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’s music is always crossing thresholds of sound and space, of slowness and speed, of time at its grandest and most fleeting. But more than anything, you’re left with a sense of benign acceptance.
Threads collapsed expanded unthreaded. 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. 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. A glittering, shimmering, light-filled chord begins Transitoires ; the music then seems to stop time with its pregnant pauses, and with echoes of sounds — a guttural double-bass growl, a low gong, a mysterious middle-distance drone — that are sustained, seemingly into the infinite.
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. That music is a bridge to the Epilogue of the whole cycle, with its whooping chords for four solo horns, the sounds of a universe of sound rejoicing in itself.
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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.
Gramophone’s expert reviews easier than ever before. Show 25 25 50 All. 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. This religious element aside, it is striking, when we read his student journal entries preserved at the Paul Sacher Foundation, where I studied themhow presciently he saw the musical style he would go on to create. How, then, Grisey asked himself, to reintroduce dynamism into this post-tonal material?
His achievement has often been reduced to yet another of new music’s fetishistic labels, “spectralism” — a category that Grisey had rejected by the end of his life.
Partiels – Wikipedia
So here’s the opening of Transitoiresthe fifth partielss, for large orchestra, of the ever-increasing musical forces required for Les Espaces Acoustiques the cycle starts with a solo viola and ends with a huge orchestra and four solo ggisey in the final part, Epilogue. Grisey was raised in rural Belfort, near the West German and Swiss borders, as the only child of working-class parents. To hear Grisey’s music is to have adventures in the stuff of sound that will change your ears for ever.
Few composers could claim to have initiated a whole style.
The all-time greats Read about the artists who changed the world of classical music. After studies at the Hohner Academy in Trossingen, he entered the Paris Conservatoire, where he won all the main prizes, followed by a period at the Villa Medici and further studies in acoustics.
Or, for another kind of mobile time, hear how Grisey makes a solo contrabass clarinet swing, slide paartiels stride with mythic abandon in his evocation of Anubis-Nouta piece written for the Canadian composer Claude Vivierwho was murdered in Griseyy 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.
Widely cultured — he spoke a geratd 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 found his solution — and the basis of spectral music — parteils by accident. For Grisey, the possibilities of this approach were microscopic yet infinite. Another long-term project of Grisey’s later years was to write music for solo voice. 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.
This latter quality is key: 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.
Terrible coincidence paetiels it was, the sense verard expressive catharsis in that performance of Quatre Chants was only partly to do with Grisey’s own death; much more, it was down to the astonishing musical space that this piece conjured in its unflinching exploration of existence. The performance, by the London Sinfonietta, conducted by Grisey’s friend George Benjamin, was never supposed to be a memorial for Grisey, but his sudden death at the age of 52 the previous November meant that these death-haunted songs would be his last completed work, music that imaginatively explores the existential inter-zone between life and death.
The harmonic implications of the overtone series also allowed Grisey to create a hierarchy within his micro-tonally enriched musical world, which gives geraed music a monumental dynamism.
A guide to Gérard Grisey’s music |
By clicking on an grisy link, you accept that Skimlinks cookies will be set. Grisey timeline Studies at the Paris Conservatoire. Posthumous London world premiere of Quatre chants pour franchir le seuil.