Abstract
Pierre Boulez reminds us that one of the sources of the form ofAnthèmes 1 is the plainchant Lamentations de Jérémie, which he sang in his youth during the office of the First Nocturne of Holy Thursday. The most striking feature of this piece is the setting to music of the Hebrew letters separating the various verses of the text. Boulez translates this idea by using the harmonics of the solo violin to separate the sections ofAnthèmes , calling the harmonics "letters". He insists that his music uses only the structure of the Lamentations, not their content. In fact, the music itself often suggests the opposite, as examples will show. It is unlikely that a reader as sensitive as Boulez would refer to a work of such expressive content solely for reasons of form.
When discussingAnthèmes 2 with Peter Szendy on the occasion of its first French performance in October 1997, Boulez explains why he renounced his belief that music had to be athematic. Jonathan Goldman has admirably described and illustrated what constitutes a "theme" in the Anthèmespieces . It's important to note the extent to which the use of themes influences the compositional task by adding an expressive dimension. At the same time, the choice of digital techniques to realize the electronic accompaniment in Anthèmes 2 strongly defines and limits its expressive potential. A critical discussion ofAnthèmes 2 's computer score will provide the backdrop for a more general assessment of the piece.
