25 years after Grisey’s own ‘Partiels,’ all that the self-styled specialists in ‘ Modulations’ for 33 musicians comes next, then ‘Transitoires’ for large orchestra. Stream Gérard Grisey – Modulations by Ens. intercontemporain from desktop or your mobile device. Gérard Grisey was a twentieth-century French composer of contemporary classical music. Les espaces acoustiques – IV – Modulations, for orchestra ( –77); Sortie vers la lumière du jour, for electric organ and 14 musicians ( ).
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Gérard Grisey – Wikipedia
The finest we have had in years. One of the most enjoyable. One of the finest brisey. CD 2 at once brings us into more symphonic realms, with Modulations written for 33 players.
Gérard Grisey – Modulations by Ens. intercontemporain | Free Listening on SoundCloud
Points in this piece create some beautiful effects with fields of sound almost reminiscent of Ligeti, though without his more overt building and puncturing of tonal tensions.
Even with its slow movement this remains a world of restless change and often dark, elemental moods helped along by portentous percussion and intense wind and brass clusters or chords that become blended and alternated with alien effects both from orchestral instruments and subtly used synthesized sounds.
The point of transition between Modulations and Transitoires could almost have come from something by Moddulations Messiaen, but Transitoires opens with those distinctive upper harmonic sounds over a sotto voce pedal tone to create an atmosphere of mystery and expectation from a different galaxy to the older master. The filter is removed, time is drawn apart, the spectra explode into 55 overtones, and true spectral polyphony runs the gamut of the tonal space.
The faster moving contrasts of the second half of Transitoires and a return to a solo viola section sets us up for Epiloguethe only piece of the cycle not playable separately as it acts as a conclusion to Transitoires.
The solo viola has us cast our minds back to the Prologueits ruminations interrupted by the orchestra and commented on by four French horns that seem to jeer at its gestures. This relatively brief final movement is a summation and destruction moddulations 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.
Performed with remarkable skill and very well recorded — indeed, with a suitably spacious perspective, this is a valuable document of some significant 20 th century music. Espace Acoustiques both inhabits and eschews the avant-garde of modulqtions period, still sounding fresh and relevant from its origins in the s. Donate and keep us afloat.
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