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PIERRE LE BOULEZ DOMAINE MUSICAL I956…I967 PIERRE BOULEZ LE DOMAINE MUSICAL I956…I967 VOL 1. LE CONCERT DU 10E ANNIVERSAIRE [68’20] VOL 2. LES RÉFÉRENCES FRANÇAISES [62’32] Karlheinz Stockhausen[1928-2007] Claude Debussy [1862-1918] 1. Kontra-punkte [Contrepoints] pour 10 instruments, opus 1 [1952-53] [11’26] 1. Syrinx pour flûte seule [1912] [03’34] Solistes du Domaine musical ; Pierre BOULEZ, direction Severino GAZZELLONI, flûte Luciano Berio [1925-2003] Edgar Varèse [1883-1965] 2. Serenata I pour flûte et 14 instruments [1957] [10’24] 2. Densité 21,5 pour flûte seule [1936/1946] [05’50] Severino GAZZELLONI, flûte Severino GAZZELLONI, flûte Solistes du Domaine musical ; Pierre BOULEZ, direction 3. Hyperprism pour petit orchestre et percussion [1922-1923] [04’40] Pierre Boulez [né en 1925] Orchestre du Domaine musical ; Pierre BOULEZ, direction Le Marteau sans maître pour voix d’alto et 6 instruments [1953-1955/1957] [32’16] Octandre pour petit ensemble orchestral [1923] [06’34] 3. 1. Avant “L’artisanat furieux” 1’29 4. 1. Assez lent 2’46 4. 2. Commentaire I de “Bourreaux de solitude” 3’40 5. 2. Très vif et nerveux 1’31 5. 3. “L’artisanat furieux” 2’03 6. 3. Grave 2’17 6. 4. Commentaire II de “Bourreaux de solitude” 4’11 Jacques CASTAGNER, flûte ; Claude MAISONNEUVE, hautbois ; Guy DEPLUS, clarinette 7. 5. “Bel édifice et les pressentiments”, version première 3‘23 Marcel NAULAIS, petite clarinette ; André RABOT, basson ; André FOURNIER, cor 8. 6. “Bourreaux de solitude” 3’19 Roger DELMOTTE, trompette ; René ALLAIN, trombone ; Jacques CAZAURAN, contrebasse 9. 7. Après “L’artisanat furieux” 1’04 Pierre BOULEZ, direction 10. 8. Commentaire III de “Bourreaux de solitude” 5’47 7. Intégrales pour petit orchestre et percussion [1923-1925] [11’10] 11. 9. “Bel édifice et les pressentiments”, double 7’20 Orchestre du Domaine musical ; Pierre BOULEZ, direction Jeanne DEROUBAIX, contralto Olivier Messiaen [1908-1992] Severino GAZZELLONI, flûte ; Georges VAN GUCHT, xylorimba ; Claude RICOU, vibraphone Jean BATIGNE, percussion ; Anton STINGL, guitare ; Serge COLLOT, alto ; Pierre BOULEZ, direction 8. Cantéyodjayâ pour piano [1948] [12’01] Olivier Messiaen [1908-1992] Sept Haïkaï esquisses japonaises pour piano solo, xylophone et marimba soli, deux clarinettes, trompette et petit ensemble [1962] [18’43] 12. Oiseaux exotiques [1955-1956] [13’52] 9. 1. Introduction 1’50 Yvonne LORIOD, piano 10. 2. Le parc de Nara et les lanternes de pierre 1’30 Orchestre du Domaine musical ; Rudolf ALBERT, direction Enregistrement public de la création. Transfert numérique du 33 tours original : Studio Parélies, www.parelies.com 11. 3. Yamanaka-cadenza 3’40 Remerciements à Monsieur Nigel Simeone 12. 4. Gagaku 2’56 Éditeurs graphiques : Universal Edition, Wien (BOULEZ, STOCKHAUSEN) ; Edizioni Suvini Zerboni (BERIO, MESSIAEN) ൿ 1956 (BERIO, STOCKHAUSEN, MESSIAEN) ; 1964 (BOULEZ) Universal Music Classics & Jazz France PIERRE BOULEZ LE DOMAINE MUSICAL I956…I967 VOL 2. LES RÉFÉRENCES FRANÇAISES VOL 4. LES COMPAGNONS DE ROUTE [73’15] 13. 5. Miyajima et le Torii dans la mer 1’22 Maurizio Kagel [1931-2008] 14. 6. Les oiseaux de Karuizawa 5’35 1. Sextuor à cordes pour 2 violons, 2 altos, 2 violoncelles [1953, révisé en 1957] [07’34] 15. 7. Coda 1’50 Solistes du Domaine musical ; Pierre BOULEZ, direction Yvonne LORIOD, piano ; Les Percussions de Strasbourg Orchestre du Domaine musical ; Pierre BOULEZ, direction Luigi Nono [1924-1990] Éditeurs graphiques : Jobert (DEBUSSY) ; Ricordi (VARESE [2-6]) ; Salabert (VARESE [7]) ; Durand (MESSIAEN [8]) ; Leduc (MESSIAEN [9-15]) 2. Incontri [Rencontres] pour 24 instruments [1955] [06’01] ൿ 1958 (VARÈSE [1,2], (MESSIAEN [8]) ; 1964 (VARÈSE [3-7]) ; 1964 (MESSIAEN [9-15]) Universal Music Classics & Jazz France Orchestre du Domaine musical ; Pierre BOULEZ, direction Hans Werner Henze [1926-2012] VOL 3. LE COMPOSITEUR PIERRE BOULEZ [59’46] 3. Concerto per il Marigny pour piano et orchestre [1956] [06’35] Yvonne LORIOD, piano Pierre Boulez [né en 1925] Orchestre du Domaine musical ; Rudolf ALBERT, direction Structures, Livre I pour 2 pianos [1951-1952] [14’21] Henri Pousseur [1929-2009] 1. 1. 3’07 4. Madrigal III pour clarinette, violon, violoncelle, percussions et piano [1962] [12’01] 2. 2. 8’48 Guy DEPLUS, clarinette ; Gérard JARRY, violon ; Michel TOURNUS, violoncelle 3. 3. 2’11 Diego MASSON, Jean-Charles FRANÇOIS, percussions ; Fabienne BOURY, piano Alfons et Aloys KONTARSKY, pianos 5. Mobile pour deux pianos [1958] [10’11] 4. Sonatine pour flûte et piano [1946] [11’44] Alfons et Aloys KONTARSKY, pianos Severino GAZZELLONI, flûte ; David TUDOR, piano Karlheinz Stockhausen [1928-2007] Sonate n°2 pour piano [1948] [33’36] 6. [Mesures du temps] pour flûte, hautbois, cor anglais, 5. Extrêmement rapide 7’06 Zeitmasse clarinette et basson, opus 5 [1956] [13’38] 6. Lent 11’10 7. Modéré, presque vif 2’41 Jacques CASTAGNER, flûte ; Claude MAISONNEUVE, hautbois ; Paul TAILLEFER, cor anglais clarinette basson 8. Vif 11’38 Guy DEPLUS, ; André RABOT, Yvonne LORIOD, piano 7. Klavierstück VI [Pièce pour piano VI] opus 4/II [1956] [17’03] Éditeurs graphiques : Universal Edition, Wien (Structures) ; Amphion (Sonatine) ; Heugel (Sonate n°2) David TUDOR, piano ൿ 1958 (Sonatine) ; 1960 (Structures) ; 1961 (Sonate n°2) Universal Music Classics & Jazz France Éditeurs graphiques : Universal Edition, Wien (KAGEL, POUSSEUR [4] ; STOCKHAUSEN [6]) ; Edizioni Suvini Zerboni (POUSSEUR [5]) ; Schott (HENZE); Ars Viva Verlag (NONO) ; Stockhausen Verlag (STOCKHAUSEN [7]) ൿ 1956 (NONO, HENZE) ; 1957 (STOCKHAUSEN [6]) ; 1960 (KAGEL, POUSSEUR [5], STOCKHAUSEN [7]) Universal Music Classics & Jazz France PIERRE BOULEZ LE DOMAINE MUSICAL I956…I967 VOL 5. IGOR STRAVINSKY [62’14] VOL 5. IGOR STRAVINSKY Igor Stravinsky [1882-1971] 12. Triple Pas-de-Quatre 0’59 13. Prélude 0’50 1. Concertino pour douze instruments 14. First Pas-de-Trois : Saraband-Step 1’14 arrangement du “Concertino pour quatuor à cordes” [1920/1952] [05’45] 15. Gaillarde 1’12 Jacques PARRENIN, violon ; Pierre PENASSOU, violoncelle ; Jacques CASTAGNER, flûte 16. Coda 1’16 Claude MAISONNEUVE, hautbois ; Paul TAILLEFER, cor anglais ; Guy DEPLUS, clarinette André RABOT, Jean-Pierre LAROQUE, bassons ; Pierre POLLIN, Jacques LECOINTRE, trompettes 17. Interlude 0’49 René ALLAIN, trombone ténor ; Maurice SUZAN, trombone basse 18. Second Pas-de-Trois 0’56 Pierre BOULEZ, direction 19. Bransle Gay 0’51 Trois pièces pour clarinette seule [1919] [04’10] 20. Bransle Double 1’20 21. 2. 1. 1’47 Interlude 0’50 22. 3. 2. 1’04 Pas-de-Deux – Coda 5’37 23. 4. 3. 1’14 Four Duos 0’35 24. Four Trios - Coda 2’21 Guy DEPLUS, clarinette Orchestre du Südwestfunk de Baden-Baden ; Hans ROSBAUD, direction Trois pièces pour quatuor à cordes [1914] [06’27] Éditeurs graphiques : Chester Music (Renard ; 3 pièces pour clarinette seule) ; Boosey & Hawkes (Symphonies d’instruments à vent 5. 1. 0’56 3 pièces pour quatuor à cordes ; Agon) ; Wilhelm Hansen (Concertino pour 12 instruments) 6. 2. 1’54 ൿ 1962 et 1958 (Agon) Universal Music Classics & Jazz France 7. 3. 3’31 Quatuor PARRENIN : Jacques PARRENIN, violon I VOL 6. L’ÉCOLE DE VIENNE I. DE 1899 À 1912 [65’04] Jacques GHESTEM, violon II ; Michel WALES, alto ; Pierre PENASSOU, violoncelle 8. Symphonies d’instruments à vent Arnold Schoenberg [1874-1951] à la mémoire de Claude Debussy [1920, version 1947] [08’33] Verklärte Nacht [La Nuit transfigurée] pour sextuor à cordes, opus 4 [1899/1917] [31’12] Orchestre du Domaine musical ; Pierre BOULEZ, direction 1. Sehr langsam [très lent] 3’18 9. Renard histoire burlesque chantée et jouée [1915-16] [15’01] 2. Etwas bewegter [un peu plus animé] 9’14 Jean GIRAUDEAU, Louis DEVOS, ténors ; Louis-Jacques RONDELEUX, Xavier DEPRAZ, basses 3. Schwer betont [pesant] 2’22 Elemer KISS, cymbalum ; Orchestre du Domaine musical ; Pierre BOULEZ, direction 4. Sehr breit und langsam [très large et lent] 9’18 Agon ballet pour 12 danseurs [1953-57] [21’52] 5. Sehr ruhig [très calme] 4’20 10. Pas-de-Quatre 1’35 Jacques PARRENIN, violon I ; Marcel CHARPENTIER, violon II ; Denes MARTON, alto I ; 11. Double Pas-de-Quatre 1’27 Serge COLLOT, alto II ; Pierre PENASSOU, violoncelle I ; Michel TOURNUS, violoncelle II PIERRE BOULEZ LE DOMAINE MUSICAL I956…I967 VOL 6. L’ÉCOLE DE VIENNE I. DE 1899 À 1912 VOL 6. L’ÉCOLE DE VIENNE I. DE 1899 À 1912 Anton Webern [1883-1945] 24. 10. Raub 1’03 Sechs Stücke für Orchester 25. 11 Rote Messe 1’48 26. 12. Galgenlied 0’17 [Six pièces pour orchestre], opus 6 [1909, révisé en 1928] [10’17] 27. 13. Enthauptung 2’01 6. 1. Etwas bewegt [assez animé] 1’06 28. 14. Die Kreuze 2’16 7. 2. Bewegt [animé] 1’17 Troisième partie 8. 3. Zart bewegt [doucement animé] 0’52 29. 15. Heimweh 1’59 9. 4. Langsam, marcia funebre [lent, marche funèbre] 4’18 30. 16. Gemeinheit! 1’11 10. 5. Sehr langsam [très lent] 2’44 31. 17. Parodie 0’59 11. 6. Zart bewegt [doucement animé] 1’33 32. 18. Der Mondfleck 1’04 Orchestre du Südwestfunk de Baden-Baden ; Hans ROSBAUD, direction 33. 19. Serenade 1’55 Arnold Schoenberg [1874-1951] 34. 20.Heimfahrt 1’41 Trois pièces pour 12 instruments [1910] [02’02] 35. 21. O alter Duft 1’34 12. I. Rasch [rapide] 0’45 Helga PILARCZYK, récitante ; Maria BERGMANN, piano ; Jacques CASTAGNER, flûte et piccolo 13. II. Mäßig [modéré] 0’37 Guy DEPLUS, clarinette ; Louis MONTAIGNE, clarinette basse ; Luben YORDANOFF, violon 14. III. Gehend [allant] 0’40 Serge COLLOT, alto ; Jean HUCHOT, violoncelle Orchestre du Domaine musical ; Pierre BOULEZ, direction Éditeurs graphiques : Universal Edition, Wien ; Belmont (SCHOENBERG : Trois pièces) ൿ 1958 (WEBERN) ; 1962 (Pierrot lunaire) ; 1964 (Trois pièces pour ensemble) ; 1966 (La Nuit transfigurée) Universal Music Classics & Jazz France Pierrot lunaire pour voix parlée et 5 instrumentistes opus 21 [1912] [31’50] Première partie VOL 7.
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    LE MONDE Mort de Christophe Desjardins, un alto pour la musique de tous les temps L’instrumentiste français, soliste à l’Ensemble intercontemporain durant deux décennies et interprète privilégié des plus grands compositeurs, est mort jeudi à 57 ans. Par Marie-Aude Roux Publié le 15 février 2020 Il avait su faire de son instrument une arme de création massive : l’altiste Christophe Desjardins, bien connu des mélomanes amis de la musique contemporaine, est mort à Paris jeudi 13 février des suites d’un cancer. Il avait 57 ans. L’un de ses enregistrements maîtres restera le somptueux récital réalisé pour Aeon, Alto/Multiples, en 2010, dix-sept pièces en 2 CD, dont le premier rassemble des grands solos (d’Hindemith à Elliott Carter) qui ont jalonné le XXe siècle, le second regroupant des œuvres en lien avec un répertoire plus ancien ou réclamant le procédé du re-recording afin de démultiplier son instrument – ainsi, le trio Ockeghem-Maderna, le quatuor de Wolfgang Rihm ou le septuor Messagesquisse de Boulez, dont il a créé en 2000 la version pour sept altos. Christophe Desjardins naît à Caen (Calvados) le 24 avril 1962. Il commence la musique très jeune et étudie d’abord le piano, avant de découvrir l’alto à 10 ans, dont le côté mystérieux le séduit. Il entre au Conservatoire national supérieur de musique de Paris en 1982 dans les classes de Serge Collot pour l’alto, de Geneviève Joy (femme d’Henri Dutilleux) pour la musique de chambre. Muni d’un Premier Prix à l’unanimité l’année suivante (1983), il se perfectionne à la Hochschule der Künste (actuelle Universität der Künste) de Berlin auprès de Bruno Giuranna.
  • Escola Francesa De Clarinete José Eduardo Guerra Viana

    Escola Francesa De Clarinete José Eduardo Guerra Viana

    MESTRADO MÚSICA - INTERPRETAÇÃO ARTÍSTICA Clarinete Escola Francesa de Clarinete José Eduardo Guerra Viana SETEMBRO/2017 ESMAE ESCOLA SUPERIOR DE MÚSICA E ARTES DO ESPETÁCULO POLITÉCNICO DO PORTO MESTRADO MÚSICA - INTERPRETAÇÃO ARTÍSTICA M Clarinete Escola Francesa de Clarinete José Eduardo Guerra Viana Projeto apresentado à Escola Superior de Música e Artes do Espetáculo como requisito parcial para obtenção do grau de Mestre em Música – Interpretação Artística, especialização Sopros, Clarinete Professor Orientador Nuno Fernandes Pinto SETEMBRO/2017 2 Dedico este trabalho aos meus pais, ao meu irmão e aos amigos pelo incansável apoio. iii Agradecimentos Ao meu pai, à minha mãe e ao meu irmão pelo incondicional apoio, carinho e paciência, que nunca lhes poderei retribuir. À restante família, que sempre me apoiou. A todos os meus amigos e um especial agradecimento ao Diogo Taveira, pela sua amizade e ajuda incansável. Aos professores Luís Santos e Michel Arrignon, que para além de todo o conhecimento que me transmitiram no clarinete e na música, transmitiram valores para a vida toda. Por último, ao professor Nuno Pinto, que para além de meu professor, orientador e referência clarinetística, é um amigo que irei preservar. iv Resumo Este trabalho propõe entender as bases e as características representativas da Escola Francesa de Clarinete. É composto por uma contextualização do Conservatório de Paris, desde os seus Professores às obras escritas para o Concours de Prix, que tanta influência teve sobre esta Escola. São, também, abordados dois momentos marcantes na evolução organológica do clarinete realizado por Ivan Müller e Hyacinthe Klosé. Neste trabalho é também apresentada uma breve análise sobre quatro obras que espelham esta Escola.
  • To Download the Full Archive

    To Download the Full Archive

    Complete Concerts and Recording Sessions Brighton Festival Chorus 27 Apr 1968 Concert Dome Concert Hall, Brighton Brighton Festival Belshazzar's Feast Walton William Walton Royal Philharmonic Orchestra Baritone Thomas Hemsley 11 May 1968 Concert Dome Concert Hall, Brighton Brighton Festival Kyrie in D minor, K 341 Mozart Colin Davis BBC Symphony Orchestra 27 Oct 1968 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Budavari Te Deum Kodály Laszlo Heltay Brighton Philharmonic Orchestra Soprano Doreen Price Mezzo-Soprano Sarah Walker Tenor Paul Taylor Bass Brian Kay 23 Feb 1969 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Symphony No. 9 in D minor, op.125 Beethoven Herbert Menges Brighton Philharmonic Orchestra Soprano Elizabeth Harwood Mezzo-Soprano Barbara Robotham Tenor Kenneth MacDonald Bass Raimund Herincx 09 May 1969 Concert Dome Concert Hall, Brighton Brighton Festival Mass in D Dvorák Václav Smetáček Czech Philharmonic Orchestra Soprano Doreen Price Mezzo-Soprano Valerie Baulard Tenor Paul Taylor Bass Michael Rippon Sussex University Choir 11 May 1969 Concert Dome Concert Hall, Brighton Brighton Festival Liebeslieder-Walzer Brahms Laszlo Heltay Piano Courtney Kenny Piano Roy Langridge 25 Jan 1970 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Requiem Fauré Laszlo Heltay Brighton Philharmonic Orchestra Soprano Maureen Keetch Baritone Robert Bateman Organ Roy Langridge 09 May 1970 Concert Dome Concert Hall, Brighton Brighton Festival Mass in B Minor Bach Karl Richter English Chamber Orchestra Soprano Ann Pashley Mezzo-Soprano Meriel Dickinson Tenor Paul Taylor Bass Stafford Dean Bass Michael Rippon Sussex University Choir 1 Brighton Festival Chorus 17 May 1970 Concert Dome Concert Hall, Brighton Brighton Festival Fantasia for Piano, Chorus and Orchestra in C minor Beethoven Symphony No.
  • Two Serial Pieces Written in 1968 by Pierre Boulez and Isang Yun By

    Two Serial Pieces Written in 1968 by Pierre Boulez and Isang Yun By

    A Study of Domaines and Riul: Two Serial Pieces Written in 1968 by Pierre Boulez and Isang Yun by Jinkyu Kim Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2018 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee _______________________________________ Julian L. Hook, Research Director _______________________________________ James Campbell, Chair _______________________________________ Eli Eban _______________________________________ Kathryn Lukas April 10, 2018 ii Copyright © 2018 Jinkyu Kim iii To Youn iv Table of Contents Table of Contents ............................................................................................................................. v List of Examples ............................................................................................................................. vi List of Figures ................................................................................................................................. ix List of Tables .................................................................................................................................. xi Chapter 1: MUSICAL LANGUAGES AFTER WORLD WAR II ................................................ 1 Chapter 2: BOULEZ, DOMAINES ................................................................................................