Gérard Grisey: Les espaces acoustiques
Gérard Grisey: Les espaces acoustiques
又名: 热拉尔·格里赛《音响空间》
表演者: Ensemble Court-Cicuit/Pierre-André Valade/Gérard Caussé/Sylvain Cambreling/Frankfurter Museumsorchester
介质: Audio CD
发行时间: 2005-02-17
唱片数: 2
出版者: Accord
条形码: 0604043199525
专辑简介
Gérard Grisey (1946-1998)
Les Espaces Acoustiques
Gerard Grisey died in Paris in November of 1998 at the unready age of 52. He and his comrades Tristan Murail and Hughes Dufour belonged to the French compositional school called "spectralism," but neither Grisey nor his music were well known in the U.S.
It seems somehow fitting that the spectral music movement -- a conscious effort to create new harmonies (in a departure from serialist traditions) by basing music on prescribed harmonic pitch series or spectra -- should have been spearheaded by a small group of French composers. For one thing, it was a Frenchman -- the Napoleonic-era mathematician Joseph Fourier -- who first postulated that any complex waveform of finite duration could be resolved into an infinite series of pure sine waves, each having its own frequency (thus, any time signal has its equivalent representation as a spectrum in the frequency domain). For another thing, Gallic composers have always remained aloof from the Germanic mainstream; from Janequin and Machaut to Messaien and Boulez, the French have always been possessed of a slightly different perspective and have tended to follow their own parallel but fiercely independent paths.
Gerard Grisey (b. 1946) was one of the founders of the spectral movement in France. Though he claims to have moved away from the tenets of spectralism in recent years, his association with spectral music is likely to dog him for the rest of his life -- in the same way that the Impressionist label followed Maurice Ravel to the end of his days and beyond. Grisey attended Germany's Trossingen Conservatory (1963-65) and the Conservatoire National Superieur in Paris (1965-72), where he studied composition with Messaien. He also studied under Dutilleux at the Ecole Normale Superieure and attended the seminars of Stockhausen, Ligeti and Xenakis at Darmstadt. He studied acoustics at the Paris Science Faculty (1974), won a study grant to the Villa Medici in Rome (1972-74), and was in residence at IRCAM in 1980. He has taught composition at Darmstadt, IRCAM, the Scuola Civica in Milan and at various American universities. From 1982 to 1986, he taught at U.C. Berkeley and thereafter! , at the Paris Conservatoire National.
作品介绍，节选自《Gerard Grisey與頻譜音樂》
作者 章朝盛
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“Gerard Grisey重要作品中，Les Espaces Acoustique是規模最大的曲子，一共分為六段(Prologue, Periodes, Partiels, Modulations, Transitoires, Epilogue)，寫作時間共花了11年。整曲共約90分鐘的音樂，其實都根源自長號的E音(41.2Hz)與其泛音。Gerard Grisey說這首曲子是頻譜音樂的實驗室，他在裡面實驗他後來稱為synthese instrumentale(instrumental synthesis，樂器合成)的技法，從E音開始一連串有關於聲音的生死歷險。也是在這套曲子中，Grisey慢慢能將電子音樂實驗室中摸索出的技法，真正落實到傳統樂器的記譜上，而確立其獨特的風格。
全曲由中提琴獨奏、富含旋律的Prologue開始，這首曲子從單一個音開展，旋律像一個不斷旋轉出去的陀螺，不斷試探和諧過渡至不和諧的聲響。此段最後，中提琴最後一個音被在一旁七人的室內樂團所承續，樂曲便進入第二段Periodes (periods)，這也是全曲最早完成的一段。這裡依照作曲家的說法，三種片段（緊繃、鬆弛與靜止）分別對應於人類的呼吸─吸氣、吐氣與靜止，是自然界長短不一的無盡循環。音樂進入第三段Partiels(partial)，樂曲編制擴大為18人，這標題正暗示著他所謂instrumental synthesis的想法，每個樂器都是整個新聲響合聲中的一個元素，經由控制各樂器的表情強弱與音高的游移，便可以視為調節一個聲音和諧／不和諧與改變音色的手段，也是樂曲向前進行的力量來源。在新聲音的質感與樂器固有的質感相互干涉時而模糊時而清晰之下，聆聽這類音樂時，人們心中很容易就出現美麗的幻象，但我個人覺得這技法要到另一個作品Vortex temporum才真正到達圓融的境界。第四首Modulations用到的是33人小編制的樂團，接下來的Transitoires(transitory)則用到全編制88人的樂團，Grisey慢慢在譜中加入新的泛音，直到Transitoires已經用到了E音的第55個泛音，這樣的音響著實太過複雜，沒有異於常人的耳朵大概是寫不出這樣的音樂。最後Epilogue回頭收束聲音的世界，將樂曲中的泛音在一個一個拿掉，最後整首樂曲在絕對的寂靜中結束。”
曲目
GéRARD GRISEY : Les espaces acoustiques
Prologue, Periodes, Partiels, Modulations, Transitoires, Epilogue