Este espacio no sera alimentado por nuevas enlaces, ni serán repuestos los que vayan perdiendo vigencia.
Compartimos por tres años la obra de Pierre Boulez y nos entristece no hacerlo en el futuro.
Gracias y adiós.
Mahler: Das Klagende Lied, Boulez
Pierre Boulez: There are many pieces that could be described as
"the best of Mahler". But I find the musical vocabulary
of the Adagio particularly toMard-looking. For me, it's
a summation of all Mahler had ever written. At the same
time, it places a question mark over the future, indicating
that Mahler would have continued to develop if he'd
lived a little longer.
ln whid direction would he have developed?
Pierre Boulez: That's difficult to say. There are links with early
Schoenberg, for example, especially the Gurre-Lieder,
whose moods and range of expression come very close
to parts 0f the Adagio in terms of their musical language.
But we can't argue on this basis that Mahler
would necessarily have developed in the direction of
Schoenberg. In this respect his final work remains ambiguous.
Registro para la descarga gratuita del Álbum: Das Lied von der Erde, Los cantos de la tierra, de Gustav Mahler, dirigido por Pierre Boulez, con la Wiener Philharmoniker y las voces de Violeta Urmana (mezzo-soprano), Michael Schade (Tenor). Deutsche Grammophon , 2001), DDD.
Mahler: Das Lied von der Erde, Boulez
1. Part 1. Hymnus "Veni, Creator spiritus". Veni, creator spiritus |
2. Part 1. Hymnus "Veni, Creator spiritus". Imple superna gratia |
3. Part 1. Hymnus "Veni, Creator spiritus". Infirma nostri corporis |
4. Part 1. Hymnus "Veni, Creator spiritus". Tempo 1. Allegro, etwas hastig |
5. Part 1. Hymnus "Veni, Creator spiritus". Infirma nostri corporis |
6. Part 1. Hymnus "Veni, Creator spiritus". Accende lumen sensibus |
7. Part 1. Hymnus "Veni, Creator spiritus". Veni, creator spiritus |
8. Part 1. Hymnus "Veni, Creator spiritus". Gloria sit Patri Domino |
1. Part 2. Final Scene from Goethe's "Faust", Part 2. Poco adagio |
2. Part 2. Final Scene from Goethe's "Faust", Part 2. Più mosso |
3. Part 2. Final Scene from Goethe's "Faust", Part 2. Waldung, sie schwankt heran |
4. Part 2. Final Scene from Goethe's "Faust", Part 2. Ewiger Wonnebrand |
5. Part 2. Final Scene from Goethe's "Faust", Part 2. Wie Felsenabgrund mir zu Füßen |
6. Part 2. Final Scene from Goethe's "Faust", Part 2. Gerettet ist das edle Glied der Geisterwelt vom |
7. Part 2. Final Scene from Goethe's "Faust", Part 2. Jene Rosen aus den Händen |
8. Part 2. Final Scene from Goethe's "Faust", Part 2. Uns bleibt ein Erdenrest |
9. Part 2. Final Scene from Goethe's "Faust", Part 2. Ich spür' soeben nebelnd um Felsenhöh / Hier ist |
10. Part 2. Final Scene from Goethe's "Faust", Part 2. Höchste Herrscherin der Welt! |
11. Part 2. Final Scene from Goethe's "Faust", Part 2. Bei der Liebe, die den Füßen / Bei dem Bronn, zu |
12. Part 2. Final Scene from Goethe's "Faust", Part 2. Neige, neige, du Ohnegleiche |
13. Part 2. Final Scene from Goethe's "Faust", Part 2. Er überwächst uns schon / Vom edlen Geisterchor |
14. Part 2. Final Scene from Goethe's "Faust", Part 2. Komm! hebe dich zu höhern Sphären! / Blicket auf |
15. Part 2. Final Scene from Goethe's "Faust", Part 2. Alles Vergängliche ist nur ein Gleichnis |
Registro para la descarga gratuita de la Sinfonía No. 6 in A minor ("Tragic"), de Gustav Mahler, con la Vienna Philharmonic Orchestra, dirigida por Pierre Boulez.
El formato original de esta grabación realizada para Deutsche Grammophon es DDD.
El disco apareció el 11 de abril de 1995.
Mahler, Sinfonía no.6, Boulez, Parte 1
Mahler, Sinfonía no.6, Boulez Parte 2
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Registro para la descarga gratuita de la Sinfonía no.5, dirigida por Pierre Boulez con la Wiener Philharmoniker, Deutsche Grammophon, 1996
Mahler, Sinfonía no. 5, Pierre Boulez, WP
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Registro para la descarga gratuita de la Sinfonía no.5, dirigida por Pierre Boulez con la Wiener Philharmoniker, Deutsche Grammophon, 1996
Mahler, Sinfonía no. 5, Pierre Boulez, WP
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Registro para la descarga gratuita de la Sinfonía no.4 de Gustav Mahler, dirigida por Pierre Boulez, con la Cleveland Orchestra, Juliane Banse (Soprano) y William Preucil (Violin). Este disco fue grabado en 04/1998, en el Masonic Auditorim, Cleveland, Ohio. Tiene una duración de 53 Minutes 32 Secs. Apareció en publico el 3,de enero del 2000, DDD , Discos: 1, Deutsche Grammophon.
Mahler, Sinfonía no.4, Boulez, CO, DG.
Registro para la descarga gratuita de la Tercera Sinfonía de Mahler en dirección de Pierre Boulez .con la Vienna Philharmonic Orchestra, Vienna Boys' Choir, Vienna Singverein Women's Chorus y voz de Anne Sofie von Otter. Deutsche Grammophon 2003.
Mahler Sinfonía no3, Boulez, WP parte 1
Mahler Sinfonía no3, Boulez, WP parte 2
Registro para la descarga gratuita de la Sinfonía no. 1 de Gustav Mahler, dirigida por Pierre Boulez frente a la Chicago Symphony Orchestra.
Este Álbum fue grabado en mayo de 1998 en el Orchestra Hall, Chicago, Illinois. Apareció el 13 de Abril de 1999, DDD , Disco 1, Deutsche Grammophon.
Registro para la descarga gratuita del Album: BOULEZ conducts ZAPPA The Perfect Stranger and other chamber works, 1, 2, 4: Ensemble InterContemporain conducted by PIERRE BOULEZ, 3, 5, 6, 7: The Barking Pumpkin Digital Gratification Consort,1984 / 1992
Barking Pumpkin Records, 1 CD, DDD.
1) The Perfect Stranger (12:42)
2) Naval Aviation in Art? (2:43)
3) The Girl In The Magnesium Dress (3:09)
4) Dupree's Paradise (7:52)
5) Love Story (0:55)
6) Outside Now Again (4:05)
7) Jonestown (5:27)
BOULEZ conducts ZAPPA The Perfect Stranger
Pierre Boulez dirige los tres conciertos con tres orquestas y tres pianistas diferentes. Grabacion de 2006, Deutsche Grammophon,
1CD, -DDD-MP3 a 218 kbps-116 MB
Piano Concerto No.1, BB 91, Sz. 83
1) 1. Allegro moderato - Allegro [8:47]
2) 2. Andante [7:51]
3) Allegro - 3. Allegro molto [6:36]
Krystian Zimerman, piano
Chicago Symphony Orchestra, Pierre Boulez
Piano Concerto No.2, BB 101, Sz. 95
4) 1. Allegro [9:24]
5) 2. Adagio - Più adagio - Presto [11:26]
6) 3. Allegro molto [6:13]
Leif Ove Andsnes, piano
Berliner Philharmoniker, Pierre Boulez
Piano Concerto No.3, BB 127, Sz. 119
7) 1. Allegretto [7:33]
8) 2. Adagio religioso [11:08]
9) 3. Allegro vivace [7:05]
Hélène Grimaud, piano
London Symphony Orchestra, Pierre Boulez
Bartók: Piano Concertos-Boulez
Free download. Descarga gratuita.
El esplendido pianista frances Pierre-Laurent Aimard nos entrega los conciertos para la mano izquierda, el concierto en G, y Miroirs de Maurice Ravel. El sonido es de la Cleveland Orchestra, dirigida por Pierre Boulez, la ingenieria de produccion es de DG.
Philippe Manoury belongs to that generation of composers who, as young musicians, delighted in the nascent possibilities of electronic music at the recently opened IRCAM in Paris. Manoury distinguishes himself from others of his generation in two ways. The first is his continuing interest in serialism, while many who frequented IRCAM followed the spectralist tradition. The other is his interest in live electronics, eschewing any kind of works for tape and instead exploring the pairing of human performers with an electronic part that could react in real-time. The two pieces here, part of his cycle "Sonus ex machina", are representative of his output. Manoury wrote "Jupiter" for flute and electronics (1987) after Laurence Beauregard, then a flautist with the Ensemble Intercontemporain, developed a flute with switches on its keys to help a computer follow along. (There's a video floating around of Beauregard demonstrating it, but sadly he died soon afterward.) This technical development let the electronic part follow the unique playing style of the live flautist. As Sophie Cherrier plays on this recording, the electronic part blossoms out of her performance in a smooth and organic fashion, with a general shimmering background to the breathiness of the flute part. "La Partition du Ciel et de l'Enfer" for flute and 2 piano soloists, ensemble and electronics (1989) is an orchestral concertante meditation on the moods of two earlier works. One one hand, there's the slow, tranquil atmosphere of "Jupiter". On the other hand, we hear the savage keyboard attacks of "Pluton" for piano (1987, the first "Sonus ex machina" work). The electronic part here has great variety and is fine listening if your stereo is up to task. I think Manoury's work is worth seeking out if you've already heard the electronic works of Pierre Boulez. Manoury's "Pluton" (available on a now deleted Ondine disc) reminded me strongly of Boulez's "Repons", while "Jupiter" and "La Partition" look ahead to Boulez's "...explosante-fixe..." and "Sur Incises" respectively. I do think, however, that Manoury's pieces tend to be mainly gimmick with little behind the concept of pairing players and electronics, so I can't rate him as highly as Boulez. Nonetheless, there is a real magic to these endeavours in live electronics. Even after 20 years, when technology has progressed on, IRCAM's early successes still impress.
Pierre Boulez: There are many pieces that could be described as
"the best of Mahler". But I find the musical vocabulary
of the Adagio particularly toMard-looking. For me, it's
a summation of all Mahler had ever written. At the same
time, it places a question mark over the future, indicating
that Mahler would have continued to develop if he'd
lived a little longer.
ln whid direction would he have developed?
Pierre Boulez: That's difficult to say. There are links with early
Schoenberg, for example, especially the Gurre-Lieder,
whose moods and range of expression come very close
to parts 0f the Adagio in terms of their musical language.
But we can't argue on this basis that Mahler
would necessarily have developed in the direction of
Schoenberg. In this respect his final work remains ambiguous.