U ntil now, Pierre Boulez's orchestral works have almost invariably appeared on disc in the composer's own meticulous recordings, first for Sony Classical, then for Erato and Deutsche Grammophon. But David Robertson, who was in charge of the Ensemble Intercontemporain founded by Boulez before he moved to the Orchestre National de Lyon, has the best possible qualifications to conduct what could be the first release in a new generation of Boulez performances. He includes the five completed of the 12 projected Notations, which have become the most protracted of all Boulez's works in progress. What began as a collection of piano miniatures in has been expanded into a series of orchestral studies over the past 20 years; the most recent, Notation VII, appeared in Each is a kaleidoscope of instrumental colours, colliding rhythmic figures and sudden, loping fragments of melody - by turns violent, seductive and entrancing.
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Jump to Navigation. Messiaen opened his mind to rhythmic irregularity, to sonic dazzle, and to Asian and African cultures. From Leibowitz, Schoenberg's chief apostle in Paris, he gained the passionate conviction that the future lay with serialism.
In , he became music director of a theater company run by Jean-Louis Barrault and Madeleine Renaud. Boulez soon became the intellectual leader of a European movement for new music, a position he maintained through his writings, regular teaching at the Darmstadt summer school, and conducting.
Boulez became a conductor as head of the Domaine Musical, a Parisian concert series he founded in , and whose innovative mixed programming he took with him when he worked in the late s with the Concertgebouw Orchestra in Amsterdam and German radio orchestras.
The combination of immense gifts and a vision for the musical future made him a sought-after leader in the field, and he was appointed concurrently principal conductor of the BBC Symphony Orchestra and music director of the New York Philharmonic. After the establishment of IRCAM he drastically scaled down his conducting and began learning the new language of computer music.
The hostility of the establishment to what you were able to do in the Forties and Fifties was very strong. Sometimes you have to fight against your society.
Pierre Boulez: Sonatine