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Petals wider listening people (Gérard Grisey, Espaces acoustiques 1/2 -…
Petals wider listening people
Sofia Gubaidulina: Concerto for Bassoon and Low Strings (1975)
https://www.youtube.com/watch?v=lBlVARagiSk
Melody
Chromatic from beginning
Petals is chromatic throughout, especially in "loud" sections (Line 4)
Disjunct - unrelated notes with sometimes large leaps
In "loud sections" in petals, some notes are disjunct which give the same feeling of unrelated notes
At 6 minutes, melody is fully disjunct and atonal but at 6:13, the note Eflat is repeated which could be called the tonic note
The same thing is in Petals where a repetition of a note is used to determine some kind of root eg line 17 C or around line 26 with f#
Shows full range of the instrument
Petals also does this
Texture
The beginning is monophonic
In petals, even if just one note is played, the music never sounds monophonic as sounds are electronically added through harmoniser
Low strings provide harmony
Solo parts on bassoon for low strings to then add to the harmony making it sound fuller and darker
Tempo
In free time, lots of movement
Petals has tempo markings written on the score at each new section and also says how long each section or certain lines should be played for
Tonality
Atonal - dissonance throughout
Petals is the same, in both pieces only repeated phrases or notes could suggest a key/root
Harmony
Low strings provide harmony although it's very dissonant
Often low in pitch and strings play the same rhythms
Harmoniser provides harmony in Petals and is written on score
also very dissonant
Gérard Grisey, Espaces acoustiques 1/2 - Ensemble intercontemporain
https://www.youtube.com/watch?time_continue=7&v=jQgLU0gjPtI&feature=emb_title
Melody
From around (0.28), violin plays two loud notes on B which are repeated by quiet atonal dissonant runs which are often disjunct
Despite being atonal, the repetition of B could be a key centre/tonic and we see this in Petals from line 17 with the plucked low C. And line 23 with F#.
At 13 minutes, there is a repeated descending pattern. Each descent starts on the same note
This is similar to line 23 in petals in which there is a repeated ascending pattern. Each ascent ends on an F#
Could determine a key centre
Playing techniques
The player uses a lot of bow pressure and plays near the bridge creating a sharp tone (9:38)
In Petals, the score is full of instructions which tell the player how to perform the piece.
Bow pressure is marked on the score as well as S.P. (to play near the bridge) and S.T. (to play nearer the fingerboard)
Texture
Only one violin throughout so lots of monophony. There is a lot of dissonant double stopping however which creates thicker textures
Grisey life and stuff
Born in Belfort, France, on 17 June 1946
Grisey demonstrated enormous interest and talent in music composition and study, writing his first essay on music when he was 9 years old
He studied at the conservatory in Trossingen in Germany from 1963 to 1965 before entering the Conservatoire National Supérieur de Musique where he studied with Olivier Messiaen from 1965 to 1967 and again from 1968 to 1972.
He studied composition with Karlheinz Stockhausen
His music is considered to belong to the genre of spectral music, which he is said to have cofounded along with Tristan Murail. He had rejected the term by the end of his life
Gubaidulina life and stuff
She's Russian
While studying at the Children’s Music School with Ruvim Poliakov, Gubaidulina discovered spiritual ideas through Judaism and found them in the works of composers such as Bach, Mozart, and Beethoven. Gubaidulina quickly learned to keep her spiritual interests secret from her parents and other adults since the Soviet Union was against any religious ideas.
She studied composition and piano at the Kazan Conservatory, graduating in 1954. In Moscow she undertook further studies at the Conservatory with Nikolay Peyko until 1959, and then with Shebalin until 1963
She was awarded a Stalin fellowship.
Her music was deemed irresponsible as she explored alternate tunings however she was supported by Shostakovich,
In 1979, she was blacklisted as one of the "Khrennikov's Seven" at the Sixth Congress of the Union of Soviet Composers for unapproved participation in some festivals of Soviet music in the West.
She is still alive