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.
More Quotes from Brian Ferneyhough:If nothing is at risk, nothing is established.
So: we're all tired. Now what? Manuscripts written in Club Med?
Other composers have taken this particular technique much further than I in the meantime, with the result that the Law of Diminishing Returns has begun to apply.
In any case, the fewer boundaries that exist hindering free movement between all forms of articulate human cognition, the better.
Why, in such a case, should the performer essay any sort of considered approach at all?
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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Learning music by reading about it is like making love by mail.
Project Xanadu is essentially my trademark. It was originally, and has returned to my arms as that.