Pierre Boulez: Répons

Pierre Boulez Répons
Répons

Pierre Boulez: Répons

Year of composition:
1981-1984/1985
Scored for:
for 6 soloists, ensemble and live electronics
Composer:
Pierre Boulez
Soloists:
vibraphone; glockenspiel; harp; cimbalom; piano; piano
Instrumentation:
2 2 3 2 - 2 2 2 1 - vln(3), vla(2), vc(2), cb(1) - live electronics
Instrumentation details:
1st flute
2nd flute
1st oboe
2nd oboe
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
tuba
1st violin
2nd violin
3rd violin
1st viola
2nd viola
1st violoncello
2nd violoncello
contrabass
Table of contents:
Répons für 6 Solisten, Ensemble und Live-Eletktronik
Remarks:
Work in progress. Oeuvre réalisée dans les studios de l´IRCAM Assistant musical: Andrew Gerzso Duplication des logiciels et banques de données de son strictement interdite. Utilisation des logiciels et banques de données de son limitée exclusivement a
Duration:
45’
Dedication:
à Alfred Schlee pour son 80e anniversaire
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Audiosamples

Répons
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The complete perusal score (PDF-preview)

Work introduction

Répons is written for six soloists, chamber ensemble, computer sonics and live electronics. Its germ, the impetus of the proliferation, lies in the composition Messagesquisse for violoncello solo and six violoncellos, created in 1976 for the 70th birthday of his Swiss friend and passionate musical patron Paul Sacher.

The title “Répons” is the French word for responsorium, a “dialogue” between cantor and congregation. Boulez’ work often shows an affinity for responsorial forms; in Répons, one hears dialogues of very different kinds: between the chamber ensemble and the soloists: between instrumental families, instrumental groups and individual instruments treated as soloists within the chamber ensemble itself: between the instruments of the soloist group: between transformed and untransformed sound (the soloist group is manipulated electro-acoustically, while the chamber ensemble remains unalienated).

In its sum, Répons is a result of Boulez’ “plurifunctionality,” out of the widely fanned out personal union between the composer and the conductor, the planner, the organiser, the founder and long-time spiritus rector of the IRCAM Institute in Paris.

The idea of a dialogue between unalienated and electronically alienated instrumental sound in real time would not have been possible without the outcome of research at IRCAM.

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Répons

Pierre Boulez: Répons

for 6 soloists, ensemble and live electronics , 45’
Instr.: 2 2 3 2 - 2 2 2 1 - vln(3), vla(2), vc(2), cb(1) - live electronics

Répons

Pierre Boulez: Répons

for 6 soloists, ensemble and live electronics , 45’
Instr.: 2 2 3 2 - 2 2 2 1 - vln(3), vla(2), vc(2), cb(1) - live electronics

Répons

Pierre Boulez: Répons

score
for 6 soloists, ensemble and live electronics , 45’
Instr.: 2 2 3 2 - 2 2 2 1 - vln(3), vla(2), vc(2), cb(1) - live electronics

Répons

Pierre Boulez: Répons

study score
for 6 soloists, ensemble and live electronics , 45’
Instr.: 2 2 3 2 - 2 2 2 1 - vln(3), vla(2), vc(2), cb(1) - live electronics

Répons

Pierre Boulez: Répons

full score
for 6 soloists, ensemble and live electronics , 45’
Instr.: 2 2 3 2 - 2 2 2 1 - vln(3), vla(2), vc(2), cb(1) - live electronics

World première

Location:
Donaueschingen (DE)
Date:
18.10.1981
Orchestra:
Ensemble Intercontemporain
Conductor:
Pierre Boulez
Main soloists:
Michel Cerutti, Vincent Bauer, Daniel Ciampolini, Pierre-Laurent Aimard, Alain Neveux, Marie-Claire Jamet, IRCAM, Experimentalstudio der Heinrich-Strobel-Stiftung des SWF

Press reviews

The music is crystalline in its sheer beauty and in the mysterious network of quasi-neural connections that Boulez creates between every sound and moment in the piece. But Répons also has an awesome, torrential energy, in the streams of surreally fast music that careen throughout the ensemble, and in the collective, multi-dimensional sonic spectacular that the collective acoustic and electronic ensemble can create. (Tom Service, The Guardian, 12 June 2015)

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