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Performer Indeterminacy and Boulez's Third Sonata

Published online by Cambridge University Press:  04 February 2010

Extract

With these words, Pierre Boulez opened the article entitled ‘Sonate, que me veux-tu?’ in 1963. Referring to his Third Piano Sonata – portions of which first appeared in 1955 – Boulez presented his arguments supporting compositions that contain ‘open’ or ‘mobile’ forms. ‘Fluidity of form must integrate fluidity of vocabulary’, Boulez stated.

Type
Research Article
Copyright
Copyright © Cambridge University Press 1989

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References

1 Boulez, Pierre, ‘Sonate, que me veux-tu?Perspectives of Music, I (Spring, 1963), p.32344CrossRefGoogle Scholar.

2 Ibid., p. 33.

3 Ibid., p. 39.

4 Ibid., p. 38.

5 Black, Robert, ‘Boulez's Third Piano Sonata: Surface and Sensibility’, Perspectives of New Music, XX (FallWinter, 1981: Spring-Summer, 1982), p.186Google Scholar.

6 Boulez, Pierre, ‘Alea’, Perspectives of New Music, III (FallWinter, 1964), P.4253CrossRefGoogle Scholar.