From Seeds to Gardens: Transcription and Orchestration in Notations VII by Pierre Boulez
Visualizações: 72DOI:
https://doi.org/10.33871/vortex.2024.12.8731Keywords:
Transcription, Proliferation, Orchestration, Pierre Boulez, NotationsAbstract
This paper analyzes the transcription carried out by Pierre Boulez of the seventh movement of the Douze Notations for piano, resulting in the piece Notations VII for orchestra. Our goal is to comprehend the compositional techniques employed, addressing structural, temporal, harmonic, and timbral aspects. Divided into five parts, the text begins with an introduction to the Douze Notations and Boulez's transcriptions, grounded in his own writings. Subsequently, we provide an analysis of the piano miniature, followed by a contextualization of the term “proliferation” and an analysis of the orchestral version. The final reflection highlights the types of proliferation carried out by Boulez, which we label as temporal-structural proliferation, temporal-heterophonic proliferation, and harmonic-timbral proliferation.
Downloads
References
ADLER, Samuel. The study of orchestration. 3ed. New York: W.W. Norton & Company, 2002.
BACH Johann Sebastian (compositor). Neue Bach-Ausgabe, Serie I, Band 31. Kassel: Bärenreiter Verlag, 1987. Partitura, p. 71-144.
BERIO, Luciano. Entrevista sobre a Música Contemporânea (realizada por Rossana Dalmonte). Rio de Janeiro: Civilização Brasileira, 1988.
BERIO, Luciano. Interviste e Colloqui. (A cura di Vincenzina Caterina Ottomano) Torino: Einaudi, 2017.
BERIO, Luciano. Remembering the future. Cambridge: Harvard University Press, 2006. DOI: https://doi.org/10.2307/j.ctv1nzfghq
BLEEK, Tobias. Daniel Barenboim on Pierre Boulez (entrevista realizada por Wolfgang Schaufler). Vienna, 2014. Disponível em: https://musiksalon.universaledition.com/en/article/daniel-barenboim-on-pierre-boulez>. Acesso em: 31 jan. 2024.
BOULEZ, Pierre. Conversations with Célestin Deliège entrevista realizada por Célestin Deliège). London: Eulenburg Books, 1976.
BOULEZ, Pierre. Encontro com Pierre Boulez. Revista Música, São Paulo, v.7, n.1I2, p. 199-218, 1996. DOI: https://doi.org/10.11606/rm.v7i1/2.59968
BOULEZ, Pierre. Escritos Seletos. Porto: Casa da Música/CESEM, 2013.
BOULEZ, Pierre. Penser la musique ajourd’hui. Paris: éd. Gonthier, 1963.
BOULEZ, Pierre. Music Lessons. Chicago: Chicago University Press, 2019.
BOULEZ, Pierre. Notations VII für orchester. Viena: Universal Editions, 1998. Partitura.
BOULEZ, Pierre. Douze notations pour piano. Viena: Universal Editions, 1985. Partitura.
BOULEZ, Pierre. Timbre and composition ‐ timbre and language. Paris: Contemporary Music Review, v. 2, n. 1, p. 161-171, 1987. DOI: https://doi.org/10.1080/07494468708567057
CURINGA, Luisa. Trascrizione O Trasfigurazione? Elaborazioni Di Salvatore Sciarrino Da Carlo Gesualdo. In. CURINGA, Luisa (org.). La Musica del principe: Studi e prospettive per Carlo Gesualdo. Potenza: Convegno Internazionale di Studi Venosa. Milão: Libreria Musicale Italiana, 2008.
DI PIETRO, Rocco. Dialogues with Boulez. Maryland: Scarecrow Press, 2000.
ERWIN, Max. An Apprenticeship and Its Stocktakings: Leibowitz, Boulez, Messiaen, and the Discourse and Practice of New Music. Twentieth Century Music, v. 18, p. 71-93, 2020. DOI: https://doi.org/10.1017/S1478572220000213
FORTE, Allen. The Structure of Atonal Music. Segunda edição. New Haven: Yale University Press, 1974.
GAINEY, Christopher. Hearing Timbre-Harmony in Spectral Music. 2019. Tese (Doutorado, Música), University of British Columbia, Vancouver, 2019.
GOLDMAN, Jonathan. The Musical Language of Pierre Boulez. Cambridge: Cambridge University Press, 2014.
GUBERNIKOFF, Carole. Pierre Boulez e a Análise Musical: Notations. Música em Perspectiva, Curitiba, v. 1 , n. 2 , p. 30-38, 2008. DOI: https://doi.org/10.5380/mp.v1i2.19456
HASEGAWA, Robert. Timbre as Harmony—Harmony as Timbre, in DOLAN, Emily; RHEDING, Alexander (orgs.), The Oxford Handbook of Timbre, Oxford: Oxford University Press, 2019. p. 525-532. DOI: https://doi.org/10.1093/oxfordhb/9780190637224.013.11
HEINEMANN, Stephen. Pitch-Class Set Multiplication in Theory and Practice. Music Theory Spectrum, v. 20, n. 1, p. 72–96, 1998. DOI: https://doi.org/10.1525/mts.1998.20.1.02a00030
KLAVIER-FESTIVAL RUHR, 2020. Boulez: Notation 7 | Introduction by Pierre Boulez. YouTube, 2020. 3min14s. Disponível em: https://www.youtube.com/watch?v=d0IuNZ00LYs&t=79s. Acesso em: 30 de janeiro de 2024.
KNIPPER, Till. Spurensuche: Die Wucherungen der “douze notations” von Pierre Boulez. In: GRATZER, Wolfgang; NEUMAIER, Otto (Orgs.). Arbeit am musikalischen Werk. Zur Dynamik künstlerischen Handelns. Freiburg: Rombach, 2013. p. 77-109.
KRENEK, Ernest. Studies in Counterpoint Based on the Twelve-Tone Techinique, New York: G. Schirmer Inc, 1940.
PEREIRA, Flávia Vieira. As práticas de reelaboração musical. São Paulo, 2011. 302 p. Tese (Doutorado em Música]. Escola de Comunicação e Artes, Universidade de São Paulo, São Paulo, 2011. Disponível em: https://www.teses.usp.br/teses/disponiveis/27/27157/tde-24062011-104128/publico/tese.pdf Acesso em: 31 jan 2024.
PIENCIKOWSKI, Robert. ‘A score neither begins nor ends; at most it pretends to’: Fragmentary Reflections on the Boulezian ‘non finito’, in CAMPBELL, Edward; O’HAGAN, Peter (Orgs.). Pierre Boulez Studies, Cambridge, Cambridge University Press, 2016. p. 93-107. DOI: https://doi.org/10.1017/CBO9781107477216.005
SAARIAHO, Kaija. Timbre and harmony: Interpolations of timbral structures, Contemporary Music Review, v. 2, n. 1, p. 93-133, 1987. DOI: https://doi.org/10.1080/07494468708567055
STRAUS, Joseph Nathan. Introdução à teoria pós-tonal, São Paulo: Editora UNESP, 2013.
VASCONCELOS, Felipe Mendes; MAIA, Igor Leão. Entre recriações e proliferações: a transcrição segundo Luciano Berio como conceito analítico para Notations VII de Pierre Boulez. In: XXXII Congresso da Associação de Pesquisa e Pós-graduação em Música, Natal, 2022. p. 1-9.
ZEIßIG, Andreas. Zum Begriff der Wucherung bei Pierre Boulez am Beispiel der douze notations (1945) und der notations pour orchestre (1978). Zeitschrift der Gesellschaft für Musiktheorie, Ber-lin, v. 6, n. 2-3, p. 309-329, 2009. DOI: https://doi.org/10.31751/456
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2024 Igor Leão Maia, Felipe Mendes Vasconcelos, Samuel Araújo Alves
This work is licensed under a Creative Commons Attribution 4.0 International License.
Autores mantêm os direitos autorais e concedem à revista o direito de primeira publicação, com o trabalho simultaneamente licenciado sob a Licença Creative Commons Attribution que permite o compartilhamento do trabalho com reconhecimento da autoria e publicação inicial nesta revista.
