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Pierre Boulez: Tombeau

  • No. 5 from "Pli selon pli" (Portrait de Mallarmé) (1959-1962)
  • for soprano and orchestra
  • 2 1 3 1 - 1 2 3 0 - perc(7), hp(2), cel, pno, guit, vln(4), va(4), vc(2), cb(2)
  • Duration: 15’
  • Soloists:
    soprano
  • Instrumentation details:
    1st flute (+picc)
    2nd flute
    cor anglais
    clarinet in Eb
    clarinet in A
    bass clarinet in Bb
    bassoon
    horn in F
    trumpet in D
    trumpet in C
    tenor trombone
    bass trombone
    contrabass trombone
    1st harp
    2nd harp
    celesta
    piano
    guitar
    vibraphone
    tubular bells
    1st plate bells
    2nd plate bells
    1st xylophone
    2nd xylophone
    bass drum (+vib, timbales)
    gongs (+t-tamam, plate bell)
    1st violin
    2nd violin
    3rd violin
    4th violin
    1st viola
    2nd viola
    3rd viola
    4th viola
    1st violoncello
    2nd violoncello
    1st contrabass
    2nd contrabass
  • Composer: Pierre Boulez
  • Editor: Robert Piencikowski
  • Text author: Stéphane Mallarmé
  • Table of contents:
    Avant-propos / Preface
    Introduction
    Biography / Discography / Illustrations
    Facsimile: Score A (Pencil Manuscript)
    Facsimile: Score B (Manuscript in Polychrome Indian Ink)
    Facsimile: Score C (First Recasting - Transcription in Black In (extract)
    Facsimile: Score D (Second Recasting - Collage/Montage Derived from the Photocopy of the First Recasting (extract)
  • Remarks: This work can also be performed separately.
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Printed product

Pierre Boulez: Tombeau for soprano and orchestra | UE34972

No. 5 from "Pli selon pli"

  • Edition type: facsimile
  • Languages: English | French
  • Edition: Facsimiles of the Draft Score and the First Fair Copy of the Full Score
  • Edition info: Eine Publikation der Paul-Sacher-Stiftung
  • ISBN: 978-3-7024-6861-3
  • ISMN: 979-0-008-08207-8
€170.00
Product available

Description

Unlike the world première of Marteau sans maître (1952-55), that of Tombeau for orchestra (1959), which took place in Donaueschingen on 17 October 1959, passed almost unnoticed - outshone by Pierre Boulez's unexpected triumph as a conductor when he stepped in to replace Hans Rosbaud at the head of the Südwestfunk-Sinfonieorchester. Originally conceived as an individual tribute to Prince Max Egon zu Fürstenberg, who died suddenly in spring 1959, the work was ultimately included in the Pli selon pli cycle (1957-62, 1983, 1990).

To celebrate the composer's 85th birthday and the 50th anniversary of the world première, the Paul Sacher Foundation and Universal Edition have published the two original manuscripts of the score for the first time: the pencil draft and a fair copy in different coloured inks. These fine examples of high-quality reproductions are also the earliest evidence of Boulez's friendship with Paul Sacher. The composer presented the scores to Sacher in the early 1960s. The facsimiles are prefaced by an introduction, which places the work in a historical and aesthetic context and takes a look at the compositional techniques used. It is illustrated by a selection of manuscripts from different stages of the creative process, as well as other related documents.

Contents

  • Avant-propos / Preface
  • Introduction
  • Biography / Discography / Illustrations
  • Facsimile: Score A (Pencil Manuscript)
  • Facsimile: Score B (Manuscript in Polychrome Indian Ink)
  • Facsimile: Score C (First Recasting - Transcription in Black In (extract)
  • Facsimile: Score D (Second Recasting - Collage/Montage Derived from the Photocopy of the First Recasting (extract)

Audiosamples

Reviews

(…) Der in kräftigem Rot gehaltene Leineneinband (nebst Schuber) und das gewichtige Kunstdruckpapier verleihen den Reproduktionen etwas Besonderes, Feierliches. Und in der Tat gibt es etwas zu feiern, denn die grossformatige Ausgabe erschien im vergangenen Jahr als Gabe zum 85. Geburtstag des Komponisten. (…) Anders als der bloss gedruckte Notentext ermöglicht nun das Farb-Faksimile auf geradezu augenfällige Weise, die sich beständig verdichtende, auf ekstatische Ausbrüche hin zulaufende Partitur zu verfolgten und sich im Studium auf Details einzulassen. Denn bei der mit verschiedenfarbigen Tinten ausgeführten Reinschrift handelt es sich um ein am Raster genau vorgeplantes kalligrafisches Kunstwerk - so wie dies auch die Klangverteilung betrifft. Vorzüglich ist aber nicht nur die Reproduktion der komplexen Partitur geraten, sondern auch das Konzept des Bandes: Neben dem Abdruck des vorangehenden Bleistiftentwurfs wie auch anderer Quellen findet sich ein an Dokumenten reiches Vorwort von Robert Piencikowski (französisch/ englisch), das nicht nur fundiert die Hintergrunde erläutert, sondern auch in die durchstrukturierte Welt dieses Tombeaus einführt.

Prädikat: besonders wertvoll."

Schweizer Musikzeitung 03/2011

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