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© D Y La N C O Lla Rd © Dylan Collard BRIAN FERNEYHOUGH (*1943) 1 Terrain (1992) 14:12 for solo violin, flute/piccolo, clarinet/bass, oboe/cor anglais, bassoon, trumpet, trombone, horn, contrabass 2 no time (at all) (2004) 7:25 for guitar duo 3 La Chute d’Icare (Petite sérénade de la disparition) (1988) 9:37 for solo clarinet, piccolo/alto/bass flute, oboe/cor anglais, percussion, piano, violin, violoncello, contrabass 4 Incipits (1996) 11:08 for solo viola, obbligato percussion, piccolo/bass flute, Eb clarinet/bass, violins (2), violoncello, contrabass 5 Les Froissements d’Ailes de Gabriel (2003) 17:47 for solo guitar, flute/piccolo/bass flute, oboe/cor anglais, clarinet/clarinet in Eb, bass clarinet/ contrabass clarinet, horn, trumpet/soprano trombone, trombone/bass trumpet, piano, guitar, harp, percussion, violin, violoncello TT: 60:09 1 Graeme Jennings violin 2 Geoffrey Morris guitar • Ken Murray guitar 3 Carl Rosman clarinet 4 Erkki Veltheim viola 5 Geoffrey Morris guitar 1 - 5 ELISION Ensemble • 1 , 4 , 5 Franck Ollu conductor • 3 Jean Deroyer conductor 2 ELISION Ensemble Paula Rae Piccolo/ Alto/ Bass Flutes Alexandre Oguey Oboe/cor anglais (1) Peter Veale Oboe/cor anglais (3, 5) Richard Haynes Bb/Eb/BassClarinets (1, 5) Anthony Burr Eb/Bass Clarinet (4) Brian Catchlove Bass/Contrabass Clarinet Noriko Shimada Bassoon Ysolt Clark Horn Tristram Williams trumpet/soprano trombone Benjamin Marks Trombone/bass trumpet Peter Neville Percussion Geoffrey Morris Guitar (2, 5) Ken Murray Guitar (2) Marshall McGuire Harp Marilyn Nonken Piano Graeme Jennings Violin (1, 3) Susanne PIerotti Violin (4, 5) Elizabeth Sellars Violin (4) Erkki Veltheim Viola Rosanne Hunt Violoncello (4, 5) Andrew Shetliffe Violoncello (3) Joan Wright Contrabass 3 Concerto, que me veux-tu? riere ist das Streichquartett das deutlichste Bei- Richard Toop spiel für letztere Form der Auseinandersetzung. Kein äußerer Faktor - nicht einmal die Brillianz Es scheint vielleicht paradox, dass für viele radi- und der überzeugende Charme des Irvine Arditti kale moderne Komponisten die Frage ihrer Bezie- - zwang Ferneyhough bisher fünf Streichquar- hung zur Tradition derart im Vordergrund steht. tette neben einigen kleineren Stücken für dieses Natürlich muss man hier definieren, was man Ensemble zu komponieren. Vielmehr war es (wie unter "Tradition" versteht; sie hat nichts mit tief bei Beethoven's späteren Quartetten) die Heraus- verwurzelten Gewohnheiten und Konventionen zu forderung, das Genre vorübergehend von einem tun, sondern vielmehr, in gewisser Anlehnung an Werk zum nächsten neu zu definieren, welche sich Adorno's Auffassung, mit der Last vergangener als unwiderstehlich erwies. Leistungen, die man auf den Schultern trägt, wobei In gewisser Weise gilt Selbiges auch für die man gleichzeitig fühlt, dass die einzige Möglich- vier Werke für Solisten und Kammerensembles keit, sie angemessen zu würdigen, darin besteht verschiedener Größen welche auf dieser CD ent- sie herauszufordern und, wenn möglich, zu über- halten sind. Im Gegensatz zu der offensichtlichen treffen (zumindest aber sie zu überwinden). Auf Konfrontation und dem Wetteifer, welche für Solis- einer Ebene ist die Tradition ein Engel - und mehr ten und große Orchester typisch sind, gibt es hier zu Engeln später - mit dem der (modernistisch) endlosen Spielraum um die Rolle des Solisten in komponierende Jakob ringen muss, um seine Relation zu den anderen Spielern neu zu erfinden Segnung zu erlangen. Aber auf einer anderen Ebe- (wie bereits in den Tastenkonzerten Bachs und ne ist der Komponist der Engel, welcher in Rilke’s Mozarts vorweggenommen). wunderbarer Formulierung aus den Duineser Für Ferneyhough begann die Problematisierung Elegien, "gehorcht, indem er überschreitet": Er ge- der Beziehung zwischen Solist und Ensemble be- horcht [der Tradition] indem er sie überschreitet/ reits mit dem Dritten Teil des Carceri d’invenzione transzendiert. Zykluses, nämlich mit Carceri d’Invenzione II für Dies könnte man als Schlagwort für das Werk Querflöte und kleines Orchester wo er, bewusst Brian Ferneyhoughs sehen. Für ihn ist die Traditi- dem Beispiel Schönberg's Phantasie Op. 47 fol- on - vertreten durch die „kanonischen“ Werke der gend, den mosaikartigen Soloteil zuerst schrieb letzten Jahrhunderte und ihre verwandten Genres und die "direktionalere" Orchestermusik um die- - weder blind zu verehren, noch zu verachten. In sen herum konstruierte. Und obgleich (oder viel- einigen Werken kann sie einfach umgangen wer- leicht genau deshalb weil) Carceri II, trotz all sei- den, zumindest oberflächlich; in anderen starrt ner Brillianz, von allen Teilen des Carceri Zyklus sie ihm gnadenlos ins Gesicht und es gibt nur vielleicht am wenigsten unmittelbar überzeugt, zwei Möglichkeiten: davonzulaufen oder sich ihr bewegte offensichtlich dieser Teil den Kompo- direkt zu stellen. Aus den Anfängen seiner Kar- nisten dazu, über alle möglichen Beziehungen 4 zwischen Solist und Ensemble nachzudenken. gewaltige Reibung zwischen Schichten, welche Das Resultat war eine Sequenz von fünf Werken diese bewirkt. Das Ensemble wirkt kaum als ver- für Solo-Instrumente und Ensemble - in chrono- eintes „tutti“: zumeist handelt es sich um Schich- logischer Folge La Chute d’Icare (1988), Terrain ten (Strata) von zwei oder drei Instrumenten wel- (1992), Allgebrah (1996), Incipits (1996) und Les che kollidieren und sich anschließend zu neuen Froissements d’Ailes de Gabriel (2003), und es Kombinationen ausrichten. sind diese Werke, welche (mit Ausnahme von Auf der einfachsten Ebene hört man Terrain als Allgebrah) die Grundlage dieses Albums darstel- ein Stück in zwei Teilen, denen jeweils eine Vio- len. linkadenz vorangeht. Aber tatsächlich verläuft die Violinkadenz fast ohne Unterlass vom Anfang bis Terrain zum Ende des Stückes. Beim ersten Einsatz des Ensembles stellt es Solos, Duos und Trios einan- Von all diesen Stücken - welche allesamt harte An- der gegenüber; allmählich bildet es jedoch auch sprüche an den Solisten stellen - verlangt Terrain größere Gruppierungen. Bei seiner Wiederkehr die unbändigste Virtuosität. Hier muss Paganini ins nach einem zweiten Violinsolo als Übergang tritt Leben zurückkehren, wiedergeboren (ursprünglich das Ensemble zum ersten Mal als weiches, fast via Irvine Arditti) als transzendentaler Modernist. amorphes Tutti auf (dies ist die einzige Passage, Vom allerersten Takt an ist der Violinteil in seiner in der die Violine aussetzt), und von diesem Zeit- Schwierigkeit und Intensität elektrisierend. Gleich- punkt an ist das Werk eine Art Rondo aus Texturen zeitig sieht er sich einem Ensemble gegenüber, in dem jeder Versuch die „Tutti“-Präsenz wieder welches, statt unterstützend zu wirkend, seine An- herzustellen durch neue Kleingruppenallianzen tithese verkörpert. Letzteres besteht aus den acht untergraben wird. Ganz zum Schluss erscheinen Instrumenten von Edgar Varèses Octandre (Quer- die abwärts flüsternden, fast Webern‘schen Fi- flöte, Oboe, Klarinette, Fagott, Horn, Trompete, guren des Violinisten wie ein sanft ironischer Kom- Posaune und Kontrabass) welches, so Ferney- mentar zu dem vorangegangenen Tumult. hough, sicherstellte, dass „Komponieren mein definitves Ziel im Leben“ wurde. no time (at all) Der Titel Terrain enthält viele Anspielungen, alle im Zusammenhang mit geologischen As- Das wahrscheinlich kürzeste Stück aus Morton pekten: Die „Earthworks“ und Schriften von Feldman‘s umfassenden Schaffen ist ein Trio Robert Smithson, das gleichnahmige Gedicht von aus 1972 mit dem Titel Half a Minute is all I have A.R. Ammons welches sich für Ferneyhough „mit time for. Es ist anzunehmen, dass ähnliche zeit- den Naturkräften als Metapher für den kreativen liche Zwänge Ferneyhoughs no time (at all) aus Prozess“ auseinandersetzt, aber auch die ganze fünf kurzen Stücken für zwei Gitarren (eine davon Vorstellung der Erdplattenverschiebung und die einen viertel Ton tiefer als die andere gestimmt) 5 zugrunde liegen, aber der Titel impliziert noch ... and the expensive delicate ship that must weitere Gedanken. Ferneyhough hatte sich schon have seen lange mit der Bedeutung „musikalischer Zeit“ aus- Something amazing, a boy falling out of the sky, einandergesetzt. Im Verlauf seiner Oper Shadow- had somewhere to get to and sailed calmly on.” time, von der dieses Stück ganz offenbar ein Ausläufer ist, rückte dieses Interesse besonders Sieh, wie da alles sein’ Gang geht, gemach / in den Mittelpunkt. Genau gesagt sind ihre Mate- - Katastrophen, wen kümmern die groß / ... rialien großteils jene der zwei Gitarrenteile in Les Froissements d’Ailes de Gabriel dem letzten Werk Noch auch das kostbare auf dieser CD, obwohl sie in einer vollkommen an- Kauffahrerschiff, sah da kein Aas denn deren Reihenfolge präsentiert werden. Die Konse- Nicht irgend wie wo was Erstaunliches geschehn: quenzen werden weiter unten im Zusammenhang Ein Junge! wie er kippt aus dem Himmel… mit jenem Werk dargestellt. Nichts. Es ist auf dem Weg nach irgend wo hin Die fünf Stücke bilden eine Art Bogen, wobei - und segelt gelassen davon im Dritten Satz eine rätselhafte „weiche Mitte“ durch sanft gleitende Glissandi erzeugt wird. Der [Übersetzung Wolf Biermann] erste und der letzte Satz verfügen über dieselbe rigoros definierte temporale Struktur, sind jedoch Natürlich sind dies nur Ausgangspunkte: Ferney- mit vollkommen anderem Inhalt gefüllt. Im Ge- hough ist wohl kaum ein moderner Vertreter von gensatz dazu haben der zweite und vierte Satz Programm-Musik! genau das selbe Material, aber die Gitarrenteile Dennoch, die wirbelnden Anfangsfiguren des sind vertauscht, sodass was
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