From The Boston Globe:
Toward the end of Gérard Grisey’s 1976 “Partiels,’’ the composer gives his convictions a comic spin, derailing the music into obbligato choruses of housekeeping: rustling pages, shifting chairs, squirming performers. It’s a literal version of what Grisey has been doing sonically all along: expanding the marginal noises that music, by convention, disregards — the overtones, the breaths, the passing scrapes and squeaks — into lavish soundscapes of their own.
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