【弦乐】芬尼豪 - 第五弦乐四重奏(2006)

合集 · 新音乐 (41)

  1. 11:59
    【钢琴】梁雷 - 我的窗(1996-2007)
  2. 10:11
    【吉他】梁雷 - 欲望之旅(2009)
  3. 17:22
    【琵琶与弦乐】梁雷 - 五季(2010)
  4. 7:42
    【钢琴】贝里奥 - 五段变奏曲(1952-1953)
  5. 5:45
    【长笛】贝里奥 - 序列 之一(1958)
  6. 12:51
    【钢琴】贝里奥 - 6首安可曲(1965-1990)
  7. 9:01
    【女声】贝里奥 - 序列 之三(1965)
  8. 11:03
    【钢琴】贝里奥 - 序列 之四(1965-1966)
  9. 23:25
    【钢琴】贝里奥 - 奏鸣曲(2001)
  10. 7:55
    【钢琴】拉亨曼 - 舒伯特主题变奏曲(1956)
  11. 12:40
    【钢琴】拉亨曼 - 摇篮音乐(1963)
  12. 23:32
    【弦乐】拉亨曼 - 第一弦乐四重奏“大体”(1971/1976/1988)
  13. 27:37
    【弦乐】拉亨曼 - 第二弦乐四重奏“精灵之舞”(1988-1989)
  14. 25:32
    【弦乐】拉亨曼 - 第三弦乐四重奏“呐喊”(2001-2002)
  15. 4:43
    【钢琴】拉亨曼 - 刮葫(1969/1988)
  16. 1:01:22
    【钢琴】拉亨曼 - 小夜曲(1997-1998)
  17. 5:40
    【钢琴】拉亨曼 - 致命进行曲(2016-2017)
  18. 8:52
    【钢琴】芬尼豪 - 6首警句(1966)
  19. 18:15
    【钢琴】芬尼豪 - 3首钢琴曲(1966-1967)
  20. 42:07
    【弦乐】芬尼豪 - 弦乐四重奏奏鸣曲(1967)
  21. 10:51
    【弦乐】芬尼豪 - 第二弦乐四重奏(1979-1980)
  22. 56:24
    【钢琴】芬尼豪 - 引理-图标-警句(1981)
  23. 5:10
    【短笛】芬尼豪 - 上标(1981)
  24. 10:16
    【小提琴】芬尼豪 - 恰空风格间奏曲(1986)
  25. 20:03
    【弦乐】芬尼豪 - 第三弦乐四重奏(1986-1987)
  26. 16:39
    【钢琴】芬尼豪 - 违背自然的作品(2000)
  27. 15:12
    【弦乐】芬尼豪 - 第五弦乐四重奏(2006)
  28. 23:59
    【弦乐】芬尼豪 - 第六弦乐四重奏(2010)
  29. 27:33
    【钢琴】芬尼豪 - 奎尔(2011-2013)
  30. 2:40
    【钢琴】芬尼豪 - 卡拉布里亚国王(2018)
  31. 6:11
    【钢琴】富勒 - 练习曲(2011)
  32. 23:46
    【钢琴】富勒 - 幻影(2002)
  33. 9:47
    【钢琴】布列兹 - 12首记谱法(1945)
  34. 0:33
    【钢琴】布列兹 - 草稿片段(1987)
  35. 10:03
    【钢琴】布列兹 - 插值(1994/2001)
  36. 2:45
    【钢琴】厄特沃什 - 地之琴—天之琴(第二版)(2003/2006)
  37. 11:42
    【钢琴】桑德斯 - 影(2013)
  38. 11:15
    【钢琴】桑德斯 - to an utterance(2020)
  39. 8:44
    【竖琴、锣与低音提琴】谢尔西 - Okanagon(1968)
  40. 9:33
    【钢琴】平彻 - whirling tissue of light(2013)
  41. 5:01
    【声乐】诺诺 - 贾米拉·布帕查(1962)
Description
Brian Ferneyhough - String Quartet No. 5 (2006)
布莱恩·芬尼豪 - 第五弦乐四重奏(2006) 

Arditti String Quartet:
Irvine Arditti, violin
Ashot Sarkissjan, violin
Ralf Ehlers, viola
Lucas Fels, cello

Preface (Brian Ferneyhough)

In the world of contemporary music the term ‘variation’ is treated with suspicion, the argument being that, since most post-tonal forms involve extensive variative treatment, so ‘variation’, as a formalised procedure, is basically redundant. When starting thinking about a new quartet, my first idea was to bring these general and specific connotations of the term into some sort of active conflict. After rejecting initial plans for three distinct variations movements, I finally settled on a single movement whose internal discursive energies would be engendered by the informal intersection, superposition and collision of three distinct originary states or materials. In the first half of the quartet, variants of these materials succeed in maintaining a certain autonomy; increasingly, though, the forces exerted on them by temporal compression lead to a claustrophobic and marginally chaotic renegotiation of mutual priorities. The work does not aim at a conventional synthesis; rather, an unstable, provisional restructuring allows distant derivations of the original materials to enter into a state of antagonistic exhaustion, as when, after the catastrophic depredations of a whirlwind, the ruined remains of complex structures reveal new aspects of their coexistence through communal subjection to irresistible external forces.

My String Quartet No.5 was composed in early 2006 and was jointly commissioned for the Arditti Quartet by Westdeutscher Rundfunk and the BBC. It is dedicated to the composer Michael Finnissy on the occasion of his 60th birthday.