Orientations Collected Writings

I cannot add much to the other reviews, this is the full weight of Boulez from both worlds as conductor and creator of theory and music. Boulez always found inroads into the theory of his works, like the indeterminate, aleatoric Third Piano Sonata which includes an analysis here, great reading from tis documentary value. Also reflections on Debussy's Jeux, a seminal work for the post-war generation of composers, the epiphanic, the slow introduction of materials and their appraisal. The problem is that Boulez writes quite tersivily, in short bursts, much like the sonic poet he is. Also the work on Wagner's Ring is discussed quite well, the approach to faster tempi, and Wagner's free form almost leitmotiv, where these musical ideas float through. There is also much on administration, on creating IRCAM, and reflections on where Booulez came from, profiles of Desormiere,Hans Rosbaud, Hermann Scherchen. Boulez would frequent their rehearsals, a hands-on non credit education.

For anyone even remotely interested in the world of contemporary music and the volcanic changes that Pierre Boulez spearheaded in that conservative world from the 50's to the present, this is the essential book--a manifesto outlining the hopes, ideals, problems and successes that we face in the modern musical world. Every subject is covered here; from extensive essays and polemics to recording sleeve notes to interviews and tributes to musical colleagues and friends, Boulez leaves no subject untouched. What may seem at first dry and forbidding turns out to be, upon powerful and deep immersion, an inspiring and even moving text and 'calling' for the modern musician.

Orientations provides unique and fascinating insight into the ideas of Pierre Boulez over 4 decades. With the recent release of Repons on Deutsche Grammophon, listeners will be delighted to examine the thought behind the highly beautiful, shimmering sound of his recent works. We learn here that Boulez has set out to break down the barrier between the composer and the audience, a crusade which he continues to fulfill in a characteristically exemplary manner. It is particularly interesting to observe the persistance of particular problems and solutions in the composer's work (such as spatialisation, the setting of texts, the integration of technology), and to bear in mind how these ideas have developed, from works such as Poesie pour pouvoir, to the 1993 version of explosante-fixe.A sort of modernist bible, Orientations deserves to be re-printed. Indeed, it is to be hoped that the composer will produce a new volume in the near future which will include discussion of Repons, explosante/fixe, and Sur incise, and perhaps take stock of the whole gamut of postmodernism, the minimalists and the like.

Boulez's Orientations is a substantial collection of essays, liner notes, and reviews written over several decades. His prose is clear and concise (much like his conducting) and his topics cover a wide range. He discusses topics from Beethoven to Stockhausen and even "the elliptical geometry of utopia." Though frequently a tad verbose and difficult to comprehend, this book provides hours of stimulation and intellectual challenge for the hardcore musician and the layman alike.