The premiere of French composer Gérard Grisey’s Quatre the note that Grisey took as the starting point for his ensemble work Partiels. PDF | The spectralism of Gérard Grisey: from the nature of the sound to the nature tween Périodes and Partiels, there is a correspondence between the closing. Debussy is one; Webern, another; Gérard Grisey – who would have been 70 this The opening of Grisey’s ensemble work Partiels () is.
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Grisey was the initiator of spectral music a name invented by otherswhich, emerging in Paris in the s, reinserted harmony to post-tonal composition on a new footing. Show 25 25 50 All. The all-time greats Read about the artists who changed the world of classical music. An accordion virtuoso in his teens ranked as one of the best accordionists in the worldhe also excelled at school, and his Marianist education left him with a devout Catholic faith up till his early 20s.
After studies at the Hohner Academy in Trossingen, he entered the Gerzrd Conservatoire, where he won all the main prizes, followed by a period at the Villa Medici and further studies in acoustics. By ggrisey on an affiliate link, you accept that Skimlinks cookies will be set. It’s not just those Quatre Chants: Topics Music A guide to contemporary classical music. Whether you use the “spectral” label or not, Grisey’s music is about sound as material, as physical element, as living phenomena.
Widely cultured — he spoke a few languages and was as knowledgeable about the art of the Quattrocento as about the culture of Ancient Egypt — Grisey retained from his early faith a tendency to the mystical, and he often couched his music in images of death. Grisey was raised in rural Belfort, near the West German and Swiss borders, as the only child of working-class parents.
Partiels – Wikipedia
How, then, Partiiels asked himself, to reintroduce dynamism into this post-tonal material? Whether you want to see what we think of today’s latest releases or discover what our critics thought of your favourite recordings from the past, you will find it all in our full-searchable Reviews Database.
If you analyse the complexity of the harmonic series of a single note played on a particular instrument — say a low E on a trombone — you find a teeming world of musical possibility. As he said, “we are musicians and our model is sound not literature, sound not mathematics, sound not theatre, visual arts, quantum physics, geology, astrology or acupuncture”.
A guide to Gérard Grisey’s music
Or, for another kind of mobile time, hear how Grisey makes a solo contrabass clarinet swing, slide and stride with mythic abandon in his evocation of Anubis-Nouta piece written for the Canadian composer Claude Vivierwho was murdered in So much for a decidedly spectral sketch of the theory, but let’s gerwrd stuck into what Grisey wanted us to get stuck into, which partjels the stuff of sound, the sounds his music makes. Order by newest oldest recommendations.
But it’s part of the paradox of Grisey’s music that just as he can slow down time so that you feel you’re inside, say, a stretched-out gong stroke for 20 minutes, he can also speed it up with surreal velocity. Gramophone products and those of specially selected partners from the world of music. If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information.
That’s true above all in the ethereal intertwining of the flute melody and the soprano voice in the final Berceuse movement, music which realises the post-cataclysmic serenity of a passage from the Epic of Gilgamesh, with its open-ended final words, “I looked at the sea’s horizon, the world …”. Posthumous London world premiere of Quatre chants pour franchir le seuil. But in retrospect, the “threshold” that the Four Songs crossed wasn’t only the event horizon that separates existence from non-existence, it was the door to a new kind of music that Grisey tragically would not have time to explore.
Classical music George Benjamin France blogposts. He doesn’t say “sound not metaphor”, incidentally, because his music is not some abstract sonic science lesson, but about how sound affects our ears, about how we hear, about how it makes our brains and bodies vibrate, and what it can make us feel.
Few composers could claim to have initiated a whole style. The principles of spectralism are easy to describe, and like all good musical cliches, there’s more than a grain of truth in the term. That E, by the way, is exactly the note that Grisey took as the starting point for his ensemble work Partielsthe third piece of his epic, six-part cycle Les Espaces Acoustiques.
The links are powered by Skimlinks. Grisey’s mastery of a gigantic spectrum of sound, texture and feeling makes his music some of the most special of the late 20th century. But where many of those imitators got caught up in the academic business of composing ever more complicated spectral chords, often lacking is the dramatic sense Grisey possessed. There are apocalyptic visions listen to the start of the fourth songThe Death of Humanity, to hear the world implode in a black hole of percussion writingreflective resignation and spectral stasis in these songs.
First lecture at the Darmstadt Summer Courses, telling his listeners about a new musical movement afoot in Paris. This latter quality is key: His achievement has often been reduced to yet herard of new music’s fetishistic labels, “spectralism” — a category that Grisey had rejected by the end of his life.
Listen to the incantatory power of the love-obsessed voices and electronics of Les Chants de l’Amour for real sonic proof of what I’m on about. The harmonic implications of the overtone series also allowed Grisey to create a hierarchy within his micro-tonally enriched musical world, which gives his music a monumental dynamism.
Grisey’s music is always crossing thresholds of sound and space, of slowness and speed, of time at its grandest and most fleeting. For Grisey, the possibilities of this approach were microscopic yet infinite.
Partiels — SMCQ
All our journalism is independent and is in no way influenced by any advertiser or commercial initiative. Skip to main content. For Grisey, every single sound was a living, breathing entity; it was only logical that he should want to explore what happens at the end of the sonic life-cycle as well as the start.
Loading comments… Griset loading? Grisey himself spoke of the difference between the sort of super-slow time experienced by whales as opposed to the frenetic time-scale of insects.
The essential idea is the creation of a new way of structuring the parameters of music by exploring the harmonic series, the overtones that are part of every musical note. Grisey found his solution — and the basis of spectral music — quite by accident.