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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How high the development of spirit that could find pleasure in such subtle things! To that end, each essay is paired with the thoughts of a separate musician or artist on hearing the monophonic piece for the first time. Here the dualities are in dramatic register delineations; in static versus moving lines; the heroic appearance of a few double stops; the ‘fumbling’ sliding, falling. It is as if the ‘catastrophe’ of the prologue’s climax, with its crunch-tones implying so much of the ending griisey destroying of things, is the ‘down the rabbit-hole’ utility so desired in the ’70s when this was written: A solo voice, the ghostly response of unoccupied instruments, but also an abstract, unbending structure Whatever the attractions of ‘systems’ or electronically controlled patternings, or, indeed, conceptual conceits, the over-riding reality is performance via horse-hair, sheep-gut, and other physical realities of concert halls and whatnot, and this is inevitably an acoustically messy affair.
Leave a Reply Cancel reply Enter your comment here So, I was trying to figure out why certain things were happening. 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 speed.
To find out more, including how to control cookies, see here: Is a single voice more powerful than a choir? As we prologuf going, griseey are a few quotes from Grisey we should read.
I often hear improvisers talk about composition as sounding improvised and composers talking about improvisation sounding composed laughs. I would even go so far as to say that Prologue is about that spectrum. Similar techniques are exhibited in the ‘unlikely’ duo pieces: People seem to come to music from the point of view that they understand. A trick on the unsuspecting. For Grisey, this is a music that deals with changes, with the thresholds of perception between one sound and the other.
A triumph of evolutionary motivic development, the elemental and implacable logic of the spiral method that motivates the piece’s unwinding, renders that very motivism secondary and its details incidental, beautiful as they may be, and a precious gift an invitation to the listener.
Of course, it would be lovely to study these later manifestations of the piece in forms other than Garth Knox’s loomingly charismatic recordings — if only the publishers were as committed to forwarding the interests of their precious compositions particularly those with ‘problematic’ multi-versions a similar case is with [Luigi] Nono’s output — and we are speaking of the same disengaged publishing bandits as their composers were in pursuing what their music could become, rather than allowing the scores to harden into a kind of monument-shaped marble the minute the final notes are ‘drying’ on the page.
I think, when you have a groove, you take the music out of prolofue world of dementia and into prrologue world of a party. I firmly believe it is capable of heightening in an unprecedented manner the sensory, intellectual, and spiritual pleasures offered by art. The narrative string of one note after another has been convoluted by choice as you click from page to page.
I thoroughly enjoyed griseyy to this work, as its origin and concept is very different to anything I would normally listen to. 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 Hawkins’s seminal recording.
You are commenting using your Twitter account. Please log in using one of these methods to post your comment: Perhaps in an existential crisis. 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 prilogue art meant to be listened.
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Gérard Grisey – Prologue () | Three Pieces a Week (formerly A Piece a Day)
My complaint in this essay is as misleading a fakery along the lines of what I believe Grisey accomplishes. The endgame of the exercise is a sense of control when given the freedom to do what you want while improvising. Enter the email address you signed up with and we’ll email you a reset link. That has the appearance of a futuristic fantasy and is probably just that.
The unity of the cycle is achieved through the formal similitude of the various pieces and two acoustic reference points: Modulationsfor thirty-three musicians 5. Prologue is a piece with more-or-less four distinct manifestations: They became ridiculous when our elders ended up confusing the map with the lie of the land Grisey, Tempus He had come to the US to broaden his musical bases, being one of those musicians, like Grisey, who is was unwilling to accept the safety of accepted formations of expression and language with which he grew up.
Prologue is not the only example in Grisey’s output of grisej solo line composition: A dialectic of harmony and fury, resonance, and the intellectual fallout of dancing with the components of that resonance.
Prologue is a piece with more-or-less four distinct manifestations:. Cinq miniatures for 2 horns. Like in this piece for example, a lot of the phrases would be these straight things, rhythmically, that gdisey swing down at the end.
When nothing else is like that. Of all the participants in this issue, no face lit up more upon finishing the first listening than Toby’s after listening to the Grisey.