![]() Sound and Technology from the Artist's Perspective032500.07 Boulez is Dead
Boulez: tomorrow we celebrate the great man's 75th birthday. Along with the festivities, the tours, the performances, the Deutsche Grammophon special sales of the Boulez CD catalogue, we wish him good health and many years while also not failing to appraise much of his situation, his dubious achievement and legacy, with skepticism and disdain. In 1951 the young Boulez, leading an angry revolt against the new music of the recent past, wrote a polemic entitled Schoenberg is Dead. It complemented Boulez's other attacks, notably on Stravinsky whose Neo-Classic works he and other students of René Leibowitz scathingly booed in public performance. Boulez was making a name for himself as the preeminent enfant terrible of war-torn France. His stance on the dodecaphonic system was fierce: 'It is not deviltry, but only the most ordinary common sense which makes me say that, since the discoveries made by the Viennese, all composition other than twelve-tone is useless (Boulez's emphasis).' At the same time, Boulez attacked Schoenberg, the creator of the system, for not using the system to dictate every aspect of the work. Elsewhere Boulez suggested that the simplest solution to the opera problem was 'to blow up the opera houses.' In making a name for himself he lashed out equally at the avant garde and the establishment. Yet within two years of the 'not deviltry' statement he dropped strict twelve-tone formalism. Later he would go on to conduct Wagner's Ring cycle at Bayreuth and full programs of Schoenberg under the auspices of Carnegie Hall.
Copyright © 25 March 2000 Jeff Talman, New York City, USA |