Of all the contemporary modern music, Ferneyhough is one of the hardest for me to wrap my head around. His scores are so aggressively complicated and obscure, but he approaches it in such a tactile way, using praying mantises and washing machines as references. It forces my brain to go in directions I thought were impossible to go, and here's the thing: I *like* that. It doesn't matter where I'm going with this; it's the journey that matters, and it's a fascinating experience. And as Peter Gabriel once sung: "If you think that it's pretentious, you've been taken for a ride."
Kind of grandad at Christmas as present gives you a nuclear reactor model (perfectly working one) instead of the little police car toy you really wanted
You just have to keep listening, and eventually your ear starts to get used to it. It's just strange initially. After some time, your ear starts to hear "oh this is development!" or "oh this sounds like a theme" or whatever you typically notice in any other style of music. Just keep listening, and when you adjust to it and start to understand it aurally it is very rewarding as an audience member.
Wait, these two comments seem precisely contradictory. When I hear someone talking about a theme and a development, I think of exact design. When I think of a "laboratory", I think of experimentation, without prior knowledge of the end result.
It would work beautifully as a sketch with Stephen Fry as the pretentious git and Hugh Laurie as the gullible twit. If I take it seriously, I just want cry. It's such an insult to guitarists and especially the luthiers who worked so hard to make an instrument that can produce such beautiful sounds. Why does Ferneyhough want to make such horrible sounds with guitars? And why does he insist on forcing them to be out of tune? It's hard enough to tune two guitars correctly.
I'm simultaneously dismayed and amused that compositional modernism still inspires the kind of lazy opprobrium witnessed below. Why even bother berating it? We've heard these insults better delivered elsewhere. I cordially suggest you toddle off and listen to some ingratiating muzak.
Not compositional modernism per se. But unmitigated bullshit from particular composers who insist on hurling ridiculously over complex irrational values onto manuscript paper (which they know full well could be notated differently ) to such an extent the performers are obliged to effectively rewrite the works for them in order to play them. Who the hell does such a composer think he is that he can treat performers like that?
@charlyfotos : It's music you have to listen to a lot to understand. I suggest you do that--it's very pleasurable in the long run. I'm not being condescending at all. It's just it's so cool when you just give it a chance. =) However, you're not completely wrong--these sound sculptures work sonically much like Derick Bailey's improvisations--the difference is between the spontaneous and highly structured. Have no doubt, Mr. Ferneyhough hears EVERYTHING he writes. =)
Wonderfully eccentric.
Of all the contemporary modern music, Ferneyhough is one of the hardest for me to wrap my head around. His scores are so aggressively complicated and obscure, but he approaches it in such a tactile way, using praying mantises and washing machines as references. It forces my brain to go in directions I thought were impossible to go, and here's the thing: I *like* that. It doesn't matter where I'm going with this; it's the journey that matters, and it's a fascinating experience. And as Peter Gabriel once sung: "If you think that it's pretentious, you've been taken for a ride."
I can't believe he's my grandad 😂
you should be proud!!
Kind of grandad at Christmas as present gives you a nuclear reactor model (perfectly working one) instead of the little police car toy you really wanted
Excellent!
This is brilliant
I just found out who is Brian Ferneyhough is, he is really remarkable O.O
But I can't interpret his music though :'(
Anyone could help me?
You just have to keep listening, and eventually your ear starts to get used to it. It's just strange initially. After some time, your ear starts to hear "oh this is development!" or "oh this sounds like a theme" or whatever you typically notice in any other style of music. Just keep listening, and when you adjust to it and start to understand it aurally it is very rewarding as an audience member.
Think of it as being an acoustic re-representation of a 1960's sound laboratory. Only 50 years too late.
Wait, these two comments seem precisely contradictory. When I hear someone talking about a theme and a development, I think of exact design. When I think of a "laboratory", I think of experimentation, without prior knowledge of the end result.
@@eliassimon666 The second comment is of a Ferneyhough hater. At least that’s what I’ve seen from them in the comment sections.
not my tempo
Every time i feel down, all I have to do for a laugh is to watch this video.. i still cannot believe it is not a satire
It would work beautifully as a sketch with Stephen Fry as the pretentious git and Hugh Laurie as the gullible twit. If I take it seriously, I just want cry. It's such an insult to guitarists and especially the luthiers who worked so hard to make an instrument that can produce such beautiful sounds. Why does Ferneyhough want to make such horrible sounds with guitars? And why does he insist on forcing them to be out of tune? It's hard enough to tune two guitars correctly.
@@davidmannjapan Music is not required to be beautiful.
@@cometcourse381 true, but beauty can take many different forms. Stimulating-can of itself- be beautiful.
I'm simultaneously dismayed and amused that compositional modernism still inspires the kind of lazy opprobrium witnessed below. Why even bother berating it? We've heard these insults better delivered elsewhere. I cordially suggest you toddle off and listen to some ingratiating muzak.
Not compositional modernism per se. But unmitigated bullshit from particular composers who insist on hurling ridiculously over complex irrational values onto manuscript paper (which they know full well could be notated differently ) to such an extent the performers are obliged to effectively rewrite the works for them in order to play them.
Who the hell does such a composer think he is that he can treat performers like that?
We've heard your post better delivered too.
I wouldn’t doubt that for a minute.
The emperor's new clothes...
Beethoven and Mozart sucks, fuck your V-I cadences
We all know this is rubbish.
Monty Python rules...
Not time at all to rehearse, so play random notes on the guitars, the result will be pretty the same !
No time (at all) to write an original comment, so repeat the same joke that's been made thousands of times, the result will be as stupid as always!
@charlyfotos
: It's music you have to listen to a lot to understand. I suggest you do that--it's very pleasurable in the long run. I'm not being condescending at all. It's just it's so cool when you just give it a chance. =) However, you're not completely wrong--these sound sculptures work sonically much like Derick Bailey's improvisations--the difference is between the spontaneous and highly structured. Have no doubt, Mr. Ferneyhough hears EVERYTHING he writes. =)
charlyfotos moment
@@FernieCanto LEGENDARY REPLY LMFAO
nonsense!
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