Music since Grisey: Quatre chants pour franchir le seuil. Forty years of modern composition and what this music means to me. Index here. The premiere of French composer Gérard Grisey’s Quatre Chants pour Franchir le Seuil – Four Songs for Crossing the Threshold – was. Documents Similar To Grisey – Quatre chants pour franchir le Rihm – Jagden and Formen. Uploaded by. alex_ Matthias Pintscher – Sonic Eclipse I .
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Music since Grisey: Quatre chants pour franchir le seuil – The Rambler
Aside from the singer, the auatre level never rises above the barely audible. He lives with his husband in Berlin. To hear Grisey’s music is to have adventures in quqtre stuff of sound that will change your ears for ever. There are many layers of construction and architecture in this Grisey work. 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 …”.
You are commenting using your Facebook account. 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 chantz double-bass growl, a low gong, a mysterious middle-distance drone — that are sustained, seemingly into the infinite.
Threads collapsed expanded unthreaded. The work crystallised for me a number of ideas about music that are important in how I see and hear things 6 years later. I believe that right up until the end of his life this conviction had not changed.
A guide to Gérard Grisey’s music
We had weekly courses devoted to contemporary repertoire, and they often left me cold. By clicking on an affiliate link, you accept that Skimlinks cookies will be set. 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.
The beginning of the fourth song sounds as though it might be this large movement: To find out more, including how to control cookies, see here: It puts you on edge before it starts and after it finishes. 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 sonic phenomena, a single note, on to the largest possible scale.
GÉRARD GRISEY: Quatre chants pour franchir le seuil
Most of the piece is extremely quiet, and at several points the percussionist in charge of this giant metallophone has to play rapid, pianissimo, arpeggios across the full range of the gongs spread in front of him. Post was not sent – check your email addresses! For Grisey, the possibilities of this approach hrisey microscopic yet infinite.
There is a physicality and an architectural power in his music that remains completely overwhelming. Grisey’s music is always crossing thresholds of sound and space, of slowness and speed, of time at its grandest and most fleeting.
I do not think he ever believed that composers should not be nourished by extra-musical ideas from unrelated fields. They are the first real pitches in several minutes, and they resemble a shaft of light, even if the way out remains obscured. With the sound level so low, and each performer in the small ensemble very exposed, the tension of changing, from quarte, one sax to the next to the next every few bars is palpable.
The essential idea is the creation of a new way of structuring the chanys of music by exploring the harmonic series, the overtones that are part of every musical note. 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 the final part, Epilogue.
Quatre chants pour franchir le seuil, Gérard Grisey
Show 25 25 50 All. Loading comments… Trouble loading? Some relief is offered — again it feels like true relief at first — by a chiming two-part line qiatre microtonal just intonation?
But more than anything, you’re left with a sense of benign acceptance. It was only after the first musician randomly and unceremoniously which later turned out to have been quite dramatically entered and started playing that I realized the piece had been started long before any notes were played.
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 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.
They give the line something discursive and archaic, like a shaman telling a story by a fire. His apparently warm temperament never interfered with the intellectual rigor of his work, but I think you can feel it anyway—a certain lack of Boulezian austerity. 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.
These musics are patterned tapestries, rich to the ear both from afar and up close. Classical music George Benjamin France blogposts.
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. Sometimes it takes a moment of alienation, vulnerability, or loneliness to enter inside a piece of music.
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