Morte pierre boulez biography
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Pierre Boulez
Born in Montbrison/Loire on 26 March , Pierre Boulez is a composer, conductor, thinker, a motor of international musical life, an emblematic figure in post-war European, indeed, world culture.
A living classic. Ever since the ’s, composers around the world have followed with curiosity what he was writing, to see if they could adapt his ideas in their own music or to reject them in their search for an idiom they could call their own. In , György Kurtág arrived in Paris with the goal to compose something he could show to Boulez (in the end, he left without a work worthy of being presented). The music the French composer has written ever since the late ’s was a conscious act of rebellion against tradition as represented by Schönberg or Stravinsky but also his teacher, Messiaen, whose influence has nevertheless left its mark on Boulez’s music.
In his compositions but also in his writings, Boulez was initially an angry and rebellious young man (see his scathing obituary Schönberg est mort). With the passage of time as he became an established figure, with France inviting him back to found IRCAM and the Ensemble Intercontemporain and his career as a conductor also taking off, there has probably been less to rebel against and Boulez has mellowed and broadened his hor
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The death in January of Pierre Boulez at the age of 90 robbed the musical world of a great conductor, a brilliant polemicist and an agitator for musical modernism. He was also a charismatic and intransigent human being—charming and generous to those who shared his vision, but prepared to thwart those who did not.
That much is certain about Boulez. But there is also his other role, the one he would surely like to be remembered by: as a composer. Here the situation is less certain. His music was a part of his grand project to yoke all of contemporary music to the modernist ethos. He would lead the way, through his activities as conductor of major orchestras, head of a research institute and as a composer—and he fully expected the other Young Turks of post-war modernism like Karlheinz Stockhausen and Luciano Berio to march in step with him. Certainty had dissolved, the old hierarchies had crumbled and everyone had to work out their own salvation. According to Boulez, to adopt the musical grammar and manners of the past was reprehensible escapism.
If Boulez was right, then reprehensible escapism is now the condition of both classical
and pop music. The past has never been more in vogue. “Will pop eat itself?” is a question often asked, as old pop albums haunt the charts and you
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Happy 90th Date, Pierre Boulez!
Today, 26th Parade we in the making our compliments to Pierre Boulez who has reached the significant age elect
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