Perspectives of New Music Brian Ferneyhough and the "Avant-Garde Experience": Benjaminian Tropes in "Funérailles" Author(s): Peter Rosser Source: Perspectives of New Music, Vol. 48, No. 2 (SUMMER 2010), pp. 114-151 Published by: Perspectives of New Music Stable URL: http://www.jstor.org/stable/23076968 Accessed: 20-10-2015 01:48 UTC
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Brian Ferneyhough and the Experience": "Avant-Garde Tropes Beniaminian in Funérailles
Peter
We have long
forgotten
when
it is under
vated
perverse
were
interred
curiosities
assault
the ritual by which and enemy
antiquities and
Rosser
do
sacrificed
lies there below,
bombs
the house
of our life was erected.
are already taking their toll, what ener
they not lay bare in the foundations. amid
where
magic
But
incantations,
the deepest
what
horrible
shafts are reserved
What
things
cabinet
of
for what is most
commonplace. —Walter
Benjamin,
One-Way
Street1
impression of Walter Benjamin's thought on the continuing THE artistic career of Brian Ferneyhough is both easily defined and ambiguous. The composer has signalled his indebtedness in overt ways,
This content downloaded from 169.229.11.177 on Tue, 20 Oct 2015 01:48:20 UTC All use subject to JSTOR Terms and Conditions
Benjaminian
in
work
titles
tional
and
concepts, most
productive, time
is
a
the
explication
of
pre-compositional
immersion
in
Benjamin's
that
to
relating
in
and the
this
poser
made
and
music, sophical, common
for
the
the
Shadowtime, between tive
words
confines
of and
literary of
a
the
Over
the
piece
consists
then
a
that
of the
immediately
incentive
enough
defining
moment
many
to
of the
notation, of
score
was
and
come
from
wake
of
Studies
both
the
the
(1971-77),
look
be
nineteenth
and
the of
periods
less
clearly
century torture
be
twice
also
in
occurs
Funérailles the
Webern-inspired
and
a
and
Time
the
detail,
time
the when
conventions
structure
as
style
to
material, at
a
forgotten
Ferneyhough
the
at a of
is often
of
in
itself
beginnings
emerge
of
indepen is
attention
layers
earlier.
played
It
be
circumstances
take,
What
of the
no
and to
undertaken
the
detected.
chambers
expansive
ritual,
piece.
when
of musical and
instance,
this
double
at the
The
output.
first
to
a
Funérailles,
of
was
with
experimenting
the
affec
from
the
under
microscopic
multiple
ideas
in
is
this
irrationals—all
psychological
are
composer's
but
version
characteristics
with
re-engaging
first,
stutter,
can
the
nested
parallels
protean
that
version
therefore,
today—the
proliferation Ferneyhough
as the
composer
defining
in
projection
wrote
the
of a ritual,
a closer
tradition
idiosyncratic
in
rewritten
Neither
the
as
and
emerge
more
Ferneyhough
Funérailles,
take for
and
retrospective
pieces
pieces.
text,
adapted
can
earlier,
onto
unique a
This
understood
commonly
Brian
remains
it.
with
rapprochement
and
non-musical
results.
greater
career.
Ferneyhough's
is that
the
course,
for their
symbolism
composer
onto
philo of
is,
transparent
But
hand.
It
or
in
concert
of
writing
source most
com
of writing
with
understood;
easily
activity,
following
The
its
representation
same
Franco
long-standing
context
the
presentation,
in the
performed
explain
in which
1969-80
period
the
the
decades
comparison
influences
yields
further
dently.
ways
artistic
structure
at
are
discipline
often
the
decisions
four
intellectual primary
is
philosophical
associative,
on
practices.
invoke
of
music
are
composer's
twofold
to
setting
and
suicide
than
can
of providing
method
word-setting
more
compositional
composers or
on
of biographical
compaction
structural
of
impression
and
treatment
in 2004.
premiered commentary
and
days
deeper-level course
far this
as a means
expression In
how
and
been
Shadow
The ambiguity, however, resides in the depth
the
intellectual
opera
has
writings
musico-literary
final
and
"thought-opera"2
Bernstein
a quasi-narrative
the
over
on
a
writer's
on
impression has
full-length
Charles
creates
Spanish border in 1940. of
the
librettist
of Benjamin
thoughts detail
work
I 15
his
notably
with
produced
This
in and
in Funérailles
Tropes
of
the that
gesture comes and textural
in the Motion essay
This content downloaded from 169.229.11.177 on Tue, 20 Oct 2015 01:48:20 UTC All use subject to JSTOR Terms and Conditions
I I6
of New
Perspectives
Sonatas
for
String
works
symbolist
as
At
(1967).
Quartet
such
Transit
Music
this time and
(1972-75)
La
the
terre
large-scale
est un
homme
(1976-79) give way to a more refined, formally rhetorical model, first seen in the Second String Quartet (1980).3 The soi-disant Benjamin and Kurze Shatten II (1985-88), (1981) pieces, Lemma-Icon-Epigram soon
appear sudden
afterwards.
change
career
when in
also
of
Benjaminian
and,
In Walter
imminent
be
absorbed
on
true
case
of
Elective
after
active
therefore
the
immediate
Europe. problematic
the
way
For
Ferneyhough, in
the even
(nor
eighteen
years
a route
around
the
musical
avant-garde
spection
...
anathema of western
there
as
as
composer with
of
to)
neunzehnhundert, to
yet
the
then
remains
of and
he
translated
moved
and
music
it—of
had
behind his
1945 1970s.
no
formal
before
he
of the
need
was for
of
thinking
Stockhausen's
western
demarcated
of
early
had
progressivist
in staying
central more
rasa
who
it.
to
altogether
understanding
saw
The
generation,
1960s
émigré
and
negligible
composers.
tabula
late
early
of
away from the responsibility
society
be
considered
an
contemporary
an
Utopian he
to Ferneyhough, cultural
young
high-modernist
was
radically
to
yet
Benjamin's
Ferneyhough's
saddled
Coventry-born
his move
continuum—such
for
the
exposure
of age,
be
reserved
activism
political
can
generation
was as
and
post-war the
year
avant-garde to
limited
generation
gave
training
the
1968,
This
figure, date
um had
of with
dealing
in Frankfurt of Gesammelte Schriften was still in progress. The influence of
was
Benjamin
was
this
Kindheit
edition
Verso
melancholic
Affinities
the
musical
1950s.
the
writings, At
is
Ferneyhough
the
to
world.
It distinctly
European
during
other
Berliner
Goethe's
several
within (or against)
central
marginal,
intellectual
was
of
impact
and
Ferneyhough's
unavoidable.
of
introduction
Street
reminiscences,
writings
the
and
individuate
ageing
her
English and publication (seven volumes, 1972-1989)
these
to
of Darmstadt
in
into
in
come
a saturnine, the
by
essay
only
its
exposure,
in
introduction
already out
double time
necessary
the
would
One-Way
subject:
biographical the
see
Sontag,
Benjamin's
an
and
that
emerged
Susan
1979,
we
arguably,
that
avant-garde
deemed
its
stylistically, and intellectually
philosophically, established
was
that
tropes
the
represents
a retreading
Funérailles
with
Funérailles,
tack,
the
"intra
of reifying the
consciousness"4 to attend
was
to the
ruins
boundaries.
project's
Benjamin is equally preoccupied by ruins. The critic philosopher, afflicted with "Saturnine acedia," moves slowly through a world not of personal relationships (he is always a lonely figure) but of Sontag's
burdensome
things.
history laying
He
around
is
doomed
to
bear
witness
him in the shockingly
real
to
debris
of
"now-time"
the
or
This content downloaded from 169.229.11.177 on Tue, 20 Oct 2015 01:48:20 UTC All use subject to JSTOR Terms and Conditions
Benjaminian
in Funérailles
Tropes
I 17
Jetztzeit: If this
melancholy
reason
to
—which
be
appear,
Both
the
jamin
the
ideas
(by
antiques,
of
in his
incidental
nourished of
forces:
competing of
(dialectical)
does
at the
and
noise
limits
of
this
weave
On
close
and the
sustainability towards
excerpt
is pulled
132,
in
of sure
surface,
him
pushed that
pre
and
lost,
the
the
kitsch And mix
potent
of
wide-eyed
is shot
through
particles
and
details.
spark
atomic
contradictions
and
with
quasi
126)
uniformly al
asenza
by the
global
downwards
gradually
to by
"less way
of
at
a decrescendo to
is a mapping and
a long
9/8
of
extend
^>=36
the
end
(al
niente),
the
is also in
tempo
general
to
on
disguised,
previously,
in a
inaudibility,
questions
variously
real.
exists
1)
(conducted)
JW30"
are
gestures
force
from, than
movimento,"
instrumentalists),
The
and Time,
The
and
to
correspond
similarities
(Example
audibility
fragile
execution.
the 2
timbre.
ranges
states.
impulses
Version
between
instruments'
bar. The last measure markings
of
of the
anagrams. a
ponderous,
at least,
of Funérailles
extreme
measure
moving
marking
and
offers
of incompatible
the
of controlled
pushed desolato
that
the
(witnessing)
coupled
studies
marginalia,
books,
small
out
arcades
thought
loved
infinite
these
fetishism;
His
microscopic,
the
of
churns
work.
attitudes
slow-moving,
liminal state, on the border the
and
or has
past
collectors.5
of
emblem
codes, traits
a ruin
whose
traits
He
martyrdom
music?
music
pitch
the
that
perceive
commercial
school
thinking.
energy
life's
and
generalize
present
personal
obscure,
to
and
the
to
energies.
closely
Ferneyhough's The
the
and
by
his these
teeming
Despondency
his
The
a never-ending
incessant,
How
fuelled
languages,
combination
whose
and
neo-Kantian
time.
secret
souvenirs,
shock
dictated
Benjamin
everything
world
decoders,
Surrealism
the
dominated
and
obsolete,
were
century outside
A
collectible.
Ben
ruins)
was
make
. . .
which
things.
of ruins;
era
custodians,
drama,
as
of Surrealism cult
ruins.
with
(emblems,
things
modern
good things
or
fragments
reality
of
baroque
temperament
nineteenth
the
the
invites
baroque
see
genius
of the
definition)
Benjamin's
the
The
of
it has
people,
sensibilities
a world
therefore
become
always
as
energies
instant
form
identified,
....
fragment—and
the
to
in accumulating
lies
Fidelity
Surrealism,
candour
nihilistic
German
in
and
baroque
ebullient
the
things.
mostly,
profoundly
spatialized with
to
baroque
describes
is faithless
temperament
faithful
this
(marked
of
measure and
pause
the final
of empty time (empty at least of uncovers
at the
end
of the
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piece
I I8
a view
of the
taken is
durational The
place.
that
ponderous
tempi
a book.
Gesture
is followed
durational
units
detailed
The
tremolo.
of
process
harp
In
the
last
different.
The
does
exist
not
final
figures with
the
In
although the
of
the
performance,
of a materially of
generated
Version
in
impulses
that
a state
musical
measured
of temperament
Contiguity
by
I couldn't Cluny
But
in the with
metered
and
2
held
activity and,
between
the
tremolo
not
compare
bars
two
of Version
versions
are
comparing
of
the
music's
profile
needs
and the
not
for a further
to
be
barline; dispelled time
can
is usefully
composer above
layer
gestural
real
subsequently,
writer
of
suddenly,
do
need
that
time
with
closing
by the
the very
seconds
begins
and
transforms
time
the
a
2) is
"nine
place
neurotic
2
(Example
Funérailles (especially of Version 2) with Benjamin's 1926 to his friend Gershom Scholem:
ter.
and
are
execution
measured
the
be brought into sharper relief. underlined
glissando
quartet
1
textural
yielded the
of energised
and
piece
processes
Version
upon
Version
artificial
1 tails off gradually towards its final double
2 creates
order
but
on
the
by
the
takes
remain
results
order,
of
petrifying
out
string
but
1 while
impressed
sonic
different
weight. Version in
detail
then
microscopically
of
Version
movement
lines,
upper
rhythmical
and
transformation.
simultaneously a clock-time
these
of
closing
slowly
way,
of
rapid
the
of
durational
identical,
Version
The
reintroduction
scope
tutti
and
measures.
by stasis
picked
tactile
timbrai
(interestingly, initiates
and
sfap),
and
Funérailles
measure
four
staves,
related
are
the
surface
accompanying
of
by last
auditory
intrusive
materials
motionlessness,"
three
nuanced
measures
and
active
the
distantly
on
time,
Temporal
page
then
into
fluctuating
132
upon
the
creates
slowly
previous page
the
an
top
the
out
concentration
structures
is
an
and
leaf;
complete,
beyond in
playing
the
Overlaying
the
projecting smeared,
effectively
is
(measures) in
by
but
dissolves
clock-time.
the
has
activity signature,
time
from
measured
by
piece time.
movement
harmonics,
close
the
societal
normalised,
itself over
is a double
words,
when
measured
through
operating
in other
gestural a time
pause-marking,
as
wiped
ending,
ultimately,
fermata
detaching
been
the
commands
ambiguity
thereby
effectively
a
Music
which
upon
measure
with
of
moment
has
the
marked
motionlessness, flow
apparatus
fact
nonetheless
necessary
2.
of New
Perspectives
extracts
from
letter of May 29,
build a Lilliputian state with this, as it were, Marxist let let
me
I have
little
more
speed
your
tell
you
discovered half
than visit
to
the
that
in
the
Book
of
of
this
size
the
Jewish Esther one.
section
of
written That
the on
should
Musée
a page perhaps
Paris.6
This content downloaded from 169.229.11.177 on Tue, 20 Oct 2015 01:48:20 UTC All use subject to JSTOR Terms and Conditions
a
Benjaminian
EXAMPLE
1 : FERNEYHOUGH,
I 19
in Funérailles
Tropes
VERSION
FUNÉRAILLES,
2, CLOSING
MEASURES
Reprintedbykindpermissionof PetersEditionLimited
Scholem's him which
. . . the
Musée
kindred
soul
a
the
had
where
visit,
subsequent to
Cluny
him
show
inscribed
the
"Benjamin
'two
dragged of
grains Shema
complete
wheat
on is
Israel,'"7
fantastical.
equally
the
Why small of
of
telling
to
need
motives.
For
because
refugee
for
For
spaces?
one,
concealed,
For
is so
meaning—its
it is
and
of
being
the
for
necessity And
made
reduced
and
of miniaturisation
portable.
ultimately
grotesquely tininess
process
borne things
materials
of
compression this
it makes
dislocated, what
this
Sontag,
is,
the
portable
into
gestures has
a number
wanderer things
or
the
can
be
useless:
in
outstanding
a sense, thing
liberated about
from it.
It
This content downloaded from 169.229.11.177 on Tue, 20 Oct 2015 01:48:20 UTC All use subject to JSTOR Terms and Conditions
is
I 20
of New
Perspectives
EXAMPLE
2:
FERNEYHOUGH,
Music
VERSION
FUNÉRAILLES,
1, CLOSING
MEASURES
Reprintedbykindpermissionof PetersEditionLimited
both
whole
and
is, complete)
(that
a fragment
(so
tiny,
the
wrong
scale).8 This underlines two tendencies the
first
is
fine
very
towards
between
and
beyond
elevate
the
the
micronisation, the
particles;
micro-logical, ships
shared by Ferneyhough
second
the
understanding
the
smallest
process. practice
belongs
of things.
Processual of
and
breaking to
what
utilisation Both
pattern-making
up
on
a
of
material
refers
Sontag
to
structural
tendencies
philosophies
and Benjamin:
of
(and
are
the
relation
ways
through
musical
increasingly
into as
forms)
large
This content downloaded from 169.229.11.177 on Tue, 20 Oct 2015 01:48:20 UTC All use subject to JSTOR Terms and Conditions
and
Benjaminian
increasingly
expense
Benjamin larger
formal
ethics
revolutionary
detailed
of
involves
Thinking well.
not
Where
with
This
into
political
the
Benjamin
of History."
detail extent
slows
that
are
of
the
concrete, a
given
but
thoughts, in
stops
a
their
new
arrest
configuration a shock,
configuration
for
needed
preg
by which
it
to
comprehension
enable
but
indeed
the
"the
of time
and
from
time,
decoupled
radical,
this
of
of
for
its
they
enhances
only
revolutionary,
replacement
world
monad
free-floating
consequential;
A
with
protean,
become
than
immanence. is
the
Ideas
(metaphor)
the
thing-like,
rather
contingent
methodology
an
of
type
that
smallest
such
unseen
flow
that
and
environs:
temporal
implications
historical
meaning
otherwise
suddenly
interpretation.
become
the
it gives
for
major
the to
at the
the
a monad.9
predilection hold
on
the
to
inhabit
ultimately
microgesture
on the Philosophy
down
only
details
the
belongs
artists
time
thinking
tensions,
crystallizes
their
of
of their
outside
permanence
The
both
121
smallest
elevate
devices.
concentration flow
extractions
physical
will
the
Ferneyhough
that
of
of the
perception
nant
make
most directly in his "Theses
intensity
as
and
and
of
The
scales
global
immaterial.
in Funérailles
Tropes
linguistic
transference
universal
and
of
integral
actualities."10 In this materialist historiography, outlined in Benjamin's early work The Origin of German Tragic Drama, image {Bild) takes over
precedence
action
metaphor,
over
and
contemplation,
over
body
intellect.11 continuous
Ferneyhough's career
marks
his
writer's
"struggle
struggle
that
an
explosive,
existed
to
saw
self-destructive
Central
to
Benjamin's
of
time The
denied.
roundly
opportunities number
now" to
progress
passage
was
powerful for
able
to
effect
life
of
This
that
of
the
of time,
which
he
tensions
was
affective
the
witness. philo presence,
towards
progression
that
and
Enlightenment its
is a
formulated
historicisms to
in the
perfect
or uniform, historical time-line was Replacing "past and present" with fragment and Out
in
modern."12
out
a critique
of a preordained
intervention. notions:
model
actuality
by Benjamin. he
of radical
was
the
the
inherent
of thinking
teleological
modern
a neutral,
through
rejected
and
which
of
a type
or
project
in
concerns
advent
dialectical
and
sophies
"then
and
progressivist
ibility and
the advance
between
destructive
was
maintain
his
throughout
Benjamin
to philosophical
Benjamin
dynamic
of
referencing
commitment
the thus,
of
particular,
this that
illusion
of continuity to
importantly, destructive retardation,
topos
and create came
interruption
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a
I 22
and
were
fragmentation
that
in
the
as
therein) ized.
from
time
And
ruption."13
this
out
"'directly'
The
of both
places
the
of
late
him
and
how
the
the
during
of (mostly
British)
and
of
the
topian was route); the
through of
of
early in the
readjustment to
attempt in
serial
the
scores
or
century
an
esoteric
of Baudelaire
revolutionism
twentieth origins
of questions
seen
through and
the
energies prerequisite,
tradition,
of
music,17
especially
is
the
to and when
late
of
light for
but
a
also
an on
away
from
post and
subversion, the
nineteenth
of Benjamin) the
in
techniques
from
eyes
objective
of the
(he
physical
of
provide
dazzling
emanates
the
emerging to
authorial
Surrealist) the
dys
sustenance
works
significance
and that
Ultimately, seems
their
tradition (as
emotional that
redirect
a
absurd
cosmopolitan
from
only
often
narratological
(Marxist
century. of the
to
post
through
found
(then)
not
distracting,
and
prevalent
critical that
in a stylistic
place
the and
apotheosis,
towards
composer's
re-imagine
more
Finnissy
of the
designs
the
is
back
incompatibility
the
Ferneyhough's
through
however,
thought,
Benjamin's
offer
1980s
grouping
technological/improvisatory
formal
Reading
positioned
suddenly
Barrett
thinking
large-scale
also
Complexity,
Michael
theatre
most
Looking
the is
of poly-stylistic,
spectralist
itself.16
sound
1990s:
the
through a type
New
towards
negotiable
its
Benjamin
sensibilities.
Barrett,
and
politically
through
extrapolation
and
1980s
The
century
inclined
at
that
individuals
Richard
observer,
of a loose
banner
European other
a it
experimentations
to
figurehead
the
therefore,
close
modernism
twenty-first as
propelled
Dillon
properties
1970s
the
Beckettian)
Finnissy and
ism;
the
of
subsequently
the
increasingly
tropes
(and
under
such
became
modernistic
as the
these
Composers
Dillon
James
of
with
Ferneyhough
the
proximity
in
experience."15
of Ferneyhough
reading
his antique
point
materialist
the
within
This
composers
vantage
pronounced.
philosophy.
1990s
came
becomes, For
twentieth-century
superficial
1980s
failed to incorporate from
early
away
that
described
"avant-garde
Benjamin
inter
a move
thinking
is variously
interests
destructive.
natural by
experience"14—a
which and
operative
and
marked
a
or the
and
reactionary.
a project
towards
cultural
"Surrealist"
temperament
nineteenth
highlights
of
words,
was becomes
through
as
of change
time
detailed
and
objects
composer's
revolutionary
be
of Ferneyhough
proximity
matter
of
were
as vectors
(and
and
agents,
outmoded
historicisms
part
would
other
as the
studies
Benjamin
the
in
the
historicism,
philosophy
of
historiography,
philosophical of
modernity
is a further
project
institutionalized
useful idea
"with
says:
denature
and
of teleological
utopianism
Benjamin
To
within
exchanges
the
Andrew
and
Music
the
powerful
anachronism
tradition,
powerful As
of New
Perspectives
first
quarter
re-engage to
offer
dealing,
and
from of
with
the the
a number however
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Benjaminian
obliquely,
with
Benjaminian
fully
understood
cannot
be
moral
imperatives, do
politics, in the
we
same
in Funérailles
Tropes
If
thought. without
historiographical
have
the
do
to
local
natural
of
subjects
criticism
and
even
Paris,
century
his
examine
and
Funérailles—Preliminary
centred
Funérailles
on
ritual.
of
mourning.
celebrations the
modes
associative place
seems
that
cepts:
"The
very
by
tion
might
in and
spur to
return The
two
a
its
an
of
analysis
the the to
the
and
seen
as
of
the
radically and
most
one
began
actual
emotional on
music
the
associations
of the
the
that
con
composi
perverse,"19
incongruity
per
conceptual the
prompted
composer
material.
obviously
of
against
pre-compositional
itself
it
these
deliberately
perversity,
the
rite
However,
world
the
to
"entire A
distance."18 work
is
was the
channel
between
obtaining
his
of
ritualistic
mythic—dimension. to
it is this
rewrite
one
intention
to
way, far
between
is
solemn,
original
the
bordering
And
progress
is
in
music
the
relationship
primary versions
or
versions
obsequies:
imaginary—a
incongruity
be
to
in a non-ironic an
quickly title
two
image. The original concept
refers
curtain,
concedes.
Ferneyhough taining
cultural
beyond to
Ferneyhough's
into
seeming the
title
of ritual
behind
prompted itself
the
graphology,
expression contribute
through
The
complex
taking
film, the reading of
and
eating
metaphor giving way to (Benjaminian)
recreate
music
Ferneyhough's
of Benjamin—Surrealism,
Remarks
of
progress
one
of to
music?
Ferneyhough's
The
writings
consideration consequently
and 1930s,
hashish
writing—find
philosophy
the
and
concerns
the revolutionary politics of the 1920s nineteenth
Benjamin's
to
aporia
a responsibility
How
way?
Walter
recourse
distinction
apparent
architecture.
Both
versions
between are
the
antiphonal,
pitting a solo trio (violin, viola, cello) against a tutti quartet (violin, viola, cello, double bass). The two groups are mediated by a harp. The in the
difference
of forces
deployment
over
the
two
versions,
however,
is striking (see Example 3). Version 1 is accretional: the solo trio material, as a basic building block, is constant (excepting the general pause
the
bar),
general provides construct, progress
tutti is
pause
mediation Version of
the
quartet
and 1 formal
is
structurally
heralds
the
predictable, design
three
shapes as
considered
is
tutti
sections
and
defining), sections
progressive more
powerful
four
(or in
and
each
if
the case.
teleological.
than
the
the harp
As The
individual
detail; it fulfils its objective of presenting a ritual. Version 2 is opposed
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a
124
to the
structural
terrain
in
cations
(and
plan
of the
onto
a
(measures instrument
in
percussion
as
sections forms
"natural" and
of
makes
clear
in
as
letters
an
music
material
of Version
one
with
material,
existing
the
other, the
2,
in
Version
be
used
reference
of
as
an
is borne of a destructive
the
This
it
space
delimiting
nevertheless
of
the
The
of
dry, uses
composer
structural aid
tendencies.
a pulling
structural
of
apart On
import.
the
instructions
through
own
by
instrumentalists.
competing act,
Ferneyhough's
2.
as smoothly
effected the
a
wood
interpretational
is recreated
original
is
in
Version
by
result
into
normalised
is,
2,
by
timbrai
and
highlighting
points
given
the
transformation
way,
disjunction
organicism
performers.
its
be
therefore,
it is the
hand,
to
as
the
pertain
itself
Effective
sounds
unconventional
than
rather
that
Also
of
sophisticated
score
bass
double
claves
undoubtedly
"artificial"
possible.
of independent
the
his
pitched
in
conductor
The
more
lowest
is underlined
maracas, leaves
piece
the
that
outside
107.
the
with and
in
role
of
transforming
also
elevated
mediatory
version step
measure forces
forces
relationships
stones,
of
The
of
been
centre
21-27)
can
this
has
duos
second
harp
from
view
two
piece,
up
The
deployment
to
the
taking
crotales
this
quartet.
deployment harp
the
(measures
quartet
of
one
organically
layers
tutti
by
in
complex communi
tutti
purely at
nebulous in
114-121).
sounds
rehearsal
to
end
its
passage
cello
the
the
The
part
more
the
the
only
composer
takes
the
of two
use
it
which
(measures the
major
groupings
ensemble
in
from
solo
The
towards
set-up
and
harp
is a more
disparate
sparks
freedom
removed
group:
various
This
of protagonists.
and
63-67). the
manner
with
a
each
of
(measures
On
has
the
of
degree
level,
54-62)
between
with
characterisation
It
material
solo
simultaneities)
1.
block
basic
a greater
different
Version
the
the
Music
of its predecessor.
assumptions
which
permits
and
the
of New
Perspectives
of
description
his
methods:
I constructed One,
a grid
already
small,
independent
effect.
...
I
autonomous seemed
frames,
then
me
be
them.
imposed
themselves ways
composition.
I
frame
very
carefully,
on
unconnected like,
me
to
in quite with
shall
the we
of Version
material
into it,
establish
to
own
unexpected original a form
that
some
of creative
that
attitude fragments that
fashions, intention
what of
current
in its
investigated
characteristics
discover
say,
and
trying
significant
fascinated
score the
decontextualising
important—my
was
It was
completely
most
the
separated
isolated
the
on
overlaid grid
each
and—equally
fragment
say,
took
to
towards
in
This
properties to
I then
which
completed.
or
is to
means archaeol
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of
but
ogy,
before to
gleaned one. led
the I
to
was
want processes
ation
"discovered"
different
The
rehearsal
1 and
of
or
Funérailles—it
constructed)
Funérailles
Version
1.
The
two
the
"Non
modus
operandi the
destructive
Walter
score
need
for
For
It way
is important possible,
of affairs
from
"reconstruction" presupposes
in
as
the
the
necessity
measure
is the
as
smoothly
to
as
a
whole,
and
and as
was
the
seemingly
the
one
materialist the
customarily
empathy
Experience"
a prerequisite
is
of construction.
historian, construction calls
in
the of
most
rigorous
a historical
its "reconstruction."
one-dimensional.
the
possible
despite
the
of
essential
experience
transitions
conception
same. Version
the
final
re-performing,
appear
therefore
(and
despite
of
apart of
Funérailles
after
score
"Avant-Garde
differentiate
what
content
of its fragments.
the
for to
its
the
separate
supersede
of The
transformation
Any
the violent pulling that:
2. their
strictures
destabilize
Funérailles
2
Version
scheme.
identifiable
the
effect
Version
destruction
Benjamin,
indeed
of
assembly
and
the
cumulative to
conditions
Benjamin
wildly
from
narrative
piece.
not
just
in
in
extracted
in performance
and
the
the
discontinuous
situ
often
duration
same
does
doesn't
signalled
of
material
were
wider
intrinsically
co-dependent
rewriting,
in
indicates
the
the 2
therefore,
attacca!"
1. The
I that
rather,
structuring
foundational
remains but
2,
remain
Version
instruction
of the
Version
doppelganger
separately
of
physically
essentially
in
the
to
are
is significant that despite
1 its
Version
strate discovering.
of the
priorities
key
into
remain rhythm
nature
The
of
processes;
the
independently replanted
enactments pitch
strict
own
unprestructured
process
that
give
passages
developed
the
specific
frame.
previous
of their
moment-to-moment
in of
of the
a
will
amazing
to frame.20
marks
origins,
invent
information
recreate
than
an
absence
out
the
utilizing
uncharacteristically
to
the
frame
of
rather
I was
in every
from
Version two
an
what
arose
demarcate
They
of
imply
sense
possessing
compelled
to
these
the
context
givens
accommodate
don't
in
new
production
discourse; gies
fact
a
with
Working to
the
create
in Funérailles
Tropes
Benjaminian
state The
"Construction"
"destruction."21
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126
Destruction tive
is always
form
relation
to
experience,
and
the
the
for
clear
search
Osborne
. . . allegory
Again,
process.
Thus,
to of
objects
as
false
of the
object
these
to destroy
of
or
decep
construction
takes
precedence
takes
precedence
Andrew
over over
and
Benjamin
Peter
Destruction
to
be
Art
in
the
it is
a
tradition.
The
to
concepts
the
purposes
and
genius,
of
in
representation
This
is also
the
studies:
of
other
of aura,
. . . creativity the
that
century
crisis
of
involved
deeply
a subject
twentieth
for
useless
aside
most
its
is to
hand,
confront
of the
in
of ideology
"completely
and
site
that
the
artist. Work
resides
"brush
mystery"24
considerations
through
are
concepts
and
in Benjamin
consideration traced
These
that
the "The
restoration on
writings, of art
theory
value art.
purpose
thinking of
from
example
of
of a force
and
much
of the
and
preordained
of Benjamin's
Reproduction,"
of Benjamin's the
Fascism."
eternal
the
possi
therefore
with
demands
powerful
Mechanical for
task
one
and
of contention heart
that
the
intervention;
choice, come
a site is at the
thinking take
of
of destruction
introduce
This
to
Age
not
it remains
of Fascism,
danger
does
over.
and
modernity,
utilisation
won
for
of
necessity
photogra up
unconscious).23
optical
opportunities
the
symbol,
transparently
opening
object,
(the
affords comes
of course,
needs
of the
new,
. . . Similarly,
meaning.
aura
of the
totality it in
placing
knowledge
destruction
consequences,
deceptive
and of
the
new
action.
the
destroy context
opportunity
political
be
object."22
of some
condition
productive
configurations
site this
and
destruction
perception
of a radically
The
of
"the
of
is seen
is seen
bility
The
the
it out
constructed, phy
that
as
as the
Music
note,
wrenching
with
meant
of experience
of a new
on
of New
Perspectives
needs
to
technological
media, but one that will also provide guidelines for the beginnings an analysis of (the non-technological) Funérailles. Assembled theory of
a
memory desire in the
weave
of
of distance,
"withering"
of
dislocation
and
aura
melancholy
time:
the
and
the
the
is
a
of the the
be."25
its
or
modern sees
the
of
its
The
of
the
amalgam
self-delusion
line of
The
re-enactment
of
experience
a position
perception
appearance
photography,
means.
connective
knowledge towards
of
emotional
knowledge
the
unique
it may
the
artwork,
from
the
close
film
of
epitomises
There and
emanates
how
also
authentic
single
technological
and
exercise,
subject.
supposition
but
aura,
misguided
human
matter
artificial,
through
the
and
space
no
aura,
of
of Benjamin
reproducibility, of
to recreate
this
idea
hands
instant
of
the
in the
"strange
semblance era
around
of aura
of
modernity
for
between
the
leads
from
is irrefutably,
and
drawn
demise that
inherent
that
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Benjaminian
unavoidably,
This
political.
wrought
by photography
status
of
the
and
artwork
In
vision."26 and
space,
so
in
world
from
ritualistic
becomes urge
grows
Art
has
or
artwork's
been
it remained, art
in
was
authenticity
had
been
diluted
outlines
challenge: "this
and
of of
function
object
the
first
the
the
work
absence
of a the
of
the
magnify
strength
subsequently
mind:
"every
close
the
day
by way
range
gave
rise
idea but
on
its
with
to what
the
for the
called not
categorizing
any cult
be
the or
value
various exhibition
art
by
reception on
its
practices
of their
scrutiny. met
community
a negative
of art.
Art
ritual But,
in
social
any
There
is seen
value:
exhibition
of art
theology
denied
matter."31
subject
products."32
then
at all,
a theology
only
from
function,
under
artistic
If
a crisis.
ritual
traction come
attempted
which
("the
faced
its
societal
the
use
original
photography art
would
which
might art,
'pure'
regarding
inherent of
also
no
practice
the
But
because
the
with
along
for example,
l'art,
of
of
of reproduction"30)
reactions
church.
where
to
subject
its independence, advent
of having
point
political
been
or
was
artwork,
contained
always
monarch
the
With
it has
say, it has
Ritual
for artistic
pour
the art
the
the
to
opportunities
it
thin¿[-ness,
at very
protected
original
l'art
a polarization
emancipation
found.
need
follows rely
by
means
to the
Benjamin
form
"for
Fetishism
modern
state,
functional.
of the
that
the
the
is to
ultimately
be
to
it follows
itself
ritual
revolutionary
the
this
In the
it.
response;
political
essentially,
truly
of
of an
political—that
appropriation
basis
of
towards
hold
unclear:
emancipates
ritual."28
in its turn,
and,
trait
get
it generates
repression
value
to
is
render
subject.27
because
materiality,
directed
movement
its reproduction."29
always
messages;
time,
simply
though
of the
on
the
character
visible,
reproduction
increase,
gaze
stronger
of its likeness,
as
natural
between
not
mediation
traditional
presence
a major
such
with the material world suddenly
dependence
will
perceptive
and
escape
motion, does
formations
mechanical
parasitical
mediating
the
first
from
of perception
object
was
case
any
slow
a snapshot
relationship
history,
its
of
structural
disentangled
of art
of
new
thinking subject's
time
mythic
processes,
which
pertaining
with
expands;
in
what
entirely
becomes
relationships
enlargement
precise
of certain images
the
and disassembling:
of uncovering
capture
destruction
on
Photography
apparatus. aid
the
reconfigured:
space
The
reveals
The
are
of means
the
can
the
doing,
consequence technological
perceptual
with
motion,
close-up,
extended. more
slow
gesture
the
With
its
reproduction, or
enlargement
a
other
their power
film do this through "Photographic
is
and
in Funérailles
Tropes
either
"with
go
the
increasing
of course,
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as
I 28
of New
Perspectives
the
means
of
accordingly: artwork
completely, to
a
up
and
new,
Paris
of
and
contemplation
with
relationship
than
and
with
political,
momentary a
destructive
more
subject;
or
the
the
that
and
of
outside
forces
becomes
potentially and
energies;
its inherent
uneasy, moments
require
captions social the
frame,
single
or
monad,
single
radical
conflicting,
makes
charge
of
free-floating
connections,
The
of
the
ready to be filled with
the
bundle
of
now
energised;
explosive
as
intensely
sparks
itself.
take
streets
become
images
content
decentred
of
a vestige
Later,
out
intense,
not
loved-ones
deserted
viewer
cult
and photography,
dead
Photographs
observes
snapshot, is
gesture,
early
sole
of time) of undecidibility,
as
titles),
In
view,
the
matter.
subject
Benjamin
charge.
(rather
a
towards
(note the importance political
stir
The
incidental.
permanence.
from
crime"34)
the
absent
reproducible, recedes
itself
scenes
("like
is the
as
trans functions
immediately
levels.
melancholy
imminently
countenance
human
not
face
changes
artistic
as
recognized
other human
the and
be
artwork
in a "qualitative
traditional
evaporate,
onto
Benjamin,
of mysticism
to
not
retires
the
a result,
come
does
it
according
even
may
however,
value,
a cult
As
of the
resulted
exhibition"
of its nature."33
formation of the
for
fitness
nature
the
change,
reproduction "its
Music
and
in time
its position
contingent. As
is
passing
meaning
of
sequence
of
all
single
the
The
of
illusion
in
the
a
naturalised
prescribed
"integral
the
by
is no
whole"
"the
suite,
editing
be
to
appears
picture ones."35
preceding
as
film,
reconstructed
artificially
each
to
birth
gives
photography
time
longer.
Instead, the
sequence
the
material
to
Hence
the
optical
tests.36
the
"all
that
split
the
actor
the
to
is required and But is
not
in
isolated
the
For
only
in
engage in the
moment
nature
victim
in
his
of
of creation
series
to
of
take
of
the
close is
no
of equipment Thus,
episodes."37
non
mini-performances,
of film-making this
series
performance
necessities
of mountable
a series
etc.
a
fetishistic
forensic,
elementary
a series
close-ups
is obliged
actor
com of the
to
subjected
It
those
in reality
audience
screen
are
into
destructive
the
the
film.
angles,
its critical,
from
composes
completed are
is
actor
the
editor
camera
the
. . . there work
actor's
sequentially, narrative
detail.
of a piece
which
because
camera,
on
concentration
audience.
here
the the
special of
performance
of
position longer
mention
is important
Testing
constitutes
of movement
factors
not
camera,
him
supplied
certain
prises
which
views
of positional
from goes destructive
the
intended
further, acts;
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and the
Benjaminian
actor,
is bodily
too,
form
of
isolated The
significance. but
supposed through
idea
not
means.
consequences. in the
intensity, detailed, becomes
vital,
as
film own
It
impressed Here
value. most
the
upon the
us
to
for
in
a number
shutter or
the
inordinately The
mundane of
supposition for
regard reveals
thinking
the
do
we
then
birth
revolutionary
its
at
aura the
lose
has
pangs,
Fascism
between
struggle
truth
its
itself
fabricated
of
revolution
and
tradition)
etc.—
of time, is forcibly
indeed,
of the
of
a "special
otherwise)
attractions
site
the
disposal
speed,
fetishised,
without
its
of
film-maker's
technologies,
even
the
has
aura
The
the
modern
Film, Benjamin
for
(destruction
to
reconstruct
seductive.
Benjamin's
succumb
truth?
become
already
we through
of
experience
challenge
if
urgent:
available
of
idea,
authentic
of
becomes
and,
an
that, the
purposes, at the
creation
special
those
intoxicating.
narrative
on
not
overwhelmingly
integrity of the thinking subject
to
attempts
(human
object
and
extraordinary,
supposition
of
its
authority."38
unavoidably
just
retouching,
the
take
gait,
becomes
of techniques
for
and
torso,
simulation
close-up,
creation
beauty
for
This
armoury
lighting,
the
Thus, so
consideration. The
is
in the
considerations,
separate
face,
integrity it
actualised;
aura
the
head,
of physical
it does
—make-up, conspire
of
of under
and
apart
inauthentic
supposition subject
thrust close-ups
in Funérailles
Tropes
towards
(destruction
redemption). studies
Benjamin's wider
of
region
"avant-garde because the
theoretical
and
makes
the
the
This
the
of
concept domain, And
"total"
this
is
of aura
would
incorporate
vitality
and
criteria
for
of
bizarre
vagaries will
be
outside
the the
or
of
values
of
no
compass."39
neo-Kantianism, the
epistemology
determine the
true
the
various
tasks
highest
'total'
exclude its
to
those
Benjamin's
expanded from
"to
and studies
of
would
esoteric,
mind:
subjective of
an
development
between one
useful
a counterpoise
future
the
differentiating
consciousness
or
in essence the
musicologist
photography
of
the the
reproducibility
and
. . . which
(Erfahrung)
for
film
articulation
marginal,
the
of
in or
places
"Surrealist"
for
important from
their
the
be, of course, considering
philosophical
concept,
take
as
off-shoots
philosophical
experience
however
film
above
considerations
This is as it should
for
to
technical
implications
disciplines. "desire
referred
experience." it releases
and
of photography
thought
of
types the
of
future
philosophy."40 If the
instance
of the
dangerous
battle
revolution,
an
to that
find do
other not
fabrication
between
important routes overwhelm
to
the question the the
of aura forces needs
in film
of
and
repression to
be of
consideration necessity
is seen
of
articulated: the
living
as the the can
site
we of
problematics in
society?
of a
forces
In
This content downloaded from 169.229.11.177 on Tue, 20 Oct 2015 01:48:20 UTC All use subject to JSTOR Terms and Conditions
of
hope aura other
of New
Perspectives
words,
can
of not
only
have
may
an
aesthetic
active said
that
"revolutionary Two
now
aesthetic
auratic its
to
ability
a
and
make
number
hashish "mark
of in
number
site
effects—"heighted the
space, the
the
thinking
the
Baudelaire, vis
cultural
could
and
the
rejuvenate
This is only possible "encounter
with
Benjamin
Street,
every
in short,
fullness,
pressed
an
intensity,
a
living, the
the
The
a
common of
a return resonate
to with
from
Proust,
realignment
vis-à
of of
with Freud)
to
expansion
draw
type
and
divided,
("a
[Zeitsinn\,'
influence
through opium
undertook
of an
to
in
claimed,
found
perceptual
unconscious."46
One-Way
. . . the gift of interpolating for
their
and
of
Benjamin
was
of
modern
explored
memory"45—to task
mémoire
opens
hashish
of time
Benjamin's
capacity
was
experience
of
(in agreement
the
in
says
sense
everyday
that
and
the
most
especially
Benjamin
with
from
of
Surrealism,
as
was,
and
its
of the principles
This
that
activation
and
a
for
perception
consumption
reported)
of one's
Surrealists
the
allowed
concept
enquiry the
acuity,
Surrealism.
artefacts
in
catastrophe."43
he
frequent
on
Proust's
experiments
'derangement
infantile,
his
or
perceptual
win
"to
also
finds
application
expression
book
experience,"44
energies Benjamin
that
images
of intoxication.
of ruin
the
was
he
mimetic
and
including
controlled
contradictory
ideas
find
pressures
real
of
consideration:
within
a never-completed
off the
but
a philosophical
phenomena,
task"
particular
a widened
both
possible
the
to
subjectivity
for
expression
experience
useful
redemption?
action."42
disparate
Both enable
involuntaire.
make
latent
revolution,"41
if not
of
also
"most
emerge
association
important
but
for the
to
developed
Surrealism's
experience,
themes
free
be
revolutionism
of intoxication
energies
the
model
Music
that
experience the
imagination.
by initiating a close of
faculty
imagination,
is
into the infinitely small, of inventing,
extensiveness of receiving
to
contain
each
image
its
com
new,
as if it were
that
of the folded fan, which only in spreading draws breath and flour ishes, The
in its new
awareness
heightened
promotes
an
expanse,
"image
space"
the
beloved
common within
features
with which
within
intoxication phenomena
it.47
is revelatory. make
It
themselves
available for the purpose of defining an aesthetic modality through which the Surrealists and others could find a "profane illumination;" an illumination that would exist beyond the strictures (political and of established society. "Experiences are lived similar theocentric) ities"48 Benjamin perception
ory. The
that
living
says, and this opens
challenges
received
up the possibility of a type of
notions
through of contiguities
of time,
and
history
similarities
and
mem
across
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time
Benjaminian
means not
that
the
of
experience
in Funérailles
Tropes
the
in
past
the
131
is suddenly
present
vital,
languid:
The
of
appearances
of
superposition,
which
overlap,
hashish may be grasped through the concept we
that
say
features
one
of
latter's
face
this
to
ceasing
of entering
ties
criterion
and for
unlimited
the
ence
that traits
say
of
truth
the
solely
ment
This
each
displace
is
Proust's "A
scious."50
I
had
antipodal
long
beings
of my
regions
creative is the
enough had
memories
past
way
every
of
affairs
state
living;
counterstate
of
sleep canon Le
for in
another
(to
resembles
other.49
that,
come
face—for
this
and
from
quoting so
a
pres
something
each
and
I
In
becomes
may
bodily
face
this
statement
disorder before
whom
with
it.
we
a sentence
this
and
any
similarity, relevance,
of
even
to
to
There,
searches
and
to think
alive
Benjamin, already
human
the
a face,
Truth
of productive lived
one
opposite,
in order
of
degree
the
possibili
minimal
conditions
certain
subject
category
the
by which
rhythm
not
only
opposed
of doubt.
that
the
of hashish.
has
on
its
"thoroughly sort
in.volunta.iresays "And
to
other
world
these puts
manifestly in the
The
with
without
first,
are
way
searched—as
Under
mean
the
Nevertheless,
this
thing
be
in
has
in the
standing
existence
us
boundless.
word)
the
explains
to
sentence
points
it lives
the
in
each
appear. of
nothing
that
it
to
consciousness
face:
we
another,
been.
appearance
relevance
allows as
it has
therefore
is
to
appear
what
waking
everything
such
be
are
attains
similar face
into
which
say,
is
second
come
of similitude. When
the
mémoire
Temps
retrouvé·.
more
than I
contact, to
being
uncon
of the
one
of in
found
the
complete
picture."51 The
"avant-garde
political
the
incorporates and
conscious
Ferneyhough, extract
In
ability
conclusions
particular,
this
the
increased
acceptance
of
conceptualisation
in the
In
will
the
by
and
the
include
perception
similarities
of
as
a
the of
and through
of structural
of
the
music
of
the aim will be to
derangement
of objects
history the
a
that
intoxication—in
perception the
micronisation destruction
of
as
vagaries
with
dealing
acceptance
aesthetic
non-consequential
the
memory,
up
summarized
time
as seen in his early piece Funérailles,
time, the heightened find
opened minds.
be
of
perception
possibilities
expression—on
to
the
unconscious
positive
Surrealist art.
of
can
then,
experience",
renegotiation
its
workings the
sense
the imagination's the
workings
decision-making
presupposition
of of
before
of construction.
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of and the
I 32
Brian
Ferneyhough
and
had
Ferneyhough Time
and
hand, doesn't necessary.
there
and
remain
indeed
that
the
own
that at
least
the
of man
studies
the
be
as and
of
point the
the
its
And
piece.
altered, that
of an
by
It
creation of
of
equal
seems
clear
with
its
to
be
aptness
Benjaminian
artwork
out
case are
aspects,
and
if
of Art"
the
copy, two
the
emerged
in
equals.
of
the
infinitum
both
readiness
existence
unique
concept
a unity
other
material
"Work As
further
to
ad
process.
by
the
return
versions,
original
joined
existential, on
Benjamin's and
machine,
time in his
drew
initial
in
ongoing of
and
mechanistic
Funérailles,
further
Funérailles
fundamentally
strengthens
of
fecundity,
that
these
which
the
to
of
is the
contends
in
hierarchy
ready
combinatorial
reproduced,
on
is no
nature
very
collision
of reproducibilty
attention
Funérailles
the
But
potential
concept
focuses
essay
Experience"
conclusions.
well
deep
the
The
with
directly
nihilistic
a
obviate
"Avant-Garde
Studies.
and
represents
Music
time and society-induced
Motion
psychopathetic
the
dealt
of human, subjective
or
of New
Perspectives
argument
is compromised, of
a
further
copy
Funérailles.
The
signifi
cance of Funérailles Version 1 becomes heightened (without it being subjected to material change) when it is impelled to project outside of its own
from
and
workings its double.
vis-à-vis
antipodal
towards
In
of the
regions interest
Benjamin's
the
Proustian
"to
memory
is replication
or
with a confused source and a decimated 2
is
and
rearranged Yet,
predecessor.
has
Ferneyhough
the
surrounding causes
for
the
rewritten, the
despite created
a
in this
case,
over
by machine
arts;
for
example
Gus
Van
the and of
workings by the
There Sant's
to
being,
drawn
exact
are
to
but
Version of
its
reproduction,
various
possibilities
on
problems
the
the
modern
it
mind,
processes or not. The
composer, in film
parallels
tribute
live
detail
re-enactment
with technological
computer.
forced
picture."
mechanical on
is retained
however, or
of
the
in
a
effectively
of
the
complete
reproducibility,
understanding
other
origin; Ferneyhough's
absence
whether it is actively engaged effort
is the
regeneration
commentary
of
concept
it is now
relationship this
terms,
(and
and
not
taken
and
the
visual
reconstruction
of)
or the Chapman Brothers' re-imagining Hitchcock, in Psycho (1998), of Goya, Insult to Injury (2003). Works such as these seek to exploit the dramatic ironies of late capitalism within which the authorial presence
is subsumed is given
production,
be
seen
as
by market
subverting originality, Ferneyhough Sontag's
compelling
instant
vehicle
forces;
pre-eminence.
where
If Van
Sant
rather
distribution, and
the
than can
Chapmans
or undermining the idea (the myth) is more convincingly seen as a custodian
antiques,
through
where
which
lost
originality
contemporary
becomes
expression
a
of of
more
can
This content downloaded from 169.229.11.177 on Tue, 20 Oct 2015 01:48:20 UTC All use subject to JSTOR Terms and Conditions
be
Benjaminian
What
explored. in
abound
of
with
indirectly
Both
versions
strings of
Version
remove
their the
of
"at
a
deals
can
see
a
and
directly
and
fabricated)
distance"
behind
the
through
space
that
into
the
violation."53
outraged and
important subsequent
serve
as
the
has
useful
the
of mutes
in the
in
measure
string
been
players thrust
bodily
there
themselves;
allusions
to
engagers
is and
opticity
the
throughout
hand"54
"practised
far
physically
occurs
sounds
The
The
output.
he
in
The
where
of
majority or
use
barrier
2,
feels
right
the
this
Version
listener
the
harmonics."
through of
for a curtain,
through
"restrained
97
"the
intervening
composer's
or
(real
place
breaking
measure
1,
are
tactility
taking
use of
of
that
tropes
we
appearance/disappearance
in performance
mutes:
sensation
Benjaminian
Funérailles
materials.
play
"rite
the
by
to
suppositions
its problematic
Funérailles the
moment
shocking
and
concrete
that
relation
its manifestation
is effected or
With
in Funérailles
of
durations;
across
and
is
nevertheless,
works.
with
tropes
distance"52
the
aura
of extant,
Benjaminian
their
clear,
associations
particularly
treatment
94
is
of these
web
complex more
all
in Funérailles
Tropes
was
(which
once the artist's, and now holds the film-maker's scalpel) is highlighted by
Femeyhough's of
severing defined an
surface
"a
parade
of
feel
in
Martian
in
about
oneself
it."55
This
now
addresses
Benjamin
of
the
the
at
what and
he
of of
and would
the
at
looking
the
subject. Here
contemplation. of
experience
down
backwards
presence not
to score
composer
looking
precisely at,
locally
original
which and
looking
topos,
distracted
the
wandering
bodily
perceptive
the
hill
wondering
gaze,
heightens the
creatures
and
double
at,
looking is
these
patterns,
of a large
top
in
in
the
1; in
Fundamental
piece.
given
Edition)
Version
remounting
of the
story
Peters
on
watching
various
Distraction
current
their
point
is the
Funérailles
landing
and
main
of
reassembly
contexts
is the
the
ground,
forwards
their
contexts
removed
pictures a
from
understanding
(since
and
disassembly
units
in
spectator
the
case of film: "the distracting element . . . is . . . primarily tactile, being based
on
spectator
no
changed.
It
cannot
an and
experiment, edited—its
perspective, it very
of
changes ...
much
be
has
its bodily a filmic
his
focus eye
arrested."56
it is music scenes,
and
place
sooner
that its
is not
grasped
merely and
assail
periodically a scene
than
composed, frames,
its denial
but its
the
it is already is
Funérailles
Femeyhough's
re-contextualised
comportment,
which
such
composed of
shifting
of immediacy,
make
experience.
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I 34
The
offer
be
mapped
types
The
strategic or
garde" the
establishment
of
over the
performances;
of
creation
and
in
and
the
in
value
the
face
of
micronised
distinct
profiling;
techniques
"avant
construction;
views; of
of immanent
of notational
of derange-ment
destruction
promotion
to
could
of Benjamin's
positional
the
is
analysis
Funérailles, a sense
can
aim
The
detailed
facets
namely:
sequential,
inauthentic
filmmaker's
with
engage
coupling
ritual;
a more
that
tropes
Funérailles.
within
assembly,
the
time;
of
which
experience,"
of
Benjaminian
structure
that
techniques
exhibition
the
is the
"Surrealist
perception
the
the
through
focus
Music
of distinctly
onto
of approaches
directed.
and
is a number
following
usefully be
of New
Perspectives
the
of
adoption
a
of
disappearing
aura.
ZEITSINN
Funérailles
Version
outset.
The
of held
notes,
to
vibrato
and
semitones here
alla
punta
This
as
is
Declamatory
opening
passage.
comes
the
held
treated
and
out
structural trills
annunciation
of
first nine
a
are
notes
without
action
of
is marked
second
percussively
notes, this
punctuate to
importance
a
by are
Isolated
and
left
this
unexpected" elsewhere
motionlessness; by
and
microtones
pizzicato "sudden
of
period
introduced
the
great
vibrato 1)
the whole
import.
and
is
( non
on
variation;
the
consisting
measure
one,
progresses
microtonal
short-lived
The
violin
from
clearly simple,
transformations
in
material
to
ornaments
of timbrai
example,
linear
harmonics,
texture.
and
by use for
ambit
1 is comparatively
measure
coloured
swells.
used
from
ordinare,
dynamic
its expressive
1 establishes
texture
hand
pizzicato.
many of Ferneyhough's openings this is simply the unfolding through space (register) and time (duration) of crude material. What Like
activates the
this
cycles
other
materials
Benjaminian
terms
in
the
and
or
pull,
is the defining in
of
sees
an
becomes of
the
uphold
a narrative
duration,
gesture,
become
parameters) The
perception also
it to
that
secondary
mechanisms.
unfolding ment
enables
decollement
(and
supporting
eating
and
material,
subsequent
time,
more
torsion,
is enacted
of
commonly
generalised
zeitsinn,
associated "avant-garde
their the
upon
feature of this music.
expression
pitch
from
decoupled that
is
impulse, pulse,
Read
a
derange
with
hashish
in
experience."
Example 4 shows a typical passage where the original material is found in a more highly developed state. Held glissando
notes or
are with
now cross
more
likely
string
tremolo.
to
be The
double
stops,
punctuating
executed
with
materials
have
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Benjaminian
into
developed this
passage,
does
not
play
a
59),
agitato)
and
further
narrowly,
not
become
as
60
is
energy
of
itself
time
context, or
the
line. but
their
despite
a is the
by
by establishing
and
all
with
64.
within
material
through
gestures
univocal,
ensemble,
single
of
measure
this
importantly,
flow
smaller
of
marker
in
più by a
is followed
a
merely
the
(note
this
beginning is
more
but,
by
to ,h=48 (from J^=60,
through
1 sustains
Version
a
measure
Variation,
working
perceptual
punctuated
development together
the
established,
contour
the
of
(as
constantly:
expressively
it
detail,
tempo
to j>=42;
at
JV=50
the
of pitch
vocables.
accelerate,
timeline.
as
between
tension
may
not
(only)
transformation
62
descending
undulating
achieved
gestural
and
towards is
tempo
continuously
a
61
acceleration
Again,
fluctuates
durational
underlying
of a uniform deceleration before
Significantly,
and
The
pulse.
rates)
pulse
measures
this
micro-gestures.
of rhythmic
uniform
internal
any
potential
exactitude
against
sees the completion measure
but
the
despite
from
distinct
inchoate
in Funérailles
Tropes
the
of
mapping
The
held
note and
dispersal
players
contributing
antiphonal
positioning.
The result is a forced lyricism in which the viability of the narrative is on
dependent
the
provide from
for
measures
considerable both
and the
subsume 1 does
not
through
the
and
flow
rapidly
Version
2
with
entities
process
of
until
has
been
retarded.
moving
intervenes in
seen
in
is
more
in Version
1,
If Version
through its
Version
a 2
Version
there than
away and
1
it, then
development. 1
will
become
2.
presupposes
construction
and
dying
Although
writing
as
gestures
in Version
"construction"
The
of events
Version
silence
not
measure-for-measure
instrumental
this
fleeting
a prolonged
dispersive.
in
figures
Thereafter
is
a
for
micro-figures
dramatic It
line
group)
extends
accompanying
becomes gesture,
fully
it
it dissolves.
diminution.
dynamic
(tutti
lyricism; these
until and
presented
retards
Momentarily
this
and
vary,
develop,
violin
by punctuating
violin
presentation
a process,
of
Gradually
tenacity
becomes
of the
trajectory.
The
fragmented
through
outlines
concrete
its
increasingly
more
to sustain,
typical
of the
recover
composer
is accompanied groups.
lyricism
Funérailles
detail,
linear is
tutti
disappearance that
the
64-76 time
solo
of the
ability
contrast
"destruction"
Funérailles
Version
2
is
made
possible
by
the
destruction of Funérailles Version 1. The isolated (edited) opening material from Version 1 (the first four bars of the piece) is used to produce
materials
la,
lb,
lc,
Id,
and
le
ofVersion
2.
This
amounts
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to
I 36
Perspectives
EXAMPLE
4: FERNEYHOUGH,
of New
Music
VERSION
FUNÉRAILLES,
1, MEASURES
60-64
Reprintedbykindpermissionof PetersEditionLimited
22
measures
new
of
material.
material
from
1
Version
method
Ferneyhough's
is
one
of
views of the same material. The source
multiple positional
producing
is
onto
mapped
the
measure
following
lengths:
3 4
3 4
5 8
2 4
3 4 in Version 2:
The edit becomes 6 8
6 8
5
4
3
8
8
8
The
third
the
measure
of the
eighth-note is therefore
3/8
curtailed.
bar This
constitutes
the
framework
cut-off
is then
and
point
redistributed
thus in Version 2: la 66543
lb
lc
Id
le
4363
656
88888
8888
888
3634 8888
34566 88888
Through The
a symmetrical
materials
run
formation
at 5, 4,
3, 4,
the
material
5 measures,
le
is given
a closed
is a retrograde
shape. of
la,
This content downloaded from 169.229.11.177 on Tue, 20 Oct 2015 01:48:20 UTC All use subject to JSTOR Terms and Conditions
Id
Benjaminian
of
lb.
the
le
is itself
expression
permanence
as
of Version
1 has
Ideas
symmetrical. of
they lead
from
a state
of more
3. A SEQUENCE This read
OF POSITIONAL
movement as
in
consequentiality of smaller
assembly
situation
in
replicated
and
1,
in Version
the
words,
acoustic
which
chamber
a
extension
of the
narrative
are
monads quarters
executed
and
extended
the
leads
music.
The
is
temporal
line
the
is
The
EXHIBITION
If
Funérailles 2,
parts
this
of the
a
The
artificial
to
of
the
unity
and
weight
hitherto
is
up
extent
the
"bodily
identifiable or
elongation
perceptual
a more take
effected
fore by
the
camera.
VALUE
1
Version
by
of
reassembled. of
views"
"positional
4.
not
three
C,
types
equivalent parts
The
of on
three bars,
following
Ferneyhough's
and
of various
imagined
the
that
F
(G,
dyad dyad
The
two.
the
monads,
unison
diverging
constituent
dissembled
shortening
short
doubled-stopped
previous in
This
actor.
are
a
a
is
be
at
framework.
identity, but purely in their gestural
expanse.
thrust-apart"
first
a
can
5). Here the
or
gestures,
temporal
is a gradually
than
that they change
Version
The
transformations
independent
a few
upon
into
views
cello
be
concrete
Ferneyhough
of positional
structured
second
third
gesture
unity
the
simply.
the
sharp),
harmonics
is built
of
independently
new
can
more
beginning of Version 2 will serve as an example (Example
exist
a
destruction construction
developed
towards
2,
the filmic creation
purely
initially
given
coincidence,
processual
Version
fragments
in which
now
VIEWS
from
away
other highly
in Version 2.
source,
original are
In
repositioned.
to
the
coincidence,
processual are
in Funérailles
Tropes
participants
(active,
Therefore,
presences
is
or
passive become
to
the
as
designed
is designed
contrast,
absent)
in
and
ritual, of
inconspicuousness
necessary
"mountable"
a
of
expression
the
disrupt
such
an
activity. is
materiality
judged
not by its inherent ritual value but by its potential exhibition value. Ferneyhough leaves very clear signifiers in his attempt to highlight the once
brief
example,
passages
marks.
quotation material played
On
inconspicuous.
to at
be normal
This
performed volume,
a
number
are
extracted
is
described in
such
but
as
of
occasions
from in a
the the
manner
if heard
Version
processual score that
at
in
a
thus:
by
use
for of
"quotation
it sounds distance
2, the
i.e.
like
music
a
clearly
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I 38
of New
Perspectives
example
6:
ferneyhough,
Music
version
FUNÉRAILLES,
2, measures
34-35
(detail) Reprintedbykindpermissionof PetersEditionLimited
different In
other
tone
and
dynamics
(or
which
The
parameters. activity
of
the
redrawn
version
of
types
means the
of
or
of
trio
to
marks, and
of a traditional
create ritual
is or
variations seen
in
spatialised
quiet
passages."57 serves
comportment,
device
Ferneyhough's can
passage of Example
the
be
usual 6,
simultaneities
to
identical
otherwise
inhabiting
a gesture
recourse
other
bodily This
execution.
quotation solo
in
employed material
physicality
without
exhibited)
that
demeanour,
gestural
between
distinguish
through
from
quality
words,
elevated musical
extract in
the this
procession.
MINI - PERFORMANCES
Version
2 increases
the freedom
of individual
instrumentalists
to
discrete, wholly unpredictable expres present "mini-performances"; sions of individuality that are nonetheless fragmented and lacking in holistic integrity. Towards the end of Version 2 the viola embarks on such a performance (see Example 7). The material is highly detailed and
exact
in
execution
but
the
light
touch
(the insufficient finger pressure employed
demanded
of the
performer
on the rapid configurations)
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Benjaminian
EXAMPLE
5: FERNEYHOUGH,
Tropes
in Funérailles
FUNÉRAILLES,
VERSION
2, MEASURES
1-10
Reprintedbykindpermissionof PetersEditionLimited
makes
this a virtuosic fantasia in miniature; a flight of fancy. As suggested in Benjamin's analysis of film-making, these mini-perform ances to
do
view
not
act
in any
consequentially
fabricated
narrative
as
a sequence
into the whole only through expediencies
EVERYTHING
way
but
are
of unique
borne events,
of perception.
of the
need
integrated
IS FACE .
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140
There invest
is an every
increasing
and first
the
comparing of the
music,
of potentialities. a
simple
survives
but
it
patterns
(or
at
occur
made
of
has,
the
pattern,
at
movement
microscopic submerged
under
thoroughly
divergent
onto
this
as
it to
the
a
of
on
at
held
As 2's
tone
note.
in
of
e-flat
impulse materials
the
piece. a
(before
remains
two
first note
the of
elsewhere
flat),
The
such
original
string,
pitch
coloured
Version
patterns)
least) same
e-quarter
longer
second
exposition
note,
The
impulse
the
foundations
ordinare.
duration.
on
it,
stage
is
timbrai
vibrato
by l's
Version
a suggestive
tendencies.
impression
(potentially, executed
and
with other
If
of a single to
2 to
similarities
underlined
piece.
and with
vibrato
pitch
Version
suggest
usefully the
consists
competing
mapped
least
of
durational
non
of
of
up
is
concerned
1 's opening
can
of hashish-eating),
version
the
express 2 is more
presentation
is
that
that
This
each
transformation
measure
The
of
Version
by a timbrai is
to
Version
Funérailles
throughout
characteristics
expressions. bar
is content
opening
Music
in line with the experience
vocables
unique
tendency with
expression
(non-logical,
it
of New
Perspectives
partially univocal
notes,
on
one level initially (i.e. pitch), coexist within a situation that contains 1
is
created
now
forces.
through
reconditioned which
through
The
drama
the
through
forces
competing
of the
of
communicate
an in
in Version
attack
sfzp
establishment can
which
piece,
silence,
(dramatic
posturing
is
etc),
environment
subtly
complex
ways.
7.
INAUTHENTIC
As
MEANS
demonstrated
fragments.
has
numerous
already more
active
structurally in
commentary
different
changes)
in
107
tempo
measures), 54
changes
(a
2 utilises in
133
change fifteen
measures
exists
as
implications: in
important
Version
markings
measures
Version
2
straightforward
and
fourteen
tempo
Version
above,
This
2. and of
tempo (a
on
tempo
markings change
tempo 1,
of
markings, take 1
Version
distinct
sections average and
of
assembly
Version
Where 34
an
no
tempo
on
a
utilizes (tempo
every
3.15
fewer
than
on
average
of an increasing every 2.46 measures). Again, this is evidence micronisation of activity units which leads during subsequent pieces in Ferneyhough's
oeuvre
to
the
understanding
of
the
measure
as
a
fully
functioning and discretely apparent operational unit. But with the increasing disjunction inherent in Version 2, how does Ferneyhough
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EXAMPLE
7:
FERNEYHOUGH,
in Funérailles
Tropes
Benjaminian
2, MEASURES
VERSION
FUNÉRAILLES,
141
112-11
3
Reprintedbykindpermissionof PetersEditionLimited
the
recreate how
does
inherent
sense
he
as
elaborate
highly
8
Example the
music
the
2
has
a
dispersive
Version
descriptive
and
coordinates
in
2
and
are
a
directions
expressive
clear
of
to
to
enough
the
do
mostly
sense
the
(agitato,
a
same.
inclined
to
traditional
in
in The
nature.
extra more
attention
developed markings.
of
uses
itself
express in
more and
composition—
1 is more are
dramatic
demands
clearly
both
need
the through
Ferneyhough
Version
its directions
literary
terminology,
so
words,
this
fabricate
directions
neurotic
more
"tricks"
shots,
Versions. and
other
acknowledging
achieves
etc.—to
expressive
two
for itself,
speak
Version
musical
system
He
uses
momentary of
while
authenticity?
movements
static,
compares
of aura,
film-maker
the
camera
tinting, between
movement
for
1? In
in Version
displayed
rehabilitation
it poses
means:
colouration,
use.
the
problems
inauthentic
let
of wholeness
trace
The
esplosivo,
to
common senza
sord
etc.), but the enhanced graphicness, or explicitness, of Version 2 is noteworthy. The direction Lento (come una musica verginale), seen in measure 37 of Version 1, is tellingly absent from Version 2; a simile such
this
as
and
continuity,
being
have
the
more
Version
Throughout confusion
must in
denotative
as would
to
2,
to the
been
deemed
nature
are
words a
provide
otherwise
too
emotionally
of the pertain.
narrowly
called
upon
vocabulary paths In
between other
of
to
too
prescriptive, rewritten
ambiguous
create
version. a
force
the words,
disparate
of
where
mannerisms,
states
Ferneyhough
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of is
142
of New
Perspectives
to
attempting notes
authenticate
in
importance
his
the
scores
of
of (mostly)
by way
Music
and
inauthentic,
the
incessant
Italian
it signals
parallel and
expressive
the
growing on
commentary
directional
the
markings.
Conclusion
the
During ruins.
But
destruction
that
viable
made
and
of
photography.
out
by
developed that
in
his
charge
of on
essays
craft
and
and years,
developed
a
through
to
vision
creative
the
film
of eleven
period
his
of
techniques
his
century
a long
site
("presupposed") of
Benjamin
reconfigured would
the
twentieth
over
a
becomes
of
assumption
in
Ferneyhough
impetus
philosophical
the
representation
in which
out
emerges
laid
Funérailles
Funérailles
2,
by
association
problematics a period
Version
construction
is
continuity
of
composition the
the 2004 evening-length tribute to Walter Benjamin, Shadowtime. In the light of the several Benjaminian above, tropes highlighted Funérailles
becomes
perception
and
mechanical
reproduction)
2
an
the
function,
mystery,
(so-called)
weak
concepts
illusion, the
between
the
following
first
second
it in the
of modernity. as
on.
creative
as
but
composer,
an
a distinctly "the
Benjamin:
configurations
through
experience problematic Ferneyhough's
for
of
means
of
or
constellations
the
of
experience realisation,
music—the
need
It
is
same as
difference within
the meta
of
in
piece
which and
destruction,
Benjamin's writings offers the not only as a philosophical
comes
Peter
be
elements
The
inordinate
the
says
the
of
represen
construction in
of
concept
the phenomena
facets
interpretation an
as
the
role, will rescue
executed
Osborne
seen
through
concrete
truth."58
are
leanings As
to
empirical
for
a
also idea
of values.
of
their mediating the
The
pertaining
philosophical
set
philosophy
by
the in
whose
empirical
task
of ideas
artist
these
strategies.
This reading of Funérailles through opportunity of seeing Ferneyhough
which,
that
the
accepted of new
production
on
consciousness
processual/micro-logical,
so
wholeheartedly
Ferneyhough
(post Version
historicism/historiography,
and
contemplative/distracting
tation
theses
a variegated
reconstruction/construction,
phor/image,
through
post-Benjaminian
produces
seen
of the
theory
on ritual, assumptions within the exploitation of
expression is
the
makes
of
contradictions:
coupled
the
1 is pre-technological;
mechanics
versions
two
in
subjectivity
the
narrative,
through
the and
with
engages
art
Version
age.
by a revolutionary
understood
uses
of
Whereas
post-technological.
but
that
expression
use-value
seen
and
by
many of
as of
reception
amount
of
detail;
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Benjaminian
Measure 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52
in Funérailles
Tropes
Version 1
143
Version 2
nine seconds of motionlessness subito!
distinto
senza espr. agitato
Agitato, Ancora più espansivo, isterico più enfático, con calore
deciso
sereno flessibile sensibile
sostenuto
"grazioso"
più sostenuto
rilassando, scurrilamente fluctuando più bravura
Più Agitato
con introspezione sereno e scuro murmuroso
Molto agitato esplosivo, fuoco!, retorico, pesante deciso
murmuraso esplosivo a r> sinuoso Lento (come una musica verginale)
cantabile risoluto, bruito, con fuoco affretando, calmandosi meno enfàtico
Esitanto Risoluto, con bravura, esplosivo, secco poss.
intenso
SENZA Tenace
SORD
Agitato, Irato, astringente
EXAMPLE
8:
MAJOR EXPRESSIVE
MARKINGS
IN FUNÉRAILLES
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144
Perspectives
53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106
of New
Music
calmandosi
rigoroso
più agitato
più moto
sonnolento
allentandosi
con sord cantabile, come campani
fuoco
intimissimo retorico
" " agitato, calmandosi "woIP mute wild!, esplosivo
con bravura
grazioso, grottesco Senza Sord
enfatico
Feroce, tumultuoso! esplosivo
senza sord
deciso
Esplosivo!
desolato feroce Very intense, even slightly grating attacks deciso, esplosivo!
EXAMPLE
8 (CONT.)
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Tropes
Benjaminian
107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133
al niente. FINE. quasi immobile rilassando spettrale, ancora più moto con amore flessibile!
giusto, intensivo ma più nevroso, scarcely audible nevroso ed insistante poco più agitato
esplosivo! desolato
"senza movimento" total silence, FINE
EXAMPLE
the
the the
qualified of
standing
the
one
these
8 (CONT.)
layers and
pulse
Benjaminian
of
the
fragility in
discrepancies
this
of
presentation
and
concreteness be
case
opened
up
tropes to the compositional And
techniques.
work-specific
lead
could
preoccupations
the
materials; speed
gesture—can
physical the
of the of
contradiction
by applying and
preoccupations
multiple
underlying seeming
in
belonging
and
of
complexity
between ideas;
145
in Funérailles
a
to
the
under nuanced
more
interpretation of the emotional qualities of Ferneyhough's music. If his sensibilities belong with those of Benjamin's, can Ferneyhough now be rescued from the limiting associations he has with neo-serialism, New nihilism? or post-structural high-modernism, Complexity, celebrates
Benjamin, Fascist
or
relishes
temperament
Ferneyhough's
totalitarian
the marginal, inconsequential.
much
that,
when
the integrity of the individual
oppression
the idiosyncratic, Benjamin
through
a celebration
ascribed
of the
the small, the light-weight,
developed
a way
of
seeing
to
in the face of
that
obscure,
and the
eviscerates
This content downloaded from 169.229.11.177 on Tue, 20 Oct 2015 01:48:20 UTC All use subject to JSTOR Terms and Conditions
146
monolithic
He
enabled
especially
with
into
reincorporated time
less
itself
expresses
an
through His
larger
and
his
composer
condition
of
questioning
more
technical)
nature.
purposes
of Fascism
far does
Ferneyhough's
formed in
many
modern Marxist
a more
subsequently music
the
consistent
has
routes
In
the
enable the
case
for
the
a meanings
terms
more
interpretative
number techniques
purely for
its
as
Benjamin,
For
Messianic the
or
need
Ferneyhough,
for
experience"
perceptual
of his
a
could
"modernistic" of
the
that
unavoidable.
"Surrealist
and
a
question—how
arguably,
greater
to a
useless
For
in
a
of failure
imperatives
was
prevalent
with
becomes
than
art
political
of Brian
cycles,
susceptible
centuries?
but,
of the
substitution
into
with
revolution
receded,
not.
experience,"
"postmodernistic," analytical
of
have
the
(rather
of revolution
question
also
a pertinent
twenty-first
imminence may
revolution
itself
align
and
the
time,
realisations
"avant-garde
becomes
thought. and
actuality,
make
it and
concerned
becomes
to
challenge
and
units,
works
the
aesthetic
music
Studies)·,
smaller
Through now
and
His
metaphorical,
Ferneyhough
music
political
twentieth
readers
Surrealist
the
be
results.
non-teleological
and
failure,
could
same.
becomes
possibility,
or
Motion
multi-movement
expression.
Benjamin's
the his
of
above,
a
less and
of
of perception." the
the
the
snap-shot.
positive
do
of
structuring
welcome
suggested
wholly
Time
in
perception,
ritualistic,
power
become
"objects can
necessary
approach
for
the
moment-to-moment
who
of
to
the
weakness,
micro-management of
to
image,
able
the
(after
the
tend
was
and
which
with
less
epic,
polemical
pieces
discrete,
have
view
latent
energies
unreliability
on,
less
understanding
mutable
a
the
Funérailles
through
in
system
world
becomes
even
perhaps
a
from
Ferneyhough, this
to
the the
quotation,
a philosophical regard
Music
uncovered
the
aphorism,
also
from
He
ideologies. the
pamphlet,
as
of New
Perspectives
music?
This content downloaded from 169.229.11.177 on Tue, 20 Oct 2015 01:48:20 UTC All use subject to JSTOR Terms and Conditions
or and and
in Funérailles
Tropes
Benjaminian
Notes
1. Benjamin
46.
2000,
13.
2. See Bernstein 2005, 3.
of
mindful
Although word
"classicising"
around
1980.
comment:
and
the
the
gestural
to
begun
sink
but, into
all
"practically
performer
is
volatile
bundles
to
in this
work
requested
interpret
fashion."
Capsule that
had
can
be
romantic these
the less
The
con
composer's
are traced
also
useful:
back
to cer the
vocabularies:
residual 1980,
Ferneyhough
to
begun
perceivable—as
Funérailles
late
'tra
comparatively
361.
1995, of
Unity means,
strands
parametric
from
as
become
score
familiar
a more deconstructed
any
by
Quartet onward—
the
pieces
treatable—and
the
String
Fer
present
of
Not, had
Boros
to
to
much
sight.
the
microgestures
come
also
1978
is,
in such
compositions
'traditional'
appropriate
that
of
that
models
gestural
out
rather,
remarks
introductory
had
works sense
entities."
gestural
my
perhaps,
encountered back
of the
working
crete
the
polyphony
coagulate
tain
in
aspect,
complex
of my
surface
parametric
Second
the from
See
1998.
Ferneyhough
"Since,
uses
techniques
Ferneyhough's
notes,
Lemma-Icon-Epigram—that
piece
piano
ditional'
actual
sleeve
See
neyhough's
had
describe
Barrett
Richard
over-simplification, to
units
in
the
preface.
4. Boros 1995, 206-207. 5. Benjamin 2000,
16-17.
6. ibid., 19. 7. ibid. 8. ibid., 20. 9. Benjamin
1999.
10.
in
Quoted
Illuminations,
defeats—Walter
"Small-scale
Osborne
Peter
254.
Benjamin's
Victories,
Politics of Time."
Andrew
Large-scale
Benjamin,
1994,66. 11. See ibid., 67. 12. Andrew Benjamin,
2005,
1.
13. ibid., 1. 14. Andrew Benjamin,
1994, xi.
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148
15.
61.
ibid.,
I have
17.
Peter
adopted
garde
experience"
alongside
ence"
throughout
this
connotations
16.
of New
Perspectives
in
the
impact
See
Ferneyhough's
Much
of
cerned
the
2
comments
Postmodern
advocates
of
"complexity"
romanticism":
plexity
on
in opposition
high-ground "new
a debate
to for
see, Editor's
(Guest
Vol.
37,
Strains
of
Postmod
New
York,
music
James
example,
and
Introduction)"
found
aesthetics have
(2002)
Routledge.
has
itself through
the
sought
of a "new
No.
Brian
and
studies
advocates
the
Music,
contemporary in
critical
and Joseph Auner
Ferneyhough
in
engaged
post
and
Lachenmann
Thought,
of
con
or
"Adorno
"Resistant
Helmut
Judy Lochhead
proportion
actively
of New
Feller
been
modernist
a contemporary
Perspectives
Music/Postmodern
sizable
from
Williams
of
in Ed.
Ferneyhough"
as
where
has
Ferneyhough
composer
useful
music
425.
1995,
Alastair
Ross
Music
experi has
overuse.
through
in Boros
of both)
example or
1999) The
this
"avant
"Surrealist
"Surrealist"
diluted
Brian
the
of Modernism,"
(Summer,
which
on
writing
for
own
of contemporary
been
on
a combination See
ernism:
A
has
term
generalized
term
context
present
recent
(or
Semantics
The
essay.
positioning
perspective.
Osborne's Benjamin's
of "avant-garde"
with
modernist
the
Music
moral or
simplicity"
Boros Richard
a
Com
"Why
"On
Toop
Complexity," both in Perspectives of New Music, Vol. 31, No. 1 (Winter, 1993). In attempting to explore the "emotional origins"
of Ferneyhough's or,
perhaps
and
music
more
historically
the
18. Ferneyhough
offer
accurately, positioned
current
will
essay perspectives
vantage
this
sidestep from
a more
Age
of
debate, remote
point.
1980, preface.
19. ibid. 20. Boros 1995,329-330. 21. Benjamin
1999,
The Arcades Project, 470.
22. Andrew Benjamin,
1994, xi.
23. ibid. 24.
Walter
"The
Benjamin
Reproduction" examination Alexander Destruction:
Benjamin,
Work
in Benjamin of the
Garcia
1994,
Benjamin's
Art
in
the
Illuminations, on
demands
revolutionary Diittmann
Walter
of
1999 trs.
Debbie
Politics
the
Language"
For
an
of art see
politics
Keates of
Mechanical
212. "Tradition in
and Andrew
32-58.
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Benjaminian
25. Walter
26.
Benjamin, 1999,518.
"Little
Walter
"The
Benjamin,
Tropes
History Work
in Benjamin
Reproduction"
of
in Funérailles
of Photography" in
Art
the
Age
1999, Illuminations,
in Jennings of
Mechanical
214.
27. ibid., 229-230. 28. ibid., 218. 29. ibid., 217. 30. ibid., 218. 31. ibid. 32. ibid., 218-219. 33. ibid., 219. 34. ibid., 220. 35. ibid. 36. ibid., 222. 37. ibid., 223. 38.
Graeme
2005,
Gilloch,
39. Andrew Benjamin, 40.
Walter
Walter
to
of Aura
the
Gershom
This
is Tara
the
Coming
Last
Philosophy,"
of
Snapshot
the
Euro
added by author).
Imagination Petersson 2005, 26.
45.
Petersson
Jennings 1999, 215.
Scholem
and
44. Jennings 1999,
of
Program
"Surrealism—The
Benjamin,
42. ibid., 210 (emphasis Letter
in Film,"
104.
pean Intelligentsia,"
43.
Face
59.
1994, "On
Benjamin,
Jennings 1996, 41.
Aura—The
"Fabricating
6.
quoted
in Tara
in Benjamin's
Forrest,
"The
Politics
Writings on Hashish,"
327.
Forrest's
summary
of
the
effects
of
hashish
after
the
findings in Fritz Fränkel and Ernst Joël "Der Haschish-Rausch: in Klinische Beiträge zu einer experimentellen Psychopathologie," Petersson 2005, 27. Wochenschrift, Nr 37 (1926). 46. Petersson 2005,
30.
This content downloaded from 169.229.11.177 on Tue, 20 Oct 2015 01:48:20 UTC All use subject to JSTOR Terms and Conditions
I 50
of New
Perspectives
47. Benjamin
Music
75.
2000,
48. Walter Benjamin
"Experience,"
49. Benjamin
The Arcades Project, 418.
50. Quoted
1999,
in Jennings 1999,
553.
in ibid., 403.
51. ibid., 211. 52. Ferneyhough 53. Boros 1995, 54.
"If
we
1980, preface. 331. as
designate
mémoire
involontaire,
ception,
then
based
niques
any
sight.
has
on
the
by means time Thus
in
be
they
devices
permanently
Boros
1995,
56. Benjamin 57.
Ferneyhough
of
the
the
extend
devices
represent
around
case of
of
they
Benjamin
the
make
and of
range
of
terms
achievements
1999,
The
for
of
tech
subsequent
mémoire
of
volon an
event
sound
and
a society
Illuminations,
182.
273.
1999,
Illuminations,
1980,
58. Andrew Benjamin,
231.
preface.
1994,
the
a per is the
object
it possible in
in of
object hand.
practised
the
home
a utilitarian
camera
recorded
important
which practice is in decline." 55.
the
at
which,
cluster
traces
use
of these
to
associations
to
left
mechanical
analogous taire;
tend
analogue
which
experience
at
its
the
aura
59.
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in
Benjaminian
in Funérailles
Tropes
15!
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