Episodes
| First Broadcast | Comments |
|---|---|
| 20250330 |
Boulez At 100 - The Composer
Tom Service celebrates some of the key works from the Boulez catalogue, in a wide-ranging sequence of music spanning several decades, including the orchestral Notations (1978/1984/1997) based on his earlier set of pieces for piano; an excerpt from Repons (1981-84) in which Boulez fused instrumental sounds with electronics developed at the composer's IRCAM research centre in Paris; we hear Le Soleil des eaux (1947-8/1958), an early example of his writing for voice and orchestra and interest in the poetry of René Char; Messagesquisse (1976) for solo cello and six cellos in a live recording made by Ensemble intercontemporain at the Paris Philharmonie in December; an excerpt from his iconic and influential Le Marteau sans maître (1955/1957); and finally, a complete broadcast of - explosante fixe - (1973/1993), a work which evolved and took on many different forms over the years, heard here in the final version for solo MIDI-flute with live electronics, two “shadow flutes ? and ensemble.
Along the way we'll hear from two of Boulez's biographers: Caroline Potter whose book Organised Delirium looks at the influence of the surrealists on Boulez's early work, and Christian Merlin on Boulez's early interest in non-Western music, recorded in conversation with Kate Molleson at the Musée de l'Homme - one of her postcards from Paris featured throughout Radio 3's Boulez at 100.
Tom Service continues Radio 3's celebrations of Pierre Boulez's centenary.
Tom Service continues Radio 3's celebrations of Pierre Boulez's centenary with a selection of some of the key works, including a complete broadcast of ...explosante fixe...
Tom Service celebrates some of the key works from the Boulez catalogue, in a wide-ranging sequence of music spanning several decades, including the orchestral Notations (1978/1984/1997) based on his earlier set of pieces for piano; an excerpt from Repons (1981-84) in which Boulez fused instrumental sounds with electronics developed at the composer's IRCAM research centre in Paris; we hear Le Soleil des eaux (1947-8/1958), an early example of his writing for voice and orchestra and interest in the poetry of René Char; Messagesquisse (1976) for solo cello and six cellos in a live recording made by Ensemble intercontemporain at the Paris Philharmonie in December; an excerpt from his iconic and influential Le Marteau sans maître (1955/1957); and finally, a complete broadcast of - explosante fixe - (1973/1993), a work which evolved and took on many different forms over the years, heard here in the final version for solo MIDI-flute with live electronics, two “shadow flutes ? and ensemble. Along the way we'll hear from two of Boulez's biographers: Caroline Potter whose book Organised Delirium looks at the influence of the surrealists on Boulez's early work, and Christian Merlin on Boulez's early interest in non-Western music, recorded in conversation with Kate Molleson at the Musée de l'Homme - one of her postcards from Paris.