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Le marteau sans maître
''Le marteau sans maître'' (The hammer without a master) is a composition by the French composer Pierre Boulez. First performed in 1955, it sets the surrealist poetry of René Char for contralto and six instrumentalists.
== History ==
Before ''Le Marteau'', Boulez had established a reputation as the composer of modernist and serialist works such as ''Structures I'', ''Polyphonie X'', as well as his infamously "unplayable" ''Second Piano Sonata'' . ''Le Marteau'' was first written as a six-movement composition between 1953 and 1954, and was published in that form in the latter year, "imprimée pour le festival de musique, 1954, Donaueschingen" (though in the end it was not performed there) in a photographic reproduction of the composer's manuscript by Universal Edition, given the catalog number UE 12362. In 1955, Boulez revised the order of these movements, and interpolated three newly composed ones . The original, six-movement form lacked the two "Bel édifice" settings and the third ''commentaire'' on "Bourreaux de solitude". In addition, the movements were grouped in two closed cycles: first the three "Artisanat furieux" movements, then the three "Bourreaux de solitude" ones, otherwise in the order of the final score. The first movement, though fundamentally the same composition, was originally scored as a duet for vibraphone and guitar—the flute and viola were added only in the revision—and numerous less significant alterations were made to playing techniques and notation in the other movements .
It received its première in 1955 at the 29th Festival of the International Society for Contemporary Music in Baden-Baden . Boulez's work was chosen to represent France at this festival. The French members of the committee were against this, but Heinrich Strobel, then director of the Baden-Baden Sudwestfunk Orchestra, scheduled to give all of the concerts at the festival, threatened to withdraw if it was not . The first performance was given on June 18, 1955 conducted by Hans Rosbaud, with Sybilla Plate as the solo singer .
Boulez, notorious for considering his works to be always "in progress", made further, smaller revisions to ''Le Marteau'' in 1957, in which year Universal Edition issued an engraved score, UE 12450. In the years that have followed, it has become Pierre Boulez's most famous and influential work .
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