This seems interesting to me. I am gathering sources for a research paper and came across this.
As the opening frame to his final chapter on music in a postliterate society, Taruskin examines what he considers literate music’s last grasp for ultimate authority.
The music of two English composers, Brian Ferneyhough and Michael Finnissy, represents this final and—in Taruskin’s estimation—ultimately futile maneuver. Their music is typically incredibly dense on the page, and in some respects impossible to perform. Ferneyhough uses “nested rhythms” (-tuplets within -tuplets within -tuplets), and obsessively profuse articulations, giving off the general feeling of impenetrable intellectual prowess (or at the very least, committed laboring). Taruskin gives us a page of Ferneyhough’s string quartet to make his point, with the ominous assurance that this is “not an unusually complex page” for him (see the image below, which is similar to the one Taruskin uses on V, 477).
Ferneyhough and Finnissy form the core of the so-called “New Complexity” group of composers, which Taruskin baldly paints…
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