Electronic music used pure sounds, completely calibrated. You had to think digitally, as it were, in a way that allowed you to extend serial ideas into other parameters through technology.
So the ideology was that: use sounds as instruments, as sounds on tape, without the causality. It was no longer a clarinet or a spring or a piano, but a sound with a form, a development, a life of its own.
With the piano I'm completely in control of the gestural situation-not that I'm going to play the piece myself, but I know what's difficult, what's impossible.
Boulez seemed to me to be a guy who wrote laws. Like a company lawyer.
I have problems with machines which aren't gestural.
Well, first I studied piano. I wasn't very satisfied because I though my teachers were dumb... and repressive.
You turned on the radio and heard all kinds of things.
I probably went to musique concrete concerts - though not the very first ones - at the beginning of the 50s.
I wanted to play piano, and that slid quickly into writing - it wasn't enough to play other people's notes: I had to write notes too.
My sisters were going out with artists and poets, and eventually it was the creative world which attracted me.
I was born in Paris, and I haven't moved, except until now - I live in the suburbs and I hate it.
I think I came across Cecil Taylor a bit later, in 65 or 66. That really impressed me - Cecil Taylor is an amazing character... Both his music and the way he approaches the instrument are astonishing.
When the Domaine Musical started up, I wasn't part of it. They were the major players in contemporary music at that time, braodcasting old and new composers' work. And I wasn't one of them.
Whereas Schaeffer and Henry were working like samplers, their idea was to capture those sounds which couldn't be serially calibrated because they were too complex in character.
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