I frequently compose out the entire metric structure of a piece in modified cyclic form, where each cyclic revolution undergoes some form of 'variation' much as if measure lengths were concrete musical 'material.' — Brian Ferneyhough Copy Share Image
In my model, important interference phenomena arise when individual strata come into contact. These chaotic fluctuations are, I suppose, what my music is really… — Brian Ferneyhough Copy Share Image
Sometimes one can be so closely involved with things that the larger context is lost to view. — Brian Ferneyhough Copy Share Image
Certainly being in California has encouraged a sustained commitment to rethinking the nature, purposes, and relevance of the contemporary arts, specifically music, for a… — Brian Ferneyhough Copy Share Image
There would seem to be a limit, even for an art preoccupied with boundaries and transgressions, beyond which a work reaches its breaking point… — Brian Ferneyhough Copy Share Image
Composers dialogue - and obsessively, bitterly argue - with other composers, often over the span of several centuries. — Brian Ferneyhough Copy Share Image
In my own recent String Trio I attempt to superimpose two quite different sets of formal strategies, both of which, ultimately, refer back to… — Brian Ferneyhough Copy Share Image
I don't see 'lines of force' as being destructive, except to the extent that they are exclusively traceable through observance of the path of… — Brian Ferneyhough Copy Share Image
Hence my obstinate emphasis on stylistic continuity from work to work rather than specific sibling relationships between the individual work and other members of… — Brian Ferneyhough Copy Share Image
The past nine years in San Diego have represented such a period of questioning. — Brian Ferneyhough Copy Share Image
I would not say that I was, these days, a 'student' of philosophy, although in my youth I was quite deeply involved with certain… — Brian Ferneyhough Copy Share Image
