Pierre Boulez

**Pierre Boulez** (26 Mart 1925, Montbrison, Loire - 5 Ocak 2016, Baden-Baden), Fransız besteci, koro şefi, yazar ve piyanist.

## Biyografisi
### İlk yılları
Boulez 26 Mart 1925'te Montbrison, Loire, Fransa'da dünyaya geldi. Katolik olarak yetiştirildi ancak sonradan ateist oldu. Çocukluğunda piyano dersleri ve matematik dersleri almaya başladı. Daha sonra Lyon'da müzik eğitimine devam etti. Ardından Paris Konservatuvarı'nda Olivier Messiaen ve Andrée Vaurabourg'un gözetiminde müzik kariyerine devam etti.

## Seçilmiş eserleri
* Piano Sonata No. 1 (1946)
* *Le visage nuptial* (soprano, alto, 1946/51/88–89)
* Piano Sonata No. 2 (1947–48)
* *Le soleil des eaux* (soprano solo, mixed choir, orchestra, 1948/50/58/65)
* *Livre pour quatuor* (string quartet, 1948–49, rev. 2011–12)
* *[[Polyphonie X]]* (1951)
* *[[Structures (Boulez)|Structures]]*, Livres I et II
* *[[Le marteau sans maître]]* 
* Piano Sonata No. 3 (1955–57/63 ...)
* *[[Pli selon pli]]* (soprano ve orkestra, 1957–89)
* *Figures, doubles, prismes* (1957–68)
* *Éclat/Multiples* (ensemble, 1965–70)
* *Domaines* (clarinet solo, 1968–69)
* *Domaines* (clarinet, 1968–69)
* *Cummings ist der Dichter* 
* *[[Rituel in Memoriam Bruno Maderna|Rituel: In Memoriam Bruno Maderna]]* (1974–75)
* *Messagesquisse* (yedi çello, 1976–77)
* *Notations* (1978/1999–...)
* *[[Répons]]* 1980–84
* *Dialogue de l'ombre double* 1982–85
* *Dérive 1* (1984)
* *Dérive 2* (1988–2006)
* *...explosante-fixe...* 
* *[[Incises|Sur Incises]]* 1996–98
* *Dialogue de l'ombre double* 1985/1995
* Anthèmes 2, 1998
* *Une page d'éphéméride* (piano, 2005)

## Bibliyografi

* Anon. 2008. "Pierre Boulez—Every Composer Chooses His Fathers". In *Talking to Kinky and Karlheinz—170 Musicians Get Vocal on the Music Show*, edited by Anni Heino, 254–62. Sydney: ABC Books. ISBN 978-0-7333-2008-8.
* Barulich, Frances. 1988. "*Pierre Boulez* by Dominique Jameux; *Pierre Boulez und sein Werk* by Theo Hirsbrunner; *Pierre Boulez: A Symposium* edited by William Glock; *Orientations: Collected Writings by Pierre Boulez* edited and with an introduction by Jean-Jacques Nattiez and translated by Martin Cooper; *Éclats/Boulez* edited by Claude Samuel with the collaboration of Jacqueline Muller; *Pierre Boulez: Eine Festschrift zum 60. Geburtstag am 26. März 1985* edited by Josef Häusler; *Boulez in Bayreuth/Boulez à Bayreuth: Der Jahrhundert-Ring/The Centenary 'Ring'/Le 'Ring' du centenaire Histoire d'un 'Ring' Entretiens sur la 'Tétralogie du centenaire': Pierre Boulez, Jeffrey Tate, Jean-Jacques Nattiez*" [book review]. *Notes* 2nd series, 45, no. 1 (September): 48–52.
* Blaustein, Susan. 1989. "The Survival of Aesthetics: Books by Boulez, Delio, Rochberg". *Perspectives of New Music* 27, no. 1 (Winter): 272–303.
* Boulez, Pierre. 1971. *Boulez on Music Today*, translate by Susan Bradshaw and Richard Rodney Bennett. Cambridge, Mass.: Harvard University Press. ISBN 0-674-08006-8; London: Faber. ISBN 0-571-09420-1
* Boulez, Pierre 1981. *Orientations: Collected Writings*, collected and edited by Jean-Jacques Nattiez, translated by Martin Cooper. Cambridge, MA: Harvard University Press. ISBN 0-674-64376-3. New edition, translated by Martin Cooper from the second French edition of *Points de repère*, London and Boston: Faber & Faber, 1986. ISBN 0-571-13811-X (cased); ISBN 0-571-13835-7 (pbk).
* Boulez, Pierre. 1986. "Sonate, que me veux-tu?" (1960). In his *Orientations: Collected Writings*, translated by, 143–154. London: Faber and Faber. ISBN 0-571-14347-4.
* Boulez, Pierre. 1991a. "Schoenberg is Dead" (1952). In his *Stocktakings from an Apprenticeship*, collected and presented by Paule Thévenin, translated by Stephen Walsh, with an introduction by Robert Piencikowski, 209–14. Oxford: Clarendon Press; New York: Oxford University Press. ISBN 0-19-311210-8
* Boulez, Pierre. 1991b. "Possibly..." (1952). In his *Stocktakings from an Apprenticeship*, collected and presented by Paule Thévenin, translated by Stephen Walsh, with an introduction by Robert Piencikowski, 111–40. Oxford: Clarendon Press; New York: Oxford University Press. ISBN 0-19-311210-8
* Boulez, Pierre. 1991c. "Alea" (1957). In his *Stocktakings from an Apprenticeship*, collected and presented by Paule Thévenin, translated by Stephen Walsh, with an introduction by Robert Piencikowski, 26–38. Oxford: Clarendon Press; New York: Oxford University Press. ISBN 0-19-311210-8
* Boulez, Pierre. 1995. *Points de repère. I: Imaginer*, edited by Jean-Jacques Nattiez and Sophie Galaise, with the collaboration of Robert Piecikowski. Musique/passé/présent. Paris: Bourgois.
* Boulez, Pierre. 2005a. *Points de repère. II: Regards sur autrui*, edited by Jean-Jacques Nattiez and Sophie Galaise. Musique/passé/présent. Paris: Bourgois.
* Boulez, Pierre. 2005b. *Points de repère. III: Leçons de musique: Deux décennies d'enseignement au Collège de France*, edited by Jean-Jacques Nattiez, preface by Jonathan Goldman, foreword by Michel Fouculta. Musique/passé/présent. Paris: Bourgois.
* Boulez, Pierre, and Dan Albertson. 2007. ". . .'ouvert', encore. . .". *Contemporary Music Review* 26, nos. 3–4 (June–August):.339–40.
* Burnham, Scott G. "Beethoven, Ludwig van, §19: Posthumous influence and reception (iii) Political reception.", *Grove Music Online*, ed. L. Macy. (Subscription access).
* Di Pietro, Rocco. 2001. *Dialogues with Boulez*. Lanham, Md.:The Scarecrow Press, Inc. ISBN 0-8108-3932-6
* Ewen, David. 1971. "Pierre Boulez". In David Ewen, *Composers of Tomorrow's Music: A Non-technical Introduction to the Musical Avant-garde Movement*, 78–93. New York: Dodd, Mead & Co. ISBN 0-396-06286-5
* Griffiths, Paul. 1973. "Two Pianos: Boulez, *Structures*, Book 2". *The Musical Times* 114, no. 1562 (April): 390.
* Griffiths, Paul. 1995. *Modern Music and After: Directions Since 1945*. London: Oxford University Press. ISBN 0-19-816578-1 (cloth); ISBN 0-19-816511-0 (pbk)
* Harvey, Jonathan. 1971. "A Clear View". *Musical Times* 112, no. 1540 (June): 557.
* Hayes, Malcolm. 1992. Review of *Stocktakings from an Apprenticeship* by Pierre Boulez; Stephen Walsh. *Tempo* new series, no. 180 (Mar. 1992): 29–30.
* Heinemann, Stephen. 1993. "Pitch-Class Set Multiplication in Boulez's *Le Marteau sans maître*". DMA thesis. Seattle: University of Washington.
* Heinemann, Stephen. 1998. "Pitch-Class Set Multiplication in Theory and Practice". *Music Theory Spectrum* 20, no. 1 (Spring): 72–96. Abstract (accessed 17 June 2008)
* Hopkins, G. W., and Paul Griffiths. 2006. "Pierre Boulez", *Grove Music Online* ed. L. Macy. (Subscription access)
* Humbertclaude Eric. 1999. *La Transcription dans Boulez et Murail : de l'oreille à l'éveil*, Paris: Harmattan. ISBN 2-7384-8042-X
* Jameux, Dominique. 1991. *Pierre Boulez*, translated by Susan Bradshaw. Cambridge, Mass.: Harvard University Press. ISBN 0-674-66740-9 London: Faber. ISBN 0-571-13744-X.
* Kimmelman, Michael. 2010. "Boulez's Gentler Roar ". *New York Times* (6 January) (Accessed 22 January 2013).
* Koblyakov, Lev. 1977. "P. Boulez *Le marteau sans maître*: Analysis of Pitch Structure". *Zeitschrift für Musiktheorie* 8, no. 1:24–39.
* Koblyakov, Lev. 1981. "The World of Harmony of Pierre Boulez: Analysis of Le marteau sans maître". Ph.D. diss., Hebrew University of Jerusalem.
* Koblyakov, Lev. 1990. *[http://books.google.com/books?id=FLIxmQ59OmEC&dq=Pierre+Boulez:+A+World+of+Harmony Pierre Boulez: A World of Harmony] *. Contemporary Music Studies 2. Chur, Switzerland, and New York: Harwood Academic Publishers. ISBN 3-7186-0422-1
* Ligeti, György. 1960. "Pierre Boulez: Decision and Automatism in Structure Ia." *Die Reihe* 4 (Young Composers): 36–62. (Translated from the original German edition of 1958.)
* McNamee, Ann K. 1992. "Are Boulez and Stockhausen Ready for the Mainstream? A Review". *Musical Quarterly* 76, no. 2:283–91. |
* Mosch, Ulrich. 1997. "Wahrnehmungsweisen serieller Musik". *Musiktheorie* 12:61–70.
* Mosch, Ulrich. 2004. *Musikalisches Hören serieller Musik: Untersuchungen am Beispiel von Pierre Boulez' Le Marteau sans maître*. Saarbrücken: Pfau-Verlag. ISBN 3-89727-253-9
* Obrist, Hans Ulrich, and Philippe Parreno. 2008. "An Interview with Pierre Boulez". In *Sound Unbound: Sampling Digital Music and Culture*, edited by Paul D. Miller, a.k.a. DJ Spooky That Subliminal Kid, 361–74. Cambridge, Mass: MIT Press. ISBN 978-0-262-63363-5
* Olivier, Philippe. 2005. *Pierre Boulez: Le maître et son marteau*. Collection points d'orgue. Paris: Hermann, éditeurs des sciences et des arts. ISBN 2-7056-6531-5.
* Orton, Richard, and Hugh Davies. 2001. "Ondes martenot". *The New Grove Dictionary of Music and Musicians*, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
* Peyser, Joan. 1976. *Boulez: Composer, Conductor, Enigma*. New York: Schirmer Books. ISBN 0-02-871700-7; London: Cassell. ISBN 0-304-29901-4
* Peyser, Joan. 1999. *To Boulez and Beyond: Music in Europe Since the Rite of Spring*, with a preface by Charles Worinen. New York: Billboard Books. ISBN 0-8230-7875-2. Revised edition, Lanham, MD: Scarecrow Press, 2008. ISBN 978-0-8108-5877-0
* Steenhuisen, Paul. 2009. "Interview with Pierre Boulez". In ''Sonic Mosaics: Conversations with Composers''. Edmonton: University of Alberta Press. ISBN 978-0-88864-474-9
* Südwestrundfunk. n.d. "Donaueschinger Musiktage: Programme seit 1921: Programm des Jahres 1961 ". SWR website (Accessed 26 May 2013).
* Vermeil, Jean. 1996. *Conversations with Boulez: Thoughts on Conducting*. Translated by Camille Nash, with a selection of programs conducted by Boulez and a discography by Paul Griffiths. Portland, Oregon: Amadeus Press. ISBN 1-57467-007-7


## Kaynakça

## Dış bağlantılar

* 
* Pierre Boulez biography and works on the UE website (publisher)
* Pierre Boulez Interview with Andy Carvin, 1992 
* Pierre Boulez CompositionToday articles and review of works 
* Pierre Boulez Photographic portrait by Philippe Gontier 
* Tommasini, Anthony, "Boulez Salutes Bits and Bytes With an Artistic Partnership". ''New York Times'', 25 April 2005.
* Clements, Andrew and Service, Tom (compilers), "A master who worked with a very small hammer". ''The Guardian'', 25 March 2005. 
* Boulez interviewed by Charles Amirkhanian, with Andrew Gerzso, 16 February 1986