Came across this little arts brief for an upcoming concert featuring Boulez’s Le Marteau sans Maître.
Now, from the above sentence, I’m thinking to myself, perhaps, this kind of stuff. Not bad. Part Allman Brothers, part Ennappadam Venkatarama Bhagavatar. Suffices to say (etymology link), I’m thinking fusion of some sort or another. Or if I were a tad more classical savvy, maybe I’m thinking this fashion of fusion. Not exactly my bag, but certainly fusiony, to be sure.
My point is that it’s to everyone’s benefit, especially the layperson’s, that the description matches the product. But here’s what this description did:
At this point I'm asking myself, how did this go so wrong, so quickly?
I bet I know; and I bet, deep down, you know, too.
The instrumentation was quite novel for Western music at the time , lacking any kind of bass instrument, and drew some influence from the sound of “non-European” instruments, the Xylorimba recalls the African Balafon, the Vibraphone [the] Balinese Gamelan, and the Guitar the Japanese Koto…
Unfortunately, whoever pilfered the Wiki entry and, subsequently, wrote the little concert blurb must not have finished reading the entire sentence.
…though “neither the style nor the actual use of these instruments has any connection with these different musical civilizations” (“Speaking, Playing, Singing” (1963) in Boulez 1986, 341).
What’s that you say? A quote from Boulez, himself! Cited, even! (At least an attempt at a citation. To be sure, I double-checked its veracity.)