Comtmporary Masi Stade ‘A sce of boks edited by Ptr Nelson and Nigel Osborne, University of anbarh UK ” ” Volume Chace Kosei (1857-1950) fs Wks ‘abet Ore Fils —AMid ota Volumes aymond Fem Volumes its te Mater with Todays Experimental Mie? (Organized Sound oo Rarely end ah Ly faye eee MO Masi Myth and Nstr or The Dap of Aon Per Soa Volumes aloe Deno ety Valeri Twos Votume 9 Hans Bier —AMicany te by Di Bute san Femeyhough —Calatd Wings ley fom noon Rid Tp Pease see the back of hiebook for tertiles inthe Contemporary Mac Stale sees Brian Ferneyhough Collected Writings edited by James Boros and Richard Toop witha foreword by Jonathan Harvey R Steer,Atighs sev rei ae ie cn eee Reg om ingint of Tr rts Grupo ifr basins ‘Transered Dig ring 2006 [Nop of this ook may be prod owe in ny frm by any meses ‘Seton or mechani inlading photccopying an cording. by ey {niomatonwrge or eer syne ios perma in wong rm he publ ‘ash Library Cataloging in Poblicaton Date eaphough an Colered Witings (Contemporary se Stas, SSOBT stg 0) Lie Bors James Toop Behera Rene ™ IsaN 1-2-7865577.2 (papa) ISEN 15-0763 71865579 papers) Punters Nate ‘Thepublse hn soe to grt eng o ene he uly of he erie pins oc ht some lpn in te ol may be spp CONTENTS Introduction othe Seis Foreword. ton nteducton 1 says Aspects of Notatonal and Compesional Practise ‘Composer— Computer” Acie Form Form = Figure~ Syl an Itrmedte Asssment ‘Diving Hod and Lightning Conducor [Tempe della Fgura “The Tey of Tine Durston and Rhythm 8 Compositional Resources ‘Respores to @ Qustonnsire on ‘Comply efi Gn onper 1 On tec Werks piel, Misa Brevis Time aed Motion Stay Ht Unity Caps: An Instant Day “Tune and Modon Sy ‘The Time and Motion Study Gye ‘Second Sing Quart Carr invercione Kerze Scat ‘Sting Quart No. On Te Winks 9 Oe ‘Concuning the Functional Roe Tbe in the Early Works of Anton bem bra ByeueeREEE OL a @ m w mt re) 19i Contents Mico Finns: The Pano Musi Cer Rages sr ‘Diconant Mey Were Interview with Andrew Clements Intersew wth ol Bone Isr with Paul Gets Interview with Richard Toop Cater Tvencione in Conversion ‘rth Richard Top Inder with Ppp Abia Speaking with Tongues ' Corespondente Conversation wth Paul Diver The Vc of Recived Wied { Conernon with James Boros Interview wih Jeu Baptiste Batre Interview with Antonio De Lisa Interview with James Boros “AN Crane Dunc: nerve with Ros Feller ‘eaps and Chreits to Tal Conversation on the Tents ahd Music with oe Stadeiman Cuno List of Composition Dacogaety Sources Inder 12 ” 88 8 S88ke 8 BB Be & si 1 INTRODUCTION TO THE SERIES “The mpi expansion and iverson of contemporary sms explain {hs ntomatoal serie of books for contemporary miscare Leiing experts land practtiones present compotion today small spect ~ ecru, ‘asthe and tecnelogy, and is reaorhips wh ther dips fszents of hough el a ring the sro corn clea ‘ater Tho sas als features monographs on sigan twenthceniny ‘composes not exensively documented nthe exing erate NIGEL OSPORNEFOREWORD ‘be asked to itrduce a substan colketon ofthe wating of ein Fermayhough in Ms fifth year (182) is Boh an anor and a inal per evhing tn at of sgn ‘ithe very ome at whe geese shovel mal spree talack in the re ond ter ae Siac is spade to ungueet empties fe pry of eweing he ce or stance Fenn ge Komponen Mai 17/5 eptember? ‘eaber 1965) pS batons by von De, Fa Miler Sms ‘abe, vom Sebo nd may che 7en Brian Femehough Collected Writings -_{sommunity siping acs a3 sbestgory in itso righ. The energy r= ‘Ries ticle pestis Ecnmed Oye ne tabodarts ave ark ‘Steet ably to hrcox a secs on fe anor prtent toi inaigtan Sch gue rma We tangy viele st ini ter libra burt ety They x elo Cn Tht they serlh any tn ero moe compen frat foal ar tccetive enn n fom of prnfive cue ry depeing mines ot iy i Ca ny sing sy tol oles beogeprsdnealy ‘Epusnaal onl gery Outen etl expla ‘eommaratonal acy soe ts panel by maar of ome dee orwsne ta sgn state actor to ny wae fume of [elaine poets Tens fie serie fe gute eer in ‘dns rotons cnet lion Te tari ete apt age SEs puncr byes dy ope canbe cry paralyertouned ey Thee ofa satct arma realy ye cxpoing i re ch the dag of ied eleven Grande yeah bears Suet wine the ext to wih te ceed of petany raed nly gl wecting teinsnoty sabes condition ry coe ‘Teter avast courr as irl Sloan sd neces heaves unduey te inpotion fray al Seo cpr pe acy nat See, ‘town gammarofentity 7 nee ns toe “Fe nt eas fave neared the emerge eto es sucha vein, pap dst te Hr le ent hulp sim he mpayment of ch made tpeverte sco Hly atthe caren de sway fom or wich alin baeoren wi {be expat tat of whch thy at coped represent mpm ok the sj ying Etro it Inde ikea Sage o reotrantc teste appetite the feed umetuines of her etn Baca ‘Subset ome whch ae heneten the mat pasa wines the ‘Socin tata postion ean taded eet ato elt ‘ponte parce inte ot coment on he ane nas re of net ong al pte hen Frac nn quton eon Kec gay oes hand, tore bry Ker mde be imposed De pura econ ean tele trond notence ny athe ose ost appearing ina colon of ‘may ctzopreni eencaton fone chouramblen cone wich iter le peed os ore covet etoding tv than in prsnt Ona age athe the arguments hs hol of ght apie Eolod Sera mse wand upon is members eth a engeaes, Fosd itconnentny td a speci of Neoconerveon othe Len ends Form Flare Style Intermediate Assesment 2 ofthis rnd. Matra hich exhausts sl in the violent fare of own ‘smegma the wor on scary seve a the bas or a eve concepe faye inte, be ti plraltealy vented er not Pea, or sane ® peo of polemic recon hss eno nee pred tofherecos. ‘ton of ste means Ife would be pleasant to beable to free a= ‘sewed concentration rt upon al rte via of ady made, ound ee, but by means of an intense investigation ofthe energy soures which ives stu complexes wth ek propuve dive towards the future pon these nes of fore thomslves as expession i wings mm ay uation outined above har not been sete 36 convent ‘weapon wth which to tack parila inv ended far more © Serve as one of several pre ilusrations trough which the need far net ‘etpactves on the ution of syle night woefully be Semonstaed OF eal Detnence would ls fave been conedestion of hat approach to pla ‘which tempts to inerate ements extracted fom various lpaate cultural Sources ino single 'metastye since many of the agument aad ore ‘would apply herein equal mene I eo necemary examine very cone ld may works fring wt and etre wists of quant ape fs ‘one prefsbristed stat habit to another Where thereto conve Ser toa problem, appa lly dat tees no problem. Tis wou sem {oe expel rue in rpc of sli playa the present ine In a ase atleast very questionable if any single it tendency coud, By ‘easonol atv fcr mje provide tht rubestste common language’ whese [sen lak is oudly if somcimes peruncony lien on al de at ‘ore widezeachingconaquencs would be ahve, not by praying for an tut through a consequent end lonpt to recon the author ‘ity of» mas sist - beta of ne or several composers om ie cod with ht inespretaton ote which enncentates gay onthe surface characteris of given mater wou! spear seceary 10 aim {he inprtance of the camultive, developmental apes of te endeavor El ‘ments do not simpy appear, they emerge urbe with story nt only tht ‘bigitons bur vague shadow ofthe pas butalso, orsign the very ‘wn autobiography, th creo thi on growt Theorie which depend ‘on the excuy ofthe spotty /precaelaon ax for ha vaidton “uvetingly depreate the means in tl ow hands since bah postulated ‘tremesprsuppose channels of signification which rein imprisoned in he ‘neclimersonal som of fe whcha ore deep more ieee sigue species of dscns would avoid. The retgration of some form of ‘depth perpectve depends on reestablishing contact between Ue sue tures fa work and nner eben drives. ie the beau usin af pfecionofered by many virtuoso periarmers the ompostional sje which2% Brion Fernesough- Called Wings jl ssp impicly toe sas atra cot er ety tthe cspay oct wh ta ery ison aie is ths impr tha te elogy of he hla poture be dana a favor of typo pater, ~ whch es ter acon the tanforatve and eng pst fhe ‘cimponeis of hich he gue is compowed. sa quaston the it [stance te conadoor employment respect of the ‘then’ of» gorse here, tthe moment of dsl, ht the ‘once preoring ops mater abe erase a formal ete Soo A pete wan component defining fates be leh oto ‘Spiel tc pay tendency owas epg em that pectic {Srivoxderte become independent signing aaa ee oobi to “Sty ater gsr forms may fr want of ber pence temod sz The delist etree ofthe separa poeta ose ‘Stcmaaht pecs of he ure duces it stone ad the sae ine {mal pee san sig and temporary fro ofthe ines ogra ial eu the moment th fen et lense “The ence ofthe parameter has become prt of ou Geman se expres Winter te prorat cone of wae mane verngas isorighal ncion oncom thom surely nse we who comet cal peered wor Regio {Exrto whch any composes might ek ope hat he ral ‘lili of prmete ton ase opened by eur the egal ‘Sandi tue of he moive gt soul ot pert oes iGoecome con he pomerof wacker ssertons bs many nth {life mstnes whe the cancer of eon minal compl ‘inl dco iso gute nother order One ofthe st acing co {esol ewoncine neal suriplatortypaof the Sosa sal {eked for ber ato mach the fw etablstnnto some mater ‘altar utopia of autos cretion, ut rth, healt ictal et sat hat any orm of oun the pte fais of mays of A TCL immo quit ofthe pra co nt wae nt nthe Eitan, a cea easegoees of ae rete king sch tt athe flows diel tee ee tons apt The ded conan al hiking ae related Eeigaacgaedanata meant ‘sere of contents fonad whave aural loge by ro meas cca fl Towed oes heat ay to which they owed er nsec. as ‘hs the overall contestation of pret structuring which edie ely to the decay of otipatonal rely, not any parlor ndequacy lnherng inthe vew of sonic vena Being momentary fing of ber of independently moving seams of information On the contrary, the Form igre St An nema Asesment 27. if > ss © sean dst ofthe eve snl nan unto of ‘fog cot an cal preg rh eoblshnt ef se {Such of tly ended pence wine whch ert mest ‘Scns ein ply commune rep ef gr foal eens {Re halon he chet expres atu el asad gtr te ‘ry moment a yh he ky foe ent Cpa ee “Arelnicetiegaon cf panini deed penpesies gg the mad ors asic angen chan erp noone fre ae toe fom git sl cme of fra ever pret py. ‘mode of enapeaion wich etn dhe alan gue wih te pede daalve ae ia patna talon ugats ol ty op eth eandpo the geste ogh to ancony sevel wey ‘Siler ths eng ts co bea tes lyf goad Borders he soa nati of wich tl compere teen ivesof tc own tho, hoger, crag tenets the ‘nctte pl of nts Conan waren och e depres ender onthe posanal irl could eve persis ret ec iy orgy of te pst hel Teena guy ng rina ‘bar oft ue paras the Sea Garner ‘ee, witout ay pont esau ls ental gti mph th vy dpe ete eral imme ofthe gel noo Sitaram o be scopy eral eos ie rendered impale “he poent sat of vee pil demands recto rtln the continued suc for oe ly Galo aman angaogy es hs Woe ‘Stoimpy common purpose though te fg dcfaon, bth {nth gle wor nthe work se o's only fe aad Ueouph whic paar este © wher be eet SG my ‘sume sud oponeily orto cnbodient of te den a he ‘ling The nape peruse for such an deta, fo bg the purchase Seta ype af mcs fon he ce aS ‘olinouny rl of alc Imogeiy: Ta caren tt unfld and repre theses In independently meaning near topctr Reuring he Abney ation from te began: two min Kens sexm ob esteay envied nase les Fay ev ate ‘rocco fs enya el oben sl, a uti’ ‘ally nih props be ner asp om maton Wha af al, 1 expres tutto of psage moe ato ance nich ne the proumplie brig ae papaya eno eng” tanto whee ipa thy ben nthe be nape ene ‘rem bah to ware nara fone det of cate poet Spin {vers cating winter for of ya ote Dn a Stn momen of pect bom sgn het the wave a ‘epaulets often fecha taped ibe we hich nate, ‘Re wave) bing cae ine cnc ory Ue uy eee of he ‘ostream n feng the aston fan Be phys ote cog {soa rey becoming vee, acto wih syns: Ras the bern of nsappd ergy fi te counterpart nan egy fle Sette spplalos of face ton een tj Te maton of ete. ‘sn he msds tela he psn whch the weed, ‘any given nae, by a noe Dance tesa unique fag ‘hs malo al eal ey ae net set Ene ineed in Conan se othe at thy ae pale of cing oes scing upon hn ve Une cl fae rete guste Stat ‘pac og 3 xp lac, ops bl a ta monaco cer {on mn wih ety born anda a hve pet thon trem ie na evn nt alee “Tr are cats whch ait tri bythe force ced them, tha damaged vole gy siglo she eso este es deer doploed thee ‘cp Nts sco iets conpartey more ellen othe aad power te est wich they a expo en tobe acne wna ae pada wether Sg coder ota dene Ah a ‘ebsites we sumer nomen ‘Bape asa span lnngound proce eno te ud ef ene! Frcs ‘eck opportunity tongs» thy geal chet ened) ‘Spt The got lana ow oe oe at ands or exec Sentiment flora abt exlang of expen verge Tie gst eae ‘Rnmany wy compare tte indiual word hat may be oetly ‘eeoguna! inal ven cones and are ough oe ‘finda nme One yd repr meni copes ‘ett eng constied fll ugh tinplate tthe eed% Brin Ferg Cole Wtngs inforaton,terby acting the inner structre an constiion of he gsr ture tel To some extent the affective content a the gesture sony Losey ‘ested tis appeceplibe surface; the gual acy hus eons i part of ‘evising mens of nauring tht the tent volt ofthe este bua hough thscontingent carapace nnd to berate that surplus fica hitherto Tock it theirs of the vnc abet. Thee interprets of tonal music he gstue ses to gual tts via the species offs harmonic embingnaiduated by is evident onto ty One edly apprecises wy ths type of igual ney was Inthe fin analyst desrative na inaeasgi extreme ndviation {ed trevery fo the deoluton of he ativan framework tonal - ae Thecus tome to be ital tal the composer seek fo eas brood compari Tic relation betwen the sus denotational sence af he geste Sn is es ‘pec connotation inert Ihe indivi gesture peived asthe mere ‘Goual exemption of sy a pacar fetal category the individuation ‘his component cements degenerates to the status of ceil enbelshmet. Then the other hand, he very same ndvidustionasumes sch puticularzad Independents os om which emerges eats beyond the recognition thretokd” The balancing of toe pets in acon proces of give and takes situa atthe core ofthe figural enhancement a: a eve, he [purpose the igure inch rcet mc stated parallel tothe ropes: En desy of cig posted above, then the process presently ting through sta sgnibently more pid rat of flow At sch veloc figure ‘Gsoltin and refonnation the gtr bjt el heats break up, ing Feplced wih shimmering wo of energy exchange Thus that we ene {Touring an andaenta etre tween he cance presence of te scund ‘het and any credible cone found vation nes functional gu Dpropstion The sch, in rent decades, fr evermore innovative son ‘faeces ugh in ths ight Bescon a «dm acon of the sence of fap hich provoked when the impotent immobile bjt and an ‘euutly autonomous structuring methodology fo caine. The es of the igure medaing instance ssumes gest constuctve igfcance in sich {sus tote ext tha rhs placa onthe racturaly mediating ‘Sapna of concrete gestural quai John Ashbory employs the image of on ‘Rout a the cet of 9 wave, always changing theater of wich Composed, lvoe driven forward bythe e's ei energy but ina oti Save (ie al ave forms at rally moving The function and ature of the Figure ace clsly lied to ts nage musical corsiousess is aways he a ofthe past upon the ay of posible atures to which re Deri) [Saray defers The momen el defined, not By any constancy of ‘ater eam, bot ye motion dhe projion of gral energies ‘ohich mae point se by man of which the motions measure. Tempo dle Fw ” ‘The ies of the gure lacked or me, prs the intersection of the defined, concretely appeceple peste sl the exiniton of al Ima energie voy. Boh apes are generated by mene of tray ‘uvalen eae ths ween, largesse maton cpa t ‘Tingust tol woul screly be conesiale. The gure deers momentary ‘ere frames sage es - apble of proacing partir bypotetial {vlutoal ators the stilo-be pratved aurea the dacoune To Slime extent, we ogre anit the ature of such ame whe tl ys Cal ving tough he dacay aed dian of oe or more anterior fae, ‘whey the pat uperinnienc ‘ena ain fan nda eo ‘iso prior sates comes o provide a sigan abelt early Bk an rolinary perspec retaton, “Tha ate Carman author Arno Schmit employed the term oeviges ‘Desc (perorated Beng) when semi fo cre fo rps wih hese tueofindvitalexperene He sgt ht percep chard ss {yy hypothetalurroken steam of conscious, slong whicha sovereign sb moves than bya series of retively independent and unig spec ‘xpercial monads ave rts of get depth an opal aonance Between thes brian amin pins for hin, be ndeine quate of Instant dtngused by vous degre tr dlr ses whee ine ‘sl moves etoring to dite Tas the compas neds ataln cone gre ofontol over ths pespectivalfucustion heap oer Ns ‘nears in anything ke the fl formal and expreive potential Means mst ‘determined to generate dstngusable degrees of purpesive depth which, ‘ny view the sedy flow of gestural retorc no onge nde eer ‘wa capable of esurig "othe extent thatthe preset tage of compositions! eso es to ‘avout ton a tne ny ey meta co, stinetbyeneourges the soaptanc ofan lover’onedinersonal tone of the perepin/eepion cone Ido ot bev tht ths ssampon can ‘rer aduately do tc to the mind's med or insightful reordering of he ‘xperentally giver eventhough fatally fons one Ink inthe chain ‘whereby sgt aalgnd. The subsuning of many phenomena 8s Presb to rera of» deal raure- gestural aswel as gual" allows fran {nity of nermedate step of contsnaydeterinable and vale rl Soret between the ato he wave ad the hidden forces vesting the sarin deep. Tso my intention o suggest a fundamental sci betweon the fig re and all ether voices of must meaning ely, ene fst 0 ‘Speak o fel apts of ts that cone extant ves, costelton or {ermal unt No igure exclusively or merely gure, sno geste ever devoid fs proper aura of igual connatins to be atte at wil Oar= Brion Femehough - Colectes Watings ental concer wil therefor be the exablshent of ters of intentionality Xf parmetri contents of gestres are not tobe mote plas pera ae lanl independent ofthc mtr (nthe wns of beg consciously aimed” loewher) we wlscarcly be abe pea of heptane “The posal of the analog tats’ diverse sonic character is scr the concep voto figurine inking ane ac te procedutes Without the ably to infil’ the sacar fhe werk on ‘arou parallel evel compen would sary Sind erodes possssd of The exputy to tap, scum and stately redirect th ener which the figural solution ofthe gesture ells eth, One way of achieving ‘depth ‘erp’ il be to sek procera modaities amenable to big ret "ltom one pont of xara nthe fl to one or one thers. Asigle ‘ample wil fie to lust the general zen I haven mid, The fo lowing rng yh as is opoieof beng modified ae cn mile concurrently operative levels, for istance (2) intemal social onsite (degrees of lanshortreltinship); ) transformational potential (th eeeing of cera tendency or proces in the progres rm ery Jong tawny short within a group, oppo othe progeive wanforma tn ofthe fo valus int longer and share ona mh sue scale. la Mae he Tempo data Fgure » ‘mani for oer: rather they eval path towards the edfniton of funtion ‘Brough the coalex-bound deployment flair parents manip Inton The constant cretion f uzy parame of Ui sort isthe primary ‘Purpose ofthe figure, the extent that support the decnsticton ands ‘quent openingup of the selfenclosed onanism i a eine nomber of psble dectonsA few variations dev fram the example sendy given ‘wl Ibaiove, be of mere uty than lengthy commentary: wil be evident ‘ha Tnes of fora’ havea maj role fo play in stuations of this gene Bema) we yo e208) Svea ep B20) aa 9) 3 SS a It qui tmome appar ht oe er ae bey at vor te pate owe sabe rae the a Sider ml pone oemcy po ice we anes ‘headed doph of penpcive which nsrng oes lea dca ‘despre Forno her meri pss hay be rnd no ice yates cfc nape tag cto ey pts ‘tse rod rmsd be pity he apernped amet Sty tegen os ihe aunty wer edly te ol [elie vo lyr ay conn be eect ol re et, ‘SSondiy pny wee tence wing thr ogi tad Sven pesatnal pepsin wi enapbl at shar npn of inlgpelr devon “heen ld hae paterson iene bs ong rsa tre Baten et ea lc tit pce fami np nel orpy ean per ane eran Ph uring ment frien scoring ote wh of ie Futur! ep nah serene ove HS do wit se In Bx. 2) the teeny of the ariginal example twas the linina- ion of longer vals in ach al unit has bon compromise by the distro thse ter by nena af the mposton of tela mes ng nich ‘nina nate induration is olowed bya more rapid dacs. The ine of force iorming the basi ns formation ha ths Dsome pata esr by an euly fundamental, bu le medi spperciable tendency = 8 ross which thus imposes two tendeng-nodiying operons on the Indviua components of the soquncs instead of the sgl tp of Ex In Ex 2) the erga eltirsip sng tween th cela en aia (that al duraonal pars have ent global dros) bt eer less evden by the combination of two opposing moverents, that i 8.8 ‘ection nthe umber of equitan impulses contain inthe avai of {he Bist component ofeach el we the mam of imps civising the Second valu incense. Even ling tof eons the ese ength stron wil be daar ats sro energy edition more peep ‘way problematic na total procs fray shot duration by reson of (he igacanly increased anu of information 0 be erained Fe 20 i sats the polity of superpastion of wo eden with diferent at0 rian Fermeyhough- Clete Writings of change. Socosive groups of te, two and five subdivisions have been ‘apped eno the durations fumished by oer ial all but because thre are ‘ow ce suis a agint vo global acs in coc base cel uit 2 proprasve encroachment ofthe vo dural eves ocr these echigas [2 peed ver the foal duration ofa fagment of whatever length their ownage il tnd to be reptred oa certain dees, a a subetanes ‘henomenot. asa regulator perting other asp of the dacouse to be Exposed mor flan onsver the ober parametic variable, uch 26 ‘srumentton, eit pth soondar arcane are aken i acne, there clearly a vst scope for mulipe statfction of formally sigan nen figarallfoct anpets. The mre that individual aspects ae reunited ls eoncree gestural ee the more hl contentual independence engines ‘ich confils between the therby accumulated energy and ts frcefl isolation “The es ofan to some form of verily spc gurl vob layin contemporary compositional practice wou pins face sero pressp- pote a communal of language ane intent such 2 o render the nv tock a expression of primary subject-specific sats of onsciousres) more tress suprfuosThe eatin of ths seledfeating pseudooption leas to theconehion at some for fdincronie nen press) pred of 'Jefntion neds to be moti! in the etch for musa signee [the content of ny gen cued for, The fa that such eaiorships eal ats. mpresely untae secoding to geerlly accepted evaluative terms by no mean an ineuperblechtcle sce the exten of such ug tows rin would be tantamount to a specs of metodanguage, failing = "Na role that mentoned sven coon wih etoile es the faring abvenoe of such ning eles of vl tht in th fia analy ends ensteneo the ndivial wore cesar. “Aceptance ofthese hypotheses would soe to imply the psy of ict intonation of igus by way ofthe seectve interpenetration ex. ‘hange of oman component ron, wherey it would be te progress of {hs lvlonnalproceaaity which would deasively dicate the reaive power ‘fepeciicintees of gal acit The accumlatono several layers such Iierpenettionsl/anpliatory activity wath pet fo diverse parametic {quale would both increase the degree of bing of particu ayers in The dicouree and ensue that no nye would exhaust el nthe mere act of thrusting the dacours over th rd separating it rm subsequent instances tf gurl deployment a form of asl ‘suey et would epred, The cx post ofdlatint aspects ofthe figure to ete cede amples of powesfl ‘Sederingeatgorienlong the nes skated out above shoul be sen as one ‘esse of compostbona! uty, whe ts xp for geerting lip ‘Gimulanous and/or eucssive) ome of deena lowing tine to Dow Topo deta Figura a ‘ot only horizontal but ao verily’ and ‘obguely) inthe sn of foring {he attention fo aserte of retard scnning operations sccrding othe de ‘eof iteroking~ and thus restance of figural emai) prometes the ‘Snovan-owing projection of mule er ambiguous perspectives, of pth ‘te nthe pronation of the sonic obs there. “The search fora Far definton of the erm gare ln my vie an rere ofa est dob uty wl hope, have emerged fram he above ‘onserations that igre does nol xt in maleate nis Wn atone ‘mous righ rather, I epesenis way of percevingctegoczng ane mobi Ingconete gestral configuration, whatever the father purpose ofthe ar ‘ight plies composer atta sinc tw be hse ates which by roving themelves gradually frm the metaute acon to which we ate eabled io peceptully ground the continuing Now of the discourse Muse 1S not dead mater, nor yet absvact form Stl les is it meaningless ‘maneuvering in an uncaring sbrary void The ea of the Sure sean 8 Contra ar purposive formation ofthe gestae shoud dear the path “rau, the visionary el of york entering nto coversaton wth he ‘enor asf wre ater eu sje. We, a ompces, donot only manpt- Jatt egal tour -by ea ofthe onde sing aod edipeing ‘of figural energies what lf desires I th concept sues unduly met Pore: what i musial meaning If nt the revelation of rew perspectives ‘cording to cnsaily mutating ssf Gruss iumanen aes of pay?‘THE TACTILITY OF TIME (4988) In epteof the stang, poretoseeng le, you shal ot tink of this thas being come tr emt sens ej. Sme of yo ave Tapp send Barta n eter year and wi thse vere rl spd lth poly aggression a one cnet al ta En me walt or teu 28 ny engl way on mats of Compote sd igus Hower seangeity xm at =) tus fer tie ve on cnsuned with veri shes tcmang tant oowesempiciz ode: vod eta, tsp cea gh wa i ha pap, a ‘cunt onthe sah fora pose ago in which ne antelope ‘Tiny ow composi concre may be preonaly orale tb, theconpl afte and he cone sat of spree aletn oe Frc pl Macon rast nd peed! pea pug, Ti goa my te tat Til ome apron Sep fares recat Suro ones of practic real dace nach cen Stun Mnemosyne (the eponyeons Grek godess of memory) forms thf ral pat of he evening ling Carer Tnvenzone ile afer Pane given ifn completepeforranceat the 186 Donaueschnger Masitage, There So tht Lm presenting ths pce ony tat when staring werk on fe ‘opted anew approsch to procs the Intraton between argeseae er alvin sructre ans temporl contiguity The sramorpie, prt ‘in otc ofthe rythm tern nthe ve ss Due part vas ocd {io he linsar expansion of pmary and secondary pitch domain with view to rendering inet vous degrcs of temporal acy = hat it ‘Snot which lation inthe flow of time though and wound objets (rsa bene seneully neon) papa employ theta act even though am wall aware ofthe poems ataced to the unreal wanseence ‘of vosbulary fom one aes of discourse o athe Sl, we have suficenty fesquent scours to phys oly analogas when refeting to musa eves “Ck Femeyhoug’scommentson kag aout mucin Sing Quartet No ¢ (hie vatme PP 5) The Tatty Of Tne o for such an extension to ave some inherent ilve plus I woud not be ently appropri onsfy mien evens of for instance, igh Smplude according to etela such ts "weight then would leo seem Tegtimate to srk communally acepable tem forthe Nucuating bance between the Ldntly of dace eventbjecte and thei temporal ames of reference What in Webern and alter could be sid fence ‘ont Alief empty dass can surly be etended othe ager empey ce of tine ae Even though, when talking about city’ in musicosemporl tes, ‘one is spanking with nnottoal rather than denotatonl inten, tl fe that the fem serves to kent an eperene mt ou hae oxssoaly hd When we listen iensively 0 a pec of musi there are moments when or corelousness detaches el rom the mediate fw of event and ones © ‘Sand apart measuring searing avarof sel operating na spuiveie ‘Spe’ of dimensions diferent fom ths approrins othe muse dicoue inand of salt We become aware of the ping of me a something ely ppmachinga physi objetvaed psn Tes have been ocasons whe have had th experience of tie si’ acres he nner sce ofthe brain ‘with erainimper sem fo be te weight and sxquenalondering of resists fre by whatever evantional model the mind cured te cambined peshape with some frm of eri ney generated by tl ‘ourer and By the separate ararene tht thi happering) hich ces ‘an regular segmentation of expert catnty and, hee of he sare ‘nas oftime as dine aleve ent. One speci comptioal problem | ‘have ez ben working on is ow can ths obvi! ene of ine be ‘nested ith spa lor rtiasting qualities? One approach to ths te Js been adopted on a plurality of interfere level m Mnemosyne ad revolves around questions of mater as defining feature of experiences, “There appears tome to bea mar fila the preset unten ‘signing important aes tors organtntion to sbetract neti o Hythe frames. Sua it seems dou f recived conventions of ‘ponch ‘suman’ ae til widely apical as ols for suggeting natura oan. Tatu oe of fow for pte categories of msl event even though ‘scl that all ivory and mos wamtary body fein ert ate cf breathing adrenalin flow et) ultimately ont sigan ote nl pospctice adopted by the stener I al elton we poste Sede Seuctr and we proj gain it muscles we have one sp ‘ic rame of referee t mst la be bon in mind, however, that thee 2 paral maresuble fame at workte, th eltonahip tabbed Eee he bodys somatccondiian and te minting mainte We peeve is iter 3 beige Tas oo acorting to or boy condition. Sine ther ia ‘etn fac been thew pols the postion (pempasiv ofthe eer“ Brian Fermehough- Collected Witings ' constanly in motion - for insane, in pet ofthe prsived density or ‘apldtyo thsafae ofthe usc se, the understanding of what to count asa objet at that point inthe relationship. “Tis ise hs sometias een practicly hares to mus expes- son a5, for example in Halige’sCadiophonie foros, which the eld iy of exostion progressive sclerats tn proportion to the ection ofthe ‘lyse a adel elo the performative at Something sine found in {hatame composer's Holderin gle none ofthe veal movements of which ‘sichsnge ates an independen tro fram her own puerta by ol {nga fing the wt Hore the po veges considerably rom performer {o performer a5 fnction of personal emperainont and the rate of the ma tea tobe sung. My own immedi intr in Mnemosyne sn he Tied ‘Stag Quartet Yas the creation of fore; middle and backround ransorar tions which would evince ifeont somatic densities, Ther seems to me 0 be ‘only 8 rather small numberof strategies according to which we ca allow ‘asl dacoure to manfhe ingofeme swam eoncel preset faving a were, a pectic gravity all ts own perhap diferent fom but ‘eran equal thal enced in te rei neat these sat ‘gis pelts specially to the nature af the musa ots theses we pata dicts events as beng of corn deny, arloency, a moving ‘tha gener or lser gre of damm reset the amet fino ‘ato contained the peeve potential fornormatoal tance eather ‘gh the ime fame requ for the eficent ception and absorption of ht Information i usually more expansive, so tat the time fame is deliberily ‘ompresed scene of presse, of too lite ime emerges ata mao toe ‘onidoningwsrpton © someting which lade he User to categorie the ‘muskal flow as fast Thus, when steers omy usc say that so ast they tend to mean not ths the momentary deny of events excessive but ‘aber tha there ast of tne lg one located ote wake ofthe event Sal which the eal area of temporal sensation Sometimes, 0 be su there ‘a cari sentenced bythe fing being pushed someon beyond ‘he ‘norma’ theshold a epoca tlerance, it a area a which proviso ally erected framework ar continually being vlad by current evens which Invade them. The chabenge of outset speci ebjs which suggest such 13 figh dee of ntl erence ta th ening en nese sted Stan angle towards a sacar arenes of he ufc bull ito the ‘merasons ofthe me space within whch the oe lost As aes he "a Hoge, Seardanel-Zyklas Sedan ithe nae with which ‘Hilden sigs nyo hs ter poe The pees in quston ae Der Sommer Flt rom the sbcyee Die jabeeeten (97579) ‘he Tatty Of Time 6 ‘ime fame tsi becomes rater ‘gue’ t stands aprt an oes eles rektanetoliner eng upon that alas have oconally hod dee ‘of atempied scape fom some unnareable far in WHch our Ket are ght ‘nsomesftane such sgl or molasses ht ea temendous ty ep fort to keep moving. Thats bt one baie example a the so of exer force main about "The mote he ner neyo musical event sugges autora, ‘eles th capa ofthe time ow fo averse with puny ts be by theconac By the same taka, however the impo ofthe ene eco ‘ar age the ever bet, tus forcing ito reveals own generative ht tetra fi testy percep potenti hs ben eel Callin, Aa the pce pogeanes we te cotinualy stumbling crow futher ‘Sage thscalactopic obstacle ace Ths energy accumulation and expend ture aoe and between these confrontation moments e perceived ae 8 oth ‘finial metronome, and in fact its aversion ofthis procure which ‘mot cary fl the exresive world of Mnemosyne the eration rd ‘Stavtophc meine miter ae employe equally ofr temporal are ‘ie thgh the of material The meats employed drive forthe os pat From he varied ‘ering erasure or conflation a yuri) of gly ‘tlnalized sto prewomposed mete ythic model Thechiceof medium Goto insrunent and prteoored tape) a diet relecton of my base cone Spe Rowe can transparency’ and Teta’ of mss materi eh pet totemporal perspective be a exresve energy? "The Was addressed on thee fonts simulancusly (0) the ‘manifestation of background metric sptio tempera co-ordinates on the eight track pe (rere only the ow at ofeach an every meat of the ie tacked; ©) the interference pater’ crete by the pri erasure of the Shertac hythie mel heir degre elit representation) and the Prva eel of explicit intruptive acy in the alo part, whereby each Sf he thre tines of epee calculate rhythmic pots sable to cut ff sleady praent actions on one or bth ther vl (i a monoplane Strument 5 cn tat henry of material on asco evel acer enses ‘haton he ist evl tobe broken of regardless writen duration). These ‘hone aspects thas have the irre sat) in corn, snr ever he ‘matic stracures ofthe tape material are based on continual es cuting between measures employing eghth-ete beats and thas characterized by pa ‘ela frctone sual quntplt or lt val) of thos tts, whey ‘he fe ofthe relationship betwen sure gesture ane Ur the aden i nd) clk tacks contarly changing Im addition, what i tae between ‘mewure and measure sso vd for he lerplrelatonshipe between adj ‘ot eto is mnportan al the performer crn to creative es with hs Pyramid stctureo conventions: note gun es were gong to canoe Yel« ‘rion Fereghongh Caleta Wrtinge aris fal writen length fr irtance, is going to have coral fret lfc whan terre thn 2 note writen a ving an tl a dation {even supposing tn cone, tobe pombe). Pesermatve shaping energy ‘willbe debited to qule beret other mental aeons Teslear that we Rave several musical objects fllowing-on fem one another we wil perv te fl oft ifn acorn othr) these objets ae obviously cossrlated, whether they are connec by ‘gradu transformations in one or more parameter, whaler there xs ‘ifable consistencies in inervening “baller mater and 9 on fr Insane, we move through a pice eney onthe bas of qos insanancows ‘modulations (Him cats) then the nega weighting of he temporal dimen ‘Sons magaled by the paral digpntion of materia insta nl inyoftemporl container Concomitant the po ow win any one tase ‘sme unis becmes somewhat ls Gnstiutve. Ion the oer hand, we Postultea music whose tructral eres, whist equally powerful ress vis relegated toast of subsurace ordeng mechan ike pricing "he length of mesure inthe dens of pues in the immediatly poo ing measur), ten our eas naturally adopt other asumptions of priory of tuping in ime even where general density and tistics ae diely ‘mparable actully usd etal rhythm sera o Mnemosyne it Tnermedia’™ a plewe for slo vig hase end elect was very diferent reel beau | deliberately chee ther conventions of immediate snd me ‘ted aust diferent semblges of density is within istered met $eframes Atle or the performer the very of Hutting me ames on esentaly homogensins material provides important eso 10 the ‘e'ssructral segmentation characteris Arte same tne, one ca imagine ‘manipalting een sosederity within ht models ways supportive ocr fabverting the information lane from the metre patertng The spre ‘Sfelng wth respct tone another thes two evel permis the proacon of ‘utr macoperodtie of great wy ae rpards Inge sale foal at Iain. In ech instance we encounter “hes values (of duration and/or en beyond which the expan function ofthat vale trajectory =i tus ative formal maker -nderges radial traneformation (eg fom fd to erentbject or fom primary proses oscondary nerve) inthis ptt ompostion thresh ad ep oh ck track, Tewas suggsted to mebye number of perfonnes ha ultimately they would be slice fan With the temporal proportioning (ts ‘contextual nati rales to beable to dspese withthe dick alogeber, Lam notin favor of ‘The id pe ofthe Caer avenson ce, hough est ‘obecomposs us ‘The Tetity Of Tine 9 ‘his, hough since the mental interference pater set up by Gay) atempting to weave © numberof regular impulses no a measure bchen up inthe per former's cari 'y clicks contbutesa bt, thik, the moment omomnt flow of expe tion The cs in such canes, provide micromenmire’ serving to dvideup the material ina way analogous the ole of mamaria 4 given soon I the Maus wore to abandon the ck wack, sens Hy that be would expend sigrfiandy more energy in ‘vas the material more tracitionally, weakening interaction of he speci of hth dealing aod [ager aspects of temporal organization. ‘oth the int sapect of what | shal em metric contestation ‘he second might be elled tht of iterptivepalyphoy (bath alate subsume tothe agar category of interference frm) You wil aie hat he tic ute prt is wen outen between one and estes, [Bc E Mnemosyne mesures 1215) ‘The mumber of staves employed iin fact one ofthe factors diet ing the overall anal popes, Whats happing this cach ave ext Ployed represents the ests fen independent hythc proces. Sine these fon concurrently and are par not mel grammatily) ompatile is ‘erm of reductbn to ora parca common denominator ica Ht no ‘monophonic instruments going o beable to perfomall mates onall ree lines: With pao ths dest mater ten the omy of rian ose ‘oes among RI inteting that wht comes tral to sy “oan player enenuntr teres estance inthe minds of Gay) wean soloist, who ae ot accused eg heat elatorabp beeen ands or Nand and enbouchure In ths instance, bower, Lam not lays) ott paral aspect of sgl sounds, bt ditt musical process, What eppensthat ach ofthe he es is own ype lnany gen6 ‘Brin Femesiough - Called Writings section; hence, there always parca prey plier character of the lines emang henseves-one always dominant th oters companies, lnterjtinal or oer subordinate Siar paricula one cals regis lstbutons or degre of eative deny contre to the sane of separation ‘of esences beeen simultaneous layers of linear unfolding Since the mono- onic aps ofthe inant ome it contin confit wth he Nghiy polyphonic ature cf th superincuribent materials, events of event chains are ‘ways being nterptl y the begining fnew events on eer Ivete: For {he mt part evens ae not held forthe full durations belo bel broken Into by render ofthe ains of ther, ‘suppres tendencies The degree of "acy fom this subversion dicated in ge measure, sy, by ‘he amount of peep regularity o onistency set up inthe predominant layer and, secondly by the degre of expiiness with whic the ierrupve function themzlves esume acertin mesrareofprdiably How the ay ‘ers inractin etal is et othe poorer to determine sine tise who a> Sign relative hari valucs tthe intenevtng or cling, ‘When notatng the pee had to determine» mod of pres eating the ‘commencement of ech son, together with he pola whch ster by an event ehewhere fo th sled the convention of continuous hor- ‘toa ie draw frog the notcheadl onthe at evel out above or blow {he narrupting ever, connecting the two witha vera ie. x 2 Mnemosyne measur 2627) So ar we have covered four major facts of ime low contol in Mn ‘zyme: (1 the wltve duration of ensures a ‘constellation spe’ (2 the ‘ens of materal presented within ech space theinaction of ick ack ‘withthe dibution of materia an (3) the nent sd expats of iter ‘iptv function with which the elective simultane 0 vectorial tendencies ‘The Tatty OF Tine » ‘expoted. There are obvious pracy and ntretons ofthese dass 1am “Stns concemed wil providing ee many structural bigs ae posible between ‘ategoilly distin evel of string, Analogous But not dential pelle Sf onetng end tening ere he goal “A further een perspective gvenby the tpe-something | ei reno ea. There, described how ther metronome’ of he cick track &resnatd’ hy, end courterpaied to, the macro metronore marked {ythesuantnf Gown inpes pied ye ope as Se ‘rl further ese uncons are sre! bythe tape among, which ate the rosin of etl cums formal dee ait the slo struments ‘ore alin teenie) thesnic defnton of snstllation spas as Vet by thelr propartons the slgrling of new secons by hey eine cho td, ot es the creasingly emphatic imprisoning ofthe bs ate in 3 com lec web of reference pices - somthing which provides more er orients tion but ao undermines his gestural directional stonomy: Snr the solos 's pert to play only pitches already souning in the tape or) second ay pitches articulating a specifi ane everreducing) repertoire of intervals ‘round those primary patches, the relanes of the Bass Sut’ ich matron Uistsimultancousl sounding on spe becomes moreand more consti BY ling the scrtve tendencies choral deny ofthe tape enting wth Single pc, moving gredually up to eight pitches) to intersect with these reductive tendencies in the ol tne, lange sale pti of ender Now ate established aginst which speci conjunctions may momentary givens 0 rowlineriy perceived event tis the pedulanike motion between various ‘lgiesof background flow citesa abd the sudden emergence of sch el tively unpredictable events which eres a the vehicle of temporal actly” ‘At the began and end of the pce the functional dichotomy very des, {he hierarchies dita especially wansgessional aspect ofthe two levels ‘ata minima. At the begning yo wil Rear ena single ote In he ape ‘ounterpoaed psn gra vary ofierv aed thoverentin the bs ite ‘Atthechd, precy the oppete athe case, thats a high deny of pices in the tape has reduce! the slo inet mere demonstrative hrzordalzation of that wera, exhausting thet he ner ener poten ay 1 ponsrate the opaque ine screen tape chord. Clery also ares ck Ecipayed with dicta and inervaliceonsency when tating escondary Interalsto primary pitch Went: vaso conatences of expliness in rosea fachnd can aldo inert general prevaling degre of linear Eeraistncy. It nly in the interstesof these ey tone of destabizaion thatthe intstanianeous shit in perspectval sessment nderying the ete "acl dimension of temporal fw becomes dominant ou erpoal ca ‘ings predominant the mena stance tobe raved having been nese, the spe! a which pereptalasesment mechanisms mst move in relation0 Brien Fernephough- Collected Wings tte day of mt ein Seon ang ting comer Thal dhs Fave sid noting spc about the function of tempo and eter proportioning Sulce to say here that, ist a all emp lt diety bck iva limited numberof ratios ether to the base ep oo iumeintly preceding temp so mer structure win the groups so fommed uti ea ‘onal bet relating fo the prevaling beat peed in sin derived propor ‘on. rom section fo section thee are alo gradual modificntons of 8 Ene Sve oe subtractive sort in bar len bt would nod a mich lengthier resentation to layout the precise path ken by thse vasious veo i thee ‘ance of approch and aveldance It is my view in genaal tat the awareness ‘ftemporal flow asa sensu palpable and thus rately independent ven Isinlange part depecent on oth he omamual resonant apa of hese several levels of oganization andthe disruptive sstoishment generated inthe wake oftheir oceonal intersection, cllson and muta sbrerson. Ths ‘Zens fo mea omjor compton secure DURATION AND RHYTHM AS (COMPOSITIONAL RESOURCES (1989) ‘The issue of shythni suturing in contemporary music has long romaine vere, nspite of many sigan attempt fet om the ingeing resis ‘of supers afectvevrabulares and general oversiance on he mere con ‘monplice specs of spoedh-esmblance: thas foquenly bmn conceded ht {he decoupling of ythmicatcltion fom Lager eonaderatos of forma ‘ordering suchas harmon ow, bas seriously ibe is ality to oer pve ful conext-defining tools to tne composer Rhythm i nt simply or even largely -a mater of temporal extension pr, na do the recived wisdom of agogi pater making (atic emphasis rave impulse chains apd the lke) {ppl othe came degree ax hitherto. On the conta when no longe ppl {Opec of largersale arcultion in olher domains mee at Bo nee lta at worst an actively debating factor AS alway in he dcsson of ‘mates ats tg nt the cearcut aes which prove mast parinnt, butte ‘tdoined and Nucuating ‘ey ones where a ive vy phenomenon ‘may becalld on to aese mulipe functional les ‘My purpose in what follows teefore, net to specially define the liminal nstaness of my sete estrnt of thythmic es ut rather explo albeit punctual come ofthe infinite of possible points along the network of lines though which thee defining Canepa! fnstancs ae one “There analy ite point in reining rule ttve yh tursina ys context devel of tol or tonal ype) human paters Very ‘fe, the presence of such ates isa negative ture (omparbl fo he e- Sida posters in sme Scene forint), nd ito fll higher ove "fern functions. Paral thy we confi tht mete Suctuig has bon Tage fred cadets gogic oration read, n consequence, as been «downgrade ta imekeepngfurcton Some composes have attempted ‘overcome these probioms by recourse to more ols complex spc ef ro- portonal relationship as evinced in Care's metric most chniqus for Frstan), anther no donb that mach can te done to etend thi form of neo ppc nto sil farther developed ares. mn my on mse [ave ‘conceited onthe tae of interltingteatve than ted merc trace2 Brion Ferneghough- Clee Wings arp ngs ta pray ron mata arene wnat wens anee meaaat waglemienstr teeta atch ieeiereesntessauce Scene eae Siero eer Seta caer ee rncetnea Solely epee pes Srrateaeicrem teense Spatereeceeie tera nae aveuacatiatacastanaeee eevee raya msearmataes ee tek eta raneeea icone a See cmeereacTamanmea psoas elie cies ieee eee enemarcens Srtotireaan oneearae Sh enart pe oceeneea init caeea eas aay copitienireatteaimenas ween seehegmeartatneatertpea trace cacti trereeagineeraate ye ioceeveemmeniecenies ae eerie encod = mt iad we tc corlitir toy | ‘We ae fala with this situation in palymetic musics, whore bask nls emai constant om measure to measure whereby the qu of units ‘moves in parle with Ge coupe tothe respective legs of the measures themecves (eg the concudingsecon of Le Sacre oF the dive’ metic uration and Ryton As Compas! Reuse = tschriques employed in the ery postwar period by Boris Blache). Interesting ‘curvatures of poreptal spat cnc however When ths tation no longer pertain at Ifo say when absolute merical duration and impulse lr dosupl na mus in which the mer eine realy constant 8) the rao 5 can be expres onl in terms fete four or five implies et ‘easure (assuming he measure fo canta oly one desty-expreson). 2 1,400 FI | Tri, Insuch eases the greater density invariably associated with inreased rapidity of impulse presentation. Whete the measure duration is ao mob, “nthe oer and, many mer and varius ated ao expressions ae con ‘ce casein point would be alterating meaniresof 4/8 nd 5/8 whee dleraty values of four in our, five ve’ Tourn Be! and ven fo” ae walla = iebalieccel tabeliccts) Here the fv in fou utilizes impulse dations consideabiyfster han the four in ve’, wherby anew ratio of 16/25 arse Hence lt possible © ‘maintain the eaerent presentation of bask scheme whit com "nally modifying the etal clock duration of te nviual impulses gener $e This hs been a extremely bc esmpl forthe ak of immediate day, "chess and vary increase expanenaly withthe addition of remarkably fll mbes of extra vais The immediate gol of hs nal ‘as been to mgs the inercabl interlocking of meter and sobdivsoal Impulse as conetable stands of sonic information T have found Ut many tother maco- and micoformal consequences of thse princes are derivable - nd (ere important are audible particularly fand when snes of ese bas ‘manipsintion are organion to act in concert ona more neal foal pla “An imunediateconsucnce in my own work hasbeen the basi of compositional formal races on ls of recur ad they propresily "easforming measure durations Stch cycles perform a sigan function ‘hat they are able depending on numberof measures athe consistency of5 Brion Ferngough- Clete Wings their developing rstonship - to mish ws eth tively carly graspabe ‘rentaonal ool The longer ch ptr Decme, he ore comple an “anpeicablethermodietory stage the pester sel tendency to aban don the eights of surface enkerence. Ts eras than among oer things, ‘omedote usefully between immediate contingent deal of texturing and very large-scale onanintonal concepts, Conversely te shor thirst eng, the more the values remain sendifiably consent the greater the degree of ‘onatency in somenttomomentasecation with parc impulse goant- ‘eatin, te more marked wil be ther explication power intr of xpres- sve mechanic of igural/ generative alliances Lit me take nother sraightorrad example Her the cele of meas ‘re compris meray tre vles 3/8 4/8 and 5/8. ln conzat this the Impulse dey atric contain values, 5 6nd 7 Simply setting thse 0 ‘hn in motion agai cach other ll cele «wealth a contextual laton- ‘Ships Le Gepining) 3 45; 86 37; 44, we 1 TPy Ty Ti Fy Ny MN, Further maco-phas scat at the common ending pint ofboth ‘jl after 12 ales) whch may el be emphasized by eter compestona ‘markers While wl lal tke come tne for the mechansr of the elton hip to become rexonably apparent, his soto be een asa negative quay, Uns one posta ‘send at thcry of mal information ae an eset Prerequisite fr coherence. Since I mysel tend to regard process ‘ogi bj Cin the sence that, by define, thei fal entity only becomes dear ‘wilh the dpa of tne) the everchanging gully of pata darfction ian ‘tremely valuable aspect ofthe baste suf of composton “The above example tlized ony patil intersecting aise t may ‘be tha compostona desderat demand ol consdenc, so thatthe pe lev power ofthe system be enhance (whereby the dens of impulss in ‘measure might be oan! witha view wo releting the length in basic unis tf he immeditelysubeuent measure asin the allowing ample BS 5 SS | 9 AT, Fy Ty a Ty Durtion and Rhythm As Contos Resources s Many othe distor derived tractive elaonehip fh sortareco civale: hive investigated many of them in my works of teat iter ears, (Onthecther hind, maybe tht ally diferent valve saesand diverging ar. ‘tional vectors would need tobe applied inorder oes s notional ean ‘erchangabity between thetwo dimensions, Te bse caeept is very open ‘his parts tively vale rein ts implatons for ye and vocabulary. Tt wil be immediatly obvious how Sable hs approach may be in pret For empl nae 3 sero of measures witha ommon durson = aga) 4/8 thse maybe ashed neal, quit! sbsons th enstes of 2,3, and 5 especie wo Ti nny As, “The linear tet sof an ceed progressive nce in deny. Altratvely if we cent 2 measure ptr wi duration fo ‘este menses but eaning an identical density patter /8, 4/8, 5/8 2/8, ‘ch subdivided ino) thers ail a sees of arm, but wih ery ie: ‘ato bling batween the four uns (5443 and 42 in the er cane Ss opposed to 2444 and 5 the forme DETTE O tee ee ie Inthe ater ase, tothe obvious comparentaization nto group of “our contbitos much tthe sense of ne being pulpy manipula alma hea pial ob. Flowngon frm these examples ti aturally posto mes bth levels independently Taking a measure stucure f 2/8 4/8,3/8 and 5/Band applying Uneasy incresing deny pte weave a the lowing cn ncn 22; 3 an 8, me% ‘Brin Ferephough- Cll Writings “This proses several inteetng fests not at of which ae co spondence between engi of beat and nip nthe outer two mescures and ‘nvr reversal of impulse density and meseue length rae in the two Inet {els Mach canbe made of such formal conespondencis particular In cases ‘where one or aher dimension his symetial characteristic, Whit the ‘ter folows a more linery developmental asymmetrical course of action, In {any event the total applicability of ny set of quanta to both eel of article ‘on iiferenty ope a naber of venues organizations perpetive, i ptcua conan the suggestion of middle ground interactive peep Rearchies “The mast complex nd formally most ended ex nthe elbors: tion ofthese techniques that Ihave yet tempted ve eon undertaken whist. ‘reting a stereophoric click rack fo the purpe of cooing to groups ‘ve performer sn Mort Suite (190) Example shows the iv ayers of tc Sty each of which flowed by two players ‘During the at two phases the upper ine remains, for the ake of ‘nil laity constant in measure length, relatrship to base eighth bet, ard ‘emphasis of down beat During the fst pas, ine lls an ential pan, ‘ut compressing five tate ce nto the space of fur Has nding sl at ‘arance withthe iil 5/8 mer In order to obviate the neces of x= {ending tational group over ba ines, measure duration of 5/10 has been Selected Le groups moving in the rabo of 4/5 with ne T (has having the Sale of quintuple eighth in that ners terpol n Phase I he stason ‘gine ily bt rapidly comes more complex in hatte 8/10 earare is msintnne for only ane mesure, terete redacing progressively down to 1/10 slighty after the mips of the prac. At tis moment the Bask ‘ne changes fom 4/Sthe of ne I's valet 2 Sd Ge tp ight). To th sapped the same procs of measure length madison, bt is = ‘ere 1/12 increments fo 4/12, leaving the phase fo be filed ot by a singe 2/12 measure, Not where the coincidences oor between ne 1 at ne 2 ‘The ancepe af macro yen ts boing shed out (eventhough the pis of eolsidence donot lvaye occur at moments of minum agogic empha ‘Sin line 2, inthis presage we can obverse the ‘Saturna eet of 2am ‘nd exsentalyHinor proces Being superimposed on = primary even more ‘sc eiscordinaton ‘Pe Il bring in sll another sight modification bet one with which the er as lady Become fami ithe preading scion Line T Cakes over the incremental facts of line 2, reducing fom 5/8 though 2/% therefer neresing 0 3/8, with «free measure of 3/8 ling i the ‘otal sation length, Some of you wil sendy have remarked hat coneer- ‘le efforts ave been made fo mainan some ara orenstionsl posal {in that each ofthe fines 1 2 remains invariant during to sacceasve phase Duration and Rhythm As Compositional Resources ” x. 9: From Mest Suite8 Brion Fernaphough- Collected Wings ‘Thus, here, we soe Ut line 2 & repeating notefornote fs materi fom phase I ‘Up uni this point th upp ine as ead. ofa rference uncon, n that - whatever the metic varity he eighth beat has rena ‘conten. The sme at one ariaonal remove) ha been tie ofthe lowe ne, ‘ict that the basi unt of counting fae aru trios, proportionally ‘ered, values. om Phase IV on, we encounter values foreign 9 he lower line ist measur, #impulss in ple of 5: the measures are divided up no ‘between land 5 impes Note thn the ist group hs been so selected hat ‘snes acl withthe fit five imple othe upper line thereat Ge ‘ing widely As can be sen by comparison wth Phases Il pd the metic pallom ofthe lower ne remains constant, regardless ofthe impube dents [posed The second hal of Phase IV offers several encounter pins tween the to eves hus calling for much hythnsc punting one of the care al ‘niques involved in rendering hythmic conjunction nd tus the snetion fof me underpinning them ae ‘Phases Vand VI. in cones, hve xceptonally few sabphace resting Interactions of th type. The boundary beeen Phase V and Wis charter aed by mastve contest in) metric structure of bth voles and () the dan- sy of subivsonsGrcloding rata values) employed. The dsorentation “ued by thi sudden charge of pce striking serve once mort uncer line the permeabty ofthe membrane separating perclvd rca crer fo the leveling tendencies of acs "Although the example comes tan ena ths point it cou ave eae ‘Ay boon extended for example by retaining the strongly dfeenated ier. ‘al atructues of the two Hes whist altstingtn many tre pons of Cuincdenc,o by mang the transformations mare emphatically drecional {moan and, even thoagh this mater Ras bon presented ere ear ‘re sulfcent unto Isl should not be forgaten that frm the basic ‘cordinational skeleton for more comply, second. gneraton’shythmic pater ar formal oe Paruoning of given syne plies forms pst ofthe composts arsenal of tools for apportioning contextual mening fo the ra fact ofthe Ina stuctre Ir important to ote that hase secondary artcaltive teh igs are themscives amenable to quantfed dsrbuton by means of precisely the same numerical modes as were employed to determine the inal meas- ‘re/sbvsion rts. Justa pic partion operations allow pitch space tobe raved in many sbly manced ways so diferent extra ne oh be evoked by dsrbuting avaible impulses acronding © hiarchaly pet renal shams some emphasing the andamental bat elasonhipe the “Tnechani’ ofthe operation ~ some pethape ninging ot spel pect of dest or drecon uration ad Rhythm As Compostinal Resources eo 1 From Mort Sabite Qrts> osu ample 10 takes Phase V of our moe! and dsributes the avaiable ‘mpules between for vies Di ote tt temper oie nthe ain ‘ols Aan Care made ups Band, ths igi fa, oe of he fo Sons forthe liter vols clason. The selection of impulses for A + C was ‘nade by means of salad ‘ler operating these date aw mun ginal Impulse are o be added togetiay subse oa total duration which may (hut nce na be expressed in continous sound he reason fortis hat lest stil speaking the dart of the ere pu wh ou bat ‘he pling of atc in heme ame To the exe that A+ Cae derived ceclusively frm respectively the upper and lower lines of Phase V the yout \, ofthe underying model rermins relatively car when, however, the fred lines move back ard fortat wl itis car that the imediny ofthe relation ship wl be gest acu. The underlying metric scheme can, on the oer procera emphasizin that espective of farther fering dee sions, the dove of every measur alos to Eth voles in ach pa ‘48, CD. Jus as thee has bee 3 rato rationshp between) measure stl ‘measure, () inpulse dens and measure and © mpube dens and inpube density co rato rtionships can be esablchad betvoon each of hese ual tiesand the dimension of secondary ikerng atv adopted, Te coreunt ‘drninaton of some rerence tps natal tcc © gener ene of fhucruaton, of imeguarty of perspective whic, while not sporty pow ‘fun rcrament of prediction asthe oer eltionships discussed above, can pave the way to a\more comprcherive interlocking of al specs of ‘omposionaleciqueon one ate sume provera basis ‘As well as restate, two father etersons ofthe prinples of ‘measure subdivision dsusd atthe very ote ve proven the tty Thy ‘re only related nthe see of beng mor images of each fhe. Bt ae primal conceal with artulting the nae of a sleadjeatant Eke« Brian Fereyhough- Clee Writings formation (such asthe 2-prt click tack stay, Wile one furnishes extra Information however the other's gals to omit lemantsabeady present. The {ists the aplication ofa second lve af sutuvision operations whch ake as thee ald f operations the pulse unt psd upon the orignal measre ‘Sructue thus weating the former ina fashion preci eomesponding thst ‘pple to the later If the stn sat of proportions ae tnd 9 soon Se ‘our it iscleae that species of quas-cannic lationship is generated, ih the new level moving uch fsa han theo A simple example wil Ike. tite what mean Ben ® = es | 4.09 Fy cabin, AREA g Veal I oe ee Pim FA) pA amy PT ‘The masure durations having been translated into subdvion-pues on the inter evel heels felting the Dat durasons of he meas ‘re the same vlatonahip are pret! a on he nid impulses ae (©) on groups of impulses camesponding (in ens of numberof impulses of ‘whatever lng tothe tos pertaining between the oie measures The ‘os Gn the medium erm at end) sone an tthe tele sength faci link fence, wher each nk socked’ the whale. In creating the stove par ‘sage Ihave already resorted tothe scond of my pi of chriques, namely, ‘lmton. Where, before impulses were aa, ow they are mid according to kena goeening citer, Example 12) states the aplication of 8 further ayer esbsson proce to the attance of) whereby the sus tained tons ofthis ater ave been mccessvely divided ino 24,3 and 5m ‘pulses. il be noted thatthe sequential onder in which Hse operations ae ‘red out has a decive fect cn he deta ofthe ial sul that the ap lation ofan eliminations procedure fo the base scheme dealing with far aller amber ampules than when the nsifestion’ pros has ley ‘een vod bre uation and Ryton As Compositional Resures | gL 518) peta Ler Bene) bel ge yg SOP Iason ten arg ht iano manera ed operons ofthis types essentially flawed asa compstional statgy the mpl or x- lit assumption being ha the superincumbenceof corse layers of dat rion is not adeseatly arable by th ear. To hs one might ep all — formation are unedatelyacesle as momentary grasped, halite evens ‘with early delimited ores, whist thers are bythe very rtureeatoral, [Le assume formal potential in consequence oftheir embed in partclar ‘sea station Sil eter for of strerast ae stilatd, ann the grad cming lta focus of shape and fenton, Not al Teves of te dscouse, inorder to beulimatly leva necaarly esi Inte simultaneously asf projected ono a fat screen, Musial perspective Cin the abence of extemal reference) best suggested by maa of the aking ‘ube of hierarchies of eompositonlatlstion~somehing often reached 2s the sesultof acta sucesve aplcatons of techraqu an ineasigly ‘ih suttate, One final example a ach perpctival play might sen om ‘iy Tlica pee .S.for solo double bass (189) Example 3) “Ther composed the Basic hiythmic denies on two dint but con ‘curt eels Ashe frm developed, values for these dena re inetd By one sean by secton. One consaquence of this operation tha simula ‘ts vals fr the bepnning ofthe pce which ae relatively dating ty 5 5)anave ata level of high ‘dssonanar when incremented ato of 12:13 ‘Althesame tine, thesoondary desis encountered are progesiely duced tn valu, gain by one pe scven-measue foem-it. The sult ere Tink, ‘lear namely an increasing approximation, bh ofthe tro main dents {el eoncomlant secondary modfatins. An increasing level of convener (ms Seoealig hate ean fase@ Brien Fereyhogh Caled Wenge Duration and Riytho Ae Compositional Resouces e x. From Tio per GS. He Fanta fr Klas Huber on the macoevelis thus ior and complemented by rete indiference fst onthe mic-level What boar aba very dear perspective stition asin the course of some 49 messin, bicome a sate in wich the mutual Inteeence of operative levels hus bacon the primary percept quality. ‘Wht momento moment inaction of levels (ad more ae abviousy ope sting than have mentioned here) emans los han exp bleve tat he longterm tendencies and tenons generted provide » powerful contextual ‘ame with apd Uough which, for ample suace texturing and reistal ‘movement ar assim, "To cnc, example rom two cher works. The Fanfare for Kaus “Huber or tw percussionist was written forthe seth ita of my con ‘positon teacher and responds othe demand fora work contained ently on ‘ne page Example 1). "As you can se, Have recur tothe bs principles lied inthis presentation in pec ofthe deny proportions employed. One innovation pethape worthy of mention hee i the ulation of rao relatos in ro pect of the speed of beat Gee 1/12, 2/10 time signatures) as employed in the tlc track example serving to define the actual sped of imps pin each ucrsive mesa to be aia are into the next measure regal fhe {me sigsture employed eth notation in pere2 mam 23). Ths ea pina ‘ple continued trghout and exes continual changing of pea by lle {ng perfonners Therion of ths ary over as wal ois atone otheo rion Fereyhough ~ Collected Wings new unit of measurement ae the main operative variables Hewhee, or ‘sample, have inserted soc clement into tears wih simultaneous but “synchronous merc sche, thas providing igh loves of variably with regard to the enry pont of sobuoquent uns A ager much more gular pale system s generate by the unique sound’ led fora total of 3 nes ‘The distance parting each ofthese (undefined snort is tela funtion fa proportion seis nosed upon the final impuse ria fia acultive ‘hodiaton. should pers added that some of these sonrits reson ‘over peuses and Hat fhe individual choice of snort ices; amp “de elatve const smarts cosidrbly the perce ytoic Mow ofthe whole [Ava coelsion to ths in no way exhaustive survey of some aspects of my appronc os let me mention a compostin for wd and tre perasson, Care flavensone IL which forms par ofan evening ling, Dele of sven compostans premiered inthe Daraueschingen Festival i 56, {Tis work makes extensive eof pais impulse and arti [ae the momentto-moment fw of activity In this pect functions very ‘ch ike the Morte Subite lick rack in that the ial sults asad on the ‘Snulaneous unfolding of mpl tempo and mater elatonships. Each new ‘event fe igered by 8 percussion impulse. At fist rather inrequnt, these impulses bocime ever coer together unt tthe end they ae ose Wo a eulating groupe, coming thats, complex event thir wn ght Rather le other examples have offered to you, thee pulsar based on tse {independent ars of proportional, filed density pattems Ech payer, in the dst, primarlyaddveseton of he wrk aust the impulses cig ating th one of thee yrs, Parca tstrl Gunter aio serve to aly this procs for example the bas drm presents erous durations feat tremlo wht snoher ayer works with complex lertedsubgroupings. At "he cute al se asain eth parle bes Galo ‘sin Bas ho eo In the mide part ofthe work the percussion serve to tigger the vo aniphonaly-plead, mised tre instrumental ensembles in the nal main pat the impulse come so thick and fst at only slo ‘rumen de (orifequen al instruments of an ensemble) ae avalable to be acs ia mio, Justa the moment when the density af percussive act ity grows twat bacoming an independent layer fatty Gea the pint ‘what fltrngout of imple hs bon reduced to niu) the pros Siruplly terminated. hope tat this sngle example of a macofonnal lato of ay principles wl serve to suggest whee my thinking has of te Xp urtion and Ryton As Conpestional Resoures 6 been moving. Another dition I have been investigating isthe confrontation ‘of multiple time and density steams in one and the seme monophonic Instrument" so that contin te forester of rational tai omar aa acy net Bu hat Blogs diet ek the dicussion of Mnemosyne in The Tctity of Tine his oun p42RESPONSES TO A QUESTIONNAIRE ‘ON ‘COMPLEXITY’ (1990) (Qc What is nant by compet in nse? ‘AcAs@ tem, comploiy’ pains more tothe watonships linking situations, ‘dence or sates than tthe amount and type of sone mater dein + avicular space, What may, onthe lal level be pereived as chaotic or not “Etnsable to uss predzton often sen tobe highly ordered when observed ‘hom a dferntystakd perspective. This sot of gradual transformational ‘ssseament capability by defnoncomplexin napest ofthe cdiestion anc tranamisson potenti sine encourage the acve cnrapnison of Kye ‘al formal mel on the ssf mentary and rcomplee wonnaton Wale ‘art foram ave a selance on auch fckand-forl’ motion between snes ‘cra speculatve pragmatic stems Dl that, the moe comple’ the bets involves, the more conscious earth een made to ole he cn testa ractur inthe evolton of new hypatetal models athe ha, fr Insane, the more usal pac of eemplng oft abeadj-exant models on ‘new experience. The principal desing fetus might be sen ax dsrepany, Incommansirabty ad the consequent rane upon aml = medal ‘editor boven prepa eategoren. The absence of generally aceptd it {erpretational nom lads the ‘complex’ work Glways understood here 353 relive erm, nots separate eathetic domain) tvrrds the stttonalizaon ‘tthe Rusuelian ‘Category Errore a fundamental mode of addres the oe: Tuatng reltionship inormng its nner mus thermeves eck to sgrat modes of reordering perrptal appro, archi, perspectives The init being ofthe work esr occupies center tage he perme ad, by extensor the Listener ed to share some sense of the aly generating provisions cntinually being made productively awareat his own binding atti. “A pty ital quality of complex tats ifn their etry ‘This not anatemo ground asthe postinsin debased versions of acta ‘mathematics or the eply- developing theoyof complex physical ates ‘Simply an observation baton experone wih mac whic ints me, use ‘often exploring the natre of imi, of extreme condos th wiih ‘normal ‘eve rls of cmportnal are erly oot universally appable necting, Responses to. Questionaire on ‘Comply’ o on the history and conto ofits own cation an perception 8 work al- ‘dy opening window othe cutie no mater how reactor te sbstance ‘may otherwise be Cleely elated to the above is my constant concern with the ‘perspecva quality of th art work Le. the placement of its omponents bal {hvarou forms of espace nd in lebe webs of mia iron, ont ‘on voables for enuriting the fave power of energy In my own ork thor constant concern with the perturbations created by he pngerent (confluene/ divergence; inrsecion collin) of reativey simple vesorl tendencies ines fre = which are themselves hl in ceckby soos ‘more general networks of formal constraint It sem fo me important to ge the sence, not only of simple sperption or malipation of mater at ais is fancbonal diferentation, trough which indvduated aie Cee ‘ures evens “bjet.)areeadableas both goveringand governed. Whit Tater tral this far as posse ide the work and is jst, here are raterlly other composrs who del with mates diferent everyone's perception of complexity i their own, (© What has el othe present complex eens in music? A: ls morea mater of attde than the programmatic adoption ofthis or hat ‘speci echniqueoratylsic characters It would be ceo abandon the use (OF the term “comple” inthe way Ua the tide ofthis even and cole of tompostional exmplifcaons has sumed to define i snc thre is ie emnmuralyof intent or aesthetic positon dscemable beyond the nam of rnote-eads per page Inthe pst, a sort af gro hong has lad one to be ‘ncoritd, bn the one hal fr ot beng EIS Carter on the oer and for ot bing ans Xenakis Complentyneeds to be sean mae a emit "eh and nea convenient lant term for syle or shoo “Tat sid, perhaps one should dare to sate one more te the rather ‘bvious fact that ALL musi in some espct and to some extent complex. Irs more question of hw fa the composer neato go apart dee tion in onde to prblesatice parca auc of contemporary tui Which, ltough no ger esting on nore han distin hay ound rece “adit are fen enough abject to general conspiracy of sence. The ess weare ceo assume a given, the more iis necemary to compton teat some ofthe subeutanus tensions arising fr Hs imbalanee wth 2 ‘er to reprint as vert theme or topics of asa This sometimes involves abn the potting up of what may well be ersve a uncomttle it pei etal hich ak place fm Mad 109,6 Bran Feryhough - Coleced Writings ‘Stuatons fo instanc, he frequen ‘antzatrl! confontaton teen the ‘cual flow of events andthe amount of tine tat would normally Benders ‘Sood tobe appropri for har odquat reception, ei ually this quality (Of too fastest fat, whichis see a a map stumbling block to the ab- Sorption of my own works to the approved canon of arma. One pur 10 "aking new decuon ml away he perce iagacy of curent rat te tema withthe individual composer to sl om speci problem a= cn which aways stuck me with parti ce was that pevormatve interpretation ‘Closely alli to these conscertions east or me, was what Tsao be general deny of onfdene inthe cave power of musical languages (Gndestood as frmultions embeded in ard derived fom delitd stylistic damit) Perhaps ths came about Shrug the invence of Cage in Europe, perhaps becuse af the ‘exhustion of materia syndrome = dot pretend Know never eure to that et of interpeainsof istry no yet to the ‘espaing sale foc, when conrntad with the craggy borer of the ‘Adomoesque dium that ll hat rexaie absurdity or lene, wie ‘3 multde of altemate univers whose most vidos comms Wal Was 8 retracing of 2th Cenry music around the Schoenberg ‘mistake I has trays ruck me as abottely fundamental conte (ferent) a {rn the vali of personal tye athe guarantor of Inguiic (Sncvons) ‘spancion since only this contin of concer and opera vento fon the personal eve! witch offer: the prospect of enaive objet Per aps this rage prospects ultimately untenable Well see (0 What about the restonship between ‘complex and ‘niacy? ‘Ac Theres no necesay and sulficent rtonip between these two terms Complex ie result function ofthe iteration of aed bot tnt aspect, ‘whl nae ig a et one pombe poiter towards certain sot of alance ‘Only i we wre to amare the highly doubt preston that ineatly- ‘aed cbjets evine necessary comple interna egies of reference might thse thecase On the ober hand, certain levels of detaled working may well, ulimately give eto compex or ambiguous aperspione tall depends at the comporer wants ac how faith the operations cased out are made manifest n some skionGlthough not ecsayin he same way asthey were Compass trough the al work (© What complex (or simple about simply? ‘As Simpisty sss tome to be characlerized by its PASSIVE ambigty of import hich snot intend as any form of vale adgement on my par) Responses t 2 Questions on ‘Comper @ ‘complex structures onthe olher hand, ten owas an ACTIVE proton of ‘lip (in the seseof incorporating llemative and comping jt sab constituent convadicions making out an essential ment ofthe x- presvenbetance- Clery one's reaction orev phenome cn end uP by boing high dierendatd: that evoked by complex contelstons cn, ‘ual be lt and ndferetote.' alkng nore of the inenon apd nx ‘Reo the composition ater than is cntngent eeption. One of the ‘com le things about ‘complex’ music is qullty of refusing to preset 2 Ersightorean objet ao instance in mach minimal cpr i aay [overed n he cof undertnng i own argaing ane proanal mature ‘Soest present the lion of rat being an Ulston in urge measure bese ofthe cominualproblematzation f th prfrmance/Inerprtaon eorex ‘Some works appear ‘simple’ becuse we have assumed ge ortians oftheir generalizable structural ambieneeas so natural ‘give that tbocmes ‘ciel transparent Since hs snot theca for mach contemporary mise tear cary going tobe confronted with some variety of oer uation, Ffonlyby reson ofthe nad to recontrc spective onto mods tlic workspace dacumstancs. To skate over thre ves docs nod ed ‘more digestible products ina rathertanal sense, forse bt st what rc? (2 sete a mode of communication? ‘Ac Clee it iat eat fo the extent tht its pecived assoc, and is ths i ‘Sng rom allmative mse of egarization There particu ete for grat the lowes of com eaves by the mere scanning beam of speculation which snot reproduce in any ober way. The disjunct ature of Mallarmé’ sonnet structure sa good ample of is, sare in thle ‘very ferent ways) the eergsc sane weavings of Gertrude Stes Ten: er Batons orth endl drawout repetitions of er ater et ch dao lage parts of The Making of Amerean In Mamas nthe more phoriic Sn, complet resides inthe senso of iret provided By spoken) clsion, the ater tendency ating momentary Aourhing of ‘mamory against the endl dered expansion of semantic space Both the [phoritc and dcurive/ permutation cer of Sie’ wring deal exphty th the nton of sat oth in respect ofthe natural rate of unlling ple by partalr mater andthe means though which the author encour ‘ge the reodertosigncantly deviate fom tse pled norms Thesamne cas ‘eal the more tuein musi and ison of my persona interest Tany cc distinion ould be made between diel and cba rity. A text may be quite convertina ins structure (ay, sonet form) wilt ‘esting comprehension by reason ofthe lack of ear meaning inthe ens ‘employed Or the overt semantic content of he fst may be ofecize Bess” Brian Fereyhough Colla! Whiting serving o cover manings on quite diferent eves a, for instance In “Mots Phew; gousses ames" whareall dear bt only when one gets the pot "Mather Goose Rhymes The compleat ofthe station is outs the cbt Jn such cases at asin part empl the partial interlocking of diverse fells ‘of meaning production. (Sethe peeadoreamed academic losses accompany {ng the tas in my ln ample) Diely or me, someting which aso Sent elational nature ut arin ut of the neracton of ily work-immanent planes of ordering (which sn to sy thatthe tendency {Snot amplified by her consideration). (What are the iis ofthe playable? What the sense of vero’? What ‘does the word “erpretate’ een in ths conten? ‘Playable by whom to what purpose? ‘The ene nsecl trachea principal citron of performative ex- ‘lence ddd wih aera prblenePehaps the concep dey {othe intentions of theta & mor appropriate because less act? Lt me oF feranoteniy-hypotstial eample given isa new sing quart whos org ‘al mater entiey derived oma well own Mewar quart Ths mates ‘was absequeny te dstrted tnd retard er computer withthe gul ‘fea Vitually sams nations fom ssa Mozart vn ‘paado Marat, to pases in which te or no direct connection tothe backgron model present in epecther of se or spc mater Leaving ase the scr ‘etal of he compostion tl, here remain the prom of adesuacy of "expen: do the performers tempt oinerpret the dentifably Mozart ma tell according othe anon free tain? Uo, what point in the trareformatve procs are they ruled to rerun tothe presumably more ob- |jctively cant convertion feral reproduction equenty applied tary ‘td allvaraten of contemporary muse? Arty, alematvely expected ty the Movartan resida alo acordng to these ter eter Or shoud they not rather tempts tanfeenc of the Mozart codex to text tutions fn ‘which extras of dstrton aod drernerment ae the norm? This lente ‘would seem problematic at bast gven the ack of ebvius common vast ‘vocabulary and conan. ‘My it i, hat notation i always aie to neon, whereby ii up tothe composer to adequately suggest appropriate forms of pons. tis ‘ar that no conotrabe notion woul! everbe egal othe ask of rendering, very spect of works physiognony in & enaner capable of performer producton: nor am suggesting tht this would even be dasa ven the Ieckof extemal given crtera Gusto cultura the compeetr surly asthe "Report reflect upon such problems act came up with forms of o- {aton and dgresof physical involvement onthe pt ofthe performer which ‘would begin o suggest and then stop possible avenues fil approach Responses toa Questionnaire on ‘Compleniy n tothe tet At eatin slo works pier for smal groups of player, this is ‘ald and pracable del The ter overotation seems ome, nN Ug. 2 Isnomer of partcuzly pernicious Kind. One chooses degrecs and empha {Ss of otaonal precon wih the intention of suggesting appropiate ite prettonal appro to the tw at hand, ot oh thea of eliminating, performer atten. Quite the opposite emphasize the above consersions rater than anes of prormatve Aitclyina mechanical sense, sine in my vew almost any rss ly to remain naceae (and therfore ‘fia anal and mental exter ae fot miblized in the couse of arcing rich and rewarding contents NO enmpose, whatever his persuasion ivarblyadaquateo the chalege the same degre (When do you qualify performance asa reasonable attempt and when as fare? ‘A I the coe may be understood as being » constant token ofthe work of ‘whic is the notated form, any anal performances whch eps! cn ‘ious temp to realize hat score are vl interpretations. Thre no de ‘hoe hee between Xenakis and Hyd, The evra for aeabtialy adequate performances le inthe extent to which the performers techy ands Sly ableto recognize and embody the demands of faery (NOT tacit’, ‘nota quaston of 29 or 9% "of the note al depends what beg, shed foe The fake uae of unpetorally seal ard ering Whe some Composers may ot be concerned with practically, dhnk tht Iam ot one of ‘hm, except (Perhaps) in the neilable bat infequen cass of cass composer tror Where Mealy impoesible or atleast unlit) actions ae called for, 1 Spey tis in conto, s that the relevant indian farms part ofthe aca ‘Sore. There rally» whole nde of ssn ee one of them ‘what extent dons a purl ale equi rece nation of parla i= retatonal dimensions? Convetoe dif so that neil assumptions con- ‘cmung supposedly satura degre f notational ing of eave nace Ste quckly shown tobe empy The term ‘verncatin ealy misleading if implies the pence of ign complexes which have nora fret or whine ‘elt! tsoconterually hvu ast rue no spec noain,ste that the momentary congnton af notational syle may end oa consetnt rblematization ofthe ttalzed musal mag’, bur this part the point if ‘ne imagines tht the parermer Ras ora eatvly concious ofthe nee tobealtaysreevauatng visual contort and sonic cores. 1. ae nti Von Ren, Mots heres: gous ames ~The Ain anucrp: Angus Raion Bigtan1SetPREFACE TO CONTEMPORARY COMPOSERS (1992) ‘nce yrs thes of contemporary music hasbeen undergoing sweep ing change more rapidly, bth socal and styistcaly than at periaps 2y Previous prod ining memory Al these tne tha composton seed [Dears greser ntertatonally (hs teconing lew the province ofa smale {group of tadional new musi producing nate) he uceating revolaion {Rite cetronie media has come fo make the world seam both more dees Populated and ore Gaustophtse han ithrto. Most recent, the opening, pot Eater Europe he sigan increased contact and opportune for ‘lerecton and wil surly produce many a yet unpredictable changes in x pespecive sto where contemporey compotion price my be tending. “Given the comploity and muffarnaness characters ofthe present crt wea iano ater apy rat th i of [ew prefaced eategoisneverthels ome ental sue of gamer (SR SoPS tpg of whch the iwc of Sse ry \ gine 208 cs neve en veins mon) Sen inthe 19506= as many commentator would lke fo prewadsine ‘ange my aul feb wanformed modes cla peep Sanrather thal of syst hegenony. Much nk has nevertheless een Spi flat over the question of te teal avai of masa sry a 8 seo compasional invention. le seems characters of our ‘At Unne epoch harsicha destorcng atta towards mate and context ‘Xosid et hen fad withthe pt ome new muse mre aces ‘ete tngeraulnces by couhing itn yt aed wetete tances huncerbtc ofa much eter and perhaps a ant when ‘creatively mis Gero” = mor simple) paris. sign ofthe socal power of the newer sedis tat we chould have come fo spprecate the pastes a function fy ic uanamsson, ths rob i offs peropecival potent. suppose ht ay not mont composer tay on the heal of thr carers ave come tocetemporary mus via pops commer music of one Kind or another, ths ely tue on the North Arerean continents extremely interest: {ng tose ho such arints manage to grape wth the thik of Sas ur Thndng uch “cosswer phenomena, whee" In any ese an ‘remy relative concept “the numa nckton bth fel of mus chology at Prec to Contemporary Composers nm impinged direction the caren sate of composing, not lest the increasing Solaton of composers fram Une organs of publ eprdcto, the rapid it rationalization of eszarch activ ad e new focus beng o emerge in the Jmporan are of mse pepton and cognition The iatamental plete, ‘manne, has Been ruverated hough the we of commerdally develope ‘tectonic equipment although much remain to be dave to psuade he Industry to take hee ofthe specific needs of the non-commercial ars) and ‘ojrelvanass have been made the combination of prerecorded tape mate tials ane tive instruments. Entire new perspectives are being opened with the ‘pplication of most recent compute echelogy to fal ime manipulation of ‘mental and va igals ac there ar sig tht many composts are once more becoming actively invaved withthe peformance of thar ow works on this basis Whitt this may indeed represent ene major tend itis string to he extent atthe gp beween experiment a forme an those sme 0 ssimlation by existing vehicles (ouch asthe symphony orchestra) may Sly ‘become unbridgeble, Hand in hand with the progressive ltemationalizaion of ontemportry rmusiccomes the notable ince tn the numberof women composers tive the mainstream Many women now in their's and eave soon ‘Stblshing themselves a eplar and integral prt of present dy ence ie {and one notes with intrest the sgnifcant proportion of them coming frm ‘Counts unt qe erty not prs deni centers of nee msc ‘civil. Their ontton i certain to gow even mare ap inthe coming SGecade in spite ofthe tendency of must publshars to ebate fem that dita ae inthe disemination of nes orks an sist That his #9 enforced alsin is da stemming a docs both om he economic mat {Balt of new musie and the sheer Imposabty of kespng up withthe “expansion nthe numberof composes naw active on the preston scene. ‘Although afew major pushers dosed matin hs aol rae ast ‘hey may, there tle hope forthe vast mary of young composes to be ‘opted ond supported in ths alson One immodist el of thi change hat eon the tevdencyof many individuals ost thomselves up asthe publhers ‘oftheir own ans srnthing tha hs becomes practical pos only i the lst fw years. Even major publishers ae bogivung to resort electronic ‘means of sertcng lange catia thus elimsting heed to main cosly Sorage space for products that typi sll very Slowly. The primary advan Lage ofthis stantton rom the ono wew of composers stot moe income ‘nom the hiss anc performance of works remain her wm aes: Pray emai on the ther id the sheer fort involved in pubizing ones ‘aking individual voces end othe degre necenary fra career ake Inari th prpose of Contonpaary Comps toads this sue by meas ‘of work lists and personal sateen not only by alee established igure,™ ‘Brin Feeyiough- Clete Writings ‘ur by many vin having a et slicer acest rd aves ‘i pelaanalcanton” Sever pring cs contin o concer thse stein whatever capac inne ae des Oe cet weg fhe he ney Se eds cet wort tot aed tte roger ‘tthe majniy of ain satne Tobe sre thre oe notable scone ope ‘Sly inser contin wre he eat aat oe inmate re fd ‘Setve conn wih one ronae Kr palo nfo ey ean ‘epost compat x mul ppt a cad mich oe se froganming sce Wd Wir Zhe beet dette pout ware hor ‘Eigigaingmiefon of gpl and poste soaneunrvatle. Antn ncn fas en hepa ton ona wv propaeating conten Pray oni aria toe aed wa navepecie teh Mn, ‘pier by detonated of spot by the wien word ‘inna constant profile nthe pic ee ‘nhs pie sda fl epee forthe young composer sees to be growin, fone ito de bythe pdr competson ond eobrcips on fr A the ae ne one ant Bp bt se he prea nc ‘Sienely df fr ch nll in othe New Uns ot fea theaecen economic dunton Capone fom Eaten Bop wl ‘ey comet fo sin eps xc ane hen sce fed ‘Sento pital cvstnsre spot he ener eer of te raa 8 a generally recogni ‘hubs’ of contemporary music pretend any Jonge ther of hegemony prevalent cade two ago Thema est ‘ts ofthe 705 ae early 808 hve by and ge, made ay oa dee Inn network of wey eve often pp yaa ater tn rato Sotto ‘Although soca rams ai ail cnet Donauescgen BDanetce Hoan Fe Mats, ermane SCM tt tn come tobeseanasnceangly pclenate na tine eer be gtering sd ‘wad oped Hugh te pu tt ts whl pve phon ‘on ins asth fate elngsoiflent specie erst fy impiaton mere modest realistic ard egalitarian. My on fein hough {hl he cation othe oof olstn of rene and vison chuck ‘tor events have en coed would ula pov seo mporer- ‘Eke lnving he flanges productions open and amogatbnls {ponent el intend evson specs terete oe enh ‘hetero piel ends ners "in the sons of Jurgen Habermas Nee Unesco. Proje to Contemporary Composers 8 Inspit ofall hase cavis the cope of contemporary music making has ‘ever been wider sole and its applization never me open to regtiation in the public forum This surely ll tthe god. an event {wih hs psent temp to map, however provisionally, theese contours of current cra five ast ll the best. Something ofthe dimension and spe he en ‘Sgn lack forall ongPARALLEL UNIVERSES (41993) ai twa ‘prisoo ear “The pape that Lam about o presen in many ways tanstona and tena lve dotument I represents ¢ lage of thinking til too closely entvned with the plesures and difcules ofthe compositional ac and its posse futures, forme to beable, wih any scurity to kent alone remedy the plethora ‘of inconsistencies nd inlet fal ines by whichis argument are dou eal sven erp, some smal way, ut seven sypomai ofthe ne ‘esary provisional and el'subvring nature of any theoretical trate in period robbed of the nest-warmih of communally sceptics value stems: Theat of theory hs home ae detblized a the Bory of art A bt we ae il under way ths bon inreasngly stent suggested tat the “En of History nthe Heglan/Adomoese ens as nally made availabe any anal lite domains na aot of deta eter eqidtance In his ok, The Huan Pov, Hs Cane went so fara to suggest ha at some spc ‘bt undecided moment in cette, the human ae dropped ot of istry nd ns dong et ely bet So by inden, are 20 many tts and ‘ort celalng the resultant autistially featureless cultural vid that the potential einserin oferta athe than purely irre slrfl into the post Historic pure contingency ofthe artwork by means ofthe dake striction of the acing subj in and trough he ateograpicaly in. tar elaboration of constr evolving syte qualiss fas been rote Gf onsidered at lout of hand the Dist of Enlighenment was primary etn bythe exastion and exposure of tency i artiste expression (has Inevitably inntgning is oem dsappearance athe hand of hat very asthe ‘of autonomy o whi it had given sie othe concept of personal =e” can ‘ow be enero in tee of the unsolved tenon manifested in the Individual work seen a6 a temporary and vost confotation of materials ‘lidted by near consistency (rom work o wor) from nie, ad he onal ian incnesquent sorts aces dimly defined cota bounds i a nt ome tattered rene ofconcretely objet subjective prcepion,» ‘rion Fernphough- Called Writings some ses fel tog trnuresion ofthe echo scsi integrity ‘lhe ody pol” of atonal snc domain 1s tobe tee oul oerting my cine re titcnuv fo, ave aga whore ier ‘tsa saved by tenting to gesive imagery oa srs sorthng fer wich ofr not even the smblance fs aplogy, since my own meta pow adapt elements of» mumber of etervse independent theoreti com- nus in way ns etiny ik exept se retnpetily supped by the unin the Conlon ached. Wh tis vi id lw meta ote three mtapior for posible maging ofthe present cultural ston, wih ‘pos ere, vty ome (0 The esrtal Postmodern bik hss que been pied in tems ‘which sages some snolongersujee™ an ebering guinwence Boating, Shove dnt andsape, where selected mand avaible clu tates Sn aac snow fo selaton,scoding to wistewer tansy and no Tinting codex of cra Whi low tat exageats inept of str Ing of tans ey surpetangly ite The Enlighten Sbjct sur ate ha, other words, been replaced y a erbodied camera Wk ing tur by definition spiny acre le, wh, ue the hp [eS et of us tes magia absolved fom deterrent inthe sare set bythe cet of easton. {A somewhat ar undrentataly polemic madel might be the ‘one fang iy sehen whore wel mapped and tine ‘Sul nioded compo of abet the ering consciousness ted Tis ‘Sample rng ih two great vantage when compared wih adel fay he Topology ofthe Phantom Ci Alas Rater might pt shot arbiter eet fn al Gt nate eters arte sllmered recon ofthe me ed wn Which cach eve or Ee of he cy ce i eign the se spat ators pertain, | ‘2itcmos fet sue vn which one mg eoncraly pss fom oe fd to another the magiary observe sks edly none diction. ery [pes yorana come iyo saan bythe nterncton fal etal a thelawe of penpactive Equal the oberver weet re Sweeping ‘Ree 00 fe pected pape woul encaieyeter and ae the ld of wew idan ety by the teraction of peeve, pes ‘apy and wat server cao, No oro obcrves wuld ce the italy fen n pecely the sre way, ice, by dfn ot oxupying the me Py epace never herve sey dt ave ero {ngin ther yn an configuration in whi they ee In adon, one may assume tht savvy eervers Willa ave access © ‘Edsaal or euvalet apr of sev! ops of the femal In qusion (enseums,reauran, plan snes and 0 on ach observer, while {bedded aster none andthe same fa val enviroments Paral Univers a fee o maneuver within the communal nd individual constraints thee operative As presumed inksbants not tours othe ormscf waren each ‘bserver wil leary have a more pruned knowlege of some apt of he ‘iy the ae immediatly surouding the place of residenes day shopping ‘ced tfc pressure points at diferent tines ofthe day = than oes. Url ‘ours, the average inhabitant never gets around lo “sing the sghs” of is vironment, no mater the duration af tay The made ample simply nt ‘defined according to the same tale The second recon why Tac tis mode! = ‘more mentally useful 6 “operative paradigm’ for sepcte of the Postmodern onsclouses tha the observing ee sn that of disembodied ben, hu ‘ing the hobiday photos at wl bu that o socal commuted nity suber ‘ated oan in Inge part defined by, the nature and tlzation ofthe el Inhabited. At the sane tine, nevertheless, one is assaled by doubts, parkas Tiny in respect ofthe inherently totalizing tendencies ofthe “one yng (One metadscursve mechaism of coneptalrepresion has merely bon = place by another the tale, in x movements is constrained t follow the Stem of ane-way seas. “Maia! Hitory” replaces Hegelian “History” = “Unquetonad objecting dcoune i by reson of such eorideratonsy rd my concer to ground the conned olathe a lst purty utonamous Subject subject immanent criteria, that I enavely propose Ud pon, tt of prt teres 13) Some you wl be amie withthe hoary Science Fon conven on of what wha if for example Napoleon fad ot bon ial defeated ‘and edd to Elba? What ifn oer words, a some specie point inthe chain of dso dstngushable evens some pari had moved ina diwoion oe than the one fake in the “el word” familar ous? Wht beng ently inacoesibl so some quantum theory now apparent postulates, there woul then exis at east wo futures branching out fom that one commen sr, with no ede server and therefore, noi method of asvening the ls tive eat” ofeach of thom. Botha wel asthe presumably nite number of allemative universes enenang fram permanent quanta evel branching, te equally vai sconcelabl at they may diverge, nly tro emerge inacommon tre ality, tf we seme the novelty ofthe aon tf tine tacoma o flow Hat common past aly cna! mpl he tae: {erence ofinformation rm one branch to anor wil aay elect bea ‘moduinted transference. Dab tnt dase, Non-denty, even anong apparently indstinguishablephenomens, rules Not hat many alleen trends for expressions of aesthetic value etn one and the same plasm univers, tht ether that they inka diferent universes, reeting diverse and often tril speaking incompatible model of "what happened ‘Again thee are two rns o acount for my preference ofthis im age ily takes cognizance ofthe time of becoming the eras history”@ Bran Fereyhough - Cll Writings ofthe inividual rts in the miro ofthe materials employed a an a est in principle suo grapable ara Secondly encompasses sje plu without eadting the plasty of nary progesve, syste Fomogencous linguistic calegoras. Thiol ordain especial sign. ‘ant © me because a6 wil angue in conlsion its va this combination of ‘Syst continu and the sharing of partalycommaral “personal vectors” that he ier accretive enrichment of al histories an pretend to eon ‘eth aulonony ofthe late Moder subject with he sizomatic saturation the univene of a own making i os “History” Like the nats, the Sab tears it shll- te spiral race the selfnapping of is unique "ineline tenory intel on shack The fact ofthe 20-yearlog paral growth toautonony ofboth sete and the Enlightenment subet gests thatthe fre course ofthese scalp determined consis wil also be sinifcanty etemined by ther points of cont a at present wees prob the a ‘onomy ofthe sett vale agement bocomes nressngly fale a Slt of global commodiiatonal tendencies, we must, thtfre, ask Ifthe Increasing problemen ofthe autonomous suet ane atendant esas of stylistic Identity narrative coninaty, historical grounding andthe entire emework of relaonship of subj ect netic mac necessary fore the abandonment ‘of individualy-bnding histories a6 the lel grounding of ‘Pespecival disonanc and i concant the itrumental awareness OSA Spd Other Whe Ado speaks, is rue, of aesthetic experience as “ruta Sify ofthe elements of objet he does so under the assumption of he [reconslable ntagoiom of ar’ mimetic and atonal maments and, Us, the objectively mediated presence of oth Disonance-cmtnanl dynamic ‘eval i he rote in which the autonomy ofan general end muse parcul, may sil be acheved slog os the Sella and Charis of both “ungrounded voughrationalization andthe eductvely totalizing ideology of the relied objectivity of materials are suc evaded “To be personal for a moment in my own works Http o ensure a tylimmanant double codingn and through the yace opened up by pereived ‘Tssrantl mobility freon bot rem the ctiveand subj sand pointy, the former by means of “acta mira” Oy which | mean {hesimoltaneous unolling and wantormation af mule, cfc ner tive “meine vector” a al histor) which atthe outer extreme, oats the musical experience on the llfeedge sparing ported multiple) ‘onder fom the onet of chaotic tubules the iter sabjtve, viewpoint Para Universes oy ‘meanwhile, marifs in the way the shodomy, atonal repressed “Others allowed the opportunity f thst a pint! wedge into the mons earpace ff ole al the more powerful by reason of the asim hegemony of fanyvalidted syste uty wich peed and ener & Inconereaeers, this means the acceptance rational, loai-dtenred ates which germ nate grow ae dsblance te inertia ofthe dominant paradigm of aso, [aking ther nourishment fram adapting and subverting is vrais iit [Purposes purposes not dct respentle othe referential whole By accept [Egand ining ths wounding presence of ts Doppelganger sar eg, he ‘aoaly-generted aden sstonomy ofthe Enlightenment out = invested with paredoncl and frangible legitimacy en inthe continued mediation polenta of wor trident I hee ely 4 prospet of farther fully reuperatve role forthe Mademit projet it ‘must surely reside in the dynam and consciously real emanation ofthe limits of selfs a precondiin for the age which es aead =o longer tat of say bat fab Endnotes |, Giles Dace Fae Guar A Thousand Psa ne Brin Mas, ips Pr, neni 187 2A fit atime sero of se panes we elie ingen ‘granite wh sa ie om arg te bea Poo OF 1850 ach shoppe he te mf ferent yr Crude lepers eg a oie et ah mn me oe ee ns eeIL On his own worksEPICYCLE, MISSA BREVIS, ‘TIME AND MOTION STUDY III 4976) soul ane Aan As oon 8 began work on thi cise, an copay of gs hace ‘ppsret Aiming onthe one hand at ar once a presentation se psec Sty penoal compra eesvrs we, he oer = oc onthe ‘etal stanton at oulinnge ently ated scent of Be et Sate of contemporary mis cerned pacts oly by malting i ejesiy chattels Shc I vbr fo sone ope of ‘hone organic uy of momentary converging contingent ace tren in wt lew pror t consitety aod making csp progres rainy spiel lank gems concerning sch teres. tt tt what tomy ab the work be rst wl pet pe Sonal onctsore conceming my vrei then be drm concn svch vl limite te ney, om “finden naw ye ate yoy po ag sermon i cl eg osu propn h oata penal sntenent cay im pric, be Semel oe a ppc ‘lin hiner of pesca should only be uncer with Oe gua tn tt ts ot interably at themes who ae Babe nate the work ates Tat such temps ger trae partial pret ‘one issrely tube othe nnd ar of aa Leal ver tatrepreettons are sje torr rng nthe ey ao encaon tr rlommaton, by pomonal,posly sigtanty tansonned, spl one-pot moron hich reno lays pepe! ors enc: Sanath heen of eecve pseitonFor ores llc a te ‘more than reputed conversations wa heer Ie ows tha under eal umn hoe mie trons wld demand erica mane fngin order tsp away te tin of ee ube asroding ate ‘mens otra oncting he composers nr thas carly oe ply, Mis Bre, Tine and Motion Sty ” ‘ban fai to emphasize at the very outst that Ido net intend to accomplish ‘ry such thing tony ivequenty Ut one asthe chance caleba ons fm inner contradictions and incnssecie the meaningful coecitnce of ‘whlch mgt well beseen as an rin tel Before concrete adding the tre work intent dacus, od ‘ike toada two farther lations othe ney Artaud prefacing this lasure. They are lations which seam to moto express esenial spel ofboth my general, {nd more spec compostional view ofa rn te edo you ee us om al dese or pom fom he slvery of pat, om reset orl, en sent psy, om ‘he admin of grt pemomalii fm the myseaton opt, ‘rom the antics eth rere rom mtn of he sl hasty combs by the mumbo hr tet, Marc Dacha think that the very of sources bere ees to hw team eon czrod with abating some consent unification of inca cgi For te, muni tenting nos kere arco, round whi alt agents ‘aple of matal elavizaton can gtr in ode tht higher @lough more Interogencous entity may be constructed. Art snot, im he fist isance, function logially bo rather allegory spose to res the ‘ether e™ fring sok-economie moder of thinking and fling only by means ofa Sckive retin of dogmatically defied delimitation of normative models ‘tecommunication There have bo foo many rea semper in eat yeas Forone tote tempted toad to that number: accordingly etic plurality ae 1 brody srsctured praia baren the ine at and alter maginatle forms of ordered human ecviy must be see as presuppositions for cntini- ing blancs of rt on contemporary soc. The shore eas ee ihre tose attention to fr facts bow all ater fy othe centrale ofthe ‘ato sean nthe thinking ig inventing and teeming individ in the eetion of articulated vow of the werid secondly, tothe pressing neces for the demolition of tore already esd models of thought ane Perepion whch ave core to conition our ives by propsing other feven if Spore outofsheoy) elites tat pcacive meurdentnding ome tes refered to by the oar ide a ‘poeudossntiedtantsn =) which ‘serves to tease individual sociation from thelr Overy contcting cal ‘ont and permits them to function ase ada, open to itegration in8 Brion Fereghough- Called Writings ‘countenance to exiting stats of afl According this cance the work ‘would be something ike» ldo encounter eithin hase efi bound ‘is selectd cements of various categories of thought and proces would be “nied by means of common denomnors~superimposed, in ode to ds {ul and esborte points of ntrecton In ecordance with tls principle ‘fork would wether Fanci esting’ of sre extra-musil eco on ‘opal eonsnact ao asa simple program, acoring to which the ple’ orm ‘Would be referent defined MY cmpetione marufs no llustabvertent ith sort ater ama ting both parting systems mene with each ‘Sher whersby nether comes to enjoy functional pei. As Duchamp imps, siying combs aconing to other enter than thelr elecvity a8 barbers Implements can have unexpected coneequencs. However, wea not by any ‘ns retreat pl of syst to be ake int consideration also the ‘Rstonhip of masa tot snd interpreter lve that eds tobe integrated, hd which in ts frm comes dacvely to inflence he estuctring procs ‘repose to sear tots in the context of ny discussion ofthe at ofthe tee ror at hand Tn my ory work, that i up until around 1965/7, il held ly tothe vision os hermetic aesthetic scoring to which och individual work ‘Game be have encusvely en is unig intra egarzational ping Fes Two comperionsin which aterpled to deriveal proses de fom |New simple potutes manst thse ecremely wtopian views mot cary ‘Oncol these Epiyee (1968 for vent ol sting seen = werk hich {fecreral pecs sures a ey postion in ny ccuvre unl that tine ad in ‘whic macdltion, several coneiertons deve for immediately subsequent yes dn ce the is expression, piel ake spot of departare a concept, quite widespread in the Remageancs, which attempted to rece the reuse mations ofthe str tothe Copernican mode tb cosmos Far rom wing to wring om tome Sort of vagus defined program, [sought to employ ths nage a a farreace Ing sytelfor the sal-senering power ofthe wor’s constituent ements as ‘Fann of algo: Adon intended analusion tothe es, equally wie- ‘Spread during tht sme epoch, ofthe orga: commana ofall exten! hing ‘By, we weld probably attempt to fc ths vison of ttalzed intrdepend- ‘coe by spans ofthe completely inadequate demythifying em ‘yen Ad Fevence to systems wos what had assumed, sft principle, a the cue, thats to sya the ba for usa statment 5 Soh ad stature was © fovea el Gar unceasing forward motion) end (as eontained tai) be ‘hersin embodied Pete the fact hat ny atte towards metaphysics characteriza atone and the sane tine by deep mista and unvelingatraction may Be ‘tat the herage of Bish emp. Counter fo what may posiy Epil, Mine Brevi, Tine and Maton Stay I ® jot tenner ig Seigler si a acca Neeser ios sie nanan ee rhea rmaaknon aetna Somat ieee teer temas Seca nila ane te Emm Patni east ener Spee eter ae en r a neapiante arta sapere cemetrietinone Semcatrngtiemm mame San erae nie newton cant tea ian enieemaaren cairns Shemini Sere ceereteaane yen atacand oedema seaeteadaent lo ieee ia en maytag eens teeny ace cie Sede? ina ey wc mrs have sd mendond tht the gestalt and procs aesctonsfthe tits psa ring te pe ny a ne nhc Rat inane war's tert sling a toed one ate femal openness nd gerarove independence hnumate cont, dfn Iipeowetion viel cy ithe we Lometiere tn shave meron par is which sstonony ered to be ante only forthe son that he ‘oucpt imped + contaaal comet, a sifcitque Which was seca 0 {Gina tach heretic cna crate ote hot fy atlinguate duce Tec to element mn he ‘epi concep nel tha of lage ete ata sal Gick wich ecole the perpbery of he grater When both ces ween meen a fhe contnpo ‘iy they envaged ast of pra path es eed ih seed 0 ‘clan atari tn the Cove of te hevenly boi ted tte my composition cn a cru suber luda pes ate lsever chr constuconsand yas contclatans on, by mansct” Brin Fereytough-Calletd Witings ‘continously unfolding cytic extensions and paraphrase, not only wary the ‘asi mater, Putas allow to serves constantly expanding reser, My hope nthe tization of thse and comparable pares was to acteve a ressonably exhaustive fedhack fect, whereby the extreme density ane mal le layering of event ould be taken nto accu right fom the alse, no {er that inappropriate expansion and overycbvios shaping proceses might beavoided As with coral formations cach werformaton should not nly Wane ‘Send it prodecoor but smaltnenuay below we tase support Ie only towards the end of the work thatthe material his reached an exesion and pth which, together, are capable of manifesting forth the conditions of tr ‘oa cong ino bing, “The sing ercerble in Epeyele is subi ito two equal groups ‘Theavalable materials mostly dsb clitferenly between them, where, con ccasons, one group takes the opportunity to paredy commento or eve ‘hy means of interference inthe afl of oer) destoy the scond groups textures, Chaos isan indispensable precondition for (elatve)oner I 2 ater to cetera, whic, fader opel being about thalrown effective dsolton, 'Both the other works {have chosen re for vcs Ihave placed them reat to each ler so that thse anions which gradual Ten ny ay of ‘wring new countenance might besen in perspective Theis piece, a Miss Brevis (106), for tweve solo voles dive ito tee groups wiser layout, proves epecallysulabl or this purpose since, becnuse i Was com ose mundial poor the sing work itshares with the tera consider {ble numberof common characteristics Over and beyond that the Missa retgurs fst intmations of my arate awards the sabsumation of se al thought and perpion models in one ane the sme dymamsly ri Inted famework Th antphonal lsyout ola lerumenaion and exeme performative demands mado f the interpreters were transfered ie even {Ferploved diferely Innovative with nape to th ear work vs thee tegration of» highly semantically onde txt which made an een conte tbtion tothe modification of posable modaiies of reception inthe tye onent had elaborated, For me, the challenge of his parca tet ay, above Allin it hstoncllycondoned sturdiness i as the roullant “wouchably which allowed mew dc the musi ait were, aut the semantic leva. Ice what ame outa ‘etn fom a dance in wich the ‘nn ndrinng ofthe independence of the sat sa mati of principle ‘eats a supperentry fous of tension which is the el obj ofthe como ‘son Inthe coure of this sonic exe I fst ofall undertook asepby-tp ‘breaciown of the inalysrctlyobverved procedural norms in such 3 way That the onal elecontienct so earful exnphasaed athe ginning tin eopardy and, finaly, completely exterminated. The level of expressive ply, Mise Brews, Time and Motion Sty x A: Epleyele (page 13) acy Brian Femeylough -Callete Whitings sceasilty tends n the opposte dection: repetition of kolted wisps of ‘ely congenial vocal rete ant forth The text onthe other han “Panpalte y mean of spernponton a ines ffx geno, dix ‘wilh vow to creing anim offi ad ence rast midpoint ofthe work Thee proties were in a0 way inne Imply simple victory of beet over du rather my concer wes wih the rps of on xine stone which invented or cme sgh inthecompacea typeof stare ‘On the too thee cosidertons the Missa oops emai spprochng hey postion nny opt snes is ee at the ft ine TEeout to tgs the degre of performative dy io the reper of _srictoal posts the avlaetome For example # ony extemal ‘tid that have employed ypes of notation slowing sme fesdom n er {Stmance, and then exhuey tthe von spe, deny dened cpa conos: My uncsaing concer ste shpig of ‘Rtworkas the locust toalzed acto even hough shouldbe emphasized that sacha concep is far from the wor of sae Deter The acto tat trvsage wan ad remains spun irre Alto ater cmpoutonl civic ve ken me fr fom Nighy speci: confluance of contro cs upby the Ma, ths shu! be mer Ft se ek nc nd ye etn rh [Eins of eprom opble satin the condone | tind my pre uy sas sy eva on aha ar nnd he ie et te intional connection which ext tween ths woxk and the one f wll te dlscssng tow “ie hin mos sth works wold tops tds 01 speak. atthe wry center of my ates since 197, ance practically all prev ‘Sais mentone contlston of poems sre here bought opti ter ‘hc opts Frat reason vl del at eter length upon the conan ‘one of he pee, Tie and Motion Study I ‘Ae wash cae wih both previo arsed composton, tbe vans ths tine n-ne ded in several poly spa! inthe ous though ss ning at» etic Sparatn of ie gous ‘ero of thermal makeup. Accorting to tpn each group at Italy alloted nt onset mate sry tings rom ll her ‘Sul rly dena groups bata by mane of hogging con (Sn oftelcendonet developmental metho a capt for slasserion ‘which would imei lend so dine rfl "As my point of epartare pete ton in which number of « prin gens woul sigubcly sls the cour fhe work Among hse (0 the topological trun of he singers in the avaiable pace, Epicgele, Misa Brevi, Tne and Motion Stay % (©) the ecto aco amplification and spatial enitbtion ofthe (the notion of forming the bi ofthe wor rom certain oppastionsl pangs (wie persion, text/permutated succession of phonemes, empl Fd sound/ve sound te) (the crenton of asacative conection, driving fom the ie, be ‘oven the density and/or dticulty of the means a notation andthe perp {ierentiton ofthe sung resule "Thi nt ed goal waste one which had veal the most farcech sng consequence | eanaciouly incorporated etropi eden“ inor ‘atonal overload - with the inenton of higlghtingUheconcpt of liceny ‘vith respect ois appa to works ofa. Ina manne of speaking thee- for, the piece should ot besten to dic but ‘ten angle “The problem of allegorc/asocative Senc mathodaogy seedy touched on connection wih oer works seems to Be of ret importance or the establishment af potiv role for presen day ain Time and Motion ‘Study IT stout o absorb and = somervhat onicaly~ to tera intothe performance station some fndamental concepts edaped from hose expats 5 western calle rooted inital norms of fency my seston be tng at our present-day itrpretation ofthe word scarcely les myth Bret hn as he ce wh eter spends pave ca My primary opposition was slays the one separating the human be ing tom the machine the cesto fr the eented (whereby which which ‘air intentional an ope question wand to ir deta he bud. ‘en eparatng these ple etme th for example the volo re ca lenge by means of the complex layering of varied vor tehiqus and ‘dynamic eves act with an amet compute ike precio and engogement ‘Abe oher extreme, the etal onto! overall vlume was etnaly it unvaatd, whereby the cectro-ecouste dimension is acorded ceraln ‘Tuan Meio the eset the the concept of efeney mentioned et eras come to infuence the ner sheping ofthe war, one ight ee he “NF ave inn ded s snlece bon Nar Duchamp adesing he ‘sue of how things re cand and, tn conseuence, Betome cred In hhaman schemes of thought Duchamp has fered much simulation over 2 Conia pero of ein the mater of how ene might come plyly ‘eysterand work with mull lksone apt om vee dips on ‘eonalyrepardad a incompatible In many espe tee ae oe ‘eens between ths ple rl Duchamp Large Glan is acer mochine Thave evn ncudd several text fragment rom Ns notes on he Glas to thephonetc mbsf Time and Matin Study IH Aeros thr toloo ‘Brin Ferneghongh Collated Wings sures ae concerned inde include fragments rom widely contrat ours nding Christopher Marlowes Dostor Faust, Gut ote Sor ‘ers Apprenti’ apc the duran of human) dase agents Ste, howevers0 deeply embeded in the texture that they ate incomprehenst bie ay such ano! fcet of the quasi of fcc Here, to, # a8 my Intention to dahumarize the semant, infornationaly vehicular dimension of the utterance ina smi fshon fo than whi nny apin, elt acous- ‘Ne transmission intrapts the treats relationship os orinating sig TThave tvo ways of manipulating text = one encountered in places where ext feagments re present in th tly, but so dtrted or compressed a0 Sup- pres ther innate communal potential theoter voles the generation {Ftens acoing toa prion rule elected by me oa to rele thse aia ng the musilconstroction, while sl ot containing seantially-eferetal “a terms of onsrction ths pice composed of tre main prs. th the fint prt the four diversely contd choral groupe werk largely nde pendently ofeach other in the second part these iil dines ents ane radully desl, t be replaced by heterogeneous concatenation of nde ‘Sally chamcteriaa, bl sltneclyconanencing voices in pat ce hs Feterogeny succeded init tun by macive norm sounding ok: My ‘eon for eeting wp sich a saquence war ntl to mages the tiency a ‘ndveualscllaborating among thacelves bot lone aa neal homoge ‘seoussounding stands in the contest ofthe overall discourse 1 lected for each chow 2 more or lew ceri individuted textural and Ssrclational domain thu in Group (, 8,1, 8), predominantly homophonic “yh; Group I A, T begining with basil plsve sounds Group (Si Merso, various shor figuration ivarbly dstibated among the ves sccording to praational and permutatiral procedures Group 1 (1 Bar, Br, 1, long eld rtm which all srs oF gradual transformations Gength, ‘und olse tering, chordal constriction, phonic modieation ec) ai thin the overall eae of mation Asacond mos of dilerensiating groups oF Fer alin the form of trata isin mens to typify cach choral bay. Tis made it possible foreach group arsfomm, ‘elf gradual in consent manne, both within a secon and - even afer lengthy pause - fom one secon to another The Sal mthod St T would {to menton hee based on what one might em a tr (Uns) that {is something that suddenly moves ne dieson fot necessary prcitable on the bss of what hs lead happened or without sdvanc knowledge Maar breaks in the caninum are provided, above al y the commen pases fr the mot part thse a filed out with lore nove’ provided by small per ‘son instruments plied bythe singer themoaves. In he course ofthe pie ‘he parigpation of the percioniarumantcontially increases changing, pcg, Mise Bre, Time end Motion Study 95 ‘hr predominant timbre all he we fom dey ight sors (mara, elves san bc) © more resonant and dark colors Gongs suspend ym tals tamcams). Shin Inrumens actin tanitorl oe or inane, dace onto and bongo This perpetual ucunton pinay meats to rel the procsual change inthe vies, between vite, ‘sounds andthe more conventwal sung ones ter he cncsion ofthe work. Here ates few examples ofthe employment of thse maths rs of all Group This groups mater in principle, parte. In ‘he opening menses th group perfor alone hat he elatonship ote tures to one anole easy to ete At hs pot toe seo tecures which, forthe sake of eoveriene Tam aeling homophoric snd polyphonic They resto eachother nthe flowing pte Haraphonic Payphone Allof Group I agent subdivide mor rls according to this plan even ‘hough the Felatorsip betwen bth types requely modified or hited = forietane after a lengthy pause ths grou’ sand enzy inthe fo aly phonic — homophonie ~ plyphon Im ths sco mandetaton sl futher sbvsions are undertaken began with the hed ety all costiuen component are broken down it an analogous fasion: (Hemaphonic + Poyphonke = HP / H+ PP=P/P + HP a a a Hemophonic Polyphonic Further shndings are brght about by means of diferent of tire and ena ‘Group in contrast progres, 0 peak, artnet addiely, becoming lite by ile move complex. The fst ny press merely 2 fw lave sous, whi he second entry alendy contains more sounds alhough ‘ost hearin bolton The td etry prope ath yp of motion sl: tanec afr whch a siden swerve to new teres aks place withthe Introduction of sustained snort. Te plosives then rer, inorder aan 2 or of eyathesisf the two posses ofr ule, G19 ym xey All thse and til further variational possibilities are work Uo athe96 Bron Fereytough - Callete Witings first min pert of Time and Motion Stay Invariably inthe conte ofthe proportions ad out atthe outset. These proportions for thle pat ere ale Ete a to make sre that only very inequenly ar al four groups both Simultneouy active and acordea equal Weight i he overall etre I ok tows that all anes ate eave in ature ven though sential propornalatonships are encour in Part 1, the eedom of expreive there svallabe to each oie incom parably greater than in Pare infact theres cael a teste which evinces Eo vlc sharing communal sari In this the group coloration ‘Saracen of Pat hasbeen abandoned in favor ofan expansion af the ex pressive potential ofthe individual. The farm scompesod of eeven group st fick howe respecive denaies (Le, numberof partipating woke, tll ‘Smnoun! of isonnaton presented are Hkewise proportionally organized. In Sccod with their ambient ty, the rctrumets are actively involved in hs sexton as a unlyinginuenc, starting frm the sosumpton that eventhough, aly speaking tel, the persion could be egatded as "hum tothe exten tht they ac ae extension ofthe human bay and hat, i eonauence, no reverse sep had been ken compareble othe gn ‘Sectors amplification, between the orginal sound source nd its cnc ‘epraducton/repreetaton. Occasionally, vols ond inctruments are = ‘Slnded that the boundary separating them becomes quite Mi. The ‘Son aly win he day, afer wich a major ncaa perceived, since tis oniy ees om the tel o Part tha the opposition so bist reveled Par I bepnewlh ‘sound carpet in which the individual ery achieved only shortly for in Part banked tothe outer Limits of the perenable Each and every voce composed with erence 10s ves ‘Estonomous eres although certin rls of pay more o x esting 3 {rd or mati are mone on uae pin, tey content thems, or Fre snat prt wih spaying deny of event within sr given measure ab fe thus soaenyin a potion to stm the prevaling entropic tendencies Free dom in the machine, a evel. “wo farther sctons fll the understanding of which ta presppo- ‘ion for pining sn overview 0 the funSametal nets of the work a 6 whole. Fst comes upericly fit texture which, everhless, ls equied to beintepreted by means of extemal complex notational conventions was Intersted t this pois ove al n tose ihren conadicions revealed as Soma: one begs to compare effort with ef (once more references 0 fl ‘lency) The line tobe interpreted by each voce a compas of fie farther, lines defining timbre, atcultion, volume, phoneme content and pitch. The tendon of vo many tricone difeentision thou, to submerge them ‘Slvesbaneah the globally unierentiatd snd mas: magne «Spun Polyphony, acoso co-stant bat inate level of activity, a5 were aking, Epicgle, Mis rei, Tne and Motion Sty ” plcein the heads ofthe performers -2 polyphony, moreover characterized by {he genet imaginable depos of contast to the calm ow of whats actualy ear Immecselysutsequenly one ean srt of echo a epeat of hip ‘Sage reproduced va tape loop and recorded ve during te perarmance.Sice {hits ee ale ceason on which such subsidiary doves ore employed tis fbviouly ot psible to logaly justly the pans ken by refer to the Surning results: at his juncture, was concerned with offing a demons ‘loaf the ‘estriol the human vos brought about by cacti ae. ‘micson I's tucthat the ‘amd sounds are ear, but denuded of he ssn recondition of corespondingly eoncarent a parle mental acy om the pet ofthe performer Afterall sound ls merly sound. Oras Gete Sein it "A ree isa ros isa rose” Pere Phe Coda of the work once more characterize by arr tind duliza eat. Hee each Voie Sings for ise alone, wie cretaaly Bling at a heavenwards striving bel amo interpretation which, dseppeaing ‘doc into the upper an lower restr, cass the pace 10 fe with = flight tinge of tony, especially since the textual ase ofthe passage cont af {he names of thaw wise men who posite faze theories o the Mus of the Sphere, problem which adres the ute of paring the aa the focal pont forthe recnciation of intemal fling and persed wor, seme foe fequeily exceed by flue to discover a cmton denon "ator which woud manage o avoid imposing an unacceptable degree of i ‘oct onthe immanent gualises ofthe one oF ther domi. The art's ask ‘the caboraon ofa provisional speech ducus leading tthe creation such 8 model At the sometime, dot want to argue at an allencompasing, fovone contextual cererpendnce i necouary 0 Bing thi about inthe most ‘extreme case ths would inply a etre ino Wutlogy. Mach mae ef would [ete definition of typology of engagement pormiting the drawing of ficiently ch paral to create a spac, adequate tothe composer's intentions, ‘eithin whic ntreting sgn planes may be deployed: My competion of ‘eee yeas have the rot inthe iid image of intimate ccs Interdependence of ll human activites thas been my prevaing concern 0 Investigate and rece such infniely wide acing tetaceneis to des her coe through the resto a stil further coe, Tn undertang this tas was never sn the es my interdin ear moe speci olor philosophical slats of fas the compotion itself a ‘rays Ro print Al rhe agpocs are only presen ast wer, in oder hat Uhey be forgotten Al ht remain he lc of hr ephemeral encounter fn oly tht guer ola ae feporary pot of departure and of hom Coming” theresa ofa subjective reduction of something which iss ble to be enunciated onl by assuming the form of slFaware subjectUNITY CAPSULE: AN INSTANT DIARY (1980) Any pero aalyiof my own compestions i bound, at bist to bea mare ‘lee pou coumerfl, «hn guise eomupentryon a fture ats "iyi but hat ofthe work el tcsnnot hope otro more than a ery ‘gue ight upon that whch, by its ery essence, purport to lumina “The following eto on malo te pase Unity Caps do ot attempt to offer the confortable Acton of analyte autos which might be ‘read; Ihave assed sere of agment,commetaris ard ‘erasks write, in part dig the at of composition sel ta method which ‘Hequenty utilize opt my seas in order in par immediately subesaent 0 ‘nving completed the work, and eth the paral pl of roc at est he semblance of connected, aterent discourse [ns cern sense ts possible toma s dint comprlsn between his assablgeof verse materials and the way in which the pec was composed; ut tat nt something to be pur ‘sed here, TE would appear that numerous composus have one or more ist sents f prelecton by means of which they are able to present tel most Inmate and sigan’ thoughts. The continous and extensive ution of Sch rectred means of expresion appre to alo certain ati an om ‘one of then) to enter into the world of pestis inherent wo se meas thei personales = which recourse to ore diverted means of son po. ‘duction doesnot scenario For me isthe fst eich ll tis ole ‘ver and beyond the supplementary degree of cncenzaton promised by ‘casing upon such ined cara, the Ht haste sdvantage in my vi) of being 2 mont instrument, something which obliges me to develop my ‘ascent concept of textarea srt, the vin veils of expresive form, ina pou cear and convincing fchon ‘Since 1945 we ave ben submerged by an alos uninteupted torent of ttre for teinstument the mas bly ase for which satay ‘gle nature ands high fee of proc avai in tems of pecormere thd ast A major prt hstterature rls a view ofthe te whic ep, ing, as does, al forms of supefial pater and overly decorative tueatmentof trivial ideas. Although my own music fr fate may Be etree lfc as regards the exgences imposed on the perfor, this ort of ‘tus es frum my Hoght La bath Unity Capeule and Casande's Unt Caps: An tan Diary ” ‘Dream Song. the acentieon the instrament’ ability to offer a high dest of {slormation ona tain number of level salty we fering gh {he hight degree of wry imaginable that of a single, monodcinstrument ‘The psiton fom which any understanding of hs music russe ut In What lever direction is the connttion of thes two is ina severly ested fame ‘As the tie sugges the form, material an abla arcultive g- tis specific to the fate self were, acordng to my original vison invy ‘nied. This inivsbity hed tobe cpaued,frcblyconiad to a sphee ‘whose boundaries Gn the final analyse were pemeable to nerpretaton all pains. fe bat unboundod expressive world I was only possble ata {spel by permting he crs tte which define the work emerge fo out thee lntations imitations by man of which he Hate eval ‘ol as what unigusy sie esence I ws principal fr ths reason at Tegan by elaborating &syatern of rpaization ced on the naturally ooo "ing regulriis in the Nats son character on the oe hand varous ype of ‘mcrotonalinerval capable of being produced by means of ip or fingers, on {he other by recombining arcuate techniques fami tal att Coe scan ip nso lager orale emtoucareapertar nest of vat) Ih hero unfamiliar consteltions Such ser ogarzation a8 ens ‘ered in Unity Capsule emerges ram, ands imposed upon, hese asymar- fal modes of production which, alfough not ently new, were prcially ‘ignored in the context ofthe flat a I ound In my vew twa the ‘on of sigan numberof these potential layers of sound production co ‘dered as impure or redundant by reason of ot being ameable fo nchson ln arate regulated systems of rgizaton hich ha lel en ‘oa ther masclate image ofthe ntrument- something which ef lads ‘atutlly apd mediately nip pd impotent muse am 080 {hat the oni word of Unity Caps be taken ar model fora one ute musts would make si and artical nonsense ofl stl coke. ‘What tis lees tempting to suggest onthe other hand ata the very east no compesitionl sve can achieve ul vay which does nt ake ast pomntof departure that symbiosis tween the perorer an intent is imperton fom which the Le fore of music emanates Tonle fo eliza this postulate interaction on the mst inmate evel ‘tis nacsy to ind atleast one comen denomiator which wil alow the experience of he interpreter the opacity of the rumen and ne combiat al eapblty ofthe composer te ranspore toa sng wale For me, ts wil come about mest red by aut in conser shion the degree of difcly which ar encoustered inthe proces of earn and ‘eallaing the information consid inthe cae. The ple fac of lang ouch, ‘ notaton demands nich ofthe seas inerpeter by way of salamat100 Brim Rerayhough- Collected Wong both conscious ane toy conscious evel Performer are no longer expected to fineion al a8 optimally eficent reprodcer of imagined sounds hey ‘elo therocves ‘sna in and through whch the inal impos ro ‘id by the score sampled and adult inthe moet varied ways ag ‘able Since so much s demanded ofthe performer in cach instant, ths specs ‘of salle can only be lesmed scr ayer by nee fm my exper ence, the oer in which sch ndidual approaches thi as nena the = ‘a esl enormous spite of he ft Ha al nerpreters are kang ‘the ‘Same pew Thu twas tha al ough the act competion one of my rast ‘Seen preccspations wes to rule the eve of cific of ecmmpaction of ‘Simultaneously presorted inormation (hse two levels are nat lays ident ‘aD aswell a that of informational content fom the snes erspcive Ale though the inal sonic rest in lege part, monodi, the inital point of “departure for he compotion was than intereeaving of skal. Ato point inthe dcourse do all the ments come into play smblancowsty, that he fal ecu of Ue work at et in pr is defn by hat rome ater than tough Dose echnique and ariculatve dimensions acoustically tans ‘led, Fundamentally therfore, this compostin is payphorily organiza. Wisp teach tener o unravel he numerous ‘ls fer nd, vin a proc- sof farchacclogial speculation’ 10 reconstruct he workin his or he own, image. Et ran il ‘The over ama scheme of Unity Capa (Ex 1) ws conceived with «view to optimally fining various one of combat sity deters ity Capel: A tan Dry 101 st the cue At he sme ine, | tempos noize thi mates ao Sages by mane of pogesive trtomaton of depo easy of ‘ery and rari, an, ebay of exper parr toa specie pcr wish fe wold cea for ey tte he py of grog Comply sve bjt gran gay ofa peep Th gal sos pune on hela middegound ad mngeee snares, Ice by mene ofa mate of proper died oi overall dans "ght rom hc sere ted the opp ces wh thexgeni of he mately forcing eto come totems with hase treme of bth abtacion an sonceon an itated by te rent employe "Saing om hs nly cater ke seme and woking over 3 pov ofsrver mnt duly deve a posal sg rma ‘etl the cour ll which sucha iponed bse our cor tie, The senso a form of syeatcaton he nding and ‘ending i of he eral tv mechan the compen ae ‘ones pan inthe right don hen pono conto he mater ‘rth smo tal fete Ses which ean poste ened ne {rule tobe Bnd cberved re anathema pracy evey peel Scam aa enterprise Adopting hs epee alr a a ng ingin my aledy ines ccpaton with ond typo Soper tra sche hich foe the savin ofthe work ie sear of ‘dhe suc sf Ute omnes sgl bres gop The ove Scheme shown in B14 paral reproduction af he eral pan, the ternal ees fal compostional process repo! hee Ocul etn ape fe fot ta the compl! ee devi fom SOgh airy mason of emer wh chose eta or ee of dlr ‘ne medicine nerd at ater sage ‘My princi oj west cere alfa fom one and the sae nf furdamenta proportions: has bth arson eng of ‘mesures and thesis a roups of mesures ge un alan ‘lnc pln a rnc also api on higher eo te number ofa ivan oud in ach of th pind scons o wel tothe numberof Scbalvlon slg to enh veil ear the wok progress on the mont enc mari ee. oroample te proporions betwee the fit thee mesure 43.2, and he oration fhe in ston comps th works aed pon ent proportore. Arlo ech on cone amber oom ‘ent stairs dvved raring tote sme ppc. Secon t= ‘iver Socton 2=Dsubalviony Secon 3 Zevon) Meroe ch subasionseompond ofa number of measur casted tee Ws ven though oueentyspted operation2 Bron Fereyhough - Clete Writings “Toads the end of the pc the foreleg rendre po- _gsiely ure comple by supper ye besarte, nd9) As arate propariongarécontered erence to wat a aleacy ban expied it oly ducers. My goal ere wes ofr the dinal stton wth mint wetion efor whe or ch ifn it many onli xs ewer coo ely sao ae forexampls the yt onstttion of eens nSacion "Aoi whe log pros poe the ten Secon 1, mi ‘eas aed Sc Snore fo prepa the ul poate ‘ese atc in whch afr the ri peated) str as un ‘ous he now pede nstonal elisha ig ot sl nested ‘ertake one anying onsen ith ger acto)even afer he erfomer sscomplely run cat of bath After cnsognc a ths oma eb ‘en was tt Un oie avons sth pe are a variance wih he ‘ti ground stare conottone + eve of perceptual oven is thas fered ook ye sath plyphon’ snd aval for enching te {Siomasonl otto ts faa estited mess. "The way in wich Son aye sl toate fo Sco 1 i best soon by comparing the opening moments of ech x 2 heterotic ae psn cle nef icy ‘ic uct ony heir ation bing Wasformet ito malic x ‘Dena Tu rin conan The nets alent inSain re inScon ‘2th out by shyt mates ening in Seton 3, bt mode’ eed by the nase lian of eran coneiet mpi Tests pos ina hihi otf ny teem by mere ‘trate ptm of ovtappng en leon, jen alr opens ‘hn be apd to he mou oath pa nd shyt louph ryt actly the cen Unity Capsule) Daring the oe of Seton ae Soha matre ave groan, nner to fl ot ter lens Sct by theo plan Tein carps fs eins i ‘Ppp pa inthe dg shown ine “Anni eapiemartaufito ares the generation ftps tars The very opening the works pertapsthe simplest avaible exam Te {Sowing pocape whe cy fer ny compotion worl es "HfStayhnac nding acl dtbason a miro tonal andi ‘anal deci The fl ng of gre determi bys Gators ‘omepondenc ooo mor Skene ong to seer proce the along anc ech bv li (ene night notes ake the mane ane umber eer to whch pce a nate of mpl ss tote dba pais age elit) The nels a ten Separate or cole! aye in the given cre without repeton ‘Sei Gee example) Unity Caps: An stant Diary 103, “The diancebetwen figures (e thet valu of thintervening rt) ‘samived at by intrspersing betrsen each gute and ts immavine sce, 3 Feat egal in lng to one ofthe measures in the basic metraequence. The Fret menses ot counted, so that he rests wil be 3 eighth nots, 2 eighth notes 6 ght nas te” Ncursory examination ofthe opening messes wil revel his prose atwork (Be108 Brion Fermyhough- Colle! Witings Unity Capsule: Arson Diy 10s Ala dision of th opening pitch and gestural material (kn roan ‘he same sure ves some smal Ken ofthe principles acoding to which the momentomoment transformations were slated “Theat neral sa micotna son, which hs ines pin points the angelynontenpered pitch materal ofthe pice (he A 3/4 ya ‘neand the same tine, prt aa liso which by imptato, sweeps trough ‘i scrotal intervals within the specified se, nd a geste pede touchure moieatonpreixtng excl tempered pach defton). Ts al gure therefore, paradigmatic for he aiuitive abuso he whale farther consideration immediately undertning the complex rations co Janing pc nae an action the opening, highly demonstrative dung of {he instrument wih aks place before 2 sound sar, 50 that he writes plches at that pot inno rationally determinable way comespond to tose ‘ncountre ate ae which were, n fact, generated by the sare ste.” emight be add that the equally curious nd demonstrative eva ‘ofthe ute fon the ip in foley ts sudden reposonlng repre: fants a farther ample af ‘subversive form as encour at mary pons ring this work In foc, rtuning the istrument to plying postion mas the en commencement ofthe next subsection Aref examination of the ‘sore il ge an idea of how the dfn and tentative gestures ofthe opening ‘ome Yo be expanded, event afer event, by the inion of lip acon (m3, tremolo and sbeiday figuration migration accomparied by plosive ip tion (7.59) and complex recombination ofall the above ehiques withthe ‘dion of tll sight modified ‘normal ft ound samples of the multlayerng of playing tchniqoes mentioned above ‘ae geanel fom the sume sore page, The upper system each pir the ‘Save cists alte o pce sounds, whl the lower sae ten piven1065, Brim Fermephough-Cllced Writings cover tothe represen ofall forms of vocal ation end phontialy mod. fed embouchure postions The haldamsond note heads encountered in ‘an for very breathy lone production the square shape onthe wien of ‘2 means “play wih wide open mou and fl but ifs breath hea sp ‘The cle onthe same ine, one measure ay the symbel fran explosive sud produced (without accompanying breath bythtongue.Abore thee line’ (2) stustd an inverted", spoatying attack witht the we ofthe tongue. Above this there are found two ‘Uso conned to an arow pein the ang a which theft so be Hl elation to the ps The ‘over measure 3 ndetes the persive sound produce by frceflly de- presng one or more of theinstrument's kay In the further course the com- Poston the pertain and recombination ofthese and many othe Ives of rico, prods a tal polyphonic tangle which performer ma unevel to ir own prope habits bites and inerations. That 90 much (fds dead working i ot det audible sa map contbutry facie tovearés mapping the ace of ambiguity which Unity Capsule sets out © ex plore The work of ar tht doesnot aie more quer than Iams at an- Swerng can never be considered adequate is own imananent potential. One ‘rc article demain neces by iva peor ‘ssthomscoes, sinc only they on eeatvely coon and aslve the chalenge that sacha explct muldpty a tfrmation level of, thas assimilating, thar ow pecepton ofthe wrk thes understanding of ther inerpreaive sk td civ inept it har nm personal damn othe echoing bye of the work ssl In these fee salted comment thee are several een aspects structure in portly, deta of rythm derivations the organization of ph which have fale to ouch upon. Inany cae, sucha presentation would sures frterarle Moreiporanly however Ihave not amined those ‘epee composion deel impinging on the nature ofthe aesthetic ‘counter eller tat ofthe work wh the performer, or the performer with the ltener I wosld Uke to unetin the importance of ase mates 10 my 'spproch to composition sine they dely border on areas of experince which tend beyond the lnuso speccaly musal scours. Bese Fave noi tention af pe-empling each pafonne’s prerogative to proach the werk ina “neue way and becine Lam speking here at practo! maker rather han 3 Thao Ihave prefered to est the sope of my presentation to partalrs ‘of eso bosic nature It shoul no be infeed that his dein eles the ate ope of my more general ttc perspective. TIME AND MOTION STUDY II ag77) For vocalizing clit an ive electronics (1974) In the ir instance this work is concerned with memory, with the manner in hich memory sieve, colar and reorder whe procesing information ‘ond level once iisel with the conatnuction of model deiged to d= tnstrate the fc that memory is discontinuous something having a decided ‘ect on peepton, on the ane han inthe form of eve sncreasing interfer fed’ in development on the cero necessary prcondiion forthe stor {al consolidation of the individual. Pott of departure for this speci fonfrotatonss desi examination of the mliceted nati of tie athe ‘Soliton of near temporal experience inthe proces of recall The work isa [5 ths tobe regarded as the memory of a production proces, the place of Performance as the point of confrontation for bjtively neue Systems a subjacive obcaraton, erosion sn eradication = thse ser beng by no ‘meas ently predicablein terms athe easembl eft The faction of hee ‘Ubjectve proccss to Gepresent an iene projection expert ag ‘ents which by means of iniviual rcalctve mechani, will at some ‘ae pint cy with hes fom ty nal of nuence Aas the cme wth the fro the {Be Time and Motion Study cy coil ree o econ of nda {el efelncy serves to undarine the goslorentated mateo hs nome ‘ematctrbance/detrution ofthe reserves of experience self syperfil, ‘nll by ther). This elelogc aspect is then investigated witha view {o discovering to what extent the vidual consouanee of sa is cinren- ‘Snglenstans, the abuorption othe cee neta bythe tal ut as, {oason ofthe fact ht this wotantaneoas decay condos the fate which Bomofit ‘The fabric ofthe pice consis fa continuous sequence of overlapping process which toa constantly Huctuting degre, are constalned Yo unfold {oth simalineousy and consecutively. Iv turn, thse processes Fad t the108 Brian Fernghough- Clleed Wotings raul accumulation of esi ‘sfiment. Although the sen ature of these procedures dictates that these flyseved ayers be produced bythe n> teraction of several generative erga in pracice they havebeen So conse ‘quemly reduced tos common denominator by mans ofthe abovementioned ‘Siving hat high evel of entra conse teulmately produce I wou tb devin to assume that the orginal process epesent mere contingent tools which, hough aeasny ae nat in ad of themselves divisive fn ont ‘tinction tothe comary wero Wwor, he sons phenome hereto ‘understood athe resonating ac’ ofthe elspd mechanisms for which it ‘Sands flows tt not oly the experiential dane ofthe performance fl, Tut loth ‘ale involved in the aco eompeston (which abo incudes ‘Soto perfomance specie decison tobe made bythe prion) 0 at as the arbiter of significance. One hast excnnt, analyze and vepojet Whe the work an inno sens be sid to be mprovistiona ether for the cls the tecnica arly thes) the fet Ht he pce re lation to the atu of a prodicabe an ination state product allows to be as formed ino 3 sya of something provisional hats fan age ofthe sl ‘Guuly suspended tween iepatele le ad provisional coneobdabon. [Not the last obvious of asactions sugested by the almost organic resionsp beeen performer and electronic ambience nob cental tue in Time and Mation Study Ii tat of varios aren of capa pure ishment. The role the electronic cage i ot acted to sch ancy tasks {completion commentary r suppor but on the conary tastes the ask ‘fs weit “dou Even though the cons fe the figural devies em the opportunity for slleton va repetition it only very ne "tm that fe clmens selected for etment in hs ay appeat wing © Sbordinate themselves to the wil ofthe contnsally unaing ive materal. ‘Seen of ths, the reproduction process n ecompaied by darkening tubing tendency, fe mate tn a faehion consciously a vrance with Use Iighly deta peceatons atacod to the methods by which the mater ‘thus ‘fact was lesa. Repition a prscondlon fra contest (cat "uly repelion a5 a superfly (agent of fragmentation. Sen frm dfs. fot point of view, one might see ths encounter beoween the sort of Seltexpresion demareting the indvival and sometimes uncooperatvly ‘eon eray of soni 'Ssorting mimor of cals (continually Mustang, the pertormar's increasingly urgent die for the untied pa tie 5 ‘rowing ite ight onthe now sync reaonstpo individual cour nd pally apposed moses of saserere “The werk may be concived ofa the interaction, interpenetration and mutual ausilation of two guile dint types of atrial The main materi ‘ons of seven times seven sythnicYormula, whch gether wih rig ‘rou determined pattern of pase lengths, ordain the main course of events Time ond Motion Suit ro through 2 proces of perpetual varaton It in pasage organza according to these principles thatthe quantile aspect of time assumes particular ie forance The secondary materal consi were finda comment Jes on six distinct Bae artiuation types ~ organisms distinguished by & ‘ignfcntlyIceer precompostiosl definition Gehis implies comespond- Ingly grater dere of nial conceptual abntraction) There ares example of teen the and sc articultion types i each Sequence the soit ut ‘tform Each Sequence num, individualized bythe lative prefomirance ‘fone or more main types In thee sections pitch contour ses clearly prode- Termined thin & the Cave elsewhere in he work: thoughout hee 2st {itincion made between the main part, whare pach secon fos ater ‘ig determination procures and; inthe Suances, a method permiting @ ‘tain amount of choc sel strict speied) in respect of degrees of labo: ition deviston and arcultive stably appropriate for indivi events The ‘pening section compose of lengthy passage a which nerocking ag ‘ents of the main and Secondary material exegoricare‘analyed-ou by “ours totwo pe oop dey systems With hea the Sees are rcone ‘ring performance snd, with varying delay periods and warble degree of ‘Satori or Involuntary ding arta fot the etitante’ manipulation a recording volume conto, arereicetadin the cel’ Uve sound tam. gan Sd again these decontextuaied pliner serve to nderine an ind the ie ulolding ofthe lve daure by reson of thet temporally ‘nica ‘ature Even though tema atrial -at ft ete raping rises produced by fiigorals or Plecta 6 not tested in ts fashon ‘evertles soot on 2 farther ape Coming the Sequence segments) £0 (Batt may bereits ara autonomous ayer of found event dering the final minutes ofthe pce, where a massive pyramidal ping up of tat ‘occurs After several infrvenng episodes have been negotiated the mid-pent ‘tthe works sigue by diferent sort of strana, where rp a ‘erating group of tna notes an shor, explosive introns are ved ‘up and, scording to playing technique Gre or plata) alge to ahr the eto rght-hare loudspeakers, Subsequent two Bock of contrasting sonore but up by means of fendback nts tiggring sgl fo the per ‘orm nthe progestve conection ane subsequent emobiton of embellshed ‘orl sircturs. Tis one ofthe few moments a hich the optimist ‘strctivitaspet usualy associated with thelive elector medi smost ‘bviouly and deberatly xpd, eventhough In practic such nial ‘Sanity fatally compromised by the neitable selon feos a ‘reckons on the prt of thecal wien called upon to nat ew lenis Inloa by nw impenetable veal texture “The second hl of Time and Motion Study I begins after th inevitable ‘eakowr’ in it, we witness the rapid ascent of entopc tences 10no Brin Femeyhough -Calletd Writings In his desperation in the fac ofthe vast ballooning of ape ‘us memory chars’ hemuning him inthe ealistiniates clog with his fppresive ambience andthe sone obstaces confronting him The ta, vc LZ bythe performer and imately twansformed, addresses the impossa iy of obtaining harmony between words and emotional states In accordance with this contont, the woke sucked up i the maze, disor and elf ‘duce to another level of interference, devoid ofall mediate, euknomous eersnuricatonal impor. Thee sony one moment al the vr ed ofthe werk, At which the est & heard entirely dvoid of such obteratonal sccompuri ‘ent Having Koaly achieved a nominal degree of independence, th te ‘ents reduced to endlaslyrltaing insigianly minute variations of ‘ingle obsessive pitch The patent sbi ofthe suton i undetned by the fact thatthe performer condemned fo hold out othe Biter end Inthe ‘certain Knowledge tht al apd sounds recoded during the performance is “imemary ave being snl eased behind his back “The parallel fantions ofthe complementary isrumenta/elecronie layout migh be schematalyepesented somewhat inthe allowing manne: Insinonent Exton {ve peormance ————_amplifeation singing/spenking ———— ring, mulation foot pedal lis) ———— “one naa (Ge amplitude mediation) “The various extremes are linked by means ofthe almost continous ployment of del tapes and fedback: generated superposion Wiha sine {le exception (rng modulation of vie y cl) al mba mosieations are ‘Tojeed fon the natal romance of the ntrament a eitted by to cote {eet microphones, oe alached o as to bring out the percassve suns of the fingers onthe fingerboard the other fin ote corpus both Bang independ ‘ly conta by foot pedals operated by the calla. Since each peda es Signals to only one ofthe antiphonaly placed loudspeaker follows hat not ‘nly dyramic gradations but ala spatial distin of the onl conta ed recy bythe performer the score pres information as othe ‘positon and point of change ofthe pedals at any given juncture. In dition, the are two further microphones employed one of Use a diectonal alt !mlropong i placed in fon he cello tus vecordng the natural sono, the ether being contact microphone attached othe elit’ tet. The s- ‘ale rom thee fo suc ar ring molt daring he soon half of he lene as mentioned above. "ecru performers of his pce are requed to master and reproice Information of extreme complexity (the mise being lated on up Ho Bee ‘Time ond Matin Study 1 m ystems simulans) they mst invest al ther energy in onder to approach ‘hadoguteinterpreation At the sme ine, the asian re oop with twaroforming selecting and reorganizing he codentd reidal reco tt ‘masamalyciferentiate! confrontation. nthe same way that he foot pedal of the call ae lly notatd” as integral ofthe sore, othe scons ‘ofthe assistants ae prely coordinated withthe couse olive evens At he ‘ume time, shouldbe noted that because ofthe invariant delay times on the tapes loops as opposed to the vaable speed of exceuton of hepa a ell asthe selective nature (mnemoni imperfection af the reproduced ema themselves, hs presion i undermined in performance ear temporality ‘unseated, and i eorattuent ciphers are delivered up tothe simuanay of punctual conse. ‘While undeabtedy a notbly pessimist ple, Time and Motion Stay iy no means mils regatty does not stem fom te reenss pursuit ‘of some aesthetic scorched eat policy, but rather fom th desi fo cea the {round for new contraction I lle na slater to thecal a the Wye) Enpase but nether does deny meting til continued eral contention.‘THE TIME AND MOTION STUDY CYCLE 987) [No program hook intuducton has ever buen writen for the nepal ce for {he simple vaso tha the opportunity to ptfrm all vee works togeter has ‘never previously arisn. obviously extremely feat at this distance fo Skemp to generalize on my motives of hat period (97677 wl be ea in {ny cs, tn, that thse compositions emerged from the moment of explo ‘Sveconiluaneof luge ray of concerns, many of them nt diel oF abv ‘ously ‘musi in nature Equaly car wil be the emphasis ona high evel of ert experi and compostonal deny These se by no mean aston ‘mous ope of my partir mua style rather Ise them toda a pa ‘able dlc of onc and the sume concern wa place cn mus etc ‘aim inthe tsk rial absurving the work around ur? One might argue that this not the sort of cuaston that at shouldbe attempting to ask: fom 3 hiferent perspatv,ailel hat the composer on sry te to smo in the defnande he makes on his chosen mau along a the post of fare sever presen nhs mind “The Time and Motion Stady and Carer dTavenzione cys share 2 tay characteristic For quite along tne (lest sine the begining, reall) hae ceed roued ard xplord the problem of mil-moverant compost ‘Sructures in these two exenelylangeeale sequeness thee no obvious co ‘ectve materi other han thethvead provided by the over arg ide was iy aim low sch navi work to eana yon owners, Dutie was also my hope hata perception ofthe made eroding employed 10 Bethe pies in place would entance thei singular inom coerent Se Sign of Nigher order In Time and Motion Stady ti dimension s provided, ‘on the most immediate level, by the principle of expansion. The action begins tay concentrating on ole peor expanding iment oes om single ‘atraentalt ike inva web of echclogy aly embrace pe poop of individuals, whose vocal actions are supplemented by pecusion end sp ‘ally redistributed by appropriately lost loudspeakers “The performance wiltake pace without an inerision, and will have total duration of approximately 0 mints" "ie Caer nvensinne ce ecvd is Brith ree inthe same ia ethene and Matin Scie il assert Be ‘The Te and Motion Stuy Cyele us. ‘ime and Motion Study I (877 for slo bas clarinet ‘This work began fein 170 as sre of fragments for slo carne, Coming Ico tht masters 197 una me to recoil my poiton in esp of {the import scope and mode of functioning of faginntaton a formative pi ‘ple Rather than guise the psig ofthe intervening years, decd te psn the raw semens Were ford Yo penaate nv eshoots by bang [ssed, under presur, through an allen frmal gid. The fal importance of {ign fragments was thr ethers theme nor mative but eed in se ‘opoty to motivate farther levels of dscoure Having ied this Function, they snk bck ino the neljceatd petwork of procedures, Ue natural stance transformed ino strtural nergy Fundamental concem ofthe work the vision of polyphonic mode of discourse trarepesed to the framework a manophonie instrument Many Poys and stratagems are esred ton oder o make this possible sucha i Ferenation of parametric levels underlining of ins of force with systematic Seployment of ericltive nuance ad Ue overlping of vated numerical Fern procedures at diferent spcods on difereat eval ofthe discourse, “Time and Motion Study Tis bull up around a cor of two central prin ‘ples (1) the opposition and lo contested type af activi the one rapid and reula te oer dlls and gestural, with wide aps ‘nd unpreticae yun pattems; the applies in various oes, ofthe fons inherent nthe bona Seis, 2,358 13-)- ight fom the Sutet thee sor ae brought ino urmeditedconfnttion. The further ‘oure of tha 9 mine work made up of the vient filtering ofthe energie ths erated though the dexterity and boy ely ofthe perormer As in Antonin Aras ‘Theatr of Cri, cach ar of the work ells fr ‘onan rom diferent part ofthe taal orgasm performer instrument) enveat This for me sama In musi ‘Time and Motion Study If (1973-76) for voeaizing calist and ve ectroies Although nly concived three yeas earl this composition for clit and ‘decor enveonment was only completed during my yar a5 Guest Artist ‘ofthe DAD! in Borin. was at pefrmad by Were Taube and We Se al Stulio of Sadwetfunk, Haden Baden during the Donaveschinger Mtuskiage of 1977 Tithe fst instance this piece concred with memory -how memary ‘ove, coors and shes the avalanche of sence impression Which the bala ‘git The electron sep edged 16 demonrate what keto bethe ‘imulaive fet of some ofthese Lethe supreme ambiguity of ‘itso and erase tn dvd seaerenese os on boundaries.1 Brian Ferneghoug - Caleta Whitings My ptt depuration oft na at fe Ne ict sa canes ery of el ‘Recents yo spots bated ee fps one and poems vat the pat of neton Seventy enue an ness sac Fmt Ta vend merdng mec cnple se med fo Lapis and pe ey spy le ag a an ee eee ea teem arora, pn ad at tins rene he se weg See a Shr nce he hs as tn nner ‘Sh at rh sr psa, se a fe sey i nt ater cre fan hse apd eae Caper tare fe wrk Sea or nes ‘Stn ec afr resend re mode spf tng Troe! fran el Los ei apna con cos ‘i urs tar Tc hay he ete Moat Sen bent imetieecpeimer td ety Sens org ‘lye momny sinh ter monet eno ee hei be ec esi “Time and Motion Study I (9754) for amplified voles, tape loop and percussion. Compose for stern vos with lato-aoustc enancement. Witen in 974 Sind ven tit perfomance, athe Danaueschinger Manage 1975, by the Scho Cantorsm Sagar conducted by Clytus Gata “The singer fortis ple are deposed infor group, ether athe four ‘comers of the prforsnce spe or lesly separated, on the stage. Fach ae is individually amplified, with the signals being. tansmited by {quadaphonicaly placed oudspeer the ane ofthe whe bing ase. {ve during performance, Gach the performers oqled to pay one or noe percusion instrument nd Hares lape delay syst employed in he con ‘Shang seton ofthe work ‘More tan mest of my compartion to dt, Time and Motion Studs 1 and IM might be said to isis armate Maxton oon. or of ‘Thaler of esse ceaed by the inal disposition of foresee, opr ‘whose sage a dramas played out which world sre have been imine {nany oer envionment In this wa hoped to crete what Tawa a mth (perhaps tt alegort) dimension, i which each of the forming characters would act asa corel in the deftion of symbobe soc “The flowing fragients ae akan fom hwo contemporary sours ~ ‘The Time and Maton Study Cycle us short notes scribbled ino the nl sketches for he ple and etc fn Teter writen to various fends ‘ano ane motion stay em ying the nvetigton ‘feeniton for optinlcooninaton been wer ad ‘mochines A muta adspation Not determined the fcency -itacare o me ver more enpatally at he poly woke/ Split wan not simply one farther tans of expanding he ‘Sra sound pecrum i pect of 9 spa eeamblethe ene ‘oon af eaning contd in th primary poston i or 8, ‘qt dee eve, Ut the mata erponetabon of Natl ‘sh Coral the widest see of thee er The werk wich open, ‘esl mean, lo both evrere old psp fanon a padi hire trac of problematic mlstonpg ace i th at be whieh ‘ow power ene came condos or peta anemia ‘dca ition, etext mtn of the work de with doers aspect of the Srmorplaed mythofwchnatgy: Althea in, ors oppotunly {a ner of Greate cent sd signee Se the es tae onthe one and oad suc on he ter serve api ‘Sepa or many methodol excuiors,hey exit asaya ‘nlgrund mats thewby outing a myth whose mening By atu, ory innit the work Caling nse in ution eo ying ty. ‘Th reproduce mound a on of the rg Repetition a eb syne fe reproernton of the ms oth sper. ‘With demi precio, ‘hespliting opt of esymacc and seman dimension of pec fey i depo at fares Aectvey operative spas (proces combina sceton of oun pad pies semantic empenet vad sean stein Ltn, Garman Sn Eng o proaaualy ndermined one ll im ‘ependen estence18 Brine Fernghough Called Wings ~The ack in probe and he inspacer of space” MDI? NIB The above notes were writen thiten years aga [reproduce them er, not for thet terry mero explanatory power, bas aces the Work proces, Perhape they wil nevertelae succeed n suggesting more of the org $alambience ofthe compost than any deserption made with the benefit of [indsight might have ben able to achieve Endnotes 1, Thecomplae cle til it (992) 2 prema ely crmapnding he ‘ripoff potion plc omon Sle hdec ond i ont 2 Dace Adoni Asche 3. Mar Dalam. ‘SECOND STRING QUARTET 1982) “Ths pace abot snc not so much Mer secs ag th ntvos fn of the opening soca but rte that elbrate aoe ‘le cene of mal expres which ven drt he ering abc my encour ter ‘Scat forms of sbnc an oly be apposed a throw proper eats, th oration of th gun conceit onthe dation of ‘Several cvertgher concept cand upon ts oe files ‘Te abhi path owe which the approach made tmp to ggest | number of pnts sone and tee th ene ‘lowganzton involved in the a of campin sink bl te sure "hae becoming deliberately abt ihring ep fre [tre wih whiethe wees mat marie Spy str e ‘Signet io ean poms fo ether ees ight hoe sees reload ot many pots aang he in of eet oon the center (bch ot mcr marked bythe center pt th wrk “Tae above text been fered on several ccasions at program note ‘Thatit seems fo some wilfully gnomic or racla wo others verbose and ‘use, to et thes bot ofthese af these ie tobe reget, bt scarcely sltered.Peshape in the nal analyst might serve a3 token ofthe tendency, ‘ecillr to aettheticperepton, to allenate uneasy between too uch? Sn tootitlnes? I could be that this uncomfortable tut also enpyable) ‘cen othe perceving spit dal in contin motion between te ‘otioral extremes (necting tel coming the cer way?) fuels one ofthe base ever underying the ‘ets conepiracy’ A any rate ti cersny extra ‘arly dificult pula inger with any accuracy Upon the ost cel sept ‘ofthis quartet, forthe reason hati represents, at one and the same time, one ‘fthe- toma: most intangsiof worse aed mat comely approach ble ifmotsmple’ "acre that Ihave compen Incontat to many works a the st decade, a which undertook an “athe invetgatin’ of several areas of musico-cultiral ieracton, the me dium ofthe sng quartet has imposed its own rales of ply acing me fon6 Brion Feraphough- Called Writings remem en ti gat omg agpapca eae eat et pcan ect aig pt Res aterauseemneaueygnnce En Greceeticnigreneas antag rs ssc gerne eg ie setae tanianes teenie? 2opniie cae eeesaeemeaen ts Soe as cemceany Spe Racca Raaucuereaa aaak Sceertenancmcrsy tara oa Semen apie pei ot pee cian a yo ca pa ow ene peace bch sda ge inn es pope Sin svat ee ie aemtages eater iter feiedteg iether iron Denne eaeneeee een ee Sar meg tue henierncneng Ramee tetanic fo seamed eee ny echoes ieee eee oe em iegnmieecntrnmers mir Arectsegeectgeemraen ec aet pec mteaty erie HE ainiceemerg trom eeas See Ee ronermeonnmnonrore spa epee sogtueeroea tn trace inal ean gre cemmenor cic enna asta aerate Senora cone magarmeds acres ae yt tenant nem cn lt a ate spaitekent per ie eha creer ile hecin cl oon aaeietar ce jeenangicmeetaner teem cera iucagamraerenimscecroomone reo String Quartet, 9 peeled a nhabing he expectant vac which theta imposed en Sonne aco define Te opeing yeep are bul up oe» pdternied ume ately do twas ths level-by-Seve ‘descent (one which every lstney, or ‘Surly or not mals aloe) owas which my preliminary program test wat polling, How dose muse Keep on owing, ul neverthles hak tray {he timeless pint of expectancy inthe face ofthe impending leap? Tas ques ‘on tthe sl center’ of my cent compostionsl concer ‘CARCERI D'INVENZIONE (a986) Many of my works ofthe a fiteon years have been engendered by contact ‘vith some for of concrete image Thi has sometimes been effective 8 "niyng, al ervasve de sin terug ofthe Mus ofthe Spheres ant ‘or the various oni ransformations an rcomposins of the concep ol ‘ney’ forming the bans ofthe Time and Motion Study ye) but test ‘ter, the work den has emerge om contact whan actual ial experience ‘which seemed mysteriously to rigger the alcheialnerscton ofa sors of Rithero nebulous sues, whose pressing vlevance I had, unl Ut moment, ‘otsuspeted. This wat ra ofboth the orchestral pce La eee uin home (based on «major canvas by Mats) and he pian composition Lemma-leon- Epigtam, which look Vier Benjs emblem specstons ae immodite point of depart ‘My tre encounter Sn 1981, with the sere of Panes etchings th the ‘altive tile Carer 'Tnvensione wae sil another sich kay experience It ‘oncied with inal attempts on my part to deine the role of nergy nthe efron of possible modes of musial discourse and ~ equally impr = ‘brought this concer into maint confncton vith vo further arp of ny tnking the a approximately comparable ager of development. These wor, fis, the implications of cndstency of personal syle a8 cota [Prerequisite for formal process and secondly the rowing deo formulate [npc tars computa stingy alvin or the njserate nda (orat least the peaeflcooistnce) of extremes of constctonal or iafoeal ‘modes of compotion. By thse meas hoped o et ase at hast or mya, ‘what Thave aays fl to bea perlously ovesinpliying pacudo-opposion $l widely sumed in polemic on teste nes. ‘The Carcer nvenzione(Durgeors of irvention Inventive Dungrons) Lamps me, in the fst instance by reason oftheir obvious intensity, ness and expressive pow: ter mich beequentefston i arack me tat ‘Roasthe mastery deployment of layering and perpective which ave sf thisimpresin of extraordinary inary and alot pisal impacts Ate ta the same time the observer i drawn Ineictaly down toate the dak center wile forcibly thrust away along central mys of absolutely non Patras, matually confines of force.12, Brion Femeytoug-Colectd Wings “Th fal atv, the dawg amie hich aot evry Sublet gales ad the Sone sens sem waren wth se deseo atone eae For me itis prc this interlocking of incompatible (ut somehow creat) perspective! Beds which genaats the necesary energy to prot {ha selencloed experience beyond the phys lini of he page ino the ‘wor ote Tome, thi some like one ral way of making mse "mes Giles Deleuz, i connection with his discuss of nother paler of Fos, "rani Boon sa: “En art et en peur, comme en musique I ea pas ‘Se reproduire ou ivener des formes male cde copter des fren my con positon, [am alway etn out to define momentary anor states ba Sheer confit, whic, abet necessary ambiguously, define he spaces which {heir own fare comes o ocrupy tha hat th musi objet carmen to ppesrin the doable role of enodvelyconnoaive gestural ent ad of figutl ‘cteltion, whose parculazed component sound qualities are constantly poised to independently lunch themselves into Gand this deine subesquent ‘age ofthe dcoume, | m partly interested inthe Bgur’s cap kx {Gating multiple strands of directionality which by allowing the onward ‘wing propcton of simultaneous perspectives sags the presence of depth tft tnand among the sone eee. "The musical event dein by ts capac to render vibe the forces ‘acting on tas wel asthe enegis thereby st fee Al compostonal technique {uate on ti sate of afte te os oncequenec forthe perception of fos ‘All works in the eye share a wide eprtote of generally similar techniques ‘etal compile smong themselves and thr combination oppastion ix ‘Spec contents fore the foundation of work Wen partly types {of te’ eperation ae employed, ame at rendering specif parta aspect of igven material haga aes of mabe eative pda Site had tha all Invention comes from restriction it seems paral appropriate o imprison ‘sil states, has empowering them to expres themes by en fe inploive energies they flat. ‘A second vital stand of thought Ngighed by my concer for rane achievement wae the question of set athe and death cycle ‘fspecfc malariae complied inany given work depends on the forse ‘eatvedlachoni inept, so the extension ofthese pnp tote dimen fone ofan ene cycle of works ofr the opprtuyof stil vaste perspec tives, ore profound interaction have always expences grt cfs In keeping works entirely separate; continuity of =e ake this tino account td amples fio. mee general pinsple of potential lingua efton crc troosione 13 Precsly the contrat and development abortions distinguishing ler and [ater versions of many of Pars’ Carer imbue his acd thoughts with more Intense semantic ‘penpective In a smiar anion, the ayers second ‘eas of compostion { employ allow for an archaeological” approach fo Tinening nd encourage the speculative ear to crete ow categorie of percept. In my exprence, only a concious consistency of asic ambience E*tbe to generte a space vain which potently vont extremes of ‘precaution snd cnterrbound invention stay fully inerpenctae “The Carel dlnvensione cy a a whole fale lad cut with thse sttues in mind Several patterns conn! the indvidualcompostons that dynamic network of tajciories& suggested, Prom the point of view of Stent force the thee works Carer Tnvensione Ell frm 2 lest ‘ial axis around Wwhich the remaining, smaller les ae dispoced. At he ‘sme time this function sent further support by the fat athe Bt concerts (Carer dnvenzione I occupies the cent panel ofthe pty thus Cre ners 1 - Cac ieesione I - Cac ses It Intersting thine atthe ane cnt pin is he sere of pce in which the ute plays a prominent ale: Supesrpo Care mension I Memos ecole) ae ase ate “The descent from extremely high o low register isan immadaely sible and stiking theme’ ofthis soguenc, eventhough tbe male mpl ofthe Datei ‘Repet of the et of the esembi conten ne Solo - Solo with ensemble - Solo with prerecaded ape ‘Wain ech of hase compositions, the tension inering to the stent ‘postion and integration of wily diverse degrees of precderng is mai "tedden in common all Rowever the tetton of ein Use resus as infecaly and as formally cohereny as poste. The song cle Eras Transcendantales, ith ofthe sven work ined is oss the most ‘tree example Of this common tread fn that each of there nates ‘consciously sols out ren a diferent lance of force 20 thal the pati ow ‘racers ofthe whales simulancousl compacted (chamber combtatons “re duration) and expanded lengthy overall duration, rapidity of unfolding of individual forms) the most obviously radial availble extemes.14 Bron Fereghough- Collected Wings ‘Superscrptio (198) fr sl picslo ‘The sound of any extremely high o lot instrument tends a Bat for me 10 evoke scocatons with border, boundaries and with whatever Bes beyond ‘Thus, in thistle one movement compostion dating om 18 ated reflet these sesatons in sucha ways to suggest the sting skeihingin of {Hot brit tine that race with no dimensions, representing some uate ‘noid ofthe outside teal nave tobe captured in sound Formally, Supersriptio asthe most highly sutomatize workin this ste x conerited ip a dense network of metic and proportional rain ‘ips wherein variations of texture and momentum are chved by mes of ‘torte in the pattern created bythe mabe otaposton of diverse bat lengths, aswell as by the grodual de-ynehronizaion of gestural shaping dy. ‘namic intenty and yt denty elements which, othe cute ar all, hea ob changing simian (Carer Tavenzione (1981-2 for ssten instruments Live the other works in the same series, Carer! avenzion Is ult up a5 the overlapping of several dierent ntruentated and processially distinct tata each wth ts wn mae of developmen contraction or expansion. Fram the inal presen of sractues i wll be evident that the prince of ‘epettin (however feb undertod) has sigan ole to ply in what follows The fst half the piee cost f the sow and uneven untlding of {he consaquenrs whch the nial baal exposure af conte textures (pe ‘ao, twombone, pianoforte, weedvind and bras) sts inmotion, whereby Sev ‘el groupe ar tmbraly mee, oder (srg) remain constant cle, though todd with respect to density and stilton The interplay of Teves of ranaformation, whether hard ae iment pharamena o long term oranatoal function ams providing ametwark within which he listen an begin to persive the aegores of ergy and fre tied abo, lndit is the posta ofiterpreting the vida stra asa eplatny “regulate mechanisms which progressively defines the stening categorie invaded, Interest ll acco (198) for voi sao ‘The ina work in the cycle to be composed, Intermedia aims at loosening of some caer conventions, nthe sense ofan almost improvitory reltion on the now ducmbodied ene previowly eased The pce achat uneasy between areas of itncely tenet but mately sinepecc att and Carer nsersione 1s, ‘caso.ups of slowly evolving, monocvome textures in which energy is‘ lected” once more. Like most otber components ofthe cy, Intermedia alla (Giaccone tase exclusively ons serine ight chard hemes contain {agi potetal for static Gymmetal or moble sjrnetrca modes oft ‘ent Aa whl my soo iatramentl works, aim Bere at evling facts fs ‘Betnal polyphony, nt by means of Meal polyphonestandsf sound but rather through what are usualy considered secondary’ Parametric levels of ‘onpetion (CacerleTavenzione I (1984) for oiigato ute and chamber orchestra Rather in the manne of 'Phantay fr Vin with piano accompa ‘iment thesolo fle prof ths Heminute pace was Uvough omposed ints ‘entrey before any of the orchosalecompaniment was determined. Mi tenon wat a allow the ensemble terest comment mor rely on the ‘rol pre-determined modular pliers of Ue solos na wy which woud ometines suggest compaion, at ober ampifation of specie tendencies inthe sol ine “The ao par consists of 48 ner invarint modules, which are cj- clay permuted 0 ut sugges the gral growth of een lve and in parol te artectons mature of regital deployment At the begining ony the extreme upper and lower registro he Hut are used tie by ite oer registers are Bend n 9 ao filly freon the cena ‘ino thd of A and all evens an deed elorations sen Confined otha pcb, wih the ecepion of sodden outbursts De og ‘al reistal extremes sigaling the ceialy-etenined recurence of mod- [ar ements aleady heed. Ax move and more cles ae overspped, the Varatonal ecniguts employed become inreningly exteme and ryt ich the entire tendency flowing int a gus eda, wherein all eis fn articulation nope of the Hate are exploited fo the ul The nal scion fonts ofa progresive subvacion of material and «descent ino the lowest ‘egies, ple agra string texture tel derived fom the ight ssc chords Palyponialy ‘ircted” through ssa Tn contrast the te pat evchestal activity is ater discontinuous, even though a nt sinlasly govern by eye conden raking reference to the fat’ quent change of git focus, An eset ‘omponentis the eeu metronome’ elle provide bythe wo bons which ‘overap two distinc emp felts operating independent ofthe main tempo ‘ofthe work Thi technique rls my ines concer eth metric device in Ube entze ele, and prfgues an even more exenive employment (eee Jayers) asthe bss of the oma structure of Carer Tnvenzione HL16 Brian Fereyhough- Cll Writings tudes Teanscendantales (19555) fr mezzo soprano, Mute oe, violoncello ‘and harpsicho’ ‘A vatious points n my carer haves tthe pata change ofthe Sal form'n one 0 salsa cnc a pone spec compostoral Doble Each ofthe sn song comping this work th the sole excep onel theconcing sng which deviates om the rom nanos ways & ‘Sroldrby les thn four uta lengthy an compress mera at tron and fin nib compct enti nt The pace vied io three tines thee ebro shough nt aly ee uti tes deta, iny anil neon wt ef he more ‘stoma ee of the spec tet pein coh groupe mera ne snd a aly complex oso ono neato Iya wat to be rer mired inte latorctip fh te uous © {cabot enone pity embodying one fete definggneate ‘Steps In Uwe event thigs ievily became more amour ech ‘Hoven as mor or less sly evden gules chore of ath ends {he comportona ocr “Th rnin ofeach song i very specific inthe i group of thee the cbs predominates st shag inthe opeingwoe/ abe dt In tnccccond fp, he nc ssn th gro, agai announced Dy 8 ductive ong nthe rp, 8s the arpthord which te {uy acive hough fi’ dot als ight ther ha seven place Only Songs Sand spely the complte ensemble Song stuedons the ito tert eng exer movements favor the spate presenti of {hs teats vel and consonant componente At the nd ted from Ing they the et apoen no longer anyway sychonized wth the ‘tome iy ang sds he igi aie ha Eni independant es which oct hough one eae, rot exon ing to crters cf scan coherency, bt ether a he pomping of he rede ‘Sct musa om ar ao 9c fw aero, ‘Stcatey comporel he vos nes porn adding te tex nde ough natu ling precee acount ofc ets gnc and ital ‘Sradur The fects of Sys 12 and ae by Emit Meter the ema reap writen by Aun Mol ay reset. Carer dTavensione I (888 fr Steen wind instruments ae ‘eee percussion CCarcesiTavenzione I continues to eamine many ofthe concerns sliedy ‘nine above in connection with other econ of the cy Input, the ‘postion integration of divers levee of discos, be srotra deployment Carer Inveraione Fy of complex metric deviees and antiphoral ensemble yout have been empha- ‘aa Wheres in Carce the irene metronome tachi ws employed ‘a substratum in the present work t emerges a he verlable generator of {he action in thn each nev evet riggers by an mpi geen, nthe ft Instance by one or more pecusion instruments The at eto, in prt lar, emerges fom the inrockng ectvides of hee such tiggeing pate, For the most prt acvating varius types of brass materials, they also regulate ‘hangs the deny and numberof woodwind ayers 36 wel 5 the pro raft Lar actions ofthe work elow tore and mors nial Sonos impulses to surface and the final sation fecuses non this endency by specliyng anything from solo instrument up tal avaiable tremens to be activated by each impulse. The process conclues atthe precise instant at ‘which increse of base tempo andl completeness of preseiation of percsive je activity would allow th formally active tum to be persved so ‘Scocrete motel in is own ight Verio oppoions are expe during the ‘oureof Carer I fist fal bras wootwind, ater: high/low and aly. Ecemble Ensembl I he instruments being aniphonally placed. Mnemosyne (1986) for bas ste and prerecorded Brack ape “The conelcing piece of the entire cycle fat onc the lowest an the harmon ‘ally most expat Asthe tie aiguly mpi (Memes: Grek goddess of ‘memory the chordal pattems dilated Uwough mos the previous ico Poston are once mote nol - nat so much as equal partner he sok, Era ubiquitous tmckdeop serving both to epropoe or expand cri "hr toni space’ and to provi a eltent bt inant sere of cntal ‘round which he Bt weaves a nied number of gly referential neva. Ic chain themselves derived frm the intial series of eight chords. Ths, the Hehe the background sory becomes progressing om fourup toch pre ‘eeored bus te ines) the renter the ope frei n epec oi Invention Since however, during the fia sxsonathecompesiion, the umber of derived intervals progrestely reduced the gestures ofthe slo pat find Uma ncesingy creumseribd (imprison withthe limits dfn bythe danse chordal sonore ofthe tape unl he neitabefadeout cus Tt othe works inthe yee Mnemorymeis bse on the malin interaction of diverse metrical end temporal pater, whey Uh metoran fanetion is here assumed by the tape materials which emphasize eclasvely the downbeat of each meas. Iv distin to Carer M the tape Paro “Mnemosyne prised the solo pre wich in conseene, ein strata dependant onthe formal layout which the former expound The tape pat was produced with he assstanceof Rabo Fabrcan (bss te)and Rud Suauss (Gechniian in the Experimental Studio of Sidwestunk,Preburg in Breisgau18 Brion Fereyhough - Caleta Wiitinge Endnotes 1 Margrite Youn Th Dark Bran of Pane Farr, Sas, io, New Yoo 1p 8 2. ile Dae Fanci aco, Lagu dea Sanson Eins Dien, Far tp 8 |. Frat Mester: Auge Getic 192-1975, aclerand Vela 197 KURZE SCHATTEN II for solo guitar (4990) ‘Therein Kurz Schatten hee tken roman csyby heen cata hlospher Waller Benjamin where na eis of seven shot et (enc he even movements inthe compostion) he alls about the een of he “Angeli ofthe experiential moment Heukesashisexamplesnimageathenin iy approaching ts zrh unt a noon teas dawn fom dey ‘veread at whic momentallshados everyhingbacomes ative quintessential monad Reading ths description, immediatly began o plana ice in which proesgradlymergesintothe objetinsucha way that both n hyper sel way become thembelver.Toscsmplshtha,Ielnathat weal Isvewcomp extremely short compact ar formal fomsaed movers “The other challenge wast cate pes in which the event would end pbeing os immediate, det and volenllyenergiacd as my wang for other ‘msrumens eve though he ula ina csr an instrument feguenly ‘sodated with extremes offre or deepljetched dramatic delivery The fst "ep wns to defies ange sale form how opt together seven distinc nove ‘ments ina reasonably interesting and contacted fasion, without merely end ing up witha banal ile ste? Mi rencton wa o adopt the bao sulle rape of slow movement coupled with an imemadaely subarea ‘ovement This conratve paling vas repeated ee Une nll anes fn. {asa-a ‘tvowboc tothe Enpish vel fantary of Purcl and Laves- appended ‘which aimed at compacting no abi space fine as many diverse laying “The tuning choc forthe opening hs four eos strings aang aon two stings wih normal tuning, These ter D and west conta tg ‘out the entire compost; the B tng te only sentona scodatura, beg, tuned down to By the upper E sting is tuned deve to E quarter-fat the A Strings tine up the quarters of tone to B quater at, andthe ow Ein (Grated bya quartertone * Sees Benji, Kure Schatten, Sbrhamp, Fanart ova 77 pe,10 Brian Fermphough- Clete Wings oul ® 9 @ oo bt oul ‘Th pec thing about ths setup isha atthe end of very second movement, one ofthe four sordatura strings isreturnad tts "normal toning. The ist bechanged isthe low Estrng so that immediatly the lower end of Ue range [gins to resonatea ite more after that the B quater Dats cued © Aand, ‘uly the igh E quarter flat is tuned upto Aer these te tunings only {he B sing renal detuned, and then nt ta coanal pic, but Bo The ‘most mmedaely aude reat ofthis paces the progres abandonment, ‘ver the seven movements ofthe pcr bre sc up bythe rtrd msonance (lhe guitar corps sponding {oa se of nonoatural ung n favor of the tore ample and falar sonaty which a preominanty eon! sang {sues Perhape if ad owe his piace again might hve chosen seme what diferent scordatr, since some sings - pally the asd A tend tolosepich ver the course of sever movereh butte basi dal pnp ‘progressive inal reapproprition andthe allance of aus of mavens Sharing the ssne coatrn wo double have emule the sae In ct ‘wae rather intereting to bere hw thissleracon of procs yp Ve uo oa chain of quite ich and unprediabe local stustone "Each pales, lke an borate std to concentrate ts rein of compost round unsquly spec Inthe wt moverent we ave ‘he problem af woskng on ve polyphonic levels -o rather two distin Fypes of plyphonle Structure, one of which compose of two independent ayers of natural harmonic (hase abslute pichontent of course refs the cordate ofthe pei tring ints the oer incorporating what might ‘betermed a polyphony of sacs onthe lowest fhe ee aes up each yee one sos miniatre figures Wat succeed each ler With such rz Sat “1 rapidity tht ecoasonal ovelappngs of to distin! Sgurs are encountered, ‘There ae four independently variable ators of micro Aigure, ota ne fect thre might be sid to ta ttl of sx viral layers contributing othe ‘ven eft ofthis movement The employment of mtu armani fay ‘Samanta resource hae was dated in prt by theft hat once attache, thelefhand finger removed and tue made stalable for eon some other ‘tring: One ofthe main challenges to the performer ist avoid damping ely "eeonsting sounds hen paying complex and often theses, ech? Iighly demanding gure across one o more other sings Regardless of the ‘acta duration of sac natural harmonics (which sete variable), the String involved shuld under no creumstaees be damped ui tends ‘tion ha expe Be2 (No.1! “The second movement’ topic the potential sincion between po {ormance tempo an peeved density of mater. The marked tanpo a he ‘outa is extremely high and decease: by reulr steps throughout whe he tendency in tems of material density the opp, thats oa, the notated speed of erene ofthe opening i itv law, permuting subtantialpoly- Phonic dif, (Bx 3a Aste los progres, notated thc vals1, Brin Fernyhough-Cllced Writings come ever shore thus, ver mare ipules inthe incestingy ‘expansive tine fame ofeach section (Bx 30) The Ys ofthis ovelping ‘of tempo and density vector sa tendency, towards the middle of the move ‘ment forthe ea fo confsethetwo, ven though, frm the pin of view fhe pertormer they imply gute diverse interpretations] chabenges It should p= aps ade ere th the aralton othe overal form sided by the ct "hat heated pitch ofeach section (aes cont! by constant emp) remain denial testa the ose Two variables conspire o provide sal ‘utsignifcant changes fray, the oxave eyster and sting of same pcs hat een changed hus in effet preducing whally new ptt consteations ‘- tered through the scordatra of hase stings) and, secon the increased Pdiy of notated rhythm eyes rough the aval pitches ever soon 50 that, wit each suceding le, more new pcs ave fo be addon at the end ofeach section, this progaeively modiing,wipig-over'the nial, ‘quali figural ay 5.3) No.2, mm. 17) So that is he fist two-moverent pane The thin plone das with ‘arous poreptions of tie-fow and distbution, as sae in he conte of « ihlysymmera formal scheme, More than any of te other ples con ‘ers wth variety of percussive emis ike sriking the body of the Instrument deprning ngs persanively with the Sagertp and = on Te _undeing pnp sextenely ample defined src af measure of may x. 36) No.2, mm. 36 i lunge Alieren engl which alter the midpoint of the movement with the excep ono fer sal une in etograde tack ois stating post ‘The major dfeence between the orginal and is matic ebograd ttl, “hore every allerate messin the fi hall contine ether completes lene or de 8 predetermined ternal eulbdison into eto eaonance and sence the etograde version reverses this relatorship otha the eases inal marked by actual mise ar now exentasbant and viewers Since, {nthe ret hal ese to cde up the avaible ne unaqually with oun ‘rents dominating snd slnce/rsorance reduced to an eentaly punctuat- ing ncn in the seco al the opposite now te namely Sa apes Sey” "an "dionred i nto aed ‘ipmprtontely lengthy els of sens This (as was well aware the tine) {stkaly to conton the player witha number of tomy psychological anes,ws Brim Ferephough- Calcd Wings ie ely extremely dificult it stil, counting out those lang sur in which nothing sons abe happening More and more thes conor tensions wich, when on actual playing tn tobe uno subsume tothe common goal now take on inating independent ives fhe nn = 4 polyphony, as wer, Jase almost ene inthe mind and i phys ‘extensor a th performer Some of thse tensions have t do with deleting ‘hesupertuous residual impetus emerging rom the previous even come have todo with mentally preparing the scene for the eventual sudden emergence of the net event assessing and gradatng the vile topography ofthe ascend ingordscendingslopeat the ed of which emerges ina it prt ofthe pas ‘envsonmentdneclysppercivable by the Istnes, wh nay psa be ie ‘aly reminded he sr eed confit been impulse dey a empo ‘which the preceding pice presents. A cmperton of he equivalent ‘hom the opening (a) and eoncanon (Ex 4) ofthe pce wl 1 hin cay specie tuations ‘Original had intended to set some ext ty AR. Ammons whois a ‘very intresting poet pecaly Beco he aes ater alngleand inedtly "See thevlume, p21 ting Quartet No.4 197 evocative voeabulary of natural images which re thn eye an ultimately, ‘letamilarand) thr the lineaments of comple interwoven pilonoph fal dlacouee But when ted to work withthe chosen txts ound ht at {hat pin, was notable to set connected sentences it dt sem as beeen oo get quantity of fool (rather than vet expresion ns ‘lady preset era given needed torial dstance What aubeequeniy ‘id was to move away fom det conta with structured language by adop Inga test tel a doertraction of nother ators tet acon Msc Lv ‘postin the experimental raion in seme respects close othe meso on of Join Cage. ike Cage's reweingy ofojar's Finegans Wake, Mac Lo tepan with the Cantos of ra Pound, olin them down fo arab tk Ingessence The text! cose for he second movement of the Fourth Quatls ‘Mac Lows version ofthe Psan Cantos which Pound composed immediatly after the Second World War while confined ina prisonere-var cage a ile ‘oti you He, ine may quar ecoaly ais speci ecto of {he et satng Va indefnte duration pauses ound it pessibe to tlize these tts, because ¥ could teat them in accord with ther processed matral exigence In his work, John (Cage kes the inva! tors of the name JAMES JOYCE asthe Arade’s “Thvted passing vertaly though the poem, Mac Low teat the name EZRA [POUND inan analogous fashion alse upper casing thse eters In my tun fret thew cures na msl exrerely content manner completly vores that rom rer of semana expres Infante ‘ial vocal slo one hears that happening ether day Many of the ings | do that seem le ‘expressive reece of subjective txt interpretation ae in {ac simple and systema registration of what the post already fering me Teton fo werk ie that in oder to gunaics the conta rear ofa song proces element. Thee wae on apect of thse texte Ut T found parc yates Pound wien sore lngunges ot nce Lata ‘Grea Chinese deograms Tala, Engish id Pench = ad samatines, when fnly fragments ofa paricular word sppesr one ca tell wih angunge belngs to. Otten, up to the singer o decide how Ut works at he end af ‘he plc, nthe very al ines, instruct he to peakemploying a many for ‘pr accents as she an come up rth hat whatever langage se sues {he tox fo bei has o be pronounced as fa mative of yt another Inguage swore pesking Ta sere, hats a symbol an image ofthe entre work: at all om of contemporary exes are, some menstre expat, Recent ‘Sent sai to me, “Lok ely wan to do something he, but Ke catching mylfaling beckon the tics use coupe of yeas ago. How eam change ‘yell Crepe, “You car. Yow might change, bat you cant really ange {ue Allan cin do find 3 whic or mechanism, anova device188 Brin Ferneptough- Collected Writings to push you oa new station i whlch the way you react as yours wil -afurall Tad one esl through ineracing withthe changed situation” Find that tobe nam general of mach contemporary compostion techie ‘ery ofl we have to sck nt alinating veces o tu sino ne and hllenging environments new bospheres, where we are encourage o change the way our lives ar ve, That what Tce myself x faving done ins ‘quanta in that setup each movement witha view to examining how much theparculrinar narrative exprenive or procesuel developmen sun toe which sent ve various type of present-day mse om one another hold good nat they ae il capable of bing brought opt an if there ado bea theme’ ormy quartet I suppose tt the one would unde Tthesocond movement, the vies negated in the quart proc sn sofa as theoretically, no note ofthe vie pat no impale, no eve commencement i presented independent from comaponding erent Semewhere inthe quartet. Tha i terme of density, the gual acre ‘wae completely preorganized, wah the vice pst subsequently derived fom ‘Bato Hat i sere, the vice is enterpeting aspect ofthe quartet mate alby ling out cnn impulse and eprops them (fous this shout ‘he understood ss happening simultaneously invoice and instramen® inthe Vola’s own terms. The voice is thus completely integrated info. the recompeetonally-temin formal proces whist emporingon i gle ht deges of fey in tems ft inexpreation. A wordon ts background Structure may be in der What Finally did wast crete an exes [broken 13-er rythm matte I got into aod station, hough becuse the ‘eadin for completion ofthe work wa fst preaching (hs bing the st ‘movement tobe compose) and the experienc of wring the oter thee move- ‘ents ha led me to conclude tht the entire dea of ths movements op {2 ear acretonal elopealy secure compostonl assumptions -nolorgee ‘Somesponded to my carrent postion. Ava el nln waite un ne ‘yi desperation {took apr of mena sors and sald, "OK, a continue ‘us linear developmental form is out ofthe quetion = how cn po back tou? “There's no way faving or mproving on hosel assumptions” en cut The mat inne cotton tempo arse aed seperated them with ge ‘eal pass rather ke inva mmnts mason they represent yal [dospicaematve ways of ealizing the nine procestaly dati! subsections ‘the ongial continu. [found thio be ah absolutely appropiate way of ‘xpresing bh ny accumulated doubts about the log of contin mis discourse, and about the speci of iting certain types of text to parle wce) Sisto Each ite section adopts a very parca ay of uminaing te ‘ointment latonship, eventhough the wie nevi succeeds dng, ‘iyting obviously independently that the one nature of the orgh ‘nalmateralsreexprese vough the ope, nor-etionl rar of he ital Sting Quartet No 19 [Be 2nd movement, G47, HL0 Brian Feregiough- Called Writings score was an eminently acceptable means of aicuting the whol dichotomous ‘space int which had maneuvered melt Soe example 1) Tn the final movement, the entre quartet presentation is processialy define that the register density of eves even the gcba nature of dram ‘cy areal cycled though esentally linea evoutve process which empha. fie tendency of anetormation aver He atthe expense fol deinison of texture, Th sory’ ofthe our inarumens is perhaps compara Cares Ives Second Sting Quartet whore everyone evlving, complaining or be {ng boring in hs wr nab chon, The vole pat only overlap wit this rater by some sk menses rather brifme-span. The voice part a ‘rae consi on the ditt levels cach eh town character rie {nl doniy pation term this stererence for, inet uperpostion of ‘ver ndependent layers of activity inone voce rinetruent crests emen- ous pressure acording to the collision or intersection of evens. The manner In which one can accommodate mare ols incomensirate things conc rently another pr of heretical cota one dons when ein Oa fo ‘very appllaive nature the vole, athe way te wads coifoted me with ‘eta ved tuations on another evel lsd neo work rather ely when Ing inthe gop’ Some situations were given «pr suchas how cera eters ‘od tobe musially exprasd, but others reuined globally undefined. Tore aecectons in which nly one ayers operative and thee ts cal ease to fallback nto a guns expresionisticrarative rae, oneto-one amplicatory relationship beeen x and mioring msl comporenent Atari, however sever! layers coincide and mutaly elder so tat gate ferent soltions are demanded: one has jug things around very uly, trying grab hack the exploding fragments of expreson and lus thom back together rich mean halt of crac il il be apron ta the fo vocal movements sek fo underine very dierent p> proaches to fond integration, the instrumental fst and tind movements a [Bcethe ame of formal organization rm diamatralyoppening stand, hereby the ft movement has anguably the closest eaonship to the Sshounber’s opening moverent in that #adops a programatically linear? development stance wich quictly reveal self as untenable inthe og er In epiteof the ipa irupton of independently developing ssid in terventons the eral tha i eal rater imple, consisting as dos ofa Single ph playin op alteration over toss Ex 3) Sucesive x terion end smpliiations of heen fst evich yt sand hen con- trary meson gsr passing Hough varios levels of micotonal, osatothe rotations around a lea pitch conte aly arriving at emphatically expansive Tnear/mlodieefloacenes I iteresing to oserve ov, in ems of Sing Quartet No 18 1c 2:4 movement, menses 5458 ereption, this apparently logical transformation i sometimes subverted by {he ditortng lent of loa conte, ores suet fo sudden and unpre ‘lable facture: even oth not sufient to adie the df fang that the Uneae developmental mechan fo longer entiey cede the ‘hice for exended musi discourse the same feng, inact as have of ter had when stoning to the curiously truncate soata allego structures in ‘he opening movement of Schoenberg's Second Quart.12. ‘rin Fereyough Calli Writings 4. 3:Ist movement masures 17 ait pe Sting Quartet No 168 eappllad whenever the motion thetens o “ran dow Tus, whe he ‘ar vusto th hythic patterns typi of the gene eoneptet keep the di ‘ures moving along. is ¢ rather absurd and. ghastly motion nda, ‘leinaling inthe died gallows huror ofthe feud fatal” Tie ‘Geile breakdown, sipping fo the camival mask, is peclay proper {otis work and lens itmch fs uniquely afacing very my own equ Tent doesnot pretend to that sort or quality of confluence of store tendency ‘ed personal es da however base the formal tacts in ny quate ‘movement on non-dveconalcombizatoral pancples which exp eschew the ype of weak near” arguimentcarectrzing the fist movement ATi ft numberof highly characteristic types of Figure were selected athe att ‘They donot change into ane another bat do then superimpose, tend to Actively take cogrzance of each another a fara eflrg utal‘upport ‘ystems -fllng punctuationl or supportive ros andthe ike Each mesure ‘Be Sed movement, measures 1617 ‘This ame feng even stronger in ha same works scone move: rent the scherzo containing the famous cation fam “Od ber Augustin, let” There theundatying harmonic skeleton til esidualy animating, the preceding, movement, has boon latgely reduced to what amount 10 prolongaonalastomatamssaguences andthe like eich are conanly164 rian Feregtough - Called Wetngs ‘thus define on thre distin primary eves ray nts of number a ‘nt of rarumentsparipating (ot various Ses several duos tos and folopsges are hard (Ee secondly with pect othe dnt of par ‘Spating figural types an, dry the speci manner of tes ater tal Jnteracon ahd intevation inthe contin of groups of measures The ast of {hese considerations &exentaly imposed, asan ot of compostinal wil om ‘beyond the boundaries et by the precompestional mode and, by mide et set Suc rh enn ent mental process supa somewhat bet or twisted sense ‘of cominulty in which no prods as to future evens canbe made onthe ‘as of inference drawn om alread estaba odes of prolongation The ‘more past accumustd, in oer words the more uncomfortable becomes ‘one's sense of vertigo when contemplating a desde steep an slippery de- cont nto the unantpatable immatint ature ofthe disouse Te mig supe be argued a the particule sue volved nth ‘work s uniquely my own problem, In ht te caren sate of reltonships ‘between instrumental procs and vocal gesture need not necessary be un ‘erally gad a in criss Iwo certainly e among the is to concede {hat there fs not even 3 tentative esoton oe! nny Fourth Quartet, but merely omer ay of he onward ust of resarch My cena concer {Hroughout was tolls the opportunity given by the media fo seek ot and ‘eskaps extend! my own outer Hounds n both dictions with an ee to reparing the gruel fr ther compositions with pepe quite diferent skoe interest, Endnotes 1, Fit unl Ti of he 20 Centar, Dc Sma Amy ‘icone we Vising Prec eUnery f Chago 1986, Mo ‘mel el omen hr sc inde, en Spon ra 2 Thee my soca ter ork fo alin nd esol Train ta of ef Tipo hal ig sd fr sting Ill On the works of othersCONCERNING THE FUNCTIONAL ROLE OF ‘TIMBRE IN THE EARLY WORKS OF ANTON WEBERN: A STUDY OF SOME ASPECTS (OF THE FIVE ORCHESTRAL PIECES OP. POSTH. (1913) agra) ‘The present examination has no peterson sto evisu of analyte sg. Although the relationship of thew Bite known pls to thelr sing ‘movements gathered together a+ Op. 10 fscinating subject nl, ts ‘ota opie ere ny spe ing largely rested to considerations of instr ‘ental inbre and artcalaton snd more expect the contibation thse ‘ctor tak to the pecepton of usa form. ‘The Five Orchestral Pieces Op. 10 have long been seen a prime ev dence forthe central poston asupied by Kangen the composers ‘aly pric When compared with the many picorentated analyses of is Sand other prose works tat have appar in seca ea however ‘riking how ile weight hasbeen signed to alan ariculatonal oe tors when asnting th confuton ofa structure ole periods and, tliat, to the form ofeach moverent asa whole At lst in part his tistlance is probably atta to the ack of generally accep eitra ‘scortngo which och Nighy conte epee inermaton may Beas (nthe fcr oft therecan be no nding ote of extegories whch allows the pic sone quale of diferent chest instrament to be dered in an ‘hing approaching sar’ manner Ths prams carly excurbated y he revi of nda pis al coreting wang del sarcely comes 0 questo vie, by the same then, the siglfcance of cach ard every ‘Srcestratonal deta maga, by the very lack of comeing daa int the ‘eofanecsarly ‘ad prolnal wore Inabardening heel known Opt nave of he long unknown moverents uneartd n 1965, ‘my ltenton ws to familie and deta, ths permiting an examina tion ofthe form-buiding potent of thee very same aspect sued to be of rebtively minor importance, fed om the sometimes obscuring fect of accumulated analy precedence ven thoggh the group of compres centered on Schonberg was ex ‘comely seni to nsramental Ube a consequence ofits closers to ‘he German orchestral dion and in spe of the widely statement rom The ary Work of Aon Wor 19 Schoanbary’s own Harmonie lagu testing os bb inthe poten: tal of color asa major veil of mia normaton ins own igh ot ‘ey to find widespread espa of hs eancpation in work emerging theZnd Viennese Schoo! inthe years monday preceding thet Word War ‘There are, to be sure, many rtans of excodingy bilan’ anlfctve or hestaton tobe ound in Webern and Boga wel athe works of hr teacher, however is ls sy to late stutons in which coor a ach hr nt ‘ho ereground at wee as Haupt kas nacuorousy a ling tthe escours) IF sucha biqtone presence sensed ayers oe tht i than Schenber’ model sample in Farben, then ts surely in Weber's ‘Ops0 ana the ascited Op pact pines preseniy under discussion. Call, age below tat theese a amber of ieances in thee pices where, even "ought woud be oversating the ceo speak of fiona cles ing ‘onset employed, particular ipostonal pattems occur suficent ft, ed ate ashcited sulcerycomatenty eh sopping patterns in ober Structural domain, ost the investigation of hse phenamena ss howgh belonging toa quastautonomous, adantedly cay oughly quantifiable evel formal organization. The increased snsblization of musicans to the eve- lepeand specral carat of indivival sonore afforded in een = ads bythe widespread tization of compte sal and tansforation, long wlth the gale colorand ecu taaed works of ach compos 2s Lge and Penderc, enables us 1 asess Wes ntramentl price (Of ts paid from a somewhat diferent perspective than hither In part tf viable dling framework or this examination, Lm proposing» 'Sppecac: onthe oe hand, bral infaation wil be eater according ‘0 nse only of agin on the ober scoring to Hypa ate fi clase to Be defined x connection with concrete musta conto 5a ‘ming » maj en outining nd structurally interpreting parila pith las groupings. In purl, [eavage the appzaton ofthese concep St ‘moving Beyer the boundaries of what customs understood a ec’ ‘rhestation for ample, the employment of vo contstng tibet i- [ngish main and secondary ines) embrace 8 moe active conrbiton of chlor oppositions tothe eaablahment of apersale middlegrad Flrarchies Ever iit be acepd tain the spt free tol asthe sen sis any obverved conto eas contingent, nthe sense hat iol ‘oncvably have heen here without undermining the consistency of the ‘verrching pert infra og thi doesnot neces eta fom {he plasty of sch sn ordering a ong ae emsin demonstra consis tent for the dation of ‘As wih the ndvidal movemants of Opus 103, the fag eatin ship cononing the fv pethape more iyi centrifugal maven gah ‘ra together inthe pbston unde cnsideraton west rein es168 ‘Brion Fergough Caled Whiting of tao the of emul techies and aesthetic prscsptos than ‘of any readily apparent sharing of conte mot or fora seis AS to beeen iw othe cts tempora pny ft cmption th tht ofthe Ops 10 pees recede evden cae neodnog ‘ished seoe ily pint od Behe he tunetaton ren te ‘pot part wid he bounds of th regu or Opals sigs {nallpar wh only fw nramens sono, pan Eig aed ‘Bei tat bsp ‘Again wh fhe excep of Nod the we often ints conspire corey that sad oes the metal ‘tear puss peleny of ten eat our thes ang Siglo sob rerument whe eda gupigsaeoen presenta ingen dlc shaded es Th, aug wuld ot be prope a ‘sto peak of Karem he peice for cape, Ops 1ONen and § its severe remarabe how the onan ton tnd eonrpontn of tines serves gigi oe apr asa itn In the owing ample cle fot Now an Sof the Os ah Saroamecl he orn of hse stacey be cre "The pase gen in shot scr In ExT) encompass com kc prs utr pcan septate at ls y= al. ete rat As willbe sn os Compar othe tee apenas en SSove the ramet eis sete ust symmetic urs The presared The Ey Wes of Anton Wier 1 x 1) Pee mm. 15) ‘yates 109 (ait) soo gentt 2d mee cp nat Em oe] 0 oun i Be 19 (it)ct rian Femajlough- Caled Writings midpoint ofthe symmetry sina by the intervention of the bas rum, ‘herby aleratve readings of the noaid-out one beat at ined orm the interpretation fete the actual commencement ofthe ol ese the cesation of the concurrent contrakessoon Fas the preci pivotal meme. he bats drum carly functions aac neutral marie never thels shares is characteristic mode of acl api retin or inerp- tion ofthe aa sound wha numberof pcb nstrument Us ater bag ved nto two groupe framing abe wath diverse numbers of impels ‘and of diferent ol duration at apps te same diane on ee se Prceding the rol (m2) i rol fr doable bass allowing i efter an ine ‘val of one and half brats 4), Isa igh longer ane structure fr Du teetongue carne and muted trombone entering around the cl er roa. ‘fa wl: Anslogous relationship, with he quantes of impulses, ‘nay be descr between the conabssoon um 2) and cor ag (and, ‘ectuse surrounded by remote articulations the very normaly of sound roto in these Iter instrament becomes 9 sgh lemento or ‘ation What nother cones, would be cniere! he nam, hae becomes momentary dual exception, the sia end detonl correspondence Be {orem the cor anglais Gand the Ere Fa the contabascon underlining hee formal interaction, a indced, docs heat fa comumunal double ed ire ‘ear nowhere ee in the passe under corderation. At the se time, a Connection tthe bas dru ieatblihed bythe descent of he contabascon {nto an extremay low repter ehich vor the perceptual merging of pitched tnd unptched phenomena shouldbe noted tat he wlan of an Une Ally high rgister forthe unsupported consabasson, and the extreme registra Tego which is mative contain nconhncon ithe sony characters timbre ofthe eor anglais Gobind together this pivotal mate "al even though itis broken up by ariel lengthy vs to 6 degre p= haps otherwise only tobe aseured bythe sor of instrumental doubting which ‘Wilbon i deuly Concerned fo ave. tn thi manner the Band F ofthe 2 — comme (rot cate ane Pugs Ent Bast Gar In rxpstof pitch, he chord i composed of two interockng dyads whose components ae situated in immediate cromatcslatonship (Bb/A ‘stra and Fraural/E ata). The fie struments paying at his ncture ‘would appear to have been cle so that certain sate modes of sound reduction thamonis, plucked, sustained, wind prodoced ring produced) Ee overlapped and ditbuted, lke containing and imeelliang net over the cooristealy cetyl event ina way surpingy analogous to Weber's ‘ypc interlocking of motive cel around common pitches sa means ofa String the suretermination ofthe perspecival contribution impute to ind ‘idl sons. Several characters of ere ne angen lid Ou in 5c Say be enumerated each ofthe to chromate dat ingle ot by ‘heincaron of stone ole at present inthe ther (Bb/ Ac harmon F/E ied ‘se; lth highest and lowest pcos ae elated by vite ofthe com ‘on plucked stack harp double Bs) and) the to central pts ae re [ita by thet susie envelope and comparable Unbval pet, whee the Tarmonicin the ellis tof gains the lately feeble milelow register ofthe caine. inthe close analogy th emia ph mode erm ‘oral conarton may be natal jst ste rearing the comport ich ‘hac ofa ell exemption may be permitted S0 as to produce anew ‘mansion of neal interac patting, so the reordering ofthe me ‘ers fa xed timbre cae may be expended, within the ram ofthe owl, to inca the rdsrbution of atendantarclation caters. A diflerent ‘hice of nti eategoves, ora divergent rangement of those already presen, ‘would have the ef of substantively modifying he ola the chord in gus. ‘on, sean rom the viewpoint of structural atibutaity ad formal afi “The fd interlockingoftndiviual sound characteristics outed above opens the door othe ful dst of aration atts ier seen The Ely Wes of Anton Wier, ro ‘as indssotuble components of particu instrument's inherent characte, with the concomitant cretion of sigan aay of secondary tol enabling te mor precise evasion of middlegound defining practi Ise al sack {inabindonment on Weber’ part wana ecalved criteria of fective ‘rchestatonal practice in favor of tinbraliyased actual exegesis not Pred in sabeeuent works with nab consitney certainly ence [be that hs ster adopion ofthe es al contont-dependent concept fare “work of dodecaponi pitch organization rendered it his view, sch second Tevet sipporive procedures sperisnse His next maj ort ey the Symphonie Op. 21, cues lol dacsans on sac isos tothe overingat- cams ofthe symmetry principle, patil in the scord movement, Where the bres saving to compartmentalize any given form of te row generally remain symmetry invariant forte duration ofeach vain. the pe ‘od at poset under review in contrat the nid toe he mia por {agonist in the craton of contextual aie, and it tie (or the pod ‘umypially interventions’ deployment of ts dsablizing ptental aginst a tckground of ephemeral and tentatively delinated webs of qassjmmet ‘al correspondence which perm he ert py way no the erates af the individual sone complex and tecatvely trace Inigerscale relationships between others dst succesiviies The smallest element of srectaral Signfience impute fo any gen tec would accordingly be no longer ‘ther the phrase, nor the individ noe but rater the bt of paramere ‘quslis conte i that note as indvidually-expresible quartic whereby 2 Sng note would be simultaneously asasaie a uid vehicle of expres Sion ae conn point of intretion and exchange or varios areal independent tendencies, tat yas both one sn man. The organizational ‘icnce ofthe socalled “main parameters” Le. pth and duration has long been «commonplace of analytic methodology and, wile would be ome: {hing ofan exaggeration to interpe the present venation a. leno esa "atu for cnslrations of tre and rca, thee certaly conser: ‘hi scope for a acorn ofthe contbution made to he shorter an {taons ofthe “ee lor” interregnum by such revisions perspectives “A cochding evidence forthe vit of this approach {wil eamine the concn ofthe ith poe fom a somewhat mor incu perspective In Be 6the pssge produced in Ex Shas ben broken down int twee sat, tose of surface structure, tone characteristic ditbuton and transformation eshaps the most striking rel ofa comparison of hase yes the ogre to which the surface dintbuon of etural bloks fal estlsh Sn obvious reflection in the subtle mui of ts cnstiutive tone quality ‘eaonships Rather ote contrary the inter Ma intermingling of varia ontebutory ayers of mice stsltiona information appears to standin sharp8 rion Ferg Calcd Whiting oJ ‘he Ely Werf Anta Weber co ‘contrat to the immediately persved contours ofthe phrase srt, ths ‘pening ups functionally pcblematic pace between te parently coal Ing demands of the two domains. A father eamiation ofthe composer's ‘methods of reconctng and mobiirng the very rel dsintions encountered Inand though this pace hep, however 1o Ane a a pate rslaton of the dena in pricy, iis possible to gan sen of the consistency with ‘which imegulaies or inconsistencies of eaten on the micelevel move to ‘slve te predominantly sae tendencies ofthe nce structure ito ody ‘ically plating iteration and reaction of synthetic conglmerstes which, onstained and focused by the rlasvely monsmental srace pleasing, ‘spire to generate sme of a! tego futuaion, thereby mating ah {ntege level of voltty and dreional tension in a eure ofthese 2p areily unassuming pretensions Perhaps the mest cbviousatibut ofthe passage in question sits ic ‘sion ino two main constellations chiefly characterized by the common alt ‘of marked vertical /horzontl ine. They te further sepa by sence and a ‘Set pivotal melodie figure or wll In Be. 6 ths basil tripartite cispos- tion hasbeen appropriately inated onthe turlae struct’ evel lthough lifering in most oher eset! respect the conteltion (and @) rman ‘umbilyjned acon intervening gp By reson ofthe cof ther interal component The presumption of quae 7 ‘merical ayout thus an implied prise forthe adequate reception of ‘oreboratve or csconfirning ral etang, Of the thee ortzotally expos ‘ements, band (0,0) an are ase othe violin, thus giving ise to. fmt peurbaton of the abovementioned symamay. Ai the same tine ‘hough the inoducion of eal troughout the ater vin passage per ‘ls the ea to assocatlely connect the vo pear lments and (by R= Sono thir common avoidance of such secondary arcu infections wile, ly ay of contrast the two vokin phrases re distngushed fom one another by vite ofthe tog gear opposition. The pogresivetranstion fom ‘Shsined tmbone fan to Unptchd angle lend nth 28 i acved at thesame moment a the mitored comespodence conning the fis erent ‘components rr, nope) and concuding events @ er, ‘Ingle atlac chord) fe eval. The overall ow of transformation gen inBe?. | onder to render the arcaneaeoming conceptual framework ofthis pssage more clay, Weber aig bah the opeing trombone attack and the concluding wing inverventona high eractral pote and species sy metal soun/ et relationships forthe partition of thew instruments ‘iB and m 25 nepecivey In addition, the Worse evidely functions as “anacrsis appropitely preparing the net attack on tbe downbeat of 9, Wile, by Gshing simultaneously with the vin the bangle comes 0180 ‘Brion Femeshough Caled Whitings ‘ole groupings ee al further subdivided. Ths doesnot proce nny r= ‘medaitly obvious manner but, on the conary, by adopling a scheme of ‘yt creo in which gous ol he, our ve ubdisions accu Tote in ever dercr chars Fall represents an example of goal-directed ‘elutonse: overall form corespane oa particule wave pater Which ihough ding aross several distinc structural level may nevertheless be ‘scr foton on the age sale analogous to tht operative in the mcr ‘domin by the lenge phase structure unio mentioned above ‘On yet another level, Fall represents merely one of the thre ‘macrophase’of which the work composed. The sections are bound together, not onlyby reason ofthe common programmatic srchor suggested bythe ie, Tht by he fact tha they are intended tora intone anater wth no pe ‘cope ntervenng pase. To some exe, heer they aes to be son ‘dkcrete movements inthe normal sense but athe at diferent acl one Sd the same bet htt sn rete ins nother conte. In such 2 framework neyatity takes on almost scl implications (one reminded ‘fhe "noethemate espoused by Ales Haba, whose spcal bran of t- tachi as mesivated by eovlderations transcending the mere process ‘of mater In All, the elements being payed ff agains each otber are Michael Finnie The Piano Musi 199 Ughlyitervoven tention concentrated on the rscton ofthe performer tothe nrc concing ytic est (wth tenders) to hin To ts end, everything ee pared down to an abslute ‘iim n Fly ts the elaive earch ordering of the wo fundamen: fa levee which is merscopclly felted wh, in Down, the work moves tjand he foal pt of frer eased inthe preceding ton, owas ‘anacandesal iterpetation of sound and secs fa commen (but since located inthe and of he pertormer a in Al, unheard over incipe of organization, Tesonly in the context ofthe preceding evens in a tht Down-can property be grep In tht section, proportions are ound sich covely smb those previously encountered (91 1712; 1: bat this te de fining absolute tempo reationsips between hand and hand a sficety come ler device nis which when combined with frter rational abn, Fouls i cntelistons eancng a tal forme degre of penalty Gampien 7 “Thee hee tem has presumably been concaved markedly diferent rom the oerwse “comparable employment of merczd lence in Song aitined above. Thee fonds overhelming impression of sence gradually encroaching onan, rly ensuring sound erin the cng pages of Down, bal sound a ‘lence ar suse othe lille pope ofthe doa scene. The ‘tematic aspect even if aural tenuous asa us avery veal psec Sd suceds in developing a momentum which refuses to allow the sence of “inaty tobe undermined, even aces the sometimes gy slencs which Irllow out eto ofthe dicourse ven moreso than with Song 9, tere 8 {helmpresion ofa tackyround continu Inthe tr wrk, however nt {hs nstent also he comma hich inde ths ef but eral presence, nthe frm of anal pervasive systematiation ofthe coordinative1 Brian Fehon Cael Whtags ‘ecules ofthe perfor Far more than in ener says in thi mdi, {he interpreter Nersel through hom the muses chanel oS ‘commitment forms the stage upon which splayed out the dama of emergent "The fia soon ofthe work sch to deny all hitherto evolve ime sons fence defton of mater incall sich rein inthe couse of the developmen fs ben, incerta sere sory Bah soured and sence tne neutral in the fd of cout resonance hinting at an ulna xem (bat beyond the fal double br of erminal dedlferendatio, an entop “fet denh, dieting tenon bck owas the vere of systems manip Inter efertve in foe woughou and, ough ths, othe pepo oft Nia Tras already been sages that atoogh sanding a the center of the composes concn wh pent negation of he at of perfomance ino {hecompostinl ac ina tore ue fhon ta he snp mechs ‘fale or inprovsatnalmetbodsalow nae spec, AILFal. Down ‘Should pertapa not bese a compel typical podit of Fn pect Stage of eatin. In many ways represents ore of» boundary marker cling hs nm vie fe ed pg fore On the oer and, an ttemayietuctvecomposton, since He edocioist poly sues xpos ing paclly day any of ue cent strata tacts wich for the ‘read foundation upon which Nis nereannglyiraitent dive towards more ‘Spun onl itement tad “hn adapt dene of hs postion would recat an exesve sly of the major prod for piano of Fs ost earn phase, Eng Ih County Tune sein which reson of apace precude hee Mer ‘nga ls sl mower the conden Gapped nthe aig ed ple ais tp nd gy pad te thal earch, wl opening perspective fr he fate which nate bern et ane wl monger ney mtn ew ‘of importance nhs espe ef oniderston of some of the wider a Plan hs cee wl ot betel tf pla. Since the gateway tothe pice sth soergly wayward anionic tinged ite one does wel wit all of is compose’) o minty ie the sciaton whch eokes With the exception afore or wo esting, ‘rene f ada Tayred melumat wring te tur of he ngage Cenpoye could tury be more tos with hes of expectations whic tne face ofthe ile mig be presumed favor. This expectation gh sms, perhaps provide a ky o more tan specific apes ingle compe Ex fry one br nm he net = no en enough cance ‘iota Fay preleunly gi compos wae nouns ‘atonaly a= cial tof Me rea tal ines the cormerstane of Mica! Finis: The Pano Music 5 permanent alec proces of appraisal and exploitation He emai above 3 Keely aware that sch creative afilaors cannot nowadays be author tay ref in terms of «tally Iterl adaption othe manner snd > ‘ance of received adton. The history of folisong in Englands nay se, forthe majriy the stor of its eeepon, devour and rendering hares by sucomve manfosation of middle dhs conaseusnent The died soc culturally ditored word which has emerged fom ths proacted Iebotomization ritual all that remains deel sacs today, ha the ‘ental dilemma ofthe arti ssking to define the elatonhip ofthe individ tothe collectivity in arms ofa community of eperinc such so eature may once have embodied ie made ll the more acute forthe insight ht thecal ‘mode! for sich a vision is now ite more than an exampe ofthe nga Sleration which in however ambivalent ae eoeitona a fashion = he eo posers atempting to transcend Tome, Psy sens to be motivated by such $v ge towards resntegraton thar efletng in ge measur, the els Cally syncs wanscendentlam of New England nenconformlsny as embod. ted fron nv Concord Sonata, Ae saree, he manage to bypass the templations of certain srt of wel Nnking which pers sak ‘ngthe symptoms forthe nes In trintentonallyepc forms English County Tunes represents iss’ tes attempt to prj a rivera franca tinged) community of experienc by means ofa sates of gradual accretion, ten if inevtably die bythe demands of sbetely elacted aye teri. Beas hi musi at inthe fst stn, ounded on amen of Aervation or mote/ hema precedence, the gleams interhangeble [iste ae permite lo dein hel own lng space tit as well os on "uti to the stepwise evolution of oterirrexprencod wholeness in and throught which the individual structures ake passion of thr ultimate pressive content. Each gesture, cach tue i rims intr prs tence ene rd mang-In these eight extended plc the rtm ocr image fs ‘wee fife forms coexisting in superbly anarchic pray. Only in the ast ‘vo movement which rae extrem dering he pace within which the work moves made xpi the contenu interplay fas ons of mtu tural incon’ dacvly elinnated. The of Finny’ recent compestoe inal gerwes may in large part bo stout She othe acy for exenive exrplfeston of the rec governing he ‘alos total ype which, a8 something apprnching Paton eas re nowhere expel ated n anything remotely recognizable asa bse eer tal fom. Ths emphasis on led category of compoetionlecnique were interpretable solely interns of on obsession with msl quetonble oc ‘ymboim Fnnny’s muse would remain ined and provincial That the ‘en fr fro ing the cee Is demonstrated by the sigfcance of some of196 Bran Fermeyhough- Collected Writings the above ator in ituencing the our ofthe post-war avantgarde A glance st the overeat towards nthe nganation typi of tat peta Tatts ony to ery the final Bnkupty of previo vas elaoships ruling mater and src The balance once et tactre Decora nad ‘le mater desends into disoriented snonymiy. One composer to Rave ‘awn radical conseqences from hesitation i Franco Donat, who di patesthecogeney ofthe very concep of valid material ito (he tut Steric subjectvisn) to te extent of aking os hs starting oi for many work, elements extacied fram paces by other composers Schoenberg Socausen Covitncy of material is eplaced by coristency of procs ‘material concreted process. sy, 0, som to have encounited hit problem, sine hs approach so ls racial in another dsr pei of {nivdoa mater oration nd srngenyof process warformation fe [otk sbandoned in favor ofan tachment to generale xegvis fact {he bounds of which ren conan state of elfvedefnton and which, {ar rom imposing course onthe work ra without ay oly be si [stotheexent thatthe various concrete gestures ough which they are man {est sucened in cllectvelydfsing then The problem of anonymity 081 ‘solved by ehuosng one o other ofthe extremes a with Doran, ar (8 inthe case ost composes) by not citing the iia n the pce, ‘ace ae9rendy exci forest behind stil bso f Uma ac ‘iy but by undertaking the ft tettve steps towards 9 comprehensive etraturing as preliminary to the subsaguent demolition) of prevailing ‘Beslogie of musi perception snd comprehension. Ifthe vison of adit Sphere somewhere fond the i of all sj be topan inthe ted ‘sens of being tat snrazabl, then oe arg tak forthe pret ‘ayant suey the mapping ars in whch fhe exploration might be ‘stl undertaken. The compoadonal actly of Mica Piney during the Tas detade ie mong many ther things the race of st such quest: the ridenc of vals, be nthe gaat of he individual compos ‘ons bt als“ and this a stn the a of optimistic continaation. Endnotes 1. Song Inert Mei Compo Li Londen 1968, 2 Fate lop ef iil ae ‘CARL RUGGLES AND “DISSONANT MELODY” (982) ‘Why Ruggles? The question of relevance ot out plain respec of om post of ls than dozen work in the space of sere four decades com ose, moreover, who has recived tle ental atenon over the yess ard ‘whose syle and ses postion have not been notably influential in = ent developments in new music: In part the answer must be sought inthe Personal ofthe man Rirsl, in hi nransigence wan compromise st [RS absolut vison of quay Far more aigalcat, though ust be thao [pc of his achievement which i able to throw new light on our eument sts- ‘on: ike ve ad Var, Ruggles arrived a concusions wich may wel ae 2 eonance for beyond the splice of hr pce cont otha tis pathaps not untimely to consider some facts of an artist whose sje whist eviny containing ample erence of histor precedens, never snes {nao defning is oem proper limits Ua thee externally dared element re Completely absorbed Into an all-encompassing and Dele unity «complete Interpenetration of gesture and generation. "Ruggles ilo fends Ives ae Cowell both embraced och in his ‘wn way, some form of pansy natural piloophy of totaly, Ruggles melt pursued equilydiopian visors of «coved univers feng puryy ‘witin adzaly delimited sts boundaries On the one side, nelson eecic ‘ceplancyon the other econ refinement dove to basis aso often Rap- ors thei dlamettely-opposed pata trough te composers femurhaly le together i spit Although Ruggles, was well aware of Europea Adodecaphoni procedures he chose to et thm 3 being oo constricting ‘developing inctad 2 nonsjstamatic Gut conten) method of ‘lesonant ‘eed shone uence wos eaten the ce contraption of independentiy ‘volving melodic ‘lfeforme’ The dive and lmpt the for resided in ie ‘ndlosproieration of near invention nc the mit conotaton of odie strands as starkly cashing planes of force. Aloha mary ints, his motive treatment can scaly be load eround anything so table a "home, there nevertsess exist sigan reside of constences of ma ipulation and sociated intervalc ploy whch both edhe vidal work {oped quay and serve tole tin thc continu ofthe aoa whale ‘The uy of the werk spl over Ino the lager context whist the ger cot teat invades every dtl of the sige werk196, rk Fryhough Calle Writings ‘cena onsen in any easton fhe smpstional ec igus ncn nth ero anasto th mse Tey he ane ta stati tnd alkpevme sce ony One Trower qucton mt be mugt inte ee nth ped oe “ote ete rman af xk ce te pyc tckgans man errs emin sel Alor appr the ble se made Raph cv each ote wor ens Te flowing sts wee ‘cen rts ence ovo copaston, Evoctne (50-0) Be anol inl puaps the comp mest wer Kaown work Santer 5m) toring ons Stn Rais ea 0 hve shown ape fr lowing & inmate pes Comers speak etwee sen ed ‘Ri osu en ph der ht heres of {s'est epperne hve by i en pce as pl econ fro ras mode by feces teenporn ida pat pot paint wh cs anon el he {inn faucets in choral dt) he etl plac fetpetone timer panna pee ond cna proses rots ined eubitone te! etto mpcr ‘Sp Even tug tous pale it ral gunn a pr Mla ara oreo erecta! gato the et he sf tomas ys sents stn ee ps ptng hee ‘Sa af cna sug the compo ae wel sar te “Sehtcn eto tl ade sen opening rome Shona ef eral anol al up, Te ro Psp ace ty bw er sled to ast somo te tir oy mes The te eng ef ss narrow pc een mee Tumor Ste aque dpe ct tel Agu whch wath com ponte Trp 10 or th opening ta of aeons Naz onaf a st of four ps pt Ths sh pag oa ut of Rags moe Poe som gap npr sero egeernd f ‘Rano pick detssous topmost ener une The ttn atte sult fl ev sores tout pe ‘nace nde s mre heat spech an a howere 2 enon sigue comet nan set equted wth a ee oe ‘Seaton ny ements ese Formas the ect sch Spon Wt he oping dos ca nthe eran sa fanon Sy pun of wleute bf te mann eed ot in sceire ‘students Nottie, transl pry of eran ak pics Span for te mnt preg ech fr" whch buted ‘Eisgbet he pune be with met neo en a 3 oa Cart Ruggles and “Dissonant Moody” 9 Bate sepa sted) “Ths regularity ves the aterton othe activities ofthe vara, in par ‘cular to the complex sytem ofintlocingtheenote calls, which may be Subdivided io to lal pes, (and the former charac by fon Aly ‘strong intervals such ag the perfec ih/fourth an tone, the ate by ‘oselyng linear mater focussing around combinations ofthe miner thitd land major and minor second. The predominance of strong directional inter Vale in @) lends the pessge a dete ‘ee of Bh qualty ample 1 ©), ‘whlch tends to support an inition on the part ofthe steer to itp it ‘the manner suggested below Both cals) and @) ae presenti the ist Tow” ‘xtement, dominating in brs Vand 2 espctively. The greater importance of (@) i confined by the subeoquentcimiaton of (0) in the fst variant200 Brion Fereyhough - Cllcted Writings peeing ers soe cen in br Sand 6 At 0 pi ENG is clo epee te pth cnet or aie ton Integr br tha cmap vk ch seein oz re Noon the ng gut ees by Ro posh fa Inspector in conten Ge ample TR ‘ein ees cee aap ed Fermston aa. ke the pling cnet alas he appaton ewe pc De ‘Sn progestymare han emp ones eng eat he teguy ent pong cpl Sr esate nd Fc ely dn by eave anon fe cee tal pth Aan taper wh ver othe der oe ‘Sheanent pcs tent de i recat ests wo Sn Se! wile err otbrst nd? Os yet arte evel he mints ya eng othe al cha whch ew manu ns bring sn ota dion AES, pedo upped ty thane date yt als op th na gust a sat tee te te Dery pron hy a Sundin by he ‘Bato eng Swe earth an hs pe the gradation oe powerof Din ove ote E> a ac ‘invaded nar Fao eo ceed eer 9 an & ‘Mow’ fw taka he Diego pelon spre by the ermoutial deat ofthe © Th iter Spend fr on Se ‘tong € xs ar Dan tana nth cto nan he {Softee sur fhe Dregs Sand cele th {rut spect trons coer axon pon Botha on fa kms inal cot Tee pa poltendnses ay bedi fo heen Ca tng of mrp Revita rear felons prc gril {Seen ner i ho anton cas an) the Fogone eager he lregrnd ft ype co wich puss Serer pk een Re esos Een py wer ‘evn abot) te Tan wl ae tha al on eat wo con anon te ne ary rome of {nd weak bs wih oe cn pes py onda Scone yn cling sn parca plc or pcan ‘7a trac pW at ecu a nly se ‘td with ond ©) apc “The opening mate cave doling atin he compe’ lat werk Suede sow te rte wigs of aad fetal tenses be rd ao led noe isan Samp’ Sng ee pgs te way Nh Cont Ruggles and “Dissonant Malady” a cae a's sehranom pn png te soporte consents eo Eacciseeeee emer nenes Siiecinarena atric Searcy stent iene San sameeren a Sh ie tir ccemlameenaemreereed ee Geo aly meaeereteememmcemest spine oneenncaten ntae Toepeanstgenneaantn sean Seed veeanans ees aera She aoeaceleaay ata ee ee aC tn sveaigete arate icetog ghimmorac eee rea ene tettvebet nae dn apn pare re iiotiagnbeeememnennan ae feyioinetrtaer sagen gett Eee etter lp Shalem one cee teratoma ie eater mea penne veri eticenre Srey erm intgar rete eat eoppeteecrenats vic cee Eedhpaceenaereeneernecmmee Eade reemedinenememarate Srbseacebinaiae Virme Bran Fereyhough - Clee Wings seldom encountered cc Iwhere and protly nowhere with such fil combiation of Uber and const IV_ InterviewsINTERVIEW WITH ANDREW CLEMENTS as77 ANDREW CLEMENTS: Who were the ates significant infivnces on your ‘usa thang? Arong the ps-watBarpesn ave gan fori wee you moe itrested In Socksen or Bole? BRIAN FERNEYHOUGH: | am not allogeher sue that it woul be sccute to speak of thinking when dsc my east atemps fo come {o terms with onteporary mu abit then resid ise tome. My educa {on in this pect was ery sporadic and, above all subj to the whims of ‘han, Ido tel even Seung acre of any compton eich might ‘molly termed ode unt my ght yen and then only suchas were ‘value in and around Bumingham where tthe Schoo of Msi tae fortwo yeaah. No sjstematcinroducton to the weit etary was ya eto me, 2 that my knowledge of most composer was tse at bs up ‘amination of one of fio ork, a ort es in La. My bockgou Id not boon at al conde the development ofa alancad veal View of ‘even the most meager sort sine mest my musa experienas (Performing ‘Stmposing and conducting ad buen aid inthe world of bas and ply ing, wher the Bs pices eal spetly writen forthe medium were by Holt snd Vaughan Wiis. The maj eowsequenceof ths spl sl ‘unl aly advana ge wae he ltt tol separation of the sound of enlemporary competion Iam ther cutral cont hi ate long = ‘rained oregn to me, Sach chess ater developed, withthe xeon tthe most base elements of 1240ne wring, were us my own works ‘er smethng having isang a well a the more obvious dread, “The cmp entoned elw are thus to be unestoe as sou experiences the most lc and itil rake type den nk hat Team ‘cross any workeon theory or aesthetic antl que ate probly Rue a et ‘hen he Weber sue of ie Ri tic ed completly to understand ‘arise ha the onor of Being he Sst madert campser whom can vily recall having her, and ht around the age of Hien oe Sbten- The ‘work was Ocandre alt ony the second and thd movement). Isruck me Inmasly at beng the Sat honest wrk of tent entury msc hat 1d ever helen, the pot wih absolutely no prevaration. The m= tery of the organ suture ating ce across he bilan f the primary IntersewwitAndr Clements 215 Inarumena colors ade «dep pron of vl hee eran of rable nnbigaly Stes aon th ther hand he compe hem Lane exe sive tee with eat Loong bacon at pad wine dbo eis dsp seus te oUt as sat aading sre fo ‘tal stoping which apps oe patty inthe er wes te ya Phone He new erty wel whe dr exami op these of sets gray pt-pt pater te dno day fein tnkerey he fa ho he whole imple armani ame wae Inne nan unc fain. Also minting waste contnany sing ‘onship betwen obvious mot een a development and te ‘oul "an heaton ight aos sy int Cte yy pas ‘ignites wh he tvew aces te asp of he boric ‘ogresors ke gaze vel pos whch ieee generis sre on "uti pt of he tempo ofa ven psmge ih quota tava So mu of Susan me wer th sicher son {in hemevsnompatie proven deve ght recon me ‘ham oe nary ono ys ‘Giovanni Cabral Agi the prong of weight, hi sso al sce his amos alte iting, Ove Se sboe the deeb ough ising fore te unlty of space On ee tht hie an ae ‘sample of 'sing compstonsexpresion se apposed, for eampl tt ‘Sra ling aty of omeone te cenit ada Cabrel ap tempted ate Monee because of ‘scouring ito of norton a pan one bees ous detail Moderate ats lore fore tpt of he rowing oar She et compose what Tam enpe oll yee ou Ee Alinghi th of oman rs oh ‘Skin tha thy ae me aye ping he gh ng he tg thy tended nto paper A got del fined eso on hy pot clit ‘cme of hat bat al nd some tat serous tet fet from he composer then I ths absent th ae might wel sy sete dean vet Tn ft etn a ery te appen hough ea ar me atough saps wold make Tie toesidenbly cater5 ‘Brin Fereyhugh - Cleced Wings 1: A question that soncomposes often ask i whatcha things ‘ante lr ina compeaton can? The danger of academic ooo much ‘Bias by te aches wn techies very done. Ione tks of for ale Beso ot Pets swell now that ty considered the stay of Rane te helpful Stavineky a All my technique comes rom the ‘Sadjcf coumerpoint dst ut we turn on more tothe conversations Scrat he ware young composes “especially Aeris” gins make hg» coves a 0 counterpoint face bonus “aching 5 academic, which ‘ang thy nde he igh contrast fr cong ocr ‘BFW blew that to be what was talng about ei that you have to dingush very cally between theory and compotion, between rei pesrpive end more leble approaches to teaching, There seem be ‘incl wo shoots think Oe i the sot which pretend t now noting “Sout gecrel esthetic bute ble to tl you about equ fr the produc theft materi lets all tht the Handivwok School. Then theres theorem lth ter en ofthe spectrum which aceptht aching hand RSI ety fo means valve ee acti Ba arady impli tsi iol ‘Jes beet ls thatthe nly el way to ech compostian staring Fone immodit compostonal robles mares ina parculr wrk by & ral pup that ston tat thee are ely no generally val crt of Food handivork at al tend mysell, probably, awards the second poston, ‘Be scams tome that those teachers maining that because every att iva diferent sett anyhow the most honest way to teach is © feu on {eT Specs compostzonal ete are suppres theft that prac (Say any technique tregable pl crtan aesthetic valves these unde ‘ping values a not made expt, Un the teacher end up sulimialy ham to the stent mater what his orginal itent may have oss appear tobe lang one a ink, ‘BT ate leering even 0, ony technague | might suggest a stir ‘Tene would gro det ou of ant converge with imme very speci Sou ina cinretecompostional conte. Ging ck tote question ofthe ‘Shs of counerpott andres theoretical eps of couse its ie ‘ica fos done te sear eoure i such tings. On the oer hand it ‘Seer men at foes res sited to ths they ae esl {ato mia mer hat they Rave a diferent type of personaly 1 dont ‘Raber Cra oe Irteroiew wth ot Bons a) ‘hk you nod top tine wating agus to unde treo ving ci hn an cute seat san ea appl lave wring thom someone dae The ames tue of any syle xe *Shoenbeg cluster mic or wstever you dart ma tocomposs xmpls inorder gasp te excl pos ivlved dr age th th so af Compan cue whch progres um aie twp Tene Wing tng tn four equal 2sone prs fr sting usr spo csr tare ‘Seapine up wh» pe of su one afer Which You ‘Mec al youn aconpase: Poles ras angel tals ss fom nal neds, wich sn totem eental prof competion iochng ser ond vena work in wsch pups area to reat eal teach ees’ work = always a efi por ad andere salted ‘cairaons of etenponry wore by ae composes I.cn you sy samen ht tw dw oft soc seston cmp ers iea a pe e t 1 Antal epee on Sen soy eg tc fbn Sensing on poops te eyo mt yA Seaton cree ‘ett me mtr ga pace paso etc oy oa ae male Tee eth ee ma ptm en eats ean ‘Sonnac a at ee cp te ae Stn onan nu eevee ‘tia npg oe ef cotecee ee rot ea py oy Re te es Sofa gs crane tS ng oe tcl galt mel gy tr ch oe Sel mam om nna cs apuaone fac pa oct ning aes fyaeanecil so Ses ‘Etrinsn mem ds fay Sees agate ‘Ronopwime one man setaguer oto ced Sees nico we a i cd wee ee pea minnie cnet ans Tien ene yong ae aa Sesh ead pn ci ese ey Sill ee inpcpec whl analog tage Sgt Se adn mn ye28 Bran Ferneyhough- Cll Wings masons unformed or uated emotional rete volition, the drive ‘hich ese ne ayn a oder oie tng spe, Ithastobe peso again some stance a cetin amount of presi has 0 {generate ke steam ina bos wanting to esape The moment of onset ‘etm volon and rsitance device throws up to tgs: ne the emery eves fr expression, in na ems two, by bung cd through the [Pdr seve it becomes split up, diferente int various types of strc Fonction tn contadistinton fo thi concept Boule’ ystems or isan) strike me e bela rth nological becuse they base themselves onthe Inultipieation of bai number of elements, lpi in various ways. in ‘aos ditions 1. “Prolfertion” a he terms it BR whereas he srt f structural setup which ltrs mes the one tn which the conseltons of detail emerge ram the mont mas or Bock of reative driven by multiplication but by dion by being channeled for [Ship though the precompostional gids consaqucnc, the isin of mult ‘pbsty pula a ipl footed in th primary state before the rs [esstance was overcome In such moments the phrase fom Artau's "Nene ‘Ses comes to mand which speak ofthe grids a teree momen forse ivy and substan” = impying, forme, hat polo intl andexo- tina olson which ton pec when Be sertsthat "cstv wile» be eal fat ori wat happen a al rs the estan a which he pucton of ur ilo de an he nto pose the sal ver alors of ‘eral dering etl produces ome co ofexplstvely wate intr. thik thot probly al gat at inde el nse way fozen na momentary saat o that tastophe J What can ws in the score of he structural devices you ae employing? ‘BF: Probably one thing one ss ight alter onya cursory examination ‘ofa sco that a very cea cover my teak. try not eave una tiguus evidence of specie stracturing strategist lest on the mire “The point about my syesersin general that hey ed to be gute comply {nteowen 5 hatin the procs of working wh them tend ose tack of “nia, rr en omega baci Filo fe p20. The comment ean datorton a thet sees of Bons ai rer wth jo on 2 ‘what Lam doing, which means hat fant manag to recontrct what the ‘generational ponies were Lam foro invent ew ons rating he oo the extant in such a way a © rake it ee thatthe previous pines ‘were sili fc operative. That inp ater sng revere ofthe principe of varton whas, previously vara was aterm applied to compositions In which one base pnp or material was shown in may different ight ny pracice we oe the surface remaining very much the sue while the back {ound rete pcedursare ransom! or sng superc, Wat [tres mein paral abou his oof hot undertins the exe towhich thehuman tos andarenalyfalbleand weak, fom the ws mage of perfection (rat ast of pera) andthe godke crestor stand ing outside and above the work Als, It pent me al sors of spontaneaxs rections to a partcular contextual consi, the sort of uation i which feel T work best Over for me, structure i at something which genes ‘impostonl material but rather stone in which am fe, within te prserted limi, 09 | But hen yous how for empl, are lcs defined? BFL might sy for instance, given certain materi and Bin this ‘action ofthe piece bth Aan Bl be present, butte to may nt econ Toned bt only oxtapoed. Th would very simple form of consis 3 more complos frm might ea ach appenance, transpose Ay an ileal "Shen sucanvely rom he terval soqunce xy B wil never betes, ‘ut le component plches will appear in diteentocave regs a ech sppesrance, J. That's hind of technica device, BF would be a echnical device whote gol would be the defion of universe of course within which the manipultion of sich prams ‘nay legitimately be permite ts is done with every siifieant parate, Iluds tal sor of esturbances i the egla ow of wormation, i Some ‘ways analogous othe tersonrelsation ptr typi of oral msc. 11 Eve you si tht there wor particular es for you nto wre sip music What ae thse reason? ‘BF: Ones the facta the human rains elf so complex aed opag Doing even sppronamate tice to a fe sof human experience vals sme producing abs which dont prea oan unambiguous View of he ‘world; eventhough they view toma very particule subjeive standpoint20 rian Frneyhough = Collet Wings Someone rece skis me: "Why ithaca hear everything thats going fn in your mus, whereas [canis a Mozart piano cone? What do you on by “hear”? Wot do you man by “everything? The pol thre i that the aulberelationshp of plano to orchestra fuctuates from moment 10 0- ‘ent ou sera of forepround background plots cates which level we {oeus on thereby sling the perpion of dal escwhere I's ke a tly more in ny ov mesic a some polis certain elements wl come to the fore whe others in mpenaation wil ede J: Bt that isin contadicon with what you sald before, st you dont want abe perceived in spe terms Not aly cae esl ete ofa complex pe that it ate are te mayo ety im sen caraway My copes Pace doesnot Bei Abe tccomperr eg slay tat se tinperantg, Recolors tnt fater be aexpedtospang mle tere reach io ie must eet or agent faring even Wile ‘morng on somewrleTee oi relation ana aks Some teres enconforabl nt waning ote ove wih tat dee of ‘Resins Roy way Re what el i inprovitnaor ‘Suny mc was ang on tsa eve wih wos to make the taney aly olexptenr sore exept at 0 mc Pekan om thee nthe aed mn teeta peta coe see of theta uma perp mea ‘Sioa Peokat theme anda’ gored Rsoniybeate a minds “Trtnporan! eng uncton preseing nt or ur coco ate ‘Sone thst engin work fst pce oe para n= {cy line pect Hgeesas ome rere, 057 Beles. But hen one could wonder tery ference between is pleand complex main ths ese, sine what yu describe apps to both 1 Trea simple music ght not bet simple when i rst mas, Beethoven foreampl thovesnpe notes arsbeto evoke somthing more, and be very significa, capable of astonishing BF You ink Bsthoven ssp pet many oars eee working ct wat happened nthe fi for ve nau the ky ond Stet at end of JDL No, but the fis npesion i of grapabty and cary not of comply, Inter with Jot Bons m BP: Wel on that eve its indeed rather ear but tha’ aly bese we ind ourselves at some distance, both in tine and socal perc, om st ‘esha the pul the day foun ach patra he Ie Symphony bh ring onthe Gominant cond incompeeersible and prnocave JB: Something you ald log ne go sont eng spi i Pty ht you done sees i BE: Simple compen or complex simply? J st normal simply abo pose? ‘BE: Of couse’ pose alm saying stat, fr me, coming ems withthe aifclt and unable eltionship of contemporary compton Self and the word around it presuppose a crain sr of amon, which in ‘un involves mein dealing with as many aspects of particular musi sit Sion as ans jst not pcb for me to elt onan asp that ita tion to such an ett that a socalled simple’ plee remains. Ther’ a major isnt friastane between he ort of simple’ mis Beethoven cei Sy wrteand the sort of made smc of sre crt me, concer with mediating an fet 18 Yes, wel meant simple Beethover,of couse the bast side of the simple, which means more than js the notes. [BE st think tht the word ‘simple is sometimes confusing, because | depends very mach on the expectations ofthe istenes, on which evel ofthe ‘musty given beng singled out or focused concentaton My own usc ‘Soften exteely dence in trms ofthe numba of seulancsusly part Ing levels fac bt the mmedintesrace fet enone aes igreyand unform {dota is oder suggest the tena hat he mma. $e trface i not what the pee i fundamentally al - nlite, or tance, ‘many works of the site, in which the imate, txt seulped quay ‘was of primary siguiance I want the en fo sin dowry a 8 erst ie ‘moras the at of consanly mile mens erly ew of which Aas nto Aisne view at any given instant. W's «prety archetypal experience at the resent juncture and sense that it would be appropri for me Yo ofr 3 Spurious simplicity just reduce the prevaling level fant One has tbe true to ons own prsnal experence, which means Hut one shold perhaps ‘wary oftoo much reconstruction alr the fact i ordertoscoounodate me skviously diet comamunstinalenventions What fam tying to do in my mare involved textures iso allow each2m rian Ferehongh Caled Wings inva layer bet sing of parametvc infomation or an acl ayer of “ouning sata asume sss approaching that of ving ey, where fe rbua individual otonomy is losly governed by and eens the reed Tighe the whole, JB Inthis spc you once ated about the interaction tween ro and macrosrstare i ampastion. [BE twas probaly propos afanctseatin quent made sone eft pees ony sue stat thea rodeos forte iss penration of ine of mle or en tp ages fra models bt thylnd tex cio cferentaly mediate betwen the two ex eset ome, aap yanmar ly ‘nthe to dcing extn notre saa sn tnveringt! saan cancer uncer unneostydies Much tfthcan incompsigtday ser tome ode ndevsng inane of arc ning sconling te wey ol prep isintons wih teas mas ‘Sesto foe te {etiung exo, Nf eye, at ow to corece of coheret terme thet wor ies tome at oly he ase pats in TainecSon se ope The it itor problem aliogther 18: Then you dot reduce a work of at DF: Wel, you perhaps produce work ofa which dost rege the alscrepaney between te to extreme the Scand i produce a work 8 which you polemical undertne the difeence between the extremes sd ‘oft some sor of ommon denominator wath espe! procedure of Spprocch to concepuatzstion of one's materi uch tht all srpetts of ec ‘iu and formal nanan an be bros togetes, into conversation with ‘One another Ths the pth penonally pursue the hope eter of cesting the dal ot of mediation spoke of o se, a the east keeping the wounds ofthe sue open Oren op many numerals ae hen bythe complex. ty of yours tou dub oes ery wel Dat donno wha ‘urtbeughs one prbinetnved Cena prlomer cn ma Teri to tote soe Why do ou fe comped twee i sy eho do you gid esis mas ehersconmatng ta one Sed Se lhe este ourng ent would ete sae? ‘BE. hink 1 mentioned ser tht cern steps adopted in my tera wth ot Bons 2s ‘compastiosl procures were sceped as making psitve ase of perc ‘onthe same might besa of my attude owardsperfonnes a lene ‘What interes mes encouraging the performers, any given compesion,o ‘met ter with thrown ara it and thereby transcend hey ‘compose musi whch from this poston, achieves two things thei ib nsistentlyoversep the founds ofthe humanly pombe - noe nan respon. ble way: but extremely finely grated, ad pleted over the ttl length of ‘he plea secon Latempe to produce a courterpn between te period ‘sul compo ad the actual performative fly at any given moment ‘Onecan easly imagina case where something that sounds extrema diffu scully makes optimal we of the peculiar characteristics ofthe medium i ‘volved an eample would be the cimbslom, where the ordering ofthe sings rode» quite cry chromatic or dnt progression hen the scion ‘olved isa Srightorvard glisando, up or down. The oppose station an ska be readily magi: thre are some instrument wheres spe coms ‘ale actualy extremely eer o ext a tain speeds and ne can ‘ven range; vin ondary’ gers, far normal woodwind isrumens ‘ute constant enbouchive contol elatve purty of Inionation fet be ‘lalla fone very familar waththe instruments employed one can Tae ln oF fade ou ether one ofthese aspects as actor in the perfomance sae tion ry to icorprate they in oer wont a cones sana the sons they are extra, f cnaciouly subordinate prams, having the Fonction of tarsaton ai, hlping he performer Gnd, ata remove, he ie tere) gradualy come w pial and menial terms withthe poss ab- ‘Sractseunng over expresrve conten and ssocated form, What comes ut ff ths guided contontation ls quite diferent from performer to perform. | find th focnting! A performer who spends any smountof me with my ‘musi generally fees somthing ofthe neces of this uncom conjunc fon, even fn some cans, somewhat grep 10: Youre not intrested in musi wich it air and more playable or ‘Nott present. am no at allan iti: wey well aware ofthe problematic ntrarton of mii nd abe worl and all composers woul ke mere performance than hey t presen pe At the same tethered bly praca mitt how mach were praca perarmable or approach ‘ble my ison of msc on be witht tring int someting ee aopethee But can ceraniy conceive, in theory of sot of usin which ther pro lem sopocts of expsion coal be highlighted, by appropestaly dlcINTERVIEW WITH PAUL GRIFFITHS (4983) PAULGRIFFITHS: Can you remember hen yous to compose, and why? ‘What sort of musical experiences an education had you had tate? [BRIAN FERNEYHOUGHE I prbsby sil have theo score ofthe frst pice of mine ever tobe prfonned albeit notin pubic sem fo ee ‘ar tat twas a march for bas band, writen when {was 13 or 1. This Was stele my ‘fasts in harmony bsgan, so the poe mt have Been ‘ge pam, lthoogh I remember fhe general sound 2a beng reasonably ‘Biome Since I hd Begun condctng the Hane in which | played on odd ‘ccsons, may have been hi which ed me to begin emposing too One of theacvanage the bed oyster wa the igh evel of nerpenctaton of os. “Anyone interested mae in the organization a layout ofthe whole tan in 2 ‘pci nstument hs plenty of opportu to oberve as mach de as he stants over he space ofa fw ears By the age of 18 had played mos he bund instruments, pat rom te very etree of high and low and ths ad given me ute an (arerdr sight inoal sors of eompostiona teehniques Sd tec Aled otis was the complet catholic of ye ranging arn oltcore pop up to qe demanding pass by Hast o Vaughan Willams for Instance My Sint cmfontaton with hela” occured nth fashion in fact RG: When and how did you come to know the vant garde! music of the ities? BE: My ft encounters with maj advanced’ score of the fits and siutes were completely fortulious IF am not mistaken, the Covent City [rary dina exact Altius ise inthis ear but id contin Sear’ ‘very Liztan Plano Sonata "a neglected work, in some ways, ltough very “ambiguous in is rbtinship with seral technique, ofcoure. Ente the Bingham Schoo of Musi brought acest the ruse ston ofthe mi icp iay hich confined a et of ems colect!scoring opel ‘hat stil remain nel tome. Alongside single scores several pasta eo orseratves thre were inteeting example of the Scurry cle, sucha ‘Son Wind Quint! (a the piano unas) andthe Plan Vaations tere with Poa Gif ns of Stati, which later igre me quite a a Ase fam ane oto ‘Weer wor thre was ss faa oppo and ss wh {uly ln re. Coming srs nt one Wa se ed by 33 thay tery scl fr, n ptr toe ingore ting nce such the Bagatelles an he op Quart Pen ly eat ets telnet came afer sing te Grey as te oly erie Accel tomo an sf the Weber inaece que stengy "Stockh KonaPunkte cred fy rowing ry Que iy, sd hs Kaien TV and Bors te Soatna Atha or ade Sasting silifs an lige impression, bang mee import or ‘ean of motivation than of acl che ‘Allis was py vuln sce pafonnance were few ae far tween My ett hey expereince at ae been ening 45 rp cod the sods thisd movers of Vaae's (tad whe eS or 0. eed eigen peed by ‘heuncompromsingcnty and cans foun and wt ut moment that composing bane my dite goa inf The di provided Spree nourishment ef eure nhs wy eae aces Gruppen a wa ack Immediately by is cious sen na cu, ven ough bed mo en Dallas toe aeatheticor meds of ceucionIaua kove heer est ng ish Sm perma to, altough no specie pes come ona ‘rd: Lack scores no eto ith ober caposes made on Suction of stir ove racy impo of ose Sever tools were gute apart tthe tt DR on Nabe inparticulralso Labwtzen theo Viens School provided» rt tne igh io qusions of fom an bs cigs Aaa fs were conrad during thee yrs I re a comple Bian, snes ‘Smingham rvied no rn compton. ven wenger ws {hee of de interac wh ther tien ih ra ees at sry cry develope up unl ag of 25 ely we ry sw sel ine fae Ath ine ths ws ata very dpi ter Teme the iw {hake stray and rene independent tee wae qt able ropes lo he and might ao Have be pie ny others RG: What a you to study with de Lacuw and Huber? What dd you lear rr het? BE. My fnt venture outside Bian a «compose 8 to the 1558 CGaudeamas Week in Bthoven Mote than any oer single event hiss ‘ezlve encounter wth Eke minded indvcuns encouraged sn srengthened sme It yas quit a elation tbe abet defend a radial pont OF vc wi fur resve and to be acaptedwithowt preface Being able #0 hear ive26 rion Fereyough Caletd Writings ances f gute complex and demanding works mean ot © me too, [>that | raced to move acs othe Cotnent at he erst opportunity fan the chance came through the award of the Mendelssohn Scholars fr that yn Aly ist stop wan Amsterdam, in theclass of Ton de Lae, sce had wanted to retort Holand above al This winter say was no aogether fortunate since twa ot rut me for me eomposssoaly never, the continual contac witha though composer af an older eneraton wat ‘ey importa eve hogh dscasons were nat always centered on my Own “Compost acti or nko. ‘My money stn ran ut andit wasn theinterenton of Kaus Huber ‘oxhony life de Lac had tt in Bthove) in gaining me» spend ofthe (Cy of Basle that lowed ne to conine on the pth had chosen ted his tasers athe Basle Academy fortwo year ntl the end of 197. AE though by that te ny tecique as mow res lyfe, teen te hat pod with warmth forthe supportive sttude of Huber twas my ppt was comporng Freee Bela werk with no hope of performance that ne -and the lengihy period of continuity ts afforded enabled me to ining that ose genta enon shorty afer my ofl tds had been concladed PG: What the nature of masa uence? Do you sil fel youl tobe inlaenced by elder contepoas,o idea by younger composes? Fda hi hat ny muse partly infeed coins opin ee pny omen end kp metas soneweghy an mtbery po ecu xs ying le ew erly he ough and See ease Shr congestive che eto ity ort sy hs nd x Infurce da have ltt conte Sg oe omits one atin deinen yon se of pao rete ery wut etipng wiht ae proc ous tar ibe psy ef cin ae hate SE gen ny exten daw of compton, these, mia NG Reiko vse neces gf ue a kt Mymponcn vs an tcl mca Sm xpi er hon Fay be tts or els he ote dog ig fom SS) Seaptns econ oe Spill ain ad hs wl ve ‘Chetan coum PG: What do you lea fom teaching? Interse with Pel rite om BF: The infinite varity of nuance comprising human personaly; Hex ty in appreciating ane thinking through the ings of thers how to avoid Imposing my worldview and msl aesthetic om others and ot eat? ~ pence PG: In many espocs your muse remarabl for consistency over «period now of twenty eats Does it seem so conistnt you? What your set attude wo your works of the Its and 57? yo ves urge to (pack and reve? Are you wring the kind of works you ight ave expat foe wring? Bike think tt my works hve remained consistent tot i tmobile. Only in etnpet tpt asthe a degre fees passing om one wero the ot sine athe compe ofeounsconet {te jl fom the wef memories woven dng the ps of ting. At the ne fen ih difennces tease tops be age ta ey Inter sr tobe Even ques cit eau oat cps ae ‘menormotsigcnce wher sence fo. “nthe whl ppt ny era carn cht began with the nen cotton dees i ors ingen ‘rors nwa an ral omnia tees an tose este. ing towards amore aspera oes pre Sever ings is sar canbe digs thot fay te ny prog over Bea “tod Like ri coment he seve hs td eink {rtothe pin rderto sewn hry vis th rvs ocr lan Corr ted work Wh ne hs as over one ben occa enerpre “Spy tecnica work so oy enbdd fr pod o pa sear bogphcal and sys developmental cnet they atempt cele Sloerday aon yt frontal prety be ave ed {ha for quite a wile anyway aaugh oo con ok ak ough ‘works writen many eo go ince nd he oon in pe tal {irre and sw Medeqonse caf mya whith, Bone of Sneviny need gonna nd rene have ed tote ceca Sortie ond tv cd point tae which seen ‘ne ahintto kl upinnycocure wih caret cet Ir Smee, to lnd emer prat th omer os manipula gue the pst te, bine nce ste "As epithe fil pt of our queso, fm nti is the sort of te pun that ows or cot al eos pedi Tn the Ine sitios my hoon wae ces ed far ne by Osco ‘ehniqu adequate tothe sore of sons Thad head than ay ys Ine whore the pepe obvi wider lough not nse one8 Brin Fereyhough -Colectet Writings uteri ofcourse. On the whol think my younger elf would have og ‘ied mec inthe sor. of hing Is sing at oda. At ast Tope so NG: Do you recognize anything English in your mic? |B Thee have been co many atsmpts to deine the nature of Engh smusicthat fam not about embark on another! Most ach dain evolve round the promise that Brain has a gels for Keping a wether eye open fore development, whe iiating fom than many of tet more abv ‘uy cud ques. Ths may have some tah non te fhe hand the ‘Seen fa pea lant alays to evade wich net and convener vague lang down, Probl every county hast tae of composers who by ba {es innovative, cepa ll the more cll heer the amon denaia tor of national nesses might bs “There seem tobe the sin es here. it here the nature ig rly and te le i imposing new defions of mations qualities by fee jee (ats, hove the ngerpints and disjasies of oe individual can [adopted sow speak ons higher and mare cbstact level, Secondly heres the typ an Intent of elatonip found between Engish composes and the foalty of socal ieitons that engender, swppot shd_ve fom postions city Tm convinced tht hs Ra vat inuenos on YOUN, ompocer sarc yc arenes and Ne subsequent development but {Ssomething tat ated me relatively ite sinc lt Bain without having ‘ome into de cont with thee reultoryreciansns. Then tidy there {fs sna in whieh any simul, however azcental ecved in and hough the English envionment dst the ormaton of an Eaglsh composar "As si af the begining hs interviews, the works ard sis [ran scot ly on ay not ave cgnted in rn forthe ct part Bu Was the Dish msl infastactar hat condoned the ole quan wo se avast of secondary information of hs mpl so hat one cou pls Uiyargue at Tam ld of my place and tie at eat in this respect. On the ter hand, [never eines moved to take upon myself some rneyation ‘of aspct ofthe English pot sch as was rather urentinthe ate inte. There ‘much English mui rom prvi epochs that amie ntensely Tals for fexample- without theft Raving hod mh odo why musa sense of dent, hike 1 Hove docs a work begin - fom a vison ofthe whole, fom a par cua ids, om parca sonar? BR: When does work dg? There have been occasion when I experince auden sensation that a work was hee = no pee msl Interscw witPal rifts Ee ‘matress but the sense of stv possy Moreen, work hs {Geptout ofa mass ooo intrest ideas, king on cancel form ale tthe last moment This eat go sofa that I erally Rave noes how work ‘willed unt shor before the moment of having fo decide betwen ube (fmorecr les equal posites Isrts instrament inwoed right fe ‘he outset thats diferent mater nly since ty carta the gestive ower a parila onary lads oa frm a spontaneous generation oer fn beyond any more abstract as preset. Normally [come vey son 0 fort of ment sculptor’, which ha certain macs and extra shape, id ‘whic in be tamed round in my mind and mode i cesar The a of “energy, weight, as an moment thas have an portant eo play ‘my ial Crmulatons. Ose ples emerge oly afer proaches Wh sh aleady extant des, such the plano proce Lemmarian-Epgram,or he ‘Time and Motion Stady sere Tas i usually mich more agonizing sce (he ids i constnly undergoing mutations eased bythe development of he purely musical chriqus and itis easy to ge te fling the prj chasing Itsown al PG: What process, mental and written, maybe volved between com> ‘ception and competion? ‘BE: Usual long pris of unfocused thinking fora tar. This lowe ‘eas to oder themselves ‘under the haron, leading rogue othe mest sounding Jungian ‘synchronise’ when the ace phos fas baum. Then “ollow sporadic burst of experimentation with new snd ales ed ach niques daring which sudan intuons ao frtherdevelopesents ae lowed ‘up and thei lines of communal etabisod alg which depres and forces canbe chard. ter that Tusuallykxow what ple abut, {nd have Beume lmllar with the arent tat of my tae, 0 fats pi of interpenestionbtweon the concrete andthe more Karmal dspsisoal can ‘gin. Tas might again ast a ong tine. nee the gece form hs aly Ise sabes hen tenaive compoion often nat a the bpnning ofthe pce Bl by bt the deals ofthe mean bacme more fly eatin rather ‘ore owythe mn take on hat ara of secondary prope with whch the aac of composing han concer lt The woke, under nce ing presre, rm he inl mtr of constrictions, again hich exes Sve word willbe eprojeted Do you ever abandon works? [BF Now xn although there have been tof mes when ideas for pleas have taken dn conerte frm ~ usualy Ho o thre bare of ly