Kind of leaves a queasy feeling in your stomach. Yet one has to admire how much work goes into writing all those notes down. And props to any pianist who attempts to play it.
Even my shitty improvisations sound better than this. Even if i was drunk off my ass and improvising i would still play better [subjectively] music than this
To start learning first you have to listen to it a whole bunch until you can remember the whole thing and then one day you have to lay back and close your eyes; start thinking about it and relaxing. Now that you have fallen asleep and you are now dreaming you can play it since you memorized it.
This is the most difficult piece I've ever come across. I enjoy listening. This is the first time I've ever been unable to follow a piece with the score.
We play now modern work too with our amateru orchestra and I get "very nervous" from it. There is so much beauty, structure or logic still to discover. One can open minded listen to this kind of music hoping to discover what it means. It might be some structure, something evolving... or perhaps interesting harmonics blossoming up when combining instruments rarely combined and with unusual dynamics. If no such meaning is found, then frustration follows. So then something might be serious art which took years to write but we should not be forced to say we like it , only because of this. I think certain music which tries very hard not to be music as people see it, should better be called "advanced sonic art" and be performed in "labs" where the fans can come to listen for free but it should not be brought during regular concerts where people pay. Of course there is also lots of modern work which remains music. I think people hear that difference.
I heard Bobby Crush play this at the Darlington Miners Welfare Club, 3 September 1985. It received a standing ovation. Afterwards Arthur Scargill presented Crush with a signed manuscript of his own Yorkshire Suite No. 2 for trumpet, comb and paper (arr. R. Hazelhurst) on which he had written "To Bobby. Thanks for your support."
nicsevern Modern atonal composers do not have real names anymore. If Stockhausen knew the internet, he would have made a pseudonyme like Jfi30$%lk#[[cf$g(dk~dkfols
Music like this ultimately belongs to a giant ripple effect that's been emanating throughout all the arts since the end of WW1 when modernism came about in its wake. After WW1, there was such an enourmous world-level emotional price paid throughout the war, so much atrocity and tragedy, that artists began to dissociate themselves from expressing emotion entirely. Hence, modernism. Then came postmodernism in response to that, and it all goes on and on further and further. You could actually say a similar thing happened after WW2. Modernism in music basically wound up being this thing where everybody was focused more on the procedure of composition than emotional expression. Intricate mathematical procedures to churn out computed music, indeterminancy, overt dissonance, and other complete abandonments of traditional music writing becsme all the philosophical rage. Soon enough, you'd be near damned as any respectable music professor to compose sensibly emotional music depending on where you were. There has defintely been some interesting music that has come about from it, I can't deny that, but this Finnissy music just sounds like some esoteric BS to me. Like 2 smears of paint stamped with an arse on a canvas sold for 2 million at some shite high society elitist auction because it was made by some fancy big-name dude wearing a scarf in the dead of summer all because of the philosophy behind his arse print. Moral of the amusing ranting story: this music is a butt print.
@jaspernatchez I read today that one of his pupils asked him why he used 20 notes instead of two in his pieces and was answered with a "rant". The gist was that it created a sense of tension in the performer and would lead to edgier performances. Somebody else replied that as a professional musician worried about their performance in regards to Beethoven et al in orchestral performances, the last thing they would look at is scores like this.
I listen to many kinds of music, my preferences change often. I do not know Bill Evans well, But I adore cecil taylor with his giant leaps on the piano, his colourfull yet sweet sound and an enormous amount of details on the texture each minute and second. but to be honest with this piece by Finnissy, I am no expert, and know not whether it would be as good improvised. I wanted to defend him, but often prefer Sorabji to Finnissy, Sorabji has clear melodies, he's sad yet complex.
For me, in Finnissy's sound, there is much randomness, I'm ok. with it, I once wanted music not to be too easy to listen, not too clear, and wanted to learn new ways of listening, and I learnt to accept randomness and dislike too simpleminded melodies in favour of complex textures and much more action. but no, finnissy isn't a longtime favourite of mine, Sciarrino and Sorabji are, sciarrino thinking more in terms of 'sound' than of 'music' and sorabji with an interplay of multiple melodic lines
ok. im having legit trouble understanding this piece of music. can someone please explain to me the point of this craziness. I hear no melodys or anything. Im not trying to sound like an idiot or anything. Im being very honest
it is a challenge for the performer. I'm sure the performer has had very many good experiences seeing himself progress, bit by bit, in something he knows not every schoolboy can play. He has well deserved every bit of selfesteem he's gotten from mastering such a monster. It must be the performers personality, to enjoy a feeling of power, when mastering himself in the midst of a challenging performance. he must live through the feelings of the piece every time he practices, after all.
Okay. I'm struggling to appreciate this. I'm fairy certain I understand the significance of his compositions, but it might just be outside of my comfort zone. I suppose it can be compared to a Pollock painting... Any insight would be appreciated.
It made me shiver. And spooked me. But moved me strangely. I found it addictive and thrilling as I was patiently waiting for and then was surprised at times at the notes that play out..loved it
just a while back you said the music has nothing to do with the notes.. now it is fascistically controlled by them. perhaps the truth is that in the end what you hear is a collaboration, both the main ideas of the composers notes are heard, and the interpretation of the performer.. do I care, not. not when it challenges cecil taylor in its value for the listener. sounds way more natural than Sorabjis 4th pianosonata, and holds the mood of a warm moist air after a summer rainstorm like no other
well.. I mainly just listen.. in case a case of such complex song, isn't it the most important thing that the score gives you the idea of what it should sound like, then you can play as much of it as you can. the performers and artists alike must know exactly what they want from the score, no pianist would play it otherwise. and the note of it having little to do with the score, does that little to do with mean that perhaps 5% of the notes are wrong, that wouldn't be much for a piece like this.
I only have 1 question...who goes to the country and comes back with THIS? He must have went to romania and got abandoned in a castle with an organ in it or something lol.
@amatorynumber Yeah Yeah! I can also violent on my piano and produce atonal things, write it down and realise it as " 12 beautiful memories from Vienna"
Fair enough, there's plenty of aleatoric stuff going on out there from people like Segerstam et al. The issue here is that this notational style is absurdly restrictive for a perfomer. Learning this note perfect is rather like putting the performer in a straitjacket. There's very little in the way of freedom here. It is controlled chaos taken to a level or egotistical paranoia.
Oh, dear GOD(S). I happen to be a great fan of music that goes against common bounds, but this, to me, isn't music- any small child could make the same sounds by banging on a keyboard. As a composer myself, the rhythmic complexities are fine and all, but the actual quality of the music is quite astounding to me in its absolutely horrid sound. Give me Ives any day.
@SB87JB Oh and there is nothing pretentious about these videos, it is the content. An important distinction. Anyway musn't keep you from finding another inventive 350 ways to blow shit out of a flute and market it as significant art must I?
The past centuries, they were all about behaving correcly, restricted, formal, fine, dressy... the classical music was that of the upper-class. No impropriety was allowed - you had to behave. In those times a piece like finnissy's coutrytunes couldn't have existed, because it has an all too direct means to express the feelings. The piece has such an amount of desire, flowing without inhibitors..even the name is a pun from cunt, his music is the exact opposite of a well-behaving man
Quite easy to improvise something similar to this with no experience in piano playing whatsoever. Although it sounds like I'm making a sciolistic denigration by saying something like this, I'll qualify by saying that I'm not saying that the music is "bad"; it sounds interesting enough to listen to the whole thing without becoming bored and to elicit a visceral response, but it sounds highly uninspired and largely unimpressive, much like a Ferneyhough composition.
In my ears Beethoven has so little to do with modern music, the past centuries are so restrained.. I want freedom from those restrictive, dogmatic forms in my music, I want to hear people do things their way, not the way everybody else does it. Another thing why I like artists like Finnissy, Sciarrino, or new improvised jazz like cecil taylor, gratkowski, is because catchy melodies always stuck in my mind for days, and I hate that.. the last thing I want in my music, is brainless repetition.
Art doesn't have to be beautiful and pleasant. Art can be used to provoke the full range of emotions. This to me feels uncomfortable and dark, like someone being strangled. He must of had a wicked sense of humour with calling it what he did.
That's funnier. Wished I'd thought of commenting "That's funny. Wished I'd thought of "I think he played a wrong note at 3:35"!!! That's WAY WAY funny." under a comment that says, "I think he played a wrong note at 3:35".
Finnissy began his pianistic career playing on Wednesday evenings at the Tulse Hill Home for the Profoundly Deaf. He eventually disowned the "New Complexity" label that had attached itself to his music during the 70s and 80s, and in the 90s became a leading member of the "Making It Up As I Go Along" School. He is available for funerals and divorce court proceedings. In Who's Who, Finnissy lists his hobbies as "shouting at pigeons" and "humming an augmented fourth below my tinnitus".
Green Meadows full of insanity. There are some sound textures which are interesting and distinctively Finnissey but most of it sounds like "random" notes. Who's to say that someone else's combinration of "random" notes would be any better/worse? At the end of the day (or the piece) I think "So what?". Mind you first performance of Prokofiev PC 2, many of the audience thought it was random notes, now it's rightly viewed as a great piece. I should return to this piece in 40 years time.
左在 Even if this was much more than just bunch of random notes, it does sound like that. I could just make a piece of static noise and carve out a text to it in a spectrogram and you'd say it's just noise even though it clearly is much more. It still would appear as random noise and should not be regarded as something amazing or much more than just random noise.
Look at shiroorad performance she just bang random notes. But finnissy knows his own music best so he is the best performer. Probably a lot of practice.
More like new version of astrology based on any random analogy of the Standart Model working only for some alternate universe, existence of which isn't possible even taking into account all modern knowledge in physics, lol))
IsYouDed? What the hell are you talking about man? Yes i knew about this long time ago. But i don't listen to atonal piano works as it does not have any musical value for me.
@Felis Skalkotris Sorabjitus OKG MONHLOHHT SONATA!NANQNQNQN!1!1!1!1!🥺😡😔🤢🥺😔 WOULD FIZ THIS DHIT!1!1!1!1!#! BAD MSYICA!1!1!!1😔🥴🥴🤢😳😔😳🥺🥴🤢🥴😔PLEASE CALL MOZART YO FICKS THIS SHIT!1!1!1!1!!11😳🥴😳🥴😡🥴
It’s as if the composer captured how I feel waking up every morning realizing there is still more. Curious to know where to find audiences for this work? First date?
I think it's mostly about experimentation, trying to make new sounds, defying the usual concept of "melody", while still trying to create moods, or soundscapes that would have a different effect on the listener. Art normally isn't (at least not entirely) about understanding - it's about perceiving. Even if it's different from what you usually listen to, you must leave the piece a chance, try to perceive what it's giving to you.
@Rich Kaz How do you count it- quite easily, 16:23 works the same a 3:2- just a lot freer as it's such a complex rhythm. How do you memorise with no melody? Well there is a very beautiful melody if you listen.. And I certainly don't play this from memory, although practising in the right way, it wouldn't be impossible to memorise. How long would it take to sight read through it? You wouldn't- would you sight read though a Rachmaninov concerto or Chopin étude?
Well that's your direct perception which is fair enough. I simply question the intentionality of the composer in regards to his notational method. As a piece it resembles listening to an electronic score by Nono (or even his "Per Bastiana"), moments of density/activity followed by rest. I have no issues with the sound world. I just think it could be expressed more directly rather than masked in notational bullshit.
I heard Bobby Crush play this at the Darlington Miners Welfare Club, 3 September 1985. It received a standing ovation. Afterwards Arthur Scargill presented Crush with a signed manuscript of his own Yorkshire Suite No. 2 for trumpet, comb and paper (arr. R. Hazelhurst) on which he had written "To Bobby. Thanks for your support."
If so, I wish I had the "note-writing machine" that he has - it would be so far advanced from what is actually available - this is music about gesture and powerfully terrifying music nonetheless. Listen again.
Also if this was achievable through improvisation, it would be worth notating, if not note by note, then by detailed description, already because of the very impressive achievement of capturing both the "calm at the eye of the storm", the warm moist air, in a very relaxing way, and the storm itself both with warmth and the beautiful wavelike form that the storms in this piece always come with, and showing the unity of those extremes in this piece, where the overall feeling is never compromised.
This piece was originally entitled "On hearing Liberace falling over the cliffs at Beachy Head, East Sussex" first performed in Hove. Finnissy went on to compose a series of similar pieces, including "Thomas the Tank Engine Visits the Antiques Road Show at the Weald & Downland Open Air Museum" and "My Oh My Look at the Traffic Its Nose to Tail For Miles Looks like an Accident Oh No There's Blood Everywhere (M25 remix)". Eventually these were all brought under the title English Country Tunes.
What a wonderful performance. It saddens me that so many uninformed people feel the need to post such pointless and ignorant comments when the stumble across this music
Then you should hear some music of the composer fpo423@iaspr$$#cDi//??!DF, too. But if you buy notes or CD's, you should exchange them at the music shop every two weeks, as he or she changes his pseudonyme.
I could just make a piece of static noise and carve out a text to it in a spectrogram and you'd say it's just noise even though it clearly is much more. It still would appear as random noise and should not be regarded as something amazing or much more than just random noise.
@egapnala65 For whatever the reason I've been exploring a lot of this trash on youtube lately, and the interesting thing is that so many of these fakers are British. I suppose that now, after centuries of waiting for an era when talent would be unnecessary for a career as a composer, they feel their their time has finally come.
Not a piano player but just from the music note, it looked like something i could play by just randomly hitting piano keys. When i hears the music, it proved my point.
I know. This takes a massive amount of skill to play. Think if the composer would've put effort into making it this hard but actually sounding good. It would be incredible.
“I could play by randomly the piano keys” funnily enough there’s a performance on TH-cam of this piece which does exactly that and it sounds atrocious and completely different to this. Compare.
I do "like" it, but I can't understand how and why this music was writen. It sounds like a very very very free improvisation, the notes on the score look like they were randonly scribbled, and how on Earth can anybody tell that the sound is what the composer wrote? Unless it's played by a pianola. Interesting tho.
Is there something behind it? I mean, what's the idea behind? I read Finnissy is a professor of composition, so there should be something studied behind it, am I right?
I don't think this could be achieved through improvisation.. Even though I'm no pro, and play no instrument, I can hear how in many parts the music plays different tunes at at least three different pitches simultaneously, none of these interfere with eachother, and each of these tunes keep at their own areas and specific speeds The fast flowing and bubbling streams of music, one of these tunes there are many of at the same time also have right amount of space for a single note in pitch and time
@SB87JB And if sonic effects are all your after then, yes, these guys have some merit, the problem is that there is a layer of pretentious snobbery surrounding them. But, believe me, what you hear is not what they have written, the performers are bullshitting like mad. I find it a dishonest carry on.
@SB87JB And no I don't "copy and paste" either. Another amusing little assumption on your rather pompous little part. But as you claim to understand this please tell me the essential difference between one of these scores and somebody simply writing down an improvisation?
@SB87JB "New Complexity Music" is an Oxymoron. It's an academic fashion, like Hegelianism. Lots of sherry sipping bourgeois building a nice elitist conclave for themselves and lots of backslapping and "oh, jolly little piece there, Brian, loved the way the entropic metatexture was quasi coalesced tangenitally by its own rhetorical sygenetic metastasis". You know the kind of tedious bores you would find at Glyndebourne whining about how low price tickets have let the chavs in. Hilarious.
Ah yes some nice English country tunes to listen to
Wrong note at bar 245. This has really ruined the performance for me. I will be getting the Joyce Hatto version instead.
lol
underrated comment
actually i take that back
these comments are on every nc video
and this joke has prolly been made for decades
@@toothlesstoe
an example of the rare species Toothless Toe has been recorded laughing, colorized
-2021
@@AsrielKujo *2018
Kind of leaves a queasy feeling in your stomach.
Yet one has to admire how much work goes into writing all those notes down. And props to any pianist who attempts to play it.
Finnissy shows a bit of a sense of humor by calling this "English country tunes"...
being able to follow along the sheet while listening was the most frightening part..
probably one of the most scariest piece i've ever heard yet.
Sounds like wind chimes. Especially the beginning.
this is the only composer where you can literally say that hitting a bunch of random notes on the keyboard would sound better
Even my shitty improvisations sound better than this. Even if i was drunk off my ass and improvising i would still play better [subjectively] music than this
@@stacia6678 nah I think it'd be [objectively] better
@@Whatismusic123 nah subjective
@@stacia6678 shut up
@@themoonfleesthroughclouds ok
I have no idea how to even play this. I haven't seen such chaotic sheet music.
To start learning first you have to listen to it a whole bunch until you can remember the whole thing and then one day you have to lay back and close your eyes; start thinking about it and relaxing. Now that you have fallen asleep and you are now dreaming you can play it since you memorized it.
This piece is proof that you can manipulate people very easily.
I guess I do appreciate Finnissy's sense of humour then!
This is the most difficult piece I've ever come across. I enjoy listening. This is the first time I've ever been unable to follow a piece with the score.
Try the same composer's Piano Concerto No. 4, then! (it's for piano alone)
We play now modern work too with our amateru orchestra and I get "very nervous" from it. There is so much beauty, structure or logic still to discover. One can open minded listen to this kind of music hoping to discover what it means. It might be some structure, something evolving... or perhaps interesting harmonics blossoming up when combining instruments rarely combined and with unusual dynamics. If no such meaning is found, then frustration follows. So then something might be serious art which took years to write but we should not be forced to say we like it , only because of this. I think certain music which tries very hard not to be music as people see it, should better be called "advanced sonic art" and be performed in "labs" where the fans can come to listen for free but it should not be brought during regular concerts where people pay. Of course there is also lots of modern work which remains music. I think people hear that difference.
I heard Bobby Crush play this at the Darlington Miners Welfare Club, 3 September 1985. It received a standing ovation. Afterwards Arthur Scargill presented Crush with a signed manuscript of his own Yorkshire Suite No. 2 for trumpet, comb and paper (arr. R. Hazelhurst) on which he had written "To Bobby. Thanks for your support."
this is like 2 girls 1 cup for musicians
At least I don’t vomit to this.
Well, this made me feel sick. Sounds like the music inside Salad Fingers' head. Thanks Finnissy.
nicsevern Modern atonal composers do not have real names anymore. If Stockhausen knew the internet, he would have made a pseudonyme like Jfi30$%lk#[[cf$g(dk~dkfols
nicsevern i had a similar situation listening to davies eight Songs for mad king... and i already expected something weird...
@Shostacovid-19 lol
seriously, these so called modern music, what's the beauty in it??? anyone care to explain just a wee bit?
Music like this ultimately belongs to a giant ripple effect that's been emanating throughout all the arts since the end of WW1 when modernism came about in its wake. After WW1, there was such an enourmous world-level emotional price paid throughout the war, so much atrocity and tragedy, that artists began to dissociate themselves from expressing emotion entirely. Hence, modernism. Then came postmodernism in response to that, and it all goes on and on further and further. You could actually say a similar thing happened after WW2. Modernism in music basically wound up being this thing where everybody was focused more on the procedure of composition than emotional expression. Intricate mathematical procedures to churn out computed music, indeterminancy, overt dissonance, and other complete abandonments of traditional music writing becsme all the philosophical rage. Soon enough, you'd be near damned as any respectable music professor to compose sensibly emotional music depending on where you were. There has defintely been some interesting music that has come about from it, I can't deny that, but this Finnissy music just sounds like some esoteric BS to me. Like 2 smears of paint stamped with an arse on a canvas sold for 2 million at some shite high society elitist auction because it was made by some fancy big-name dude wearing a scarf in the dead of summer all because of the philosophy behind his arse print. Moral of the amusing ranting story: this music is a butt print.
@jaspernatchez I read today that one of his pupils asked him why he used 20 notes instead of two in his pieces and was answered with a "rant". The gist was that it created a sense of tension in the performer and would lead to edgier performances. Somebody else replied that as a professional musician worried about their performance in regards to Beethoven et al in orchestral performances, the last thing they would look at is scores like this.
im making a midi of this, and nobody can stop me
Jor4y23u
I listen to many kinds of music, my preferences change often. I do not know Bill Evans well, But I adore cecil taylor with his giant leaps on the piano, his colourfull yet sweet sound and an enormous amount of details on the texture each minute and second. but to be honest with this piece by Finnissy, I am no expert, and know not whether it would be as good improvised. I wanted to defend him, but often prefer Sorabji to Finnissy, Sorabji has clear melodies, he's sad yet complex.
For me, in Finnissy's sound, there is much randomness, I'm ok. with it, I once wanted music not to be too easy to listen, not too clear, and wanted to learn new ways of listening, and I learnt to accept randomness and dislike too simpleminded melodies in favour of complex textures and much more action. but no, finnissy isn't a longtime favourite of mine, Sciarrino and Sorabji are, sciarrino thinking more in terms of 'sound' than of 'music' and sorabji with an interplay of multiple melodic lines
Good proverbs and well spoken .
@@akashrima7917 Thank you. :)
@@akashrima7917 Not sure if I still agree with what I said though. Finnissy is very good, and not too random at all. :)
ok. im having legit trouble understanding this piece of music. can someone please explain to me the point of this craziness. I hear no melodys or anything. Im not trying to sound like an idiot or anything. Im being very honest
I've never made an attempt to try to understand bullshit.
it is a challenge for the performer.
I'm sure the performer has had very many good experiences seeing himself progress, bit by bit, in something he knows not every schoolboy can play. He has well deserved every bit of selfesteem he's gotten from mastering such a monster.
It must be the performers personality, to enjoy a feeling of power, when mastering himself in the midst of a challenging performance. he must live through the feelings of the piece every time he practices, after all.
Okay. I'm struggling to appreciate this. I'm fairy certain I understand the significance of his compositions, but it might just be outside of my comfort zone. I suppose it can be compared to a Pollock painting... Any insight would be appreciated.
It made me shiver. And spooked me. But moved me strangely. I found it addictive and thrilling as I was patiently waiting for and then was surprised at times at the notes that play out..loved it
just a while back you said the music has nothing to do with the notes.. now it is fascistically controlled by them. perhaps the truth is that in the end what you hear is a collaboration, both the main ideas of the composers notes are heard, and the interpretation of the performer.. do I care, not. not when it challenges cecil taylor in its value for the listener. sounds way more natural than Sorabjis 4th pianosonata, and holds the mood of a warm moist air after a summer rainstorm like no other
well.. I mainly just listen.. in case a case of such complex song, isn't it the most important thing that the score gives you the idea of what it should sound like, then you can play as much of it as you can. the performers and artists alike must know exactly what they want from the score, no pianist would play it otherwise. and the note of it having little to do with the score, does that little to do with mean that perhaps 5% of the notes are wrong, that wouldn't be much for a piece like this.
この類いの雑音は音楽の資産に恵まれない人達に 多くの希望という名前の価値の無い錯覚を与えている
I only have 1 question...who goes to the country and comes back with THIS? He must have went to romania and got abandoned in a castle with an organ in it or something lol.
I'd like to see someone performing this.
I have done.
@amatorynumber Yeah Yeah! I can also violent on my piano and produce atonal things, write it down and realise it as " 12 beautiful memories from Vienna"
Let
Us
GO
Fair enough, there's plenty of aleatoric stuff going on out there from people like Segerstam et al. The issue here is that this notational style is absurdly restrictive for a perfomer. Learning this note perfect is rather like putting the performer in a straitjacket. There's very little in the way of freedom here.
It is controlled chaos taken to a level or egotistical paranoia.
woah
I played this when I was 6, with no music in front of me.
Finnisy is my teacher's teacher.
shinuh lee??
Finnissy is my son.
Finnissy is me.
A green meadow during the Irish Potato Famine.
OMG....did he actually WRITE this???????
Can somebody explain english country tunes composition to me? I can't catch a sense of it....nevertheless I found it very magically...
To be honest, 99% of people probably have no idea what the fuck is going on in the piece.
I study with this guy :/
That's London. London. Not enhlish county
well.. at least it looks cool
Oh, dear GOD(S). I happen to be a great fan of music that goes against common bounds, but this, to me, isn't music- any small child could make the same sounds by banging on a keyboard. As a composer myself, the rhythmic complexities are fine and all, but the actual quality of the music is quite astounding to me in its absolutely horrid sound. Give me Ives any day.
is this played by a human?
@SB87JB Oh and there is nothing pretentious about these videos, it is the content. An important distinction.
Anyway musn't keep you from finding another inventive 350 ways to blow shit out of a flute and market it as significant art must I?
The past centuries, they were all about behaving correcly, restricted, formal, fine, dressy... the classical music was that of the upper-class. No impropriety was allowed - you had to behave.
In those times a piece like finnissy's coutrytunes couldn't have existed, because it has an all too direct means to express the feelings. The piece has such an amount of desire, flowing without inhibitors..even the name is a pun from cunt, his music is the exact opposite of a well-behaving man
Quite easy to improvise something similar to this with no experience in piano playing whatsoever. Although it sounds like I'm making a sciolistic denigration by saying something like this, I'll qualify by saying that I'm not saying that the music is "bad"; it sounds interesting enough to listen to the whole thing without becoming bored and to elicit a visceral response, but it sounds highly uninspired and largely unimpressive, much like a Ferneyhough composition.
In my ears Beethoven has so little to do with modern music, the past centuries are so restrained.. I want freedom from those restrictive, dogmatic forms in my music, I want to hear people do things their way, not the way everybody else does it.
Another thing why I like artists like Finnissy, Sciarrino, or new improvised jazz like cecil taylor, gratkowski, is because catchy melodies always stuck in my mind for days, and I hate that.. the last thing I want in my music, is brainless repetition.
This was too slow in bars 101-105 and wrong notes instead off sharp it should've been a natural in bar 298 totally rubbish
Not a country I'd wanna even visit, much less live in.
@otavioandradas dull? i think this is anything but dull
Art doesn't have to be beautiful and pleasant. Art can be used to provoke the full range of emotions. This to me feels uncomfortable and dark, like someone being strangled. He must of had a wicked sense of humour with calling it what he did.
I think he played a wrong note at 3:35
+Peter Wang That's funny. Wished I'd thought of "I think he played a wrong note at 3:35"!!! That's WAY WAY funny.
That's funnier. Wished I'd thought of commenting "That's funny. Wished I'd thought of "I think he played a wrong note at 3:35"!!! That's WAY WAY funny." under a comment that says, "I think he played a wrong note at 3:35".
And... I'm not going to say anything,so...
whatever.
確かに譜面では下がる音が鳴るはずが上がった音が鳴ってますが、倍音が響いてるのかなとも思い何とも言えない気もしますね
Many.
Finnissy began his pianistic career playing on Wednesday evenings at the Tulse Hill Home for the Profoundly Deaf. He eventually disowned the "New Complexity" label that had attached itself to his music during the 70s and 80s, and in the 90s became a leading member of the "Making It Up As I Go Along" School. He is available for funerals and divorce court proceedings. In Who's Who, Finnissy lists his hobbies as "shouting at pigeons" and "humming an augmented fourth below my tinnitus".
Green Meadows full of insanity. There are some sound textures which are interesting and distinctively Finnissey but most of it sounds like "random" notes. Who's to say that someone else's combinration of "random" notes would be any better/worse? At the end of the day (or the piece) I think "So what?".
Mind you first performance of Prokofiev PC 2, many of the audience thought it was random notes, now it's rightly viewed as a great piece. I should return to this piece in 40 years time.
*cat runs over keyboard
M. Finnissy: "A masterpiece!"
Goodwin Lu This piece is much more than just a bunch of random notes.
+左在
Yes, it sounds like enraged keyboard-pounding. That has tremendous value.
左在 Even if this was much more than just bunch of random notes, it does sound like that. I could just make a piece of static noise and carve out a text to it in a spectrogram and you'd say it's just noise even though it clearly is much more. It still would appear as random noise and should not be regarded as something amazing or much more than just random noise.
@@TheMikkis100 If someone calls this random noise than I am very much happy to inform him or her that I love listening to random noise.
@@toothlesstoe shut up stupid
While I can't stand this piece, it's certainly very fascinating, and terrifying. I couldn't have thought of a less appropriate name though! :P
how can a human play this?
sexy350Zowner it's all fake they're hitting any notes so it roughly sounds right but loads of it is wrong,
Look at shiroorad performance she just bang random notes. But finnissy knows his own music best so he is the best performer. Probably a lot of practice.
@@stacia6678 He is not the only performer of his piano music, though, Ian Pace, Jonathan Powell, Nicolas Hodges and quite a few others...
This song reminds me of quantum mechanics.
More like new version of astrology based on any random analogy of the Standart Model working only for some alternate universe, existence of which isn't possible even taking into account all modern knowledge in physics, lol))
this comment reminds me of having a stick up my ass
I think I heard a right note at 3:43
Interesting composition you got there. It's... very, uh... contemporary.
Seems like you need, Liszt, Alkan and Mereaux combind to play this.
IsYouDed? What the hell are you talking about man? Yes i knew about this long time ago. But i don't listen to atonal piano works as it does not have any musical value for me.
IsYouDed? Ok.
Amédée Méreaux what about Chopin? Or Thalberg?
@Felis Skalkotris Sorabjitus OKG MONHLOHHT SONATA!NANQNQNQN!1!1!1!1!🥺😡😔🤢🥺😔 WOULD FIZ THIS DHIT!1!1!1!1!#! BAD MSYICA!1!1!!1😔🥴🥴🤢😳😔😳🥺🥴🤢🥴😔PLEASE CALL MOZART YO FICKS THIS SHIT!1!1!1!1!!11😳🥴😳🥴😡🥴
Unsettled (violent and reckless) - Much calmer - more animatedly - Very fast - Presto - More spaciously - Slow - Much faster - Presto - Slow...
It’s as if the composer captured how I feel waking up every morning realizing there is still more. Curious to know where to find audiences for this work? First date?
St. Pancras station?
I think it's mostly about experimentation, trying to make new sounds, defying the usual concept of "melody", while still trying to create moods, or soundscapes that would have a different effect on the listener. Art normally isn't (at least not entirely) about understanding - it's about perceiving. Even if it's different from what you usually listen to, you must leave the piece a chance, try to perceive what it's giving to you.
On a scale of 1 to 10, how stoned was he when he wrote this?
Probably 420
11
very good calligraphy for someone who was apparently stoned ( it's the composer's handwriting)!
999999999999999999999999
I must say, I really appreciate the points of relaxation
@Rich Kaz
How do you count it- quite easily, 16:23 works the same a 3:2- just a lot freer as it's such a complex rhythm. How do you memorise with no melody? Well there is a very beautiful melody if you listen.. And I certainly don't play this from memory, although practising in the right way, it wouldn't be impossible to memorise. How long would it take to sight read through it? You wouldn't- would you sight read though a Rachmaninov concerto or Chopin étude?
16:23??? It’s only 6 minutes long!
the sheet looks like a fucking blueprint of UFO
Seriously !?
What the hell is happening in the english country
Did a beginner get angry and then write it down
Well that's your direct perception which is fair enough. I simply question the intentionality of the composer in regards to his notational method. As a piece it resembles listening to an electronic score by Nono (or even his "Per Bastiana"), moments of density/activity followed by rest. I have no issues with the sound world. I just think it could be expressed more directly rather than masked in notational bullshit.
But is it music? No! might as well hit your head on the piano and write it down.
Crap who dropped the piano down the stairs!
I heard Bobby Crush play this at the Darlington Miners Welfare Club, 3 September 1985. It received a standing ovation. Afterwards Arthur Scargill presented Crush with a signed manuscript of his own Yorkshire Suite No. 2 for trumpet, comb and paper (arr. R. Hazelhurst) on which he had written "To Bobby. Thanks for your support."
If so, I wish I had the "note-writing machine" that he has - it would be so far advanced from what is actually available - this is music about gesture and powerfully terrifying music nonetheless. Listen again.
this doesn't even sound good....
Anna Song well it is an unconventional piano piece, what did you expect
Also if this was achievable through improvisation, it would be worth notating, if not note by note, then by detailed description, already because of the very impressive achievement of capturing both the "calm at the eye of the storm", the warm moist air, in a very relaxing way, and the storm itself both with warmth and the beautiful wavelike form that the storms in this piece always come with,
and showing the unity of those extremes in this piece, where the overall feeling is never compromised.
This piece was originally entitled "On hearing Liberace falling over the cliffs at Beachy Head, East Sussex" first performed in Hove.
Finnissy went on to compose a series of similar pieces, including "Thomas the Tank Engine Visits the Antiques Road Show at the Weald & Downland Open Air Museum" and "My Oh My Look at the Traffic Its Nose to Tail For Miles Looks like an Accident Oh No There's Blood Everywhere (M25 remix)".
Eventually these were all brought under the title English Country Tunes.
...was Finissy okay?
I have to say. This doesn't really have any musicality except to scare someone out of their shoes. If that's what he composed it for then GOOD JOB!!!!
I don't understand how what I've heard actually represents what is written.
What a wonderful performance. It saddens me that so many uninformed people feel the need to post such pointless and ignorant comments when the stumble across this music
Then you should hear some music of the composer fpo423@iaspr$$#cDi//??!DF, too. But if you buy notes or CD's, you should exchange them at the music shop every two weeks, as he or she changes his pseudonyme.
I could just make a piece of static noise and carve out a text to it in a spectrogram and you'd say it's just noise even though it clearly is much more. It still would appear as random noise and should not be regarded as something amazing or much more than just random noise.
I can't.
這個作曲家 我是知道的 做出這作品我覺得有點離譜 雖然非常技巧非常困難 可是我真的聽不出詮釋度 只感覺令人畏懼可怕....不想再聽..... 音樂是帶給大家快樂的 不是艱深的曲譜就是代表你非常的出眾........
Hmm... you don't say... tai shio ching wang hwang kong zhang
楊礎 把它看作一首检验钢琴家演奏能力的测试曲目即可。想证明自己能力的钢琴家一定有不少想挑战这首曲子
楊棊仲 所以這個名字的鋼琴 也有一個別稱叫炫技
專門炫耀技巧
Could someone be so kind to explain me this piece? Is it just a showcase of complexity and maths? Is it serialism?
You could say it's retardation.
@egapnala65 For whatever the reason I've been exploring a lot of this trash on youtube lately, and the interesting thing is that so many of these fakers are British. I suppose that now, after centuries of waiting for an era when talent would be unnecessary for a career as a composer, they feel their their time has finally come.
Oh my God!
Not a piano player but just from the music note, it looked like something i could play by just randomly hitting piano keys. When i hears the music, it proved my point.
I know. This takes a massive amount of skill to play. Think if the composer would've put effort into making it this hard but actually sounding good.
It would be incredible.
“I could play by randomly the piano keys” funnily enough there’s a performance on TH-cam of this piece which does exactly that and it sounds atrocious and completely different to this. Compare.
@@morganhayes8641 I’m assuming you’re talking about Ms. Shorocorad performance. Then I agree.
I do "like" it, but I can't understand how and why this music was writen. It sounds like a very very very free improvisation, the notes on the score look like they were randonly scribbled, and how on Earth can anybody tell that the sound is what the composer wrote? Unless it's played by a pianola. Interesting tho.
Is there something behind it? I mean, what's the idea behind? I read Finnissy is a professor of composition, so there should be something studied behind it, am I right?
Being a professor doesn't add credibility to the bullshit he penned.
@@toothlesstoe Agreed
I heard a wrong not here and there.
I don't think this could be achieved through improvisation..
Even though I'm no pro, and play no instrument, I can hear how in many parts the music plays different tunes at at least three different pitches simultaneously, none of these interfere with eachother, and each of these tunes keep at their own areas and specific speeds
The fast flowing and bubbling streams of music, one of these tunes there are many of at the same time also have right amount of space for a single note in pitch and time
This song is like what the fuck
literally the final two notes are missing, why would you cut the final two notes of the performance??
This song, which you learned from your video, is technically difficult, isn't it?
does anyone know where to download the sheet and audio?
You've got to pony up and purchase it
Anonymous dont even think of attempting this...
😆😆😅😅🥱🥱🤭🤭💯💯
@SB87JB And if sonic effects are all your after then, yes, these guys have some merit, the problem is that there is a layer of pretentious snobbery surrounding them. But, believe me, what you hear is not what they have written, the performers are bullshitting like mad. I find it a dishonest carry on.
@SB87JB And no I don't "copy and paste" either. Another amusing little assumption on your rather pompous little part.
But as you claim to understand this please tell me the essential difference between one of these scores and somebody simply writing down an improvisation?
@SB87JB "New Complexity Music" is an Oxymoron. It's an academic fashion, like Hegelianism. Lots of sherry sipping bourgeois building a nice elitist conclave for themselves and lots of backslapping and "oh, jolly little piece there, Brian, loved the way the entropic metatexture was quasi coalesced tangenitally by its own rhetorical sygenetic metastasis". You know the kind of tedious bores you would find at Glyndebourne whining about how low price tickets have let the chavs in. Hilarious.
The simple fact is if John Cage recorded himself pissing in a bucket people like Johnny "Fascist" 2inch here would call it sublime genius.