Ins Unbekannte

The ensemble piece Polyphonie X is shrouded in legend—largely unheard, but often cited as one of the earliest examples of serial music, as a scandalous success at the Donaueschingen Music Days in 1951, and as a cornerstone of Pierre Boulez's early experimental work. However, the fact that the piece was withdrawn shortly after its premiere long stood in the way of an adequate scholarly or artistic reception.
This study provides a comprehensive source-critical analysis of both the three completed movements of Polyphonie X and the early version Première Polyphonie. The analysis is framed by a contextualization of the history of composition and reception, as well as an aesthetic-theoretical discussion. Of particular interest are points of reference for the reflection and analysis of contemporary music.

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