Grisey - Modulations
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Gérard Grisey (About this sound listen (help·info)) (June 17, 1946 in Belfort, France – November 11, 1998 in Paris) was a French composer of contemporary music.
Biography
Gérard Grisey was born in Belfort, France on 17 June 1946. He studied at the Trossingen Conservatory in Germany from 1963 to 1965 before entering the Conservatoire de Paris. Here he won prizes for piano accompaniment, harmony, counterpoint, fugue and composition (studying under Olivier Messiaen from 1968 to 1972). During this period, he also studied with Henri Dutilleux at the Ecole Normale de Musique (1968), as well as summer schools at the Accademia Chigiana in Siena (1969), and in Darmstadt with György Ligeti, Karlheinz Stockhausen and Iannis Xenakis in 1972.
Grisey won the highly coveted Prix de Rome and stayed at the Villa Medici in Rome from 1972 to 1974, and in 1973 founded a group called L’itinéraire with Tristan Murail, Roger Tessier and Michael Levinas, later to be joined by Hugues Dufourt. Dérives, Périodes, and Partiels were among the first pieces of spectral music. In 1974-75, he studied acoustics with Emile Leipp at the Paris VI University, and in 1980 became a trainee at the IRCAM (Institut de Recherche et Coordination Acoustique/Musique). In the same year he went to Berlin as a guest of the D.A.A.D., and afterwards left for the University of California, Berkeley, where he was appointed professor of theory and composition (1982-1986). After returning to Europe, he taught composition at the Conservatoire de Paris, and held numerous composition seminars in France (Centre Acanthes, Lyon, Paris) and abroad (Darmstadt, Freiburg, Milan, Reggio Emilia, Oslo, Helsinki, Malmö, Göteborg, Los Angeles, Stanford, London, Moscow, Madrid, etc.) Among his notable pupils are Jörn Arnecke, Mark Andre, Régis Campo, Pascale Criton, Stéphane de Gérando, Henrik Hellstenius, Javier Jacinto, Ramon Lazkano, Fabien Lévy, Magnus Lindberg, Fausto Romitelli, Éric Morin, Arturo Rodas, Steingrimur Rohloff, and Erling Wold.
Gérard Grisey died at the age of 52 in Paris on 11 November 1998 due to a ruptured aneurysm.
Among his works, most of which were commissioned by famous institutions and international instrumental groups, are Dérives 1974, Jour, contre-jour 1979, Tempus ex machina 1979, Les chants de l’amour 1984, Talea 1986, Le temps et l’écume 1989, Le noir de I’etoile 1990, L’icône paradoxale 1994, Les espaces acoustiques (a cycle consisting of six pieces), Vortex temporum 1995 and Quatre chants pour franchir le seuil 1998.
Musical style
Grisey's music is often considered to belong to the genre of spectral music, which he is credited with founding along with fellow composer Tristan Murail, although he later disowned the label in interviews and writings. Nonetheless, he spent much of his career exploring the spectrum of tone colour between harmonic overtones and noise. In addition, he was fascinated by musical processes which unfold slowly, and he made musical time a major element of many of his pieces.
He expressed the opinion that: "We are musicians and our model is sound not literature, sound not mathematics, sound not theatre, visual arts, quantum physics, geology, astrology or acupuncture" (Fineberg 2006, p.105).
List of works
Echanges, for prepared piano and double bass (1968)
Mégalithes, for 15 brass players (1969)
Perichoresis, for 3 instrumental groups (1969–1970)
Initiation, for barytone, trombone, and double bass (1970)
Vagues, chemins, le souffle, for clarinet and orchestra (1970–72)
D'eau et de pierre, for 2 instrumental groups (1972)
Dérives, for 2 orchestral groups (1973–74)
Les espaces acoustiques – II – Périodes, for flute, clarinet, trombone, violin, viola, cello, and double bass (1974)
Les espaces acoustiques – III – Partiels, for 18 musicians (1975)
Manifestations, for youth orchestra (1976)
Les espaces acoustiques – I – Prologue, for viola and optional live electronics (1976)
Les espaces acoustiques – IV – Modulations, for orchestra (1976–77)
Sortie vers la lumière du jour, for electric organ and 14 musicians (1978)
Jour, contre-jour, for electric organ, 14 musicians, and tape (1978–79)
Tempus ex machina, for 6 percussionists (1979)
Les espaces acoustiques – V – Transitoires, for large orchestra (1980)
Solo pour deux, for clarinet and trombone (1981)
Anubis, Nout, for Bb contrabass clarinet (1983)
Les chants de l'amour, for 12 voices and tape (1982–1984)
Les espaces acoustiques – VI – Epilogue, for 4 solo horns and large orchestra (1985)
Talea, for violin, cello, flute, clarinet, and piano (1986)
Le temps et l'écume, for 4 percussionists, 2 synthesizers, and chamber orchestra (1988–89)
Accords perdus: Cinq miniatures, for 2 horns (1989)
Le noir de l'étoile, for 6 percussionists, tape, and live electronics (1989–90)
Anubis, Nout, for bass saxophone and baritone saxophone (1990)
L'icône paradoxale (Hommage à Piero della Francesca), for 2 female voices and 2 orchestral groups (1992–94)
Stèle, for 2 percussionists (1995)
Vortex temporum, for piano, clarinet (bass, Bb and A), flute (bass, C and picc.), violin, viola and cello (1994–96)
Quatre chants pour franchir le seuil, for soprano and fifteen instruments (1997–98)
References
Arrell, Chris. 2002. "Pushing the Envelope: Art and Science in the Music of Gérard Grisey". Doctoral Dissertation, Cornell University.
Arrell, Chris. 2008. "The Music of Sound: An Analysis of Gérard Grisey's Partiels". In Spectral World Musics: Proceedings of the Istanbul Spectral Music Conference, edited by Robert Reigle and Paul Whitehead. Istanbul: Pan Yayincilik. ISBN 9944-396-27-3.
Fineberg, Joshua (2006): Classical Music, Why Bother?: Hearing the World of Contemporary Culture Through a Composer's Ears. Routledge. ISBN 0-415-97174-8, ISBN 978-0-415-97174-4.
Grisey, Gérard: "Écrits ou l’invention de la musique spectrale" (edited by Guy Lelong and Anne-Marie Réby), « Répercussions », Musica Falsa, Paris 2008 [388 p. ; ISBN 978-2-915794-31-1]
Cohen-Levinas, Danièle (ed): "Gérard Grisey ou la beauté des ombres sonores. L'Harmattan / L'itinéraire, Paris, 2004.
Hervé Jean-Luc: "Dans le vertige de la durée (Vortex Temporum de Gérard Grisey)", L’Harmattan, Paris, 2001.
Baillet Jérôme: "Gérard Grisey, Fondements d’une écriture", L’Harmattan, Paris, 2000.
Grisey, Gérard / Murail, Tristan: "Entretemps (8)", Paris, 1989.
Levy, Fabien: "Gérard Grisey, eine neue Grammatologie aus dem Phänomen des Klangs" [Gérard Grisey, a new grammatologie from the Phenomenon of Sounds], in "20 Jahre Inventionen Berliner Festival Neuer Musik", ed. by I. Beirer/DAAD, Pfau Verlag, Berlin, 2002.
http://en.wikipedia.org/wiki/G%C3%A9rard_Grisey
Biography
Gérard Grisey was born in Belfort, France on 17 June 1946. He studied at the Trossingen Conservatory in Germany from 1963 to 1965 before entering the Conservatoire de Paris. Here he won prizes for piano accompaniment, harmony, counterpoint, fugue and composition (studying under Olivier Messiaen from 1968 to 1972). During this period, he also studied with Henri Dutilleux at the Ecole Normale de Musique (1968), as well as summer schools at the Accademia Chigiana in Siena (1969), and in Darmstadt with György Ligeti, Karlheinz Stockhausen and Iannis Xenakis in 1972.
Grisey won the highly coveted Prix de Rome and stayed at the Villa Medici in Rome from 1972 to 1974, and in 1973 founded a group called L’itinéraire with Tristan Murail, Roger Tessier and Michael Levinas, later to be joined by Hugues Dufourt. Dérives, Périodes, and Partiels were among the first pieces of spectral music. In 1974-75, he studied acoustics with Emile Leipp at the Paris VI University, and in 1980 became a trainee at the IRCAM (Institut de Recherche et Coordination Acoustique/Musique). In the same year he went to Berlin as a guest of the D.A.A.D., and afterwards left for the University of California, Berkeley, where he was appointed professor of theory and composition (1982-1986). After returning to Europe, he taught composition at the Conservatoire de Paris, and held numerous composition seminars in France (Centre Acanthes, Lyon, Paris) and abroad (Darmstadt, Freiburg, Milan, Reggio Emilia, Oslo, Helsinki, Malmö, Göteborg, Los Angeles, Stanford, London, Moscow, Madrid, etc.) Among his notable pupils are Jörn Arnecke, Mark Andre, Régis Campo, Pascale Criton, Stéphane de Gérando, Henrik Hellstenius, Javier Jacinto, Ramon Lazkano, Fabien Lévy, Magnus Lindberg, Fausto Romitelli, Éric Morin, Arturo Rodas, Steingrimur Rohloff, and Erling Wold.
Gérard Grisey died at the age of 52 in Paris on 11 November 1998 due to a ruptured aneurysm.
Among his works, most of which were commissioned by famous institutions and international instrumental groups, are Dérives 1974, Jour, contre-jour 1979, Tempus ex machina 1979, Les chants de l’amour 1984, Talea 1986, Le temps et l’écume 1989, Le noir de I’etoile 1990, L’icône paradoxale 1994, Les espaces acoustiques (a cycle consisting of six pieces), Vortex temporum 1995 and Quatre chants pour franchir le seuil 1998.
Musical style
Grisey's music is often considered to belong to the genre of spectral music, which he is credited with founding along with fellow composer Tristan Murail, although he later disowned the label in interviews and writings. Nonetheless, he spent much of his career exploring the spectrum of tone colour between harmonic overtones and noise. In addition, he was fascinated by musical processes which unfold slowly, and he made musical time a major element of many of his pieces.
He expressed the opinion that: "We are musicians and our model is sound not literature, sound not mathematics, sound not theatre, visual arts, quantum physics, geology, astrology or acupuncture" (Fineberg 2006, p.105).
List of works
Echanges, for prepared piano and double bass (1968)
Mégalithes, for 15 brass players (1969)
Perichoresis, for 3 instrumental groups (1969–1970)
Initiation, for barytone, trombone, and double bass (1970)
Vagues, chemins, le souffle, for clarinet and orchestra (1970–72)
D'eau et de pierre, for 2 instrumental groups (1972)
Dérives, for 2 orchestral groups (1973–74)
Les espaces acoustiques – II – Périodes, for flute, clarinet, trombone, violin, viola, cello, and double bass (1974)
Les espaces acoustiques – III – Partiels, for 18 musicians (1975)
Manifestations, for youth orchestra (1976)
Les espaces acoustiques – I – Prologue, for viola and optional live electronics (1976)
Les espaces acoustiques – IV – Modulations, for orchestra (1976–77)
Sortie vers la lumière du jour, for electric organ and 14 musicians (1978)
Jour, contre-jour, for electric organ, 14 musicians, and tape (1978–79)
Tempus ex machina, for 6 percussionists (1979)
Les espaces acoustiques – V – Transitoires, for large orchestra (1980)
Solo pour deux, for clarinet and trombone (1981)
Anubis, Nout, for Bb contrabass clarinet (1983)
Les chants de l'amour, for 12 voices and tape (1982–1984)
Les espaces acoustiques – VI – Epilogue, for 4 solo horns and large orchestra (1985)
Talea, for violin, cello, flute, clarinet, and piano (1986)
Le temps et l'écume, for 4 percussionists, 2 synthesizers, and chamber orchestra (1988–89)
Accords perdus: Cinq miniatures, for 2 horns (1989)
Le noir de l'étoile, for 6 percussionists, tape, and live electronics (1989–90)
Anubis, Nout, for bass saxophone and baritone saxophone (1990)
L'icône paradoxale (Hommage à Piero della Francesca), for 2 female voices and 2 orchestral groups (1992–94)
Stèle, for 2 percussionists (1995)
Vortex temporum, for piano, clarinet (bass, Bb and A), flute (bass, C and picc.), violin, viola and cello (1994–96)
Quatre chants pour franchir le seuil, for soprano and fifteen instruments (1997–98)
References
Arrell, Chris. 2002. "Pushing the Envelope: Art and Science in the Music of Gérard Grisey". Doctoral Dissertation, Cornell University.
Arrell, Chris. 2008. "The Music of Sound: An Analysis of Gérard Grisey's Partiels". In Spectral World Musics: Proceedings of the Istanbul Spectral Music Conference, edited by Robert Reigle and Paul Whitehead. Istanbul: Pan Yayincilik. ISBN 9944-396-27-3.
Fineberg, Joshua (2006): Classical Music, Why Bother?: Hearing the World of Contemporary Culture Through a Composer's Ears. Routledge. ISBN 0-415-97174-8, ISBN 978-0-415-97174-4.
Grisey, Gérard: "Écrits ou l’invention de la musique spectrale" (edited by Guy Lelong and Anne-Marie Réby), « Répercussions », Musica Falsa, Paris 2008 [388 p. ; ISBN 978-2-915794-31-1]
Cohen-Levinas, Danièle (ed): "Gérard Grisey ou la beauté des ombres sonores. L'Harmattan / L'itinéraire, Paris, 2004.
Hervé Jean-Luc: "Dans le vertige de la durée (Vortex Temporum de Gérard Grisey)", L’Harmattan, Paris, 2001.
Baillet Jérôme: "Gérard Grisey, Fondements d’une écriture", L’Harmattan, Paris, 2000.
Grisey, Gérard / Murail, Tristan: "Entretemps (8)", Paris, 1989.
Levy, Fabien: "Gérard Grisey, eine neue Grammatologie aus dem Phänomen des Klangs" [Gérard Grisey, a new grammatologie from the Phenomenon of Sounds], in "20 Jahre Inventionen Berliner Festival Neuer Musik", ed. by I. Beirer/DAAD, Pfau Verlag, Berlin, 2002.
http://en.wikipedia.org/wiki/G%C3%A9rard_Grisey
Grisey - Modulations
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Gérard Grisey (Belfort, 16 de junio de 1946 — París, 11 de noviembre de 1998), fue un compositor francés asociado con el espectralismo.
Biografía
Estudió en el Conservatorio de Trossingen en Alemania (1963-65), y luego en el Conservatorio de París (1965-72) donde seguirá especialmente los cursos de composición de Olivier Messiaen (1968-72). Paralelamente, estudió con Henri Dutilleux en la «École Normale de Musique de Paris», (1968) y asistió a seminarios de Karlheinz Stockhausen, György Ligeti y Iannis Xenakis en Darmstadt (1972). Finalmente, se inició en la electroacústica con Jean-Étienne Marie (1969) y en acústica con Émile Leipp en la «Faculté des sciences de Jussieu» (1974).
Pensionista de la Villa Médicis en Roma, de 1972 à 1974, participa en la fundación del Ensemble l'Itinéraire; en 1980 será miembro residente del IRCAM, y luego será miembro invitado de la «Deutscher Akademischer Austauschdienst» en Berlín.
Gérard Grisey impartió numerosos seminarios de composición musical en Darmstadt, en Friburgo, en el IRCAM, en la Scuola Civica de Milán así como en varias universidades americanas.
De 1982 a 1986, enseñó en la Universidad de Berkeley de California. Desde 1986 hasta su muerte el 11 de noviembre de 1998, producto de un aneurisma, fue profesor de composición del Conservatorio Nacional de París.
Sus obras fueron encargadas por diferentes instituciones internacionales. Se escuchan en programas de festivales, en radios y son tocadas por las más famosas formaciones instrumentales tanto en Europa como en Estados Unidos. Murió en 1988 por la rotura de un aneurisma.
Biografía
Estudió en el Conservatorio de Trossingen en Alemania (1963-65), y luego en el Conservatorio de París (1965-72) donde seguirá especialmente los cursos de composición de Olivier Messiaen (1968-72). Paralelamente, estudió con Henri Dutilleux en la «École Normale de Musique de Paris», (1968) y asistió a seminarios de Karlheinz Stockhausen, György Ligeti y Iannis Xenakis en Darmstadt (1972). Finalmente, se inició en la electroacústica con Jean-Étienne Marie (1969) y en acústica con Émile Leipp en la «Faculté des sciences de Jussieu» (1974).
Pensionista de la Villa Médicis en Roma, de 1972 à 1974, participa en la fundación del Ensemble l'Itinéraire; en 1980 será miembro residente del IRCAM, y luego será miembro invitado de la «Deutscher Akademischer Austauschdienst» en Berlín.
Gérard Grisey impartió numerosos seminarios de composición musical en Darmstadt, en Friburgo, en el IRCAM, en la Scuola Civica de Milán así como en varias universidades americanas.
De 1982 a 1986, enseñó en la Universidad de Berkeley de California. Desde 1986 hasta su muerte el 11 de noviembre de 1998, producto de un aneurisma, fue profesor de composición del Conservatorio Nacional de París.
Sus obras fueron encargadas por diferentes instituciones internacionales. Se escuchan en programas de festivales, en radios y son tocadas por las más famosas formaciones instrumentales tanto en Europa como en Estados Unidos. Murió en 1988 por la rotura de un aneurisma.
Catálogo de obras
| Año | Obra | Tipo de obra | Duración |
| 1968 | Echanges, para piano preparado y contrabajo. | Música instrumental (dúo) | |
| 1969 | Charme, clarinete solo. | Música solista (clarinete) | |
| 1969 | Mégalithes, para quince cobres. | Música instrumental | |
| 1969-70 | Perichoresis, para tres grupos instrumentales. | Música orquestal | |
| 1970 | Initiation, para barítono, trombón y contrabajo. | Música vocal | |
| 1970-72 | Vagues, chemins, le souffle, para clarinete y dos orquestas. | Música orquestal | |
| 1972 | D'eau et de pierre, para dos grupos instrumentales | Música instrumental | |
| 1973-74 | Dérives, para pequeño ensemble y gran orquesta. | Música orquestal | |
| 1974 | Periodes for 7 players [Ciclo «Espaces acoustiques» II]. | Música instrumental | |
| 1975 | Partiels for 16 players, para dieciseis o dieciocho músicos [Ciclo «Espaces acoustiques» III]. | Música instrumental | |
| 1975 | Essai, orquesta de cámara. | Música orquestal | |
| 1975-85 | Espaces acoustiques, ciclo de seis piezas para diversas formaciones. | Música instrumental | |
| 1976 | Manifestation, para orquesta de debutantes. | Música orquestal | |
| 1976 | Prologue for viola [Ciclo «Espaces acoustiques» I]. | Música solista (viola) | |
| 1976-78 | Modulations for 33 players, para treinta y tres músicos [Ciclo «Espaces acoustiques» IV]. | Música orquestal | |
| 1978 | Sortie vers la lumière du jour, para órgano eléctrico y catorce músicos. | Música instrumental | |
| 1978-79 | Jour, contre-jour, para órgano eléctrico, trece músicos y banda magnética de cuatro pistas. | Música instrumental | |
| 1979 | Tempus ex Machina, para seis percusionistas. | Música instrumental | |
| 1980-81 | Transitoires, para orquesta [Ciclo «Espaces acoustiques» V]. | Música orquestal | |
| 1981 | Solo pour deux, para clarinete y trombón. | Música instrumental (dúo) | |
| 1982-84 | Les Chants de l'Amour, para 12 cantantes y tape. | Música vocal | |
| 1983 | Anubis-Nout, dos piezas para clarinete contrabajo en Si bémol. | Música solista (clarinete) | |
| 1983 | Anubis et Noux, para saxofón. | Música solista (saxofón) | |
| 1985 | Epilogue para 4 horns y gran orquesta [Ciclo «Espaces Acoustiques» VI]. | Música orquestal | |
| 1986 | Talea, ou la machine et les herbes folles. | Música instrumental | |
| 1987 | Gustave, para voz y dos cors. | Música vocal | |
| 1987 | Accords perdus for 2 horns, cinco miniaturas para dos cors en Fa. | Música de cámara | |
| 1989 | Le Temps et l'Ecume, para cuatro percusionistas, dos sintetizadores y orquesta de cámara. | Música orquestal | |
| 1989-90 | Le Noir de l'Etoile, para seis percusionistas dispuestos alrededor del público, banda magnética y transmisión in situ de señales astronómicas. | Música instrumental | |
| 1994-96 | Vortex Temporum [Tourbillon de Temps) I, II, III, para piano y cinco instrumentos. | Música instrumental | |
| 1995 | Stèle, para dos percusionistas. | Música de cámara | |
| 1996-98 | Quatre Chants pour franchir le seuil, para voz de soprano y quince instrumentos. | Música vocal | |
| 1996-98 | L'Icone Paradoxale, hommage à Piero della Francesca, para dos voces de mujer y gran orquesta dividida en dos grupos | Música vocal | |
| 1997 | Wolf Lieder, orquestación de cuatro Lieder de Wolf. | Música vocal |
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