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The article examines the instrumental “Livres” [“Books”] by Pierre Boulez, Philippe Manoury, Witold Lutoslawski and Peteris Vasks from the position of unity of genre. Unlike compilations of pieces with identical titles from the Baroque period, the 20th century oeuvres present themselves as cyclical compositions endowed with complex philosophical conceptions fixated within their respective systems of musical grammar. The metaphorical titles arouse associations of extra-musical varieties. For cultures formed by religions founded on the Holy Scriptures the “book” becomes a symbol for the authoritative word. Each of the composers chose his own particular great Book for his model. Boulez and Manoury were inspired by the poetry of Stephane Mallarme. Lutoslawski and Vasks built their conceptions in analogy with the Holy Scriptures. The instrumental “books” by these composers were formed as different types of cycles. The nonlinear cycles of Boulez and Manoury were organized according to the principles of the hypertext. The linear cycles of Lutoslawski and Vasks are characterized by an established succession of the movements and contain intonational narratives. The instrumental “livres” [“books”] of the 20th century may also be examined as guidebooks for new musical techniques, as well as teachings of the harmony of the universe. Keywords: “Livre pour…,” Pierre Boulez “Livre pour Quatuor,” Philippe Manoury “Le Livre des Claviers,” Witold Lutoslawski “Livre pour Orchestre,” “Peteris Vasks “Book for Cello,” compilation of pieces, cycle.

The Genre of the Instrumental “Livre” in 20th Century Music: a History with a Transformation