See Article History Pierre Boulez, born March 26, , Montbrison, France—died January 5, , Baden-Baden , Germany , most significant French composer of his generation, as well as a noted conductor and music theorist who championed the work of 20th-century composers. In —45 he was taught by the composer and organist Olivier Messiaen at the Paris Conservatory. In Boulez founded a series of avant-garde concerts, the Concerts of Petit-Marigny, which were later renamed Domaine Musical. By the s Boulez had gained an international reputation not only as a composer but also as a conductor, particularly of the 20th-century repertoire.

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Artist biographies Pierre Boulez has set standards as a conductor of the music of Stravinsky. But his own works were also profoundly influenced by the elder composer, who for his part, had great respect for the first compositions of his younger colleague. The interrelationships between these two doyens of modern music are revealed in this concert from with Boulez conducting the Berliner Philharmoniker. It was actually intended simply to mark out the framework for a free improvisation, but over the years, As technology has advanced, this role has become ever more refined, culminating in this version from the s.

One solo flute is connected to a computer through a MIDI system, so that the electronics react almost spontaneously to the flute, played here by Emmanuel Pahud. Just like Stravinsky then set the manuscript aside in order to discover his own revolutionary musical language in the ballets The Firebird and Le Sacre du printemps, which ultimately influenced the last two acts of Le Rossignol.

Pierre Boulez was totally fascinated by this new idiom when he first heard a radio broadcast of the opera in — his first encounter with the works of Stravinsky and the beginning of a lifelong admiration. Among the 16 composers who responded to this request was Pierre Boulez. In its original form, his Stravinsky homage takes the form of set of instructions for improvisation.

It consists of a one-page musical sketch and six pages of notations prescribing various realisations. At the center of the sheet of music, the composer notated a sequence of seven pitches, entitled Originel. From this melodic formula, Boulez then derived six different Transitoires, which are clustered in a circular arrangement around the center of the page: each takes up the material presented in Originel, expanding it progressively via additional layers.

In subsequent years, … explosante-fixe In , in addition to a version for three instruments, he realised another for eight instruments and live electronics. Before long, the level of technological development prevailing at that time prompted the composer to withdraw this version. Here, he does without live electronics, but by the early s, the time seemed ripe for this project — whose inception now lay two decades in the past — to be realised on a larger scale.

The current version of … explosante-fixe It is based on three segments from the original sketch: Transitoire VII, Transitoire V, and Originel, elaborated now by Boulez into a work lasting approximately 35 minutes.

Functioning as connective links between the individual parts are short, purely electronic interludes Interstitiels. The instrumentation corresponds to the forces of Ensemble intercontemporain, founded by Boulez in The solo flute — supported by two additional flutes which also have soloistic functions — is juxtaposed against an ensemble of 22 instruments consisting of seven woodwinds, seven brass instruments, and seven strings.

For me, the gestural quality of an instrumentalist is absolutely necessary. The instrumentalist, then, is master of the shaping of musical time, and need not subordinate his or her performance to the constraints of the technology.

Petersburg years. In autumn of , having proven himself through a series of orchestral works, the year-old composer turned toward the genre of opera. A fairy tale by the Danish poet Hans Christian Andersen provided him with an ideal subject: the tale of a nightingale whose song had the power to soften even Death himself seemed virtually predestined for a musical realisation. One year later, Stravinsky received a commission to compose the music for a new work by the Ballets russes.

The Nightingale — which existed up until this point only as a first act — was pushed aside in favor of the Firebird … After the spectacular premiere of the Firebird in June , Stravinsky underwent a far-reaching stylistic development, becoming a seminal leader of European modernism.

Given his growing aversion toward opera in its traditional forms, no one would have been surprised had Stravinsky laid aside the Nightingale project indefinitely. As it happens, a lucrative commission from the Free Theater in Moscow succeeded in changing his mind, and the two missing acts were composed between summer of and spring of The expressive tonal language, pointillist textures, and virtuosic orchestration of the first act betray the unmistakable influence of Rimsky-Korsakov and Debussy.

This has nothing to do with real Chinese music, pentatonicism is simply a symbol for China, and he uses it just like the Russian elements found in Petrushka. Both at the level of the action as well as musically, the herald of the nightingale — a figure who exists in close proximity to nature — provides a larger sense of coherency and continuity.

First studying science in Paris, he decided in to study composition. After starting his career as a conductor in the mids, he founded the ensemble Domaine Musical in and also began teaching at the International Summer Course for New Music Darmstadt in the same year.

Pierre Boulez is an author of many books and essays on music. He most recently conducted the orchestra in July at their guest appearances in Aix-en-Provence.

Emmanuel Pahud, born in Geneva, received his first flute lessons in Rome when he was six years old. Pahud has been the winner of many important international competitions. He gained his orchestral experience as principal flautist with the Basel Radio Symphony Orchestra and the Munich Philharmonic before coming to the Berliner Philharmoniker as principal flautist in After a period teaching at the Geneva Conservatoire, Emmanuel Pahud returned to the Philharmoniker in She has been a member of the Ensemble intercontemporain since She has been teaching at the Conservatoire de Paris since and holds masterclasses all over the world.

In January , as a guest of the Foundation Berliner Philharmoniker, she was to be heard in a concert of chamber music with Pierre-Laurent Aimard. Marion Ralincourt began studying flute at the Conservatoire de Paris under Sophie Cherrier and Vincent Lucas in , and graduated in In she completed her musical education attending chamber music classes by David Walter.

As a soloist, she has performed with the Krakow Philharmonic Orchestra and at major music festivals in France. This will be her debut with the Berliner Philharmoniker. Under the authority of the French Ministry of Culture, it is part of the Pompidou Centre and brings together both scientists and composers dedicated to the research and production of music, all under one roof.

The IRCAM carries out research into how mathematics, acoustics and technology can contribute to music production. The IRCAM also offers a variety of courses, including a Masters degree in science and technology and a one-year course in composition and technology. Frank Madlener has directed the institute since Andrew Gerzso has also written many articles about computer music for renowned publications. He has already performed with the Berliner Philharmoniker, in October , when he took part in the concert celebrating the 80th birthday of Pierre Boulez.

Gilbert Nouno, cellist and composer, has made a name for himself as a musician and interpreter in performances of works from the classical repertoire as well as jazz and improvised music. His scientific training took him to the IRCAM in Paris where he wrote and produced the electronic music parts for a series of works together with artists, musicians and composers.

As a guest at the Villa Kujoyama in , he received an award for his music project. His most recent works for orchestra and solo instruments were given premieres in Paris and Tel Aviv. Ian Bostridge decided on a career in singing after studying history and philosophy at Cambridge and Oxford universities. Following his debut recital in the Wigmore Hall, London, in , he has become a much celebrated lieder and concert performer on the international music scene.

His many awards include being elected an honorary fellow of Corpus Christi College and St. Since December , Ian Bostridge has made many appearances with the Berliner Philharmoniker, most recently in November when he gave a lieder recital in the Kammermusiksaal, accompanied by pianist Julius Drake, with works by Mahler and Henze.

Nezhdanova Music Academy under Galina Polivanova. Barbara Hannigan comes originally from Canada. De Leeuw is also her accompanist for her many lieder recitals. Jan Remmers was born in Wilhelmshaven in and grew up in Friesland. After finishing school he first studied school music in Oldenburg, then at the Academy of Music Hanns Eisler Berlin from to He has been a permanent member of the Rundfunkchor Berlin since This will be his first performance as a soloist with the Berliner Philharmoniker.

He also sings with the Amalien-Ensemble, which was formed by members of the Rundfunkchor. He regularly performs his own programmes as part of the chamber music series of the Rundfunkchor and also appears abroad.

As a soloist, this will be his debut with the Berliner Philharmoniker. Following his time at the International Opera Studio of the Staatsoper Unter den Linden, he joined the main house where he has been a permanent member of the soloist ensemble since A winner of many awards, he regularly performs in the works of Mozart, Strauss, Debussy and Ullmann. Roman Trekel has performed at many famous festivals e. His first solo appearance with the Berliner Philharmoniker was as part of the Mozart Festival under the direction of Daniel Barenboim in June Stephanie Weiss, born in America, initially trained as a soprano.

After concert and opera performances both in Germany and the USA which included her debut at Carnegie Hall as a soprano, she changed to mezzo roles. In spring she had a great success in the role of Marianne Leitmetzerin in Der Rosenkavalier, which she also sang in China and at the Theater Bern in These concerts will be the first time she has worked with the Berliner Philharmoniker.

Many guest appearances have taken him to the stages of major opera houses and festivals all over Europe. Under the direction of conductors such as Claudio Abbado, Kent Nagano and Christian Thielemann as well as in concerts with the Munich Philharmonic, the Concentus Musicus Wien and the Accademia di Santa Cecilia in Rome, he has developed a broad repertoire of roles in music from different periods and musical styles.

On the concert platform, Georg Zeppenfeld has focused in particular on the works of Bach, Handel, Haydn and the great late-Romantic oratorios. This will be the first time he has sung with the Berliner Philharmoniker. Since then he has been engaged as opera singer on the stages in Hamburg, Lugano, Paris and Prague.

His repertoire focuses on the tenor roles in the works of Mozart, Handel, Schubert, Schumann and Bach. Since a permanent member of the Rundfunkchor Berlin, Holger Marks will make his debut as a soloist in concerts of the Berliner Philharmoniker. The Rundfunkchor Berlin, founded in , produced great musical moments of the s and 30s under the direction of conductors such as George Szell, Hermann Scherchen, Otto Klemperer and Erich Kleiber.

After the Second World War, the choir and its principal conductor Helmut Koch made the oratorios of Handel internationally known in their original versions.

Since , the Rundfunkchor Berlin has been led by Simon Halsey, who places particular emphasis on stylistic and linguistic perfection, resulting in lively and exciting performances of works from all periods and in all styles. At the beginning of October , for the first time, the Rundfunkchor Berlin is hosting an international masterclass for young professional choir conductors.

The choir has been a partner of leading orchestras and conductors all over the world, including long-standing partnerships with the Rundfunk-Sinfonieorchester Berlin, the Deutsches Symphonie-Orchester and the Berliner Philharmoniker.


Boulez meets Stravinsky

It all began in with the death of Igor Stravinsky, when Tempo magazine invited various composers to contribute short pieces houlez a commemorative issue, published late that year. Wikipedia articles needing page number citations from October Articles containing French-language text. Aleatoric music Boulez Conducts Zappa: Citations on 8 and 11— Stravinsky himself gave a comparable example when he wrote the Symphonies of Wind Instruments in memory of Debussy, since these wind symphonies truly are extremely different from Debussy in their tone colour, form and musical ideas. The perfect gift for the classical music enthusiasts! I assigned a very precise register to each instrument, in which each one moves independently of the others.


Boulez: ...Explosante-fixe...

The title simultaneously evokes an explosion and something that is immutably set. Exploding — fixed. This name of an important composition by Pierre Boulez conveys an enormous tension. It is the piece of music on which Peter Struycken based his large dynamic colour imagery on five screens which premiered in the Groninger Museum on 22 September The document dates from The title also evokes an unprecedented vehemence.


Pierre Boulez: ... explosante-fixe ...

The family prospered, moving in from the apartment above a pharmacy, where Boulez was born, to a comfortable detached house, where he spent most of his childhood. By the age of eighteen he had repudiated Catholicism [4] although later in life he described himself as an agnostic. His father hoped this would lead to a career in engineering. The selection board rejected him but Boulez was determined to pursue a career in music. He greatly enjoyed working with her and she remembered him as an exceptional student, using his exercises as models in advanced counterpoint until the end of her teaching career. Its strict use of twelve-tone technique was a revelation to him and he organised a group of fellow students to take private lessons with Leibowitz.




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