Boulez – Première Sonate

Boulez's first sonata, composed in 1946, performed by Idil Biret.
Program notes by Jacques-Marie Lonchampt.

The first sonata is in two movements. While they retain a certain compositional duality, it is obviously no longer a thematic duality, much less a harmonic one, as was the case in the "classical" definition. of the sonatas, but rather the confrontation between different types of writing, which oppose each other in tempo, intensity, and phrasing and are gathered in contrasting sections.
The first movement, "slow," begins with the presentation of four very simple elements: interval (in this case, a sixth), appoggiatura, isolated sound, and incisive stroke, which contrasts with the other three with its aggressiveness, which contrasts with the softness of the whole. These elements combine in a generally calm development, occasionally interrupted by a characteristic anger, which will conclude this section in an even more vehement outburst. The incisive stroke dominates the second, more nervous part, alternating with staccato passages. A return of the initial elements indicates the re-exposition, varied and shortened but clearly identifiable, followed by a coda on the same elements, which finally overlap in a broad aggregate, followed unexpectedly by a final return, pianissimo, almost mocking the initial characteristic.
The second movement begins with a staccato "ping-pong" game between the different registers, similar to Webern's opus 27 variations. This leads to a long struggle between a sort of toccata, which nervously explores the entire keyboard in a lively and regular movement, and the more legato passages, drowned in the pedal, almost like harmonic "mobiles" that range from sweetness to a more intense expression. The conclusion of the movement, initially interrupted by silences, previously rare, will give way in extremis to a final return of the toccata.

Back