Tools

LEADER 03436cam a2200349 a 4500

001 ocm14871494;

005 20141212035625.0;

008 870401s1986 enkcg b 001 0deng d;

010 a| gb 87015643;

020 a| 0903873125 (pbk) :c| No price;

035 a| (Sirsi) o14871494;

035 a| (OCoLC)14871494;

049 a| EREM;

050 00 a| ML410.B773b| P44 1986;

082 0 a| 780/.92/42| 19;

245 00 a| Pierre Boulez :b| a symposium /c| edited by William Glock.;

260 a| London :b| Eulenburg,c| 1986.;

300 a| 254 pages :b| illustrations, portrait, music ;c| 24 cm;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

504 a| Includes bibliographical references (pages 247-250) and index.;

520 a| There can hardly be a doubt that Pierre Boulez is one of the greatest musicians born in this century, and in the range of his achievements, as composer, theorist, conductor and founder of ICRAM in Paris, quite unique. Ever since he burst suddenly on the world of contemporary music with such reckless vitality in his early twenties, he has not only constantly explored new territory but has brought to the writing of each individual work an ardent spirit of self-criticism that other distinguished composers of his generation have never quite rivalled. As a result, many of his works have shown a remarkable staying power. In the present symposium, this absorbing voyage of Boulez, from the revolutionary early pieces to the latest work in progress, Repons, is traces by Susan Bradshaw in a chapter - a book in itself, really - that is perhaps the most thorough and perceptive study of the subject yet undertaken. The other chapters include Peter Heyworth's biography, the first fifty years, which has lost none of its charm and dramatic impact since it first appeared in The New Yorker; and there is a stimulating study by Gerald Bennett of the early works, from hitherto unknown student essays to the revolutionary outburst just mentioned. Two shorter chapters deal with Boulez's crusade for 20th-century music as conductor at the BBC, and with his advancing of its frontiers at IRCAM, which sprang from his vision of bringing technology and creative activity together. Charles Rosen's characteristic insight is brought to bear on the piano music; and for readers who enjoy 'stretching their foreheads like concertinas' there is a scientific enquiry by Celestin Deliege into Boulez's setting of a poem by Mallarme. Altogether, this symposium gives the most compete impression yet to appear of a composer who has left 'a giant imprint on music in this second half of the century.';

600 10 a| Boulez, Pierre,d| 1925-2016x| Criticism and interpretation.=| ^A25744;

650 0 a| Composersz| Francev| Biography.=| ^A437988;

700 1 a| Glock, William,e| editor.=| ^A226886;

919 a| BOOK;

596 a| 3;

998 a| 317800;

999 a| ML410.B773 P44 1986w| LCc| 1i| 30372004862840d| 10/24/2016e| 10/7/2016f| 3/18/2025g| 4l| MCSm| JMUSICn| 4r| Ys| Yt| MCSSBKu| 5/24/1989x| BOOKz| MCIRCo| .STAFF. enhanced 6/4/21 -jjab;

Pierre Boulez : a symposium / edited by William Glock.

Other author	Glock, William, editor.
Format	Book
Publication Info	London : Eulenburg, 1986.
Description	254 pages : illustrations, portrait, music ; 24 cm
Subjects	Boulez, Pierre, 1925-2016--Criticism and interpretation. Composers--France. --Biography.

Contents	The first fifty years / Peter Heyworth -- The early works / Gerald Bennett -- The piano music / Charles Rosen -- The convergence of two poetic systems / Celestin Deliege -- The instrumental and vocal music / Susan Bradshaw -- With Boulez at the BBC / William Glock -- IRCAM / Jonathan Harvey.
Abstract	There can hardly be a doubt that Pierre Boulez is one of the greatest musicians born in this century, and in the range of his achievements, as composer, theorist, conductor and founder of ICRAM in Paris, quite unique. Ever since he burst suddenly on the world of contemporary music with such reckless vitality in his early twenties, he has not only constantly explored new territory but has brought to the writing of each individual work an ardent spirit of self-criticism that other distinguished composers of his generation have never quite rivalled. As a result, many of his works have shown a remarkable staying power. In the present symposium, this absorbing voyage of Boulez, from the revolutionary early pieces to the latest work in progress, Repons, is traces by Susan Bradshaw in a chapter - a book in itself, really - that is perhaps the most thorough and perceptive study of the subject yet undertaken. The other chapters include Peter Heyworth's biography, the first fifty years, which has lost none of its charm and dramatic impact since it first appeared in The New Yorker; and there is a stimulating study by Gerald Bennett of the early works, from hitherto unknown student essays to the revolutionary outburst just mentioned. Two shorter chapters deal with Boulez's crusade for 20th-century music as conductor at the BBC, and with his advancing of its frontiers at IRCAM, which sprang from his vision of bringing technology and creative activity together. Charles Rosen's characteristic insight is brought to bear on the piano music; and for readers who enjoy 'stretching their foreheads like concertinas' there is a scientific enquiry by Celestin Deliege into Boulez's setting of a poem by Mallarme. Altogether, this symposium gives the most compete impression yet to appear of a composer who has left 'a giant imprint on music in this second half of the century.'
Bibliography note	Includes bibliographical references (pages 247-250) and index.
LCCN	gb 87015643
ISBN	0903873125 (pbk) :

Availability

Library	Location	Call Number	Status	Item Actions
Music	Closed Stacks - Ask at Circulation Desk	ML410.B773 P44 1986	✔ Available	Place Hold

Pierre Boulez : a symposium / edited by William Glock.

Click here for more information about this title

Availability