Table Of Content

docID=4697932. PierreBoulezStudies PierreBoulezisconsideredoneofthemostimportantcomposersofthetwentiethand earlytwenty-firstcenturies.Thiscollectionexploreshisinfluence,legacy,receptionand works,sheddingnewlightonBoulez’smusicanditshistoricalandculturalcontexts. Intwosectionsthatfocusfirstlyonthecontextofthe1940sand1950sandsecondlyon the development of the composer’s style, the contributors address recurring themes such as Boulez’s approach to the serial principle and the related issues of form and large-scalestructure.FeaturingexcerptsfromBoulez’scorrespondencewitharangeof hiscontemporariesherepublishedforthefirsttime,thebookilluminatesbothBoulez’s relationshipwiththemandhisthinkingconcerningthechallengeswhichconfronted bothhimandotherleadingfiguresoftheEuropeanavant-garde.Inathirdandfinal section,threechaptersexamineBoulez’srelationshipwithaudiencesintheUK,andthe developmentoftheappreciationofhismusic. edward campbell is senior lecturer in music at the University of Aberdeen and a co-director of the University’s Centre for Modern Thought. He specialises in contemporary European art music and aesthetics. He is the author of the books Boulez,MusicandPhilosophy(Cambridge,2010)andMusicafterDeleuze(2013). peter o’hagan is a pianist specialising in the performance of contemporary music. HehasperformedBoulez’spianoworksatfestivalsintheUKandabroad,andin2008 gave the London première of the unpublished three-movement version of the Third SonataatWigmoreHallwiththecomposer’sauthorisation.Hehasrecentlycompleted amonograph,PierreBoulezandthePiano. Pierre Boulez Studies edited by EdwardCampbell and Peter O’Hagan UniversityPrintingHouse,CambridgeCB28BS,UnitedKingdom CambridgeUniversityPressispartoftheUniversityofCambridge. ItfurtherstheUniversity’smissionbydisseminatingknowledgeinthepursuitof education,learningandresearchatthehighestinternationallevelsofexcellence. www.cambridge.org Informationonthistitle:www.cambridge.org/9781107062658 ©CambridgeUniversityPress2016 Thispublicationisincopyright.Subjecttostatutoryexception andtotheprovisionsofrelevantcollectivelicensingagreements, noreproductionofanypartmaytakeplacewithoutthewritten permissionofCambridgeUniversityPress. Firstpublished2016 PrintedintheUnitedKingdombyTJInternationalLtd.Padstow,Cornwall AcataloguerecordforthispublicationisavailablefromtheBritishLibrary LibraryofCongressCataloguinginPublicationdata Campbell,Edward,1958–|O’Hagan,Peter. PierreBoulezstudies/editedbyEdwardCampbellandPeterO’Hagan. Cambridge:CambridgeUniversityPress,2016.|Includesbibliographicalreferences andindex. LCCN2016021875|ISBN9781107062658 LCSH:Boulez,Pierre,1925–2016–Criticismandinterpretation.|Music–20th century–Historyandcriticism. LCCML410.B773P5762016|DDC780.92–dc23 LCrecordavailableathttps://lccn.loc.gov/2016021875 ISBN978-1-107-06265-8Hardback CambridgeUniversityPresshasnoresponsibilityforthepersistenceoraccuracyof URLsforexternalorthird-partyinternetwebsitesreferredtointhispublication, anddoesnotguaranteethatanycontentonsuchwebsitesis,orwillremain, accurateorappropriate. Contents ListofFigures page[vii] ListofContributors [ix] Preface [xi] Acknowledgements [xiii] ListofAbbreviations [xv] PartI TheContextoftheLate1940sand1950s [1] 1 PierreBoulez:Composer,Traveller,Correspondent EdwardCampbell [3] 2 TracesofanApprenticeship:PierreBoulez’sSonatine (1946/1949) SusanneGärtner [25] 3 Schoenbergvive JessicaPayette [56] PartII TheEvolutionofaStyle [91] 4 ‘Ascoreneitherbeginsnorends;atmostitpretendsto’: FragmentaryReflectionsontheBoulezian‘nonfinito’ RobertPiencikowski [93] 5 SerialOrganisationandBeyond:Cross-RelationsofDeterminants inLeMarteausansmaîtreandtheDynamicPitch-Algorithm of‘Constellation’ PascalDecroupet [108] 6 ‘DUFONDD’UNNAUFRAGE’:TheQuarter-toneCompositions ofPierreBoulez WernerStrinz [139] 7 ‘Alea’andtheConceptofthe‘WorkinProgress’ PeterO’Hagan [171] 8 CastingNewLightonBoulezianSerialism:UnpredictabilityandFree ChoiceintheCompositionofPliselonpli–portraitde Mallarmé ErlingE.Guldbrandsen [193] 9 SerialProcesses,AgencyandImprovisation JosephSalem [221] 10 ListeningtoDoublesinStereo JonathanGoldman [246] 11 ComposinganImprovisationattheBeginningofthe1970s PaoloDalMolin [270] v vi Contents PartIII ReceptionStudies [301] 12 PierreBoulezinLondon:theWilliamGlockYears PeterO’Hagan [303] 13 TartanfromBaden-Baden:Boulezatthe1965EdinburghInternational Festival EdwardCampbell [327] 14 PierreBoulezandtheSuspensionofNarrative ArnoldWhittall [354] Bibliography [373] Index [388] Figures 1.1 ItineraryfortheRenaud-BarraulttourtoSouthAmericain 1950. page[6] 2.1 Pencildraft,Muséedelamusique,Paris,p.1(detail).PhotoMatthias Abherve©Citédelamusique. [32] 2.2 Pencildraft,Muséedelamusique,Paris,p.5(detail).PhotoMatthias Abherve©Citédelamusique. [32] 3.1 Texturalqualityandregistralspanofinstrumentalinterludesin ‘Complaintedulézardamoureux’. [69] 6.1 Distributionofpitchcellsin‘Post-Scriptum’. [145] 6.2 PSS,SammlungPierreBoulez,MappeC,Dossier1e. [153] 6.3 Deploymentofthefamilyofseriesbelongingto∫A . [154] 16 6.4 PSS,SammlungPierreBoulez,MappeC,Dossier1e;partial transcription. [154] 6.5 PSS,SammlungPierreBoulez,MappeC,Dossier1f;partial transcription. [154] 6.6 PSS,SammlungPierreBoulez,MappeC,Dossier1e;partial transcription. [155] 10.1 SketchforseatingplanofDoubles,transcribedandtranslated.Usedwiththe kindpermissionofthePaulSacherStiftung. [260] 10.2 FinalseatingplanofFigures–Doubles–Prismes,transcribedandtranslated, withgeometryofwoodwindsandbrassinstrumentalgroupsindicated. PierreBoulezFigures–Doubles–Prismes|fürOrchester©Copyright1964by UniversalEdition(London)Ltd.,London/UE13994. [261] 10.3 Serialderivationofsixsegments(accordslents)ofslowtheme(thèmelent). PierreBoulezFigures–Doubles–Prismes|fürOrchester©Copyright1964by UniversalEdition(London)Ltd.,London/UE13994. [263] 10.4 Instrumentalgroupsusedforeachconstituentchordofthethèmelent. PierreBoulezFigures–Doubles–Prismes|fürOrchester©Copyright1964by UniversalEdition(London)Ltd.,London/UE13994. [264] 10.5 TranscriptionofBoulez’ssketchforspatialisationandsuperstructural procedureinDoubles.UsedwiththekindpermissionofthePaulSacher Stiftung. [265] vii viii ListofFigures 10.6 Reductionoffirstsevenbarsoffirstoccurrenceoffastthemein Figures–Doubles–Prismes(rehearsal3)andtheinstrumentalgroups usedforeachofitsconstituentchords;pitchesanddurationsonly.Pierre BoulezFigures–Doubles–Prismes|fürOrchester©Copyright1964by UniversalEdition(London)Ltd.,London/UE13994. [266] 13.1 ConcertsinvolvingBoulezatthe1965EdinburghInternational Festival. [332] Preface A composer studies volume in the Cambridge University Press series is intended to be a compendium of scholarly contributions to the field of study in question, and it is in this spirit that the current project has been designed. Its fourteen chapters, written by twelve authors, many of whom have already produced distinguished work in the field of Boulez studies, comprise a series of substantial essays on a number of aspects of the compositional and theoretical work of composer Pierre Boulez. The contributors are all scholars in the field, a number having written Ph.D. dissertationsandmonographsonthecomposeraswellasproducingauthor- itativeperformingandfacsimileeditionsofhiscompositions.Severalothers areintheprocessofcompletingsignificantindividualprojectsforpublica- tion, and all have produced studies of the composer in publications of internationalstature. The list of contributors brings together for the first time within a single volume scholars working in the field of Boulez studies in Belgium, Canada, France, Italy, Norway, Switzerland, the United Kingdom and the United States. It also reflects a range of approaches to the composer’s work. While several scholars focus primarily on what we can learn from sketches, correspondence and other archive material, held primarily in the Paul Sacher Stiftung in Basel, others bypass this material and work directly from published scores, recordings and writings. The editors have attempted to provide a balance between these two approaches which are, broadly speaking, represented by those contributors working on mainland Europe and those working in the UK/North America. In doingso, our aimhas been to ensure thatthe results of a range of very recent European Boulez scholarship, which has hitherto been inaccessible to an anglophone readership, is made available for the first time within a single volume alongside new work from UK and North American scholars. In line with other Cambridge Composer Study volumes, the current collection of essays makes no attempt to cover all of Boulez’s activities. Indeed, the format is a fairly simple one, comprising fourteen chapters groupedtogetherundertheheadings‘TheContextoftheLate1940sand 1950s’, ‘The Evolution of a Style’ and ‘Reception Studies’. All of the chaptersaresubstantialandoriginalcontributionstoBoulezscholarship and approach the composer’s work from a variety of angles including xi