BRIAN FERNEYHOUGH (b.1943): Terrain for Violin, Flute/Piccolo, Clarinet/Bass Clarinet, Oboe/Cor Anglais, Bassoon, Trumpet, Trombone, Horn and Double Bass, no time (at all) for Guitar Duo, La Chute d'Icare for Clarinet, Piccolo/Alto Flute/Bass Flute, Oboe/Cor Anglais, Percussion, Piano, Violin, Cello and Double Bass, Incipits for Viola, Percussion, Piccolo/Bass Flute, E Flat Clarinet/Bass Clarinet, 2 Violins, Cello and Double Bass, Les Froissements d'Ailes de Gabriel for Guitar, Flute/Piccolo/Bass Flute, Oboe/Cor Anglais, Clarinet/E Flat Clarinet/Bass Clarinet/Contrabass Clarinet, Horn, Trumpet/Soprano Trombone, Trombone/Bass Trumpet, Piano, Guitar, Harp, Percussion, Violin and Cello.

Catalogue Number: 07M108

Label: Kairos

Reference: 0013072KAI

Format: CD

Price: $16.98

Description: These works contain exactly the kind of fantastically complex and virtuosic instrumental writing for which Ferneyhough is famous, or notorious. All but one are cast in concertante form, all placing extreme demands on the soloist. Terrain consists of a formidable violin solo running throughout almost uninterrupted, while the ensemble, divided into various groupings, contributes layers, or strata, of textured material. The friction between these layers of opposing material is what gives the piece its remarkable tension. no time (at all) features two guitars tuned a quarter-tone apart, with additional use of extended playing techniques. The solo clarinet in The Fall of Icarus is given whirling, hectic material, taken up and expanded by the ensemble, like the flailing figure of the doomed Icarus and the spreading reverberations of his disastrous descent. Incipits explores the idea of beginnings or openings in musical terms, in seven sections, each introduced by the solo viola, playing a more lyrical role than the violin solo in Terrain. The Rustling of Gabriel's Wings is excerpted from Ferneyhough's opera Shadowtime. Of all the quasi-concerti here, this work for guitar and ensemble has the least soloistic solo part, the guitar (shadowed by one in the ensemble, a quarter-tone apart from it) being here a constant presence in a stream of fragmentary gestures, set apart from the temporal context of the ensemble action, distorting our sense of time as the opera's action also consists of a series of temporal non sequiturs. ELISION Ensemble; Franck Ollu, Jean Deroyer.

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