FERNEYHOUGH UNITY CAPSULE PDF

Ferneyhough was born in Coventry and received formal musical training at the Birmingham School of Music and the Royal Academy of Music from —67, where he studied with Lennox Berkeley. In , performances of his work for large ensemble Transit and Time and Motion Study III were given; the former piece being awarded a Koussevitzky prize, the latter performed at the Donaueschingen festival. In many of these events he was paired with fellow British composer, Michael Finnissy , with whom he became friends during his student days. In , he became William H.

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Share via Email The thrill of musical extremity Brian Ferneyhough. What is complexity in music? Has anyone in the 20th or 21st century come close to demanding as much from his or her listeners and performers than JS Bach did in that piece, or any of his innumerable fugues?

The impossible canons of Conlon Nancarrow , taking his player pianos to other dimensions in the Mexican desert? Or the vertiginous sound and fury of the postwar avant-garde composers Ligeti, Stockhausen, Boulez, Xenakis …?

The reason I ask is year-old Coventry-born composer Brian Ferneyhough. His works, it is often said, are the ne plus ultra of musical complexity, in the sense of notational overload, performing difficulty and even philosophical questioning. He is even, supposedly, one of the godfathers of "New Complexity", although he rejects the term just like his fellow so-called complexists, James Dillon and Michael Finnissy.

That volley of notes is followed by a group of 11 hemi-demis in the time of eight, enclosing a triplet and dotted notes; then comes a group where you need to count 10 hemi-demis in your head in the time of eight, but you also have to subdivide them into one group of five against four in your new virtual tempo, and then six against four, before a final hemi-demi rest in that overall scheme of 10 against eight.

Got that? It is, well, pretty complex! So what does this kind of notational complexity mean? What does it produce in performance, and what does it sound like? Ferneyhough holds no compositorial guillotine of musical perfection over the heads of his performers. You see, the desire to put all that information on the page is really the start of a dialogue, with the possibilities of what the performer is going to do with the piece and with what the listeners will hear.

Even more fundamentally, the notation is a sort of scratching at the surface of what the actual musical work of Lemma-Icon-Epigram might be. The point is, if Ferneyhough wanted his scores and check out the orchestral works, such as La Terre Est un Homme or Transit if you really want your head to spin to be a sort of straitjacket for the performer, to determine precisely what they should be doing at every micro-second of the piece, he would have become an electronic or electro-acoustic composer.

In that case, a single recording could and would represent the definitive realisation of each of his pieces.

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Unity Capsule, for flute solo

Share via Email The thrill of musical extremity Brian Ferneyhough. What is complexity in music? Has anyone in the 20th or 21st century come close to demanding as much from his or her listeners and performers than JS Bach did in that piece, or any of his innumerable fugues? The impossible canons of Conlon Nancarrow , taking his player pianos to other dimensions in the Mexican desert? Or the vertiginous sound and fury of the postwar avant-garde composers Ligeti, Stockhausen, Boulez, Xenakis …? The reason I ask is year-old Coventry-born composer Brian Ferneyhough.

HINGLE PLOT PDF

A guide to Brian Ferneyhough's music

In many of these events he was paired with fellow British composer, Michael Finnissywith fernehhough he became friends during his student days. Be respectful of artists, readers, and your fellow reviewers. Ferneyhough was born in Coventry and received formal musical training at the Birmingham School of Music and the Royal Academy of Music from —67, where he studied with Lennox Berkeley. You can help by adding to it.

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