* contentious terms resting in hard brackets: [ ].
** no, I can't take the 20-minute Proms piece seriously. And yes, Thomas Adès strikes me as a Wolfgang Rihm-ish figure, an amiable, musical guy, who is extremely fluent at a kind of approximation or simulacrum of serious modern music, but not music I can personally go into any depth with.
*** see, for example, this essay (scroll down a bit) by David Feldman on some of Tom Johnson's music.
**** Anyone else tried reading the new Lois Fitch monograph on Ferneyhough with an e-reader? Above and beyond the surprising amount of text dropped or otherwise corrupted, it's disappointing because much of the action in the music under discussion, even when that music celebrates its own less-than-clear character comes about from a small body of techniques that could be described much more clearly. I would think that a very useful little book could be written setting aside all of the broader cultural themes which have engaged the composer and just describing a number of F's techniques and considering their potentials, alone and in combination, in real musical contexts. And yes, please, let's get rid of this "irrational time signature" business!