Polyphonie X: Difference between revisions

In 1948 and 1949, Boulez worked on ''[[Livre pour Quatuorquatuor]]'' for string quartet, in which he began to explore the notion of expanding serial technique to encompass rhythms and dynamics as well as pitches.{{sfn|Boulez|1976|pp=49–50}} This was followed by further efforts in the direction of integral serialism in the form of the first book of ''[[Structures (Boulez)|Structures]]'' for two pianos, ''Polyphonie X'', and ''Deux Études'' for tape, as well as an article titled "Eventuellement"{{sfn|Boulez|1968|pp=146–181}} containing detailed comments and reflections on the experience of composing the pieces. ''Polyphonie X'' had its origins in a work that Boulez, in a letter to [[John Cage]] dated 30 December 1950, described as a piece of chamber music for 49 instruments, "a collection of 14 or 21 polyphonies (maybe more), I don't know yet, very long in duration. But one will be able to select what one likes".{{sfn|Boulez |1995|pp=80}} ([[Paul Griffiths (writer)|Paul Griffiths]] noted that this concept represented an early example of what would later become known as an "open" work, in that it would have allowed the conductor to freely select a subset of pieces.{{sfn|Griffiths|2010|pp=45}}) In the remainder of the letter, Boulez laid out his thoughts with regard to the serial treatment of pitch (including [[quarter tone]]s), rhythmic cells, and instrumental combinations (and thus timbre).{{sfn|Boulez|1995|pp=80–85}} (This text, along with material from another letter to Cage, later appeared as an article titled "The System Exposed".{{sfn|Boulez|1986|pp=129–142}})

The première of ''Polyphonie X'' occurred on 6 October 1951 at the Donaueschingen Festival, with the [[Southwest German Radio Symphony Orchestra|SWR Sinfonie-Orchester]] conducted by [[Hans Rosbaud]].{{sfn|Jameux|1991|pp=47–48}}{{sfn|Peyser|2008|pp=149–150}} [[Antoine Goléa]], who attended the concert, recalled: "Those who experienced this Donaueschingen première will remember the scandal as long as they live. Shouts, caterwauling, and other animal noises were unleashed from one half of the hall in response to applause, foot-stamping and enthusiastic bravos from the other".{{sfn|Jameux|1991|pp=47–48}} Strobel remained positive, commenting: "''Polyphonie X'' was the greatest scandal I went through after the war. Unfortunately, the press, in writing about the work today, still uses some of the pejorative phrases it used at the premiere. But those who knew anything at all knew that this was a very special work, one that in both structure and color opened completely new paths".{{sfn|Peyser|2008|pp=149}} Boulez was unable to attend, but, after hearing a tape of the concert, decided to withdraw the piece.{{sfn|Jameux|1991|pp=48}} (Although Boulez initially intended to revise the work, it remained unpublished at the time of his death.){{sfn|Piencikowski|2016|pp=97}} Despite this, the work received three additional performances: one in Los Angeles on 6 October 1952, conducted by [[Robert Craft]]; one in Naples on 11 May 1953, conducted by [[Bruno Maderna]]; and one in Barcelona on 27 January 1954, conducted by Jacques Bodmer.{{sfn|Piencikowski|2016|pp=97}} A recording of the première performance has appeared on several releases by the [[Denon Records|Denon]] and Col Legno labels,{{sfn|Harley}} and a recording of the first section of the work, conducted by Maderna, was included on a release by the [[Stradivarius (record label)|Stradivarius]] label.{{sfn|AnonymousAnon.|1990}}

*{{citewikicite|ref={{harvid|Anon.|1990}}|reference=Anon. web(1990) | last=Anonymous{{Discogs release|9370496|title =Boulez, Evangelisti: La Nuova Musica – Volume 10 | url=https://www.discogs.com/Pierre-Boulez-Franco-Evangelisti-La-Nuova-Musica-Volume-10/release/9370496 }}}}

*{{Citation | last=Craft | first=Robert|author-link=Robert Craft|title=Stravinsky: Letters to Pierre Boulez |journal=[[The Musical Times]]|volume=123 |issue=1672 |date=June 1982 |pages=396–402 | doi=10.2307/964114| jstor=964114}}

*{{Citation | last=Salem | first=Joseph |title=The Integrity of Boulez's Integral Serialism: Polyphonie X and Musical Failure as Compositional Success |journal=Contemporary Music Review |volume=36 |issue=5 |date=2017 |pages=337–361 | doi=10.1080/07494467.2017.1401366 | s2cid=194776243 }}