The Western musical canon came about not merely by accumulation, but by opposition and subversion, both to the ruling powers on whom composers depended for their livelihoods and to other musics. Brian Ferneyhough More Quotes by Brian Ferneyhough More Quotes From Brian Ferneyhough In my model, important interference phenomena arise when individual strata come into contact. These chaotic fluctuations are, I suppose, what my music is really about. Brian Ferneyhough individual arise important Questioning the nature and implications of liminal instances necessarily involves failure, if only in the specifically technical sense of entering spaces where prevailing criteria of success scarcely apply. Brian Ferneyhough criteria entering space If nothing is at risk, nothing is established. Brian Ferneyhough risk ifs When I speak of "cycles," I am referring to lengthy intervals of relative homogeneity, if not in the resolving of problems, than at least with respect to the consistency of their capacity to productively irritate. Brian Ferneyhough irritated consistency problem Sometimes one can be so closely involved with things that the larger context is lost to view. Brian Ferneyhough views lost sometimes The idea of 'machine assemblage' is, especially, very alien to my sensibility, since it suggests a relative indifference of the strata to one another during the process of construction. Brian Ferneyhough machines aliens ideas In my own recent String Trio I attempt to superimpose two quite different sets of formal strategies, both of which, ultimately, refer back to historical precedent. Brian Ferneyhough trios historical two In any case, the fewer boundaries that exist hindering free movement between all forms of articulate human cognition, the better. Brian Ferneyhough cognition movement boundaries It is still true that it is easier to compose a poem in the form of a manual for adjusting a VCR than it is to write a piece using just tuning as a symphony. Brian Ferneyhough vcr symphony writing I frequently compose out the entire metric structure of a piece in modified cyclic form, where each cyclic revolution undergoes some form of 'variation' much as if measure lengths were concrete musical 'material.' Brian Ferneyhough gmos variation musical I would not say that I was, these days, a 'student' of philosophy, although in my youth I was quite deeply involved with certain aspects of the British pragmatists. Brian Ferneyhough youth students philosophy So: we're all tired. Now what? Manuscripts written in Club Med? Brian Ferneyhough meds clubs tired By reason of weird translation, many such sets of instructions read like poems anyhow. Brian Ferneyhough translations instruction reason As a necessary prerequisite to the creation of new forms of expression one might, I suppose, argue that current sensibilities respond uniquely to the notion of exhaustion as exhaustion, although that does de facto seem rather limiting. Brian Ferneyhough expression doe might I suppose that the scope and implications of such forces have rendered my personal accounting ritual pretty much obsolete. That's how things sometimes go. Brian Ferneyhough obsolete scope sometimes Hence my obstinate emphasis on stylistic continuity from work to work rather than specific sibling relationships between the individual work and other members of its stylistic 'family' in the world outside. Brian Ferneyhough individual-work sibling world If the work of art is to continue pursuing the vision of both being in and of the world but nevertheless in some fashion being more than just one more object to the mounting clutter, this is the specific point, I think, where this must be assured. Brian Ferneyhough fashion art thinking What makes a specific quality or quantity of innovation retain its intense newness over the years? Brian Ferneyhough innovation quality years I dont see lines of force as being destructive, except to the extent that they are exclusively traceable through observance of the path of distorted material left in their wake. Brian Ferneyhough force lines path There would seem to be a limit, even for an art preoccupied with boundaries and transgressions, beyond which a work reaches its breaking point and becomes an actual failure, a mere experimentation. Brian Ferneyhough point-break limits art
