Boulez gives a masterclass in controlling a fairly difficult piece - little energy (he was then 86), but small gestures, always giving the orchestra what it needs when it needs it.
The orchestra of this splendiud score includes a saxophon, which can sometimes be clearly heard. The same situation appears in Lulu. It seems that it is an implicit criticism of the highsociety in Vienna which linhs it to jazz - xhich byw is not false - , and links jazz with ugly taverns. and more or less criminal folks. There is also a similar short moment in which the piano, the stringgs pizzicato and the trumpets are used probnabaly ine a similar spirit. These 'slices of time' are very cleverly merged with the typical Berg's style.
This concrt aria of about one quarter of hour seems a counterpart of the very small Altenberg lieder which caused a scandal. The mood is rather tick and heavy, in agreement with the poem of Baudelaire. The sonority of the saxophone gives a peculiar tone to the whole.
Some people think this foreshadows, or is a study for Lulu. To me it shows his last style and gives a hint of where Berg's music may have gone had he lived longer -- a jazz influence is beginning to be heard with the alto saxophone, and although this piece is mostly written in 4/4, it has nothing to do with the time signature -- his rhythms are beginning to enter the micro-regions.
The saxophone also has a prominent role both in the opera Lulu and the Lulu Suite; don’t forget Webern’s use of saxophone in Das Augenlicht and Cantata No. 2. Interestingly, the last works of both (Lulu, Cantata #2) were vocal and include an alto saxophone! Schoenberg also included 2 sax parts in his opera “Von Heute Auf Morgen” for soprano/alto sax and tenor/bass sax just a few years before.
Do not forget also that the saxophone is presnt in the quartet op; 22 of Webern (violon, cello, clrinet, sax) which converted the ols Stravinski to serialism.
Musicians must get nervous when they know Boulez is going to program for them . Amazing music but how does a singer memorize such lines. Imagine singing this with a pianist then actually hearing the real score! It must be a shock to hear it for the first time with orchestra.
People tell me that I will appreciate this music if I just open my mind and tune my ear. Well, I listened. And now, if you will excuse me, I need to nurse my headache.
