Author Topic: Pierre Boulez (1925-2016)  (Read 152375 times)

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Offline Uhor

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Re: Pierre Boulez (1925-2016)
« Reply #1360 on: June 24, 2018, 06:24:14 PM »
I feel we'd be happy if another self-assured angsty youngster perfect ears came up and shook things a little again.

Offline Mahlerian

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Re: Pierre Boulez (1925-2016)
« Reply #1361 on: July 15, 2018, 06:39:07 AM »
Notations is a magnificent riot of color and rhythm.  My hope is that in the near future it becomes standard repertoire.
"l do not consider my music as atonal, but rather as non-tonal. I feel the unity of all keys. Atonal music by modern composers admits of no key at all, no feeling of any definite center." - Arnold Schoenberg

Offline Ainsi la nuit

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Re: Pierre Boulez (1925-2016)
« Reply #1362 on: July 15, 2018, 08:31:13 AM »
Notations is a magnificent riot of color and rhythm.  My hope is that in the near future it becomes standard repertoire.

Fully agreed! It's a stunning work, and very accessible as well. I bet a lot of people would enjoy it, if orchestras were to perform it regularly.

I find it unacceptable when people claim that Boulez didn't care about the listeners or the reception of his music. He did - very much actually. I recently read an interview in which he stated his admiration for interpreters like Pollini, who play his music with almost romantic passion and intense expression.

Offline Brewski

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4 September live 'Marteau'
« Reply #1363 on: August 30, 2018, 01:53:52 PM »
On Tuesday, 4 September, the Ensemble Intercontemporain and Matthias Pintscher will play Berg, Webern, and Boulez 'Le Marteau sans maître.' Concert will be broadcast live.

http://www.ensembleinter.com/fr/concert-1113-Marteau-sans-maitre.html

--Bruce
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Re: 4 September live 'Marteau'
« Reply #1364 on: August 31, 2018, 09:10:40 AM »
On Tuesday, 4 September, the Ensemble Intercontemporain and Matthias Pintscher will play Berg, Webern, and Boulez 'Le Marteau sans maître.' Concert will be broadcast live.

http://www.ensembleinter.com/fr/concert-1113-Marteau-sans-maitre.html

--Bruce
Thanks for the heads-up, Bruce. I didn’t know the concert will be broadcast.

This concert is actually part of the first “Biennale Pierre Boulez”, a joint initiative of the Philharmonie de Paris and Daniel Barenboim. 10 concerts are scheduled from September 3 through 8, with music by Boulez or composers he admired (Debussy, Stravinsky...), “exotic” influences (the imperial Gagaku), young and rising composers, and—of particular interest—the world premiere of an early work for piano, Prélude, Toccata et Scherzo, released from Boulez’s manuscripts held by the Paul Sacher Foundarion. Our sorely missed fellow GMGer Jessop alerted us about this some months ago.

Full information here.

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Offline Brewski

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Re: Pierre Boulez (1925-2016)
« Reply #1365 on: August 31, 2018, 10:06:13 AM »
And thanks for that additional info! (I wonder if they are planning to broadcast the others?)

In any case, missed Jessop's comment first time around, so appreciate your reviving it.

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Re: Pierre Boulez (1925-2016)
« Reply #1366 on: October 04, 2018, 12:03:04 PM »
A new recording of Le marteau sans maître will be released in a couple of days:



Comments by the performers, ONIX Ensamble from Mexico:

”When we decided to prepare a performance of Pierre Boulez's The Hammer with no Master, we knew that we were facing a great challenge: a work of great technical and artistic complexity. What we present in this album is our live version, which we believe constitutes an original and truly Latin American interpretation. It was recorded in the year 2005, and since then it was put away, because we couldnt find the pieces that could accompany such monumentality, and its thirty-five minutes were not enough to complete a record project by itself. It was not until recently that ONIX decided to release this version, accompanied by also live performances of works by composers Maki Ishii and Elliott Carter, whose interpretive and compositional contribution was similar, both aesthetically and conceptually. Hard Core requires very strong instrumental skills, not only in the technical aspects for each individual player, but in terms of ensemble work. The recording is a challenge for the listener as well: hard core listening- necessary to appreciate and enjoy the innumerable contours of a sound reef full of details and complex refinements in timbre, dynamics, rhythms and harmony”.
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Offline shirime

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Re: Pierre Boulez (1925-2016)
« Reply #1367 on: October 13, 2018, 04:44:36 PM »
Man, this piece is really getting a hell of a lot of performances and recordings lately! Sooner or later I will find it too hard to keep up.........I want them all! I have most of them so far (including all of Boulez's own recordings).............

Offline JBS

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Re: Pierre Boulez (1925-2016)
« Reply #1368 on: October 13, 2018, 05:34:36 PM »
Man, this piece is really getting a hell of a lot of performances and recordings lately! Sooner or later I will find it too hard to keep up.........I want them all! I have most of them so far (including all of Boulez's own recordings).............

I have two recordings of MsM with Boulez and one without. It is the one without him (Percussions de Strasbourg) that I responded to best. I can not say I actual like the work. (Basically the later the work in his career, the more I like it.)
I wishlisted this, although it is the Carter I would by it for. I don't think I have heard that piece before. (Ishii is unknown to me.)


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Re: Pierre Boulez (1925-2016)
« Reply #1369 on: October 16, 2018, 02:31:37 AM »
Man, this piece is really getting a hell of a lot of performances and recordings lately! Sooner or later I will find it too hard to keep up.........I want them all! I have most of them so far (including all of Boulez's own recordings).............
Good to see ou back on GMG!  :) 

BTW, I think I own all recordings of Le marteau sans maître that have been commercially released on CD ;). Six conducted by the composer (as listed here), and another six—one of them fragmentary—under other conductors (as listed here). Only the DVD of excerpts under Rattle is missing from my collection.

I have two recordings of MsM with Boulez and one without. It is the one without him (Percussions de Strasbourg) that I responded to best.

AFAIK, the recording of Le marteau... included in the Percussions de Strasbourg box is in fact led by Boulez, as it’s the same as this one (i.e. the second recording from the Domaine Muiscal, with Jeanne Deroubaix as vocal soloist):



The percussionists in the recording (van Gucht on xylorimba, Ricou on vibraphone and Batigne on unpitched percussion) were members of the Strasbourg group, the other instrumentalists (e.g. Gazzelloni on flute) were regular collaborators at the Domaine concerts.

Quote
I wishlisted this, although it is the Carter I would by it for. I don't think I have heard that piece before. (Ishii is unknown to me.)

I too am interested in this “Latin” take on Le marteau..., but it still appears as unavailable in the European sites. The Carter work I know from a recording by Thomas Demenga et al. on ECM (coupled with Bach suites for cello), but haven’t listened to it for years. Ishii is a new name to me as well.

THREAD DUTY:

There’s a new DVD of a documentary on Boulez (plus performances of two Stravinsky works with the LSO conducted by him) announced for mid November:



The blurb from presto:

Pierre Boulez was one of the most radical composers of our time. “He has produced a catalogue of wondrously luminous and scintillating works. Within them a rigorous compositional skill is coupled to an imagination of extraordinary aural refinement”, so the British composer George Benjamin spoke of Boulez. Director Reiner Moritz, who worked closely with Boulez time and again through the years and almost had a friendly relationship with composer, tries to get as close to the real Boulez as one can possibly get in this documentary. He evolves an intimate portrait about the worldwide renowned and influential avant-gardist by means of the younger brother Roger, who told a lot about Pierre’s childhood and youth and provided us with photographs from the Boulez-Chevalier archives as well as interviews with other contemporaries like the famous pianist and close friend Daniel Barenboim and the Hungarian composer Peter Eötvös. Excerpts of his own music and exemplary performances of Bruckner, Mahler, Mozart and Stravinsky complete the 98-minute documentary about Pierre Boulez, who died at the age of 90 in 2016.

The rhythmic complexities of the Sacre du printemps are notorious but, in the hands of a master of modern music and one of the world’s top orchestras, the London Symphony Orchestra, the elemental barbarism of the music is thrilling. Boulez’s definitive reading of Stravinsky’s masterpiece was recorded live from the Alte Oper Frankfurt, in a performance specially staged for the cameras. The programme includes a short interview with the conductor about this landmark work as well as a performance of Stravinsky’s Symphonies of Wind Instruments, another most interesting work of the composer.

Format: DVD2

Running time: 98 mins & 58 mins (concert)

Region: 0


I find the bit about director Reiner Moritz having “almost had a friendly relationship with [the] composer” rather amusing, but quite in character, given the elusive private side of Boulez’s persona.  ;D
« Last Edit: October 16, 2018, 05:12:42 AM by ritter »
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Re: Pierre Boulez (1925-2016)
« Reply #1370 on: October 29, 2018, 05:45:40 AM »
This recent exchange in the WAYLTN thread might be useful here:

Le Soleil des eaux, final revision 1965.

From CD3 of the Boulez box set



Beautiful

Indeed, a wonderful work. I’ve had the chance to see it live twice (once conducted by the composer in London in the mid-90s, and then some 10 years ago here in Madrid), and it makes a great impression.

I hope that Boulez’s original version, from 1948, is recovered some time soon. It was completely different AFAIK, as it was incidental music to René Char’s radio  play of the same title. The cantata, such as we know it, uses poems which actually are not from Le soleil des eaux, but rather from Char’s collections Fureur et mystère and Les matinaux. I presume a recording of the original broadcast should be in the archives of the ORTF or the Institut National de l’Audioviduel.

Char’s radio play was published in 1949 in a lavish edition illustrated by Georges Braque:



Unfortunately, since AFAIK all 200 copies issued are signed both by the poet and the painter, they cost a small fortune...
...

... AFAIK it has been revised three times since the original 1948 version. An excellent short introduction to it is also to be found in the Ircam database http://brahms.ircam.fr/works/work/6982/

That’s a most interesting article....

So, we have all three versions of the cantata available on CD (i.e., Soleil des eaux 2, 3 & 4, as the IRCAM article names them), and only the original incidental music version remains unavailable.

Soleil des eaux “2”:


Soleil des eaux “3”:


Soleil des eaux “4”:

This is the recording included in the “Oeuvres Complètes” box on DG.
It must be noted that the INA disc shown above is a recording of the first performance of Le Soleil des eaux “2”. The back cover mistakenly mentions that there’s a chorus, when in fact this version of the cantata is for soprano, tenor and baritone solos, and chamber orchestra (without chorus). A 3-part—S,T,B—chorus is introduced in the 1958 Soleil des eaux “3” (keeping as well the lineup of three vocal soloists),  and in the final 1965 “4” version, the tenor and baritone soloists are no longer present (only the soprano soloist remains, along with a 4-part—S,A,T,B—chorus).
« Last Edit: October 29, 2018, 06:10:49 AM by ritter »
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