P.L Aimard est vraisemblablement le musicien qui a le mieux défendu la musique de Boulez en France. Il y a mis toute son énergie et sa dévotion. Parfois ce savoir faire pianistique prodigieux a pu permettre à Boulez à faire entrevoir les méandres cachés de son écriture, mêmes les plus insipides. Le reproche que je fais à ce courant c'est qu'il conduit inévitablement à une impasse. Une impasse que même les plus immenses interprètes ne parviendront jamais à transformer en un passage vers quoi que ce soit. Je pense que les 3 protagonistes principaux de la deuxième Ecole de Vienne l'ont admis en eux-mêmes à un moment donné, même s'ils ne l'ont pas admis publiquement. Il est ainsi probable que c'est dans l'écriture de pièces ayant encore un lien perceptible avec ce qui les précéda, et non pas dans les procédés les plus extrêmes, que ces 3 compositeurs là se sont le plus prodigieusement illustrés. Parmi elles la sonate n 1 opus 1 de Berg, qui reste pour moi un chef d'oeuvre absolu et qui illustre cet émouvant passage de flambeau, très "fin de siècle".
Very beautiful use of contrasts between sensual harmonies, and sharp rythms and register breaks. Every piece speak so clearly in such a short amount of time ! Thank you for the score !
@@karlkinono Just cos you don't understand it doesn't mean there's nothing to understand. It ain't my favourite either, but you gotta make an effort to get it. If you get it, you have a right to dislike it. If not, you're not judging it fairly.
klop422 If music doesn’t flows, is not good. Textures are important, but the musicality is actually a thing. I’m a spectralist composer, and I wanna conserve the musicality altought it is really complex switching to different formats of equal temperament or just intonation, meantone and a big etcetera. The thing is that, this has no musicality at all. Is like Brian Frey with his “new complexity” that makes no sense at all. If you want good stuff, you could hear; Rautavaara, Messiaen, Ornstein, and Me ;D (just joking hahajshs).
0:04 - I. Fantasque - Modéré 1:03 - II. Très vif 1:24 - III. Assez lent 2:22 - IV. Rythmique 2:53 - V. Doux et improvisé 3:43 - VI. Rapide 4:09 - VII. Hiératique 5:34 - VIIII. Modéré jusqu'a très vif 6:19 - IX. Lointain - Calme 8:40 - X. Mécanique et très sec 9:01 - XI. Scintillant 9:38 - XII. Lent - Puissant et âpre
Ostinati is one thing that Boulez rarely used, but here there are a few examples. Another is a prevalent Bartok influence (I'm thinking of the Out of Doors Suite, no. 4, Musique Nocturnes). No. 10 anticipates the 2nd Sonata. Notice, not a single time signature is given, in spite of the multiple changes in meter.
each of these is a world of new emotion and life . the slow ones say much define a n entire shift of feeling after WW2 . No. 6 is so impressive wish I could remember the notes and play it . A lot of music that came after it mimes its sounds. No. 8 is my favorite !!!! Writing a Bagatelle influenced by it ! Please check out my music !
@@philipconnelly1505 It's now been a while since I learned these, but I never really understood what I was doing beyond trying things out and vaguely following Boulez's own little lessons about some of these (which you should check out). Sure, the rhythms are notated straightforwardly, but the hard part is making sense of them musically, beyond merely reading them. Hence why I asked how literally they should be interpreted, especially since number 3 in particular seems to call for some quasi-Romantic rubato, expression and flexibility.
Quand l'intellectuel prend le pas sur les sens... 10 mn ça va encore, mais 2H30... Ressentir du lugubre, de l'étrange, du mystère, du suspens, du stress ou du fantasque pendant tout ce temps sans harmonie pour les sens... comment dire....
P.L Aimard est vraisemblablement le musicien qui a le mieux défendu la musique de Boulez en France. Il y a mis toute son énergie et sa dévotion. Parfois ce savoir faire pianistique prodigieux a pu permettre à Boulez à faire entrevoir les méandres cachés de son écriture, mêmes les plus insipides. Le reproche que je fais à ce courant c'est qu'il conduit inévitablement à une impasse. Une impasse que même les plus immenses interprètes ne parviendront jamais à transformer en un passage vers quoi que ce soit. Je pense que les 3 protagonistes principaux de la deuxième Ecole de Vienne l'ont admis en eux-mêmes à un moment donné, même s'ils ne l'ont pas admis publiquement. Il est ainsi probable que c'est dans l'écriture de pièces ayant encore un lien perceptible avec ce qui les précéda, et non pas dans les procédés les plus extrêmes, que ces 3 compositeurs là se sont le plus prodigieusement illustrés. Parmi elles la sonate n 1 opus 1 de Berg, qui reste pour moi un chef d'oeuvre absolu et qui illustre cet émouvant passage de flambeau, très "fin de siècle".
Very beautiful use of contrasts between sensual harmonies, and sharp rythms and register breaks. Every piece speak so clearly in such a short amount of time ! Thank you for the score !
Bullshit
@Steven Moore This is such a huge crap !!
@@karlkinono Just cos you don't understand it doesn't mean there's nothing to understand. It ain't my favourite either, but you gotta make an effort to get it.
If you get it, you have a right to dislike it. If not, you're not judging it fairly.
klop422 If music doesn’t flows, is not good. Textures are important, but the musicality is actually a thing. I’m a spectralist composer, and I wanna conserve the musicality altought it is really complex switching to different formats of equal temperament or just intonation, meantone and a big etcetera. The thing is that, this has no musicality at all. Is like Brian Frey with his “new complexity” that makes no sense at all. If you want good stuff, you could hear; Rautavaara, Messiaen, Ornstein, and Me ;D (just joking hahajshs).
Finally, some Boulez I like! Thank you for posting.
0:04 - I. Fantasque - Modéré
1:03 - II. Très vif
1:24 - III. Assez lent
2:22 - IV. Rythmique
2:53 - V. Doux et improvisé
3:43 - VI. Rapide
4:09 - VII. Hiératique
5:34 - VIIII. Modéré jusqu'a très vif
6:19 - IX. Lointain - Calme
8:40 - X. Mécanique et très sec
9:01 - XI. Scintillant
9:38 - XII. Lent - Puissant et âpre
One of my favorites from Boulez! The No. 2 is my favorite from the set
Then let me namedrop variation 10 from Rzewski's "The People United Will Never Be Defeated!"
@@commentingchannel9776 Oh yes, I love that variation! :))
1:03
1:25
2:21
2:53
3:42
4:08
5:35
6:20
8:41
9:00
9:40
Fantastic!!
Ostinati is one thing that Boulez rarely used, but here there are a few examples. Another is a prevalent Bartok influence (I'm thinking of the Out of Doors Suite, no. 4, Musique Nocturnes). No. 10 anticipates the 2nd Sonata. Notice, not a single time signature is given, in spite of the multiple changes in meter.
Very introspective. Wow.
he mastered the piano with his hands, so he tried using his legs
No love for #2? Imagine hearing that in 1945.
Great!
each of these is a world of new emotion and life . the slow ones say much define a n entire shift of feeling after WW2 . No. 6 is so impressive wish I could remember the notes and play it . A lot of music that came after it mimes its sounds. No. 8 is my favorite !!!! Writing a Bagatelle influenced by it ! Please check out my music !
whatever people want to believe.
that no.6 is pretty easy to memorize considering also how short it is.
Bagatelles in preparation of the first sonata?
Especially 10
No. 6 ❤️
5:35 VIII Modere reminds me a lot of Messiaen’s XIV Regard des Anges.
I will never understand Boulez. But may he rest in peace.
8💖
how TF do I play this
6 I'm straight up skipping, but should I be taking the rhythms literally in something like 3?
Why not? No. 3 contains relatively straightforward rhythms.
@@philipconnelly1505 It's now been a while since I learned these, but I never really understood what I was doing beyond trying things out and vaguely following Boulez's own little lessons about some of these (which you should check out). Sure, the rhythms are notated straightforwardly, but the hard part is making sense of them musically, beyond merely reading them. Hence why I asked how literally they should be interpreted, especially since number 3 in particular seems to call for some quasi-Romantic rubato, expression and flexibility.
4, 6 and 10.
😎
Number 8, Gaspard de la Nuit ;)
I know, right?
Poor man's Gaspard de la Nuit, I'd say.
wenisimo
2 - 8 - 11 - 12
Des milliers de pianistes savent jouer les notes mais de là à exprimer le compositeur il y a un gouffre NON franchi ici non plus §
Pas de temps à perdre à écouter ces sottises...
1:04
이게머노
Quand l'intellectuel prend le pas sur les sens... 10 mn ça va encore, mais 2H30... Ressentir du lugubre, de l'étrange, du mystère, du suspens, du stress ou du fantasque pendant tout ce temps sans harmonie pour les sens... comment dire....
vale pico
che palle
ahahah
Wtf is that
This is such a crap !