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The piano has remained central to Boulez's creative work throughout his career, and although his renown as a conductor has to some extent overshadowed his other achievements, it was as a performer of his own piano music that his practical gifts first found expression. Peter O'Hagan considers Boulez's writing for the piano in the context of the composer's stylistic evolution throughout the course of his development. Each of the principal works is considered in detail, not only on its own terms, but also as a stage in Boulez's ongoing quest to invent radical solutions to the renewal of musical language and to reinvigorate tradition. The volume includes reference to hitherto unpublished source material, which sheds light on his working methods and on the interrelationship between works. It concludes with a discussion of the interpretive issues in Boulez's piano music, based on the author's practical experience and study of the manuscript sources.
Peter O'Hagan is a pianist and writer specialising in contemporary music. He is editor of British Music of the 1990s (Ashgate, 2003), and co-editor of Boulez Studies (2016).
INTRODUCTION CHAPTER 1 A Parisian Apprenticeship CHAPTER 2 Towards twelve-note technique CHAPTER 3 First Sonata: ... à René Leibowitz... CHAPTER 4 Second Sonata: pulvériser le son CHAPTER 5 Chance and Inspiration in Structures Premier Livre CHAPTER 6 The Expansion of Serialism: Structures Deuxième Livre, Chapitre I CHAPTER 7 Alea: Third Sonata, 1955-57 CHAPTER 8 At the Limits of Serialism: Structures Deuxième Livre, Chapitre II CHAPTER 9 Sonate, ' Que me veux-tu ' : Third Sonata, 1957-63 CHAPTER 10 A competition piece and its consequences: Incises (1994/2001) CHAPTER 11 A Codetta: Une page d'éphéméride (2005) ... A Work in Progress... APPENDIX Objets trouvés: an interview with Pierre Boulez
