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Tantris
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« Reply #16 on: 14:53:31, 02-07-2007 » |
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Last days? I hope not - he is conducting Le Marteau sans Maitre at this year's Lucerne Festival (the programme for which is much more to my taste than the Proms). I hope that he will produce at least one more substantial work before long.
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time_is_now
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« Reply #17 on: 17:20:29, 02-07-2007 » |
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I believe he's currently working on another orchestral Notation. That might not sound to some like a 'substantial work', but as it's apparently going to be longer than the first five put together, it's no mere lollipop either.  Depends whether you think Ronnie Corbett shot through a wide-angle lens is a tall man, I suppose.  Of course, Tantris's message could be read to imply (though I'm sure this wasn't his intention!) that Boulez hasn't produced a substantial work since Le marteau ... |
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The city is a process which always veers away from the form envisaged and desired, ... whose revenge upon its architects and planners undoes every dream of mastery. It is [also] one of the sites where Dasein is assigned the impossible task of putting right what can never be put right. - Rob Lapsley
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Tantris
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« Reply #19 on: 12:53:35, 04-07-2007 » |
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I would like to see the original score of Le Marteau - the page shown has a particular aesthetic quality which I find fascinating (rather like a Ferneyhough score) - but I don't meet the Sacher Stiftung's strict criteria unfortunately. The facsimile of the complete score looks like a nice birthday request, however! The Lucerne concert is also on a Tuesday which is a bit awkward with work, etc. Of course, Tantris's message could be read to imply (though I'm sure this wasn't his intention!) that Boulez hasn't produced a substantial work since Le marteau ... Goodness - I didn't mean it to be read like that! There are several Boulez pieces that I enjoy, albeit that most of them are indeed from the '50s and 60s, but I am hoping that at least one more substantial new work emerges. |
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oliver sudden
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« Reply #20 on: 14:41:43, 04-07-2007 » |
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Don't know what newish things you might have heard, Tantris - I do find Dérive 2 in its new (2006, 45-minute) form a very fine thing. It's not Pli selon pli or Le Marteau of course but what is?
The Sacher-Stiftung's criteria aren't as strict as all that - they've let me in although I did have a specific project in mind and the things I was looking at weren't quite in that league of historical importantness...
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time_is_now
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« Reply #21 on: 14:44:15, 04-07-2007 » |
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I do find Dérive 2 in its new (2006, 45-minute) form a very fine thing. Actually I rather like the version on DG 20/21 (coupled with Boulez's latest reading of Le marteau). Haven't heard the 2006 version yet, but it's on at the Proms this summer. |
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The city is a process which always veers away from the form envisaged and desired, ... whose revenge upon its architects and planners undoes every dream of mastery. It is [also] one of the sites where Dasein is assigned the impossible task of putting right what can never be put right. - Rob Lapsley
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oliver sudden
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« Reply #22 on: 14:48:53, 04-07-2007 » |
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The one on DG is about half the length of course. I knew the 2006 version before I knew the older version properly so to me the older one sounds too short! What he added IIRC was a very gorgeous 'slow movement' and a buildup where a few different kinds of material and tempi alternate before the final knees-up. Formally much more convincing.
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time_is_now
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« Reply #23 on: 15:03:21, 04-07-2007 » |
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Thanks Ollie - looking forward to it. Hadn't realised the new version was that much more substantial (to coin a phrase), though as soon as it was announced I thought it was odd he'd recorded the previous incarnation: he must have known he was planning to do so much more with it, no?
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The city is a process which always veers away from the form envisaged and desired, ... whose revenge upon its architects and planners undoes every dream of mastery. It is [also] one of the sites where Dasein is assigned the impossible task of putting right what can never be put right. - Rob Lapsley
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oliver sudden
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« Reply #24 on: 15:07:47, 04-07-2007 » |
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Thanks Ollie - looking forward to it. Hadn't realised the new version was that much more substantial (to coin a phrase), though as soon as it was announced I thought it was odd he'd recorded the previous incarnation: he must have known he was planning to do so much more with it, no?
One would have to ask him (or get someone to) - I can imagine him thinking on hearing/conducting the old one: hm, 20 minutes of frantic scurrying about, even Marteau and PSP had a bit of contrast so no-one'll think I've gone soft if I plonk a slow movement in. And who knows, maybe he didn't know when he'd have time to revise it and DG were waving a contract at him anyway, blah blah... |
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Tantris
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« Reply #25 on: 15:20:17, 04-07-2007 » |
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Thanks Ollie - looking forward to it. Hadn't realised the new version was that much more substantial (to coin a phrase), though as soon as it was announced I thought it was odd he'd recorded the previous incarnation: he must have known he was planning to do so much more with it, no?
With any luck a recording of the new longer Derive 2 will emerge - I'd certainly like to hear one. Many of his later pieces - Repons, Sur Incises and Messagesquisses have not moved me - because they don't have the visceral thrill that so characterises many of his earlier pieces. I suppose that's what I mean by substantial. (I think that Elliott Carter also went through a very flat period, yet some of his most recent pieces are sublime - particularly some of the song settings). One would have to ask him (or get someone to) - I can imagine him thinking on hearing/conducting the old one: hm, 20 minutes of frantic scurrying about, even Marteau and PSP had a bit of contrast so no-one'll think I've gone soft if I plonk a slow movement in. And who knows, maybe he didn't know when he'd have time to revise it and DG were waving a contract at him anyway, blah blah... Surely not! |
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« Last Edit: 15:24:39, 04-07-2007 by Tantris »
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supermarket_sweep
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« Reply #26 on: 00:50:40, 11-07-2007 » |
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Many of his later pieces - Repons, Sur Incises and Messagesquisses have not moved me - because they don't have the visceral thrill that so characterises many of his earlier pieces.
Mm, in general I think you may be right, though 'Messagesquisses' (that's the one for six (?) cellos, right?) has quite a bit of visceral thrill about, partly from the sheer impact of the instrumentation. Brutal! |
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Chafing Dish
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« Reply #27 on: 12:51:19, 11-07-2007 » |
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Many of his later pieces - Repons, Sur Incises and Messagesquisses have not moved me - because they don't have the visceral thrill that so characterises many of his earlier pieces.
Mm, in general I think you may be right, though 'Messagesquisses' (that's the one for six (?) cellos, right?) has quite a bit of visceral thrill about, partly from the sheer impact of the instrumentation. Brutal! 7 Cellos, but a bit too 'clinical' for me... |
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Jonathan Powell
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« Reply #28 on: 13:09:06, 11-07-2007 » |
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Apparently Boulez is in really good form as a conductor, so perhaps these aren't his last days. The other day at Aix-en-Provence he gave a stunning concert - inaugurating the new hall there - of 2nd Viennese School composers and Bartok with the Berlin Phil, and I heard great things about it, and about him who apparently "looked youthful" to quote my source! Just thought somebody might like to know ...
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tonybob
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« Reply #29 on: 13:16:21, 11-07-2007 » |
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opilec met him a few weeks back.
was he nearly dead, oppers?
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sososo s & i.
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