The Cantatas by Pierre Boulez in the Context of the Main Trends in the Development of Choral Composition of the 20th Century

The article focuses on Pierre Boulez’s choral style in the cantatas “Le visage nuptial” and soleil des eaux”. versions of these works, created over course almost 40 years (from 1951 to 1989), represent a complex techniques regard texture timbre, which, one hand, are continuation experiments by composers New Vienna School (A. Schönberg, A. Webern), other they preface number innovations contemporaries (L. Nono, L. Berio, K. Stockhausen, I. Xenakis). Evidence is provided favor idea that works were logical link between vocal opuses first second Western European avant-garde. examines peculiarities interaction verbal musical series, specifics textural organization systematizes information about timbre used. Links identified heterophonic presentation typical use quarter tone notation, glissando reception, various variants speech singing (Sprechgesang). connections stereophonic effects music Boulez Nono traced. An important place occupied study sound recovery or “vocal emission” technologies (as defined Boulez). significance Schönberg Webern’s experience formulation technical foundations timbres stressed. Special attention paid problem “work progress” as defining features composer’s heritage. Comparing Maderna, Bulez, author concludes different reasons for which came concept “opera aperta” (U. Eco).