Editing Pierre Boulez (section)

===1992–2006: Return to conducting===
In 1992, Boulez gave up the directorship of IRCAM and was succeeded by Laurent Bayle.<ref name="Barbedette, 223">Barbedette, 223.</ref> He was composer in residence at that year's [[Salzburg Festival]].<ref>Samuel 2002, 419–20.</ref> The previous year he began a series of annual residencies with the Cleveland Orchestra and the Chicago Symphony Orchestra. In 1995 he was named principal guest conductor in Chicago, a post he held until 2005, when he became conductor emeritus.<ref>{{cite news|last=von Rhein|first=John|date=7 January 2016|title=CSO conductor emeritus Pierre Boulez dies at 90|url=http://www.chicagotribune.com/entertainment/music/ct-pierre-boulez-dead-20160106-story.html|newspaper=The Chicago Tribune|access-date=2 May 2016|url-status=live|archive-url=https://web.archive.org/web/20160603093142/http://www.chicagotribune.com/entertainment/music/ct-pierre-boulez-dead-20160106-story.html|archive-date=3 June 2016}}</ref> His 70th birthday in 1995 was marked by a six-month retrospective tour with the London Symphony Orchestra, taking in Paris, Vienna, New York and Tokyo.<ref>Vermeil, 242–43.</ref> In 2001 he conducted a major Bartók cycle with the Orchestre de Paris.<ref name="Barbedette, 223"/>
[[File:Boulez25oct2004.jpg|alt=refer to caption|thumb|left|Boulez at a conference at the [[Centre for Fine Arts, Brussels|Palais des Beaux-Arts in Brussels]] in 2004]]
This period also marked a return to the opera house, including two productions with [[Peter Stein (director)|Peter Stein]]: Debussy's ''Pelléas et Mélisande'' (1992, [[Welsh National Opera]]<ref>{{cite news|last1=Rockwell|first1=John|title=Boulez and Stein Stage 'Pelleas' With Modern Nuances in Wales|url=https://www.nytimes.com/1992/02/24/arts/boulez-and-stein-stage-pelleas-with-modern-nuances-in-wales.html|access-date=7 February 2016|work=The New York Times|date=24 February 1992|url-status=live|archive-url=https://web.archive.org/web/20160213030644/http://www.nytimes.com/1992/02/24/arts/boulez-and-stein-stage-pelleas-with-modern-nuances-in-wales.html|archive-date=13 February 2016}}</ref> and [[Théâtre du Châtelet|Théâtre du Châtelet, Paris]]); and Schoenberg's ''[[Moses und Aron]]'' (1995, [[Dutch National Opera]]<ref>{{cite news|last1=Glass|first1=Herbert|title=Schoenberg Masterpiece by Ear Only|url=https://www.latimes.com/archives/la-xpm-1996-11-10-ca-63100-story.html|access-date=7 February 2016|work=Los Angeles Times|date=10 November 1996|url-status=live|archive-url=http://archive.wikiwix.com/cache/20160207153102/http://articles.latimes.com/1996-11-10/entertainment/ca-63100_1_und-aron|archive-date=7 February 2016}}</ref> and [[Salzburg Festival]]). In 2004 and 2005 he returned to Bayreuth to conduct a controversial new production of ''Parsifal'' directed by [[Christoph Schlingensief]].<ref>{{cite magazine|last1=Ross|first1=Alex|title=Nausea|url=https://www.newyorker.com/magazine/2004/08/09/nausea|access-date=7 February 2016|magazine=The New Yorker|date=9 August 2004|url-status=live|archive-url=https://web.archive.org/web/20160311175533/http://www.newyorker.com/magazine/2004/08/09/nausea|archive-date=11 March 2016}}</ref>

His two most substantial compositions from this period are ''[[...explosante-fixe...]]'' (1993), which had its origins in 1972 as a tribute to Stravinsky and which again used the electronic resources of IRCAM,<ref>Samuel (2002), 429.</ref> and ''[[sur Incises]]'' (1998), for which he was awarded the 2001 Grawemeyer Award for Music Composition.<ref>{{cite web|title=2001—Pierre Boulez|date=20 July 2001 |url=http://grawemeyer.org/2001-pierre-boulez/|publisher=The Grawemeyer Awards|access-date=7 February 2016|url-status=live|archive-url=https://web.archive.org/web/20160219232455/http://grawemeyer.org/2001-pierre-boulez/|archive-date=19 February 2016}}</ref>

Boulez continued to work on institutional organisation. He co-founded the [[Cité de la musique]], which opened in La Villette on the outskirts of Paris in 1995.<ref name=TelegraphObituary/> Consisting of a modular concert hall, museum and mediatheque—with the Conservatoire de Paris on an adjacent site—it became the home to the Ensemble intercontemporain and attracted a diverse audience.<ref>{{cite news|last1=Whitney|first1=Craig|title=Unruly Paris Music Scene Relishes the Eclat Of a Boulez Coup|url=https://www.nytimes.com/1996/05/13/arts/unruly-paris-music-scene-relishes-the-eclat-of-a-boulez-coup.html|access-date=10 May 2016|work=The New York Times|date=13 May 1996|url-status=live|archive-url=https://web.archive.org/web/20160604082417/http://www.nytimes.com/1996/05/13/arts/unruly-paris-music-scene-relishes-the-eclat-of-a-boulez-coup.html|archive-date=4 June 2016}}</ref> In 2004, he co-founded the [[Lucerne Festival|Lucerne Festival Academy]], an orchestral institute for young musicians, dedicated to music of the twentieth and twenty-first centuries.<ref>{{cite news|last1=Service|first1=Tom|author-link=Tom Service|title=A day for Boulez: moving tributes and newly composed homages at the Lucerne festival|url=https://www.theguardian.com/music/tomserviceblog/2015/aug/26/pierre-boulez-day-lucerne-festival-rihm-kurtag|access-date=7 February 2016|work=The Guardian|date=26 August 2015|url-status=live|archive-url=https://web.archive.org/web/20160208085809/http://www.theguardian.com/music/tomserviceblog/2015/aug/26/pierre-boulez-day-lucerne-festival-rihm-kurtag|archive-date=8 February 2016}}</ref> For the next ten years he spent the last three weeks of summer working with young composers and conducting concerts with the Academy's orchestra.<ref>Barbedette, 224.</ref>