Editing Pierre Boulez (section)

==Writing and teaching==
According to [[Jean-Jacques Nattiez]], Boulez was one of two twentieth-century composers who wrote most prolifically about music, the other being Schoenberg.<ref>Boulez (1981), 12–13.</ref> It was with a 1952 article with the inflammatory title "Schoenberg is Dead", published in the British journal ''The Score'' shortly after the older composer's death, that Boulez first attracted international attention as a writer.<ref>Boulez (1991), 209–14.</ref> This highly polemical piece, in which he attacked Schoenberg for his conservatism, contrasting it with Webern's radicalism, caused widespread controversy.<ref>Glock (1991), 89–90.</ref>

[[Jonathan Goldman]] points out that, over the decades, Boulez's writings addressed very different readerships: in the 1950s the cultured Parisian attendees of the Domaine musical; in the 1960s the specialised avant-garde composers and performers of the Darmstadt and Basel courses; and, between 1976 and 1995, the highly literate but non-specialist audience of the lectures he gave as Professor of the Collège de France.<ref>Goldman, 4.</ref> Much of Boulez's writing was linked to specific occasions, whether a first performance of a new piece, notes for a recording or a eulogy for a lost colleague. Generally he avoided publishing detailed analyses, other than one of ''The Rite of Spring''. As Nattiez points out: "as a writer Boulez is a communicator of ideas rather than of technical information. This may sometimes prove disappointing to composition students, but it is no doubt a peculiarity of his writing that explains its popularity with non-musicians."<ref>Boulez (1981), 14.</ref>

Boulez's writings have appeared in English as ''Stocktakings from an Apprenticeship'', ''Boulez on Music Today'', ''Orientations: Collected Writings'' and ''Pierre Boulez, Music Lessons: The Complete Collège de France Lectures''. Throughout his career he also expressed himself through long-form interviews, of which perhaps the most substantial are those with [[Antoine Goléa]] (1958), Célestin Deliège (1975) and Jean Vermeil (1989).<ref>Goléa; Boulez (1976); Vermeil.</ref> Two volumes of correspondence have been published: with the composer John Cage (from the period 1949–62);<ref>Boulez, Pierre and John Cage.</ref> and with the anthropologist and ethnomusicologist [[André Schaeffner]] (from 1954 to 1970).<ref>Boulez, Pierre and André Schaeffner.</ref>

Boulez taught at the Darmstadt Summer School most years between 1954 and 1965.<ref>Boulez (1971).</ref> He was professor of composition at the [[City of Basel Music Academy|Basel Music Academy]] in Switzerland (1960–63) and a visiting lecturer at [[Harvard University]] in 1963. He also taught privately in the early part of his career.<ref name="Hopkins and Griffiths"/> Students included the composers [[Richard Rodney Bennett]],<ref>Peyser (1976), 134.</ref> [[Jean-Claude Éloy]] and [[Heinz Holliger]].<ref name=Toronyi-Lalic />