Brian Ferneyhough Vidéos
compositeur anglais
- trompette
- opéra, musique classique
- Royaume-Uni
- compositeur ou compositrice, pédagogue
streaming
Dernière mise à jour
2024-05-19
Actualiser
Younghi Pagh Paan Klaus Huber Brian Ferneyhough Edith Picht Axenfeld 1945 1965 1971 1974 1979 1991 1992 1994 2006 2007 2009 2011 2013 2015 2018 2019 2022
Fanfarella ist ein vierminütiges Stück und wurde 2019 in Basel uraufgeführt. Younghi Pagh-Paan wurde 1945 in Cheongju, Südkorea, geboren. Von 1965 bis 1971 studierte sie an der Seoul National University, bis sie nach Deutschland kam. An der Musikhochschule Freiburg i. Br. studierte sie ab 1974 bei Klaus Huber (Komposition), Brian Ferneyhough (Analyse), Peter Förtig (Musiktheorie) und Edith Picht-Axenfeld (Klavier) und schloss ihr Studium 1979 ab. Nach Gastprofessuren an den Musikhochschulen in Graz (1991) und Karlsruhe (1992/93) wurde Younghi Pagh-Paan 1994 als Professorin für Komposition an die Hochschule für Künste Bremen berufen, wo sie das Atelier Neue Musik gründete, das sie seither leitet. 2006 Lifetime Archievement Award der Seoul National University. 2007 Order of Civil Merit der Republik Korea (Süd-Korea). 2009 15th KBS Global Korean Award (2009). Im Mai 2009 wurde sie zum Mitglied der Akademie der Künste Berlin gewählt. 2011 verlieh ihr der Bremer Senat die Bremische Medaille für Kunst und Wissenschaft. 2013 erhielt sie den Paiknam Prize (Seoul) für ihr Lebenswerk, 2015 den Preis der Europäischen Kirchenmusik (Schwäbisch Gmünd) und das Ehrenbürgerrecht der Stadt Panicale. Younghi Pagh-Paan lebt in Bremen und Panicale (Italien). Fanfarella ist ein vierminütiges Stück und wurde 2019 in Basel uraufgeführt. Egidius Streiff, Violine Pavillon-Konzert, Aula Gymnasium Oberwil BL,20.03.2022
"Like many of Ferneyhough's compositions, La Chute D'Icare has an extramusical inspiration. In this case, it is Pieter Brueghel's 1558 painting "Landscape with the Fall of Icarus." In Brueghel's painting, as in Ferneyhough's score, the individual is dwarfed by the landscape around him, and the dreamer's failure to overcome the laws of nature and subsequent crash is ignored by the people around. In Ferneyhough's score, the role of Icarus is taken by the solo clarinet, and his fall illustrated in the clarinet's challenging cadenza. Ferneyhough's music is characterized by its complicated substructure into which relatively free musical material is placed. Ferneyhough sometimes thinks of these overlapping rhythmic and formal layers as prisons in which the music lives." (Todd Tarantino)
Brian Ferneyhough Jennings Franck Ollu Bach Paganini Irvine Arditti Edgard Varèse Elision Ensemble 1943 1988 1992 1996 2003
Terrain (1992) for solo violin and wind ensemble Composer: Brian Ferneyhough (b. 1943) Performers: Graeme Jennings, violin; ELISION Ensemble; dir. Franck Ollu / "In contrast to the obvious confrontation and contest typical of works for soloist and large orchestra, here there is endless scope (already prefigured in the keyboard concertos of Bach and Mozart) for constantly reinventing the role of the soloist in relation to the other players. For Ferneyhough, this problematizing of the relationship between soloist and ensemble had already started in the third part of the Carceri d’invenzione cycle, namely Carceri d’Invenzione II, for flute and small orchestra, where, consciously following the example of Schönberg’s Phantasy Op. 47, the mosaic- like solo part was written first, and the more ‘directional’ orchestral music was then grafted around it. And although (or perhaps because) Carceri II, for all its brilliance, is perhaps the least immediately convincing part of the Carceri cycle, it clearly set the composer thinking about all the possible relationships between a soloist and an ensemble. The result was a sequence of five works for solo instrument and ensemble – in chronological sequence, La Chute d’Icare (1988), Terrain (1992), Allgebrah (1996), Incipits (1996) and Les Froissements d’Ailes de Gabriel (2003) [...]. Of all these pieces – none of which places anything less than cruel demands on the soloists – Terrain is the most wildly virtuosic. Here, Paganini has to rise from the grave, reincarnated (initially via Irvine Arditti) as a transcendental modernist. From the very first bar, the violin part is electrifying, both in its difficulty and its intensity. At the same time, it is set against an ensemble which, far from offering support, is its very antithesis. The latter consists of the eight instruments (flute, oboe, clarinet, bassoon, horn, trumpet, trombone and double bass) of Edgard Varèse’s Octandre, which Ferneyhough cites as ensuring that “composing became my definitive goal in life”. The title Terrain has many references, all involving some geological aspect: the earthworks and writings of Robert Smithson, the eponymous poem by A. R. Ammons, which, for Ferneyhough, deals “with natural forces as a metaphor for the creative process”, but also the whole notion of shifting geological plates, and the enormous frictions between layers that these create. Hardly ever does the ensemble operate as a unified ‘tutti’: for most part it involves layers (strata) of two or three instruments that collide and then realign into different combinations. At the simplest level, one hears Terrain as piece in two parts, each preceded by a violin cadenza. But in fact, the violin cadenza runs, almost without respite, from start to end of the piece. When the ensemble first enters, it juxtaposes solos, duos and trios, but gradually accumulates some larger groupings. After a second solo violin passages, the ensemble re-enters as, for the first time, a soft, almost amorphous tutti (this is the only passage where the violin is absent), and from this point on, the work is a sort of textural rondo, where each attempt to reassert a ‘tutti’ presence is eroded by fresh small-group alliances. At the very end, the violinist’s almost Webernesque downward, whispering figures seem like a gently ironic commentary on the turmoil that has preceded them." ~Richard Toop (translation: Julia Ladera) Source: CD booklet / For education, promotion and entertainment purposes only. If you have any copyrights issue, please write to unpetitabreuvoir(at)gmail.com and I will delete this video.
Lennox Berkeley Woodrow Elgar Vaughan Williams Ravel Nadia Boulanger Poulenc Stravinsky Milhaud Britten Richard Rodney Bennett John Tavener Brian Ferneyhough Ivry Gitlis Wigmore Hall 1946 1947 1968 2021
James Woodrow - Violin Home recording 03/07/2021 Lennox Berkeley’s music does not show an obvious placement in the previous lineage of the British compositional style, stemming from composers such as Elgar and Vaughan Williams. Upon graduating from Oxford University, an encounter in Oxford with Ravel, who was impressed with Berkeley’s early compositional efforts, led Ravel to suggest he study in Paris with Nadia Boulanger. Berkeley’s time in Paris, not only studying with Boulanger, but mixing with composers such as Poulenc, Stravinsky, and Milhaud, gives his music a distinctive French flavour which sets him apart from his British contemporaries. After studies in Paris, a close friendship with Britten resulted in a joint collaborative orchestra work, Mont Juic. In the same year as composing the Introduction and Allegro, he took up the post of Professor of Composition at the Royal Academy of Music between 1946-1968; his students included Richard Rodney Bennett, John Tavener and Brian Ferneyhough. His compositional output includes works in all major genres, with his colourful compositional style making him an intriguing figure in twentieth century British music. Introduction and Allegro was dedicated to, and first performed by, Ivry Gitlis. Written in 1946, it had its premiere at the Wigmore Hall in 1947. The two musicians clearly worked closely on the piece, as Gitlis acted as editor, providing suggested bowings and fingerings in the published edition. The piece could be seen as providing a snapshot of Gitlis’ playing, as it was very likely written with his individual playing style in mind. The Introduction in particular has an improvisatory quality, which reflects Gitlis’ exploratory and fantasy-like approach to violin playing, which has made him one of the twentieth century’s most admired players. The Introduction starts with a bold and strident opening, with a rhythmic motif on just the one note. This statement appears four more times in the Introduction. Around this motif is a meandering and exploratory chromatic melody. The Introduction explores many different violin colours, using all four strings in different tessituras. The Allegro has a lively and restless character. Despite only one section of double stops, the writing is extremely harmonically colourful, showing Berkeley’s craft of tonality within the parameters of a solo violin work. The idiomatic violin techniques including harmonics, left hand pizzicato and ricochet bowing, as well as the general musical character, result in a playful conclusion to an initially serious introduction. If you enjoyed this recording please like and subscribe to my channel. I am more than happy to answer any questions about the repertoire I play, if I can, in the comments section below. My links Subscribe (http•••) Twitter (http•••) LinkedIn (http•••)
ou
- chronologie: Compositeurs (Europe).
- Index (par ordre alphabétique): F...