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I putted it because i want to no how much people now Pierre Boulez or listening to modern music (i do).

I prefer his conducting interpretations honestly.

Using materials in other hands would sound contrived or merely contorted, Boulez continues the French tradition of Debussy and Ravel and Messiaen by being able to create some extremely beautiful sound textures. And his sense of pace timing is exquisite, at least in the best through-composed pieces.

--Sixtus

Three words: Pli Selon Pli.
His work is very individual, but he never found his method really. So while we have le visage nuptial, marteau, pli selon pli, ombre double, piano sonata # 2, etc. his other works don't necessarily work.

Apparently Boulez himself doesn't think well of some of his works, especially the early ones, some of which (like Polyphonie X from the early 1950s) have been essentially withdrawn. But that piece at least is unremittingly post-Webern serialism at its nearly unlistenable worst -- no great loss (a recording survives). Plus, he seems to have a problem leaving other works alone and keeps tinkering with them. How different might it be if he actually had to earn his living as a composer, not as a conductor.

--Sixtus

Isn't Boulez one of the founders of IRCAM? That alone in itself make him an important composer, thinker, and representative of French music. I have a hunger for contemporary music and remain pretty open minded about contemporary composers in general. I appreciate the use of technology, computers next to conventional instruments. I can also appreciate the difficulty and artistry required to play Boulez's music.