Word: boulez
(lookup in dictionary)
(lookup stats)
Dates: during 1960-1969
Sort By: most recent first
(reverse)
CAMERA THREE (CBS, 11-11:30 a.m.). In the first of a two-part program, Pierre Boulez, who is slated to be music director of the New York Philharmonic in 1971, is shown rehearsing and conducting Schoenberg's Pierrot Lunaire...
...ever before. Among composers of the past, Hector Berlioz was perhaps the first to pay much attention to the symphonic battery of drums. Later on, Stravinsky and Bartok proved that percussionists could do more interesting things than simply thump out a basic rhythm. Nowadays such avant-gardists as Pierre Boulez, John Cage, Luciano Berio and Karl-heinz Stockhausen treat the percussionist as a performer with rights (and responsibilities) equal to any other soloist...
...composing, the orchestra has been pondering a successor, well aware that Lennie would be a tough act to follow. Who could match the famous Bernstein skill, glamour, showmanship and popularity? Last week the orchestra directors courageously and imaginatively picked a man who might just do it. In Pierre Boulez, 44, the French avant-garde composer-conductor, the Philharmonic is betting its future on a musical pied piper who is capable of shaking up symphonic life not just in New York but throughout the U.S. as well...
...Boulez, who spent four weeks guest-conducting the orchestra this spring, will take over the Philharmonic in the fall of 1971 for three years. It should be a lively reign. An enfant terrible of French music during his younger days, Boulez is capable of fighting desperately for what he believes in-primarily, Boulez's own precise brand of serialism, Webern, and the two most important "traditionalists" in his life, Stravinsky and Debussy. His own music (notably Eclat, Le Marteau sans Maitre, fresh, glittering, mobile works filled with a constant sense of surprise that belies their tight structure) reflects...
...Audience. To the directors of the Philharmonic, Boulez's kind of belligerence is obviously a risk to be seriously weighed. So is his lack of experience in the bread-and-butter area of any symphony orchestra's life: the 19th century repertory. By and large he made his conducting reputation on no more than half a dozen works-notably Stravinsky's Le Sacre du Printemps, to which he brings astonishing rhythmic control and a primitive passion for the work's savage shafts of power. He does not much care for Brahms, Tchaikovsky, or Bruckner...