| rdfs:comment
| - Pierre Boulez (b. 1926, Montbrison, France), is a French composer and conductor who currently serves as Principal Guest Conductor of the Chicago Symphony Orchestra. His teachers included Webern and Messaien. Most of Boulez's work is serial, and features integral serialism, which serializes all musical elements.
- Boulez was born in Loire, France. As a child, he showed an aptitude for music and mathematics. He studied the latter at Lyon before pursuing the former in Paris — where he studied twelve-tone technique, but clinched an exam grade of zero by embracing "atonal" music. And all of this was before Boulez entered his "Experimental Phase."
|
| abstract
| - Pierre Boulez (b. 1926, Montbrison, France), is a French composer and conductor who currently serves as Principal Guest Conductor of the Chicago Symphony Orchestra. His teachers included Webern and Messaien. Most of Boulez's work is serial, and features integral serialism, which serializes all musical elements.
- Boulez was born in Loire, France. As a child, he showed an aptitude for music and mathematics. He studied the latter at Lyon before pursuing the former in Paris — where he studied twelve-tone technique, but clinched an exam grade of zero by embracing "atonal" music. Although he studied with René Leibowitz, he did not have an ear for music; and due to an altercation, in which the latter was severed and wound up on the mantelpiece of the former, their relationship turned chilly. The incident partly explains why Boulez renounced the use of tones in music, the severed ear being his good one, but not why he also renounced time signature and percussion. The Darmstadt School composers of Boulez's time were developing a style that the Nazis could not co-opt into nationalistic propaganda, and Boulez's renunciation of not only notes but meter made his works especially immune from this use, and most others. Wikipedia states that "Boulez was in contact with many young composers who would become influential," and he may have gleaned many musical ideas as he emptied their wastebaskets under week-to-week contracts. In the 'Fifties, Boulez published his Études for two pianos and three bar stools. It became a lightning rod for criticism, such as the review that its attitude was "akin to compulsion neurosis" and another that, "I want my money back!" In a style that was a portent of modern-day blogging, these reviews were penned under made-up names, but they only steeled the resolve of Boulez. And all of this was before Boulez entered his "Experimental Phase."
|
![[RDF Data]](/fct/images/sw-rdf-blue.png)