Brian Ferneyhough
Brian Ferneyhough
Brian John Peter Ferneyhoughis an English composer, who has resided in California, United States since 1987. His work characterized by highly complex notation and the extensive use of irregular nested rhythmic tuplets, Ferneyhough is typically considered to be the central figure of the New Complexity movement. Ferneyhough taught composition at the Hochschule für Musik Freiburg and the University of California at San Diego, and currently, Stanford University, and is a regular lecturer in the summer courses at Darmstädter Ferienkurse...
NationalityBritish
ProfessionComposer
Date of Birth16 January 1943
Brian Ferneyhough quotes about
Certainly being in California has encouraged a sustained commitment to rethinking the nature, purposes, and relevance of the contemporary arts, specifically music, for a society which by and large seems to manage quite well without them.
I don't like listening to my music, not even new pieces. Generally, they sound pretty much like I expected them to sound, so it's what I wanted, and that's it.
I frequently compose out the entire metric structure of a piece in modified cyclic form, where each cyclic revolution undergoes some form of 'variation' much as if measure lengths were concrete musical 'material.'
If nothing is at risk, nothing is established.
The idea of 'machine assemblage' is, especially, very alien to my sensibility, since it suggests a relative indifference of the strata to one another during the process of construction.
In my model, important interference phenomena arise when individual strata come into contact. These chaotic fluctuations are, I suppose, what my music is really about.
The recent appearance of my Collected Writings has of course tended to mark a psychological milestone of sorts in my relation to things theoretical.
With respect to the respective French and German traditions you are no doubt correct, although I am reluctant to see individual achievement reduced to archetypes.
Sometimes one can be so closely involved with things that the larger context is lost to view.
The Western musical canon came about not merely by accumulation, but by opposition and subversion, both to the ruling powers on whom composers depended for their livelihoods and to other musics.
In any case, the fewer boundaries that exist hindering free movement between all forms of articulate human cognition, the better.
When I speak of "cycles," I am referring to lengthy intervals of relative homogeneity, if not in the resolving of problems, than at least with respect to the consistency of their capacity to productively irritate.
It is still true that it is easier to compose a poem in the form of a manual for adjusting a VCR than it is to write a piece using just tuning as a symphony.
Composers dialogue - and obsessively, bitterly argue - with other composers, often over the span of several centuries.