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Alternative Temporalities
in Grisey's Prologue
for Solo Viola
L-?
Jeffrey J. Hennessy
Gerardfounders
Griseyof(1946-1998)
is widely
to be one oforigi
the
the movement
known considered
as French "spectralism,"
nating in Paris in the mid 1970s. Spectral composers utilize the analyses
of the complex harmonic spectra of individual sounds as a primary pitch
resource. These spectra are orchestrated to produce "spectral chords,"
which are then manipulated in various ways including: filtering, fre
quency modulation, and evolving inharmonicity.
In many ways, the original spectral concept developed in reaction to
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37
does that extended time imply? That is really the starting point of
spectralism and not the writing of spectrums or whatever.3
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38
point.
between musical time and listener time, but that, at present, the
composer has very little control over the slippery skin. The analyst is, of
course, no better positioned to access individual musical subjectivity,
especially regarding something as elusive and complex as temporality.
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39
* a) Periodic
Maximum
Order
Predictability
b) Continuous-Dynamic
"fuzzy
periodicity"
1) continuous acceleration
2) continuous deceleration
Average
Predictability
^ 2) statistical acceleration or
deceleration
complete redivision
unpredictability of durations
maximum discontinuity
e) Smooth
rhythmic silence
Grisey's 1976 Prologue for Solo Viola is a case in point. This piece
opens the cycle of six pieces collectively known as Les espaces acoustiques.
In keeping with its function as a prologue, the piece exposes musical
materials that will feature prominendy in the rest of the cycle. The
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40
= lowered by 1/8 tone h = raised by 1/8 tone k = raised by 1/4 tone * = raised by 5/8 tone fit = raised by 3/4 tone
superficial insight into the overall process. As with most spectral works,
attention in this study to the first quarter of the piece. I define this as
Section 1 of the piece, with smaller structural divisions referred to as
subsections.
indeed the entire cycle. This is shown in Example 4. Grisey has referred
to these referential figures in his music as the "Initial Gestalten"12 I
have adopted the term "Initial Gestalt Unit" (IGU). The work's
publisher (Ricordi), in their composer biography of Grisey, describes
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41
B2.13 The pitch content of the initial unit (including the B2 pulses)
comprises the third, fourth, fifth, sixth, seventh, and ninth partials of the
Respiratory Cardiac
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42
Duration Contour
Event
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43
unit is to be repeated.
gesture provides the kinetic propulsion. These are laid out sequentially
at the beginning, and one of the form-defining processes of Prologue is
their gradual fusion.
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n <
CO
""Cr
n'
Subsection 3
EXAMPLE 6: PROLOGUE SCORE EXCERPT SHOWING SUB-SECTIONAL DIVISIONS AND SEGMENTED DURATIONAL UNITS.
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45
each subsection as the listener awaits the arrival of each cardiac gesture
second. Thus the composer exerts a great deal of control over the
46
Unit
Content
Relative Actual
Duration Duration(s)
12
16
breath cardiac
14
Unit
Content
Relative Actual
Duration Duration(s)
1
10
breath, 2 cardiac
respiratory, breath, respiratory, 2s pause, respiratory,
14
25
20
cardiac
EXAMPLE 7
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47
example 7 (cont.)
time dilation and the listener becomes more attuned to the subtle
that the highest pitch is always the fourth, which then falls to the next
highest pitch. These pitch contours therefore vary only in the order of
presentation of the first three pitches of each gesture (the root, third,
and fifth of the E major triad). After the fifth respiratory gesture
(following the IGU), pitch contours attain greater variety and the
listener is more attuned to the changes because of the consistency of the
initial five pitch contours. Example 8 displays pitch contour curves for
the first six respiratory gestures (following the IGU).
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(FOLLOWING IGU).
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49
12
Event
Event
Different Ending
EXAMPLE 8 (CONT.)
appearance at this point as the last pitch in the gesture. The volume
dynamics emphasize this arrival with a crescendo over the course of the
gesture. A subsequent two-second pause further separates this gesture
from the overall texture. The effect is somewhat cadential in a tonal
sense and is temporarily (and temporally) jarring; a brief example of an
unexpected sonic jolt. This conflicts with the timeline established by the
Volume contours also vary with each respiratory gesture. In the first
two subsections, each amplitude contour consists of an initial crescendo
to its maximum pitch (unless it begins with the loudest note). This pitch
is assigned a tenuto articulation and is played with vibrato (the only
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50
pitch in each gesture that is played with vibrato), and then is followed
displays the volume contour curves for the first four respiratory gestures.
The amplitude maximum pitch changes each time. This not only alters
the dynamic shading of each gesture, but also highlights a different pitch
Here the durational and volume curves are isomorphic. This dynamic
envelope is similar to that of a percussion instrument, which has a rapid
Event
(FOLLOWING IGU)
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51
EXAMPLE 9 (CONT.)
attack and quick release. In the fourth respiratory gesture following the
IGU, the durational and amplitude contours are inversions of each other
(a crescendo over the course of the gesture). In a sense, this gesture is
similar to a string or wind instrument with a slower attack and longer
release. Thus, at least to my ears, the fourth gesture seems to last longer
than the second gesture despite their chronometric equivalence.
The first subsection ends with a gesture that could be characterized as
an unexpected sonic jolt (see Example 6). Here the material differs
radically from the previous gestures. For one thing, the entire unit
decelerates in opposition to the accelerations of all previous respiratory
gestures. Also, it is made up of three-note gestures with disjunct and
angular contours. The first three pitches comprise the sixth, eighth, and
eleventh partials of the harmonic series, which then become inharmonic
when flattened by eighth-tone increments in each subsequent three-note
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52
gesture (see Example 3). For the first time in the piece, there are also
inter-gestural timbral modifications as the gesture begins alto sul tasto
and progresses to sul ponticello. The performance instructions indicate
that this entire unit should be thought of as an aside or an echo. The
foreshadows many of the processes that will take place in later sections.
The second subsection proceeds much like the first but also begins to
process. For the first time, in the middle of the third line, we hear the
cardiac gesture repeated twice in succession. It is later repeated three
times at the end of the subsection. As well, the cardiac gesture at the
beginning of the fourth line appears without a preceding pause for the
first time and acts like an interruption. This interruption effect is even
more pronounced because of the sudden dynamic shift (from p to nip)
and the sul tasto timbral change. The cardiac gestures thus begin to take
on a periodicity of their own, distinct from that of the respiratory
gestures. This periodicity continues to assert itself throughout the rest of
the piece, eventually fusing with the respiratory-like gestures in the latter
subsection. For example, the last two respiratory gestures of the second
subsection feature sudden registral shifts between extreme pitches. This
is shown in Example 10. In the penultimate gesture, the pitches ascend
by skip to the fourth and highest pitch only to fall immediately to the
lowest pitch. This accentuates the lower registral extreme, separating it
from the prevailing registral density.17 Two contour leaps appear in the
final gesture, with two resulting registral shifts. The overall wave-like
characteristic of each respiratory gesture remains intact; however, these
sudden registral shifts induce a weak level of pulsation created by the
pulsation.
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53
Registral Shifts
begins to prepare the way for the eventual fusion of respiratory and
cardiac gestures.
Subsection 3
gestures.
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54
to sound in the piece and its timbral resonance stands out (especially
being the loudest pitch), matching the timbre of the cardiac gesture.
The timbral resonance of all pitches is further increased by the removal
of the mute, allowing for more sympathetic string vibration and the
introduction of more random noise.
Cardiac gestures continue to interrupt without pause. The durations
between cardiac and respiratory gestures increase to the point where
these interruptions become less and less predictable. For example, the
third segmented unit of Subsection 3 features six consecutive respiratory
gestures followed by five consecutive cardiac gestures. All of this begins
to blur the periodic timeline as unpredictable elements begin to multiply
shows an excerpt from a later timepoint in the piece. At this point, the
cardiac and respiratory gestures are fusing into a highly dynamic unit
with greater pulsation, melodic angularity, and kinetic propulsion. A
high level of pulsation results from the accent articulations on certain
pitches. However, the glissandi between adjacent pitches preserve some
of the smooth continuity of the previous respiratory gestures. Tremolo
dyads follow the respiratory-like glissando gestures. These tremolos are
similar to the previous pitch-static cardiac gestures but the tremolo
articulations infuse a wavelike (respiratory) characteristic. As a result,
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56
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Notes
An earlier draft of this article was presented to the musicology
colloquium series at the University of Toronto. I would like to thank
Mary Ann Parker who ran the 2004 Ph.D. seminar at the University of
Toronto, thereby giving me the opportunity to begin exploring this
research.
1. Gerard Grisey, "Tempus ex Machina: A Composer's Reflections on
Musical Time." Contemporary Music Review 2 (1987): 240-242.
39.
www.angelfire.com/music2/davidbundler/grisey.html (accessed 3
Jan 2010).
5. Grisey (1987).
6. Ibid., 244.
7. Ibid., 245.
8. Ibid., 272.
9. Some recent scholarship has indeed directed attention to temporal
issues in Grisey's music. See Jean-Luc Herve, Dans le Vertige de la
Duree: Vortex Temporum de Gerard Grisey (Paris: L'ltineraire, 2001)
and Angelo Orcalli, "Gerard Grisey, 'duree reelle' e dilatazione del
10. Note that all pitches are rounded to the nearest eighth-tone, as is
the case in the Prologue.
11. See Rose (1996) for an explanation of the process of evolving inhar
monicity in Spectral composition.
12. Gerard Grisey, liner notes to Vortex Temporum/Talea (Accord CD
206352,1998).
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17. The phenomenon of contour accent has been much discussed. For a
formal definition and treatment of this type of accent, see John
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