If we look at how Boulez creates the music using a mathematical process, we might think that Dialogue does not give much freedom to the performer. But because he uses many different elements and gives clear instructions in the score, there is still room for interpretation
3.1 Sigle Initial
The tempo indication in the score is 196/200 (chuchoté, mystérieux), and based on the tempos of the first available recording of the piece by Alain Damiens and Andrew Gerzso, I do not take too many liberties. Both musicians worked with Boulez for months on this piece, and the tempos in their recording remain quite faithful to those in the score. Therefore, in the introduction, I strictly follow the indication of 196/200 for the quarter note.
In this introduction, we encounter several different atmospheres. It begins at ppp (pianississimo), with crescendos and diminuendos within the same dynamic level, except for the end of each phrase, which abruptly concludes at mp. This final note, as mentioned in the previous chapter, utilizes the lowest pitch of the instrument. In this Sigle, I take the opportunity to introduce the mysterious character of the piece. With a sound that really sounds like a whisper, I try to highlight the dynamic variations within the three ppp and interpret the mp (mezzopiano) as if it were a sudden surprise or an abrupt interruption in a murmur.
Additionally, the composer adds a line below the low E, which shows that he wants a more marked articulation. Furthermore, there are no other articulation markings throughout the rest of the movement. This entire Sigle is composed of phrases developed using eighth-note triplets, eighth-note triplets with quarter notes, and quarter notes. There are also some half notes and other note values, such as whole notes (redondas), though these appear more incidentally.
So, we can say that the most important element is the triplet-based phrasing, which gives the performance more direction. In my opinion, phrases flow better with this type of writing. There are large slurs in almost every phrase, but within these large slurs, there are smaller ones that help articulate and break the phrase into smaller sub-phrases.
I like to think of it as if there were several speakers, since the sound is projected through different loudspeakers. This allows us to “theatricalize” the interpretation by giving each phrase or intention a different color. For example, one effective approach is to create a question-and-answer idea. I even think of some passages as an addition to an argument in a conversation.
For instance, the first phrase or number 1 marked in the score could be seen as an introduction to the theme, while number 2 represents another person reinforcing that idea, affirming it (just like number 3). However, I interpret phrase number 4 as a different response.
In this way, everything is connected and has a directional sense in each phrase. As a metaphor, I would describe it as the moment when we reflect on something—sometimes we have a clear idea, but our inner voice doubts it or even argues against it. However, all of this happens inside our minds, in silence, so it must be represented with this in mind.
It is possible that the composer also expresses the concepts of "dialogue" and "shadow" through the way he develops the material in this Sigle.
In the phrase found at number 22, the composer gives a more precise metronome marking (190 for the quarter note) to help slow down gradually, so it matches the next movement or transition. I take this moment to perhaps recover the time I may have lost earlier in the movement, speeding up a little and starting the tempo reduction. Also, I notice that Boulez begins to use longer note values, which shows that the piece is coming to an end. So, interpretively, I treat it as if the speaker were getting tired or fading away until reaching the final low E.
For the "assez vif" link played by the pre-recorded clarinet, I like to do a fairly exaggerated crescendo, with the peak at the G, to make it easier to blend it with the new movement, which should start exactly at the mentioned peak.
Regarding the breathing plan, we can use the rests to take a breath, but I would try to reduce this to the minimum number of times possible, as it is easy to lose the tempo and the sense of continuous phrasing. Additionally, the rests are very short (eighth-note rests), except for phrases number 8 and 21, which have quarter-note rests (within an eighth-note triplet rest + quarter-note in both cases). In these cases, I would take a breath, as the composer gives a bit more time for it.
3.2 Strophe I
Strophe I (Assez vif ♩= 144/152 flexible, fluid, calm) will develop material based on groups of eighth-note triplets and quarter-note trills. The triplets will be used to give direction to the phrase, along with the cresc. and dim. markings. Additionally, the metronome marking and time signature will change quite frequently, and the composer adds more elaborate indications with a clearer interpretive idea. For example, at the beginning, we have the words flexible, fluid, calm. But five bars later, we find a different indication, in this case: plus mobile, rubato plus marqué. The metronome marking of 144/152 for the quarter note also changes to Plus vif ♩ at 160/172 in that same bar (no. 5). This gives me the idea that this movement is much more fragmented than the previous one. Furthermore, it is technically much more complicated, especially because of the jumps from high to low notes and very different intervals, all in a constant legato marked by long slurs.
It is important to highlight that the metronomic changes will range between the already mentioned markings: Assez vif ♩= 144/152 and Plus vif ♩= 160/172. Only these two. This makes it easier to memorise the metronomic changes, as they are not so fluctuating. What will change, however, is the information the composer gives with the metronome marking, always about the rubato. Rubato plus marqué (rubato more marked), avec rubato très ample (broader rubato). These indications show that Boulez does allow rubato, understanding that with the material he provides, the musician will be able to understand and develop a musical idea from it.
My way of structuring the phrases in this section is quite simple. The composer clearly divides the triplet groups with the quarter-note trills. The triplets always appear with the tempo marking, so it is understood that when these groups appear, the composer wants movement in the phrase, except on some occasions when he prepares the quarter-note trills by writing ralenti at the end of the triplet group (bars 12, 53, 56, 68, 94). Each time the quarter-note trills appear, they follow the triplet groups, like a pause or small conclusion to the phrase guided by the triplets. The composer places cédé or ralenti each time quarter-note trills appear. Except on some occasions, when there are longer episodes of quarter-note trills, the composer writes accelerando on the first notes (bars 27, 46, 58).
For the interpretation, it is very important to follow Boulez's instructions about dynamics. In this piece, we find dynamics pp, p, mp, mf, and f. These five dynamic levels will be important for shaping the phrases, but also for understanding the phrasing, as Boulez guides us throughout the movement with crescendos and diminuendos, moving from one dynamic to another and shaping the phrasing.
I always keep in mind in my interpretation to perform this section with the greatest legato possible. It is important to be aware of this, as due to the intervallic jumps, the technically complex phrases, and the fragmented nature of the piece, it is easy to lose that sense of long, legato phrases. The column of air, the continuous airflow, and the flexibility of the embouchure will help achieve this goal, especially in the difficult moments.
3.3 Transition I a II
In this fragment, we find Flottant (♩= 92) with sudden changes in energy. I interpret this marking in a way that gives this passage a softer, less solid sound, similar to the one used in Sigle Initial. As in Sigle Initial, this type of sound will contrast with "small accidents," which this time are made of eighth notes with sixteenth-note mordents, very articulated, accented, and in forte. These sudden parts will also create a strong contrast with the rest of the material, which is calmer and has longer note values, such as quarter notes and half notes with tremolos or trills.
Boulez writes another metronome marking right after the transition episode between Strophe I and Transition I to II (the first three measures): ♪ = 184. This value is exactly double ♩ = 92 (Flottant), marked three measures earlier. The next note will be one of the "accidents," accompanied by the word brusque and a tempo marking of ♪ = 200. Then, the next marking will be ♩ = 92.
This may seem confusing at first, but Boulez is actually setting the tempo of the subdivision of the piece, which is in eighth notes. This pattern remains the same throughout the rest of the movement, so we could say that the base tempo is ♪ = 184 in the calmer sections and ♪ = 200 when the "accidents" appear.
The calm passages always appear in measures with binary subdivision, such as 1/4, 2/4, 3/4, or 4/4. On the other hand, the sudden or "accidental" episodes are written in measures with ternary or irregular subdivision, like 2/8, 3/8, and 5/8. The binary subdivision gives a more stable and regular feeling, matching the calmer sections. In contrast, the irregular or ternary measures create a sense of instability, movement, or surprise, which makes the accidental episodes feel more abrupt.
From an interpretative perspective, I make two clear distinctions depending on the type of material I am playing: Flottant or Brusque. In Flottant, my sound is softer, more connected, and smooth, with a melodic phrasing in the tremolo and trill groups. In Brusque, I play with a much stronger, fuller, and sharper sound. It is important in Brusque that in the eighth-note groups with a mordent, the emphasis is on the eighth note and not the mordent, as the sound result is very different. For this reason, I recommend first practicing without the mordent and then adding it as a small ornament.
This difference in the material is also reflected in the spatialization. In the forte (Brusque) moments, the sound amplification will be at its maximum, while in the more relaxed parts (Flottant), the amplification will be lower. This helps to highlight the contrast between the two types of phrasing.
The breathing plan here is flexible, but my advice is to never breathe right before a Brusque episode. This would create a separation between the two types of phrases, making the abrupt and surprising character less effective. On the other hand, in Flottant, it feels more natural to breathe and take a bit of time. For example, I always breathe in the triplets or quintuplets (measure 8, 14, 20, 26, 31). I take a breath about every six measures, and this does not interfere with the music because it matches the beginning of phrases.
In Strophe II, Boulez continues developing the material from Transition I to II. The metronome marking is ♩ = 92, with the indication calmé and flottant. The only new element is calmé, but everything else is the same as in the previous movement. The material again consists of long note values, but this time only with tremolos (measures 1–15).
From measures 1 to 15, we see a stable dynamic at p, reaching pp at times and mf, but the dynamic range is not very wide or strong. This changes from measure 15 onwards, where Boulez develops a phrase from piano to fortissimo in just 2 measures. He uses groups of sixteenth notes arranged in different ways, with a triplet of eighth notes at the end of the phrase. The tension in this phrase comes from the intervals, in addition to the use of rhythm. The composer uses the F natural in measure 17 as a base and starts creating a series of larger descending intervals. At first, these intervals are connected by a slur, but from the last sixteenth note of the second beat in measure 17, they are separated and marked with a dot, creating a shorter articulation. I highlight this detail by using the small mordents placed with the F natural in this group of sixteenth notes, which adds more meaning. Since it is in a very short time for ornamentation, it creates tension. Spatialization will also help in this phrase, as the sound will be amplified to its maximum at the moment of fortissimo. I have emphasized this episode because it is an important point for the rest of the strophe.
Just after, in measure 18, we find a calmer episode, with closer intervals and in legato. Also, the tempo changes to ♩ = 88, with the indication tempo très variable. This is a quiet episode, going back to dynamics like p, pp, mp. At this moment, I like to think of phrasing as the movement of ocean waves coming to the shore. Boulez writes accelerando at the beginning of the measure, with a crescendo towards the middle of that measure, followed by a rallentando and decrescendo from the middle to the end of the measure. This means the important part should be right in the middle of each measure. It creates a phrase pattern: Tension -> Peak -> Relaxation. For me, this is like the movement of waves, and I think it’s a good image for interpreting this part.
Once the material and how to interpret it are understood, we see how Boulez organizes it by developing the calm episode over 4 measures, reducing the pulse speed in each one: ♩ = 88 – 84 – 80 – 76.
But just after (measure 22), the tense and louder fragment from earlier returns, although now much of the material is in eighth note triplets with a shorter duration of pulse. In the next measure (23), the calm episode returns, following the same pattern of slowing down each measure, which results in a natural rallentando, even in the notation. What starts as sixteenth notes in measure 23 will become quarter notes in measure 26. In measure 27, the tense fragment suddenly appears again, presented in triplets but with a reduced dynamic range, as it will reach forte but only on the last beat, which is different from the previous appearances, because once the intervallic descent starts, it is forte right away. I emphasize this in my interpretation because I think Boulez is reducing the dynamic as a way of showing the exhaustion of the material itself. In measure 29, the calm episode returns, but this time it only lasts two measures. Finally, the tense episode appears again, but in pp, and ends at mf, very different from the first times it appeared.
The connection point with the next "transition" is in measure 32, with the same note from the following section. In the next measure, I quickly change the character to match what follows. The tuning of the high F is important because it’s the note that links one fragment to another, and the tuning must be the same on stage as it is in the recording. The last two "real" notes of Strophe II are the ones the composer will use in the next section: high F and E♭.
This transition starts with "Très lié et soutenu, méditatif" at ♩ = 64. Although there is a comment from the composer saying the tempo can be slower than ♩ = 64, what matters most is playing without rush and freely. In addition, there's an indication above the first note that means "very sweet", so I try to make my sound as sweet as possible, supported by the pp and the close intervals which help control the legato. We also have the word "chemins", meaning "paths" and its a tribute to Berio, who composed a piece with the same word. I like to interpret this as if I am searching for something, but I have to go through mysterious paths that I don't know lead anywhere. In the music, I believe the melodic line can reflect this idea. The range used is from a low E to an A in most of the movement, so the composer combines the notes between those two, creating a mysterious melody made up of longer note values (♩, ♩., etc.) where we relax the phrase, supported by the diminuendo that appears with these values. Alongside these longer notes, there are shorter rhythmic combinations that lead the phrase into the longer notes (groups of sixteenth notes are mainly used).
There's a small episode I’d like to discuss. This episode is crucial because it’s the most agitated part of the whole movement, possibly the only one. It also extends the range to a high F. This episode happens from measures 13 to 19. The tempo doesn't change, so the tension is created through dynamics. When I play this piece, I make sure to prepare the phrase from measure 13 to measure 18, reaching the high F, and supported by the electronics and the f the composer indicates, I try to emphasize that note as much as possible to make it stand out and give a sense of climax. Also, that same high F is used at the beginning of the transition for 15 beats, so it is definitely an important note. We can think of taking our line to that climactic point (measure 17) and then relaxing the tension until the end, varying with the dynamics and various markings, but always in a mysterious and meditative atmosphere, with a good sound but somewhat uncertain, as if something else is about to happen.
What will help to connect this fragment with the next strophe is a tribute to the clarinet piece In Freundschaft by Stockhausen.
We will take the pianissimo pp as the starting point for this fragment, and in an exchange of quarter notes between C and D with a very firm character in the tempo, I will create a mysterious sound environment. The silences will be created with the tongue (not stopping the airflow and closing the opening between the reed and the mouthpiece), this way I shorten the previous note as much as possible, giving it a more dry and precise character. It is important to be careful in the last measure, as it should be ppp and it is a difficult moment.
3.6 Strophe III
In this strophe, we find the marking Très lent ♩ = 34/35. The first note is a C, and there is a mark above it indicating to perform a multiphonic on this note. It can be said that, although not precisely, during this period composers began to use multiphonic sounds – the only indication Boulez gives regarding this is "multiphonique", without specifying which harmonics to highlight or which fingering to use. Therefore, at this moment, the performer is free to choose the harmonic they prefer, as long as the C is the fundamental sound. On the other hand, this multiphonic is supported in ppp and abruptly resolves in sffz on a single 𝅘𝅥𝅮. The result is abrupt. Just one measure later, another note appears with the same "son multiphonique" marking, but this time on a low F# note. Again, the composer does not provide details on which harmonic is desired, but gives the instruction to perform this multiphonic with embouchure and to sound very distant, almost like a normal sound (There are two more multiphonics, in measures 8 and 11). In measure 8, it is on the G#, with no further specifications beyond a distant sound, and in measure 11 on a low B-flat, with the indication of embouchure, a sound close to a normal tone.
This multiphonic is difficult to produce with just the embouchure, although it is possible. Relaxing the jaw and adjusting the lip pressure on the reed to break the sound a bit works for me.
Right after this, in measure 6, there is a very static episode, rhythmically marked. The composer writes: "very regular slow beats." My interpretation is the following: the composer wants the main figures, in this case, the sixteenth notes (which appear with a staccatissimo mark and accent) and with sffz. Each group takes 1 beat, and it consists of the sixteenth note I mentioned and a small group of thirty-second notes that act as a "tail" to the sixteenth note. These small groups of thirty-second notes that accompany the main note are marked with staccato all the time, as well as a diminuendo. The rest of the beat is filled with a rest. Boulez always writes a rest that is the length of a dotted eighth note, regardless of how many notes are in the group of thirty-second notes, so I understand it is approximate, but not exact.
In my interpretation, I am very solid in the way I present the first note of each group, but the group that follows is done with a rubato that fits the phrase. In general, I play these groups of thirty-second notes as fast as possible to respect the rest as much as I can, but in groups like the ones from measures 14 to 16, I take a little more time, especially in the groups with many notes. For example, in measure 14, the 3rd beat has a group of 10 notes, which requires a little more time than the others to make all the notes clear.
The two versions I suggest below, I would choose Jerome Comte's version, as it is technically flawless, and the way he does the rubato in the short notes is the closest to my interpretive idea.
3.7 Transition de III a IV
Before the actual start of this transition, there is a small episode that begins with Très lent at 34/35 ♩, and with a D in ppp, sustained for 10 ♩ beats. This ends when the real transition from III to IV starts, continuing the D and finishing with an F# and a natural C. From here, we have a very fast tempo, 152 ♩ (Très rapide, in accelerating continuously and very gradually). I always try to keep in mind the tempos at the beginning and end of each movement, but especially in this one, where the agitation occurs in part because of the gradual and continuous acceleration of the tempo, going from 152 to 184 in 30 measures.
In this transition, one of the main points for me is the increase in tension. The material may seem repetitive and not have much development in the phrases at first, but when following everything the composer says, the entire transition makes sense. The tempo, dynamics, and spatialization all increase together. We’ve already talked about the tempo, which gets faster. The dynamics also increase, starting at ppp and ending at fff. The spatialization changes as well, moving between speakers in a circular way and getting faster. All of this builds a lot of tension because all the elements are getting stronger together, making the feeling of stress or tension even greater.
I want to point out that the phrases end when the composer writes a single sixteenth note with staccatissimo. If this doesn't happen, I don't really finish the phrase. This creates a percussive effect like the end of phrases in Sigle Initial. I believe that thinking about this helps in creating and shaping the melodies.
At the end of the piece, the tempo drops suddenly back to the tempo from the beginning of this transition, 152 ♩ (Très rapide).
3.8 Strophe IV
The first thing we find in this strophe is Très rapide a 152 ♩ (avec une extrême volubilité, mais ne pas jouer dans la force). "with extreme volubility, but not playing with force." It is a fast and technically difficult movement. I propose using a softer staccato to make the result smoother and faster, as even though there are no articulation marks, this doesn't mean we have to play a marked staccato. The dynamics range between pp and mf most of the time (with cresc. and dim. markings).
In this movement, slurs are very important, as they are written in unexpected places for the performer and change the meaning of the phrase.
The most commonly used material consists of groups of sixteenth notes, many of which can be divided into two. The slurs generally connect two notes, and many notes are repeated twice each time they appear. This repetition is important, as even Boulez gives instructions to change fingering to alter the color and intonation in passages the composer marks with an *, passages with notes repeated in pairs.
3.9 Transition de IV a V
In this transition, we have the indication of Très rapide 152 ♩ (la pulsation rythmique sou-jacente absolument inflexible). (the underlying rhythmic pulse is absolutely inflexible). Therefore, I will be very precise with the pulse in this transition. There is no tempo indication for the rest of the piece, so I will return to the character of Strophe III, where we see the sixteenth notes and the groups of thirty-second notes with a diminuendo, maintaining a very exact pulse. In this transition, we need to maintain the character of Strophe III, but in fragmented groups of sixteenth notes with mordents. The idea of attacking and decreasing the rest of the group of sixteenth notes is used again here. The constant diminuendo markings confirm this. The whole movement uses sixteenth notes in staccato. This effect is blurred by the mordents attached to the sixteenth notes.
The whole movement is written in 2/4. This measure can feel different because Boulez repeatedly starts the group of sixteenth notes on the second sixteenth note of the second beat of the measure, which is an unusual place to start a phrase. This can make the feeling of the measure change to something more complex. However, it will be crucial not to lose the feeling of 2/4, even if the rhythmic difficulty of the movement affects it. It’s important not to make mistakes in the meter because of the mordents, which is one of the biggest challenges in this movement. Each group of sixteenth notes contains at least one mordent, so it’s interesting to prepare each group of sixteenth notes separately.
This movement also plays a lot with spatialization, changing speakers every few groups of sixteenth notes, so it becomes unpredictable for the listener not knowing where the sound is coming from.
The dynamic will be as we’ve mentioned before, in diminuendo, but what stands out is the quick decrease in a wide dynamic range. The most extreme, from forte to pp, like in measure 26, in 1 beat of quarter note + sixteenth note mordent.
Highlight the use of rests as another element of the music, creating long moments of silence (there are movements where there are practically no rests). This use also helps the development of patterns, in this case groups of sixteenth notes, which feel like an abstract line, unexpected and surprising because of the way the sound material mixes with the rests.
3.10 Strophe V
In this Strophe, there are two indications at the beginning: Vif 200 quarter note and Rigide. This will be shown in the performance by being rhythmically precise. The material used will be groups of quarter notes with a mordent of eighth note tied to each quarter note. All of this is written in 2/4 and 3/4 time signatures. Rigide will be used in the part of the phrase considered to generate tension, with dynamics f or ff. The indication of poco rall will appear at the end of the phrase, after generating the tension and as a response to rigide, reducing the tempo when it appears, in dynamics of pp or ppp. This happens throughout the movement. I think it is important to associate the different elements I have mentioned so that every time they appear, they carry specific characteristics with them.
Highlight the articulation differentiation: In Rigide, the quarter notes are marked with staccatissimo and sometimes, staccatissimo with an accent. On the other hand, when we encounter poco rallentando, it will only be staccato. These changes will reinforce the "rigide" the composer indicates. The interpretation of the "melodies" develops again with the dynamics. I will take advantage of the f and ff dynamics to exaggerate these dynamics and develop the phrase. I will end the phrases with the poco rallentando, which generally repeats the last quarter note from Rigide, changing the mordent and the character to something softer.
The intervallic nature is complex, particularly when discussing the mordents. It is quite random, so it is important to prepare specifically, as there are constant changes, literally one appearing on each note of this Strophe. This creates a technically difficult movement, especially for an instrument like the clarinet, where register changes are complicated, especially so abruptly.
The musical gesture of this Strophe, the use of mordents and the sudden jumps in interval, is something recurrent in Boulez's music. It particularly reminds me of the material from Domaines. In fact, there is a "wink" to this piece in measure 104, which is exactly the same as fragment nº3 (Vif) from Cahier A.
3.11 Transition de V a VI
In this transition, we again encounter the indication Flottant (184 ♩), which recalls the transition from I to II, although with the metronome marking at twice the speed compared to the Transition from I to II.
The material presented at the beginning of this movement consists of long values (whole notes, half notes, and half notes with dots), with a mordent attached at the beginning and tremolos on these long values, something similar to Strophe II. This material lasts for the first 6 bars, all in soft dynamics (pp-mp).
The second phrase will abruptly change character to the other extreme, with Sub agité 200 ♩, and much more frantic material in f dynamics with a crescendo to ff. This will remind of the end of the phrase in Strophe II in Agité 200 eighth note. It lasts for 2 measures and consists of eighth notes with staccatissimo and a mordent attached, starting in f and ending in ff. In my interpretation, this moment must be played with great force and a marcato character, to make it sound abrupt compared to the previous fragment, which has different characteristics.
Then, the Flottant episode appears again (although two measures shorter), bringing calm to the development of the phrase. In measure 18, another Moderé episode will be presented. In these Moderé episodes, I play the phrase more melodically and legato. It is important to consider the transition from pp to f in just one measure. Right after Moderé, in measure 21, another Sub agité arises from the last note of Moderé.
After the small Sub agité, in measure 23, Flottant appears again, so I will change my sound to something much more subtle after the ff. Three measures later, another Sub agité, and finally, another Moderé, which will develop from the group of sixteenth notes more than in the other times it appears, in a way that will serve to transition to Strophe VI.
3.12 Strophe VI
In this Strophe, we find different material from what we've seen before. Different scales are developed in groups of four sixteenth notes and combined with groups of quintuplets, sextuplets, and septuplets. The phrase is developed through these groups I mentioned, and regarding the notes, it alternates between scales and "experimental" episodes with notes chosen from the preceding scale and some accidentals. The piece begins with a violent character, as the material presented generates a lot of tension due to the speed and agitated nature of the material. Almost the entire piece is in forte, although we will encounter very exaggerated crescendos up to fff. The climax where this beginning concludes is in measure 13, where a long high note is held for four measures. In fff, the composer writes strident, sans dim, so this must be translated very clearly in the performance, emphasizing the sound to the maximum and keeping it static dynamically. Essentially, every phrase that is created leads up to the long note value. In this way, an interpretive idea is built in line with Boulez's indications.
In measure 35, Plus Modéré appears at 100/104 ♩, in piano, with a crescendo leading into the next phrase. In each section where a scale is developed, there is a new element to add to our interpretation. These elements are the indication "accéléré" in the scales, and "souple" in the slower parts. Before measure 35, as mentioned, the phrases ended with long values (half notes). Starting from measure 35, the half notes will turn into more agitated episodes using shorter values.
From measure 50, it changes to Très modéré at 86/90 ♩, creating two large contrasts in a question-answer manner. This time, the more lively parts will use flattertongue and the indication "serré". The material will consist of groups of quarter notes. In contrast, the "answer" will be in quarter notes and triplets, where the composer wants to return to the tempo after the short serré episode, writing tempo, flexible.
At the end of this Strophe, a scale like the one at the beginning will be developed, but with a different rhythm (eighth-note septuplet and 8 sixteenth notes) and using flattertongue. This phrase will culminate in a low E, requiring a multiphonic (with embouchure) with a strong crescendo, which will serve as a link to the Sigle Final.
This sixteenth note material has a more whispered character, in dynamics pp-mp. In measure 4, an abrupt episode occurs that lasts one measure of 2/4. It is formed by a quintuplet that ends in an E-flat quarter note in staccatissimo and accent. The dynamics will go from p to ff in this measure, so it’s an abrupt moment, and we must emphasize this difference, as this idea will be developed several times afterward. In measure 10, something almost identical happens, except for an abrupt reduction of the tempo to 138 quarter notes and an accelerando in the same measure to the original tempo (152=quarter note). Boulez will alternate between these two states or characters and will continue using this duality until they merge into a continuous line by the end (starting at measure 63).
Starting at measure 31, Boulez adds the word "súbito" to the tempo indication (sub. Plus modéré, Sub. Agité...). The material, which comes from what has already been mentioned, is now divided into two forms. Sub plus modéré (116 quarter notes) will contain the more violent and abrupt parts, with staccatissimos, large dynamic jumps, and irregular groups of sixteenth notes. Sub agité (152 quarter notes) will contain the more flexible and calm material, with the use of legato, simpler rhythms, and the possibility of rubato.
In measure 63, Boulez writes the last tempo and character indication: Très agité (152 quarter notes) and adds "d’un caractère persistant et répétitif". It begins with the high re that will end with the note that finishes the piece, signaling the end is near. From this point, the previously mentioned material unifies and becomes part of the same character context, although differences can still be felt in more legato episodes and others that are completely staccato. In this section up to the end, I will be very precise rhythmically, but with a mysterious character (the spatialization will help by making the sound seem more distant). The final note will be the loudest moment of the entire piece, with a ffff dynamic, which will naturally decrease until the sound fades away.
