Pierre Boulez (26 March 1925 – 5 January 2016) was a French composer, condu… Read Full Bio ↴Pierre Boulez (26 March 1925 – 5 January 2016) was a French composer, conductor, prolific writer, and pianist. He was also the founder and former director of the Paris based Institut de Recherche et Coordination Acoustique/Musique (IRCAM).
In his early career, Boulez played a key role in the development of integral serialism, controlled chance and electronic music. This, coupled with his highly polemical views on the evolution of music, gained him the image of an enfant terrible.
As a conductor, Boulez was known mainly for his performances of Béla Bartók, Alban Berg, Anton Bruckner, Claude Debussy, Gustav Mahler, Maurice Ravel, Arnold Schoenberg, Igor Stravinsky, Edgard Varèse, Richard Wagner, and Anton Webern. He was awarded a total of 26 Grammy Awards during his career.
Pierre Boulez was a composer and conductor of contemporary and classical music and also an articulate, perceptive and sweeping writer on music. Some articles —notably the notorious «Schoenberg is Dead» (1951)— were deliberately provocative and veered towards polemic. Others dealt with questions of technique and aesthetics in a deeply reflective if sometimes elliptical manner. These writings have mostly been republished under the titles Notes of an Apprenticeship, Orientations: Collected Writings, and Boulez on Music Today, as well as within reprints of the journal of the Darmstadt composers of the time, Die Reihe.
Boulez was also world-famous conductor, having directed most of the world's leading symphony orchestras and ensembles since the late fifties. He served both as Chief Conductor of the BBC Symphony Orchestra from 1971-1975, and Music Director of the New York Philharmonic from 1971-1977. He is currently the Principal Guest Conductor of the Chicago Symphony Orchestra.
Boulez was particularly famed for his polished interpretations of twentieth century classics - Claude Debussy, Maurice Ravel, Gustav Mahler, Arnold Schoenberg, Igor Stravinsky, Leoš Janáček, Béla Bartók, Anton Webern and Edgard Varèse - as well as for numerous performances of contemporary music. Clarity, precision, rhythmic agility and a respect for the composers' intentions as notated in the musical score were the hallmarks of his conducting style. He never used a baton, conducting with his hands alone. His nineteenth century repertoire focused upon Ludwig van Beethoven, Hector Berlioz, Robert Schumann and especially Richard Wagner.
In his early career, Boulez played a key role in the development of integral serialism, controlled chance and electronic music. This, coupled with his highly polemical views on the evolution of music, gained him the image of an enfant terrible.
As a conductor, Boulez was known mainly for his performances of Béla Bartók, Alban Berg, Anton Bruckner, Claude Debussy, Gustav Mahler, Maurice Ravel, Arnold Schoenberg, Igor Stravinsky, Edgard Varèse, Richard Wagner, and Anton Webern. He was awarded a total of 26 Grammy Awards during his career.
Pierre Boulez was a composer and conductor of contemporary and classical music and also an articulate, perceptive and sweeping writer on music. Some articles —notably the notorious «Schoenberg is Dead» (1951)— were deliberately provocative and veered towards polemic. Others dealt with questions of technique and aesthetics in a deeply reflective if sometimes elliptical manner. These writings have mostly been republished under the titles Notes of an Apprenticeship, Orientations: Collected Writings, and Boulez on Music Today, as well as within reprints of the journal of the Darmstadt composers of the time, Die Reihe.
Boulez was also world-famous conductor, having directed most of the world's leading symphony orchestras and ensembles since the late fifties. He served both as Chief Conductor of the BBC Symphony Orchestra from 1971-1975, and Music Director of the New York Philharmonic from 1971-1977. He is currently the Principal Guest Conductor of the Chicago Symphony Orchestra.
Boulez was particularly famed for his polished interpretations of twentieth century classics - Claude Debussy, Maurice Ravel, Gustav Mahler, Arnold Schoenberg, Igor Stravinsky, Leoš Janáček, Béla Bartók, Anton Webern and Edgard Varèse - as well as for numerous performances of contemporary music. Clarity, precision, rhythmic agility and a respect for the composers' intentions as notated in the musical score were the hallmarks of his conducting style. He never used a baton, conducting with his hands alone. His nineteenth century repertoire focused upon Ludwig van Beethoven, Hector Berlioz, Robert Schumann and especially Richard Wagner.
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42Le marteau sans maître: V. Bel édifice et les pressentiments - version première. Assez vif4:07Pierre Boulez
47Pli selon Pli (1957-62/84/89) Portrait de Mallarmé: No. 1 Don (version nouvelle 1989) ["Je t'apporte l'enfant d'une nuit d'Idumée"]15:10Christine Schäfer
48Pli selon Pli (1957-62/84/89) Portrait de Mallarmé: No. 2 Improvisation I sur Mallarmé (1958/62) le vierge, le vivace et le bel aujourd'hui5:00Christine Schäfer
49Pli selon Pli (1957-62/84/89) Portrait de Mallarmé: No. 3 Improvisation II sur Mallarmé (1957) une dentelle s'abolit11:48Christine Schäfer
50Pli selon Pli (1957-62/84/89) Portrait de Mallarmé: No. 4 Improvisation III sur Mallarmé (1959/84) à la nue accablante tu0:01Christine Schäfer
51Pli selon Pli (1957-62/84/89) Portrait de Mallarmé: No. 5 Tombeau (1959-62) ["une peu profond ruisseau calomnié la mort"]16:17Christine Schäfer
63Structures pour deux pianos - Livre II: Chapitre II (Pièces 1-2, Encarts 1-4, Textes 1-6)13:11Florent Boffard
74Messagequisse (1976/77) pour violoncelle solo et six violoncelles: Très lent - ciff.13:03Ensemble de Violoncelles de Paris
75Messagequisse (1976/77) pour violoncelle solo et six violoncelles: Très rapide - ciff.41:58Ensemble de Violoncelles de Paris
76Messagequisse (1976/77) pour violoncelle solo et six violoncelles: Sans tempo libre - ciff.82:57Ensemble de Violoncelles de Paris
77Messagequisse (1976/77) pour violoncelle solo et six violoncelles: Aussi rapide que possible - ciff.100:36Ensemble de Violoncelles de Paris
87Anthèmes 2 (1997) pour violon et dispositif électronique: 1. Très lent - I/II Libre1:15Hae-Sun Kang
88Anthèmes 2 (1997) pour violon et dispositif électronique: 2. Rapide, dynamique - II/III Libre2:30Hae-Sun Kang
91Anthèmes 2 (1997) pour violon et dispositif électronique: 5. Trés lent - V/VI Libre1:31Hae-Sun Kang
121Sur Incises (1996/1998) pour trois pianos, trois harp, trois percussion-claviers: Moment I14:10Hideki Nagano
122Sur Incises (1996/1998) pour trois pianos, trois harp, trois percussion-claviers: Moment II0:01Hideki Nagano
125Le Marteau sans Maître: Le Marteau Sans Maitre: 2. Commentaire I De Bourreaux De Solitude3:39Jeanne Deroubaix
127Le Marteau sans Maître: Le Marteau Sans Maitre: 4. Commentaire II De Bourreaux De Solitude4:15Jeanne Deroubaix
128Le Marteau sans Maître: Le Marteau Sans Maitre: 5. Bel Edifice Et Les Pressentiments3:22Jeanne Deroubaix
131Le Marteau sans Maître: Le Marteau Sans Maitre: 8. Commentaire III De Bourreaux De Solitude5:36Jeanne Deroubaix
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Pierre Boulez: Oeuvres complètes
Pierre-Laurent Aimard Lyrics
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