Hostname: page-component-586b7cd67f-2plfb Total loading time: 0 Render date: 2024-11-28T04:10:48.589Z Has data issue: false hasContentIssue false
  • English
  • Français

Performer Indeterminacy and Boulez's Third Sonata

Published online by Cambridge University Press:  04 February 2010

William G. Harbinson
Get access Rights & Permissions [Opens in a new window]

Extract

With these words, Pierre Boulez opened the article entitled ‘Sonate, que me veux-tu?’ in 1963. Referring to his Third Piano Sonata – portions of which first appeared in 1955 – Boulez presented his arguments supporting compositions that contain ‘open’ or ‘mobile’ forms. ‘Fluidity of form must integrate fluidity of vocabulary’, Boulez stated.

Type
Research Article
Information
Tempo , Issue 169: 50th Anniversary 1939–1989 , June 1989 , pp. 16 - 20
Copyright
Copyright © Cambridge University Press 1989

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

1 Boulez, Pierre, ‘Sonate, que me veux-tu?’ Perspectives of Music, I (Spring, 1963), p.32–344CrossRefGoogle Scholar.

2 Ibid., p. 33.

3 Ibid., p. 39.

4 Ibid., p. 38.

5 Black, Robert, ‘Boulez's Third Piano Sonata: Surface and Sensibility’, Perspectives of New Music, XX (Fall–Winter, 1981: Spring-Summer, 1982), p.186Google Scholar.

6 Boulez, Pierre, ‘Alea’, Perspectives of New Music, III (Fall–Winter, 1964), P.42–53CrossRefGoogle Scholar.