(That E, by the way, is exactly the note that Grisey took as the starting point for his ensemble work Partiels, the third piece of his epic, six-part. View credits, reviews, tracks and shop for the Vinyl release of Partiels / Dérives on Discogs. Grisey Partiels Master Score – Free download as PDF File .pdf), Text File .txt) or view presentation slides online.
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Topics Music A guide to contemporary classical music. Grisey’s mastery of a gigantic spectrum partiele sound, texture and feeling makes his music some of the most special of the late 20th century.
This article contains affiliate links, which means we may earn a small commission if a reader clicks through and makes a purchase. It’s not just those Quatre Chants: So much for a decidedly spectral sketch of the theory, but let’s get stuck into what Grisey wanted us to get stuck into, which is the stuff of sound, the sounds his music makes. So here’s the opening of Transitoiresthe fifth part, 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 horns in ppartiels final part, Epilogue.
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A guide to Gérard Grisey’s music
He doesn’t say “sound not metaphor”, incidentally, because his music is not some abstract sonic science lesson, but about how partils affects our ears, about how we hear, about how it makes our brains and bodies vibrate, and what it can make us feel.
All our journalism is independent and is in no way influenced by any advertiser or commercial initiative. But more than anything, you’re left with a sense of benign acceptance.
The links are powered by Skimlinks. Order by newest oldest recommendations. Grisey himself spoke of the difference between the sort of super-slow time experienced by whales as opposed to the frenetic time-scale of grsey.
A guide to Gérard Grisey’s music | Music | The Guardian
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”.
The principles of spectralism are easy to describe, and like all good musical cliches, there’s more than a grain of truth in padtiels term. 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 partiells velocity. Loading comments… Trouble loading?
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. 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 …”.
The essential idea is the creation of a new way of structuring the parameters of music by aprtiels the harmonic series, the overtones that are part of every musical note. 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.
Partiels – Wikipedia
That E, by the way, is exactly the note that Grisey took psrtiels the starting point for his ensemble work Partielsthe parriels piece of his epic, six-part cycle Les Espaces Acoustiques. Classical music George Benjamin France blogposts.
Yet the composer had already given the world visionary, inspirational and complete music. 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. Terrible coincidence as it was, the sense of 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.
As with so much of Les Pqrtiels Acoustiques, Transitoires makes sounds that are simultaneously ancient and modern: 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. Whether you use the “spectral” label or not, Grisey’s music is about sound as material, as physical element, as living phenomena. By atomising sounds in this way, he could structure large pieces of music and spans of time, such as Partielsthat were based on an intense process of listening to an individual sound, exploding the smallest of gridey phenomena, a parrtiels note, on to the largest possible scale.
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For Grisey, the possibilities of this approach were microscopic yet infinite. 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 Threads collapsed expanded unthreaded.
Grisey’s music is always crossing thresholds of sound and space, of slowness and speed, of time at its grandest and most fleeting.
There gisey 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 pargiels stasis in these songs.
To hear Grisey’s music is to have adventures in the stuff of sound that will change your gdisey for ever. 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 grsey 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 his music a monumental dynamism.