RIP Pierre Boulez

Rip

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One of the greatest musicians of the last century

R.I.P.

http://www.lucianoberio.org/en/adieu-pierre

... I must say that many forum members have gone to great lengths to honor the death of this great composer. Well done to you who, in addition to opening topics in the "Thoughts and words in freedom" section, did not overlook this major loss.

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Of course, rereading topics like this

www.pianoconcerto.it/forum/index.php?/topic/5369-pierre-boulez-on-his-piano-collection-douze-notations

... well, anyway

Rotore wrote:

Of course, rereading topics like this one

www.pianoconcerto.it/forum/index.php?/topic/5369-pierre-boulez-on-his-piano-collection-douze-notations

... well, anyway

I found it to be a truly sad and low-quality post, Boulez or no Boulez ...

Greetings - albeit late and I regret it - to what for me was the greatest living composer, and in a Beethovenian fashion, I do so with the Second Piano Sonata which cites the subject of the Hammerklavier fugue in its opening measures.

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To good connoisseurs, provided they are not or do not want to pass themselves off as deaf.
https://quinteparallele.net/2016/05/16/boulez-non-e-morto-non-e-mai-vissuto/

He could at least listen to this:

a provided he doesn't pass or want to pass for deaf

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Right from the beginning ("conceptual failures"), I was already fed up. There are those who haven't yet understood that Boulez, the singing company (including Messiaen) and serialism were necessary.

"To alter human consciousness" ?!

...well

So let's say it is enough even if just one person finds pleasure and intensity in approaching the authors cited by him to contradict his final thesis.

Well, let time take its course.

For decades, there have been texts that have seriously addressed these issues; what superficiality, this subspecies of an article.

But what exactly does this Maresca do for a living?

A video that might help

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I hope that one does not want to believe that Lachenmann intended to support a return to tonal music. Because otherwise, it would be necessary to invite people to do something of normal common sense, which evidently the total lack of curiosity and cultural interests prevents someone from doing: listening to the music of Lachenmann himself. Here is an essay:

Lachenmann says that Darmstadt failed in educating the public to listen to a different kind of music, to enter those new worlds advocated by Stockhausen, in the fertile land of Klee and Boulez. Sixty years later, Lachenmann says, there is much tonal music in my head, and I reuse it like any other sonic stimulus around me.

Paolo

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in my opinion, however, the author of the article is completely right.

and I challenge anyone to admit to whistling Boulez, Berio, Schoenberg, etc. etc. while in the shower or on the street.

suonolatromba wrote:

instead, in my opinion, the author of the article is completely right.

and I challenge anyone to admit to whistling Boulez, Berio, Schoenberg, etc., etc., under the shower or on the street.

... me, Berg for sure

Anyway, being able to whistle a melody is not a criterion for evaluation. It may even be that a piece does not contain a true melody, but this is insufficient for any type of evaluation. ...maybe I would worry about narrativity, which can be achieved by a melody (but not only). Then the matter would have been more serious.

Does anyone know Beethoven's Coriolan? Or Beethoven's Great Fugue?

suonolatromba wrote:

in my opinion, however, the author of the article is completely right.

e I challenge anyone to admit to whistling Boulez, Berio, Schoenberg, etc., etc., under the shower or on the street.

I don't know, but do you hear anything here to whistle under the shower?

http://www.pianoconcerto.it/forum/index.php?/topic/1641-inverno-per-clarinetto-e-viola/

Extraordinary personality, but an unlistenable conductor regarding the classical and romantic repertoire.

Like much of his colleagues from the last fifty years.