Brian Ferneyhough - String Trio (1995)
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- Опубліковано 22 кві 2021
- String Trio (1995)
Composer: Brian Ferneyhough (b. 1943)
Performers: Arditti String Quartet: Irvine Arditti & Ashot Sarkissjan, violin; Ralf Ehlers, viola; Lucas Fels, cello.
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"Unlike the string quartet, the trio genre has never developed a clear tradition. Emerging, as it did, from the baroque trio sonata rather than the dynamic developmental lineage of the Classical sonata-allegro form, it has tended to remain curiously uncertain as to its own specific identity. During the 19th century the string trio was not a frequently encountered combination and, in spite of a number of key works by leading composers of our own century (Schoenberg, Webern) it has remained an 'outsider' in the corpus of chamber music formations.
My own String Trio attempts to take this lineage into account, particularly with respect to the ambiguity of expressive ductus, which fluctuates uneasily between the serenade-like and the more densely linear-developmental approach customarily associated with the string quartet medium. There are four main sections, the first of which exposes three successive solos (viola, violin, cello) of varying, readily identifiable character, each immediately followed by its own 'amplification' in all three instruments; the second is basically a set of 'variations on an absent theme' in a consistently fast tempo, to which the third, a Largo desolato based on multiple scannings of the single, static chordal formation heard in the solo viola at the outset of the work, provides a strong contrast. The final main section might perhaps be seen as an abbreviated combination of scherzo and rondo features, beginning as it does with multiple glissandi in high register and becoming progressively more violent and polyphonic as it moves down into lower regions.
Separating these main segments are punctuating statements of four brief types of 'Intervention' texture which, in the course of the work's unfolding, gradually come to assume responsibility for the substance of the discourse - so much so, indeed, that, by the end, the final statement of Intervention I is heard as an expansively fragile movement in its own right, gradually transposing downward the static chordal structure encountered earlier until it disappears out of the ensemble's bottom range. Characteristic of both this category of Intervention and the Largo desolato is the consistent employment of eighth-tone microintervals.
String Trio was commissioned by the Festival d'Automne de Paris for Contrechamps, to the members of whose trio the work is collectively dedicated."
~Brian Ferneyhough
Source: CD booklet
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A Masterpiece.
Not just good but magnificently executed chaotic beauty
"A frantic man losing his mind while doodling in a waiting room"
My patient confined in a padded room says this composition complements her endless writhings in her straitjacket.
Exquisite.
so good!
Como es que este video que contienen una magnífica música de violin tiene muy pocos megusta (👍)?
HEAVY
So good
I've been waiting for a score video of this piece for months! Very cool
Love this stuff, it's some mead for the neurons
I wonder why he does all of these time signature changes as they most of the time dont matter at all.. its not like you could feel a strong beat very often. Very unique piece though. I've come to like these very quiet, desolate moments like at bar190 (even says desolato). Also kind of got a heart attack at the ending
Its part of his compositional process. He predetermines the lengths of everything (often in a very compact way). This means meter, rhythms, and tempos. In order to fulfill these predetermined lengths, he must be constantly changing meter, rhythm, and tempo. But Ferneyhough’s music is not purely these predetermined lengths, they are also his intuitive ideas about how the piece should sound, and Ferneyhough often adds characters in-place of instruments.
Because of this, Ferneyhough’s music is a fight to fulfilling the predetermined lengths of sections while properly incorporating his intuition of the piece. This battle between spontaneity (or intuition) and determinism is what give’s Ferneyhough’s music such a complex sound while feeling like a complete story with contrasting sections and juxtaposition.
To go off on a tangent, in my opinion this is what differentiates Ferneyhough from other mathematical composers (such as the serialists, Elliott Carter, and Xenakis though I feel Xenakis’s music is much more human than the other mentioned figures). Furthermore, the struggle between the performer and the music itself creates a unique sound quality. The more I listen to Ferneyhough, the more layers (and diverse layers- not just mathematical) I uncover about his music which is really great.
More to the point, the time changes while not perceptible consciously may well be detected unconsciously, thereby cementing one of the most significant elements of the processes of modern music. I'm still acclimating to this composer but find myself consciously choosing to listen and rather a lot of late.
16:47
The beginning sounds like a door.
im certain some people think the same way about your favourite music :p
@@connorcmusician ?
Wow that's amazing, I absolutely hate it.