“To hear Grisey's music is to have adventures in the stuff of sound that will change your ears for ever,” once wrote The Guardian about one of the most influential 20th-century composers’, French spectralist Gérard Grisey’s music. Raw and perfected at the same time, rigorously structured yet full of savage energy – this is the composer’s magnum opus: a three-movement thrilling journey with Vortex Temporum for piano, strings, and wind. This piece is a particular legacy of the composer, meditation of sound and time formats whose original, hardly recognisable motif is borrowed from Maurice Ravel's Daphnis et Chloé. St. Augustine, one of the most influential philosophers of early Christianity, wrote that time proves itself until someone begins to try to describe it. In Vortex Temporum, Grisey transforms time into tangible material while exploring the behaviour of sound, as a physical phenomenon, in space. In this piece, Grisey makes the movement of molecules – sound material – perceivable by examining it on three different scales: with human eyes, through a molecular microscope, or by zooming out on it through a telescope – what the composer himself calls “the time of humans, insects, and whales”.