AndanteWithout further ado, allow me to resurrect what has been out of circulation for nearly two decades. To this day, it remains downright puzzling but still profoundly beautiful.
Pierre Boulez's masterpiece, Pli selon pli, is a portrait of Mallarmé, whose Surrealist approach is aptly mirrored by Boulez's post-serialist musical language. The verse is a succession of vivid, picturesque, even sinister images unfolding cheek-by-jowl and making no linear sense — it's a series of non sequiturs, inviting you to contemplate the poetic images both alone and in juxtaposition with each other. This verse can engage listeners on a highly personal level, because no two encounters with its imagery are likely to yield anything close to the same reaction. Boulez's natural mode of expression could hardly be more distant from functional, essentially predictable harmony, so his music lends itself to Mallarmé's poetic cognitive dissonance—particularly given the composer's keen sense of color and proclivity for ejaculatory solos, duets and (for lack of a better word) instrumental collisions.
Scénario du film Passion, Godard constructs a lyrical study of the cinematic and creative process by deconstructing the story of his 1982 film Passion. “I didn’t want to write the script,” he states, “I wanted to see it.” Positioning himself in a video editing suite in front of a white film screen that evokes for him the “famous blank page of Mallarmé,” Godard uses video as a sketchbook with which to reconceive the film. The result is a philosophical, often humorous rumination on the desire and labor that inform the conceptual and image making process of the cinema.