Composers dialogue – and obsessively, bitterly argue – with other composers, often — Brian Ferneyhough
In my model, important interference phenomena arise when individual strata come into — Brian Ferneyhough
Certainly being in california has encouraged a sustained commitment to rethinking the nature — Brian Ferneyhough
By reason of weird translation, many such sets of instructions read like poems anyhow. — Brian Ferneyhough
Hence my obstinate emphasis on stylistic continuity from work to work rather than specific — Brian Ferneyhough
I am certainly not arguing for the de facto autonomy of the individual work, even though — Brian Ferneyhough
I frequently compose out the entire metric structure of a piece in modified cyclic form — Brian Ferneyhough
I don’t see ‘lines of force’ as being destructive, except to the extent that they — Brian Ferneyhough
I’m perplexed, though, by your application of the term ‘negative’ to my figural imagery. — Brian Ferneyhough
I would not say that I was, these days, a ‘student’ of philosophy, although in my youth — Brian Ferneyhough
In my own recent string trio I attempt to superimpose two quite different sets of formal strategies — Brian Ferneyhough
Other composers have taken this particular technique much further than I in the meantime — Brian Ferneyhough
When I left europe in 1987 I did so with the thought that my relevance as a composition — Brian Ferneyhough
What makes a specific quality or quantity of innovation retain its intense newness over the years? — Brian Ferneyhough
This was possible only by dint of extended periods of frequently quite painful reflection and digestion. — Brian Ferneyhough
The western musical canon came about not merely by accumulation, but by opposition — Brian Ferneyhough
When I speak of “cycles,” I am referring to lengthy intervals of relative homogeneity — Brian Ferneyhough
In any case, the fewer boundaries that exist hindering free movement between all forms — Brian Ferneyhough
If the work of art is to continue pursuing the vision of both being in and of the world — Brian Ferneyhough
My own position is, that it is largely up to the work itself to suggest the nature of these — Brian Ferneyhough
Naturally enough, I couldn’t have foreseen the vast sea change which has come upon that — Brian Ferneyhough
It is still true that it is easier to compose a poem in the form of a manual for adjusting — Brian Ferneyhough
Questioning the nature and implications of liminal instances necessarily involves failure — Brian Ferneyhough