The French composer has scored his century with his musical creations and his avant-garde in the mixture of genres. Back to the highlights of the life of the musician, who died Jan. 5 in Baden-Baden, Germany.
“We must also dream its revolution not just build it. “wrote Pierre Boulez in his book apprentice statements. Died at age 90, the composer was a virtuoso of classical and contemporary music. At 8, he played parts of Frederic Chopin, at age 15 he received his bachelor’s degree and 21 years composing his First Piano Sonata, a work acclaimed and performed worldwide. Symbol of the twentieth century, Boulez was a shooting star in the sky melodious conductors
● 1943 . At 18, Pierre Boulez decided, with his Bachelor pocket and years of “math spe” just behind him to go to Paris to devote himself to music, a passion he already grown child. If he misses the piano entrance examination at the National Conservatory, the young man knows bounce back and manages to integrate the harmony class of Olivier Messiaen, her “master” to think.
● 1946 : Attending the composer René Leibowitz and inspired by the musical approach of Webern, Boulez composed his First Sonata 21 years. He signed with this composition Schoenbergian his break with the twelve-tone and opens the way for a new genre, steeped in surrealism and a clean wind of freedom to a John Cage.
● 1952 : Already recognized at that date for his many appearances at Renaud-Barrault theater, Pierre Boulez sign in the English magazine The Score article under assassin “Schoenberg is dead,” incriminating talent that it had failed, he said, releasing the music of classical rhetoric.
● 1953-1954 The musician creates Concerts du Petit Marigny and takes for the first time before a stage at a concert the stick. The following year, in 1954 Pierre Boulez achieves Le Marteau Sans Maître , a unique creation, often mentioned as a reflection and mirror of the composer’s work for its mix of genres and instrumental shifts. The work is highly acclaimed in major cultural capitals except in Paris
● 1960 . Boulez decided to sign the Declaration on the Right to insubordination in the war of Algeria, called manifest 121, and is boycotting the radio, on television in France. Residing at this time of his life in Germany, while the composer can not cross the border. But manages thanks to his talent, to leave the French territory during the celebration of 50 years of The Rite of Spring Igor Stravinsky.
● 1966 : This is the time of great breaks with the French government. Despite its international aura and its recent leadership of the Cleveland Orchestra in the US, André Malraux, then Minister of Culture denied the status of director of music for the benefit of the composer Marcel Landowski. Pierre Boulez will decide after this episode to end all collaboration with “everything, in France or abroad, depends on the official organization of music.” It also affirms the Spiegel in 1967, the need to “blow up the opera houses”, ie renovate the system and break amateurism, which according to him, began to hurt the institution.
● 1969 : It takes the direction of IRCAM, the Institute for Research and Coordination Acoustic / Music created by Georges Pompidou, which will open in 1977 at the Passage of the twentieth century, much artisitque and cultural event.
● 1979 : Pierre Boulez takes the direction of the world premiere of Lulu , Alban Berg, at the Opéra de Paris “the ghetto shit and dust, “he called to sauterquelques years ago. His presence now becomes indispensable in the French musical landscape
● 1995 . On the occasion of its 70th anniversary, a worldwide concert tour is organized with the London Symphony Orchestra. Some years later, in 2000, Pierre Boulez, who was 75years, find great Ochestre for a series of concerts between Europe and the United States and lead for the first time in his life’s Symphony No. 9 Bruckner in Vienna.
● 2009 Four years after a global wave of musical celebrations for 80 years, the Louvre has paid tribute to the conductor through an exhibition Pierre Boulez, Work: Fragment , praising its controlled hazards and great modernity.
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