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Incises (1994/2001) and Sur Incises (1996/1998) are two related works of the France composer Pierre Boulez. The pitches of the tone row used in Incises and Sur Incises are based on the Sacher hexachord, the same as those used in the rows for Répons, Messagesquisse, and Dérive 1.Campbell, Edward (2010). Boulez, Music and Philosophy, p.206. .
The work plays with contrasts of gestures and textures, for instance, repeated pitches or chords in an even tempo interrupted by violent melodic arcs, or sparse chordal interjections without discernible rhythm over long held sonorities.
Reviewing a 2005 performance of Incises, Tim Page described the work thus: " Incises is charged with a bright, cold, hard brilliance, like a spray of crushed ice. It is dense with eventseven when it is silent for a moment, Boulez's music never really 'rests'but also far more generous in its emotional expression than much of his earlier work."
Based on the material of Incises, Sur Incises is a two-movement work (the movements are called "Moment I" and "Moment II") for three , three , and three percussion parts, which use a variety of tuned percussion instruments: vibraphone, marimba, glockenspiel, steel drums, tubular bells, and crotales. Here the sounds of the piano in Incises are broken into component parts played by the harps and percussion, and they are deployed across space by spreading the three groups apart in the performance area. This kind of reworking of an earlier piece is characteristic of Boulez, the first instance being Structures.
Anthony Tommasini described a 1999 performance of Sur Incises:
Paul Griffiths heard echoes of Debussy's L'isle joyeuse in Sur Incises, while others have noted its debt to Stravinsky's Les Noces or Bartok's Sonata for Two Pianos and Percussion. Griffiths described the work:
Tom Service wrote in The Guardian that:
Service described a 2008 performance: "There's a polish and a voluptuousness about this music that's instantly appealing and gripping for the whole experience of the piece. A packed Festival Hall gave Boulez a rock-star reception after the music's coda."
Of the two works, Allan Kozinn preferred Incises, writing: "that work's Romanticism becomes portentousness in the update, and its sheer virtuosity have given way to abstraction and clockwork precision."
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