<< 1 >>
Rating: 
Summary: An essential insight into the cutting edge of composition
Review: Boulez's Orientations is a substantial collection of essays, liner notes, and reviews written over several decades. His prose is clear and concise (much like his conducting) and his topics cover a wide range. He discusses topics from Beethoven to Stockhausen and even "the elliptical geometry of utopia." Though frequently a tad verbose and difficult to comprehend, this book provides hours of stimulation and intellectual challenge for the hardcore musician and the layman alike.
Rating:
Summary: The essential tome of the modernist musical dialectic.
Review: For anyone even remotely interested in the world of contemporary music and the volcanic changes that Pierre Boulez spearheaded in that conservative world from the 50's to the present, this is the essential book--a manifesto outlining the hopes, ideals, problems and successes that we face in the modern musical world. Every subject is covered here; from extensive essays and polemics to recording sleeve notes to interviews and tributes to musical colleagues and friends, Boulez leaves no subject untouched. What may seem at first dry and forbidding turns out to be, upon powerful and deep immersion, an inspiring and even moving text and 'calling' for the modern musician.
Rating:
Summary: modernist compendium of a composer/conductor
Review: I cannot add much to the other reviews, this is the full weight of Boulez from both worlds as conductor and creator of theory and music. Boulez always found inroads into the theory of his works, like the indeterminate, aleatoric Third Piano Sonata which includes an analysis here, great reading from tis documentary value. Also reflections on Debussy's Jeux, a seminal work for the post-war generation of composers, the epiphanic, the slow introduction of materials and their appraisal. The problem is that Boulez writes quite tersivily, in short bursts, much like the sonic poet he is. Also the work on Wagner's Ring is discussed quite well, the approach to faster tempi, and Wagner's free form almost leitmotiv, where these musical ideas float through. There is also much on administration, on creating IRCAM, and reflections on where Booulez came from, profiles of Desormiere,Hans Rosbaud, Hermann Scherchen. Boulez would frequent their rehearsals, a hands-on non credit education.
Rating: 
Summary: Destined for Obscurity
Review: This book is an interesting collection of writings and speeches by conductor and erstwhile composer Pierre Boulez.It has three parts. The first (200 pages) consists of pieces that deal with Boulez' attitudes and philosophy about composing and music. His theories are intellectually interesting, but devoid of musical inspiration. It seems that his low reputation as composer is well deserved. The second part (also 200 pages) is the most edifying. He displays a deep understanding of the intricacies of the orchestra, and the interpretation of other composer's works. It demonstrates why he is such a reliable conductor. The third part (100 pages) is the least interesting. It is a collection of personal memories and reminisces. As a writer, one admires his courage in tackling subjects (like artistic taste) that so obviously open him up to ridicule. Few composers have explained their thought processes in a way so clearly understandable to the layman better than Boulez. In summary, one comes to the conclusion that Boulez will be remembered, if he is remembered at all, as a conductor who produced some top notch recordings of Stravinsky and Debussy, and some mediocre Wagner operas.
Rating:
Summary: Destined for Obscurity
Review: This book is an interesting collection of writings and speeches by conductor and erstwhile composer Pierre Boulez. It has three parts. The first (200 pages) consists of pieces that deal with Boulez' attitudes and philosophy about composing and music. His theories are intellectually interesting, but devoid of musical inspiration. It seems that his low reputation as composer is well deserved. The second part (also 200 pages) is the most edifying. He displays a deep understanding of the intricacies of the orchestra, and the interpretation of other composer's works. It demonstrates why he is such a reliable conductor. The third part (100 pages) is the least interesting. It is a collection of personal memories and reminisces. As a writer, one admires his courage in tackling subjects (like artistic taste) that so obviously open him up to ridicule. Few composers have explained their thought processes in a way so clearly understandable to the layman better than Boulez. In summary, one comes to the conclusion that Boulez will be remembered, if he is remembered at all, as a conductor who produced some top notch recordings of Stravinsky and Debussy, and some mediocre Wagner operas.
<< 1 >>
| 
