Music since Grisey: Quatre chants pour franchir le seuil. Forty years of modern composition and what this music means to me. Index here. The premiere of French composer Gérard Grisey’s Quatre Chants pour Franchir le Seuil – Four Songs for Crossing the Threshold – was. Documents Similar To Grisey – Quatre chants pour franchir le Rihm – Jagden and Formen. Uploaded by. alex_ Matthias Pintscher – Sonic Eclipse I .

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Quatge composers familiar with his music, Joshua Fineberg and Arash Yazdani, contributed selections as well. The essential idea is the creation of a new way of structuring the parameters of music quatrr exploring the harmonic series, the overtones that are part of every musical note. The beginning of the fourth song sounds as though it might be this large movement: Adding an additional layer of effect, every player seems to have multiple instruments, mutes and other paraphernalia to deal with.

Other musicians enter one by one, at long intervals, and the ensemble is completed after the conductor comes on stage. I believe that right up until the end of his life this conviction had not changed.

Grisey Quatre chants pour franchir le seuil |

Aside from the singer, the noise level never rises above the barely audible. This is your number. I remember the swaying of horns, the intricacies of the harmonic moments, a potent discomfort at my stoned inability to fully grasp them as they passed me by.

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. This piece has a direct sentiment at the heart of it. The work crystallised for me a number of ideas about music that are important in how I see and hear things 6 years later. To find out more, including how to control cookies, see here: You are commenting using your Facebook account.

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Order by newest oldest recommendations. The principles of spectralism are easy to describe, and like all good musical cliches, there’s more than a grain of truth in the term. All mankind had been Returned to clay; And the flat liquid Resembled a terrace. 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.

The two were close, like Proust and his grandmother, and he would attempt to notate the sounds of her songs on his accordion.

Post was not sent – check your email addresses! This movement comprises almost nothing, yet it is one of the most immediate emotional cores of the chabts. Skip to content The Rambler Modern composition. Charlie Quidnunc points out that a recording is available at ggrisey obscure emporium, Amazon.

All our journalism is independent and is in no way influenced by any advertiser or commercial initiative. By continuing to use this website, you agree to their use. He doesn’t say quayre 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.

He studied composition in Salzburg and Basel, then worked in the travel industry for two years. I do not think he ever believed that composers should not be nourished by extra-musical ideas from unrelated fields. Nor is it a mathematical proof of a concept that can be heard.

A Gérard Grisey Playlist

For Grisey, whose works to this point were generally glittering, intricate collisions of timbre and rhythm, it is, as Benjamin said on the night, a very courageous work.

Notify me of new posts via email. So much for a decidedly spectral sketch of the theory, but let’s get stuck into what Grisey wanted us to get stuck into, which is the stuff of sound, the sounds his music makes. In this piece, Grisey changes the tuning of just four notes on the piano, but they are enough grieey morph the sound world completely, infusing faded equal temperament harmonies with vivid color.

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But it’s part of the paradox of Grisey’s music that just as he can slow down time so that you feel you’re inside, say, a stretched-out gong stroke for 20 minutes, he can also speed it up with surreal velocity. 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”.

Grisey himself spoke of the difference between the sort of super-slow time experienced by whales griwey opposed to the frenetic time-scale of insects.

We had weekly courses devoted to contemporary repertoire, and they often left me cold. Sometimes it takes a moment of alienation, vulnerability, or loneliness to enter inside a piece of music.

Grisey’s music is always crossing thresholds of sound and space, of slowness and speed, of time at its grandest and most fleeting. In this movement, Gilgamesh has just survived the Flood. The fifth movement, Transitoires, was particularly indelible. Accompanying the voice are wave-like lines that alternate and crest.

They are the first real pitches in several minutes, and they resemble a shaft of light, even if the way out remains obscured. Thank you very much for your reply. These have to be changed on an almost constant basis. Actually, I thought this worked just as well — you just had to spin, rather than leap, to hit all the notes.

If you already have a subscription, click here to log in. Classical music George Benjamin France blogposts. This is how the work opens too, and the sound becomes the slow whoosh of unpitched air through wind and brass.