Brian Ferneyhough: Inconjunctions

[Guest]

Some might be interested in having a listen to this new BF work for 20 instrumentalists, performed here by Ensemble Modern conducted by Jonathan Stockhammer:

https://www.youtube.com/watch?v=jH5pTtJWJy8

[ferneyhoughgeliebte]

Some are very grateful.

[Roehre]

[ahinton]

Yes, very many thanks; I didn't even know about this piece!

[Orphical]

A little more from Edition Peters,

http://www.editionpeters.com/modernnewsdetails.php?articleID=IN00974

Many thanks Richard

[amateur51]

Serious comment, it flew by, not what I was expecting

[Daniel]

I'm glad I'm around at this period in history to witness music like this, I found myself warming to it immediately. Ferneyhough seems masterfully in control of what sounds to me like an incredibly complex score (though that is just an impression, I don't actually know anything about it). But I certainly agree with the somewhat lonely comment left beneath that video.

[Eine Alpensinfonie]

I had to tweak the sub-woofer.

[Daniel]

I had to tweak the sub-woofer.

Gosh, I liked it but I didn't quite go that far ...

I listened again to this today and I must say I find it ever more attractive. The opening woodwind section for example is full of alluring sonic happenings in a restive, dawn chorus kind of a way. And when the strings enter robustly after five mins or so, the baleful quality they introduce is very memorable I think.

I liked the 'oh it's stopped' ending too.

[Roehre]

Gosh, I liked it but I didn't quite go that far ...

I listened again to this today and I must say I find it ever more attractive. The opening woodwind section for example is full of alluring sonic happenings in a restive, dawn chorus kind of a way. And when the strings enter robustly after five mins or so, the baleful quality they introduce is very memorable I think.

I liked the 'oh it's stopped' ending too.

I like that description

[Sydney Grew]

. . . masterfully in control of what sounds to me like an incredibly complex score (though that is just an impression, I don't actually know anything about it). . . .

I wonder, are the categories "true" and "false" applicable to music? And if so, is the truth simple or "incredibly complex"?

[Tapiola]

I wonder, are the categories "true" and "false" applicable to music? And if so, is the truth simple or "incredibly complex"?

"In art, the impossible has a chance of success, while the certain is deceptive and hopeless" (Alfred Schnittke)

[Richard Barrett]

"In art, the impossible has a chance of success, while the certain is deceptive and hopeless" (Alfred Schnittke)

“The opposite of a correct statement is a false statement. But the opposite of a profound truth may well be another profound truth.” (Paul Dirac)

[ferneyhoughgeliebte]

“The opposite of a correct statement is a false statement. But the opposite of a profound truth may well be another profound truth.” (Paul Dirac)

Very true.


But, then again ...

[Daniel]

Hi Sydney,

... if so, is the truth simple or "incredibly complex"?

Yes.


(Actually it often feels to me as if there is a kind of absolute and universal quality in some music that might be labelled truth. But something I might find so, in say a Beethoven Quartet, somebody in a Rwandan slum might find alien and stifling, and find a similar truth in a quite different way. So the truth itself that the music seems to convey to me might be universal, but it would seem perceiving its presence in any given piece of music is at least dependent on cultural conditioning.)