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PIERRE BOULEZ'S ‘SUR INCISES’: REFRACTION, CRYSTALLISATION AND THE ABSENT IDEA(L)

Published online by Cambridge University Press:  19 April 2013

Tom Coult
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Abstract

Sur Incises, first performed in 1998, is the most recent major work by Pierre Boulez, but there has been very little published writing discussing it, although Boulez himself discussed the piece in a lecture released on DVD. Like many of his recent works, Sur Incises reworks existing material – taking the short piano piece Incises and expanding it into a large-scale work for three pianos, three harps and three percussionists. This article examines how the gestures, harmonies and even the instrumentation of the earlier piece are ‘refracted’ – presented in multiple overlaid versions as if a prism had revealed the possibilities inherent in the original material. Sur Incises is discussed with reference to common concerns in Boulez's work since the 1970s – its use of quasi-thematic ‘signals’ to mark structure, its use of luxurious harmonic fields and chord multiplication, its virtuosic toccata material, and its use of the SACHER hexachord.

Type
Research Article
Information
Tempo , Volume 67 , Issue 264 , April 2013 , pp. 2 - 21
Copyright
Copyright © Cambridge University Press 2013

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References

1 Boulez: Sur Incises; Messagesquisse; Anthèmes II. Ensemble InterContemporain, Pierre Boulez, Deutsche Grammophon CD 463 475-2.

2 Sur Incises: A Lesson, Frank Scheffer and Andy Sommer (dir.), Juxtapositions DVD9DS15.

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35 These terms are taken from Sur Incises: A Lesson. The ‘seed’ is the SACHER-based figuration shown in Fig. 7.

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