Among his compositions are Le Soleil des eaux (1948), for voice and orchestra
Structures, Book 1 and Book 2 (1952, 1961), for two pianos Le Marteau sans maître (1954), for voice and chamber ensemble Pli selon pli (1957–62,) for voice and orchestra: the Piano Sonata No. 3 (1957, unfinished), in which aleatory processes are explored (see aleatory music ) and Éclat (1965), for 15-piece chamber orchestra. His later work includes Memoriales (1973–75), Dérive I (1984), and Dérive II (1988). Many of his works after the early 1960s were revisions of earlier compositions.
Boulez was director of music for Jean-Louis Barrault 's theater in Paris, and there he founded the Concerts Marigny and the Domaine Musical to present avant-garde works. He conducted throughout the world and has published several books in French. He was music director and conductor (1971–77) of the New York Philharmonic. He founded the Institut de Recherche et Coordination Acoustique/Musique (IRCAM), part of the Beaubourg in Paris, serving as its director from its opening in 1977 until 1991. That year Boulez was appointed composer in residence at the Salzburg Festival.
In the latter part of his life he devoted much time to the development of sophisticated electronic equipment for the production, generation, and modification of musical sound. This work is exemplified by his composition Répons (1981–84), scored for chamber orchestra, instrumental soloists, and electronic devices. He also continued to conduct a modernist repertoire of his own and other 20th- and 21st-century works, leading several orchestras, notably his own Ensemble InterContemporain and the London Symphony Orchestra, into his eighties.
See his Boulez on Music Today (tr. 1971), Relevés d'Apprenti (tr. 1968), and his correspondence with John Cage, ed. by R. Samuels (1993) biography by D. Jameaux (1990) studies by A. Goléa (1958) and P. Griffiths (1978).
The Columbia Electronic Encyclopedia, 6th ed. Copyright © 2012, Columbia University Press. All rights reserved.
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