liszt, Brahms, and others centered on sets of variations, fantasies, and other structures that did not immediately bring to mind the foreboding Beethoven Comparison. This angst did not seem to grasp Boulez. While history has welcomed him into the Western canon for his lasting contributions to music, he seems to have always known that his place was among the great names. While other composers may have written one or two sonatas after maturing as artists and then finally, painfully producing them in a heightened state of anxiety, Boulez wrote, published, and relentlessly promoted his First Piano Sonata at the age of twenty-one. It also contains direct references to Beethoven. Boulez has been recognized as an iconoclast and a great talent, and perhaps this stems from his fearlessness. He stood up to everyone who got in his way during the twentieth century, and in the case of his piano sonatas, he did not back down from Beethoven either.
One advantage that Boulez had over the other post-Beethoven composers was a disparity of language. By 1948 he had crystallized serialism, which took Schoenberg's twelve-tone method further than even Webern, whom Boulez had pronounced the most important composer of the twentieth century. He took this proclamation to extremes, adding that the history of Western music was entirely encapsulated in the work of Webern, who had died in 1945, and that listening to music before his was not a relevant pursuit. As extreme as this position was, it lent Boulez the courage to produce this shockingly, eerily beautiful sonata. Hearing this work brings to mind the few musical prodigies of history whose work from this young age has maintained our interest: Mozart, Schubert, and perhaps a couple of others. Not only does Boulez consolidate a serialist language that has almost no precedent, except for one piece by his instructor, Messiaen's Mode de valeurs et d'intensités. In reference to Beethoven's final piano sonata, Boulez's First Piano Sonata is cast in two similarly contrasting movements. The intensity of the work is fierce, and it has a delicacy of phrasing that is normally ascribed to mature masters. It is slightly less than eleven minutes in duration, and like all the music he would publish in his lifetime, explores the remotest nuances of seriousness. Boulez was a very serious young man about music. He was willing to humiliate people, even his own teacher (he once publicly referred to Messiaen's Turangalila Symphony as "brothel music.") Much of his middle-age involved making gestures of apology for his youthful outbursts, but Boulez possessed a charisma that overpowered most other people. His First Piano Sonata contains comparable charm and integrity. [allmusic.com]
Art by Robert Delaunay
- published: 10 Mar 2011
- views: 24450
In this comprehensive interview, Pierre Boulez talks to Universal Edition about his works.
http://www.universaledition.com/boulez
Interview: Wolfgang Schaufler
- published: 14 May 2012
- views: 49646
Recorded live at Tokyo Bay N.K. Hall, 23 May 1995
Ensemble Intercontemporain
Pierre Boulez, conductor
- published: 25 May 2015
- views: 30377
Pierre Boulez (French pronunciation: [pjɛʁ bu.lɛːz]) (born 26 March 1925) is a French composer of contemporary classical music, a pianist, and a conductor.
Boulez was born in Montbrison, Loire, France. As a child he began piano lessons and demonstrated aptitude in both music and mathematics. He pursued the latter at Lyon before pursuing music at the Paris Conservatoire under Olivier Messiaen and the wife of Arthur Honegger, Andrée Vaurabourg.
Through Messiaen, Boulez discovered twelve-tone technique — which he would later study privately with René Leibowitz — and went on to write atonal music in a post-Webernian serial style. Boulez was initially part of a cadre of early supporters of Leibowitz, but due to an altercation with Leibowitz, their relations turned divisive, as Boulez spent much of his career promoting the music of Messiaen instead.
The first fruits of this were his cantatas Le visage nuptial and Le soleil des eaux for female voices and orchestra, both composed in the late 1940s and revised several times since, as well as the Second Piano Sonata of 1948, a well-received 32-minute work that Boulez composed at the age of 23. Thereafter, Boulez was influenced by Messiaen's research to extend twelve-tone technique beyond the realm of pitch organization, serialising durations, dynamics, mode of attack, and so on. This technique became known as integral serialism.
This page contains text from Wikipedia, the Free Encyclopedia -
http://en.wikipedia.org/wiki/Pierre_Boulez
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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38:43Pierre Boulez - Le Marteau sans maître (1955)
Pierre Boulez - Le Marteau sans maître (1955)Pierre Boulez - Le Marteau sans maître (1955)
Le Marteau sans maître pour voix d’alto et six instruments 1. Avant l’Artisanat furieux. Rapide 2. Commentaire I de Bourreaux de solitude. Lent 3. L’Artisanat furieux. Modéré sans rigeur 4. Commentaire II de Bourreaux de solitude. Rapide 5. Bel édifice et les pressentiments version première. Assez vif 6. Bourreaux de solitude.Assez lent 7. Après l’Artisanat furieux . Rapide 8. Commentaire III de Bourreaux de solitude. Assez lent 9. Bel édifice et les pressentiments double. Tempo libre de récit Hilary Summers, mezzo-soprano Ensemble intercontemporain : Pierre Boulez (Emmanuelle Ophèle, flûte en sol - Marie-Thérèse Ghirardi, guitare - Odile Auboin, alto Vincent Bauer, vibraphone - Samuel Favre, xylorimba - Michel Cerutti, percussion P 2005 . Deutsche Grammophon GmbH, Hambourg, un label Universal Music -
34:16Pierre Boulez, Structures I & II (Kontarsky/Kontarsky)
Pierre Boulez, Structures I & II (Kontarsky/Kontarsky)Pierre Boulez, Structures I & II (Kontarsky/Kontarsky)
Pierre Boulez (1925--), Structures, for two pianos Premier livre (1952) 00:00 I. 03:36 II. 12:19 III. Deuxième livre (1961) 14:41 I. 23:28 II. Alfons Kontarsky, piano Aloys Kontarsky, piano Artwork by Otto Freundlich -
87:24Mahler - Symphony n°2 - Resurrection (Boulez - Damrau, Lang)
Mahler - Symphony n°2 - Resurrection (Boulez - Damrau, Lang)Mahler - Symphony n°2 - Resurrection (Boulez - Damrau, Lang)
Public TV broadcast. -
11:03Pierre Boulez in Memoriam (26.03.1925-05.01.2016)
Pierre Boulez in Memoriam (26.03.1925-05.01.2016)Pierre Boulez in Memoriam (26.03.1925-05.01.2016)
Pierre Boulez in Memoriam (26.03.1925-05.01.2016) Nachtmusik II from Symphony No 7 by Gustav Mahler Concertgebouw Orkest Amsterdam -
3:38Pierre Boulez- Emotion & Analysis
Pierre Boulez- Emotion & AnalysisPierre Boulez- Emotion & Analysis
In honor of Pierre Boulez‘ 90th birthday, (26.3.2015) EuroArts will publish an extensive edition consisting of 10 DVDs, which will revolve around the most important milestones in the incredible career of the great conductor and composer. The booklet will have a considerable amount of 68 pages. Including nine legendary concert recordings from 1974 until 2009, featuring the Berliner Philharmoniker, the Staatskapelle Berlin, the Lucerne Festival Academy Orchestra, the Wiener Philharmoniker, the Orchestre de Paris, and naturally „his very own “Chicago Symphony Orchestra. Also featuring universally- known soloists such as Diana Damrau, Maria João Pires or Christine Schäfer, as well as the recordings with the New Philharmonia Orchestra (1968), and the BBC Symphony Orchestra (1974 und 1997). Furthermore, this edition will include a special recording of his most prominent composition: „Notations I-IV“ performed by the Chicago Symphony Orchestra and conducted by Daniel Barenboim. Supplemented by the highly absorbing documentaries, “ECLAT“, by Frank Scheffer, “A LESSON BY PIERRE BOULEZ“ by Andy Sommer, and the newly released interview documentary “EMOTION & ANALYSIS”, by Paul Smaczny and Günter Atteln, which is a follow up on the EUROPAKONZERT 2003, one does not only gain insights into the lives of the musicians but especially into that of their engaged teacher and personal mentor, Pierre Boulez. This broad compilation also introduces the documentary “INHERITING THE FUTURE OF MUSIC“, which revolves around Boulez‘ work with the young and aspiring musicians of the Lucerne Festival Academy Orchestra. View this product in our online-shop: http://shop.euroarts.com/index.php/pierre-boulez-emotion-analysis.html For more Information: http://www.euroarts.com/artikel/dvd/?id=006100_boulez_dvd_box -
11:55Tribute to Conductor and Composer, Pierre Boulez
Tribute to Conductor and Composer, Pierre BoulezTribute to Conductor and Composer, Pierre Boulez
It is with great sadness that we mourn the loss of our dear friend, conductor, composer, teacher and author Pierre Boulez. Over the course of nearly fifty years, he led The Cleveland Orchestra in over 220 performances at home and on tour. In half a century of service to Cleveland, he has created a peerless legacy of great music, new music, and unrivaled music-making. - These segments were originally played during our 90th Birthday tribute concert, and in memory of our beloved friend are now available as one video. -
59:39Master-class Pierre Boulez - 1ère partie
Master-class Pierre Boulez - 1ère partieMaster-class Pierre Boulez - 1ère partie
14-15/11/2009 Etudiants de la classe de direction d'orchestre de Zolt Nagy Orchestre de Lauréats du Conservatoire OLC Entretien Edouard Fouré Caul-Futy Le mandarin merveilleux " Bela Bartok Direction Alexandra Cravero - Alexandre Bloch Les 14 et 15 novembre 2009, une master-classe réunissait au Conservatoire de Paris, Pierre Boulez et neuf étudiants de la classe de direction de Zsolt Nagy et l'OLC. A l'issue de ces séances Edouard Fouré Caul-Futy s'est entretenu avec Pierre Boulez et Zsolt Nagy. Ce film reprend les meilleurs moments de ces deux journées enrichis de larges extraits des entretiens avec Zsolt Nagy et Pierre Boulez. Réalisation : Service audiovisuel du Conservatoire de Paris Olivier Maucotel, Roland Broisin, Olivier Banon, Noël Labiche, François Chevreau, cadreurs Jean-Christophe Messonnier, son Mariette Girard, assistante son Véronique Carbel, sonorisation Catherine de Boishéraud, direction artistique Baptiste chouquet, conseiller musical Agnès Démaret, assistante de réalisation et montage Roland Bouveresse, réalisation -
46:35Pierre Boulez, Répons - Ensemble intercontemporain - Matthias Pintscher
Pierre Boulez, Répons - Ensemble intercontemporain - Matthias PintscherPierre Boulez, Répons - Ensemble intercontemporain - Matthias Pintscher
Pierre Boulez Répons pour six solistes, ensemble de chambre, sons électroniques et électronique temps réel Ensemble intercontemporain Matthias Pintscher, direction Réalisation informatique musicale Ircam Elektronische Verarbeitung der Musik Ircam Andrew Gerzso, Gilbert Nouno Enregistré à la Philharmonie de Paris – Philharmonie 1, le 11 juin 2015 -
20:28Pierre Boulez - Anthèmes 2
Pierre Boulez - Anthèmes 2Pierre Boulez - Anthèmes 2
Anthèmes 2, for violin and electronics (1997) I. Libre II. 1. Très lent, avec beaucoup de flexibilité - Libre III. 2. Rapide, dynamique, très rythmique, rigide - Libre IV. 3. Lent, régulier - Nerveux, irrégulier - Libre V. 4. Agité, instable - Libre VI. 5. Très lent, avec beauvoup de flexibilit - Subitement nerveux et extrêmement irrégulier - Libre VII. 6. 1. Allant, assez serré dans le tempo VIII. 6. 2. Calme, régulier -Agité - Brusque IX. 6. 3. Calme, sans traîner, d'un mouvement très régulier - Libre Hae-Sun Kang, violin Andrew Gerzso, electro-acoustic realization Pierre Boulez completed his Anthèmes 2 for solo violin in 1997. The work includes an electronic realization that splits up the sound. In this way, it is comparable to the composer's own Dialogue de l'ombre double from 1985. The latter work is more immediate and perhaps more inventive. Both works double the soloist's sound by technological means so that the performer plays against himself as one's own accompanist. However, Dialogue de l'ombre double places all the work's live properties on the soloist, while Anthèmes 2 requires a second performer to handle the electronic rendering of the sound. The original Anthèmes from 1991 was a seven-minute violin piece without any accompaniment. In Anthèmes 2, a line from an earlier work by Boulez Explosante-fixe ... is developed in an alternate manner. It is in nine movements and slightly over twenty minutes in duration. This is perhaps the only published work by Boulez to feature a collaborator. Andrew Gerzso assisted the composer in realizing the work's electro-acoustic features. The electronic design of the 1997 piece was realized at the IRCAM-Centre Pompidou in Paris. President Pompidou founded an enormous, subterranean studio for musical research in 1970 and made Boulez its first director. For many years, he worked to develop its reputation as a sort of laboratory for new music composition and its performance. He later went on to other projects but still made his valuable presence felt, composing and lecturing there. Anthèmes 2 is a graceful and elegant work, revealing the composer's innately urban and cool demeanor. The general form is one of episodes that continue only as long as is required in order to display another soundscape, dropping whatever has been set in motion once it has been established. It is free to wander throughout the possibilities that the electronic effects entail. There is no sense of a cathartic rounding up of all the preceding elements in order to create a final summation that is transcendent. Nonetheless, it is a valuable listen, truly beautiful and in no way manipulative. Though the work is clearly virtuosic, the cadenza-like moments do not generate a great deal of heat. One of the most easily recognized features of Boulez's output is its control. Like the work of Bach or Brahms, his music does not lose its composure or allow for the occasional outburst. It is music with an iron will, free of yearning. Unlike the music of Webern, which was Boulez's artistic point of departure from early on in his career, there is none of the genius' stereotypical dissatisfaction or angst. His exterior is seemingly impossible to ruffle, and in that way both the composer and his music are consummately French. With regard to influence and outlook, he is cosmopolitan, and his compositions themselves are unique, featuring a temperament that is as complex as it is artistically rewarding. Anthèmes 2 does not sound like the music of a man in his seventies; there is nothing retiring about it. In fact, there is no less energy in this work than there was in his works from the 1940s. The most notable difference between the youthful and the mature Boulez is a broadening of musical palette, which is bound to happen to any composer who is given to exploration. Like Webern, Boulez seems to have begun his professional career with his talents already fully formed. This work furthers his legacy that has remained small but consistently excellent. [allmusic.com] Art by Paul Sérusier -
10:26Pierre Boulez - Piano Sonata No. 1
Pierre Boulez - Piano Sonata No. 1Pierre Boulez - Piano Sonata No. 1
Piano Sonata No. 1 (1946) I. Lent -- Beaucoup plus allant II. Assez large -- Rapide Idil Biret, piano Pierre Boulez composed his First Piano Sonata in 1946. The Piano sonata was not as common to the first half of the twentieth century as it was to the nineteenth, and Boulez rarely wrote in a genre that had already been well explored. After Beethoven left behind his legacy of thirty-two sonatas, the most interesting developments have not been in the sonata style. This trend in avoiding territories evincing daunting musical genius has been called "the anxiety of influence," denoting why many composers would steer clear of the sonata genre after Beethoven. It is difficult to hear a sonata without Beethoven coming to mind, and it is equally difficult to avoid making a comparison to Beethoven under those circumstances. That being the case, the great piano works of composers such as Schumann, Chopin, Liszt, Brahms, and others centered on sets of variations, fantasies, and other structures that did not immediately bring to mind the foreboding Beethoven Comparison. This angst did not seem to grasp Boulez. While history has welcomed him into the Western canon for his lasting contributions to music, he seems to have always known that his place was among the great names. While other composers may have written one or two sonatas after maturing as artists and then finally, painfully producing them in a heightened state of anxiety, Boulez wrote, published, and relentlessly promoted his First Piano Sonata at the age of twenty-one. It also contains direct references to Beethoven. Boulez has been recognized as an iconoclast and a great talent, and perhaps this stems from his fearlessness. He stood up to everyone who got in his way during the twentieth century, and in the case of his piano sonatas, he did not back down from Beethoven either. One advantage that Boulez had over the other post-Beethoven composers was a disparity of language. By 1948 he had crystallized serialism, which took Schoenberg's twelve-tone method further than even Webern, whom Boulez had pronounced the most important composer of the twentieth century. He took this proclamation to extremes, adding that the history of Western music was entirely encapsulated in the work of Webern, who had died in 1945, and that listening to music before his was not a relevant pursuit. As extreme as this position was, it lent Boulez the courage to produce this shockingly, eerily beautiful sonata. Hearing this work brings to mind the few musical prodigies of history whose work from this young age has maintained our interest: Mozart, Schubert, and perhaps a couple of others. Not only does Boulez consolidate a serialist language that has almost no precedent, except for one piece by his instructor, Messiaen's Mode de valeurs et d'intensités. In reference to Beethoven's final piano sonata, Boulez's First Piano Sonata is cast in two similarly contrasting movements. The intensity of the work is fierce, and it has a delicacy of phrasing that is normally ascribed to mature masters. It is slightly less than eleven minutes in duration, and like all the music he would publish in his lifetime, explores the remotest nuances of seriousness. Boulez was a very serious young man about music. He was willing to humiliate people, even his own teacher (he once publicly referred to Messiaen's Turangalila Symphony as "brothel music.") Much of his middle-age involved making gestures of apology for his youthful outbursts, but Boulez possessed a charisma that overpowered most other people. His First Piano Sonata contains comparable charm and integrity. [allmusic.com] Art by Robert Delaunay -
19:07Pierre Boulez talks about his music
Pierre Boulez talks about his musicPierre Boulez talks about his music
In this comprehensive interview, Pierre Boulez talks to Universal Edition about his works. http://www.universaledition.com/boulez Interview: Wolfgang Schaufler -
41:14Pierre Boulez – Répons
Pierre Boulez – RéponsPierre Boulez – Répons
Recorded live at Tokyo Bay N.K. Hall, 23 May 1995 Ensemble Intercontemporain Pierre Boulez, conductor
- Academic journal
- Accent (music)
- Adolf Neuendorff
- Adrian Boult
- Aesthetics
- Alan Gilbert
- Alban Berg
- Aldo van Eyck
- Aleatoric music
- Alexander Calder
- Alfred Brendel
- Allmusic
- Alto (voice)
- Andrew Gerzso
- András Schiff
- André Previn
- Andrée Vaurabourg
- Andrés Segovia
- Anne-Sophie Mutter
- Anselm Kiefer
- Antal Doráti
- Anthèmes
- Anton Bruckner
- Anton Seidl
- Anton Webern
- Antoni Tàpies
- Arnold Schoenberg
- Arthur Honegger
- Arthur Rubinstein
- Artur Rodziński
- Arturo Toscanini
- Arvo Pärt
- Atonality
- B.B. King
- Baltic states
- Baton (conducting)
- Bayreuth Festival
- BBC
- BBC Proms
- Benjamin Britten
- Berlin Philharmonic
- Birgit Nilsson
- Björk
- Bluebeard's Castle
- Bob Dylan
- Boris Christoff
- Brett Dean
- Bruce Nauman
- Bruce Springsteen
- Bruno Walter
- Burt Bacharach
- Béla Bartók
- Cantata
- Carl Bergmann
- Cecilia Bartoli
- Chinary Ung
- Choir
- Christian Tetzlaff
- Cimbalom
- Claes Oldenburg
- Clarinet
- Claude Debussy
- Claudio Abbado
- Cleveland Orchestra
- Colin Davis
- Collège de France
- Composer
- Concerto
- Conducting
- Daniel Barenboim
- Darmstadt
- Darmstadt School
- David Chipperfield
- De Nederlandse Opera
- Denmark
- Denys Lasdun
- Deutsche Grammophon
- Die Reihe
- Dimitri Mitropoulos
- Dizzy Gillespie
- DJ Spooky
- Dmitri Shostakovich
- Dodecaphonic music
- Downtown music
- Dynamics (music)
- Earle Brown
- Edgard Varèse
- Edison Award
- Eduardo Chillida
- El Sistema
- Electronics
- Elton John
- Emil Paur
- Ennio Morricone
- Eric Ericson
- Erich Leinsdorf
- Esa-Pekka Salonen
- Faber and Faber
- Fermata
- Flute
- Frank Gehry
- Frank Zappa
- Franz Welser-Möst
- Frei Otto
- Fumihiko Maki
- Gamelan
- Georg Solti
- George Szell
- George Tsontakis
- Georges Pompidou
- Gerhard Richter
- Giancarlo De Carlo
- Gidon Kremer
- Gilberto Gil
- Giya Kancheli
- Glenn Gould Prize
- Glockenspiel
- Grace note
- Grawemeyer Award
- Guitar
- Gustav Mahler
- György Kurtág
- György Ligeti
- Hans Knappertsbusch
- Harold C. Schonberg
- Harp
- Harrison Birtwistle
- Hector Berlioz
- Heinz Holliger
- Hildegard Behrens
- Human voice
- Iannis Xenakis
- Igor Stravinsky
- Incises (Boulez)
- IRCAM
- Isaac Stern
- Israel
- Ivan Tcherepnin
- Jacques-Louis Monod
- James Turrell
- Janet Baker
- Jasper Johns
- Jazz
- Jean Nouvel
- Jean-Pierre Rampal
- Jiří Bělohlávek
- Joan Peyser
- Joan Tower
- John Barbirolli
- John Cage
- John Corigliano
- John Eliot Gardiner
- Jonathan Nott
- Joni Mitchell
- Jordi Savall
- Josef Stránský
- Josef Tal
- José Antonio Abreu
- Jørn Utzon
- Kaija Saariaho
- Karel Husa
- Karol Szymanowski
- Keith Jarrett
- Kronos Quartet
- Krystian Zimerman
- Krzysztof Penderecki
- Kurt Masur
- Kyoto Prize
- Lars Ulrik Mortensen
- Led Zeppelin
- Leonard Bernstein
- Leonard Cohen
- Leonard Slatkin
- Leopold Damrosch
- Leopold Stokowski
- Leoš Janáček
- Lev Koblyakov
- Lorin Maazel
- Louis Andriessen
- Louise Bourgeois
- Lucerne Festival
- Luciano Berio
- Ludwig van Beethoven
- Lulu (opera)
- Lyon
- Mahler
- Malcolm Sargent
- Marc Chagall
- Marie-Claire Alain
- Mathematics
- Maurice Ravel
- Michala Petri
- Miles Davis
- Miriam Makeba
- Miroirs
- Mobile form
- Mogens Wöldike
- Montbrison, Loire
- Moses und Aron
- Music
- Nationalist
- Nazis
- Nikolai Sokoloff
- Nikolaus Harnoncourt
- Olivier Messiaen
- Ondes Martenot
- Orchestra
- Orchestre de Paris
- Oscar Peterson
- Palais Garnier
- Paris Conservatoire
- Parsifal
- Patrice Chéreau
- Patti Smith
- Paul McCartney
- Per Nørgård
- Percussion
- Permanent revolution
- Peter Eisenman
- Peter Gabriel
- Peter Lieberson
- Peter Schreier
- Pianist
- Piano
- Pierre Boulez
- Pina Bausch
- Pink Floyd
- Pitch (music)
- Pli selon pli
- Plácido Domingo
- Polar Music Prize
- Polyphonie X
- President of France
- Punctualism
- Péter Eötvös
- Quincy Jones
- R. Murray Schafer
- Rafael Kubelík
- Ravi Shankar
- Ray Charles
- René Leibowitz
- Renée Fleming
- Resonance
- Rhythm
- Riccardo Muti
- Richard Wagner
- Robert Moog
- Robert Schumann
- Rosemarie Trockel
- Royal Albert Hall
- Royal Opera House
- Rudolf Kempe
- Répons
- Salzburg Festival
- Sanford Medal
- Sebastian Currier
- Sergiu Celibidache
- Serialism
- Simon Bainbridge
- Simon Rattle
- Sofia Gubaidulina
- Solo (music)
- Sonning Award
- Sonny Rollins
- Soprano
- Spatial music
- Staatskapelle Berlin
- Stanley Sadie
- Steve Reich
- Stevie Wonder
- Structures (Boulez)
- Stéphane Mallarmé
- Susanna Mälkki
- Sviatoslav Richter
- Tan Dun
- The Guardian
- The New York Times
- Theater an der Wien
- Theodore Eisfeld
- Thomas Adès
- Tom Service
- Toru Takemitsu
- Tristan und Isolde
- Tōru Takemitsu
- Unsuk Chin
- Ureli Corelli Hill
- Valery Gergiev
- Vasily Safonov
- Vibraphone
- Vienna Philharmonic
- Viola
- Violin
- Vladimir Horowitz
- Walter Damrosch
- Welsh National Opera
- Wiener Singverein
- Wikipedia Persondata
- Willem Mengelberg
- Witold Lutosławski
- Wolf Prize
- Wolf Prize in Arts
- Wozzeck
- WP IPA for French
- Xylorimba
- Yale University
- Yehudi Menuhin
- Yo-Yo Ma
- York Höller
- Yuri Bashmet
- Zubin Mehta
- Álvaro Siza Vieira
- Aaron Jay Kernis
- Adolf Neuendorff
- Adrian Boult
- Alan Gilbert
- Alban Berg
- Aldo van Eyck
- Alexander Calder
- Alfred Brendel
- András Schiff
- André Previn
- Andrée Vaurabourg
- Andrés Segovia
- Anselm Kiefer
- Antal Doráti
- Anton Bruckner
- Anton Seidl
- Anton Webern
- Antoni Tàpies
- Arnold Schoenberg
- Arthur Honegger
- Arthur Rubinstein
- Artur Rodziński
- Arturo Toscanini
- Arvo Pärt
- Benjamin Britten
- Birgit Nilsson
- Björk
- Bob Dylan
- Boris Christoff
- Brett Dean
- Bruce Nauman
- Bruce Springsteen
- Bruno Walter
- Burt Bacharach
- Béla Bartók
- Carl Bergmann
- Cecilia Bartoli
- Chinary Ung
- Christian Tetzlaff
- Claes Oldenburg
- Claude Debussy
- Claudio Abbado
- Colin Davis
- Daniel Barenboim
- David Chipperfield
- Denys Lasdun
- Dimitri Mitropoulos
- Dizzy Gillespie
- DJ Spooky
- Dmitri Shostakovich
- Earle Brown
- Edgard Varèse
- Eduardo Chillida
- Elton John
- Emil Paur
- Ennio Morricone
- Eric Ericson
- Erich Leinsdorf
- Frank Gehry
- Frank Zappa
- Frei Otto
- Fumihiko Maki
- Georg Solti
- George Szell
- George Tsontakis
- Georges Pompidou
- Gerhard Richter
- Giancarlo De Carlo
- Gidon Kremer
- Gilberto Gil
- Giya Kancheli
- Gustav Mahler
- György Kurtág
- György Ligeti
- Hans Knappertsbusch
- Harrison Birtwistle
- Hector Berlioz
- Heinz Holliger
- Hildegard Behrens
- Iannis Xenakis
- Igor Stravinsky
- Isaac Stern
- Ivan Tcherepnin
- James Turrell
- Janet Baker
- Jasper Johns
- Jean Nouvel
- Jiří Bělohlávek
- Joan Peyser
- Joan Tower
- John Barbirolli
- John Cage
- John Corigliano
- John Eliot Gardiner
- Jonathan Nott
- Joni Mitchell
- Jordi Savall
- Josef Stránský
- Josef Tal
- José Antonio Abreu
- Jørn Utzon
- Kaija Saariaho
- Karel Husa
- Karol Szymanowski
- Keith Jarrett
- Krystian Zimerman
- Krzysztof Penderecki
- Kurt Masur
- Lars Ulrik Mortensen
- Leonard Bernstein
- Leonard Cohen
- Leonard Slatkin
- Leopold Damrosch
- Leopold Stokowski
- Leoš Janáček
- Lorin Maazel
- Louis Andriessen
- Louise Bourgeois
- Luciano Berio
- Ludwig van Beethoven
- Malcolm Sargent
- Marc Chagall
- Maurice Ravel
- Michala Petri
- Miles Davis
- Miriam Makeba
- Mogens Wöldike
- Nikolai Sokoloff
- Nikolaus Harnoncourt
- Olivier Messiaen
- Oscar Peterson
- Patrice Chéreau
- Patti Smith
- Paul McCartney
- Per Nørgård
- Peter Eisenman
- Peter Gabriel
- Peter Lieberson
- Peter Schreier
- Pierre Boulez
- Pina Bausch
- Plácido Domingo
- Péter Eötvös
- Quincy Jones
- Rafael Kubelík
- Ravi Shankar
- Ray Charles
- René Leibowitz
- Renée Fleming
- Riccardo Muti
- Richard Wagner
- Robert Moog
- Robert Schumann
- Rosemarie Trockel
- Rudolf Kempe
- Sebastian Currier
- Sergiu Celibidache
- Simon Bainbridge
- Simon Rattle
- Sofia Gubaidulina
- Sonny Rollins
- Stanley Sadie
- Steve Reich
- Stevie Wonder
- Stéphane Mallarmé
- Susanna Mälkki
- Sviatoslav Richter
- Tan Dun
- Theodore Eisfeld
- Thomas Adès
- Toru Takemitsu
- Unsuk Chin
- Ureli Corelli Hill
- Valery Gergiev
- Vasily Safonov
- Vladimir Horowitz
- Walter Damrosch
- Wikipedia Persondata
- Willem Mengelberg
- Witold Lutosławski
- Yehudi Menuhin
- York Höller
- Yuri Bashmet
- Zubin Mehta
- Álvaro Siza Vieira
Boulez, Pierre Filmography
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2012, role: actor , character name: Himself
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2009, role: actor , character name: Himself - Composer and Conductor
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2009, role: actor , character name: Himself
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2008, role: actor , character name: Himself - Conductor
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2005, role: actor , character name: Conductor
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2004, role: actor , character name: Himself - composer
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2002, role: actor , character name: Himself
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2002, role: actor
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1996, role: actor , character name: Himself
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1996, role: actor , character name: Conductor
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1993, role: actor , character name: Himself
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1992, role: actor , character name: Conductor
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1992, role: actor , character name: Conductor
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1991, role: actor , character name: Himself
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1987, role: actor , character name: Himself
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1983, role: actor , character name: Himself
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1983, role: composer
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1983, role: actor , character name: Himself
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1971, role: actor , character name: Himself
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1969, role: actor , character name: Himself - Conductor, Cleveland Orchestra
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1969, role: composer
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1966, role: actor , character name: Himself
Famous quotes by Pierre Boulez:
"Revolutions are celebrated when they are no longer dangerous."
"The aim of music is not to express feelings but to express music. It is not a vessel into which the composer distills his soul drop by drop, but a labyrinth with no beginning and no end, full of new paths to discover, where mystery remains eternal."
Pierre Boulez
ALBUMS
- Œuvres complètes - Complete Works released: 2013
- Boulez Conducts Mahler; Complete Recordings released: 2013
- Solo Violin Works released: 2012
- New Directions in Music released: 2010
- Wozzeck released: 2009
- Mozart: "Gran Partita" / Berg: Kammerkonzert released: 2008
- Symphony No. 2 in C minor released: 2006
- The Three Piano Sonatas released: 2005
- Pli Selon Pli / Le Visage Nuptial / Le Soleil des eaux / Figures, Doubles, Prismes (BBC Symphony Orchestra feat. conductor: Pierre Boulez) released: 2005
- Le marteau sans maître / Dérive 1 & 2 (Ensemble Intercontemporain feat. conductor: Pierre Boulez) released: 2005
- The Piano Concertos released: 2005
- ...explosante-fixe... (Ensemble Intercontemporain feat. conductor: Pierre Boulez) released: 2005
- Rituel in memoriam Bruno Maderna; Notations released: 2003
- Symphony No. 3 released: 2003
- Scenes From Goethe's Faust released: 2002
- Pli selon Pli (Ensemble Intercontemporain feat. conductor: Pierre Boulez, soprano: Christine Schäfer) released: 2002
- Das Lied von der Erde released: 2001
- Schoenberg: Piano Concerto / Piano Pieces, Opp. 11 & 19 / Berg: Piano Sonata released: 2001
- Symphony No. 4 released: 2000
- Symphony No. 8 in C minor released: 2000
- Sur Incises / Messagesquisse / Anthèmes 2 (Ensemble Intercontemporain feat. conductor Pierre Boulez) released: 2000
- Concerto for Orchestra / Four Orchestral Pieces released: 1999
- Le Poème de l’extase / Piano Concerto / Prométhée released: 1999
- Bluebeard's Castle released: 1998
- Symphonie Fantastique / Tristia released: 1997
- Moses und Aron released: 1996
- Répons / Dialogue de l'ombre double (Ensemble Intercontemporain feat. conductor: Pierre Boulez) released: 1996
- Boulez Conducts Bartók - Debussy - Ravel - Stravinsky - Webern released: 1995
- Stravinsky: Pétrouchka, Le Sacre du Printemps released: 1995
- Piano Sonatas nos. 1 - 3 released: 1995
- Stravinsky: Pétrouchka / Prokofiev: Sonate No. 7 / Webern: Variationen, Op. 27 / Boulez: Sonate No. 2 released: 1995
- Boulez Conducts Ligeti: Concertos for Cello / Violin / Piano released: 1994
- Boléro / Ma mère l'oye / Rapsodie espagnole / Alborada del Gracioso released: 1994
- L'Oiseau de feu / Feu d'artifice / Quatre Etudes pour orchestre released: 1993
- Götterdämmerung released: 1992
- Rituel / Éclat / Multiples released: 1991
- Sonate pour piano n°1 - Sonatine (BBC Singers, Ensemble InterContemporain feat. director: Pierre Boulez) released: 1991
- Le Marteau sans maître / Notations for Piano / Structures pour deux pianos, livre II released: 1989
- Trois sonates pour piano released: 1986
- The Miraculous Mandarin released: 1977
- Schönberg: Pierrot Lunaire Op. 21 / Webern: Zwei Lieder Op. 8, Fünf Canons Op. 16 / Boulez: Improvisation sur Mallarmé I+II released: 1971
- Boulez: Le marteau sans Maître / Sonatine / Messiaen: 7 Haïkaï (feat. conductor: Pierre Boulez) released: 1964
- Symphony no. 3 released:
- Pierrot Lunaire / Melodrama, Op. 21 released:
- Domaines released:
- Boulez Conducts released:
- Pli Selon Pli released:
- La Mer / Prélude à l'après-midi d'une faune / Jeux released:
Œuvres complètes - Complete Works
Released 2013- add to main playlist Play in Full Screen Notations: I. Fantasque - Modéré
- add to main playlist Play in Full Screen Notations: II. Très vif
- add to main playlist Play in Full Screen Notations: III. Assez lent
- add to main playlist Play in Full Screen Notations: IV. Rythmique
- add to main playlist Play in Full Screen Notations: V. Doux et improvisé
- add to main playlist Play in Full Screen Notations: VI. Rapide
- add to main playlist Play in Full Screen Notations: VII. Hiératique
- add to main playlist Play in Full Screen Notations: VIII. Modéré jusqu'à très vif
- add to main playlist Play in Full Screen Notations: IX. Lointain - Calme
- add to main playlist Play in Full Screen Notations: X. Mécanique er très sec
- add to main playlist Play in Full Screen Notations: XI. Scintillant
- add to main playlist Play in Full Screen Notations: XII. Lent - Puissant et âpre
- add to main playlist Play in Full Screen Sonatine, pour flûte et piano
- add to main playlist Play in Full Screen Première Sonate: I. Lent
- add to main playlist Play in Full Screen Première Sonate: II. Assez large
- add to main playlist Play in Full Screen Le visage nuptial, 3ème version: Conduite
- add to main playlist Play in Full Screen Le visage nuptial, 3ème version: Gravité (L'emmuré)
- add to main playlist Play in Full Screen Le visage nuptial, 3ème version: Le visage nuptial
- add to main playlist Play in Full Screen Le visage nuptial, 3ème version: Evadné
- add to main playlist Play in Full Screen Le visage nuptial, 3ème version: Post-Scriptum
Boulez Conducts Mahler; Complete Recordings
Released 2013- add to main playlist Play in Full Screen Symphony No.1 in D; Langsam. Schleppend
- add to main playlist Play in Full Screen Symphony No.1 in D; Kräftig bewegt
- add to main playlist Play in Full Screen Symphony No.1 in D; 3. Feierlich und gemessen, ohne zu schleppen
- add to main playlist Play in Full Screen Symphony No.1 in D; 4. Stürmisch bewegt
- add to main playlist Play in Full Screen Symphony No.2 in C minor 'Resurrection'; Totenfeier
New Directions in Music
Released 2010- add to main playlist Play in Full Screen Etude Concrete
- add to main playlist Play in Full Screen Nr 5 Zeitmasse (Time-measures) foor five woodwinds
- add to main playlist Play in Full Screen Le Marteau Sans Maitre (The Hammer Without a Master): Avant "L'artisanat furieux"
- add to main playlist Play in Full Screen Le Marteau Sans Maitre (The Hammer Without a Master): Commentaire I de "Bourreaux de solitude"
- add to main playlist Play in Full Screen Le Marteau Sans Maitre (The Hammer Without a Master): "L'artisanat furieux" (text by Rene Char)
- add to main playlist Play in Full Screen Le Marteau Sans Maitre (The Hammer Without a Master): Commentaire Il de "Borreaux de solitude"
- add to main playlist Play in Full Screen Le Marteau Sans Maitre (The Hammer Without a Master): "Bel edifice et les pressentiments", version premiere (text by Rene Char)
- add to main playlist Play in Full Screen Le Marteau Sans Maitre (The Hammer Without a Master): "Borreaux de solitude" (text by Rene Char)
- add to main playlist Play in Full Screen Le Marteau Sans Maitre (The Hammer Without a Master): Apres "L'artisanat furieux"
- add to main playlist Play in Full Screen Le Marteau Sans Maitre (The Hammer Without a Master): Commentaire Ill de "Bourreaux de solitude"
- add to main playlist Play in Full Screen Le Marteau Sans Maitre (The Hammer Without a Master): "Bel edifice et les pressentiments", double (text by Rene Char)
- add to main playlist Play in Full Screen Klavierstuck XI: XI/1
- add to main playlist Play in Full Screen Klavierstuck XI: XI/2
- add to main playlist Play in Full Screen Klavierstuck XI: XI/3
- add to main playlist Play in Full Screen Klavierstuck XI: XI/4
Wozzeck
Released 2009- add to main playlist Play in Full Screen Wozzeck: Act 1, Scene 1. "Langsam, Wozzeck, langsam!"
- add to main playlist Play in Full Screen Wozzeck: Act 1, Scene 2. "Du, der Platz ist verflucht!"
- add to main playlist Play in Full Screen Wozzeck: Act 1, Scene 3. "Tschin Bum, Tschin Bum, Bum, Bum, Bum!"
- add to main playlist Play in Full Screen Wozzeck: Act 1, Scene 4. "Was erleb'ich, Wozzeck?"
- add to main playlist Play in Full Screen Wozzeck: Act 1, Scene 5. "Geh'einmal vor Dich hin!"
Mozart: "Gran Partita" / Berg: Kammerkonzert
Released 2008- add to main playlist Play in Full Screen Serenade in B flat major for 13 wind instruments "Grand Partita", K 361: I. Largo - Allegro molto
- add to main playlist Play in Full Screen Serenade in B flat major for 13 wind instruments "Grand Partita", K 361: II. Menuetto (Allegretto) - Trio I-II
- add to main playlist Play in Full Screen Serenade in B flat major for 13 wind instruments "Grand Partita", K 361: III. Adagio
- add to main playlist Play in Full Screen Serenade in B flat major for 13 wind instruments "Grand Partita", K 361: IV. Menuetto (Allegretto) - Trio I-II
- add to main playlist Play in Full Screen Serenade in B flat major for 13 wind instruments "Grand Partita", K 361: V. Romanze: Adagio - Allegretto
- add to main playlist Play in Full Screen Serenade in B flat major for 13 wind instruments "Grand Partita", K 361: VI. Tema con Variazioni: Andante
- add to main playlist Play in Full Screen Serenade in B flat major for 13 wind instruments "Grand Partita", K 361: VII. Rondo: Allegro molto
- add to main playlist Play in Full Screen Chamber concerto for piano, violin and 13 wind instruments: I. Thema scherzoso con variazioni
- add to main playlist Play in Full Screen Chamber concerto for piano, violin and 13 wind instruments: II. Adagio
- add to main playlist Play in Full Screen Chamber concerto for piano, violin and 13 wind instruments: III. Rondo ritmico con introduzione
Symphony No. 2 in C minor
Released 2006- add to main playlist Play in Full Screen Symphony No. 2 in C minor "Resurrection": I. Allegro maestoso. Mit durchaus ernstem und feierlichem Ausdruck
- add to main playlist Play in Full Screen Symphony No. 2 in C minor, "Resurrection": II. Andante moderato. Sehr gemächlich
- add to main playlist Play in Full Screen Symphony No. 2 in C minor "Resurrection": III. In ruhig fliessender Bewegung
- add to main playlist Play in Full Screen Symphony No. 2 in C minor "Resurrection": IV. Urlicht. Sehr feierlich aber schlicht
- add to main playlist Play in Full Screen Symphony No. 2 in C minor "Resurrection": V. Im tempo des Scherzo - Langsam misterioso
The Three Piano Sonatas
Released 2005- add to main playlist Play in Full Screen Premiére Sonate pour piano: Lent
- add to main playlist Play in Full Screen Premiére Sonate pour piano: Assez large
- add to main playlist Play in Full Screen Deuxiéme Sonate pour piano: Extrêmement rapide
- add to main playlist Play in Full Screen Deuxiéme Sonate pour piano: Lent
- add to main playlist Play in Full Screen Deuxiéme Sonate pour piano: Modéré, presque vif
- add to main playlist Play in Full Screen Deuxiéme Sonate pour piano: Très librement, avec de brusques oppositions de mouvement et de nuances
- add to main playlist Play in Full Screen Troisième Sonate pour piano: Formant 2, Trope - Parenthèse
- add to main playlist Play in Full Screen Troisième Sonate pour piano: Formant 2, Trope - Glose
- add to main playlist Play in Full Screen Troisième Sonate pour piano: Formant 2, Trope - Commentaire
- add to main playlist Play in Full Screen Troisième Sonate pour piano: Formant 2, Trope - Text
- add to main playlist Play in Full Screen Troisième Sonate pour piano: Formant 3, Constellation - Miroir, Mélange points et blocs
- add to main playlist Play in Full Screen Troisième Sonate pour piano: Formant 3, Constellation - Miroir, Points 3
- add to main playlist Play in Full Screen Troisième Sonate pour piano: Formant 3, Constellation - Miroir, Blocs II
- add to main playlist Play in Full Screen Troisième Sonate pour piano: Formant 3, Constellation - Miroir, Points 2
- add to main playlist Play in Full Screen Troisième Sonate pour piano: Formant 3, Constellation - Miroir, Blocs I
- add to main playlist Play in Full Screen 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- add to main playlist Play in Full Screen Pli selon pli: Don
- add to main playlist Play in Full Screen Pli selon pli: Improvisation I.Sur Mallarmé
- add to main playlist Play in Full Screen Pli selon pli: Improvisation: II.Sur Mallarmé
- add to main playlist Play in Full Screen Pli selon pli: Improvisation: III.Sur Mallarmé
- add to main playlist Play in Full Screen Pli selon pli: Tombeau
Le marteau sans maître / Dérive 1 & 2 (Ensemble Intercontemporain feat. conductor: Pierre Boulez)
Released 2005- add to main playlist Play in Full Screen Le marteau sans maître: I. Avant l'Artisanat furieux. Rapide
- add to main playlist Play in Full Screen Le marteau sans maître: II. Commentaire I de Bourreaux de solitude. Lent
- add to main playlist Play in Full Screen Le marteau sans maître: III. L'Artisanat furieux. Modéré sans riguer
- add to main playlist Play in Full Screen Le marteau sans maître: IV. Commentaire II de Bourreaux de solitude. Rapide
- add to main playlist Play in Full Screen Le marteau sans maître: V. Bel édifice et les pressentiments - version première. Assez vif
- add to main playlist Play in Full Screen Le marteau sans maître: VI. Bourreaux de solitude. Assez lent
- add to main playlist Play in Full Screen Le marteau sans maître: VII. Après l'Artisanat furieux. Rapide
- add to main playlist Play in Full Screen Le marteau sans maître: VIII. Commentaire III de Bourreaux de solitude. Assez lent
- add to main playlist Play in Full Screen Le marteau sans maître: IX. Bel édifice et les pressentiments - double. Tempo libre de rècit
- add to main playlist Play in Full Screen Dérive 1
- add to main playlist Play in Full Screen Dérive 2
The Piano Concertos
Released 2005- add to main playlist Play in Full Screen Piano Concerto No. 1: I. Allegro moderato - Allegro
- add to main playlist Play in Full Screen Piano Concerto No. 1: II. Andante -
- add to main playlist Play in Full Screen Piano Concerto No. 1: II. Allegro - attacca: / Piano Concerto No. 1: III. Allegro molto
- add to main playlist Play in Full Screen Piano Concerto No. 2: I. Allegro
- add to main playlist Play in Full Screen Piano Concerto No. 2: II. Adagio - Presto - Adagio
- add to main playlist Play in Full Screen Piano Concerto No. 2: III. Allegro molto
- add to main playlist Play in Full Screen Piano Concerto No. 3: I. Allegretto
- add to main playlist Play in Full Screen Piano Concerto No. 3: II. Adagio religioso
- add to main playlist Play in Full Screen Piano Concerto No. 3: III. Allegro vivace
...explosante-fixe... (Ensemble Intercontemporain feat. conductor: Pierre Boulez)
Released 2005- add to main playlist Play in Full Screen Notations: I. Fantasque - Modéré
- add to main playlist Play in Full Screen Notations: II. Très vif
- add to main playlist Play in Full Screen Notations: III. Assez lent
- add to main playlist Play in Full Screen Notations: IV. Rythmique
- add to main playlist Play in Full Screen Notations: V. Doux et improvisé
- add to main playlist Play in Full Screen Notations: VI. Rapide
- add to main playlist Play in Full Screen Notations: VII. Hiératique
- add to main playlist Play in Full Screen Notations: VIII. Modéré jusqu'à très vif
- add to main playlist Play in Full Screen Notations: IX. Lointain - Calme
- add to main playlist Play in Full Screen Notations: X. Mécanique er très sec
- add to main playlist Play in Full Screen Notations: XI. Scintillant
- add to main playlist Play in Full Screen Notations: XII. Lent - Puissant et âpre
- add to main playlist Play in Full Screen Structures pour deux pianos: Chapitre I
- add to main playlist Play in Full Screen Structures pour deux pianos: Chapitre II (Pièces 1-2, Encarts 1-4, Textes 1-6)
- add to main playlist Play in Full Screen ...explosante-fixe...
Rituel in memoriam Bruno Maderna; Notations
Released 2003- add to main playlist Play in Full Screen Rituel in memoriam Maderna 1974-1975 pour orchestre en huit groupes
- add to main playlist Play in Full Screen Notations I 1980
- add to main playlist Play in Full Screen Notations VII 1980
- add to main playlist Play in Full Screen Notations IV 1980
- add to main playlist Play in Full Screen Notations III 1980
- add to main playlist Play in Full Screen Notations II 1980
- add to main playlist Play in Full Screen Figures-Doubles-Prismes 1963-1968
Scenes From Goethe's Faust
Released 2002- add to main playlist Play in Full Screen Overture
- add to main playlist Play in Full Screen Part I: Garden Scene - Du kanntest mich, o kleiner Engel, wieder
- add to main playlist Play in Full Screen Part I: Gretchen in Front of the Image of the Mater Dolorosa - Ach neige, Du Schmerzensreiche
- add to main playlist Play in Full Screen Part I: Cathedral Scene - Wie anders, Gretchen, war dir's
- add to main playlist Play in Full Screen Part II: Ariel. Sunrise - Die ihr dies Haupt umschwebt im luft'gen Kreise
- add to main playlist Play in Full Screen Part II: Midnight - Ich heiße der Mangel
- add to main playlist Play in Full Screen Part II: Faust's Death - Herbei, herbei! Herein, herein!
Pli selon Pli (Ensemble Intercontemporain feat. conductor: Pierre Boulez, soprano: Christine Schäfer)
Released 2002- add to main playlist Play in Full Screen Pli selon Pli: I. Don [du poème]: "Je t'apporte l'enfant d'une nuit d'Idumée!"
- add to main playlist Play in Full Screen Pli selon Pli: II. Improvisation sur Mallarmé I: "Le vierge, le vivace et le bel aujourd'hui"
- add to main playlist Play in Full Screen Pli selon Pli: III. Improvisation sur Mallarmé II: "Une dentelle s'abolit"
- add to main playlist Play in Full Screen Pli selon Pli: IV. Improvisation sur Mallarmé III: "À la nue accablante tu"
- add to main playlist Play in Full Screen Pli selon Pli: V. Tombeau: "Un peu profond ruisseau calomnié la mort"
Das Lied von der Erde
Released 2001- add to main playlist Play in Full Screen Das Lied von der Erde: I. Das Trinklied vom Jammer der Erde
- add to main playlist Play in Full Screen Das Lied von der Erde: II. Der Einsam im Herbst
- add to main playlist Play in Full Screen Das Lied von der Erde: III. Von der Jugend
- add to main playlist Play in Full Screen Das Lied von der Erde: IV. Von der Schonheit
- add to main playlist Play in Full Screen Das Lied von der Erde: V. Der Trunkene um Fruhling
- add to main playlist Play in Full Screen Das Lied von der Erde: VI. Der Abschied
Schoenberg: Piano Concerto / Piano Pieces, Opp. 11 & 19 / Berg: Piano Sonata
Released 2001- add to main playlist Play in Full Screen Piano Concerto, Op. 42: I. Andante
- add to main playlist Play in Full Screen Piano Concerto, Op. 42: II. Molto allegro
- add to main playlist Play in Full Screen Piano Concerto, Op. 42: III. Adagio
- add to main playlist Play in Full Screen Piano Concerto, Op. 42: IV. Giocoso
- add to main playlist Play in Full Screen Variations, Op. 27: I. Sehr mäßige
- add to main playlist Play in Full Screen Variations, Op. 27: II. Sehr schnell
- add to main playlist Play in Full Screen Variations, Op. 27: III. Ruhig fließend
- add to main playlist Play in Full Screen Drei Klavierstücke, Op. 11: I. Mäßig
- add to main playlist Play in Full Screen Drei Klavierstücke, Op. 11: II. Mäßig
- add to main playlist Play in Full Screen Drei Klavierstücke, Op. 11: III. Bewegt
- add to main playlist Play in Full Screen Sechs Kleine Klavierstücke, Op. 19: I. Leicht, Zart
- add to main playlist Play in Full Screen Sechs Kleine Klavierstücke, Op. 19: II. Langsam
- add to main playlist Play in Full Screen Sechs Kleine Klavierstücke, Op. 19: III. Sehr langsam
- add to main playlist Play in Full Screen Sechs Kleine Klavierstücke, Op. 19: IV. Rasch, aber leicht
- add to main playlist Play in Full Screen Sechs Kleine Klavierstücke, Op. 19: V. Etwas rasch
- add to main playlist Play in Full Screen Sechs Kleine Klavierstücke, Op. 19: VI. Sehr langsam
- add to main playlist Play in Full Screen Piano Sonata, Op. 1
Symphony No. 4
Released 2000- add to main playlist Play in Full Screen Symphony No. 4 in G major: I. Bedächtig. Nicht eilen - recht gemachlich
- add to main playlist Play in Full Screen Symphony No. 4 in G major: II. In gemächlicher bewegung. Ohne hast
- add to main playlist Play in Full Screen Symphony No. 4 in G major: III. Ruhevoll (Poco adagio)
- add to main playlist Play in Full Screen Symphony No. 4 in G major: IV. Sehr behaglich. "Wir geniessen die himmlischen Freuden"
Symphony No. 8 in C minor
Released 2000- add to main playlist Play in Full Screen Symphony No. 8 in C minor: I. Allegro moderato
- add to main playlist Play in Full Screen Symphony No. 8 in C minor: II. Scherzo: Allegro moderato - Trio: Langsam - Scherzo da capo
- add to main playlist Play in Full Screen Symphony No. 8 in C minor: III. Adagio: Feierlich langsam, doch nicht schleppend
- add to main playlist Play in Full Screen Symphony No. 8 in C minor: IV. Finale: Feierlich, nicht schnell
Sur Incises / Messagesquisse / Anthèmes 2 (Ensemble Intercontemporain feat. conductor Pierre Boulez)
Released 2000- add to main playlist Play in Full Screen Sur Incises: Moment I
- add to main playlist Play in Full Screen Sur Incises: Moment II
- add to main playlist Play in Full Screen Messagesquisse: Très lent
- add to main playlist Play in Full Screen Messagesquisse: Très rapide
- add to main playlist Play in Full Screen Messagesquisse: Sans tempo, libre
- add to main playlist Play in Full Screen Messagesquisse: Aussi rapide que possible
- add to main playlist Play in Full Screen Anthèmes 2: Libre
- add to main playlist Play in Full Screen Anthèmes 2: I. Très lent, avec beaucoup de flexibilité. Libre
- add to main playlist Play in Full Screen Anthèmes 2: II. Rapide, dynamique, très rythmique, rigide. Libre
- add to main playlist Play in Full Screen Anthèmes 2: III. Lent, régulier. Nerveux, irrégulier. Libre
- add to main playlist Play in Full Screen Anthèmes 2: IV. Agité, instable. Libre
- add to main playlist Play in Full Screen Anthèmes 2: V. Très lent, avec beaucoup de flexibilité. Subitement nerveux et extrêmement irrégulier. Libre
- add to main playlist Play in Full Screen Anthèmes 2: VI. 1. Allant, assez serré dans le tempo
- add to main playlist Play in Full Screen Anthèmes 2: VI. 2. Calme, régulier. Agité. Brusque
- add to main playlist Play in Full Screen Anthèmes 2: VI. 3. Calme, sans traîner, d'un mouvement très régulier. Libre
Concerto for Orchestra / Four Orchestral Pieces
Released 1999- add to main playlist Play in Full Screen Four Orchestral Pieces, Op. 12, Sz. 51: I. Preludio. Moderato
- add to main playlist Play in Full Screen Four Orchestral Pieces, Op. 12, Sz. 51: II. Scherzo. Allegro
- add to main playlist Play in Full Screen Four Orchestral Pieces, Op. 12, Sz. 51: III. Intermezzo. Moderato
- add to main playlist Play in Full Screen Four Orchestral Pieces, Op. 12, Sz. 51: IV. Marcia funebre. Maestoso
- add to main playlist Play in Full Screen Concerto for Orchestra, Sz. 116: I. Introduzione. Andante non troppo - Allegro vivace - Tempo I
- add to main playlist Play in Full Screen Concerto for Orchestra, Sz. 116: II. Giuoco delle coppie. Allegretto scherzando
- add to main playlist Play in Full Screen Concerto for Orchestra, Sz. 116: III. Elegia. Andante, non troppo
- add to main playlist Play in Full Screen Concerto for Orchestra, Sz. 116: IV. Intermezzo interrotto. Allegretto
- add to main playlist Play in Full Screen Concerto for Orchestra, Sz. 116: V. Finale. Pesante - Presto
Le Poème de l’extase / Piano Concerto / Prométhée
Released 1999- add to main playlist Play in Full Screen Le Poème de l’extase, op. 54
- add to main playlist Play in Full Screen Concerto for Piano and Orchestra in F-sharp minor, op. 20: I. Allegro
- add to main playlist Play in Full Screen Concerto for Piano and Orchestra in F-sharp minor, op. 20: II. Andante
- add to main playlist Play in Full Screen Concerto for Piano and Orchestra in F-sharp minor, op. 20: III. Allegro moderato
- add to main playlist Play in Full Screen Prométhée. Le Poème du Feu, op. 60
Bluebeard's Castle
Released 1998- add to main playlist Play in Full Screen Bluebeard's Castle, Sz. 48 (Op.11): Prologue - Opening Scene. "Megérkeztünk"
- add to main playlist Play in Full Screen Bluebeard's Castle, Sz. 48 (Op.11): "Ez a Kékszakállú véra?" (Judith)
- add to main playlist Play in Full Screen Bluebeard's Castle, Sz. 48 (Op.11): "Nagy csukott ajtókat" (Judith)
- add to main playlist Play in Full Screen Bluebeard's Castle, Sz. 48 (Op.11): Door 1. "Jaj!" "Mit látsz? Mit látsz?" "Láncok, kések" (Judith)
- add to main playlist Play in Full Screen Bluebeard's Castle, Sz. 48 (Op.11): Door 2. "Mit látsz?" "Százkegyetlen szörnyü fegyver" (Bluebeard)
- add to main playlist Play in Full Screen Bluebeard's Castle, Sz. 48 (Op.11): Door 3. "Oh, be sok kincs! Oh, be sok kincs!" (Judith)
- add to main playlist Play in Full Screen Bluebeard's Castle, Sz. 48 (Op.11): Door 4. "Oh! virágok! Oh! ilatoskert!" (Judith)
- add to main playlist Play in Full Screen Bluebeard's Castle, Sz. 48 (Op.11): Door 5. Kékszakállú: "Nézd hogy derül már a váram" (Bluebeard)
- add to main playlist Play in Full Screen Bluebeard's Castle, Sz. 48 (Op.11): Door 6. "Csendes fehér tavat látok" (Judith)
- add to main playlist Play in Full Screen Bluebeard's Castle, Sz. 48 (Op.11): "Az utolsót nem nyitom ki" (Bluebeard)
- add to main playlist Play in Full Screen Bluebeard's Castle, Sz. 48 (Op.11): "Tudom, tudom, Kékszakállú" (Judith)
- add to main playlist Play in Full Screen Bluebeard's Castle, Sz. 48 (Op.11): Door 7. "Lásd a régi aszszonyokat" (Bluebeard)
Symphonie Fantastique / Tristia
Released 1997- add to main playlist Play in Full Screen Symphonie Fantastique, op. 14: I. Rêveries-Passions
- add to main playlist Play in Full Screen Symphonie Fantastique, op. 14: II. Un Bal
- add to main playlist Play in Full Screen Symphonie Fantastique, op. 14: III. Scène aux Champs
- add to main playlist Play in Full Screen Symphonie Fantastique, op. 14: IV. Marche au Supplice
- add to main playlist Play in Full Screen Symphonie Fantastique, op. 14: V. Songe d'une Nuit du Sabbat
- add to main playlist Play in Full Screen Tristia, op. 18: I. Méditation Religieuse: Ce Monde Entier
- add to main playlist Play in Full Screen Tristia, op. 18: II. La Mort d'Ophélie: Aupres d'un Torent
- add to main playlist Play in Full Screen Tristia, op. 18: III. Marche Funèbre Pour la Dernière Scène d'Hamlet
Moses und Aron
Released 1996- add to main playlist Play in Full Screen Moses und Aron: Introduction: Sehr langsam
- add to main playlist Play in Full Screen Moses und Aron: Act I, Scene 1. "Einziger, ewiger, allgegenwärtiger"
- add to main playlist Play in Full Screen Moses und Aron: Act I, Scene 2. "Du Sohn meiner Väter"
- add to main playlist Play in Full Screen Moses und Aron: Act I, Scene 3. "Ich hab' ihn gesehn"
- add to main playlist Play in Full Screen Moses und Aron: Act I, Scene 4. "Bringt ihr Erhörung"
- add to main playlist Play in Full Screen Moses und Aron: Act I, Scene 4. "Der Einzige, Ewige, Allmächtige"
- add to main playlist Play in Full Screen Moses und Aron: Act I, Scene 4. "Schließet die Augen"
- add to main playlist Play in Full Screen Moses und Aron: Act I, Scene 4. "Allmächtiger, meine Kraft ist zu Ende"
- add to main playlist Play in Full Screen Moses und Aron: Act I, Scene 4. "Ein Wunder erfüllt uns mit Schrecken"
- add to main playlist Play in Full Screen Moses und Aron: Act I, Scene 4. "Dein Stab zwingt uns"
- add to main playlist Play in Full Screen Moses und Aron: Act I, Scene 4. "Alles für die Freiheit"
- add to main playlist Play in Full Screen Moses und Aron: Act I, Scene 4. "Er hat uns auserwählt"
Répons / Dialogue de l'ombre double (Ensemble Intercontemporain feat. conductor: Pierre Boulez)
Released 1996- add to main playlist Play in Full Screen Répons: I. Introduction
- add to main playlist Play in Full Screen Répons: II. Section 1
- add to main playlist Play in Full Screen Répons: III. Section 2
- add to main playlist Play in Full Screen Répons: IV. Section 3
- add to main playlist Play in Full Screen Répons: V. Section 4
- add to main playlist Play in Full Screen Répons: VI. Section 5
- add to main playlist Play in Full Screen Répons: VII. Section 6
- add to main playlist Play in Full Screen Répons: VIII. Section 7
- add to main playlist Play in Full Screen Répons: IX. Section 8
- add to main playlist Play in Full Screen Répons: X. Coda
- add to main playlist Play in Full Screen Dialogue de l'ombre double: I. Sigle initial
- add to main playlist Play in Full Screen Dialogue de l'ombre double: II. Strophe 1
- add to main playlist Play in Full Screen Dialogue de l'ombre double: III. Transition 1 & II
- add to main playlist Play in Full Screen Dialogue de l'ombre double: IV. Strophe II
- add to main playlist Play in Full Screen Dialogue de l'ombre double: V. Transition II & III
- add to main playlist Play in Full Screen Dialogue de l'ombre double: VI. Strophe III
- add to main playlist Play in Full Screen Dialogue de l'ombre double: VII. Transition III & IV
- add to main playlist Play in Full Screen Dialogue de l'ombre double: VIII. Strophe IV
- add to main playlist Play in Full Screen Dialogue de l'ombre double: IX. Transition IV & V
- add to main playlist Play in Full Screen Dialogue de l'ombre double: X. Strophe V
- add to main playlist Play in Full Screen Dialogue de l'ombre double: XI. Transition V & VI
- add to main playlist Play in Full Screen Dialogue de l'ombre double: XII. Strophe VI
- add to main playlist Play in Full Screen Dialogue de l'ombre double: XIII. Sigle Final
Boulez Conducts Bartók - Debussy - Ravel - Stravinsky - Webern
Released 1995- add to main playlist Play in Full Screen Prélude à l'après-midi d'un faune
- add to main playlist Play in Full Screen Nocturnes: Fêtes
- add to main playlist Play in Full Screen Magyar képek, Sz. 97: I. Este a székelyeknél
- add to main playlist Play in Full Screen Magyar képek, Sz. 97: II. Medvetán
- add to main playlist Play in Full Screen Magyar képek, Sz. 97: III. Melódia
- add to main playlist Play in Full Screen Magyar képek, Sz. 97: IV. Kicsit ázottan
- add to main playlist Play in Full Screen Magyar képek, Sz. 97: V. Ürögi kanásztánc
- add to main playlist Play in Full Screen Concerto op. 24: I. Etwas lebhaft
- add to main playlist Play in Full Screen Concerto op. 24: II. Sehr langsam
- add to main playlist Play in Full Screen Concerto op. 24: III. Sehr rasch
- add to main playlist Play in Full Screen Alborada del Gracioso: Assez vif
- add to main playlist Play in Full Screen Pétrouchka: Premier tableau
- add to main playlist Play in Full Screen Pétrouchka: Second tableau
- add to main playlist Play in Full Screen Pétrouchka: Troisième tableau
- add to main playlist Play in Full Screen Pétrouchka: Quatrième tableau
Stravinsky: Pétrouchka, Le Sacre du Printemps
Released 1995- add to main playlist Play in Full Screen PETRUSHKA - The Shrove-Tide Fair
- add to main playlist Play in Full Screen The Charlatan's Booth
- add to main playlist Play in Full Screen Russian Dance
- add to main playlist Play in Full Screen Petrushka's Room
- add to main playlist Play in Full Screen The Moor's Room
- add to main playlist Play in Full Screen Dance of the Ballerina
- add to main playlist Play in Full Screen Waltz: The Ballerina and the Moor
- add to main playlist Play in Full Screen Dance of the Wet-Nurses
- add to main playlist Play in Full Screen The Bear and the Peasant
- add to main playlist Play in Full Screen The Jovial Merhant with Two Gypsy Girls
- add to main playlist Play in Full Screen Dance of the Coachmen and Grooms
- add to main playlist Play in Full Screen The Masqueraders
- add to main playlist Play in Full Screen The Fight: The Moor and Petrushka
- add to main playlist Play in Full Screen Death of Petrushka
- add to main playlist Play in Full Screen Apparition of Petrushka's Double
- add to main playlist Play in Full Screen THE RITE OF SPRING - Introduction
- add to main playlist Play in Full Screen The Augurs of Spring
- add to main playlist Play in Full Screen Mock Abduction
- add to main playlist Play in Full Screen Spring Round Dances
- add to main playlist Play in Full Screen Games of the Rival Tribes
- add to main playlist Play in Full Screen Procession of the Wise Elder
- add to main playlist Play in Full Screen Adoration of the Earth
- add to main playlist Play in Full Screen Dance of the Earth
- add to main playlist Play in Full Screen The Sacrifice: Introduction
- add to main playlist Play in Full Screen Mystical Circles of the Young Girls
- add to main playlist Play in Full Screen Glorification of the Chosen Victim
- add to main playlist Play in Full Screen Summoning of the Ancestors
- add to main playlist Play in Full Screen Ritual of the Ancestors
- add to main playlist Play in Full Screen Sacrificial Dance (The Chosen Victim)
Piano Sonatas nos. 1 - 3
Released 1995- add to main playlist Play in Full Screen Première Sonate: Lent - Beaucoup plus allant
- add to main playlist Play in Full Screen Première Sonate: Assez large - Rapide
- add to main playlist Play in Full Screen Deuxième Sonate: Extrêmement rapide - Encore plus vif
- add to main playlist Play in Full Screen Deuxième Sonate: Lent
- add to main playlist Play in Full Screen Deuxième Sonate: Modéré, presque vif
- add to main playlist Play in Full Screen Deuxième Sonate: Vif - Très modéré... Très librement...
- add to main playlist Play in Full Screen Troisième Sonate: Formant 2: Trope: Glose
- add to main playlist Play in Full Screen Troisième Sonate: Formant 2: Trope: Texte
- add to main playlist Play in Full Screen Troisième Sonate: Formant 2: Trope: Parenthèse
- add to main playlist Play in Full Screen Troisième Sonate: Formant 2: Trope: Commentaire
- add to main playlist Play in Full Screen Troisième Sonate: Formant 3: Constellation - Miroir
Stravinsky: Pétrouchka / Prokofiev: Sonate No. 7 / Webern: Variationen, Op. 27 / Boulez: Sonate No. 2
Released 1995- add to main playlist Play in Full Screen Three Movements from "Pétrouchka": I. Danse russe. Allegro guisto
- add to main playlist Play in Full Screen Three Movements from "Pétrouchka": II. Chez Petrouchka
- add to main playlist Play in Full Screen Three Movements from "Pétrouchka": III. La semaine grasse. Con moto - Allegretto - Tempo giusto - Agitato
- add to main playlist Play in Full Screen Piano Sonata No. 7 in B-flat major, Op. 83: I. Allegro inquieto - Andantino
- add to main playlist Play in Full Screen Piano Sonata No. 7 in B-flat major, Op. 83: II. Andante caloroso
- add to main playlist Play in Full Screen Piano Sonata No. 7 in B-flat major, Op. 83: III. Precipitato
- add to main playlist Play in Full Screen Variations for Piano, Op. 27: I. Sehr mäßig
- add to main playlist Play in Full Screen Variations for Piano, Op. 27: II. Sehr schnell
- add to main playlist Play in Full Screen Variations for Piano, Op. 27: III. Ruhig fließend
- add to main playlist Play in Full Screen Second sonata for Piano: I. Extrêmement rapide
- add to main playlist Play in Full Screen Second sonata for Piano: II. Lent
- add to main playlist Play in Full Screen Second sonata for Piano: III. Modéré, presque vif
- add to main playlist Play in Full Screen Second sonata for Piano: IV. Vif
Boulez Conducts Ligeti: Concertos for Cello / Violin / Piano
Released 1994- add to main playlist Play in Full Screen Concerto for Piano and Orchestra: I. Vivace molto ritmico e preciso - attacca subito
- add to main playlist Play in Full Screen Concerto for Piano and Orchestra: II. Lento e deserto
- add to main playlist Play in Full Screen Concerto for Piano and Orchestra: III. Vivace cantabile
- add to main playlist Play in Full Screen Concerto for Piano and Orchestra: IV. Allegro, risoluto, colto ritmico - attacca subito
- add to main playlist Play in Full Screen Concerto for Piano and Orchestra: V. Presto luminoso: fluido, constate, sempre molto ritmico
- add to main playlist Play in Full Screen Concerto for Violoncello and Orchestra: Quarter = 40 - attacca
- add to main playlist Play in Full Screen Concerto for Violoncello and Orchestra: (Lo stesso tempo) Quarter = 40
- add to main playlist Play in Full Screen Concerto for Violin and Orchestra: I. Praeludium: Vivacissimo luminoso - attacca
- add to main playlist Play in Full Screen Concerto for Violin and Orchestra: II. Aria, Hoquetus, Choral: Andante con moto - attacca
- add to main playlist Play in Full Screen Concerto for Violin and Orchestra: III. Intermezzo: Presto fluido
- add to main playlist Play in Full Screen Concerto for Violin and Orchestra: IV. Passacaglia: Lento intenso
- add to main playlist Play in Full Screen Concerto for Violin and Orchestra: V. Appassionato: Agitato molto
Boléro / Ma mère l'oye / Rapsodie espagnole / Alborada del Gracioso
Released 1994- add to main playlist Play in Full Screen Ma mère l'oye: I. Prélude
- add to main playlist Play in Full Screen Ma mère l'oye: II. Danse du rouet et scène - Allegro
- add to main playlist Play in Full Screen Ma mère l'oye: III. Pavane de la belle au bois dormant. Lent - Allegro - Mouvement de valse modéré
- add to main playlist Play in Full Screen Ma mère l'oye: IV. Les entretiens de la Belle et de la Bête. Mouvement de valse modéré
- add to main playlist Play in Full Screen Ma mère l'oye: V. Petit Poucet. Très modéré
- add to main playlist Play in Full Screen Ma mère l'oye: VI. Interlude
- add to main playlist Play in Full Screen Ma mère l'oye: VII. Laideronnette, Impératrice des pagodes. Mouvement de marche - Allegro - Très modéré
- add to main playlist Play in Full Screen Ma mère l'oye: VIII. Apothéose: Le jardin féérique. Lent et grave
- add to main playlist Play in Full Screen Une barque sur l'océan
- add to main playlist Play in Full Screen Alborada del Gracioso
- add to main playlist Play in Full Screen Rhapsodie espagnole: I. Prélude à la nuit. Très modéré
- add to main playlist Play in Full Screen Rhapsodie espagnole: II. Malagueña. Assez vif
- add to main playlist Play in Full Screen Rhapsodie espagnole: III. Habanera. Assez lent et d'un rythme las
- add to main playlist Play in Full Screen Rhapsodie espagnole: IV. Feria. Assez animé
- add to main playlist Play in Full Screen Boléro
L'Oiseau de feu / Feu d'artifice / Quatre Etudes pour orchestre
Released 1993- add to main playlist Play in Full Screen L'Oiseau de feu: Introduction
- add to main playlist Play in Full Screen L'Oiseau de feu, Premier Tableau: Le Jardin enchanté de Kachtcheï
- add to main playlist Play in Full Screen L'Oiseau de feu, Premier Tableau: Apparition de l'Oiseau de feu, poursuivi par Ivan Tsarévitch
- add to main playlist Play in Full Screen L'Oiseau de feu, Premier Tableau: Danse de l'Oiseau de feu
- add to main playlist Play in Full Screen L'Oiseau de feu, Premier Tableau: Capture de l'Oiseau de feu par Ivan Tsarévitch
- add to main playlist Play in Full Screen L'Oiseau de feu, Premier Tableau: Supplications de l'Oiseau de feu / Apparition des treize princesses enchantées
- add to main playlist Play in Full Screen L'Oiseau de feu, Premier Tableau: Jeu des princesses avec les pommes d'or (Scherzo)
- add to main playlist Play in Full Screen L'Oiseau de feu, Premier Tableau: Brusque apparition d'Ivan Tsarévitch
- add to main playlist Play in Full Screen L'Oiseau de feu, Premier Tableau: Khorovode (Ronde) des princesses
- add to main playlist Play in Full Screen L'Oiseau de feu, Premier Tableau: Lever du jour / Ivan Tsarévitch pénètre dans le palais de Kachtcheï
- add to main playlist Play in Full Screen L'Oiseau de feu, Premier Tableau: Carillion Féerique, apparition des monstres-gardiens de Kachtcheï et capture d'Ivan Tsarévitch / Arrivée de Kachtcheï l'Immortel / Dialogue de Kachtcheï avec Ivan Tsarévitch / Intercession des princesses / Apparition ...
- add to main playlist Play in Full Screen L'Oiseau de feu, Premier Tableau: Danse de la suite de Kachtcheï, enchantée par l'Oiseau de feu
- add to main playlist Play in Full Screen L'Oiseau de feu, Premier Tableau: Danse infernale de tous les sujets de Kachtcheï
- add to main playlist Play in Full Screen L'Oiseau de feu, Premier Tableau: Berceuse (L'Oiseau de feu) / Réveil de Kachtcheï / Mort de Kachtcheï / Profondes ténèbres
- add to main playlist Play in Full Screen L'Oiseau de feu, Second Tableau: Disparition du palais et des sortilèges de Kachtcheï, animation des chevaliers pétrifiés, allégresse générale
- add to main playlist Play in Full Screen Feu d'artifice, Op. 4
- add to main playlist Play in Full Screen Quatre Etudes pour orchestre: I. Danse
- add to main playlist Play in Full Screen Quatre Etudes pour orchestre: II. Excentrique
- add to main playlist Play in Full Screen Quatre Etudes pour orchestre: III. Cantique
- add to main playlist Play in Full Screen Quatre Etudes pour orchestre: IV. Madrid
Götterdämmerung
Released 1992- add to main playlist Play in Full Screen Götterdämmerung: Prolog. "Welch Licht leuchtet dort?"
- add to main playlist Play in Full Screen Götterdämmerung: Prolog. "Wisset ihr noch, so windet von neuem das Seil"
- add to main playlist Play in Full Screen Götterdämmerung: Prolog. Orchesterzwischenspiel
- add to main playlist Play in Full Screen Götterdämmerung: Prolog. "Zu neuen Taten, teurer Helde"
- add to main playlist Play in Full Screen Götterdämmerung: Prolog. "O, heilige Götter! Hehre Geschlechter!"
- add to main playlist Play in Full Screen Götterdämmerung: Prolog. Orchesterzwischenspiel (Siegfrieds Rheinfahrt)
- add to main playlist Play in Full Screen Götterdämmerung: Act I, Scene I. "Nun hör, Hagen, sage mir, Held"
- add to main playlist Play in Full Screen Götterdämmerung: Act I, Scene I. "Brächte Siegfried die Braut dir heim"
- add to main playlist Play in Full Screen Götterdämmerung: Act I, Scene II. "Heil! Siegfried, teurer Held"
- add to main playlist Play in Full Screen Götterdämmerung: Act I, Scene II. "Willkommen, Gast, in Gibichs Haus"
Sonate pour piano n°1 - Sonatine (BBC Singers, Ensemble InterContemporain feat. director: Pierre Boulez)
Released 1991- add to main playlist Play in Full Screen Sonatine
- add to main playlist Play in Full Screen Première Sonate: Lent
- add to main playlist Play in Full Screen Première Sonate: Assez large
- add to main playlist Play in Full Screen Dérive
- add to main playlist Play in Full Screen Mémoriale (...explosante-fixe... Originel)
- add to main playlist Play in Full Screen Dialogue de l'ombre double
- add to main playlist Play in Full Screen Cummings ist der Dichter
Le Marteau sans maître / Notations for Piano / Structures pour deux pianos, livre II
Released 1989- add to main playlist Play in Full Screen Le Marteau sans maître: I. Avant "l'artisanat furieux"
- add to main playlist Play in Full Screen Le Marteau sans maître: II. Commentaire I de "bourreaux de solitude"
- add to main playlist Play in Full Screen Le Marteau sans maître: III. "l'artisanat furieux"
- add to main playlist Play in Full Screen Le Marteau sans maître: IV. Commentaire II de "bourreaux de solitude"
- add to main playlist Play in Full Screen Le Marteau sans maître: V. "Bel édifice et les pressentiments", version première
- add to main playlist Play in Full Screen Le Marteau sans maître: VI. "Bourreaux de solitude"
- add to main playlist Play in Full Screen Le Marteau sans maître: VII. Après "l'artisanat furieux"
- add to main playlist Play in Full Screen Le Marteau sans maître: VIII. Commentaire III de "bourreaux de solitude"
- add to main playlist Play in Full Screen Le Marteau sans maître: IX. "Bel édifice et les pressentiments", double
- add to main playlist Play in Full Screen Notations pour piano
- add to main playlist Play in Full Screen Structures pour deux pianos, livre II
Trois sonates pour piano
Released 1986- add to main playlist Play in Full Screen Première sonate pour piano: I. Lent
- add to main playlist Play in Full Screen Première sonate pour piano: II. Assez large, Rapide
- add to main playlist Play in Full Screen Deuxième sonate pour piano: I. Extrêmement rapide
- add to main playlist Play in Full Screen Deuxième sonate pour piano: II. Lent
- add to main playlist Play in Full Screen Deuxième sonate pour piano: III. Modéré, presque vif
- add to main playlist Play in Full Screen Deuxième sonate pour piano: IV. Vif
- add to main playlist Play in Full Screen Troisième sonate pour piano: formant 3 - constellation-miroir
- add to main playlist Play in Full Screen Troisième sonate pour piano: formant 2 - tropes
The Miraculous Mandarin
Released 1977- add to main playlist Play in Full Screen 4 Orchestral Pieces, Op12(Sz51) -1-Preludio
- add to main playlist Play in Full Screen 4 Orchestral Pieces, Op12(Sz51) -2-Scherzo
- add to main playlist Play in Full Screen 4 Orchestral Pieces, Op12(Sz51) -3-Intermezzo
- add to main playlist Play in Full Screen 4 Orchestral Pieces, Op12(Sz51) -4-Marcia funebre
- add to main playlist Play in Full Screen 3 Village Scenes (Sz79)-1-Wedding
- add to main playlist Play in Full Screen 3 Village Scenes (Sz79)-2-Lullaby
- add to main playlist Play in Full Screen 3 Village Scenes (Sz79)-3-Lad's Dance
- add to main playlist Play in Full Screen The Miraculous Mandarin, Op19(Sz73)-01-Prelude
- add to main playlist Play in Full Screen The Miraculous Mandarin, Op19(Sz73)-02-The curtain rises
- add to main playlist Play in Full Screen The Miraculous Mandarin, Op19(Sz73)-03-First seduction game
- add to main playlist Play in Full Screen The Miraculous Mandarin, Op19(Sz73)-04-Second seduction game
- add to main playlist Play in Full Screen The Miraculous Mandarin, Op19(Sz73)-05-Third seduction game
- add to main playlist Play in Full Screen The Miraculous Mandarin, Op19(Sz73)-06-General consternation...
- add to main playlist Play in Full Screen The Miraculous Mandarin, Op19(Sz73)-07-The girl is undecided...
- add to main playlist Play in Full Screen The Miraculous Mandarin, Op19(Sz73)-08-The girl sinks down...
- add to main playlist Play in Full Screen The Miraculous Mandarin, Op19(Sz73)-09-The tramps leap out...
- add to main playlist Play in Full Screen The Miraculous Mandarin, Op19(Sz73)-10-Suddenly the Mandarin's head...
- add to main playlist Play in Full Screen The Miraculous Mandarin, Op19(Sz73)-11-The terrified tramps...
- add to main playlist Play in Full Screen The Miraculous Mandarin, Op19(Sz73)-12-The lamp falls to the floor...
Schönberg: Pierrot Lunaire Op. 21 / Webern: Zwei Lieder Op. 8, Fünf Canons Op. 16 / Boulez: Improvisation sur Mallarmé I+II
Released 1971- add to main playlist Play in Full Screen Pierrot Lunaire, Melodrames Op. 21, dreimal sieben Gedichte: I. Mondestrunken / Colombine / Der Dandy / Eine blasse Wäscherin / Valse de Chopin / Madonna / Der kranke Mond
- add to main playlist Play in Full Screen Pierrot Lunaire, Melodrames Op. 21, dreimal sieben Gedichte: II. Die Nacht / Gebet an Pierrot / Raub / Rote Messe / Galgenlied / Enthauptung / Die Kreuze
- add to main playlist Play in Full Screen Pierrot Lunaire, Melodrames Op. 21, dreimal sieben Gedichte: III. Heimweh / Gemeinheit / Parodie / Der Mondfleck / Serenade / Heimfahrt/ O alter Duft
- add to main playlist Play in Full Screen Zwei Lieder Op. 8: Du, der ich's nicht sage / Du machst mich allein
- add to main playlist Play in Full Screen Fünf Canons Op. 16: Christus factus est pro nobis / Dormi Jesu-Crux fidelis / Asperges me / Crucem tuam adoramus
- add to main playlist Play in Full Screen Improvisation sur Mallarmé: I. Le vierge, le vivace et le bel aujourd'hui
- add to main playlist Play in Full Screen Improvisation sur Mallarmé: II. Une dentelle s'abolit
Boulez: Le marteau sans Maître / Sonatine / Messiaen: 7 Haïkaï (feat. conductor: Pierre Boulez)
Released 1964- add to main playlist Play in Full Screen Le Marteau sans maître: I. Avant "l'artisanat furieux"
- add to main playlist Play in Full Screen Le Marteau sans maître: II. Commentaire I de "bourreaux de solitude"
- add to main playlist Play in Full Screen Le Marteau sans maître: III. "l'artisanat furieux"
- add to main playlist Play in Full Screen Le Marteau sans maître: IV. Commentaire II de "bourreaux de solitude"
- add to main playlist Play in Full Screen Le Marteau sans maître: V. "Bel édifice et les pressentiments", version première
- add to main playlist Play in Full Screen Le Marteau sans maître: VI. "Bourreaux de solitude"
- add to main playlist Play in Full Screen Le Marteau sans maître: VII. Après "l'artisanat furieux"
- add to main playlist Play in Full Screen Le Marteau sans maître: VIII. Commentaire III de "bourreaux de solitude"
- add to main playlist Play in Full Screen Le Marteau sans maître: IX. "Bel édifice et les pressentiments", double
- add to main playlist Play in Full Screen Sonatine
- add to main playlist Play in Full Screen 7 Haïkaï: I. Introduction
- add to main playlist Play in Full Screen 7 Haïkaï: II. Le parc de Nara et les lanternes de pierre
- add to main playlist Play in Full Screen 7 Haïkaï: III. Yamanaka-Cadenza
- add to main playlist Play in Full Screen 7 Haïkaï: IV. Gagaku
- add to main playlist Play in Full Screen 7 Haïkaï: V. Miyajima et le Torii dans la mer
- add to main playlist Play in Full Screen 7 Haïkaï: VI. Les oiseaux de Karuizawa
- add to main playlist Play in Full Screen 7 Haïkaï: VII. Coda
Symphony no. 3
- add to main playlist Play in Full Screen Symphony no. 3 in D minor: IV. Sehr langsam. Misterioso. Durchaus
- add to main playlist Play in Full Screen Symphony no. 3 in D minor: V. Lustig im Tempo und keck im Ausdruck
- add to main playlist Play in Full Screen Symphony no. 3 in D minor: VI. Langsam. Ruhevoll. Empfunden
Pli Selon Pli
- add to main playlist Play in Full Screen Don
- add to main playlist Play in Full Screen Improvisation I - Sur Mallarmé: 'Le vierge, le vivace et le bel aujourd'hui'
- add to main playlist Play in Full Screen Improvisation II - Sur Mallarmé: 'Une dentelle s'abolit'
- add to main playlist Play in Full Screen Improvisation III - Sur Mallarmé
- add to main playlist Play in Full Screen Tombeau
La Mer / Prélude à l'après-midi d'une faune / Jeux
- add to main playlist Play in Full Screen La mer: I. De l'aube a midi sur la mer
- add to main playlist Play in Full Screen La mer: II. Jeux de vagues
- add to main playlist Play in Full Screen La mer: III. Dialogue du vent et de la mer
- add to main playlist Play in Full Screen L'apres-midi d'une faune
- add to main playlist Play in Full Screen Jeux
-
Pierre Boulez - Le Marteau sans maître (1955)
Le Marteau sans maître pour voix d’alto et six instruments 1. Avant l’Artisanat furieux. Rapide 2. Commentaire I de Bourreaux de solitude. Lent 3. L’Artisanat furieux. Modéré sans rigeur 4. Commentaire II de Bourreaux de solitude. Rapide 5. Bel édifice et les pressentiments version première. Assez vif 6. Bourreaux de solitude.Assez lent 7. Après l’Artisanat furieux . Rapide 8. Commentaire III de Bourreaux de solitude. Assez lent 9. Bel édifice et les pressentiments double. Tempo libre de récit Hilary Summers, mezzo-soprano Ensemble intercontemporain : Pierre Boulez (Emmanuelle Ophèle, flûte en sol - Marie-Thérèse Ghirardi, guitare - Odile Auboin, alto Vincent Bauer, vibraphone - Samuel Favre, xylorimba - Michel Cerutti, percussion P 2... -
Pierre Boulez, Structures I & II (Kontarsky/Kontarsky)
Pierre Boulez (1925--), Structures, for two pianos Premier livre (1952) 00:00 I. 03:36 II. 12:19 III. Deuxième livre (1961) 14:41 I. 23:28 II. Alfons Kontarsky, piano Aloys Kontarsky, piano Artwork by Otto Freundlich -
Mahler - Symphony n°2 - Resurrection (Boulez - Damrau, Lang)
Public TV broadcast. -
Pierre Boulez in Memoriam (26.03.1925-05.01.2016)
Pierre Boulez in Memoriam (26.03.1925-05.01.2016) Nachtmusik II from Symphony No 7 by Gustav Mahler Concertgebouw Orkest Amsterdam -
Pierre Boulez- Emotion & Analysis
In honor of Pierre Boulez‘ 90th birthday, (26.3.2015) EuroArts will publish an extensive edition consisting of 10 DVDs, which will revolve around the most important milestones in the incredible career of the great conductor and composer. The booklet will have a considerable amount of 68 pages. Including nine legendary concert recordings from 1974 until 2009, featuring the Berliner Philharmoniker, the Staatskapelle Berlin, the Lucerne Festival Academy Orchestra, the Wiener Philharmoniker, the Orchestre de Paris, and naturally „his very own “Chicago Symphony Orchestra. Also featuring universally- known soloists such as Diana Damrau, Maria João Pires or Christine Schäfer, as well as the recordings with the New Philharmonia Orchestra (1968), and the BBC Symphony Orchestra (1974 und 1997). Furt... -
Tribute to Conductor and Composer, Pierre Boulez
It is with great sadness that we mourn the loss of our dear friend, conductor, composer, teacher and author Pierre Boulez. Over the course of nearly fifty years, he led The Cleveland Orchestra in over 220 performances at home and on tour. In half a century of service to Cleveland, he has created a peerless legacy of great music, new music, and unrivaled music-making. - These segments were originally played during our 90th Birthday tribute concert, and in memory of our beloved friend are now available as one video. -
Master-class Pierre Boulez - 1ère partie
14-15/11/2009 Etudiants de la classe de direction d'orchestre de Zolt Nagy Orchestre de Lauréats du Conservatoire OLC Entretien Edouard Fouré Caul-Futy Le mandarin merveilleux " Bela Bartok Direction Alexandra Cravero - Alexandre Bloch Les 14 et 15 novembre 2009, une master-classe réunissait au Conservatoire de Paris, Pierre Boulez et neuf étudiants de la classe de direction de Zsolt Nagy et l'OLC. A l'issue de ces séances Edouard Fouré Caul-Futy s'est entretenu avec Pierre Boulez et Zsolt Nagy. Ce film reprend les meilleurs moments de ces deux journées enrichis de larges extraits des entretiens avec Zsolt Nagy et Pierre Boulez. Réalisation : Service audiovisuel du Conservatoire de Paris Olivier Maucotel, Roland Broisin, Olivier Banon, Noël Labiche, François Chevreau, cadreurs Jean-Chr... -
Pierre Boulez, Répons - Ensemble intercontemporain - Matthias Pintscher
Pierre Boulez Répons pour six solistes, ensemble de chambre, sons électroniques et électronique temps réel Ensemble intercontemporain Matthias Pintscher, direction Réalisation informatique musicale Ircam Elektronische Verarbeitung der Musik Ircam Andrew Gerzso, Gilbert Nouno Enregistré à la Philharmonie de Paris – Philharmonie 1, le 11 juin 2015 -
Pierre Boulez - Anthèmes 2
Anthèmes 2, for violin and electronics (1997) I. Libre II. 1. Très lent, avec beaucoup de flexibilité - Libre III. 2. Rapide, dynamique, très rythmique, rigide - Libre IV. 3. Lent, régulier - Nerveux, irrégulier - Libre V. 4. Agité, instable - Libre VI. 5. Très lent, avec beauvoup de flexibilit - Subitement nerveux et extrêmement irrégulier - Libre VII. 6. 1. Allant, assez serré dans le tempo VIII. 6. 2. Calme, régulier -Agité - Brusque IX. 6. 3. Calme, sans traîner, d'un mouvement très régulier - Libre Hae-Sun Kang, violin Andrew Gerzso, electro-acoustic realization Pierre Boulez completed his Anthèmes 2 for solo violin in 1997. The work includes an electronic realization that splits up the sound. In this way, it is comparable to the composer's own Dialogue de l'ombre double from 1985... -
Pierre Boulez - Piano Sonata No. 1
Piano Sonata No. 1 (1946) I. Lent -- Beaucoup plus allant II. Assez large -- Rapide Idil Biret, piano Pierre Boulez composed his First Piano Sonata in 1946. The Piano sonata was not as common to the first half of the twentieth century as it was to the nineteenth, and Boulez rarely wrote in a genre that had already been well explored. After Beethoven left behind his legacy of thirty-two sonatas, the most interesting developments have not been in the sonata style. This trend in avoiding territories evincing daunting musical genius has been called "the anxiety of influence," denoting why many composers would steer clear of the sonata genre after Beethoven. It is difficult to hear a sonata without Beethoven coming to mind, and it is equally difficult to avoid making a comparison to Beethove... -
Pierre Boulez talks about his music
In this comprehensive interview, Pierre Boulez talks to Universal Edition about his works. http://www.universaledition.com/boulez Interview: Wolfgang Schaufler -
Pierre Boulez – Répons
Recorded live at Tokyo Bay N.K. Hall, 23 May 1995 Ensemble Intercontemporain Pierre Boulez, conductor
Pierre Boulez - Le Marteau sans maître (1955)
- Order: Reorder
- Duration: 38:43
- Updated: 20 Jan 2015
- views: 73471
Le Marteau sans maître
pour voix d’alto et six instruments
1. Avant l’Artisanat furieux. Rapide
2. Commentaire I de Bourreaux de solitude. Lent
3. L’Artisana...
Le Marteau sans maître
pour voix d’alto et six instruments
1. Avant l’Artisanat furieux. Rapide
2. Commentaire I de Bourreaux de solitude. Lent
3. L’Artisanat furieux. Modéré sans rigeur
4. Commentaire II de Bourreaux de solitude. Rapide
5. Bel édifice et les pressentiments version première. Assez vif
6. Bourreaux de solitude.Assez lent 7. Après l’Artisanat furieux . Rapide
8. Commentaire III de Bourreaux de solitude. Assez lent
9. Bel édifice et les pressentiments double. Tempo libre de récit
Hilary Summers, mezzo-soprano Ensemble intercontemporain : Pierre Boulez (Emmanuelle Ophèle, flûte en sol - Marie-Thérèse Ghirardi, guitare - Odile Auboin, alto Vincent Bauer, vibraphone - Samuel Favre, xylorimba - Michel Cerutti, percussion
P 2005 . Deutsche Grammophon GmbH, Hambourg, un label Universal Music
wn.com/Pierre Boulez Le Marteau Sans Maître (1955)
Le Marteau sans maître
pour voix d’alto et six instruments
1. Avant l’Artisanat furieux. Rapide
2. Commentaire I de Bourreaux de solitude. Lent
3. L’Artisanat furieux. Modéré sans rigeur
4. Commentaire II de Bourreaux de solitude. Rapide
5. Bel édifice et les pressentiments version première. Assez vif
6. Bourreaux de solitude.Assez lent 7. Après l’Artisanat furieux . Rapide
8. Commentaire III de Bourreaux de solitude. Assez lent
9. Bel édifice et les pressentiments double. Tempo libre de récit
Hilary Summers, mezzo-soprano Ensemble intercontemporain : Pierre Boulez (Emmanuelle Ophèle, flûte en sol - Marie-Thérèse Ghirardi, guitare - Odile Auboin, alto Vincent Bauer, vibraphone - Samuel Favre, xylorimba - Michel Cerutti, percussion
P 2005 . Deutsche Grammophon GmbH, Hambourg, un label Universal Music
- published: 20 Jan 2015
- views: 73471
Pierre Boulez, Structures I & II (Kontarsky/Kontarsky)
- Order: Reorder
- Duration: 34:16
- Updated: 19 Apr 2014
- views: 80130
Pierre Boulez (1925--), Structures, for two pianos
Premier livre (1952)
00:00 I.
03:36 II.
12:19 III.
Deuxième livre (1961)
14:41 I.
23:28 II.
Alfons Kontars...
Pierre Boulez (1925--), Structures, for two pianos
Premier livre (1952)
00:00 I.
03:36 II.
12:19 III.
Deuxième livre (1961)
14:41 I.
23:28 II.
Alfons Kontarsky, piano
Aloys Kontarsky, piano
Artwork by Otto Freundlich
wn.com/Pierre Boulez, Structures I Ii (Kontarsky Kontarsky)
Pierre Boulez (1925--), Structures, for two pianos
Premier livre (1952)
00:00 I.
03:36 II.
12:19 III.
Deuxième livre (1961)
14:41 I.
23:28 II.
Alfons Kontarsky, piano
Aloys Kontarsky, piano
Artwork by Otto Freundlich
- published: 19 Apr 2014
- views: 80130
Mahler - Symphony n°2 - Resurrection (Boulez - Damrau, Lang)
- Order: Reorder
- Duration: 87:24
- Updated: 04 Feb 2014
- views: 67505
Public TV broadcast.
Public TV broadcast.
wn.com/Mahler Symphony N°2 Resurrection (Boulez Damrau, Lang)
Pierre Boulez in Memoriam (26.03.1925-05.01.2016)
- Order: Reorder
- Duration: 11:03
- Updated: 06 Jan 2016
- views: 11937
Pierre Boulez in Memoriam (26.03.1925-05.01.2016)
Nachtmusik II from Symphony No 7 by Gustav Mahler
Concertgebouw Orkest Amsterdam
Pierre Boulez in Memoriam (26.03.1925-05.01.2016)
Nachtmusik II from Symphony No 7 by Gustav Mahler
Concertgebouw Orkest Amsterdam
wn.com/Pierre Boulez In Memoriam (26.03.1925 05.01.2016)
Pierre Boulez in Memoriam (26.03.1925-05.01.2016)
Nachtmusik II from Symphony No 7 by Gustav Mahler
Concertgebouw Orkest Amsterdam
- published: 06 Jan 2016
- views: 11937
Pierre Boulez- Emotion & Analysis
- Order: Reorder
- Duration: 3:38
- Updated: 25 Feb 2015
- views: 9709
In honor of Pierre Boulez‘ 90th birthday, (26.3.2015) EuroArts will publish an extensive edition consisting of 10 DVDs, which will revolve around the most impor...
In honor of Pierre Boulez‘ 90th birthday, (26.3.2015) EuroArts will publish an extensive edition consisting of 10 DVDs, which will revolve around the most important milestones in the incredible career of the great conductor and composer. The booklet will have a considerable amount of 68 pages. Including nine legendary concert recordings from 1974 until 2009, featuring the Berliner Philharmoniker, the Staatskapelle Berlin, the Lucerne Festival Academy Orchestra, the Wiener Philharmoniker, the Orchestre de Paris, and naturally „his very own “Chicago Symphony Orchestra. Also featuring universally- known soloists such as Diana Damrau, Maria João Pires or Christine Schäfer, as well as the recordings with the New Philharmonia Orchestra (1968), and the BBC Symphony Orchestra (1974 und 1997). Furthermore, this edition will include a special recording of his most prominent composition: „Notations I-IV“ performed by the Chicago Symphony Orchestra and conducted by Daniel Barenboim. Supplemented by the highly absorbing documentaries, “ECLAT“, by Frank Scheffer, “A LESSON BY PIERRE BOULEZ“ by Andy Sommer, and the newly released interview documentary “EMOTION & ANALYSIS”, by Paul Smaczny and Günter Atteln, which is a follow up on the EUROPAKONZERT 2003, one does not only gain insights into the lives of the musicians but especially into that of their engaged teacher and personal mentor, Pierre Boulez. This broad compilation also introduces the documentary “INHERITING THE FUTURE OF MUSIC“, which revolves around Boulez‘ work with the young and aspiring musicians of the Lucerne Festival Academy Orchestra.
View this product in our online-shop: http://shop.euroarts.com/index.php/pierre-boulez-emotion-analysis.html
For more Information: http://www.euroarts.com/artikel/dvd/?id=006100_boulez_dvd_box
wn.com/Pierre Boulez Emotion Analysis
In honor of Pierre Boulez‘ 90th birthday, (26.3.2015) EuroArts will publish an extensive edition consisting of 10 DVDs, which will revolve around the most important milestones in the incredible career of the great conductor and composer. The booklet will have a considerable amount of 68 pages. Including nine legendary concert recordings from 1974 until 2009, featuring the Berliner Philharmoniker, the Staatskapelle Berlin, the Lucerne Festival Academy Orchestra, the Wiener Philharmoniker, the Orchestre de Paris, and naturally „his very own “Chicago Symphony Orchestra. Also featuring universally- known soloists such as Diana Damrau, Maria João Pires or Christine Schäfer, as well as the recordings with the New Philharmonia Orchestra (1968), and the BBC Symphony Orchestra (1974 und 1997). Furthermore, this edition will include a special recording of his most prominent composition: „Notations I-IV“ performed by the Chicago Symphony Orchestra and conducted by Daniel Barenboim. Supplemented by the highly absorbing documentaries, “ECLAT“, by Frank Scheffer, “A LESSON BY PIERRE BOULEZ“ by Andy Sommer, and the newly released interview documentary “EMOTION & ANALYSIS”, by Paul Smaczny and Günter Atteln, which is a follow up on the EUROPAKONZERT 2003, one does not only gain insights into the lives of the musicians but especially into that of their engaged teacher and personal mentor, Pierre Boulez. This broad compilation also introduces the documentary “INHERITING THE FUTURE OF MUSIC“, which revolves around Boulez‘ work with the young and aspiring musicians of the Lucerne Festival Academy Orchestra.
View this product in our online-shop: http://shop.euroarts.com/index.php/pierre-boulez-emotion-analysis.html
For more Information: http://www.euroarts.com/artikel/dvd/?id=006100_boulez_dvd_box
- published: 25 Feb 2015
- views: 9709
Tribute to Conductor and Composer, Pierre Boulez
- Order: Reorder
- Duration: 11:55
- Updated: 06 Jan 2016
- views: 5391
It is with great sadness that we mourn the loss of our dear friend, conductor, composer, teacher and author Pierre Boulez. Over the course of nearly fifty years...
It is with great sadness that we mourn the loss of our dear friend, conductor, composer, teacher and author Pierre Boulez. Over the course of nearly fifty years, he led The Cleveland Orchestra in over 220 performances at home and on tour. In half a century of service to Cleveland, he has created a peerless legacy of great music, new music, and unrivaled music-making. - These segments were originally played during our 90th Birthday tribute concert, and in memory of our beloved friend are now available as one video.
wn.com/Tribute To Conductor And Composer, Pierre Boulez
It is with great sadness that we mourn the loss of our dear friend, conductor, composer, teacher and author Pierre Boulez. Over the course of nearly fifty years, he led The Cleveland Orchestra in over 220 performances at home and on tour. In half a century of service to Cleveland, he has created a peerless legacy of great music, new music, and unrivaled music-making. - These segments were originally played during our 90th Birthday tribute concert, and in memory of our beloved friend are now available as one video.
- published: 06 Jan 2016
- views: 5391
Master-class Pierre Boulez - 1ère partie
- Order: Reorder
- Duration: 59:39
- Updated: 18 Feb 2015
- views: 36727
14-15/11/2009
Etudiants de la classe de direction d'orchestre de Zolt Nagy
Orchestre de Lauréats du Conservatoire OLC
Entretien Edouard Fouré Caul-Futy
Le manda...
14-15/11/2009
Etudiants de la classe de direction d'orchestre de Zolt Nagy
Orchestre de Lauréats du Conservatoire OLC
Entretien Edouard Fouré Caul-Futy
Le mandarin merveilleux " Bela Bartok
Direction Alexandra Cravero - Alexandre Bloch
Les 14 et 15 novembre 2009, une master-classe réunissait au Conservatoire de Paris, Pierre Boulez et neuf étudiants de la classe de direction de Zsolt Nagy et l'OLC.
A l'issue de ces séances Edouard Fouré Caul-Futy s'est entretenu avec Pierre Boulez et Zsolt Nagy.
Ce film reprend les meilleurs moments de ces deux journées enrichis de larges extraits des entretiens avec Zsolt Nagy et Pierre Boulez.
Réalisation : Service audiovisuel du Conservatoire de Paris
Olivier Maucotel, Roland Broisin, Olivier Banon, Noël Labiche, François Chevreau, cadreurs
Jean-Christophe Messonnier, son
Mariette Girard, assistante son
Véronique Carbel, sonorisation
Catherine de Boishéraud, direction artistique
Baptiste chouquet, conseiller musical
Agnès Démaret, assistante de réalisation et montage
Roland Bouveresse, réalisation
wn.com/Master Class Pierre Boulez 1Ère Partie
14-15/11/2009
Etudiants de la classe de direction d'orchestre de Zolt Nagy
Orchestre de Lauréats du Conservatoire OLC
Entretien Edouard Fouré Caul-Futy
Le mandarin merveilleux " Bela Bartok
Direction Alexandra Cravero - Alexandre Bloch
Les 14 et 15 novembre 2009, une master-classe réunissait au Conservatoire de Paris, Pierre Boulez et neuf étudiants de la classe de direction de Zsolt Nagy et l'OLC.
A l'issue de ces séances Edouard Fouré Caul-Futy s'est entretenu avec Pierre Boulez et Zsolt Nagy.
Ce film reprend les meilleurs moments de ces deux journées enrichis de larges extraits des entretiens avec Zsolt Nagy et Pierre Boulez.
Réalisation : Service audiovisuel du Conservatoire de Paris
Olivier Maucotel, Roland Broisin, Olivier Banon, Noël Labiche, François Chevreau, cadreurs
Jean-Christophe Messonnier, son
Mariette Girard, assistante son
Véronique Carbel, sonorisation
Catherine de Boishéraud, direction artistique
Baptiste chouquet, conseiller musical
Agnès Démaret, assistante de réalisation et montage
Roland Bouveresse, réalisation
- published: 18 Feb 2015
- views: 36727
Pierre Boulez, Répons - Ensemble intercontemporain - Matthias Pintscher
- Order: Reorder
- Duration: 46:35
- Updated: 18 Dec 2015
- views: 12886
Pierre Boulez
Répons
pour six solistes, ensemble de chambre, sons électroniques et électronique temps réel
Ensemble intercontemporain
Matthias Pintscher, direc...
Pierre Boulez
Répons
pour six solistes, ensemble de chambre, sons électroniques et électronique temps réel
Ensemble intercontemporain
Matthias Pintscher, direction
Réalisation informatique musicale Ircam Elektronische Verarbeitung der Musik Ircam Andrew Gerzso, Gilbert Nouno
Enregistré à la Philharmonie de Paris – Philharmonie 1, le 11 juin 2015
wn.com/Pierre Boulez, Répons Ensemble Intercontemporain Matthias Pintscher
Pierre Boulez
Répons
pour six solistes, ensemble de chambre, sons électroniques et électronique temps réel
Ensemble intercontemporain
Matthias Pintscher, direction
Réalisation informatique musicale Ircam Elektronische Verarbeitung der Musik Ircam Andrew Gerzso, Gilbert Nouno
Enregistré à la Philharmonie de Paris – Philharmonie 1, le 11 juin 2015
- published: 18 Dec 2015
- views: 12886
Pierre Boulez - Anthèmes 2
- Order: Reorder
- Duration: 20:28
- Updated: 15 Mar 2014
- views: 7529
Anthèmes 2, for violin and electronics (1997)
I. Libre
II. 1. Très lent, avec beaucoup de flexibilité - Libre
III. 2. Rapide, dynamique, très rythmique, rigide...
Anthèmes 2, for violin and electronics (1997)
I. Libre
II. 1. Très lent, avec beaucoup de flexibilité - Libre
III. 2. Rapide, dynamique, très rythmique, rigide - Libre
IV. 3. Lent, régulier - Nerveux, irrégulier - Libre
V. 4. Agité, instable - Libre
VI. 5. Très lent, avec beauvoup de flexibilit - Subitement nerveux et extrêmement irrégulier - Libre
VII. 6. 1. Allant, assez serré dans le tempo
VIII. 6. 2. Calme, régulier -Agité - Brusque
IX. 6. 3. Calme, sans traîner, d'un mouvement très régulier - Libre
Hae-Sun Kang, violin
Andrew Gerzso, electro-acoustic realization
Pierre Boulez completed his Anthèmes 2 for solo violin in 1997. The work includes an electronic realization that splits up the sound. In this way, it is comparable to the composer's own Dialogue de l'ombre double from 1985. The latter work is more immediate and perhaps more inventive. Both works double the soloist's sound by technological means so that the performer plays against himself as one's own accompanist. However, Dialogue de l'ombre double places all the work's live properties on the soloist, while Anthèmes 2 requires a second performer to handle the electronic rendering of the sound. The original Anthèmes from 1991 was a seven-minute violin piece without any accompaniment. In Anthèmes 2, a line from an earlier work by Boulez Explosante-fixe ... is developed in an alternate manner. It is in nine movements and slightly over twenty minutes in duration. This is perhaps the only published work by Boulez to feature a collaborator. Andrew Gerzso assisted the composer in realizing the work's electro-acoustic features. The electronic design of the 1997 piece was realized at the IRCAM-Centre Pompidou in Paris. President Pompidou founded an enormous, subterranean studio for musical research in 1970 and made Boulez its first director. For many years, he worked to develop its reputation as a sort of laboratory for new music composition and its performance. He later went on to other projects but still made his valuable presence felt, composing and lecturing there.
Anthèmes 2 is a graceful and elegant work, revealing the composer's innately urban and cool demeanor. The general form is one of episodes that continue only as long as is required in order to display another soundscape, dropping whatever has been set in motion once it has been established. It is free to wander throughout the possibilities that the electronic effects entail. There is no sense of a cathartic rounding up of all the preceding elements in order to create a final summation that is transcendent. Nonetheless, it is a valuable listen, truly beautiful and in no way manipulative. Though the work is clearly virtuosic, the cadenza-like moments do not generate a great deal of heat. One of the most easily recognized features of Boulez's output is its control. Like the work of Bach or Brahms, his music does not lose its composure or allow for the occasional outburst. It is music with an iron will, free of yearning. Unlike the music of Webern, which was Boulez's artistic point of departure from early on in his career, there is none of the genius' stereotypical dissatisfaction or angst. His exterior is seemingly impossible to ruffle, and in that way both the composer and his music are consummately French. With regard to influence and outlook, he is cosmopolitan, and his compositions themselves are unique, featuring a temperament that is as complex as it is artistically rewarding. Anthèmes 2 does not sound like the music of a man in his seventies; there is nothing retiring about it. In fact, there is no less energy in this work than there was in his works from the 1940s. The most notable difference between the youthful and the mature Boulez is a broadening of musical palette, which is bound to happen to any composer who is given to exploration. Like Webern, Boulez seems to have begun his professional career with his talents already fully formed. This work furthers his legacy that has remained small but consistently excellent. [allmusic.com]
Art by Paul Sérusier
wn.com/Pierre Boulez Anthèmes 2
Anthèmes 2, for violin and electronics (1997)
I. Libre
II. 1. Très lent, avec beaucoup de flexibilité - Libre
III. 2. Rapide, dynamique, très rythmique, rigide - Libre
IV. 3. Lent, régulier - Nerveux, irrégulier - Libre
V. 4. Agité, instable - Libre
VI. 5. Très lent, avec beauvoup de flexibilit - Subitement nerveux et extrêmement irrégulier - Libre
VII. 6. 1. Allant, assez serré dans le tempo
VIII. 6. 2. Calme, régulier -Agité - Brusque
IX. 6. 3. Calme, sans traîner, d'un mouvement très régulier - Libre
Hae-Sun Kang, violin
Andrew Gerzso, electro-acoustic realization
Pierre Boulez completed his Anthèmes 2 for solo violin in 1997. The work includes an electronic realization that splits up the sound. In this way, it is comparable to the composer's own Dialogue de l'ombre double from 1985. The latter work is more immediate and perhaps more inventive. Both works double the soloist's sound by technological means so that the performer plays against himself as one's own accompanist. However, Dialogue de l'ombre double places all the work's live properties on the soloist, while Anthèmes 2 requires a second performer to handle the electronic rendering of the sound. The original Anthèmes from 1991 was a seven-minute violin piece without any accompaniment. In Anthèmes 2, a line from an earlier work by Boulez Explosante-fixe ... is developed in an alternate manner. It is in nine movements and slightly over twenty minutes in duration. This is perhaps the only published work by Boulez to feature a collaborator. Andrew Gerzso assisted the composer in realizing the work's electro-acoustic features. The electronic design of the 1997 piece was realized at the IRCAM-Centre Pompidou in Paris. President Pompidou founded an enormous, subterranean studio for musical research in 1970 and made Boulez its first director. For many years, he worked to develop its reputation as a sort of laboratory for new music composition and its performance. He later went on to other projects but still made his valuable presence felt, composing and lecturing there.
Anthèmes 2 is a graceful and elegant work, revealing the composer's innately urban and cool demeanor. The general form is one of episodes that continue only as long as is required in order to display another soundscape, dropping whatever has been set in motion once it has been established. It is free to wander throughout the possibilities that the electronic effects entail. There is no sense of a cathartic rounding up of all the preceding elements in order to create a final summation that is transcendent. Nonetheless, it is a valuable listen, truly beautiful and in no way manipulative. Though the work is clearly virtuosic, the cadenza-like moments do not generate a great deal of heat. One of the most easily recognized features of Boulez's output is its control. Like the work of Bach or Brahms, his music does not lose its composure or allow for the occasional outburst. It is music with an iron will, free of yearning. Unlike the music of Webern, which was Boulez's artistic point of departure from early on in his career, there is none of the genius' stereotypical dissatisfaction or angst. His exterior is seemingly impossible to ruffle, and in that way both the composer and his music are consummately French. With regard to influence and outlook, he is cosmopolitan, and his compositions themselves are unique, featuring a temperament that is as complex as it is artistically rewarding. Anthèmes 2 does not sound like the music of a man in his seventies; there is nothing retiring about it. In fact, there is no less energy in this work than there was in his works from the 1940s. The most notable difference between the youthful and the mature Boulez is a broadening of musical palette, which is bound to happen to any composer who is given to exploration. Like Webern, Boulez seems to have begun his professional career with his talents already fully formed. This work furthers his legacy that has remained small but consistently excellent. [allmusic.com]
Art by Paul Sérusier
- published: 15 Mar 2014
- views: 7529
Pierre Boulez - Piano Sonata No. 1
- Order: Reorder
- Duration: 10:26
- Updated: 10 Mar 2011
- views: 24450
Piano Sonata No. 1 (1946)
I. Lent -- Beaucoup plus allant
II. Assez large -- Rapide
Idil Biret, piano
Pierre Boulez composed his First Piano Sonata in 1946. ...
Piano Sonata No. 1 (1946)
I. Lent -- Beaucoup plus allant
II. Assez large -- Rapide
Idil Biret, piano
Pierre Boulez composed his First Piano Sonata in 1946. The Piano sonata was not as common to the first half of the twentieth century as it was to the nineteenth, and Boulez rarely wrote in a genre that had already been well explored. After Beethoven left behind his legacy of thirty-two sonatas, the most interesting developments have not been in the sonata style. This trend in avoiding territories evincing daunting musical genius has been called "the anxiety of influence," denoting why many composers would steer clear of the sonata genre after Beethoven. It is difficult to hear a sonata without Beethoven coming to mind, and it is equally difficult to avoid making a comparison to Beethoven under those circumstances.
That being the case, the great piano works of composers such as Schumann, Chopin, Liszt, Brahms, and others centered on sets of variations, fantasies, and other structures that did not immediately bring to mind the foreboding Beethoven Comparison. This angst did not seem to grasp Boulez. While history has welcomed him into the Western canon for his lasting contributions to music, he seems to have always known that his place was among the great names. While other composers may have written one or two sonatas after maturing as artists and then finally, painfully producing them in a heightened state of anxiety, Boulez wrote, published, and relentlessly promoted his First Piano Sonata at the age of twenty-one. It also contains direct references to Beethoven. Boulez has been recognized as an iconoclast and a great talent, and perhaps this stems from his fearlessness. He stood up to everyone who got in his way during the twentieth century, and in the case of his piano sonatas, he did not back down from Beethoven either.
One advantage that Boulez had over the other post-Beethoven composers was a disparity of language. By 1948 he had crystallized serialism, which took Schoenberg's twelve-tone method further than even Webern, whom Boulez had pronounced the most important composer of the twentieth century. He took this proclamation to extremes, adding that the history of Western music was entirely encapsulated in the work of Webern, who had died in 1945, and that listening to music before his was not a relevant pursuit. As extreme as this position was, it lent Boulez the courage to produce this shockingly, eerily beautiful sonata. Hearing this work brings to mind the few musical prodigies of history whose work from this young age has maintained our interest: Mozart, Schubert, and perhaps a couple of others. Not only does Boulez consolidate a serialist language that has almost no precedent, except for one piece by his instructor, Messiaen's Mode de valeurs et d'intensités. In reference to Beethoven's final piano sonata, Boulez's First Piano Sonata is cast in two similarly contrasting movements. The intensity of the work is fierce, and it has a delicacy of phrasing that is normally ascribed to mature masters. It is slightly less than eleven minutes in duration, and like all the music he would publish in his lifetime, explores the remotest nuances of seriousness. Boulez was a very serious young man about music. He was willing to humiliate people, even his own teacher (he once publicly referred to Messiaen's Turangalila Symphony as "brothel music.") Much of his middle-age involved making gestures of apology for his youthful outbursts, but Boulez possessed a charisma that overpowered most other people. His First Piano Sonata contains comparable charm and integrity. [allmusic.com]
Art by Robert Delaunay
wn.com/Pierre Boulez Piano Sonata No. 1
Piano Sonata No. 1 (1946)
I. Lent -- Beaucoup plus allant
II. Assez large -- Rapide
Idil Biret, piano
Pierre Boulez composed his First Piano Sonata in 1946. The Piano sonata was not as common to the first half of the twentieth century as it was to the nineteenth, and Boulez rarely wrote in a genre that had already been well explored. After Beethoven left behind his legacy of thirty-two sonatas, the most interesting developments have not been in the sonata style. This trend in avoiding territories evincing daunting musical genius has been called "the anxiety of influence," denoting why many composers would steer clear of the sonata genre after Beethoven. It is difficult to hear a sonata without Beethoven coming to mind, and it is equally difficult to avoid making a comparison to Beethoven under those circumstances.
That being the case, the great piano works of composers such as Schumann, Chopin, Liszt, Brahms, and others centered on sets of variations, fantasies, and other structures that did not immediately bring to mind the foreboding Beethoven Comparison. This angst did not seem to grasp Boulez. While history has welcomed him into the Western canon for his lasting contributions to music, he seems to have always known that his place was among the great names. While other composers may have written one or two sonatas after maturing as artists and then finally, painfully producing them in a heightened state of anxiety, Boulez wrote, published, and relentlessly promoted his First Piano Sonata at the age of twenty-one. It also contains direct references to Beethoven. Boulez has been recognized as an iconoclast and a great talent, and perhaps this stems from his fearlessness. He stood up to everyone who got in his way during the twentieth century, and in the case of his piano sonatas, he did not back down from Beethoven either.
One advantage that Boulez had over the other post-Beethoven composers was a disparity of language. By 1948 he had crystallized serialism, which took Schoenberg's twelve-tone method further than even Webern, whom Boulez had pronounced the most important composer of the twentieth century. He took this proclamation to extremes, adding that the history of Western music was entirely encapsulated in the work of Webern, who had died in 1945, and that listening to music before his was not a relevant pursuit. As extreme as this position was, it lent Boulez the courage to produce this shockingly, eerily beautiful sonata. Hearing this work brings to mind the few musical prodigies of history whose work from this young age has maintained our interest: Mozart, Schubert, and perhaps a couple of others. Not only does Boulez consolidate a serialist language that has almost no precedent, except for one piece by his instructor, Messiaen's Mode de valeurs et d'intensités. In reference to Beethoven's final piano sonata, Boulez's First Piano Sonata is cast in two similarly contrasting movements. The intensity of the work is fierce, and it has a delicacy of phrasing that is normally ascribed to mature masters. It is slightly less than eleven minutes in duration, and like all the music he would publish in his lifetime, explores the remotest nuances of seriousness. Boulez was a very serious young man about music. He was willing to humiliate people, even his own teacher (he once publicly referred to Messiaen's Turangalila Symphony as "brothel music.") Much of his middle-age involved making gestures of apology for his youthful outbursts, but Boulez possessed a charisma that overpowered most other people. His First Piano Sonata contains comparable charm and integrity. [allmusic.com]
Art by Robert Delaunay
- published: 10 Mar 2011
- views: 24450
Pierre Boulez talks about his music
- Order: Reorder
- Duration: 19:07
- Updated: 14 May 2012
- views: 49646
In this comprehensive interview, Pierre Boulez talks to Universal Edition about his works.
http://www.universaledition.com/boulez
Interview: Wolfgang Schaufle...
In this comprehensive interview, Pierre Boulez talks to Universal Edition about his works.
http://www.universaledition.com/boulez
Interview: Wolfgang Schaufler
wn.com/Pierre Boulez Talks About His Music
In this comprehensive interview, Pierre Boulez talks to Universal Edition about his works.
http://www.universaledition.com/boulez
Interview: Wolfgang Schaufler
- published: 14 May 2012
- views: 49646
Pierre Boulez – Répons
- Order: Reorder
- Duration: 41:14
- Updated: 25 May 2015
- views: 30377
Recorded live at Tokyo Bay N.K. Hall, 23 May 1995
Ensemble Intercontemporain
Pierre Boulez, conductor
Recorded live at Tokyo Bay N.K. Hall, 23 May 1995
Ensemble Intercontemporain
Pierre Boulez, conductor
wn.com/Pierre Boulez – Répons
Recorded live at Tokyo Bay N.K. Hall, 23 May 1995
Ensemble Intercontemporain
Pierre Boulez, conductor
- published: 25 May 2015
- views: 30377
close fullscreen
- Playlist
- Chat
close fullscreen
- Playlist
- Chat
38:43
Pierre Boulez - Le Marteau sans maître (1955)
Le Marteau sans maître
pour voix d’alto et six instruments
1. Avant l’Artisanat furieux....
published: 20 Jan 2015
Pierre Boulez - Le Marteau sans maître (1955)
Pierre Boulez - Le Marteau sans maître (1955)
- Report rights infringement
- published: 20 Jan 2015
- views: 73471
34:16
Pierre Boulez, Structures I & II (Kontarsky/Kontarsky)
Pierre Boulez (1925--), Structures, for two pianos
Premier livre (1952)
00:00 I.
03:36 II...
published: 19 Apr 2014
Pierre Boulez, Structures I & II (Kontarsky/Kontarsky)
Pierre Boulez, Structures I & II (Kontarsky/Kontarsky)
- Report rights infringement
- published: 19 Apr 2014
- views: 80130
87:24
Mahler - Symphony n°2 - Resurrection (Boulez - Damrau, Lang)
Public TV broadcast.
published: 04 Feb 2014
Mahler - Symphony n°2 - Resurrection (Boulez - Damrau, Lang)
Mahler - Symphony n°2 - Resurrection (Boulez - Damrau, Lang)
- Report rights infringement
- published: 04 Feb 2014
- views: 67505
11:03
Pierre Boulez in Memoriam (26.03.1925-05.01.2016)
Pierre Boulez in Memoriam (26.03.1925-05.01.2016)
Nachtmusik II from Symphony No 7 by Gust...
published: 06 Jan 2016
Pierre Boulez in Memoriam (26.03.1925-05.01.2016)
Pierre Boulez in Memoriam (26.03.1925-05.01.2016)
- Report rights infringement
- published: 06 Jan 2016
- views: 11937
3:38
Pierre Boulez- Emotion & Analysis
In honor of Pierre Boulez‘ 90th birthday, (26.3.2015) EuroArts will publish an extensive e...
published: 25 Feb 2015
Pierre Boulez- Emotion & Analysis
Pierre Boulez- Emotion & Analysis
- Report rights infringement
- published: 25 Feb 2015
- views: 9709
11:55
Tribute to Conductor and Composer, Pierre Boulez
It is with great sadness that we mourn the loss of our dear friend, conductor, composer, t...
published: 06 Jan 2016
Tribute to Conductor and Composer, Pierre Boulez
Tribute to Conductor and Composer, Pierre Boulez
- Report rights infringement
- published: 06 Jan 2016
- views: 5391
59:39
Master-class Pierre Boulez - 1ère partie
14-15/11/2009
Etudiants de la classe de direction d'orchestre de Zolt Nagy
Orchestre de La...
published: 18 Feb 2015
Master-class Pierre Boulez - 1ère partie
Master-class Pierre Boulez - 1ère partie
- Report rights infringement
- published: 18 Feb 2015
- views: 36727
46:35
Pierre Boulez, Répons - Ensemble intercontemporain - Matthias Pintscher
Pierre Boulez
Répons
pour six solistes, ensemble de chambre, sons électroniques et électr...
published: 18 Dec 2015
Pierre Boulez, Répons - Ensemble intercontemporain - Matthias Pintscher
Pierre Boulez, Répons - Ensemble intercontemporain - Matthias Pintscher
- Report rights infringement
- published: 18 Dec 2015
- views: 12886
20:28
Pierre Boulez - Anthèmes 2
Anthèmes 2, for violin and electronics (1997)
I. Libre
II. 1. Très lent, avec beaucoup de...
published: 15 Mar 2014
Pierre Boulez - Anthèmes 2
Pierre Boulez - Anthèmes 2
- Report rights infringement
- published: 15 Mar 2014
- views: 7529
10:26
Pierre Boulez - Piano Sonata No. 1
Piano Sonata No. 1 (1946)
I. Lent -- Beaucoup plus allant
II. Assez large -- Rapide
Idil...
published: 10 Mar 2011
Pierre Boulez - Piano Sonata No. 1
Pierre Boulez - Piano Sonata No. 1
- Report rights infringement
- published: 10 Mar 2011
- views: 24450
19:07
Pierre Boulez talks about his music
In this comprehensive interview, Pierre Boulez talks to Universal Edition about his works....
published: 14 May 2012
Pierre Boulez talks about his music
Pierre Boulez talks about his music
- Report rights infringement
- published: 14 May 2012
- views: 49646
41:14
Pierre Boulez – Répons
Recorded live at Tokyo Bay N.K. Hall, 23 May 1995
Ensemble Intercontemporain
Pierre Boulez...
published: 25 May 2015
Pierre Boulez – Répons
Pierre Boulez – Répons
- Report rights infringement
- published: 25 May 2015
- views: 30377
Pierre Boulez - Le Marteau sans maître (1955)...
Pierre Boulez, Structures I & II (Kontarsky/Kontar...
Mahler - Symphony n°2 - Resurrection (Boulez - Dam...
Pierre Boulez in Memoriam (26.03.1925-05.01.2016)...
Pierre Boulez- Emotion & Analysis...
Tribute to Conductor and Composer, Pierre Boulez...
Master-class Pierre Boulez - 1ère partie...
Pierre Boulez, Répons - Ensemble intercontemporain...
Pierre Boulez - Anthèmes 2...
Pierre Boulez - Piano Sonata No. 1...
Pierre Boulez talks about his music...
Pierre Boulez – Répons...
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Lyrics list:lyrics
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Purple Haze
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Purple Haze
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Purple Haze
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Purple Haze
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Purple Haze
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Purple Haze
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Purple Haze
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Purple Haze
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Purple Haze
[Originally by Jimi Hendrix]
Purple Haze was in my brain,
lately things don't seem the same,
actin' funny but I don't know why
'scuse me while I kiss the sky.
Purple Haze all around,
don't know if I'm coming up or down.
Am I happy or in misery?
Whatever it is, that girl put a spell on me.
Purple Haze was in my eyes,
don't know if it's day or night,
you've got me blowing, blowing my mind
is it tomorrow or just the end of time?
photo: AP / LM Otero, File
How Clinton, Trump made their fortunes and spend them
Edit Las Vegas Sun 08 May 2016
A look at the personal wealth portfolios of Democratic presidential candidate Hillary Clinton and Republican candidate Donald Trump, how they earned their money over the years and the lifestyles … ... ....
photo: AP / Rebecca Blackwell
Mexican Drug Lord 'El Chapo' Transferred to Prison Near US Border
Edit Voa News 08 May 2016
Mexican authorities on Saturday abruptly transferred convicted drug lord Joaquin "El Chapo" Guzman from a prison outside Mexico City to a penitentiary near the border with the United States ... state of Texas by the Rio Grande ... He was apprehended 13 years later with information provided by U.S ... ....
photo: AP / IHA agency via AP
Gaziantep: home to Isis killers, sex traders… and a quest to rebuild Syria
Edit The Guardian 08 May 2016
The Turkish city hosts the HQ of Tamkeen, a UK-backed aid agency reintroducing democracy to a country ravaged by civil war. Global development is supported by. Bill and Melinda Gates Foundation. Dragging on his American-brand cigarette, Rami al-Khatib leans back and looks away. There is a wry smile but it hints at a bubbling frustration. I have asked him whether he feels optimistic about the future ... “The other is ... Twitter ... Twitter ... Twitter ... ....
photo: Creative Commons / Jason Woodhead
Alberta wildfire growing, may reach Saskatchewan
Edit CNN 08 May 2016
(CNN)The massive wildfire that forced almost 90,000 people to evacuate in Alberta is growing and approaching the neighboring province of Saskatchewan, Canadian officials said. Dry and extremely windy conditions are fueling the blaze, which has scorched more than 1,560 square kilometers (602 square miles) and ravaged the city of Fort McMurray, Public Safety Minister Ralph Goodale said Saturday ... The fire may double in size, Goodale said....
photo: Creative Commons / marcusrg
Soldier who tortured Brazil president in 1970s dies
Edit Dawn 08 May 2016
SAO PAULO. A soldier who Brazilian President Dilma Rousseff accused of torturing her during the 1970s has died in Sao Paulo, local media reported on Friday. Captain Homero Cesar Machado was 75. He died on Thursday and his body was cremated on Friday in Sao Paulo, the reports said ... Published in Dawn, May 8th, 2016 ... ....
« back to news headlines
Stuck on repeat: why we love repetition in music
Edit The Guardian 29 Apr 2016
Facebook. Twitter. Pinterest ... Facebook. Twitter ... Pieces composed expressly with as little repetition at possible – the brave new worlds of works by Karlheinz Stockhausen or Pierre Boulez, say, create a new kind of musical experience in which the thrilling sense of discombobulation and alienation comes as much from the music’s lack of repetitive moorings as the visceral dissonance and rhythmic unpredictability of their new musical idioms ... ....
MATTHEW AUCOIN LEADS CIVIC ORCHESTRA OF CHICAGO IN TWO MAY PERFORMANCES (Chicago Symphony Orchestra)
Edit Public Technologies 25 Apr 2016
(Source. Chicago Symphony Orchestra) c2430b29-8627-40c0-ba53-7f1becb2b299.pdf For Immediate Release. Press Contacts.. April 25, 2016 Eileen Chambers, 312-294-3092 Photos Available By Request. PR@CSO.org MATTHEW AUCOIN LEADS CIVIC ORCHESTRA OF CHICAGO IN TWO MAY PERFORMANCES ... Sunday, May 1 at 3 p.m ... at Symphony Center ... Schubert's lively Symphony No ... In 2014, Aucoin made his Chicago Symphony Orchestra debut, stepping in for Pierre Boulez ... 621....
Henderickx: At the Edge of the World; Empty Mind 1; Groove! CD review – music you can't ignore
Edit The Guardian 20 Apr 2016
3 / 5 stars. Bockstal/Vranckx/Royal Flemish PO/De Waart/Brabbins. (Royal Flemish Philharmonic). Pierre Boulez once dismissed his teacher Messiaen’s Turangalîla Symphony as “bordello music”. This withering description came back to me on a first encounter with this collection of Wim Henderickx’s recent orchestral works, played by the Royal Flemish Philharmonic, where he has been artist-in-residence for 20 years ... ....
New Honors for Alan Gilbert on Heels of Triumphant LSO Debut (21c Media Group Inc)
Edit Public Technologies 19 Apr 2016
... his fellow alums - Broadway actors Phillipa Soo (now appearing in Hamilton), Gabriel Ebert (winner of a Tony Award for Matilda, in which he was an original cast member), and Nick Choksi (now appearing in Natasha, Pierre, & the Great Comet of 1812) - with the support of the Juilliard Orchestra and Brooklyn Youth Chorus (April 25) ... Pierre BOULEZ....
Pablo Heras-Casado returns to San Francisco Symphony
Edit The Examiner 18 Apr 2016
San Francisco concert-goers will surely be delighted by the return to Davies Symphony Hall of Pablo Heras-Casado as he begins a two-week season with the San Francisco Symphony ... Pablo Heras-Casado is always a welcome guest in San Francisco ... He is a laureate of the 2007 Lucerne Festival Conductors’ Forum to which returned in 2013, at the invitation of Pierre Boulez, to co-direct the festival's Academy ... Sources. ... Artist websites.....
LOS ANGELES PHILHARMONIC ANNOUNCES THE INTERNATIONAL CONTEMPORARY ENSEMBLE’S (ICE) RESIDENCY AT YOLA AT HOLA (Los Angeles Philharmonic Association)
Edit Public Technologies 18 Apr 2016
(Source. Los Angeles Philharmonic Association) ... The approach is process and results driven ... EDITORS PLEASE NOTE. ... Walt Disney Concert Hall ... 2000) ... Aaron Copland, Igor Stravinsky, Olivier Messiaen, Michael Tilson Thomas, Kent Nagano, Pierre Boulez, John Adams, Esa-Pekka Salonen, Robert Spano, Pierre-Laurent Aimard, David Robertson, eighth blackbird, George Benjamin, Dawn Upshaw, Leif Ove Andsnes, Mark Morris, Jeremy Denk, and Steven Schick....
Line up announced for Birmingham Conservatoire’s City of Sounds Festival – (1 May-26 June 2016).
Edit The Jazz Mann 15 Apr 2016
Publicist Fiona Fraser writes; ... The final concert on Sunday 26 June sees Sir Richard Armstrong conduct Verdi’s Requiem in a live BBC Radio 3 broadcast. . PRESS RELEASE. ... Since then, it has welcomed diverse performances from well-known names such as violinists Nigel Kennedy and Tasmin Little, Conservatoire Principal and cellist Julian Lloyd Webber, singer Dame Felicity Lott and composer Pierre Boulez ... He said. ... CONCERT LISTINGS ... ....
BBC Proms host Katie Derham to jive in first Strictly Come Dancing prom
Edit Belfast Telegraph 13 Apr 2016
BBC Proms host Katie Derham will don her dancing shoes to take part in the classical music festival's first Strictly Come Dancing prom ... Share Go To ... The night joins a diverse programme of concerts that also features two Late Night Proms dedicated to musician David Bowie and French composer Pierre Boulez, which had been planned since before Boulez's death in January this year ... .. The BBC Proms run from July 15 to September 10 ... ....
The BBC Proms 2016: few surprises, but a solid programme
Edit The Guardian 13 Apr 2016
Andrew Clements. There are few innovations in David Pickard’s first year heading the Proms, nor big orchestral premieres – but there’s plenty to look forward to, from Boulez to Berlioz and Bowie ... Twitter ... Late night memorial tributes to David Bowie (29 July) and Pierre Boulez (2 September) are presumably tweaks to the season that have been added by Pickard, but otherwise there are no real surprises ... Twitter ... Twitter ... ....
BBC Proms 2016: Strictly, Bowie and music in a car park
Edit BBC News 13 Apr 2016
The BBC Proms, Britain's annual celebration of classical music, is to include music by David Bowie and a Strictly Come Dancing theme night. The Strictly Prom, on 21 July, will be hosted by BBC Radio 3's Katie Derham, a finalist in last year's show ... Elsewhere, the Proms will pay tribute to French conductor and composer Pierre Boulez, who died in January aged 90 ... Other highlights from the 2016 programme include ... Ticket prices up ... ....
Press: From Boulez to Bowie & Steve Reich in a car park: The world's biggest classical music festival unveils its 122nd BBC Proms season (Royal Albert Hall)
Edit Public Technologies 13 Apr 2016
(Source. Royal Albert Hall) ... The anniversaries of Satie and Dutilleux are also marked across the season ... In the year that we lost two musical pioneers, the Proms pays tribute to Pierre Boulez and David Bowie in two Late Night concerts ... http.//www.royalalberthall.com/about-the-hall/news/2016/april/from-boulez-to-bowie-and-steve-reich-in-a-car-park-the-worlds-biggest-classical-music-festival-unveils-its-122nd-bbc-proms-season/. (noodl....
Alumna founds state voice competition (Pittsburg State University)
Edit Public Technologies 12 Apr 2016
Other notable international performances include her role as soloist in Monteverdi's 'Vespers to the Virgin,' Pierre Boulez conducting; soloist in Mendelssohn's 'Elijah' for Radio Lisbon; soloist in Beethoven's 9th Symphony with the Bamberger Symphoniker, and the Philharmonisches Staatsorchester in Hamburg; soloist in 'Carmina Burana' with the ......
Edinburgh Festival programme 2016: What the critics say
Edit Scotsman 06 Apr 2016
The programme for the 70th Edinburgh International Festival has now been revealed but what do the critics make of it?. POP, ROCK, INDIE & FOLK ... The 2016 diet offers more of the same mix of respected, even mythologised artists working across various popular frontiers, including film and theatricality, if not outright theatre ... I am delighted to see the late and iconic Pierre Boulez celebrated in an Usher Hall concert by the BBC SSO....
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