Pierre Boulez (French pronunciation: [pjɛʁ buˈlɛz]) (born March 26, 1925) is a French composer A composer is a person who creates music, either by musical notation or oral tradition, for interpretation and performance, or through direct manipulation of sonic material through electronic media[clarification needed]. The level of distinction between composers and other musicians varies, which affects issues such as copyright[specify] and the of contemporary classical music Contemporary classical music can be understood as belonging to the period that started in the mid-1970s with the retreat of modernism. However, the term may also be employed in a broader sense to refer to all post-1945 modern musical forms and a conductor Conducting is the act of directing a musical performance by way of visible gestures. Orchestras, choirs, concert bands and other musical ensembles often have conductors.

Biography

Early years

Boulez was born in Montbrison, Loire Montbrison is a commune in the Loire department in central France, France. As a child he began piano lessons and demonstrated aptitude in both music Music is an art form whose medium is sound. Common elements of music are pitch , rhythm (and its associated concepts tempo, meter, and articulation), dynamics, and the sonic qualities of timbre and texture. The word derives from Greek μουσική (mousike), "(art) of the Muses." and mathematics Mathematics is the study of quantity, structure, space, and change. Mathematicians seek out patterns, formulate new conjectures, and establish truth by rigorous deduction from appropriately chosen axioms and definitions. He pursued the latter at Lyon Lyon (French pronunciation: [ljɔ̃] ; Arpitan: Liyon, IPA: [ʎjɔ̃]; English: /liːˈɒn/ or anglicized as Lyons/ˈlaɪ.ənz/), is a city in east-central France in the region Rhône-Alpes, situated between Paris and Marseille. Lyon is located at 470 km (292 mi) from Paris, 320 km (199 mi) from Marseille, 160 km (99 mi) from Geneva, 280 km (174 before pursuing music at the Paris Conservatoire The Conservatoire de Paris is a music college founded in 1795, based in Paris, France. It offers instruction in music and drama of the highest standards, drawing on the traditions of the "French School." under Olivier Messiaen Olivier Messiaen was a French composer, organist and ornithologist, widely regarded as one of the major composers of the 20th century. His music is rhythmically complex (he was interested in rhythms from ancient Greek and from Hindu sources); harmonically and melodically it is based on modes of limited transposition, which he abstracted from his and the wife of Arthur Honegger Arthur Honegger was a Swiss composer, who was born in France and lived a large part of his life in Paris. He was a member of Les Six. His most frequently performed work is probably the orchestral work Pacific 231, which is interpreted as imitating the sound of a steam locomotive, Andrée Vaurabourg.^[1] It was through Messiaen that he discovered twelve-tone technique Twelve-tone technique is a method of musical composition devised by Arnold Schoenberg. The technique is a means of ensuring that all 12 notes of the chromatic scale are sounded as often as one another in a piece of music while preventing the emphasis of any through the use of tone rows, an ordering of the 12 pitches. All 12 notes are thus given — which he would later study privately with René Leibowitz — and went on to write atonal Atonality in its broadest sense describes music that lacks a tonal center, or key. Atonality in this sense usually describes compositions written from about 1908 to the present day where a hierarchy of pitches focusing on a single, central tone is not used and the notes of the chromatic scale function independently of one another . More narrowly, music in a post-Webernian Anton Webern was an Austrian composer and conductor. He was a member of the Second Viennese School. As a student and significant follower of Arnold Schoenberg, he became one of the best-known exponents of the twelve-tone technique; in addition, his innovations regarding schematic organization of pitch, rhythm and dynamics were formative in the serial In music, serialism is a method or technique of composition that uses a series of values to manipulate different musical elements. Serialism began primarily with Arnold Schoenberg's twelve-tone technique, though his contemporaries were also working to establish serialism as one example of post-tonal thinking (Whittall 2008, 1). Twelve-tone style.^[2] Boulez was initially part of a cadre of early supporters of Leibowitz, but due to an altercation with Leibowitz, their relations turned divisive, as Boulez spent much of his career promoting the music of Messiaen instead. The first fruits of this were his cantatas A cantata is a vocal composition with an instrumental accompaniment, typically in several movements, often involving a choir Le visage nuptial and Le soleil des eaux for female voices The human voice consists of sound made by a human being using the vocal folds for talking, singing, laughing, crying, screaming, etc. Human voice is specifically that part of human sound production in which the vocal folds are the primary sound source. Generally speaking, the mechanism for generating the human voice can be subdivided into three and orchestra An orchestra is a sizable instrumental ensemble that contains sections of string, brass, woodwind, and percussion instruments. The term orchestra derives from the Greek ορχήστρα, the name for the area in front of an ancient Greek stage reserved for the Greek chorus. The orchestra grew by accretion throughout the eighteenth and nineteenth, both composed in the late 1940s and revised several times since, as well as the Second Piano Sonata of 1948, a well-received 32-minute work that Boulez composed at the age of 23. Thereafter, Boulez was influenced by Messiaen's research to extend twelve-tone technique beyond the realm of pitch Pitch represents the perceived fundamental frequency of a sound. It is one of the four major auditory attributes of sounds along with loudness, timbre and sound source location. When the actual fundamental frequency can be precisely determined through physical measurement, it may differ from the perceived pitch because of overtones, also known as organization, serialising durations Rhythm is a "movement marked by the regulated succession of strong and weak elements, or of opposite or different conditions." In other words, rhythm is simply the timing of the musical sounds and silences. While rhythm most commonly applies to sound, such as music and spoken language, it may also refer to visual presentation, as ", dynamics In music, dynamics normally refers to the volume of a sound or note, but can also refer to every aspect of the execution of a given piece, either stylistic or functional (velocity). The term is also applied to the written or printed musical notation used to indicate dynamics. Dynamics do not indicate specific volume levels, but are meant to be, mode of attack In music, an accent is an emphasis placed on a particular note, either as a result of its context or specifically indicated by an accent mark. Accents contribute to the articulation and prosody of a performance of a musical phrase. Compared to surrounding notes:, and so on. This technique became known as integral serialism In music, serialism is a method or technique of composition that uses a series of values to manipulate different musical elements. Serialism began primarily with Arnold Schoenberg's twelve-tone technique, though his contemporaries were also working to establish serialism as one example of post-tonal thinking (Whittall 2008, 1). Twelve-tone. Boulez quickly became one of the philosophical leaders of the post-war movement in the arts towards greater abstraction and experimentation. Many composers of Boulez's generation taught at the Internationale Ferienkurse für Neue Musik Initiated in 1946 by Wolfgang Steinecke, the Internationale Ferienkurse für Neue Musik, Darmstadt , held annually until 1970 and subsequently every two years, encompass both the teaching of composition and interpretation and include premières of new works. After Steinecke's death in 1961, the courses were run by Ernst Thomas (1962–81), in Darmstadt Darmstadt is a city in the Bundesland of Hesse in Germany, located in the southern part of the Rhine Main Area, Germany. The so-called Darmstadt School composers were instrumental in creating a style that, for a time, existed as an antidote to music of nationalist Nationalism involves a strong identification of a group of individuals with a political entity defined in national terms, i.e. a nation. Often, it is the belief that an ethnic group has a right to statehood, or that citizenship in a state should be limited to one ethnic group, or that multinationality in a single state should necessarily comprise fervor; an international, even cosmopolitan style, a style that could not be 'co-opted' as propaganda in the way that the Nazis Nazism was the ideology and practice of the Nazi Party and of Nazi Germany. It was a unique variety of fascism that involved biological racism and antisemitism. Nazism presented itself as politically syncretic, incorporating policies, tactics and philosophies from right- and left-wing ideologies; in practice, Nazism was a far right form of used, for example, the music of Ludwig van Beethoven Ludwig van Beethoven (pronounced /ˈluːdvɪɡ vɑːn ˈbeɪtoʊvən/ or /ˈlʊdvɪɡ væn ˈbeɪt.hoʊvən/ (UK); German: [ˈluːtvɪç fan ˈbeːt.hoːfn̩] ( listen); baptised 17 December 1770 – 26 March 1827) was a German composer and pianist. He was a crucial figure in the transitional period between the Classical and Romantic eras in.^[3] Boulez was in contact with many young composers who would become influential, including John Cage John Milton Cage Jr. was an American composer, philosopher, poet, music theorist, artist, printmaker, and amateur mycologist and mushroom collector. A pioneer of chance music, electronic music and non-standard use of musical instruments, Cage was one of the leading figures of the post-war avant-garde. Critics have lauded him as one of the most and Karlheinz Stockhausen Karlheinz Stockhausen was a German composer, widely acknowledged by critics as one of the most important (Barrett 1988, 45; Harvey 1975b, 705; Hopkins 1972, 33; Klein 1968, 117) but also controversial (Power 1990, 30) composers of the twentieth and early twenty-first centuries. Another critic calls him "one of the great visionaries of 20th-.

Serialism

Boulez's totally serialized, punctual works consist of Polyphonie X (1950–51; withdrawn) for 18 instruments, the two musique-concrète Études (1951–52), and Structures, book I for two pianos.^[5] Structures was also a turning point for Boulez. As one of the most visible totally serialized works, it became a lightning rod for various kinds of criticism. György Ligeti György Sándor Ligeti was a composer, born in a Hungarian Jewish family in Transylvania, Romania. He briefly lived in Hungary before later becoming an Austrian citizen. Many of his works are well known in classical music circles, but to the general public, he is best known for the various pieces featured in the Stanley Kubrick films 2001: A Space, for example, published an article that examined its patterns of durations, dynamics, pitch, and attack types in great detail, concluding that its "ascetic attitude" is "akin to compulsion neurosis", and that Boulez "had to break away from it. . . . And so he created the sensual feline world of the 'Marteau'".^[6] These criticisms, combined with what Boulez felt was a lack of expressive flexibility in the language, as he outlined in his essay "At the Limit of Fertile Land..." had already led Boulez to refine his compositional language. He loosened the strictness of his total serialism into a more supple and strongly gestural music, and did not publicly reveal much about these techniques, which limited further discussion. His first venture into this new kind of serialism was a work for 12 solo voices titled Oubli signal lapidé (1952), but it was withdrawn after a single performance. Its material was reused in the 1970 composition Cummings ist der Dichter.^[7]

Le marteau sans maître

Boulez's strongest achievement in this method is his masterpiece Le marteau sans maître (The Hammer without a Master) for ensemble and voice, from 1953 to 1957, a "keystone of 20th-century music",^[8] and one of the few works of advanced music from the 1950s to remain in the repertoire.^{[citation needed]} Le marteau was a surprising and revolutionary synthesis of many different streams in modern music, as well as seeming to encompass the sound worlds of modern jazz Jazz is a music genre that originated at the beginning of the 20th century in African American communities in the Southern United States from a confluence of African and European music traditions. From its early development until the present, jazz has incorporated music from 19th and 20th century American popular music. Its West African pedigree, the Balinese Gamelan A gamelan is a musical ensemble from Indonesia, typically from the islands of Bali or Java, featuring a variety of instruments such as metallophones, xylophones, drums and gongs; bamboo flutes, bowed and plucked strings. Vocalists may also be included, traditional African musics, and traditional Japanese musics. Fluent and expressive, even sensuous, in a way that Boulez's earlier serial works had not been, it was hailed by diverse musicians, including Igor Stravinsky Igor Fyodorovich Stravinsky (17 June [O.S. 5 June] 1882 – 6 April 1971) was a Russian composer, pianist, and conductor, widely acknowledged as one of the most important and influential composers of 20th century music. He was a quintessentially cosmopolitan Russian who was named by Time magazine as one of the 100 most influential people and of.^{[citation needed]} Boulez described one of the work's innovations, called "pitch multiplication The mathematical operations of multiplication have several applications to music. Other than its application to the frequency ratios of intervals , it has been used in other ways for twelve-tone technique, and musical set theory. Additionally ring modulation is an electrical audio process involving multiplication that has been used for musical", in several articles, most importantly in the chapter "Musical Technique" in Boulez 1971. It was Lev Koblyakov, however, who first described its presence in the three "L'artisanat furieux" movements of Le marteau sans maître,^[9] and in his 1981 doctoral thesis.^[10] However, an explanation of the processes themselves was not made until 1993.^[11] Other techniques used in the "Bourreaux de solitude" cycle were first described by Ulrich Mosch,^[12] and later fully elaborated by him.^[13]

Experimentation

After Le marteau sans maître, Boulez began to strengthen the position of the music post-WWI modern composers through conducting and advocacy. He also began to consider new avenues in his own work. With Pli selon pli for orchestra with solo In music, a solo is a piece or a section of a piece played or sung by a single performer. In practice this means a number of different things, depending on the type of music and the context soprano A soprano is a singing voice with a vocal range from approximately middle C (C4) to "high A" (A5) in choral music, or to "soprano C" (C6, two octaves above middle C) or higher in operatic music. In four part chorale style harmony, the soprano takes the highest part which usually encompasses the melody. For other styles of, he began to work with an idea of improvisation and open-endedness. He considered how the conductor might be able to 'improvise' on vague notations, such as the fermata A fermata is an element of musical notation indicating that the note should be sustained for longer than its note value would indicate. Exactly how much longer it is held is up to the discretion of the performer or conductor, but twice as long is not unusual. It is usually printed above, but occasionally below (upside down), the note that is to be, and how the players might 'improvise' on irrational durations, such as grace notes A grace note is a kind of music notation used to denote several kinds of musical ornaments. When occurring by itself, a single grace note normally indicates the intention of either an appoggiatura or an acciaccatura. When they occur in groups, grace notes can be interpreted to indicate any of several different classes of ornamentation, depending. In addition, he worked with the idea of leaving the specific ordering of movements or sections of music open to be chosen for a particular night of a performance, an idea related to the polyvalent form of Karlheinz Stockhausen Karlheinz Stockhausen was a German composer, widely acknowledged by critics as one of the most important (Barrett 1988, 45; Harvey 1975b, 705; Hopkins 1972, 33; Klein 1968, 117) but also controversial (Power 1990, 30) composers of the twentieth and early twenty-first centuries. Another critic calls him "one of the great visionaries of 20th-. Interestingly, though the two works sound similar today, and certainly represent the same impeccable craft, Pli selon pli was not received as well as Le marteau. This is perhaps more of a cultural barometer than a reflection on the work itself. During the time that Boulez was testing these new ideas, those colleagues who had never been entirely comfortable with the prominence of a rigorous musical language, such as György Ligeti, had brought a convincing musical counter argument to Boulez's musical ideals. In a poetic twist, Boulez had moved from peerless respect for Le marteau sans maître to seeming defeat with Pli selon pli (Fold upon fold), which sets a Stéphane Mallarmé Stéphane Mallarmé (18 March 1842 – 9 September 1898), whose real name was Étienne Mallarmé, was a French poet and critic. He was a major French symbolist poet, and his work anticipated and inspired several revolutionary artistic schools of the early 20th century, such as Dadaism, Surrealism, and Futurism poem about the tripping impotence of a swan, unable to take flight from a frozen lake.

Controlled chance

From the 1950s, beginning with the Third Piano Sonata (1955–57/63), Boulez experimented with what he called "controlled chance" and he developed his views on aleatoric music Aleatoric music is music in which some element of the composition is left to chance, and/or some primary element of a composed work's realization is left to the determination of its performer(s). The term is most often associated with procedures in which the chance element involves a relatively limited number of possibilities in the articles "Aléa" and "Sonate, que me veux-tu?"^[15]. His use of chance, which he would later employ in compositions like Éclat (1965), Domaines (1961–68) and Rituel in Memoriam Bruno Maderna (1974–75), is very different from that in the works of, for example, John Cage John Milton Cage Jr. was an American composer, philosopher, poet, music theorist, artist, printmaker, and amateur mycologist and mushroom collector. A pioneer of chance music, electronic music and non-standard use of musical instruments, Cage was one of the leading figures of the post-war avant-garde. Critics have lauded him as one of the most. While in Cage's music the performers are often given the freedom to improvise and create completely unforeseen sounds, with the object of removing the composer's intention from the music, in works by Boulez they only get to choose between possibilities that have been written out in detail by the composer—a method that, when applied to the successional order of sections, is often described as "mobile form".

1970s

Boulez's output since the late 1970s has been of a different kind since the early works that brought him to initial prominence. After a rapid succession of explosive works, such as the three cantatas on poetry by René Char, the first two piano sonatas, and other chamber music, compositions have tended to be contemplated and expanded over a long period of time, during which they were performed in various stages of development. ...explosante-fixe..., now resembling a flute The flute is a musical instrument of the woodwind family. Unlike woodwind instruments with reeds, a flute is an aerophone or reedless wind instrument that produces its sound from the flow of air across an opening. According to the instrument classification of Hornbostel-Sachs, flutes are categorized as Edge-blown aerophones concerto A concerto as a musical work is a composition usually in three parts or movements, in which (usually) one solo instrument (for instance, a piano or violin) is accompanied by an orchestra. The etymology is uncertain, but the word seems to have origin from the conjunction of the two Latin words conserere (meaning to tie, to join, to weave) and with electronics Electronics is the branch of science and technology which makes use of the controlled motion of electrons through different media and vacuum. The ability to control electron flow is usually applied to information handling or device control. Electronics is distinct from electrical science and technology, which deals with the generation,, was first published in 1971 as a sketch in the journal Tempo as a memorial tribute to Stravinsky, then worked out in various versions, including one for mixed octet with electronics performed in 1973. Éclat/Multiples has remained a large fragment, and Dérive II (1988/2002/2006) and Répons (1980/82/84) have been performed in various stages of development. The desire to expand unrealized possibilities has also lead Boulez to create related works in series. His early twelve miniatures for piano, Notations (1945), has, since the 1970s, been in the process of being expanded as an orchestral cycle. To date, at least seven movements have been completed, although only five have been performed. The material contained in Anthèmes for solo violin was later expanded into an extended composition for violin and electronics Anthèmes 2 and Boulez is currently developing it further into a large-scale work for violin and orchestra.^[16] Incises, a short work for solo piano, has since exploded into Sur Incises for three percussive groups (pianos, harps, percussion) in two very extended movements.

Electronic music

After the 1960s, in which he had produced little, Boulez began to turn back to the electronic medium and to large extended works. Although unsatisfied with the products of his work with tape in the 1950s (Two Studies, Poésie pour pouvoir) he began to explore the possibilities of live electronic sound manipulation. His first attempt was the 1973 version of ...explosant/fixe... However, at around this time president The President of the French Republic colloquially referred to in English as the President of France, is France's elected Head of State Georges Pompidou Georges Jean Raymond Pompidou was a French politician. He was Prime Minister of France from 1962 to 1968, holding the longest tenure in this position, and later President of the French Republic from 1969 until his death in 1974 began to discuss with Boulez the possibility of creating an institute for the exploration and development of modern music where there would be a chance to explore the medium seriously. This was to become IRCAM IRCAM is a European institute for science about music and sound and avant garde electro-acoustical art music. It is situated next to, and is organizationally linked with, the Centre Pompidou in Paris. The extension of the building has been designed by Renzo Piano and Richard Rogers. At IRCAM, Boulez created an environment where composers would have at hand the best performers available, and where the most advanced technology and computer scientists would be at their service. Boulez now began to explore the use of electronic sound transformation in real time. Previously electronic music had to be recorded to tape, which thus 'fixed' it. The temporal aspect of any live music making in which it played a part had to be coordinated with the tape exactly. Boulez found this impossibly restrictive. Now at IRCAM, he composed Répons, for six soloists, chamber orchestra, and live electronics. With the assistance of Andrew Gerzso Boulez fashioned a work in which the computer captured the resonance In physics, resonance is the tendency of a system to oscillate with larger amplitude at some frequencies than at others. These are known as the system's resonant frequencies (or resonance frequencies). At these frequencies, even small periodic driving forces can produce large amplitude oscillations and spatialization of sounds created by the ensemble and processed them in real time.

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