Crown of Schonberg, was one of the great figures of twentieth century art and eminent conductor; was 90 years old
Young De wanted to” blow up “the operas and instead conquered stages around the world: Pierre Boulez became one of the most significant representatives of the musical avant-garde. He shook the world of music and broke new ground in a continuous search for the new. However, the provocative and renowned composer, director and French teacher, who died last night at age 90, there was a lot of noise lately: had health problems for some time and had retired to his home in Baden-Baden, where he died .
“To all who knew him and could appreciate his creative energy, artistic quality, availability and generosity, his presence will remain alive and strong,” the family said in a statement released by the Philharmonie de Paris, a concert hall of which he was driving.
Born March 26, 1925, this musical innovator rocked the music world, facing numerous composers, living and dead, and surpassing difficulties. But he never left confused in their search for the new. Boulez developed a music sometimes difficult, heiress of serialism and the Second Viennese School, represented among others by Arnold Schoenberg and Anton Webern. His works include The hammer without a master (1955) or Répons (1981-1988), playing with electronic possibilities for transforming sound.
Exasperated by what he considered the conservatism of the French musical world, he moved to Baden-Baden in the early 60s did not return until 1974, when President Georges Pompidou asked to create a musical research institute (Ircam) and the Ensemble Intercontemporain, a specialist in twentieth century music orchestra.
Curiosity and time
The son of a steel maker Montbrison in the Loire Valley, made the music evolve Arnold Schoenberg’s twelve-tone call to develop serial music, composed based on numerical series or proportions. Musical constructions such as rigid earned him the nickname “Robespierre” in the 50s, referring to the French revolutionary leader.
The modernity of compositions such as Notations or Le Marteau sans maitre was often branded as atonal, chaotic and disorderly by critics and music lovers. Something that could be explained Boulez’s works were not easily accessible. “A lot of people were difficult,” says musicologist Dariusz Szymanski.
To understand and love the work of Boulez curiosity and time was needed, as once said fellow pianist Pierre-Laurent Aimard. “It’s a very rich music.” His compositions are not cold, as many claim, meanwhile believes the German composer Wolfgang Rihm: “It is a music of great elasticity, eloquence and seductive power.” Boulez dynamited not any opera, contrary to what he actually said at the beginning of his career, but the prejudices of the time. For example Richard Wagner. In 1976 he led the legendary Bayreuth Festival staging of the “Ring of the Nibelung” by Patrice Chéreau called ring-the centennial, 100 years after the first festival wagneriano- but tempos totally different.
“I wanted to consciously break with tradition, but never in history,” he once said. And in this “converted” to some skeptics. “Boulez has reconciled me with Wagner,” the artistic director of Theater Baden-Baden Mölich-Zebhauser Andreas he said. “There are not many men like this that give us new things and make us better understand the ancient”.
Boulez became more poetic over the years but remained faithful to the pursuit of the new. His repertoire went through classical music, “microtonal” with computer to concerts with Bruce Springsteen and Frank Zappa. And he never settled in any musical space, something he hated almost as much as the routine.
The exceptional musician and composer but looked mainly became famous for his performance art and precise conducting. As director renounced the tails and the baton. “With my hands I can express more with a wooden stick,” djo.
Revolutionary
Between Daniel Barenboim and Pierre Boulez was a great mutual respect. Argentine admiration was always explicit. In his last visit to our country Barenboim brought two important works of French composer, Dérive 2 and South Incises , and the musician spoke in an extensive interview published in La Nacion.
“Boulez was a great revolutionary. But many of the revolutionaries of art and culture based on a fair idea, are locked into this idea and continue the development of the idea, but are not open to the influences that appear along the way. And Boulez was open and able to integrate many things, as he did with Bruckner, “said Daniel Barenboim.
Compartilo
The great composer also spoke to the nation, more than a decade, in an interview published as Pierre Boulez The composer of the twentieth century.
His international career took him from the symphony orchestra of the then radio station Südwestfunk in Baden-Baden at the BBC Symphony Orchestra in London and New York Philharmonic. Boulez was awarded numerous international awards, including honorary citizenship of Baden-Baden, where he had his German residence for more than five decades, when he turned 90.
But Boulez could not attend concerts in his honor on his birthday in the German spa nor in Berlin in the spring (northern hemisphere) of 2015. The teacher was however connected from home. His head was then “full of music,” then said a spokesman.
Agencies AFP and DPA
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