Gérard Grisey. Prologue. max6. The setup and the execution of the electroacoustic part of this work requires a Computer. in Grisey’s Prologue for Solo Viola. L-?. Jeffrey J. Hennessy. Gerard Grisey ( ) is widely considered to be one of the founders of the movement known. Prologue isn’t really meant to stand on its own. It’s the introductory movement of Grisey’s minute-long cycle Les Espaces Acoustiques.

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Log In Sign Up. Daniel Paes de Barros. 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. The text was later published and became an important tool for the comprehension of the challenges faced by him and other composers of his generation.

Twentieth century composers, like those of the fourteenth and fifteenth centuries, have speculated considerably about durations.

They have applied to time the proportions identical to those one finds in spatial concepts: Barros 2 binomials Jean-Claude Rissetand also stochastic procedures: Though useful as methods of working, such speculations still fall far short of sound as it is perceived. They became ridiculous when our elders ended up confusing the map with the lie of the land Grisey, Tempus According to Grisey, the structural procedures used by those composers had enlarged the gap between written and perceived music.

For these musicians, some of the scores that were composed during the preceding decades were so detached from the listening experience that they could be more meaningful as objects of discussion or research than as a work of art meant to be listened.

Lebaron and Bouliane This approach to composition was later called spectralism by the composer and philosopher Hugues Dufourt b. In the beginning, spectralists opposed to compose with permutation of musical parameters and with the formal structuralism practiced by their predecessors. In addition to their immediate predecessors, like Olivier Messiaen and Karlheinz Stockhausenthe spectralists have important predecessors in the history of music. The English composer Jonathan Harvey b.


That has the appearance of a futuristic fantasy and is probably just that.

But it is one which, I firmly believe, will be realized. I firmly believe it is capable of heightening in an unprecedented manner the sensory, intellectual, and spiritual pleasures offered by art. I firmly believe that it will bring us closer to the illusory stuff of our dreams … Tone-color melodies!

How acute the senses that would be able to perceive them! How high the development of spirit that could find pleasure in such subtle things! Barros 4 The composer left a number of texts in which he describes his compositional procedures and his aesthetics preferences.

Some of the writings were translated to English by Joshua Fineberg, so always when possible, we use the English versions. It is a cycle of pieces composed in eleven yearstrisey representing different moments in the development of his compositional language. The cycle comprises the following pieces: Prologuefor solo viola 2. Partielsfor eighteen musicians 4. Modulationsfor thirty-three musicians 5. Transitoiresfor large orchestra 6. Grisey commented the composition of the other pieces of the cycle: Then I finally decided to compose a complete cycle, starting with a piece for a solo instrument and ending with a large orchestra.

On commission, I wrote the other three pieces of the cycle: Grisey makes this requirement for aesthetic reasons: The pieces may also be played in any number, as long as their order is respected.

The end of each piece grksey to the beginning of the next.


Gerard Grisey – Prologue | Monash Composers

The importance of this cycle as a reference in spectral music and a key work for the griseg of some of the technical devices created by Grisey is commented by the composer: Les Espaces acoustiques seems to gridey a great laboratory in which the spectral techniques are applied in a number of different situations from the solo instrument to the large orchestra.

Certain pieces have a demonstrative aspect, almost didactic, as if I was trying to apply the characteristics of the language I was creating.

The second chapter deals with the musical analysis. In the conclusions, there are specific references to aspects observed in the cycle, but also comments on the difficulties and possibilities presented throughout this research. This idea is supported by the composers involved with spectralism.

According to Joshua Fineberg, Tristan Murail stated that spectralism is a term that refers to an attitude towards music and composition, instead of a collection of techniques or a particular style.

Fineberg also mentions that a shared characteristic among the spectralists is the consideration of music as sound, the practice vrisey composition as the sculpture of sound in time 3. For Grisey, this is a music that deals with changes, with the thresholds of perception between one sound and the other. Contemporary Music Review, Contemporary Music Review, 2. Lebaron, Anne, and Denys Bouliane.

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