Boulez conducts Boulez: ...explosante-fixe...
- Is Discontinued By Manufacturer : いいえ
- 製品サイズ : 13.97 x 12.55 x 1.14 cm; 104.33 g
- メーカー : Deutsche Grammophon
- EAN : 0002894458332, 0028944583328
- SPARSコード : DDD
- レーベル : Deutsche Grammophon
- ASIN : B000001GOY
- ディスク枚数 : 1
Pierre Boulez is a genuine rarity, a conductor who holds his own as a respected composer. Here he conducts a trio of his own works, from his earliest-published composition, Notations, to the version of ...explosante-fixe... that he conducted at IRCAM in the early 1990s. The piano works reveal what Boulez treasures: extremity of contrast, bruised sonorities humming as constant color, and skewered virtuosity.
From Notations, things proceed to Structures pour deux pianos, where pianists Pierre-Laurent Aimard and Florent Boffard dash into, across, beyond, above, and below each other in clustering runs and spare, telling jabs. The 36-minute ...explosante-fixe... is a celebration of accelerated and intensified sonic forestry. Sophie Cherrier's solo MIDI flute is electronically tampered with as a chamber orchestra and two additional flutes seek to ensnare, overwhelm, and surround Cherrier with unending swirls of sound. Energetic would be too flat a word to describe this display of volume and shifting soundscapes. Boulez advances electroacoustic composition here and shows himself a spectacular performing visionary in his leadership of the piece. --Andrew Bartlett
Tel qu'en Lui-même enfin l'éternité le change,
Le Poète suscite avec un glaive nu
Son siècle épouvanté de n'avoir pas connu
Que la mort triomphait dans cette voix étrange !
Eux, comme un vil sursaut d'hydre oyant jadis l'ange
Donner un sens plus pur aux mots de la tribu
Proclamèrent très haut le sortilège bu
Dans le flot sans honneur de quelque noir mélange.
Du sol et de la nue hostiles, ô grief !
Si notre idée avec ne sculpte un bas-relief
Dont la tombe de Poe éblouissante s'orne
Calme bloc ici-bas chu d'un désastre obscur,
Que ce granit du moins montre à jamais sa borne
Aux noirs vols du Blasphème épars dans le futur.
If you know the "First Book" of "structures" the "Livre II" is more sophisticated,overdetermined, Stockhausen once quipped that Boulez places too many details in his music unneccessarily, well he may; it is the results that count. I find this "Livre" II" not as open as the first, the exposed lines the reiteration of the 12 tone in the "Livre I" was exciting,the crossing, and antiphonal diagonals, the dialogue of one piano to the other was explited by Boulez, there is that as well here in "Livre II" but not as extreme; although there is not that much time that separates the two books. But the "First Book" utilized electronic music thinking,of distributions of density, register, texture. I recall the old Kontarsky Brothers recording was/is definitive in many respects; Ligeti even did an exhaustive analysis of the "First Book" "structures" charting the way the 12 unfolded in seemingly endlees arrays, configurations,visiting all the registers of the piano,yet keeping a focus where you can distinguish the various layers, the :Livre II: has more convolutions at work and more direct,the continuously moving,(32nd-64th notes) upper register lines is like a clique now in the modern piano as Ferneyhough and Finnissy's music exhibit lots of these ideas.
Yes cannot agree more with the other review "explosante-fixe" is a primary work with shimmering,luminous moments well this is an important dimension to Boulez' s aesthetic strategy,luike his earlier "Eclat" the almost floating "magical" like timbres, fast furious yet incredibly controlled you never sense any moment has an independence from its origin, and Boulez we find here as well has developed a new language with at times simple iterative patterns, but allowing the solo moments to come forward, wonderful lyricism as well in the flutes, compelling actually, for it is non-pointillistic lines in the flutes,many times inhabiting the rich lower regions of the flutes, perhaps the paradigm of late capital (as Jameson said someplace) renders one's creativity to contract, to pull in and find accessible points, Boulez really did that later with then "Sur Incises" and "Anthemes" both works when placed alongside "explosante-fixe" seem like incidental passing "etudes".
Here however I think "explosante-fixe" is overly long, the ending moments(last 10 minutes) all seem gratuitous,like Boulez is searching for something that is not really there,making the flute repeat material(s) already heard;it makes the piece heavier then which is not the premise of the work,in all the full "tutti" punctuations, the swells of volumes with the flute above,like a lost soul.And the flute timbral with incessant iterative presence grows boring quickly, you want to savor the flute timbre, and you do that by contrast variation and simply not hearing it continuously. Boulez however keeps a luminous timbral quality throughout,clean and threadbare that is the electronics at work.The electronic moment are not clique-ish at all,but function well that was the IRCAM philosophy to make electronics,computer systems to function in conjunction with music,the creator but separate as well, to find a :meeting place:,which they did in Paris,I like the compact sound he gets here as well,making the various flutes come out from it,yet still being blended into the whole,the body of timbre, nothing really that is independent as the flutes seems to not dominate the proceedings, yet this is a quasi-post-modern concerto,well! redefined,. Wonderful cover art,finding the sense of movement,sparked forward into an unknown.