Pierre Boulez |

UPierre Boulez

Ngo-March 2000, uPierre Boulez wahlanganisa iminyaka engu-75 ubudala. Ngokomunye umcusumbuli waseBrithani oshaqisayo, isilinganiso semikhosi yesikhumbuzo seminyaka yonke nephimbo lemfundiso yenkolo kwakuyokwenza ngisho noWagner ngokwakhe abe namahloni: “kumuntu wangaphandle kungase kubonakale sengathi sikhuluma ngomsindisi weqiniso wezwe lomculo.”

Ezichazamazwini nama-encyclopedia, uBoulez uvela “njengomqambi nombhidisi ongumFulentshi.” Ingxenye yengonyama yezindondo yaya, ngokungangabazeki, kumqhubi we-Boulez, umsebenzi wakhe ongazange wehle eminyakeni edlule. Mayelana noBoulez njengomqambi, kule minyaka engamashumi amabili edlule akakaze adale lutho olusha. Ngaleso sikhathi, ithonya lomsebenzi wakhe emculweni wangemva kwempi yaseNtshonalanga alinakulinganiswa ngokweqile.

Ngo-1942-1945, uBoulez wafunda no-Olivier Messiaen, ikilasi lakhe lokuqamba eParis Conservatory laba mhlawumbe "i-incubator" eyinhloko yemibono ye-avant-garde eNtshonalanga Yurophu ekhululwe kubuNazi (elandela uBoulez, ezinye izinsika ze-avant-garde yomculo - uKarlheinz Stockhausen, Yannis Xenakis, Jean Barrake, György Kurtág, Gilbert Ami nabanye abaningi). U-Mesiaen wadlulisela ku-Boulez isithakazelo esikhethekile ezinkingeni zesigqi nombala wezinsimbi, emasikweni omculo angewona aseYurophu, kanye nomqondo wefomu elakhiwe izingcezu ezihlukene futhi elingasho intuthuko engaguquki. Umeluleki wesibili kaBoulez kwakunguRene Leibovitz (1913–1972), umculi wendabuko yasePoland, umfundi waseSchoenberg kanye noWebern, isazi sezenkolo esaziwayo sesu lokucula lamathoni ayishumi nambili (dodecaphony); lesi sakamuva samukelwa abaculi abasebasha base-Europe besizukulwane sika-Boulez njengesambulo sangempela, njengenye indlela edingekayo ngokuphelele ezimfundisweni zayizolo. UBoulez wafunda ubunjiniyela be-serial ngaphansi kweLeibowitz ngo-1945-1946. Ngokushesha wenza i-debut yakhe nge-First Piano Sonata (1946) kanye ne-Sonatina for Flute and Piano (1946), imisebenzi enezinga eliphansi, eyenziwe ngokulandela izindlela zokupheka zikaSchoenberg. Amanye ama-opus asekuqaleni kaBoulez ama-cantatas The Wedding Face (1946) kanye neLanga Lamanzi (1948) (womabili emavesini embongi evelele ye-surrealist uRené Char), i-Second Piano Sonata (1948), The Book for String Quartet ( 1949) - zadalwa ngaphansi kwethonya elihlanganyelwe labo bobabili othisha, kanye noDebussy noWebern. Ukuhlukaniswa okugqamile komqambi osemusha kwazibonakalisa, okokuqala, esimweni sokungahlaliseki komculo, ekuthunjweni kwawo okudabukile okudabukile kanye nobuningi bokuhluka okubukhali okunamandla kanye ne-tempo.

Ekuqaleni kwawo-1950, u-Boulez wasuka ngokudelela e-Schoenbergian orthodox dodecaphony ayifundiswa nguLeibovitz. Encwadini yakhe yokushonelwa inhloko yesikole esisha sase-Viennese, enesihloko esithi “Schoenberg ufile”, wamemezela ukuthi umculo kaSchoenberg osuselwe ku-Romanticism yakamuva ngakho-ke awubalulekile, futhi wazibandakanya nokuhlola okuqinile “ekumisweni” okuqinile kwemingcele ehlukahlukene yomculo. Ku-radicalism yakhe ye-avant-garde, u-Boulez osemncane ngezinye izikhathi wayewela ngokucacile umugqa wesizathu: ngisho nezilaleli eziyinkimbinkimbi zemikhosi yamazwe ngamazwe yomculo wesimanje e-Donaueschingen, e-Darmstadt, e-Warsaw yahlala ingenandaba nakancane kumaphuzu akhe angenakulinganiswa angalesi sikhathi njenge-“Polyphony. -X” yezinsimbi zomculo eziyi-18 (1951) kanye nencwadi yokuqala yeStructures yamapiyano amabili (1952/53). U-Boulez uzwakalise ukuzibophezela kwakhe okungenamibandela kumasu amasha okuhlela izinto ezizwakalayo hhayi emsebenzini wakhe kuphela, kodwa nasezindabeni nasezimemezelweni. Ngakho, kwenye yezinkulumo zakhe ngo-1952, wamemezela ukuthi umqambi wesimanje ongasizwa isidingo sobuchwepheshe be-serial, umane nje “akekho obudingayo.” Nokho, ngokushesha nje imibono yakhe yathamba ngaphansi kwethonya lokujwayelana nomsebenzi wozakwabo abangeqisi kangako, kodwa abaqinile kangako - u-Edgar Varese, uYannis Xenakis, uGyorgy Ligeti; ngemuva kwalokho, uBoulez wacula ngokuzithandela umculo wabo.

Isitayela sika-Boulez njengomqambi sithuthukele saba nokuguquguquka okukhulu. Ngo-1954, ngaphansi kwepeni lakhe kwaphuma "Isando Esingena Master" - umjikelezo wezwi onezingxenye eziyisishiyagalolunye we-contralto, i-alto flute, i-xylorimba (ixylophone enobubanzi obunwetshiwe), i-vibraphone, i-percussion, isiginci kanye ne-viola emagameni kaRené Char. . Azikho iziqephu ku-Hammer ngomqondo ojwayelekile; ngasikhathi sinye, isethi yonke yemingcele yendwangu ezwakalayo yomsebenzi inqunywa umbono we-serial, ophika noma yiziphi izinhlobo zendabuko zokujwayela nokuthuthuka futhi uqinisekisa inani lemvelo lezikhathi ezithile kanye namaphuzu esikhathi somculo- isikhala. Isimo se-timbre esiyingqayizivele somjikelezo sinqunywa inhlanganisela yezwi eliphansi lesifazane nezinsimbi eziseduze nerejista (alto).

Kwezinye izindawo, kuvela imiphumela engavamile, okusikhumbuza umsindo we-gamelan yendabuko yase-Indonesia (i-orchestra yokushaywa), insimbi yomculo enezintambo ze-koto yaseJapane, njll. U-Igor Stravinsky, owazisa kakhulu lo msebenzi, waqhathanisa umoya wawo womsindo nomsindo wamakristalu eqhwa. ngokumelene nenkomishi yengilazi yodonga. I-Hammer yehle emlandweni njengenye yemiphumela emihle kakhulu, engayekethisi, neyisibonelo kusukela ekuphumeleleni kwe-"great-garde".

Umculo omusha, ikakhulukazi lowo obizwa ngokuthi umculo we-avant-garde, uvame ukuhlanjalazwa ngenxa yokuntula kwawo umculo. Ngokuphathelene noBoulez, isihlamba esinjalo, empeleni, asinabulungisa. Ukuvezwa okuyingqayizivele kwemiculo yakhe kunqunywa isigqi esiguquguqukayo nesiguquguqukayo, ukugwema izakhiwo ezilinganayo neziphindaphindayo, i-melismatics ecebile futhi eyinkimbinkimbi. Ngawo wonke “ukwakhiwa” okunengqondo, imigqa yomculo kaBoulez ayomile futhi ayiphili, kodwa ipulasitiki futhi nenhle. Isitayela somculo sika-Boulez, esakheka kuma-opuses agqugquzelwa izinkondlo eziqanjiwe zikaRené Char, sathuthukiswa ku-“Two Improvisations after Mallarmé” ye-soprano, i-percussion nehabhu emibhalweni yamasonnethi amabili ngophawu lwesiFulentshi (1957). U-Boulez kamuva wengeza ukuthuthukiswa kwesithathu kwe-soprano ne-orchestra (1959), kanye nomnyakazo osethulweni onamandla kakhulu othi "Isipho" kanye nesiphetho esihle se-orchestra ene-coda yezwi "The Tomb" (zombili kumazwi kaMallarme; 1959-1962) . Umphumela womjikelezo onyakazayo oyisihlanu, onesihloko esithi “Pli selon pli” (okuhunyushwa cishe ngokuthi “Songa Ngokugoqa”) futhi onesihloko esithi “Portrait of Mallarme”, wenziwa okokuqala ngo-1962. Incazelo yesihloko kulo mongo ifana nalokhu: i iveyili ephonswe phezu kwesithombe sembongi kancane, igoqeka ngokugoqa, iyawa njengoba umculo uqhubeka. Umjikelezo othi “Pli selon pli”, othatha cishe ihora, uhlala ungowomqambi oyingqopha-mlando, amaphuzu amakhulu kunawo wonke. Ngokuphambene nalokho okuthandwa umlobi, ngingathanda ukuyibiza ngokuthi “i-symphony yezwi”: ifanele leli gama lohlobo, uma nje liqukethe uhlelo oluthuthukisiwe lokuxhumana kwetimu yomculo phakathi kwezingxenye futhi lincike kumongo onamandla kakhulu futhi osebenzayo.

Njengoba nazi, isimo esinzima sezinkondlo zika-Mallarmé sakhangwa ngendlela ehlukile u-Debussy no-Ravel.

Ngemva kokuhlonipha isici se-symbolist-impressionist yomsebenzi wembongi ku-Fold, u-Boulez wagxila endalweni yakhe emangalisayo kakhulu - iNcwadi engaqediwe eyanyatheliswa ngemva kokufa, lapho "yonke imicabango iwumqulu wamathambo" futhi okuthi, kukonke, kufane. "ukuhlakazeka kwezinkanyezi okuzenzakalelayo", okungukuthi, kuqukethe ukuzimela, hhayi okuhlelekile, kodwa izingcezu zobuciko ezixhumene ngaphakathi. “Incwadi” kaMallarmé yanikeza u-Boulez umbono walokho okubizwa ngefomu leselula noma “umsebenzi oqhubekayo” (ngesiNgisi – “umsebenzi uyaqhubeka”). Isipiliyoni sokuqala salolu hlobo emsebenzini kaBoulez kwakuyiPiano Lwesithathu Sonata (1957); izigaba zayo (“amafomethi”) neziqephu ngazinye ngaphakathi kwezigaba zingenziwa nganoma iyiphi indlela, kodwa eyodwa yamafomu (“umlaza”) kufanele ibe phakathi nendawo. I-sonata yalandelwa i-Figures-Doubles-Prismes ye-orchestra (1963), Izizinda ze-clarinet kanye namaqembu ayisithupha wezinsimbi (1961-1968) kanye nenani lamanye ama-opuses asabuyekezwa njalo futhi ahlelwe ngumqambi, ngoba ngokomthetho ayikwazi ukuqedwa. Elinye lamaphuzu ambalwa ka-Boulez aphuze kakhulu anefomu elinikeziwe “Isiko” lehora lesigamu sehora le-orchestra enkulu (1975), elinikezelwe enkumbulweni yomqambi, uthisha kanye nombhidisi wase-Italy onethonya uBruno Maderna (1920-1973).

Kusukela ekuqaleni komsebenzi wakhe wobuchwepheshe, u-Boulez wathola ithalente elivelele lenhlangano. Emuva ngo-1946, wathatha isikhundla sokuba umqondisi womculo wethiyetha yaseParis uMarigny (The'a ^ tre Marigny), eholwa umlingisi odumile nomqondisi uJean-Louis Barraud. Ngo-1954, ngaphansi kwesikhungo semidlalo yaseshashalazini, uBoulez, kanye noScherkhen waseJalimane noPiotr Suvchinsky, basungula inhlangano yekhonsathi ethi "Domain Musical" ("The Domain of Music"), ayiqondisa kwaze kwaba ngu-1967. umculo wesimanje, kanye ne-Domain Musical chamber orchestra yaba yimodeli yama-ensembles amaningi acula umculo wekhulu lesi-XNUMX. Ngaphansi kokuqondisa kukaBoulez, futhi kamuva umfundi wakhe uGilbert Amy, i-orchestra ye-Domaine Musical eyaqoshwa kumarekhodi emisebenzi eminingi yabaqambi abasha, kusukela ku-Schoenberg, u-Webern noVarese kuya ku-Xenakis, u-Boulez ngokwakhe kanye nabalingani bakhe.

Kusukela maphakathi nawo-1992, u-Boulez uye wandisa imisebenzi yakhe njengomqhubi we-opera kanye ne-symphony yohlobo "oluvamile", hhayi ngokukhethekile ekusebenzeni komculo wasendulo nowesimanje. Ngakho-ke, ukukhiqizwa kweBoulez njengomqambi wehla kakhulu, futhi ngemva kwe "Ritual" yaphela iminyaka eminingana. Esinye sezizathu zalokhu, kanye nokuthuthukiswa komsebenzi wombhidisi, kwakuwumsebenzi ojulile enhlanganweni eParis yesikhungo esikhulu somculo omusha - i-Institute of Musical and Acoustic Research, IRCAM. Emisebenzini ye-IRCAM, u-Boulez abe ngumqondisi wayo kwaze kwaba ngu-70, izikhombisi-ndlela ezimbili eziyinhloko zigqamile: ukukhuthazwa komculo omusha kanye nokuthuthukiswa kobuchwepheshe bokuhlanganiswa komsindo ophezulu. Isenzo sokuqala somphakathi sesikhungo kwakuwumjikelezo wamakhonsathi omculo angama-1977 wekhulu le-1992 (1982). Esikhungweni, kukhona iqembu eliculayo elithi "Ensemble InterContemporain" ("International Contemporary Music Ensemble"). Ngezikhathi ezihlukene, iqoqo laliholwa abaqhubi abahlukene (kusukela ngo-1990, iNgisi uDavid Robertson), kodwa nguBoulez ongumqondisi wayo wezobuciko owaziwa ngokungekho emthethweni noma ongekho emthethweni. Isisekelo sezobuchwepheshe se-IRCAM, esihlanganisa izisetshenziswa zesimanjemanje zokwenziwa komsindo, zenziwa zitholakale kubaqambi abavela emhlabeni wonke; U-Boulez uyisebenzise kuma-opses amaningana, okubaluleke kakhulu okuyi-“Responsorium” yokuhlanganisa izinsimbi kanye nemisindo ehlanganiswe kukhompyutha (XNUMX). Ngeminyaka yama-XNUMXs, kwaqaliswa enye iphrojekthi enkulu ye-Boulez eParis - ikhonsathi ye-Cite' de la musique, imnyuziyamu kanye nenxanxathela yezemfundo. Abaningi bakholelwa ukuthi ithonya lika-Boulez emculweni wesiFulentshi likhulu kakhulu, ukuthi i-IRCAM yakhe iyisikhungo sohlobo lwamahlelo esihlakulela ngokungeyikho uhlobo lomculo wesikole osekunesikhathi eside lungasasebenzi kwamanye amazwe. Ngaphezu kwalokho, ukuba khona ngokweqile kukaBoulez empilweni yomculo yaseFrance kuchaza iqiniso lokuthi abaqambi besimanje baseFrance abangekho kumbuthano weBoulezian, kanye nabaqhubi baseFrance besizukulwane esiphakathi nesincane, bayehluleka ukwenza umsebenzi oqinile wamazwe ngamazwe. Kodwa noma ngabe kunjalo, u-Boulez udumile futhi unegunya ngokwanele, ngokunganaki ukuhlaselwa okubucayi, aqhubeke nokwenza umsebenzi wakhe, noma, uma uthanda, uphishekele inqubomgomo yakhe.

Uma, njengomqambi nomculo, uBoulez eveza isimo sengqondo esinzima kuye, khona-ke uBoulez njengomqhubi angabizwa ngokuzethemba okugcwele omunye wabameleli abakhulu balo msebenzi kuwo wonke umlando wokuba khona kwawo. U-Boulez akazange athole imfundo ekhethekile, ezindabeni zokuqhuba inqubo welulekwa ngabaqhubi besizukulwane esidala esizinikele emkhankasweni womculo omusha - uRoger Desormière, uHerman Scherchen noHans Rosbaud (kamuva owaba ngumdlali wokuqala we "The Hammer without a Master” kanye nezimbili zokuqala “Izithuthukisi ngokusho kukaMallarme”). Ngokungafani cishe nabo bonke abanye abaqhubi “abadumile” banamuhla, uBoulez waqala njengomhumushi womculo wesimanje, ngokuyinhloko owakhe, kanye nothisha wakhe uMesiya. Ezingasoze zabuna zekhulu lama-XNUMX, i-repertoire yakhe ekuqaleni yayibuswa umculo kaDebussy, Schoenberg, Berg, Webern, Stravinsky (inkathi yaseRussia), uVarese, uBartok. Ukukhethwa kwe-Boulez kwakuvame ukuqondiswa hhayi ngokusondelana okungokomoya komunye noma omunye umbhali noma uthando lwalokhu noma lolo mculo, kodwa ngokucabangela inhloso yemfundo. Ngokwesibonelo, wavuma obala ukuthi phakathi kwemisebenzi kaSchoenberg kukhona angazithandi, kodwa ubheka njengomsebenzi wakhe ukwenza, ngoba uyazi ngokucacile ukubaluleka kwazo zomlando nezobuciko. Kodwa-ke, ukubekezelelana okunjalo akudluleli kubo bonke ababhali, abavame ukufakwa kumculo wakudala womculo omusha: uBoulez usabheka uProkofiev noHindemith njengabaqambi bezinga lesibili, kanti uShostakovich usezingeni lesithathu (ngendlela, etshelwa yi-ID. UGlikman encwadini ethi "Izincwadi eziya kumngane" indaba yokuthi uBoulez wamanga kanjani isandla sikaShostakovich eNew York ayi-apocrypha; eqinisweni, kwakungeyena uBoulez, kodwa uLeonard Bernstein, umthandi owaziwayo wezenzo ezinjalo zaseshashalazini).

Esinye sezikhathi ezibalulekile kumlando kaBoulez njengomqhubi kwaba ukukhiqizwa okuphumelele kakhulu kwe-opera ka-Alban Berg ethi Wozzeck eParis Opera (1963). Lokhu kudlala, okuhambisana no-Walter Berry no-Isabelle Strauss, kwaqoshwa yi-CBS futhi kuyatholakala kumlaleli wesimanje kuma-Sony Classical discs. Ngokudlala umdlalo ovusa amadlingozi, owawusemusha futhi ongajwayelekile ngaleso sikhathi, i-opera esigodlweni se-conservatism, esasibhekwa njenge-Grand Opera Theatre, u-Boulez waqaphela umbono wakhe awuthandayo wokuhlanganisa imikhuba yezemfundo neyesimanje. Kusuka lapha, omunye angase athi, waqala umsebenzi kaBoulez njengoKapellmeister wohlobo "oluvamile". Ngo-1966, u-Wieland Wagner, umzukulu womqambi, umqondisi we-opera nomphathi owaziwa ngemibono yakhe engavamile futhi evame ukuxaka, wamema u-Boulez eBayreuth ukuze aqhube iParsifal. Ngemva konyaka, ohambweni lweqembu lase-Bayreuth e-Japan, u-Boulez wenza u-Tristan und Isolde (kukhona ukuqoshwa kwevidiyo kwalokhu kusebenza okuhambisana nombhangqwana oyisibonelo wama-1960s Wagner u-Birgit Nilsson no-Wolfgang Windgassen; I-Legato Classics LCV 005, 2 VHS; 1967) .

Kuze kube ngu-1978, u-Boulez wabuyela e-Bayreuth ngokuphindaphindiwe ukuyodlala i-Parsifal, futhi isiphetho somsebenzi wakhe we-Bayreuth kwaba isikhumbuzo (ngokugubha iminyaka eyi-100 ye-premiere) ukukhiqizwa kwe-Der Ring des Nibelungen ngo-1976; abezindaba zomhlaba bakhangise kabanzi lo mkhiqizo ngokuthi "Indandatho Yekhulu Leminyaka". E-Bayreuth, u-Boulez wenza i-tetralogy iminyaka emine eyalandela, futhi ukudlala kwakhe (eqondiswa uPatrice Chereau, owayefuna ukwenza isenzo sibe sesimanje) kwaqoshwa kuma-disc namakhasethi evidiyo nguPhilips (12 CD: 434 421-2 - 434 432-2 ; 7 VHS: 070407-3; 1981).

Iminyaka engamashumi ayisikhombisa emlandweni we-opera yaphawulwa ngomunye umcimbi omkhulu lapho uBoulez ehileleke khona ngokuqondile: entwasahlobo ka-1979, esiteji seParis Opera, ngaphansi kokuqondisa kwakhe, i-premiere yomhlaba wonke yenguqulo ephelele ye-opera kaBerg Lulu. kwenzeka (njengoba kwaziwa, uBerg wafa, eshiya ingxenye enkulu yesenzo sesithathu se-opera emidwebo; umsebenzi wokucula kwabo, okwenzeka kuphela ngemva kokushona komfelokazi kaBerg, wenziwa umqambi nomqhubi wase-Austrian. Friedrich Cerha). Ukukhiqizwa kuka-Shero kwaqiniswa ngesitayela esivamile esiyinkimbinkimbi salo mqondisi, okuyinto, nokho, eyayifaneleka kahle i-opera ka-Berg neqhawekazi layo elinobulili obudlulele.

Ngaphezu kwale misebenzi, ingoma ka-Boulez ye-operatic ihlanganisa i-Debussy's Pelléas et Mélisande, i-Bartók's Castle of Duke Bluebeard, uMoses ka-Schoenberg no-Aaron. Ukungabikho kukaVerdi noPuccini kulolu hlu kuyinkomba, ingasaphathwa eyoMozart noRossini. U-Boulez, ezikhathini ezihlukahlukene, uye waveza ngokuphindaphindiwe isimo sakhe sengqondo sokugxeka uhlobo lwe-operatic njengoba enjalo; ngokusobala, okuthile okungokwemvelo kubaqhubi be-opera bangempela, abazalwa kuyinto engavamile ngokwemvelo yakhe yobuciko. Okurekhodiwe kwe-opera ka-Boulez kuvame ukukhiqiza isithombe esingaqondakali: ngakolunye uhlangothi, babona izici ezinjalo “zophawu” lwesitayela sika-Boulez njengokuziphatha okunesigqi esiphezulu, ukuqondanisa ngokucophelela bonke ubudlelwano buqonde phezulu nangokuvundlile, ukucaciswa okucacile okungajwayelekile, okuhlukile ngisho nasembhalweni oyinkimbinkimbi kakhulu. inqwaba, kanti enye iwukuthi ukukhethwa kwabahlabeleli ngezinye izikhathi kushiya kufiseleka kakhulu. Ukuqoshwa kwesitudiyo sika- “Pelléas et Mélisande”, okwenziwa ngasekupheleni kweminyaka yawo-1960 yi-CBS, kuyisici: indima kaPelléas, ehloselwe i-baritone ephezulu yaseFrance, ebizwa nge-baritone-Martin (ngemva komculi u-J.-B. .Martin, 1768 -1837), ngesizathu esithile waphathiswa oguquguqukayo, kodwa ngokwesitayela ayenganele endimeni yakhe, umlingisi omangalisayo uGeorge Shirley. Abaculi abakhulu be-solo "Ring of the Century" - uGwyneth Jones (Brünnhilde), Donald McIntyre (Wotan), Manfred Jung (Siegfried), Jeannine Altmeyer (Sieglinde), Peter Hoffman (Siegmund) - bamukelekile ngokuvamile, kodwa akukho okunye: abanabo ubuntu obukhanyayo. Okufanayo noma okuncane kungashiwo mayelana nama-protagonists we- "Parsifal", aqoshwe e-Bayreuth ngo-1970 - uJames King (Parsifal), uMcIntyre ofanayo (Gurnemanz) noJones (Kundry). U-Teresa Stratas ungumlingisi nomculi ovelele, kodwa akaphindaphindi amavesi e-coloratura ayinkimbinkimbi ngesi-Lulu ngokunemba okufanele. Ngasikhathi sinye, umuntu angeke ahluleke ukuqaphela amakhono amahle okukhuluma nawomculo ababambiqhaza ekurekhodweni kwesibili kwe-"Duke Bluebeard's Castle" kaBartok eyenziwe nguBoulez - Jesse Norman noLaszlo Polgara (DG 447 040-2; 1994).

Ngaphambi kokuhola i-IRCAM kanye ne-Entercontamporen Ensemble, uBoulez wayenguMbhidisi Oyinhloko weCleveland Orchestra (1970-1972), iBritish Broadcasting Corporation Symphony Orchestra (1971-1974) kanye neNew York Philharmonic Orchestra (1971-1977). Ngala maqembu, wenze inqwaba yokuqoshwa kwe-CBS, manje eyi-Sony Classical, eminingi yayo, ngaphandle kwehaba, inani elihlala njalo. Okokuqala, lokhu kusebenza ekuqoqweni kwe-orchestra kaDebussy (kuma-disc amabili) no-Ravel (kuma-disc amathathu).

Ekuhunyushweni kwe-Boulez, lo mculo, ngaphandle kokulahlekelwa lutho ngokomusa, ukuthambile kokuguqulwa, ukuhlukahluka kanye nokucwengwa kwemibala ye-timbre, wembula ukucaca kwekristalu nokuhlanzeka kwemigqa, futhi kwezinye izindawo futhi ukucindezela okungenakulinganiswa kwesigqi nokuphefumula okubanzi kwe-symphonic. Imisebenzi yobuciko yangempela yobuciko obudlalwayo ihlanganisa ukuqoshwa kwe-The Wonderful Mandarin, Umculo Wezintambo, I-Percussion kanye ne-Celesta, Ikhonsathi kaBartók ye-Ochestra, Izingcezu Ezinhlanu Ze-Orchestra, i-Serenade, Izinhlobonhlobo ze-Orchestral ye-Schoenberg, nezinye izikolo zika-Stravinsky osemncane (noma kunjalo, u-Stravinsky ngokwakhe. akajabulanga kakhulu ngokuqoshwa kwangaphambili kwe-The Rite of Spring, ephawula kanje: “Lokhu kubi kakhulu kunalokho ebengikulindele, ngokwazi izinga eliphezulu lamazinga ka-Maestro Boulez”), i-América kaVarese ne-Arcana, zonke izingoma ze-orchestra zikaWebern ...

Njengothisha wakhe uHermann Scherchen, uBoulez akasebenzisi induku futhi wenza ngendlela evinjelwe ngamabomu, efana nebhizinisi, okuthi - kanye nedumela lakhe lokubhala amaphuzu abandayo, acwengekile, abalwe ngokwezibalo - okuphakelayo umbono odumile ngaye njengomdlali ongenzi lutho. i-warehouse enenjongo, enekhono futhi enokwethenjelwa , kodwa kunalokho yomile (ngisho nezincazelo zakhe ezingenakuqhathaniswa ze-Impressionists zagxekwa ngokuba ingcaca ngokweqile futhi, ngomqondo ongokomfanekiso, “ngokwengqondo” enganele). Ukuhlola okunjalo akwanele ngokuphelele esikalini sesipho sika-Boulez. Njengoba engumholi walawa ma-orchestra, u-Boulez akazange adlale kuphela u-Wagner nomculo wekhulu lama-4489, kodwa futhi noHaydn, Beethoven, Schubert, Berlioz, Liszt… amafemu. Isibonelo, inkampani ye-Memories ikhiphe i-Schumann's Scenes from Faust (HR 90/7), eyenziwa ngoMashi 1973, 425 eLondon ngokubamba iqhaza kwe-BBC Choir kanye ne-Orchestra kanye no-Dietrich Fischer-Dieskau endimeni yesihloko (ngendlela, maduze nje. ngaphambi kwalokhu, umculi wacula futhi "ngokusemthethweni" waqopha uFaust enkampanini yaseDecca (705 2-1972; XNUMX) ngaphansi kokuqondisa kukaBenjamin Britten - umtholi wangempela ekhulwini lamashumi amabili lale mva nje, engalingani ngekhwalithi, kodwa kwezinye izindawo. amaphuzu amahle kaSchumann). Kude nekhwalithi eyisibonelo yokuqoshwa ayisivimbeli ekwaziseni ubuhle bombono kanye nokuphelela kokusetshenziswa kwawo; umlaleli angafela umona ngalabo abanenhlanhla abagcine bengene ehholo lekhonsathi ngalobo busuku. Ukusebenzisana phakathi kukaBoulez noFischer-Dieskau - abaculi, kubonakala behluke kakhulu ngokwethalente - akushiyi lutho. Isimo sokufa kukaFaust sizwakala ngezinga eliphakeme kakhulu lama-pathos, nasemagameni athi “Verweile doch, du bist so schon” (“O, yeka ukuthi umuhle kangakanani, linda kancane!” – elihunyushwe nguB. Pasternak), inkohliso isikhathi esimisiwe sifinyelelwa ngendlela emangalisayo.

Njengenhloko ye-IRCAM ne-Ensemble Entercontamporen, u-Boulez unake kakhulu umculo wakamuva.

Ngaphezu kwemisebenzi kaMesiya neyakhe, ngokukhethekile wafaka ngokuzithandela ezinhlelweni zakhe umculo ka-Elliot Carter, György Ligeti, György Kurtág, Harrison Birtwistle, abaqambi abancane bombuthano we-IRCAM. Wayenokungabaza futhi usaqhubeka nokungabaza nge-minimalism yemfashini kanye "nokulula okusha", eqhathanisa nezindawo zokudlela zokudla okusheshayo: "ezilula, kodwa ezingathakazelisi neze." Egxeka umculo we-rock ngokuthi i-primitivism, “ngobuningi obungenangqondo bemibono ecashile”, nokho uyaqaphela kuwo “ubungqabavu” obunempilo; ngo-1984, waze waqopha ne-Ensemble Entercontamporen i-disc ethi “The Perfect Stranger” ngomculo kaFrank Zappa (EMI). Ngo-1989, wasayina inkontileka ekhethekile neDeutsche Grammophon, kwathi eminyakeni emibili kamuva washiya isikhundla sakhe esisemthethweni njengenhloko ye-IRCAM ukuze azinikele ngokuphelele ekubumbeni nasekudlaleni njengomqhubi wezihambeli. Ku-Deutsche Grammo-phon, u-Boulez ukhiphe amaqoqo amasha omculo we-orchestra kaDebussy, uRavel, uBartok, uWebburn (neCleveland, Berlin Philharmonic, Chicago Symphony kanye neLondon Symphony Orchestras); ngaphandle kwekhwalithi yokurekhodwa, awekho ngaphezu kokushicilelwe kwangaphambilini kwe-CBS. Amanoveli avelele ahlanganisa Inkondlo Ye-Ecstasy, i-Piano Concerto kanye ne-Prometheus ka-Scriabin (umdlali wepiyano u-Anatoly Ugorsky ungumdlali oyedwa emisebenzini emibili yokugcina); I, IV-VII kanye ne-IX symphonies kanye "Ingoma Yomhlaba" ka-Mahler; Ama-symphonies kaBruckner VIII no-IX; "Wakhuluma Ngakho Zarathustra" ngu-R. Strauss. Ku-Boulez's Mahler, umfanekiso, ukuhlaba umxhwele kwangaphandle, mhlawumbe, kunqoba inkulumo kanye nesifiso sokuveza ukujula kwe-metaphysical. Ukuqoshwa kwe-Eighth Symphony ka-Bruckner, eyenziwa ne-Vienna Philharmonic ngesikhathi semigubho ye-Bruckner ngo-1996, kuyisitayela futhi akukhona neze ngaphansi kwezincazelo zama-“Brucknerian” azalwa maqondana nokwakhiwa komsindo okuhlaba umxhwele, ubukhulu bovuthondaba, ukunotha okuvezayo kwemigqa ye-melodic, isiphithiphithi ku-scherzo kanye nokuzindla okuphansi ku-adagio. Ngaso leso sikhathi, u-Boulez uyehluleka ukwenza isimangaliso futhi ngandlela thize alungise uhlaka lwefomu likaBruckner, ukungena okungenasihawu kokulandelana nokuphindaphinda kwe-ostinato. Kuyathakazelisa ukuthi eminyakeni yamuva nje, u-Boulez uye wathambisa ngokusobala isimo sakhe sengqondo sobutha kuma-opses "neoclassical" kaStravinsky; elinye lama-disc akhe akamuva ahamba phambili lihlanganisa i-Symphony of Psalms kanye ne-Symphony in Three Movements (ne-Berlin Radio Choir kanye ne-Berlin Philharmonic Orchestra). Kukhona ithemba lokuthi uhla lwezithakazelo zenkosi luzoqhubeka lukhula, futhi, ngubani owaziyo, mhlawumbe sisazozwa imisebenzi kaVerdi, Puccini, Prokofiev noShostakovich eyenziwa nguye.

Levon Hakopyan, 2001