Brian Ferneyhough’s String Trio: Analysis October 11, 2019 Related posts: Testimonial of Faith – 05/03/2014 GPG Outbrief 07: Wood-Pellet-Fired Biomass Boiler Flourless Chocolate Cake Baked on the Traeger Timberline 850 The 5 String Interview Patterns You Need to Know Tags:and, that, the Related Posts Pearl Effects, New Gel Stain Colors & Flat Topcoat Theory of String – Space Documentary HD Filigree Station Cable Chain 341/2 Necklace About The Author Brennon Stark 42 Comments GearóidF Ua Laoghaire I really enjoy your channel, Samuel. Have you checked out Common Music, written in LISP? January 11, 2018 Reply zaldinfox Thank you for distilling a complex aesthetic for us lay people; it is very much appreciated. I was struck by your thoughts ~4:20ff on the inability to be perfectly accurate when playing Ferneyhough, and the resultant need on the part of a performer to synthesize or emphasize different aspects. The generation of "new perceptive spaces" reminds me of Wordsworth's comments that a poet must "create the taste by which he shall be appreciated." Thanks for taking the time to put this together. The quality and density of the analysis deserves much more exposure in this medium. Hopefully the channel grows! January 15, 2018 Reply SuonoReale This is a wonderfully illuminating and demystifying video! As for the paucity of 20th century string trios, I particularly enjoy Jean Cras' String Trio. It has kind of a rustic feel. Also you should check out Akira Nishimura's String quartet no 2 (the score is on youtube) — maybe I'm over reaching but I can hear Bartok, Penderecki, and Radulescu in it. January 21, 2018 Reply Benjamin Sledge Hey Samuel – wonderful video! You mentioned a book during your analysis and I missed the name of it and sifted through the comments to see if anyone else had asked. I would love to get my hands on a copy. Thanks so much for this video. Ferneyhough's music is so wonderfully brilliant and not explored enough, in my opinion, in the theory universe. January 22, 2018 Reply Weston Gilbert Wonderful video!!!! Just out of curiosity, what’s the outro music? February 19, 2018 Reply Alan Page Interesting enough. It just seems like a heck of a lot of textual density for the sake of generating effects that could be scored far more simply. There is little point weaving together differing strands of material that is basically so undefined with no aural contrasts between main and counter material, you just end up with a grey wash made up of seemingly random sonic events. The nearest I can get to it is by seeing it as an acoustic re-representation of 1960's sound labs. His own writings on his music are similarly absurdly overwritten. As for making it possible for differing performers to interpret the work differently, it introduces a marked bullshit factor. It is hardly fair to describe music as "possibly the most difficult to play" when the scores have built in factors enabling performers to cheat to such an extent. Works like Mereaux's "Bravura" Etude or the "Opus Clavicembalisticum" may be considered far more difficult as there is no "random sounding" escape clause built into them. Still at least somebody has provided a concise explanation of the oeuvre. It's very hard to come by such things and makes one very suspicious of all things "nu-complexity" wise. February 20, 2018 Reply SuonoReale You might be interested in Russo-Canadian composer Nikolai Korndorf's String Trio – titled "In Honour of Alfred Schnittke (AGSCH) , Trio for Violin, Viola, and Cello" . I'm sure that A-S-G-C-H is some sort of musical cryptogram that is central to the work.It has some rustic, microtonal, folky, drony, and minimalistic vibes to it. The recording is on Youtube, of course. You make awesome videos! – All The best. March 12, 2018 Reply Kleo von Murf Hi Samuel, You mention towards the end of the video that those who listen to Ferneyhough's music will be struck by the sensuality and physicality of the music. This is coincidentally something that I have been focusing on immensely recently, and I wanted to ask of your opinion of this supposition: I think that, at the very least, all music can/should be appreciated for it's physicality/sensuality. Obviously this isn't to say that the only way to listen/appreciate music should be for its physicality/sensuality, but I do think that it acts as a crucial foundation for any given piece of music. With this, one could hypothetically listen to and appreciate any given piece of music despite what it is and who it was composed by. This isn't to say that the appreciation of the piece/s that one might listen to will be appreciated for what it ought to be, (appreciating a piece by Mozart should be appreciated for different reasons that of a piece by Ferneyhough), however I think that every piece of music could be appreciated through its physicality and sensuality (and of course, there can be various opinions/definitions that people may pose on what exactly constitutes as 'sensuality' and 'physicality', but lets use the example you gave about Ferneyhough as I believe the same thing.) I would be interested to hear what you would have to say (I would be interested to discover music that you might think that cannot/should not be interpreted in such a way), since it is incredible to have a committed and conscientious lecturer/musicologist/composer on youtube to post interesting and insightful videos 🙂 Thanks! March 25, 2018 Reply MrMusiquemonamour Thanks for this. I appreciate your clarity. Really helpful. April 7, 2018 Reply Ross Feller It would be good to cite the articles from which you drew upon, for the research that went into making this video. May 1, 2018 Reply Josélina Aygretto if so much of his work comes from the score… wouldn't it make no sense to listen to the piece without the score in hand? May 9, 2018 Reply Michael Slovin I have been waiting to find a channel just like yours. Thank you. May 20, 2018 Reply karyna cam Un asco para hacer música carece de belleza June 1, 2018 Reply Andrey Rubtsov I fell asleep on 3rd minute :_) June 8, 2018 Reply Noah Love listening to Ferneyhough, its very unique and oddly pleasant I guess, its great to sit down with coffee and listening to one of these works. June 27, 2018 Reply Tomas Challenger This is great, Thank you! Can anyone point me to the book Mr Andreyev refers to 29.30 ish? July 5, 2018 Reply John Martin Wow ! The nested tuplet rhythms kills me ! What a challenge now I'm falling into Ferneyhough's world . My music will be changing in ways I might not ever have come up with ! I knew there had to be some type of systemization behind all that notation and performance direction on page . Idea of intervention disrupting the music : Ifine idea . Now I'm gonna try this ! I can't believe Ferneyhough has been in the U.S. all this time . it's taken me so long to get to his music . I loved the way it looks on the page when I first saw it 25 years ago but didn't know what I was listening to . Now because of Architecture , film theory and some ideas in physics ( I know very little technically ) I get and care very much about what he explores and gives us ! July 17, 2018 Reply John Martin But when does anyones music sound as unusual as it looks . I've long wanted to put some pages of the Finnissey's music on my wall . Now ,I think this String Quintet deserves that action . hese curlies , dots, numbers and all manner of formalisms ae great non-painted visual works full of information that an only be decoded by specially skilled musicians . Like non-artists see Kline ,Motherwell rothko ,Rheinhardt differently than the artists themselves would . July 17, 2018 Reply Icli Zitella Thanks for your analysis. Please, could you write down the name of the book and the article where you got the information about the rhythmic procedures? July 23, 2018 Reply plekkchand New wine in old bottles. July 31, 2018 Reply DerSibbe 4:17 from which piece is this score? It seems to be a flute composition… but i don't think Cassandra's Dream song is so complex, so… maybe Sisyphus Redux? Or one of the Carceri d'Invenzione? August 14, 2018 Reply M Mess Good beginning: The first time after a long long time, I have the feeling of being a german again. All thumbs down should be interpreters, I guess. If you follow Karlheinz Essl, today you can select any parameter you want. So every musical idea is quantifiable. August 15, 2018 Reply Literature Today UK Coventry is pronounced "COV-in-tree"" not cuv-in-tree". Thanks for your fascinating lecture. Incredibly articulate…but I don't think Ferneyhough would agree with your comparison to Rembrandt August 17, 2018 Reply Fabio Adour Greeeeeat!! August 23, 2018 Reply Allegro SCHOOL OF MUSIC Thousands of words about thousands of notes, on and on and on. Does anyone listen to this music? Does anyone care? Nope. August 25, 2018 Reply vvvlladdd No… I just can't, I really tried, but noooooo….. August 27, 2018 Reply Tmec Rep "it's a complexity that comes from the mutual interaction & interference of different strands… you might have 3 or 4 different materials going on in a piece, they're evolving at different speeds & in different directions at the same time, and so while any one of these individual lines might be fairly straightforward, what happens is he crashes them into each other" — this could easily describe Frownland September 6, 2018 Reply JoricioCagel so, in the end, ferneyhough does very simple things, and gives all the real work to a) the computer, b) the performer, c) the listener. it would be far better if he just wrote all this by himself during several weeks, rather than just arranging the complex results of simple thoughts. this basic rhythmic permutations are interesting, but it would be great to actually hear them and their relation to each other in a more simple, accessible way. September 25, 2018 Reply Matthew Hume Can you do a video on Ben Johnson's quartets? November 3, 2018 Reply Kristen Forster Thank you! I allways avoided Ferneyhough because I cant pronounce his last name. November 14, 2018 Reply Russell Austin It all says so little to so few – sad really. An interesting film though. December 14, 2018 Reply Empyreanabove Rembrandt? (and in the comments we hear him compared to Wordsworth).Never in the history of criticism has somebody so great compared to somebody of such scanty and paltry interest to such little effect. January 6, 2019 Reply Empyreanabove We could get the same effect that Ferneyhough accomplishes by playing-say- Bartok on your PC, Shostakovitch on your HiFi, Stravinsky on your radio and Ligeti on an MP3 player…simultaneously. January 6, 2019 Reply DnWn There were times when neurotics of both sexes were cured of the sort, now such people would be proclaimed heroes. I prefer the former attitude, honestly… Sick composers should be cured, not praised. Thanks for the analysis, though. Peace, love, sane adequate art everyone! January 28, 2019 Reply Siemon Blidener How can anyone feel these complex rhythms and play them on an instrument, let alone in an ensemble? I can't get my head around that… January 29, 2019 Reply DnWn I hope to live until the day this work would be analyzed by someone as competent as Mr. Andreyev… https://www.youtube.com/watch?v=3wNLezrQmDg February 5, 2019 Reply muslit For me, the actual score seems to be more interesting than it's realization. If the three musicians were to play this particular trio perfectly in a rhythmic sense, one would never know it, even following the score. I'm reminded of the two recordings I own of Elliott Carter's Night Fantasies, one played by Charles Rosen, the other by Paul Jacobs, two of the pianists who commissioned the work. They both interpret the last measure of the work rhythmically differently. Perhaps this and Ferneyhough's String Trio are to be performed as improvisations, approximating what's on the page. Then again, the resulting harmony is another discussion. June 1, 2019 Reply johnnynoirman Inventions–Cool. June 3, 2019 Reply Victor Arul Why isn't A (4 (1 2 3 (4 5) 6))? June 21, 2019 Reply muslit You're discussion of this trio is much more interesting than the piece itself. June 30, 2019 Reply CRCVDE I don't understand why you would say you can't fit 12 notes in 4 beats? Instead of writing 12:8 you could just have triplets every beat. Considering that the second half of A is half the length of the bar, the awkward dotted half would just turn into a half note. The first two notes of the bar are a quarter of the bar so that's just an eight note plus a quarter in a triplet. Then in the third beat you can still keep this overly complex 9:6 which basically almost the same as writing two eight notes with a gracenote before the second note but sluring it to that note so it will be played a bit earlier… Still nice analysis though July 7, 2019 Reply truBador2 Sounds like communism. August 20, 2019 Reply Add a Comment Cancel reply Your email address will not be published. Required fields are marked *Comment Save my name, email, and website in this browser for the next time I comment.