Pierre Boulez' "Sonatine für Flöte und Klavier" und ihre neu aufgetauchte Frühfassung

2021 ◽  
Vol 55 (1) ◽  
pp. 51-59
Author(s):  
Susanne Gärtner
Keyword(s):  
Anton Webern ◽  
Olivier Messiaen ◽  
Pierre Boulez

Die Sonatine für Flöte und Klavier (1946) gehört zu den frühesten veröffentlichten Kompositionen von Pierre Boulez. Sie dokumentiert das Bestreben des Zwanzigjährigen, verschiedene Kompositionsverfahren zu einer neuartigen Musiksprache zu verbinden. Beschreibungen des Werks bestaunen den zukunftsweisenden, an Anton Webern orientierten Umgang mit der Zwölftontechnik. Nun sind Dokumente aufgetaucht, die belegen, dass vor der Druckfassung 1949 eine deutliche Überarbeitung stattfand. Wie die Frühfassung zeigt, hielt die Prägung des jungen Boulez durch seinen Lehrer Olivier Messiaen länger an und war stärker wirksam, als man es bisher annahm.

Serialism

Artful Noise ◽  
2020 ◽  
pp. 82-96
Author(s):  
Thomas Siwe
Keyword(s):  
Arnold Schoenberg ◽  
Anton Webern ◽  
Point System ◽  
Tonal Music ◽  
Karlheinz Stockhausen ◽  
Pierre Boulez ◽  
Compositional Approach ◽  
Alberto Ginastera ◽  
Percussion Instruments ◽  
German Composer

In the 1950s and 1960s, many composers, influenced by Arnold Schoenberg and Anton Webern, embraced serial compositional techniques. Tonal music became atonal and composers, such as Pierre Boulez from France and the German composer, Karlheinz Stockhausen, championed this new compositional approach. This chapter defines serialism and how composers applied it to works for percussion instruments. Music examples include Stockhausen’s solo work, Zyklus, with its totally original notational system, and a setting of an E. E. Cummings poem, Circles, by the Italian composer Luciano Berio. American composer Charles Wuorinen’s use of Milton Babbitt’s “time point” system in both his solo work Janissary Music and his forty-five-minute Percussion Symphony is presented, as is the work of Argentine composer Alberto Ginastera, who contributed to the literature one of the twentieth century’s largest percussion works, Cantata para América Mágica, for dramatic soprano and fifty-three percussion instruments. A discussion of percussion solo and ensemble works by the Greek composer, architect, and mathematician Iannis Xenakis completes the chapter.

Messiaen, Olivier (1908–1992)

2018 ◽  
Author(s):  
Stephen Broad
Keyword(s):  
Twentieth Century ◽  
Compositional Style ◽  
Olivier Messiaen ◽  
Emotional Intensity ◽  
Karlheinz Stockhausen ◽  
Pierre Boulez ◽  
Catholic Faith ◽  
Considerable Detail

Olivier Messiaen was one of the foremost composers of the twentieth century, with a distinctive compositional style of great emotional intensity. This style drew on a diverse array of rhythmic, harmonic, timbral, and formal influences that included the songs of birds, and expressed a deeply held Catholic faith. Messiaen was influential as a teacher and foresaw the concept of total serialism taken forward by his pupils Pierre Boulez and Karlheinz Stockhausen. There are major works throughout his sixty-year career, including La Nativité du Seigneur (1935), the Quatuor pour la fin du temps (Quartet for the End of Time, completed 1941), Catalogue d’oiseaux (completed 1958), Couleurs de la Cité Céleste (1963), Des canyons aux étoiles (completed 1974) and St François d’Assise (completed 1983). In his treatises Technique de mon langage musical (1944) and Traité de rythme, de couleur, et d’ornithologie (1994–2002), he set out his musical inspirations and processes in considerable detail.

scholarly journals Henri Dutilleux and Maurice Ohana: Victims of an Exclusion Zone?

Tempo ◽  
2000 ◽  
pp. 22-30 ◽  
Author(s):  
Caroline Rae
Keyword(s):  
20Th Century ◽  
Olivier Messiaen ◽  
Exclusion Zone ◽  
French Music ◽  
Pierre Boulez ◽  
Respective Contribution ◽  
The 1960S ◽  
Henri Dutilleux ◽  
Forward Looking

Until recently, the music of Henri Dutilleux and Maurice Ohana was largely overlooked in Britain, despite both composers having achieved widespread recognition beyond our shores. In France they have ranked among the leading composers of their generation since at least the 1960s and have received many of the highest official accolades. In Britain, the view of French music since 1945 has often been synonymous with the music of Olivier Messiaen and Pierre Boulez, to the virtual exclusion of others whose work has long been honoured not only in France and elsewhere in Europe but in the wider international arena. These ‘others’ include Dutilleux and Ohana. Developing an innovative and forward-looking approach, independent from the preoccupations of their contemporaries who congregated at Darmstadt, both Dutilleux and Ohana were excluded from representation at the concerts of the Domaine musical. As a result, their music was neglected in Britain throughout the years when the programming policies of Boulez and Sir William Glock were at their most influential. Undoubtedly, Boulez is one of the most phenomenal figures in music of the last 50 or so years and the position of his erstwhile teacher Messiaen is secure as one of the giants of the 20th century. Yet, however significant their respective contribution, Boulez and Messiaen represent only one facet of French music since 1945.

scholarly journals Serge Garant à Paris : parcours d’un crucial apprentissage

2020 ◽  
Vol 19 (1-2) ◽  
pp. 29-41
Author(s):  
Jean Boivin
Keyword(s):  
Olivier Messiaen ◽  
Pierre Boulez

D’octobre 1951 à mai 1952, Serge Garant séjourne à Paris en compagnie de ses amis Wilfrid Lemoyne et Suzanne Gagnon. Tout en découvrant les trésors culturels de la capitale française, il assiste aux célèbres cours d’analyse donnés par Olivier Messiaen au Conservatoire national supérieur de musique de Paris. Il prend également des leçons d’écriture auprès d’Andrée Vaurabourg-Honegger, l’une des pédagogues les plus respectées de la capitale française. Cette période d’apprentissage sera marquante dans le développement du compositeur, comme en font foi plusieurs lettres et témoignages de Garant, de même que les oeuvres composées durant cette période. Cet article vise à mettre en lumière les points saillants du séjour de Garant à Paris, par exemple la découverte des oeuvres de Messiaen et de Pierre Boulez, et l’impact de cette expérience sur les activités subséquentes du compositeur québécois.

Anton Webern (1883−1945)

2018 ◽  
Author(s):  
Kathryn Bailey Puffett
Keyword(s):  
Contemporary Music ◽  
Anton Webern ◽  
Alban Berg ◽  
Karlheinz Stockhausen ◽  
Strict Adherence ◽  
Second Viennese School ◽  
Musical Performances ◽  
Pierre Boulez ◽  
The 1950S ◽  
Second World

Webern was one of the three principal composers of the Second Viennese School. Probably Arnold Schoenberg’s first private pupil and a devoted lifelong friend, he was one of the founders in 1918, along with Schoenberg and Alban Berg, of the Society for Private Musical Performances in Vienna, a society dedicated to the furtherance of the understanding of contemporary music whose concerts were attended by invitation only. He was also an immediate convert to Schoenberg’s twelve-note technique, which was announced in 1923; in fact it is clear that Webern was experimenting with ideas of this sort already in 1911. Webern was destined to become a model in the 1950s for composers such as Pierre Boulez and Karlheinz Stockhausen and other integral serialists of the Darmstadt school, who eagerly seized upon his strict adherence to twelve-note rows (from 1926 onwards) and his careful organization of rhythm and dynamics, which led to an total serialism in the 1950s and 1960s of which he would almost certainly have despaired. He was also a conductor of considerable merit, though the Second World War more or less put an end to both his conducting career and the performance of his music.

Tremblay, Gilles (1932--)

2018 ◽  
Author(s):  
Marie-Thérèse Lefebvre
Keyword(s):  
Twentieth Century ◽  
New Music ◽  
Musical Composition ◽  
Olivier Messiaen ◽  
Karlheinz Stockhausen ◽  
Iannis Xenakis ◽  
Guillaume De Machaut ◽  
The Past ◽  
Pierre Boulez ◽  
School Of Music

Composer and musical pedagogue Gilles Tremblay made significant contributions to the development of musical composition in Quebec in the second half of the twentieth century. After studying at the Montreal Conservatory (Conservatoire de Musique du Québec à Montréal), he attended workshops at the Marlboro School of Music (Vermont) in the summers of 1950, 1951, and 1953. He lived in Paris from 1954 to 1961, where he enrolled in the piano studio of Yvonne Loriod, took analysis courses with Olivier Messiaen, attended workshops on Ondes Martenot, and received counterpoint lessons with Andrée Vaurabourg-Honegger. Tremblay attended the Darmstadt International Summer Courses in 1957 and 1960, and worked at the GRM (Groupe de Recherches Musicales) led by Pierre Schaeffer. Involved at this time with the networks of French new music, he frequently met with Pierre Boulez, Karlheinz Stockhausen, and Iannis Xénakis. In 1961 Tremblay returned to Quebec and was appointed professor of analysis and composition at the Montreal Conservatory, a position he occupied until his retirement in 1997. His courses at the Conservatory were inspired by Messiaen’s famous analysis class in Paris. Tremblay found connections between master works of Western music that linked the past to the present, from Gregorian chants to the polyphony of Guillaume de Machaut, Monteverdi, and Mozart, through to the twentieth century. His courses were extremely influential to two or three generations of composers in Quebec.

scholarly journals Constructing the Monk: Francis Poulenc and the Post-War Context

2013 ◽  
Vol 32 (1-2) ◽  
pp. 203-230 ◽  
Author(s):  
Christopher Moore
Keyword(s):  
Olivier Messiaen ◽  
Entire Body ◽  
Francis Poulenc ◽  
Avant Garde ◽  
Pierre Boulez ◽  
Compositional Language ◽  
Post War ◽  
The Aesthetic ◽  
Work Up ◽  
Second World

Following the Second World War Francis Poulenc took a keen interest in the music of the French avant-garde and was compelled to react in both his music and his writings to the aesthetic and technical experiments of the younger generation. Although the music of composers like Olivier Messiaen and Pierre Boulez did not elicit a profound change on the substance of Poulenc’s compositional language, he did grow to the realization that the style he had embraced during the interwar period—one generally described as light-hearted and ironic—had become largely out of sync with new critical trends and concerns. Poulenc’s self-conscious aim to assert a personal form of “seriousness” in his works—one constructed with recourse to religiosity, stylistic homogeneity and the ostensibly concomitant values of sincerity and authenticity—formed the backbone of a new tone and persona that emerged following the war and which inflected his entire body of work up to his death in 1963. Poulenc’s desire to reinvent himself during this period forces us to re-examine his works, writings, and elements of his biography for the way in which they were constructed as a means of facilitating the discursive emergence of this new, more “serious,” persona.

Olivier Messiaen sitt klangunivers

2016 ◽  
Author(s):  
Martha Berit Belt
Keyword(s):  
Olivier Messiaen
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