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.

[@oscargill423]

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

[@LVB95]

Extraordinaire musique et interprétation

[@pedropascoali7197]

Absolute masterpiece

[@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!

[@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 🔥🕌

[@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 :)

[@ShoyuTao]

Fantastic performance!

[@machida5114]

so good...

[@menschikle]

quite good...

[@FluteIt]

Thank you for this video! :-)

[@sanicyouth6540]

Lovely.

[@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.

[@minch333]

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

[@ZolaNtondo]

Très bel emploi de l'isorythmie.

[@sireneOperntheater1]

Vielen Dank!

[@tommyschmitz]

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

[@caioschissatti]

so rad

[@eddy_sonik]

👍I LOVE ! 💙⚪❤

[@marcellodantedealmeidanune9445]

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

[@arunaszizys5225]

exhilarating

[@vatican2397]

Oh, yes

[@Altepetl]

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

[@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.

[@user-yd6md4kc9i]

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