Eliane Radigue (Paris, January 24, 1932)
Eliane Radigue approaches to work as a composer in the fifties. In 1955 he met Pierre Schaeffer, director of Radio France d'Outre-Mer and the laboratory of concrete music of RTF (French Radio and Television) and became his student. The following year, Schaeffer believes Eliane sufficiently independent to itself access to the studies of the RTF, so the teacher writes a letter to the Director of the Nice seat but denies pupil access to the laboratories. Between 1958 and 1967
Eliane takes a break from electronics, dedicating his time to the three sons and her husband, the French artist Arman. After the divorce from his wife, Eliane back on track and is employed as an assistant to Pierre Henry Study Apsome where he created some sounds for his work. In this period as a technique using Eliane compositional feedback and tape recorders. In 1969 he released his first work of Radigue, a double 45 rpm in a limited edition of 250 copies, reprinted in 2000.
In the 70s he moved to the United States found many similarities with the New York minimalist scene. The musical atmosphere of the U.S. is not the only thing that pushes to move Eliane: in America there is a large supply of synthesizers, Moog, Buchla, modular systems, all machines that had the advantage to produce sounds with a control that does not can be done with the old tape recorders. In 1970 she was invited by New York University, agrees with the study of Morton Subotnick Laurie Spiegel with the study. She remained there until June 1971 making some arrangements with the Buchla. In New York falls in love of ARP 2500, an instrument that will use almost absolutely until 2000.
"Work within the sound, the ARP I program with a base and then introduce variations to the potentiometers. These slow variations are one of the elements that are evolving the sound and you do not ever identical. This is what interested me and always interested in doing, but I can not get with digital cameras. The ARP is a tool from the extreme sound quality, relatively easy and flexible in terms of handling and ultimately very precise. I could not work with preset tools. Like instead of playing in uncertain areas, where the ear is lost and through this "erratic" creates a space of freedom. But paradoxically, the end product is far from improvisation! You can not improvise. "
In 1973 he taught electronics at the University of Iowa and California Institute of the Arts. In 1974, Terry Riley at Mills College where he called the opportunity to work with Pauline Oliveros and Maggie Payne. After playing at Mills College Adnos, "some students define his music," meditative. " Eliane started to approach the Tibetan Buddhism. Skip the next three years with the guru Kalu Rinpoche devoted exclusively to meditation. Back electronics in 1979 with "Adnos II" followed by "Adnos III" in 1980. Between 1980 and 1990 he wrote the "Trilogie de la mort", a composition of three hours inspired by the Tibetan Book of the Dead. In 2000 the French government bestowed the "bourse à la creation" through which Eliane composed "Songs of Milarepa" and "Jetsun Mila", works dedicated to the Tibetan poet and saint who lived in the eleventh century. In this same year he recorded his latest electronic composition, "Re-sounding Ile", awarded the Ars Electronica in Linz in 2006. In 2001 he began writing scores for acoustic instruments and collaborates with The Lappatites, improvisation group for computers.
A Portrait of Eliane Radigue (2009) from Maxime Guitton on Vimeo .
"I think the sounds have their own personality and this gives the sense of time that they need. There are sounds that they needed time to tell their story. There are others who are a little 'more lively, fast. I try to respect the time of the sounds ... "Eliane Radigue
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