Boulez piano concert

[FRANCES HELMS]

Found the following info. in the concise Oxford Dictionary of Music, 3rd
edition (1980):
       "Boulez, Pierre (b Montbrison, 1925).   Fr. composer and
conductor.  Intended for career in engineering, went to Paris Cons. in
1942, studying comp. with Messiaen until 1945.  Studied counterpoint
with Andree Vaurabourg-Honegger and 12-note technique with Rene
Leibowitz.  In 1946 became mus. dir. and cond. of Barrault-Renaud co. at
Theatre Marigny, Paris, travelling with them to N. and S. Amer. and
European cities during the next 10 years.  In 1953 with Barrault's help,
founded the Concerts Marigny, later re-named Domaine musical when the
venue was moved to the Odeon in 1959.  In this series Boulez introduced
to Paris audiences not only works by Schoenberg, Webern, and  Berg, but
music of his contemporaries.  At this time, est. contacts with Maderna
and Stockhausen and joined teaching staff at the Int. summer sch. for
new mus., Darmstadt.  In early 1960s cond. engagements increased and
dir. several major European orchs., incl. the Vienna p.O. at Salzburg,
1962.  In 1963 visiting prof. at Harvard Univ.; made Amer. conducting
debut with Clevelang Orch. 1965.  In 1966 cond. Parsifal at Bayreuth and
in same year severed connection with Paris life as a protest over a
ministerial appointment.  Guest cond. BBC S.Q. in London 1964 and in USA
in 1965 and on its Russ. tour in 1967.  Prin. guest cond., Cleveland
Orch., 1969-70 and chief cond. of the BBCS.Q. 1971-5 and NY P.O. 1971-4.
 Cond. centenary cycle of Wagner's Ring at Bayreuth, 1975.  From 1976
dir. Fr. Govt.'s research institute into techniques of modern comp.
(*IRCAM).
        Boulez's importance and originality as an avant-garde comoser
were evident from the first.  He came to prominence with the Sonatine
for fl. and pf. (1946) and the Pf. Sonata No.1 (1946).  The cantata Le
visage nuptial, for sop., alto, women's ch., and orch. to poems by Rene'
Char (1946-7, rev. 1951-2) made use of choral speech, spoken glissandi,
crying and whispering.  Boulez's orthodox use of serialism is found in
Structures 1 for 2 pf. (1951-2).  Le *Marteau sans maitre for cont.,
fl., va., guitar, vibraphone, and perc. to text by Char (1953-5,  f.p. 
Baden-Baden June 1955, cond. Rosbaud) made him a celebrity.  His most
ambitious work to date is *Pli selon pli  (1957-65) for sop. and orch. 
This 5-part portrait of Mallarme' developed from Improvisations sur
Mallarme' (1957).  These are now flanked by 2 outer movements, Don and
Tombeau, all 5 containing extracts from Mallarme' sung or declaimed
in many ways.  There are elements of indeterminacy in the 3 sections of
the improvisations.  The work has constantly been radically rev., in
accordance with Boulez's view that a comp. is never finished. 
           Boulez experimented with *musique concrete in early 1950s
and combined it with elec. sounds in Poesie pour pouvoir(1958).  His use
of indeterminacy dates from about 1957 with the 3rd Pf. Sonata, the 5
movements of which can be played in any order except for the 3rd which
must be central.  Like Mahler and Richard Strauss, Boule has pursued
parallel careers as cond. and composer.  Prin. comps. not mentioned
above:  Pf. Sonata No. 2 (1947-8; Livre pour cordes, string quartet
(1948-9, arr. for str. orch. 1968-9); Le Soliel des eaux, cantata (2
versions, 1948-58, 1965); Polyphonie X  for 18 solo instr. (1951);
Figures-Doubles-Prismes for orch. (1963_8); *Eclats for chamber orch.
(1965-71), rev. for larger orch. and expanded as Eclats/Multiples, 1976;
cummings ist der dichter, 16 solo vv. and instr. (1970, f.p. 1972),
Explosante-fixe, orch. (1972-4) Rituel in memoriam Bruno Maderna,
orch. (1974-5)."

Since this edition was printed  25 years ago, it is nowhere near
complete on the history of Boulez, but hope this helps.
Fran Helms,
Topeka, KS


>>> Ric Brekne <ricbrek@broadpark.no> 03/30/05 1:16 PM >>>
Hi folks

I need any information any of you might have on the following composer

and pieces.  In particular the last piece.

Thanks
RicB

Pierre Boulez

Sonata No.1 (ca. 9')
Sonata No.2 (ca. 32')
Sonata No.3 (ca. 21'?)
Notations (10')
Incises (11')
Structures II