1. Lecture 3 part 1 1. To outline the development of `Modernist’ generation of 50/60s composers – Boulez, Cage, Stockhausen up to the 70s. 2. Discussion of their careers from 70s onwards and how they fared in the last decades of the 20 th century with the death of modernism. 3. Emergence of Gaicinto Scelsi and his compositional approach.

2. Messiaen to Boulez 1. Mode de Valeurs et d’Intensities for piano of 1949 had shown a possible way forward for a new post generation of students at the Paris Conservatoire that include both Boulez and Stockhausen. His application of the serial principle of Webern in particular to rhythm pointed towards hyper- serialism. Messiaen did not apply the serial principle to attacks as rigidly. The result was that each note had its own pitch within a given register, its own rhythm, its own dynamic and type of attack.

3. Boulez Boulez the first to approach true Hyper-Serialism in his Second Piano Sonata 1948 and Structures. The result is uncompromising – athematic and ametric. Small rhythmic figures and combined and developed continually. Produces a pointilliste surface. But is this composition? Is the organisation of sound elements recognisable? Is it really performable? From this extreme position composed moved away from true hyper-serialism.

4. Le Marteau sans Maitre The Hammer without a Master, published 1954. Instrumentation connects with Schoenberg’s Pierrot Lunaire (1912), Debussy’s Sonata for flute, viola and harp (1915) but Boulez also uses lots of percussion. Principle of keeping timbres distinct. The nine short movements are organised around the sung (contralto) movements (3, 5, 6 and 9), which use short poems by Rene Clar as preludes and commentaries on the poems. The instrumentation is similarly organised and normally only a maximum of 4 instruments play at once. The thematic material is similarly thought out for balance across the movements. The resulting texture is much more varied, and melodic material more sustained.

5. Cage in the 50s and 60s Early student experiences with Schoenberg – and interest in Eastern philosophy and Gamelan music. Early works for percussion ensembles, voice, and development of the prepared piano leading to Sonata and Interludes 1946-8. 16 short sonatas with four interludes. Sounds and timbre developed by improvising at keyboard to create permanent emotions like in Indian music (`shell collections’). The layout of the pieces are very structured with repeated sections aiming at symmetry and balance.

6. 1951 the turning point From 1951 onwards (Music of Changes) Cage moved towards chance processes so that the sounds would be an end in themselves instead of using sounds to project feelings and ideas of the composer. The sounds no longer to communicate anything but themselves. Should not be cluttered up with meanings of the composer or listener.

7. Cage again Re-definition of what the composer was for – now to set up processes to allow sound to emerge – a a humble catalyst – will-lessness developed out of studies in Zen Buddhism. New roles for performer and for notation. Irony that total freedom and total serialism were contemporaries – were at the opposite extremes – yet in some cases sounded remarkably similar! But some cross-over in that Boulez started to include some chance elements into his works.

8. Stockhausen Most clearly associated in the 1950s with advent of electronic music. Musique concrete of Pierre Schaeffer Studio fur Elektronische Musik, Westdeuscher Rundfunk, Cologne. Early work in electronic studios showed what was possible and opened up a new field of composition without performers.

9. Individuality – work as research Each work tends to explore a new technique of composition – each work is autonomous and bears little relationship to the preceding or following composition. Kontra-Punkte; Klavierstucke I-IV; Studien I and II; Klavierstucke V-X; Zeitmasse; Gesang der Junglinge: Klavierstuck Xi; Gruppen; Zyklus: Refrain; Kontakte; Carre Individuality of each work is pronounced. Interest in Timbre and sound in space and in electronic music and traditional sounds, live electronics. 60s works include – Hymnen; Telemusik and Stimmung.

10. Boulez post 1970 Plethera of activities – conducting, IRCAM, consultant, recording projects. Composition on the back burner – concept of `work in progress’ and works being withdrawn and reshaped. Fragmentation of career as a composer.

11. Cage Died in 199? A figure of huge acclaim – though few of his works regularly performed (save the early and mid career works like Sonatas and Interludes). Connection with other arts – particularly dance of huge importance – his ideas on creativity taken up across the arts. Continued to write and publicise his ideas on music and creativity up to his death. Since his death some attempts to revive larger scale works.

12. Stockhausen Some regard him as near mad. Has stated that he thinks he come from another planet! Continues to composer and maintains an ensemble – but to most he is a burnt out ghost of his former self. No longer commands huge respect and international interest for his projects – though he still does them. E.g. Hellicoper piece.