Composer, conductor, polemicist, and iconoclast Pierre Boulez was born 100 years ago and, upon his death in 2016, left a lasting impact on classical music. Two festivals featuring the London Symphony Orchestra and the BBC Symphony are set to celebrate his legacy. Composers, conductors, and performers who had the privilege of working with him share their insights on why his music remains essential listening, as long as we approach it with our ‚Boulez ears‘ on.
George Benjamin, a renowned composer and conductor, describes Boulez’s „Pli Selon Pli“ as one of the greatest works of the 20th century. Boulez, known for his individuality, reshaped music post-World War II. His unique sensibility and style, characterized by extreme beauty and precision, are evident in his diverse range of works, such as „explosante-fixe“ and „Sur Incises.“
As a conductor, Boulez was highly influential, championing composers like Bartók, Varèse, and Messiaen. His precise hand gestures and exceptional ear for detail enabled him to communicate effectively with orchestral players, elevating performances to new heights.
Singer Brindley Sherratt reflects on his 13-year collaboration with Boulez, praising his focused yet occasionally humorous demeanor. Sherratt emphasizes Boulez’s commitment to excellence and recounts memorable interactions with the maestro during rehearsals.
Soprano and conductor Barbara Hannigan shares her transformative experience working with Boulez, highlighting his kindness, musical depth, and dedication to the art. She describes the profound impact Boulez had on her understanding of space, time, and complete musical commitment during their collaborations.
Conductor Antonio Pappano recalls his fascination with Boulez’s composition „Le Marteau sans Maître“ and admires Boulez’s unparalleled ear for music, recognizing the complexity and beauty of his work. Later, as I delved into Boulez’s work as a conductor and performed his music on the piano, I grew to admire his craftsmanship, structure, and mathematical precision. His compositions showcased his skill as a colorist, especially evident in his orchestral pieces like Notations, which exude emotion and complexity with mesmerizing orchestration. As a conductor, Boulez’s keen ear and ability to clarify textures elevated the listening experience for the audience.
Boulez’s advocacy for modern music solidified his status as a significant figure in 20th-century music, although he was known to dismiss tonally based works by composers like Britten, Vaughan Williams, and Shostakovich. His programming choices, while groundbreaking, also sparked controversy and sidelined certain musical genres. However, his innovative approach to conducting Wagner revolutionized interpretations of the composer’s work, making them lighter, more transparent, and focused on textual nuances.
Martyn Brabbins, a conductor, highlighted Boulez’s intention to shock and provoke audiences with his avant-garde compositions, challenging listeners to engage actively with the music. Despite his austere conducting style, Boulez’s personal demeanor was charming and complimentary, reflecting a deeper sensuality and beauty present in his music.
Pianist Tamara Stefanovich shared her transformative experience with Boulez’s music, particularly his Second Piano Sonata, which inspired her during challenging times and reignited her career. Boulez’s teaching emphasized attention to detail, discipline, and freedom in musical expression, using metaphors like bee hives and water dripping to convey his artistic vision.
Conductor Maxime Pascal described Boulez’s music as raw, emotional, and liberating, opening his ears to a new musical realm. Boulez’s meticulous conducting style, characterized by firmness and flexibility, served as a guiding principle for Pascal’s own approach to conducting. Pascal recommended exploring Boulez’s electronic works, such as Anthèmes II and Répons, for a powerful and immersive musical experience.
Composer Olga Neuwirth credited Boulez with teaching her to assert her musical identity and stand her ground creatively. Boulez’s influence transcended his compositions and conducting style, shaping the artistic philosophies and practices of musicians across different disciplines. Fotograf: Joe Klamar/AFP/Getty Images
Boulezs Musik ist eine unzerstörbare Ressource, um die eigene Stimme zu finden, um Komponisten zu inspirieren, sich gegen die Normen des klassischen Musikgeschäfts zu wehren – auch mit Wut, wenn nötig, wie er es in seinen frühen Jahren sowohl in seiner Musik als auch in seinen Äußerungen tat. Er hat mir beigebracht, in Proben standhaft zu bleiben – etwas, das für Komponisten, insbesondere weibliche, nicht immer als angemessen angesehen wird.
Répons ist das Werk von ihm, zu dem ich am meisten zurückkehre, wegen seiner visionären Kombination von Raum, traditionellen Instrumenten und Live-Elektronik-Transformationen in einem Fluss von Zeit und Farben. Er war ein Mann von umfangreichem Wissen, ein schneller Denker, ein neugieriger Kosmopolit sowie ein gelernter Diplomat, der mir und uns allen beigebracht hat, zuzuhören. Ich hoffe, dass seine Musik noch in 100 Jahren gespielt wird. Ars longa, vita brevis.
Das Boulez 100 des London Symphony Orchestra mit den Dirigenten Simon Rattle und Maxime Pascal umfasst Weltpremieren von Werken von George Benjamin (mit Solistin Barbara Hannigan) und Olga Neuwirth und findet am 9., 26. und 27. Januar statt. Der Boulez Total Immersion Tag des BBC Symphony Orchestra mit Martyn Brabbins am Dirigentenpult findet am 30. März statt und beinhaltet Tamara Stefanovichs Aufführung von Boulez‘ 12 Notations und Incises. Alle Veranstaltungen finden im Barbican, London statt.