Cant believe all the ferneyhough hate. This for sure isn’t one of this best pieces- but I still think some of the ideas inside this are really good. String Trio and early quartets are much better, however in my opinion.
To me, there are two problems, I mean real problems. First, the guy writes anything he wants, and that is ok, but doesn't look like real heart felt music. Second, if you dare say exactly this, you are bashed like nazis in 1945. What I find interesting is that you say that some of his pieces are more interesting than others. That is positive. But in this case, not at all convincing.
@@stephanecollin1.Noone has to convince anyone of anything. 2.Irrespectively of whether one is convinced this hate shows some extremely immature and childish behavior of weak people. If you don't want to listen to Ferneyhough, then don't, move on and do something that you want to do with your life, listen to the music that you like. And large part of the criticism is not mild like "it's not heartfelt music", it's often some vile disgusting personal attack on Brian.
@@cantatanoir6850 Apparently, you try to convince the readers that I am extremely immature and childish and weak. Listen carefully : this is not true. Curiously, and ONLY when talking about this kind of "superior" music, I get about the same message, never any other : "you don't have brain enough". While there could be an interesting debate about this. My best argument is : replace the signature "Ferneyhough" by the signature "Stéphane Collin" and everything collapses. Even you.
@@stephanecollin You are putting words in my mouth. I said zero things about you. I said that aggressive hate towards music that one doesn't like is childish and immature. I said zero things about brain. You are projecting some comments that you read on me.
Ah, and... I don't know Brian Ferneyhough. Maybe he is a very nice guy. I don't like his music, even less the fact that people who do claim they like it use it to tell other people they have no brain. Why is this not the case with, say, Morton Feldman ? While he was friend wit Cage who was friend with Scnoenberg ? I know. You don't want me to tell you.
If played for me unawares, i would never guess, Ferneyhough. Admittedly, i am not a devoted listener of his the way i am of other Americans. This is rather tame by comparison with his string quarters.
The notation is seductive, and the piece sounds terrific. Those might be two separate things. Or not. Either way, I like what I hear. To anyone who disagrees with me: I don't give a f***. I've got no time for you.
Quite like the sound of this piece, but the notation is just off-the-wall. No way the notated rhythms can be executed accurately . . . And who would notice?
I call this imposture. Curiously, all imposters in modern music are related to one of these : Schoenberg, Stockhausen, Boulez, Berio, Cage, ... How the hell those people could have had such a (relative) influence ? Ok they were in their own country at the command for public money to be sent to musicians (at least, those obeying their rules).
He still was a great teacher, with quite submissive pupils, who, while not perfectly ok with his musical ideas, felt obliged somehow to follow his, what, his doctrine. @@garrysmodsketches
@@stephanecollin Schoenberg taught for years at UCLA. He had the ability to brainwash hundreds of music students and teach them his 12 tone method. But instead he taught them classical counterpoint. Taught them how to write fugues, canons, etc. He also wrote a couple of textbooks, all about classical counterpoint and classical harmony. So his supposed propaganda was only targeted at a handful of guys. Private students who were paying him money and who could stop taking lessons from him at any time and find another teacher. When Schoenberg started writing freely atonal music in 1908, he did not have a doctrine. He was guided by his ear and his compositional instinct. Add to that his famous quotes about there still being thousands of pieces to be written in C major. No, Schoenberg was not a propagandist. He hardly had any institutional power, and what little power he had he didn't use to propagandise his method. If you read his biography and his essays, letters and diaries, you will find out how genuine he was about music.
@@garrysmodsketches I do like your sincere response. Yet I can't understant how at the same time, his near by students obeyed his diktat, and how his diktat didn't survive its protagonists. You will find more musicians who are wanting to sustain thelegacy of, say, Chopin, than of, say, who again ?
@@garrysmodsketches I really don't agree. I do know his litterature about music theory, and I do like it. I don't like the fact that his new stuff had such a success, not because it sounded good, but because it was a close team of submissive pupils who claimed that this was the new and only worth of interest music. This was completely false.
![Luciano Berio - Sonata per pianoforte (2001) [Score-Video]](http://i.ytimg.com/vi/zjVhbDJNZ6I/mqdefault.jpg)
![Luciano Berio - Sonata per pianoforte (2001) [Score-Video]](/img/tr.png)
![Brian Ferneyhough - Lemma-Icon-Epigram (1981) [Score-Video]](http://i.ytimg.com/vi/jGSPo3JwAfI/mqdefault.jpg)
very striking with those octave doublings and tonal elements everywhere! at the pitch level this sounds almost nothing like Ferneyhough usually does
Woa another Ferneyhough upload :D
sodelicious .................
5:59 is that the rugrats theme?!
This work shows jazz influence.
what does that even mean
@@majejejenta This work has many embellishments and syncopations that somehow reminded me of jazz; more so than some of his other works.
@AKAFT could just be from modernism. I'm not a big jazz fan though tbh more prog. Thst being said I guess I could see it.
4096th notes 😵
Any other works with tons of irrational time signatures in them that are worth checking out? Very intresting stuff.
check out some ades, can't name a specific piece, but he enjoys uses them in various pieces
@connorcmusician I'm already a fan of his. I like Claude Viviers final piece a lot if that's of any use to know.
Cant believe all the ferneyhough hate. This for sure isn’t one of this best pieces- but I still think some of the ideas inside this are really good. String Trio and early quartets are much better, however in my opinion.
To me, there are two problems, I mean real problems. First, the guy writes anything he wants, and that is ok, but doesn't look like real heart felt music. Second, if you dare say exactly this, you are bashed like nazis in 1945. What I find interesting is that you say that some of his pieces are more interesting than others. That is positive. But in this case, not at all convincing.
@@stephanecollin1.Noone has to convince anyone of anything. 2.Irrespectively of whether one is convinced this hate shows some extremely immature and childish behavior of weak people. If you don't want to listen to Ferneyhough, then don't, move on and do something that you want to do with your life, listen to the music that you like. And large part of the criticism is not mild like "it's not heartfelt music", it's often some vile disgusting personal attack on Brian.
@@cantatanoir6850 Apparently, you try to convince the readers that I am extremely immature and childish and weak. Listen carefully : this is not true. Curiously, and ONLY when talking about this kind of "superior" music, I get about the same message, never any other : "you don't have brain enough". While there could be an interesting debate about this. My best argument is : replace the signature "Ferneyhough" by the signature "Stéphane Collin" and everything collapses. Even you.
@@stephanecollin You are putting words in my mouth. I said zero things about you. I said that aggressive hate towards music that one doesn't like is childish and immature. I said zero things about brain. You are projecting some comments that you read on me.
Ah, and... I don't know Brian Ferneyhough. Maybe he is a very nice guy. I don't like his music, even less the fact that people who do claim they like it use it to tell other people they have no brain. Why is this not the case with, say, Morton Feldman ? While he was friend wit Cage who was friend with Scnoenberg ? I know. You don't want me to tell you.
If played for me unawares, i would never guess, Ferneyhough. Admittedly, i am not a devoted listener of his the way i am of other Americans. This is rather tame by comparison with his string quarters.
The notation is seductive, and the piece sounds terrific. Those might be two separate things. Or not. Either way, I like what I hear.
To anyone who disagrees with me: I don't give a f***. I've got no time for you.
Quite like the sound of this piece, but the notation is just off-the-wall. No way the notated rhythms can be executed accurately . . . And who would notice?
that's why it's called art music . has nothing to do with real music .
@@leecherlarry ? What? It’s called “art music” because the notation is off the wall?
@@eai554 😆 hehe yes sounds about right!
@@leecherlarry ok, I see your point, and I must say I feel similarly about this music.
He got eaten by the Graphic Score Blackhole of late 900 that made so many victims
It's D major.
Two many performance mistakes LOL
Good old Brian never stops writing about his kitchen sink's leaks problem! Seems than even this time the plumber didn't get it right though
Ferneyhough's "music" has to be some sort of inside joke that he is having with himself, a performance art piece in itself lasting decades.
You don’t like?
Interesting to look at, hideous to listen to!
Well, if you look at the comments, it would seem you're in the minority with your opinion!
@@commentingchannel9776 I‘m more than happy to be in a minority, but I‘m equally pleased for those who appreciate this piece. I just don‘t…
I call this imposture. Curiously, all imposters in modern music are related to one of these : Schoenberg, Stockhausen, Boulez, Berio, Cage, ... How the hell those people could have had such a (relative) influence ? Ok they were in their own country at the command for public money to be sent to musicians (at least, those obeying their rules).
Schoenberg never was in a position you are describing. Dunno about the other guys.
He still was a great teacher, with quite submissive pupils, who, while not perfectly ok with his musical ideas, felt obliged somehow to follow his, what, his doctrine.
@@garrysmodsketches
@@stephanecollin Schoenberg taught for years at UCLA. He had the ability to brainwash hundreds of music students and teach them his 12 tone method. But instead he taught them classical counterpoint. Taught them how to write fugues, canons, etc. He also wrote a couple of textbooks, all about classical counterpoint and classical harmony. So his supposed propaganda was only targeted at a handful of guys. Private students who were paying him money and who could stop taking lessons from him at any time and find another teacher. When Schoenberg started writing freely atonal music in 1908, he did not have a doctrine. He was guided by his ear and his compositional instinct. Add to that his famous quotes about there still being thousands of pieces to be written in C major. No, Schoenberg was not a propagandist. He hardly had any institutional power, and what little power he had he didn't use to propagandise his method. If you read his biography and his essays, letters and diaries, you will find out how genuine he was about music.
@@garrysmodsketches I do like your sincere response. Yet I can't understant how at the same time, his near by students obeyed his diktat, and how his diktat didn't survive its protagonists. You will find more musicians who are wanting to sustain thelegacy of, say, Chopin, than of, say, who again ?
@@garrysmodsketches I really don't agree. I do know his litterature about music theory, and I do like it. I don't like the fact that his new stuff had such a success, not because it sounded good, but because it was a close team of submissive pupils who claimed that this was the new and only worth of interest music. This was completely false.
Какая тональность? Ре-бемоль-дубль диез мажор?