Hi Simon, I agree totally with what you say. Smka’s piece certainly needed some editing!. I loved the Ferneyhough piece and it was super to be able to listen to the composer earlier talk about his piece. Interested readers might like to know that the full Huddersfield interview will be posted online later by the people at the Institute of Musical Research. A workshop that took place prior to Huddersfield is also on You Tube. Just type Schatten Aus Wasser to get three short clips of Ferneyhough and Redgate.
Whereas I disagree. I thought Farrago tedious and uninteresting and Engrams quite beautifully captivating. As a non-music scholar this may be because I failed to appreciate the technical intricacies contained within but Pesson’s work appeared more concerned with doing all those things that modern string quartets are supposed to (loud/quiet/loud, playing below the bridge, battering and scraping – I found it quite formulaic and not at all etherial) whereas the Srnka at least went somewhere different. I especially liked to zoning in and out of half-perceived melodies, much like James Kirby’s work as The Caretaker.
I agree with you about the Ferneyhough (though I feel I need to listen to it again to appreciate what it was doing). And the Ligeti was, for me, in a different class.
Hi Simon, I agree totally with what you say. Smka’s piece certainly needed some editing!. I loved the Ferneyhough piece and it was super to be able to listen to the composer earlier talk about his piece. Interested readers might like to know that the full Huddersfield interview will be posted online later by the people at the Institute of Musical Research. A workshop that took place prior to Huddersfield is also on You Tube. Just type Schatten Aus Wasser to get three short clips of Ferneyhough and Redgate.
Thanks Alan, that’s very useful to know.
Whereas I disagree. I thought Farrago tedious and uninteresting and Engrams quite beautifully captivating. As a non-music scholar this may be because I failed to appreciate the technical intricacies contained within but Pesson’s work appeared more concerned with doing all those things that modern string quartets are supposed to (loud/quiet/loud, playing below the bridge, battering and scraping – I found it quite formulaic and not at all etherial) whereas the Srnka at least went somewhere different. I especially liked to zoning in and out of half-perceived melodies, much like James Kirby’s work as The Caretaker.
I agree with you about the Ferneyhough (though I feel I need to listen to it again to appreciate what it was doing). And the Ligeti was, for me, in a different class.