Pierre Boulez - Le Marteau sans maître, INSOMNIO cond. Ulrich Pöhl

[@jameswilding7972]

1. Avant "l'Artisanat furieux" (before "The Furious Craftsmanship") 0:18 2. Commentaire I de "Bourreaux de solitude" (first commentary on "Hangmen of Solitude") 2:48 3. "L'Artisanat furieux" (The Furious Craftsmanship) 7:53 4. Commentaire II de "bourreaux de solitude" (second commentary on "Hangmen of Solitude") 11:16 5. "Bel Édifice et les pressentiments", version première ("Stately Building and Presentiments", first version) 16:23 6. "Bourreaux de solitude" ("Hangmen of Solitude") 21:04 7. Après "l'Artisanat furieux" (after "The Furious Craftsmanship") 26:26 8. Commentaire III de "bourreaux de solitude" (third commentary on "hangmen of solitude") 27:42 9. "Bel Édifice et les pressentiments", double ("Stately Building and Presentiments", again) 34:21

[@JohnSpawn1]

L'Artisanat furieux The Furious Craftsmanship La roulotte rouge au bord du clou Et cadavre dans le panier Et chevaux de labours dans le fer à cheval Je rêve la tête sur la pointe de mon couteau le Pérou. The red caravan on the edge of the nail And corpse in the basket And plowhorses in the horseshoe I dream the head on the point of my knife Peru. Bourreaux de solitude Hangmen of solitude Le pas s'est éloigné le marcheur s'est tu Sur le cadran de l'Imitation Le Balancier lance sa charge de granit réflexe. The step has gone away, the walker has fallen silent On the dial of Imitation The Pendulum throws its instinctive load of granite. Bel Édifice et les pressentiments Stately building and presentiments J'écoute marcher dans mes jambes La mer morte vagues par dessus tête Enfant la jetée promenade sauvage Homme l'illusion imitée Des yeux purs dans les bois Cherchent en pleurant la tête habitable. I hear marching in my legs The dead sea waves overhead Child the wild seaside pier Man the imitated illusion Pure eyes in the woods Are searching in tears for a habitable head.

[@benjamin9901]

Very nice. I always considered this piece very sensual and horizontal, and the performance brings out those qualities to me

[@david4264100]

Bravo! Thank you for posting this.

[@OsvaCola]

Very good version. More "relaxed" . But always precise. Bravo

[@MarkGrindell]

This music really makes immediate sense; it's one of the pieces I listen to when I have time and reading something I really like, that is, if I can actually find time and it's a decent book, which is rare. I wanted the score for ages - I play flute and I suppose for that reason, can't get the tunes out of my mind - the only way is to play the thing! It's easier for me to comprehend than say, Eliot Carter, or on the other extreme, Bruno Maderna.

[@LiteratureTodayUK]

35:53- 36:33 is so scary! (Des yeux purs dans les bois, Cherchent en pleurant la tête habitable. - Pure eyes in the wood are looking for a habitable head)

[@machida5114]

Undoubtedly a masterpiece of serialism.

[@joseantonioluis8649]

Me gusta igual que la obra ambiental de safic aisha gracias por el video

[@travelmusic8604]

“O Martelo sem Mestre” é uma grande peça de nove movimentos baseados em três poemas de René Char: “o artesanato furioso”, “carrascos da solidão”, e “belo edifício e pressentimentos”. Sobre cada poema foi feito um ciclo de 2 ou 3 peças. Estes ciclos não aparecem em ordem na totalidade da peça, mas estão misturados, criando uma compilação de idéias, excertos e desenvolvimentos instrumentais bem complexos. 1. avant “l’artisanat furieux” (antes de “o artesanato furioso”) 2. commentaire I de “bourreaux de solitude” (primeiro comentário sobre “carrascos de solidão”) 3. “l’artisanat furieux” (“o artesanato furioso”) 4. commentaire II de “bourreaux de solitude” (comentário II sobre “carrascos de solidão”) 5. “bel édifice e les pressentiments”, version première (“belo edifício e pressentimentos”, primeira versão) 6. “bourreaux de solitude” (“carrascos da solidão”) 7. après “l’artisanat furieux” (depois de “o artesanato furioso”) 8. commentaire III de “bourreaux de solitude” (comentário III “sobre carrascos de solidão”) 9. “bel édifice e les pressentiments”, double (“belo edifício e pressentimentos”, segunda versão) A Instrumentação proposta por Boulez é um tanto inovadora para a época, usando instrumentos Ocidentais, mas buscando neles sonoridades às vezes “não-Ocidentais”. A abordagem sonora da Xylorimba, por exemplo, remete ao Balafone Africano, que usa cabaças como ressonadores; o Violão usa as cordas pinçadas, ou percutidas, de acordo com instruções dadas na própria partitura, lembrando o Koto Japonês. Alguns instrumentos de Percussão também são usados em vários movimentos. A sonoridade da peça em geral consegue criar um continuo sonoro, mesmo entre instrumentos que inicialmente parecem não combinar entre si. Boulez consegue criar uma ambiência de construção e conexão fraseológica interessantíssima aliada à instrumentação variada. Existe uma correlação interessante entre os diversos instrumentos e suas similaridades e contrastes: A voz e a Flauta têm em comum alguma sonoridade e a respiração, o que torna a relação homofônica dos dois muito orgânica. A Viola e o Violão têm entre si a semelhança acústica e o tratamento percussivo das cordas às vezes. Podem ser percebidas entre a Flauta e a Viola certas linhas melódicas que unem e dão suporte às sonoridades dos instrumentos mais secos em algumas frases e até pequenas seções. O Violão e o Vibrafone juntos também proporcionam profundidade por causa da sua anatomia mais reverberante, valorizando harmônicos em certas horas. E os teclados da Xylorimba dão um colorido enérgico combinados com os do Vibrafone. Todos estes elementos criam uma textura variada, de sons que fluem, ou às vezes colidem um com o outro, com a voz ou os instrumentos emergindo ou imergindo com muita liberdade e espontaneidade. “Le Marteau” é uma peça composta com base em técnicas variadas de Serialismo. É de grande complexidade e virtuosismo, e exige um alto grau de execução técnica dos músicos. Ocorre alternância massiva de métricas 1/4, 2/4, 3/4, 3/8, 4/8, 5/8, 6/8, 3/16, 5/16 e 7/16. As células rítmicas apresentam quiálteras, grupos de figuras regulares e irregulares, e muitas síncopes também. A disposição e variedade de figuras rítmicas e melódicas são riquíssimas. Os andamentos mudam muito e a agógica é variada, com muitos “accelerandos”, “rallentandos”, fermatas e paradas, que criam silêncios permeando alguns momentos e criando divisões ou suspensões. As melodias são pontiagudas, envolvendo tanto graus conjuntos quanto intervalos pequenos e também saltos severos. Todas estas características são resultadas de diversos processos de composição Serialista usados por Boulez. Esta peça é uma experiência Lírico-Dramática intensa, que une um ambiente exótico e enérgico a momentos de melancolia do Romantismo e do Surrealismo, representado também na poesia de Char. Neste artigo são apresentadas apenas as análises dos Movimentos 2, 4 e 6. COMMENTAIRE I DE “BORREAUX DE SOLITUDE”. A instrumentação deste movimento é composta por uma Flauta, um Vibrafone, Um Tambor de Armação e uma Viola. Esta Viola usa surdina o tempo todo e trabalha melodias independentes em Pizzicato, criando uma base rítmica com o Tambor e o Vibrafone. A flauta emerge como único instrumento que cria frases melódicas com sons mais longos e suas melodias são complexas e com muitos saltos. Em alguns momentos de pausa da Flauta há um diálogo entre o Vibrafone e a Viola. O Tambor dá um suporte rítmico ininterrupto, sem criar um pulso, no entanto-apenas cria um ambiente para esses diálogos. Depois de um solo da Flauta, o Vibrafone surge num solo mais agressivo, ganhando destaque em uma melodia bem livre. A Flauta volta no fim do movimento usando efeitos de ‘frulato’, sempre acompanhada pela base dos outros instrumentos. A textura da flauta na primeira metade do comentário I está muito integrada com a instrumental, assim como a Voz estará no “Borreaux de Solitude” original.

[@LucianoTakaki]

Achei uma grande porcaria.

[@alexsandroalvesartecultura5116]

@@LucianoTakaki sem dúvida.

[@alexsandroalvesartecultura5116]

Ok. Agora vamos ouvir Beethoven.

[@noel13116]

Voilà un siècle que Schönberg a inventé la musique sérielle. Il n'est pas difficile de reconnaître qu'il s'est agi d'une impasse musicale. Seul le talent d'un Pierre Boulez (par ailleurs admirable en tant que chef d'orchestre), par son entregent politique en France et en Allemagne, a permis de faire croire à une intelligentsia culturelle que cette musique était révolutionnaire et belle. Heureusement pour l'art que cette page est désormais tournée. Mais, pendant des décennies, que de dégâts causés par les sérialistes à la musique dite "contemporaine" …

[@francois-xavieresperance5007]

Ouais .. euh ... comparer cette merde à Schönberg, faut pas exagérer. Schönberg est à 1000 cieux au-dessus de Boulez, hein ! Allez réécouter ses "5 pièces pour orchestre" ou son Pelleas, et vous entendrez la différence.

[@prof.alexsandroalves4723]

@@francois-xavieresperance5007 Mas o Pelleas de Schönber não dodecafônico.

[@prof.alexsandroalves4723]

Verdade. Boulez e Dammstadt fizeram muito mal à música.

[@quentinfrume9216]

Il na jamais prétendu qu'elle était belle, son projet était au contraire d'ouvrir la musique sur de nouveaux horizons qui ne soient plus influencés par ce concept de la beauté Œuvres tonales et atonales ne se contredisent pas, elles se complètent C'est normal de ne pas trouver beau Le Marteau sans maitre car cette composition existe justement pour nous rappeler qu'on peut aussi aller checher autre chose que la beauté, que le plaisir esthétique peut aussi passer par un goût de la laideur Il faut remettre cette musique dans le contexte des avant-gardes du XX qui essaient dans tous les œuvres d'ouvrir au maximum les possibilités autant pour choquer le bourgeois que pour faire avancer l'Art C'est en allant "trop loin" dans l'expérimentation que l'on ouvre à des propositions hybrides moins radicales qui n'auraient pu exister autrement C'est simplement un autre paradigme de l'art, vous pouvez ne pas l'aimer mais sa valeur historique est incontestable

[@clarinetjo]

C'est vraiment de la bonne musique. Très expressive et Intense. Mais pas de laisser aller. Ça me fait à certaines aventures de Corto Maltese de Hugo Pratt.

[@rawsmackdownnxtwwe5646]

De la bonne musique peut être mais pas au point de la chanter sous la douche 🤭

[@francois-xavieresperance5007]

@@rawsmackdownnxtwwe5646 C'est ce qu'on obtient avec un compositeur officiel du régime. Et ceci subventionné par vos impôts, s'il-vous-plaît.

[@martinvanheusden9832]

Boulez'muziek i8s precies zoals Boulez zelf was: une question de la couronne au menton mais jamais plus loin.

[@travelmusic8604]

O primeiro mov. é formado por viola(pizzicato), vibrafone, violão e flauta. Snare somente na entrada. O segundo mov. Inicia com flauta e marimba, viola c/surdina fazendo pizzicato ate o final do mov.Depois som de baquetas e tambor

[@guilhermeviegas6139]

oi cristiane, tem vontade de performar ou compor alguma coisa?

[@eduardofernandez2240]

This is a very good version of a classic. Why so many uncultured idiots, who do not have any idea of how much care and love went into playing this, think they have to deposit their comments here, as if anybody cared what they think, is a mystery, maybe the self-importance of ignorance. Boulez remains. Bravo Insomnio!

[@DjinnePasse]

Because having preferences is automatically being ignorant? That is quite an ignorant remark.

[@leoharfouche4404]

And why you thought you can deposit your comment here, as if anybody cared what you think, is a mystery too. Can’t you see that we can apply the same logic on your comment? Try to think before calling people idiots and accusing them of being ignorant.

[@tropicjam7343]

good luck.

[@robertslagle7176]

Does anybody know if this composition has ever been choreographed?

[@barsik2222]

kzbin.info/www/bejne/fIi3aZ9tl5ilrJo

[@JohnBolender]

By Béjart, I believe.

[@lindseypark1846]

37:13

[@josefelipedasilvafelipe226]

Para quem não sabe do que se trata vai achar que é a banda do Chaves..

[@alexsandroalvesartecultura5116]

pode ser qualquer coisa menos música.

[@michaelkamerer9999]

Pierre Boulez tried to do something with his music, and that was to make it motionless. Listening to some of these songs however gives me some sort of a creepy vibe. I bet if I played his music on repeat while playing a creepy/horror game, my mind would start to attach that sort of emotion to it. Sorry Boulez, but music always has emotion

[@bevaconme]

says who?

[@LouisGuillotYT]

Sorry, Boulez's music has emotion * Some pieces like the Structures for two pianos were intentionally composed systematically which results in an "objective" music. Boulez said that it was necessary to explore the strict total serialism to assimilate this thought. But other earlier or later Boulez's works are full of emotions, maybe you should take a listen to the "Second Piano Sonata" and "Poésie pour pouvoir".

[@kaustin6969]

People have emotion, and music is inside the mind. The sounds are a stimulus. The individual's response is a description of their mind.

[@JeanDeLaCroix_]

Unfortunately, I don't understand this type of music

[@johnatwell2753]

An honest statement.

[@LouisGuillotYT]

R., MAGNVS No, you are

[@eduardofernandez2240]

Then, shut up until you understand.

[@LiteratureTodayUK]

kzbin.info/www/bejne/b6mrgqaDjtSml9E - perhaps you might prefer something like this. It's by Dionne Warwick.

[@ladislavsoukup1804]

@Richard MAGNVS An idiot is one who needs to look for logic in every art.

[@thomaslabe6556]

This piece was written in 1955 when the popular music industry was exploding. Frightened composers scurried in the opposite direction, and often to the academic for shelter. Le Marteau sans maître is a classic example of dated artifice and pseudo-intellectual hubris that no one actually wants to hear.

[@kaustin6969]

That's very very funny! This is the son of Pierrot Lunaire -- the grandchild of the Grosse fuge. These pieces also required decades for listener's to catch up. It's worth the journey.

[@kls4940]

It is a common logical fallacy to assume that, since you don't want to hear it, nobody wants to hear it. I've done the same thing with "smooth jazz". Le Marteau sans maître is "dated artifice and pseudo-intellectual hubris" to some people but beautiful, subtle, and still-meaningful art to others. This has been one of my favorite pieces since I was thirteen or fourteen; it was one of the pieces that kept me interested in music during my early teenage years (when I still didn't "get" the rock music that was popular at the time), and has continued to be a favorite as an adult. I have three records of it (two CD, one vinyl) and listen to it at least once a month. It doesn't matter if it's "intellectual" (or "pseudo-intellectual") music; I realize at some level that it's extremely complex, but mostly I like the subtle effects of the interactions of the instruments. I must confess that I, in the manner of those who wait for the cannons in the 1812 Overture or the clocks in Dark Side of the Moon, I find myself waiting for the gongs at the end.

[@franckmousset4022]

To thomaslabbe6556, don't generalize your own point of view!

[@morefastmoredates9444]

Bodied my idol

[@Vesuveus425]

Is there really an audience for this kind of music? Sounds rather haphazard and not melodious at all. I tried very hard but couldn’t find a single redeeming quality about it.

[@clarinetjo]

I enjoy this work alot, especially the colors and the playful dialogue between instruments. This performance is not the best in my opinion, the first movement is a little bit confused, but overrall it is doing a decent job, especially the second movement.

[@kaustin6969]

Don't be concerned. Music is reflective of the mind of the listener.

[@OsvaCola]

May i know the name of the people, singer and instrumentists?

[@insomnioensemble]

+Osvaldo Colarusso Dear Osvaldo, thanks for your comment. The registration in made during Insomnio's Boulez Festival in december. You can find all names on the website of Insomnio and here: online.fliphtml5.com/ddfw/jdsj/#p=1 Probably you are also interested in the SACD Insomnio made of Marteau. www.encora.de/modern-classics.html

[@kgh8634]

불레즈 주인없는 망치

[@joseantonioluis8649]

Me gusta igual que la obra ambiental de safic aisha gracias

[@ViniciusDias_porMaria]

Parece a banda do Chaves

[@wagspin7624]

Hahaha

[@rebelwithoutacause5727]

It's like you need to be extremely talented in order to play horrendous 🤔

[@victoriasmith9527]

*a poop royale masterpiece*

[@revoltedufaubourg2528]

What's exactly the goal of Boulez here ? Make the audience notice how skillfull he is at writing and reading a probably extremely complex score ? If so there is no artisitic interest to it... It would be just vanity, I don' t know... Like Jerry Goldsmith said "every one is so involved in the means rather than in the end"... That said the score has some qualities. It's quite fresh, and succeed in developping optimistic and cool ambiance just with the orchestration without the help of major tonality. Well done. It might have influence maybe the score "Planet of Apes" a bit.

[@kaustin6969]

You apparently don't hear as Boulez did. For access to his hearing, listen to his Parsifal.

[@svenarte]

Délire intello uniquement écrite pour en mettre plein la vue au niveau technique, donc performance pour les interprètes, performance pour le public d’arriver à tenir jusqu"au bout, performance pour le compositeur d'arriver à faire gober ce genre de pièce, bien sur je ne parle pas de l'ineptie du texte, oublions vite cet usurpateur de la composition musical soutenue par des politiciens ignares comme il se doit ... Bref musique intellobobo ...

[@francois-xavieresperance5007]

Sans oublier la performance (pour le public) qui consiste à parvenir à ne pas rigoler.

[@alexsandroalvesartecultura5116]

Coitada da cantora que tem que ficar sentada durante um bom tempo ouvindo algo que se assemelha a várias torneiras pingando.

[@jvtrch]

eu entendi o que o boulez fez, mas que bosta kkk

[@gillesbruneau8593]

C'est très difficile et c'est affreux ! Boulez compositeur, c'est stérile. Par contre il fut un grand chef.

[@kaustin6969]

The sterility is in the listener. Of course.

[@gillesbruneau8593]

@@kaustin6969 probably ! ;)

[@gustavotaboada5962]

Now I know how sounds socialism....

[@melasonos6132]

This music was made illegal by the socialist regime of the time. The American CIA helped fund this type of artistic expression to win over the Left in France also. So, this is actually the opposite of Socialist music. For Socialist music, see kzbin.info/www/bejne/n4vUk6V7jsSlkMk

[@karlkinono]

Grotesque

[@karlkinono]

Y a quoi à comprendre dans ces vagues prouts sur instruments, bouffon ?

[@franckmousset4022]

@ Xavier, s'il fallait compter sur les goûts des musiciens professionnels, Mahler lui même n'aurait eu aucune chance. Qui appréciait en son temps les derniers quatuors de Beethoven ?

[@francois-xavieresperance5007]

@@LouisGuillotYT Bah moi je comprends très bien, j'ai pas mal joué de musique sérielle, et je confirme: ceci est de la merde. Comparer ceci à Schönberg, par exemple, c'est effectivement grotesque.

[@PUMPADOUR]

You will say that I don't get it, I am not sophisticated enough, I lack education. I still say this is total shit. Wake p people we have been plaid by pretend artist for way too long...

[@PUMPADOUR]

@@ND-gb5xt I don't care too much for it, anyway English is my second language. Also attacking not my point but me is not even a weak move, it's a pussy bitch move. You know I am right.

[@ND-gb5xt]

@@PUMPADOUR Lol, you are the one reporting my comment and having it deleted. Philistine and a troll detected. Why does KZbin even notify me of this old thread? PS. My second language is English too.

[@Sergiola02]

Not a single nice compass! You have to study so much to execute this horror. The art of the ugly !!

[@diazfamily3]

Horrible

[@김은우-y5t]

불레이즈 주인없는 망치