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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Grisey: Les Espaces Acoustiques CD review – profound and with a huge physical presence

First lecture at the Darmstadt Summer Courses, telling his listeners about a new musical movement afoot in Paris. Whilst seemingly little more than a conjuring trick, this passage serves to reveal the wealth of subtle nuance hidden within a single sound. The cycle begins with a Prologue for a single instrument, a viola.

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October 12, at 4: Les espaces acoustiques proceeds in six movements with the ensemble increasing in size as the piece progresses. Fill in your details below or click an icon to log in: Cage 1Gerhard Richter by Thomas May. April 18, at 9: Grisey was the initiator of spectral music a name invented by otherswhich, emerging in Paris in the s, reinserted harmony to post-tonal composition on a new footing.

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.

Les Espaces Acoustiques by Gérard Grisey – Garth Knox

Nonetheless, he spent much of his career exploring the spectrum of tone colour between harmonic overtones and noise. The penultimate movement acts as the culmination of the piece, traversing a kaleidoscopic array of luminous textures. The recording below has epsaces removed from YouTube. You are commenting using your Facebook account.


This page was last edited on 24 Novemberat You are commenting using your Twitter account. Les espaces acoustiques hovers uneasily between the consonant and the dissonant, the placid and the volatile.

Yet the six works that make up Les Espaces Acoustiques are almost the perfect demonstration of how musically potent the ideas that he and his French contemporaries, such as Tristan Murail and Hugues Dufourtdeveloped in the 70s could be. He subsequently left for the University of California, Berkeleywhere he was appointed professor of theory and composition for the years — Anderson or until Anderson Grisey found his solution — and the basis of espaaces music — quite by accident.

Though he is by turns cast as the latest composer in the French coloristic tradition, or as the heir to Boulez in radically rethinking musical composition from the foundations up, perhaps what is most notable about Grisey is the humanness of his art and the seriousness of his vocation. Below is a recording of Les espaces acoustiques accompanied by a brief listening guide.

Leave a Reply Cancel reply Enter your comment here Another recording can be found here via Spotify.

During the same year, Grisey went to Berlin as a guest of the D. 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.

A guide to Gérard Grisey’s music |

In his teens Grisey considered becoming a composer as nothing less than a God-given vocation. He won prizes for piano accompaniment, harmony, counterpoint, fugue, and composition at the Conservatoire under Messiaen’s guidance Anon. Listen out for the lilting series of arpeggios beginning at 3: In the opening passage, the static, pulsating mass of sound occasionally threatens to erupt as the rasping trombone cuts through the soundscape.


Scored for 18 instruments, this movement explores a wide variety of textures; particularly striking is the throbbing cloud of sound at After studies at the Hohner Academy in Trossingen, he entered the Paris Conservatoire, where he won all the main prizes, followed by a period at the Villa Medici and further studies in acoustics.

The movement forms an enigmatic conclusion to Les espaces acoustiquesthe bleached colours of the orchestra punctuated by the jarring sonorities of the horns. Loading comments… Trouble loading? As the cycle goes on, the number of musicians involved in each piece increases steadily, until the last two works, Transitoires and an Epilogue which, unlike the preceding works, cannot be performed on its own involve a large orchestra. Email required Address never made public.

In composing the piece Grisey undertook detailed analyses of sound spectra.

Gramophone products and those of specially selected partners from the world grisej music. 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. Create a free website or blog at WordPress. Grisey timeline Studies at the Paris Conservatoire.