Contemporary Music Studies, Harwood Academic Publishers have done an admirable job in publishing annual seminal works from a wide spectrum of contemporary musical thought,showing no proclivities. From Eisler, Peter Schat,,Bruno Maderna, Pierre Boulez and neglected Charles Koechlin. Here Ferneyhough brings us right to his writing desk and we learn how he constructs his multi-dimensional musical concoctions. Much of it has been material provided elsewhere,but who reads it or can recall its source,from program notes and seminal interviews with Paul Griffiths, James Boros and Richard Toop, those who have followed Mr. Ferneyhough's career, and were there at the birth. Well documented here are the four string Quartet. And since the quartet is, or has been considered as special creative preserve, Ferneyhough's thought is well focused, giving us, rendering his aesthetic battle-plans for each. Some like the Third Quartet was more lucid and facile,greater surface discourse relatively speaking. There are also grist kinds of analysis, of Webern, token objects on the way toward discovery,but analysis frequently point toward the labyrinth of creativity What you value one place is sought after in another. We also extend into a life beyond just placing musical loci, notes on paper, Walter Benjamin is a great inspiration, and Ferneyhough has followed the intellectual currents of Europe, philosophic, and cultural to be able to place his creations within that discourse. He frequently solicits the visual world of painting for an agenda.Also Musical excerpts abound the pages , and the impeccable draftsmanship is a sensuous pleasure a gaze almost pornographic in its seductiveness.