On the occasion of the 90th anniversary of the composer and conductor, establishing painted a dense and funny portrait of an enigmatic man between artistic and aesthetic currents inspirations.
Three years! This is what it took for the young Commissioner Sarah Barbedette to overcome the exhibition “Pierre Boulez”, presented from March 17 to June 28, 2015 at the Philharmonie 2, former City of Music. Not that hooking is monumental. But it still occupies two floors and brings together 194 works: paintings, scores, handwritten letters, photos … Above all, he wants to be the summary of the life, work and vision of a man who was at all respects irreducible.
“Pierre Boulez”. Say more in the title would already betray the personality of that character multicard composer, conductor, music thinker, creator of institutions and more broadly ‘political intellectual’. These are all aspects that we rediscover, over thematic and chronological tour of the exhibition. “A course in which Boulez is not reached, assures Sarah Barbedette. When it was me suggestions, it was more about choosing a pictorial work on the overall structure. ”
If the musician showed little interventionist, his voice serves as our guide. Through fifty sound documents, we listen screwed headphones on, Boulez is revealed by Pierre. Totally impenetrable without audio guide when visiting the exhibition, is his tour de force, only makes sense in light of his master’s voice. A laughing voice coupled with a conquering but deeply human insolence. She welcomes us upon entry, in an area where discovered, jumble, conservatory registers (delightful observation about the student Boulez Messiaen: “Very well, in a style unsuited to duty”), exhibition catalogs the postwar oil paintings by Klee and Kandinsky. In an interview delicious, the composer returns to his youth. Evokes, hilarious, his second master, René Leibowitz.
One of Boulez slips to another. Among a host of black and white prints, here man company and theater, forgotten today. One whose Barrault say, “Despite his great musical theories, he put all the sauces are for us …” Given the immense autograph score microscopic signs of Constellation-Miroir, accordion-folded (“one report I never with the instrument “), this is the passion for ethnomusicology. Whoever draws on records from the Guimet Museum matter of Marteau sans maître.
In the basement, the composer disappears behind the man-orchestra symphonic leader mimes swimming exotic fish! Opera is one epistolary war against Malraux. The future creator of IRCAM in “job-shadowing” to artificial intelligence department of the faculty of Stanford. Man controversies of all kinds, that reminds a clipping wall.
The plastic arts, permanent source of inspiration, are omnipresent. Mainly originating from private collections, those are hardly tell. They are supplied rough around the edges. Sometimes striking, as this second version of Triptych Francis Bacon or what Mondrian “on the crest” of Trees Composition 1.
More explanations would be needed to make the link with the work of the musician. Especially as it is cleverly highlighted by several listening spaces. But Boulez has always been demanding, if not severe, with this rapprochement between painting and music. Perhaps is this what Commissioner who stopped in its tracks.
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