Abstract
This article discusses the conception and creation of space in works by Giacinto Scelsi and Gérard Grisey. Based on the fact that both composers conceived of space as closely related to the energetic, internal structure of sound, I propose a textural approach that emphasizes the interlinear relationship to examine the construction of space in their work. In two works for solo instruments, Ygghur and L’Âme ouverte, Scelsi generates numerous micro-vibrational movements and timbral contrasts from a drone voice, creating a sense of space. In the third movement of Grisey’s Quatre chants pour franchir le seuil space is created through an imitative polyphonic writing associated with the poetic idea of echo. The textural writing in these works shows the decisive role of movement in the creation of sonic space, inspired by the energetic character of sound.
Highlights
This article discusses the conception and creation of space in works by Giacinto Scelsi and Gérard Grisey
The conception of sonic space by both Scelsi and Grisey was based on one fundamental criterion: sound is a dynamic and organic object and should be considered as such when used in compositions
Considering sound as a holistic object, Scelsi proceeds to create sonic depth through extreme concentration on a single sound, resulting in textural writing based on micro-vibration and micro-movement
Summary
The conception of sonic space by both Scelsi and Grisey was based on one fundamental criterion: sound is a dynamic and organic object and should be considered as such when used in compositions. Influenced by Zen Buddhism, he talked about the necessity of expanding a single sound in order to observe and perceive its inner energy He claimed that the creative force of an artist lies in his ability “to stop the movement and to crystallize an instant of the duration...and to project this instant...in a verbal, sonic, or plastic material.” “music is the result of the projection and the crystallization in a sonic material of a moment of the duration...” In other words, a piece of a musical composition can be regarded as capturing a specific moment of a sound’s energetic flux and expanding this instant into a longer span of time
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