Word: boulez
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Dates: during 1960-1969
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...radical post-war avant-grade split into those wishing to fulfill the logic of dense twelve-tone organization, represented by such composers as Milton Babbitt and Pierre Boulez, and those desiring to create music with the least possible constraints, represented by Cage and Stockhausen. The latter reacted against the old ghosts of Kingsor and Vienna, Wagner and Schoenberg himself. The new principle was that the legitimacy of music flows simply from the auditor's effort to feel sheer sounds. Music is the sensitized constancy of the world's masses. To borrow a term from language studies, music is mimetic...
After 24 composers-including Igor Stravinsky, Pierre Boulez and Karlheinz Stockhausen-had signed a petition on his behalf, Yun was allowed to resume composing behind bars. The Bonn government, angered by Seoul's cloak-and-dagger tactics on German soil, threatened to suspend its $25 million program of economic aid. South Korea first reduced Yun's stiff sentence to 15 years, then to ten, and last month decided to free him. He is expected to leave for Germany next month...
...authenticity and immediacy in regard to experience." Some way out of our present musical somnambula must be found. "The world," feels Mr. Kirchner, "needs shock treatment; this is the role of the avant-garde. It is sacrificial, self-immolating." The purpose of such men as John Cage and Pierre Boulez is to inter the paralyzing reputations of the masters, especially the twentieth-century masters who have become classics and therefore dead issues. The finest contemporary composers are struggling to form and sustain unservile metaphors of continuity and revolution. The avant-garde is an agent of wise exasperation seeking to burn...
...known outside avant-garde circles, he was awarded the W. Alton Jones Chair of Composition at the Peabody Conservatory of Music in Baltimore this year. In Europe, he ranks as one of the most influential American composers, and is admired by such leading musicians as France's Pierre Boulez, Germany's Karlheinz Stockhausen and Italy's Bruno Maderna. Available Forms II, which is Brown's most ambitious work, was performed by the New York Philharmonic in 1964, with Brown conducting one orchestra of 49 players and Leonard Bernstein another. Brown is now putting the finishing touches...
...Even your rhythms are new. You would invent new modulations if such a thing were possible." The story goes that when Gioachino Rossini was shown Berlioz' score for the Symphonic Fantastique, he examined it for five minutes and said, "Thank goodness, this isn't music!" Recently Pierre Boulez complained, only half in jest, that Berlioz "has only got two chords...