Ferneyhough concert amazes

Those that missed last weekend's Brian Ferneyhough concert series missed out on arguably the most technically interesting concert of the year. Friday's concert ran like a typical guest recital, with San Diego New Music group Sounding performing several of the composer's pieces from the last three decades. Saturday, however, was the real chance for students to shine.

The Contemporary Music Ensemble performed Ferneyhough's Funérailles, both versions I and II (1969-80), featuring conservatory senior Rachel Schermer on harp. The ensemble also performed composer Steven Stucky's Boston Fancies (1985), and the highlight of the program - perhaps even the highlight of the entire weekend's events, Time and Motion Study II (1973-76).

Time and Motion Study II singled out conservatory senior Alexander Waterman in an electronically transmitted cello performance. As if the audience knew what they were in for, the explosions of applause began even as Waterman first took the stage. Clad in flashlight-like lit up spectacles, Waterman was positioned execution chair-like on a pedestal in the center of Warner's stage. Surrounded by technical assistants on all sides, Waterman's cello was wired up with a mic, and he placed both feet on pedals that were presumably used in the feedback process.

The piece is hailed to be the most difficult work for cello ever written, and even as Waterman and his assistants tuned up and tested their monitors, it became clear just how much effort goes into a single production of Time and Motion Study II. The piece works entirely polyphonically, with Waterman's playing fed back to him through strategically placed monitors at nine and 14 second delays.

Waterman's piece interestingly began with the feedback from his warm-up as opposed to an official start to the music. In that sense, the actual score must have left a lot of room for improvisation. At first listen, the effect of the feedback was phenomenal. Waterman slapped and plucked his cello with all his might, and sure enough, moments later, the abstract noises were repeated again. Only the second time around, Waterman's music was competing with itself.

While the cellist continued in his groove of what seemed improvisational (but was probably very specifically noted in the score) passages, his echo came back repeatedly, haunting and eerie. The audience was mystified. Throughout more complicated passages, the layering of fed back parts was incredibly complex in accompaniment, but the effect was equally interesting during stable passages. For example, several points, Waterman played solid notes over long enough periods of time that his feedback would catch up with him, playing back that solid note, making it sound thrice as loud as if the soloist was three times as strong.

Though Time and Motion Study II was clearly the most fascinating part of Saturday's two hour concert, Funérailles II, which concluded the concert, was also exceptional. The piece seemed like a study in strings opening up, with a series of dissonant chords setting the mood for the group. Schermer entered minutes later, timid and sporadic at first, and ultimately taking over the part that was intended for her. The players seemed machine-like, flushing out their parts immaculately matched with conductor Timothy Weiss' arm motions.

One might argue that every contemporary concert is essentially a breakthrough for new music, since most recent works have not yet circulated into programs all that much. However, last weekend was exceptional. Ferneyhough's music is extremely difficult, and the Contemporary Music Ensemble triumphed.