How To Use Boulez In A Sentence
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Keilberth's stereo sound and somewhat fleeter interpretation though no Böhm or Boulez tip the scales in his favor in my opinion.
Archive 2007-07-01
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Boulez' own music, for what it's worth, didn't even win the battle for preeminence, which is to say the token programming spot.
"some safe, undecisive [sic
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This paper mainly discusses music composition and conducting art of Boulez, which might be important for the studies on contemporary conductors...
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The sheer scope of Boulez's accomplishments means that his shadow is virtually inescapable.
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Musically, it's i.e., the Boulez/Chéreau production from 1976-80 at Bayreuth unidiomatic.
Archive 2008-12-01
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I first came across him on a 1997 ECM New Series CD, Dal Niente by clarinettist Eduard Brunner, which involves a sparse, spiralling series of solo clarinet pieces composed by the likes of Stockhausen, Stravinsky and Boulez, as well as by Lachenmann.
Paul Morley on music
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He is composing a straight sextet for principals of the Seattle Symphony Orchestra, has premiered a ballet in Vienna and has been welcomed at Pierre Boulez's IRCAM, crucible of ascetic futurism.
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The music for harp, vibraphone, xylophone, bell-like glockenspiel and cimbalom often possesses the textural delicacy and sound color associated with the music of Mr. Boulez since the premiere in 1955 of "Le Marteau sans Maitre" ( "The Hammer Without a Master"), which brought him to public attention.
Both Challenging and Cool
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That aside, my views on Boulez ever-evolving as they are are fairly clear: it's obvious, in 2008, that dodecaphonic atonal music didn't win the battle for the hearts and minds of the musical cognoscenti.
"some safe, undecisive [sic
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When I was with Boulez's ensemble, he composed a piece for us called 'Antara,' using sampled panpipe sounds.
A Peripatetic Pianist Feels at Home With Complexity
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PIERRE BOULEZ. Is there really only lack of attention, indifference on the part of the listener toward contemporary music?
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Even more so was the Vienna Philharmonic under Pierre Boulez doing Berg's "Lulu-Suite" and Mahler's "Das Klagende Lied"; though their fortissimo passages were even surpassed in volume by the three Tchaikovsky/Shakespeare pieces performed by the youthful Simón Bolívar Orchestra of Venezuela, conducted by their guru, Gustavo Dudamel.
Salzburg's Summer of Shadows and Shakespeare
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I also vividly remember attending the BBC Symphony Orchestra premieres of Stravinsky's Requiem canticles and Boulez's Eclat, in which she took a leading part.
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Boulez calls the piece a ceremony of remembrance and extinction and the way in which these musics appear and gradually dissolve is very moving, very simple, very still.
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Boulez in Bruckner and Haitink in Beethoven - what more can you ask for?
Brian Dickie: That was the decade that was!
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Only three maestros in history - Mahler, Boulez and Bernstein - have achieved commensurate recognition as composers, and all three were composers before they began to conduct.
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To the world (perhaps I should say, to the opera world) at large, things have been going along relatively smoothly at Bayreuth since the centennial year 1976, when Patrice Chéreau and Pierre Boulez created a sensation by their bouleversement of Der Ring des Niebelungen, and when the former director of the festival, Winifred Wagner, daughter-in-law of Richard, did likewise by celebrating her Nazi past on camera for Hans Jürgen Syberberg.
Bayreuth Blues
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It's a mystery, and it seems to happen every time Boulez gets involved with opera.
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One would think that all those cellos would produce a thick, tubby sound, but Boulez's rhythmic and contrapuntal virtuosity keep the music lively and athletic.
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Unlike most avant-garde composers from the fifties, Boulez has always found the physical act of making music a pleasurable exercise for both the ears and the spirit.
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Paradoxically, this is not a major addition to the Bruckner discography, but it is a major addition to the Boulez discography.
