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	Alex Ross: The Rest Is Noise: The Godfather: Pierre Boulez
		Boulez has stopped issuing proclamations of this kind, but no one should be fooled into thinking that he has changed his mind.* His programs are still notable as much for what they exclude as for what they include; the borders of the canon are still tightly guarded.
		Boulez’s instrumental writing, meanwhile, has settled into a familiar set of mannerisms: a steady alternation of held notes and rapid figuration; a heavy reliance on drones, trills, tremolos, and other effects of filigree; a weakness for splashy percussion.
		Boulez’s programming is tied to a teleological theory of musical history; it spotlights assorted radical gestures in an effort to illustrate the alleged dissolution of tonality.
	www.therestisnoise.com /2004/05/pierre_boulez.html (1414 words)

	Pierre Boulez - Wikipedia, the free encyclopedia
		Boulez's strongest achievement in this method is his masterpiece Le marteau sans maître for ensemble and voice, from 1953-1957, one of the few works of advanced music from the fifties to remain in the repertoire.
		Boulez worked with Andrew Gerzso to create a work where the resonance and spatialization of sounds created by the ensemble, were processed in real time (electronic music was usually laboriously created in controlled situations, and then recorded to tape, and thus 'fixed' in place for a performance).
		Boulez is particularly famed for his polished interpretations of twentieth century classics - Claude Debussy, Gustav Mahler, Arnold Schoenberg, Igor Stravinsky, Béla Bartók, Anton Webern and Edgard Varèse - as well as for numerous performances of contemporary music.
	en.wikipedia.org /wiki/Pierre_Boulez (1939 words)

	Greg Sandow -- Pierre Boulez
		Boulez, if we believed his reputation, would be distant, even icy; but by the end I was almost limp from awe, gratitude and sheer emotional exhaustion.
		Boulez is hardly unemotional; he just secludes his emotion deep inside his work, never using music, either his own or anybody else's, to flaunt his feelings.
		Boulez, the loftiest of high modernists, conducted these pieces (and in effect was their sponsor, since this was his series at Carnegie Hall), they all must qualify, ipso facto, as advanced contemporary music.
	www.gregsandow.com /boulez.htm (1299 words)

	French culture \| music \| boulez \| bio (Site not responding. Last check: 2007-10-26)
		Boulez quickly became the archetypal angry young man of the post-war European arts scene, advocating radical new means of producing and consuming culture.
		Boulez formulated his theories and opinions in a brilliant stream of polemical essays sizzling with Voltairian sarcasm and Nietzschean extremism.
		Boulez was president of the UNESCO music council and the first musician to be invited to lecture at the Collège de France.
	www.frenchculture.org /music/events/boulez (633 words)

	ipedia.com: Pierre Boulez Article (Site not responding. Last check: 2007-10-26)
		Pierre Boulez (born March 26, 1925) is a conductor and composer of classical music.
		Boulez often returns to works for revision: the last of his three piano sonatas, for instance, is an "open" work that has been in continuous revision since its premiere in 1957 (only two of its five movements have ever been published), and...explosante-fixe...
		Boulez is also a noted conductor, especially in ground breaking works from the first half of the 20th century, for example the works of Claude Debussy, Gustav Mahler, Arnold Schoenberg, Igor Stravinsky, Béla Bartók, Anton Webern and Edgar Varèse.
	www.ipedia.com /pierre_boulez.html (514 words)

	Guardian Unlimited Arts \| \| 'A master who worked with a very small hammer'
		It's sometimes hard to believe that Pierre Boulez, who celebrates his 80th birthday tomorrow, was in the 1960s the bad boy of classical music, an iconoclastic bomb thrower who half a lifetime earlier wanted to destroy the classical music establishment.
		Boulez was an angry young man, an austere modernist composer and conductor who, before he turned 40, sought to effect a puritan revolution to free serious Western music from what he saw as its shameful decadence.
		Boulez was at the forefront of the Western European avant garde from the end of the second world war, when he was completing his studies in Paris with Olivier Messiaen, and absorbing the significance of the modernism of composers like Debussy, Stravinsky and the Second Viennese School from the previous half century.
	arts.guardian.co.uk /fridayreview/story/0,12102,1444738,00.html (2515 words)

	classical music - andante - pierre boulez
		Pierre Boulez is one of the most important musical and intellectual figures of the twentieth century.
		Pierre Boulez has always wished to make use of new technologies.
		We have included a lecture by Pierre Boulez given at IRCAM on the second version of this work which is a dialogue between the violin solo and electronics.
	www.andante.com /profiles/boulez/boulezintro.cfm (419 words)

	Pierre Boulez - CompositionToday.com
		Boulez, the figurehead of the hyper-modernist cause, continued to promulgate the doctrine loudly in his many writings and pronouncements.
		Overseen by Boulez, IRCAM was to provide a hi-tech venue in which leading composers and scientists would work together to investigate the possibilities of technology in music, educating musicians and public in a set-up complete with its own resident ensemble, the peerless Ensemble InterContemporain.
		Boulez’s response, Répons, premiered in 1981, rose magnificently to the challenge of producing a huge public statement using the latest computerized gadgetry and represented a high-water mark in his career as a composer.
	www.compositiontoday.com /articles/boulez.asp (649 words)

	Malcolm Ball - Boulez
		Boulez has said that ‘serialism’ was a short period in the 50’s that gave composers strict discipline and rigid constraints, but in turn that forces one to find solutions where you think there are no solutions.
		Boulez points out that it pays to remember this same remark was said of Beethoven and Wagner when their music was heard for the first time.
		Boulez uses an ornamental vocal style of writing where melodic lines are decorated (ornamented) by groups of little (grace) notes so there is a complete absence of chordal accompaniment.
	members.aol.com /malcmuso/boulez.htm (1008 words)

	Boulez, Pierre - Hutchinson encyclopedia article about Boulez, Pierre
		He is the founder and director of IRCAM, a music research studio at the Pompidou Centre in Paris, France, that opened in 1977.
		Boulez was born in Montbrison, France, on the River Loire.
		Boulez is also a leading conductor of advanced new music.
	encyclopedia.farlex.com /Boulez,+Pierre (570 words)

	INKPOT#92 CLASSICAL MUSIC FEATURE: PIERRE BOULEZ - An Inktroduction
		Boulez has described this work as a series of "verses and refrains", and, although scored for solo oboe, clarinet duo, flute trio, violin quartet, woodwind quintet, string sextet, woodwind septet and 14 brass, the work often appears to be monumental in construction.
		Boulez's importance as a composer is undisputed but it is arguable that his importance may be undermined by the other facet of this colossal figure, namely his conducting.
		Whereas it is arguable that Boulez' great contemporary, Karlheinz Stockhausen, has somewhat made his music so complex it is unplayable, there is every chance that Boulez' small, but important, contribution to twentieth century music will become as symbolic to mid-twentieth century composition as Brahms' music was to the mid-nineteenth century.
	inkpot.com /classical/boulez.html (1483 words)

	[No title] (Site not responding. Last check: 2007-10-26)
		Boulez's German conducting career began in 1958 in Baden-Baden with the Südwestfunk Orchestra, and his international conducting career took off in the 1960s George Szell invited Boulez to conduct in the United States for the first time with the Cleveland Orchestra, where he served as principal guest conductor from 1969 until 1972.
		Boulez is co-founder and president of Paris's Ensemble InterContemporain, with whom he records twentieth century music for the Deutsche Grammophon record label.
		Boulez celebrated his 70th birthday in 1995 and his 75th birthday in 2000 with world tours conducting the London Symphony Orchestra, with whom he has a special rapport.
	www.frenchculture.org /music/events/boulez/boulezconductor.html (390 words)

	Composer (Site not responding. Last check: 2007-10-26)
		Pierre Boulez is among the most influential contemporary musicians, both as a composer and as a conductor.
		He is known principally for his extension of the techiques of serialism beyond the limits of the Second Viennese School of Schoenberg, under the strong influence of his teacher Messiaen, into a logical style that brings with it a paradoxical freedom.
		The music Boulez has written for piano includes three sonatas, the last involving an element of chance in the possible choices of order offered to performers.
	www.naxos.com /composer/btm.asp?fullname=Boulez,+Pierre (228 words)

	Paris New Music Review: Boulez Interview
		Pierre Boulez was one of the great composers of the 1950s and is one of the great conductors of all time.
		Boulez: I met Foucault very early, as a matter of fact, in 1951; but for a while I did not see him, because I was out of France.
		Boulez: Originally, I did Repons with the technology of the early eighties, and I abandoned the piece because I wanted a newer technology, especially one that uses the new MIDI pianos which give so much more data than was possible in 1981 and 1984.
	www.paristransatlantic.com /magazine/interviews/boulez.html (5489 words)

	Boulez, Pierre articles on Encyclopedia.com (Site not responding. Last check: 2007-10-26)
		Boulez Pierre at Amazon Vast selection of new and used music.
		Pierre Boulez at JR.com Save on Pierre Boulez at JR.com Large selection and low prices.
		Boulez, Pierre BOULEZ, PIERRE [Boulez, Pierre], 1925-, French composer and conductor.
	www.encyclopedia.com /articles/01736.html (293 words)

	James Wierzbicki / Pierre Boulez
		Boulez produces music largely in order to satisfy his own inner needs; he produces essays in order to illuminate that music and to address larger issues in the musical world.
		Early in his career, when he was very much the enfant terrible of post-war France, Boulez liked to shoot from the hip; as a result, he still bears the stigma of an anarchist who once advocated the literal destruction of all relics of the cultural past.
		Boulez's most pointed comments on modern musical life are to be found in a speech titled ''Ou en est-on?'' (''Where Are We Now?'') he made in 1968 in his home-town of Saint-Etienne.
	pages.sbcglobal.net /jameswierzbicki/boulez.htm (2793 words)

	Chicago Symphony Orchestra - Pierre Boulez
		Born in 1925 in Montbrison, France, Pierre Boulez is one of the most distinguished composers and conductors in the world today.
		Pierre Boulez began his conducting career in 1958 with the Südwestfunk Orchestra in Baden-Baden, Germany.
		Based on the conversations between Maestro Boulez and French journalist Jean Vermeil about the art of conducting, this book demonstrates the maestro's unequalled understanding of the music of the twentieth century and his marvelous and intense control of the orchestra.
	www.cso.org /main.taf?p=2,1,2 (449 words)

	[No title] (Site not responding. Last check: 2007-10-26)
		The Glenn Gould Prize was presented to Pierre Boulez in a special concert and ceremony on Sunday, November 24th, 2002 in the Glenn Gould Studio.
		In 1945 Pierre Boulez - one of the most important musical and intellectual figures of the twentieth century - graduated from the Paris conservatoire, where his main teacher was Olivier Messiaen.
		Boulez has been music director of the New York Philharmonic (1971-1977) and chief conductor of the BBC Symphony Orchestra (1971-1975), while serving in Cleveland during the interim between the directorships of George Szell and Lorin Maazel.
	www.glenngould.ca /prize/2002.Pierre.Boulez.html (1264 words)

	Telegraph \| Entertainment \| Mistakes? I've made a few...
		Pierre Boulez, the greatest and most uncompromising composer-conductor of our time, is mellowing as he approaches 80.
		This is, after all, the fiercely polemical grand maître of the musical avant-garde, the man who once wrote that any composer who did not follow the serial method of Schoenberg was USELESS (his capitals, not mine), the man who once declared that he'd like to blow up all opera houses.
		Pierre Boulez conducts four 'Essential Boulez' concerts with the LSO at the Barbican (020 7638 8891) on Oct 8, 13 (both also on Radio 3), 14, 19.
	www.telegraph.co.uk /arts/main.jhtml?xml=/arts/2004/10/04/bmboul04.xml&sSheet=/arts/2004/10/04/ixtop.html (994 words)

	ArtandCulture Artist: Pierre Boulez (Site not responding. Last check: 2007-10-26)
		Born in 1925 in Montbrison, France, Pierre Boulez attended university to study mathematics -- a subject that proved crucial to the theories that would serve as the foundation for his music.
		At the start of his career, Boulez was torn between two strong musical influences: the 12-tone system introduced by Schoenberg, and the vaguely Oriental style of Messiaen.
		In the early 1950s Boulez began to conduct; he demonstrated the same ability to draw a myriad of subtle shadings and nuances from other composers’ work as he had with his own.
	www.artandculture.com /cgi-bin/WebObjects/ACLive.woa/wa/artist?id=274 (275 words)

	Joyce - Music: Pierre Boulez
		Of course, Boulez was ripe for such a discovery, and had kept himself surrounded by numerous radical and creative elements: Paul Klee adorned his walls, James Joyce sat upon his shelf, and he learned advance harmony from Olivier Messiaen, who took an almost fatherly interest in his young pupil.
		Boulez was furious, cancelling all his appearances, severing his connection to the Domaine, and even forbidding the Orchestre de Paris to play his works.
		Boulez currently divides his time between a Baden Baden and Paris, where he is instrumental in directing the Cité de la Musique, a musical center commissioned in 1995 by Mitterand from (of all things) a massive but dysfunctional slaughterhouse.
	www.themodernword.com /joyce/music/boulez.html (5151 words)

	WNYC - Mad About Music: Pierre Boulez (November 02, 2003)
		Boulez: Well, I think Stravinsky is a very important figure, one of the most important figures in the 20th century, and you know, one speaks always about Rite of Spring.
		Boulez: Yes, certainly, but I mean, I cannot really avoid, for instance, to see that the last melody, with a brass, is exactly the same pattern as the beginning with the strings in a different speed.
		Boulez became principal guest conductor of the Cleveland Orchestra, later accepting the positions of chief conductor of the BBC Symphony Orchestra and music director of the New York Philharmonic.
	www.wnyc.org /shows/mam/episodes/2003/11/02 (4115 words)

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