Ferneyhough's 5th quartet was originally three movements compressed, or rather overlapped into one. "The piece is characterised by a series of textures that vary from the harmonics that return periodically (like a ritornello) to violent snap pizzicato and rapid staccato. The contrasting nature of neighbouring textures results throughout in a dynamic pattern of juxtaposition and release, aided (particularly at the beginning and end) by periodic, single bars of silence always of the same duration (5/16). The gradual encroachment of sounding material on these bars indicates the extent to which different processes are overlaid. The piece’s pitch materials are characterised by numerous instances of almost octaves or almost unisons articulated in a number of different ways. Whilst these are found in many Ferneyhough pieces (because of the chromaticism of the language and frequent registral displacements), here they become the defining characteristic of the pitch material. Ferneyhough establishes some focal pitches at the outset (B,G/G♯ and D) around which microtonal neighbour-notes gather. This tonality can be seen in the first three bars. The constantly staggered entries of each instrument (as in bb.182 and 186) create a stretto effect, condensing the instruments' tessituras until they can only articulate tiny microtonal steps....... the fundamental point is that in virtually every bar there is some manifestation of this almost interval idea, which lends the piece its tonal and gestural-character." (Lois Fitch)
16 сен 2024
