Brian Ferneyhough - Selected Works

Selected Works

Some works at Sound and Music include score samples

  • Sonatas for String Quartet (1967)
  • Time and Motion Study I for solo bass clarinet (1971-77)
  • Transit for solo voices and ensemble (1972-75)
  • Time and Motion Study II for singing cellist and live electronics (1973-76)
  • Time and Motion Study III for sixteen solo voices (3S, Mez, 4A, 4T, 2Bar, 2B), percussion and electronics (1974)
  • La Terre est un Homme for orchestra (1979)
  • Second String Quartet (1980)
  • Lemma-Icon-Epigram for solo piano (1982)
  • Etudes Transcendantales (1985)
  • Carceri d'Invenzione I for fl,ob,2cl,bn, hn,tpt,trb,euphonium, 1perc, pf, 2vn,va,vc,db (1982) (analysis, score sample)
    (inspired by the "Carceri d'Invenzione by Giambattista Piranesi).
  • Third String Quartet (1987)
  • La Chute d’Icare for solo clarinet and chamber ensemble (1988)
  • Kurze Schatten II for solo guitar (1989) (essay, analysis, analysis, score sample)
  • Trittico per G.S. for solo double bass (1989)
  • Fourth String Quartet (1989-90)
  • Bone Alphabet for solo percussion (1991) (score sample)
  • Allgebrah for oboe and 9 solo strings (1996) (score sample)
  • Incipits for solo viola, obbligato percussion and six instruments (1996)
  • Unsichtbare Farben for violin (1999) (score sample)
  • The Doctrine of Similarity for chorus (SATB), 3 clarinets, violin, piano and percussion (2000) (score sample)
  • Shadowtime (1999–2004), premiered at the Munich Biennale
  • String Quartet No.5 (2006)
  • Plötzlichkeit for large orchestra (2006)
  • Chronos-Aion for large ensemble (2007–8)
  • Dum transisset I–IV for string quartet (2007)
  • Exordium for string quartet (2008)
  • Renvoi/Shards for quarter-tone guitar and vibraphone (2008)
  • String Quartet No.6 (2010)
  • Liber Scintillarum for 6 instruments (2012)

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    The final flat of the hoe’s approval stamp
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    Robert Frost (1874–1963)

    I lay my eternal curse on whomsoever shall now or at any time hereafter make schoolbooks of my works and make me hated as Shakespeare is hated. My plays were not designed as instruments of torture. All the schools that lust after them get this answer, and will never get any other.
    George Bernard Shaw (1856–1950)