"If nothing is at risk, nothing is established"
About this Quote
Risk is the hidden metronome in Brian Ferneyhough's line: if you are not courting failure, you are not really making anything true. Coming from a composer synonymous with “New Complexity,” the sentence reads less like motivational poster wisdom and more like an aesthetic ultimatum. Ferneyhough’s music is famous for demanding the near-impossible: dense notation, layered rhythms, extended techniques, a performer's attention stretched to the breaking point. In that world, “risk” isn’t a vague attitude; it’s engineered into the score.
The intent is almost disciplinary. Establishment, for Ferneyhough, isn’t what institutions grant you, it’s what a work earns by surviving contact with real limits: the body of the performer, the fragility of rehearsal time, the audience’s tolerance for overload. The subtext is a critique of musical safety - the kind that polishes surfaces, repeats proven gestures, and mistakes competence for necessity. If nothing can go wrong, nothing can be discovered.
There’s also a sly inversion of classical music’s prestige economy. “Established” usually means canonized, stable, respectable. Ferneyhough suggests the opposite: the only thing worth establishing is what remains after you’ve threatened your own control. That makes the quote feel almost ethical. It asks whether an artwork is willing to stake its legibility, its beauty, even its likeability, to force a new kind of listening into existence. In a culture that rewards frictionless consumption, he’s defending difficulty as proof of life.
The intent is almost disciplinary. Establishment, for Ferneyhough, isn’t what institutions grant you, it’s what a work earns by surviving contact with real limits: the body of the performer, the fragility of rehearsal time, the audience’s tolerance for overload. The subtext is a critique of musical safety - the kind that polishes surfaces, repeats proven gestures, and mistakes competence for necessity. If nothing can go wrong, nothing can be discovered.
There’s also a sly inversion of classical music’s prestige economy. “Established” usually means canonized, stable, respectable. Ferneyhough suggests the opposite: the only thing worth establishing is what remains after you’ve threatened your own control. That makes the quote feel almost ethical. It asks whether an artwork is willing to stake its legibility, its beauty, even its likeability, to force a new kind of listening into existence. In a culture that rewards frictionless consumption, he’s defending difficulty as proof of life.
Quote Details
| Topic | Motivational |
|---|---|
| Source | Help us find the source |
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