C1462. PIERRE BOULEZ Cond. Cleveland S.O.: Posthorn Serenade #9 in D, K.320 (Mozart), Live Performance, 28 July, 1969, Blossom Music Festival; PIERRE BOULEZ Cond. NYPO, w. VLADIMIR ASHKENAZY: Piano Concerto #5 in G (Prokofiev), Live Performance, 1976, Philharmonic Hall, New York. (Canada) St Laurent Studio YSL T-376. Transfers by Yves St Laurent.
“Vladimir Ashkenazy is renowned for his performances of Romantic and Russian composers. Midway through his pianistic career, Ashkenazy branched into conducting. He has particularly been praised for his recordings of orchestral works by Sibelius, Rachmaninoff, Prokofiev, Shostakovich, Scriabin, Richard Strauss and Stravinsky. He was the principal conductor of the Royal Philharmonic Orchestra from 1987 to 1994 and was principal conductor of the Czech Philharmonic from 1998 to 2003. He became musical director of the NHK Symphony Orchestra in 2004, and a biography of Ashkenazy, BEYOND FRONTIERS, has been published.”
- Ned Ludd
“’Audacity, innovation, creativity — that is what Pierre Boulez was for French music, which he helped shine everywhere in the world’.
Mr. Boulez belonged to an extraordinary generation of European composers who emerged in the postwar years while still in their 20s. They started a revolution in music, and Mr. Boulez was in the front ranks.
But his influence was equally large on the podium. In time he began giving ever more attention to conducting, where his keen ear and rhythmic incisiveness could produce a startling clarity. (There are countless stories of him detecting faulty intonation, say, from the third oboe in a complex piece.) He reached his peak as a conductor in the 1960s, when he began to appear with some of the world’s great orchestras, like the Concertgebouw in Amsterdam, the Berlin Philharmonic and the Cleveland Orchestra. By the early ’70s, he had succeeded Leonard Bernstein as music director of the New York Philharmonic, an appointment that startled the music world and led to a fitful tenure. It was his reputation as an avant-garde composer and as a champion of new music that prompted his unexpected appointment in New York. After the initial shock at his arrival, there was hope that he might bring the orchestra into the 20th century and appeal to younger audiences. But his programming often met with hostility in New York, and he left quietly six years later. ‘I had to learn about that music, to find out how it was made’, he once told OPERA NEWS. ‘It was a revelation - a music for our time, a language with unlimited possibilities. No other language was possible. It was the most radical revolution since Monteverdi. Suddenly, all our familiar notions were abolished. Music moved out of the world of Newton and into the world of Einstein’. To start on this route, he took lessons in 1945-46 with René Leibowitz, a Schönbergian who had settled in Paris. Soon he was integrating what had been separate paths of development in the music of the previous 40 years: Schönberg’s serialism, Stravinsky’s rhythmic innovations and Messiaen’s enlarged notion of mode. As Mr. Boulez saw it, all these composers had failed to pursue their most radical impulses, and it fell to a new generation - specifically, to him - to pick up the torch.
‘He never ceased to think about subjects in relation to one another; he made painting, poetry, architecture, cinema and music communicate with each other, always in the service of a more humane society’, the office of President François Hollande said in a statement. Even so, the achievements embodied in his published works and recordings are formidable, and his influence was incalculable. The tasks he took on were heroic: to continue the great adventure of musical modernism, and to carry with him the great musical institutions and the widest possible audience.”
- Paul Griffiths, THE NEW YORK TIMES, 6 Jan., 2016