@John11inch The fact that you constantly seem to ignore the musical arguments that are presented to you and incessantly and needlessly correct grammar is not helping your case whatsoever. So by all meens correct dis becos you r clearly unwilling to have a civilisd debate withour resorting to being a dickhead. Good day to you sir.
It shouldn't be one or the other. Any of the above are grammatically correct. Trying to correct grammar that's already correct is the biggest sign that you're a failure as a grammar Nazi. Also, the period ending your sentence should be inside the quotation mark.
But does it have any actual artistic purpose? If you have actually experienced violence in your life, this is not cathartic of that experience, but seems to seek to reinflict it - for no gain.
I'm not sure what violence you're talking about, nor why catharsis thereof would ever be desirable. I also don't see an adequate specificity in your argument such that it would not apply to the "violent" works of Bach, Beethoven and Mozart. I think that you don't think.
@John11inch Ferneyhough likened the piece to “a sharp pain of a paper cut, and citing Roland Barthes, the erotic glimpses of flesh between a woman’s garments” - it's in Perspective of New Music if you want a source.
The problem with these pieces is that you can achieve the same effect with notation that requires a lot less work. Assuming he's not incompetent, it's a situation of an abusive co-dependency, instigated largely by the composer.
Of course your statement that this music can be reproduced without using so many technicalities is 100% false, given that part of the music is, in and of itself, the performer's difficulty with the work.
@John11inch If the purpose and meaning of these types of works are derived solely from watching the performer struggle, then it's just another characteristic of the style's intellectual and aesthetic weakness.
Difficulty and struggle can be found in many different styles and musics, so that "in it of itself" is not very interesting, and never will be. It does say something about those who write and enjoy the process of watching the performer struggle purposelessly, though.
100% subjective statements given in a way to make them look 100% objective. But you failed. Also, your use of the word "solely" is inappropriate, and therefore everything that proceeds is factually inaccurate.
@John11inch My my.. look who's gone to the "you used a word wrong, therefore I'm right" argument. rgtanaka has a point. You can achieve the same effect without making things so difficult for the performer.
No. You can't. My my, look who can't read. You 100% do not understand. There is indeterminacy imbued to the work by its difficulty. This cannot be replicated by making it easier, or using different notation. You do not know what New Complexity means.
@rgtanaka I would have to agree, works solely based on level of difficulty for performer are in my opinion flawed. This is just another classic example of music "solely" (am I using it correctly John2inch) for musicians.
I'm sure all 26,000+ viewers were musicians. Regarding your question, you should learn how to correctly use a comma before you worry about more complicated things.
at 4:00 - 4:06, those sudden crescendos --- they come to notes which seem to have octaves above them? what technique is that? 'multi-phonics'? how is that achieved?
There are multiphonics in this piece, but not where you are talking about. Multiphonics are performed by using irregular fingerings and sustaining notes, which will eventually cause (depending on which multiphonic it is, exactly, it can take various amounts of time for them to sound) a double-stop to be played. You can look up multiphonics charts online that have all the fingerings and such.
adding the voice to the sound produced by the flute add frequencies. It is call frequencies modulation or FM. What you ear is actually the result of the differences between the 2 frequencies wich is low.
I attended an open rehearsal of this work with Ferneyhough at a UNM festival in Malmö some 15 years ago, where the flutist was a young Swedish guy. Boy, was he out of his depth! But as Ferneyhough kept explaining and encouraging the flutist, in the end the guy sort of managed it. It was one of the most intensive lectures I've ever experienced!
Key clicks (with and without sounding a note), flutter tongue, tongue rams, bends, really hard multi-phonics... he even he gives you weird fingerings for notes for specific tone colours. Basically, if its possible (and even if you think its not) on flute, he wrote it.
yes, it is. he writes so complicated because he does not want the player to play his music like 4/4, 6/8,... (i met him personally and he explained it to me).
My Welsh terrier likes this. That is not a negative comment. I like it more than he does. The interesting dynamic in music is between the link from Schoenberg to Cage to Stockhausen, vs. the link from Elliot Carter to New Complexity. Should we just factor out the human performer, or not? It seemed like technology was winning for awhile. Now I think the humans are making a strong comeback. Who would have thought?
Wow - this is a super performance. I've got the music for this and had always thought it pretty much unplayable so great to hear someone doing it justice. Fantastic!
@John11inch The fact that you constantly seem to ignore the musical arguments that are presented to you and incessantly and needlessly correct grammar is not helping your case whatsoever. So by all meens correct dis becos you r clearly unwilling to have a civilisd debate withour resorting to being a dickhead. Good day to you sir.
johninthemix 1 day ago
@John11inch. It should be "associated with" or "attached to", not "imbued to".
vtrevlyn39 2 months ago
@vtrevlyn39
It shouldn't be one or the other. Any of the above are grammatically correct. Trying to correct grammar that's already correct is the biggest sign that you're a failure as a grammar Nazi. Also, the period ending your sentence should be inside the quotation mark.
Thanks for the tip.
John11inch 2 months ago
But does it have any actual artistic purpose? If you have actually experienced violence in your life, this is not cathartic of that experience, but seems to seek to reinflict it - for no gain.
arielunbound 3 months ago
@arielunbound
I'm not sure what violence you're talking about, nor why catharsis thereof would ever be desirable. I also don't see an adequate specificity in your argument such that it would not apply to the "violent" works of Bach, Beethoven and Mozart. I think that you don't think.
John11inch 3 months ago
@John11inch Ferneyhough likened the piece to “a sharp pain of a paper cut, and citing Roland Barthes, the erotic glimpses of flesh between a woman’s garments” - it's in Perspective of New Music if you want a source.
The problem with these pieces is that you can achieve the same effect with notation that requires a lot less work. Assuming he's not incompetent, it's a situation of an abusive co-dependency, instigated largely by the composer.
rgtanaka 3 months ago
@rgtanaka
Of course your statement that this music can be reproduced without using so many technicalities is 100% false, given that part of the music is, in and of itself, the performer's difficulty with the work.
John11inch 3 months ago
@John11inch If the purpose and meaning of these types of works are derived solely from watching the performer struggle, then it's just another characteristic of the style's intellectual and aesthetic weakness.
Difficulty and struggle can be found in many different styles and musics, so that "in it of itself" is not very interesting, and never will be. It does say something about those who write and enjoy the process of watching the performer struggle purposelessly, though.
rgtanaka 3 months ago
@rgtanaka
100% subjective statements given in a way to make them look 100% objective. But you failed. Also, your use of the word "solely" is inappropriate, and therefore everything that proceeds is factually inaccurate.
John11inch 3 months ago
@John11inch My my.. look who's gone to the "you used a word wrong, therefore I'm right" argument. rgtanaka has a point. You can achieve the same effect without making things so difficult for the performer.
jcbahr 2 months ago
@jcbahr
No. You can't. My my, look who can't read. You 100% do not understand. There is indeterminacy imbued to the work by its difficulty. This cannot be replicated by making it easier, or using different notation. You do not know what New Complexity means.
John11inch 2 months ago
@rgtanaka I would have to agree, works solely based on level of difficulty for performer are in my opinion flawed. This is just another classic example of music "solely" (am I using it correctly John2inch) for musicians.
johnmoorebag 1 week ago
@johnmoorebag
I'm sure all 26,000+ viewers were musicians. Regarding your question, you should learn how to correctly use a comma before you worry about more complicated things.
John11inch 2 days ago
Cassandra was one jacked up broad if this was her dream song.
mrpankau 11 months ago 3
Don't like this music. Too dissonant...
CBasie2856 11 months ago
This is my favorite song to listen to when I go clubbing in South Beach
gtralisfr69 1 year ago 11
Holy Shit, this'be not human!
cesarmalak 1 year ago
i think etudes transcendentales would be more famous
Wcburg1 1 year ago
I don't know what Debussy's faun would have made of this, but clearly very effective writing for this instrument, makes a believer out of you...
fredericfranc 1 year ago
also, this sort of japanese style pitch-bending around 1:19-1:22, would that be written as glissandi?
oliverlewin 1 year ago
No, it would be written as a bend, of course.
John11inch 1 year ago
@John11inch sorry sir... I'm reading the score, but there is a gliss indicated under
tonychang32000 1 year ago
at 4:00 - 4:06, those sudden crescendos --- they come to notes which seem to have octaves above them? what technique is that? 'multi-phonics'? how is that achieved?
oliverlewin 1 year ago
There are multiphonics in this piece, but not where you are talking about. Multiphonics are performed by using irregular fingerings and sustaining notes, which will eventually cause (depending on which multiphonic it is, exactly, it can take various amounts of time for them to sound) a double-stop to be played. You can look up multiphonics charts online that have all the fingerings and such.
John11inch 1 year ago
@oliverlewin
adding the voice to the sound produced by the flute add frequencies. It is call frequencies modulation or FM. What you ear is actually the result of the differences between the 2 frequencies wich is low.
gabduflap 1 year ago
@oliverlewin I guess the flutist is playing and singing at the same time, about an octave lower
OriginellerUserName 9 months ago
@oliverlewin Technically, simultaneous singing & playing is considered a multiphonic
OriginellerUserName 9 months ago
@oliverlewin Harmonics.
RogueRotting360 6 months ago
It sounds not as complicated as it looks. The score is just beyond human's belief.
trees1 2 years ago 9
I attended an open rehearsal of this work with Ferneyhough at a UNM festival in Malmö some 15 years ago, where the flutist was a young Swedish guy. Boy, was he out of his depth! But as Ferneyhough kept explaining and encouraging the flutist, in the end the guy sort of managed it. It was one of the most intensive lectures I've ever experienced!
Suprematisse 2 years ago 6
Great performance. Very good piece. I wish I had time for studying it myself. I could include Berio's Solo Sequence for Flute in the program.
poleame 2 years ago
That is SOME flute playing!!!!
Very impressive I couldn't have done better ;) lol.
adrianmh1919 2 years ago
What are some examples of extended techniques used here?
avb20540 2 years ago
Key clicks (with and without sounding a note), flutter tongue, tongue rams, bends, really hard multi-phonics... he even he gives you weird fingerings for notes for specific tone colours. Basically, if its possible (and even if you think its not) on flute, he wrote it.
TheJugHeadHat 2 years ago
This has been flagged as spam show
I was actually looking for the movie with Colin Farrel but stumbled on this pretencious shit
FireLionLady 2 years ago
Comment removed
FireLionLady 2 years ago
Academic Kudos. Read Schopenhauer on Hegel for further details.
As I once got my face slapped for suggesting:
"The only thing that seperates Brian Ferneyhough from Michael Nyman is an enormous pile of bullshit."
He has gained a certain level of fame from it (as well as an orchestral score that stands 25 feet high) so why question it?
egapnala65 2 years ago
What are you talking about? Never heard of those guys and I don't care
FireLionLady 2 years ago
thanx man!! I just found the score too!!
best regards,
Kugel
kugelschreiber09 2 years ago
Hermosa pieza. Me gusta mucho! Quién toca? Muy bien. Excelente!
Bejcar300 2 years ago
Is that the sheet music?! Geez.
JeeRant 2 years ago
yes, it is. he writes so complicated because he does not want the player to play his music like 4/4, 6/8,... (i met him personally and he explained it to me).
kage1369 2 years ago
No. That is an excerpt from "Unity Capsule", another piece by Ferneyhough.
John11inch 2 years ago
thank you:)
zenzeroxx 2 years ago
Where can I get the sheets from? =)
pianist7137 2 years ago
My Welsh terrier likes this. That is not a negative comment. I like it more than he does. The interesting dynamic in music is between the link from Schoenberg to Cage to Stockhausen, vs. the link from Elliot Carter to New Complexity. Should we just factor out the human performer, or not? It seemed like technology was winning for awhile. Now I think the humans are making a strong comeback. Who would have thought?
teshek 3 years ago 3
Props to the performer for allowing the recording to be uploaded. Did the record company or Fernyhough himself take issue with the copyright?
CurtisMateer 3 years ago
Wow - this is a super performance. I've got the music for this and had always thought it pretty much unplayable so great to hear someone doing it justice. Fantastic!
derekjohnbenton 3 years ago 3
who is the performer??
androdriguez 3 years ago
This is amazing, thanks for uploading.
Reaper978 3 years ago