Ferneyhough's first quartet in his cycle of six started as five movements in a more traditional form, but was transformed into 24 brief sections, each with a letter of the Greek alphabet.
"(Sonatas) is a work of inexhaustible richness: the more than 40 minutes of music is fragmented into short paragraphs that evoke Purcell and Webern by turn. As a confrontation between lyrical and deliberately rationalized music, it is a gripping drama that doesn't let go." (Joshua Cody)
0:05.....α (alpha) 2:09.....β (beta) 5:36.....γ (gamma)
8:24.....δ (delta)
9:54.....ε (epsilon)
11:47.....ζ (zeta)
13:33.....η (eta)
14:11.....θ (theta)
16:30.....ι (iota)
19:05.....κ (kappa)
21:19.....λ (lambda)
23:59.....μ (mu)
26:28.....ν (nu)
28:03.....ξ (xi)
29:21.....ο (omicron)
30:41.....π (pi)
31:01.....ρ (rho)
32:40.....σ (sigma)
34:08.....τ (tau)
34:49.....υ (upsilon)
35:53.....φ (phi)
37:32.....χ (chi)
38:52.....ψ (psi)
39:59.....ω (omega)
"As one commentator has put it, Ferneyhough’s work is a ‘microcosm in spirit, but a macrocosm in size.’ In common with other works of the late 1960s and early 1970s, the Sonatas absorbs an antiphonal principle into its structure, here an antiphony of fragments for full quartet balanced with a sense of continuous transformation, via solos and reduced texture, one to the next: according to the composer, this and the suddenness of textural and dynamic contrast is a response to Gabrieli’s Sonata Pian’ e Forte. Retaining the plural in the title, despite the collapse of the different Sonatas into a discontinuous continuity of twenty-four sections, preserves in turn the link with Purcell.
The fragments of the original sonatas are redistributed: for example, what was the fourth sonata (a standard variation form) is now presented in three non- consecutive sections — λ, ν and ρ — in which the variation of material is clearly discernible. Section µ, which intervenes between λ and ν, is a gloss or cadenza: its character becomes more ebullient, and the pausa ad libitum on the first note of µ confers an improvisatory nuance upon what follows, reinforced by the periodic addition of a second violin to the solo. Towards its conclusion, the two lower instruments underpin the ornamented violin lines. As in the contemporary Prometheus, Ferneyhough intersperses other cadenzas throughout, respectively near the beginning (ς), middle (µ) and end (σ). This strategy establishes a sense of large-scale formal structure within which the listener can assimilate smaller details, including miniature sections that are gesturally discrete in relation to the immediately surrounding material (as at π, separated from the succeeding segment by a pause)..... the Sonatas conclude, as they began, with the same solo ’cello harmonic, having maintained throughout a tension between fragmentation and consistency by continually representing and extending material, and by reiterating the opening chord. (Also, the tonality is revisited at η, χ and during ι.)....
The notation of the Sonatas is not nearly as complex in appearance as the scores produced just three or four years later. There are nevertheless some touches, such as section υ, that are both simply notated and yet expressively as full of information for the performer — the notation in breves, redolent of the Sonata’s Baroque models — as the complex ‘overnotation’ in later works. The range of contrasting texture-types (in the Second and Third Quartets), and the tension between pitched sound and ‘noise’ (the end of the Second and Sixth Quartets), find their origins in the Sonatas. At the beginning of the Sonatas, for example, all four instruments announce different texture-types (harmonics in the ’cello, pizz. sul tasto in the viola, arco quasi sul pont. in the second violin, and harmonics leading to glissando in the first), drawing attention to Ferneyhough’s prioritization of gestural contrasts that recurs in the explosive opening of the Second Quartet twelve years later. Throughout the Sonatas, the ethereal sonority of harmonics returns, but often situated amidst percussively conceived materials including col legno battuto, and fingernail and snap pizzicati, as in bars 235–242 in section θ. A final point concerns Ferneyhough’s sensitivity to instrumental group colour. His stated ambivalence towards musical word-painting or ‘illustration’ belies some richly expressive passages, such as that beginning at the fragment π, in relatively low, dark register (marked Notturnamente), which proceeds to ρ, and from a calm chordal passage into the closing polyphonic material of the section, in high register, marked Sereno e chiaro, the whole episode a transfigured night." (Lois Fitch "Brian Ferneyhough)
Ferneyhough: Sonatas for String Quartet with score (1967) camera iphone 8 plus apk | |
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