Brian Ferneyhough

Lois Fitch

Description

One of contemporary music’s most significant and controversial figures, Brian Ferneyhough's complex and challenging music draws inspiration from painting, literature and philosophy, as well as music from the recent and distant past. His dense, multi-layered compositions intrigue musicians while pushing performer and instrument to the limits of their abilities.  A wide-ranging survey of his life and work to date, Brian Ferneyhough examines the critical issues fundamental to understanding the composer as both musician and thinker. Debuting in celebration of Ferneyhough’s 70th birthday in 2013, this book balances critical analysis of the music and close scrutiny of its aesthetic and philosophical contexts, making possible a more rounded view of the composer than has been available hitherto.

Introduction 

Chapter 1: Biography: Brian John Peter Ferneyhough (born January 16, 1943)

Chapter 2: Notation 

Chapter 3: The Solo Works: ‘Black Scherzo’ 

Chapter 4: Chamber ‘Concertos’

Chapter 5: Chamber Music 

Chapter 6: String Quartet 

Chapter 7: Time and Motion Study Cycle 

Chapter 8: Carceri d’Invenzione: Style and Invention 

Chapter 9: Shadowtime

Chapter 10: Works for Orchestra and Large Ensemble 

Chapter 11: Aesthetics

Sujets

• Musique
• Musique
• Music
• General
• General officer
• Multiple signal classification
• Performing Arts

Informations

• Publié par: Intellect Books
• Date de parution: 01 novembre 2013
• Nombre de lectures: 0
• EAN13: 9781783202331
• Langue: English
• Poids de l'ouvrage: 1 Mo

Extrait

First published in the UK in 2013 by
Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2013 by
Intellect, The University of Chicago Press, 1427 E. 60th Street,
Chicago, IL 60637, USA
Copyright © 2013 Intellect Ltd
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by
any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.
A catalogue record for this book is available from the
British Library.
Cover designer: Stephanie Sarlos
Copy-editor: Richard Walsh
Cover photo of Brian Ferneyhough by © Sisi Burn
Production manager: Tim Mitchell
Typesetting: Contentra Technologies
Print ISBN: 978-1-78320-018-4
ePDF ISBN: 978-1-78320-232-4
ePub ISBN: 978-1-78320-233-1
Printed and bound by Hobbs, UK
Contents
Acknowledgements
Score Copyright Permissions for Musical Examples
LIst of Images
Editorial Note
Introduction
Chapter 1: Biography: Brian John Peter Ferneyhough (born January 16, 1943).
Chapter 2: Notation
Chapter 3: The Solo Works: ‘Black Scherzo’
Chapter 4: Chamber ‘Concertos’
Chapter 5: Chamber Music
Chapter 6: String Quartet
Chapter 7: Time and Motion Study Cycle
Chapter 8: Carceri d’Invenzione: Style and Invention
Chapter 9: Shadowtime
Chapter 10: Works for Orchestra and Large Ensemble
Chapter 11: Aesthetics
Illustrations
Bibliography
Discography
Index
Acknowledgements
It is a pleasure to acknowledge the numerous individuals and organizations without whose assistance this project would have been impossible. My period of research at the Paul Sacher Stiftung, Basel in the Spring of 2012 was greatly facilitated by the expertise, efficiency and patience of Prof Dr Ulrich Mosch, Evelyne Diendorf, Michèle Noirjean-Linder and Johanna Blask, who generously provided access to the archive’s resources, and a conducive working environment. I am particularly indebted to the Arts and Humanities Research Council for the award of an Early Career Fellowship in 2012, which enabled me to undertake my research over a consolidated period and thus bring this project to completion. My work has also benefited from the financial generosity of the Research Committee at the Royal Northern College of Music, Manchester, and I thank my colleagues for their support and encouragement throughout the period during which this book has been in preparation. I am also extremely grateful to Marc Dooley at Peters Edition, London, both for the supply of a complete set of Ferneyhough’s scores, and for his prompt and helpful responses to my numerous requests for information. Others who have helped in various ways with materials, useful suggestions and the practicalities of my stay in Basel include David Fallows, Dagmar Hoffmann-Axthelm, Graham Hayter and Robert Worby. I have found Stephanie Ferneyhough a source of good humour and biographical information throughout, and I thank her for her willingness to answer my many questions in detail. John Hails has provided invaluable support, setting the musical examples, loaning his unpublished work on the Carceri d’Invenzione cycle, and discussing many ideas with me in detail.
I thank Brian Ferneyhough for answering detailed biographical questions and granting permission to access to the sketch materials, correspondence and embargoed juvenilia held at the Paul Sacher Stiftung. I am also grateful to him for allowing me to consult scores of his most recent works prior to their publication. My editor, Martin Iddon, has offered his expertise from the outset, and made incisive and detailed comments on several drafts, always at my convenience. I am indebted to him for his patience, phenomenal efficiency and willingness to share ideas (including several useful areas of exploration which have been incorporated in the following pages), and his support throughout. This book would not have been possible without his commitment to, and faith in, my work. Thanks are also due to Tim Mitchell at Intellect Press for his hard work and support during the publishing process.
I thank my mother and step-father, Karen and Manny Kawycz, and parents-in-law, Brian Fitch, and Josette Fitch-Ramel for their constant love and support since I began this book, and their good humour throughout. Above all, I reserve my sincerest gratitude for Fabrice Fitch, whose patience, capacity for encouragement, unfailing support and enviable musicianship have enabled me to benefit from his generosity in so many ways, from our discussions about the music to ensuring that, throughout, my research maintained momentum and focus. This book is for him, with my love.
Score Copyright Permissions for Musical Examples
Chapter 2
Figures 2.2, 2.3:
Brian Ferneyhough: Unity Capsule
Edition Peters No. 7144
©Copyright 1975 by Hinrichsen Edition, Peters Edition Ltd, London
Reproduced by kind permission of the publisher
Figure 2.4
Brian Ferneyhough: La Chute d’Icare
Edition Peters No. 7362
©Copyright 1988 by Hinrichsen Edition, Peters Edition Ltd, London
Reproduced by kind permission of the publisher
Figure 2.5
Brian Ferneyhough: Time and Motion Study II
Edition Peters No. 7223
©Copyright 1978 by Hinrichsen Edition, Peters Edition Ltd, London
Reproduced by kind permission of the publisher
Figure 2.6
Brian Ferneyhough: Opus Contra Naturam
Edition Peters No. 7606
©Copyright 2000 by Hinrichsen Edition, Peters Edition Ltd, London
Reproduced by kind permission of the publisher
Chapter 3
Figure 3.1
Brian Ferneyhough: Trittico per G.S.
Edition Peters No. 7361
©Copyright 1989 by Hinrichsen Edition, Peters Edition Ltd, London
Reproduced by kind permission of the publisher
Figures 3.2, 3.3
Brian Ferneyhough: Unity Capsule (as above)
Figure 3.4
Brian Ferneyhough: Lemma-Icon-Epigram
Edition Peters No. 7233
©Copyright 1982 by Hinrichsen Edition, Peters Edition Ltd, London
Reproduced by kind permission of the publisher
Figures 3.5, 3.6, 3.7
Brian Ferneyhough: Sisyphus Redux
Edition Peters No. 72065
©Copyright 2010 by Hinrichsen Edition, Peters Edition Ltd, London
Reproduced by kind permission of the publisher
Figure 3.8
Brian Ferneyhough: Unsichtbare Farben
Edition Peters No. 7536
©Copyright 1999 by Hinrichsen Edition, Peters Edition Ltd, London
Reproduced by kind permission of the publisher
Figure 3.9
Brian Ferneyhough: Bone Alphabet
Edition Peters No. 7389
©Copyright 1995 by Hinrichsen Edition, Peters Edition Ltd, London
Reproduced by kind permission of the publisher
Chapter 4
Figure 4.2
Brian Ferneyhough: On Stellar Magnitudes
Edition Peters No. 7420
©Copyright 1994 by Hinrichsen Edition, Peters Edition Ltd, London
Reproduced by kind permission of the publisher
Figure 4.6
Brian Ferneyhough: Le Chute d’Icare (as above)
Chapter 5
Figure 5.1
Brian Ferneyhough: Funérailles
Edition Peters No. 7224
©Copyright 1980 by Hinrichsen Edition, Peters Edition Ltd, London
Reproduced by kind permission of the publisher
Figures 5.2, 5.3
Brian Ferneyhough: O Lux
Edition Peters No. 7793
©Copyright 2005 by Hinrichsen Edition, Peters Edition Ltd, London
Reproduced by kind permission of the publisher
Figures 5.4, 5.5
Brian Ferneyhough: Dum transisset I–IV
Edition Peters No. 7979
©Copyright 2007 by Hinrichsen Edition, Peters Edition Ltd, London
Reproduced by kind permission of the publisher
Figure 5.6
Brian Ferneyhough: Liber Scintillarum
Edition Peters No. 72248
©Copyright 2012 by Hinrichsen Edition, Peters Edition Ltd, London
Reproduced by kind permission of the publisher
Rhythmic matrix
©Copyright 2012 Brian Ferneyhough
Reproduced by kind permission of the composer
Chapter 6
Figures 6.3, 6.5, 6,6
Brian Ferneyhough: Third String Quartet
Edition Peters No. 7312
©Copyright 1988 by Hinrichsen Edition, Peters Edition Ltd, London
Reproduced by kind permission of the publisher
Figures 6.7, 6.8
Brian Ferneyhough: Fourth String Quartet
Edition Peters No. 7367
©Copyright 1990 by Hinrichsen Edition, Peters Edition Ltd, London
Reproduced by kind permission of the publisher
Figure 6.9
Brian Ferneyhough: String Trio
Edition Peters No. 7454
©Copyright 2000 by Hinrichsen Edition, Peters Edition Ltd, London
Reproduced by kind permission of the publisher
Figures 6.10, 6.11
Brian Ferneyhough: Fifth String Quartet
Edition Peters No. 7863
©Copyright 2006 by Hinrichsen Edition, Peters Edition Ltd, London
Reproduced by kind permission of the publisher
Chapter 7
Figures 7.1, 7.2, 7.3, 7.4, 7.5
Brian Ferneyhough: Time and Motion Study I
Edition Peters No. 7216
©Copyright 1977 by Hinrichsen Edition, Peters Edition Ltd, London
Reproduced by kind permission of the publisher
Figures 7.6. 7.7
Brian Ferneyhough: Time and Motion Study III
Edition Peters No. 7148
©Copyright 1974 by Hinrichsen Edition, Peters Edition Ltd, London
Reproduced by kind permission of the publisher
Chapter 8
Figures 8.1, 8.3, 8.4
Brian Ferneyhough: Carceri d’Invenzione I
Edition Peters No. 7291
©Copyright 1983 by Hinrichsen Edition, Peters Edition Ltd, London
Reproduced by kind permission of the publisher
Figures 8.5, 8.6
Brian Ferneyhough: Carceri d’Invenzione IIa
Edition Peters No. 7292
©Copyright 1985 by Hinrichsen Edition, Peters Edition Ltd, London
Reproduced by kind permission of the publisher
Figures 8.7, 8.8
Brian Ferneyhough: Etudes transcendantales
Edition Peters No. 7310
©Copyright 1987 by Hinrichsen Edition, Peters Edition Ltd, London
Reproduced by kind permission of the publisher
Figures 8.9a, 8.10, 8.11
Brian Ferneyhough: Intermedio alla ciaccona
Edition Peters No. 7346
©Copyright 1986 by Hinrichsen Edition, Peters Edition Ltd, London
Reproduced by kind permission of the publisher
Figure 8.9b
Brian Ferneyhough: Mnemosyne
Edition Peters No. 7347
©Copyright 1996 by Hinrichsen Edition, Peters Edition Ltd, London
Reproduced by kind permission of the publisher