{"id":5187,"date":"2025-05-16T02:50:07","date_gmt":"2025-05-16T00:50:07","guid":{"rendered":"https:\/\/pigyki.fr\/?p=5187"},"modified":"2025-05-18T00:08:48","modified_gmt":"2025-05-17T22:08:48","slug":"ecoute-musicale-n62-pierre-boulez","status":"publish","type":"post","link":"https:\/\/pigyki.fr\/index.php\/2025\/05\/16\/ecoute-musicale-n62-pierre-boulez\/","title":{"rendered":"\u00c9coute musicale n\u00b062  Pierre Boulez"},"content":{"rendered":"\n<h2 class=\"wp-block-heading\">Pierre Boulez (1925-2016)<\/h2>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Pourquoi d\u00e9teste-t-on autant la musique de Pierre Boulez ?\" width=\"563\" height=\"1000\" src=\"https:\/\/www.youtube.com\/embed\/mXGuDsjny4E?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"has-text-align-center\" style=\"font-size:20px\"><em>Et vous, qu&rsquo;en pensez-vous ?<\/em><br><em>Merci de laisser vos commentaires en bas&#8230;<\/em><\/p>\n\n\n\n<div style=\"height:10px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p><strong><em><a href=\"https:\/\/fr.wikipedia.org\/wiki\/Pierre_Boulez\" target=\"_blank\" rel=\"noreferrer noopener\">Pierre Boulez<\/a><\/em><\/strong> \u00e9tait un nom marqu\u00e9 au fer rouge (comme infr\u00e9quentable) par feu mon Ma\u00eetre en p\u00e9dagogie Jacques Chapuis.<br>C&rsquo;est donc avec curiosit\u00e9 et une certaine \u00e9motion que je d\u00e9couvre enfin ce compositeur \u00e0 l&rsquo;occasion du centenaire de sa naissance, en 1925.<br>S&rsquo;il fut controvers\u00e9, il n&rsquo;en fut pas moins l\u2019une des figures les plus marquantes de la musique contemporaine du XX<sup>e<\/sup> si\u00e8cle.<\/p>\n\n\n\n<div class=\"wp-block-media-text has-media-on-the-right is-stacked-on-mobile\"><div class=\"wp-block-media-text__content\">\n<p>Compositeur, chef d\u2019orchestre, th\u00e9oricien et p\u00e9dagogue, il a red\u00e9fini les contours de la cr\u00e9ation musicale par son radicalisme, son exigence intellectuelle et son engagement pour une modernit\u00e9 musicale intransigeante.<\/p>\n<\/div><figure class=\"wp-block-media-text__media\"><img loading=\"lazy\" decoding=\"async\" width=\"570\" height=\"391\" src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/05\/boulez_pierre-e1747226752223.jpg\" alt=\"\" class=\"wp-image-5193 size-full\" srcset=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/05\/boulez_pierre-e1747226752223.jpg 570w, https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/05\/boulez_pierre-e1747226752223-300x206.jpg 300w, https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/05\/boulez_pierre-e1747226752223-281x193.jpg 281w\" sizes=\"auto, (max-width: 570px) 100vw, 570px\" \/><\/figure><\/div>\n\n\n\n<div style=\"height:10px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p>Jusqu&rsquo;au d\u00e9but du XX<sup>e<\/sup> si\u00e8cle, ce qui accrochait l&rsquo;auditeur c&rsquo;\u00e9tait principalement le discours m\u00e9lodique, plus ou moins &lsquo;color\u00e9&rsquo; par l&rsquo;harmonie et l&rsquo;instrumentation ou l&rsquo;orchestration, avec comme moteur les deux p\u00f4les Tension \/ D\u00e9tente  de la tonalit\u00e9, sauf \u00e9videmment quelques exceptions notables, comme Stravinsky et les compositeurs de la seconde \u00e9cole de Vienne : Berg, Sch\u00f6nberg et Webern.<\/p>\n\n\n\n<p>Boulez \u00e9tait un grand adepte du s\u00e9rialisme, mais d&rsquo;un s\u00e9rialisme inspir\u00e9 et non exclusivement intellectuel, ce en quoi il \u00e9tait davantage le disciple de Messiaen.<br>\u00c9couter sa musique, sans m\u00eame parler de l&rsquo;appr\u00e9cier, concerne encore aujourd&rsquo;hui un petit nombre d&rsquo;initi\u00e9s, pourtant les concerts de son centenaire remplissent la grande salle de la Philharmonie de Paris !<br>Il y a de quoi s&rsquo;interroger&#8230; et autant de raisons de l&rsquo;\u00e9couter parler et pr\u00e9senter cette \u00ab\u00a0musique contemporaine\u00a0\u00bb (voyez plus bas)!<\/p>\n\n\n\n<p>Pour \u00e9largir ce cercle d&rsquo;initi\u00e9s (et pourquoi pas, pour le rejoindre ?&#8230;), je vous propose (conseille et recommande !) de vous immerger dans cet univers si particulier.<br>La possibilit\u00e9 que nous avons d&rsquo;\u00e9couter, et surtout de r\u00e9\u00e9couter des enregistrements est une chance formidable pour nous familiariser avec l&rsquo;inconnu, le d\u00e9routant, l&rsquo;\u00e9trange, et l&rsquo;apprivoiser (comme notre cher Petit Prince et le Renard) par petites touches ou des plongeons dans le grand bain (dont on sortirait avec la nage d&rsquo;un petit chien)&#8230;<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h6 class=\"wp-block-heading has-text-align-right\"><em>Pour le petit bain<\/em>&#8230;<\/h6>\n\n\n\n<h5 class=\"wp-block-heading\">12 Notations (1945)<\/h5>\n\n\n\n<p>Pierre-Laurent Aimard, Piano<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/05\/Boulez-12-Notations-pour-piano-1945-w-score.mp3\"><\/audio><\/figure>\n\n\n\n<p>Avec la partition : <a href=\"https:\/\/www.youtube.com\/watch?v=CJG38iQ9d7I&amp;t=4s\">0:04<\/a> &#8211; I. Fantasque &#8211; Mod\u00e9r\u00e9 <a href=\"https:\/\/www.youtube.com\/watch?v=CJG38iQ9d7I&amp;t=63s\">1:03<\/a> &#8211; II. Tr\u00e8s vif <a href=\"https:\/\/www.youtube.com\/watch?v=CJG38iQ9d7I&amp;t=84s\">1:24<\/a> &#8211; III. Assez lent <a href=\"https:\/\/www.youtube.com\/watch?v=CJG38iQ9d7I&amp;t=142s\">2:22<\/a> &#8211; IV. Rythmique <a href=\"https:\/\/www.youtube.com\/watch?v=CJG38iQ9d7I&amp;t=173s\">2:53<\/a> &#8211; V. Doux et improvis\u00e9 <a href=\"https:\/\/www.youtube.com\/watch?v=CJG38iQ9d7I&amp;t=223s\">3:43<\/a> &#8211; VI. Rapide <a href=\"https:\/\/www.youtube.com\/watch?v=CJG38iQ9d7I&amp;t=249s\">4:09<\/a> &#8211; VII. Hi\u00e9ratique <a href=\"https:\/\/www.youtube.com\/watch?v=CJG38iQ9d7I&amp;t=334s\">5:34<\/a> &#8211; VIIII. Mod\u00e9r\u00e9 jusqu&rsquo;a tr\u00e8s vif <a href=\"https:\/\/www.youtube.com\/watch?v=CJG38iQ9d7I&amp;t=379s\">6:19<\/a> &#8211; IX. Lointain &#8211; Calme <a href=\"https:\/\/www.youtube.com\/watch?v=CJG38iQ9d7I&amp;t=520s\">8:40<\/a> &#8211; X. M\u00e9canique et tr\u00e8s sec <a href=\"https:\/\/www.youtube.com\/watch?v=CJG38iQ9d7I&amp;t=541s\">9:01<\/a> &#8211; XI. Scintillant <a href=\"https:\/\/www.youtube.com\/watch?v=CJG38iQ9d7I&amp;t=578s\">9:38<\/a> &#8211; XII. Lent &#8211; Puissant et \u00e2pre<\/p>\n\n\n\n<h5 class=\"wp-block-heading\">Sonatine (1946)<\/h5>\n\n\n\n<p>pour Fl\u00fbte et Piano, par Sophie Cherrier, Fl\u00fbte &amp; Pierre-Laurent Aimard, Piano (1991)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/05\/Sonatine.mp3\"><\/audio><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\">Oubli signal lapid\u00e9 (1952)<\/h5>\n\n\n\n<p>Pi\u00e8ce en 7 parties sur un texte de Armand Gatti, pour ch\u0153ur mixte \u00e0 12 voix.<br>1<sup>\u00e8re<\/sup> partie par l&rsquo;Ensemble Marcel Couraud sous sa direction.<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/05\/Pierre-Boulez-Oubli-signal-lapide-1st-movement-1952.mp3\"><\/audio><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\">Le marteau sans ma\u00eetre (1954) &#8211; Extrait<\/h5>\n\n\n\n<p>Sur des po\u00e8mes de Ren\u00e9 Char extraits de son recueil \u00ab\u00a0Le marteau sans ma\u00eetre\u00a0\u00bb.<br><strong>V. \u00ab\u00a0Bel \u00e9difice et les pressentiments\u00a0\u00bb <br><\/strong>Par Salom\u00e9 Haller, mezzo soprano et l&rsquo;Ensemble Orchestral Contemporain &#8211; Daniel Kawka, direction.<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/05\/Le-Marteau-sans-maitre-V.-Bel-edifice-et-les-pressentiments-version-premiere.mp3\"><\/audio><\/figure>\n\n\n\n<p>Ces deux pi\u00e8ces vocales encha\u00een\u00e9es<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/05\/Pierre-Boulez-Extraits-vocaux.mp3\"><\/audio><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h6 class=\"wp-block-heading has-text-align-right\"><em>Pour le grand bain&#8230;<\/em><\/h6>\n\n\n\n<h5 class=\"wp-block-heading\">Pli selon pli<\/h5>\n\n\n\n<p><strong><em>Don<\/em><\/strong> (1\/5) Portrait de Mallarm\u00e9 pour soprano et orchestre <br>Marisol Montalvo, soprano &#8211; Orchestre du Conservatoire de Paris Ensemble intercontemporain &#8211; Matthias Pintscher, direction.<br>Enregistr\u00e9 en direct le 3 f\u00e9vrier 2015 \u00e0 la Philharmonie de Paris.<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/05\/Pierre-Boulez-Pli-selon-pli-Don-Ensemble-intercontemporain-Matthias-Pintscher.mp3\"><\/audio><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\">Structure I en 3 parties pour 2 pianos (1952)<\/h5>\n\n\n\n<p>Avec la partition : Ia <a href=\"https:\/\/www.youtube.com\/watch?v=6sfGLoF5IUY&amp;list=PLXuiIsVnD8V0rQWfTf7Yj9k0puT95oxbx&amp;index=6\">0:00<\/a> (3&rsquo;26) &#8211; Ib <a href=\"https:\/\/www.youtube.com\/watch?v=6sfGLoF5IUY&amp;list=PLXuiIsVnD8V0rQWfTf7Yj9k0puT95oxbx&amp;index=6&amp;t=206s\">3:26<\/a> (9&rsquo;31) &#8211; Ic <a href=\"https:\/\/www.youtube.com\/watch?v=6sfGLoF5IUY&amp;list=PLXuiIsVnD8V0rQWfTf7Yj9k0puT95oxbx&amp;index=6&amp;t=775s\">12:55<\/a> (2&rsquo;37)<br>Par Pierre Boulez et Yvonne Loriod<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/05\/Pierre-Boulez-Structures-I-Audio-Score.mp3\"><\/audio><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h6 class=\"wp-block-heading has-text-align-right\"><em>Pour les comp\u00e9titions&#8230;<\/em><\/h6>\n\n\n\n<h5 class=\"wp-block-heading\">Incises (1994\/2001)<\/h5>\n\n\n\n<p>Pi\u00e8ce compos\u00e9e pour un concours de piano, commande de Luciano Berio et Maurizio Pollini<br>par S\u00e9bastien Vichard, piano (2014)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/05\/Pierre-Boulez-Incises-Sebastien-Vichard-Ensemble-intercontemporain.mp3\"><\/audio><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\">Sonate n\u00b02 (1947-48)<\/h5>\n\n\n\n<p> Maurizio Pollini, Piano.<br>Avec la partition : <a href=\"https:\/\/www.youtube.com\/watch?v=-ZpNlxoXpQg\">0:00<\/a> I. Extr\u00eamement rapide <a href=\"https:\/\/www.youtube.com\/watch?v=-ZpNlxoXpQg&amp;t=361s\">6:01<\/a> II. Lent <a href=\"https:\/\/www.youtube.com\/watch?v=-ZpNlxoXpQg&amp;t=1026s\">17:06<\/a> III. Mod\u00e9r\u00e9, presque vif <a href=\"https:\/\/www.youtube.com\/watch?v=-ZpNlxoXpQg&amp;t=1160s\">19:20<\/a> IV. Vif <\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/05\/Pierre-Boulez-2e-sonate-pour-piano-1947-48.mp3\"><\/audio><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h6 class=\"wp-block-heading has-text-align-right\"><em>Pour la grande travers\u00e9e, croisi\u00e8re d&rsquo;\u00eeles en \u00eeles&#8230; <\/em><\/h6>\n\n\n\n<p>Concert du Centenaire enregistr\u00e9 et film\u00e9 le 6 janvier 2025 \u00e0 la Philharmonie de Paris.<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Pierre Boulez &#8211; \u00ab\u00a0M\u00e9moriale (\u2026explosante-fixe\u2026 Originel)\u00a0\u00bb pour Fl\u00fbte solo et Ensemble Instrumental (5&rsquo;40)<\/li>\n\n\n\n<li>Pierre Boulez &#8211; \u00ab\u00a0Messagesquisse\u00a0\u00bb pour Violoncelle solo et 6 violoncelles (9&rsquo;20)<\/li>\n\n\n\n<li>Pierre Boulez &#8211; \u00ab\u00a0Sonatine\u00a0\u00bb pour Fl\u00fbte et Piano (12&rsquo;10)<\/li>\n\n\n\n<li>Charlotte Bray &#8211; Nothing Ever Truly Ends (cr\u00e9ation mondiale) (12&rsquo;10)<\/li>\n\n\n\n<li>Pierre Boulez &#8211; \u00ab\u00a0R\u00e9pons\u00a0\u00bb pour 6 Solistes, Ensemble, Sons informatiques et \u00e9lectroniques en temps r\u00e9el (44&prime;)<\/li>\n<\/ul>\n\n\n\n<p>Bande son du concert : j&rsquo;ai remplac\u00e9 les applaudissements par des plages de silence de 3 \u00e0 5 secondes.<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/05\/The-Centenary-of-Pierre-Boulez-Ensemble-Intercontemporain-Friends-ARTE-Concert-1.mp3\"><\/audio><\/figure>\n\n\n\n<p>Pour ce concert, Pierre Bleuse et l\u2019Ensemble Intercontemporain ont r\u00e9uni un plateau de haute vol\u00e9e : Jean-Guihen Queyras&nbsp;(violoncelle), Pierre-Laurent Aimard, Hid\u00e9ki Nagano, Dimitri Vassilakis&nbsp;(piano), Sophie Cherrier, Emmanuelle Oph\u00e8le&nbsp;(fl\u00fbte), Gilles Durot, Samuel Favre&nbsp;(percussion), Valeria Kafelnikov&nbsp;(harpe) et Aur\u00e9lien Gignoux&nbsp;(cymbalum).<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"The Centenary of Pierre Boulez : Ensemble Intercontemporain &amp; Friends - ARTE Concert\" width=\"760\" height=\"428\" src=\"https:\/\/www.youtube.com\/embed\/W8Hsj_1P-pY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h4 class=\"wp-block-heading has-text-align-right\">Le coin des \u00e9coutes comparatives<\/h4>\n\n\n\n<h5 class=\"wp-block-heading\">12 Notations (1945)<\/h5>\n\n\n\n<p>Pierre-Laurent Aimard, Piano<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/05\/Boulez-12-Notations-pour-piano-1945-w-score.mp3\"><\/audio><\/figure>\n\n\n\n<p>Version pour orchestre, par le Lucerne Festival Academy, dirig\u00e9 par Pierre Boulez.<br>Ordre des pi\u00e8ces : 1 &#8211; 7 &#8211; 4 &#8211; 3 &#8211; 2<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/05\/Boulez-Notations-pour-Orchestre-Lucerne-Festival-Academy.mp3\"><\/audio><\/figure>\n\n\n\n<p>Pr\u00e9sent\u00e9es et jou\u00e9es en concert par <strong><em><a href=\"https:\/\/fr.wikipedia.org\/wiki\/Jean-Efflam_Bavouzet\" target=\"_blank\" rel=\"noreferrer noopener\">Jean-Efflam Bavouzet<\/a><\/em><\/strong>*<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Pierre Boulez: 12 Notations | Jean-Efflam Bavouzet\" width=\"760\" height=\"428\" src=\"https:\/\/www.youtube.com\/embed\/sMvL1jlN_d8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p style=\"font-size:14px\">* Jean-Efflam Bavouzet a eu Jacques Chapuis comme professeur de piano avant d&rsquo;entrer au CNSM de Paris.<br>Chapuis l&rsquo;avait invit\u00e9 pour un r\u00e9cital dans le cadre d&rsquo;un Congr\u00e8s Willems et rencontre EPTA \u00e0 Lyon en &#8230; 1990 ?<br>Je me souviens que Chapuis le pr\u00e9sentait comme un de ses \u00e9l\u00e8ves, mais celui-ci n&rsquo;en fait pas mention dans sa biographie&#8230;<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h5 class=\"wp-block-heading\">Incises (1994\/2001)<\/h5>\n\n\n\n<p>par S\u00e9bastien Vichard, piano (2014)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/05\/Pierre-Boulez-Incises-Sebastien-Vichard-Ensemble-intercontemporain.mp3\"><\/audio><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\">Sur Incises &#8211; Pour 3 Pianos, 3 Harpes et 3 Percussions<\/h5>\n\n\n\n<p>Par Julien Blanc, Philippe Hattat, Antoine Ouvrard, piano Jean-Baptiste Bonnard, Thibault Lepri, Fran\u00e7ois Vallet, percussion Marcel Cara, Lauriane Chenais, L\u00e9o Doum\u00e8ne, harpe Bruno MANTOVANI, direction<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/05\/Pierre-BOULEZ-sur-Incises.mp3\"><\/audio><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h4 class=\"wp-block-heading has-text-align-right\"><em>Pour apprendre \u00e0 nager<\/em>&#8230;<\/h4>\n\n\n\n<h5 class=\"wp-block-heading\">Une le\u00e7on de Pierre Boulez sur la FORME<\/h5>\n\n\n\n<p>A partir de deux extrait d&rsquo;\u0153uvres : le \u00ab\u00a0Pierrot lunaire\u00a0\u00bb, d&rsquo;Arnold Sch\u00f6nberg, et \u00ab\u00a0\u00c9clat\u00a0\u00bb, de Pierre Boulez.<br>J&rsquo;ai retranscrit le texte de cette le\u00e7on et je vous recommande la lecture de quelques <strong><em><a href=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/05\/Pierre-Boulez-Siglo-XX-Forma-EXTRAITS.pdf\" target=\"_blank\" rel=\"noreferrer noopener\">extraits (PDF en lien)<\/a><\/em><\/strong>.<br>Vous pouvez naturellement regarder la vid\u00e9o ci-dessous dans laquelle il pr\u00e9sente en d\u00e9tail ces deux \u0153uvres. C&rsquo;est passionnant !<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Pierre Boulez - Siglo XX - Forma\" width=\"760\" height=\"570\" src=\"https:\/\/www.youtube.com\/embed\/kwxweeqB6ik?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<figure class=\"wp-block-pullquote\" style=\"font-size:16px\"><blockquote><p>Vous ne reconnaissez pas les choses, vous allez les reconna\u00eetre, vous semblez les reconna\u00eetre, et finalement vous les reconnaissez tout en \u00e9tant pas tr\u00e8s s\u00fbr de quand vous les reconnaissez. C&rsquo;est comme \u00e7a que cette pi\u00e8ce [<strong>\u00ab\u00a0Sur Incise\u00a0\u00bb<\/strong>] est compos\u00e9e.<br><br>C&rsquo;est-\u00e0-dire qu&rsquo;il n&rsquo;y a plus de forme comme par exemple dans la musique classique, o\u00f9 l&rsquo;architecture \u00e9tait totalement d\u00e9finie avant m\u00eame d&rsquo;exister, et vous remplissez une architecture suivant un plan donn\u00e9. Tandis que l\u00e0, vous cr\u00e9ez l&rsquo;architecture au fur et \u00e0 mesure que vous trouvez les id\u00e9es.<br><br>C&rsquo;est pour \u00e7a que la musique contemporaine est peut-\u00eatre plus difficile en un certain sens, parce qu&rsquo;il faut avoir v\u00e9cu, avoir pass\u00e9 au travers, mais je crois que c&rsquo;est beaucoup plus enrichissant parce qu&rsquo;au fond, vous avez d\u00e9couvert un monde qui n&rsquo;\u00e9tait pas inscrit chez vous avant de l&rsquo;entendre.<\/p><cite><br>Pierre Boulez, extrait de<br><strong><em>Une le\u00e7on de Pierre Boulez pr\u00e9sentant \u00ab\u00a0Sur Incise\u00a0\u00bb<\/em><\/strong><br>film de Andy Sommer (2000)<\/cite><\/blockquote><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\"><strong><em>Une le\u00e7on de Pierre Boulez pr\u00e9sentant \u00ab\u00a0Sur Incise\u00a0\u00bb<\/em><\/strong><\/h5>\n\n\n\n<p>Enfin, je vous recommande vivement de regarder ce film de 50&prime;. Je trouve incroyable qu&rsquo;\u00e0 aucun moment Boulez ne parle de technique d&rsquo;\u00e9criture, qui sous-entendrait qu&rsquo;il faut un pr\u00e9alable de connaissances intellectuelles pour pouvoir \u00e9couter cette musique.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Andy Sommer - Une lecon de Pierre Boulez (check automatic translation to ENG)\" width=\"760\" height=\"428\" src=\"https:\/\/www.youtube.com\/embed\/sCiwdqrz3kI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n","protected":false},"excerpt":{"rendered":"<p>Boulez a \u00e9crit : \u00ab\u00a0Une des impressions les plus inconfortables que l&rsquo;auditeur \u00e9prouve lorsqu&rsquo;il entend de la musique contemporaine, c&rsquo;est de n&rsquo;avoir aucun sens de la direction, de se promener sans fin, dans un labyrinthe, sans apercevoir une issue. Tout semble \u00e9chapper \u00e0 son \u00e9coute et \u00e0 sa sensibilit\u00e9, alors que lorsqu&rsquo;il entend des oeuvres famili\u00e8res, il \u00e9prouve une sensation de bien-\u00eatre.\u00a0\u00bb<\/p>\n","protected":false},"author":1,"featured_media":5193,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"rop_custom_images_group":[],"rop_custom_messages_group":[],"rop_publish_now":"initial","rop_publish_now_accounts":[],"rop_publish_now_history":[],"rop_publish_now_status":"pending","footnotes":""},"categories":[99,17],"tags":[],"class_list":["post-5187","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-ecoutes-fr-fr","category-ecoutes-fr"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>\u00c9coute musicale n\u00b062 Pierre Boulez - Pigyki<\/title>\n<meta name=\"description\" content=\"Pr\u00e9sentation Pierre Boulez compositeur musique contemporaine musique XX\u00b0s \u00e9coute extraits musicaux playlist Pigyki\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/pigyki.fr\/index.php\/2025\/05\/16\/ecoute-musicale-n62-pierre-boulez\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u00c9coute musicale n\u00b062 Pierre Boulez - 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