As a support for his classes, Grisey prepared a text called Tempus ex Machina, the same . except for Épilogue, which must be played only after Transitoires. Gérard Grisey’s manifesto as a composer was as unassuming as it was transformative: The size of the orchestra increases for ‘Transitoires’. Keywords: Gérard Grisey; Dérives; Les espaces acoustiques; Spectrum; It is not until Modulations (–77) and Transitoires (–.

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Les espaces acoustiques, Gérard Grisey | Articulate Silences

This page was last edited on 24 Novemberat By continuing to use this website, you agree to their use. Part scientific analysis, part mystical exploration of aural sensuality, Les espaces acoustiques simultaneously deconstructs conceptions of the nature of music whilst remaining firmly rooted in the physical, vibrational qualities of tdansitoires itself. Click here to sign up. July 20, at Threads collapsed expanded unthreaded. Daniel Paes de Barros.

Enter the email address you signed up with and we’ll email you a reset link. April 18, at 9: Nonetheless, he spent much of his career exploring the spectrum of tone colour between harmonic overtones and noise.

The pieces may also be played in any number, as long as their order is respected. It was from this starting point that the French composer began to mine the depths of texture and tfansitoires contained within individual sounds. 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.


For Grisey, every single sound was a living, breathing entity; it was only logical that he should want to explore what happens at the end of the sonic life-cycle as well as the start. Lebaron, Anne, and Denys Bouliane. It is a cycle of pieces composed in eleven yearsthus representing different moments in the development of his compositional language. Fineberg also mentions that a shared characteristic among the spectralists is the consideration of music as sound, the practice of composition as the sculpture of sound in time 3.

Fill in your details below or click an icon to log in: To hear Grisey’s music is to have adventures in the stuff of sound that will change your ears gdisey ever. The end of each piece corresponds to the beginning of the next. Partielsfor eighteen musicians 4. As with so much of Les Espaces Acoustiques, Transitoires makes sounds that are simultaneously ancient and modern: The second chapter deals with the musical analysis.

The principles of spectralism are easy to describe, and like all good musical cliches, there’s more than a grain of truth in the term. Through grixey spectral analyses, Grisey uncovered the dramatic tensions at the centre of apparently stable sounds, drawing out the natural dissonances that lie buried within.

In addition, he was fascinated by musical processes which unfold slowly, and he made musical time a major element of many of his pieces.

This ggisey uses cookies. You are commenting using your WordPress. It’s not just those Quatre Chants: But in retrospect, the “threshold” that the Four Songs crossed wasn’t only the event trahsitoires that separates existence from non-existence, it was the door to a new kind of music that Grisey tragically would not have time to explore.


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.

Some items to transutoires Brahms Symphony 4 Dvorak Symphony 9. This relatively brief final movement is a summation and destruction of what has gone before, the beauty of the upper harmonic resonances becoming subsumed in a kind of rampant iconoclasm of trampling rhetorical horns, sliding strings and pedal tones that shift and descend with irresponsible abandon. 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.

Skip to main content. Les espaces acoustiques hovers uneasily between the consonant and the dissonant, the placid and the volatile.

The text was later published and became an important transitpires for the comprehension of the challenges faced by him and other composers of his generation. Les espaces acoustiques proceeds in six movements with the ensemble increasing in size as the piece progresses.

Gérard Grisey

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