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Unpublished Bouleziana at the Paul Sacher Foundation

Published online by Cambridge University Press:  04 February 2010

Allen Edwards
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Extract

Though in existence for less than a decade, Basle's Paul Sacher Foundation has already achieved an importance as a repository for the music of the 20th century comparable only to the importance of New York's Museum of Modern Art as a storehouse for representative masterpieces of this century's visual arts.

Type
Research Article
Information
Tempo , Issue 169: 50th Anniversary 1939–1989 , June 1989 , pp. 4 - 15
Copyright
Copyright © Cambridge University Press 1989

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References

1 in Pierre Boulez: A Symposium, London, 1984, Eulenburg Books, ed. SirClock, WilliamGoogle Scholar.

2 identical with Constellation-Miroir, except that the order of presentation of the large sections is reversed. Constellation is heard in Claude Helffer's CD recording of the Third Piano Sonata.

3 reproduced in manuscript-facsimile in ‘Verehrter Meister, Lieber Freund’, Stuttgart and Zurich, 1977, Belser AG für Verlagsgeschäfte & CoGoogle Scholar, KG (memorial volume for Heinrich Strobel).

4 in a 1967 UE Buch der Klaviermusik des 20. Jahrhunderts, UE 12050, now out of print.

5 the first page of which was reproduced in manuscript facsimile in the 1966 Bayreuth Festival program.

6 the full score of Figures Doubles Prismes remaining for the time being with the composer.

7 A commercial recording of Figures Doubles Prismes up to this point was recently made; however, its release is currently stymied by a dispute between rival record companies.

8 Note, however, that the piano cadenza near the beginning of the published Éclat is a new invention, not found in the original piano Don (cf Example 4). Idem the coda of Éclat (figure 25 to the end).

9 In terms of the composer's schematic framework, the full score breaks off exactly at the beginning of ‘developpment XII:V(A)’ – while harmonic skeletons for developments XII:V(A through E), XII:VI(A through F), and XII:VII(A through G) are found among the preparatory material so admirably catalogued (along with the rest of the Boulez archive) by the Sacher Foundation staff, under the guidance of Dr Robert Piencikowski of Paris.

10 Typically, over the six year period of his incumbency in New York, the composer performed only one of his own orchestral works, and was never commissioned during that time to write a work for the institution of which he was Music Director.

11 A handsome, art-book style catalogue of the Sacher Foundation's musical holdings, including numerous photographs and color-facsimile illustrations of its Boulez archive material, is available from the Foundation (Münsterplatz 4, CH-4051 Basle, Switzerland).