Brian
Ferneyhough is a scary composer for many people. Or at least his
music is deemed to be scary. By 'scary' I mean highly complex. And
yet I find much of his music very direct and even Beethovenian in
manner. It's Beethovenian in that it often has a strong sense of
forward direction; which much post-serial and experimental music
doesn't have. (This is despite the fact that I'm sure I can recall
Ferneyhough speaking out against what I think he called the “fixation
with linearity” in Western music.)
This
is a classic case of the disjunction between music being complex in
terms of its form and composition and it being direct when it comes
to actually listening to the music. After all, many baroque fugues
and Renaissance polyphonic masses are very complex; though often easy
to listen to (though not too easy, of course).
It
must be said that when you hear Ferneyhough speak, he does strike you
of being a bit pretentious. Though perhaps that's simply because I'm
stupid or very cynical.
Ferneyhough
as Instrumentalist
Ferneyhough is a great instrumentalist. That is, he is a great writer for all manner of instruments – from the low brass to the piccolo. This isn't always the case with accomplished composers. I would say that Alfred Schnittke, Webern, Ligeti, etc. are great writers for various instruments; though many post-1945 composers haven't been. Indeed even some classical masters weren't really that accomplished when writing for certain instruments. I personally think this is true of Beethoven, save for the piano and perhaps strings. I also find Brahms symphonies badly scored in that they sound much too dense. (Incidentally, I find this true of Beethoven too.)
Many
of Ferneyhough's works features solo instrumental writing even within
ensemble pieces. Thus in one of his string quartets it begins with one
violin, then two, etc. In one part of the Carceri
d'invenzione
we have a marvellous trombone and piccolo due which opens that work.
This pairing down of ensemble pieces (as well as pieces for string
quartet and orchestra) frequently occurs in Ferneyhough's oeuvre.
In that sense, it's a little like Bach's Brandenburg Concertos.
Ferneyhough
has also written many pieces for solo instruments. These include
pieces for piano, violin, flute, piccolo, bass clarinet, guitar and
so on. These are surely in the tradition of Berio's Sequenza.
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