總統的電話皮爾布雷（Pierre Boulez, 1925.03.26-2016.01.05）是法國一九六○年代以後最出名的音樂家，他不僅在作曲上出名，在指揮方面也表現得非常出色。......「快！快！是總統府打來的，龐畢度總統要跟你講話！」布雷聽了，不為所動，只是說：「那一定是在倫敦的經紀人哈圖格（Howard Hartog）的把戲，別打擾我，請他把電話號碼留下來，待會兒再回他電話！」稍後布雷回了話，發現竟然真的是龐畢度總統，而且要請他一道用餐。在用餐時，總統突然問他說：「你回來法國工作好嗎？」布雷那時已有十多年定居在德國，而且以作曲、指揮聞名於歐美。布雷回答說：「我對法國並無任何恐懼或厭惡，如果只是要我回來指揮一個樂團，那麼在英國或紐約的機會都比這裡好！（筆者註：法國的樂隊被公認為散漫而缺乏紀律）但是如果是要我回來主持一個像『現代科技與音樂的研究中心』那樣的計畫，我會放棄一切立刻就回來！」接著，布雷就在龐畢度總統及夫人面前解說他的夢想：成立一個結合作曲家、科學家及工程師的研究中心，目的是希望藉此而把音樂帶到另一個革命性的階段。龐畢度總統聽了之後，立刻答允，並且撥款九千萬法朗讓他完成這個夢想。這就是目前位於法國龐畢度中心(Centre Georges Pompidou)的『現代科技與音樂的研究中心』（Institute de Rechereche et Coordination ~ Acoustique Musique，簡稱IRCAM)的由來。(出自：Howard Hartog 與布雷的訪談) ~ 張己任
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https://en.wikipedia.org/wiki/Pierre_Boulez#1977%E2%80%931992:_IRCAM
1977–1992: IRCAM[edit]
In 1970 Boulez was asked by President Pompidou to return to France and set up an institute specialising in musical research and creation at the arts complex—now known as the Centre Georges Pompidou—which was planned for the Beaubourg district of Paris. The Institut de Recherche et Coordination Acoustique / Musique (IRCAM) opened in 1977.
Boulez had in mind as a model the Bauhaus, which had provided a meeting place for artists and scientists of all disciplines.[99] IRCAM's aims would include research into acoustics, instrumental design and the use of computers in composition.[1] The original building was constructed underground, partly to isolate it acoustically (an above-ground extension was added later).[100] The institution was criticised for absorbing too much state subsidy, Boulez for wielding too much power.[1] At the same time Boulez founded the Ensemble Intercontemporain, a virtuoso ensemble which specialised in the performance of twentieth-century music and the creation of new works.[101] Around this time he bought a flat on the 30th floor of a building in the Front de Seine district of Paris.[102]
In 1979 he conducted the world premiere of the three-act version of Alban Berg's Lulu at the Paris Opera in the completion by Friedrich Cerha (and in Patrice Chéreau's production).[103] Otherwise Boulez scaled back his conducting commitments to concentrate on IRCAM. The majority of his appearances during this period were with his own Ensemble Intercontemporain—including tours to the United States (1986), Australia (1988), the Soviet Union (1990) and Canada (1991)[104]—although he also renewed his links in the 1980s with the Los Angeles Philharmonic Orchestra.[105]
By contrast, his compositional output increased significantly during this period. He wrote a series of pieces which used the potential developed at IRCAM electronically to transform sound in real time, the first of which was Répons (1981–1984), a large-scale work for soloists and ensemble. He also radically reworked much earlier pieces, including Notations I-IV, a transcription and expansion of tiny piano pieces for large orchestra (1945–1980)[103] and his cantata on poems by René Char, Le Visage nuptial (1946–1989).[106]
In 1980 the five original directors of the IRCAM departments, including the composer Luciano Berio, resigned. Although Boulez declared these changes "very healthy", it clearly represented a crisis in his leadership.[107]
During this period retrospectives of his music were mounted in Paris (Festival d'Automne, 1981), Baden-Baden (1985) and London (BBC, 1989).[108] From 1976 to 1995, he held the Chair in Invention, technique et langage en musique at the Collège de France.[109] In 1988 he made a series of six programmes for French television, Boulez XXe siècle, each of which focused on a specific aspect of contemporary music (rhythm, timbre, form etc.)[110]
1977–1992：IRCAM
蓬皮杜中心的IRCAM大樓
1970年，蓬皮杜（Pompidou）總統請布勒茲返回法國，並在藝術綜合大樓（現稱為蓬皮杜藝術中心（Center Georges Pompidou））中建立了一家專門從事音樂研究和創作的學院，該學院計劃在巴黎的布堡（Beaubourg）區進行。裡歇爾與聲學和音樂協調研究所（IRCAM）於1977年成立。
鮑勒茲（Boulez）曾以包豪斯（Bauhaus）為榜樣，為各個學科的藝術家和科學家提供了聚會的場所。[99] IRCAM的目標將包括對聲學，儀器設計以及組合計算機的使用進行研究。[1]原始建築建在地下，部分是為了使其隔音（後來又增加了地上的延伸）。[100]該機構因吸收過多的國家補貼而受到批評，布勒茲（Boulez）行使過多的權力。[1]同時，布勒茲創立了中音合奏團，這是一位專門研究二十世紀音樂表演和創作新作品的綜合演奏家。[101]大約在這個時候，他在巴黎的塞納河前區的一棟建築物的30層購買了一個公寓。[102]
1979年，弗里德里希·塞哈（Friedrich Cerha）（和帕特里斯·切羅（PatriceChéreau）的作品）完工時，他在巴黎歌劇院指揮了奧爾本·伯格（Alban Berg）的露露（Lulu）三幕劇版本的全球首演。否則，Boulez縮減了他的承諾以專注於IRCAM。在此期間，他出場的大部分時間都是他自己的“當代合奏團”，包括去美國（1986），澳大利亞（1988），蘇聯（1990）和加拿大（1991）[104]的旅行，儘管他也續簽了在1980年代與洛杉磯愛樂樂團保持聯繫。[105]
相比之下，在此期間，他的作品產量顯著增加。他寫了一系列作品，利用IRCAM在電子上開發的潛力實時轉換聲音，其中第一個作品是Répons（1981-1984），這是為獨奏家和合奏團創作的大型作品。他還徹底改寫了更早的作品，包括註釋I-IV，為大型樂隊演奏的小鋼琴作品的抄寫和擴展（1945年至1980年）[103]和勒內·夏爾（RenéChar）和詩人勒·維薩格（Le Visage nuptial）的詩歌作品（1946-1989年） 。[106]
1980年，包括作曲家盧西亞諾·貝里奧（Luciano Berio）在內的IRCAM部門的五位原董事辭職。儘管布勒茲宣布這些變化“非常健康”，但這顯然代表了他領導層的危機。[107]
在此期間，他的音樂回顧展在巴黎（Automne節，1981年），巴登-巴登（1985年）和倫敦（BBC，1989年）進行。[108] 1976年至1995年，他在法蘭西學院（Collègede France）擔任發明，技術和音樂的主席。[109] 1988年，他為法國電視台Boulez XXesiècle製作了一系列六個節目，每個節目專注於當代音樂的特定方面（節奏，音色，形式等）[110]。
紐約時報
Boulez’s Gentler Roar
Jan. 6, 2010
He is the last great exponent of European modernism from the generation that emerged after the war. Born in Montbrison, in the Loire, the charmed and charming son of a wealthy factory engineer, a mathematics student turned musician, he attended the Paris Conservatory, where Olivier Messiaen helped introduce him to serialism. An agent provocateur for serial music before graduating and a master of hardball polemics, he caused even anxious luminaries like the aging Stravinsky to feel the need to earn his approval.
“The main question we need to ask ourselves is: Do I try to be necessary to the evolution of language? Do I try to be original? And being original means using the tools necessary to be original, not just having the desire to be original.”
“Tools are important,” Mr. Boulez repeated. “Mallarmé chastised Degas for writing poems. He said, ‘You can’t just have an idea that you want to write poems. Poems are made out of words.’ ”
“I don’t apologize for being on the barricades,” he said, recollecting his early days during the late 1940s and early ’50s, when he wrote a notoriously pitiless obituary of Schoenberg, conspicuously booed Stravinsky’s music in Paris in 1945 and declared that any musician who had not experienced, as he infamously put it, “the necessity of dodecaphonic music” was “useless” because he is “irrelevant to the needs of his epoch.”
“Like a lion that had been flayed alive,” was Messiaen’s description of the young Mr. Boulez.
“You never get results if you aren’t fighting,” Mr. Boulez now says. “I understand better other points of view, although I still may fight against them.”
Not that the flayed lion is now a lamb.
“Performers aren’t audacious enough today,” Mr. Boulez also told me. “They think audiences won’t respond to what’s unfamiliar. But to provoke — in the good sense — is the performer’s role. It’s not just to give one more concert.”
“That’s not culture,” he said. “That’s marketing.”
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