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Brian Ferneyhough (*16.1.

1943)
Brian Ferneyhough wurde am 16. Januar 1943 in Coventry, England, geboren. Er erhielt seine musikalische Ausbildung an der School of Music in Birmingham und an der Royal Academy of Music in London. 1968 wurde ihm ein Mendelssohn-BartholdyStipendium erteilt, das es ihm ermglichte, mit seinen Studien bei Ton de Leeuw in Amsterdam fortzufahren. Im folgenden Jahr erhielt er ein Stipendium fr das Studium bei Klaus Huber am Konservatorium in Basel. Nach Ferneyhoughs bersiedlung zum europischen Festland stie seine Musik auf breitere Resonanz. Beim Gaudeamus-Wettbewerb fr Komponisten in Holland 1968 erhielt er einen Preis fr seine "Sonaten fr Streichquartett" und erzielte denselben Erfolg 1969 und 1970 mit "Epicycle" und "Missa Brevis". Die italienische Abteilung der ISCM sprach Ferneyhough fr "Firecycle Beta" auf dem Wettbewerb von 1972 eine ehrenvolle Anerkennung (zweiter Platz) aus und gab ihm zwei Jahre spter einen Sonderpreis fr "Time and Motion Study III", das als das beste Werk aller Kategorien angesehen wurde. Ferneyhough unterrichtete Komposition an der Musikhochschule Freiburg, an der Civica Scuola di Musica in Mailand, am Kniglichen Konservatorium Den Haag sowie an der University of California in San Diego. Im Januar 2000 wurde Ferneyhough Fakulttsmitglied an der Stanford University und wurde bald darauf zum William H. Bonsall Professor in Music ernannt. Studenten aus aller Welt wurden von ihm im Rahmen von Meisterklassen gefrdert, so etwa bei den zweijhrlichen Ferienkursen fr Neue Musik in Darmstadt sowie bei der Fondation Royaumont bei Paris. Ferneyhoughs Musik ist weltweit zur Auffhrung gebracht worden und wurde bei den bedeutendsten europischen Festivals fr Zeitgenssische Musik vorgestellt. In neuerer Zeit hat Brian Ferneyhough seine Oper Shadowtime fertig gestellt, deren Urauffhrung im Mai 2004 bei der Mnchener Biennale einen groen Erfolg erzielte. Basierend auf Leben und Werk von Walter Benjamin, erlutert Shadowtime zentrale Themen des Werkes von Benjamin.

C. F Peters Musikverlag Frankfurt Leipzig London New York www.edition-peters.de

Im Jahr 2007 erhlt Ferneyhough einen der bedeutendsten Musikpreise, den Ernst von Siemens Musikpreis

Biography Brian Ferneyhough is widely recognized as one of todays foremost living composers. Since the mid-1970s, when he first gained widespread international recognition, his music has earned him an enviable reputation as one of the most influential creative personalities and significant musical thinkers on the contemporary scene. Brian Ferneyhough was born in Coventry (England) on 16 January 1943. His early musical experiences occurred in the informal context of local music making in his native city. Later, he enrolled at the Birmingham School of Music, and then at the Royal Academy of Music, London, where he studied briefly under Lennox Berkeley. In 1968, following the award of the Mendelssohn Scholarship, he went to Amsterdam to study with Ton de Leeuw, and the following year a further scholarship allowed him to pursue his studies with Klaus Huber at the Basel Conservatoire. During this early period, his work began to attract attention, being awarded prizes in three successive years at the Gaudeamus Composers Competition (1968-70). Two years later Firecycle Beta was given an honourable mention (second place) by the Italian section of the ISCM, which also awarded Ferneyhough a special prize in 1974 for Time and Motion Study III as the best work submitted in all categories. In the same year, the performance of several of his works at the Royan Festival established Ferneyhough as one of the most brilliant and controversial figures of a new generation of composers. By then, Ferneyhough had discovered a parallel vocation as a teacher of composition. Thanks to Klaus Hubers enduring support, he was appointed onto the teaching staff of the Freiburger Musikhochschule in 1973, remaining there until 1986. Subsequent academic positions were with the Royal Conservatoire at The Hague, where he was appointed principal composition teacher (1986-7), the University of California at San Diego (1987-1999), and most recently Stanford University, where he is William H. Bonsall Professor in Music. Alongside these permanent appointments, he has been associated with the most prestigious teaching institutions and international summer schools for contemporary music. From 1984 to 1996 he was Composition Course Co-ordinator at the biennial Darmstdter Ferienkurse fur Neue Musik, and from 1990 principal teacher at the annual Composition Course of the Fondation Royaumont. He has held Guest Professorships at the Royal Conservatoire, Stockholm, the California Institute of the Arts and the University of Chicago, and in 2007-8 he will take up a Guest Professorship at Harvard University. In addition, he has given guest lectures and master-classes at the Civica Scuola di Milano, the Conservatoire National Suprieur de Musique de Paris, the Universities

C. F. Peters Musikverlag Frankfurt Leipzig London New York www.edition-peters.de

of Oxford, Cambridge, and Durham, and at several North American universities and colleges. The fruits of the more formal lectures have appeared, alongside interviews and texts that have their origins in more personally motivated analyses and stocktakings, in his Collected Writings (Harwood Academic Press, 1995). Ferneyhoughs work has been performed and featured at the major festivals of contemporary music: Akiyoshidai, Brussels, Darmstadt, Donaueschingen, Glasgow, Holland, Huddersfield, ISCM, La Rochelle, London (Almeida), Milan, Middelburg, Paris (Festival dAutomne), Royan, Salzburg, Strasbourg, Venice, Warsaw and Zurich, and the composer himself has been the recipient of several professional and honorific distinctions. In 1984 he was made Chevalier de lOrdre des Arts et des Lettres. He has since been named a member of the Berlin Akademie der Knste, the Bayrische Akademie der Schnen Knste and a Fellow of the Royal Academy of Music. Most recently, he has been awarded the Ernst von Siemens Music Prize for 2007. Ferneyhoughs output embraces all genres of contemporary art music, from solo and chamber works to music for orchestra and for the stage. It is remarkable as much for its rigorous reflection on the nature and deployment of musical material as for the diversity of its influences and references: philosophy, certainly, as well as literature and painting; but also science fiction, alchemy and mysticism. This more speculative facet of Ferneyhoughs inspiration is sometimes lost sight of, but it is evident as early as Transit for large ensemble and voices, and as recently as the opera Shadowtime, whose overtly philosophical programme is deliberately undermined by equally strong impulses in the direction of irrationality and transcendentalism. The abiding concern with transcendence is at the heart of Ferneyhoughs music, and helps explain those aspects that are often regarded as wilfully difficult and impenetrable. It colours his own attitude to the act of composing: the grids and sieves that inform his technique are as many constraints through which creative volition must pass in order to surpass itself. The same is true of his performers, who are called upon to wrest themselves free, Houdini-like, of the shackles of the composers devising: the title of Ferneyhoughs multi-movement Carceri dInvenzione cycle (1981-6) is a deliberate pun, both imaginary prisons and prisons of invention, just as Giambattista Piranesis eponymous etchings of dungeons, with their multiple vanishing points, constantly hint at the possibility of escape. The solo pieces from the mid-70s Unity Capsule for flute, Time and Motion Study I and II for bass clarinet and cello, respectively each deal with this question, even when the possibility of escape is ultimately denied (as in the cello piece, perhaps the most pessimistic work in all of Ferneyhoughs output). Alongside idiosyncratic pieces like these stands the magnificent series of string quartets, which includes five to date, and punctuates each decade of Ferneyhoughs career from the 1960s onwards. An early First String Quartet has long since been withdrawn, its place taken by the Sonatas for String Quartet. The apollonian Second Quartet remains one of Ferneyhoughs best known pieces, while its darker, inscrutable successor seems to turn the material of the Second inside-out. In addition

C. F. Peters Musikverlag Frankfurt Leipzig London New York www.edition-peters.de

to the named series are the short, occasional Adagissimo, and Ferneyhoughs most recent addition to the genre, the four Dum transisset settings based on works for viol consort by the Elizabethan composer Christopher Tye. This recent interest in borrowing material from past composers (which also pervades Shadowtime) is prefigured by the Fourth Quartet with soprano, whose scoring deliberately invokes Schoenberg, as does the String Trio, which stands comparison with the quartet series for ambition and sheer rhetorical eloquence. The recent series of works based on borrowed materials testifies to Ferneyhoughs protean ability to re-invent himself, at an age when many might be tempted merely to consolidate past successes. Transcendence, again: if Ferneyhoughs music has a positive message beyond its unflinching exploration of the complexities of mind and of Geist, it is surely this.

Werke bei C.F. Peters: 1. Solos Bone Alphabet (1991)


First performance: February 1992, University of California, San Diego Steve Schick/ 11' CD recordings on Etcetera KTC1026 and Newport Classics NPD85566

Carceri dInvenzione IIb (1984)


Solo Flute/ 10' First performance: November 1985, New York Roberto Fabbriciani

Carceri d`Invenzione IIc (1987)


Solo Flute and pre-recorded Tape/ 9'40'' First performance: April 1988, Hannover Tape available on hire

Cassandra`s Dream Song (1970)


Solo Flute/ 10' First performance: March 1974, Royan Festival CD recording on Neuma 450-72 and Sforzando Records

Epigrams (1966)
Solo Piano/ 7' First performance: February 1967, Society for the Promotion of New Music, London

Intermedio alla ciaconna (1986)


Part 3 of the Carceri dInvenzione Cycle/ 7'30'' First performance: October 1986, Donaueschingen Music Days Commissioned by South West German Radio CD recordings on Etcetera KTC1070 and Montaigne/Auvidis MO789003

C. F. Peters Musikverlag Frankfurt Leipzig London New York www.edition-peters.de

Kurze Schatten II (198389)


Solo Guitar/ 14' First performance: February 1990, Salle Patio, Geneva Magnus Andersson Commissioned by Curo Ltd (Sweden) CD recordings on Etcetera KTC1206 and Montaigne/Auvidis MO782029

Lemma-Icon-Epigram (1981)
Solo Piano/ 14' First performance: June 1981, La Rochelle Festival Massimiliano Damerini Commissioned by Venice Biennale CD recordings on Arts 47216-2 and PNM 28

Mnemosyne (1986)
Bass Flute and pre-recorded Tape/ 10'30'' Part 7 of the Carceri dInvenzione Cycle (see p. 19 for details) Version for 9 Bass Flutes also available on hire (see p. 13 for details) First performance: October 1986, Donaueschingen Music Days Commissioned by South West German Radio

Opus Contra Naturam (2000)


Solo Piano/ 13' First performance: October 2000, Flanders Festival Commissioned by the Flanders Festival Flemish-Brabant (Leuven, Belgium), Ian Pace and Henrietta Brougham

Sieben Sterne (1970)


Organ and 2 assistants/ 15' First performance: March 1974, Royan Festival Bernard Foccroulle Commissioned by Radio Berne CD recording on Nimbus NI5580/1

Superscriptio (1981)
Solo Piccolo/ 5' Part 1 of the Carceri dInvenzione Cycle (see p. 19 for details) First performance: September 1982, Venice Biennale Roberto Fabbriciani CD recordings on Accord ACC205772 and Etcetera KTC 1070

Three Pieces for Piano (196667)


Solo Piano/ 15' First performance: 1968, Purcell Room, London

Time and Motion Study I (197177)


Solo Bass Clarinet/ 9' First performance: March 1977, Royan Festival Harry Sparnaay CD recordings on Etcetera KTC 1206, Fylkingen FYCD1001 and Attacca Babel 8945-1

Time and Motion Study II (197376)


Solo Cello with delay tapes, modulation and extensive amplification (3 assistants)/ 1724'

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First performance: October 1977, Donaueschingen Music Days Werner Taube Commissioned by the Music Credit Committee Basel CD recording on Etcetera KTC1206

Trittico per G.S. (1989)


Solo Double Bass/ 8'30'' First performance: March 1990, Zaal De Unie, Rotterdam Stefano Scodanibbio Commissioned by Stefano Scodanibbio CD recording on Montaigne/Auvidis MO782029

Unity Capsule (197576)


Solo Flute/ 14' First performance: March 1976, Royan Festival Pierre-Yves Artaud CD recordings on Etcetera KTC 1206 and Vox Australis VAST007-2

Unsichtbare Farben (199799) 11'


Solo Violin Performing score EP 7536 First performance: April 1999, Witten New Music Days Irvine Arditti Commissioned by West German Rad

2. Solowerke in Sammlungen/ Solos in collections


Bone Alphabet (with works by Xenakis, Lang and Globokar) Steve Schick (Perc) Newport Classics NPD85566 Carceri dInvenzione IIb (with works by Varse, Maderna, Berio, Nono and Sciarrino) Roberto Fabbriciani (Fl) PILZ/ARTS 447167-2 Cassandras Dream Song (with works by Reynolds, Berio, Cogan, Scelsi and Barney) Pierre-Yves Artaud (Fl) Neuma 450-72 Cassandras Dream Song (with works by Varse, Scelsi, Berio and Takemitsu) Mats Mller (Fl) Sforzando Records Intermedio alla ciaconna (with works by Donatoni, Carter, Dillon and De Pablo) Irvine Arditti (Vln) Montaigne/Auvidis MO789003 Lemma-Icon-Epigram (with works by Xenakis, Traux and Schottstaedt) James Avery (Pf)

C. F. Peters Musikverlag Frankfurt Leipzig London New York www.edition-peters.de

Perspectives of New Music PNM28 Lemma-Icon-Epigram (with works by Roslavets, Bartok, Kodaly, Berg, Prokofiev, Stockhausen, Berio and Bussotti) Massimiliano Damerini (Pf) Arts 47216-2 Lemma-Icon-Epigram (with works by Erber, Fox, Dench and Barrett) Ian Pace (Pf) NMC D066 Mnemosyne (with works by Hallgrmsson, Sollberger, Huber and Lavista) Kolbeinn Bjarnason (Fl) P Millennio 006 Sieben Sterne (with works by Tavener, Mellers, Graham, Iliff, Gowers, Ridout, Prt and Burrell) Kevin Bowyer (Org) Nimbus NI5580/1 Time and Motion Study I (with works by Loevendie, Yun, Raxach, Dolphy and Smetanin) Harry Sparnaay (B-cl) Attacca Babel 8945-1 Time and Motion Study I (with works by Clementi, Kcera, Lindwall, Martinsson, Rydberg and Vaggione) Tommie Lundberg (B-cl) Fylkingen FYCD1001 Unity Capsule (with works by Dillon, Dench, Fowler, Brophy and Formosa) Laura Chislett (Fl) Vox Australis VAST007-2

3. Duos Coloratura (1966)


Oboe and Piano/ / 7 First performance: 1972, Wezikon, Zrich Heinz Holliger and Klara Krmendi

Fanfare for Klaus Huber (1987)


Two Percussionists/ 55'' First performance: December 1989, Musikhochschule, Freiburg Ensemble Recherche

Four Miniatures (1965)


Flute and Piano/ 6'30'' (2 copies required for performance) First performance: 1971, Basel Conservatoire

C. F. Peters Musikverlag Frankfurt Leipzig London New York www.edition-peters.de

No Time (At All) (2004)


2 Guitars

Sonata for Two Pianos (1966)


(2 copies required for performance)/ 14' First performance: October 1967, Wigmore Hall, London Philip Pilkington and Roger Smalley

4. Opera Shadowtime (2004) 120'


Opera in Seven Scenes. Libretto by Charles Bernstein New Angels/Transient Failure (Prologue) Les Froissements d'Ailes de Gabriel (First Barrier)The Doctrine of SimilarityOpus Contra NaturamPools of Darkness (11 Interrogations) Seven Tableaux Vivants Representing the Angel of History as Melancholia (Second Barrier) Stelae for Failed Time

5. Chamber Ensemble Adagissimo (1983) 1'45''


String Quartet First performance: June 1984, La Rochelle Festival Arditti String Quartet CD recording on Montaigne/Auvidis MO789002

Allgebrah (1996) 17'


Solo Oboe, 4Vln, 2Vla, 2Vc, Db First performance: January 1997, Cit de la Musique, Paris Didier Pateau, Ensemble InterContemporain conducted

La Chute dIcare (1988) 10' 30''


Solo Clarinet, Fl (Picc, A-fl + B-fl), Ob (Ca), Perc, Pf, Vln, Vc, Db First performance: September 1988, Musica 88, Strasbourg Armand Angster, Nieuw Ensemble conducted by Ed Spanjaard Commissioned by the Gulbenkian Foundation CD recordings on Etcetera KTC1070 and Accord ACC205772

Chronos- Aios
fr Ensemble 1 Par.

Dum transisset Nr. 1-4


fr Streichquartett

Etudes Transcendantales/Intermedio II (198285) 27'


Text: Poems by Ernst Meister and Alrun Moll Fl (Picc + A-fl), Ob (Ca), Sop (Claves), Hpd, Vc Part 5 of the Carceri dInvenzione Cycle First complete performance: September 1985, Venice Biennale Brenda Mitchell, Nieuw Ensemble conducted by Ed Spanjaard Commissioned by the French Ministry of Culture CD recording on Etcetera KTC1070

C. F. Peters Musikverlag Frankfurt Leipzig London New York www.edition-peters.de

Exordium- Elliott Carter gewidmet


1 Par, 1.1.1.0. Str.

Fifth String Quartet (2006) 13' 30''


Study score EP 7863. Performance material available on hire First performance: 7 May 2006, Wittener Tag fr Neue Kammermusik Arditti String Quartet Commissioned by the Westdeutscher Rundfunk and the BBC for the Arditti String Quartet

Fourth String Quartet (19891990) 18'


Text: from Words and Ends from Ez by Jackson Mac Low String Quartet and Soprano First performance: October 1990, Stadtcasino, Basel Arditti String Quartet with Brenda Mitchell Commissioned by the Chamber Music Society of Basel CD recording on Montaigne/Auvidis MO782029

Flurries (1997) 9' 30''


Picc, Cl, Hn, Pf, Vln, Vc First performance: February 1998, San Diego Sonor Ensemble conducted by Steve Schick

Funrailles (196980) 23'


2Vln, 2Vla, 2Vc, Db, Hp First complete performance: June 1980, La Rochelle Festival Ensemble 2E 2M conducted by Paul Mfano Commissioned by the French Ministry of Culture CD recording on Erato 4509984962

Incipits (1996) 10' 30''


Solo Viola, obbligato Perc, Picc (B-fl), Cl E- (B-cl), 2Vln, Vc, Db First performance: May 1997, Brisbane Mary Oliver, Elision Ensemble conducted by Christian Eggen

In nomine a 3 (2001) 2'


Picc, ob, clar Commissioned by Ensemble Recherche CD recording on Kairos KAI0012442

Les froissements des Ailes de Gabriel


Git., Kammerensemble

Mnemosyne (1986) 10' 30''


Bass Flute and pre-recorded Tape Part 7 of the Carceri dInvenzione Cycle (see p. 19 for details) Version for 9 Bass Flutes also available on hire First performance: October 1986, Donaueschingen Music Days Roberto Fabbriciani Commissioned by South West German Radio

Mort Subite (1990) 2'


Picc, Cl, Vib, Pf (with click tracks) First performance: March 1990, De Doelen, Rotterdam Nieuw Ensemble

O Lux (2005) 5'

C. F. Peters Musikverlag Frankfurt Leipzig London New York www.edition-peters.de

Fl (Picc), Ob, Cl, Hn, Tbn, 2Vln, Vla, Vc, Db First performance: 10 May 2005, Ensemble Sospeso

On Stellar Magnitudes (1994) 11'


Texts by the composer Mezzo-soprano, Fl (Picc), Cl (B-cl), Pf, Vln, Vc First performance: September 1994, Abbaye de Royaumont Katherine Ciesinski, Ensemble Contrechamps conducted by Zsolt Nagy Commissioned by Royaumont Foundation CD recording on Accord ACC205772

Prometheus (1967) 23'


Fl (Picc), Ob, Ca, Cl B- (Cl E-) Hn, Bsn First performance: July 1967, Mahatma Gandhi Hall Arradon Ensemble conducted by the composer CD recordings on Accord ACC205772 and CRI 562

Sonatas for String Quartet (1967) 42'


First complete performance: March 1975, Royan Festival Berne String Quartet CD recording on Montaigne/Auvidis MO789002

Sonatina (1963) 6' 30''


3Cl B-, Bsn (or B-cl) Score and parts First performance: 1963, Birmingham School of Music

Second String Quartet (1980) 11' 30''


First performance: September 1980, South West German Radio Arditti String Quartet Commissioned by South West German Radio CD recording on Montaigne/Auvidis MO789002

String Trio (1995) 23'


Violin, Viola and Cello First performance: November 1995, Victoria Hall, Geneva Trio Contrechamps Commissioned by the Paris Autumn Festival

Third String Quartet (1987) 18'


First performance: October 1987, Radio France, Paris Arditti String Quartet Commissioned by the Arts Council of Great Britain CD recording on Montaigne/Auvidis MO789002

Terrain (1992) 13' 30''


Solo Violin, Fl (Picc), Ob (Ca), Cl (B-cl), Bsn, Hn, Tpt, Tbn, Db First performance: April 1992, Concertgebouw, Amsterdam Irvine Arditti, Asko Ensemble conducted by Jonathan Nott Commissioned by the Gulbenkian Foundation/Ars Musica Brussels CD recording on Montaigne/Auvidis MO782029

C. F. Peters Musikverlag Frankfurt Leipzig London New York www.edition-peters.de

6. Orchestra/ large Ensemble Carceri dInvenzione I (1982)


Fl (Picc), Ob (Ca + Tgl II), Cl (Cl E-), B-cl, Bsn (Cbsn), Hn (Tgl I), Tpt (Tgl III), Tbn, T-tba, Perc, Pf, 2Vln, Vla, Vc, Db/ 12' 30'' Part 2 of the Carceri dInvenzione Cycle First performance: November 1982, St. Johns Smith Square, London London Sinfonietta conducted by Ronald Zollman Commissioned by the Arts Council of Great Britain

Carceri dInvenzione II (1985)


Solo Flute, 2Ob (II=Ca), 2Cl (I=Cl E-, II=B-cl), Bsn, 2Hn, 8Vln, 2Vla, 2Vc, Db/ 14' Part 4 of the Carceri dInvenzione Cycle First performance: February 1985, Milan Roberto Fabbriciani, RAI Milan Symphony Orchestra conducted by Marcello Panni Commissioned by Roberto Fabbriciani

Carceri dInvenzione III (1986)


2Fl (I=Picc, II=Picc + A-fl), 2Ob (II=Ca), 2Cl (II=Cl E-), B-cl, Bsn (Cbsn), 2Hn, 2Tpt, 2Tbn, B-tba, 3Perc Part 6 of the Carceri dInvenzione Cycle/ 10' 30'' First performance: October 1986, Donaueschingen Music Days South West German Radio Orchestra conducted by Arturo Tamayo Commissioned by South West German Radio CD recording on Accord ACC205772

Epicycle (1968)
Twenty Solo Strings (6Vln, 6Vla, 6Vc, 2Db)/ 15' First complete performance: April 1974, Herkulessaal der Residenz, Munich Bavarian Radio Orchestra conducted by Ernest Bour

Firecycle Beta (19691971)


Two Pianos and Orchestra/ 23' With amplification for chamber groups Published by Ricordi (No. 132492) First performance: October 1976, Venice Biennale Hamburg Radio Symphony Orchestra conducted by Pesko, Ferneyhough, Etvs, Cichewiecz and Hagen Commissioned by the Music Credit Committee Basel

Transit (197275) 45'


Six Solo Voices (S, Mez, A, T, Bar, B) with amplification Solo Flute (Picc, A-fl + B-fl), Solo Oboe (Ob da + Ca) and Solo Clarinet (Cl E- + B-cl) with amplification; 3Hn, 3Tpt, 3Tbn, T-tba, B-tba, 3Perc, Pf (4 hands) (I=Amplified Hpd, II=Cel), 2Hp, Cimbalom, Elec Gtr (Amplified Acoustic Gtr), 3Vln, 3Vla, 6Vc, 4Db First performance: March 1975, Royan Festival London Sinfonietta and soloists conducted by the composer Commissioned by the French Ministry of Culture

La Terre est un Homme (197679) 15'


4Fl (III=Picc + A-fl; IV=Picc), 2Ob, 2Ca, Cl E-, Cl B-, B-cl, Cb-cl, 2Bsn, Cbsn, 4Hn, 4Tpt, 2Tbn, T-tba, Btba, 4Perc, Timp (Claves), Pf, 2 amplified Hp, Cel (Claves), amplified Hpd (Claves), Cimbalom, Gtr, 22Vln, 10Vla, 10Vc, 8Db

C. F. Peters Musikverlag Frankfurt Leipzig London New York www.edition-peters.de

Supplementary string parts for additional players are optional First performance: September 1979, Musica Nova, Glasgow Scottish National Orchestra conducted by Elgar Howarth Commissioned by the BBC

7. works with voices The Doctrine of Similarity (19992000) 19'


Texts by Charles Bernstein Chorus, 2Cl B- (I=Cl E-, II=B-cl), B-Cl (Cb-cl) , Vln, Pf, Perc First performance: March 2000, New York Arnold Schoenberg Choir, soloists conducted by Erwin Ortner Commissioned by the Carnegie Hall Corporation for the Arnold Schoenberg Choir

Etudes Transcendantales/Intermedio II (198285) 27'


Text: Poems by Ernst Meister and Alrun Moll Fl (Picc + A-fl), Ob (Ca), Sop (Claves), Hpd, Vc Part 5 of the Carceri dInvenzione Cycle First complete performance: September 1985, Venice Biennale Brenda Mitchell, Nieuw Ensemble conducted by Ed Spanjaard Commissioned by the French Ministry of Culture CD recording on Etcetera KTC1070

Two Marian Motets (19662002) 1. Ave mater gloriosa salvatoris 2. Alma redemptoris mater 2Solo Sop, Chorus (SSAATTBB) Missa Brevis (1969) 13'
Twelve Solo Voices (3S, 3A, 3T, 3B) First public performance: March 1974, Royan Festival Hilversum Radio Choir conducted by Marinus Voorberg

On Stellar Magnitudes (1994) 11'


Texts by the composer Mezzo-soprano, Fl (Picc), Cl (B-cl), Pf, Vln, Vc First performance: September 1994, Abbaye de Royaumont Katherine Ciesinski, Ensemble Contrechamps conducted by Zsolt Nagy Commissioned by Royaumont Foundation CD recording on Accord ACC205772

Fourth String Quartet (19891990) 18' Text: from Words and Ends from Ez by Jackson Mac Low String Quartet and Soprano First performance: October 1990, Stadtcasino, Basel Arditti String Quartet with Brenda Mitchell Commissioned by the Chamber Music Society of Basel CD recording on Montaigne/Auvidis MO782029 Pltzlichkeit
3.3.3.3 - 6.3.4.0 - 0.3. Pauk., Schlzg, Klv., 2 Hrf., Str. 2 sopranotrp., 1 cimbasso, 3 female voices

C. F. Peters Musikverlag Frankfurt Leipzig London New York www.edition-peters.de

Time and Motion Study III (1974) 23'


Sixteen Solo Voices (3S, Mez, 4A, 4T, 2Bar, 2B) with percussion and electronics First performance: October 1975, Donaueschingen Music Days Schola Cantorum Stuttgart conducted by Clytus Gottwald Commissioned by South West German Radio

Transit (197275) 45'


Six Solo Voices (S, Mez, A, T, Bar, B) with amplification; Solo Flute (Picc, A-fl + B-fl), Solo Oboe (Ob da + Ca) and Solo Clarinet (Cl E- + B-cl) with amplification; 3Hn, 3Tpt, 3Tbn, T-tba, B-tba, 3Perc, Pf (4 hands) (I=Amplified Hpd, II=Cel), 2Hp, Cimbalom, Elec Gtr (amplified Acoustic Gtr), 3Vln, 3Vla, 6Vc, 4Db First performance: March 1975, Royan Festival London Sinfonietta and soloists conducted by the composer Commissioned by the French Ministry of Culture

C. F. Peters Musikverlag Frankfurt Leipzig London New York www.edition-peters.de