MiM quiz – Expert level / Education
Remember, this quiz is not about testing your knowledge about contemporary music. It's all about getting to know the four composers - their music, techniques, but also inspirations and private stories. We invite you to take on this challenge - discover the universe of four personalities and dive in into their music.
Creative periods - Pierre Boulez
Which work by the composer is earlier? Which is later?
The earlier one should be indicated.
Discreet use of live electronics (delay, reverb diversification) points to a later period of Pierre Boulez creations, associated with the IRCAM technology (Dialogue de l'ombre double, 1985). In the case of Le marteau sans maître (1954), the earlier date is indicated, inter alia, by the melody characteristic for the avant-garde of the 50s.
Composers and trends of music of the recent and distant past had a considerable influence on all four composers. Link a source of inspiration to a composer.
The affinity between Stravinsky’s and Louis Andriessen’s music is evidenced not only by the Dutch composer’s works but also by a book devoted to the Russian’s oeuvre which Louis Andriessen co-authored (The Apollonian Clockwork).
Here are some names of performers important to the four composers for some reason. Link them to the right name.
The conductor Reinbert de Leeuw, together with the Dutch ensembles Schönberg Ensemble and Asko Ensemble (now combined into one Asko/Schönberg Ensemble) performed and premiered many of Louis Andriessen’s works.
20th- and 21st-century composers would often explain their composition techniques and engage in more general theoretical reflections
Many published books or articles; some conducted lectures at universities or courses, sometimes also commented on their works during encounters with non-expert audiences. But there were also those who did not comment on their oeuvres, assuming that music spoke for itself.
He published many books on music written by himself and other composers (especially 20th-century composers). In addition to educational and theoretical work addressed to specialists (composers, musicians, theorists), he devoted a lot of attention to providing comments on contemporary works for concertgoers, including young people.
He lectured in composition at conservatories and courses for young composers. He wrote one book – but he did not devote it to his own oeuvre but to the music of a composer that was artistically particularly close to him.
He did not give interviews and was reluctant to comment on his own oeuvre. He included his reflections on the foundations of his music in several hitherto unpublished lectures.
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