CeReNeM Journal Issue 4: March Editor: Pedro Alvarez Journal of the Centre for Research in New Music, University of Huddersfield CeReNeM Journal, . Tel: Fax: e-mail: [email protected] internet: Brian Ferneyhough. Kurze Schatten II () . Brian FerneyhoughKurze Schatten II EP for Solo Guitar BRIAN FERNEYHOUGH KURZE SCHA1TEN II.

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In the second part, I return to piano performance through schattten comparison of two traditional piano methods in the light of EEC. Changing visually from one stave to the other describes a change in inner attitude and activity.

On the surface, this boggling effect is ferneyhiugh to the destabilization effected by complex notation discussed earlier but the unveiled repetition of the pitch material combined with the relative simplicity of the first two bars establish such ferneyhouhg clear ground that errors are utterly exposed. According to his analysis “attenuation of the role of representations combined with augmentation of the role of action” Rowlands,p.

This is, of course, divinely punished. O noon of life! There was some discussion of Kurze Schatten II last year including quite a lengthy analysis of the piece.

The qualities 14 Ferneyhougy Coalescing around compositional preoccupations with the body writ large as well as with sonic phenomena in which instability and fragility inhere, these instantiations of intentional error-enabling ask how physical bodies i. I apply the noise-signal duality: A comment by Pierre Boulez is indicative of this persistence.

Narrative thus implies a container introduction, development, ending and a content the story itself in which sound ends up being a secondary element. I experience fluid fields of consciousness layered upon each other, and activity jumping between those layers as fernehhough focus of attention shifts.

In other words, the context would define and delimit the sound- container.

The strong attraction of the faithful to being mothered led Anselm of Canterbury in the eleventh century, and Bernard of Clairvaux in the twelfth, to transfer this attribute fernehhough God and Christ respectively Warner,pp. But, on the other hand, it can be argued that such a fingering ignores the actual gestural content, that is to say, the leaps implicit in the notation.

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As we have seen, the modified cello can be read as a site of violence, as the body of Christ, but this ferneyhlugh above all legible in the visual and the possible rather than in the sounding result itself.

I am aware that by questioning some musical givens I am taking for granted the meaning and the use of other musical terms, through which I am basing my argumentations material and development come immediately to my mind.

Does it fade out? Upon listening to two published recordings of this piece,6 it is clear that this passage is not an exception to such criterion.

The notes are rather considered an obstacle schattsn should be overcome as soon as possible, and only then can the actual practice of music begin. It accompanies activities in daily life as well, but here it remains unnoticed or is taken for granted ibid.

Surrealists believed that automatism could express the creative forces of the unconscious.

Benjamin exemplifies it using the analogy of the tangent and the circle: The New York Times. Forum rules Topics archived from Public Space and its subforums after a long period of inactivity, or redundant for some other reason.

I have also been studying and performing Baroque music with the recorder, and since a newly designed contrabass-recorder — an innovative extension of historic models — is my main instrument.

I decided against writing longer periods of precisely defined rests for the solo part, which would imply the counting of beats or seconds.

Brian Ferneyhough – Kurze Schatten II/6 by mats scheidegger | Free Listening on SoundCloud

Bow a string adjacent to that used in 1but aim for a partial with the same sounding pitch as was achieved in 1. Physical Sciences and Engineeringpp. Or I think there are gaps, after all.

However, when one considers the creeds of the resurrection of the body, and of life everlasting, there is a certain paradox in mourning, above all mourning the death of Christ — indeed rejoicing might be the more apt reaction.

It is very conceivable that the language of sculpture or painting is founded on certain kinds of thing-languages, that in them we find a translation of the language of things into an infinitely higher language, which may still be of the same sphere. Through a thinking gesture, the navigation in the score-space becomes visible as gestural annotation of the text. The pianist silently depresses the keys, releasing them with sudden, audible accents on each rest. This gadget was originally developed for military use, for communication in loud surroundings such as during combat or inside a tank.

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Issues such as complexity, vulnerability, and effort as they occur in these instantiations of staged failure are contrasted with an aesthetics of failure based on a surfeit of information that has been championed by New Complexity.

Classical Guitar

Expression here remains somewhat diffuse, therefore, like a primordial breath out. When this sound object is further altered though the imposition of new gestural vectors upon some ferneyhkugh, the original system of coordinates is no longer operational.

A sort of episodic memory11 without any semantic qualities is the entry point to performance. Challenging this idea is vital for the development of a non-cartesian cognitive science. Through slight adjustments to bowing parameters speed, pressure, angle, proximity to bridge, amount of bow-hairthe interpreter attempts to sustain simultaneously two very high adjacent partials c.

The percussion part adds an aural texture and supports the soloist. Many abrupt pauses are employed in this section, which fragment the shapes created by the sound layers.

Kurze Schatten II

Music and Musicians 20, pp. Respective voices are fragmented into particles interlacing with each other. I would like ferjeyhough stress two terms that I consider particularly relevant to work with: In its prolonged striving for the unattainable, this sound lays bare the anatomy of this species of failure: These works, I would suggest, harness virtuosity and failure in an ultimately divisive manner that actively promotes audience estrangement and, in its refusal of collectivity, endorses extant power structures, be they linked to unreflective composer-performer relationality or to privilege more broadly defined indeed, one might well add that composers associated with this aesthetic tend to be overwhelmingly, if not exclusively, white men.

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