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Pierre Boulez
STRUCTURES 1 en 11
http://www.youtube.com/watch?v=FIo15gWMheA&feature=related
structures 1 : Pierre Boulez en John Cage, piano
http://www.youtube.com/watch?v=87XJO472B3s&feature=related
structures 2:
REEKSEN
Structures I
was the last and most successful of Boulez's works to use the
technique of integral serialism (Hopkins and Griffiths 2001), wherein
many parameters of a piece's construction are governed by serial
principles, rather than only pitch. Boulez devised scales of twelve
dynamic levels (though in a later revision of the score these reduced
to tenLigeti 1960, 4041), twelve durations, andfrom the outset
ten modes of attack (Ligeti 1960, 43), each to be used in a manner
analogous to a twelve-tone row. The composer explains his purpose in
this work:
Structures II
is, on the other hand, a reconstruction of Structures I: its material is
reused and rewritten, transformed into a new work with a more fluid
means of expression.[ This kind of reworking of an earlier piece is
quite common among Boulez's compositions
Structures is functioneel vergeleken met Bach: Die Kunst der Fuge [ 1750]
Rtrospectivement, je ne
considre plus cette pice
comme reprsentative de loeuvre
de Boulez, ni mme pour la
conception srielle, mais plutt
comme un paradigme de
musique presque algorithmique,
se rapprochant de la pense
informatique. La voie que Boulez
a poursuivie aprs la composition
du premier volume des
Structures la conduit se
dtourner dans ses nouvelles
oeuvres de tout automatisme, tout
en restant attach lide de
constructivisme
(Ligeti 1959)"
Using the tone row, Boulez created two matrices: the Original
1= pppp
5= quasi p 9= f
1= pppp
5= quasi p 9= f
2= ppp
2= ppp
6= mp
6= mp
10= ff
10= ff
3= pp
3= pp
7= mf
7= mf
11= fff
11= fff
4= p
4= p
11
M
Density
Because the piano is capable of playing several different
musical lines at once, it is possible for one section or one
subsection to contain more than one version of the tone row.
As an arbitrary example, the piano player could play the
original tone row in the right hand and a transposition of the
original row in the left. Or the piano player could play both
the original row and the inversion with the right hand, and the
retrograde row and retrograde-inversion with the left. Since
Structures 1a is written for two pianos, there are many
different possibilities for density (the number of rows which
are played in one section or subsection).