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|1. Sur Inceses: Moment I|
|2. Sur Inceses: Moment II|
|3. Messagesquisse: Tres lent|
|4. Messagesquisse: Tres rapide|
|5. Messagesquisse: Sans tempo, libre|
|6. Messagesquisse: Aussi rapide que possible|
|7. Anthemes 2: Libre|
|8. Anthemes 2: I. Tres lent, avec beaucoup de flexiblite - Libre|
|9. Anthemes 2: II. Rapide, dynamique, tres rythmique, rigide - Libre|
|10. Anthemes 2: III. Lent, regulier - Nerveux, irregulier - Libre|
|11. Anthemes 2: IV. Agite, instable - Libre|
|12. Anthemes 2: V. Tres lent, avec beaucoup de flexibilite - Subitement nerveux et extremement irregulier - Libre|
|13. Anthemes 2: VI. 1. Allant, assez serre dans le tempo|
|14. Anthemes 2: VI. 2. Calme, regulier - Agite - Brusque|
|15. Anthemes 2: VI. 3. Calme, sans trainer, d'un mouvement tres regulier - Libre|
To see the future of classical music, just look to the projects of Pierre Boulez. Whether conducting Bruckner, Mahler, or one of his own compositions, he continues to surprise, embellish, and reinvent the shape of music today. Sur Incises gathers three Boulez works that each focus, at least in part, on a singular instrument. The world-premiere title track uses three pianos, three harps, and three percussionists to create a dense, atonal, but very pianistic universe of sound. On repeated listenings, the abstract piece becomes more rewarding; you eventually pick up on Boulez's keen eye for tonal colors and shadings. On Anthemes 2, the piercing sounds of Hai-Sun Kang's violin are sampled, manipulated, and relayed back to her via electronics. Here, you won't find the lush Impressionism that Boulez hints at with Sur Incises, but you will find a fascinating interplay between organic and synthetic sounds. Messagesquisse for six cellos achieves similar results; the solo cello of Jean-Guihen Queyras is echoed and hinted at by five other cellists. As on their acclaimed recording of the composer's Répons, the Ensemble InterContemporain sets a high standard for these works, and DG does an excellent job with the recorded sound. These pieces may lack some of the musical magic of Repons, but they're no less fascinating. --Jason Verlinde
Top Customer Reviews
this highly modern piece is a fine example of sound architecture
expressing a progressive way of life that men like le courbosier,mallarme,klee,and einstein resonated in their works.what else are we too listen to in a fast paced technologicaly advanced world surrounded by buildings like la defense and frank gehry's guggenheim in spain?.this is the music of our day,and boulez shall be crowned the musical icon of modernists thinkers.
Boulez is an interpreter extrordinaire. His Debussy, Schoenberg, Messiaen, and Webern are among the best. And though many are apparently too deaf to hear it, his Mahler is a thing of greatness (just listen to the sixth).
As a composer Boulez is perhaps even more formidable. Repons, though influenced by Webern and Messiaen takes music to a whole new level.
The variety of Boulez' work is vast. Pli Selon Pli is the best piece of vocal writing since Mahler walked the earth. Eclat/Multiples ranks with the best works of Ravel and Debussy.
Yet Sur Incises is Boulez crowning achievement (so far). I cannot begin to fathom the kind of driving genius it takes to mould pieces like those included here. This is music like it was meant to be.
I give no comparison here...only recommendation. Get this disc.
First, I think Sur Incises is Boulez's best piece in many years. After Repons and the recorded version of ...explosante-fixe..., this is his first large-scale work not to employ electronics. I think it is the best. While I like the other two tremendously, Repons of often strikes me as more of an IRCAM display-model, while ...ef... at times seems to me extremely dense and inscrutable (maybe over-scored?) in terms of its actual sound, which is strange given Pierre's desire for clarity.
Sur Incises, however, is complete and clear. In some ways it seems a late 90s version of Eclat/Multiples, but there is no real connection. The climax of Moment 2 is the most dramatic and powerful music he has ever written. The idiom is distlled Boulez, all the best bits are refined then 'proliferated', everything else jettisoned. Perhaps the most astonishing thing is that after some forty years of incomplete projects, except the one-off Ritual, he has written what seems a complete piece. (Although we may one day hear Sur Sur Incises!)
My only dissapointment is that DG did not include either Incises for Piano, which would have fit, and/or Anthemes 1 for violin, which may not. Happily, though, you can hear a new recording of Anthemes 1 for free at the andante.com Boulez page. They are interesting to compare. Indeed, as much as I enjoy electronics (and I really do), I find myself at times tending to prefer the original...
For those interested, DG are releasing a new (third) recording of Pli Selon Pli next year with Boulez, the wonderful Christine Schaefer, and the Ensemble InterContemporain. It will probably be Boulez's last word on the piece.Read more ›
So wrote Friedrich Nietzsche, and it is these words that come to mind when I listen to this work that culitvates ultra-refined chamber music texture to the nth degree of as "Sur Incise". As with J.S. Bach, Boulez's utterances at times seem lost on his contemporaries. So what a pleasure it is to be there in Boulez's time and to be able to be one of the few who listen to this voice in awe and with total understanding. Never have I been so utterly fascinated by any work by Boulez since discovering his "Pli Selon Pli". Every note of "Sur Encise" seems to be a poem in itself, understated yet infinitely evocative and complete in itself. This is a work whose hushed profundity seems to have been whispered almost unnoticed to a busy jet setting age, yet is all the more powerful in its impact for all that. Indeed this is truly a work for our age as no other, and which will perhaps one day be recognized as Boulez's greatest work. I have no higher praise.
Most recent customer reviews
found this sucker in the cutout ben at Walmart right next to the greatest hits of 1720. well this music by mister boulay sounds like it could have be written in 19!20! Read morePublished on May 18 2004
How does Mr. Boulez still have time for this kind of music, so busy he must be with all his glorious recent interpretations of Strauss' "Also sprach Zarathustra" or... Read morePublished on Oct. 4 2001