Gérard Grisey: Quatre chants pour franchir le seuil (2002)

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Gérard Grisey: Quatre chants pour franchir le seuil (2002)

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I was lucky enough to hear the 1999 London world premiere of the then recently-deceased Gerard Grisey's Quatre chants pour franchir le seuil. It was one of those very rare occasions when most of the audience seemed convinced they had just experienced something quite extraordinary, and it was no surprise that Kairos chose to record this work so soon afterwards.

Grisey's main claim to fame has been his leadership of the so-called 'spectralist' school, who derive structure and harmony from the overtones of instrumental notes. A proper theoretical explanation of spectralist ideas is outside the scope of an amazon.com review, so I will merely note that this school of music regularly produces music with highly interesting harmonies–usually extending the scope of conventional tuning–but is sometimes accused of overly predictable rhythm and musical structure.

The present work shows none of the flaws that spectralism is accused of, and to some extent shows–as did Grisey's previous major work, the sextet Vortex Temporum–an increasing interest in historical models. A four movement song-cycle with an appended epilogue, this work consciously sets itself alongside previous major song cycles such as Mahler's Das Lied von der Erde, both in theme and musical expression.

The first song, 'The Death of the Angel', sets a short poem by Christian Guez-Ricordi. Emerging out of silence, it builds over ten minutes to a powerful climax, then fades away again. Following this, 'The Death of Civilisation' sets a recitation of texts from Egyptian sarcophagi over a tolling harp line that openly recalls the opening of Mahler's ninth symphony. A fragmented vocal line dominates the short third song, 'The Death of the Voice', based on Ancient Greek poetry by Erinna of Telos, before a colossal, violent eruption of percussion leads into the final song, 'The Death of Humanity', based on the description of the Flood from the Epic of Gilgamesh. This is a long lament, which melts into an epilogue entitled 'Berceuse' that brings some consolation after the despair of the previous movement.

This recording confirms all the impressions I gained of the work at the premiere performance, and I can honestly say I believe Grisey here has written one of the finest works of the 20th century. Catherine Dubosc's singing is outstanding and Klangforum Wien provide excellent support. Despite the short measure (there is no coupling and only 42 minutes of music on this disc), I cannot recommend this recording highly enough.

-Edward Wright, Amazon.com