Boulez


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Boulez

Pierre . born 1925, French composer and conductor, whose works employ total serialism
References in periodicals archive ?
Generoso promotor de nuevos y menos reconocidos autores como Luciano Berio, Karlheinz Stockhausen, David del Puerto, Elliott Carter, Olga Neuwirth, York Holler y Frank Zappa, el nonagenario Pierre Boulez fue director de la Orquesta Filarmonica de Nueva York desde 1971 hasta 1977; conjuntamente abrio, extendiendose hasta 1995, una memorable catedra de composicion, tecnica y lenguaje musical en el Colegio de Francia, que serviria de guia y despegue a muchos interesantes compositores de las postrimerias del siglo XX y de inicios del nuevo milenio, y en paralelo, fue titular de la Orquesta Sinfonica de la BBC, desde 1971 hasta 1974.
Boulez, who had been unable to conduct recently due to increasing eye problems, died "peacefully" on Tuesday at his home in Baden-Baden, Germany, said his assistant, Marion Thiem.
Campbell, a lecturer in the Music Department of the School of Education at the University of Aberdeen, maintains the interest of his reader by fusing together several methodological approaches: he explains the significance of little-known source materials, provides fluid textual exegeses of monumental philosophical works, and offers cogent comparative musical analyses of works that Boulez links to specific philosophical ideas.
Koblyakov's 1977 thesis had consisted of an analysis of Boulez' Le Marteau sans maitre, published as Pierre Boulez: A World of Harmony: (31) Between April and June 1979, he gave twelve lectures "on avant-garde music done at IRCAM, about the history of music from Arnold Schoenberg until Jean-Claude Risset and John Chowning: dodecaphonic and serial music, the history and practice of electronic and computer music, new devices for instruments" (32).
TL: For the past 10 years or so I have been perfectly happy with Pierre Boulez and the Cleveland Orchestra's version of La Mer.
He is music director of the Paris-based Ensemble Court-Circuit, which he co-founded with composer Philippe Hurel, and has worked closely with the distinguished French composer and conductor Pierre Boulez.
Piano's experience of music theatres and acoustics dates back to the late 1970s when he designed the IRCAM centre for experimental music for Pierre Boulez next to the Pompidou Centre.
PUBLISHED IN 1985, Dialogue de l'ombre double by Pierre Boulez is scored for one live clarinet and one prerecorded clarinet, both usually performed by the same instrumentalist.
The other specially commissioned work was an extraordinary twelve-minute solo, Notations, to music of the same name by Pierre Boulez, and choreographed by Uwe Scholz, today among the best-known of German-born choreographers.
The first concert was on February 1 when Pierre Boulez conducted Stravinsky's Petrouchka.
Certainly, the pristine objectivity of Pierre Boulez and the turn-on-a-dime virtuosity of the Chicago Symphony Orchestra and Chorus heard at Symphony Center allowed one, for better or worse, to concentrate on the Austrian composer's music.
Just as for the generation of composers centred on Boulez, Stockhausen and Cage with which the author was most closely concerned, history for Griffiths began explicitly in 1945 and ignored (as far as such ignorance was actually possible) the earlier phases of Viennese and Parisian modernism which had hitherto dominated accounts of later twentieth-century music.