Brian John Peter Ferneyhough (; born 16 January 1943) is an English composer. Ferneyhough is typically considered the central figure of the New Complexity movement. Ferneyhough has taught composition at the Hochschule für Musik Freiburg and the University of California, San Diego; he teaches at Stanford University and is a regular lecturer in the summer courses at Darmstädter Ferienkurse. He has resided in California since 1987.

Life

Ferneyhough was born in Coventry and received formal musical training at the Birmingham School of Music and the Royal Academy of Music from 1966 to 1967, where he studied with Lennox Berkeley. Ferneyhough was awarded the Mendelssohn Scholarship in 1968 and moved to mainland Europe to study with Ton de Leeuw in Amsterdam, and later with Klaus Huber in Basel.

Between 1973 and 1986 he taught composition at the Hochschule für Musik Freiburg, Germany, where his students included Toshio Hosokawa, Joël-François Durand, Roger Redgate, Alessandro Melchiorre, Giulio Castagnoli, Kaija Saariaho, Joël Bons (winner of the 2021 Grawemeyer Award), Hans-Ola Ericsson, and Rodney Sharman.

The Royan Festival of 1974 saw the premiere of Cassandra's Dream Song, the first of several pieces for solo flute, as well as Missa Brevis, written for 12 singers. In 1975, performances of his work for large ensemble Transit and Time and Motion Study III were given; the former piece being awarded a Koussevitzky Prize, the latter performed at the Donaueschingen festival. In many of these events he was paired with fellow British composer, Michael Finnissy, with whom he became friends during his student days. In 1984 he was given the title Chevalier de l'Ordre des Arts et des Lettres. In 2009 he was appointed foreign member of the Royal Swedish Academy of Music. In 2012 he was awarded an honorary DMus from Goldsmiths, University of London; and in December 2018 he received an honorary degree from the Royal Birmingham Conservatoire for his contribution to contemporary classical music.

Style and technique

Ferneyhough's initial forays into composition were met with little sympathy in England. His submission of Coloratura to the Society for the Promotion of New Music in 1966 was returned, with a suggestion that the oboe part should be scored for clarinet. Whilst Ferneyhough did find it hard, one source of support came from Hans Swarsenski who saw the same thing happen to Cornelius Cardew; Cardew enjoyed a prestigious continental reputation, but a poor one in his homeland. Swarsenski said of Ferneyhough: 'I've taken on an English composer who is I think is enormously talented. If this doesn't work, this is the last time'. Ferneyhough continued to struggle, but the aforementioned Royan festival marked a breakthrough for Ferneyhough's career.

From here, Ferneyhough became closely associated with the so-called New Complexity school of composition (indeed, he is often referred to as the "Father of New Complexity"), characterized by its extension of the modernist tendency towards formalization (particularly as in integral serialism).

Selected works

Works for string quartet

  • First String Quartet (1963)
  • Sonatas for String Quartet (1967)
  • Second String Quartet (1980)
  • Adagissimo (1983)
  • Third String Quartet (1987)
  • Fourth String Quartet (1989–90)
  • Fifth String Quartet (2006)
  • Dum transisset I–IV for string quartet (2007)
  • Exordium for string quartet (2008)
  • Sixth String Quartet (2010)
  • Silentium (2014)

Selected solo works

  • Sieben Sterne for organ (1970)
  • Cassandra's Dream Song for flute (1970–71)
  • Time and Motion Study I for bass clarinet (1971–77)
  • Time and Motion Study II for singing cellist and live electronics (1973–76)
  • Unity Capsule for solo flute (1976)
  • Lemma-Icon-Epigram for piano (1982)
  • Kurze Schatten II for guitar (1989) (essay, analysis, analysis, score sample)
  • Trittico per G.S. for double bass (1989)
  • Bone Alphabet for percussion (1991) (score sample)
  • Unsichtbare Farben for violin (1999) (score sample)
  • Opus Contra Naturam, for solo piano (2000)
  • no time (at all) for two guitars (2004), five pieces
  • Sisyphus Redux for alto flute (2009)
  • Quirl for solo piano (2011–13), part of Nicolas Hodges' Studies Project

For non-orchestral ensemble

  • Prometheus for wind sextet (1967)
  • Transit for solo voices and ensemble (1972–75)
  • Time and Motion Study III for sixteen solo voices (3S, Mez, 4A, 4T, 2Bar, 2B), percussion and electronics (1974)
  • Carceri d'Invenzione I for fl, ob, 2cl, bn, hn, tpt, trb, euphonium, 1perc, pf, 2vn, va, vc, db [1121, 1111.2111] (1982) (analysis, score sample)<br />(inspired by the "Carceri d'Invenzione" by Giambattista Piranesi)
  • Etudes Transcendantales for soprano and chamber ensemble (1982–1985)
  • Carceri d'Invenzione II for flute and ensemble (1985)
  • Carceri d'Invenzione III for fifteen wind instruments and percussion (1986)
  • La Chute d’Icare for solo clarinet and chamber ensemble (1988) (program note)
  • Terrain for violin and chamber ensemble (1992)
  • Allgebrah for oboe and 9 solo strings (1996) (score sample)
  • Incipits for solo viola, obbligato percussion and six instruments (1996)
  • The Doctrine of Similarity for chorus (SATB), 3 clarinets, violin, piano and percussion (2000) (score sample)
  • Chronos-Aion for large ensemble (2007–8)
  • Renvoi/Shards for quarter-tone guitar and vibraphone (2008)
  • Liber Scintillarum for 6 instruments (2012)

For orchestra

  • Firecycle Beta for two pianos and two orchestras with five conductors (1969-1971)
  • La Terre est un Homme for orchestra (1979)
  • Plötzlichkeit for large orchestra (2006)

Opera

  • Shadowtime (1999–2004), libretto by Charles Bernstein, premiered at the Munich Biennale

Reception

Ferneyhough has been called "the most controversial composer of his generation". "In the same year [1974], the performance of several of his works at the Royan Festival established Ferneyhough as one of the most brilliant and controversial figures of a new generation of composers". "Brian Ferneyhough may well be one of the most important composers to emerge from the latter half of this century. Simultaneously famous and infamous, he is a controversial figure of world renown, bent on making the most out of music." The Guardian<nowiki/>'s Tom Service called La Terre est un Homme "one of the most significant achievements in late 20th-century orchestral writing", and also recommended the Carceri d'Invenzione pieces, Lemma-Icon-Epigram, Terrain, and the string quartets.

Bibliography

  • Ferneyhough, Brian. Brian Ferneyhough by Brian Ferneyhough. Paris: L'Age d'homme (French)

References

Sources

Further reading

  • Bortz, Graziela. Rhythm in the music of Brian Ferneyhough, Michael Finnissy, and Arthur Kampela : a guide for performers. Ph.D. Thesis, City University of New York, 2003.
  • Darbon, Nicolas. Brian Ferneyhough et la Nouvelle Complexité. The New Complexity. France, Millénaire III Ed., 2007.
  • Duncan, Stuart. "Re-complexifying the Function(s) of Notation in the Music of Brian Ferneyhough and the 'New Complexity. Perspectives of New Music 48, no. 1 (Winter 2010): 136–172.
  • Reviewed works: Brian Ferneyhough – Collected Writings, edited by James Boros and Richard Toop. Ferneyhough: String Quartet No. 4; Kurze Schatten II; Trittico per G. S.; Terrain, Arditti Quartet with Brenda Mitchell (sop); Magnus Andersson (gtr); Stefano Scodanibbio (db); Irvine Arditti (vln) with ASKO Ensemble, c. Jonathan Nott. Disques Montaigne MO 7 82029. Ferneyhough: Prometheus; La Chute D'Icare; On Stellar Magnitudes; Superscriptio; Carceri d'Invezione III. Luisa Castellani (voice); Félix Renggli (fl); Ernesto Molinari (cl); Ensemble Contrechamps, c. Giorgio Bernasconi, Zsolt Nagy, Emilio Pomarico. ACCORD 205772.
  • Rosser, Peter. "Brian Ferneyhough and the 'Avant-Garde Experience': Benjaminian Tropes in Funérailles". Perspectives of New Music 48, no. 2 (Summer 2010):114–151.
  • Schick, Steven. "Developing an Interpretive Context: Learning Brian Ferneyhough's Bone Alphabet" (Subscription access). Perspectives of New Music 32, no. 1 (Winter, 1994): 132–153.
  • Tadday, Ulrich (ed.). "Brian Ferneyhough". Munich: Edition Text+Kritik in Richard Boorberg Verlag, 2008. (in German)
  • Toop, Richard. "Brian Ferneyhough's Lemma-Icon-Epigram". Perspectives of New Music 28, no. 2 (Summer, 1990): 52–100.
  • Toop, Richard. "'Prima le Parole...' (On the Sketches for Ferneyhough's Carceri d'invenzione I–III)". Perspectives of New Music 32, no. 1 (Winter, 1994): 154–175.
  • Whittall, Arnold. "Connections and Constellations". The Musical Times 144, no. 1883 (Summer): 23–32.
  • Williams, Alastair. "Adorno and the Semantics of Modernism". Perspectives of New Music 37, no. 2 (Summer 1999): 1–22.

Biographical

  • Info at Brian Ferneyhough's publisher, Edition Peters – includes biography, works and selected discography
  • Living Composers Project

Interviews

  • Interview (SOSPESO)

Films

  • Electric Chair Music / Time & Motion Study II; (film by Colin Still, cello: Neil Heyde, electronics: Paul Archbold)

Other

  • Brian Ferneyhough wins 2007 Siemens Prize for Music

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