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Gérard Grisey: Solo Pour Deux / Ernesto Molinari

Gérard Grisey: Solo Pour Deux / Ernesto Molinari-Clarinet
ID: KAI0012502 (EAN: 9120010281006)  | 1 CD | DDD
Released in: 2005
GRISEY, Gérard
DIERKSEN, Uwe (trombone) | GROÁ, Karin | MOLINARI, Ernesto (clarinet) | SCHRAML, Angelika
Ensemble S
Other info:

I - that sacred time:
Cut to pieces by the media, drowned in over-information, measured in this age of zapping and clips, this time, the time which Bataille called ‘sacred’, the time of Art, Love and Creativeness, the instant when something unprecedented happens, can only be preserved by the artist if he completely resists this late 20th century environment. Paradoxically, however, these are precisely the rhythms which feed and inspire him. This is the only world which calls forth his questions. And so, the response to this discontinued flood of information will be a music finding its unity and continuity. Its wintry slowness will be the reversed echo of a stress-ridden world rushing towards its end.
II - Zwitschermaschine:
Think of whales, men and birds. When you hear the songs of the whales, they are so spaced out that what sounds like a gigantic, drawn-out and endless moan is perhaps only one consonant to them. This means that it is impossible to perceive their speech with our constant of time. Similarly, when we hear a bird sing, our impression is that it sounds very high-pitched and agitated. for its constant of time is much shorter than ours. It is difficult for us to perceive its subtle variations of timbre, while it may perceive us, perhaps, as we perceive the whales. (Gérard Grisey)

Includes booklet with text by Gérard Grisey and Wolfgang Hofer
GRISEY, Gérard (1946-1998) 
1. Solo pour deux, (1981) for clarinet and trombone15:20 
Anubis-Nout, (1983) two pieces for contrabass clarinet (ŕ la mémoire de mon ami Claude Vivier) 
2. I. Anubis7:47 
3. II. Nout4:45 
4. Stele, (1995) for two percussionists6:28 
5. Charme, (1969) for clarinet5:58 
6. Tempus ex machina, (1979) for six percussionists22:03 


One of the founders in the 1970s of the so-called "spectral" school, Gérard Grisey demonstrated his musical theories most completely in his vast "Les Espaces Acoustiques"; but he also composed a number of instrumental solos and small ensemble pieces that indicate how his nascent ideas developed. This 2005 release from Kairos presents a selection of these chamber works, ranging from the early "Charme for clarinet" (1969) to "Stčle for two percussionists" (1995), composed three years before Grisey's death. These compositions, along with "Tempus ex machina for six percussionists" (1979), "Solo pour deux for clarinet and trombone" (1981), and "Anubis-Nout for contrabass clarinet" (1983), are nothing short of theoretical investigations: of sounds as events; of the variable resonances of overtones in acoustic space; and of the conflict between objective, chronometric time and psychological time, as perceived by performers and listeners. These musical problems are heady stuff, not easily grasped by lay listeners, let alone by those familiar with Grisey's experimental procedures. As a result of the difficulties presented in this cerebral music, much of this recording will seem scattered, meandering, and dull for long stretches. Without some theoretical grounding -- never mind the poetic liner notes that contribute little helpful information -- this CD is rather hard to understand or like; and while these pieces are undoubtedly valuable for scholars to comprehend Grisey's work as a whole, they are not sufficiently eventful or colorful for pleasurable listening. The performances by clarinetist Ernesto Molinari, trombonist Uwe Dierksen, and Ensemble S are competent, and Kairos' audio is expertly engineered, so if abstract and abstruse music appeals, this disc will adequately fill the bill. Blair Sanderson, All Music Guide


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