Boulez, Pierre (1925-2016)

[Joseph K]

... but massively more expensive!

Serial_Apologist: thank you for your very evocative reminiscence!

[Richard Barrett]

Serial_Apologist: thank you for your very evocative reminiscence!

Yes indeed.

I wonder though why so many people seem to be fixated on his various attention-seeking pronouncements, which could have been made by anyone, rather than his music which is anything but sensationalist and clearly the product of a highly sophisticated musical mind. If only he had written more music though - he was discussing operatic collaborations at various points involving texts by Jean Genet, Heiner Müller, Edward Bond and Samuel Beckett, any of which would have been intriguing to say the least - rather than being distracted by the demands of a jet-setting conductor's life, however valuable the results of that life in terms of performances and recordings.

[Joseph K]

If only he had written more music though

Agreed.

[ahinton]

Serial_Apologist: thank you for your very evocative reminiscence!

Indeed! Echoed!

[ahinton]

Yes indeed.

I wonder though why so many people seem to be fixated on his various attention-seeking pronouncements, which could have been made by anyone, rather than his music which is anything but sensationalist and clearly the product of a highly sophisticated musical mind. If only he had written more music though - he was discussing operatic collaborations at various points involving texts by Jean Genet, Heiner Müller, Edward Bond and Samuel Beckett, any of which would have been intriguing to say the least - rather than being distracted by the demands of a jet-setting conductor's life, however valuable the results of that life in terms of performances and recordings.

Can't disagree with that. I do find his piano writing greatly disappointing but, other than that, he has much going for him. That's just my opinion, naturellement.

[Keith]

I noticed that there is performance on the South Bank next year of the 3rd Piano Sonata to which a 3rd movement has been restored . https://www.southbankcentre.co.uk/wh...o-recital-2020 There also seems to be an early piano piece that has been unearthed that probably predates the Notations. It will be interesting how the Boulez estate will support his work now. There are so many pieces that were withdrawn or substantially revised- I wonder whether these editions might be now released for performance? Composer's estates can do so much to support a posthumous reputation and I wonder if there are signs how the Boulez estate is doing this?

Stockhausen's decision in the 90s to take the distribution of his music "in-house" now seems far-sighted and effective where it once was dismissed as a sign of megalomania. My impression is that since his death performances and interest in his works have increased and there has been a lot of re-evaluation and renewed critical interest. I hope the Boulez estate can be active in opening up his work for critical interest.

[Mandryka]

Interesting that Arditti Quartet are performing the Boulez Livre in April in Paris -- the concert is sold out (small hall in the Cite de la musique.) I find the Diotima Quartet recording hard going actually, but I think Arditti are an outstanding quartet and possibly could make something which appeals to me out of it.

[RichardB]

Interesting that Arditti Quartet are performing the Boulez Livre in April in Paris -- the concert is sold out (small hall in the Cite de la musique.) I find the Diotima Quartet recording hard going actually, but I think Arditti are an outstanding quartet and possibly could make something which appeals to me out of it.

I've heard the Ardittis play it. It's a bit of a slog as far as I'm concerned. I much prefer the much more concise Livre pour cordes. And, having worked with both quartets, I can say that the Diotimas, while different in sound and approach, would concede nothing to the Ardittis in this piece.

[TBuckley]

While sorting through some old cuttings I found a Guardian item celebrating the 80th Birthday of Pierre Boulez where a decent range of composers were invited to contribute their thoughts on what Boulez meant to them. It is not the wave of sycophancy which often accompanies such occasions. It seems that Henri Dutilleux was otherwise engaged.
This is the item from the Guardian archive -

https://www.theguardian.com/music/2005/mar/25/classicalmusicandopera2

[Bryn]

While sorting through some old cuttings I found a Guardian item celebrating the 80th Birthday of Pierre Boulez where a decent range of composers were invited to contribute their thoughts on what Boulez meant to them. It is not the wave of sycophancy which often accompanies such occasions. It seems that Henri Dutilleux was otherwise engaged.
This is the item from the Guardian archive -

https://www.theguardian.com/music/20...musicandopera2

Richard Rodney Bennett's contribution reminds me that not only did he and Cardew play the first UK performance of Strictures, livre 1, but Cardew, whose principal instrument was the piano, though he also played the cello, learned to play the guitar, specifically to participate in a Third Programme Invitation Concert performance of Le Marteau sans maitre under the direction of John Carewe. Unfortunately, Cardew, having been killed by an unidentified hit-and-run driver in 1981, was unable to contribute to the Guardian item.

[silvestrione]

While sorting through some old cuttings I found a Guardian item celebrating the 80th Birthday of Pierre Boulez where a decent range of composers were invited to contribute their thoughts on what Boulez meant to them. It is not the wave of sycophancy which often accompanies such occasions. It seems that Henri Dutilleux was otherwise engaged.
This is the item from the Guardian archive -

https://www.theguardian.com/music/20...musicandopera2

Yes, thanks, a good read. A portrait of the musician emerges...and indeed, it's clear who does and does not like the music! It would be a good challenge to reply to John Adams, if a reply is possible.

[Sir Velo]

While sorting through some old cuttings I found a Guardian item celebrating the 80th Birthday of Pierre Boulez where a decent range of composers were invited to contribute their thoughts on what Boulez meant to them. It is not the wave of sycophancy which often accompanies such occasions. It seems that Henri Dutilleux was otherwise engaged.
This is the item from the Guardian archive -

https://www.theguardian.com/music/20...musicandopera2

Thanks for that. Sobering to note that half of the 12 contributors are no longer with us.