Description
As an integral figure in twentieth-century music, Pierre Boulez innovated new musical ideas through extraordinary creative processes. His formative years tracked his compositional development from his confrontations with serialism to drafting one of his major works, Pli selon pli, in the early 1960s. Part biography, part survey, Pierre Boulez: The Formative Years situates Boulez and his compositions among a complex network of influences.To best understand Boulez's creative process, author Joseph R. Salem organizes the book into three parts. First, Boulez's early life, training, and education provide biographical context for his career. Salem provides a fresh, revisionist perspective of the composer's life by drawing upon a mix of primary and secondary sources. Second, the brunt of the biography situates Boulez's musical works and experimentation among a host of contextual contexts. In place of scores and complicated musical analyses, Salem employs sketches as a visual metonym. The sketches denote Boulez's continual ability to self-reform, accept feedback from his peers, mentors, and family members, and revitalize old material. Third, Boulez's legacy is associated with contemporaneous aesthetic movements and artistic challenges. While his creative processes undoubtedly influenced music today, Boulez remains a controversial, even taboo, figure among contemporary musicians and audiences. A book that both celebrates and critiques its subject, The Formative Years urges a reconsideration of narratives and discussions surrounding Boulez's life and works.
Table of Contents
Part I: A Path Toward Integrating SerialismAcknowledgementsNotes on Sources and AbbreviationsPrefaceIntroductionA Short Primer on Boulez's Sketch Types and ProceduresChapter 1: From Pianist to ComposerRural RootsTransitioning to ParisChapter 2: Student Efforts"Influences" versus "Teachers"Specters of MessiaenLeibowitz and DodecaphonyThe Emergence of an Original VoiceChapter 3: Conventional Titles, Unconventional FormsStructuralism, Surrealism, Schloezer, and CharThe Sonatine for flute and pianoThe First Piano SonataSouvtchinsky, Souris, and the Second Piano SonataPart II: The Challenges of Integral SerialismChapter 4: Before IntegrationExperimenting with CageFailure without Defeat: Polyphonie XChapter 5: Self-OrdainedStockhausen and the StudioThe Death of SchoenbergThe ABC's of Structures, Book 1Chapter 6: Other TheatricsThe Tremendous Influence of Incidental MusicBoulez's Künstlerroman: Marteau as Cumulative SynthesisPostlude-The Darmstadt SchoolPart III: Testing the Limits of SerialismChapter 7: Competing TrajectoriesHow blocs sonores Changed EverythingA Triptych, Part I: L'Orestie and the TheaterA Triptych, Part II: More StructuresA Triptych, Part III: A Third SonataChapter 8: The Politics of PoeticsA New Approach to ProseDarmstadt, RevisedChapter 9: Stereophony and SpiralsVirtual Doubles: Figures-Doubles-PrismsSpiraling Poetry: Poésie pour pouvoir Chapter 10: An Expanding UniverseBecoming Bourgeois (and a Conductor)The Power of Unpublished Works: Strophes and "Don" for pianoChapter 11: Folding Space and TimeImprovisation IImprovisation IIImprovisation IIBookends: Tombeau and DonEpilogueBibliographyIndex
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