List of compositions by Pierre Boulez

A list of works by the French composer Pierre Boulez.

  • Nocturne for piano (1944–45), unpublished.
  • Prélude, toccata et scherzo for piano (1944–45), unpublished.
  • Trois Psalmodies for piano (1945); unpublished, withdrawn.
  • Thème et variations for piano, left hand (1945); unpublished.
  • Douze Notations for piano (1945).
  • Quatuor pour quatre ondes Martenot (Quartet for four ondes Martenot) (1945–46), unpublished.
  • Onze Notations (1946); arrangement for chamber ensemble of eleven of the Douze notations, unpublished.
  • Sonatine for flute et piano (1946; revised 1949).
  • Piano Sonata No. 1 (1946; revised 1949).
  • Le Visage nuptial for soprano, mezzo-soprano, chorus and orchestra (1946; revised 1951; revised 1988–89)
  • Symphonie concertante for piano and orchestra (1947); lost
  • Piano Sonata No. 2 (1948)
  • Sonata for Two Pianos (1948); revision of the quartet for Ondes Martenot; withdrawn
  • Livre pour quatuor (1948, revised 2011–12); two movements were reworked for string orchestra as Livre pour cordes (1968; revised 1989)
  • Le Soleil des eaux for soprano, chorus and orchestra (1948; revised 1950; revised 1958; revised 1965); text: 2 poems by René Char
  • Polyphonie X for ensemble (1950–51); withdrawn
  • Deux Études, musique concrète (1951–52)
  • Structures I for two pianos (1951–52)
  • Oubli signal lapidé for 12 solo voices (1952); withdrawn
  • Le Marteau sans maître for alto voice and six instruments (1953–55; revised 1957)
  • La Symphonie mécanique musique concrète for a film by Jean Mitry (1955)
  • L'Orestie incidental music for Aeschylus' trilogy the Oresteia, for voice and instrumental ensemble (1955)
  • Poésie pour pouvoir for tape and 3 orchestras (1955/58); withdrawn
  • Piano Sonata No. 3 (1955–57/63); unfinished
  • Strophes for flute (1957); unfinished
  • Le Crépuscule de Yang Koueï-Fei musique concrète for the radiophonic play by Louise Fauré (1957)
  • Pli selon pli for soprano and orchestra (1957–58, as Improvisations sur Mallarmé I and II; completed 1959–62; revised 1983; revised 1989)
  • Structures II for two pianos (1961)
  • Figures—Doubles—Prismes for orchestra (1957–58, as Doubles; revised 1964; revised 1968)
  • Éclat for ensemble (1965)
  • Éclat/multiples (1970); Éclat followed by a longer piece for a larger ensemble; unfinished
  • Domaines for clarinet (1968)
  • Domaines for clarinet and six instrumental groups (1968)
  • Improvisé—pour le Dr. Kalmus for flute, clarinet, piano, violin, and cello (1969; revised 2005)
  • Cummings ist der Dichter for chorus and ensemble (1970; revised 1986)
  • "…explosante-fixe…" for flute, clarinet, and trumpet (1971–72); withdrawn
  • "…explosante-fixe…" new version for flute, clarinet, trumpet, harp, vibraphone, violin, viola, cello, and electronics (1973–74); withdrawn
  • Rituel – in memoriam Bruno Maderna for orchestra in eight groups (1974)
  • Ainsi parla Zarathoustra incidental music for voice and ensemble (1974)
  • Messagesquisse for solo cello and six cellos (1976)
  • Notations I–IV and VII for orchestra (1978–1984/1997)
  • Répons for two pianos, harp, vibraphone, xylophone, cimbalom, ensemble and live electronics (1980; revised and expanded 1982; revised and expanded 1984)
  • Dérive 1 for six instruments (1984)
  • Dialogue de l'ombre double for clarinet and electronics (1985)
  • Mémoriale ("…explosante-fixe…" originel) for flute and ensemble (1985); an arrangement of the central section from "...explosante-fixe..."
  • "…explosante-fixe…" version for vibraphone and electronics (1986); withdrawn
  • Initiale for brass ensemble (1987)
  • Dérive 2 for eleven instruments (1988; revised 2002; expanded and completed 2006)
  • Anthèmes for violin (1991; revised and expanded 1994)
  • Fanfare for the 80th Birthday of Georg Solti for brass and percussion (1992)
  • "…explosante-fixe…" for solo MIDI flute, two "shadow" flutes, chamber orchestra, and electronics (1991–93); three of nine projected movements
  • Incises for piano (1994; revised and expanded 2001)
  • Dialogue de l'ombre double (transcribed for bassoon and electronics, 1985/1995)
  • Anthèmes II for violin and live electronics (1997)
  • sur Incises for three pianos, three harps and three percussionists (1996–98)
  • Une page d’éphéméride for piano (2005)
  • Dialogue de l'ombre double (transcribed for recorder by Erik Bosgraaf, 2014)
Pierre Boulez in 1968.

Sources
  • Campbell, Edward, and Peter O'Hagan. 2016. Pierre Boulez Studies. Cambridge: Cambridge University Press. ISBN 978-1-107-06265-8, pp. 25–55.
  • Goldman, Jonathan. 2011. The Musical Language of Pierre Boulez. Cambridge: Cambridge University Press. ISBN 978-1-107-67320-5, pp. 215–217.
  • Griffiths, Paul. 1978. Boulez (Oxford Studies of Composers). London: Oxford University Press. ISBN 0-19-315442-0, pp. 62–63.
  • Hopkins, G. W., and Paul Griffiths. 2011. "Boulez, Pierre", Grove Music Online, ed. Deane Root (accessed 6 January 2016). (Subscription access)
  • Samuel, Claude (ed.). 2002. Eclats 2002. Paris: Mémoire du Livre. ISBN 2-913867-14-6, p. 421–430.
gollark: It works better on philosophers, since you can steal their wallet while they're distracted thinking about it.
gollark: They probably can't/won't eternally torture you, but there's a *possibility* of that infinite harm which is reduced by giving them £100, and if you accept the Pascal's Wager logic you should do that.
gollark: There's actually another similar thing, Pascal's *Mugging*, in which someone comes up to you and says "give me £100 or I will eternally torture you after you die".
gollark: But there are an infinitely large number of possible gods, and some do weirder things like "punish/reward entirely at random", "have no interest whatsoever in humanity", "punish people who believe in other gods", and all that, and Pascal's Wager just *ignores* those.
gollark: Pascal's Wager might work if the only options are "no god" or "one god, and it's the one you believe in, and they'll reward you if you believe and punish you otherwise".
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