| Eliane Radigue (born January 24th 1932) is a French electronic music composer whose work, since the early 1970s, has been almost exclusively created on a single synthesizer, the ARP 2500 modular system and tape.She met him shortly thereafter in the early 50s, she became his student, and worked periodically during visits to Paris at the Studio d'Essai.During the early 1960s she was assistant to Pierre Henry, during which time she created some of the sounds which appeared in his work.As her work gained maturity, Schaeffer and Henry considered her use of microphone feedback long tape loops contrary to their ideals, but her practice was still influenced heavily by their methods.NYU at a studio she shared with Laurie Spiegel on a Buchla synthesizer left by Morton Subotnick.Her goal by that point was to create a slow, purposeful "unfolding" of sound, which she felt to be closer to the minimal composers of New York at the time than to the French musique concrete composers who had been her previous allies.She returned to composition, picking up where she left off, using the same methods and working toward the same goals as before, and finished Adnos II in 1979 and Adnos III in 1980.The first third of the Trilogie, Kyema, was her first release recording, issued by Phill Niblock's XI label.The Lappetites are Eliane Radigue, Kaffe Matthews, Ryoko Kuwajima, and Antye Greie, better known as AGF.This page was last modified 12:22, 29 November 2007.Eliane Radigue
ELIANE RADIGUE
was born in Paris, France.Very recently, in response to the demands of musicians worldwide, she has begun creating works for specific performers and instruments together with electronics.Paul de Vence), Albany Museum of the Arts (New York), Galerie Rive Droite (Paris), Gallery Sonnabend (New York), Galerie Yvon Lambert (Paris), and Galerie Shandar (Paris); at festivals including the Festival de Como (Italy), the Festival d'Automne a Paris, Festival Estival (Paris), International Festival of Music (Bourges, France); and at the New York Cultural Center, Experimental Intermedia Foundation (New York), The Kitchen (New York), Columbia University (New York), Vanguard Theatre (Los Angeles), LACE (Los Angeles), Mills College (Oakland), University of Iowa, Bennington School of Music, the San Francisco Art Institute, and the NEMO Festival (Chicago 1996).She has appeared on many broadcast programs including France Culture, France Musique, distribution via satellite covering over 50 stations in the U.KPFK (Los Angeles) and KPFA (San Francisco).United States periodically to present programs of her electronic works.DISCOGRAPHY
Jetsun Mila, Lovely Music, Ltd.Milarepa, Lovely Music, Ltd.Journey Inspired by a Dream, Lovely Music, Ltd.By JULIAN COWLEY
1998 was a watershed year for Parisian composer Eliane Radigue.Lovely Music) and Trilogie de la Mort (Xl), placed her at the forefront
of composers, preserving faithfully the spirit that initiated Minimalism.Previously,
she had played the twelve tone game, but found it unfulfilling.Then, while working as Pierre Henry's assistant, she chanced upon
electronic feedback effects.Her early experiments did not meet with approval from her mentor,
however.The first time Pierre Henry listened to what I
was doing, he was furious.He said I was gifted, and he had hoped
I would be a faithful follower.Something which is not external
to the sound.I've been
merely listening to them, and after that respecting them, trying
to figure out what is the basis of any composition, what do they
want to say next.She speaks of her musical settings as a try on which these delicacies
are offered to her listeners.Such metaphorical thinking is an
important ingredient of Radigue's creativity.She conceived it as a shape
made of multicolored thread which unravels to the point of its
disappearance, before reversing the process.Radigue accepts
the validity of Tom Johnson's remark that she has been making
the same piece throughout her life.She also
feels close to Maryanne Amacher, although they have never met.Further afield, she has found an especially supportive musical
community in the Bay Area of San Francisco.Such performances are increasingly
rare, and although resident in Paris, she has never presented
her work in England.Characteristically, she avoids sentimental
attachment to completed works.The next piece will always
be the best one.Eliane Radigue was born in Paris.In 1975, Radigue became a disciple of Tibetan Buddhism.She currently lives in France, where she continues to compose electronic music and to study the teachings of the Tibetan lamas.Eliane Radigue works with electronic sounds on tape to create an ambience within which sound seems to move in a continual flow around the listener.Recent performances have been at galleries and museums such as the Salon des Artistes Decorateurs (Paris), Foundation Maeght (St.Paul de Vence), Albany Museum of the Arts (New York), Gallery Rive Droite (Paris), Gallery Sonnabend (New York), Gallery Yvon Lambert (Paris), and Gallery Shandar (Paris); at festivals including the Festival de Como (Italy), Paris Autumn Festival, Festival Estival(Paris), International Festival of Music (Bourges, France); and at the New York Cultural Center, Experimental Intermedia Foundation(New York), The Kitchen (New York), Columbia University (New York), Vanguard Theatre (Los Angeles), LACE (Los Angeles), Mills College (Oakland), University of Iowa, Bennington School of Music, the San Francisco Art Institute, and the NEMO Festival (Chicago 1996).KPFK(Los Angeles) and KPFA (San Francisco).Mila's Journey inspired by a dream, Lovely Music LCD2002.Jetsun Mila, Lovely Music LM2003.Eliane Radigue at Amazon.Everything from Classic to Rock, SACDs and rare vinyl editions.Electronic composer Eliane Radigue has created lovely, meditative works based on Tibetan Buddhism using tape and an Arp synthesizer.Eliane Radigue at Amazon.Shop Amazon for low prices on a vast selection of new and used music.Everything from Classic to Rock, SACDs and rare vinyl editions.Information about prices, products, services and merchants is provided by third parties and is for informational purposes only.There is a lot to say about listening.Different noises suggest different ways of listening, but deep listening can easily be applied to any particular set of sounds.Radigue created these three pieces between 1973 and 1981 by meticulously mixing together sounds from an ARP synthesizer on tape.Radigue studied under Pierre Henry and exhibits remarkable skill in her techniques.Despite the impressive methods employed here, however, the process by which the pieces were created is really only important to the extent that it succeeds in its effects.Each piece is a little over 70 minutes in length and is based around gradually changing drones, generally happening separately in three distinct frequency ranges.The highest and lowest of these are at each end of the audible spectrum.Across the cycle, an increasingly complex rhythmic element emerges.Adnos III features rapidly syncopated tones somewhere between ticking and chiming that imply a much quicker tempo than the other elements of the piece.Throughout all three pieces, the sounds are very active.Because of its minimalist nature, the listener is forced to tune into finer aspects of the sounds and continuously discover more minute characteristics.Most of the tones that Radigue employs are what some would refer to as pure.Radigue succeeds immensely, however, in bringing out their fundamental character, making the pieces seem natural if abstract, and more than anything else, comfortable.Change is inevitably very important to any way of listening; sounds are nothing but vibrating air.Since the changes that occur are slow and smooth to practically imperceptible, the listener is forced to take in each piece as a whole and listen to it as one long sound.In fact, there are no clearly distinct parts.Each piece is meant to be heard in its entirety, and any smaller part lacks the force of the whole.Interestingly, she was inexperienced in meditation when she composed Adnos I.You need only to allow yourself to be receptive and pay attention to the sounds to find yourself becoming calmer and more aware of your surroundings.You can interpret the works in variety of different ways, but there's a sensual effect common to any kind of listening to Eliane Radigue's music.The music gently influences your thoughts, becoming a natural part of your environment.Artist: Eliane Radigue Album: Jetsun Mila Label: Lovely Review date: Jul.This made sense both musically and experientially; her music instills a meditative state of mind, and she already felt before the encounter that she was following sound and trying to do its bidding rather than telling it what to do.Eliane Radigue is a remarkable figure in the contemporary experimental music scene.From 1970, she started distinguishing herself from other composers by focusing on the new possibilities offered by the first synthesizers.More particularly, she worked with an ARP synthesizer, which became and remains her trademark.We could talk about environmental music concerning my early sound pieces.He had made a sculpture out of a glass block with moving elements inside.This seminar was based upon continuous tracks that we used in the Labyrinthe, but those tracks had already been made decades earlier.We also worked on the localization of the sound by including different interventions by Maggie Payne and Pauline Oliveros, with some piano and wind instruments.We worked on an entire composition outside of the music school.The evening before the concert, there was a torrential weather, which prevented us from using the music as initially planned.Beside the students, people like Pauline Oliveros or J.After this period, you started using the ARP synthesizer in your work...That way I managed to make the sound evolve.Because most of the time they were sustained sounds and beats that varied constantly.That was what I wanted to work on.When I left for the US, at New York University, I got access to a real synthesizer for the first time.It was the Buchla, which had been installed by Morton Subotnik in his studios.It was my first contact with a synthesizer of sounds.Buchla, the Moog, the Electrocomp, maybe the VCS in England and also the Tonus Incorporation ARP.You probably need this relationship so as to make it work properly.New York where I was considering all the different possibilities available.What I try to develop with sound is what I would call sense.As soon as I have all my sounds, I recompose them by means of mixing processes.So after ten times, you think that enough is enough.If a little hitch occurs at the fiftieth minute, never mind, it will remain there.Still the only thing we can be sure of is to never get the same result twice.Mills College who showed me different softwares, MIDI devices, etc.So, I left all these things aside and I came back to my old friend, the ARP.The key that preceded is still not the key that is about to come.So everything has to be made all over again.In the first place, with analogical devices, it was impossible to bypass the hiss.The only trick I found was to lower the sound level of this frequency at the beginning of the piece, so as to be able to raise it again gradually.What you cannot avoid, you have to integrate it and transform it into music.However it provided some very interesting things during the recording and the slow motion playing.But I realized that it was noxious and tiring for the ear.Simultaneously, I enjoyed a lot working on extremely low sounds and there I had the chance to have my Altec Voice of the Theater speakers, which are highly efficient in that field.Afterwards, I came back into far more reasonable spheres.So you came back to a certain form of wisdom.This is another story that goes back to 1975.Buddhism during which I stopped making music, except in my head, where it never stopped.It seemed essential to me, it seemed to be the most important thing in life.It seemed far too daring to start with The Songs, which seemed to be the quintessence of his teaching.So I gave up the project on The Life of Milarepa.This Lama, of Sakyapa tradition, has inherited a certain number of texts, and very special ones.So, not only did he accept to lend his Tibetan voice, but he also sang the texts in the Sakyapa tradition.As soon as I got the readings in Tibetan by Lama Kunga and the ones in English by Bob Ashley, I created a kind of sound track that supported their voices.Tibetan language, but just enough to know where I had to make the cuts.My intervention is of the lightest and most fluid type.This piece was dedicated to him.Then my Tibetan Master died shortly afterwards.In the end I was invited to the CIRM in Nice, for the MANCA festival.Thus I finished the third piece and it became the Trilogie de la mort.This sacred music can contribute to the awakening of consciousness.All the sounds in it can contribute to free the mind from any ordinary preoccupation, to help it acquire more lucidity and clarity.Nevertheless, I can help someone creating something.Bokanowski asked me to lend her some sounds.Nevertheless, I quite like the idea.He plugged his bass guitar and I explained to him what I wanted. |
