Arditti Ferneyhough Project Documentation

Performing Complexity

a pedagogical resourcetracing the Arditti Quartets

preparations for the premire ofBrian FerneyhoughSixth String Quartet

Paul Archbold

Acknowledgements

I wish to thank Kingston University London for its support of this research project; Ernst von Siemens Musical Foundation for a grant towards the creation of the documentary; PALATINE for a Development Award to support the editing of the documentary and interviews and distribution of the pedagogical resource; and Institute of Musical Research, School of Advanced Study, University of London for the hosting of the resource on iTunesU.

Brian Ferneyhoughs Sixth String Quartet was jointly commissioned by SWR and BBC Radio 3. I wish to thank SWR2 for their generosity in allowing me to record and film all three of the Arditti Quartets performances at the Donaueschinger Musiktage.

Brian Ferneyhoughs Sixth String Quartet is published by Edition Peters, and all music extracts have been reproduced with permission. For further details, please see www.editionpeters.com

Finally, this project could not have been created without the enthusiastic contribution of Brian Ferneyhough and the Arditti Quartet: Irvine Arditti, Ashot Sarkissjan, Ralf Ehlers and Lucas Fels. It was an honour to be allowed to film the private rehearsal process and to share such profound insights into music.

Brian Ferneyhoughs Sixth String Quartet received the prestigious Royal Philharmonic Society Award for Chamber-Scale Composition on 12 May 2011.

Paul Archbold 16 May 2011

Performing Complexity: a pedagogical resource tracing the Arditti Quartets preparations for the premire of Brian Ferneyhough Sixth String Quartet

1. Introduction 21.1 Outline of project 1.2 Rehearsal schedule 2. Rhythmic Notation 52.1 An introduction to Ferneyhoughs strategies for rhythmic notation 2.2 Performance strategies employed by the Arditti Quartet

3 Harmonic language 8

4. Extended techniques 104.1 Natural Harmonics 4.2 Artificial Harmonics 4.3 Timbral modifications 4.4 Bowing techniques 4.4 Other techniques

5. Analytic overview 13

6. Documentary transcript 15

7. Extracts from Brian Ferneyhough Sixth String Quartet 28

8. Brian Ferneyhough in conversation with Paul Archbold 46

9. Irvine Arditti in conversation with Paul Archbold 56

10. Bibliography 66

1. Introduction

Performing Complexity is a pedagogical resource designed to acquaint performers, composers and musicologists with the dynamic processes involved in the preparation of a new score. The resource is centred on the Arditti Quartets rehearsals for the premire of Brian Ferneyhoughs Sixth String Quartet at the Donaueschinger Musiktage 2010. Dr Paul Archbold (executive producer & interviewer), Colin Still (director & camera) and David Lefeber (sound) filmed the rehearsals in London and Germany and the first three performances of the new work, creating some 30 hours of source material.

Performing Complexity comprises five elements: a research documentary, a recording of the premire, two interviews, and documentation. The video research documentary (c 30 minutes) traces several stages in the preparation of the new score: preliminary discussion of the work; first rehearsal of the opening section; rehearsals with the composer; dress rehearsal. The documentary is accompanied by a recording of the first performance at Donaueschinger Musiktage on 16 October 2010. This material is supplemented with video interviews with Brian Ferneyhough (c 45) and Irvine Arditti (c 45). The accompanying documentation provides a users guide to the resource, including a description of Ferneyhoughs rhythmic processes and harmonic language, a discussion of the extended techniques employed, an overview of the structure of the work, a transcript of the documentary, and extracts from the score.

The Arditti Quartet is one of the worlds leading string quartets and has performed several hundred new works. It has been instrumental in commissioning original, experimental, virtuosic music and developing new techniques to realise the composers musical visions. Over the last three decades the quartet has nurtured a particularly close relationship with Brian Ferneyhough, commissioning four large quartets and several smaller works, works that have made a significant impact on the string quartet repertoire.

Ferneyhoughs music is often perceived as intimidating, even to professional musicians. The graphical complexity of the score is a challenge, employing short note values, embedded tuplets and extended techniques combined with frequent tempo changes. Furthermore many musicians are not familiar with the relationship between the score, the actions required of the performer, and the sound.

Performing Complexity is designed to bring the performance expertise of the Arditti Quartet to the attention of a wider audience. For performers, it shows how the quartet prepares a score, uncovers the pragmatic decisions that must be made, and reveals technical challenges and solutions. For composers, it investigates Ferneyhoughs strategy for notating complex music, provides different realisations of several musical passages, and discusses the shaping of musical time. For musicologists, the resource offers material to interrogate the relationship between score and sound, and displays the personal dynamics within the quartet and between the quartet and the composer.

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1.1 Outline of project

In the autumn of 2010, I had the opportunity to create an audiovideo research project tracing the rehearsal process of the Arditti Quartet for the premire of Brian Ferneyhoughs Sixth String Quartet at the Donaueschinger Musiktage. This opportunity developed from a series of projects that I had organised with the Arditti Quartet and BBC Radio 3: two international workshops for early-career composers (in 2008 and 2010) with public concerts featuring the music of Brian Ferneyhough and Wolfgang Rihm respectively.

I had worked with Brian Ferneyhough on several occasions, participating in the creation of the DVD Electric Chair Music: Brian Ferneyhoughs Time & Motion Study II with the cellist Neil Heyde. Electric Chair Music was directed and photographed by Colin Still (Optic Nerve), with the music recorded and produced by David Lefeber (Metier Productions), a team with which I have worked on several subsequent projects.

Performing Complexity is a collaboration: Colin Still directed and filmed the documentary, performances and interviews; David Lefeber recorded the sound and produced the audio edit of the Donaueschnigen performance; Jane Clegg was the video editor; Paul Archbold managed the project, raised funding, interviewed Brian Ferneyhough and Irvine Arditti, and produced the video of the documentary, performance and interviews.

The rehearsals were filmed with three cameras (Sony DSR500, HVRZ1E, HVRZ7E) and the interviews were filmed with two cameras (HVRZ1E, HVRZ7E). All three performances were filmed with three cameras allowing for the use of multiple camera angles. The DSR500 was used for a wide shot in all three performances, and was situated in the centre on the rear gallery. Performance 1 was not used in the final edit. In performance 2 the two smaller cameras were situated to the right of the audience, one showing the entire quartet with Ralfs back to camera and the other focused on Irvine. Performance 3 had the two cameras to the left of the audience, one showing the entire quartet with Irvines back to camera, and the other mainly focussed on Ashot and Lucas.

The audio for the performance was recorded with a forward-facing spaced pair of cardioid microphones separated by a Jeckel disc and a rear-facing pair of omnidirectional microphones. The rehearsals were recorded with a spaced pair of cardioid microphones separated by a Jeckel disc, and each instrument was also individually recorded by a DPA mini-shotgun cardioid microphone.

Audio was edited on Sadie System V. Video was edited with Avid Xpress Pro.

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1.2 Rehearsal schedule

The score for the Sixth String Quartet was completed in June 2010. Copies of the score were sent to the Arditti Quartet in July, and I received a preliminary score on 15 July 2010. I travelled to Darmstadt on 20 July 2010 and had a discussion with Brian Ferneyhough on 21 July concerning the work and the filming schedule.

The performing parts for the work were not immediately available, so the first rehearsal was scheduled for 9 September 2010 in London. The rehearsal began with a discussion around the kitchen table where the quartet discussed the first 60 bars: to establish how to beat each bar; to decide who should lead; to note any errors in the scores and parts; to identify particular ensemble problems. This was followed by a three-hour session in which the first 60 bars were played through, discussed and rehearsed.

It was not possible to record all the rehearsal sessions, as the quartet had a dense international touring schedule and the Ferneyhough rehearsals were interspersed with rehearsals and concerts featuring other repertoire. However, it was possible to record all the rehearsals with the quartet and Brian Ferneyhough in Germany. There were three rehearsal sessions in Freiburg, one short dress rehearsal in Donaueschingen and three performances.

Tuesday 12 October 10:00 Freiburg ASQ rehearsal 1a - FerneyhoughTuesday 12 October 14:00 Freiburg ASQ rehearsal 1b - FerneyhoughWednesday 13 October 10:00 Freiburg ASQ rehearsal 2 - FerneyhoughWednesday 13 October 14:00 Freiburg interview with Brian FerneyhoughThursday 14 October 14:00 Donaueschingen ASQ rehearsal

Ferneyhough, Manoury, DillonSaturday 16 October 10:00 Donaueschingen ASQ concert 1

- Ferneyhough, Manoury, DillonSaturday 16 October 14:00 Donaueschingen ASQ concert 2

- Ferneyhough, Manoury, Dillon (broadcast SWR 2)Saturday 16 October 18:00 Donaueschingen ASQ concert 3

- Ferneyhough, Manoury, Dillon

As the Arditti Quartet was a featured ensemble in Donaueschinger Musiktage 2010, there were two further concerts and several other rehearsals featuring other repertoire which were not filmed.

The interview with Irvine Arditti was filmed in London on 13 December 2010.

4

2 Notation

2.1 An introduction to Ferneyhoughs strategies for rhythmic notation

The basis of the rhythmic structure of Brian Ferneyhoughs music is the bar. This bar may vary in duration through a change of metre and/or tempo, but the bar is always conceived as a unit of structural organisation.

It is perhaps useful to view a rhythm as a nested structure of long and short beats, similar to the musical structures uncovered by the analytical work of Cooper & Meyer (1960)

Of course, a long beat does not need to be exactly twice the duration of a short beat: other ratios are possible.

6 : 6: 7

3 : 3

2 : 1

3 : 1

cello b1

Violoncello

3

CL

CL

CL

CL

CL

Vc.

1964

1964

1964

1964

1964

1964

28

28

28

28

28

28

28

28

28

28

28

28

?

? ffpp pp

19:16

r

r

>b n b

- r

5

It is possible to extend this principle by flexibly dividing the beat at different hierarchical levels.

At A, a bar of 3 e (12 y) is divided in the ratio 7:6:3. A tuplet bracket is required with the ratio 16:12, or in the simpler form, 4:3.

Similarly, at B a beat of 6 y is divided in the ratio 2:4:2 requiring the tuplet bracket 8:6.

At C, a beat of 2 y is divided in the ratio 2:1. This required the use of the tuplet bracket 3:2.

Further details of Ferneyhoughs rhythmic organisation strategy, and the implementation of such tree structures in OpenMusic, can be found in Malt (2008).

6

7 : 6 : 3

2 : 5 2 : 12 : 4 : 2

1:2 1:4 1:7

38

38

38

38

38

38

4:3

8:6

4:3

8:63:2

4:3

3:2 8:6

4:3

? mpz p pp

gliss.

ppp

#

pz

~~~~~~ ~~~~~3:2 8:64:3

j>n b n

-n -n -># O.>

A

B

C

cello b3

6

2.2 Performance strategies employed by the Arditti Quartet

Although Ferneyhoughs notational strategy expresses the hierarchical tree structure of the rhythm coherently and concisely, it does not always define a single reference point for the co-ordination of several parts. As Irvine Arditti states in interview, it is important for a player to mark in the beats.

In many cases, the beats are simply defined by the metre of the bar (see b90 Documentary: chapter 4). In this 5/8 bar, the quaver beats are marked in pencil.

In some case, it is sometimes simpler to use a different note value as the pulse. Irvine Arditti discusses rethinking a passage with alternating tempi: beat equals 66 and 50 (see b85-88 Documentary: chapter 4)

Frequently, it is useful to write another instrumental part above the stave to indicate how the instruments fit together (see b53-55 Documentary: chapter 4)

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3 Harmonic language

The sixth string quartet employs an equal-tempered eighth-tone scale. The 1/8-tones are principally used as harmonic colouration most often in a linear context as subtle passing notes.

The principal pitches of the work are Bb, D and F#. Ferneyhough employs scordatura cello IV to Bb throughout, and viola III to F# at the end of the work to ensure that the augmented triad can be performed on open strings. Each of these three principal pitches are associated with a distorted dominant: Bb + F, D + A, F# + C, giving intervals of a perfect 5th (14 quarter tones), a lowered 5th (13 QT) and a raised 5th (15 QT). This constellation of intervals is employed at different structural levels in the work.

The opening cello solo (b1-40) begins off-centre on Db2, spiralling outwards to discover the low Bb1 and the higher F2. From here, the melody gradually rises over 4 octaves until it reaches the harmonic B6.

5

7

9 7 3 2 4 5 6 5 12 2 6 1 6 4 7 3 6 5 7 8 7

8

10

11

68

68 54

54

&Principal pitches distorted dominants

&distorted triads

&

& B &

&

&

www#bn b n n #

nbn #bn nb #b nn #n n #

b n # # b # n n n n

n b n n n n

b n #

b nb #b #b n # # #n #n ##

nb #b #b #bn #bn #b# #n #n ## #n#

Similarly the violin 1 melody (b167-8), performed in prolation with the remaining trio (b167-171), circles around B3 with embellishments from harmonic at the 12th, 15th, 17th and 19th, before expanding out to Bb3 (and F5 in the trio).

e = 53scherzando inquieto

4

28 532 38 932

932 1532 732

?

ffpp

>

non vib.

pp

sfz

sub.sul pont. estr.

mp

poco tasto

p

- >

3:28:5

mpz

ord.

p pp> ppp

pz

~~~ ~~

- - -> .>

19:163:2

8:64:3

?

ppp

~~~

k

mp p>

f

poco pesante

p f p

f mp

< >>

,stop bowdead on string

f

-> -> ->K

pp p

mfz p

pizz

nv

port.

->

.

4:3

5:613:9

17:15

b n B b

B j OB B b n

B jn b B n n n #

OB

n j #

#

j

b B n #

pp mp

(e=50)

mpz p mp pp mfz p mfz

516 78

78

&3:2

5:4

&> >

etc.

> >7:4 5:4 3:2 7:5 3:2

Onn r n O# O On n O

b On O O n n On n O O## n n b

8

As the work progresses, the distorted triads are exposed as melodic material (b85-86) and as rising sustained harmonies (b156-157):

On a global structural level, the three principal pitches take on particular importance, often articulated as single sustained pitches (e.g. Bb b176, D b242). All three pitches occur on open strings towards the end of the work (b359).

e = 50vaccilante

pp p pp p pp p pz

e = 44

932 316932 316

&

distorted triads (b85-86)

n #

& #

5:3

&

&

expanded augmented triads (b136-137 simplified)

? &

&


- - -

&

KrR

n

R

n n n n n

nnJ

n#j

j

n

R nn#

R #

R # # n nb b

e = 50vaccilante

pp p pp p pp p pz

e = 44

932 316932 316

&

distorted triads (b85-86)

n #

& #

5:3

&

&


? &

&


- - -

&

KrR

n

R

n n n n n

nnJ

n#j

j

n

R nn#

R #

R # # n nb b

The unison melody (b237-242) similarly circles around D5 before abruptly descending to the lower D4.

pp mpz p ppp p mp pp

&III

. . .II I

.> . . . . .. . .

I II III. . . . . . . . .3:2

3 3 33 3 3 3

b O # n On On n

n Ob

n n O n b O n n

The interval constellation also includes distorted thirds, which structure the come scioccato material of the violin 2 (b14-15) and the viola (b22 etc.)

fff fffff sfz mp mfz p

e = 38

f fpp mf

pp mf mp ff p f sfz pp

316 732

732 28 316

316 932

& > > > > ^ ^ ^ ^ ^ n > .4:3

& > -> -> -> -> .> > .

6:59:8 5:4

&- . . . > >

5:3> > >

b b n b RKr n b b

n R n nR n n

b b n n b

n R # n # n n b b b n n n b n

9

4. Extended techniques

4.1 Natural Harmonics

4.1.1 Natural harmonics - arco

Ferneyhough employs a variety of natural harmonics, up to and including the 11th harmonic1. In general, Ferneyhough tends to notate the sounding pitch and indicates the relevant string. He tends not to specify a performance solution.

However, he does specify a specific harmonic node for the 7th harmonic: vcl b24, vln1 b25.He also indicates the node for the 8th harmonic: vcl b359.The 8th and 11th harmonic can be found in vln2 b97.

4.1.2 Scordatura and natural harmonics

Throughout the work, the IVth string of the cello is tuned to Bb, so the harmonics on this string sound a tone lower than normal. These harmonics are used frequently throughout the work: e.g. the 4th harmonic is used to articulate the central bars of the work b176-8.

From b328-360, the violas IIIrd string is tuned to F#, and the natural harmonics are exploited.

4.1.3 Double-stopped harmonics

Double-stopped harmonics are employed frequently throughout the works.However, some of these use high harmonics at specific nodes e.g. vln2 b945th harmonic on I + 6th harmonic on II (semitone)9th harmonic on II + 7th harmonic on III (major 7th)

4.1.4 Harmonic tremolo across strings

Ferneyhough frequently employs harmonic tremolos across strings e.g. vln1 b15. Here the sounding pitches are notated and the strings specified, but a performance solution is not offered.A this note is the 5th harmonic on the II stringB this note is the familiar 2nd harmonic on the I stringC this note is the 10th harmonic on the II stringD this note is the 5th harmonic on the II string.There are several ways to perform this passage. As the 10th harmonic is only available at 4 nodes on the string, it may be easier to depress two nodes on the same string simultaneously.

1 I am employing the scientific convention for numbering the harmonic series, where the open string is the first harmonic, the second harmonic sounds an octave higher etc.

p mp pp p p mp pp p

28&

balz. I&II o

3

balz.

-o II I II

3 -

# #

#

O# O O OOn OO#n On

Kr on

A B C D

This is the tremolo that Irvine Arditti cannot find on the first attempt in London. Compare London rehearsal (Documentary: chapter 3) with the first rehearsal in Freiburg. (Documentary: chapter 5)

possible realisation

10

4.1.5 glissando armonica

Glissandi executed with harmonic finger pressure, to sound a range of harmonics, are employed to particular effect towards the end of the work: vcl b313.

4.1.6 Natural harmonics - pizzicato

Harmonics are performed pizzicato throughout the work. Notable examples include vcl b48, vcl b64-68, vcl b92 and vla b92-3

4.2 ArtificialHarmonics

A wide range of artificial harmonics are used throughout the workStopped harmonics at the perfect 4th, major 3rd and perfect 5th are used frequently. Stopped harmonics at the minor 3rd are used occasionally (e.g. vln1 b167, vln2 b168)

4.2.1Artificialharmonicsattheoctave

Ferneyhough first employed artificial harmonics at the octave in Dum Transisset IV & Exordium. They require a greatly extended hand position and cannot be performed low on the fingerboard: for violin the lowest harmonic has the root note a fifth above the open string.

4.2.2Doubleartificialharmonics

Ferneyhough employs several combinations of artificial harmonicsPerfect 4th + Perfect 5th e.g. vln2 b43 (harmonic unison)Minor 3rd + Perfect 4th e.g. vln1 b92-93 (harmonic unison)Major 3rd + Perfect 4th e.g. vln1 b93-4 (minor 3rd)Major 3rd + Perfect 4th e.g. vln2 b95 (major 3rd)

4.2.3 Combination of harmonics and other performance techniques

There are many interesting combinations of performance techniques in the work.Artificial harmonics combined with string crossing: vln2 b136-7Artificial harmonics glissando combined with repeated figure: vla b154Unison passage employing artificial harmonics: vln2, vla & vcl b167-170Microtonal scale doubled 3 octaves higher: vln1 b354-359

11

4.3 Timbralmodifications

Ferneyhough employs several degrees of left-hand finger pressure to create timbral variation.

12

In some contexts, a note with harmonic finger pressure will not necessarily create a harmonic - it may sound as a note with a glassy timbre, or produce a squeak.

Examples of timbral modification include:

come scioccato vln2 b14-15, vla b22 etc. - a rapid flurry of sound combining notes with normal finger pressure, reduced pressure and harmonic pressureruns with reduced finger pressure, vla b50runs with harmonic pressure, vln1 b91, vla b90, vln2 b91sul pont. with harmonic finger pressure not on a harmonic nodes, vcl b2 - this combination filters the noise of extreme sul pont.unusual harmonic nodes, vln1 & vln2 b262trill with harmonic pressure, vln2 b214tremolo: ord. harmonic pressure, vln2 & vla b87harmonic pressure glissandi, vla b90half-harmonic, vln1 b196changes in finger pressure with changes in bow placement, vcl b291-2gettato with reduced finger pressure to mute strings, all b261, vla & vcl b303

4.4 Bowing techniques

Ferneyhough makes extensive use of the wood of the bow to make a very lively sound at the opening of the work (see Documentary: chapter 5) b1-15, vln1 & vln.2 ,col legno battuto, col legno tratto, mezzo col legno tratto, gettato, balzatograttando, vln1, vln2, vla, b18An extensive passage employs a bouncing stroke using the wood of the bow col legno saltando b93Occasional use is made of circular bowing, vln1 b274, b313 Bow pressure vibrato, vcl b318

4.5 Other techniques

Strike metal heel of bow on string, vln2 b63Extensive use of finger percussion, vln1 b64 etc.Finger percussion alternating with quiet arco, vln2 b82, vcl b83Finger percussion, portata di mano, vla b314Finger percussion, sounding notes on striking the string and releasing the string, vla b318buzz: lay wood of bow lightly on string to produce buzz with LH pizz, vln2 b306

normal fingerpressure

reduced finger pressure

half-harmonic harmonic

O O

5.Analyticoverview

Brian Ferneyhough envisaged the Sixth String Quartet as the final work in a trio of works including Pltzlichkeit and Kronos/Ion. All three works employ a sausage-slicer technique of composition, created from short sections distinguished by instrumentation, character and technique. However, during the process of composition of the Sixth String Quartet, this idea was somewhat modified.

Although Ferneyhough mentions that the quartet is composed of some 100 tiny sections, it is easier to envisage the work on a broader level. In particular, the work investigates the relationship of a solo instrumental part to the whole: the work includes a long florid solo for violin 1; a lyrical accompanied solo for cello; an acerbic solo for violin 2 which tries to break through the texture; and several passages in unison. Although a distinctive feature of the work is the supple microtonal melodies, there are also lively pointillist sections, simple passages of ascending microtonal scales, and sections characterised by unstable sonorities.

b1-41 accompanied vcl solo discovers low Bb2, then ascends to B6 (harmonic) vla - pizz pulses; violins pointillist events with wood of bow flurries come scioccato, introduced vln2 b14, then vla

b42-61 Alternation of short sections: aggressive al tall. estr. (b42), cello lirico with vla pulses (b43-44), florid arpeggios (b45) aggressive al tall. estr. (b46), graziosamente (b47-50)

vln1, furiosamente, accompanied by chords (b51-56) flessuoso: vla & cello rapid even figuration, accompany violin 1 & 2 fragments

b62-84 return to opening pointillist texturevln2 outburst, provokes quartet response (b72-75)

b85 second theme, interrupted by several textures second theme: b85-6, b89, b95-7 (vla & vcl), b101-104 b87-8 vln1 molto marcato, above vcl Bb b90-2 arpeggio texture b92-5 harmonic unison in violins, accompanied by col legno saltando (vla & vcl) b96-101 col legno saltando (violins), gradually fragments and dissipates

b105-7 pensieroso (vln1, vla, cello) homophonic melody, accompanied by explosive pulses distributed through triob108-135 vln2 solo pizz explosivo, alternating with aggressive arco gestures trio (vln1, vla, cello) employs several textures: b108 heterophony b109 harmonic tremolo b110-111 dissipating heterophonic lines b112-113 regular pulsed chords with trills and glissandi b114 pizz tremolo (mandolinato) b115 wide glissandi, mezzo leg., reduced finger pressure b116 distorted major triads (compare with augmented triad) b117-119 arabesques: borbottando b120 multiple fragments: vln1 harmonics, vla tremolo, vcl sustained Bb4 b121 chords b122 octave harmonics b123-124 widely spaced chords employing harmonics b125 regular pulsed chords with glissandi b126 homophony, al tall. b127-129 con serenit: heterophony, each line starting from vln1 b130 sustained chords

13

b131 aggressive all tall estr above vcl Bb1 b132-133 quiet fluid lines b134 homophony

b135 homophonic melody, accompanied by explosive pulses distributed through trio

b136-153 testardamente (with great difficulty, like climbing a mountain) microtonal ascending scales in harmonics, beginning in vln2 b136-8 overlaps with trio, aggressive all tall estr above vcl Bb1

b154-156 vla repeated figure: rapid upbeat combined with slow glissando octave harmonics, distorted augmented triadsb157 beginning of accompanied vln1 solo b167-171 prolation: vln1 is 2.5 times faster than the unison of vln2, vla and vclb172-184 vln1 solo accompanied by fragments from the trio

important structural pitch: Bb, near midpoint of the work (b176-8)b185-200 vln1 solob201 accompanied vln1 solo

b209-214 glissando trills, plus regular pulsesb215-236 flessibile e transparente

b237-242 unisonb243-251 heterophony regular pulsed chords with vln1 fragments

b252-281 return to opening pointillist texture, invaded by very fast solo fragments disruptive ascending glissandi, fff (b278)

b282 melodic fragments, and ascending microtonal harmonics (octave harmonics introduced in b284) significant harmonic event (b286) augmented triad (Bb D F#)

b320-328 duo, vln1 & vln2

b328-349 vcl contrary motion microtonal scale, from low Bb (b328-330). Vla F# in b329 explosive fragments, contrasted with scalic melodies vln1 faticoso ascending microtonal scales gradually dominate

harmonics with normal note (octave + major 6th)

b349-352 fragments (NB repeated gliss in vln1 & vln2)b352-354 homophony, including unison b353b354-359 etereo, ascending microtonal scales, harmonics with normal note (3 octaves)b359-360 vcl contrary motion microtonal scale from low Bb & D, Vla F#, with open strings distorted dominants in violins

14

6. Documentary transcript

The documentary traces the chronology of the rehearsal process with the Arditti Quartet, and is interspersed with interviews with Irvine Arditti and Brian Ferneyhough.

chapter timecode comment1 00:03 introduction2 02:38 London rehearsal 9 september 20103 03:51 first rehearsal bar 1-154 05:07 marking up a part5 07:35 Freiburg rehearsal 12 october 20106 08:33 wood of bow7 08:59 bar 24-268 09:36 Ferneyhough discusses structure9 10:04 bar 64-7410 10:44 character of violin 2 gesture11 11:27 bar 85-8912 11:42 second theme13 12:24 bar 85-8914 12:54 bar 98-10215 14:21 Arditti discusses microtonal harmony16 14:48 bar 201-21117 15:31 bar 201-20418 16:17 bar 201-204 without violin 119 16:59 unison passage: bar 236-240 v120 17:15 bar 236-240 v221 17:36 bar 236-240 v322 17:43 bar 236-240 v423 17:54 bar 236-240 v524 18:04 bar 236-240 v625 18:21 bar 236-240 v726 18:31 bar 236-240 v827 19:36 accumulation (bar 303-317)28 20:12 bar 317-32629 20:55 hypertonality30 22:07 Ferneyhough: why I write string quartets31 23:29 Freiburg rehearsal 13 october 201032 23:47 bar 92-10133 24:24 textural collapse34 24:49 Arditti: writing well for instruments35 25:17 bar 167-17336 25:46 emphasise harmonics37 26:06 bar 167-171 without violin 138 26:38 tuning39 27:13 Ferneyhough discusses violin 1 solo40 27:38 bar 194-21141 28:44 character of violin 1 solo42 29:49 Ferneyhough discusses harmony43 30:12 final bars44 30:40 bar 359-36045 31:17 Arditti: working with a composer46 32:06 Donaueschingen rehearsal 14 october 201047 32:46 credits

15

MARKER PICTURE SOUND

Chapter 100:03Introduction

Arditti Quartet performance

CAPTIONS:ARDITTI QUARTETClimbing a MountainBrian Ferneyhough 6th String Quartetin rehearsal & in performance

b 237-243

Arditti to camera IA: We just like working with Brian. I think probably most continuously hes the composer who has written the most music for us, although there are others whove written many quartets. But over the years hes someone that we have constantly wanted music from, because of the great depth of the music and the great interest in rehearsal. Obviously we are talking about very complex music, and the sort of intellectual challenge, intellectual and performing challenge, that is required.

Arditti Quartet performance b 90-92

Ferneyhough to camera BF: And I knew when I did do a Sixth Quartet that it would be a long one. I felt the urge somehow to balance out the Sonatas for String Quartet that I had written so many years ago in 20-odd little sections with something also in tiny little sections but these sections would not be placed next to each other, contiguously, but they would be superimposed.

Arditti to camera IA: Brian came up with this amazing Sixth Quartet, this very dense piece very melodic piece. Its a new world, its a continuation - its probably not a new world, but one can see the development through Brians string quartet music from the early days.

Ferneyhough to camera BF: Speaking specifically about this quartet I think one of the challenges was how do you deal with the time implicit in the little fragments themselves - in other words the sort of relationship to human gesturality, to human temporal sensibility, to somatic tensions, to heartbeat and breathing and so on - and at the same time write a piece which is made up of rather a large number of these small sections which has to sustain itself and its musical architecture over quite a considerable time.


Climbing a Mountain: Brian Ferneyhough 6th String Quartet in rehearsal & in performance

BF Brian FerneyhoughIA Irvine ArdittiAS Ashot SarkissjanRE Ralf EhlersLF Lucas Fels

16


Chapter 202.38London rehearsal 9 September 2010

CAPTION:first rehearsal London 9th September 2010

Arditti to camera IA: After the initial process of individually looking at the parts we come together, we analyse the score...

Arditti Quartet players around table looking over the score

IA: The first bars fairly straightforward: Ralph has the pulsation on each quaver beat

LF: So first bar in two

IA: First bar in two, second bar in one and one quarter beat- but its good because he has a piano on the quarter beat and then a loudish note on the beginning of the third bar

Arditti to camera IA: We maybe make mathematical calculations to simplify the understanding of the music for us - change bar lengths, change tempi - in order that we can more clearly access what Brian wants.

Arditti Quartet players round table looking over the score

IA: Ive had discussions with Brian about this in the past. He feels he has to write the music the way he writes it: thats the way he sees it. But as a performer, to really understand more clearly how the piece should be played we need to do this homework, this mathematical homework, before we begin rehearsing.

Chapter 303.51first rehearsal bar 1-15

Quartet first rehearsal IA: Okay lets give it a whirl

quartet plays b 1-15

IA: Thats it! Cant find it [Laughs] Sounds good already we dont need to rehearse it more do we?

17


Chapter 405.07marking up a part

Arditti to camera with score on stand(Cutaways to score while he talks)

b 90IA: Here we have a fairly normal I say normal! 5/8 measure where to some degree events happen on the beat. In fact they only happen here twice on the beat, but we know where the beats come: the beat comes here, which is actually after the note has started, and then here it comes on this B harmonic, and here it comes placed on B but a different note because its played on a different string. Here this section is not a full beat, so the beat comes after the beginning of this 10:13, and the last beat comes towards the end of that. So this technical term is, I think, putting the grass in - its grass meaning the lines coming down, which indicate to you where things happen.



b 85-88 IA: The main tempo here is 50 and we divide these into different units. This becomes a 3/66 bar, so weve spread it over 9/32 to be divided in threes - it becomes a 3/66 bar, so 3 beats at 66 instead of 50. Here it goes back to the initial tempo - weve just marked it in semiquavers (16th notes) to be 100 which is twice as fast as the 8th notes in the previous bar. Here again weve divided 3 beats at 66, then going back to 50. So we are alternating between a tempo of 66 and 50.



b 53-55IA: This is a section where Im pitted against the other three rhythmically - the other three are playing a rhythm which is written on the top and exactly where that occurs so I know spacially this note has to be after Ive played this, and they play in between. Its very important to have that written in to see what it should be


18


Chapter 507.35bar 1-15

CAPTION:first rehearsal with composer Freiburg 12th October 2010

Quartet plays b 1-15

Chapter 608.34wood of bow

BF: The typical sound in this early part of the piece is actually all forms of the use of the wood of the bow. So a lot of the time you are actually bowing normally but using wood rather than string, but its not really coming across as that yet. [phonetic example]

[IA demonstrates b 2-3]BF: Yup thats it. So if both of you could coordinate on that sound

Chapter 708.59bar 34-36 Quartet plays

IA: Okay. 34?

b 34-36BF: Watch out for the dynamics of these diddly diddly diddly things: they are meant to be like fans opening and closing, they are coming from nowhere or going back to nowhere. They are emerging from the texture and that gives a chance for the harmonic fingering to sound a bit better. Its a trick isnt it

Chapter 809.36Ferneyhough discusses structure

BF: Id been working with what you might call a sausage-slicer technique where the length of sections would be predetermined - the rhythmic structure, the instrumentation and general dramatic flow of each of these sections would be determined - but that the other elements which go to make up the musical discourse would not then in advance be determined to the same degree. So I was working very much on the section-to-section basis and these sections would be very small



Chapter 1010.44character of violin 2 gesture

BF: Ya da, ya daIA: This is distinctly minimal BrianBF: Minimal yes. If all four players were doing it and it was all in quarter notes yes. Da da, da da its like - you know the beginning of the Stravinsky. Yes! Do that, just do thatIA: Instead?BF: No, its whats written. AS: No, but... theres an accent on the first one here aswellBF: Yes... Da da, da da, da da, Yes, thats it! Its just a 64th note. Exactly, yes, thank you

19




Chapter 1211.42second theme

BF: OK, 85 is the second theme if anyone is interested. It comes back over and over again: 85, 86, 89 it comes back all over the place. And Im really interested in the harmony here so dont push it on too muchIA: Well just play what you wrote, yeah?BF: You can play what I wrote as wellIA: Which is a bit faster than we just played thenBF: Well dont make it any faster I would sayIA: Well, this is the tempo. Shall we play 85? Learned scholars continue later...



IA: Its the same tempo. 66BF: OK, whats essentially happening is the first and sec-ond violins are playing one version of the second motif and the viola and cello are playing another one. Air and spare, you know how it isAS: Aaron...?

Chapter 1412.55 bar 98-102


IA: Shhh? You said shhh right on the word of the diminuendo Im still fff sh!BF: I have this predictive mentality Irvine. Which like the arrow of Eros plants itself straight in the foreheads of all those who dare to contravene my instructions.IA: Alright then. Ill go and have a cup of tea, time for cup of tea, I dont want no bleeding arrows in my head.BF: The thing is with these da da da da things: once youve got one of the groups in motion youve got to keep it at the same speed, you cant adjust it as you go along. Thats very important. Like Irvines da da da da da da da da da - weve just got to estimate it...IA: Am I not doing that?BF: Its OK. Im making this just as a general comment.IA: What do you mean, it was OK. It was good!BF: It was fine. I was just saying it as a general comment...IA: What do you mean it was fine?BF: It was absolutely perfect and brilliant Irvine!!IA: Ahhhhh!!! Then Im definitely going to have a cup of tea

20


Chapter 1514.22Arditti discusses microtonal har-mony

Arditti to camera A: Brians music is very much about harmony and the melodic lines and microtonal inflections. In so many of the pieces one has to really look very carefully at what the notes are, because he is playing around with certain key pitches, and one note is a microtone above, then you have the normal note, a microtone below, the semitone below and then microtones around that. And these inflections are really important in the music, to do them accurately.

Chapter 1614.48bar 201-211


Chapter 1715.31bar 201-204

BF: OK. Now I remember what I am doing here. Its very important in 205 and 206 ad passim that you get all these microtonal things right, as they are now starting to build up the harmony and directionalities. Dee dee dee dee thats right eighth-tone things - thats very important. Its more important than the other things. Except Irvines got more of them than anybody else

IA: Everythings important


Chapter 1816.30bar 201-204 without violin 1

BF: OK, now Im beginning to hear these things coming in finally. So they are more important than the dee ya dee da in every case. Can I try it without the first violin, do you mind?

2nd violin, viola, cello play b 201-205BF: OK, you can hear it now... yes...

IA: It sounds positively VienneseBF: I missed my age, what can I say

21


Chapter 1917.00unison passage: bar 236-240 v1


Chapter 2017.15unison v2

b 236-240

BF: That bits still wrong though, in the 3/16 measure you are making the 5th note of the measure too long



AS: But its a three bar



BF: [beats out the time on stand]




RE: So this one isBF: 9 in the time of 8 and then 5 in the time of 4 whereby the first one is missing. So youve got [beats it out]RE: But were thinking it in 4That comes...


Quartet plays b 237-239LF: Can you just lead this?



22


Chapter 2719.38accumulation (b303-317)

BF: OK, whats happening in this section is that basically youve got a much more detailed version of the opening, but the fortissimo quadruple fortissimi inserts gradually accumulate until you break into this two violin thing. So its an accumulative thing from 303. Some of those things are very fast. 308 bom bom dedededebom its an incredibly fast one. Then theres another one at 317 for Irvine 316 and then 317

Chapter 2820.13bar 317-326

b 317-326

Chapter 2920.55hypertonality

BF: I was trying to work out this sort of hypertonal thing Ive been working on where youve got the Bb and D and the F# augmented triad and youve got different false dominants around them. Thats whats happening at the end here - funnily enough I dont hear it very clearly. I do hear the F sharp one, and I hear the B flat one, but theres no D in at the momentAS: Well where is it supposed to be?IA: Whos not playing the D loud enoughBF: There isnt a D in it at this point. Well there is its actually Lucas in the last note of the penultimate measure youve got the Bb and the DLF: You cant hear it?BF: A bit more would be nice. And the F# with Ralph

Quartet plays [augmented triad on open strings]LF: Ah.. Mahler, eh?BF: Well, thats what its about No, not about Mahler!IA: How about giving it a rest for today?

Chapter 3022.08Ferneyhough: Why I write quartets

Ferneyhough to camera BF: Im very frequently asked about why I prefer to write string quartets to many other genres and, apart from the fact that I like doing it, there are other considerations at play I think which impinge upon the relationship of contemporary music to society.

Quartet in performance BF: There is a big difference between a string quartet and a string trio for instance: a string trio is much more static type of chain-form relating to the baroque Trio Sonata; the string quartet right from the beginning was always a much more subtle medium for the expression of social relationships

Ferneyhough to camera

BF: The old image of you know four civilized people talking to each other in terms that would not have been unfamiliar to philosophers of the Enlightenment. And whilst that of course is somewhat absurd from the present-day standpoint, and indeed was turned on its head by Charles Ives who had four very irascible characters climbing a mountain and shrieking at each other for 15 minutes...

Quartet in performance b 136-140Ferneyhough to camera BF: It does seem to me there is something about the

quartet which is inherently imbricated with what we understand human relationships to be on a highly evolved level

23


Chapter 3123.29Freiburg rehearsal 13th October 2010

CAPTION:second rehearsal with composer Freiburg 13th October 2010

BF: Ive finally remembered where that bit comes from. It comes from the fourth movement of the Schnberg Second Quartet, the duo



Chapter 3324.24textural collapse

BF: The whole thing collapses at this point, the speeds are all differentIA: It just has...BF: I realise that. I meant in the truly Nietzschian positive senseIA: Oh, this is in the truly Ardittian negative sense...AS: Is there anything positive about Nietzsche?BF: The Birth of Tragedy from the Spirit of Music. This is the birth of tragedy!

Chapter 3424.50Arditti: writing well for instruments

Arditti to camera IA: Whats very interesting for me is in such complex music Brian understands very well how to write for the instruments. I dont think Ive ever come across something that cant be played. I think this is extraordinary for a non string player and for someone writing such complex material. He really has a good feeling for how to write for instruments, and although its challenging, extremely difficult, its never impossible.

Chapter 3525.17bar 167-173


Chapter 3625.46emphasise harmonics

BF: I dont hear the harmonics coming through really very well - could you emphasise them just a little bit? The harmonics dont always sound at the same time unfortunately. Could we try that again? Im sorry I dont mean to stop your trajectory.RE: Lets do it, the three of us.

Chapter 3726.06 bar 167-171 without violin 1

violin2, viola & cello b167-171

Chapter 3826.48tuning

BF: Its actually a bit slower at the end da da da da dum.No, well, its prolation - they are playing exactly the same notes as you (to IA) but much slowerIA: I understand the compositional aspect of it, but the technical aspect of it is extremely hard - to get that in tune together, And you first did this in Exordium? AS: No, Dum IVIA: Which came first, the chicken or the egg?BF: The dinosaur

24


Chapter 3927.14Ferneyhough discusses violin 1 solo

Brian Ferneyhough to camera BF: Well the first violin solo develops over a certain amount of time. It starts as, just simply as a faster version of what the other instruments are doing. And the other instruments then are gradually eaten away by the insistence of the violin and in fact the main body of the first violin material is really literally solo, playing by himself albeit in two parts

Chapter 4027.38bar 194-211

Quartet plays b194-211

BF: Bit more vibrato folks...

Chapter 4128.44character of violin 1 solo

BF: Sort of, I dont know, Eric Satie type thing. Very gentle and simpleIA: Who?BF: Oh you know, he didnt write a string quartet did heIA: Im a little bit vexed about how you want it actuallyBF: Suggest another predecessor thenIA: Were you talking to me when you mentioned vibrato?BF: No, its poco vibrato in everybodys part I think In 202Actually, yours doesntIA: Absoluto, non vibrato!!AS: Irvine, that bit with bo bo bo bo bomb, de domRE: Yes, Tzigane. That would be good to knowIA: Thats the second half of 194

Chapter 4229.51Ferneyhough discusses har-mony

Brian Ferneyhough to camera BF: I didnt set out with a series of harmonic devices which could be applied in different circumstances; I think each of them was generated ad hoc to fit a particular situation. However I did know at the end of the piece that I wanted to detune the G string of the viola to F#, so that we had open strings on Bb, D and F#

Chapter 4330.13final bars

BF: What I am looking for at that particular point particularly in this last measure is reaching towards this augmented triad and not arriving there, and Lucas gets completely off centre because hes trying to move in two different directions at once to arrive somewhere and also doesnt on the last chord. So your notes are important Irvine I think because youve got the A flat and the C sharp - think of that as moving towards the D

Chapter 4430.41bar 359-360

Quartet plays b359-360

BF: Thats it, thats perfectly okay. Wet dreams of MahlerLF: Wet dreams of Mahler?BF: I hasten to add, not mineIA: Whats the date today?LF: 13th of OctoberIA: 13/10/10 Wet dreams of Mahler. I think thats the end of this rehearsal, theres no way we can follow that!

25


Chapter 4531.1 7Arditti: working with a composer

Irvine Arditti to camera I think its incredibly important to rehearse with any composer, to find out exactly what they want because, something Ive always said in the past, they make a score and its on paper and theres nothing - theres no sound and we have to realise it. And so to have the composer there to witness, to explain, to change whatever, transform the dots on the paper into sound is very important for me as an interpreter - to get that feedback. But in Brians music its particularly important because he is a composer that knows precisely what he writes, and its so complex that to have him there analysing what you are doing and telling you I want to hear a bit more of this or that is something that is so important.

Chapter 4632.07Donaueschingen final rehearsal 14th October 2010

CAPTION:final rehearsal Donaueschingen 14th October 2010

Quartet plays on stage b353-360

26


Chapter 4732.47

END CREDITS:

ARDITTI QUARTET

Irvine Arditti, violinAshot Sarkissjan, violinRalf Ehlers, violaLucas Fels, cello

Brian Ferneyhough6th String Quartetcommissioned by SWR & BBC Radio 3published by Edition Peters

documentary supported by:Kingston University London

Ernst von Siemens Music Foundation

a PALATINE Development AwardPALATINE is the Higher Education Academy subject centre for dance, drama and music

Institute of Musical ResearchSchool of Advanced StudyUniversity of London

BF: It sounded very good

IA: It sounded quite resonant in here

BF: Were not going to know what the hall sounds like without a public sitting here

With thanks toSWRDonauhalle, DonaueschingenSoundNetwork

executive producerPAUL ARCHBOLD

SoundDAVID LEFEBER

EditorJANE CLEGG

Directed & photographed byCOLIN STILL

AnOPTIC NERVEproductioncopyright mmxiEND

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b194-211

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8.BrianFerneyhoughinconversationwithPaulArchbold

The conversation is interspersed with illustrations of musical material

chapter timecode comment1 00:03 genesis of the sixth quartet2 03:09 form & structure (1)3 06:35 Example: cello solo b1-154 07:29 form & structure (2)5 08:52 Example: viola flurries b27-286 09:11 form & structure (3)7 11:02 Example: testardamente b136-1438 11:36 form & structure (4)9 14:10 solos (1)10 14:39 Example: violin 2 solo b108-11811 15:18 solos (2)12 18:07 violin 1 solo13 19:12 Example: violin 1 solo b157-16114 19:29 prolation15 21:17 Example: prolation violin 1 alone b167-171

16 21:38 Example: prolation quartet b167-17117 22:03 the role of the viola18 23:40 Example: viola material b25-3519 24:12 harmonic language20 27:51 references and allusions21 28:53 temporal layering22 31:24 pulses and tempo23 35:17 why I write string quartets24 41:55 working with the Arditti Quartet25 47:13 credits

46

BrianFerneyhoughinconversationwithPaulArchbold

CHAPTER 1: genesis of the sixth quartet

Paul ArchboldWhen we talked last time you mentioned that this was going to be going back to writing a true quartet. I wonder if you could talk a little more about how you view this quartet.

Brian FerneyhoughWell, some things were a challenge and some were a bit of a problem because for one reason or another way I was loaded with writing four string quartets, some of them large, some of them small, within the space of three and a half years. That Fifth Quartet was the one I did first and then I knew that I had got to write these four little pieces on Dum transisset sabbatum plainchant based on the Christopher Tye pieces for viol consort. And that was fine; I was very interested in doing this and I did them quite quickly. Then the Ardittis came to me and said, well, we need for Elliott Carters 100th birthday, we need a little piece to put in a concert - so well, yes, all right. So I wrote a little piece: it was supposed to be rather literal-mindedly one hundred little sections. Luckily it ended up as only 43 and much improved because of that I think. But it was interesting to write a piece which was absolutely full of non-sequiturs: that none of the sections followed from any other sections other than that they were in some way contrasted or there were some sort of dramatic causality involved of a fairly basic sort. So that was quite a lot of work over three years but the two little pieces somehow didnt seem to me to be quartet material; and I distinguish very carefully between string quartets and other pieces for two violins viola and cello, as I think one needs to historically speaking (and I tended to anyway). And so the Donaueschingen Festival then, because it was doing a very important focus on string quartets in this particular year, asked the Ardittis to suggest some composers who would then perhaps, they would like to commission new quartets from. And of course I wouldnt turn that down. But the issue was that I had just finished a very large ensemble piece called Kronos/Ion which was performed at Donaueschingen two years ago and I perhaps was not in the best of tempers shall we say, the best of states of mind, to start a new very large quartet project. And I knew when I did do a sixth quartet that it would be a long one and all the pieces Ive done other than these two little pieces Ive mentioned have been quite large: the orchestral piece Pltzlichkeit four years ago was 23 minutes, Kronos/Ion was 29 minutes, so I knew it would be in the environs of 20 to 30 minutes lets say. And I felt the urge somehow to balance out the Sonatas for String Quartet that I had written so many years ago in 20 odd little sections with something also in tiny little sections, but these sections would not be placed next to each other, contiguously, but they would be superimposed.

CHAPTER 2: form and structure (1)

Speaking specifically about this quartet I think one of the challenges was how do you deal with the time implicit in the little fragments themselves - in other words the sort of relationship to human gesturality, to human temporal sensibility, to somatic tensions, to heartbeat and breathing and so on - and at the same time write a piece which is made up of a rather large number of these small sections which has to sustain itself and its musical architecture over quite a considerable time.

That was really what at the beginning caused me some heartburn because I knew that following on from the orchestral piece and Kronos/Ion Id been working with what you might call a sausage-slicer technique where the length of sections would be predetermined - the rhythmic structure, the instrumentation and general dramatic flow of each of these sections would be determined - but that the other elements which go to make up the musical discourse would not then in advance be determined to the same degree. So I was working very much on a section-to-section basis and these sections would be very small.

So the forms of the pieces consisted of more than 100, in each case, tiny sections in which the material either did or did not correspond in some sort of obvious way to the necessities imposed by the duration. This quartet was meant to be the third in that cycle which would take note of the experiences Id made in this section-by-section mode of composing and making materials relate the time space in which they found themselves, but at the same time that these things would be superimposed. In writing the piece it became very clear to me that you overstep a boundary at a certain point where you have to decide: is it the large-scale architectural or is it the local - what you might call the motions, the interactions of the dramatic personae at any given moment - which fuel the motion of the piece. And so, much as I had been working in

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a sort of dialectical fashion with these two earlier pieces, I found there was one step more of the involuted dialectic involved in this piece, which was that the local technique of composing was very much based upon the motion of the individual figures. At the same time the large-scale motion of the music was determined by certain factors involving each of the instruments in having a different sort of material which was very clearly its own, which we will come to in a moment perhaps, and also that there were sections whose trajectory was very clear: for instance the opening of the piece starts with a solo for cello and this goes from the very lowest scordatura B flat of the cello all the way up to 3, 4, octaves higher. And the dnouement, as it were, is where the second section then enters after the cello reaches its highest range in that particular segment.

CHAPTER 3: EXAMPLE: cello solo b1-15

CHAPTER 4: form & structure (2)

Now, the individual gestures from measure to measure and from subsection to subsection are very much sort of organicist, energic, based upon standard models of how one would expound and prolong certain sorts of actions. At the same time I knew that they had to hang together in producing this large-scale thrust from lowest register to highest register of the instrument.

And so youre missing a middle ground here: what you get is the sort of authentification of the lowest level which is the local level - is it pizzicato?, is it sforzato?, is there a sort of upbeat function towards the beginning of the next measure?, does the size of the measure have a very major role to play in the degree to which the material internally differentiates itself or dissolves even under certain circumstances?, how explicit is one in other words with respect to the sort of metric patterns which have been set up in advance?

Unfortunately as time goes

Arditti Ferneyhough Project Documentation

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