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Boulez, Pierre
(b Montbrison, Loire, 26 March 1925). French composer and
conductor. Resolute imagination, force of will and ruthless
combativeness secured him, as a young man, a position at the
head of the Parisian musical avant garde. His predecessors, in
his view, had not been radical enough; music awaited a
combination of serialism with the rhythmic irregularity opened up
by Stravinsky and Messiaen. This call for a renewed modernism
was widely heard and widely followed during the 1950s, but its
appeal gradually weakened thereafter, and in the same measure
his creativity waned. He began to be more active as a conductor,
at first specializing in 20th-century music, but then, in the 1970s,
covering a large and general repertory. Towards the end of that
decade he turned his attention to an electro-acoustic music
studio built for him in Paris, where he hoped to resume the effort
to create a new musical language on a rational basis. After a
brief hiatus, though, conducting became again his principal
means of expressing his independence and clarity of vision.
1. Compositional career.
2. Conducting.
3. Compositional style.
WORKS
WRITINGS
BIBLIOGRAPHY
!!
1. Compositional career.
As a boy Boulez divided his attention between music and
mathematics. He sang in the choir of his Catholic school at St
Etienne, he enjoyed playing the piano; but his early aptitude for
mathematics marked him out at least in the eyes of his father, a
steel industrialist for a career in engineering. On leaving school
in 1941, he spent a year attending a course in higher
mathematics at Lyons with a view to gaining admission to the
Ecole Polytechnique in Paris. During that year he made what
progress he could with music, cultivating his proficiency as a
pianist and acquiring a grounding in theory.
It was the latter which stood him in good stead when he moved
to Paris in 1942 and, against his father's wishes, opted for the
Paris Conservatoire rather than the Ecole Polytechnique; he had
failed the pianists' entrance examination. After three years he
took a premier prix in harmony, having attended Messiaen's
famous harmony class. Along with some of his contemporaries in
Messiaen's class, he took exception to the hidebound curriculum
of the Conservatoire and looked beyond its walls for instruction in
counterpoint. This he studied privately with Andre Vaurabourg,
the wife of Arthur Honegger.
It was in Messiaen's class that Boulez, respected as well as
encouraged by his teacher, first gave proof of exceptional
abilities as a music analyst. Quick to detect genuine originality of
craftsmanship, he equally quickly lost patience with music whose
renown rested on anything less substantial. He viewed
composition as a form of aesthetic research and demanded that
it be conducted on stringently scientific (that is, logical) lines; in
this light, the cult of personal stylistic development a hangover
from Romanticism counted for nothing. Infected by a common
zeal, Boulez and a number of his fellow pupils demonstrated their
protest vocally at performances of works whose modernity they
considered a facile and arbitrary disguise; not even the personal
reputation of Stravinsky was sacrosanct, and many a lesser one
was mercilessly deflated.
His own aesthetic researches at the time had led him to a very
clear awareness of the necessity for atonality. When
Schoenberg's pupil Leibowitz began to introduce dodecaphonic
music to the French public, Boulez readily applied to him for
instruction in serial techniques. Within a year his earliest
published compositions (Notations, the Flute Sonatina, the First
Piano Sonata, Le visage nuptial) had taken shape; his inventive
energies had taken the route suggested by Schoenberg's Wind
Quintet op.26 (which he had heard in 1945) and by the later
works of Webern. Again, Boulez was subsequently to write: Any
musician who has not felt the necessity of the dodecaphonic
language is OF NO USE (Eventuellement , 1952, in Boulez,
1966)
2. Conducting.
Boulez's conducting career began with the Domaine Musical
concerts, where he conducted many new works by young
composers as well as his own Le marteau sans matre. In 1957,
at the invitation of Scherchen, he conducted the first performance
of Le visage nuptial in Cologne; during the next year, he not only
conducted the premire of Doubles in Paris, but participated with
Rosbaud and the Grosses Orchester der SWF in the first
performance of Posie pour pouvoir. He was again invited to
conduct the same orchestra when an early version of Pli selon pli
was introduced in Cologne in 1960; meanwhile, he had become
a guest conductor with the orchestra, and had taken up
residence in Baden-Baden, partly as a gesture of revolt against
French musical conservatism. (The German spa town remained
his principal home for 20 years, until he returned to Paris to take
charge of IRCAM and assume a position at the Collge de
France.) Although always primarily concerned with the
performance of 20th-century music, and notably that of Debussy,
Stravinsky, Webern and Messiaen, he extended his repertory
during this time to include a number of earlier works (by Haydn,
Beethoven, Schubert and others) with which he felt a special
affinity.
After some years of alienation from the official musical world in
Paris, Boulez returned there triumphantly in 1963 to conduct the
first Paris Opra production of Wozzeck. Very quickly he came to
be in demand for a wide variety of occasions in many different
countries. In 1964 he conducted a special concert performance
of Hippolyte et Aricie for the Rameau bicentenary celebrations in
Paris, in 1965 he was at the Edinburgh Festival to conduct Pli
selon pli and in 1966 he was entrusted with Parsifal at the
Bayreuth Festival. In 1967 he became a guest conductor with the
Cleveland Orchestra, with whom he made a number of
recordings, and four years later he was appointed principal
conductor of both the BBC SO and the New York PO. He
relinquished these posts in 1974 and 1977 respectively. In 1976
he conducted the Ringat Bayreuth, in Patrice Chreau's
controversial production, and in 1979 at the Paris Opra he had
charge of the first production of Berg'sLulu in complete form.
After this he reduced his conducting commitments drastically, but
by the 1990s he was performing and recording frequently again,
mostly in his favourite 20th-century repertory, but with some new
acquisitions (Bruckner, Strauss).
Boulez's performances are primarily noted for their analytical
clarity of sound: every note, even in complex scores, makes its
point as a contribution to the whole. This proved an invaluable
feature of Boulez's pioneering performances of new music, even
though at first they were often hampered by some aridity in
orchestral sonority. Given superior orchestras, the freshness of
!!
3. Compositional style.
Boulez's famous phrase about organized delirium (Son et
verbe, 1958, in Relevs d'apprenti, 1966) is a most useful
starting-point for examining his style and aesthetics. Delirium
situates the music's essential poetics: it points to the postExpressionist colouring of individualist subjectivism in which the
humanism of Boulez's music has its deepest roots; and it directs
the listener's attention to the unique inflections of the composer's
voice. Organization, on the other hand, speaks of the effort to
exteriorize expression in universal terms: it indicates the nature
of the Platonic model to which Boulez relates his work, and
instructs one to seek out the logic in its workings. Composers of
Boulez's generation have commonly seen the inseparability of
style and logic as a criterion of musical excellence; and it is within
such terms as theirs that critical analysis of Boulez's music has
most often been conducted.
With rare exceptions (notably in the Third Piano Sonata),
Boulez's music displays its firmest foundations in linear, melodic
thinking. In adopting and imaginatively developing the principles
of Schoenbergian serialism in his organization of pitches, Boulez
rapidly evolved a melodic manner of wide-ranging flexibility. The
freedom with which he uses every possible tempered melodic
interval is restrained only by a recurrent tendency of these
intervals to fall into characteristic aggregations, somewhat in the
manner of Webern. This gives rise to melodic cells, which can
be used in an overtly thematic manner, as in the early sonatas
and in the Sonatina, whose form is modelled on that of
Schoenberg's Kammersymphonie op.9, and from which the
following examples are taken. Ex.1 shows a principal theme of
the work and some of its later appearances. The figure x, taken
from a characteristic opening flourish (ex.2), is later used,
!
!
WORKS
vocalorchestral
orchestral
unaccompanied choral
chamber and solo instrumental
piano
tape
incidental music
plans and projects
juvenilia
editions and arrangements
!!
vocalorchestral
Le soleil des eaux (R. Char), S, T, B, chbr orch, 1950 [after incid music],
Joachim, Mollet, Peyron, Orchestre National, cond. Desormire, Paris,
18 July 1950, unpubd; rev. S, T, B, STB, orch, 1958, Nendick, Krebs,
Rehfuss, Hesse Radio Chorus and SO, cond. Bour, Darmstadt, 9 Sept
1958; rev. S, SATB, orch, 1965, Gayer, Berlin Philharmonic Choir and
PO, cond. Boulez, Berlin, 4 Oct 1965
Le visage nuptial (Char), S, A, female chorus, orch, 19512 [after chbr
work], Steingruber, Bornemann, Cologne Radio Chorus and SO, cond.
Boulez, Cologne, 4 Dec 1957; rev. 19869, Bryn-Julson, Laurence, BBC
Singers, BBC SO, cond. Boulez, London, 25 Jan 1988 [inc.], same
perfs., Metz, 16 Nov 1989 [complete], unpubd
Pli selon pli (S. Mallarm), S, orch, 195762:
1 Don, S, pf, 1960; Rogner, Bergmann, Cologne, 13 June 1960 [first
perf. of Pli selon pli], unpubd; new version, S, orch, 196062, Rogner,
SWF SO, cond. Boulez, Amsterdam, 5 July 1962; rev. 198990,
Tuomela, Finnish RSO, Etvs, Helsinki, 18 April 1990, unpubd
2 Improvisation sur Mallarm I: Le vierge, le vivace et le bel aujourd'hui,
S, hp, tubular bells, vib, 4 perc, 1957; Hollweg, members of NDR SO,
cond. Rosbaud, Hamburg, 13 Jan 1958; arr. S, orch, 1962, Rogner, SWF
SO, cond. Boulez, Donaueschingen, 20 Oct 1962
3 Improvisation sur Mallarm II: Une dentelle s'abolit, S, cel, hp, pf,
tubular bells, vib, 4 perc, 1957; Hollweg, members of NDR SO, cond.
Rosbaud, Hamburg, 13 Jan 1958
4 Improvisation sur Mallarm III: A la nue accablante tu, S, orch, 1959;
Rogner, SWF SO, cond. Rosbaud, Donaueschingen, 10 June 1959; rev.
19834, Bryn-Julson, BBC SO, cond. Boulez, London, 23 Feb 1984;
both versions unpubd
5 Tombeau: S, orch, 1959; Rogner, Domaine Musical Ens, cond. Boulez,
Donaueschingen, 17 Oct 1959, unpubd; rev. version, Rogner, SWF SO,
cond. Boulez, Cologne, 13 June 1960
cummings ist der Dichter, 16 solo vv/mixed chorus, chbr orch, 1970;
Schola Cantorum Stuttgart, Stuttgart RSO, cond. Boulez, Gottwald, Ulm,
19 Sept 1970; rev. 1986, Stockholm Chamber Choir, Ensemble
InterContemporain, cond. Boulez, Strasbourg, 23 Sept 1986
!!
orchestral
full
Symphonie concertante, pf, orch, 1947, lost 1954
Doubles, orch, 19578; Lamoureux Orch, cond. Boulez, Paris, 16 March
1958; extended as FiguresDoublesPrismes, orch, 1963, SWF SO,
cond. Boulez, Basle, 10 Jan 1964; further extended, 1968, Residentie
Orch, cond. Boulez, The Hague, 3 March 1968; all versions unpubd
Posie pour pouvoir (H. Michaux), 5-track tape, 3 orch groups, 1958;
SWF SO, conds. Rosbaud, Boulez, Donaueschingen, 19 Oct 1958;
unpubd
Livre pour cordes, Ia, Ib, str, 1968; Ia, New Philharmonia, cond. Boulez,
London, 1 Dec 1968; with Ib, same perfs., Brighton, 8 Dec 1968; rev. in 1
mvt 1988, BBC SO, cond. Boulez, London, 17 Jan 1989
Rituel: in memoriam Bruno Maderna, orch, 19745 [related to
explosante-fixe], BBC SO, cond. Boulez, London, 2 April 1975
Notations, 1978 [developed from pf pieces]; IIV, Paris Orch, cond.
Barenboim, Paris, 18 June 1980; VII, Chicago SO, cond. Barenboim,
Chicago, 14 Jan 1999
chamber
Notations, 11 nos., 1946, unpubd [arr. of pf pieces]
Polyphonie X, 18 insts, 195051; SWF SO, cond. Rosbaud,
Donaueschingen, 6 Oct 1951; unpubd, withdrawn
Domaines, cl, 21 insts in 6 groups, 19618; Boeykens, RTB SO, cond.
Boulez, Brussels, 20 Dec 1968; unpubd except for cl pt performable as cl
solo
Eclat, 9 perc, 6 insts, 1965 [related to original Don and Strophes];
members of Los Angeles PO, cond. Boulez, Los Angeles, 26 March
1965; extended as Eclat/Multiples, 9 perc, orch, 1970, BBC SO, cond.
Boulez, London, 21 Oct 1970, inc., unpubd
Rpons, 2 pf, hp, vib, glock, cimb, orch, elecs, 198084; Ensemble
InterContemporain, IRCAM technicians, cond. Boulez, Donaueschingen,
18 Oct 1981; extended version, same perfs., London, 6 Sept 1982;
further extended version, Turin, 22 Sept 1984; all versions unpubd
explosante-fixe, version for MIDI fl, orch, elecs, 19913, Valade,
Ensemble InterContemporain, cond. Robertson, Turin, 13 Sept 1993
[Transitoire VII]; Valade, Ensemble InterContemporain, cond. Boulez,
New York, 11 Nov 1993 [Transitoire VII, Transitoire V, Originel]; both
versions unpubd
!!
unaccompanied choral
Oubli signal lapid (A. Gatti), 12 solo vv, 1952; Ensemble Vocal Marcel
Couraud, Cologne, 3 Oct 1952; unpubd; material used in cummings ist
der Dichter
!
chamber and solo instrumental
vocal
Le visage nuptial (Char), S, A, 2 ondes martenot, pf, perc, 1946 [2
movts]; Paris, 1947, unpubd
Le marteau sans matre (Char), A, a fl, gui, vib, xylorimba, perc, va,
19535; Plate, members of SWF SO, cond. Rosbaud, Baden-Baden, 18
June 1955
311 instruments
Quartet, 4 ondes martenot, 19456; unpubd
3 essais, perc, 1950, unpubd
Livre pour quatuor, str qt, 19489: Ia, Ib, II, IIIa, IIIb, IIIc, IV (unpubd), V,
VI; Ia, Ib, II, Marschner Qt, Donaueschingen, 15 Oct 1955; V, VI,
Hamann Qt, Darmstadt, 9 Sept 1961; IIIa, IIIb, IIIc, Parrenin Qt,
Darmstadt, 8 July 1962
Pour le Dr Kalmus, fl, cl, va, vc, pf, 1969, private perf., London, 16 May
1969, unpubd
explosante-fixe, version for fl, cl, tpt, London Sinfonietta, London,
17 June 1972; version for fl, cl, tpt, hp, vib, vn, va, vc, elecs, New York
PO, New York, 5 Jan 1973; rev., BBC SO, Rome, dir. Boulez, 13 May
1973; rev., Musique Vivante, dir. Masson, La Rochelle, 6 July 1974; all
versions unpubd
Messagesquisse, solo vc, 6 vc, 1976; Claret, members of the jury of the
Rostropovich Competition, La Rochelle, 3 July 1977
Drive I, fl, cl, pf, vib, vn, vc, 1984; London Sinfonietta, cond. Knussen,
London, 31 Jan 1985; related to Rpons
Mmoriale, fl, 8 insts, 1985 [after fl pt of 19724 explosante-fixe],
Cherrier, Ensemble InterContemporain, cond. Boulez, Paris, 29 Nov
1985; rev. in 19913 version of explosante-fixe
Initiale, brass, 1987, Houston, 4 June 1987; extended, 1992, members of
Chicago SO, cond. Boulez, Chicago, 20 Nov 1992; both versions unpubd
Drive II, 11 insts, 198893; Ensemble InterContemporain, cond. Boulez,
Milan, 21 June 1990; rev. version, same perfs., London, 7 Feb 1993;
both versions unpubd
sur Incises, solo pf, 2 pf, 3 hp, 2 vib, mar, 19958 [after pf work Incises],
Vassilakis, Ensemble InterContemporain, cond. Boulez, Basle, 27 April
1996; extended, 1998, Vassilakis, Ensemble InterContemporain, cond.
Robertson, Edinburgh, 30 Aug 1998; first version unpubd
12 instruments
Sonatina, fl, pf, 1946; private perf., Boterdael, Mercenier, Brussels, 1947;
first public perf., Gazzelloni, Tudor, Darmstadt, 1956
Domaines, cl, 19618; Deinzer, Ulm, 20 Sept 1968
Dialogue de l'ombre double, cl, elecs, 19825 [after Domaines];
Damiens, Florence, 28 Oct 1985; version for bn, elecs, 1995, Gallois,
Paris, 3 Nov 1995
explosante-fixe, version for vib, elecs, 1986, Forestier, Basle, 2
Sept 1986
Anthmes, vn, 1991 [after vn pt of 19724 explosante-fixe], Arditti,
Vienna, 18 Nov 1991; Anthmes II, vn, elecs, 1997, Hae Sun Kang,
Donaueschingen, 19 Oct 1997
!
piano
Nocturne, pf, 19445, unpubd
Prelude, Toccata and Scherzo, pf, 19445, unpubd
3 psalmodies, pf, 1945; Grimaud, Paris, 1945; unpubd
Theme and Variations, pf left hand, 1945, unpubd
Notations, 12 pieces, pf, 1945; Grimaud, Paris, 1945; orch versions,
1946, 1978
Sonata no.1, 1946; Grimaud, Paris, 1946
Sonata no.2, 19478; Grimaud, Paris, 29 April 1950
Structures, livre I, 2 pf, 19512; Messiaen, Boulez, Paris, 4 May 1952 [Ia
only]; Grimaud, Loriod, Cologne, 13 Nov 1953 [complete]
Sonata no.3: Antiphonie, Trope, Constellation (also retrograde version
Constellation-Miroir), Strophe, Squence, 19557; Boulez, Darmstadt,
26 Sept 1957; rev. 1963; unpubd except for Sigle (fragment of
Antiphonie), Trope and Constellation-Miroir
Structures, livre II, 2 pf, 195661; Loriod, Boulez, Donaueschingen, 21
Oct 1961
Incises, pf, 1994; Umberto Micheli Piano Competition, Milan, 21 Oct
1994
!
tape
2 Etudes, tape, 1951
2
!
incidental music
Le soleil des eaux (radio play, Char), S, orch, 1948; ORTF, April 1948,
unpubd
!
plans and projects
Un coup de ds (Mallarm), chorus, orch, 1950, unpubd
Strophes, fl, insts, 1957, inc., unpubd, related to Orestie
Marges, perc ens, 19624, sketches only, unpubd
explosante-fixe, compositional plan, 1971; various realizations
listed above
Also op projects with J. Genet, 1960s and H. Mller, 1980s
juvenilia
19423: songs (C. Baudelaire, R.M. Rilke); Berceuse, vn,
pf
!!
editions and arrangements
Chansons de Bilitis, reconstruction of cel part for work by Debussy, ?
1954
Frontispice, after Ravel, small orch, 1987
ed. with M. Chimnes: C. Debussy: Jeux, Oeuvres compltes, v/8 (Paris,
1988)
MSS (incl. unpubd works) in CH-Bps
Principal publishers: Universal (most works), Amphion (works of 1946),
Heugel (works of 19469)
!!
WRITINGS
most of the composer's articles, essays and lectures have been published
in volume form; only uncollected items are listed separately
Musikdenken heute (Mainz, 1963/R; Fr. orig., Paris, 1964/R, as Penser la
musique aujourd'hui; Eng. trans., 1971, as Boulez on Music Today)
Relevs dapprenti (Paris, 1966; Eng. trans., 1968, as Notes of an
Apprenticeship and, 1991, as Stocktakings from an Apprenticeship)
Technology and the Composer, Times Literary Supplement (6 May 1977)
Through Schoenberg to the Future, Journal of the Arnold Schoenberg
Institute, (19767), 1215
Points de repre (Paris, 1981; Eng. trans., 1986, as Orientations)
Le timbre et lcriture, Le timbre: mtaphore pour la composition: Paris
1985, 5419; Eng. trans. in CMR, ii (1987), 16171
Necessit d'une orientation esthtique (II), Canadian University Music
Review, (1986), 4679 [part I in Points de repre]
M a e s t r o C o m p u t e r : E r f o r s c h u n g d e r n e u e n To n g r e n z e n ,
Computermusik, ed. G. Batel, G. Kleinen and D. Salbert (Laaber,
1987), 3747
with others: IRCAM: Institut de Recherche et Coordination Acoustique/
Musique (Paris, 1987)
The Composer and Creativity, Journal of the Arnold Schoenberg Institute,
xi (1988), 10722
with A. Gerzso: Computers in Music, Scientific American, no.258 (1988),
4450
Jalons (pour une dcennie) (Paris, 1989)
Le pays fertile: Paul Klee (Paris, 1989)
The Vestal Virgin and the Fire-Stealer: Memory, Creation and
Authenticity, EMc, xviii (1990), 3558
with J. Cage: Correspondance et documents, ed. J.-J. Nattiez (Winterthur,
1990; Eng. trans.,1993, as The Boulez-Cage Correspondence
L'autodidacte volontaire, Acanthes an XV: composer, enseigner, jouer la
musique d'aujourd'hui, ed. C. Gilly and C. Samuel (Paris, 1991), 113
22
Zukunftsmusik: avenir de la musique, Circuit, iii/1 (1992), 722
with others: Recherche et cration vers de nouveaux territoires (Paris,
1992)
!
!!
BIBLIOGRAPHY
interviews
monographs and symposia
general studies
studies relating to particular works
general studies
M. Scriabine: Pierre Boulez et la musique concrte, ReM, no.215 (1952),
1415
J. Barraqu: Rythme et dveloppement, Polyphonie, nos.910 (1954),
4773
R. Craft: Boulez and Stockhausen, The Score, no.24 (1958), 5464
A. Hodeir: La musique depuis Debussy (Paris, 1961; Eng. trans., 1961)
S. Bradshaw and R.R. Bennett: In Search of Boulez, Music and
Musicians, xi (19623), no.5, pp.1013; no.12, pp.1418, 50
K. Boehmer: Zur Theorie der offenen Form in der neuen Musik
(Darmstadt, 1967, 2/1988), 84ff
A. Whittall: After Webern, Wagner: Reflections on the Past and Future of
Pierre Boulez,MR, xxviii (1967), 1358
A.H. Cross: The Significance of Aleatoricism in Twentieth-Century Music,
MR, xxix (1968), 30522
G.W. Hopkins: Debussy and Boulez, MT, cix (1968), 71014
B. Canino: Boulez prima e dopo, NRMI, iii (1969), 67283
J.-P. Derrien: Dossier Pierre Boulez, Musique en jeu, no.1 (1970), 103
32
J. Husler: Fruchtland der Synthese: der Komponist Pierre Boulez,
Musica, xxiv (1970), 23941
M. Fink: Pierre Boulez: a Selective Bibliography, CMc, no.13 (1972),
13550
D. Hamilton: The Prospective Encounters at the Philharmonic: Aims and
Achievement,Musical Newsletter, ii/4 (1972), 38
P. Wapnewski: Richard Wagner: die Szene und ihr Meister (Munich,
1978)
S. de Nussac and F. Regnault, eds.: Historie d'un ring: Der Ring des
Nibelungen (L'anneau de Nibelung) de Richard Wagner Bayreuth
19761980 (Paris, 1980)
F. Bayer: De Schnberg Cage: essai sur la notion d'espace sonore dans
la musique contemporaine (Paris, 1981)
R. Craft: Stravinsky Pre-Centenary, PNM, xix (1981), 46477
J.-E. Marie: Inverse Function: Differentiation and Integration in Messiaen
and Boulez,Sonus, ii/1 (1981), 2633; v/1 (1984), 3660
Dossier Pierre Boulez, L'avant-scne opra, no.36 (1981), 16297
J. Ardoin: A Ring Diary, OQ, i (1983), no.2, pp.410; no.3, pp.2532
J.-J. Nattiez: Ttralogies: Wagner, Boulez, Chreau (Paris, 1983)
R. Craft: Stravinsky: Selected Correspondence, ii (London and New York,
1984)
H. Dufourt: De Schnberg Boulez: logique et dialectique de la cration
musicale, Esprit, no.99 (1985), 2136
M. Foucault: Pierre Boulez: l'cran travers, Silences, no.1 (1985), 11
15; repr. as preface to P. Boulez: Jalons (pour une dcennie) (Paris,
1989), 1922
I. Founberg: Serialisten Pierre Boulez, DMt, lix (19845), 12037, 231
46, 35162
G. Schubert: Werkidee und Kompositionstechnik zur seriellen Musik von
Boulez, Stockhausen und Ligeti,Die Musik der fnfziger Jahre, ed. C.
Dahlhaus (Mainz, 1985), 4871
C. Delige: Invention musicale et idologies (Paris, 1986)
H. Dufourt: Pierre Boulez: musicien de l're industrielle, Komponisten
des 20. Jahrhunderts in der Paul Sacher Stiftung, ed. F. Meyer, J.M.
Jans and I. Westen (Basle, 1986), 37180
J. Husler: Boulez selon Boulez: fragmentarische Bemerkungen zu den
(1988), 83106
W.G. Harbinson: Performer Indeterminacy and Boulez's Third Sonata,
Tempo, no.169 (1989), 1620
A. Baltensperger: Marginalien zu einem Manuskript von Pierre Boulez,
Mitteilungen der Paul Sacher Stiftung, iii (1990), 1522
U. Mosch: Disziplin und Indisziplin: zum seriellen Komponieren im 2. Satz
des Marteau sans matrevon Pierre Boulez, Musiktheorie, v (1990),
3966; responses by T. Bsche, ibid., 25370, and G.F. Haas, ibid.,
2713
W. Wentzel: Dynamic and Attack Associations in Boulez's Le marteau
sans matre,PNM, xxix (1991), 14270
P. McCallum: Deuxime Sonate Que me veux-tu? Sonata Form in the
First Movement of Boulez's Second Piano Sonata, SMA, xxvi (1992),
6284
A. Piret: Pierre Boulez: Troisime sonate pour piano, Analyse musicale,
no.29 (1992), 6174
B. Ramaut: Dialogue de l'ombre double de Pierre Boulez: analyse d'un
processus citationel, Analyse musicale, no.28 (1992), 6975
H. Sandroff: Realizing the Spatialization Processing of Dialogue de
l'ombre double by Pierre Boulez, Inernational Computer Music
Conference: San Jose, CA 1992, 2025
A. Edwards: Boulez'sDoubles and FiguresDoublesPrismes: a
Preliminary Study, Tempo, no.185 (1993), 618
J.S. Lee: Mimesis and Beyond: Mallarm, Boulez, and Cage, Writings
about John Cage, ed. R. Kostelanetz (Ann Arbor, 1993), 180217
R. Nemecek: Tendenz und Kontinuitt im frhen Klavierschaffen von
Pierre Boulez,Mitteilungen der Paul Sacher Stiftung, vi (1993), 1822
R. Pereira: La Troisime sonate de Pierre Boulez, Dissonanz, no.36
(1993), 47
R.T. Piencikowski: Assez lent, suspendu, comme imprvisible:
quelques aperus sur les travaux d'approche d'Eclat, Genesis, no.4
(1993), 5167
A. Williams: Rpons: Phantasmagoria or the Articulation of Space,
Theory, Analysis and Meaning in Music, ed. A. Pople (Cambridge,
1994), 195210
P. OHagan: Pierre Boulez: Sonate que me veux-tu: an Investigation of
the Manuscript Sources in Relation to the Third Sonata and the Issue
of Performer Choice(diss., U. of Surrey, 1997)
S. Chang: Boulezs Sonatine and the Genesis of his Twelve-Tone
Practice (Ann Arbor, 1998)