List of works by Pierre Boulez

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List of works by Pierre Boulez

The following list is essentially based on:

  • Paul Griffiths: Boulez , Oxford 1978
  • Theo Hirsbrunner: Pierre Boulez and his work , Laaber 1985
  • Brochures from the various publishers
  • Wikipedia contributions

Directory of musical works

For the abbreviated scoring information see the article shorthand orchestral scoring . The count follows Hirsbrunner (until 1985).

  • 1 Notations for Piano, 1945 (Universal Edition 1985). Consists of: 1. Modéré - Fantasque; 2. Trés vif. Strident; 3. Assez lent; 4. Rhythmique; 5. Doux et improvisé; 6. Rapide; 7. Hiératique; 8. Modéré jusqu'à trés vif; 9. Lointain. Calmé; 10. Mécanique et très sec; 11. scintillant; 12. Lent-puissant et âpre . Premiere: Yvette Grimaud, Paris, February 12, 1945 (cf. No. 35)
  • 2 Trois Psalmodies for piano, 1945. Premiere: Yvette Grimaud, Paris, 1945.
  • 3 Variations for piano left hand, 1945. Not listed.
  • 4 Quatuor for 4 Ondes Martenot, 1945–46. Not listed. Newly composed as:
    • 4a Sonata for 2 pianos, 1948. Not listed.
  • 5 Sonatina for flute and piano, 1946 (Amphion 1954). Consists of: [I.] Trés librement - Lent; [II.] Trés modéré - presque lent; [III.] Tempo scherzando, avec humeur . Duration: approx. 12 min. WP: van Boterdael, Marcelle Mercenier, Bruxelles 1947.
  • 6 Première Sonata for piano, 1946 (Amphion 1951). Consists of: I. Lent; II. Assez large . Premiere: Yvette Grimaud, Paris 1946. Duration: approx. 10 min.
  • 7 Le Visage nuptial [Das bräutlich Antlitz] for soprano, alto, 2 Ondes Martenot, piano and percussion (poems by René Char), 1946–47. Premiere (only two movements): Paris 1947. Revised as:
    • 7a Le Visage nuptial for soprano, alto, female choir and large orchestra (poems by René Char), 1951–52 (Heugel 1959). Consists of: 1. Conduite [conduct of life]; 2. Gravité, L'emmuré [profundity. The Immured]; 3. Le visage nuptial [the nuptial face]; 4. Evadné; 5. Post-Scriptum. Orchestra: 4. 4. 4. 4. - 4. 4. 3. 1 - xylophone, celesta, glockenspiel, vibraphone, timpani, 2 harps, several percussionists - 16. 14. 12. 12. 8. WP: Ilona Steingruber, Eva Bornemann, Westdeutscher Rundfunk / Boulez choir and orchestra, Cologne, December 4, 1957.
  • 8 Symphonie concertante for piano and orchestra, 1947, lost in 1954. Not performed.
  • 9 Deuxième Sonata for piano, 1947–48 (Heugel 1950, Mercury 1950). Consists of: I. Extrêmement rapide; II. Lent; III. Modéré, presque vif; IV. Très librement . Premiere: Yvette Grimaud, Paris, April 29, 1950.
  • 10 Le Soleil des Eaux for voice and orchestra (music for a radio play by René Char), 1948. Premiere: Radio Télévision Française, Paris, 1948. Converted into a work to be played in concert:
    • 10a Le Soleil des Eaux for soprano, tenor, bass and orchestra (poems by René Char), 1948. Consists of: 1. Complainte du lèzard amoureux [Lament of the lizard in love]; 2. La Sorgue (Chanson pour Yvonne) . WP: Irène Joachim, Pierre Mollet, Joseph Peyron, Orchester National / Roger Désormière, Paris, July 18, 1950. Revised as:
    • 10b Le Soleil des Eaux for soprano, tenor, bass, choir (soprano, tenor, bass) and orchestra (poems by René Char), 1958 (Heugel 1959). Premiere: Josephine Hendick, Helmut Krebs, Heinz Rehfuß, choir and orchestra of the Hessischer Rundfunk / Ernest Bour, Darmstadt, September 9, 1958. Revised as:
    • 10c Le Soleil des Eaux for soprano, choir (soprano, alto, tenor, bass) and orchestra (poems by René Char), 1965 (Heugel 1968). Orchestral scoring: 2. 1. English horn. 1st bass clarinet. 2. - 3. 2. 1. 1. - Xylophone, vibraphone, celesta, 2 harps, timpani, 3 percussionists - 12. 10. 8. 8. 6. Premiere: Catherine Gayer, Berliner Philharmonisches Orchester / Boulez, Berlin, October 1965.
  • 11 Livre pour quatuor for string quartet, 1948–49 (Heugel 1960, IV and VI are missing). Sentences: Ia, Ib, II, IIIa, IIIb, IIIe, IV, V, VI. WP: Marschour Quartet, Donaueschingen, October 1955 (Ia, Ib, II), Parrenin Quartet, Darmstadt, August 29, 1961 (V, VI), Parrenin Quartet, Darmstadt, July 8, 1962 (IIIa, IIIb, IIIe ). Newly composed as:
    • 11a Livre pour cordes for string orchestra, 1968. Consists of: 1a. Variation; 1b. Mouvement . Cast: 16. 14. 12. 10. 8. UA: New Philharmonia Orchestra / Boulez, London, December 1, 1968 (Ia), New Philharmonia Orchestra / Boulez, Brighton, December 8, 1968 (Ib).
  • 12 polyphony X for 18 instruments, 1951. Instrumentation: piccolo, flute, oboe, cor anglais, E-flat clarinet, bass clarinet, alto saxophone, bassoon, horn, trumpet, trombone, 2 violins, 2 violas, 2 cellos, double bass. Premiere: Symphonieorchester des Südwestfunks / Hans Rosbaud, Donaueschingen, October 6, 1951. Revised as:
    • 12a Polyphony X for orchestra, 1977. Premiere: New Philharmonia Orchestra / Diego Masson, London, March 20, 1978.
  • 13/1 Etude sur un son on single-track tape, 1951–52.
  • 13/2 Etude sur sept sons on single-track tape, 1951–52.
  • 14 Structures, premier livre for 2 pianos, 1951–52 (Universal Edition 1955). Duration: approx. 12 min. 3 parts: Ia, Ib, Ic . Premiere: Olivier Messiaen, Boulez, Paris, May 4th 1952 (Ia), Yvette Grimaud, Yvonne Loriod, Cologne, November 13th 1953 (complete).
  • 15 Oubli signal lapidé for 12 voices (poem by Armand Gatti), 1952. unpublished. Premiere: Ensemble vocal / Marcel Couraud, Cologne, October 3rd, 1952.
  • 16 Le Marteau sans Maître for alto, alto flute, guitar, vibraphone, xylorimba and percussion (poems by René Char), 1953–55 (Universal Edition 1954). Consists of 9 pieces in 3 cycles: avant “l'Artisanat furieux” - Commentaire I de “Bourreaux de solitude” - “l'Artisanat furieux” - Commentaire II de “Bourreaux de solitude” - “Bel édifice et les pressentiments” version première - “Bourreaux de solitude” - après “l'Artisanat furieux” - Commentaire III de “Bourreaux de solitude” - “Bel édifice et les pressentiments” double . Dedication: "à Hans Rosbaud". Duration: approx. 35 min. WP: Sybilla Plate, members of the Orchester des Südwestfunk / Hans Rosbaud, Baden-Baden, June 15 (? 18), 1955. Revised as:
    • 16a Le Marteau sans Maître for the same ensemble and viola (poems by René Char), 1957 (Universal Edition 1957).
    • 16b 2 Extracts from "Le Marteau sans maître" - Études pour flûte alto for alto flute alone, 2007 (Universal Edition 2007)
  • o. No. [arrangement] Chansons de Bilitis for speaking voice, 2 flutes, 2 harps and celesta by Claude Debussy (1900–1901). Boulez reconstructed the celesta part.
  • 17 Orestie for voice and instrumental ensemble (music for the tragedies of Aeschylus / Paul Claudel in the production of Jean-Louis Barrault), 1955. Premiere: Compagnie Renaud-Barrault, Bordeaux 1955.
  • 18 Symphonie mécanique on single-track tape (music for a film by Jean Mitry), 1955.
  • 19 Troisième Sonata for piano, 1955–57, in 5 formants:
    • 19/1 Antiphonie , withdrawn shortly before printing in 1961. A fragment published as Sigle (Universal Edition 1968).
    • 19/2 Formant 2: Trope (Universal Edition 1961) Consists of: Commentaire - Texts - Parenthèse - Glose .
    • 19/3 Formant 3: Constellation-Miroir (Universal Edition 1963). Consists of: Mélange - Points 3 - Blocs 2 - Points 2 - Blocs 1 - Points 1 .
    • 19/4 stanza . unpublished.
    • 19/5 Séquence . unpublished. WP: Boulez, Darmstadt, Kranichstein Castle. September 25, 1957.
  • 20 Le Crépuscule de Yang Koueï-fei (music for a radio play by Louise Fauré), 1957. Premiere: Radio Television Fran \; aise, Paris 1957.
  • 21 stanzas for flute, 1957.
  • 22 Pli selon Pli for soprano and orchestra (poems by Stéphane Mallarmé), 1957–62. Duration: approx. 67 min. Premiere: Eva Maria Rogner, SWF-SO Baden-Baden / Boulez, Cologne, June 13, 1960. All 5 parts can be performed separately:
    • 22/1 Don for soprano and piano, 1960 (merged into Éclat , cf. No. 27). Premiere: Eva Maria Rogner, Boulez, Cologne, June 13th 1960. Replaced by:
    • 22 / 1a Don for soprano and orchestra, 1962 (Universal Edition 1967). Orchestra: 2 flutes (2nd also piccolo), alto flute, oboe (also English horn), E flat clarinet, B flat clarinet, bass clarinet, bassoon, 4 horns, C trumpet, D trumpet, trombone, bass trombone, double bass trombone, piano, 3 harps, celesta, mandolin, guitar, 7 percussionists, 8 violins, 8 violas, 10 cellos, 6 double basses. Premiere: Eva Maria Rogner, Symphonieorchester des Südwestfunks / Boulez, Donaueschingen, October 20, 1962. Revised:
      • 22 / 1aa Don (1989) for soprano and orchestra: 4. 1. 3. 1. - 4. 2. 3. 0. - piano, 3 harps, celesta, mandolin, guitar, 7 percussionists - 4. 0. 4. 5. 3. Duration: approx. 15 min. Premiere: Tuula-Maria Tuomela, RSO Helsinki / Peter Eötvös, Helsinki, April 18, 1990. Can also be played outside of the cycle.
    • 22/2 Improvisation sur Mallarmé I: Le vierge, le vivace et le bel aujourd'hui for soprano, harp, vibraphone, tubular bells and 4 percussionists, 1957 (Universal Edition 1958). Dedication: "á Herbert Hübner". Duration: approx. 6 min. WP: Ilse Hollweg and members of the Symphonieorchester des Norddeutschen Rundfunks / Hans Rosbaud, Hamburg, January 13, 1958. Version 22 / 2a should be used for a cyclical performance. Other version:
    • 22 / 2a Improvisation sur Mallarmé I: Le vierge, le vivace et le bel aujourd'hui for soprano and orchestra, 1962. Orchestra: 2 flutes, E-flat clarinet, 2 saxophones, 4 horns, trumpet, glockenspiel, 2 vibraphones (3 players ), 2 xylophones (3 players), 3 harps, celesta, mandolin, guitar, 2 percussionists, 8 violas, 6 double basses. Duration: approx. 6 min. Premiere: Eva Maria Rogner, Symphonieorchester des Südwestfunks / Boulez, Donaueschingen, October 20, 1962. Version 22/2 should be used for a solo performance.
    • 22/3 Improvisation sur Mallarmé II: Une dentelle s'abolit for soprano, harp, vibraphone, piano, celesta, tubular bells and 4 percussionists, 1957 (Universal Edition 1958). Dedication: "à Herbert Hübner". Duration: approx. 12 min. Premiere: Ilse Hollweg, members of the Symphonieorchester des Norddeutscher Rundfunks / Hans Rosbaud, Hamburg, January 13, 1958. Can be played separately.
    • 22/4 Improvisation sur Mallarmé III: À la nue accablante tu for soprano and orchestra, 1959, revised 1983. Duration: approx. 19 min. Orchestra instrumentation: 4 flutes (all also piccolo), trombone, glockenspiel and plate bells, tubular bells, alpine bells, 2 xylophones, 3 harps, celesta, mandolin, guitars, 8 cellos, 3 double basses. Premiere: Eva Maria Rogner, Symphonieorchester des Südwestfunks / Hans Rosbaud, Baden-Baden, June 10, 1959. Can also be performed on its own.
    • 22/5 Tombeau for soprano and orchestra, 1959–62 (Universal Edition 1971). Orchestra instrumentation: 2 flutes (1st also piccolo), English horn, E flat clarinet, A clarinet, bass clarinet, bassoon, horn, C trumpet, D trumpet, trombone, bass trombone, double bass trombone, piano, 2 harps, celesta, guitar, Vibraphone and timpani (2 players), xylophone (2 players), 3 tam-tams and tubular bells and 3 gongs (2 players), plate bells, bass drum, 4 violins, 4 violas, 2 cellos, 2 double basses. Duration: approx. 15 min. Premiere: under the title Tombeau à la mémoire du Prince Max Egon zu Fürstenberg , Eva Maria Rogner, Symphonieorchester des Südwestfunks / Boulez, Donaueschingen, October 17, 1959 (partially); Eva Maria Rogner, Symphony Orchestra of Südwestfunk / Boulez, Donaueschingen, October 20, 1962 (complete).
  • 23 doubles for large orchestra, 1957–58. Orchestra instrumentation: 4 (3rd also piccolo). 3. English horn. 2. A clarinet, bass clarinet. 4th - 6th 4.4.1. - Celesta, 3 harps, vibraphone, xylophone, timpani, 4 percussionists - 16. 12. 10. 10. 8. Premiere: Orchester Lamoureux / Boulez, Paris, March 16, 1958. Expanded as:
    • 23a Figures - Doubles - Prismes for large orchestra, 1963. For orchestra: see above. Duration: approx. 20 min. Premiere: Southwest Radio Symphony Orchestra / Boulez, Strasbourg, January 10, 1964. Expanded as:
    • 23b Figures - Doubles - Prismes for large orchestra, 1968. For orchestra: see above. Premiere: Residentie Orchester / Boulez, The Hague, 1968.
  • 24 Poésie pour pouvoir for orchestra and five-track tape (poem by Henri Michaux), 1958. World premiere: Southwest Radio Symphony Orchestra / Hans Rosbaud and Boulez, Donaueschingen, October 19, 1958.
  • 25 Structures, deuxième livre for 2 pianos, 1956–61 (Universal Edition 1972). Duration: approx. 23 min. Premiere: Yvonne Loriod, Boulez, Donaueschingen, October 21, 1961. Consists of Chapitre I – II, Textes 1–6, Encart 1–4, Prèmiere Pièce, Deuxième Pièce .
  • 26 Marges for percussion ensemble, 1962–64 (only sketches).
  • 27 Éclat for 15 instruments, 1965 (Universal Edition 1965). Instrumentation: piano, celesta, harp, glockenspiel, vibraphone, mandolin, guitar, cymbal, tubular bells, alto flute, English horn, trumpet, trombone, viola, cello (cf. No. 22/1). Duration: approx. 8 min. Premiere: Ensemble / Boulez, Los Angeles, March 26, 1965. Expanded as:
    • 27a Éclat / Multiples for percussion ensemble and orchestra, 1966-…, in various issues:
      • 27a / 1 = Éclat .
      • 27a / 2 Éclat / Multiples (1970) for piano, celesta, harp, glockenspiel, vibraphone, mandolin, guitar, cymbal, tubular bells, alto flute, cor anglais, basset horn, trumpet, trombone, 10 violas, cello. Duration: approx. 25 min. Premiere: BBC Symphony Orchestra / Boulez, London, October 21, 1970. Multiples should not be played individually.
  • 28 Domaines for clarinet, 1961–68. Duration: variable. Premiere: Hans Deinzer, Ulm, September 20, 1968. Other version:
    • 28a Domaines for clarinet and 6 instrumental groups (20 instruments): alto trombone, trombones, bass trombone - 2 violins, 2 violas, 2 cellos - marimbaphone, electric double bass - flute, trumpet, alto saxophone, bassoon, harp - oboe, horn, electric guitar - bass clarinet . Duration: approx. 29 min. WP: Walter Boeykens, Belgian Radio Symphony Orchestra / Boulez, Bruxelles, December 20, 1968. Revised as:
    • 28aa Domaines for clarinet and 6 instrumental groups, 1969. Premiere : Michel Portal, Ensemble Musique Vivante / Boulez, Paris, November 10, 1970. Revised:
    • 28b Dialogue de l'ombre double
      • 28ba for clarinet and electronics (1982–1985)
      • 28bb for bassoon and electronics (1995)
  • 29 Pour le Dr. Kalmus for flute, C-clarinet, piano, viola and cello, 1969. Premiere: Pierrot Players / Boulez, Haus von Dr. Alfred Kalmus, London, April 22, 1969. Dedication: Dr. Alfred Kalmus, "en souvenir de son 80e anniversaire". Duration: approx. 4 min. Revised under the title:
    • 29a Improvisé - pour le Dr. K. (2005)
  • 30 Cummings is the poet ... for chamber choir and chamber orchestra (poem by EE Cummings, from Poems 1923–1954 ), 1970, revised 1986 (Universal Edition 1976). Scoring: 4 sopranos, 4 olds, 4 tenors, 4 basses (or a multiple of up to a maximum of 48 voices) - 1. 2. 2 English horns. 0. 1. - 3. 2. 2. 0. - 3 harps - 1. 6. 3. 3. 1. Duration: approx. 14 min. Premiere: Schola Cantorum Stuttgart, Orchester des Süddeutschen Rundfunks / Clytus Gottwald and Boulez, Stuttgart, September 25, 1970. Revised:
  • 31 … explosante - fixe… for variable ensemble, 1971 (Universal Edition 1971).
    • 31a … explosante - fixe… realized by Boulez for MIDI flute, clarinet, trumpet, harp, vibraphone, violin, viola, cello and electronics, 1972-… Premiere: Lincoln Chamber Society, New York, January 5, 1973. Revised by various following performances.
    • 31b … explosante - fixe… for flute, clarinet and trumpet, 1972
    • 31c … explosante - fixe… for MIDI flute, live electronics, two “shadow” flutes and chamber orchestra, 1991–1993. Includes Transitoire VII (1991), Transitoire V (1993), Originel (1993). Instrumental line-up: midi flute, 2. 2. 3. 2. - 2. 2. 2. 1. - 3. 2. 2. 1. WP: Pierre-André Valade, Ensemble InterContemporain / David Robertson, Turin, September 13th 1993
    • 31b / 1 Arrangement of the flute part: Mémoriale for flute and eight instruments, 1985. Contains originals . Instrumentation: flute, 2 horns, 3 violins, 2 violas, 1 violoncello. Dedication: “En souvenir de Lawrence Beauregard”. Duration: approx. 7 min. Premiere: Sophie Cherrier, Ensemble Intercontemporain / Boulez, Paris, November 29, 1977
    • 31b / 2 arrangements of the violin part:
      • Anthèmes (1991) for violin, dedicated to Alfred Schlee on the occasion of his 90th birthday, WP: Irvine Arditti
      • Anthèmes II (1997) for violin and electronics, premier : Hae-Sun Kang, Donaueschingen 1997.
      • Anthèmes II (2008) for viola and electronics.
  • 32 Rituel in memoriam Bruno Maderna for orchestra in 8 groups, 1974–75, revised 1987 (Universal Edition 1975). Instrumentation: oboe, 1 percussionist - 2 clarinets, 1 percussionist - 3 flutes (3rd also alto flute), 1 percussionist - 4 violins, 1 percussionist - oboe, clarinet, alto saxophone, 2 bassoons, 1 percussionist - 2 violins, 2 violas, 2 Cellos, 1 percussionist - alto flute, oboe, English horn, E-flat clarinet, bass clarinet, 2 bassoons, 1 percussionist - 6 horns, 4 trumpets, 4 trombones, 2 percussionists. Duration: approx. 27 min. Premiere: BBC Symphony Orchestra / Boulez, London, April 2nd, 1975.
  • 33 Ainsi parla Zarathoustra for voices and instrumental ensemble (music for a piece by Jean-Louis Barrault based on Friedrich Nietzsche), 1974. World premiere: Compagnie Renaud-Barrault, Paris, October 1974.
  • 34 Messagesquisse for solo cello and 6 cellos, 1976. Dedication: “à Paul Sacher pour le 28.4.1976”. Duration: approx. 7 min. WP: Members of the jury of the Rostropovich Competition, La Rochelle, July 3, 1977.
    • 34a Messagesquisse for solo viola and six violas (2000), arranged by Christophe Desjardins. WP: Christophe Desjardins, Conservatory student / David Robert Coleman, Aix-en-Provence, June 25, 2000.
  • 35 Notations I-IV for large orchestra 1978, revised 1984. (Universal Edition 1984). (See No. 1)
    • 35/1 Notations I . Orchestra instrumentation: 4 flutes (4th also piccolo), 3 oboes, English horn, E flat clarinet, 2 B flat clarinets, A clarinet, bass clarinet in B flat, 3 bassoons, double bassoon - 6 horns, 4 trumpets, 4 trombones, tuba - 6 Percussionist, timpani, celesta, 3 harps - 1st violin (9 stands), 2nd violin (8 stands), viola (7 stands), cello (6 stands), double bass (5 stands). Duration: approx. 2.5 min.
    • 35/2 Notations II . Orchestra instrumentation: 4 flutes (4th also piccolo), 3 oboes, English horn, Eb clarinet, 2 Bb clarinets, A clarinet, bass clarinet in Bb, 4 bassoons (4th also contrabassoon) - brass as above - 8 percussionists, timpani , 3 harps, piano - strings as above. Duration: approx. 1 min.
    • 35/3 Notations III . Orchestral scoring: wood as notations II - brass as above - percussion and timpani as above, celesta, 3 harps - strings as above. Duration: approx. 3.5 min.
    • 35/4 notations IV . Orchestral scoring: wood as notations I - brass as above - percussion and timpani as above, celesta, 3 harps, piano - strings as above. Duration: approx. 1.5 min. Premiere: Orchester de Paris / Daniel Barenboim, Paris, June 18, 1980.
  • 36 responses for instrumental ensemble, 6 soloists and tapes, realized by computer and live electronics “en temps réel”, 1981–… Instrumental line-up: 2. 2. 2. Bass clarinet. 0. - 2. 2. 2. 1. - 3. 2. 2. 1 - piano, cymbal, xylophone, harp, vibraphone. Premiere: Michel Cerutti, Vincent Bauer, Daniel Ciampolini, Pierre-Laurent Aimard, Alain Neveux, Marie-Claire Jamet, Ensemble InterContemporain / Boulez, Donaueschingen, October 18, 1981. Duration: 17 min. Extended as:
    • 36a Répons for instrumental ensemble, 6 soloists and live electronics. Performers as above. Premiere: London, September 6, 1982. Duration: 35 min. Extended as:
    • 36b responses. Instrumental line-up: 2. 2. 2. Bass clarinet. 2. - 2. 2. 2. 1. - 3. 2. 2. 1 - Piano and electronic organ, cymbalum, xylophone and glockenspiel, harp, vibraphone. Same performers as above. Premiere: Turin, September 22, 1984. Duration: 45 min.
  • Dérive I (1980–1984) for flute, clarinet, piano, vibraphone, violin and violoncello. Dedication: “pour William Glock, June 8, 1984, Bath”. Duration: approx. 8 min. Premiere: London Sinfonietta / Oliver Knussen, London, January 31, 1985. Derived from Répons (1981) and Messagesquisse (1977).
  • Dialogue de l'ombre double for clarinet and tape, 1984. Dedication: "à Luciano Berio - pour son soixantième anniversaire, Florence, le 28 October 1985". Duration: approx. 20 min. Premiere: Alain Damiens, Florence, October 28, 1985. The clarinetist has to record a second part on tape; performance with two clarinetists is not permitted.
  • [Arrangement] Frontispice for orchestra. Instrumentation of the piece of the same name for piano five hands (1914) by Maurice Ravel. Scoring: 2. 2. 3. 2. - 2. 2. 2. 1. - 4 percussionists, harp, celesta, piano - 3. 0. 2. 2. 1. Dedication: “à François Lesure” Duration: approx. 2 min. WP: Ensemble Intercontemporain, Paris, April 26, 1991.
  • Initiale (1987; revised 1992) for seven brass instruments: 2 horns, 2 trumpets, 2 trombones, tuba. Duration: approx. 5 min. WP: Houston / USA, 1987
  • Dérive II (1988–1993; revised 2006 and 2009) for eleven instruments: English horn, clarinet, bassoon, horn, marimba, vibraphone, harp, piano, violin, viola, cello. Dedication: “à Elliott Carter” for his 80th birthday. Duration: approx. 45 min. WP: Ensemble Intercontemporain / Boulez, Lucerne, September 14, 2002
  • Incises (1994; revised 2001) for piano. Order: Concours Umberto Micheli à Milan. Duration: approx. 9.5 min. WP: Milan, October 21, 1994. Revised and expanded:
    • Sur Incises (1996–1998) for three pianos, three harps and three percussionists
  • Notation VII (1997, revised 2004) for orchestra: 4. 4. 5. 4. - 6. 4. 4. 1. - timpani, 8 percussionists, 3 harps, celesta - 18. 16. 14. 12. 10. Duration : approx. 9 min. WP: Chicago SO / Daniel Barenboim, Chicago, January 14, 1999.
  • Une page d'éphéméride (2005) for piano. Written for the "Piano Project" (UE 33662)

Writings and Conversations

  • Penser la musique aujourd'hui , Paris 1963. German translation: Music Thinking Today 1 + 2 (Darmstadt Contributions to New Music V. and VI.), Mainz 1963 and 1982. English translation: Boulez on Music Today , London 1971.

Relevés d'apprenti

  • Relevés d'apprenti , Paris 1966. English translation: Notes of an Apprenticeship , New York 1968.
    • Moment de Jean-Sébastien Bach , in: Contrepoint, No. 7, 1951.
    • Recherches maintenant , in: La Nouvelle Revue française, No. 48, December 1, 1956.
    • Alea , in: La Nouvelle Revue française, No. 59, November 1, 1957.
    • Son et Verbe , in: Cahiers de la Compagnie Madeleine Renaud / Jean-Louis Barrault, Issue 22 and 23, May 1958.
    • Propositions , in: Polyphonie, 2nd issue, 1948.
    • Stravinsky demeure , in: Musique russe, Volume 1, Presses Universitaires de France, 1953 (the text was already available in 1951).
    • Possibly ... , in: Revue musicale, 1952.
    • … Auprès et au loin , in: Cahiers de la Compagnie Madeleine Renaud / Jean-Louis Barrault, 3rd issue, 1954.
    • A la limite du pays fèrtile , in: The Series, No. 1, 1955.
    • Tendences de la musique récente , in: Revue musicale, 1957.
    • Incidences actuelles de Berg , in: Polyphonie, 2nd issue, 1948.
    • Trajectoires - Ravel, Stravinsky, Schonberg , in: Contrepoint, No. 6, 1949.
    • Note sur le sprechgesang , in: Supplement to the plate Pierrot lunaire, 1962.
    • Schönberg est mort , in: The Score, February 1952.
    • Incipit , in: Domaine musical, No. 1, 1954.
    • D'une conjonction - en trois éclats , in: Supplement to the record "Domaine musical" with Canticum sacrum by Stravinsky, 1957.
    • Accord, Chromatisme, Musique concrète, Contrepoint, Béla Bartók, Alban Berg, Claude Debussy , in: Encyclopédie de la Musique, Volume AE, Paris 1958.
    • Série, Arnold Schönberg, Anton Webern , in: Encyclopédie de la Musique, Volume LZ, Paris 1961.
    • Œuvre pour piano de Schönberg , in: Supplement to the plate, played by Paul Jacobs, 1958.

Points de repère

Points de repère , en trois tomes reprenant et complétant les textes des Relevés d'apprenti et de Jalons , ed. by Jean Nattiez, Paris 1981.

Part one: Imaginer

  • Chapter I: Maîtrise et métier
    • 1. L'esthétiques et ses fétiches . Slightly changed text of a lecture from 1961, in: Claude Samuel (Ed.): Panorama de l'art musical contemporain, Paris 1962.
    • 2. Le goût et la fonction . Lecture at the Darmstadt Summer Course from 1961, in: Tel quel, No. 1, 4 and 15, 1963.
    • 3. Nécessité d'une orientation esthétique . Extract from the Darmstadt vacation course from 1963, in: Mercure de France, April – May 1964.
    • 4. Temps, notation and code . Text (edited in 1980) of a course in Darmstadt from 1963; he had the basis of the III. Chapter of Penser la musique aujourd'hui (unpublished).
    • 5. Shape . Text of a course in Darmstadt from 1963; it was supposed to form the basis of chapter IV of Penser la musique aujourd'hui (unpublished).
    • 6. Conclusion partial . Text of the last Darmstadt course from 1963; it was to serve as the basis for the final chapter of Penser la musique aujourd'hui .
    • 7. Periforms . Text of a contribution on the occasion of a congress on form in contemporary music (Darmstadt 1965), in: Lettres françaises, June 16, 1966.
  • Chapter II: Voir et savoir
    • 8. Probabilités critiques du compositeur , in: Domaine musical No. 1, 1954.
    • 9. Alternatives . Opening text of a course in Basel, 1965.
    • 10. Discipline et communication . Lecture of a Darmstadt course from 1961, published against Boulez's will in: Les Lettres Nouvelles, February – March 1964.
  • III. Chapter: Etapes et jalons
    • 11. Le système mis à nu (Polyphony X and Structures pour deux pianos) . Two letters to John Cage, the second letter published in English by Cage in: Transformations: arts, communication, environment, Volume I, No. 3, 1952.
    • 12. Construire une improvisation… (Second Improvisation sur Mallarmé) . Lecture in Strasbourg from 1961, in: Melos as Comment travaille l'avant · garde aujourd'hui , No. 10, October 1961 (text revised in 1981 by Boulez, translated back into French by JL Leleu; unpublished in French).
    • 13th Sonata "que me veux-tu" (Third Piano Sonata), in: Méditations, No. 7, spring 1964.
    • 14. Son, verbe, synthèse (Poésie pour pouvoir), in: Melos, no.10, October 1958.
    • 15. Poésie - center et absence - musique (Poésie pour pouvoir). Lecture in Donaueschingen from 1962, in: Melos, No. 2, February 1963 (French unpublished).
    • 16. Entretien sur “Polyphonie X”, “Structures pour deux pianos” et “Poésie pour pouvoir” , conversation with Dominique Jameux, in: Musique en jeu, No. 16, November 1974.
    • 17. Pli selon pli . Supplement to plate CBS 75 770.

Second part: Regards sur autrui

  • Chapter I. Retour aux sources?
    • 18. Divergences: de l'être à l'oeuvre (Richard Wagner) . Preface to H. Barth / D. Mack / E. Voss, Richard Wagner. Documentary biography, Vienna 1976. French version in: Musique en jeu, No. 22, January 1976.
    • 19. Le Journal de Cosima Wagner: Richard Travaille , in: Le Monde, December 15, 1977.
    • 20. La biography, pourquoi? (Gustav Mahler). Foreword to HL Lagrange: Mahler, Paris 1979.
  • Chapter II: Sélection portative
    • 21. Tell me (Beethoven) . German published in: Die Welt, December 12, 1970 (unpublished in French).
    • 22. L'imaginaire chez Berlioz , in: High Fidelity - Musical America, March 6, 1969 (unpublished in French).
    • 23. Le temps re-cherché (La “Tétralogie”) , in: Program booklet Rheingold of the Bayreuth Festival 1976.
    • 24. Chemins vers “Parsifal” , in: Program Parsifal of the Bayreuth Festival 1970.
    • 25. Mahler actuel? Foreword to Bruno Walter, Gustav Mahler and Vienna, Paris 1979.
    • 26. Chien flasque (Satie), in: Revue musicale, No. 214, 1952.
    • 27. Schönberg, Le mal · aimé? German in: Die Welt, 7 September 1974 (unpublished in French).
    • 28. “Lulu”: Le second opéra , in: Alban Berg, Lulu, Volume II, Paris 1979.
    • 29. Style ou idée? - éloge de l'amnésie (Stravinsky), in: Musique en jeu, No. 4, October 1971.
    • 30. Messiaen: vision and revolution . Broadcast by the British Broadcasting Corporation on May 13, 1973 (unpublished in French).
    • 31. Messiaen: Le temps de l'utopie . Broadcast by Südwestfunk Baden-Baden, October 1978 (unpublished in French).
  • III. Chapter: Occasions fragmentaires
    • 32. Berlioz: “Symphonie fantastique” et “Lélio” , supplement to record CBS 32 B 1 0010.
    • 33. Mahler: "Das klagende Lied" , supplement to the record CBS 577 233.
    • 34. Debussy: L'oeuvre pour orchester . Supplement to the record album Columbia D 3M - 32988.
    • 35. Stravinsky: "J: Oiseau de feu" , supplement to plate Columbia 7206.
    • 36. La conjonction Stravinsky / Webern , supplement of the plate Véga C 30 A 120.
    • 37. Berg: Le “Kammerkonzert” , supplement of the record DGG 253 1007.
    • 38. Varèse: “Hyperprisme”, “Octandre”, “Intégrales” .
    • 39. Bartók: “Musique pour cordes, percussion et célesta” , booklet of the Columbia 7206 record.
  • Chapter IV: Le texte et sa réalite
    • 40. Dire, jouer, chanter (Le "Pierrot lunaire" et le "Marteau sans maître") , in: Cahiers Renaud-Barrault, No. 41, 1963.
    • 41. “J'ai horreur du souvenir” (Roger Désormière), in: Roger Désormière et son temps, Monaco 1966.
    • 42. Situation et interprétation de “Wozzeck” , on the occasion of Wozzeck's première at the Opéra in Paris in 1963. Supplement to the record album CBC 3003.
    • 43. “Parsifal”: La première rencontre . Letter to Wieland Wagner dated July 24, 1966, in: Parsifal program for the 1973 Bayreuth Festival.
    • 44. “Here, space becomes time” (Wieland Wagner), in: Les Lettres françaises, October 20, 1966.
    • 45. Miroirs pour “Pelléas et Mélisande” , on the occasion of the performance of Pelléas et Mélisande in Covent Garden in 1969. Supplement to the Columbia M3 record album 30119.
    • 46. La "Tétralogie": commentaire d'expérience , in: Siegfried program booklet of the Bayreuth Festival 1977.
    • 47. "Lulu": questions d'interprétation , in the text book of the record album DGG 271 1024.
    • 48. “Lulu”: court post-scriptum sur la fidélité , on the occasion of the premiere of the three-act version of the opera at the Opéra in Paris 1979, in: Alban Berg, Lulu, Volume II, Paris 1979.

Third part: Itinéraire rétrospectif

  • Chapter I: Table d'orientation provisoire
  • Le Domaine Musical
    • 49th Première et seconde audition , in: Cahiers Renaud-Barrault, No. 13, October 1955.
    • 50. Petit éditorial , in: Program of the “Domaine musical” concert on December 14, 1957.
    • 51. Expérience, autruches et musique , in: Cahiers Renaud-Barrault, No. 41, December 1963.
    • 52. Dix ans après , in: Cahiers Renaud-Barrault, No. 41, December 1963..
    • 53. Une écurie pour Jarry . Project for a foreword to Penser la musique aujourd'hui (1964), in: L'Express, February 1963.
  • L'institution et ses vertus ...
    • 54. Pourquoi je dis non à Malraux , in: Le Nouvel Observateur, No. 80, May 25, 1966.
    • 55. Où en est · on? Lecture in Saint-Etienne on May 13, 1968, partially published in: Le Monde de la musique, No. 2, July – August 1978 (full text unpublished).
    • 56. Le modèle du Bauhaus , in: Cahiers Canadiens de Musique, spring-summer 1971 (revised 1980).
  • La pratique, quotidienne et autre
    • 57. Orchester, salle, répertoire, public , in: Cahiers Canadiens de Musique, spring-summer 1971 (revised 1980).
    • 58. Pour éveiller the curiosity of the nouvelle musique . English in: New York Times, August 6, 1972 (French unpublished).
    • 59. Quoi de nouveau? English in: Celebration of Contemporary Music. Juilliard School of Music, New York, 5th-13th centuries March 1976 (unpublished in French).
    • 60. Libérer la musique , in: Preuves, 2nd quarter 1972.
  • Chapter II: Epitaphes, hommages et inscriptions
    • 61. Wolfgang Steinecke:
      • I. L'accident . Funeral speech for W. St., in: Darmstädter Contributions to New Music, No. 5, 1962 (unpublished in French).
      • II. Dans la distance , in: Melos, February 1962.
    • 62. Arcanes Varèse , on the occasion of Varèse's death, in: Domaine musical program, November 24, 1965.
    • 63. Hermann Scherchen: un patriarche aventureux , in: Nouvel Observateur, June 22, 1966.
    • 64. Hans Rosbaud:
      • I. Le chef d'orchestre et son modèle . Broadcast by Südwestfunk Baden-Baden on the occasion of HR's 70th birthday (unpublished in French).
      • II. "... to cut me off before night" , on the occasion of the death of HR (unpublished).
    • 65. TW Adorno: en marge de la, d'une disparition , in: Melos, September 1969.
    • 66. Heinrich Strobel:
      • I. Visage de l'amitié . Eulogy for HS on August 20, 1970, in: Melos, October 1970.
      • II. L'intermédiaire . Broadcast by Südwestfunk Baden-Baden, early 1971.
    • 67. Bruno Maderna. Esquisse d'un portrait , in: Le Nouvel Observateur, September 26, 1973, on the occasion of the death of BM
    • 68. Olivier Messiaen:
      • I. Une classe et ses chimères , on the occasion of the 50th birthday of OM, in: Program of the "Domaine musical" of April 15, 1959.
      • II. Rétrospective , in: L'artiste musicien de Paris, No. 14, 1st half of 1966.
      • III. La Toute-puissance de l'exemple . Address at the Paris Opéra on December 10, 1978 on the occasion of the 70th birthday of OM (unpublished).
    • 69. Gaëtan Picon, Ascèse de l'action , in: Catalog of the GP exhibition at the Center Georges Pompidou in April 1979.
  • En Manière de Conclusion
    • 70. Geometry courbe de l'utopie . Address on the occasion of the award of the Siemens Prize, April 20, 1979 (unpublished).

Isolated essays

  • “Donc on remet en question” suivi de “Perspective-Prospective” , in: La Musique en projet, Paris 1975.
  • Invention / Recherche , in: Passage du XXe siècle, Part 1, January / July 1977, Paris 1976.
  • L'in (dé) fini et l'instant , in: Le Compositeur et l'ordinateur, 17./21. February 1981, Paris.

German-language anthologies

Despite the similarity of titles, the content of the anthologies is not the same. Relevés d'apprenti is not identical with workshop texts and points de repère is not identical with clues , so the content is broken down again here.

Clues

Clues . 32 texts and essays written 1948–1974, translated by Josef Häusler, Zurich: Belser 1975, 415 pp.

  • I. Claude Debussy.
    • 1. The corruption in the censer. 1956.
    • 2. Pélleas et Mélisande in mirrors.
    • 3. Lexicon article Debussy. 1958.
  • II. Miscellanea.
    • 4. Bach as a moment of force. 1951
    • 5. Tell me (Beethoven). 1970.
    • 6. The imaginary at Berlioz.
    • 7. Paths to Parsifal. 1968.
    • 8. Divergences: from essence to work. 1975.
    • 9. Lexicon article Bartók. 1958.
    • 10. Ostrich in the laboratory. 1959.
    • 11. Possibilities of the composer as a critic. 1954.
    • 12. Olivier Messiaen. 1974.
  • III. Stravinsky and Schönberg.
    • 13. Stravinsky remains. 1951. 163-239.
    • 14. About a conjunction. 1975.
    • 15. Trajectories. 1949.
    • 16. Style or idea?
    • 17. The piano compositions by Arnold Schönberg. 1958.
    • 18. Schönberg is dead. 1951.
    • 19. Schönberg, the little beloved? 1974.
    • 20. Lexicon article Schönberg. 1961.
  • IV. Alban Berg.
    • 21. Misunderstandings about Berg. 1948.
    • 22. Wozzeck: layout and interpretation.
    • 23. Lexicon article A. Berg. 1960.
  • V. Anton Webern.
    • 24. Incipit. 1954.
    • 25. Lexicon article A. Webern. 1960.
  • VI. Obituaries.
    • 26. Wolfgang Steinecke. 1962.
    • 27. The orchestra leader and his role model (Hommage à Hans Rosbaud.).
    • 28. Edgard Varèse.
    • 29. The room here is currently (Wieland Wagner). 1966.
    • 30. On the verge of a passing away (T. AdornoW). 1969.
    • 31. Funeral speech for Heinrich Strobel. 1970.
    • 32. The mediator. (H. Strobel). 1971.

Workshop texts

Workshop texts , 19 texts written 1948–1963, translated by Josef Häusler, Frankfurt a. M./Berlin: Ullstein / Propylänen 1972, 286 pp.

  • 1. Suggestions. 1948
  • 2 options. 1952
  • 3. Insights, prospects.
  • 4. Near vision and distance vision. 1954.
  • 5. “At the border of the fruiting land” (P. Klee). 1955.
  • 6. Trends - 1957.
  • 7. Alea. 1958.
  • 8. Sound, word, synthesis.
  • 9. Sound and word. 1958.
  • 10. Talking, singing, playing. 1963.
  • 11. About the chanting. 1962.
  • 12. Poetry - center and distance - music.
  • 13. To my third piano sonata. 1960.
  • 14. How does the musical avant-garde work? [Improvisation on Mallarmé II; Pli selon pli; Improvisation, instrumentation, aleatoric]
  • 15. Discipline and communication. 1964.
  • 16. Aesthetics and idolatry. 1962.
  • 17. Taste and function. 1961.
  • 18. Ten years later. 1963.
  • 19. Lexical texts: chord. Chromatics. Counterpoint. Musique concrète. 1958.
  • Line. 1961.

Will and chance

Will and chance , conversations with Célestin Deliège and Hans Mayer. Translated by Josef Häusler and Hans Mayer, Stuttgart: Belser 1977, 175 pp.

  • 1. The development years.
  • 2. Choice and judgment.
  • 3. Defense of Berg.
  • 4. Conclusions from Schoenberg.
  • 5. Detour to musical teaching.
  • 6. On the way to the dissolution of the classical forms - The Second Piano Sonata.
  • 7. Meeting with René Char.
  • 8. Consonance with Mallarmé - The Livre pour quatuor à cordes.
  • 9. Expansion of serial technology - an experimental world.
  • 10. Towards a new rhetoric - Le Marteau sans maître.
  • 11. The conductor's motivation.
  • 12. The concept of mobility - The Third Piano Sonata - Éclat - Domaines.
  • 13. The conception of harmony - Structures II pour deux pianos.
  • 14. Re-encounter with poetry.
  • 15. New formal and orchestral perspectives - Figures, Doubles, Prismes.
  • 16. Extension of the term chamber music -… explosante-fixe… [arrangement. Transitoires, Empruntes. Transformation. Reference to Stravinsky. Neoclassicism]
  • 17. The technology of “Poésie pour pouvoir” as a starting point for investigations by the IRCAM.
  • 18. Instead of an afterword.
  • 19. [with H. Mayer] The interpreter before the objectivity of the score.

Guidelines

Guidelines. Thoughts of a composer. Lectures 1976–1988, translation and foreword by Josef Häusler. Kassel: Bärenreiter, Metzler 2000, 450 pp.

  • 1. Invention, technology and language. 1976.
  • 2. Idea, realization, profession. 1978.
  • 3. Language, material and structure. 1978.
  • 4. The composition and its gestures. 1980.
  • 5. Automatism and decision. 1981.
  • 6. The topic concept and its development. 1983.
  • 7. Theme, variation and form. 1984.
  • 8. Real and virtual topics, open and closed form. 1985.
  • 9. The musician's spelling: The deaf's gaze? 1981.
  • 10. System and idea. 1986.
  • 11. Between order and chaos. 1988.