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.
|Published (Last):||5 February 2005|
|PDF File Size:||11.37 Mb|
|ePub File Size:||4.13 Mb|
|Price:||Free* [*Free Regsitration Required]|
This is something which is completely foreign to me, so I thought that I should give this analysis a go, and see how it turns out…. Please log in using one of these methods to post your comment: Particularly in the area of unaccompanied monophonic music, such as Prologue, the outcome — the screaming, gloriously full-throated celebration of the primitive viola, rich in raw sound, breaking, cracking, squeaking, screeching — is a ‘symphonic’ climax as breathtaking as it is, with the benefit of hindsight analysisso convincingly set up.
In other words, the process determines the contradiction between the known and unknown, the predictable and unpredictable, and integrates surprises against a backdrop that is relatively easy to spot. How acute the senses that would be able to perceive them!
Cinq miniatures for 2 proloyue. It is a cycle of pieces composed in eleven yearsthus representing different moments in the development of his compositional language. Prologue is a stand-alone piece and, as such, a major contribution to the virtuoso solo repertoire; the piece is also a prologue to an evening-length linked instrumental compositions that start with the solo viola and end with an epilogue requiring some 90 musicians.
According to Joshua Fineberg, Tristan Murail stated that spectralism is a term gridey refers to an attitude towards music and composition, instead griwey a collection of techniques or a particular style.
So, in the end and after including our return of 5 Questions, this time with Kurt Gottschalkthe issue came about like the one note exercise. Grisey makes this requirement for aesthetic reasons: I always thought the Scriabin piano sonatas were a really good synesthetic example of how you could see things moving just because of their lines or, in this ggrisey, how the rhythm suddenly changes. Do you think it loses anything by not having harmony?
So, what does that mean for the monophonic composer? The narrative string of one note after another has been convoluted by choice as you click from page to page.
One of my most extraordinary humbling experiences at the California Institute of the Arts University, where I have been a member of faculty sincewas ‘teaching’ a violinist already well-established as a significant ‘classical’ North Indian-style musician named Jagan Ramamoorthy.
Prologue goes further than these compositions: The opening few phrases are very melodic, each phrase bookended by two accented B notes. The endgame of the exercise is a sense of control when given the freedom to do what you want while improvising.
I think monophony in a piece like this helps you get these visual impressions of how the music is cascading in a way. This idea is supported by the composers involved with spectralism. I would watch, in our lessons, in fascination at the capacity for a single finger to simultaneously glissando with that heart-rending throb that shapes the Indian tradition of vocalizing we all recognize immediately, while at the same time pick out a bewildering array of notes, and ornaments upon those notes, all at often great griesy.
Daniel Paes de Barros. So, ‘the rebirth after the catastrophe ‘ is a transcendence of ‘the form of the melodic curve’, though thanks to the Indian contribution to string virtuosity, this is not an excuse to cheat the very specific notes despite Grisey’s notes in the score suggesting just that — he was no doubt worried about the violists’ virtuosic capacities!
How high the development of spirit that could find pleasure in such subtle things! Gerard GriseyPrologue.
Is a single voice more powerful than a choir? Create a free website or blog at WordPress.
Perhaps in an existential crisis. Click here to sign up. It has become my roast chicken, well-tied bow tie, or perfectly located prloogue. Prologue is a piece with more-or-less four distinct manifestations: Though useful as methods of working, such speculations still fall far short of sound as it is perceived.
Issue 9 features four great tenor players of the moment working through the harmonic, rhythmic and historic limitations of Body and Soul, a song heavily defined by Coleman Prolgue seminal recording.
You are commenting using your WordPress. And, this leaves us here. What creates motion to our ears? They have applied to time the proportions identical to those one finds in spatial concepts: The definition, point by point, of these outlines is in motion, because the pitches they are made up of are going to gradually move away from the original spectrum to reach a state of noise in passing through different degrees of inharmoniousness.
On Schelling and Related Matters.
SA9: Gerard Grisey
Intonation is a human experience capable of almost limitless nuance, but still very difficult to communicate with any reliability thanks to the vagaries of acoustic spaces! It’s a quality that I’ve tried to portray in every issue of Sound American in one way or another. Prologue is a piece with more-or-less four distinct manifestations:.
Yeah, Ptologue would love to hear the rest of the piece to see how elements connect.
And, who can speak most eloquently about them? For Grisey, this is a music that deals with changes, with the thresholds of perception between one sound and the other. Grisey embraces this reality, and makes rhetoric out of it. Your brain is filling it in.