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UC San Diego's Department of Music

March 02, 2015
MARCH 4: HONORING COMPOSER BRIAN FERNEYHOUGH



  Composer Brian Ferneyhough will be honored March 4 with two concerts featuring his music as well as related works, curated by Steven Schick and performed by the Palimpsest and wastelANd ensembles. Ferneyhough was on UC San Diego's music faculty between 1987 and 1999 before he joined the faculty at Stanford University. His work is considered central to the new music canon, and he is regarded by some as the "Father of New Complexity," an extension of some tenets of modern music.

"Brian was my principal mentor at UCSD and continues to be a compass point in my artistic and professional outlook," said UC San Diego music Ph.D. alumnus Mark Applebaum, who is now on the Stanford faculty with Ferneyhough. "From him I've inherited a powerful way of posing questions that orient my music and provoke that of my own students--not only its formal construction and concept, but its purpose, ethics, and cultural presence. I'm grateful to him for his support, then and now, despite (or is it because?) of the stylistic divergence in our own music. At places like UCSD, Freiburg, Stanford, Darmstadt and Royaumont, generations of students have enjoyed Brian's compassionate mentorship, criticism, and friendship; but his worldwide imprint as a composer and pedagogue is inestimable: a ubiquitous, puissant, and durable kick in the pants of contemporary music. He is indeed a treasure."

Ferneyhough's music has been performed and recorded by the Arditti Quartet (which performed the music of Roger Reynolds at UC San Diego earlier this year), the ELISION ensemble, members of the Nieuw ensemble, James Avery, and UCSD percussionist Schick, for whom Ferneyhough composed Bone Alphabet (1991).

"British composer Brian Ferneyhough....is what Arnold Schoenberg used to be: the favourite bogeyman of modern music," wrote The Telegraph music critic Ivan Hewett. "Complexity is Ferneyhough's particular sin. He's an Awful Warning of what happens when a composer's conceptual ambition runs ahead of what performers' fingers and listeners' minds can cope with."

The two March 4 tribute concerts range from Ferneyhough's Sisyphus Redux for solo flute to La Chute d'lcare for large ensemble as well as Time and Motion Study for cello and electronics.

WEDNESDAYS@7
HORORING THE MUSIC OF BRIAN FERNEYHOUGH
March 4, 4 pm and 7 pm
Conrad Prebys Music Center

Tickets:
4 PM Concert: FREE
7 PM Concert:
$15.50 general / $10.50 UCSD faculty-staff-alumni-Friends of Music/FREE for students with ID, one hour before concert
Purchase tickets online, click here
Box Office: (858) 534-3448
Tickets also available at the door

MARCH 4, 4 PM
Brian Ferneyhough - Superscriptio
Rachel Beetz, piccolo

Kevin Zhang - while twigs make minor adjustments
Kirsten Wiest, soprano
Michael Matsuno, flute
Curt Miller, clarinet
Batya Macadam Somer, violin
Tyler Borden, cello
Todd Moellenberg, piano

Brian Ferneyhough - Sisyphus Redux
Ine Vanoeveren, flute

Brian Ferneyhough - Etudes Transcendentales
wasteLAnd, conducted by Nicholas Deyoe

MARCH 4, 7 PM

Brian Ferneyhough - La Chute d'Icare
Anthony Burr, clarinet soloist
Batya Macadam-Somer, violin
Judith Hamann, cello
Matthew Kline, bass
Michael Matsuno, flutes
Paul Sherman, oboe
Kyle Blair, piano
Jonathan Hepfer, percussion

Brian Ferneyhough - Fanfare for Klaus Huber
Ryan Nestor, Dustin Donahue, Percussion

Hunjoo Jung - La Chute d'Icare
Samuel Dunscombe, clarinet
Batya Macadam-Somer, violin
Judith Hamann, cello
Matthew Kline, bass
Michael Matsuno, flute
Paul Sherman, oboe
Kyle Blair, piano
Jonathan Hepfer, percussion

Brian Ferneyhough - Time and Motion Study
Tyler Borden, cello
Paul Hembree, electronics
James Bean, audio technician

Brian Ferneyhough - Terrain
Mark Menzies, violin with wasteLAnd, conducted by Nicholas Deyoe
  

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