Title: Structures (Boulez)
Content:  Structures I (1952) and Structures II (1961) are two related works for two pianos, composed by the French composer Pierre Boulez.
Title: Structures (Boulez)
Content:  The first book of Structures was begun in early 1951, as Boulez was completing his orchestral work Polyphonie X, and finished in 1952. It consists of three movements, or "chapters", labelled Ia, Ib, and Ic, composed in the order a, c, b. The first of the second book's two "chapters" was composed in 1956, but chapter2 was not written until 1961. The second chapter includes three sets of variable elements, which are to be arranged to make a performing version. A partial premiere of book2 was performed by the composer and Yvonne Loriod at the Wigmore Hall, London, in March 1957. This was Boulez's first appearance in the UK as a performer. The same performers gave the premiere of the complete second book, with two different versions of chapter2, in a chamber-music concert of the Donaueschinger Musiktage on Saturday, 21 October 1961.  Structures I was 
Title: Structures (Boulez)
Content: Pierre Boulez and Yvonne Loriod, 20–21 October 1961, Hans-Rosbaud Studio, Baden.-Baden. 75 Jahre Donaueschinger Musiktage 1921–1996. 12-CD set, mono & stereo. Col Legno Contemporary WWE 12CD 31899. [Munich]: Col Legno Musikproduktion GmbH, 1996. CD 10, Col Legno Contemporary WWE 1CD 31909, includes the world-premiere performance of Structures pour deux pianos, deuxième livre, played by Yvonne Loriod and Pierre Boulez. ; Aloys and Alfons Kontarsky, 1965, Ariola Tonstudio, Cologne, WERGO ; Bernhard Wambach and Pi-Hsin Chen, 30 March 1985, Weinbrenner-Saal des Kurhauses, Baden-Baden, Sony ; Florent Boffard and Pierre-Laurent Aimard, October 1994, ESPRO, IRCAM, Deutsche Grammophon ; Pi-Hsien Chen and Ian Pace, 2–5 October 2007, WDR Funkhaus, Klaus-von-Bismarck Saal, Hat-Hut ; Michael Wendeberg and Nicolas Hodges, 2019, Pierre Boulez Saal, Berlin, bastille musique 
Title: Structures (Boulez)
Content: Aloys and Alfons Kontarsky, 1960, Domaine musical ; Aloys and Alfons Kontarsky, 1965, Ariola Tonstudio, Cologne, WERGO ; Pi-Hsien Chen and Ian Pace, 2–5 October 2007, WDR Funkhaus, Klaus-von-Bismarck Saal, Hat-Hut ; Michael Wendeberg and Nicolas Hodges, 2019, Pierre Boulez Saal, Berlin, bastille musique 
Title: Structures (Boulez)
Content: Boulez, Pierre. 1986b. Orientations. London: Faber and Faber. ISBN: 0-571-14347-4. ; Célestin Deliège. 1981. "Deux aspects de l'univers boulezien: Structures pour deux pianos à quatre mains". Critique, no. 408:478–484. ; Febel, Reinhard. 1978. Musik für zwei Klaviere seit 1950 als Spiegel der Kompositionstechnik. Herrenberg: Musikverlag Döring. Second, revised and expanded edition, Saarbrücken: Pfau-Verlag, 1998. ISBN: 3-930735-55-5. ; Jameux, Dominique. 1989. Boulez: Le Marteau Sans Maître. Programme booklet. CBS Masterworks CD MK 42619. ; Jameux, Dominique. 1991. Pierre Boulez. Cambridge, Massachusetts: Harvard University Press. ISBN: 0-674-66740-9. ; Losada, Catherine C. 2014. "Complex Multiplication, Structure, and Process: Harmony and Form in Boulez's Structures II". Music Theory Spectrum 36, no. 1 (Spring): 86–120. ; Song, Sun-Ju. 2008. Music Analysis and the Avant-Garde Compositions of Post–World War II: Four Case Studies. 2 vols. Ph.D. diss. Nathan, Queensland: Queensland Conservatorium Griffith University. ; Wilkinson, Marc. 1958. "Some Thoughts on Twelve-Tone Method (Boulez: Structure Ia)", Gravesaner Blätter no. 10:19–29. Wilkinson, Marc. 1958. "Some Thoughts on Twelve-Tone Method (Boulez: Structure Ia)", Gravesaner Blätter no. 10:19–29. 
Title: Pierre Boulez
Content:  given point previous impressions the listener may have formed: "the present moment is all there is". Boulez linked this development to a desire by his generation to create a tabula rasa after the war. His works in this idiom are Polyphonie X (1950–51; withdrawn) for 18 instruments, the two musique concrète études (1951–52; withdrawn), and Structures, Book I for two pianos (1951–52). Speaking of Structures, Book I in 2011 Boulez described it as a piece in which "the responsibility of the composer is practically absent. Had computers existed at that time I would have put the data through them and made the piece that way. But I did it by hand...It was a demonstration through the absurd." Asked whether it should still be listened to as music, Boulez replied: "I am not terribly eager to listen to it. But for me it was an experiment that was absolutely necessary."
Title: Australian Guild of Screen Composers
Content: colspan=2|Renzo Piano: Piece by Piece ; colspan=2|Richard Vella ; colspan=2|Richard Vella ; Won Won colspan=2|"Mirvac" ; colspan=2|Melburnian String Quartet ; colspan=2|Dale Cornelius ; Won Won colspan=2|Structures on Rail ; colspan=2|Robert Griffin Morgan ; colspan=2|Robert Griffin Morgan ; Won Won colspan=2|See How They Run ; colspan=2|Mario Millo ; colspan=2|Mario Millo ; Won Won colspan=2|The Order ; colspan=2|George Gogos ; colspan=2|George Gogos ; Won Won colspan=2|Project Vlad ; colspan=2|Luke Gielmuda ; colspan=2|Luke Gielmuda ; Won Won colspan=2|Ansett: "Star Alliance" ; colspan=2|Cezary Skubiszewski ; colspan=2|Cezary Skubiszewski ; Won Won colspan=2|The Lost World ; colspan=2|Garry McDonald and Lawrence Stone; Nerida Tyson-Chew ; colspan=2|Garry McDonald, Lawrence Stone; Nerida Tyson-Chew ; Won 
Title: Don Li (composer/musician)
Content:  structures in combination with musical asceticism. He has been serially numbering his compositions (parts), which often consist of a single formula, ever since; he compares them with Japanese Haikus and calls them musical sculptures. "It has been seven years now since the saxophonist, clarinettist, composer, band leader and organizer Don Li ... published the twenty-six-minute-long CD, a relatively short prelude to a phenomenon which breaks the mold of purely musical categories." Georg Modestin, der Bund 2006 Since 2005, his works have been dealing with the conscious, chronological structuring of time and, in synchronization with the PC, last exactly 60 minutes (Orbital Garden).
Title: Karl Kohn
Content:  in the United States and in Europe, with a repertoire focused on major 20th century works by Debussy, Bartók, Berio, Stravinsky, Messiaen, Ligeti, Reich, and Boulez. Kohn played in the US premier of Boulez's Structures together with the composer. Kohn's own works have been performed by the Los Angeles Philharmonic and Buffalo Philharmonic Orchestras, the Oakland Symphony, the Saint Paul Chamber Orchestra, on the San Francisco Symphony's Musica Viva series, at the Monday Evening Concerts in Los Angeles (Kohn served for two decades on the board of directors of the Monday Evening Concerts), and in concerts and broadcasts throughout the United States and abroad.
Title: Structures (Boulez)
Content:  last and most successful of Boulez's works to use the technique of integral serialism, wherein many parameters of a piece's construction are governed by serial principles, rather than only pitch. Boulez devised scales of twelve dynamic levels (though in a later revision of the score these reduced to ten), twelve durations, and—from the outset—ten modes of attack, each to be used in a manner analogous to a twelve-tone row. The composer explains his purpose in this work: "I wanted to eradicate from my vocabulary absolutely every trace of the conventional, whether it concerned figures and phrases, or development and form; I then wanted gradually, element after element, to win back the various stages of the compositional process, in such a manner that a perfectly new synthesis might arise, a synthesis that would not be corrupted from the very outset by foreign bodies—stylistic reminiscences in particular."

Question: Who was the composer of Structures?
Answer: Pierre Boulez.