Pierre Boulez: Juxta Positions
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DVD details
Brand: Naxos OF America INCDVD: Region Code 1
Audio: English (Unknown), Dolby Digital 2.0; English (Original Language), Dolby Digital 2.0; French (Original Language), Dolby Digital 2.0; German (Original Language), Dolby Digital 2.0; Spanish (Original Language), Dolby Digital 2.0
Format: Classical, Color, DVD, NTSC
Picture Format: 1.33:1
Running Time: 142 minutes
DVD Release Date: 2006-02-21
Audience Rating: NR (Not Rated)
Studio: Juxtapositions
DVD Reviews of Pierre Boulez: Juxta Positions
DVD Review: Superb DVD in a series focusing on contemporary music
Summary: 5 Stars
Juxtapositions is a DVD collection focusing on contemporary music. The ongoing DVD series wields a wide net, covering composers as disparate as Mahler and Arvo Part. This release spotlights the modern master Pierre Boulez and two important works: Eclat for fifteen instruments created in 1965 and Sur Incises for three pianos, three harps and three percussion instruments which was composed between 1996-1998. Sur Incises is a spin-off of his Incise for solo piano, written in 1994 for a piano competition directed by Maurizio Pollini. Boulez appears in both films. The first film, Eclat, directed by Frank Scheffer, is a fascinating documentary about the work. We witness rehearsals by the Netherlands' Nieuw Ensemble, hear comments about the piece from the composer, conductor Ed Spanjaard and some of the musicians, and we see a full performance of the work. Eclat ("To burst out") is a beautiful example of the strangely lyrical pointillist style that Boulez had inherited from Anton von Webern. Aural pinwheels and shifting musical kaleidoscopes with stunning instrumental color is the only way to verbally describe what must be heard to be understood. This is definitely not for those who hate "modern" music. For those who respond to contemporary music, this piece is masterful and this film is a must-see!
The second film, Sur Incises, directed by Andy Sommer, features a stunning performance of the piece following a lecture by Boulez in front of a predominantly young audience from the stage of the concert hall of the Cite de la Musique, one of France's many cultural complexes. Of course, one is immediately reminded of Leonard Bernstein's Young People's Concerts. Ironically, Boulez succeeded Bernstein as conductor of the New York Philharmonic in 1969. Boulez has combined concerts with impromptu lectures before. I attended all 7 evenings of the fantastic "Rug Concerts" series Boulez gave in 1973. He wanted to create an informal atmosphere in which to hear modern music, reducing the level of intimidation listeners often feel in a concert environment. We sat on pillows on stage: I weaseled my way next to the conductor, sitting at his feet, thrilled beyond measure. I even found myself sitting next to Shostakovich one memorable evening. He listened to a style of music he was probably forbidden by Soviet authorities to hear (and certainly compose) with rapt fascination and occasional amusement. The piece I recall most vividly that he found absorbing was the then recent (1970) George Crumb composition Ancient Voices of Children, with Jan DeGaetani the singer.
Sur Incises reflects Boulez's late fascination with the caribbean steel drum as well as his current interest in lengthy compositions. It is a powerful, highly rhythmic, semi-aleatoric piece with shifting groups of conversing instruments reminiscent of the Baroque concerto grosso dialog between the ripieno and the concertino. It's obviously a fiendishly difficult score to play. Boulez conducts the nine soloists of the Ensemble Intercontemporain, who follow him with obvious pleasure and play with matchless facility and skill. Their proficiency is stunning. I found the piece challenging to grasp intellectually but great visceral fun to listen to. Boulez's comments are often fascinating: illuminating both the piece and the man as a composer who is frequently misunderstood, even vilified. I get the distinct feeling that at the end of his career, Boulez is attempting to reach out and soften the undeniable difficulties audiences find in his music. If you are sympathetic to his sound world, you will respond to his explanations. If not, you probably won't. It's that cut-and-dried. I enjoy contemporary music, but it is (unfortunately) an acquired taste, even for serious listeners of Classical music. You should probably avoid this disc if you dislike modern music; you are unlikely to enjoy it (though you may still find the lectures and discussions fascinating). If you have no difficulty appreciating the astringent tonalities and merciless logic of contemporary music, you will probably think this disc superb and treasure it as I do.
This DVD has a format of NTSC worldwide. The first film, Eclat, was shot full-screen with a 4:3 picture format. The second film, Sur Incises, was shot widescreen with a 16:9 picture format. The films are crystal clear. The sound is Dolby Digital 2.0 stereo and is superb with wonderfully clear and precise spatial localization of instruments, absolutely crucial for this music. Languages are English, French, German, Spanish, Chinese and Dutch. Extras include a DVD-ROM section with multilingual booklet files, a video catalog and a short film Ring by Frank Scheffer. The running time of the disc is 142 minutes. The booklet is especially informative with several essays, a discography and photos. A really nice release in all respects.
If you respond to contemporary music then I strongly recommend this DVD, essential for understanding where Boulez is now and how he views his legacy. If you dislike modern music, this DVD is not for you: unless you are extremely open-minded and are capable of (rapid) musical growth and flexibility. I loved this DVD! This is definitely an acquired taste but it may help you to acquire it, if you let it.
Mike Birman
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Description of Pierre Boulez: Juxta Positions
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