Pierre Boulez, photo: Philippe Gontier

Dag in de Branding About Boulez

Radical renewers

CLAUDE DEBUSSY
Prélude à l’après-midi d’un faune  (bew. Benno Sachs)
PIERRE BOULEZ
Improvisation I sur Mallarmé: "Le vierge, le vivace et le bel aujourd'hui"
KARLHEINZ STOCKHAUSEN
Refrain Nr. 11
PIERRE BOULEZ
Improvisation II "Une dentelle s'abolit"
MAURICE RAVEL
Trois poèmes de Stéphane Mallarmé

ASKO|SCHÖNBERG
SLAGWERK DEN HAAG
conductor Etienne Siebens
soprano Katrien Baerts

Order tickets for:

Saturday, 28 March 2015
14:00 hours
Dag in de Branding
Den Haag
Zuiderstrandtheater

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Around 1900 Ravel and Debussy added a graceful twist to the works of their predecessors. They were among the last representatives of a music culture that has since vanished. The world in which they composed suddenly ceased to exist. Half a century and two world wars later, Boulez and Stockhausen emerged as radical renewers – removing the rubble remnants, as they wished to reinvent music and wipe out every trace of the old tradition. 

Continuing along the old paths was not an option in their view. However, they cherished the heritage of Debussy and Ravel: these composers were likewise continually in search of new harmonies and timbres. According to Boulez one can hear 'the awakening of modern music' in Debussy’s Prélude à l’après-midi d’un faune. Boulez went on to create this modern music himself – and just like Debussy and Ravel he drew his inspiration from Stéphane Mallarmé’s spaced-out style of poetry. At the same time Stockhausen was composing Refrain, a work featuring an opulent percussion part, which was considered highly exotic at the time. Now, yet another half a century has passed and we can ask ourselves which of these composers is actually the most exotic, adventurous and modern. Modern-day ears are more receptive and attuned than ever. All the works featured in this programme live up to Debussy’s vision of ‘free, dynamic music with constantly shifting colours, forms and rhythms.’

 

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Dag in de Branding

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