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Boulez Pierre:     more books (100)

Werkstatt-Spuren-Die Sonatine Von Pierre Boulez: Eine Studie Zu Lehrzeit Und Fruhwerk (Publikationen Der Schweizerischen Musikforschenden Gesellsch) by Susanne Gartner, 2008-01 Pierre Boulez (French Edition) by Dominique Jameux, 1984 PIERRE BOULEZ CONDUCTS SCHOENBERG GURRE-LIEDER - TWO RECORD SET - vinyl lps. MARITA NAPIER - YVONNE MINTON, KENNETH BOWEN, SIEGMUND NIMSGERN, GUNTHER REICH AS NARRATOR, BBC SYMPHONY ORCHESTRA AND CHORUSES - JESS THOMAS by SCHOENBERG, 1975 Pierre Boulez: A World of Harmony (Contemporary Music Studies) by Lev Koblyakov, 1993-11-01 Correspondance: 1954-1970 (French Edition) by Pierre Boulez, 1998 Le pays fertile: Paul Klee (French Edition) by Pierre Boulez, 1989 Escritura del Gesto; Conversaciones Con Cecile Gilly (Spanish Edition) by Pierre Boulez, 2004-08 Anhaltspunkte: Essays (German Edition) by Pierre Boulez, 1979 Leitlinien. Gedankengänge eines Komponisten. by Pierre Boulez, 2000-11-01 THE CLEVELAND ORCHESTRA - STAGEBILL - MAY 6, 1999 1998-99 SEASON by CHRISTOPH (MUSIC DIRECTOR) - PIERRE BOULEZ (CONDUCTOR) von DOHNANYI, 1999 L'Ecriture du geste by Pierre Boulez, 2002-11-05 Orientations: Collected Writings by Pierre; Cooper, Martin (trans.) Boulez, 1986 Musikdenken heute 2 (Schott) Boulez (Oxford Study of Composers) by Paul Griffiths, 1979-04-26

lists with details

21. Sonymusicstore.com Pierre Boulez Pierre Boulez Conducts His Own
    Buy Pierre Boulez Conducts His Own Works by Pierre Boulez. Free shipping when you buy two or more items. SACD, $18.97. More From Pierre Boulez.  
    http://www.sonymusicstore.com/store/catalog/MerchandiseDetails.jsp?merchId=6663

22. Pierre Boulez
    boulez pierre. France 1987 Brand,S. The Media Lab. 1987 (1089); Saunders,F. The Cultural Cold War. 2000 (223-4). pages cited this  
    http://www.namebase.org/xbor/Pierre-Boulez.html

23. Pierre Boulez
    Epoch Since 1945 Country France. pierre boulez (born 1925). Detailed Information about. Picture Gallery; List of Works; Bibliography. Introduction.  
    http://w3.rz-berlin.mpg.de/cmp/boulez.html
    
    Extractions: Country: France Detailed Information about Introduction (born Montbrison, 26 March 1925). He studied with Messiaen tradition of Leibowitz. The clash of the two influences lies behind such intense, disruptive works as his first two piano sonatas (1946, 1948) and Livre pour quatuor Le visage nuptial (1946) and Le soleil des eaux (1948), though through this highly charged style he was working towards an objective serial control of rhythm, loudness and tone colour that was achieved in the Structures for two pianos (1952). At this time he came to know Stockhausen , with whom he became a leader of the European avant garde, teaching at Darmstadt (1955-67) and elsewhere, and creating one of the key postwar works in his (1954). Once more to poems by Char, the work is for contralto with alto flute, viola, guitar and percussion: a typical ensemble of middle-range instruments with an emphasis on struck and plucked sounds. The filtering of Boulez's earlier manner through his 'tonal serialism' produces a work of feverish speed, unrest and elegance. Le marteau , but of these the Third Piano Sonata (1957) remains a fragment and Pli selon pli for soprano and orchestra (1962) has been repeatedly revised; only a second book of

24. Boulez, Pierre
    Biographical data, recommended CDs, books and sheet music, bibliography, and links to biographical essays from Dr. Estrella's Incredibly Abridged Dictionary of Composers.  
    http://stevenestrella.com/composers/composerfiles/boulezliving.html

25. Sony Classical
    Get detailed information on pierre boulez from the Sony Classical Web site. Includes discography and current tour schedule. Your  
    http://www.sonyclassical.com/artists/boulez/

26. Boulez, Pierre (1925 - )
    boulez, pierre (1925 ) pierre boulez is among the most influential contemporary musicians, both as a composer and as a conductor.  
    http://www.hnh.com/composer/boulez.htm
    
    Extractions: Pierre Boulez is among the most influential contemporary musicians, both as a composer and as a conductor. He is known principally for his extension of the techiques of serialism beyond the limits of the Second Viennese School of Schoenberg, under the strong influence of his teacher Messiaen, into a logical style that brings with it a paradoxical freedom. His career as a conductor has brought him engagements with the most famous orchestras in a relatively wide repertoire, from Rameau to Wagner and to the contemporary. Piano Music The music Boulez has written for piano includes three sonatas, the last involving an element of chance in the possible choices of order offered to performers. The first part of Structures I, for two pianos, was first performed by Messiaen with the composer in 1952 and Structures II by Yvonne Loriod and Boulez at Donaueschingen in 1961. Recommended Recording Piano Sonatas Nos. 1-3

27. The PIERRE BOULEZ Project
    Experimental artist seeking donations of boulez recordings for All art of the past must be destroyed project.  
    http://home.flash.net/~jronsen/boulez.html
    
    Extractions: French composer and conductor Pierre Boulez once wrote in a very famous Statement that " all art of the past must be destroyed. " Although Mr. Boulez has since established a lucrative and famous career in conducting art of the past, his own as well as pieces by Ravel, Handel, Stravinsky and others, and although he has unsuccessfully tried to qualify his Statement (in a 1972 article saying "All I meant was just to urge the public to grow up and once for all to cut the umbilical cord attaching it to the past"), we take great interest in his Statement and propose a project to fully align the Statement with Mr. Boulez. Henceforth, we are accepting donations of Mr. Boulez's work, recordings, books, scores, for a future performance in which we will destroy them. Destruction will not be limited to smashing, ripping, burning, crushing, kicking, in literal, physical and spiritual senses. All who donate a work will be graciously thanked in the program notes as well as here (unless a desire to remain anonymous is expressed), and all donators will receive the notes as well as auxiliary documentation (photographs, et cetera). Donator # of Donations Works Donated Josh Ronsen (TX) 6 CDs, 9 LPs, 2 books

28. WQXR: Classical Music Scene
    Biography with his education and often contradictory influences, noted compositions, conducting new music, ongoing evolution, and direction of a music institute. From the Grove Concise Dictionary of Music entry at WQXR radio.  
    http://www.wqxr.com/cgi-bin/iowa/cla/learning/grove.html?record=1213

29. Boulez, Pierre (1925-)
    Brief biography and caricature with summaries of his piano and instrumental music and recommended recording.  
    http://web02.hnh.com/composer/btm.asp?fullname=Boulez, Pierre

30. Der Universalist
    Artikel der Salzburger Nachrichten zum 75. Geburtstag des Komponisten und Dirigenten pierre boulez.  
    http://www.salzburg.com/sn/00/03/25/wochenende-15139.html

31. Pierre Boulez - Biography
    pierre boulez Discography. Born in Montbrison (Loire), France on 26th March 1925, pierre boulez piano studies took place at Montbrison and SaintEtienne.  
    http://www.sonyclassical.com/artists/boulez/bio.html

32. Alain Damiens - Entre Le Souffle Et Le Timbre
    Clarinettiste de l'Ensemble InterContemporainpierre boulez actualit©, points de rep¨res biographiques, discographie et extraits musicaux.  
    http://www.chez.com/clarinette/

33. Musica Classica - Classical Music - Klassische Musik - Karadar Bertoldi Ensemble
    Musica Classica Classical Music Dictionary entry with life, major works, illustrations, and links to influences.  
    http://www.karadar.net/Dictionary/boulez.html
    
    Extractions: Pierre Boulez was born at Montbrison (26 March 1925). He studied with Messiaen at the Paris Conservatoire (1942-5) and privately with Andrée Vaurabourg and René Leibowitz, inheriting Messiaen's concern with rhythm, non-developing forms and extra-European music along with the Schönberg tradition of Leibowitz. The clash of the two influences lies behind such intense, disruptive works as his first two piano sonatas (1946, 1948) and Livre pour quatuor for string quartet (1949). The violence of his early music also suited that of René Char's poetry in the cantatas Le visage nuptial (1946) and Le soleil des eaux (1948), though through this highly charged style he was working towards an objective serial control of rhythm, loudness and tone colour that was achieved in the Structures for two pianos (1952). At this time he came to know Stockhausen , with whom he became a leader of the European avant garde, teaching at Darmstadt (1955-67) and elsewhere, and creating one of the key postwar works in his Le marteau sans maître (1954). Once more to poems by Char, the work is for contralto with alto flute, viola, guitar and percussion: a typical ensemble of middle-range instruments with an emphasis on struck and plucked sounds.

34. Boulez, Pierre
    This page contains basic and accurate biographical information and links to essays about the Early 20th Century composer boulez. boulez, pierre. PeriodEarly 20th Century  
    http://www.stevenestrella.com/composers/composerfiles/boulezliving.html

35. Pierre Boulez
    Biography, interview about Second Piano Sonata.  
    http://www.xs4all.nl/~gaud/oud/biobak/b/boulezp.htm

36. Pierre Boulez : Biographie - Médiathèque De L'Ircam © 2004
    Translate this page pierre boulez biographie du compositeur, catalogue des oeuvres, disques, sites internet. pierre boulez biographie du  
    http://mac-texier.ircam.fr/textes/c00000011/

37. 20th Century Music Pierre Boulez
    Emory University essay examines his life, characteristics, and works, including quotes and links.  
    http://www.emory.edu/MUSIC/ARNOLD/boulez.html

38. Orchestra Conductors: Boulez, Pierre
    boulez, pierre. ( 26 03 - 1925, Loire) In 1945 he graduated from the Paris conservatoire, where his main teacher, and the person credited with exerting profound influence on this technique and aesthetic, was Olivier Messiaen. pierre boulez made his first guest appearance with the Cleveland Orchestra during the March 11, and 13, 1965  
    http://www.orchestra-conductors.com/archives/000042.php
    
    Extractions: providing resources for conductors... Main (26 - 03 - 1925, Loire) Pierre Boulez made his first guest appearance with the Cleveland Orchestra during the March 11, and 13, 1965 concert season. It was at this time that his composition, Figures, Doubles, Prismes, received its first American performance. He has been music director of the New York Philharmonic (1971-1977) and chief conductor of the BBC Symphony Orchestra (1971-1975), while serving in Cleveland during the interim between the directorships of George Szell and Lorin Maazel. President Georges Pompidou of France subsequently offered Mr. Boulez the direction of a state-sponsored research institute in Paris, the Institut de Recherche et de Coodination Acoustique/Musique (IRCAM). The duties involved in this post and his work as a composer restricted his appearances as a conductor, but over the years has was able to devote time to important projects such as the 1976 centenary production of Wagner's four-opera Ring of the Nibelung cycle at Bayreuth, which he conducted for five seasons (and which was recorded for sound/video and television). In 1991, Boulez stepped down from his position as director of IRCAM to devote more time to composing and conducting. In addition to regular guest conducting in London, Paris, Vienna, Berlin, Chicago, and Cleveland, he helps oversee an annual musical season with the Ensemble Inter Contemporain (co-founded by him in 1975 and of which he serves as president), which he has led on a number of important tours (including the United States in 1986, 1991, and 1993).

39. The Ensemble Sospeso - Pierre Boulez
    Interview.  
    http://www.sospeso.com/contents/articles/boulez_p1.html
    
    Extractions: Foucault. "You see, there is a very strong parallelism between [our] two trajectories." Well, each generation has to solve its problems. I cannot solve the problems of a generation which is forty years younger than me, certainly not. I say always, every period is difficult. There is no easy period. You know, when you think of the fifties, you might think it was very easy, whereas it was not easy at all. There was always the question of whether this new discipline was not completely absurd; there were many questions. Certainly, when I look, for instance, only at Paris, I see that practically all the composers of my generation have disappeared. They made the wrong choices, or they were not courageous enough, or they were not lucid enough; there are many reasons. Or, perhaps they were politically involved, and that political involvement brought them to solutions which were very trivial; this type of thing. So, no, it was not easy! No period is really easy.

40. Unreconstructed Modernist - 95.09
    Atlantic Monthly article from September 1995 examines his staunch Modernism, tracing his path from composer to conductor and offering reasons for the changes.  
    http://www.theatlantic.com/issues/95sep/boulez.htm
    
    Extractions: T HIRTY-FIVE years ago I bought a record that changed the way I thought about music: Pierre Boulez's , conducted by Robert Craft. Scored for the exotic ensemble of contralto voice, alto flute, viola, guitar, and percussion (including vibraphone, but prominently bongos), Le Marteau was remotely jazzy and vaguely oriental, rhythmically frantic yet emotionally cool. It was atonal, but without the angst of most of the atonal music I knew. Heard today, it might seem quintessentially fiftiesa vodka martini set to music, with instrumentation not far from what you would hear on a Chet Baker record or, with those bongos, a hi-fi demo. But at the time, I felt that I had been granted a vision of the musical future. I sat down and wrote a piece for flute, vibraphone, and bongos, to be played as fast as possible. My revelation was not unique. Le Marteau affected composers of several generations, who began to turn out flute-and-vibraphone music by the yard. Because the recording was conducted by Craft, it signaled a laying on of hands by Igor Stravinsky, who lavished praise on

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