^{page 44 note 1} Contact 27 (Autumn 1983).CrossRefGoogle Scholar

^{page 44 note 2} Contact 28 (Autumn 1984).Google Scholar

^{page 44 note 3} In the light of this, it would be interesting in due course to compare Górecki and Shostakovich. The three-note ‘motto’ of Górecki's Third Symphony is also the primary motive of Shostakovich's Tenth Symphony.

^{page 45 note 1} See Toop, Richard, ‘Brian Ferneyhough's Lemma-Icon-Epigram ’ in Perspectives of New Music Vol.28 No.2 (Summer 1990), pp. 52–100 CrossRefGoogle Scholar, ‘On Supersciptio’ in Contemporary Music Review, Vol.13, Part 1. pp. 3–17 Google Scholar, or ‘Brian Ferneyhough's Études Transcendantales; A Composer's Diary (Part 1)’ in EONTA Vol.1 No.203 (1991), pp. 55–89.Google Scholar

^{page 48 note 2} For a discussion of the problems of this approach see Pace, Ian, ‘Kagel: Music of the Absurd?’ in Tempo 200 (04 1997).Google Scholar

^{page 50 note 3} These recordings are soon to be followed by an NMC rerelease of the London Sinfonietta recording of Transit, together with a new recording of Missa Brevis, my own NMC recital disc including Lemma-Icon-Epigram and a disc featuring members of ELISION Ensemble, including Time and Motion Studies I & II, Unity Capsule, Bone Alphabet and a further recording of Kurze Schatten II. The major gaps that will then remain in the catalogue will be of Epicycle, Firecycle Beta, Time and Motion Study III and Funérailles (which are both available, but only as part of costly boxed sets), and especially Carceri d'Invenzione I & II.