Pierre Boulez Le Visage nuptial Video
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2024-03-26
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Pierre Boulez Grimaud Nagano Florent Boffard Char 1925 1945 2016
Pierre Boulez (1925--), Trois psalmodies, for piano (1945) Yvette Grimaud, piano Artwork by Otto Freundlich. ATMUSICA (Antoine Ouvrard, piano Concert enregistré en public le 24 septembre 2016 à Tours Pierre Boulez, DOUZE NOTATIONS pour piano +••.••(...)- Fantasque – Modéré 2-. Pour trois pianos,trois harpes,trois percussion Moment I Moment II Solistes de l'ensemble intercontemporain Dir : Pierre Boulez (Dimitri Vassikalis,Hidéki Nagano,Florent Boffard,pianos. Le Visage nuptial, 3ème version pour soprano, mezzo-soprano, chœur et orchestre - Textes de René Char I Conduite II Gravité (L'emmuré) III Le visage nuptial IV Evadné V. I Modéré II Lent III Vif Polyphonie X is a composition by Pierre Boulez for eighteen instruments divided into s
Pierre Boulez Béla Bartók Alban Berg Anton Bruckner Claude Debussy Gustav Mahler Maurice Ravel Arnold Schoenberg Igor Stravinsky Edgar Varèse Richard Wagner Anton Webern Olivier Messiaen Arthur Honegger René Leibowitz Burnham Beethoven Luciano Berio John Cage Luigi Nono Bruno Maderna Karlheinz Stockhausen Martenot 1925 1948
Description : (http•••) Pierre Boulez (French: [pjɛʁ bu.lɛːz]; born 26 March 1925) is a French composer, conductor, writer, and pianist. In his early career, Boulez played a key role in the development of integral serialism, controlled chance and electronic music. This, coupled with his highly polemical views on the evolution of music, gained him the image of an enfant terrible. As a conductor, Boulez is known mainly for his performances of Béla Bartók, Alban Berg, Anton Bruckner, Claude Debussy, Gustav Mahler, Maurice Ravel, Arnold Schoenberg, Igor Stravinsky, Edgar Varèse, Richard Wagner, and Anton Webern. Boulez is also a prolific writer on music and a former head of IRCAM. Boulez was born 26 March 1925, in Montbrison, Loire, France. From the age of six he was educated at the local Catholic school, where he spent 13-hour days and prayed in the chapel every school-day for ten years. The grueling schedule instilled in him an iron discipline but, for him, "the Catholic God was the God that Failed". As a child, he began piano lessons and demonstrated aptitude in both music and mathematics. He studied the latter at Lyon before pursuing music at the Paris Conservatoire under Olivier Messiaen and Andrée Vaurabourg (the wife of Arthur Honegger). Through Messiaen, Boulez discovered twelve-tone technique—which he would later study privately with René Leibowitz—and went on to write atonal music in a post-Webernian serial style. 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 Le visage nuptial and Le soleil des eaux for female voices and orchestra, 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 organization, serialising durations, dynamics, mode of attack, and so on. This technique became known as integral serialism. 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 in Darmstadt, Germany. According to Scott Burnham, in the so-called Darmstadt School composers were instrumental in creating a style that, for a time, existed as an "antidote" to music of nationalist fervor; an international, even cosmopolitan style, a style that could not be 'co-opted' as propaganda in the way that the Nazis used, for example, the music of Ludwig van Beethoven. Boulez was in contact with many composers who would become influential, including Luciano Berio, John Cage, Luigi Nono, Bruno Maderna, and Karlheinz Stockhausen. Early in his career, he performed as a specialist on the ondes Martenot. [Wikipedia]
Pierre Boulez Char Roger Désormière Ernest Bour Catherine Gayer Théâtre Champs Élysées Berlin Philharmonic 1945 1946 1947 1948 1949 1950 1953 1958 1965
Le Soleil des Eaux (The Sun of Waters) is a two-movement cantata for soprano, choir and orchestra, based on two poems by René Char. Boulez first encountered Char's poetry in 1945 or 1946, and was immediately attracted to its conciseness and "internal violence". Boulez based his first cantata, Le Visage nuptial (1946–47) on the poet's work, and would later use Char's poems as the basis of Le Marteau sans maître (1953–55). The two met in the summer of 1947, at which point they began a long friendship. Le Soleil des eaux began life as incidental music for a radio drama of the same name, written by Char, broadcast on RTF on April 29, 1948 and published in April 1949 with illustrations by Georges Braque. The play revolved around a story of fishermen on the river Sorgue whose livelihoods are threatened by pollution from a new factory, and who revolt and attack the factory in response. (Char was born in L'Isle-sur-Sorgue, and the river was a source of inspiration for him throughout his life. Joan Peyser also noted that the story parallels Char's own struggle against Nazism as a member of the French Resistance.) Boulez's contribution to the project, composed at the request of Alain Trutat, a friend of poet Paul Éluard and later the founder of the radio station France Culture, was a 32-minute work which was in part newly-composed, and in part based on a movement for two pianos written in February 1948 and titled "Passacaille-Variations" (later incorporated into an unpublished Sonata for two pianos). The score is a setting for soprano of Char's poem "La complainte du lézard amoureux" ("Lament of the lizard in love"), with orchestral interludes. The poem, written in 1947, was unpublished at that time, but was later included as part of a group of poems titled La Sieste blanche in the collection Les Matinaux (1950). The setting of the poem is unaccompanied; according to Boulez, he conceived of it as a monody and "thought it would be interesting, rather than trying to find an accompaniment, to articulate it by means of interjections, reflections, landscapes, and distorted images." (Boulez also stated that the setting was never performed in its entirety due to its length.) Char was evidently happy with the results, and, in a letter to Boulez, wrote: "I am really pleased with what you are creating and establishing for my poems. The score of Le Soleil des eaux was very beautiful and worthy of our attention. I would like for all your work, drawn up in a fearsome platoon, to properly shoot the idiocy of our time." In October 1948, Boulez revised the score, adding a second movement based on Char's poem "La Sorgue: chanson pour Yvonne", which appeared as part of La Fontaine narrative, included in the collection Fureur et mystère +••.••(...)The dedicatee was Yvonne Zervos, a long-time friend of Char who, with her husband Christian Zervos, edited the magazine Cahiers d'art.) This second version, for three vocal soloists and chamber orchestra, was premiered on July 18, 1950 by the RTF orchestra, conducted by Roger Désormière, at the Théâtre des Champs-Élysées in Paris. In 1958, Boulez revised the score a third time, adding mixed 3-part chorus and rescoring the work for full symphony orchestra. This version was premiered on September 9, 1958 at Darmstadt by the Hessian Radio Chorus and Orchestra conducted by Ernest Bour. Finally, a "definitive" version for soprano soloist, mixed 4-part chorus, and orchestra was prepared. This version was premiered on October 4, 1965 by the Berlin Philharmonic orchestra and chorus, conducted by the composer, with Catherine Gayer as the soloist.
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