La Biblioteca Nacional de Francia (BnF, por sus siglas en franc\u00e9s), situada en Par\u00eds, abri\u00f3 en junio una exposici\u00f3n dedicada a Pierre Boulez (1925-2016), una de las personalidades m\u00e1s influyentes de la vida musical e intelectual mundial del siglo XX. La exposici\u00f3n J’ai horreur du souvenir<\/em><\/a> (Odio los recuerdos) est\u00e1 formada por vitrinas de documentos, en su mayor\u00eda in\u00e9ditos, procedentes de varias colecciones depositadas en la BNF por diversos mecenas, como Suzanne T\u00e9zenas y Pierre Souvtchinsky o la Compagnie Renaud-Barrault y, sobre todo, la donaci\u00f3n realizada en 2017 por los albaceas del patrimonio del compositor<\/a>.<\/p>\n El t\u00edtulo de la exposici\u00f3n, concebido por Agn\u00e8s Simon-Reecht, est\u00e1 inspirado en una de las provocaciones tan t\u00edpicamente boulezianas: \u00ab\u00a1Odio el pasado! \u00a1Odio los recuerdos!\u00bb, como escribi\u00f3 Pierre Boulez en 1965 para rendir homenaje a Roger D\u00e9sormi\u00e8re, su padre espiritual en el campo de la direcci\u00f3n de orquesta. Y sabemos muy bien \u2013como record\u00f3 en el peri\u00f3dico Le Monde <\/em>en 2000, con motivo de su septuag\u00e9simo quinto cumplea\u00f1os\u2013 que al genial director y compositor franc\u00e9s no le preocupaba m\u00e1s el pasado que su propio lugar en la historia.<\/p>\n La exposici\u00f3n, que ha ampliado su permanencia y estar\u00e1 abierta hasta el pr\u00f3ximo 6 de noviembre, muestra fuentes in\u00e9ditas que arrojan luz sobre dos aspectos de Pierre Boulez en particular: el director de orquesta y el gestor cultural. Re\u00fane un centenar de documentos, testigos de una vida intensa: manuscritos musicales aut\u00f3grafos (m\u00fasica incidental para L\u2019Orestie<\/em> o Structures pour deux pianos<\/em>), y la correspondencia, diarios, fotograf\u00edas, programas de conciertos y m\u00fasica, instrumentos musicales como la campana baule<\/em> de Costa de Marfil, que nos recuerda el inter\u00e9s del compositor por la m\u00fasica no europea.<\/p>\n En el n\u00facleo de la exposici\u00f3n se encuentran las partituras orquestales anotadas por el Boulez director sobre las obras del Boulez compositor, ya sea sus propias obras \u2013Le Marteau sans ma\u00eetre<\/em> o R\u00e9pons<\/em>, con numerosas anotaciones sobre los dispositivos electroac\u00fasticos\u2013 o composiciones de otros grandes autores, como La consagraci\u00f3n de la Primavera <\/em>de Stravinski, Pell\u00e9as et M\u00e9lisande <\/em>de Debussy o Mois\u00e9s y Aar\u00f3n <\/em>de Sch\u00f6nberg, por ejemplo.<\/p>\n Adem\u00e1s de v\u00eddeos y fotograf\u00edas, estas partituras son preciosos testimonios de la profesi\u00f3n y la pr\u00e1ctica del hombre que renov\u00f3 la t\u00e9cnica de la direcci\u00f3n de orquesta, combinando t\u00e9cnica, un conocimiento preciso de la partitura y un gesto muy personal. La desconfianza de Pierre Boulez hacia un pasado congelado y una memoria fetichista nos invita a considerar esta exposici\u00f3n no s\u00f3lo como un homenaje, sino tambi\u00e9n como una invitaci\u00f3n a ver en estos documentos nuevas fuentes de investigaci\u00f3n y creaci\u00f3n.<\/p>\n In June, the Biblioth\u00e8que Nationale de France (BnF) in Paris opened an exhibition dedicated to Pierre Boulez (1925-2016), one of the most influential figures in 20th century musical and intellectual life worldwide. The exhibition J’ai horreur du souveni<\/em>r<\/a> (I hate memories) consists of showcases of mostly unpublished documents from several collections deposited at the BnF by various patrons, such as Suzanne T\u00e9zenas and Pierre Souvtchinsky or the Compagnie Renaud-Barrault and, above all, the donation made in 2017 by the executors of the composer’s estate<\/a>.<\/p>\n The title of the exhibition, conceived by Agn\u00e8s Simon-Reecht, is inspired by one of the typically Boulezian provocations: \u00abI hate the past! I hate memories!\u00bb, as Pierre Boulez wrote in 1965 to pay tribute to Roger D\u00e9sormi\u00e8re, his spiritual father in the field of conducting. And we know very well – as he recalled in the newspaper Le Monde<\/em> in 2000, on the occasion of his seventy-fifth birthday – that the brilliant French conductor and composer was no more concerned with the past than with his own place in history.<\/p>\n The exhibition, which will remain open until 6 November, shows previously unpublished sources that shed light on two aspects of Pierre Boulez in particular: the conductor and the cultural manager. It brings together around a hundred documents, witnesses to an intense life: autograph musical manuscripts (incidental music for L’Orestie<\/em> or Structures pour deux pianos<\/em>), and correspondence, diaries, photographs, concert and music programmes, musical instruments such as the baule bell from the Ivory Coast, which reminds us of the composer’s interest in non-European music.<\/p>\n At the heart of the exhibition are the orchestral scores annotated by the conductor Boulez on the works of the composer Boulez, whether his own works – Le Marteau sans ma\u00eetre<\/em> or R\u00e9pons<\/em>, with numerous annotations on electroacoustic devices – or compositions by other great composers, such as Stravinsky’s The Rite of Spring<\/em>, Debussy’s Pell\u00e9as et M\u00e9lisande<\/em> or Sch\u00f6nberg’s Moses and Aaron<\/em>, for example.<\/p>\n In addition to videos and photographs, these scores are precious testimonies of the profession and practice of the man who renewed the technique of conducting, combining technique, a precise knowledge of the score and a very personal gesture. Pierre Boulez’s distrust of a frozen past and a fetishised memory invites us to consider this exhibition not only as a tribute, but also as an invitation to see in these documents new sources of research and creation.<\/p>\n La Biblioteca Nacional de Francia ampl\u00eda hasta el 6 de noviembre \u00abJ’ai horreur du souvenir\u00bb, su exposici\u00f3n dedicada a la figura de Pierre Boulez. La…<\/p>\n","protected":false},"author":1,"featured_media":18215,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[11,1],"tags":[],"class_list":["post-18214","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-noticias","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/minimalismore.es\/index.php\/wp-json\/wp\/v2\/posts\/18214","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/minimalismore.es\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/minimalismore.es\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/minimalismore.es\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/minimalismore.es\/index.php\/wp-json\/wp\/v2\/comments?post=18214"}],"version-history":[{"count":6,"href":"https:\/\/minimalismore.es\/index.php\/wp-json\/wp\/v2\/posts\/18214\/revisions"}],"predecessor-version":[{"id":18221,"href":"https:\/\/minimalismore.es\/index.php\/wp-json\/wp\/v2\/posts\/18214\/revisions\/18221"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/minimalismore.es\/index.php\/wp-json\/wp\/v2\/media\/18215"}],"wp:attachment":[{"href":"https:\/\/minimalismore.es\/index.php\/wp-json\/wp\/v2\/media?parent=18214"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/minimalismore.es\/index.php\/wp-json\/wp\/v2\/categories?post=18214"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/minimalismore.es\/index.php\/wp-json\/wp\/v2\/tags?post=18214"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}\u00a9 Fotograf\u00eda de Daniel Cande descargada de la web de la Biblioteca Nacional de Francia.<\/h5>\n
The Biblioth\u00e8que Nationale de France is extending until 6 November \u00abJ’ai horreur du souvenir\u00bb, its exhibition dedicated to the figure of Pierre Boulez.<\/h2>\n
\u00a9 Photograph by Daniel Cande downloaded from the website of the Biblioth\u00e8que Nationale de France.<\/h5>\n","protected":false},"excerpt":{"rendered":"