Negis In this movement, Gilgamesh has just survived the Flood. The first song, The Death of the Angel, is hardly less extraordinary. This piece has a direct sentiment at the heart of it. The four songs are separated by interludes, the hiss of a bass drum skin being brushed in large circles, a noise that grows from the ambient sounds of auditorium air conditioning and audience breathing. 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 griey gong, a mysterious middle-distance drone — that are sustained, seemingly into the infinite.
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There are apocalyptic visions listen to the start of the fourth song , The Death of Humanity, to hear the world implode in a black hole of percussion writing , reflective resignation and spectral stasis in these songs. 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.
Yet the composer had already given the world visionary, inspirational and complete music. 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. 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 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 cycle Les Espaces Acoustiques. For Grisey, the possibilities of this approach were microscopic yet infinite.
By atomising sounds in this way, he could structure large pieces of music and spans of time, such as Partiels , that 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.
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. 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 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. 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. 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.
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-Nout , a piece written for the Canadian composer Claude Vivier , who was murdered in Five key links.
A guide to Gérard Grisey's music
Vizuru His approach and his music remain the single most visionary and important body of work from the late 20th century. In this playlist, I wrote about some of my favorite works. You are commenting using your WordPress. The links are powered by Skimlinks. Boring Like A Drill. He studied composition in Salzburg and Basel, then worked in the travel industry for two years. Whatever extra-musical ideas might have led you to create your sonic objects, they in no way validate them.
GRISEY QUATRE CHANTS PDF