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"Pierre Boulez"
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New Music at Darmstadt
New Music at Darmstadt explores the rise and fall of the so-called 'Darmstadt School', through a wealth of primary sources and analytical commentary. Martin Iddon's book examines the creation of the Darmstadt New Music Courses and the slow development and subsequent collapse of the idea of the Darmstadt School, showing how participants in the West German new music scene, including Herbert Eimert and a range of journalistic commentators, created an image of a coherent entity, despite the very diverse range of compositional practices on display at the courses. The book also explores the collapse of the seeming collegiality of the Darmstadt composers, which crystallised around the arrival there in 1958 of the most famous, and notorious, of all post-war composers, John Cage, an event Carl Dahlhaus opined 'swept across the European avant-garde like a natural disaster'.
eBook
New music at Darmstadt : Nono, Stockhausen, Cage, and Boulez
New Music at Darmstadt explores the rise and fall of the so-called 'Darmstadt School', through a wealth of primary sources and analytical commentary. Martin Iddon's book examines the creation of the Darmstadt New Music Courses and the slow development and subsequent collapse of the idea of the Darmstadt School, showing how participants in the West German new music scene, including Herbert Eimert and a range of journalistic commentators, created an image of a coherent entity, despite the very diverse range of compositional practices on display at the courses. The book also explored the collapse of the seeming collegiality of the Darmstadt composers, which crystallised around the arrival there in 1958 of the most famous, and notorious, of all post-war composers, John Cage, an event that, Carl Dahlhaus opined, 'swept across European avant-garde like a natural disaster'.
BOOK
Pierre Boulez
Pierre Boulez zählt zweifellos zu den renommiertesten Komponisten unserer Zeit. Von außerordentlicher Bedeutung ist darüber hinaus seine Rolle als Intellektueller, Autor, Theoretiker Dirigent und Interpret. Martin Zenck legt mit seinem Buch Die Partitur der Geste und das Theater der Avantgarde die erste umfassende Studie über dessen vorläufigem Gesamtwerk in deutscher Sprache vor und verbindet es mit dessen theoretischen Schriften, dessen Praxis als Dirigent und ,Kulturmanager' vor dem Hintergrund der philosophischen Diskurse und dem Panorama der anderen Künste seiner Zeit. Im Mittelpunkt steht dabei der Musikdenker Boulez, der das Kompositorische selbst als eine genuine Denkpraxis begreift, die Martin Zenck auf völlig neue Weise als eine Praxis des ,Gestischen' versteht. Diese führt auf eine vierfache Signatur zurück: Die Textur der Schrift, ihre Bewegung einerseits, die zweitens den Leib und seine Gebärden einschließt, zum Dritten das synästhetische Spiel der Sinne und ihre verschiedenen Medien, und schließlich das performative Moment der Darbietung, der Präsentation, das auf seine Weise allererst Raum und Zeit entstehen lässt.
eBook
De Sementes a Jardins: Transcrição e Orquestração em “Notations VII” de Pierre Boulez
Este artigo analisa a transcrição realizada por Pierre Boulez do sétimo movimento das Douze Notations para piano, resultando na peça Notations VII para orquestra. Nosso objetivo é compreender as técnicas composicionais utilizadas, abordando aspectos estruturais, temporais, harmônicos e timbrísticos. Dividido em cinco partes, o texto inicia com uma introdução às Douze Notations e as transcrições feitas por Boulez, embasada em seus próprios escritos. Em seguida, apresentamos uma análise da miniatura para piano, seguida de uma contextualização do termo “proliferação” e de uma análise da versão orquestral. A reflexão final destaca os tipos de proliferação realizados por Boulez, as quais denominamos como proliferação temporal-estrutural, proliferação temporal-heterofônica e proliferação harmônico-tímbrica.
Journal Article
Between Freedom and Control
This article examines the transfer between precompositional material and score in Pierre Boulez’s
. It demonstrates how this stage of the compositional process and the gestural content of the work derive from and are linked to Boulez’s innovative serial and derivational techniques, because they stem from a desire to emphasize and systematically realize the very harmonic elements and relationships that motivated their development. The article outlines a typology of methods of composing out that are central to Boulez’s compositional style in a broader sense. In this way, beyond elucidating aspects of structural organization that have been overlooked in his music, the article suggests ways of formally defining aspects of his style. What this study adds to our understanding of Boulez’s music from this period is a theoretical framework that explains the functional role of units stressed through sonic and contextual criteria, thus providing insight into the syntactic elements of the musical language and indicating listening and analytic strategies for this music.
Journal Article
Hans Rudolf Zeller's \Mallarmé and Serialist Thought\ Reconsidered. How Mallarmé Influenced the Serialist Thought? And Did He Influence It at All?
Hans Rudolf Zeller attempts to find the sources of the serialism in Mallarmé's Le Livre, especially in connection with the Third Piano Sonata by Boulez. Mallarmé's idea, however, also left the traces in some of Boulez's theoretical concepts concerning the author's anonymity and withdrawal ofall auctorial traces from the work/composition.
Journal Article
Challenging Historiographic Assumptions: Opening Up Serialism with Pierre Boulez's Don
This article combines historiographic reflections on the open-work concept in serial music with a new philology of Pierre Boulez's Don, the opening piece of Pli selon pli. I begin by presenting challenges in defining the open-work concept. I also deconstruct the dual use of the term ‘serialism’ to define a set of compositional techniques and a musical style. This leads me to a reconsideration of the similarities between the changing compositional strategies of Boulez and John Cage (and their influence on others) during a time of formal and stylistic experimentation in the 1950s. Finally, I segue to Boulez's compositional plans for Don. In doing so, I provide a concrete example of how the techniques of serialism often belie the aesthetic and extramusical connotations at play in works that are serial in style.
Journal Article