Pierre Boulez: Cummings ist der Dichter

Pierre Boulez Cummings ist der Dichter
Cummings ist der Dichter

Pierre Boulez: Cummings ist der Dichter

Year of composition:
1970/1986
Version:
version 1986
Scored for:
for 16 solo voices or mixed choir and instruments
Composer:
Pierre Boulez
Text author:
E. E. Cummings
Choir:
SATB (bis 48 Stimmen)
Soloists:
soprano; alto; tenor; bass
Instrumentation:
2 2 3 2 - 2 2 2 1 - hp(3), vln(3), vla(2), vc(2), cb(1)
Instrumentation details:
1st flute
2nd flute
oboe
cor anglais
1st clarinet in Bb
2nd clarinet in Bb
bass clarinet in Bb
1st bassoon
2nd bassoon
1st horn in F
2nd horn in F
1st trumpet in C
2nd trumpet in C
1st trombone
2nd trombone
bass tuba
1st harp
2nd harp
3rd harp
1st violin
2nd violin
3rd violin
1st viola
2nd viola
1st violoncello
2nd violoncello
contrabass
Duration:
13–14'
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Audiosamples

Cummings ist der Dichter
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The complete perusal score (PDF-preview)

Work introduction

Pierre Boulez became familiar with the poems of Edward Estlin Cummings, the maverick of American literature, during his first visit to the United States in 1952, when he was immediately gripped by Cummings’ way of interleaving turmoil and structure.

Cummings numbers among those poets for whom the sense of language is not exhausted by being a vehicle of expression and communication. For him, language was also material to be tapped through analysis. Yet semantics and material character do not constitute two aspects of language which would combine to block any impartation; rather, Cummings’ work is so attractive precisely because its material analyses reveal surprising layers of meaning – and Boulez sought to capture that multidimensionality in music.

Thus, the antinomy of the semantic-material in Boulez’ musical structure versus e.g. voices – instruments, lines – individual notes, pitches – noise, heterophony – corresponds to organised harmoniousness inexactly – metrically or not, precisely or not. The fact that such impartation can extend to override opposites becomes clear when Boulez speaks of “orchestrating singing voices.”

Boulez did not restrict himself to one of Cummings’ poems; he chose four of them which are closely related in their semantics and material disposition.

© Willi Reich (from the programme booklet for the first performance)

Translated by Grant Chorley, 2013

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Première

Location:
Stuttgart
Date:
25.09.1970
Orchestra:
Mitglieder des Südfunk-SO
Conductor:
Clytus Gottwald

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