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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

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Brian Ferneyhough
Age: 81
Born: 1943
Born: January 16
Composer
Pedagogue
Coventry
England
UK
Musical
Modified
Much
Piece
Compose
Entire
Variation
Cyclic
Structure
Frequently
Undergoes
Materials
Concrete
Metric
Length
Gmos
Revolution
Measure
Lengths
Pieces
Material
Metrics
Form

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When I left Europe in 1987 I did so with the thought that my relevance as a composition teacher would benefit from a certain cool distance to certain tendencies I had been observing for several years with increasing disquiet.
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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.
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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.
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So: we're all tired. Now what? Manuscripts written in Club Med?
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Naturally enough, I couldn't have foreseen the vast sea change which has come upon that scene as a result of German reunification and associated events.
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Composers dialogue - and obsessively, bitterly argue - with other composers, often over the span of several centuries.
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If nothing is at risk, nothing is established.
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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.
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What makes a specific quality or quantity of innovation retain its intense newness over the years?
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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.
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The past nine years in San Diego have represented such a period of questioning.
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Certainly being in California has encouraged a sustained commitment to rethinking the nature, purposes, and relevance of the contemporary arts, specifically music, for a society which by and large seems to manage quite well without them.
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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.
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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.
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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.
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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.
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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.
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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.
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This was possible only by dint of extended periods of frequently quite painful reflection and digestion.
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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.
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