1,721,026 research outputs found
Immagini di gioventù. Saggi sulla formazione e sulle prime opere di Pierre Boulez
No full textImmagini di gioventù. Saggi sulla formazione e sulle prime opere di Pierre Boulez. A cura di Paolo Dal Molin. Paolo Cecchi, "Premessa"; Paolo Dal Molin, "Première Sonate, Quatuor à cordes, études: quasi un'introduzione"; Yves Balmer, Christopher Brent Murray, "Pierre Boulez and Olivier Messiaen's Harmony Class"; Luisa Bassetto, "Ritratto del compositore come apprendista etnologo: Pierre Boulez prima dell'incontro con André Schaeffner"; Peter O'Hagan, "...À René Leibowitz..."; Jean-Louis Leleu, "Notes sur la pièce manquante du Livre pour quatuor: le mouvement IV"; Pascal Decroupet, "Séries, timbres artisanaux et objets sonores: Pierre Boulez et la transgression de la tradition européenne"; Robert Piencikowski, "Postface. Pour en finir avec l'imagier musical"
Mémoriale de Pierre Boulez. Ce que les sources (ne) nous disent (pas)
No full text"Mémoriale (...explosante-fixe... Originel)" (1985) is a member of one of the "families of works" that constitute Pierre Boulez's musical works. The solo flute part, from which the entire work is derived, comes from the flute part of "Explosante-fixe" (1972-1974), and, more precisely, from the last of its nine sequences: Originel. Between 1972 and 1974 Boulez wrote four different versions of this instrumental part. They were played, respectively, in June 1972, December 1972, April 1973, and July 1973; all were played at the time of the performances of "Explosante-fixe". This article studies these various versions and concludes with a detailed analysis of one particular passage - which reconstitutes the serial organization of "Mémoriale", and initiates, for one of its constituent sections, a study of the musical writing and, properly speaking, of its musical results
«È giovane pieno d’intelligenza e di finezza». Luigi Nono e L’Allegria di Ungaretti
No full textThe Cori di Didone, on texts drawn from La Terra Promessa, were premiered in 1958. At that time Luigi Nono had been knowing Giuseppe Ungaretti for at least ten years. This contribution is about their first meeting. The documents about the so-called [Liriche di Ungaretti], one Nono’s projects preceding his ‘opus 1’ are here reproduced, transcribed, and discussed. These documents show, on one hand, Nono’s compositional choices on a poetic text and, on the other, the debts as well as the original choices of his style, that would be further developed in his subsequent vocal works (the [Liriche greche] and Tarde, by the Epitaffio n. 1 to Federico García Lorca). Furthermore, new considerations emerge on the reception of twentieth-century Italian poetry in the works by the young Luigi Nono
Une "note de service des chemins de fer couverte d’esquisses musicales". Étude de F-Pn, Mus. N.L.a 32bis [9]
No full textThe "memorandum" F-Pn, Mus. N.L.a 32bis [9] from the State Railways, dated 5 September 1914, helped to "facilitate the trip" from Paris to Angers "of M. Debussy and 4 people". Seldom mentioned before 1980, this document has never before been studied nor reproduced in its entirety, despite being covered in musical sketches. While the sketches for the "étude Pour les notes répétées" were knows since 1933, the others were, until now, neglected: they relate to the incomplete version of the "étude Pour les arpèges composés" and to the "Sonate pour violoncelle et piano"
«A Wave of Ultra-Modern Music». Venezia e oltre. Documenti dagli archivi musicali della Fondazione Giorgio Cini
No full textArchivi europei della musica del Novecento. L’interazione fra soggetti conservatori vista attraverso le corrispondenze
No full textBiblioteche di compositori, 2015-2017. Berio, Clementi, Dallapiccola, Maderna, Malipiero, Nono, Petrassi, Pizzetti, Scelsi
No full textUne page “retrouvée” de Pierre Boulez. Sur l’identification de quelques documents conservés à la Fondation Paul Sacher
No full text"Mémoriale (...explosante-fixe... Originel)" (1985) is a member of one of the "families of works" that constitute Pierre Boulez's musical works. The solo flute part, from which the entire work is derived, comes from the flute part of "Explosante-fixe" (1972-1974), and, more precisely, from the last of its nine sequences: Originel. Between 1972 and 1974 Boulez wrote four different versions of this instrumental part. They were played, respectively, in June 1972, December 1972, April 1973, and July 1973; all were played at the time of the performances of "Explosante-fixe". This article studies these various versions and concludes with a detailed analysis of one particular passage - which reconstitutes the serial organization of "Mémoriale", and initiates, for one of its constituent sections, a study of the musical writing and, properly speaking, of its musical results
Première Sonate, Quatuor à cordes, études: quasi un’introduzione
No full textIntroduzione al n. 7 di Musicalia. Annuario Internazionale di Studi Musicologici, intitolato "Immagini di gioventù. Saggi sulla formazione e sulle prime opere di Pierre Boulez", pubblicato alla fine del 2014. Dopo la premessa al volume di Paolo Cecchi, il mio contributo introduce in particolare alla lettura dei saggi più complessi dal punto di vista storiografico e analitico, a firma di Peter O'Hagan (sulla Première Sonate), di Jean-Louis Leleu (sul Quatuor à cordes) e di Pascal Decroupet (sull'impatto dell'incontro di Boulez con John Cage e Pierre Schaeffer). Partendo da un esame critico dello stato dell'arte, esso muove a indicare gli elementi di novità apportati dalle nuove ricerche
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