Tags: Gerard Grisey , Prologue Gerard Grisey said in an interview: We are musicians and our model is sound not literature, sound not mathematics, sound not theatre, visual arts, quantum physics, geology, astrology or acupuncture Grisey as said to be a founder of the genre of Spectral Music, where compositional decisions are often informed by the analysis of sound spectra. I believe this particular work does this extremely well, as you can almost physically feel the music building throughout, with the opening being rather melodic, and at From about that point, the music becomes less melodic and more aesthetic, giving an atmospheric idea as opposed to a melodic idea. The opening few phrases are very melodic, each phrase bookended by two accented B notes. This motif carries on throughout the work, with the phrases changing in length and becoming less predictable for the listener. However it this unpredictability that allows the listener to sit and listen to the work in its entirety approx.

Author:Megar Gardacage
Country:United Arab Emirates
Language:English (Spanish)
Published (Last):14 April 2005
PDF File Size:6.95 Mb
ePub File Size:1.77 Mb
Price:Free* [*Free Regsitration Required]

Bratilar Twentieth century composers, like those of the fourteenth and fifteenth centuries, have speculated considerably about durations. The E-mail message field is required. The specific requirements or preferences of your reviewing publisher, classroom teacher, institution or organization should be applied. According to Grisey, the structural procedures used by those composers had enlarged the gap between written and perceived music.

Though useful as methods of working, such speculations still fall far short of sound as it is perceived. Skip to main content. Grisey makes this requirement for aesthetic reasons: Advanced Search Find a Library. The finest we have had in years. The E-mail Address es field is required. How acute the senses that would be able to perceive them!

In the conclusions, there are specific references to aspects observed in the cycle, but also comments on the difficulties and possibilities presented throughout this research. Then I xcore decided to compose a complete cycle, starting with a piece for a solo instrument and ending with a large orchestra. You may have already requested this item. Sinfonie Concertanti for two flutes and orchestra. Remember me on this computer. Finding libraries that hold this item How high the development of spirit that could find pleasure in such subtle things!

Some features of WorldCat will not be available. Espace Acoustiques both inhabits and eschews the avant-garde of its period, still sounding fresh and relevant from its origins in the s. 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.

It is a cycle of pieces composed in eleven yearsthus representing different moments in the development of his compositional language. The second chapter deals grusey the musical analysis. They became ridiculous when our elders ended up confusing the map with the lie of the land Grisey, Tempus Some items to consider.

The cycle comprises the following pieces: See what you will get. Search WorldCat Find items in libraries near you. Some prolgue the writings were translated to English by Joshua Fineberg, so always when possible, we use the English versions. Daniel Paes de Barros. Log In Sign Up.

Some items to consider Brahms Symphony 4 Dvorak Symphony 9. Please enter peologue message. Similar Items Related Subjects: This idea is supported by the composers involved with spectralism. Prologue : pour alto seul : [] Musical score, [] Barros 4 The composer left a number of texts in which he describes his compositional procedures and his aesthetics preferences.

The pieces may also be played in any socre, as long as their order is respected. They have applied to time the proportions identical to those one finds in spatial concepts: IL Carnevale di Venezia Clarinet with orchestra. Click here to sign up.

Erscheinungsjahr dem Umschlag entnommen. For Grisey, this is a music that deals with changes, with the thresholds of perception between one sound and the other.

Your Web browser is not enabled for JavaScript. Points in this piece create some beautiful effects with fields of sound almost reminiscent of Ligeti, though without his more overt building and puncturing of tonal tensions.

One of the most enjoyable. Related Posts.



Vulkis Prologue goes further than these compositions: By the time all of these effects have fully taken hold, the piece has turned from a series of slow, oscillating figures with distinct pitches to a series of rapid sul ponticello downward glissandi, culminating in a violent scratch-tone double-stop attack, which then fades to near silence pppp. I thoroughly enjoyed listening to this work, as its origin and concept is very different to anything I would normally listen to. Performance Then I finally decided to compose a complete cycle, starting with vrisey piece for a solo instrument and ending with a large orchestra. And, this leaves us here. Transitoiresfor large orchestra 6. But it is one which, I firmly believe, will be realized. A solo voice, the ghostly response of unoccupied instruments, but also an abstract, unbending structure That, after all, was the grieey given to me in writing this essay.



Grobar Though useful as methods of working, such speculations still fall far short of sound as it is perceived. Cancel Forgot your password? See what you will get. Please enter your name. Follow us on Twitter. Please create a new list with a new name; move some items to a new or existing list; or delete some items.


GĂ©rard Grisey




Related Articles