Boulez, Pierre

with the title at the head of the first page ("I. Conduite...René Char"), the full score for soprano and contralto and orchestra, notated in black ink on up to thirty-two staves per page, including the changing metres indicated on the top stave or above the music, WITH SIGNIFICANT ADDITIONAL MUSIC IN PENCIL, instructions for the conductor in ink ("l'unité de valeur étant le double-croche...la notation de le mesure est faite uniquement d'après se principe..."), the score marked up for the conductor in blue and red crayon, also by Boulez, including cues for the soprano and alto voices, comprising a complete movement of fifty-two bars.

8 pages, large folio (c.35 x 27cm), 32-stave paper, no place or date, c.1951-1959

Condition is described in the main body of the cataloguing, where appropriate
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

'Conduite' is the first movement of Le visage nuptial : poème de René Char : pour soprano, contralto solos, choeur de femmes et orchestre, published by Heugel of Paris in 1959. This is still a working score, with a great deal of additional music inserted in pencil on the staves, particularly for the string and wind parts. Boulez has also designated the two vocal parts here with crayon initials; they were originally notated together on one stave, whereas, in the 1959 edition, they are allotted separate staves. Originally composed in 1946 for a chamber ensemble including Ondes Martenot and percussion, the work was revised by Boulez in 1951-1952 for full orchestra, including xylophone, celesta, glockenspiel, vibraphone, timpani and a large "battery" of percussion.