Concert – Récital Florent Boffard – Festival Messiaen

Contemporary music is second nature to Florent Boffard. Trained at the CNSM in Paris—he began his career in Yvonne Loriod's class—he became a soloist with the Ensemble Inter-Contemporain for around ten years, working alongside some of the greatest composers of our time, and premiering numerous pieces. He also had the opportunity to work with Pierre Boulez on his most iconic works, making him one of his direct heirs.
From the master, he will perform Une page d'éphéméride, which exploits resonances, suspended and free times, extracts from the Third Sonata that Boulez himself had created in Darmstadt, and the Douze Notations, twelve miniatures of twelve measures each, written from the same series of twelve sounds and composed in 1945, when Boulez had barely left Olivier Messiaen's class.
Messiaen's influence is directly evident in Stockhausen's Klavierstücke I to IV: he drew inspiration from his famous Modes of Values ​​and Intensities and implemented a series generalized to all sound parameters. When he began composing his Sonata Opus 1, Alban Berg was still a student of Schoenberg. The piece is in a single movement and centered around the key of B minor, while also being achieved through chromaticism and whole-tone scales.
Two studies by Debussy, composed in the same vein as those by Chopin and Liszt, complete this program where the connections and legacies are evident throughout the pages and notes.

Program :

Alban Berg,
Sonata op. 1
Claude Debussy,
Study No. 11 “For compound arpeggios”
Pierre Boulez,
Sonata No. 3, 2. Trope 1. Antiphony (extracts)
Claude Debussy,
Study No. 10 “For Opposite Sounds”
Pierre Boulez,
An ephemeris page
Karlheinz Stockhausen,
Keyboard pieces no. 1, 2, 3, 4
Pierre Boulez,
Twelve Notations