【弦乐】芬尼豪 - 第三弦乐四重奏(1986-1987)

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 (1986-1987)
布莱恩·芬尼豪 - 第三弦乐四重奏(1986-1987) 

00:00 - I
11:28 - II

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

Preface (Brian Ferneyhough)

The final form of this quartet is quite different from that which I had planned at the outset. Initially (several years before the main period of composition) I had sketched out a five-movement structure; in the event this was finally reduced to a two-movement layout, in which the second movement contains superimposed elements of several other movemental types. The change may be attributed, in large part, to questions of musical balance; at the same time the altered perspective permitted me to regard the piece very much as a record of two very different reactions to a state of extreme inner crisis. Since both movements, very different in regard of contents, are approximately of the same length, I thought of them as polar opposites, reflecting, by their very intransigent extremity, the empty spaces in between.

The first movement moves in an almost frozen, dazed, autistic world of isolated fragments, partial, disconnected repetitions and sudden, unmotivated outbursts. The more than twenty basic textural elements are constantly being mutated, erased and recombined in a fashion which practically eliminates the possibility of establishing a single underlying continuity. At the same time, the overall form reflects closely the self-preoccupied nature of its materials in a dual mirroring strategy: on the one hand, the individual sections are interlocked in a complex pattern of subsurface symmetries, on the other, the final third of the movement reflects the patterns and texture-types of the first two thirds by replacing each element with its ‘complementary’ element from the opposite end of the spectrum.

(字数限制装不下了)