This symmetry of harmony corresponds in harmonic terms to a regular metre. This is very important. There are three types of time. That which is chaotic and irregular such as you have in the beginning in the speed I mean.
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This symmetry of harmony corresponds in harmonic terms to a regular metre. This is very important. There are three types of time. That which is chaotic and irregular such as you have in the beginning in the speed I mean. The ornamentation is in fact very irregular, but the metre itself is very regular.
A minute version was performed in London at the BBC Proms on 6 September , and a forty-minute version containing seven sections in Turin in It represents, at best, a triumph of logistics and sound effects, though presented too pretentiously to be enjoyed even at that modest level The processor took in the sounds, changed them in timbre, volume and other ways and regurgitated the results, sending altered sounds whirling about the hall by means of what seemed to be dozens of strategically placed loudspeakers.
No sound was left unamplified or untransformed, and yet the results soon became completely predictable and monotonous. This offered some theatrical promise, but nothing else so dramatic happened all evening. The familiar Boulez style of composing, with its spasmodic gasps and lurches, did not permit much variety, even though the amplified sounds that issued from various corners of the hall could sometimes be savored as purely acoustical events.
The work, however, simply went on and on to no purpose that I could discern. At odd moments it was superficially stimulating in the way a cold shower can be, but as music it added up to little more than a series of unconnected tone clusters, arpeggios and pedal notes However rigorous its plan and structure may be—and no one doubts Mr. A performance in Carnegie Hall met with an enthusiastic reception, including "notable numbers of young people in bright T-shirts and scruffy jeans, who whooped and whistled after each work".
The idea of Mr. He described the work as a "breathless drama" and noted that "When the full ensemble played, the music moved in thickly layered, heaving gestures. Yet, remarkably, almost every tone and nuance was audible. And when the soloists entered, trading dizzying outbursts and ruminations—jazzy riffs from the xylophone, scurrying piano figurations—the sheer visceral excitement of being caught in the middle was like nothing else in music.
Some of the sounds are also fabulous: violins putting a whisker on rich, deep chimes, or electric zigzags of tone. But Dialogue, on the surface so severe, says more. Released in , it won a Grammy in for best classical contemporary composition.
Pierre Boulez: Répons
Boulez: Répons; Dialogue de l'ombre double