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Proms Saturday Matinee 4: Pierre Boulez at 90

Part of the Proms 2015 Series

Add to my Calendar 29-08-2015 15:00 29-08-2015 17:00 36 Proms Saturday Matinee 4: Pierre Boulez at 90 Celebrations for Pierre Boulez’s 90th-birthday year reach a climax in this matinee performance, in which contemporary music specialists the London Sinfonietta pair Boulez’s own music with that of young British composers Helen Grime and Christian Mason. Pierre Boulez’s Mémoriale puts the flute in the spotlight, showcasing minutiae of texture and articulation, while in Domaines it’s a solo clarinet that gives out a sustained soliloquy. The two contrasting parts of Éclat/Multiples (1970) are theoretically part of a larger work, as yet unfinished by the composer. They make for a striking contrast: the brilliant, glittering colours of Éclat set against the nervy perpetual motion of Multiples. There will be no interval Cadogan Hall, London DD/MM/YYYY

Details

Cadogan Hall
5 Sloane Terrace
Sloane Square, Belgravia
London
SW1X 9DQ
England

Programme

Pierre Boulez – Mémoriale ('… explosante-fixe …' Originel)
Helen Grime – A Cold Spring
Pierre Boulez – Domaines
Christian Mason – Open to Infinity: a Grain of Sand: BBC co-commission: UK premiere
Pierre Boulez – Éclat/Multiples

Performers

Michael Cox – flute
 Thierry Fischer – Conductor
 Mark van de Wiel – clarinet

London Sinfonietta

Other concerts in this Series (+)

Programme Note

Celebrations for Pierre Boulez’s 90th-birthday year reach a climax in this matinee performance, in which contemporary music specialists the London Sinfonietta pair Boulez’s own music with that of young British composers Helen Grime and Christian Mason. Pierre Boulez’s Mémoriale puts the flute in the spotlight, showcasing minutiae of texture and articulation, while in Domaines it’s a solo clarinet that gives out a sustained soliloquy. The two contrasting parts of Éclat/Multiples (1970) are theoretically part of a larger work, as yet unfinished by the composer. They make for a striking contrast: the brilliant, glittering colours of Éclat set against the nervy perpetual motion of Multiples.

There will be no interval

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