Boulez conducts Boulez Review

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Boulez conducts Boulez ReviewLe Marteau Sans maître is one of the most important works of the Twentieth Century . It is a work that symbolize, by its austerity and rationalist process of composition , the essence of the second vanguard of the century. After years of a Neo Classical process (1920-1950) , the new generation, born in the twenties , rediscovering Webern and Schoenberg , were ready to change the history. The serialism was at its peak: timbres , durations, dynamics, everything was pre determinate. Le Marteau sans Maitre can be read as a new way to see one of the most important works of the first half of the twentieth century: Pierrot Lunaire, by Arnold Schoenberg. Schoenberg wrote this work in three parts, with different subjects in each of the three parts. Pierre Boulez handle with three parts too: There are three songs based in three poems by Rene Char. And each song has one instrumental precedent or commentary. But the order isn't easy to understand: Lets take the three first movements of the work:it begins with a intricate fast scherzo: it is one precedent of the song L'artisanat furieux. Than we have a commentary of another song :Bourreaux de solitude. Than for the first time one of the songs: L'artisanat furieux. This one is a clear homage to Schoenberg. As in the seventh song of Pierrot Lunaire , we have hear a music to voice and solo flute. And as in Pierrot Lunaire, Boulez controls the extension of the pauses between the movements of the work. The sounds of Le Marteau sans maitre include exotic sounds like the African ( and very popular in Bahia-Brazil) Agôgô and the Caribbean Maracas. And the end of the work evokes something of oriental music. The surrealist texts are placed in a very sophisticated atmosphere . The result is fantastic. At the end we have a fusion between the voice and the instruments. If you don't have to play or to conduct this work, forget all the difficulties of the score. Enjoy the sounds, the ambience and the fantastic relations between text and music.
Before this recent performance Pierre Boulez recorded several times this work. There are two of these versions that are remarkable: one with the mezzo Jeanne Deroubaix ( the flutist in this record was the fantastic Severino Gazzeloni) and other with the famous Canadian Mezzo Yvonne Minton ( with fantastic musicians as the percussionist Sylvio Gualda and the flutist Michel Debost). I would like to remember that there is one very interesting old recording ( in LP) conducted by Robert Craft, and curiously this is the only one to follow the crazy metronomic marcs of the score. Boulez himself never followed his metronomic indications, and this new recording is the slower of all. The young musicians of the Ensemble Intercontemporain play this music as if it were easy. As never before we have hear a fluency and one constant beauty of sound. The Mezzo Soprano Hilary Summers has a beautiful voice and her intonation is simply perfect. Her range is perfect for this music. In short: this is the most fluent and the most perfect performance of Le Marteau sans Maître . And technically the sound of the recording is outstanding . As a bonus we have two other masterpieces: Dérive 1( 1984) and the wonderful Dérive 2 ( concluded in 2002). This recent composition has some instrumental colors of a profound beauty. Written for 11 instruments, it shares the atmosphere of Sur Incises and of Répons. Dérive 2 is a testimony of the energy of this young 80 years old composer. Maybe the most important musician of the second half of the twentieth century. This recording gives you the opportunity to know compositions that aren't easy. But no one can deny that these are works among the really more important works of the last 50 years. These works deserve your attention .
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