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Brian Ferneyhough
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Brian John Peter Ferneyhough (born 16 January, 1943 in Coventry) is an English composer of contemporary classical music. His complex, multi-layered music is always distinctive when performed, and led Pierre Boulez to refer to it as a 'polyphony of polyphonies'. His output spans many genres of contemporary music, from chamber works to orchestral pieces.
Life He received formal musical training at the Birmingham School of Music and the Royal Academy of Music from 1966-7 where his teachers included Lennox Berkeley, a respected teacher though a conservative figure who preferred the works of French impressionism to the internationalist avant garde.

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Brian John Peter Ferneyhough (born 16 January, 1943 in Coventry) is an English composer of contemporary classical music. His complex, multi-layered music is always distinctive when performed, and led Pierre Boulez to refer to it as a 'polyphony of polyphonies'. His output spans many genres of contemporary music, from chamber works to orchestral pieces.
Life He received formal musical training at the Birmingham School of Music and the Royal Academy of Music from 1966-7 where his teachers included Lennox Berkeley, a respected teacher though a conservative figure who preferred the works of French impressionism to the internationalist avant garde. 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 Staatliche Musikhochschule in Freiburg, Germany.
His profile rose in the middle of the 1970s, as 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 opera Transit and Time and Motion Study III were given; the former piece being awarded a Koussevitzky prize, the latter performed at the prestigious Donaueschingen festival. In many of these events he was twinned with fellow British composer, Michael Finnissy, whom he became friends with during his student days.
Between 1987 and 1999 he was Professor of Music at the University of California at San Diego. As of 1999, he is William H. Bonsall Professor in Music at Stanford University. For the 2007-08 academic year, he was appointed Visiting Professor at the Harvard University Department of Music. Between 1978 and 1994 Ferneyhough was a composition lecturer at the Darmstädter Ferienkurse and, since 1990, has directed an annual mastercourse at the Fondation Royaumont in France.
In 2007, Ferneyhough received the Ernst von Siemens Music Prize for lifetime achievement. Despite not having any recognizable followers or school, Ferneyhough is well respected for the craft and quality of his composition. Incidentally, he was born on the same day as another prominent English composer, Gavin Bryars.
Works 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 (SPNM) in 1966 was returned, with a suggestion that the oboe part should be scored for clarinet. However, 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, characterized by its extension of the modernist tendency towards formalization (particularly as in integral serialism). Ferneyhough's actual compositional approach, however, rejects serialism and other "generative" methods of composing; he prefers instead to use systems only to create material and formal constraints, while their realisation appears to be more spontaneous. Unlike many more formally-inclined composers, Ferneyhough often speaks of his music as being about creating energy and excitement rather than embodying an abstract schema. His pieces rarely use 12-note rows, but do include microtones and frequent use of glissando.
His scores make huge technical demands on performers; sometimes, as in the case of Unity Capsule for solo flute, creating parts that are so detailed they are likely impossible to realize completely. As he acknowledges, numerous performers have refused to take his works into their repertoire because of the great commitment required to learn them and a perception that similar effects can be achieved through improvisation. The compositions have, however, attracted a number of advocates, among them the Arditti Quartet, ELISION Ensemble, Nicolas Hodges, the members of the Nieuw Ensemble, and EXAUDI Vocal Ensemble.
Recently, he has started writing works which allude to past composers; His Dum transisset are based on Elizabethan composer Christopher Tye's works for viol. In addition, the fourth string quartet references Schoenberg. One of his latest works, an opera, Shadowtime, with a libretto by Charles Bernstein, and based on the life of the German philosopher Walter Benjamin, was premiered in Munich on 25 May 2004, and recorded in 2005 for CD release in 2006.
Selected works
- Carceri d'Invenzione I for fl,ob,2cl,bn, hn,tpt,trb,euphonium, 1perc, pf, 2vn,va,vc,db [1121, 1111.2111] (1982) (inspired by the "Carceri d'Invenzione by Giambattista Piranesi).
- Etudes Transcendantales (1985)
- Kurze Schatten II for solo guitar (1989)
- Bone Alphabet for solo percussion (1991)
- Allgebrah for Oboe and 9 Solo Strings (1996)
- Unsichtbare Farben for Violin (1999)
- The Doctrine of Similarity for Chorus (SATB), 3 Clarinets, Violin, Piano and Percussion (2000)
- "Shadowtime" (1999-2004)
- "5th String Quartet" (2006)
- "Plötzlichkeit" for large orchestra (2006)
- "Chronos-Aion" for large ensemble (2007-8)
- "Dum transisset I-IV" for string quartet (2007)
- "Exordium" for string quartet (2008)
- "Renvoi/Shards" for quarter-tone guitar and vibraphone (2008)
Bibliography
- James Boros and Richard Toop, editors: The Collected Writings of Brian Ferneyhough Publisher: Amsterdam: Harwood Academic Publishers, 1995
- Brian Ferneyhough: Brian Ferneyhough by Brian Ferneyhough Publisher: Paris : L'Age d'homme OCLC: 21274317 (French)
- Ulrich Tadday, editor: "Brian Ferneyhough" Publisher: Munich: Edition Text+Kritik in Richard Boorberg Verlag, 2008 (German)
External links
- by Steven Schick (published in )
- - includes biography, works and selected discography
- [https://www.evs-musikstiftung.ch/en/01_stiftung/pressem.html Brian Ferneyhough wins 2007 Siemens Prize for Music]
- (SOSPESO)
- Open questions for Brian Ferneyhough (also applicable to other composers of our day) - turned into an interview, since Ferneyhough replied (Stanford IP address...)
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