BOULEZ REPONS PDF

Répons is perhaps Boulez’s single greatest achievement, and the work that most happily marries his natural gifts with his constant desire to blaze new musical. Find album reviews, stream songs, credits and award information for Boulez: Répons; Dialogue de l’ombre double – Pierre Boulez, Ensemble InterContemporain. 20/21 Boulez: Répons, Etc / Boulez, Intercontempo by Boulez, Pierre on CD. Order from your preferred classical music CD store – ArkivMusic. Great prices.

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It was premiered on 18 October at the Donaueschingen Festival.

The composer expanded it until its completion in It has been celebrated for rrepons integration of the electronic and the acoustic. Oh yes, there is a metre, slightly irregular on one level but very regular on another.

Pierre Boulez – Repons –

This symmetry of harmony corresponds in harmonic terms to a regular metre. This is very important. There are three types of time. That which is chaotic and irregular such as you have in the beginning boulsz the speed I mean. The ornamentation is in fact very irregular, but the metre itself is very regular.

Boulez selected the solo instruments, all pitched percussion, based on the ability of the computer equipment to “exploit their resonating characteristics to the limits of the technology available at the time”. Acknowledging the difficulty the work presents for the soloists, Boulez said: For a performance at New York’s Carnegie Hall”[t]he stage will be extended to cover the entire parquet level, with musicians both within and surrounding the audience, and speakers issuing the electronics from the perimeter and above.

The work was commissioned by Southwest German Radio. The Ensemble InterContemporain conducted by Boulez presented the premiere in Donaueschingen of the original version’s five sections lasting about twenty minutes. A minute version was performed in London at the BBC Proms on 6 Septemberand a forty-minute version containing seven sections in Turin in Boulez conducted Ensemble InterContemporain in the New York premiere in the Columbia University Gymnasium on 5 Marchusing his revision of the piece for 24 live musicians, six live soloists, and a digital processor 4X.

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20/21 Boulez: Répons, Etc / Boulez, Intercontemporain

It represents, at best, a triumph of logistics and sound effects, though presented too boulwz to be enjoyed even at that modest level The processor took in the sounds, changed them in timbre, volume and other ways and regurgitated the results, sending altered sounds whirling about the hall by means of what seemed to be dozens of strategically placed loudspeakers.

No sound was left unamplified or untransformed, and yet the results soon became completely predictable and monotonous. This offered some theatrical promise, but nothing else so dramatic happened all evening.

The familiar Boulez style of composing, with its spasmodic gasps and lurches, did not permit much variety, even though the amplified sounds that issued from various corners of the hall could sometimes be savored as purely acoustical events. The goulez, however, simply went on and on to no purpose that I could discern. At odd moments it was superficially stimulating in the way a cold shower can be, but as music it added up to little more than a series of unconnected tone clusters, arpeggios and pedal notes However rigorous its plan and structure repone be—and no one doubts Mr.

Boulez’s ability to construct a score of great logical beauty—its effect was oddly random. Perhaps at 10 or 15 minutes it might have kept one’s attention better, but that is conjecture. A performance in Carnegie Hall met with an enthusiastic reception, including “notable numbers of young people in bright T-shirts and scruffy jeans, who whooped and whistled after each work”.

In Anthony Tommasini ‘s view, “audiences are ready for some challenges.

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Pierre Boulez: Répons

The idea of Mr. Boulez’s music may still seem intimidating, but the music itself is scintillating and restless.

Yes, it’s gritty and rigorous, but also sumptuous and fanciful”. He described the work as a “breathless drama” and noted that “When the full ensemble played, the music moved in thickly layered, heaving gestures. Yet, remarkably, almost every tone and nuance was audible.

And when the soloists entered, trading dizzying outbursts and ruminations—jazzy riffs from the xylophone, scurrying piano figurations—the sheer visceral excitement of being caught in the middle was like nothing else in music. Some of the sounds are also fabulous: But Dialogueon the surface so severe, says more. Released init won a Grammy in for best classical contemporary composition. From Wikipedia, the free encyclopedia. Cambridge University Press, By the time of the Turin performance, Boulez had inserted two additional episodes between ‘Finale’ and ‘Coda’.

Paris’s Philharmonie celebrates Boulez in outstanding style | Music | The Guardian

The Rest Is Noise: Pierre Boulez Archived at the Wayback Machine. A Garland for Dr. Aleatoric music Boulez Conducts Zappa: List of compositions by Pierre Boulez Category: Retrieved from ” https: Compositions by Pierre Boulez Compositions for chamber orchestra Computer music compositions compositions compositions Serial compositions Music with dedications. All pages needing factual verification Wikipedia articles needing factual verification from January Webarchive template wayback links Interlanguage link template link number All articles with unsourced statements Articles with unsourced statements from January Views Read Edit View history.

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