(Based on 'Pierre Boulez' Dominique Jameux: translated by Susan Bradshaw. Faber&Faber (1991) ISBN 0-571-13744-X

Boulez has admitted the influence of Schoenberg's 3 pieces for piano op.11 on his keyboard writing especially the 3rd piece:

'..for the enormous density of its texture and the violence of its expression..'

However the importance of the octave and filling out of the texture by use of chords in the Schoenberg is oppose to the Webern- like transparency of Boulez piano writing

The sonata is striking in the use of many different kinds of attack (Incisif, sec, tres leger, tres violent, tres sec) whilst in the second movement there is an unremitting demand as to continued acceleration (rapide, a peine moins rapide, accelerando, pressez, plus vif…)

'Instrumental delerium' is described by the composer of his work, but there is a lyricism which points to later works.

First Movement (Lent). There is a slow moving background pulse but faster figures. The figures gradually take on more continuity and the movement intermittently starts to resemble a toccata

Second Movement (Assez large/Rapide) reverses these basic ideas. Basically a toccata with an introduction. It seems inspired by the toccata like overtures of the first movement. The interruptions are by figures of a more melodic and lyrical character where the tempo is relaxed. The opposition of the two movements and the elements within, are part of the traditional 'combative' model of the sonata. A Beethovenian sense of conflict occurs (contrasted tempos, different types of writing etc)

FIRST MOVEMENT ANALYSIS

There are 4 gestures:

A a melodic interval expressed in equal note lengths B a grace note up beat preceding a held note C an isolated note placed in a high register A rapid flurry ending in a sforzando The 4th gesture is dynamic and interrupts the 12 note series begun by the other 3 (5 notes). This is a micro 'opposition' and again shows how Boulez is concerned with this view of sonata form.

If look at the fragment of the score which is the opening you will see the three isolated gestures mentioned above which give us 5 notes which are the start of a series. Boulez is challenging the Schoenberg system of 12 tone note organisation by introducing a completely different system where attacks, motifs and the play of intervals is more important than a strict organisation of notes. This in itself is 'combative' and adds to this view of the sonata form principle. You have to look on to bars 15-16 to see the completion of the series begin in the opening bar.

Similarly, the recapitulation (This begins at 'Subitement lent' which is the last bar on page 8)is easily discernible despite the 4 gestures appearing in different registers and altered e.g the 4th gesture is no longer a downward moving idea. Boulez doesn't forget the coda, which begins at bar 106. The 4 gestures are played one last time but as part of a huge arpeggiated chord which fans outwards from the middle register. 11 of the 12 notes of the original series are present. The G is missing however and this begins a whimsical last flurry without pedal fading into silence which must be conveyed by the performer.

In addition to the traditional sonata from plan Boulez constructs form using intervals (especially the 3rd and the 6th) and durations and attacks. Listen to the variety of attacks used in the opening few notes of the example above.

SECOND MOVEMENT ANALYSIS

The movement can be understood as a statement (bars 1-10) with what follows as the commentary. The movement is written in a Webern-like pointillistic style. This means that like in the paintings of Georges Seurat where he paints with dots of primary colours which the eye assembles into meaning. So here, Boulez uses isolated 'points' of sound.

This results in a difficult toccata played staccato in a fast tempo with a wide range of dynamics which constantly change.

There is contrast though in the form of elegant French arabesques revelaing an unexpected lyricism. Silence plays no part in the movement after the opening statement until the final bars and this makes an interesting contrast with other works in the concert such as the performer's own psychic music ii