Editing Pierre Boulez (section)

===Approach to conducting===
Boulez was one of the leading conductors of the second half of the twentieth century. In a career lasting more than sixty years he directed most of the world's major orchestras. He was entirely self-taught, although he said that he learnt a great deal from attending Désormière's and [[Hans Rosbaud]]'s rehearsals.<ref>Boulez (2003), 137; Boulez (2017), 37.</ref> He also cited George Szell as an influential mentor.<ref>Rosenberg, 383–84 and 398.</ref>

[[File:Pierre Boulez gastdirigent bij het Concertgebouworkest, Pierre Boulez, Bestanddeelnr 914-7937.jpg|alt=refer to caption|thumb|Boulez conducting at [[Concertgebouw, Amsterdam]], in 1963]]
Boulez gave several reasons for conducting as much as he did. He gave his first concerts for the Domaine musical because its financial resources were limited: "I told myself that, being much less expensive, I would have a go myself."<ref>Boulez (2003), 4.</ref> He also said that the best possible training for a composer was "to have to play or conduct his own works and to face their difficulties of execution"—yet on a practical level he sometimes struggled to find time to compose given his conducting commitments.<ref>Glock, 133.</ref> The writer and pianist [[Susan Bradshaw]] thought this was deliberate and related to a sense of being overshadowed as a composer by Stockhausen, who from the late 1950s was increasingly prolific. The French litterateur and musicologist [[Pierre Souvchinsky]] disagreed: "Boulez became a conductor because he had a great gift for it."<ref>Peyser (1976), 147.</ref>

Not everyone agreed about the greatness of that gift. According to writer [[Hans Keller]]: "Boulez cannot phrase—it is as simple as that...the reason being that he ignores the harmonic implications of any structure he is dealing with, to the extent of utterly disregarding harmonic rhythm and hence all characteristic rhythm in tonal music..."<ref>Kenyon, 394.</ref> [[Joan Peyser]] considered that: "in general Boulez conducts what he loves magnificently, conducts what he likes very well and, with rare exceptions, gives stiff performances of the classic and romantic repertoire".<ref>Peyser (1976), 210.</ref> The conductor [[Otto Klemperer]] described him as "without doubt the only man of his generation who is an outstanding conductor ''and'' musician".<ref>Heyworth (1973), 120.</ref>

He worked with many leading soloists and had particularly long-term collaborations with Daniel Barenboim and with the soprano [[Jessye Norman]].<ref>Vermeil, 179–244.</ref>

According to [[Peter Heyworth]], Boulez produced a lean, athletic sound which, underpinned by his rhythmic exactitude, could generate an electric sense of excitement. The ability to reveal the structure of a score and to clarify dense orchestral textures were hallmarks of his conducting. He conducted without a baton and, as Heyworth observed: "there is no trace of theatre—not even the rather theatrical sort of economy that was practised by [[Richard Strauss]]".<ref>Heyworth (1986), 25–26.</ref> According to Boulez: "outward excitement uses up inner excitement".<ref>Glock, 137.</ref>

Boulez's ear for sound was legendary: "there are countless stories of him detecting, for example, faulty intonation from the third oboe in a complex orchestral texture", Paul Griffiths wrote in ''The New York Times''.<ref name=Griffiths6Jan/> [[Oliver Knussen]], himself a well-known composer-conductor, observed that "his rehearsals are models of clear-headedness and professional courtesy—he effortlessly commands respect".<ref name=SmallHammer/>