Austrian Premiere of Carceri d'Invenzione 2c for flute and tape (1987) by Brian Ferneyhough
Ferneyhough's cycle “Carceri d'Invenzione” was composed between 1981 and 1986. It consists of seven compositions for solo instruments, variously sized chamber groups, and chamber orchestra with soloist. The Flute Concerto "Carceri d'Invenzione 2a" stands out as the heart of the cycle, which is scored for a twenty-piece chamber orchestra. Given its popularity, it has received three arrangements with reduced instrumentation: “2b” for solo flute, “2c” for flute and tape and “2d” for solo recorder. While arrangement “2b” or “2d” presents the flute part unaccompanied, “2a” and arrangement “2c” are distinguished by two independent and completely different accompaniment parts. The tape of “2c” contains four tracks, all of which are of flute and appeared in “purest form”. Ferneyhough mentioned, there is extreme distance between each arrangement to define and measure its space of expansion. This is very unusual and unique way for contemporary music and comparing each arrangement cultivate the interpretation a deeper understanding for the solo part of this piece.
Numerous recordings of the solo arrangements for flute and recorder can be found in concert archives. However, arrangement “2c” for flute and tape, despite its ingenuity and uniqueness, has been woefully neglected in recording and performance due to its lack of visibility and accessibility. There is only one existing recording of arrangement “2c” which was made by Carin Levine in 1987, after which this version was never performed again. Contributing factors are the inaccessibility of the tape part and the score. The tape, which was also recorded by Carin Levine, is only available from Edition Peters. It was also recorded at a pitch of 440 Hz, which is no longer used in Europe. The score, which is a handwritten manuscript, can only be viewed on location at the Paul Sacher Foundation in Basel. This situation puts the work in risk of no longer existing in the future.
This project aims to raise the profile of this unique piece by increasing accessibility and visibility. To make the work more accessible, I plan to update the tape recording and engrave the score. Re- producing the tape recording would update the pitch to 443 Hz. I will synchronize the recording with the "PolytempoNetwork" software, which eliminates the need for a click track, cables and headphones. This not only allows for more freedom of movement of the performers, but also vastly improves the listening experience for the audience. Once these improvements are complete, the score and accompanying tape will be donated to Edition Peters so that it may be more available to other flutists for performance.
The presentation of this piece showcasing the new tape and score at “ARTikuration” will be a landmark as it will be not only the first performance of this work since 1987, but also the Austrian premiere. The piece has a duration of 12 minutes.
Yuri Matsuzaki
Performance
Japanese flautist Yuri Matsuzaki is acclaimed for her precise and versatile interpretation of contemporary music both as a solo artist and chamber musician. She is lauded by the international musical community, having won numerous first prizes in competitions such as the International Competition for contemporary music performance in Karlsruhe and Treviso, Italy. Yuri is a globally active musician and has performed throughout Europe and East Asia. She performs as an invited artist in festivals such as Acht Brücken, the Witten Days for New Chamber Music and the Darmstadt Summer Course in Germany, Festival ManiFeste – Ircam and Abbay de Royaumont in France, Gaudeamus Muziekweek in the Netherlands, the Witold Lutosławski Festival in Poland as well as the Kyiv Contemporary Music Days in Ukraine. She is a featured artist on the album Craquelé (WERGO), a compilation of works by composer F. M. Olbrisch. As an ensemble musician, Yuri plays with the Ensemble Modern in Frankfurt am Main and Contemporary Insights e.V. in Leipzig, among others. Yuri currently teaches performance practice for contemporary music at the Hochschule für Musik Carl Maria von Weber Dresden. She received several scholarships, including those from the International Ensemble Modern Academy, DAAD, STIBET doctoral program and Japan Agency for Cultural Affairs, she obtained her bachelor’s degree from the Tokyo University of the Arts and completed her master’s degree and (German) Meisterklassenexamen at the Hochschule für Musik und Theater Leipzig, where she studied with Prof. Irmela Boßler.