Chris Arrell THE MUSIC OF SOUND: AN ANALYSIS OF PARTIELS BY GÉRARD GRISEY SPECTRAL WORLD MUSICS Proceedings of the Istanbul Spectral. Gérard Grisey’s Modulations () is the fourth installment of Les espaces Périodes for seven musicians and Partiels for eighteen musicians. Grisey’s score is full of nuances that are not just an arbitrary result of an. 25 years after Grisey’s own ‘Partiels,’ all that the self-styled specialists in . 8 Gerard Grisey: Périodes-for seven instruments [score],Ricordi , Forward.
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Loading comments… Trouble loading? All our journalism is independent and is in no way influenced by any advertiser or commercial initiative. If you can’t see your post in Newyou may have been caught in the spam filter. Message us and we’ll have a look. It varies from instrument to instrument, but I can tell you as a horn player sometimes its very difficult to pick up strange intervals out of nothing without some kind of audio cue it or an easily identifiable interval being played in another instrument or there is a line leading up to it.
Whether you use the “spectral” label or not, Grisey’s music is about sound as material, as physical element, as living phenomena. Glad there is finally a complete video of this on youtube.
Grisey, Gérard – Partiels (Mixed Ensemble)
Contrabass and Ensemble Pour Trois Musiciens. We do check automoderated posts to make sure nothing was wrongly caught in there, but if you believe your post was wrongly removed, feel free to message us. 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”.
This could practically be a film score today.
I guess I just wonder why more people don’t take the Stockhausen route and do purely electronic stuff. Some people, me included, just don’t enjoy working with computers, samples, or direct sound manipulation.
Grisey, Gérard | Music Shop Europe
And that includes writing things that are, frankly, very bad. He doesn’t say “sound not metaphor”, incidentally, because his music is not some abstract sonic science lesson, but about how sound affects our ears, about how we hear, about how it makes our brains and bodies vibrate, and what it can make us feel.
Transitoiresfor large orchestra 6. Modulationsfor thirty-three musicians 5.
Partiels (Mixed Ensemble)
Pxrtiels definitely try to write idiomatically – that’s where the study of orchestation comes in. Too many student composers seem to think of instruments as some kind of automatic note-producing machine, and write lines that are simply un-negotiable. I don’t know, I’m just thinking out loud here to be honest. Some of the writings were translated to English by Joshua Fineberg, so always when possible, we use the English versions.
Anubis et nout 2 pieces for baritone or bass saxophone. Grisey commented the composition of the other pieces of the cycle: My professor just performed Le Noire De l’Etoile for his th concert; the score is absolutely mind boggling to look at.
Partielsfor eighteen musicians 4.
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 That sounds like a fun piece to play But in retrospect, the “threshold” that the Four Songs crossed wasn’t only the event horizon that separates existence from non-existence, it was the door to a new kind of music that Grisey tragically would not have time to explore.
Enter the email address you signed up with and we’ll email you a reset link. Published by Editions Durand HL. Threads collapsed expanded unthreaded. 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: 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.