Piano World Home Page Forums Our Most Popular Forums Pianist Corner Boulez: piano works

I've been enjoying listening to his 12 Notations lately (recordings by David Fray and Ingrid Karlen), but I find myself gravitating back to the Second Sonata. Would it be wildly inappropriate to play the first movement to fill one's 20th century college audition requirement? I find it absolutely galvanizing, almost bullet-like in momentum and power. Perhaps not enough variety? It wouldn't be possible for me to learn the whole thing, and thus far the First Sonata has not captured me in the same way, but I will keep listening...

It's usually not too good to answer something without knowing anything, but in this case I think we can make an exception.

Without particularly knowing the piece, I'm pretty confident to say that with repertoire like that, it would be GREAT, as long as you feel you can do it well.

I can second that; another opinion with no basis in any knowledge of the material whatsoever, or interest in gaining knowledge of said material.

I, on the other hand, would be interested to hear Alden playing it.

(BTW Alden, I still owe you a post about the Mozart concerto, and you'll get it, unless you say you don't want to hear about that any more.....)

Oh, you guys!



I'm flattered that you have such faith in me! It would be a heck of a lot of work, and it would certainly stretch my musical abilities - rhythmic precision, maintaining architecture, essentially learning a new musical language. Not impossible, and certainly audacious, but perhaps it wouldn't be any more of a reach for me than Scarbo might be for a young pianist of different temperament and abilities. It certainly would be quite a hipsterish choice (snobbery included?).

(Thanks for remembering about the Mozart! I'm probably going to bring it back soon, and your comments will be much appreciated, as they always are! I've been ruing the fact that you don't accept PMs, but I see now that you just needed a subtle hint of a reminder )

He doesn't accept PMs? Oh well-I was just going to message him and tell him the meaning of life, but I guess not now.

(Note: that [the meaning of life] would be music. )

Edit: No pun intended.

I happen to know at least two pianists that worked on either some or all sonatas with the composer. It's not awfully appealing music to my mind, so I haven't followed up on all of the details, but I did hear that Boulez wasn't too fond of "cautious" tempi but rather preferred a version where the performer at least TRIED to play the fast stuff in the tempos it is notated, though notes would be missed. It seems he might have been more concerned with accurate tempo than 100% accurate notes. It sort of makes sense - I remember another friend playing the 1st sonata and he was forced to take the very demanding 2nd movement quite a bit slower, and it really came out as a very different piece of music. Not in a good way, I'm afraid.

Good luck! I wouldn't ever bother learning these pieces, but if you enjoy it, good for you

I'd bet a few nickels that EVERY prominent composer felt that way, especially if we broaden the "accurate tempo" thing to "conveying the musical message" which I'd guess is more what Boulez meant.

Have you looked at some of his other works? Incises is quite exciting, though I prefer the 1994 version over the rewritten one. Though after hearing what he did with Sur Incises, you wish he spent more time developing the material on the first page.

Though if you're keen on doing the second sonata, definitely give it a try. I have yet to fully understand the work, but it seems the more you listen and study the score, the more you realize that it's genius...

It's true in general, but I found it worth pointing out regarding Boulez, who after all seems to be so very meticulous with details etc, both as a conductor and as a composer.

Of course it was worth pointing out!
It is of great value to know actual examples.

BTW even I wouldn't go as far as you just did in saying flat-out that it's true in general!
I mean, I'd bet on it, but I wouldn't feel I could assert it. But I'm not complaining that you did.

I remember (back when I was an undergrad) my teacher and I listening to Pollini's recording of the 2nd Sonata during the year that it came out, and he turned to me and said: "Y'know, I'd like to think that in about 25, 30 years every serious piano student will be playing this."

Yes, do it.

(I was too chicken......)

I had a good friend who worked for a long time on the Second Sonata before giving up, and I consider him the best musician I've ever known. If you love the piece, and have the chops to play it, then do it. Don't worry about what the judges will think. If you do it well, they will have to take notice.

Thank you for sharing your thoughts and anecdotes pertaining his performance aesthetics, fnork - it is indeed the sheer wildness and magic of this music that captures me, and even some very famous recordings of the sonatas don't capture it fully. Sorry, Pollini - you've been one-upped by a youngster to my ears! I find Christopher Taylor's recorded performance of the Second Sonata at the 1993 Cliburn absolutely breathtaking, and it's difficult for me to listen to other interpretations now. To avoid the copying of a model, I'll do my best, but it is a real challenge!



I wish more people were less chicken, then! It looks daunting, but I have a feeling it might be immensely satisfying!



I just listened to a couple of recordings of the 1994 version - truly thrilling! It feels almost like an étude. I didn't see any 2001 versions available for sampling; how does it differ?



Thank you for your thoughts, Jeff. They seem to me equally ominous and tempting (much like the piece itself).

You can take a listen here:
http://www.youtube.com/watch?v=8i4LQbt1W28

He adds a "spacious" section where you have ringing chords, which sort of evokes what he did with Sur Incises. Speaking of which, have you listened to it? It's fantastic!

There's a documentary here he walks an un-musical audience through the piece and it's gestures. It's a fascinating show of how he puts together his works...completely gestural and colourful. Check it out!

I enjoy listening to Boulez's music! I took music history from late 1800's-present and we talked some about him. Gave me a new appreciation for music of that era, particularly the Darmstadt school. Thanks for pointing out some works I'm not too familiar with yet!