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Education » Literary
Pierre Boulez and the Piano : A Study in Style and Technique screenshot
English | 2017 | ISBN: 0754653196 | 365 Pages | PDF | 10 MB
Pierre Boulez's first piano pieces date from his youth, prior to his studies in Paris with Messiaen, and his subsequent meteoric rise to international acclaim as the leader of the musical avant-garde during the 1950s. His most recent published work is a solo piano piece, Une page d'ephemeride, written some sixty years after his first attempts at composition. The piano has remained central to Boulez's creative work throughout his career, and although his renown as a conductor has to some extent overshadowed his other achievements, it was as a performer of his own piano music that his practical gifts first found expression.

Peter O'Hagan has given performances of various unpublished piano works by Boulez, including Antiphonie from the Third Sonata and Trois Psalmodies. In this study, he considers Boulez's writing for the piano in the context of the composer's stylistic evolution throughout the course of his development. Each of the principal works is considered in detail, not only on its own terms, but also as a stage in Boulez's ongoing quest to invent radical solutions to the renewal of musical language and to reinvigorate tradition. The volume includes reference to hitherto unpublished source material, which sheds light on his working methods and on the interrelationship between works.


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You may not like it, but when you hear similar things in movies or games, the image helps you enjoy the background music, so it can not be denied that it is not music.
At another time at the beginning of jazz, everything was done to dance, time passed and showed that was meant to listen with attention and full appreciation.
In the past the old harpsichord was abandoned and was forgotten when entered classicism, so the piano took over as being a perfect mage in its audible harmonics production.

Come the twentieth century and bring cinema and audio-visual productions, ask yourself, why not bother with Foley sound effects when in musical backgrounds, these same effects can be produced within musical criteria such as dodecaphonism, serialism and whatever you want to create for the orchestra to play.

Old critics poorly prepared from the past of which were lovers of super organized music, they quoted that this new music was the same thing as putting a cat walking on the piano keyboard, they commented that the new could get all the attention of good old music and new music students would get lost, worst of all, could extinguish the orchestras. But this has not happened, these orchestras still play baroque music, the great classics, expressionists and modernists, and still have time for new expressions of the twentieth century.

It's simple, If you don't like modern art, don't go into a modern art museum.
And don't have an opinion on all things, even though we are incompetent for it.

Look at it this way:
A blank canvas is given to mankind, each one in it's time and region, paints what they want, using the physical elements that they possess within their limitation or not, be a simple coal, or the best oil paint quality. At the turn of the many centuries, analyze all human works, as documents that depict each era and tell their own story. 'Vincent van Gogh' was considered junk by some and turned up hit music at the hands of 'Don Mclean; Starry Starry Night´.

So, who are we to criticize, since we don't know the bases and limitations that underlie any art in any culture, be it, culinary, body expression, literature and poetry, visual arts and one that has universal language, music.

Pierre Boulez is fascinating.

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