Pierre Boulez |

Pierre Boulez

A cikin Maris 2000, Pierre Boulez ya cika shekaru 75 da haihuwa. A cewar wani mai suka a Biritaniya, girman bikin cika shekaru da kuma yadda za a yi amfani da ilimin doxology zai kunyata har da Wagner da kansa: “ga wani baƙo yana iya zama kamar muna magana ne game da mai ceto na gaskiya na duniyar kiɗa.”

A cikin ƙamus da encyclopedias, Boulez ya bayyana a matsayin "Mawaƙin Faransanci da jagora." Kaso na zakin karramawa, babu shakka, ya kai ga Boulez madugun gudanarwa, wanda ayyukansa bai ragu ba tsawon shekaru. Amma game da Boulez a matsayin mawaki, a cikin shekaru ashirin da suka gabata bai ƙirƙiri wani sabon abu ba. A halin yanzu, tasirin aikinsa a kan kiɗan Yammacin Turai bayan yaƙi ba zai iya yiwuwa a ƙima ba.

A cikin 1942-1945, Boulez ya yi karatu tare da Olivier Messiaen, wanda ajinsa a cikin Conservatory na Paris ya zama watakila babban "incubator" na ra'ayoyin avant-garde a Yammacin Turai da aka 'yanta daga Nazism (bayan Boulez, sauran ginshiƙai na avant-garde - Karlheinz). Stockhausen, Yannis Xenakis, Jean Barrake, György Kurtág, Gilbert Ami da dai sauransu). Messiaen ya ba wa Boulez sha'awa ta musamman game da matsalolin rhythm da launi na kayan aiki, a cikin al'adun kiɗa na Turai, da kuma ra'ayin wani nau'i wanda ya ƙunshi gutsuttsura daban-daban kuma ba yana nuna ci gaba mai dorewa ba. Mai ba da shawara na biyu na Boulez shine Rene Leibovitz (1913-1972), mawaƙin asalin Poland, ɗalibin Schoenberg da Webern, sanannen masanin ka'idar fasaha mai sautin goma sha biyu (dodecaphony); na karshen ya samu karbuwa daga matasan mawakan Turai na zamanin Boulez a matsayin wahayi na gaske, a matsayin madaidaicin madaidaicin madaidaicin akidar jiya. Boulez yayi karatun injiniyan serial karkashin Leibowitz a 1945-1946. Ba da daɗewa ba ya fara halartan sa tare da Piano Sonata na Farko (1946) da Sonatina for Flute and Piano (1946), ayyuka na ma'auni kaɗan, wanda aka yi bisa ga girke-girke na Schoenberg. Sauran farkon opuses na Boulez sune cantatas Fuskar Bikin aure (1946) da Rana na Ruwa (1948) (duka kan ayoyin da fitaccen mawaki René Char), Piano Sonata na biyu (1948), Littafin don Quartet Quartet. 1949) - an halicce su a ƙarƙashin haɗin gwiwar malamai biyu, da Debussy da Webern. Halin ɗabi'a mai haske na matashin mawaki ya bayyana kansa, da farko, a cikin yanayin waƙar da ba ta da ƙarfi, a cikin yanayin ruɗewar ta da yawa mai ƙarfi da bambance-bambancen ɗan lokaci.

A farkon shekarun 1950, Boulez ya fita da kyar daga Schoenbergian orthodox dodecaphony wanda Leibovitz ya koya masa. A cikin mutuwarsa ga shugaban sabuwar makarantar Viennese, mai suna "Schoenberg ya mutu", ya ayyana waƙar Schoenberg da ta samo asali a cikin Romanticism don haka ba ta da mahimmanci, kuma ya tsunduma cikin gwaje-gwaje masu tsattsauran ra'ayi a cikin m "tsarin" na sigogi daban-daban na kiɗa. A cikin tsattsauran ra'ayi na avant-garde, matashin Boulez wani lokaci ya ketare layin dalili: har ma da ƙwararrun masu sauraro na bukukuwan kide-kide na duniya a Donaueschingen, Darmstadt, Warsaw ya kasance mafi ƙarancin sha'awar irin wannan nau'in rashin narkewa na wannan lokacin a matsayin "Polyphony". -X” don kayan kida 18 (1951) da littafin farko na Tsarin don pianos guda biyu (1952/53). Boulez ya bayyana jajircewarsa mara sharadi ga sabbin dabaru don tsara kayan sauti ba kawai a cikin aikinsa ba, har ma a cikin labarai da sanarwa. Don haka, a cikin ɗaya daga cikin jawabansa a cikin 1952, ya sanar da cewa mawaƙin zamani wanda bai ji bukatar fasahar serial ba, “babu wanda yake buƙata.” Duk da haka, ba da daɗewa ba ra'ayoyinsa sun yi laushi a ƙarƙashin rinjayar sanin aikin da ba a rage ba, amma ba haka ba abokan aiki - Edgar Varese, Yannis Xenakis, Gyorgy Ligeti; daga baya, Boulez da son rai ya yi waƙar su.

Salon Boulez a matsayin mawaƙiya ya samo asali zuwa mafi girman sassauci. A cikin 1954, daga ƙarƙashin alkalami ya fito "Hammer ba tare da Jagora ba" - zagayowar kayan murya mai kashi tara don contralto, alto sarewa, xylorimba (xylophone tare da tsawaita kewayon), vibraphone, percussion, guitar da viola zuwa kalmomi ta René Char. . Babu wasu lokuta a cikin Hammer a cikin ma'anar da aka saba; a lokaci guda, duk saitin sigogi na masana'anta mai sauti na aikin an ƙaddara ta hanyar ra'ayin seriality, wanda ya musanta duk wani nau'i na al'ada na yau da kullun da haɓakawa kuma yana tabbatar da ƙimar kowane lokaci da maki na lokacin kiɗan- sarari. Yanayi na musamman na timbre na zagayowar an ƙaddara ta hanyar haɗin ƙananan muryar mace da kayan aikin da ke kusa da shi (alto) rajista.

A wasu wurare, abubuwan ban mamaki suna bayyana, suna tunawa da sautin wasan kwaikwayo na gargajiya na Indonesiya (kaɗe-kaɗen kade-kade), kayan kirtani na Japan koto, da dai sauransu. Igor Stravinsky, wanda ya yaba da wannan aikin sosai, idan aka kwatanta yanayin sautinsa tare da sautin kullun lu'ulu'u na kankara. gaban kofin gilashin bango. Hammer ya sauka a cikin tarihi a matsayin ɗaya daga cikin mafi kyawu, rashin daidaituwa, da ƙima mai kyau daga zamanin “babban avant-garde”.

Sabbin waƙa, musamman abin da ake kira waƙar avant-garde, yawanci ana zaginta ne saboda rashin waƙarta. Game da Boulez, irin wannan zargi, a zahiri, rashin adalci ne. Maɓalli na musamman na waƙoƙin waƙoƙin sa yana ƙaddara ta hanyar sassauƙa da canji mai sauƙi, nisantar sifofin daidaitawa da maimaitawa, masu arziki da ƙaƙƙarfan melismatics. Tare da duk "gini" na ma'ana, layukan melodic na Boulez ba bushe ba ne kuma marasa rai, amma filastik har ma da kyau. Salon waƙoƙin Boulez, wanda ya yi kama da opuses wahayi ta hanyar waƙar René Char, an haɓaka shi a cikin “Haɓaka Biyu bayan Mallarmé” don soprano, kaɗa da garaya akan matani biyu na sonnets ta alamar Faransanci (1957). Boulez daga baya ya kara ingantawa na uku don soprano da orchestra (1959), da kuma babbar hanyar gabatar da kayan aiki "Kyautar" da babban wasan kade-kade tare da muryar murya "The Tomb" (duka zuwa waƙoƙin Mallarme; 1959-1962) . Sakamakon zagayowar motsi biyar, mai taken "Pli selon pli" (kimanin fassarar "Fold by Fold") da kuma mai taken "Portrait of Mallarme", an fara yin shi ne a 1962. Ma'anar take a cikin wannan mahallin abu ne kamar haka: mayafin da aka jefa a kan hoton mawakin a hankali, a ninke ta, ya fado yayin da kidan ke gudana. Zagayen “Pli selon pli”, wanda ke ɗaukar kusan awa ɗaya, ya kasance mafi girman mawaƙin mawaƙin, mafi girman maki. Sabanin abubuwan da marubucin ya zaɓa, Ina so in kira shi "wasan kwaikwayo na murya": ya cancanci wannan nau'in sunan, idan kawai saboda yana ƙunshe da tsarin ci gaba na haɗin kai na kiɗa tsakanin sassa kuma ya dogara da mahimmanci mai mahimmanci da tasiri.

Kamar yadda kuka sani, yanayi mara kyau na waƙar Mallarmé yana da ban sha'awa na musamman ga Debussy da Ravel.

Bayan ya ba da yabo ga mawallafin mawallafin mawaƙa na aikin mawaƙa a cikin The Fold, Boulez ya mayar da hankali ga mafi kyawun halittansa - Littafin da ba a gama ba da aka buga bayan mutuwarsa, wanda "kowane tunani na kasusuwa ne" kuma wanda, a gaba ɗaya, yayi kama da shi. “warwatsawar taurari ba zato ba tsammani”, wato, ya ƙunshi mai cin gashin kansa, ba a kan layi ba, amma gaɓoɓin fasaha masu alaƙa da juna. "Littafin" na Mallarmé ya ba Boulez ra'ayin abin da ake kira nau'in wayar hannu ko "aiki a ci gaba" (a cikin Turanci - "aiki a ci gaba"). Kwarewar farko na irin wannan a cikin aikin Boulez shine Piano Sonata na uku (1957); Sassan sa ("formants") da kuma jigogi guda ɗaya a cikin sassan za a iya yin su ta kowane tsari, amma ɗaya daga cikin masu tsarawa ("constellation") dole ne ya kasance a tsakiya. Sonata ya biyo baya ta hanyar Figures-Doubles-Prismes for Orchestra (1963), Domaines for clarinet da ƙungiyoyin kayan kida shida (1961-1968) da sauran wasu opuses waɗanda har yanzu mawallafin suka yi bitar su akai-akai. ba za a iya kammala. Ɗaya daga cikin 'yan ƙananan maƙirarin Boulez tare da nau'i da aka ba shi shine "Ritual" na rabin sa'a na manyan mawaƙa (1975), wanda aka sadaukar don tunawa da mawallafin Italiyanci mai tasiri, malami da jagoran Bruno Maderna (1920-1973).

Tun daga farkon aikinsa na ƙwararru, Boulez ya gano ƙwararrun ƙwararrun ƙungiyoyi. Komawa cikin 1946, ya ɗauki mukamin darektan kiɗa na gidan wasan kwaikwayo na Paris Marigny (The'a ^ tre Marigny), wanda shahararren ɗan wasan kwaikwayo kuma darekta Jean-Louis Barraud ya jagoranta. A shekara ta 1954, a karkashin jagorancin gidan wasan kwaikwayo, Boulez, tare da Jamus Scherkhen da Piotr Suvchinsky, sun kafa kungiyar kide-kide ta "Domain Musical" ("Domain of Music"), wanda ya jagoranci har zuwa 1967. Manufarta ita ce inganta tsohuwar da kuma inganta rayuwar zamani. kiɗan zamani, da ƙungiyar mawaƙa ta Domain Musical chamber ta zama abin koyi ga ƙungiyoyi da yawa waɗanda ke yin kiɗa na ƙarni na XNUMX. A karkashin jagorancin Boulez, kuma daga baya dalibinsa Gilbert Amy, Domaine Musical Orchestra ya rubuta a kan rubuce-rubucen ayyuka da yawa daga sababbin mawaƙa, daga Schoenberg, Webern da Varese zuwa Xenakis, Boulez da kansa da abokansa.

Tun daga tsakiyar sittin, Boulez ya haɓaka ayyukansa a matsayin wasan opera da jagorar wasan kwaikwayo na nau'in "talakawa", ba ƙwarewa a cikin wasan kwaikwayo na zamani da na zamani ba. Saboda haka, yawan aiki na Boulez a matsayin mawaki ya ragu sosai, kuma bayan "Ritual" ya tsaya har tsawon shekaru. Ɗaya daga cikin dalilan wannan, tare da ci gaban aikin jagoran, shine babban aiki a kan ƙungiya a birnin Paris na babbar cibiyar sabon kiɗa - Cibiyar Nazarin Kiɗa da Acoustic, IRCAM. A cikin ayyukan IRCAM, wanda Boulez ya kasance darektan har zuwa 1992, manyan kwatance guda biyu sun fito fili: haɓaka sabbin kiɗan da haɓaka fasahar haɗin sauti. Aikin jama'a na farko na cibiyar shine zagaye na kide-kide 70 na kida na karni na 1977 (1992). A cibiyar, akwai ƙungiyar masu yin "Ensemble InterContemporain" ("International Contemporary Music Ensemble"). A lokuta daban-daban, masu gudanarwa daban-daban ne ke jagorantar taron (tun daga 1982, ɗan Ingila David Robertson), amma Boulez ne wanda aka san shi na yau da kullun ko daraktan fasaha na zamani. Tushen fasaha na IRCAM, wanda ya haɗa da na'urorin haɓaka sauti na zamani, an samar da su ga mawaƙa daga ko'ina cikin duniya; Boulez yayi amfani da shi a cikin opuses da yawa, mafi mahimmancin su shine "Responsorium" don tarin kayan aiki da sautunan da aka haɗa akan kwamfuta (1990). A cikin XNUMXs, an aiwatar da wani babban aikin Boulez a Paris - Cite' de la musique concert, gidan kayan gargajiya da hadaddun ilimi. Mutane da yawa sun yi imanin cewa tasirin Boulez a kan kiɗan Faransa yana da girma, cewa IRCAM nasa cibiya ce irin ta ƙungiya wacce ke haɓaka nau'ikan kiɗan na ilimi wanda ya daɗe ya rasa dacewa a wasu ƙasashe. Bugu da ari, da wuce kima gaban Boulez a cikin m rai na Faransa ya bayyana gaskiyar cewa zamani Faransa composers da ba na cikin Boulezian da'irar, kazalika da Faransa conductors na tsakiyar da matasa tsara, kasa yin m kasa da kasa aiki. Amma duk da haka, Boulez ya shahara kuma yana da ikon isa, yin watsi da hare-hare masu mahimmanci, ya ci gaba da yin aikinsa, ko, idan kuna so, bi manufofinsa.

Idan, a matsayin mawaƙi da kuma m adadi, Boulez evokes wani wuya hali ga kansa, Boulez a matsayin shugaba za a iya kira da cikakken amincewa daya daga cikin mafi girma wakilan wannan sana'a a cikin dukan tarihin da wanzuwar. Boulez bai sami ilimi na musamman ba, a kan al'amurran da suka shafi gudanar da fasaha ya ba shi shawarar da masu gudanarwa na tsofaffin tsararraki masu sadaukar da kai ga sababbin kiɗa - Roger Desormière, Herman Scherchen da Hans Rosbaud (daga baya mai wasan kwaikwayo na farko na "The Hammer ba tare da wani ba). Jagora" da biyu na farko "Ingantacce bisa ga Mallarme"). Ba kamar kusan dukkanin masu jagoranci na "tauraro" na yau ba, Boulez ya fara ne a matsayin mai fassara na kiɗa na zamani, da farko nasa, da kuma malaminsa Messiaen. Daga cikin litattafan almara na karni na ashirin, repertoire ya fara mamaye kiɗan Debussy, Schoenberg, Berg, Webern, Stravinsky (lokacin Rasha), Varese, Bartok. Zaɓin Boulez galibi ana yin shi ne ba ta kusancin ruhaniya ga ɗaya ko wani marubuci ko ƙauna ga wannan ko waccan kiɗan ba, amma ta la'akari da ingantaccen tsari na ilimi. Alal misali, ya fito fili ya yarda cewa a cikin ayyukan Schoenberg akwai wadanda ba ya so, amma yana la'akari da shi wajibi ne ya yi, tun da yake yana sane da muhimmancin tarihi da fasaha. Duk da haka, irin wannan haƙuri ba ya kai ga duk mawallafa, waɗanda yawanci ana haɗa su a cikin litattafan sababbin kiɗa: Boulez har yanzu yana ɗaukar Prokofiev da Hindemith a matsayin mawaƙa na biyu, kuma Shostakovich ya kasance ma na uku (a hanya, ID ya fada. Glikman a cikin littafin "Haruffa zuwa aboki" labarin yadda Boulez ya sumbaci hannun Shostakovich a New York shine apocryphal; a gaskiya ma, ba zai yiwu ba Boulez ba, amma Leonard Bernstein, sanannen mai son irin wannan wasan kwaikwayo).

Ɗaya daga cikin mahimman lokuta a cikin tarihin Boulez a matsayin jagora shi ne nasarar samar da opera Wozzeck na Alban Berg a Paris Opera (1963). Wannan wasan kwaikwayon, wanda ke nuna kyakyawar Walter Berry da Isabelle Strauss, CBS ne ya rubuta shi kuma yana samuwa ga mai sauraron zamani akan fayafai na Sony. Ta hanyar gabatar da wani abin ban sha'awa, har yanzu sabo da sabon abu don wancan lokacin, wasan opera a cikin kagara na Conservatism, wanda aka yi la'akari da Babban gidan wasan kwaikwayo na Opera, Boulez ya fahimci ra'ayin da ya fi so na haɗa ayyukan ilimi da na zamani. Daga nan, mutum zai iya cewa, ya fara aikin Boulez a matsayin Kapellmeister na nau'in “talakawan”. A cikin 1966, Wieland Wagner, jikan mawaƙa, darektan opera kuma manaja wanda aka sani da rashin al'ada kuma galibi ra'ayoyinsa masu rikitarwa, ya gayyaci Boulez zuwa Bayreuth don gudanar da Parsifal. Shekara guda bayan haka, a rangadin ƙungiyar Bayreuth a Japan, Boulez ya gudanar da Tristan und Isolde (akwai rikodin bidiyo na wannan wasan kwaikwayon wanda ke nuna alamar 1960s Wagner ma'aurata Birgit Nilsson da Wolfgang Windgassen; Legato Classics LCV 005, 2 VHS); 1967. .

Har zuwa 1978, Boulez ya sake komawa Bayreuth don yin Parsifal, kuma ƙarshen aikinsa na Bayreuth shine ranar tunawa (a ranar cika shekaru 100 na farko) samar da Der Ring des Nibelungen a 1976; jaridun duniya sun yi tallar wannan samarwa da yawa a matsayin "Ring of the Century". A Bayreuth, Boulez ya gudanar da tetralogy na shekaru hudu masu zuwa, da kuma ayyukansa (a cikin jagorancin Patrice Chereau, wanda ya nemi sabunta aikin) an rubuta shi a kan fayafai da kaset na bidiyo ta Philips (12 CD: 434 421-2 - 434 432-2; 7 VHS: 070407-3; 1981).

Shekaru saba'in a cikin tarihin wasan opera sun kasance alama ce ta wani babban taron wanda Boulez ke da hannu kai tsaye: a cikin bazara na 1979, a kan mataki na Opera Opera, ƙarƙashin jagorancinsa, farkon farkon duniya na cikakkiyar sigar opera Berg ta Lulu. ya faru (kamar yadda aka sani, Berg ya mutu, ya bar babban ɓangare na uku na wasan opera a zane-zane; aikin ƙungiyar su, wanda ya zama mai yiwuwa ne kawai bayan mutuwar gwauruwar Berg, mawallafin Austrian da madugu sun yi shi. Friedrich Cerha). Samar da Shero ya ci gaba da kasancewa cikin salo na batsa na yau da kullun na wannan darektan, wanda, duk da haka, ya dace da wasan opera na Berg tare da jarumta ta jima'i.

Baya ga waɗannan ayyukan, wasan kwaikwayo na wasan kwaikwayo na Boulez ya haɗa da Debussy's Pelléas et Mélisande, Bartók's Castle na Duke Bluebeard, Schoenberg's Musa da Haruna. Rashin Verdi da Puccini a cikin wannan jerin yana nuna alamar, ba tare da ambaton Mozart da Rossini ba. Boulez, a lokuta daban-daban, ya sha bayyana ra'ayinsa game da salon wasan kwaikwayo kamar haka; a fili, wani abu da ke cikin haƙiƙa, waɗanda aka haifa a cikin masu gudanar da wasan opera baƙo ne ga yanayin fasaharsa. Rikodin opera na Boulez sau da yawa yana haifar da ra'ayi mai ban sha'awa: a gefe guda, sun gane irin waɗannan fasalulluka na "alamar kasuwanci" na salon Boulez a matsayin mafi girman horo na rhythmic, daidaitawa a hankali na duk alaƙa a tsaye da a kwance, bayyanannen bayyananne, bayyananne daban-daban har ma a cikin mafi hadaddun rubutun rubutu. tarin, tare da ɗayan shine zaɓin mawaƙa wani lokaci a sarari yana barin abubuwa da yawa da ake so. Rikodin ɗakin studio na "Pelléas et Mélisande", wanda aka gudanar a ƙarshen 1960 ta CBS, yana da halaye: rawar Pelléas, wanda aka yi niyya don babban baritone na Faransanci, abin da ake kira baritone-Martin (bayan mawaƙi JB. Martin, 1768 – 1837), saboda wasu dalilai da aka danƙa wa mai sassauƙa, amma a tsarin salo bai dace da aikinsa ba, ɗan wasan kwaikwayo George Shirley. Babban soloists na "Ring of the Century" - Gwyneth Jones (Brünnhilde), Donald McIntyre (Wotan), Manfred Jung (Siegfried), Jeannine Altmeyer (Sieglinde), Peter Hoffman (Siegmund) - suna gaba ɗaya yarda, amma babu wani abu: ba su da wani mutum mai haske. Fiye ko žasa haka za a iya ce game da protagonists na "Parsifal", rubuce a Bayreuth a 1970 - James King (Parsifal), guda McIntyre (Gurnemanz) da Jones (Kundry). Teresa Stratas fitacciyar 'yar wasan kwaikwayo ce kuma mawaƙiya, amma ba koyaushe take sake yin hadaddun sassan launi na launi a cikin Lulu tare da daidaito ba. A lokaci guda kuma, ba za a iya kasa lura da kyakkyawar murya da fasahar kiɗa na mahalarta a rikodi na biyu na Bartok na "Duke Bluebeard's Castle" wanda Boulez - Jesse Norman da Laszlo Polgara suka yi (DG 447 040-2; 1994).

Kafin ya jagoranci IRCAM da Ƙungiyar Entercontamporen, Boulez ya kasance Babban Jagora na Ƙungiyar Ƙwallon Ƙasa ta Cleveland (1970-1972), Ƙungiyar Ƙwallon Ƙwallon Ƙwallon Ƙwallon Ƙasa ta Birtaniya (1971-1974) da New York Philharmonic Orchestra (1971-1977). Tare da waɗannan makada, ya yi rikodin rikodi da yawa don CBS, yanzu Sony Classical, waɗanda yawancin su, ba tare da ƙari ba, ƙimar dawwama. Da farko, wannan ya shafi tarin ayyukan ƙungiyar makaɗa ta Debussy (akan fayafai biyu) da Ravel (a kan fayafai uku).

A cikin fassarar Boulez, wannan kida, ba tare da rasa wani abu ba dangane da alheri, laushi na sauye-sauye, iri-iri da kuma gyaran launuka na timbre, yana nuna gaskiyar crystal da tsabta na layi, kuma a wasu wurare kuma rashin ƙarfi na rhythmic matsa lamba da kuma numfashi mai zurfi. Kwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararrun ƙwararru, Kiɗa don kirtani, Percussion da Celesta, Bartók's Concerto don Orchestra, Pieces Biyar don Orchestra, Serenade, Bambancin Orchestral na Schoenberg, da wasu maki ta matashin Stravinsky (duk da haka, Stravinsky da kansa). bai yi farin ciki da rikodi na farko na The Rite of Spring ba, yana yin tsokaci game da shi kamar haka: "Wannan ya fi muni fiye da yadda nake tsammani, sanin babban matakin Maestro Boulez"), Varese's América da Arcana, duk na Webern's orchestral comps ...

Kamar malaminsa Hermann Scherchen, Boulez ba ya amfani da sanda kuma yana gudanar da shi cikin kamewa da gangan, kamar kasuwanci, wanda - tare da sunansa na rubuta sanyi, distilled, ƙididdige ƙididdiga - yana ciyar da ra'ayin da ya shahara game da shi a matsayin mai yin wasan kwaikwayo zalla. haƙiƙa sito, m da kuma abin dogara , amma a bushe (har ma da m fassarori na Impressionists aka soki don kasancewa wuce kima mai hoto da, don haka magana, kasa "impressionistic"). Irin wannan kimantawa gaba ɗaya bai isa ba ga sikelin kyautar Boulez. Da yake shi ne jagoran wadannan makada, Boulez ya yi ba Wagner kadai da kade-kade na karni na 4489 ba, har ma da Haydn, Beethoven, Schubert, Berlioz, Liszt ... kamfanoni. Misali, kamfanin Memories ya saki Scenes Schumann daga Faust (HR 90/7), wanda aka yi a watan Maris 1973, 425 a Landan tare da halartar mawakan BBC da Orchestra da Dietrich Fischer-Dieskau a cikin taken taken (a hanya, ba da daɗewa ba). kafin wannan, mai rairayi ya yi kuma "a hukumance" ya rubuta Faust a kamfanin Decca (705 2-1972; XNUMX) a karkashin jagorancin Benjamin Britten - ainihin mai ganowa a cikin karni na ashirin na wannan marigayi, rashin daidaituwa a cikin inganci, amma a wasu wurare. ƙwaƙƙwaran Schumann). Nisa daga ingancin rikodin rikodi ba ya hana mu godiya da girman ra'ayin da kamalar aiwatar da shi; mai sauraro ba zai iya hassada ba sai dai masu sa'a da suka kare a zauren kide-kide da yamma. Harkokin hulɗar tsakanin Boulez da Fischer-Dieskau - mawaƙa, zai zama alama, daban-daban dangane da basira - ba abin da za a so. Wurin mutuwar Faust yana sauti a mafi girman matakin pathos, kuma akan kalmomin "Verweile doch, du bist so schon" ("Oh, yaya kake da ban mamaki, jira kaɗan!" - Fassara ta B. Pasternak), ruɗi. na lokacin dakatarwa yana da ban mamaki.

A matsayinsa na shugaban IRCAM da Ensemble Entercontamporen, Boulez a dabi'ance ya mai da hankali sosai ga sabbin kiɗan.

Baya ga ayyukan Messiaen da nasa, musamman da son ransa ya saka a cikin shirye-shiryensa kidan Elliot Carter, György Ligeti, György Kurtág, Harrison Birtwistle, matasa matasa mawaƙa na da'irar IRCAM. Ya kasance kuma ya ci gaba da kasancewa mai shakku game da minimalism na gaye da "sabon sauƙi", yana kwatanta su da gidajen cin abinci mai sauri: "mai dacewa, amma gaba ɗaya mara sha'awa." Sukar kiɗan dutsen don primitivism, don "yawancin ra'ayi da clichés", amma duk da haka ya gane a cikinsa "mafi mahimmanci" mai lafiya; a cikin 1984, har ma ya yi rikodin tare da Ensemble Entercontamporen faifan “Cikakken Baƙo” tare da kiɗan Frank Zappa (EMI). A cikin 1989, ya sanya hannu kan wata yarjejeniya ta musamman tare da Deutsche Grammophon, kuma bayan shekaru biyu ya bar mukaminsa na shugaban IRCAM don sadaukar da kansa gabaɗaya ga tsarawa da wasan kwaikwayo a matsayin jagorar baƙo. A kan Deutsche Grammo-phon, Boulez ya fito da sabbin tarin kiɗan mawaƙa ta Debussy, Ravel, Bartok, Webburn (tare da Cleveland, Berlin Philharmonic, Chicago Symphony da London Symphony Orchestras); sai dai ingantattun faifan rikodin, ko kaɗan ba su wuce littattafan CBS na baya ba. Fitattun litattafai sun haɗa da Waƙar Ecstasy, Waƙar Piano Concerto da Prometheus na Scriabin (dan wasan pian Anatoly Ugorsky shi ne mawallafin soloist a cikin ayyukan biyu na ƙarshe); I, IV-VII da IX kauna da “Waƙar Duniya” na Mahler; Rukunin wasan kwaikwayo na Bruckner VIII da IX; "Hakanan Yayi Magana Zarathustra" na R. Strauss. A cikin Mahler na Boulez, alamar alama, sha'awar waje, watakila, ta yi nasara akan magana da sha'awar bayyana zurfin metaphysical. Rikodi na Symphony na takwas na Bruckner, wanda aka yi tare da Vienna Philharmonic a lokacin bikin Bruckner a 1996, yana da salo sosai kuma ba ta da ma'ana ga fassarar “Brucknerians” da aka haifa dangane da haɓakar sauti mai ban sha'awa, girman girman koli, bayyana wadatar layukan waƙa, hatsaniya a cikin scherzo da babban tunani a cikin Adadio. A lokaci guda, Boulez ya kasa yin mu'ujiza kuma ko ta yaya ya daidaita tsarin tsarin Bruckner, rashin jin ƙai na jeri da maimaita ostinato. Abin mamaki, a cikin 'yan shekarun nan, Boulez a fili ya tausasa halayensa na gaba ga Stravinsky's "neoclassical" opuses; daya daga cikin mafi kyawun fayafai na baya-bayan nan sun haɗa da Symphony na Zabura da Symphony a cikin ƙungiyoyi uku (tare da ƙungiyar mawaƙa ta Berlin da ƙungiyar mawaƙa ta Philharmonic ta Berlin). Akwai bege cewa kewayon maigidan bukatun za su ci gaba da fadada, kuma, wanda ya sani, watakila za mu ji ayyukan Verdi, Puccini, Prokofiev da Shostakovich yi da shi.

Levon Hakopyan, 2001