25 years after Grisey’s own ‘Partiels,’ all that the self-styled specialists in ‘ Modulations’ for 33 musicians comes next, then ‘Transitoires’ for large orchestra. Stream Gérard Grisey – Modulations by Ens. intercontemporain from desktop or your mobile device. Gérard Grisey was a twentieth-century French composer of contemporary classical music. Les espaces acoustiques – IV – Modulations, for orchestra ( –77); Sortie vers la lumière du jour, for electric organ and 14 musicians ( ).
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University of Grixey Press, Twentieth century composers, like those of the fourteenth and fifteenth centuries, have speculated considerably about durations. Skip to main content.
Though useful as methods of working, such speculations still fall far short grisy sound as it is perceived. Contemporary Music Review, Some items to consider. Some of the writings were translated to English by Joshua Fineberg, so always when possible, we use the English versions. How acute the senses that would be able to perceive them!
The finest we gfisey had in years. According to Grisey, the structural procedures used by those composers had enlarged the gap between written and perceived music.
For these musicians, some of the scores that were composed during the preceding decades were so detached from the listening experience that they could be more meaningful as objects of discussion or research than as a work of art meant to be listened.
Donate and keep us afloat. Then I finally decided to compose a complete cycle, starting with a piece for a solo instrument and ending with a large orchestra.
Gérard Grisey – Wikipedia
How high the development of spirit that could find modualtions in such subtle things! Everything is in motion. List of music students by teacher: Espace Acoustiques both inhabits and eschews the avant-garde of its period, still sounding fresh and relevant from its origins in the s.
Les Espaces acoustiques seems to me a great laboratory moodulations which the spectral techniques are applied in a number of different situations from the solo instrument to the large orchestra.
Transitoiresfor large orchestra 6. He expressed the opinion that: But it is one which, I firmly believe, will be realized.
According to Joshua Fineberg, Tristan Murail stated that spectralism is a term that refers to an attitude towards music and composition, instead of a collection of techniques or a particular style. The analysis of sonograms of the brass instruments and their mutes enabled me to reconstitute their timbres synthetically or, to the contrary, distort them. Contemporary Music Review, 2. The English composer Jonathan Harvey b. In the conclusions, there are specific references to aspects observed in the cycle, but also comments on the difficulties modilations possibilities presented throughout this griset.
Fineberg also mentions that a shared characteristic among the spectralists is the consideration of music as sound, the practice of composition as the sculpture of sound in time 3. As a support for his classes, Grisey prepared a text called Tempus ex Machina, the same name of a piece for six percussionists that he composed in the previous year.
Prologuefor solo viola 2. The faster moving contrasts of the second half of Transitoires and a return to a solo viola section sets us up for Epiloguethe only piece of the cycle not playable separately as it acts as griey conclusion to Transitoires.
Modulationsfor thirty-three musicians 5. Sinfonie Concertanti for two flutes and orchestra.
They have applied to time the proportions identical to those one finds in spatial concepts: One of the finest versions. Performed with remarkable skill and very well recorded — indeed, with a suitably spacious perspective, this is a valuable document of some significant 20 th century music. The importance of this cycle as a reference in spectral music and a key work for the comprehension of some of the technical devices created by Grisey is commented by the composer: The filter is removed, time is drawn apart, the spectra explode into 55 overtones, and true spectral polyphony runs the gamut of the tonal space.
This relatively brief final movement is a summation and destruction of what has gone before, the beauty of the upper harmonic resonances becoming subsumed in a kind of rampant iconoclasm of trampling rhetorical horns, sliding strings and pedal tones that shift and descend with irresponsible abandon.
Partielsfor eighteen musicians 4. Lebaron, Anne, and Denys Bouliane.
Due to the care constantly brought to bear, not on the material itself but on the void, on the distance seperating the perceived instant from the following instant degree of change or evolutionI think that I have somewhat approached the essential time, no longer chronometric time but psychological time and its relative value. On commission, I wrote the other three pieces of the cycle: Views Read Edit View history.
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Modulations — SMCQ
See what you will get. This approach to composition was later called spectralism by the composer and philosopher Hugues Dufourt b. Enter the email address you signed up with and we’ll email you a reset link.