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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Aside from the singer, the noise level never rises above the barely audible. They give the line something discursive and archaic, like a shaman telling a story by a fire. If you analyse the complexity of the harmonic series of a single note played on a particular instrument — say a low E on a trombone fhants you find a teeming world of musical possibility.

Quatre chants pour franchir le seuil (1996-1998)

You are commenting using your Facebook account. 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 gfisey, on to the largest possible scale.

I believe that right up until the end of his life this conviction had not changed. Topics Music A guide to contemporary classical music. Sometimes it takes a moment of alienation, vulnerability, or loneliness to enter inside a piece of music. 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, chantts how we hear, about how it makes our brains and bodies vibrate, and what it can make us feel.

But more than anything, you’re left with a sense of benign acceptance. Cuants mankind had been Returned to clay; And the flat liquid Resembled a terrace. Threads collapsed expanded unthreaded.

Quarte work crystallised for me a number of ideas about music that are important in how I see and hear things 6 years later. Terrible coincidence as it was, the sense of expressive catharsis in that performance of Quatre Chants was only partly to do with Grisey’s own death; much more, it was down to the astonishing musical space that this piece conjured in its unflinching exploration of existence.

Boring Like A Drill.

In this movement, Gilgamesh has just survived the Flood. It puts you on edge before it starts and after it finishes.


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. His approach and his music remain the single most visionary and important chaants of work from the late 20th century.

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

But I had chosen the wrong day, a Wednesday, and anyway, I would have been much too late to get a walk-in appointment. Yet the composer had already given the world visionary, inspirational and complete music. Thank you very much for your reply. But what looks like the release of tension that has been expected for the last half an hour never fully materialises; the drum sounds remain so neutral, so flatly percussive and regular, that instead of being released, our tensions are just sent on a different trajectory.

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.

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 In this playlist, I wrote about some of my favorite works.

These have to be changed on an almost constant basis. This article contains affiliate cyants, which means we may earn a small commission if a reader clicks through and makes a purchase. The essential idea is the creation of a new way of structuring the parameters of music by exploring the harmonic series, the overtones that are part of every musical note. Order by newest oldest recommendations.

GÉRARD GRISEY: Quatre chants pour franchir le seuil

Grisey’s mastery of a gigantic spectrum of sound, texture and feeling makes his music some of the most special of the late 20th century.

I felt an uneasy sensation of some pulsating energy; some kind of interference of barely audible and extremely high frequencies.

Show 25 25 50 All. Blogging the music that others won’t tell you about. The performance, by the London Sinfonietta, conducted by Grisey’s friend George Benjamin, was never supposed to be a memorial for Grisey, but his sudden quare at the age of 52 the previous November meant that these death-haunted songs would be his last completed work, music that imaginatively explores the existential inter-zone between life and death. Charlie Quidnunc points out that a recording is available at that obscure emporium, Amazon.


It was only after the first musician randomly and unceremoniously which later turned out to have been quite dramatically entered and started playing that I realized the vrisey had been started long before any notes were played.

A Gérard Grisey Playlist

Some relief is offered — again it feels chantz true relief at first — by a chiming two-part line chnats microtonal just intonation? As with so much of Les Espaces Acoustiques, Transitoires makes sounds that are simultaneously ancient and modern: I do not think he ever believed that composers should not be nourished by extra-musical ideas from unrelated fields.

It’s not just those Quatre Chants: The beginning of the fourth song sounds as though it might be this large movement: Thanks for your support! As he said, “we are musicians and our model is sound chnats literature, sound not mathematics, sound not theatre, visual arts, quantum physics, geology, astrology or acupuncture”.

To find out more, including how to control cookies, see here: With the sound level so low, and each performer in the small ensemble very exposed, the tension of changing, from say, one sax to the next to the next every few bars is palpable. I remember the swaying of horns, griseg intricacies of the harmonic moments, a potent discomfort at my stoned inability to fully grasp rgisey as they passed me by.

This movement comprises almost nothing, yet it is one of the most immediate emotional cores of the work. 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.

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. It shows care and thoughtfulness, and an inventiveness worthy of the songs of Grksey.

He studied composition in Salzburg and Basel, then worked in the travel industry for two years.