複雑性音楽です。1977年にNHK-FMで流れました。はじめて聴いたファーニハウの曲でした。録音して何度も聴きました。いい曲です。 Complexity music. It was played on NHK-FM in 1977. It was the first Ferneyhough piece I listened. I recorded it and listened to it many times. It's a good piece.
I saw this work performed live at St John's Smith Square in the 1980s. I remember it took a few minutes to plug the cello microphones into the electonics.
Actually the whole point of this music is that it's so unnecessarily complicated that no one can really play it without making mistakes, unlocking a strange sort of freedom as every performance is going to be quite different!
@@justanotherpiccplayer3511 yeah, it's a definitely a strange aesthetic. I don't think it works so well with orchestra pieces though... the conductor would have to work with each player individually to create something "authentic."
Ok, but even with far less complicated notation each performance is going to be different. Ferneyhough has sort of gone off the deep end. I quite like much of his music. But, some, actually quite a bit of his notation is nonsensical and well beyond the ability of any performer to execute properly. Much of what he writes can be notated much more simply. Quite a bit, if not most of his notation, is the result of computer calculations and is not felt at all. I’ve listened to many performances of intermedio alla ciaccona, for example, and if you tap pulses at a particular speed, so much of the music falls directly in line with the taps, which tells me that his notation has a much simpler solution and the “complexity” exists for the eye and the brain.
Additionally, Ferneyhough is, has become, very adept at justifying his “complexity,” complications, difficulty, but, to me, it’s malarkey. I don’t care how acute one’s hearing is, he ain’t hearing this!
@@eai554 The point is not necessarily for performances to be "different," but to involve the performer in the process more. Traditionally, performers are instructed to be as "accurate" as possible and are not given much freedom. With Ferneyhough, it is impossible to be completely accurate, so performers must figure out what aspects of the music they are going to emphasize. As for the notation, writing it in any other way would defeat the point of the music because it places the emphasis once again on "accuracy." What you hear is a direct result of the notation style and how the performers deal with the freedom they are given. If you notated it differently you would get a much different sonic result.
I am a database architect and SQL developer....would be fun to translate this score into a suite of database tables and then run some analysis against it.
Even a master like Ferneyhough is unmistakably exploiting Nomos alpha of Xenakis (1965). To my humble opinion, the sound of this piece is not so rich as its notation ...
@@sebastianzaczek We are all unique. But Ferneyhough and Mozart are two composers, and as composers we can compare him work. But my commentary was not serious. Mozart can`t arrive to the level of Ferneyhough.
Mozart knows how to compose music, feirendick knows how to compose noise and claim that he is expressing something when in reality he is just playing noise to a delusional audience. Expressionism and impressionism are wholly reliant on delusion and the errors of the human brain to create absolute nonsensical garbagr.
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複雑性音楽です。1977年にNHK-FMで流れました。はじめて聴いたファーニハウの曲でした。録音して何度も聴きました。いい曲です。
Complexity music. It was played on NHK-FM in 1977. It was the first Ferneyhough piece I listened. I recorded it and listened to it many times. It's a good piece.
Wow! A real challenge for a cellist! A monster score! Incredible piece!
I didn't know Neil Heyde, but he proves here that he is a fantastic cellist!
Brian è sempre Brian. Amazing!
I saw this work performed live at St John's Smith Square in the 1980s. I remember it took a few minutes to plug the cello microphones into the electonics.
this is a beksinski painting translated into sound, and it's GORGEOUS.
The score looks a schematic for a super computer to go to space.
Actually the whole point of this music is that it's so unnecessarily complicated that no one can really play it without making mistakes, unlocking a strange sort of freedom as every performance is going to be quite different!
@@justanotherpiccplayer3511 yeah, it's a definitely a strange aesthetic. I don't think it works so well with orchestra pieces though... the conductor would have to work with each player individually to create something "authentic."
Ok, but even with far less complicated notation each performance is going to be different. Ferneyhough has sort of gone off the deep end. I quite like much of his music. But, some, actually quite a bit of his notation is nonsensical and well beyond the ability of any performer to execute properly. Much of what he writes can be notated much more simply. Quite a bit, if not most of his notation, is the result of computer calculations and is not felt at all. I’ve listened to many performances of intermedio alla ciaccona, for example, and if you tap pulses at a particular speed, so much of the music falls directly in line with the taps, which tells me that his notation has a much simpler solution and the “complexity” exists for the eye and the brain.
Additionally, Ferneyhough is, has become, very adept at justifying his “complexity,” complications, difficulty, but, to me, it’s malarkey. I don’t care how acute one’s hearing is, he ain’t hearing this!
@@eai554 The point is not necessarily for performances to be "different," but to involve the performer in the process more. Traditionally, performers are instructed to be as "accurate" as possible and are not given much freedom. With Ferneyhough, it is impossible to be completely accurate, so performers must figure out what aspects of the music they are going to emphasize. As for the notation, writing it in any other way would defeat the point of the music because it places the emphasis once again on "accuracy." What you hear is a direct result of the notation style and how the performers deal with the freedom they are given. If you notated it differently you would get a much different sonic result.
Magnificent!
Mad lad, love it
I am a database architect and SQL developer....would be fun to translate this score into a suite of database tables and then run some analysis against it.
This is extremely helpful! Thank you!
yk damn well u not finna play dis🤣
Such beautiful erie intense noise
вдохновенно!
I tried sightreading it. Now I am blind
The only normal thing in the piece is the time signatures
14:37 al final, extraordinario. El resto sobra.
totally absorbing
I think if you can perform this, you've won music
Hi, do you know what edition this is of the score?
justanotherpiccplayer I mean, you won’t be playing it, right?
Edition Peters, it says that in the bottom left corner of the first Page of the actual score (0:07)
@@alejandrom.4680 well, will you?😂
18:27
"the fuck?!"
Super expressionism...
....and people find "get back" mesmerizing
I can't believe I avoided Ferneyhough for so long.
The string quartets are much more obviously musical. This strikes me as more of an exercise.
Even a master like Ferneyhough is unmistakably exploiting Nomos alpha of Xenakis (1965).
To my humble opinion, the sound of this piece is not so rich as its notation ...
Can't see it catching on
Poor devil!!
But Ferney how ?
Oh hi, dad.
Ferneyhough, the new Mozart !
No
There's nothing to compare between this and Mozart, they're both unique in their own ways
@@sebastianzaczek We are all unique. But Ferneyhough and Mozart are two composers, and as composers we can compare him work. But my commentary was not serious. Mozart can`t arrive to the level of Ferneyhough.
@@didierschein8515 shade has been thrown lol
Mozart knows how to compose music, feirendick knows how to compose noise and claim that he is expressing something when in reality he is just playing noise to a delusional audience. Expressionism and impressionism are wholly reliant on delusion and the errors of the human brain to create absolute nonsensical garbagr.
Changing the cello from an instrument into an obnoxious noise maker.
Ppff de la pure chiotte