Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
  1. Home
  2. Search

Refine search

Refine search

Access:
Content type:
Publication date:
Apply   From and To filters
Subject: Show more
Journals Show more
Publishers: Show more
Societies Show more
Series: Show more
Collections: Show more

Actions for selected content:

Select all | Deselect all
  • View selected items
  • Export citations
  • Download PDF (zip)
  • Save to Kindle
  • Save to Dropbox
  • Save to Google Drive

Save Search

You can save your searches here and later view and run them again in "My saved searches".

Please provide a title, maximum of 40 characters.
Cancel
×

1 results

  • 4 - On the Threshold: D’eau et de pierre (1972)

  • from Part I - Grisey’s Style
  • Liam Cagney, BIMM University
  • Book:
    Gérard Grisey and Spectral Music
    Published online:
    30 November 2023
    Print publication:
    14 December 2023, pp 95-124

  • Summary

    D’eau et de pierre is the threshold work into Grisey’s mature music, the first work idiomatically recognisable as being in Grisey’s mature style featuring a gradually changing static ensemble texture. This chapter explores the influences on the work, showing how it tied in with the so-called meditative music of the era, in particular that of Jean-Claude Éloy and La Monte Young, each of whom was exploring long durations and static harmonic surfaces. It details Grisey’s attendance at the 1972 Darmstadt Summer Courses, where, alongside lectures and seminars by Chowning, Rădulescu, Xenakis, and Ligeti, he took part in Stockhausen’s seminars on Mantra and Stimmung. A performance of the latter by the Collegium Vocale Köln made a strong impression on him, performed by the Collegium Vocale Köln, made a strong impression on him. D’eau et de pierre was completed after this, and its form drew on Stockhausen’s concept of the degree of change of a given statistical sound.