Brian Ferneyhough - String Trio (1995)

[@hernanpiro]

1 00:05 mesto, viola solo 00:57 tutti 03:46 violin solo 04:23 tuti 06:16 cello solo 07:16 tutti 08:56 intervention I/1 09:09 09:17 intervention II/1 09:54 intervention III/1 10:17 2 10:57 meno mosso 13:20 intervention I/2 3 14:14 largo desolato 14:59 16:47 intervention 3/2 17:26 Intervention IV 4 18:31 con moto fluido 19:57 intervention III/2 20:54 Intervention II/3 21:18 Intervention I/3

[@davidaldridge9341]

A Masterpiece.

[@arrestedshrimp]

Not just good but magnificently executed chaotic beauty

[@BrianJosephMorgan]

Exquisite.

[@machida5114]

so good!

[@sebastianzaczek]

I've been waiting for a score video of this piece for months! Very cool

[@marceldonatomartinez2779]

Como es que este video que contienen una magnífica música de violin tiene muy pocos megusta (👍)?

[@arrestedshrimp]

So good

[@oktavianzamoyski9809]

"A frantic man losing his mind while doodling in a waiting room"

[@Tylervrooman]

HEAVY

[@BlueArcStreaming]

Love this stuff, it's some mead for the neurons

[@Emanuel_RL]

I wonder why he does all of these time signature changes as they most of the time dont matter at all.. its not like you could feel a strong beat very often. Very unique piece though. I've come to like these very quiet, desolate moments like at bar190 (even says desolato). Also kind of got a heart attack at the ending

[@tylers9006]

Its part of his compositional process. He predetermines the lengths of everything (often in a very compact way). This means meter, rhythms, and tempos. In order to fulfill these predetermined lengths, he must be constantly changing meter, rhythm, and tempo. But Ferneyhough’s music is not purely these predetermined lengths, they are also his intuitive ideas about how the piece should sound, and Ferneyhough often adds characters in-place of instruments. Because of this, Ferneyhough’s music is a fight to fulfilling the predetermined lengths of sections while properly incorporating his intuition of the piece. This battle between spontaneity (or intuition) and determinism is what give’s Ferneyhough’s music such a complex sound while feeling like a complete story with contrasting sections and juxtaposition. To go off on a tangent, in my opinion this is what differentiates Ferneyhough from other mathematical composers (such as the serialists, Elliott Carter, and Xenakis though I feel Xenakis’s music is much more human than the other mentioned figures). Furthermore, the struggle between the performer and the music itself creates a unique sound quality. The more I listen to Ferneyhough, the more layers (and diverse layers- not just mathematical) I uncover about his music which is really great.

[@stueystuey1962]

More to the point, the time changes while not perceptible consciously may well be detected unconsciously, thereby cementing one of the most significant elements of the processes of modern music. I'm still acclimating to this composer but find myself consciously choosing to listen and rather a lot of late.

[@Quim1441]

@@tylers9006 Great explanation. Much thanks.

[@Scriabin_fan]

Wow that's amazing, I absolutely hate it.

[@Dylonely_9274]

16:47

[@Dylonely_9274]

The beginning sounds like a door.

[@connorcmusician]

im certain some people think the same way about your favourite music :p

[@Dylonely_9274]

@@connorcmusician ?