By Di Rocco Pietro
Pierre Boulez is arguably classical music's most crucial residing composer and conductor. His most famed compositions, the widely-performed Le marteau sans maître, Pli selon pli, and Le visage nuptial, have earned him the acceptance as a musical provocateur, whereas his present position as important visitor conductor of the Chicago Symphony Orchestra has demonstrated him as patriarch and elder statesman of modern day classical song scene.In this booklet of dialogues with writer Rocco Di Pietro, Mr. Boulez finds pleasant principles and insights on composition and mind's eye, listening and educating, and muses at the nature of stripling, conversation, and popularity. Di Pietro's strange writing layout permits the reader to extra simply comprehend the complexities of Boulez's considering. an organization believer in injuries, he finds how his profession took form via a mix of twist of fate and ability. crucial for contemporary Boulez converts and very long time devotees alike.
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Extra info for Dialogues with Boulez
DI PIETRO: On the surface, at least, it seems that you might have a lot of parallels. We talked about opera last time. BOULEZ: Yes, for me, on the good side of it, Stockhausen does not accept the conventions of the opera house; that for me is a big thing, very positive. But the literary aspect is for me really very difficult to accept. Because he's preoccupied with Wagner's concept of the “total” work, which puts all his projects in Wag-ner's shadow, let's say. But at least in the dramas of Wagner you have at least literature, maybe not the best literature within German literature, but it is a very strong dramatic invention.
BOULEZ: Well, it is very difficult for me to speak about that because I have never seen them. They have not been performed in France. There was one occasion when we commissioned a part of one of his operas, but it was not on stage and was a concert version with our ensemble, back in 1977. So that's long ago, when he wrote for us Michael's Journey. I think there is a very Page 35 big difference between the music of Stockhausen's operas and the stage or theatrical conception. DI PIETRO: On the surface, at least, it seems that you might have a lot of parallels.
It is a kind of food that you feel is necessary for your intellectual life. It can also happen that, later in life, you discover things you did not know when you were young, and you benefit from these late discoveries, too. For instance in my case, I knew Wagner early on, but not Mahler. Then I learned the Viennese school of Schoenberg, Berg, and Webern in between; so I discovered Mahler later in life, because Mahler was not performed in France when I was young. In this way, I discovered the Page 25 missing link in this tradition.
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