Features of Michael Finnissy's music are considered through some of the ideas and writings of anthropologist Tim Ingold. Finnissy and Ingold share a preoccupation with line and, more specifically, exploring Finnissy's compositional approach as applied anthropology provides productive insights into his music and performance practice. The starting point for this investigation is a consideration of three of Finnissy's pieces connected to Wolfgang Amadeus Mozart: Completion of the Requiem KV 626 by W.A. Mozart and F.X. Sussmayr (2011); Cibavit eos (1991); and WAM (1990-91). These pieces provide a convenient set of examples with relevant features: music that connects to the past; music with elaborate line(s); music written for amateur performers; transcription; and instrumentalists that move as part of the performance. These recurring features of Finnissy's composition could be considered indicative of this anthropological approach; they are informed by an investment in people that aspires to musical and personal transformation.
