By discussing the RHYTHMS of HIS OWN COMPOSITION he probably thinks he is the COMPOSER. Oh, wait a second, I have the score to Bone Alphabet right here and guess what? He is the composer!!! What he is doing is explaining how he would count his own music. He's not an asshole about it, either. If you follow the score with this video, it's really amazing that Ferneyhough knows exactly how to count these irrational rhythms. He truely understands what he is composing. It's not just arbitrary.
It seems fairly obvious that it is absolutely not random in the slightest as the composer is explaining what is wanted from the performer to quite a great degree.
I appreciate hearing his thoughts on the dissonance of the rhythms and the disjunction of irrational numbers, especially when they do not share a common downbeat. Reminds me of the conversation between Boulez and Cage in their correspondence from the 50s on the topic of chance and discrete notation. Is it important to control the "random effect" or to let it happen? He knows what he wants and can demonstrate what he wants. Impressive. Thank you for posting this, pprommel.
I heard a similar piece played by drainage workmen on assorted hammers and shovels while stuck in roadworks on the A27 Chichester bypass on 22 July 2005. They appeared to be playing without sheet music, having committed the piece to memory - a staggering achievement - though at one point the foreman shouted to a young lad "Keep up, ye fookin slacker!!", indicative of the immense challenges faced by even these seasoned Ferneyhoughian contrapuntalists.
@ JonathonNotely - the rhythms Ferneyhough explains in the first part of the clip aren't at all "unrelated", they're just those of the top line of the music, without the (admittedly much more complicated) bottom line
It was then he realised that the people he thought he was rehearsing were actually fixing the sink. Another layer of complexity was then added to the score.
@Ralph Christ Not really, its mostly an acoustic representation of 1950's sound labs. Much of the performance is down to bullshitting ones way through computer generated notational complexity that ignores things like instrumental limitations etc. Not really difficult, just presented that way to try and intimidate people.
Perhaps everyone who intends to post derogatory comments about music here should first read Slonimsky's "Lexicon of Musical Invective". At least they might, after reading it, be moved to invent smart comments of their own.
I hope the Internet preserves these comments for at least 100 years, so that people in the future can have a clear, accurate view of what kind of assholes lived in this time, and be horrified at the people who feel really, really awesome only for making "witty" derogatory criticism on UA-cam.
Sadly, you and I are in a tiny minority. I can never understand what prompts these people to comment. Surely their time would be better employed in simply listening to whatever music they enjoy.
I believe that the composer has a good idea what he is headed for, nonetheless the working experimentation can become the part of any sound exploration. If every composer knew precisely what they were going to get right from the start would there actually be any point in doing something.
@pycroft. Interesting. I once saw him in Topshop. He was a lot taller than I expected. I assume he was approximately the same height as when you saw him and that our expectations differed, but then you never know. I didn't see his car.
Poor sods at 8.44: "This is - this is nasty because we've got double irrationals for the first time." Yup, there's just no easy way to break the bad news, as in: "Now chaps ... at ease, if you would .. yes .. you see, I've something to tell you. It's .. ah .. it's time to go over the top. We all knew it had to come some day, well now it's time chaps .. so just try to keep your heads down and fire at will. I'd just like to say what a pleasure and ... and an honour it's been." Lest we forget.
@JonathonNotely why wouldnt he explain the rhythm to the precussionists if they are doing it wrong.... and also... if you see that the musicians arent able to do what u want... then you have no other choise than to simplify things for them....
Ferneyhough writes of "creating a dynamically fertile perspectival multiplicity which would both intensify momentary expression and negate any tendency to dissociate the fragile contingency of local events and larger-scale formal organization from the effortful work involved in traversing (rather, that is, than leaping over) the disturbingly unstable and eruptive landscape of middleground speculation." Pffffhh!! - and there was me thinking his music was just contrived shite.
![Brian Ferneyhough - Bone Alphabet for Percussion (1992) [Score-Video]](http://i.ytimg.com/vi/dqIdtJMrv78/mqdefault.jpg)
What a treat is to see one of the greatest living composers working through his piece with a performer. He is an astoundingly brilliant man.
By discussing the RHYTHMS of HIS OWN COMPOSITION he probably thinks he is the COMPOSER. Oh, wait a second, I have the score to Bone Alphabet right here and guess what? He is the composer!!! What he is doing is explaining how he would count his own music. He's not an asshole about it, either. If you follow the score with this video, it's really amazing that Ferneyhough knows exactly how to count these irrational rhythms. He truely understands what he is composing. It's not just arbitrary.
It seems fairly obvious that it is absolutely not random in the slightest as the composer is explaining what is wanted from the performer to quite a great degree.
i sometimes see ferneyhough in my local waitrose . he drives a rover 75 estate . he's a lot shorter than i expected him to be .
No fair
Nice Peter, it's the future of education to share knowledge with everyone in such a fast and direct way!
I appreciate hearing his thoughts on the dissonance of the rhythms and the disjunction of irrational numbers, especially when they do not share a common downbeat. Reminds me of the conversation between Boulez and Cage in their correspondence from the 50s on the topic of chance and discrete notation. Is it important to control the "random effect" or to let it happen?
He knows what he wants and can demonstrate what he wants. Impressive. Thank you for posting this, pprommel.
I heard a similar piece played by drainage workmen on assorted hammers and shovels while stuck in roadworks on the A27 Chichester bypass on 22 July 2005. They appeared to be playing without sheet music, having committed the piece to memory - a staggering achievement - though at one point the foreman shouted to a young lad "Keep up, ye fookin slacker!!", indicative of the immense challenges faced by even these seasoned Ferneyhoughian contrapuntalists.
@ JonathonNotely - the rhythms Ferneyhough explains in the first part of the clip aren't at all "unrelated", they're just those of the top line of the music, without the (admittedly much more complicated) bottom line
It was then he realised that the people he thought he was rehearsing were actually fixing the sink. Another layer of complexity was then added to the score.
[cue Ferneyhough quickly scribbling "fissando il lavello" on his manuscript]
@@FernieCanto Only written in such a way that it takes up half the page.
@Ralph Christ Not really, its mostly an acoustic representation of 1950's sound labs. Much of the performance is down to bullshitting ones way through computer generated notational complexity that ignores things like instrumental limitations etc. Not really difficult, just presented that way to try and intimidate people.
Perhaps everyone who intends to post derogatory comments about music here should first read Slonimsky's "Lexicon of Musical Invective". At least they might, after reading it, be moved to invent smart comments of their own.
I hope the Internet preserves these comments for at least 100 years, so that people in the future can have a clear, accurate view of what kind of assholes lived in this time, and be horrified at the people who feel really, really awesome only for making "witty" derogatory criticism on UA-cam.
Sadly, you and I are in a tiny minority. I can never understand what prompts these people to comment. Surely their time would be better employed in simply listening to whatever music they enjoy.
UA-cam needs to put together an annual "Comment Awards" to honor these Mark Twains.
@@daigreatcoat44 The problem is that those people enjoy nothing.
Someday you will realise that you are not as smart as you think you are
We don’t listen to this stuff to feel smart, we just enjoy it. At least I do.
I believe that the composer has a good idea what he is headed for, nonetheless the working experimentation can become the part of any sound exploration. If every composer knew precisely what they were going to get right from the start would there actually be any point in doing something.
4:17 are the percussionists saying "oh fuck"??
I think so 😂
@JonathonNotely You proclaim to despise his music, yet you seem somewhat obsessed.... .Curious.
wooow, that was amazing... could spend all day listening to what he has to say...
@pycroft. Interesting. I once saw him in Topshop. He was a lot taller than I expected. I assume he was approximately the same height as when you saw him and that our expectations differed, but then you never know. I didn't see his car.
@bickymcq So why did you make it then?
Hey! That is my nose! Where are the royalties?
The best comment I've read ever! (I'm not sarcastic)
@fremsley001 possibly the most lolworthy thing i have seen today
Poor sods at 8.44: "This is - this is nasty because we've got double irrationals for the first time." Yup, there's just no easy way to break the bad news, as in: "Now chaps ... at ease, if you would .. yes .. you see, I've something to tell you. It's .. ah .. it's time to go over the top. We all knew it had to come some day, well now it's time chaps .. so just try to keep your heads down and fire at will. I'd just like to say what a pleasure and ... and an honour it's been." Lest we forget.
@JonathonNotely why wouldnt he explain the rhythm to the precussionists if they are doing it wrong.... and also... if you see that the musicians arent able to do what u want... then you have no other choise than to simplify things for them....
Mr. FraudyHuff's singing won't get him on X-Factor.
Ferneyhough writes of "creating a dynamically fertile perspectival multiplicity which would both intensify momentary expression and negate any tendency to dissociate the fragile contingency of local events and larger-scale formal organization from the effortful work involved in traversing (rather, that is, than leaping over) the disturbingly unstable and eruptive landscape of middleground speculation."
Pffffhh!! - and there was me thinking his music was just contrived shite.
You forgot the last sentence "Can I get my cheque now, Irvine?"
@fremsley001 It's this kind of verbal diarrhoea that makes me very suspicious of Ferneyhuffandputf. I think "contrived shite" sums it up rather well.
"Ok guys, Tumpty tum tum-pty tum tum-ty tum tum. Yes, it is 3/4 but just keep schtum, my academic tenure depends on this being hyper complex."
Oh shut up.
what is the point of this video?
What is the point of this comment?
To ask what the point of the video is. What did you think?