Pierre Boulez 100, 2025
This Week in Classical Music: March 31, 2025. Pierre Boulez. Final week we had been preoccupied with Naples and missed an important date: March 26th was the 100th anniversary of Pierre Boulez’s beginning. It’s arduous to overestimate Boulez’s significance within the growth of moder music within the second half of the 20th century (we will solely consider Karlheinz Stockhausen and possibly Bruno Maderna being on the identical stage). Grove Music writes: “Resolute creativeness, pressure of will, and ruthless combativeness secured him, as a younger man, a place on the head of the Parisian musical avant garde.” But it surely was not simply the Parisian avant-garde that he conquered, it was the entire musical phrase that he reigned for a minimum of 30 years, from the early Fifties to the early Eighties.
Additionally this yr is the 70th anniversary of the premier of one in all Boulez’s most necessary works, Le Marteau sans maître (The Hammer with no Grasp). It premiered in June of 1955 in Baden-Baden and the work was met with curiosity by the listeners and praised by the critics and fellow composers. Even Stravinsky, who wrote little or no within the serail mode, was enthusiastic. The piece, regardless of its problem, was then performed all over the world; Boulez introduced it to the US in 1957. Le Marteau sans maître epitomized Boulez’s experimentation with the serialism, which he expanded to incorporate not simply the collection of pitches, but additionally the length, tone shade and depth of every sound. Seventy years later, and you can not hear this seminal composition being performed stay. One thing occurred to classical music. Seventy years is a protracted interval, it’s the time, for instance, between the completions of Beethoven’s Ninth and Mahler’s Second symphonies (1824-1894), with the entire Romantic interval in between. Each composers had been celebrated in 1894, whereas Boulez nearly disappeared from the musical scene. And who’re the composers of his stature working in the present day?
Boulez was born in a small city of Montbrison, about 100 km west of Lyon. In his youth his pursuits had been break up between the piano and arithmetic. Upon leaving Catholic faculty in 1941 he spent a yr in Lyon finding out larger math. In 1942 he moved to Paris. Pierre’s father wished him to attend the Ecole Polytechnique, however as a substitute he went to theParis Conservatory the place he studied concord with Olivier Messiaen. The Paris Conservatory was a really conservative place in these days. Even Messiaen, himself a contemporary composer of big expertise, didn’t train Mahler and Bruckner. In a while, Boulez would point out in an interview that at the moment in his thoughts “there have been two twins: Mahler, Bruckner.” In the identical interview he stated that “German music stopped at Wagner,” so the Second Viennese Faculty wasn’t taught in any respect. Boulez realized about atonal music from René Leibowitz, a scholar of Arnold Schoenberg. He had already felt the necessity to develop his music language and instantly adopted the brand new methods. A yr later, in 1945, the younger Boulez wrote his first atonal piece of music, a set of twelve Notations for piano. He additionally wrote two piano sonatas, the second, giant in scale, revealed in 1950. His music was carried out by the pianists Yvette Grimaud and Yvonne Loriod (at the moment, Messiaen’s spouse), however it was the circulation of the scores amongst musicians that introduced Boulez fame amongst avant-garde musicians. In 1952 Loriod carried out the sonata in Darmstadt to nice acclaim. Thus began Boulez’s affiliation with a gaggle of tremendously proficient and adventuresome composers and theoreticians that grew to become often called the Darmstadt Faculty. Darmstadt Summer time Programs for New Music had been held from the early Fifties to 1970. Each different yr younger musicians gathered within the metropolis to current and focus on their music. Formal programs had been taught each in composition and interpretation. Even the abridged listing of the attendees seems to be very spectacular: along with Boulez, there was Bruno Maderna, Karlheinz Stockhausen, Luigi Nono, Luciano Berio, György Ligeti, John Cage – composers who formed the music of the second half of the 20th century. Philosophers and critics comparable to Theodor Adorno, offered their concepts. It was round that point that Boulez got here up together with his well-known aphorism: “Any musician who has not felt … the need of the dodecaphonic language is OF NO USE.” In 1952 he wrote a seminal piece, “Le Marteau sans maître” (The hammer with no grasp) for voice and 6 devices. Nonetheless tough, even after half a century of music growth, it might be heard right here. Pierre Boulez conducts a small ensemble consisting of the flute, the guitar and several other percussion devices. Jeanne Deroubaix is the contralto. The interval between Fifties and Nineteen Seventies was the best for Boulez as a composer. Within the following years he continued to put in writing however devoted a lot time to remodeling a few of the compositions of the ancient times.
In 1970 President Georges Pompidou, sure to create a cultural legacy, requested Boulez, who was spending most of his time outdoors of France, to create an institute devoted to analysis in music. The end result was the IRCAM (Institut de Recherche et Coordination Acoustique/Musique, or Institute for Analysis and Coordination Acoustic/Music). It was set in a constructing subsequent to the Heart Pompidou. With the addition two years later of the Ensemble InterContemporain, IRCAM grew to become a serious analysis and performing heart for avant-garde music.
Boulez began conducting in 1957. First it was largely his personal music and that of his younger colleagues, however finally he expanded his repertoire to Stravinsky, Debussy, Webern and Messiaen. Within the late 50’s he grew to become the visitor conductor of the Southwest German Radio Symphony Orchestra and took residence in Baden-Baden, to a big extent in protest to the conservativism of the French musical tradition (that was earlier than the IRCAM). A giant break got here in 1971 when he was, quite unexpectedly, employed by the New York Philharmonic. Throughout the next years he carried out each main orchestra, increasing his repertoire to incorporate a lot of the classics (although he by no means carried out both Tchaikovsky or Shostakovich). Boulez grew to become one of many biggest interpreters of Debussy; we additionally love his Mahler. Right here’s an incredible interpretation of the 4th motion (Adagio. Sehr langsam und noch zurückhaltend) of Mahler’s Symphony no. 9 with the Chicago Symphony at its greatest.