Gérard Grisey - Talea (w/ score) (for five instruments) (1986)

/ grisey-talea-ou-la-mac...
Crossing Lines Ensemble
Just for promotion.
Please write me a direct message if you have complains about this upload concerning copyright issues. In that case, I will delete the video immediately.

[@MegaCirse]

Ecouter ce compositeur, c'est abolir le déferlement de bruits et d'images du quotidien pour entrouvrir l'espace d'un ailleurs où la contingence et la représentation cèdent la place à l'immatérialité du sensible. Une fois refermée la porte sur l'agitation du monde, un silence sous-jacent s'installe, une lenteur saisit, préludes à une dilatation de la conscience. Le pouvoir expressif de l'architecture sonore rompt avec toute forme de transcription du réel pour s'attacher à l'expression d'un univers fabuleux où la couleur où le rythme de l'architecture sonore constitue une expiration qui donne voix à l'exaltation 🔥🕌

[@oscargill423]

People: Try to find the beat
Grisey: How about no
There is so much freedom in this piece. I love it.

[@randomprimate]

This may sound ridiculous, but if you find yourself not "getting it," I highly recommend playing it at 2x speed. This is a tactic that works for ALL Grisey music, honestly. Helps with identifying the macro-scale structures.
(But be sure to switch back to regular speed after you've "figured it out.")

[@Erinnmnn]

Brilliant, I'll be keeping this in my listening toolbox for years!

[@silverstrings2760]

Legit just saved me, working on analyzing this piece for a class. I was getting a headache trying to figure it out lmao. Thanks!

[@LVB95]

Extraordinaire musique et interprétation

[@florianhecher]

hearing this peace live felt like a revelation. it's amazing and i think pure freedom is a major aspect of it.

[@tomasgallim]

I can feel that freedom too, but may be there is less freedom that it seems, as a spectralist composer, he is somehow guided or partially ruled or "linked", if you want, to the intrinsec physics and nature of the sound (as a "phenomenon") itself! best wishes :)

[@pedropascoali7197]

Absolute masterpiece

[@tommyschmitz]

Brilliant. Engaging. Panoramic. Richly Flavourful and Ticklish best of all. Oh! And miraculously performed.

[@ShoyuTao]

Fantastic performance!

[@boneybone8123]

TALEA ***I'm typing for who can't see the test clearly sorry for typos***
or The machine and the rank weeds
"Talea", in Latin, means cutting. In medieval music this
term deisgnated a reiterated rhythmic pattern to which a
configuration of pitches called "color", likewise reiterared
and coinciding or not with the first, is grafted. In the twentieth
century we have rediscovered this dissociation between pitches
and duration.
The idea of a "cutting" of the initial idea, of putting the
various rhythmic structures in phase and out of phase, as
well of a structure in two parts in which the second could
easily be termed "color", have suggested the title of this
quintet to me.
In Talea I tackle two aspects of musical discourse from
which my research on instrumental synthesis, on microphonics
and on contiguous transformations had estranged me, that is,
speed and contrast.
Talea consists of two parts linked together without interrupion
which express two aspects or, more preciley,
two auditory angles of a single phenomenonm.
Thus this single gesture(fast, fortissiom, ascending-slow,
piannisimo, descending) is presented in the firts part by
durations of medium lenght and gradually eroded to the
point of levelling off the contrasts. Inthe second part,
it exprresses the overall form and the succession of sequences.
It is polyphonic in the first part and homophonic in the second.
From the perceptuaol point of view, the firt part seems to me like
and inexorable process, a veritable machine for forging the
freedom which will emerge in the second aprt. The course of the latter
is in fact pierced by more or less irrational emergences, kinds
of recollections from the first part, which gradually assume the color ofthe
new context until they vecome unrecognizable. These wild flowers,
thwse rank weeds pushing up in the interstices of the machine,
grow in importance and then overflow unitl they give teh
sections into which they have wormed their way like
parasites an entirely unexpevted coloration.

[@machida5114]

so good...

[@menschikle]

quite good...

[@sanicyouth6540]

Lovely.

[@FluteIt]

Thank you for this video! :-)

[@ZolaNtondo]

Très bel emploi de l'isorythmie.

[@minch333]

Fucking hell... this is such a good piece of music. It felt 5 minutes long

[@eddy_sonik]

👍I LOVE ! 💙⚪❤

[@caioschissatti]

so rad

[@Altepetl]

hola buenas tardes oye Tendrás el archivo de sibelius de esa obra?

[@sireneOperntheater1]

Vielen Dank!

[@marcellodantedealmeidanune9445]

Peça bastante interessante de Grisey. Bom poder acompanhá-la em partitura com sua ágil dinâmica de quinteto.

[@arunaszizys5225]

exhilarating

[@vatican2397]

Oh, yes

[@CharlotteMunn-Wood]

SLAY

[@soklamon]

Great piece! Thank you for uploading it ... But the analysis is not great at all... thus it is very difficult to follow the details without feeling pain in our eyes. Could you please try it in a better resolution and without the unnecessary black frame?

[@stueystuey1962]

Not as a constant diet ala Maderna or Carter. Sometimes the spectral "stuff" makes me wanna punch things.

[@幸生山本-t1l]

現代音楽全般に言えることだが、とりあえず「音がない状態」というのはやめてもらたい

[@giovaluci]

Cos'è questa stronzata? Ma fatemi il piacere per carità.

[@joseluismasquedavilcuez7303]

absurd und lächerlich....

[@belanna000]

eine rechtfertigung / begründung wäre schön