Pierre Boulez — Boulez Conducts Ravel

★★★★✰

   In preclassical music functions of composer and conductor were connected with musical profession. There were no conductors famous in contemporary meaning of this word because institutions playing music for open public were quite rare and better part of music was performed under supervision of composers. Most active musicians have to know not only how to write, but also how to teach and how to perform musical works. After classicism, when symphony orchestra was born, and later in 19th century, when performing historic works became main element of concert life, professionalism of the orchestra was subordinate to skillful leading. The result of changes was a specialization of professional musicians in precisely defined fields of musical activity. Many composers were still using their knowledge and skills performing as artists, soloists and conductors. It is significant it was only 19th century when division for creators and performers had started. And still many great musicians were composing music, sometimes with success, as well as many composers were great performers and interpreters of other composers’ works.
   One of first great composers and at the same time one of first internationally famous conductors was Gustav Mahler. As a composer he was developing postromantic musical forms and intentionally creating expressive means of orchestra. He was also one of those modern conductors who worked on sound qualities and expressive possibilities of large symphonic orchestra. After phonographic industry changed mechanisms of musical culture, many artists become more famous for conducting music of other composers than for their own works. For example almost forgotten composer Bruno Walter or recognized and well remembered composer Leonard Bernstein, both were so successful as performing conductors and their fame effectively hidden their creative works. The opposite position occupies Krzysztof Penderecki who is competent conductor but best part of his fame he achieved as a composer. One of greatest examples of balanced combination of various types of musical activity in second half of 20th century is Pierre Boulez. Being one of most significant composers of modern music he is also remarkable conductor, famous for numerous performances and recordings.

Pierre Boulez — Boulez Conducts Ravel (1971)

   As a conductor Boulez revealed masterly abilities to reach the essential idea of other composer’s works and display it with elegant distance. He was focusing especially on these composers who were creating modern musical language of symphonic sound and forms of high complicity. As much appreciated by critics and public for his perfectly balanced, elegant and gentle renditions of most complicated works in postromantic and 20th century music literature, he was specialized in recordings of Mahler, Wagner, and big symphonic repertoire of 20th century. A special place in Boulez performances was always taken by music of French composers, Hector Berlioz, Claude Debussy, Maurice Ravel, Manuel de Falla, and Edgar Varese. Every of these composers had monographic album conducted by Boulez. Four years after successful album Boulez Conducts Debussy and two years after Boulez Conducts Debussy, vol.2, CBS produced first choice of Ravel’s works. It was recorded with Cleveland Orchestra which he served in 1970 to 1972 as musical advisor. In Daphnis & Chloé choral parts were performed by The Cleveland Orchestra Chorus working under direction of Margaret Hillis.
   The first choice of Ravel’s symphonic works comprises Daphnis & Chloé: Suite No. 2, Pavane for a Dead Princess, Rapsodie Espagnole and Alborada Del Gracioso. The program was set to show most characteristic features of Ravel’s style. Merging elegance and richness of musical impressions Boulez had interpreted Ravel’s music in explorative and refined way. His renditions revealed profundity of composer’s personality and enhance the emotional nature of musical structures. Especially Daphnis & Chloé was master recording. Although the 1971 album Boulez Conducts Ravel was successful release, it was reissued only once in 1973 in the series Collection Grands Interprètes by France division of CBS. The same time in US division of the company produced series of consecutive recordings under the same title. In 1973 Boulez Conducts Ravel Vol. 2 comprising Le Tombeau De Couperin, Valses Nobles Et Sentimentales and Une Barque Sur L'Océan recorded with New York Philharmonic Orchestra, in 1975 Boulez Conducts Ravel vol. 3 with the program of La Valse, Meneut Antique and complete ballet Ma Mere L'oye. The same 1975 CBS released album of complete ballet Daphnis et Chloé recorded with New York Philharmonic Orchestra and Camarata Singers. And this edition was titled Boulez Conducts Ravel as well. Four and half stars for Boulez-Ravel-Cleveland album – this is fully well-founded rate.

Maurizio Pollini – Anton Webern: Variations Op. 27; Pierre Boulez: Second Piano Sonata

THE 90th ANNIVERSARY OF PIERRE BOULEZ'S BIRTH

★★★★★

   Pierre Boulez born March 26, 1925 in Montbrison, Loire is one of the greatest composers of contemporary music. He is also great interpreter of 19th and 20th century, especially big forms of late romantic music, well known for inspired recordings of symphonies of Mahler and Bruckner and Wagner’s operas and great collection of 20th century classics, Debussy, Stravinsky, Bartok, Schoenberg, Berg, Webern and Varese. He was a student of Olivier Messiaen where he had learned twelve-tone technique and later continued his experiments being considered as one of post-webernian serial style composers. Creative activity of Pierre Boulez continues from 1940’s. He composed numerous works – giving his contribution in integral serialism, aleatoric music and electronic music, he created one of the best collections of contemporary music of seven decades.
   Second Sonata for Piano by Pierre Boulez, finished in 1948 when he was 23 years old, is famous as consequently creative and extremely difficult piano piece. The main composer’s idea was to give the twelve-tone series “a functional meaning, a motivic and thematic meaning in relation to certain functions which they had to assume in the work”. He merged techniques of serialism with his own idea of developing series of intervals into linked motives. This idea of evanescent thematism is the base for first movement Extrêmement rapide (Extremely fast). Second movement Lent (Slow) is a variation form on very large scale of changing elements and sustained material. Third movement Modéré, presque vif (Moderate, almost lively) is merging elements of variation and scherzo. Fourth movement Vif (Lively) is constructed in two parts – a slow fugue distracting in abstract formulas and fast part which in decided motives find formal balance without closing thematic material.

Pollini – Webern Variations, Boulez Piano Sonata No. 2 (1978)

   The whole Second Sonata for Piano in composer’s own words was an attempt of destroying the classical form. Pierre Boulez wrote it was his only work related to a historic form, noticing: “I have always found a form which was conceived along with the idea itself”. It’s interesting from the point of view of musical forms history, how creativity was defined by relation to the forms. In great album of Maurizio Pollini Second Sonata for Piano has been paired with Variations for Piano Solo, Op. 27 by Anton Webern. This short, three-part, six-minute only composition is an example of emerging serialism. Composed between October 1935 and November 1936 Variations reveal transition to late period of Webern’s creative work. This compact, tight and consequent work is based on one series, contrapuctal canonic work and clear methods of manipulating the series, its inversion and retrograde. Its complex and concise form was a model for whole generation of composers after war.
   These two works, Variations Op. 27 by Anton Webern and Piano Sonata No. 2 by Pierre Boulez are substantial for serialistic music. These two works were finished in span of 12 years. Those years comprised 2nd world war, Holocaust and atomic bomb first use. It was crucial moment not only for 20th century music. Both are significant as the formal method and as esthetic tendency. Recorded in virtuoso, perfectly interpreted and played performance of Maurizio Pollini it was published by Deutsche Grammophon in 1978 (2530 803). It is one of the best albums in collection of contemporary classics. And complete five stars is only a small justice for Pollini’s renditions of these works. 

Gustav Mahler – Das Klagende Lied

★★★

   The early Mahler’s cantata Das Klagende Lied has been composed between 1878 and 1880 to the original text written in 1878 by composer himself, when he was only 18 years old. In this three part cantata he was following the story known as German fairy tale Das Klagende Lied (The Song of Lamentation) published by Ludwig Bechstein. Other version of this story was published as folk tale Der singende Knochen (The Singing Bones) in famous collection of brothers Jacob and Wilhelm Grimm. This early work is highly important because it is already containing some consistent characteristics of Mahler’s personal style. Its epic impetus, its spiritual and physiological dimensions are announcing the modernistic turn happening in next decades.
   The epic dimensions are the basis for Mahler's imagination and music. Since his very first compositions he was aiming to create big cyclic forms and wide narrative structures constructed in suggestive context. There is no coincidence he had started with songs and the greater part of his songs was written to his own lyrics. Even in his fully instrumental works he has always great mimetic potential, using some elements of sound painting with orchestration imitative effects and powerful extensions of audible space. These two categories – space and time – in Gustav Mahler’s music are elements occupying privileged position. And in best of his works this pair was elevated to some kind of cosmic and eternal groundwork of the world. These qualities are determining metaphysical profundity of Mahler’s work.

Gustav Mahler – Das Klagende Lied (1970)

   Such narrative vision of Mahler’s music was strongly expressed feature of performances by Pierre Boulez. Elements of this attitude are related to those presented in his legendary interpretations of Richard Wagner’s music. In Mahler’s songs and symphonic works Boulez found perfectly clear and universal language of storytelling. It is connected straight to conscious realizations of Berlioz ideas of orchestration. Two decades after Das Klagende Lied was composed, in 1899 Gustav Mahler made himself revision of this cantata. Whole first part was omitted. In 1970 Boulez recorded shorter version of Das Klagende Lied for CBS with Grace Hoffman (mezzo-soprano), Evelyn Lear (soprano), Stuart Burrows (tenor) and The London Symphony Orchestra Chorus led by Arthur Oldham and The London Symphony Orchestra.
   After release of Das Klagende Lied recording (CBS 72773), Boulez recorded first part of original composition Waldmärchen and Adagio from Symphony No. 10 (CBS 72865). Later both recordings were published on double LP edition (CBS 77233). The first LP of this final album comprised parts 1 (Waldmärchen) and 2 (which was part 1 of revised version). It was pressed and sold with cover and inlay with complete information and texts for Das Klagende Lied in 1899 revision. The catalogue number was still 72773. There was no information about Waldmärchen part, which was on 1st Side of the record. This is strange such mistake was not noticed. Maybe it was policy of the producer – listeners who bought Waldmärchen and Das Klagende Lied still had to buy double LP to complete this cantata. Strange policy of recording company but still three stars for great music and competent performance.

Richard Wagner's Parsifal conducted by Pierre Boulez

   After Richard Wagner gain success as composer, librettist, and theoretician in musical aesthetics and entrepreneur, in last years of his life he became the prominent and widely-known figure of German cultural life. He was a person of difficult character and strange views, trying to join his radical esthetics with Buddhism and anti-Semitism, Schopenhauer inspirations with his own philosophic concepts. Although he was complex and difficult personality, his operas and musical drama oeuvres can be considered as climax of romantic era, a crowning achievement of 19th century spirituality, just the way Beethoven’s symphonies closed the classical music period. This comparison is not accidental, just like Beethoven’s last symphonies paved the way for romantic style, Wagner’s last dramas had shown the tendencies for new century, although some of the consequences of these processes are now difficult to reconcile.
   The last, 16th work in series of Richard Wagner’s stage works is Parsifal. The libretto of Parsifal is loose version of early 13th century famous romance Parzival by Wolfram von Eschenbach, knight, epic poet and Minnesinger. Story of Parsifal young knight who fulfils prophecy and saves the order from decay is universal idea in legends of all cultures. Although there are no clear indications of racist or anti-Semitic content in this work, there were heavy arguments on some symbolic meanings Wagner used. Connection of negative characters with some stereotypes and situations can be referenced this way, but in fact the whole work can be interpreted as the eternal struggle between good and evil. Kundry and Klingor are characters who can be seen both as connected to enemies of Christ. In this “most Christian” of Wagner’s works main character kills Klingor and gives absolution Kundry what makes her die. 

Pierre Boulez – Richard Wagner – Parsifal (1971)

   Wagner’s attitude has been expressed more clearly in his writings and letters, where he was developing his anti-Semitic beliefs. During preparations to the premiere of Parsifal, Wagner has objections against conductor Hermann Levi whom he demanded to be Christianized before premiere. But Levi was chosen by King Ludwig II of Bavaria, who was also donating the whole production, and Wagner wrote to king some letters with declarations he is agree, but in still offensive style. Not only in this field Wagner was strange and his behavior was the subject of many analyses. He was very unstable and difficult as a writer and as composer, and his music with ecstatic sublimity, strong emotions and crazy epigone estheticism allows us to feel the atmosphere of dying romanticism. 
   Parsifal is huge dramatic work, which was neither musical drama nor opera. This work became Wagner’s artistic testament. Composer called it ein Bühnenweihfestspiel (A Festival Play for the Consecration of the Stage) and this denomination could serve as an explanation of his real intentions. For the first time it was premiered during Bayreuth Festival in 1882 and until 1903, when Parsifal was shown in Metropolitan Opera in New York, theatre in Bayreuth was the proprietor of exclusive license for staging this work. In Europe this monopole granted by composers will and copyright rights expired ten years later. Produced as a part of Bayreuth Festival with Pierre Boulez in 1970, one year later recording by Deutsche Grammpohon this is one of most rational and psychological renditions of Parsifal. Gwyneth Jones as Kundry is so dramatic, Franz Crass as Gurnemanz is powerful enough to build célèbre sensuality. Other two soloists are Stomas Stewart performing as Amfortas and James King singing Parsifal. Four and a half of a star.

Pierre Boulez — Boulez Conducts Debussy

THE 151st ANNIVERSARY OF CLAUDE DEBUSSY'S BIRTH

   Claude Debussy was gifted artist and complex person, he was brilliant, creative, and innovatory composer and man disobedient to common rules. In effect he lived in complicated social relations what had caused many controversies. More far was his life from bourgeois life style, the greater honors and appreciation surrounded him. His long time friend, composer Ernest Chausson protested against Debussy’s libertarian habits and finally terminated friendship. Few years later in 1903 Debussy was made Chevalier of National Order of the Legion of Honor, the highest decoration of Republique Francaise. His creative output in last years of his life has decreased because of his illness (cancer diagnose in 1909). He remains one of most significant composers of modernity, leading figure of musical impressionism (he was rejecting such designation with impatience), one of greatest composers in the history of French symphonic music.
   Pierre Boulez in his note to Debussy symphonic album points La Mer is Debussy’s most popular and most accomplished symphonic work. The suite of three sketches La Mer could be considered as the definition of impressionistic style in symphonic music. Since the work is masterpiece of subtle suggestions, it is not quite programme music. It's just like transcription of the sea into formal musical language. There is no story, even no pictures, just unclear clues, catchy emotions, some onomatopoeic hints, and continuance understood as idea of the ocean. This music builds discreet play of senses more than the pictures, but it is also a formal three-part construction with scherzo-like middle part Jeux de vagues, with more dramatic first and third movements. Circulation of motifs gives this work cohesion and once more feeling of continuity.

Pierre Boulez — Boulez Conducts Debussy (1967)

   Two symphonic pieces by Debussy included on second side of the album are connected by the fact both were ballet music for Vaclav Nijinsky. Prélude à l'après-midi d'un faune (Prelude to the Afternoon of a Faun) a symphonic poem from 1894 inspired by the poem of French poet Stéphane Mallarmé was choreographed and performed by Nijinsky in 1912 as L'après-midi d'un faune. This is one of most popular works of this era. The last position in the program is Jeux, the ballet music commissioned by Diaghilev in 1912. Precision of performance, colorful orchestral sound, clear vision of works are features makes this recording a reference for many future artists.
   The album was recorded in London Barking Town Hall in 1966 and published by European division of CBS. The history of this edition shows quality and importance of rendition by Pierre Boulez. First recordings were released by European CBS divisions, in 1966 in Germany (92 786), in 1967 in UK (72533), in 1968 in France (S 75 533), than in US (CBS 32 11 0056). The album was highly praised by critics and awarded with Deutscher Schallplattenpreis. The next year album was issued by Columbia Masterworks (MS 7361), and many times later it was republished in various Columbia and CBS series, also in license editions all over the world. After just few months the recording became classic in different license pressings and masterworks series. Later it was also transferred to CD and published by CBS Masterworks in 1987. Five star performance as it is the base for Boulez high position as interpreter.

Boulez – Mahler – Waldmärchen

Gustav Mahler, born in 1860 was undeniably one of greatest composers in history of symphonic music. But he was also artist immersed in the historical process who concluded romanticism with great works being both recapitulation of romantic ideas and opening to forthcoming modern music. His first full range composition which he called his “first opus” was composed between 1878 and 1880 and it was cantata called Das klagende Lied (Song of Lamentation) – huge three-movement, nearly 70 minutes long romantic cantata, composed to his own lyrics. These early Mahler’s visions were close to the canonic themes in German romantic literature and visual arts. The main idea has been taken directly from fairytale Das klagende Lied by Ludwig Bechstein but the plot has been written by Mahler in his own poem.
The plot of Das klagende Lied is derived from popular in romantic culture story about the queen, who promised marriage to someone who will go to the deep forest and will find a very rare red flower. Two brothers set off in search of plant – one fair and noble, the other an unscrupulous opportunist. When honest finds the flower, the consequence is a treacherous death from the hands of dishonest and jealous brother. Following the crime he takes the brother’s prize and marries the queen. However, the wandering minstrel finds bones of the murdered brother and is making the pipe singing whole tragic story. Minstrel goes to the castle and interrupts the wedding ceremony. Scene breaks out, all quarrel and in this pandemonium the castle collapses into the ground. 

Boulez – Mahler – Waldmärchen (1970) 

The first version of Mahler's cantata was composition in three parts, but soon he began to perform it without the first and most extensive movement. First part takes 30 minutes what takes almost half of whole cantata duration. The reason was not only the scale of the first episode. Whole story was still readable when told after hideous act of fratricide, maybe even more mysterious, and this is what always has given a chance for more general associations.  Author’s decision of reduction the work to second and third movements can be understand but still Waldmärchen is great work, even as standalone piece. Comparing to the other two movements, first part shows more ease narrative style where elegiac and lyric elements interlace with dramatic and emotional episodes. 

When tenor Ernst Haefliger chants the first line of cantata text – “Es war ein stolze Königin” – it’s just like an invitation to recall mystery feelings of a child hearing a tale about proud queen and her strange request. Originl idea is to arrange vocal parts in instrumental way. Text of Mahler’s poem has been divided to small particles sung by various sets of vocal staff. Narration about queen is sung by male voices, after tenor and choir comes bass Gerd Nienstedt. Then history of finding the flower and murder is told by soprano Elisabeth Soederstroem, mezzo-soprano Grace Hoffman and choir. 

Illustrative resources are so much diverse as far from literality. In many stylistic solutions this music is close to Richard Wagner’s style. No wonder. In his student years Mahler was clearly influenced by Wagner’s ideas of music and narration. Later, when he became famous conductor, director of Viennese Hofoper and Vienna Philharmonic, Gustav Mahler remained faithful to his esthetic choices and one of best interpreters of Wagner’s works. In his mature works he became more polyphonic and spectrum of his expression was much wider but he was still close to the idea of narrative music. Wagnerian inspirations were clearly dominating over young Mahler’s style. This relationship can be observed on many levels from formation of lyrics, through characteristic references like leitmotiv technique and totality of orchestration, to the precedent idea of whole composition’s narratives reflecting in work’s structure. 

It was good idea to collate Mahler’s first and early works on opposite sides of one album. Waldmärchen from Das klagende Lied and Adagio from his final 10th Symphony are frame closing one of most original visions of romantic symphonic music and despite composers untimely death it shows how consistently he was developing his music. In Pierre Boulez interpretation both works are sparkling like a precious stones. London Symphony Orchestra and Chorus sound perfectly clear and massive. Great solo voices gave this part of cantata an additional dimension of narrative contents. It’s worth to notice this was premiere recording of Waldmärchen in the history and unlike many premiere recordings, this one is probably the best.

Pierre Boulez - Piano Music vol. 1.

Pierre Boulez is probably the last real avant-garde classic and one of biggest serial technique and generally new music masters. As a young man he was inspired by conclusions of New Vienna School. He was swayed especially by Arnold Schoenberg’s works. And before many others he understood serial music has only one chance to avoid closure in mathematic formulas. Looking for the way to unbind musical series, trying to move the musical potential contained in twelve-tone complicated by rhythmic or dynamic series. Building them as analogy and creating almost impossible to seize number of variants, he was trying to open musical form and make it universal container for emotions, for cosmopolitan-like acceptance of mutability.

The idea of music which can’t be useful for totalitarian propaganda was very important part of composers attitude. As many intellectualists in post-war Europe, he evoking fundamental question of how nazism could happen on the ground of European culture. And with fellow composers in Darmstadt School he was trying to create the style and methods which were able to became antidote for intellectual and emotional structures leading to totalitarian society and nationalistic frenzy. Important element of his anti-totalitarian style was aleatoric music, which should be understand as a technique of creating resultant output with incidental changes. The degree of changes is always the matter of compositor’s decision. From controlled to radical aleatorism there were many different solutions but idea was unquestionable, destroying transcendent position of composer, who in traditional European music was  like divine creator while director hold position of the tyrant. In works of aleatoric stream many composers – Boulez, Stockhausen, Lutosławski, Xenakis, Ligeti – were working on redefining position of composer as creator.

Pierre Boulez - Piano Music vol. 1. Charles Rosen

His Piano Works are both serial and aleatoric. As I pointed before there is no contradiction between them. Serial and punctual music were the steps in the same direction as the very next step approaching aleatoric music and controlled chance method. This gave music freedom in creating wider spaces. Sonatas performed by Charles Rosen create almost immediate climax of classical equilibrium between „what” and „how”. Structures are absolutely transparent, and the space between sounds makes listeners feel totally comfortable. And this makes Pierre Boulez classic of XX century.