Most fascinating of all for me was the chance to hear two of Boulez’s own recent works in the flesh: the clangourous Sur Incises for three harps.
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Having started the composition I realised that this disposition does not make any sense in a piece for three pianos because, wanting to be consistent, I would have had to create a part for first harp and first percussion which was not feasible. Another reason is that I did not want to compose a piece for all families of instruments like in Eclat.
As the music unfolds, episodes of sustained, quasi-lyrical dreaminess alternate abruptly with outbursts of pulsating intensity that suggest “organized delirium”, in the term Mr. Sign up for our newsletter! And he can’t do it like Elliott Carter, either, whose music made up the first half of last night’s concert.
But you find also moments when this role play is divided up, such as that one piano and one percussionist play the free structures whereas the other pianos and percussionists have to follow the strict ostinato movement etc. Loading comments… Trouble loading? You can help Wikipedia by expanding it. By clicking on an affiliate link, you accept that Skimlinks cookies will be set.
A packed Festival Hall gave Boulez a rock-star reception after the music’s coda. Just like the fish, you’re trapped by the music’s centripetal focus on a single guiding harmony, which you can only escape when the music stops.
This article about a classical composition is a stub. Order by newest oldest booulez. You’d better hope you like the kaleidoscope for a kick-off; but if you do, there’s a seductive, hypnotic quality to the music that is a million miles from the aggressive iconoclasm of Boulez’s earliest music.
Why Boulez is like a bait ball
Topics Music Tom Service on classical music. Based on the material of IncisesSur Incises is a two-movement work the movements are voulez “Moment I” and “Moment II” for three pianosthree harpsand three percussion parts, which use a variety of tuned percussion instruments: Listening to it is like looking through a kaleidoscope incise three-quarters of an hour.
Later it came into my mind that this constellation could have been invented by Elliott Carter providing the following theoretical order: And I have boupez various forms of multiplication to this very brilliant cadence, from simple to sixfold and multiple reflections resulting in a cadence which is no longer wild as in Incises, but calm and breathing regularly, due to these diverse figures appearing in simple to complex modifications.
This situation changes with a recollection of the initial cadenza focusing on the three pianos in order to demonstrate on which kind of periodicity the complete action is based. Most fascinating of all for me was the chance to hear two of Boulez’s own recent works in the flesh: The work plays with contrasts of gestures and textures, for instance, repeated pitches or chords in an even tempo interrupted by violent melodic arcs, or sparse chordal interjections without discernible rhythm over long held sonorities.
Of kncises two works, Allan Kozinn preferred Inciseswriting: By the way, I have emphasised the inckses sound character of the instruments by positioning them in a characteristic way.
Why Boulez is like a bait ball | Music | The Guardian
Show 25 25 50 All. First I had in mind to transform this piece into a longer one for Pollini and a group of instrumentalists, a kind of piano concerto although without reference to the traditional form.
The command of musical energy and the sense of drama are also spectacular.
Views Read Edit View history. But the character of this terrific movement is kept throughout. I had the sense last night at the Queen Elizabeth Hall that although the piece was 45 minutes long, it could either have been 20 minutes or and it wouldn’t really have mattered.
Pierre Boulez: sur Incises
I was very surprised by the powerful sound three harps can produce. Classical music Pierre Boulez blogposts.
As if that wasn’t enough, on Wednesday and Thursday there was a mini-residency from the Ensemble Intercontemporain and Pierre Boulez in two centenary concerts for Olivier Messiaen and Elliott Carter.
And that’s when bouulez marlin come — but that’s stretching the metaphor well past breaking point. But as I have already mentioned I realised this Carteresque dimension only afterwards. The piece lasts less than ten minutes. In my opinion, everybody would have been reminded of this world if I had also written a piece for two pianos. I am really very happy with the sound combinations in this piece and also with the way the rather exotic instruments are integrated.