lsic/P o stmo dern Th ought

1n Arbor: University of Michisan

jwal of Music" h Aestheti.s ofVilian Bolcom. Ann Albor:

:et." tn Aestheti* of Sdttual, edit-:on. Aqn Aibor: Unive$ity of

"' Critical l"qairy 1l (Decembetl

ler-n.ezeprion." In Mahlet EineViesbadd: Breitkopf und Hiirtel.

CHAPIER 12

Resistant Strains of Postmodernism:, The Music of Helmut Lachenmann and

Brian FerneyhoughRoss Feller

,l

In the 1950s, as the hegemony of total serialism waned, the German com-poser Helrnut Lachenmann and the British composer Brian Fernevhoughbegan writing pieces that posed srtreme solutions to the compositional

"rrl-d"*". yoo"g composers faced at that time John Cage had alreadv

"invaded" Europe with his ideas about indeterminacy and aleatoricism inmusic. His presence at the Internationale Ferietlurse ftu Neue Musik atDamstadt in 1958 encouraged many Eulopean composers to questron and

re-examine certain types of modernist practice such as serialism. Manyopted to explore indeterminate forms and other types of perceived free-dom. Lachenmann and Ferneyhough, however, pursued diffcrent paths intheir respective elJorts to move beyond the serial impasse. Each sought toreinject vitality bacL into the idea ofclosed-form composition through inte-grating excessive, unstable, and chaotic structures. Almost three and a halfdecades later, they continue to develop these issues in their work, issuesthat foreground qualities that rnake art a human endeavor.

Throughout this essay several binary distinctions arc employed, not in

order to demonstrate invariant separation, but instead to ur eash the fric-

tion or contradiction that fesults from their points of contact. Rub twosticks together long enough and you'll begin to see a fire

THE MILLENNIAL DIVIDE

On one side there are dreaners, poets, and inventors whose activitiesdemonstrate a cornmitment to transcendence, infinitg and tLe sublime.They may resist pressures to quantify, package, and sort, by creating thingsthat quantify, package, and sort in the extreme. Thus, oppoltunities arecrcared for brerkdouns and tui lure\. requir inB new caregone'. language'.and thoughts. on the other side are bureaucrats, preachers, and a few old-school scientists, who pay homage to the concept of truth, in a world whichthey see as moving toward total explanation and accountabiliry.

249

Quantification and packaging are also their tools, but they use them toerect the dtimate reductiodsm. Millennialism is once again upon us,demonstrating, in full force, the ancient bifurcation between those whoaggressively seek the salvation o{ a secue and comprehensive view of theworld, and those who realize that thc impossibility of such a program hascaused nuch bloodshed, strife! and poverty.

THE SHIFT

The new music world is populated wirh a herercgeneous ml.r of musicians,some with very litde in common. One possibie subgroup of this world con-tains composers, performers, and listeners who try to resist the confines ofslackening, pastiche, and reified appropriation. On one level they are panof a larger cultural move toward radical expression (e.g., extreme spons),ev€r faster forms of arristic communication (e.g., speed metal and rap),risk-taking (e.9., tornado following), aad wider sexual boundaries (e.g.,gender bending). On another level their "resistance" requires an aesrheticoI excess, which is, according to Jean-Franqois Lyotard, a condition ofpostmodemisrn ([19791 1984, 81).

POSTMODERMSM

Postmodernisrn, as has been olten pointed out, is a term fraught with con-tradiction. I{ modernism can be characterized as an ideology of conslantcrisis and transsressior what would it mean to move beyond itl The inher-ent contradictions in the term "postmodemism" have spawned a plethorao{ competing definitions. Part of the problem is that there are at lesst asmany types of postmodernism as modernism. Ve should recall that mod-ernism itseif was vast and by no means consistenr. Some types of modernism are easier to grasp, less controversial or contradictory than others.Some arc readily accepted as maiDstream beacons o{ their representedobjects, while others flort toward the marsins, resisting the pull toward thecenter. tn perhaps its best-knowu form, as put forth by the arr hisrodanClement Greenberg, modernism was a defense against what we now callpostmodemisrn (see Siltinan 1990, 84). Thus, it laments the erosion of thedistinction between high culture and commercial or popular ctlture. Thisexplains Lyotard's well-known, paradoxical claim rhat posrmodeInismdoes not sisllal th€ end ofmodernism but rather r new beginning (Lyotard1984.79\.

So, what is the de6nition of postmodernism? Hal Foster and others(e.g., Noris 1990) have parsed .he rerm according to a fundamental oppo-sition between a "postmodernism which seeks to deconstruct modernismand resist the status quo," and a "postmodernism which repodiates the for-mef, to ceiebrat€ the latrer" (Foster 1983, xi). The former strategy which hecalls a "postmodernism of resistance" appropriates modernist devices or

materials and transformstradictions they cortain.experimental writing of rWarhol. It att€mpts a crfound, explicitly followirof dissension" (Lyotard Ia "postmodemism of reaelitist and blames it for tlseeks an absolute break rteristic of modernism is tto initiate the new. Accorernism of reaction is sim(Lyotard 1993, 75), oftersinister form it can be chaToop said in regards to tlnew millenarian totalitarsemiradical modernism r(d€finitively, this time)" (up arms one should rememodernism are not necesspartake oI aspects of botl

LACHENMANN AND I

Compositions by Lachenryet they do share some (music by their relationshithis fate, others rejectinspositions reside within this susceptible to cornmodiidealistic, utopian vision i

Both composers ha,sciously reassessed tradipractice. Both also incorpanisms within a framew(Elke Hockings has pcLachenmann\ and Ferne.are careful to compos€ s"solve" it with some kin(philosophical gap betwer(Hockinss 1995, 14).

This contradictory icedures may be linkedI-achenmann studied withvery rnuch taken with tht

6i clP o stmoderh T b ought

tools, but they use them torsm ls once agan upon us,:urcation between those whord comprehensive view of theibility o{ such a progam has

:emgeneous mL\ of musicians,Le subgroup of this world con-ho try to resist the confines ofrn. On one levei they are partrressron (e.9., exteme sporlsJ,L (e.g., speed metal and raP),

"'ider sexual boundaries (e.g.,istance"' requires an aestheticrqois Lyotard, a condition of

ut, is a telm fraught with coned as an ideology of constantto move beyond it? The inher-sm" have spawned a plethoram is that ther€ are at least aso. Ve should recall that mod-,nsistent. Some types of mod-I or contradictory than oth€rs.beacons of their represented

rs, resisting the pull toward theput forth by the art historiannse against what we now callLs, it laments the erosion of theercial or popular orlture Thisal claim that postmod€rnismther a sew beginning (Lyotard

misrn? Hal Foster and othersording to a tundamental oppo-eks to deconstmct modemism.nism which repudiates the for'. The former strategy which h€ropriates modernist devices or

Resistant S*ains of P ostmodemism 2s1

materials and translorms them by delib€ratelt exposing the inherent con-tfadictions they contain. This strand is thus more closely related to theexpedmental writing of the Language Poets than to the pop art of Andy\trarhol. lt attempts a critical deconstruction of tradition wherever it isfound, explicitly following Lyotard's motto that "invention is always borno{ dissension" (Lyotard 1984, xxv). The latter strategy, which Foster callsa "postmod€rnism of reaction," accuses modernism of being unnatulal orelitist and blames it for the unfortunate consequences of modernization. Itseeks an absolute break with rnodemism. Paradoxically, a defining charac-teristic of modernism is that it is necessary to break with the old in orderto initiat€ the new. According to Lyotard the break required o{ a postmod-ernism of reaction is simply 'a way of forgetting or repressing the past"(Lyorxd 1993,75), often repeating rather than surpassing it. ln its mostsinister form it can be characterized, as the Australian musicologist RichardToop said in regards to the New Simpticity composers, as a "longing for anew millenarian totalitarianism, in which the works of radical and evensemiradical modernism can once again be proscribed as 'decadent ari

ldeJinitively, this time)" (Toop 1993, 53). Whatever the case, before takingup arms one should remember that the two alorementioned F/pes of post-modernism are not necessarily mutually exclosive. Mostcomposers, in lact,panake ot a 'pecu of both.

LAC}IENMANN AND FERNEYHOUGH

Conpositions by Lachenmann and Ferneyhough are larsely incomparable,yet they do share some comrnon ground. Adorno differentiated types otmusic by th€ir relationship to their status as a commodity, some acceptingthis {ate, otherc rejecting it. Both Lachenmann's and Ferneyhough's com-positions rcside withh the laner type. ln a world where alrnost everythingis susceptible to commodification their intentional resistance stems lrom anidealistic, utopian vision about what music could become.

Both composers have developed consistent, personal styles, con_sciously reassesscd tradition, and critically deconstructed pedormancepractice. Both also incorporate counter-intuitive or counter-habitual mech-anisms within a framework that nourish€s the chaotic and the complexElke Hockings has pointed out that o{ten the stimulus behindLachenmann's and Ferneyhough's music is a contradictory impulse. Theyare caretul to compose stfl.rctures that nourish contradiction rather than"solve" it with some kind of false synthesis. Their work thus bridges thephilosophical gap between German generalizing and English positivism(Hockings 1995, 14).

This contradictory impulse in their use of rigorous compositional procedures may be linked to their studies with unorthodox serialists.La' henmann srudied u i rh Karlheinz Stocklau.en and I uigi Nono. and t *velv much taken with the lafter comDoser's vision of lvhat western music

252 Postnodern M1rsi./Postmodem Thougbt Resistakt Struins ol Pol

aleatoricism, which he discIn it he says that the assucrepancy between processadvanced serial practice c(urcritical mimeticism of ththc Iracture was naively(Ferneyhougl 1994, 18). Hpostmodem powerplay inreplaces another (20). Themistaken for serialism orFoste!'s posrmodernism of

Lachenmann and Fernring the most out ofmusic.'lcompositional techniques.Ferneyhough has called "tterence to Lachenmannt mLmanner. ln a selrse his mubodies and their instrumeranew with their instrumenbrought about through tinstructional layers. In botl

Both conposers privilelBut, whereas Ferneyhough rLachenmann is more conctsound. Their ecnture (that i!to Jacques Deffidat notiorpresence (Delrida 1978, 29ies of substitution, leading ISignfiers are literally theFerneyhough's scores requir

By injectins their musiFerneyhougl attempt to 10nition. One primary examlor semiotic. Sonic noise mrLachenmann's compositionas involving interference iIincoryorate this noise in th

LACI.IENMANN

Lachenmann's early work 'borrowed Nofl o's pointillispotertial of his materials (tto explore radicaliy unconrcompositional technique

might become in the altermath of the Holocaust, t t pivotal demonstrationo{ the {ailure ofreason to stand up to fascist power Lachenmann was influ-enced byNonot reiectiol of nineteenth-century bougeois elements and hisbasic concern for the social and political functions oi music. InLachenmann's own composidons the result is' according .o DavidAlberman, "norhing less than a Cartesian reassessment of Western musicand art in general. Central tenets such as the urconditional pursuit ofbeaury, standardised definitions of beauty, or the notion that rnusic shouldonly soothc the human mind, and not disturb it.. . come under criticalscrutiny" (Alb€rman 1995, 151.

Ferneyhough studied wiih the Swiss compos€r Klaus Huber and wasinf.luenced by Huber's sense of transcendentalism- Ferneyhough, accordingto Toop, is one of the {ew composers lo "remain faithtul to the idea of artas the endless search for the transcendenbl, and o{ music as potential rev-elation" (Toop 1993, 54). Unlike some of the orthodox serialists, his com-positions don't s€ek to exhaust material but rather to unleash its Iuturepotential. Speakiry in general terms, a total serial piece' like much process-oriented music, begins with the initiation of a process and ends when theprocess ends, usually after most, if not a1l, permutations have been used.Felneyhough's compositional approach is much broader in scope and morenarrowly focused on systemic procedure in order to create, or uncover;inherent contradictions in the system itself. It is certainly true, as JonathanHarv€y puts it, that "Ferneyhough has absorbed the discoveries o{ totalseriaLism to a profounder degree thar almost anyone else ofhis generation,withort actually subscribing to its orthodoxies in his music" (Haney 1979,123). Fcrneyhorgh distinguishes between three types o{ serialism(Ferneyhough 1995, 227). The first is simply used to generate the materialof a piece. The second involves a kind of sedimentation process from agiven set of initial elernents. The third ft?e, in which he hcludes his ownworks, involves a pressurized channeling of mateials throrgh a series ofgridlike filters. The pressure is caused by resistance as one elenent ispressed up against another. Often in his music one can locate a dichotomybenveen strict or automatic and inforrnal or intuitive structural app_roaches. For example, complex webs of polyphony are harnessed withorganic, high'profile sestDres. The friction between these approachesresults in the extreme types o{ musical expression {or which he is known.

Both corrposers appropriate some accoutrements of serial and avant-garde practice, but compositionaliy integrate them though deccnteringand dispersion, two hallmarks of postmodem technique r-or example, theyoften utilize extended, instrumental techniques as an integral part of awork's iabric, rather than as special effects. With the possibility open forany sound, they meticulously shape their respective sound worlds with avariety of resources, excluding only reified takes on previous styles. lt isinstructive to repeat Femeyhough's take on the post-\Votld War II move to

Iusic/P o stno dem Th ougb t

austj t e pivotal demonstrationpower Lachenmann was influ-:ury bourgeois elements and hisical functions of rnusic. ln:sult is, according to Davidreassessment of Western musicI the unconditional pursuit of)r the notion that music shouldurb it . . . come under critical

,mposer Klaus Huber and was:alism. Ferneyhough, according:main {aithful to the idea of an, and of music as potential rev-re orthodox serialists, his com-ut rather to unleash its futureserial piece, like much process-,f a process and ends when thepermutations have been used.

,uch broader in scope and moren order to create, or uncove!It is certainly ftue, as Jonathansorbed the discoveries of totalt anyone else of his generation,ies inh;s music" (Haffey 1979,en three types of serialismLy used to generate the materialsedimentation process lrom a, in which he includes his owrl,f materials through a series of

' resistance as one element isLsic one can locate a dichotomyrl or intuitive structural app-poiyphony are harnessed withx between these approachesession {or which he is known.rutrenents of serial and avant-'ate them through decent€ringrn technique. For example, theyiques as an integral part of a;. With the poxibility open for'espective soirnd worlds with at t3les on previous styles. It isthe post-World War II move to

Resistant Strai s of Posttnodernism 253

aleatoricisn, which he discusses in an essay entitled "Parallel Universes."ln it he says that the assumption that "the increasingly threatening dis-crepancy between process and perception which lay at the heart ofadvanced serial practice could be annulled via recourse to the blatantlyuncdtical mimeticism of the aleatoric, in which the problematic nature ofthe {racture was naiveiy ceiebrated rather than rigorousiy probed"(Ferneyhough 1994, 18). He goes on to linl this assumption with a kind ofpostmodern powerplsy in which one metadiscourse of repression merelyreplaces another (20). The work of Ferneyhough and Lachenmam is ofienmistaken for s€rialism or avant-gardism but it more closely resenblesFoste/s postmod€rnism of resistance.

Lachenmann and FerneyLough are controversial figures bent on mak-ing the nost out of music. They employ a diverse range of instrumental andcompositional techniques. In their music one frequently encounters whatFerneyhough has called "too muchness" (Feneyhoush 1995, 451). Ir ref'erence to Lach€nmann's rnusic, instruments are played in every conceivablemanner. In a sense his music is about the collision between performers'bodies and their instruments. His pe ormers must learn how to cornectanew with their instruments. In Ferneyhough\ music, "too muchness" isbrought about through the intentional overioading of in{ormstionayinstructional layers. ln both cases the performer's responsibility increases.

Both composers privilege the act of writing and are fastidious notators.But, whereas Femeybough minutely details alrnost every musical parameter,Lachenmarn is more concerned with detailing the methods {or producirgsound. Their lrl,rt,/d (that is, the act of writinginotating mosical ideas) pointsto Jacques Derrida's notion of p/ay which he defines as the disiuption ofpresence (Derrida 1978,292). Things are rendered unstable thlough process-es of substitution, leading to the excessive, overabundance oI the signifier.Signifiers are literally the basic sonic stuff of rnusic. Lachenmann's andFerneyhough\ scores require that their performers p/dy, not merely play.

By injecting their music with excesses of all kinds, Lachenmann andFerneyhough attempt to forestall the closure inherent in all acts of recognition. One primary example involves the concept of noise, whether sonicor semiotic. Sonic noise masks or mutates sound and is a primary tool o{Lachenmam's compositional technique. One might think of semiotic noiseas hvolving interlererrce in the process of sisnification itseli. They bothincorporate this noise in their music.

LAC}IENMANN

Lachenmann's early work was in a post'Webern, serial style. Although heborrowed Nono's pointillist technique, his primary focus was on the sonicpotential of his materials (see Gottwald 1980). In the late 1960s he besanto explore radically unconventional instftmental writing, and developed acompositional technique that he cal1s "rigidly constructed denial"

254 P osttno deril Musi./P o stno dern'f b ol1gb t Resktant Strdins of Post

+llachenmann 1989b, 8). A! its core it involves the intcntional exclusion of

unquestioned or habitral standards, brought into play through the use of

devices soch as frasientation and masking- But' what is ultimatelv impres-

sive about his music is the powertul demonstration of eryression a4d the

oersonal vision behind it Thus, his negltive dialectic is transformed into a

oosnve affirmatron of the human spiritMu-h oI his re.err worl i. invol\cd Mrh 'ormt whr'h ''rnreerare

hs-

todcal convention. On occasion the pressure of traditiofl su aces as an audi-

ble {eference point. Fo! erample in works such as Mouuement 17982-84) tor

mixert chamber ensernble, ot Tdllzsuite ffiit Deutschlandlied 11979180) tor

orchestra and striry quanet, folk music, the Gelmar national anthem, nnd

r. S. Bach serve as a kjnd of naked frame on which to hans his idiosvncratic

sourd material. Each re{erence is transformed via scratching, breathing, and

&umming, so that only the rhythrns temain partially recognizable .- .In Laihenmann's compositions noise is so well integrated that distinc

tiolls between noise and music break down. For him composition involves

"a con{rontation with the interconnections and necessities of musical

substance" (Clements 1994, 13) through a re-€xamination of the funda-

rnentals of sound production. He {oregrounds the act of making sound'

exposing rather than concealing the effort and technique of production At

times thi instruments he lvrites for seem to take onhuman qualities, sound

ing as i{ they breathe, shout, and groan. And as thev do this thev become

part of new virtual instruments compositely mixed in order to, as he ptlts

it, "ftacture the familiar" (13 ) The Russian fornalist Viktor Schlovskv has

described this process with the term ostranenie (making the familiar

strange). The pdrciple aim of poetry was, for him, to use language in ord€r

to defamiliarize that which we donl "see" anvmore (Hawkes 1977'

62J. Translate.l into musical terms this concept is behind rnuch of

Lachenrnann's compositional Practice.Like rnany contemporary composers, Lachenman'I's acoustic, instru-

mental wr;dng is indebied tothe groundbreaking experimentation of elec-

troacoustic music, itself born of technological necessitv Translerred into

the acoustic realm, a new type of 'critwe

isbotn that doesn't fit comfort-

ably with traditional instrumental design or technique He calls this sim-

olv "instrumental zrusiq e conctite." It is de{ined in his music through

ii-b.", ,o"", and the ioncept of echo (see Hockinss 1995, 12) For

instance, in Drl Me',te (1970) the clarinet sotoist p€#orms as a kind.oJ

airftow filtei In ?r'essioz (1969) the cello is used as a transmitter of dif-

fe 'enr kind' " l p.e*ur i , 'ed nuisc. Fisu"e l2 l conrain' the tr*r page of

Presstor. The notation indicates physical movements and rhvthms, coor

dinated spatially with a'bridge cle{," which depicts the strinss, finger-

board, biidge, and tailpiece oi the celto. Mor€ reccntlv in A/le3ao

Sostenuto 11986188) for clarinet' cello, and piano he emplovs the instru-

Fisure 12-1. Helmut LacPermission of BreitJ<opf &K6ln. 1980 assigned to Br(

ments in combination to m,attacks and sustains. Intere:the piano's natural di?n ttrirrsttllmefia], mus ique .onc|the more urfamiliar sounds

In Grlrn Torso \1971-7explores an atmost inaudiblof their instruments. In the Ithis piece b€came so ovcrdgiven a concen performancthe torso of fie piece. He!Derrida's notion of Pla1, puthe cello part. Once again Itangular notes to indicate ,

Music/P ostmodem Th ough t

lves the intentional €xclusion of

irt into pld] througl the use of,. But, what is ultimately impres-instration of expression and the

'e dialectic is transformed into a

/i$ forms which reintegate his-r oI tradition surfaces as an audi-rch as Mouuement \1982-84) fott Deuts.blandlied 1L979/80) fotLe German national anthem, ardr which to hang his idios).ncraticed via scratching, breathing, andr partially recogaizable.s so well integrated that distinc-1 For him composition involvesons and necessities of musicala re-examination o{ the funda-,unds the act of making sound,and technique of production. Attake onhuman qualities, sound-\nd as they do this they becomely mixed in ordo to, as he putsn forrnalist Viktor Schlovsky hassrdnenie lm king the Jamitiarfor him, to use language in order'see" anymore (Hawkes 1977,s concept is behind much of

Lachenmann's acoustic, instru-reaking experimentation of elec-gical 4ecessity. Transferred intois born that doesnt fit comfort-or technique. He calls this sim-is defined tu his music throush(see Hockings 1995, 12). For

et soloist per{orms as a kind ofr is used as a transrnitter of dif-12-1 contains the {irst page ofmovements and rhythms, coor

'hich depicts the strings, finger-t1o. More recently in Alle3rond piano he employs the instru-

Resistant Strains of Postrnodemism

*l

'Figlrre 12-1. Helmut Lachenmann, Pression (1959), p. 1. Used byPermission of Breitkopf & Hetel. @ 1969 by Musikverlag Hans cerig,K6h. 1980 assigned to Breitkopf & H:irrel, Wiesbaden.

ments in combination to make a single vifual instlumenr by mixing theirattacks and sustains. lDterestingly, the clarinet and cello are used to defeatthe piano's natural dimiftuendo characteristic. This piece partakes ininstnmerLtal musique corclite, but also uses riadic harmonies as a foil tothe more unfamiliar sounds.

ln Gtun Torco \1971-72, 1975, 1988) {or strins quart€t Lachermannexplores an almost inaudible region as the players bow virtually every partof theil instruments. In the process of composing it, rhe strucrual areas forthis piece became so overdeveloped that ir would have been irnpossible,given a concert performance, to per{orm them all. Thus, he utilized onlrrhr tono ol rhe piece. Here an e,pe. ialh por€nr form orDFrf lda. norron ol plr) . pu, rnro prrcure. f igure l2-2 show, a secuon otthe cello part. Once agah he utilizes rhe .,bridge cle{,, in additjon to rec-tangular notes to indicate approxirnate finger locations; hollovr, diamond

255

Fieure 12-2. Hetmut Lach€nmann, G:nnTorso (1971-72' 1976'

1988), excerpt of cello pari. Used by Permission of the Paul Sacher

notes to indicate a pinched string, noise harmonic; and many other

eraDhic notation conventions.Lachenmann's predilection for breaking music down into its basic com-

oonenrr i . manrfesr rn hrr inco.porrr ion nr 'hi ld l ike ge' ture ln P/essn' ' i r i '

nor hrJd ro imasine $.r what $c herr i . rhe retulr ol rhe t i r . r meetrng of 3

verv ineuisitive child with a cello. E r Kindercpiel (1980)' a set of seven

short piano pieces, was wrinen for his own children. In it he combines struc-

trrrnl, ucootti" proc"st.t with pre-existent matedals snch as childten's songs'

d""". f".-s, and sirnple fingering ex€rcises. For example, iD one of the

oieces he ircorporarcs a compound duple dance r\thm plaved loudly on

ih" ,op t-o "otes

o{ the keyboard. As the hammers hit the strings one's

.ttent;n is dra\rn to the action oI the instrument and the sounding board'

In another piece from this collection, a chord in the upper register is init-

iallv struck and sustained. Then, one finger at a tirne is lifted {rom the kev-

1' o stmodet tl Musi.JP ostmo dern T b ought Resistdnt Stuains of Post'

board causing the harmonicpieces do not only selve Pedidren. As Lachenmann Poln1related to it are an essentnl Imost recent pleces ls an op€raAndersen called Tre littLachenmannt 'life's work asdialogue betv€en the child a.I

FERNEYHOUGH

Sinc€ the late 1960s Ferneyh,o{ dichotomy or contradicti(Sacher Sti{tung Collection).strict or automatic and infoComplex webs oI polyphorwith organic, gestural' or s(approaches results in extremciearly influenced by the h1Boulez, but also by rhe statpostmodernists Femeyhougbity in his work. He does thioccasionally contradictory, ti

At its best, Ferneyhouglcalled "multiply directed rimotion thai is continuouslypected. One o{ the waYS Fecalled "interuptive polyPhoin his solo works, or for solothe list page oI Titti.o t'eldevice is consistently and cmore separate layers of matare arranged in a variable tstaff interupt those Irom arsta{f. In order to clarify thelines to indicate the flow ofro the ilow lnls oevice r

FerEeyhoug.h claims, 'a nottull written lengrh . . . is goiinteffupted than a note w(Ferneyhough 1995, 5). Thtinguished through the aP1beginning the top layer concontains glissand;. He also tto achieve the same effect.

MusiclP o stmo dcm Th ougb t

Torso 11971J2,1976,mission o{ the ?aul Sacher

ise harmonic; and many other

rg music down into its basic com'childlite gesture. In ?ressiot it is

the result of the Iirst me€ting of ainierspiel \19801, a set ol sevenL children. In it hc combines struc-rnaterials such as children's songs,ises. For example, in one of the: dance rh1'rhm played loudly onhe hammers hit the strings one'strumcnt and the sounding board.hord in the upper register is init-:r at a time is tifted from the key-

Resistatlt Strairls of P ostmodernism 257

board causing the harmonic content of the chord,s decay ro vary. Thesepieces do not only serve pedagogical purposes, no! are they only for chil-dren. As Lachenmann points out, 'chtldhood and musicat experiencesrelated to it are ar essential parr of every adult's inner world.,, One o{ hismost recent pieces is an opera based on a childrent story by Hans ChristianAndersen called The Little Mdtcb cil1. Accordine to Alberman.I achenmann r - l i re\ wort a. a conpur . . . har aluay. been ro opln up rdialogue between the child and the adult in all of us lAtb€man 199j. 151.

FERNEITIOUGH

Since the late 1960s Ferneyhough's work has come to .embody the energyof dichotomy or contradicrion" (from the sketches lor Mnemosyne, paulSacher Stiftung Collection). For example, there,s often tension betweenstrict or automatic and infornal or intuitive approaches to composition.Complex webs of polyphony and parametric subdivision are combinedwith organic, gestural, or sonic development. The {riction between theseapproaches results in extreme types o{ musical expression. Ferneyhough isclearly influenced by the hyper-expressivity of the early music of PierreBoulez, but also by the static sound blocks o{ Edgard Varbse. Like mostpostmodemists Ferneyhough seeks to project acrivety the idea of muitiplic,i r ' in h,5 $ork. He doe. rhir . hotre\er. rhroush incorporarrns compel jng.occasionally contrndictorl', layers of rnaterial.

At its best, Ferneyhought music includes what Jonarhan Kramer hascalled "multiply-directed time" (Kramer 1988,46). This is a rnusicalmotion that is continuously inteuupred in an effolr to present the unex-pected. One of the ways Ferneyhough achieves this is through what he,s.al led inrerrupnrr polyphony or " i rrerferrnce rorm. a der, .< emptoyedin his solo works, or for solo parts in ensemble works. Figufe 12,3 conrainsrhe f rsr pagcot ! t i tn.operu.S. (rq8cr ior solo doubl ; ba. , where n rhi ,device is consistently and comprehensively employed. It involves two ormore separate layers of material each notated on its own staff. The stavesare arranged in a variable bur hiemrchical order. The materials {rom onestaff interrupt those ftom anotherJ shortenhg rhe durations from the firststaff. In order to cladt these points of interuption he draws horizontallines to indicate rhe flow oI events, and vertical lines ro show interruptionsto the flow. This device las clear psychological, implications, for asFer"qhougl c larm'. "a nore hegun as / i r uere Boinq ro \onunue tor i rsful l r rrrrer l , ngrh . . . r . going ro have a considerrbly di t fcrenr ette.r wheninterrupted than a note written as having an identical real duration,'(Feneyhough 1995, 5). The layers shown in Figuje 12--l are further dis-rrngur.hed r luough rhe apf l icrr ion ot .orrrarr ing rexrure rype,. A, rheb€ginning the top layer contains only double-srops while the hottom layercontains glissandi. He also uses dynamic, registral, and rhythmic cont aststo achieve the same ef{ect.

1e; i

Resistdnt Str,ins of Pos

Ferneyhough has emplos]Jc}' as Time dfld Motion Slclarinet and solo cello, andin thc$ pieccs the lincs workwort the lircs almost alwaytust page of Time and Motntrasting types of material. TLral motion, the other by dyr

Ferneyhoush's music rea step back before learningFerneyhougi's performers rbodies into radically unfamtional practice slows down l{ormation. His pedormersapproaches in oider to overSteven Schick and cellist 1lwork rhrough and executeresults in inrense, razor-sh:play the so called exact notbut instead to have a humarobjections to Ferneyho ugh'scommon is the vehemendy lbecause many musical detai(for example, Dahlhaus 19tsive and in no way absolutdependent upon psychologibe diffictlt to tell the differrwhat is barely perceptible.periphery of consdousne:Ferneyhough uses such as aly is impossible to sightreachear? One must separate ttcult. Accordnrg to Henry (accurately produced i{ a pe,day, for five rnonths, to suclscore and result, a fact of alFerneyhough's music. Perf opradice. The less explicit a 1these kinds of conventionacontained superfl Lrous interpart o{ Classicismt polemir1987, 54). Symbols that sinwas reiected. For Ferneyholhis music depends upon "ttand spirituallv ableto recosl'exactrtude'! )" (Ferneyhougl

Resistaht Sttaitls o/ P ostTnodetnisn 259

Ferneyhough has employed multipleJine projection in other solo workssnch as Tbne and Motion Study I and,II \1971-77, 1973-7t l lor solo bassclarinet and solo cello, and n Uni\r Cdpslale 11.975-75) for solo flute. Butin these pieces the lines work togetber, in tandem, whereas in his more recentwork the lines almost always interupr each other. Figure 12-4 contains thefitst p4ge of Time and Motion Study l. }{erc he oscillates between two con-tlasting q?es of material. The first is charaaerized by static, fluid, perpet-ual motion, the other by dynamic, diverse, and expansive motives.

Ferneyho'rgl's music resists sightreading. Thus, p€rformers must takea step back before learning to play his music. From this very basic pointFerneyhough's perlormers face the question of how to reintegrate theirbodies into radically unfamiliar gestural profiles. Ierneyhough'.s overnota-tional practice stows down the process of decoding, thereby delaying habit{ormation. His performers are enticed into developing unique, strategicapproaches in order to overcome the disorientation they {ace. PercussionistSteven Schick and cellist Taco Koostra have both said that rhe effon towork through and execute Ferneyhough's complex rhythmic subdivisionsresults in irtense, razor+harp periormances. The point is nor merely toplay the so-called exact notated rh1'thms (which any computer could do)but instead to have a human perlormer make the arempr. Ofthe standardobjections to Ferneyhough's rnusic and notational usage, perhaps the mostcornmon is the vehemendy held belief that rhe whole endeavor is pointlessbecause many musical details are inaudible. But, as many wdters po;nt out(for eurnple, Dahlhaus 1987i Kramer 1988)what is audible is o{tcn i}lu-sive and in no way absolute. There are many degrees of audibility, eachdependeat upon psychological, physiological, and aesthetic factors. It maybe difficult to iell the dillerence between what is comoletelv inaudible anduhar is brrely perLepnble. \ume mu,L is,nremronal l l pu.hed ro rheperiphery of consciousness to do its work. The complex rhythmsFerneyhough Lrses such as a nested tuplet three or four levels "deep" clear-ly is impossible to sightread but is it really also impossible to pedorm orhear? One must s€parate the physically impossible frorn the merely di{fi-cult. Accordins to Henry Cowell, any thre€-level nested tuplet could beaccurately produced i{ a performer would simply devotc fifteen minutes aday, for 6ve months, to such rnatters (Cowell 1969, 64). The gap betweenscore and result, a fact of all live performance, is radically foregrounded inFemeyhousht music. Perforrners routinely 6ll this gap with performancepractice- The less explicit a notarion is the more performers must rely uponthese kinds of conventional supplements. The accusation that a$workscontained superfluous intentions, it is interesting ro note, was originallypart of Classicismt polemic against Baroque or mannercd arr (Dahlhaus1987, 54). Symbols that simply illustrated were praised, whereas atlegorywas r€jected. For Feaeyhough, an aesthetically adcquate performance ofhrs music depends upon "the exrent to which the performer is techdcallvand ,pirrrual l r ahlcrn rccognizr and embod) r \r d;mand, or r idelrry txor'exactitude'!)" (Femeyhough 1995, 19; ernphash his).

"It

a

hc

Resistant Struins ol Post

The formal principles irin which informal, spontantmeaningful dialogue. His aesthe generator of systems, btand subsequent regeDeration

CONCLUSION

At its best postmod€rnismforces our ability to tolera198,1, xxv). If postmodernisnate worlds, rhen surely thisthey are to comprehend, crmodernism in complicated rrese blance to modenist prmodernism is not necessarilin very different forms coer.i

According to Lyotard tcomplexity far beyond thLachenmann's and Ferneyhstrating how the .ttributes cthe world o{ composed sourrhan ever be{ore. Perhaps thlssu€s reievant to contempoinventive notational uses, arto performance freedom.

Lachenrnann ultimatelyevervthing-including the ilfreedom in an age withoutment could easily serve as a

WORKS CITED

Albernan, David. 1995. "HdHelnut Lr.heflmdsfl 3. Ft

Baffett, Richard. 1992. "Bri.edited by Briaf, Monon an

Cdl, Roben. 1990. "Six CasrPortrait callery." Collcge

Clenents, Andrev. 1994. "HeLner notes to compactAuvidis (MO 782023). 12

cowell, Henry. 1969. Nep M,Dahlheus, Car1. 1987. A"allr

l-evl|ie. Sfu t'vesanr, N.Y:Defida, Jacques. 1978. \Yr?ttrg

i

I

litI1

tL}

o'j

66

i :d

ha

.r€

Resistant Strains of P ostmodemism 261

The formal principles in Ferneyhough's scores deline an environrnentin which informal, spontaneous gereration can re-engage the iormal in ameaningful dialogue. His aesthetic emphasizes rhe human agenr not only asthe genelator of systems, but, also as the catalyst {or the system,s demiseand subsequent regeneration.

CONCLUSION

At its best postmodernism refines our sensibility to diflerence and rein-forces our ability to tolerate the ;ncommensurable (see Lyotard t197911984, xxv). If posonodernism compels usto consida pluralisrn and alter-nate worlds, then surely this must include all types no mafter how difficult.hey are to comprehend, even forms of postmodenism that break withmodernism in compticated ways due to their partially severed ties or ctoseresemblance to modemist practice. As thepoet Ron Silliman points it, post-modernism is not necessarily a sr/e but rather a cultural situatioo where-in very different forms coexisr (Silliman 1990, 90).

According to Lyotard the posrmoden condition exhibits excess andcomplexity far beyond that found in any orher period ;n history.Lachenmannt and Ferneyhough's music reflects rhis condit;on, d€mon-srrating how the attributes of excess o! complexity might be played out inthe world of composed sound. Their work is being performed more nowthan ever before. Perhaps this is because they foreground many important6sues relevant to contempomry musicians such as: the role of the score,inventive notational uses, and rhe sig {icarce of closed-form compositionto perf ornance freedom.

Lachenmann ultimately desires 'a music which is . . . able to re{lecteverything-including the illusion of progressivetress. Art as a foretasre oIfreedon in an age without freedorn" (Lachenmann 1989a, 9). His stare-ment could easily selve as a maxim for a postmodernism oI resistance.

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Albe.ftin, David. 1995. "Helmut Lachennann." Line! Doies ro compad discHelnut La.henmasn 3. Ftancer Montaisne Au'idis (MO 782075). 15-18.

Ba(etr, Richard. 1992. "Brian Ferneyholgh." In Cantenpordty Conposds,edired by Brian Morton and Pamela Collins. London: Sr.Janes press.2Sj,87.

i J" l . Roben. lqcO. _\s i r \ ( \ .udie. i \ew Areacs \4ur, ; A to,rnodernPorn^it Gallery." Co ese Masi. Synposium,30n: 4648.

Clemenrs, Andrry. 1994. "Helmur tachenmanr Truth, Beauty and Relevance.,'Liner notes to compact disc HelEut Ld.hekhdkn 2. Frmce: MonraigneAuvidis (MO 782023). 12-13.

Cowell, HeDry 1969. Nel M6tal Reso,/.es. New york: SomerhinE Etse press.Dahnar, . t ar . 'q8-. 4zal) ,q: and \atup Judsqpht. TarJr.ed by sresnMo

Leveie. Stuyvesant, N.Y: Pendragon press.Denida, Jacques. 1978. Wtt1fls dkd Dit'fdd.e. Chi. so: Universtty of Chicago press.

262 P ostmo.lerh Musi.[Postmodet?t Tbought

Ferneyhoush, Brian. 199.1. "Pahlel Udverses." In lsthetik und Kohposition rurAhttalitiit det Ddmstadte/ Fenenhwsat eit, internaiionales MusikisdtutDarmstadt, edited by Gi$nrrio Boio and Ulrich Mosch. Maiu: Schoft.17 :22.

. L99s. Colbcted Wr,;i,gs. Edired by Janes Boros dd Ri.hard Toop.Amsterdan: Hmood Academic Publishers.

Foster, Hr], ed. L983. The Anti-Aestheti.: Esqs on Posthodetn C,ltare. PortTowssend, Wash.: Bay Press. ix-si.

Go$wald, Clfus. 1980. "Brian Feneyhoush." In Tre Nee Groue Dictioflary ofMusn dnd Musicinfls.landon, Madillatr Publishers. 397

Harvey, Jonathan. 1979. "Rfi^n fcneyhough." The M"sical Ti$es, 120176391723J8.

Hawkes. Tererce. '1977. Stru.tLtdliffi dnd Semrotiu. Berkeiey and Los Anseles:Universiry of Califorlia Pms.

Hockings, EIke. 1995. "Helmut Lachenmannt Concept ofRejeciion." "dmpo

193.4-74.

Koostra, Taco. 1990. Queslionnaire response in Conpldrt4,3 Edited by JoelBoqs. Rotterdrm: Job Press. 27.

Kraner, JonathaD D. 1988. 'fhe Tine of Musi.t Neu Meaninss, Netu'tetupotulities, Neu Listenifls Stateaies. Nw York and Londo Schirner

Llchennann, Helmur. 1997. Program Note, Krannert Cente! for ThePerformingArts. University ofIllinois at Urbana chanpaign, Novenber 19,1997.

-. 1989a. "Gespra.h mit Ursula sdirzbeche." h Helmut La.heflnaflfl,translated by Roger Cl6ment. Viesbaden: Breirkopf od Hnrtel

--. 1989b. "Selbstponrait." ln Helntt La.hefmanfl, tanslated by Ro8er

Clanent. wiesbaden: Breitkopf und Hartel.Lyotdd, Jean-Franeois. l\9791 1984. The Postnoden C'ohdition: A Repott on

Kno*led.ge. Ttatsl,led by Ceoff BenniDgton atrd Brian Massumi.Mra.erpols: Ul i ter . i rv or \4,nne'orr Pre+

. 1993. The PostnaAem Ex?ldined. Cfiespoldd.e 1982-1985. RAted

by Julid Pefdis and Morsan Thom, trMslabd by Don Bailv. Bemldetle

Mahe., Jllid Pefmis, Vnsinia Spate, dd Morga! Thomo. Mjmeapolis:University of Minnesota ?rs.

Norris, Chistophe! 1990. what's Wtons tuitb Postnodenism: Gitial'fhearydnd the Eds of Philosophy. Baltimore Johns Hopkins Udvdsity Press-

Schick, Steven. 199,1. "Developiqg an tnterpretive Conter:t: Learning Bdan

Ferneyhough's aorc Alpla bet." Perspe.ti,es of Netu M"sic 32. 132-53.Silino, Ron. 1990. "Postrnodemism: Sisn for a Stru88le fot the S;€D." Iaco@dsant

E$atrs, edited by Janes Mccorkle. Detroii WaFe State Universiry Press. 79-97.Toop, tuchdd. 1988. "Four Facets of 'The New Comple'tily;" Cobtert 32:4 s0.

-. 199:1. "On Complerqr." Penpe.tiues of Neu Mtsi.3Tlrt 42-57.

CIIAPTER 13

Imploding thtKagel and the Dec(Paul Attinello

Mauricio Kagel has create(ual conceptual and theatritpresent remarkably cons:processes that subv€rt andsimilar ways.ln addition, tlself -conscious philosophierthrough their implosion othe comparison with decorth€ possibility o{ cultural nthe ideas of individuals, Ktially sarcastic reaction t(rlaining-can overturn th€that can never foryet that i

INSTRUMENTAI PREDI

Processes of subversion artKagel\ early works, even tsuch as the Sexbto de .,(1958-59). The ,Serteto 1irevised in Kiiln under the inat the tirne (Kagel [1962] 1ltal string sextet that recallsis remarkable about the Serrnixed with indeterminate ameans that Kagel's first matalready represented a confowhich could not be compler