Piano sonatas (Boulez)

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Pierre Boulez composed three piano sonatas. The First Piano Sonata in 1946, a Second Piano Sonata in 1948, and a Third Piano Sonata was composed in 1955-57 with further elaborations up to at least 1963, though only two of its movements (and a fragment of another) have been published.

Contents

[edit] First Piano Sonata

Boulez's First Piano Sonata, completed in 1946, has two movements. It was his first twelve-tone serial work (together with his Sonatine for flute and piano), and he originally intended to dedicate it to René Leibowitz, but their friendship ended when Leibowitz tried to make "corrections" to the score [1]. In composing this, Boulez took great inspiration from Arnold Schönberg's Drei Klavierstücke, Op. 11.

  1. Lent - Beaucoup plus allant (slow - moving along a lot more)
  2. Assez large - Rapide (quite broad - rapid)

[edit] Second Piano Sonata

The Second Piano Sonata of 1947-48 is a powerfully original work which gained Boulez an international reputation. Through his friendship with the American composer John Cage, the work was performed in the U.S. by David Tudor in 1950[2]. The work is in four movements, lasting a total of about 30 minutes. It is notoriously difficult to play, and the pianist Yvonne Loriod "is said to have burst into tears when faced with the prospect" of performing it. [3]

  1. Extrêmement rapide (extremely fast)
  2. Lent (slow)
  3. Modéré, presque vif (moderate, almost lively)
  4. Vif (lively)

[edit] Third Piano Sonata

The Third Piano Sonata was first performed by the composer in Cologne and Darmstadt in 1958, in a "preliminary version" of its five-movement form. One motivating force for its composition was Boulez's desire to explore aleatoric music. He published several writings, both criticizing the practice and suggesting its reformation, leading up to the composition of this sonata in 1955-57/63. Boulez has only published two complete movements of this work (in 1963), and a fragment of another (in Universal Edition 1967), the other movements having been written up to various stages of elaboration but not completed to the composer's satisfaction. Of the unpublished movements (or "formants", as Boulez calls them), described in Edwards 1989, the one titled Antiphonie is the most fully developed. It has been analysed in Decroupet 2004, pp. 152-59. The formant titled "Strophe" is the one least developed since the preliminary form but, according to Allen Edwards (1989, 5-6):

a 1958 radio tape of the composer's Cologne performance of the Third Piano Sonata shows that the wealth of cross-reference introduced by the inclusion of the other three movements, even in their preliminary versions, contributes exponentially to the complex, multiform effect of the whole.

A facsimile of the manuscript of the preliminary version of the remaining formant, "Séquence", was published in Schatz and Strobel 1977, but was subsequently continued to nearly twice its original length (Edwards 1989, 4).

  1. Antiphonie (unpublished except for a fragment, called Sigle [Siglum])
  2. Trope
  3. Constellation (published only in its retrograde version, as Constellation-Miroir)
  4. Strophe (unpublished)
  5. Séquence (unpublished, except for a facsimile of the preliminary-version manuscript)

[edit] References

  • Boulez, Pierre. Orientations. Faber and Faber. London, 1986. ISBN 0-571-14347-4
  • Cope, David. New Directions in Music, "An Interview with Pierre Boulez; February 1969". Waveland Press, Inc., Prospect Heights, Illinois, 2001. pp. 30-32. ISBN 1-57755-108-7
  • Decroupet, Pascal. 2004. “Floating Hierarchies: Organisation and Composition in Works by Pierre Boulez and Karlheinz Stockhausen during the 1950s.” In A Handbook to Twentieth-Century Musical Sketches, edited by Patricia Hall and Friedemann Sallis, 146–60. Cambridge: Cambridge University Press.
  • Edwards, Allen. 1989. “Unpublished Bouleziana at the Paul Sacher Foundation.” Tempo (New Series) no. 169 (June), pp. 4-15.
  • ↑ Fanning, David. Stravinsky: Pétrouchka - Prokofiev: Sonate No. 7 - Webern: Variationen op. 27 - Boulez: Sonate No. 2, Maurizio Pollini, included booklet. Deutsche Grammophon 447 431-2, 1995.
  • Harbinson, William G. 1989. “Performer Indeterminacy and Boulez's Third Sonata”. Tempo (New Series) no. 169 (June), pp. 16-20.
  • ↑ Nattiez, Jean-Jacques. The Boulez-Cage Correspondence. Cambridge University Press, Cambridge, 1993. pp. 77-79. ISBN 0-521-48558-4
  • Schatz, Ingeborg, and Hilde Strobel, eds. 1977. Heinrich Strobel „Verehrter Meister, lieber Freund“: Begegnungen mit Komponisten unserer Zeit. With photographs by Heinrich Strobel. Stuttgart and Zurich: Belser Verlag.
  • Universal Edition. 1967. UE Buch der Klaviermusik des 20. Jahrhunderts. Vienna: Universal Edition.

[edit] External links

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