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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.
Brian Ferneyhough
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The past nine years in San Diego have represented such a period of questioning.
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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.
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So: we're all tired. Now what? Manuscripts written in Club Med?
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Questioning the nature and implications of liminal instances necessarily involves failure, if only in the specifically technical sense of entering spaces where prevailing criteria of success scarcely apply.
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Other composers have taken this particular technique much further than I in the meantime, with the result that the Law of Diminishing Returns has begun to apply.
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Naturally enough, I couldn't have foreseen the vast sea change which has come upon that scene as a result of German reunification and associated events.
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My own position is, that it is largely up to the work itself to suggest the nature of these referential points without dimensions in and through the processes by which the distance between them is maintained.
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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.
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In my own recent String Trio I attempt to superimpose two quite different sets of formal strategies, both of which, ultimately, refer back to historical precedent.
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In my model, important interference phenomena arise when individual strata come into contact. These chaotic fluctuations are, I suppose, what my music is really 'about.'
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In any case, the fewer boundaries that exist hindering free movement between all forms of articulate human cognition, the better.
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