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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Maybe there’s still some lingering prestige attached to writing for live musicians? Topics Music A guide to contemporary classical music.

Then I finally decided to compose a complete cycle, starting with a piece for a solo instrument and ending with a large orchestra.

A guide to Gérard Grisey’s music

The term “classical music” is somewhat porous. Contains guides for beginners, an index of important composers and their works, and lists of classical pieces organised by genre, era, and theme. Too many student composers seem to think of instruments as some kind of automatic note-producing machine, and write lines grise are simply un-negotiable. Composed by Gerard Grisey.

I definitely try to write idiomatically – that’s where the study of orchestation comes in. To hear Grisey’s music is to have adventures in the stuff of sound that will change your ears for ever.

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. It is a cycle of pieces composed in eleven yearsthus representing different moments in the development of his compositional pargiels. But it is one which, I firmly believe, will be realized. This guide might be useful.


As a support for his classes, Grisey prepared a text called Tempus ex Machina, the same name of a piece for six percussionists that he composed in the previous year. Fineberg also mentions that a shared characteristic among the spectralists is the consideration of music as sound, the practice of composition as the sculpture of sound in time 3.

Megalithes Quintet Pour Quinze Cuivres – Grisey commented the composition of the other pieces of the cycle: 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.

Well, I’m a student composer, so I know these things do pop up very frequently, but I’m always interested in the performance side of things – I can hear it internally while composing and I know what sound I want, but that doesn’t mean it’s as easy for a performer to pick up from the score – which is why I ask about the difficulty.

Self-promotion is handled on a case by case basis. So here’s the ;artiels of Transitoiresthe fifth part, for large orchestra, of the ever-increasing musical forces required for Les Espaces Acoustiques the cycle starts with a solo viola and ends with a huge orchestra and four solo horns in the final part, Epilogue.

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Want to add to the discussion? D’Eau Et De Pierre. By signing up you consent with the terms in our Privacy Policy. Periodes pour sept instruments. His achievement has often been reduced to yet another sfore new music’s fetishistic labels, “spectralism” — a category that Grisey had rejected by the end of his life.


How high the development of spirit that could find pleasure in such subtle things!


And that includes writing things that are, frankly, very bad. The importance of this partield as a reference in spectral music and a key work for the comprehension sfore some of the technical devices created by Grisey is commented by the composer: We all do it, the key is to be able to learn from it and further our technique in the next piece!

Speaking of giving musicians trouble, are you familiar with Wolfgang Rihm? The links are powered by Skimlinks.

A guide to Gérard Grisey’s music | Music | The Guardian

At least us string players don’t have lip muscles that tire. Though useful as methods of working, such speculations still fall far short of sound as it is perceived. That sounds like a fun piece to play By atomising sounds in this way, he could structure large pieces of music and spans of time, such as Partielsthat 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.

Message us and we’ll have a look. Really it boils down to listening, just like gtisey any piece of music. It was pretty wild, but somehow I got through it.