“A sensual musical bath of sonorous reverberation and exotic resonance, music that shimmers and glints with a seductive play of instrumental timbres”
In the same article, Gillian Moore, the Southbank Centre’s head of contemporary culture, asks if Boulez’ Pli selon Pli is “greatest orchestral work of the past 50 years”.
The Southbank Centre’s Exquisite Labyrinth: The Music of Pierre Boulez, takes place from Friday 30 Sept to Sunday 2 Oct.
From the web today, part 1
A slide show of a tennis match between Federer and Djokovic complete with Arnold Schönberg’s tennis notation (from the Zurich Tages-Anzeiger, with thanks to @alexrossmusic for the tip).
From the web today, part 2
The Vienna Philharmonic opens its 2011 Salzburg Festival residency tonight with a concert of music by Alban Berg and Gustav Mahler.
Pierre Boulez conducts and is joined by Anna Prohaska, Dorothea Röschmann, Anna Larsson and Johan Botha.
The concert will be broadcast on Sunday 7 August at 11am on ORF OE1 Radio.
Watch Pierre Boulez talking to UE about the music of Gustav Mahler
Watch on YouTube
Cologne’s ‘new’ new music festival Acht Brücken (Eight Bridges) starts this weekend, and is dedicated to the music of Pierre Boulez.
Boulez himself conducts the opening concert, with works by Ravel, Schönberg and Stravinsky.
Further highlights of the festival include performances of Le Marteau sans maître and sur Incises with Ensemble intercontemporain; Répons, performed by the Asko|Schönberg Ensemble with Reinbert de Leeuw; and the grand finale concert with MusikFabrik conducted by Pascal Rophé, where Pli selon pli will be heard.
We've just heard from Paul Griffiths about a fascinating new film about the music of the 20th century.
Read the full details here.
We’ve just received the new book by Jonathan Goldman: The Musical Language of Pierre Boulez – part of the Cambridge University Press “Music Since 1900” series.
From the jacket:
“Pierre Boulez is arguably the most influential composer of the second half of the twentieth century. Here, Jonathan Goldman provides a fresh appraisal of the composer's music, demonstrating how understanding the evolution of Boulez's ideas on musical form is an important step towards evaluating his musical thought generally.”
You can read the preface and a large part of the introduction at the Cambridge University Press website.