Pierre Boulez

Pierre Boulez - Complete Works (2013) {13CD Set Deutsche Grammophon 0289 480 6828 9}
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© 2013 Deutsche Grammophon | 0289 480 6828 9
Classical / Modern Classical / Avant-Garde / Electronic / Modern Composition

There seems something soberingly final about the title of Deutsche Grammophon's collection, which brings together recordings of all the music Pierre Boulez acknowledges, from the 12 Notations for piano of 1946 to Dérive 2, the churning, turbulent ensemble piece that reached its latest, 44-minute form in 2006. Boulez is now 88; his eyesight is known to be failing, and new works such as the Waiting for Godot opera planned for La Scala may never be fulfilled. Similarly, the scores long marked "work in progress" in his catalogue may for ever remain just that. As Claude Samuel says in his wonderfully perceptive and informative notes to the set, "more than anyone else's, Pierre Boulez's oeuvre has not known completion and never will". What's on these 13 discs, then, is likely to be the body of work on which Boulez's place in the history of 20th-century music will be assessed.

The years have seen Pierre Boulez record for CBS, Erato, EMI, and Philips, among other labels, but his most consistent and critically praised work has appeared on Deutsche Grammophon, where he has conducted the Chicago Symphony Orchestra, the Cleveland Orchestra, the Berlin Philharmonic, and his own Ensemble InterContemporain in many successful performances. These ensembles are heard on this trimline, six-CD box set of Igor Stravinsky's major works, which brings together Boulez's recordings of L'oiseau de feu, Petrushka, Le Sacre du printemps, L'histoire du Soldat, the symphonies, concertos, and other works, recorded between 1980 and 1996. As one of the leading champions of modernism, first as a composer and essayist, then as a prominent conductor, Boulez is regarded as an authority on Stravinsky's oeuvre, and it is difficult to imagine many conductors who have a better understanding of the technical and stylistic issues that affect performances. Boulez is also famous for his precision and meticulousness, which make the details stand out clearly in the rhythmically complex and texturally dense orchestral scores of the ballets, and yet seem so delicate and exact in the concertos and pieces for smaller ensembles.

Pierre Boulez - Notations & Piano Sonatas - Pi-hsien Chen (2005) {hat[now]ART 162}
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© 2005 HAT HUT Records | hat[now]ART 162
Classical / Contemporary Classical / Post Modern / Piano Solo

Chen's survey of Boulez's piano music (bar the little competition piece Incises) invites comparisons with Paavali Jumppanen's accounts of the three sonatas released by Deutsche Grammophon earlier in the year. Both are first rate; Chen's tempi are marginally slower, but her approach is more dramatic - some of the early Notations are positively explosive - while Jumppanen explores Boulez's command of keyboard sonority more fastidiously. Both convey the energy of the young Boulez's piano writing. It's hard to believe the Notations were composed 60 years ago, and the First Sonata, with its strange, intensely French flavour, followed a year later; this music still sounds astonishingly fresh.

Collecting five CDs for about the price of three, this set of Boulez recordings is without parallel among the conductor's new-music releases. Imagine getting Boulez's celebrated single CD of Luciano Berio's Sinfonia and Eindrücke and his equally impressive single CD of Arnold Schoenberg's Pelleas und Melisande and Variations for Orchestra, bundled with four pivotal Elliott Carter works, Sir Harrison Birtwistle's electrifying …AGM…, Gérard Grisey's Modulations, Iannis Xenakis's Jalons, Hugues Dufourt's Antiphysis, and Brian Ferneyhough's Funerailles, and you have an idea how far this set stretches.

In the Pierre Boulez Saal Opening Concert, Daniel Barenboim, the Boulez Ensemble and renowned soloists are celebrating the idea of what this new concert hall of the Barenboim Said-Academy in Berlin stands for: to create a space where beloved classics, modern masterworks of the early 20th century, and music of our time can be heard side by side and inspire audiences and performers alike.

The greatest of Mozart's wind serenades and the toughest of Alban Berg's major works might seem an unlikely pairing, but in an interview included with the sleeve notes for this release, Pierre Boulez points up their similarities. Both works are scored for an ensemble of 13 wind instruments (with solo violin and piano as well in the Berg) and both include large-scale variations as one of their movements - and Boulez makes the comparisons plausible enough in these lucid performances. It's rare to hear him conducting Mozart, too, and if the performance is a little brisker and more strait-laced than ideal, the EIC's phrasing is a model of clarity and good taste. It's the performance of the Berg, though, that makes this such an important issue; both soloists, Mitsuko Uchida and Christian Tetzlaff, are perfectly attuned to Boulez's approach - they have given a number of performances of the Chamber Concerto before - and the combination of accuracy and textural clarity with the highly wrought expressiveness that is the essence of Berg's music is perfectly caught.