Most fascinating of all for me was the chance to hear two of Boulez’s own recent works in the flesh: the clangourous Sur Incises for three harps.
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My original intention was to write the main part for the first piano. I have also considered the possibility of four pianos as this constellation is very attractive and provides a good balance. Only then the idea iincises adding three harps occurred to me. What a week at the South Bank in London: The sheer riot of color is engrossing.
But as I have already mentioned I realised this Carteresque dimension only afterwards. You will regularly receive information about new scores with free downloads, current prize games and news about our composers.
Sign up for our newsletter! At least Incisesthe first piece for piano alone, is rather short, extremely brilliant and with a sense of perpetual motion. This article contains affiliate links, which means we may earn a small commission if a reader clicks through and makes a purchase.
I don’t use steeldrums for the sake of their exotic and folkloric colour but because of the fact that they exceed the usual bounds of the individual families of instruments.
Retrieved 19 January Yes, it is an ensemble for three pianos which in a way represent the main instruments, three harps and three percussions of certain pitch, also timpani, steel drums, glockenspiel etc.
But are there also transitions to be found or, let’s put it differently, do the harps or percussionists at times take the role of the pianos or of one piano? You’d better hope you like the kaleidoscope for a kick-off; but if you do, there’s a seductive, hypnotic quality to the music that is a million miles from the aggressive iconoclasm of Boulez’s earliest music.
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Pierre Boulez: Incises
In sur Incises I have expanded, stretched this introduction a lot in terms of its duration. Threads collapsed expanded unthreaded.
There’s a polish and a voluptuousness about this music that’s instantly appealing and gripping for the whole experience of the piece. The question is what does that mean? This page was last edited on 29 Augustat Our composers Pierre Boulez Works sur Incises.
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Boulez revised it in Boulez wrote Sur Incises a few years later and dedicated it to Paul Sacher on his 90th birthday. This kind of reworking of an earlier piece is characteristic of Boulez, the first instance being Structures.
Unexpectedly, this has led to a very long piece. Monday and Tuesday brought the complete Schumann symphonies in visceral, illuminating performances from Simon Rattle and the Orchestra of the Age of Enlightenmentconcerts that made me feel that Schumann is the most underrated symphonist of the 19th century: Everything changes on the surface — there are passages where everything is speeding along vertiginously, which then contract into pools bouulez slower music — but nothing changes underneath.
As if that wasn’t enough, on Wednesday and Thursday there was a mini-residency from the Ensemble Intercontemporain and Pierre Boulez in two centenary concerts for Olivier Messiaen and Elliott Carter. All our journalism is independent and is in no way influenced by any advertiser or commercial initiative.
But the character of this terrific movement booulez kept throughout. In what respect do sur Incises and Incises differ since their congruence is so obvious?
Anthony Tommasini described a performance of Sur Oncises Thus, you can see what you hear. But you find also moments when this role play is divided up, such as that one piano and one percussionist play the free structures whereas the incisse pianos and percussionists have to follow the strict ostinato movement etc.
Therefore I produced a piece for three pianos assuming that there already exists enough interesting literature for two pianos and ensembles, especially in the modern age – incisew for example Bartok’s “Sonata for two pianos and percussion”. And that’s when the marlin come — but that’s stretching the metaphor well past breaking point.
Next work Tombeau Pierre Boulez Tombeau. Those continually shape-shifting forms, always different but always the same, which need to be propelled by boulsz incessant energy just to retain their form?
I had the sense last night at the Queen Elizabeth Hall that although the piece was 45 minutes long, it could either have been 20 minutes or and it wouldn’t really have mattered. For this reason the three piano parts elaborate to an extent on the same level. It’s as if Debussy were to take a single gesture from La Mer and magnify it until it filled 45 minutes.