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In my own recent String Trio I attempt to superimpose two quite different sets of formal strategies
In my own recent String Trio I attempt to superimpose two quite different sets of formal strategies
In my own recent String Trio I attempt to superimpose two quite different sets of formal strategies
In my own recent String Trio I attempt to superimpose two quite different sets of formal strategies
In my own recent String Trio I attempt to superimpose two quite different sets of formal strategies
In my own recent String Trio I attempt to superimpose two quite different sets of formal strategies
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Brian Ferneyhough:
There would seem to be a limit, even for an art preoccupied with boundaries and transgressions, beyBrian Ferneyhough:
If nothing is at risk, nothing is established.Brian Ferneyhough:
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In my model, important interference phenomena arise when individual strata come into contact. TheseBrian Ferneyhough:
With respect to the respective French and German traditions you are no doubt correct, although I amBrian Ferneyhough:
I'm perplexed, though, by your application of the term 'negative' to my figural imagery.Brian Ferneyhough:
I don't see 'lines of force' as being destructive, except to the extent that they are exclusively tGavin Bryars:
Writing tonal music now, you are not writing into the 19th Century.Gavin Bryars:
What was once underground is now coming to the surface.Gavin Bryars:
There's another way of making music, by touching the lives and feelings of ordinary people.