Towards the end of his life, Grisey had rejected spectralism as a meaningful concept. Yet the six works that make up Les Espaces Acoustiques. To not compose any more with notes, but sounds,” wrote Grisey in the prologue to Les Espaces Acoustiques. GÈRARD GRISEY: Les Espaces Acoustiques. Catalogue No.: KAI. EAN Code: Artist(s). WDR Sinfonieorchester Köln, Stefan Asbury.
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This page was last edited on 24 Novemberat Skip to main content. This is experienced in its glistening chords and unfathomable plunges from the highest registers to the lowest, its whirling intensity and pools of ritualised stillness, as well as in the occasional moment of utter simplicity, such as in the almost wistful theme with which the viola begins the Prologue.
Leave a Reply Cancel reply Enter your comment here The two seemingly opposed classic works of modern concert music […]. In this sense, Les espaces acoustiques reaches far beyond the superficialities of its compositional ingenuity: Part scientific analysis, part mystical exploration of aural sensuality, Les espaces acoustiques simultaneously deconstructs conceptions of the nature of music whilst remaining firmly rooted in the physical, vibrational qualities of sound itself.
A guide to Gérard Grisey’s music
May 21, at 5: You are commenting using your Twitter account. During the same year, Grisey went to Berlin as a guest of the D. It stands as a manifesto of the approach to composition that developed under the banner of spectralismso widely influential ever since.
Les espaces acoustiques hovers uneasily between the consonant and the dissonant, the placid and the volatile. From Wikipedia, the free encyclopedia.
Grisey won the highly coveted Prix de Romeenabling him to stay at the Villa Medici in Rome from to Anderson In his teens Grisey considered becoming a composer as nothing less than a God-given vocation. Even then, Grisey did not underestimate the power of melody.
Les espaces acoustiques, Gérard Grisey | Articulate Silences
As such, this music is at once sensuous and uncertain; the static mass of luminous colours and textures is undercut by a constant threat of rupture as Grisey proceeds to tear apart the very fabric of the soundscape. The penultimate movement acts as the culmination of the piece, traversing a kaleidoscopic array of luminous textures. Email required Address never made public.
He won prizes for piano accompaniment, harmony, counterpoint, fugue, and composition at the Conservatoire under Messiaen’s guidance Acoustoques. According to Tom Service”His achievement has often been reduced to yet another of new music’s fetishistic labels, “spectralism” — a category that Grisey had rejected by the end of his life.
Les Espaces Acoustiques by Gérard Grisey – Garth Knox
Order by newest oldest recommendations. Through his spectral analyses, Grisey uncovered the dramatic tensions at the centre of apparently stable sounds, drawing out the natural dissonances that lie buried within. Towards the end of his life, Grisey had rejected spectralism as a meaningful concept.
Few composers could claim to have initiated a whole style. Widely cultured — he spoke a few languages and was as knowledgeable about the art of the Quattrocento as about the culture of Ancient Egypt — Grisey retained from his early faith a tendency to the mystical, and he often couched his music in images of death.
The movement forms an enigmatic conclusion to Les espaces acoustiquesthe bleached colours of the orchestra punctuated by the jarring sonorities of the horns. Below is a recording of Les espaces acoustiques accompanied by a brief listening guide. Emblematically, the solo viola is heard again at the end of Transitoires and in the Epilogue, as if to confirm the coherence of the minute cycle. By continuing to use this website, you agree to their use. Scored for 18 instruments, this movement explores a wide variety of textures; particularly striking is the throbbing cloud of sound at List of music students by teacher: These are the unique combinations of frequencies that manifest themselves as timbre, accounting for the distinction between, for example, a middle-C played on a piano and the same note played on a violin.
Les Espaces Acoustiques by Gérard Grisey
In a magical passage, the delicate, fragmentary strings which emerge from the gloom at Listen out for the lilting series of arpeggios beginning at 3: Cage 1Gerhard Richter by Thomas May. In the opening passage, the static, pulsating mass of sound occasionally threatens to erupt as the rasping trombone cuts through the acooustiques.
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