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Brian Ferneyhough

"So: we're all tired. Now what? Manuscripts written in Club Med?"

Now,
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"So: we're all tired. Now what? Manuscripts written in Club Med?"

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Amber Hurdle

"I have, before now, waited for a pen to perform a macro."

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Amber Hurdle

"So if you see Ten Years After, it's not me anymore. I'm very happy with what I am doing now."

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Amber Hurdle

"Yeah, now we publish whenever we feel like it."

Now,
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Amber Hurdle

"I have been recording for five decades now."

Now,
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Amber Hurdle

"But, right now, the situation is that almost all of my writing is out of print."

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Amber Hurdle

"Now there is a new group every week; it seems like everybody and anybody can get into the charts."

Now,
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Amber Hurdle

"I think maybe ten years from now, I'm hopefully going to be, in like, Tahiti or something. Kicking back like in my huge mansion, if everything goes right, it's all up to me."

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Amber Hurdle

"The performances of my works in the last 10 years are probably equal to all the previous years put together. There are so many venues now and there is a completely new public for opera that's grown up outside of the traditional core opera public."

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Amber Hurdle

"We knew then what we know now; only exemplary blacks are acceptable."

Now,
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Amber Hurdle

"You can almost taste the pressure now."

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Brian Ferneyhough
"The past nine years in San Diego have represented such a period of questioning."
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Brian Ferneyhough
"This was possible only by dint of extended periods of frequently quite painful reflection and digestion."
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Brian Ferneyhough
"Hence my obstinate emphasis on stylistic continuity from work to work rather than specific sibling relationships between the individual work and other members of its stylistic 'family' in the world outside."
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Brian Ferneyhough
"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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Brian Ferneyhough
"There would seem to be a limit, even for an art preoccupied with boundaries and transgressions, beyond which a work reaches its breaking point and becomes an actual failure, a mere experimentation."
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Brian Ferneyhough
"If the work of art is to continue pursuing the vision of both being in and of the world but nevertheless in some fashion being more than just one more object to the mounting clutter, this is the specific point, I think, where this must be assured."
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Brian Ferneyhough
"I am certainly not arguing for the de facto autonomy of the individual work, even though there is much to be said for making the attempt to see it in that light as one facet of the reception process."
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Brian Ferneyhough
"Composers dialogue - and obsessively, bitterly argue - with other composers, often over the span of several centuries."
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Brian Ferneyhough
"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."
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Brian Ferneyhough
"What makes a specific quality or quantity of innovation retain its intense newness over the years?"
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