Wonderful music by the now sadly late Pierre Boulez. Played by the supremely gifted Ensemble Intercontemporain. No more need be said really. It's on my bucket list to see them perform live.
Music, this music at least for me requires time. Once I give it that, it expands time. At least that becomes my perception of the exchange. This gives a special type of pleasure. At least for me.
I was at this performance! Beforehand, I had imbibed two bottles of Sancerre and was in the a perfect state of mind and body to let Boulez’s late period masterpiece pervade my consciousness. Back in, I think it was 1995, …explosante-fixe… was one of the first few classical cds that I had purchased; up till then I had only heard some Mozart, Bach, Mahler and Shostakovich. This is a truly magnificent piece of music, among the best of the post war avant-garde; also, it is still my favourite Boulez composition. The version for two flutes is also superb, and I believe Boulez scored several other versions involving a variety of instrumental forces that I hope will be recorded and released in the future.
Forgettable, unemotional sound arrangements that AI can make. Composers like Boulez make atonal/serial/dissonant "music" to impress other composers and not to communicate to audiences. Pretentious garbage.
Perhaps it is as easy as opening some audio software and pressing a button marked “Create 40 minute orchestral work”. Who knows? This and other music in a variety of genres certainly expanded my idea of what “Organised Sound” could be.
@@psijicassassin7166 just say you don't like it (or understand it). There's no need for you to picture yourself as an ignorant reactionary on the internet.
This is better than the commercial recording. Much clearer. Clarity is important in this piece, because there's not a lot of harmonic movement. The richness is all in the details.
Très certainement l'une des musique les plus vivante, sensuelle et expressive que j'ai entendu dans ma vie ! Le soin apporté aux effets d'échos et de "spatialisation", à l'agencement des harmonies et des dynamiques, et à l’instrumentation est merveilleux ! Merci beaucoup !
I like the way Boulez uses coherent little motifs, very unlike the extreme density, even opacity of his contemporaries. His charming little Derridan deconstructions/drop-outs serving as cadences at the ends of several sections are particularly endearing. Tres reveur!
I've been listening to a lot of Boulez lately, as well as many other "dodecaphonic" composers. The thing that amazes me about Boulez is that, even though he avoids tonality more or less completely, his music is never discordant. Often dissonant, of course, but never discordant. His notes never sound "wrong". I would like to know how he achieves that. Perhaps I will discover the secret as I continue to read Wuorinen's "Simple Composition."
But that has a simple reason. The reason why PB never sounds discordant, is because there are no dissonances in his work. A dissonance is a tonal effect in relation to consonance. When you 'emancipate' the dissonant, as Schoenberg thought he was doing, you don't emancipate it, but cancel it. There is also no harmonic dynamics in PB, because all tones have a similar 'weight', they are all 'equalized' and he always tries to avoid as much as possible the suggestion of tonal relationships, hence the wide skips, minimal fragments (Derive 1 & 2), unexpected stops and sudden tempi, etc. etc. It is all writing AROUND the tonal system not only as it exists in music life but also as it exists in the aural acculturation of audiences of music. It is thoroughly static, moment after moment, without any clear logic. (The logic and its justifications are on paper but are not in the listening experience.)
I tried, and indeed it can be done. But it is not so interesting. The achievement lies in writing-out a differentiated notation which can render such improvisation in a musical 'text', and THAT is an achievement indeed. But it is not a music achievement, but a notational one.
Perhaps "dissonant" is the wrong word to use. How about "harsh" or "ugly"? There is nothing "ugly" in Boulez's music (I have listened to nearly all of it now, as I've been listening to little else since I acquired the "Oeuvres Completes" last week). Most of it is quite beautiful, and I believe that this is due to his note choices. Also, few composers are capable of writing such exhilarating virtuoso passages for solo instruments. I'm especially taken with some of the "competition" pieces, such as "Anthemes" (for solo violin) and "Domaines" (for solo clarinet) and "Incises" (for piano). Really thrilling stuff. Not "academic" or "dry" at all.
docsketchy Maybe not, but such virtuosity is, it seems to me, a virtuosity of patterns, not of musical elements: the notes are thrown like confetti in gestures at a wedding party. It is to be enjoyed, surely. My point is always: it is not music and claims to the opposite are destructive to both sonic art and music. I like the beginning of Pli selon Pli, and the later scored version of Notations, and there are other pieces that are nice like Memoriale and Rituel, and Eclat-multiples. But music offers so much more... there is no deeper, emotional dimension to mere pattern making. It may not be dry, but I find it cool, in the literal sense, like the modernist quarter La Défense in Paris. I prefer the old Parisian cityscape, also in terms of music, it has so much more character. But if this is your first exploration of B's work, I would encourage listening to it, all such experiences are important.
Musique etonnante je decouvre le compositeur Pierre Boulez depuis peu assez reticant au depart j avoue peu a peu decouvrir un nouveau monde sonore , cette musique exprime a mes yeux l au dela des mots , le pressentiment d un autre monde, quelque chose vient...J aurais aime savoir si Pierre Boulez croyait en Dieu...
WOOOOW Félicitation à tous, quelle interprétation géniale, je puisse la révoir et révoir - ce super vidéo je veux dire... je n' oubliera jamais votre prestation à Berlin 17/06/2017 à 7 heures du soir (7 pm) dans la salle Pierre Boulez de la Barenboim Said Akademie - CIn Cin Emmanuelle, un très grand MERCI à toi Sophie et mes complimenents à Matteo Cesari. Salut de Berlin.
It requires a lot of concentration on the part of the listener, this piece of music by Boulez does, but when listened to with the necessary attention, it is highly rewarding.
I think what I love about Boulez is that his music can be rewarding even without any concentration or attention. At least with late Boulez, there's plenty of interesting structural stuff that can be appreciated just by listening closely, even if you're not able to grasp much of the actual pitch structure or underlying canonic structures, etc. But there's also just so much strange beauty and shimmery elegance to his textures. This is one of the few major late pieces I don't have a solid grasp on (as in, I can't picture the whole layout of what happens in my head, and I probably wouldn't know where in the piece we were if you played a random except, the way that I'd be able to with Repons or Derive 2 or Anthemes 2). Nevertheless, I find it all very pleasant sounding. Right now, for instance, it's background music while I read (and type this comment); later I might use it in my gym soundtrack. Perhaps it's an acquired taste, and maybe the acquisition process usually involves some focused, guided, and/or score- or sketch-informed listening; but I'd still wager many people did get into Boulez just because it sounds pretty, and many more people would if they felt more comfortable with not having to "understand" music before feeling it out and enjoying it.
l'imagination de Pierre Boulez m'incarne de nouveaux monde visuelles ...dommage que je n'ai jamais pu le rencontrer live...malgré qu'on est dans la meme ville pendant un certain temps. God bless you.
Good for you...... PB was, in my opinion, not a genius, at least not in terms of music: he was an explorer of sound art (Klangkunst), which is an art form of pure sound, and the aesthetics focus on the colourful patterns as such. For that reason, any note can be changed without any difference to the result. But music - real music - is much more than sound patterns: in music these patterns carry emotional meaning, they create an inner space where narrative movement can take place, and you cannot change a note, because they have been carefully chosen for their relationships with other notes. Compare PB with Debussy (for instance, La Mer) and you hear the difference between sound art and music. With the Debussy, there is an entire dimension on top of the sonic dimension: there is a narrative, drama, building-up towards climaxes and relaxing from them, etc. etc. So much richer in experience, also in sonic terms.... but as music.
Interesting ! I'm glad you explained your point of view, because I pretty much agree with that too ! When I said he was a "genius/unique composer" to me, I was refering to Sound art and not really about music. I see them as two different domains, and I do appreciate harmonies and ambiences in music a lot (like you said) as much as I appreciate experimental avant-garde & concrete stuff in sound art. So ... Yeah, there's a whole full world of interesting musical vibes to please our ears (or not) ;) !
The Woman With No Head Agreed.....! There are sometimes truly beautiful works in sound art, they make you aware of patterns in a focussed way that in music are only part of the total experience. For instance, 'Coptic Light' by Feldman, with its strange beauties, or Boulez' Notations (orchestral version). My problem is where people confuse the two art forms, claim musical space, and get angry when audiences, expecting music, are not responsive - or get angry when the difference between the two fields is pointed-out to them. Pluralism is good, but intrusion less so.
It will be interesting to see how the test of time treats this amazing piece. I won't be here in 50 years so I will leave it up to you to find out. Pierre's music is always very busy, much like his mind. Calm, quiet, and content were not his bag.
I think it will always be treated as a novelty. Serialist music began in the early 20th century, but still hasn't caught on after 100 years (except in academic circles, where people enjoy analyzing music more than listening to it).
How could you know? One could easily change all kinds of notes and intervals, without making any difference in the result. These are virtuosic gestures with random notes organized as to fill-out the gesture, imitating 'expression'.
if you know the score well, what seem random is actually recognisable so you can say if it was accurate. What I meant is that it is well played as it is not easy to have electronics and acoustics that listen to each other. That being said, the computer parts has (controlled) random elements...and yes, the writing of the music variations/imitations is in a way very similar to what algorithmic writing can do so in certain places, certain notes could be shuffled in a different order without causing problems.
Fabrice Mogini It seems clear to me that the reason why this does not cause problems, is that the notes operate exclusively within the dimension of sound, which means that the result is 'flat', the notes don't create an 'inner space' where the notes relate to each other. Sonic art is flat in the way abstract painting is flat: it is one-dimensional. Figurative painting creates an imagined inner space with the suggestion of depth: a 'space', the same with music. That is why in music things like narrative and rhetoric are possible, and effects of expression which go beyond the flat surface of sound. Figurative painting and tonal music are mimetic in nature, and abstract painting and sonic art are not mimetic but present patterns as such... nothing wrong with it, but it is something different from figurative painting and music, which are both mimetic art forms.
In my humble opinion, these are different approaches toward expression, just as different languages. Nothing related to its meaningfulness/meaninglessness.
SeanPi314 The difference is in what works offer in terms of experience.... sonic art is something like 'half music', it misses an entire dimension. Indeed that has nothing to do with meaning since sonic art has different intentions than music, BUT where sonic art claims performance space in musical concerts, which the players almost always don't like at all, not to say about audiences who expect something which is not there, THEN the problem of meaning suddenly becomes an issue: a work is presented as music which it is not, and the rubbing of 2 worlds creates irritation on both sides.
Question: Regarding the Pierre Boulez: “…explosante-fixe…” a work for MIDI flute solo, live electronics, and chamber ensemble. Does anyone know about this ‘midi flute’ and it’s function. Exactly what does 'the midi flute' do in this performance?
A study in static activity, a bit like static electricity; truly exiting, highly active, but going nowhere. How to sit still and simultaneously travel the world.
Quelque chose me dit que ce n'est pas un compliment. L'avenir le dira, mais pas à nous. Nous serons trop morts pour ça. C'est difficile à écouter, mais je suis content que des compositeurs se donnent tant de mal quand j'entends la daube qui se fait aujourd'hui.
сижу под берёзой, пью пиво, слушаю Boulez'а... и вдруг из-за берёзы вылез чёрт... а потом ещё один, и ещё... бл. стая целая... Вот не знаю от чего :пиво или музыка.. скорее всего и то и другое... 🙄 шутка...
Initially It was a 5 minutes piece, but Boulez thought that it would be rather a shame having all this muscicians gathered to play such a short piece of music, and so he enlarged it untill it reached a duration of 30 minutes and thats why the whole composition sounds flat & identical. Try pointing any random moment of the recording, compare and find out for yourself.
Exposante fixe est pourrait être un enfer paradisiaque étant flûtiste depuis plus de 40 ans .... Je pense que cette oeuvre magistrale se suffit à elle même On ne doit pas l aimer ou pas Elle existe tout comme l univers Existe...♥️
La musique du chaos de laquelle l audition achevée on ne retient rien qu une impression désagréable. Comment passe t on de bach a boulez ? De ravel à boulez ? Une civilisation qui s effondre qui s est effondre. Une hyper technicité au service du chaos .
Oui une civilisation s effondre cette musique l exprime nous y sommes je crois plus de 600 ans d histoire de la musique occidentale de Monteverdi a Pierre Boulez...
These Ensemble intercontemporain performances of Boulez's worksk conducted by Pintscher are simply amazing.
Две флейты это восхитительно! Они обворожително звучат, словно вырвались на свободу из недавней темноты.
Hurray for The Best UA-cam Channel of all times!
Wonderful music by the now sadly late Pierre Boulez. Played by the supremely gifted Ensemble Intercontemporain. No more need be said really. It's on my bucket list to see them perform live.
Music, this music at least for me requires time. Once I give it that, it expands time. At least that becomes my perception of the exchange. This gives a special type of pleasure. At least for me.
thank god for video, because this music won't be played elsewhere very often.
I was at this performance!
Beforehand, I had imbibed two bottles of Sancerre and was in the a perfect state of mind and body to let Boulez’s late period masterpiece pervade my consciousness.
Back in, I think it was 1995, …explosante-fixe… was one of the first few classical cds that I had purchased; up till then I had only heard some Mozart, Bach, Mahler and Shostakovich.
This is a truly magnificent piece of music, among the best of the post war avant-garde; also, it is still my favourite Boulez composition.
The version for two flutes is also superb, and I believe Boulez scored several other versions involving a variety of instrumental forces that I hope will be recorded and released in the future.
Forgettable, unemotional sound arrangements that AI can make. Composers like Boulez make atonal/serial/dissonant "music" to impress other composers and not to communicate to audiences. Pretentious garbage.
Perhaps it is as easy as opening some audio software and pressing a button marked “Create 40 minute orchestral work”.
Who knows?
This and other music in a variety of genres certainly expanded my idea of what “Organised Sound” could be.
@@psijicassassin7166 just say you don't like it (or understand it). There's no need for you to picture yourself as an ignorant reactionary on the internet.
You really like Sancerre. Were you one of the players ? That would explain some errors.
I heard a C sharp which wasn't in the original score.
@@psijicassassin7166 just shut up.
This is better than the commercial recording. Much clearer. Clarity is important in this piece, because there's not a lot of harmonic movement. The richness is all in the details.
Très certainement l'une des musique les plus vivante, sensuelle et expressive que j'ai entendu dans ma vie ! Le soin apporté aux effets d'échos et de "spatialisation", à l'agencement des harmonies et des dynamiques, et à l’instrumentation est merveilleux ! Merci beaucoup !
Tout ce jargon pour des bruits de casseroles...
@@diktakt1187 pauvre type... "dictat-eur"
thanks for the upload Boulez + Pintscher great sound
Astonishing musicianship.
Wonderful!
I like the way Boulez uses coherent little motifs, very unlike the extreme density, even opacity of his contemporaries. His charming little Derridan deconstructions/drop-outs serving as cadences at the ends of several sections are particularly endearing. Tres reveur!
A perfect interpretation of this piece in which Boulez draws cloer to "traditional" concerto forms.
I've been listening to a lot of Boulez lately, as well as many other "dodecaphonic" composers. The thing that amazes me about Boulez is that, even though he avoids tonality more or less completely, his music is never discordant. Often dissonant, of course, but never discordant. His notes never sound "wrong". I would like to know how he achieves that. Perhaps I will discover the secret as I continue to read Wuorinen's "Simple Composition."
But that has a simple reason. The reason why PB never sounds discordant, is because there are no dissonances in his work. A dissonance is a tonal effect in relation to consonance. When you 'emancipate' the dissonant, as Schoenberg thought he was doing, you don't emancipate it, but cancel it. There is also no harmonic dynamics in PB, because all tones have a similar 'weight', they are all 'equalized' and he always tries to avoid as much as possible the suggestion of tonal relationships, hence the wide skips, minimal fragments (Derive 1 & 2), unexpected stops and sudden tempi, etc. etc. It is all writing AROUND the tonal system not only as it exists in music life but also as it exists in the aural acculturation of audiences of music. It is thoroughly static, moment after moment, without any clear logic. (The logic and its justifications are on paper but are not in the listening experience.)
Try to improvise this sort of music on the piano. You will see just how wrong you are about it.
I tried, and indeed it can be done. But it is not so interesting. The achievement lies in writing-out a differentiated notation which can render such improvisation in a musical 'text', and THAT is an achievement indeed. But it is not a music achievement, but a notational one.
Perhaps "dissonant" is the wrong word to use. How about "harsh" or "ugly"? There is nothing "ugly" in Boulez's music (I have listened to nearly all of it now, as I've been listening to little else since I acquired the "Oeuvres Completes" last week). Most of it is quite beautiful, and I believe that this is due to his note choices.
Also, few composers are capable of writing such exhilarating virtuoso passages for solo instruments. I'm especially taken with some of the "competition" pieces, such as "Anthemes" (for solo violin) and "Domaines" (for solo clarinet) and "Incises" (for piano). Really thrilling stuff. Not "academic" or "dry" at all.
docsketchy
Maybe not, but such virtuosity is, it seems to me, a virtuosity of patterns, not of musical elements: the notes are thrown like confetti in gestures at a wedding party. It is to be enjoyed, surely. My point is always: it is not music and claims to the opposite are destructive to both sonic art and music.
I like the beginning of Pli selon Pli, and the later scored version of Notations, and there are other pieces that are nice like Memoriale and Rituel, and Eclat-multiples. But music offers so much more... there is no deeper, emotional dimension to mere pattern making. It may not be dry, but I find it cool, in the literal sense, like the modernist quarter La Défense in Paris. I prefer the old Parisian cityscape, also in terms of music, it has so much more character. But if this is your first exploration of B's work, I would encourage listening to it, all such experiences are important.
Musique etonnante je decouvre le compositeur Pierre Boulez depuis peu assez reticant au depart j avoue peu a peu decouvrir un nouveau monde sonore , cette musique exprime a mes yeux l au dela des mots , le pressentiment d un autre monde, quelque chose vient...J aurais aime savoir si Pierre Boulez croyait en Dieu...
Beautiful piece!
WOOOOW Félicitation à tous, quelle interprétation géniale,
je puisse la révoir et révoir - ce super vidéo je veux dire...
je n' oubliera jamais votre prestation à Berlin 17/06/2017
à 7 heures du soir (7 pm) dans la salle Pierre Boulez
de la Barenboim Said Akademie - CIn Cin Emmanuelle, un très grand MERCI à toi Sophie
et mes complimenents à Matteo Cesari.
Salut de Berlin.
They scotcth me. Bravo !
It requires a lot of concentration on the part of the listener, this piece of music by Boulez does, but when listened to with the necessary attention, it is highly rewarding.
What do you attend to? What are you concentrating on?
I think what I love about Boulez is that his music can be rewarding even without any concentration or attention. At least with late Boulez, there's plenty of interesting structural stuff that can be appreciated just by listening closely, even if you're not able to grasp much of the actual pitch structure or underlying canonic structures, etc. But there's also just so much strange beauty and shimmery elegance to his textures.
This is one of the few major late pieces I don't have a solid grasp on (as in, I can't picture the whole layout of what happens in my head, and I probably wouldn't know where in the piece we were if you played a random except, the way that I'd be able to with Repons or Derive 2 or Anthemes 2). Nevertheless, I find it all very pleasant sounding. Right now, for instance, it's background music while I read (and type this comment); later I might use it in my gym soundtrack. Perhaps it's an acquired taste, and maybe the acquisition process usually involves some focused, guided, and/or score- or sketch-informed listening; but I'd still wager many people did get into Boulez just because it sounds pretty, and many more people would if they felt more comfortable with not having to "understand" music before feeling it out and enjoying it.
This is perfect everyday white noise for cleaning the house since it is emotionally uninvolving.
this must be a joy to play.
To me second movement is little oppressing atmospher with these three flutes traversière. Amazing.
l'imagination de Pierre Boulez m'incarne de nouveaux monde visuelles ...dommage que je n'ai jamais pu le rencontrer live...malgré qu'on est dans la meme ville pendant un certain temps. God bless you.
très peu facile d accès anyway !
@@renelair1645 imbu de lui-même aussi, après nous et le sérialisme strict , le déluge.
@@nassersari2797 Grotesque !
Un génie, et une manière tellement unique de composer !
La lecture de son livre, entretiens avec Michel Archimbault, m'a bluffé !
If you still had your head on, you might think differently about this work.
I had a head back then, 7 months ago, but my opinion didn't changed at all ;)
Good for you...... PB was, in my opinion, not a genius, at least not in terms of music: he was an explorer of sound art (Klangkunst), which is an art form of pure sound, and the aesthetics focus on the colourful patterns as such. For that reason, any note can be changed without any difference to the result. But music - real music - is much more than sound patterns: in music these patterns carry emotional meaning, they create an inner space where narrative movement can take place, and you cannot change a note, because they have been carefully chosen for their relationships with other notes. Compare PB with Debussy (for instance, La Mer) and you hear the difference between sound art and music. With the Debussy, there is an entire dimension on top of the sonic dimension: there is a narrative, drama, building-up towards climaxes and relaxing from them, etc. etc. So much richer in experience, also in sonic terms.... but as music.
Interesting ! I'm glad you explained your point of view, because I pretty much agree with that too !
When I said he was a "genius/unique composer" to me, I was refering to Sound art and not really about music. I see them as two different domains, and I do appreciate harmonies and ambiences in music a lot (like you said) as much as I appreciate experimental avant-garde & concrete stuff in sound art.
So ... Yeah, there's a whole full world of interesting musical vibes to please our ears (or not) ;) !
The Woman With No Head
Agreed.....! There are sometimes truly beautiful works in sound art, they make you aware of patterns in a focussed way that in music are only part of the total experience. For instance, 'Coptic Light' by Feldman, with its strange beauties, or Boulez' Notations (orchestral version). My problem is where people confuse the two art forms, claim musical space, and get angry when audiences, expecting music, are not responsive - or get angry when the difference between the two fields is pointed-out to them. Pluralism is good, but intrusion less so.
It will be interesting to see how the test of time treats this amazing piece. I won't be here in 50 years so I will leave it up to you to find out. Pierre's music is always very busy, much like his mind. Calm, quiet, and content were not his bag.
I think it will always be treated as a novelty. Serialist music began in the early 20th century, but still hasn't caught on after 100 years (except in academic circles, where people enjoy analyzing music more than listening to it).
impeccable performance
How could you know? One could easily change all kinds of notes and intervals, without making any difference in the result. These are virtuosic gestures with random notes organized as to fill-out the gesture, imitating 'expression'.
if you know the score well, what seem random is actually recognisable so you can say if it was accurate. What I meant is that it is well played as it is not easy to have electronics and acoustics that listen to each other.
That being said, the computer parts has (controlled) random elements...and yes, the writing of the music variations/imitations is in a way very similar to what algorithmic writing can do so in certain places, certain notes could be shuffled in a different order without causing problems.
Fabrice Mogini
It seems clear to me that the reason why this does not cause problems, is that the notes operate exclusively within the dimension of sound, which means that the result is 'flat', the notes don't create an 'inner space' where the notes relate to each other. Sonic art is flat in the way abstract painting is flat: it is one-dimensional. Figurative painting creates an imagined inner space with the suggestion of depth: a 'space', the same with music. That is why in music things like narrative and rhetoric are possible, and effects of expression which go beyond the flat surface of sound. Figurative painting and tonal music are mimetic in nature, and abstract painting and sonic art are not mimetic but present patterns as such... nothing wrong with it, but it is something different from figurative painting and music, which are both mimetic art forms.
In my humble opinion, these are different approaches toward expression, just as different languages. Nothing related to its meaningfulness/meaninglessness.
SeanPi314
The difference is in what works offer in terms of experience.... sonic art is something like 'half music', it misses an entire dimension. Indeed that has nothing to do with meaning since sonic art has different intentions than music, BUT where sonic art claims performance space in musical concerts, which the players almost always don't like at all, not to say about audiences who expect something which is not there, THEN the problem of meaning suddenly becomes an issue: a work is presented as music which it is not, and the rubbing of 2 worlds creates irritation on both sides.
Who could deny that this is great music?
Fabulous - Ahhh drink it in - the colour of Genius !
Oeuvre envoùtante... Le titre serait-il une allusion à l'Amour fou d'André Breton ?
Quelle merveille !!
Question:
Regarding the Pierre Boulez: “…explosante-fixe…” a work for MIDI flute solo, live electronics, and chamber ensemble. Does anyone know about this ‘midi flute’ and it’s function. Exactly what does 'the midi flute' do in this performance?
Listen to the commerical recording, you can hear the fake flute WAY more. And frankly it's annoying, this is a much better balance.
tres belle preformance
La beauté sera
convulsive,
érotique-voilée,
explosante-fixe,
magique-, circonstancielle,
ou ne sera pas..
Som da flauta maravilhoso
rip Mr Boulez
Boulez, a pupil of Messiaen, was a lion in a cage!!
explosante-fixe...masterpiece...
A study in static activity, a bit like static electricity; truly exiting, highly active, but going nowhere. How to sit still and simultaneously travel the world.
Il en ressort que, peut-ètre, Boulez a été au XXè siècle ce que Cabanel a été au XIXè...
Quelque chose me dit que ce n'est pas un compliment. L'avenir le dira, mais pas à nous.
Nous serons trop morts pour ça. C'est difficile à écouter, mais je suis content que des compositeurs se donnent tant de mal quand j'entends la daube qui se fait aujourd'hui.
Awesome piece; Boulez's wind and reed is like Wagner was with brass.
+Thoraxziod But, what happens around 13 min? Is it a recording?
+Thoraxziod... Prepared tape.
+ShoyuTao Thanks
Crazy comparison. Boulez wrote sound, Wagner wrote music: that is, sound as a carrier of emotional meaning.
What was I comparing? - emotional meaning? sound vs music? or something else? - we will never know
Boulez, élève de Messiaen, était un lion en cage !!!
I'm very interested in this music, but anybody please tell me exactly what the MIDI flute does in this performance.
Probably for spatial repartition and to modify the timbre.
@@christianserre1305 Thank you for teaching.
With a non-oriented-goal music, the silence after the last sound is the most rewarding.
sodelicious.......
1:46 Tan Messianico pasaje, sera un guiño directo?
I hear a DX7
George Lucas au violoncelle à gauche...
If I hear another trill again I'll die.
Listen to Isang Yun lol
сижу под берёзой, пью пиво, слушаю Boulez'а... и вдруг
из-за берёзы вылез чёрт... а потом ещё один, и ещё... бл. стая целая...
Вот не знаю от чего :пиво или музыка.. скорее всего и то и другое... 🙄
шутка...
I feel compassionate for the 17
individuals.
Initially It was a 5 minutes piece, but Boulez thought that it would be rather a shame having all this muscicians gathered to play such a short piece of music, and so he enlarged it untill it reached a duration of 30 minutes and thats why the whole composition sounds flat & identical. Try pointing any random moment of the recording, compare and find out for yourself.
This piece sounds outdated. This was already old hat in the 1960s.
Vaya pestiño!!!!
La musique qu'on écoute en Enfer
Correct. Il n'y a pas de la musique en enfer, seulement de l'art sonique.
Exposante fixe est pourrait être un enfer paradisiaque étant flûtiste depuis plus de 40 ans ....
Je pense que cette oeuvre magistrale se suffit à elle même
On ne doit pas l aimer ou pas
Elle existe tout comme l univers
Existe...♥️
La musique du chaos de laquelle l audition achevée on ne retient rien qu une impression désagréable. Comment passe t on de bach a boulez ? De ravel à boulez ? Une civilisation qui s effondre qui s est effondre. Une hyper technicité au service du chaos .
On peut craindre que ce ne soit vous qui vous effondriez...
Oui une civilisation s effondre cette musique l exprime nous y sommes je crois plus de 600 ans d histoire de la musique occidentale de Monteverdi a Pierre Boulez...
C degueulasse
C'est franchement rasoir
Haha, je te rencontrerai partout où j'écoute de la Musique, impressionnant haha
Wow, c'est pas seulement suprêmement ennuyeux, mais aussi fort désagréable, bravo! Animals are laughing at us :D
I didn't enjoy the harmony.
one flute is boring enough, but three?