Editing Pierre Boulez (section)

===Recording===
Boulez's first recordings date from his time with the Domaine musical in the late 1950s and early 1960s and were made for the French Vega label. They include the first of his five recordings of ''Le Marteau sans maître'' (with contralto Marie-Thérèse Cahn), as well as pieces to which he did not return in the studio (such as Stravinsky's ''[[Renard (Stravinsky)|Renard]]'' and Stockhausen's ''[[Zeitmaße]]''). In 2015 Universal Music brought these recordings together in a 10-CD set.<ref>CD set: ''Pierre Boulez, Le Domaine Musical, 1956–1967''. 2015. Universal Music Group, 4811510.</ref>
[[File:Arnold schönberg man ray.jpg|alt=refer to caption|thumb|upright|''Arnold Schoenberg'' (1927) by Man Ray]]
Between 1966 and 1989 he recorded for Columbia Records (later Sony Classical). Among the first projects were the Paris ''Wozzeck'' (with [[Walter Berry (bass-baritone)|Walter Berry]]) and the Covent Garden ''Pelléas et Mélisande'' (with [[George Shirley]] and [[Elisabeth Söderström]]). He made a highly praised recording of ''The Rite of Spring'' with the Cleveland Orchestra and supervised a Webern edition, consisting of all the works with opus numbers. He also produced a wide-ranging survey of the music of Schoenberg with the BBC Symphony Orchestra, and recorded the orchestral works of Ravel with the New York Philharmonic and the Cleveland Orchestra.<ref name=60Years/> As for Boulez's own music, in 1969 he made the first recording of ''Pli selon pli'' (with [[Halina Łukomska]] as soprano soloist) and recordings of ''Rituel'' and ''Éclat/Multiples''. In 2014 Sony Classical issued ''Pierre Boulez—The Complete Columbia Album Collection'' on 67 CDs.<ref name=60Years>{{cite news|last1=Clements|first1=Andrew|title=Pierre Boulez: 60 Years on Record|url=https://www.theguardian.com/music/2015/mar/26/pierre-boulez-60-years-on-record-cd-review|access-date=7 February 2016|work=[[The Guardian]]|date=26 March 2015|url-status=live|archive-url=https://web.archive.org/web/20160213040933/http://www.theguardian.com/music/2015/mar/26/pierre-boulez-60-years-on-record-cd-review|archive-date=13 February 2016}}</ref>

Three operatic projects from this period were picked up by other labels: the Bayreuth ''Ring'' was released on video and LP by Philips; the Bayreuth ''Parsifal'' and Paris ''Lulu'' were recorded for Deutsche Grammophon.<ref>''The Ring'', Philips 6527 115, released 1981; ''Parsifal'', DG 2720 034, released 1971; ''Lulu'', DG 2711 024, released 1979.</ref> For EMI in 1984 he recorded several pieces on [[Frank Zappa]]'s album ''[[The Perfect Stranger (Frank Zappa album)|The Perfect Stranger]]'' with the Ensemble intercontemporain.<ref>{{cite news|last=Rockwell|first=John|date=30 September 1984|title=Meeting of Musical Extremes|url=https://www.nytimes.com/1984/09/30/arts/meeting-of-musical-extremes.html|newspaper=The New York Times|access-date=9 April 2019|archive-date=17 July 2022|archive-url=https://web.archive.org/web/20220717035008/https://www.nytimes.com/1984/09/30/arts/meeting-of-musical-extremes.html|url-status=live}}</ref>

In the 1980s, Boulez also recorded for the Erato label, mostly with the Ensemble intercontemporain, with a greater emphasis on the music of his contemporaries such as Berio, Ligeti and Carter, as well as a survey of some of his own music, including ''Le Visage nuptial'', ''Le Soleil des eaux'' and ''Figures—Doubles—Prismes''. In 2015 Erato issued ''Pierre Boulez—The Complete Erato Recordings'' on 14 CDs.<ref name=60Years/> 

From 1991 onwards, Boulez recorded under an exclusive contract with Deutsche Grammophon. It centred on the orchestras of Chicago and Cleveland in the United States and Vienna and Berlin in Europe.<ref>{{cite web | title=Pierre Boulez: Biography | publisher=Deutsche Grammophon | url=http://www.deutschegrammophon.com/gb/artist/boulez/biography | access-date=29 March 2016 | url-status=live | archive-url=https://web.archive.org/web/20160412151707/http://www.deutschegrammophon.com/gb/artist/boulez/biography | archive-date=12 April 2016 | df=dmy-all }}</ref> He re-recorded much of his core repertoire and oversaw a second Webern edition, including the unpublished works. His own late music featured prominently, including ''Répons'', ''...explosante-fixe...'' and ''sur Incises''. The most significant addition to his recorded repertoire was the multi-orchestra cycle of the Mahler symphonies and vocal works with orchestra.<ref>CD set: ''Boulez Conducts Mahler''. 2013. Deutsche Grammophon, 0289 477 9528 5.</ref> An 88-disc set of all Boulez's recordings for Deutsche Grammophon, Philips and Decca was issued in 2022.<ref>CD set: ''Boulez the Conductor''. 2022. Deutsche Grammophon, 0289 486 0915.</ref>

Many hundreds of concerts conducted by Boulez are held in the archives of radio stations and orchestras. In 2005 the Chicago Symphony Orchestra released a 2-CD set of broadcasts by Boulez, focusing on works which he had not recorded commercially, including Janáček's ''[[Glagolitic Mass]]'' and Messiaen's ''[[L'Ascension]]''.<ref>{{cite web | title=Pierre Boulez at 90, part 2: for the record | date=11 November 2014 | publisher=Chicago Symphony Orchestra | url=https://csoarchives.wordpress.com/2014/11/11/pierre-boulez-at-90-part-2-for-the-record/ | access-date=21 May 2016 | url-status=live | archive-url=https://web.archive.org/web/20160802015108/https://csoarchives.wordpress.com/2014/11/11/pierre-boulez-at-90-part-2-for-the-record/ | archive-date=2 August 2016 | df=dmy-all }}</ref>