布莱恩·芬尼豪赫

布莱恩·约翰·彼得·芬尼豪赫（英語：，1943年1月16日—），又译芬尼豪、费尼霍夫、费尼豪，英国作曲家。1943年出生于考文垂，曾在伯明翰音乐学校接受音乐教育，后又到英国皇家音乐学院师从伦诺克斯·伯克利，1960年代末移居欧洲大陆，又曾师从克劳斯·胡贝尔。1987年至1999年在圣迭戈加利福尼亚大学任教，此外还在斯坦福大学、哈佛大学等多处教学。[1]

芬尼豪赫
原文名
出生 (1943-01-16) 1943年1月16日
 英国英格蘭西密德蘭郡考文垂
知名作品多首弦乐四重奏，声乐套曲《超技练习曲》，钢琴曲《定理-记号-警句》，管乐六重奏《普罗米修斯》，独奏单簧管与演奏组的《伊卡洛斯的坠落》，管弦乐《火周期β》
所属时期/乐派20世纪
擅长类型室内乐，管弦乐
师从

芬尼豪赫被认为是“新复杂主义”音乐的代表人物。他的作品往往以乐谱极端复杂著称，并经常使用复杂的连音节奏。[2]在他的作品中，室内乐占有重要位置，其中包括了众多的弦乐四重奏乐曲。他的代表作还有声乐套曲《超技练习曲》、钢琴曲《定理-记号-警句》、管乐六重奏《普罗米修斯》、独奏单簧管与演奏组的《伊卡洛斯的坠落》、管弦乐《火周期β》等。[3]

注释
  1. . 2012-02-20 [2017-12-27]. （原始内容存档于2012-02-20）.
  2. Wang, Yun. Di 1 ban. Beijing: Zhongguo dian li chu ban she. 2015. ISBN 9787512373815. OCLC 907972708.
  3. Talento, Romeo. . composers21.com. [2017-12-27]. （原始内容存档于2017-12-27）.

延伸阅读
  • Boros, James, and Richard Toop (eds.). The Collected Writings of Brian Ferneyhough （页面存档备份，存于）. Amsterdam: Harwood Academic Publishers, 1995. Review by Ian Pace （页面存档备份，存于）
  • Bortz, Graziela. Rhythm in the music of Brian Ferneyhough, Michael Finnissy, and Arthur Kampela : a guide for performers （页面存档备份，存于）. Ph.D. Thesis, City University of New York, 2003.
  • Duncan, Stuart. "Re-complexifying the Function(s) of Notation in the Music of Brian Ferneyhough and the 'New Complexity'". Perspectives of New Music 48, no. 1 (Winter 2010): 136–72.
  • Feller, Ross. "Multicursal Labyrinths in the Work of Brian Ferneyhough". U.M.I., Ph.D. Thesis, University of Illinois at Urbana-Champaign, 1994.
  • Pace, Ian. [Review:] "Brian Femeyhough, Collected Writings, edited by James Boros and Richard Toop. Harwood Academic Publishers; Ferneyhough: String Quartet No. 4; Kurze Schatten II; Trittico per G. S.; Terrain, Arditti String Quartet with Brenda Mitchell (sop); Magnus Andersson (gtr); Stefano Scodanibbio (db); Irvine Arditti (vln) with ASKO Ensemble c. Jonathan Nott. Disques Montaigne MO 7 82029. Ferneyhough: Prometheus; La Chute D'Icare; On Stellar Magnitudes; Superscriptio; Carceri d'Invezione III. Luisa Castellani (voice); Felix Renggli (fl); Ernesto Molinari (cl); Ensemble Contrechamps c. Giorgio Bernasconi, Zsolt Nagy, Emilio Pomarico. ACCORD 205772". Tempo new series, no. 203 (January 1998): 45–48, 50–52.
  • Rosser, Peter. "Brian Ferneyhough and the 'Avant-Garde Experience': Benjaminian Tropes in Funérailles". Perspectives of New Music 48, no. 2 (Summer 2010):114–51.
  • Schick, Steven. "Developing an Interpretive Context: Learning Brian Ferneyhough's Bone Alphabet （页面存档备份，存于）" (Subscription Access). Perspectives of New Music 32, no. 1 (Winter, 1994): 132–53.
  • Tadday, Ulrich (ed.). "Brian Ferneyhough". Munich: Edition Text+Kritik in Richard Boorberg Verlag, 2008. (German)
  • Toop, Richard. "Brian Ferneyhough's Lemma-Icon-Epigram". Perspectives of New Music 28, no. 2 (Summer, 1990): 52–100.
  • Toop, Richard. "'Prima le Parole…' (On the Sketches for Ferneyhough's Carceri d'invenzione I–III)". Perspectives of New Music 32, no. 1 (Winter, 1994): 154–75.
  • Whittall, Arnold. "Connections and Constellations". The Musical Times 144, no. 1883 (Summer): 23–32.
  • Williams, Alastair. "Adorno and the Semantics of Modernism". Perspectives of New Music 37, no. 2 (Summer 1999): 1–22.
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