Composition raffinée et subtilement orchestrée. De ce bon vin seuls quelques rares mélomanes peuvent en apprécier l'arôme délicatement réparti. Sans être connaisseur, cette musique est un besoin vital. Merci Monsieur Boulez !
Un besoin vital que ça s’arrête vous voulez dire , dieu merci il est mort et nous assomme plus avec ses discours prétentieux et sa cacophonie indifférenciée
Tellement raffinée que (presque) personne ne serait venu l’écouter si elle n’avait été partie des Proms avec d'autres compositions. C'est de la musique créée pour personne, sauf son créateur lui-même.
His work was never alive. It was only well advertised and persistently served to people. Schönberg, even allegedly dead, was and is still more alive than Boulez ever.
what on earth is the viola doing in the last sustained note just before the end? it sounds like a bee! it's meant to be a sustained crescendo not that microtonal wavering
For me to enjoy this I would have to equally enjoy not knowing where I am going to sleep tomorrow...it may be interesting if you are on a timed adventure, otherwise it seems like enjoying random decisions. It is still nice that this can exist and we can hear the embodiement of music on its maximum entropy level. Puts everything in perspective and allows for an up to standart antagonis: Hedeous!! Bravo!!
me he estrellado con las composiciones de Boulez, pense q en realidad era algo mas moderno... solo puedo presenciar un garabato musical, ni siquiera musical, mas bien es un garabato auditivo xq hay una diferencia entre ruido y musica y esto para mi solo es ruido. prefiero lo clasico
It isn't good is it, or even particularly nice to listen to. Boulez should have stuck with conducting. His compositions, like those have of Hans Werner Henze, will eventually slide into oblivion.
So music should be strictly counterpoint, harmony, patterned or recognizable rhythm and melody (or whatever you like)?... Listen to the sounds. Listen the timbre variation. This is a invitation to be surprise by what comes next, to be "lost" in a rich variety of sounds and though it can seem to sound "the same thing over and over", it's not. It is physically not and we can try to perceive those differences. To choose not to appreciate or learn how to appreciate this kind of music, ok, but this kind of criticism is way too authoritarian and lazy. Acknowledge you are choosing and deal with the fact that it is good music and nice to hear, only you and tons of other people don't "achieved" ( I'm no saying it is prize or a superior skill, just a peculiarity) what's necessary to see it and it's not a bad thing, only when you take your perspective and treat it like a rule or an obvious point of view. To say it's not good, you should keep your statement in a personal quality. I mean no disrespect, I expect nothing I said be interpreted like this.
I respect your intelligent response. Time will tell if this music is "good". Not my opinion of it. Is the music of J.S. Bach "good"? Still being played, appreciated yet full of counterpoint etc etc after over 250 years. I doubt if anyone, and I mean anyone, will have even heard this piece in 100 years time. However I am confident that Bach's music will still be taught, performed and adorned. Maybe in hindsight I should have replaced the word "good" with the word "inadequate". Now the music of Karlheinz Stockhausen might just make it.But Boulez's stuff definitely wont, and you heard it first right here.
Comparing Boulez to Henze of all people? I can understand dislike for Das Floß der Medusa or Der langwierige Weg in die Wohnung der Natascha Ungeheuer, or anything else from the 70s, but comparing Boulez to the Henze who wrote Undine, Boulevard Solitude, König Hirsch, the Fantasia for Strings, and Il Vitalino raddoppiato? Nonsense. If anything, Henze's scores call for orchestras that are far too massive to be feasibly produced, but he was such a varied and antidogmatic composer that there's something for anyone in his catalog.
You misunderstood where I was coming from. I wasn't comparing the music, I was comparing the popularity. Nobody wants to listen to Henze in Germany and they are pretty embarrassed about Boulez in France. Check it out, and you will see there's a very good reason why. But I'll leave that up for you to work it out for yourself.
I see, that's a reasonable assumption. On operabase this minute there are six scheduled performances of Henze operas, what his legacy will ultimately be in the future. Of course, these might simply be what the directors want, not the audience, but as long as the opera houses receive funding, they will put on what the directors want, despite popular appeal. I'll be the first to admit I'm biased as Henze is one of my favorite composers from the post war era. I don't doubt you though. Henze will be like B.A. Zimmerman within 30 years.
Composition raffinée et subtilement orchestrée. De ce bon vin seuls quelques rares mélomanes peuvent en apprécier l'arôme délicatement réparti. Sans être connaisseur, cette musique est un besoin vital. Merci Monsieur Boulez !
Un besoin vital que ça s’arrête vous voulez dire , dieu merci il est mort et nous assomme plus avec ses discours prétentieux et sa cacophonie indifférenciée
L'interprétation me glace malheureusement. C'est lent, hésitant, et complètement dénué de couleur. Rattle..
Tellement raffinée que (presque) personne ne serait venu l’écouter si elle n’avait été partie des Proms avec d'autres compositions. C'est de la musique créée pour personne, sauf son créateur lui-même.
C'est chiant comme ma belle-mère, ce truc !!!
The pianist is Stockhausen's daughter
What!!! That's so cool
Terrific
Bellísimo
On the positive side, this will not ever be an earworm.
This one starts out very Messiaenistically, I'd say. (I just made up a cool new word.)
It is encouraging to see that after the death of Pierre Boulez young conductors go on making his work alive.
Simon Rattle is 63
LOL
His work was never alive. It was only well advertised and persistently served to people. Schönberg, even allegedly dead, was and is still more alive than Boulez ever.
what on earth is the viola doing in the last sustained note just before the end? it sounds like a bee! it's meant to be a sustained crescendo not that microtonal wavering
nice mutes at 10:02
Haha, I was going to comment the same! Based use of a baseball cap.
The silence is as important as the sounds.
Did anyone else notice that at 8 minutes and 26 and a half seconds the celesta player played a wrong note? 😂
What, how did you notice that
@@amj.composer He didn't; he was being snarky. It's the standard jab at modernist music that you'd never be able to tell if there were wrong notes.
For me to enjoy this I would have to equally enjoy not knowing where I am going to sleep tomorrow...it may be interesting if you are on a timed adventure, otherwise it seems like enjoying random decisions. It is still nice that this can exist and we can hear the embodiement of music on its maximum entropy level. Puts everything in perspective and allows for an up to standart antagonis: Hedeous!! Bravo!!
I agrree with docsketchy. The piece looks rather Messiaenistically due to the numerous solo piano sections and connected sonorities.
Pédagogique
me he estrellado con las composiciones de Boulez, pense q en realidad era algo mas moderno... solo puedo presenciar un garabato musical, ni siquiera musical, mas bien es un garabato auditivo xq hay una diferencia entre ruido y musica y esto para mi solo es ruido. prefiero lo clasico
With Boulez no surprise , it is always the same cacophony .
What are you smoking
C'est nul et enuyant
T’as raison
They won't be cheering after hearing the hideous "music" of Boulez.
Moron
It isn't good is it, or even particularly nice to listen to. Boulez should have stuck with conducting. His compositions, like those have of Hans Werner Henze, will eventually slide into oblivion.
So music should be strictly counterpoint, harmony, patterned or recognizable rhythm and melody (or whatever you like)?... Listen to the sounds. Listen the timbre variation. This is a invitation to be surprise by what comes next, to be "lost" in a rich variety of sounds and though it can seem to sound "the same thing over and over", it's not. It is physically not and we can try to perceive those differences. To choose not to appreciate or learn how to appreciate this kind of music, ok, but this kind of criticism is way too authoritarian and lazy. Acknowledge you are choosing and deal with the fact that it is good music and nice to hear, only you and tons of other people don't "achieved" ( I'm no saying it is prize or a superior skill, just a peculiarity) what's necessary to see it and it's not a bad thing, only when you take your perspective and treat it like a rule or an obvious point of view. To say it's not good, you should keep your statement in a personal quality. I mean no disrespect, I expect nothing I said be interpreted like this.
I respect your intelligent response. Time will tell if this music is "good". Not my opinion of it.
Is the music of J.S. Bach "good"? Still being played, appreciated yet full of counterpoint etc etc after over 250 years. I doubt if anyone, and I mean anyone, will have even heard this piece in 100 years time. However I am confident that Bach's music will still be taught, performed and adorned.
Maybe in hindsight I should have replaced the word "good" with the word "inadequate". Now the music of Karlheinz Stockhausen might just make it.But Boulez's stuff definitely wont, and you heard it first right here.
Comparing Boulez to Henze of all people? I can understand dislike for Das Floß der Medusa or Der langwierige Weg in die Wohnung der Natascha Ungeheuer, or anything else from the 70s, but comparing Boulez to the Henze who wrote Undine, Boulevard Solitude, König Hirsch, the Fantasia for Strings, and Il Vitalino raddoppiato? Nonsense.
If anything, Henze's scores call for orchestras that are far too massive to be feasibly produced, but he was such a varied and antidogmatic composer that there's something for anyone in his catalog.
You misunderstood where I was coming from. I wasn't comparing the music, I was comparing the popularity. Nobody wants to listen to Henze in Germany and they are pretty embarrassed about Boulez in France. Check it out, and you will see there's a very good reason why. But I'll leave that up for you to work it out for yourself.
I see, that's a reasonable assumption.
On operabase this minute there are six scheduled performances of Henze operas, what his legacy will ultimately be in the future. Of course, these might simply be what the directors want, not the audience, but as long as the opera houses receive funding, they will put on what the directors want, despite popular appeal.
I'll be the first to admit I'm biased as Henze is one of my favorite composers from the post war era. I don't doubt you though. Henze will be like B.A. Zimmerman within 30 years.
Boulez' harmony is so meaningless. It's purpose is to avoid tonality at any cost. So pathetic.
Simply not true.
@@lotharlamurtra7924 Simply true.
Is the point of tonality not to avoid atonality at all costs 🤔
@@diallobanksmusic It doesn't. Theorists still don't exactly agree as to what key Wagner's Tristan's Prelude is in.
@@diallobanksmusic Depends on the degree of tonality, but your comment is actually pretty funny.