Éliane Radigue in her studio, Paris, ca. 1970s.
“Éliane Radigue (born January 24, 1932) is a French electronic music composer. She began working in the 1950s and her first compositions were presented in the late 1960s. Until 2000 her work was almost exclusively created with the ARP 2500 modular synthesizer and tape. Since 2001 she has composed mainly for acoustic instruments. Radigue was born in a modest family of merchants and raised in Paris at Les Halles. … She had studied piano and was already composing before hearing a broadcast by the founder of musique concrète Pierre Schaeffer. She soon met him, and in the early ’50s became his student, working periodically at the Studio d’Essai during visits to Paris. In the early 1960s, she was assistant to Pierre Henry, creating some of the sounds which appeared in his works. As her own work matured, Schaeffer and Henry felt that her use of microphone feedback and long tape loops (as heard in Vice-Versa and Feedback Works 1969-1970) was moving away from their ideals, though her practice was still related to their methods. … At the institution, Radigue was trained on tape music techniques as a part of her education in musique concrète. Radigue described the experience as eye-opening, as it introduced her to the idea that any sounds were able to be considered musical. However, she also described her early music to be paralleled from the practice as both of her educators disfavored electronic music over musique concrète principles. … In 1967, Radigue reconnected with Pierre Henry and started to work as his assistant at Studio Apsome. During this time, she developed particular interest in tape feedback technique, as it fit her sonic vision of minuscule developments over an extended time. … Around 1970, Radigue created her first synthesizer-based music in a studio she shared with Laurie Spiegel on a Buchla synthesizer installed by Morton Subotnick at NYU. (Chry-ptus dates from this time.) Her goal at this point was to create a slow, purposeful ‘unfolding’ of sound through the use of analogue synthesizers and magnetic tape, with results she felt to be closer to the minimal composers of New York at the time than to the French musique concrète composers who had been her previous allies She experimented with Buchla and Moog synthesizers before finding in the ARP 2500 synthesizer the vehicle she would use exclusively for the next 25 years in forging her characteristic sound, beginning with Adnos I (1974). After that work’s premiere at Mills College at the invitation of Robert Ashley, a group of visiting French music students spoke to her about Tibetan Buddhism, a subject she found fascinating and began investigating upon her return to Paris. …”
Éliane Radigue – Geeta Dayal
ARTFORUM: Synthesize Me
Bandcamp: Transamorem – Transmortem , Vice Versa, etc , Triptych, Adnos
YouTube: Islas resonantes 55:02