Éliane Radigue


Éliane Radigue is a French 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.

Biography

Radigue was born in a modest family of merchants and raised in Paris at Les Halles. She later married the French-born American artist Arman with whom she lived in Nice while raising their three children, before returning to Paris in 1967. 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 was moving away from their ideals, though her practice was still related to their methods.

Career

1955–1957: Apprenticeship in musique concrète

Radigue's initial education on electroacoustic music was from composer Pierre Schaeffer, to whom she was introduced via radio broadcasts of his music. After meeting him in person through a mutual friend, Radigue started her music education under Schaeffer and Pierre Henry at Studio d'Essai de la Radiodiffusion Nationale in Paris in 1955. At the institution, Radigue was trained on tape music techniques as a part of her education in musique concrète. Radigue described the experience of working in the Groupe de Recherche de Musique Concrète 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.

1960s: Tape feedback

Radigue left Studio d'Essai due to the need to support her children's education. As she lost access to studios and equipment, she pursued music education on classical composition, harp, and piano. In 1967, Radigue reconnected with Pierre Henry and started to work as his assistant at Studio Apsome. During this time, she developed a particular interest in tape feedback technique, as it fit her sonic vision of minuscule developments over an extended time. After a year, Radigue resigned and started her professional music career, primarily working within the tape editing medium.

1970s–1990s: Experiments with synthesizers

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. 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. After that work's premiere at Mills College at the invitation of Terry Riley, 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.
In the 1970s, Radigue was romantically involved with pianist and composer Gérard Frémy. Her piece Geelriandre was dedicated to Frémy, and featured him on prepared piano, one of the rare appearances of the instrument in her catalog.

Buddhist influence

After investigating Tibetan Buddhism, she quickly converted and spent the next three years devoted to its practice under her guru Tsuglak Mawe Wangchuk, who subsequently sent her back to her musical work. She returned to composition, picking up where she left off, using the same working methods and goals as before, finishing Adnos II in 1979 and Adnos III in 1980. Then came a series of works dedicated to Milarepa, the Tibetan yogi, known for his Hundred Thousand Songs representing the basis of his teaching. First she composed the Songs of Milarepa, followed by Jetsun Mila, an evocation of the life of this master; the creation of these works was sponsored by the French government.
In the late 1980s and early 1990s, she devoted herself to a singular three-hour work. Considered to be her masterpiece, the Trilogie de la Mort was released in 1998; the first part kyema Intermediate states follows the path of the continuum of the six states of consciousness. The work was influenced as much by the Bardo Thodol and her meditation practice, as by the deaths of Tsuglak Mawe Wangchuk and of her son Yves Arman. The first third of the Trilogie, "Kyema", was her first recording to be released on Phill Niblock's XI label. In his AllMusic review, "Blue" Gene Tyranny described Trilogie de la Mort as a "profound work of electronic music".

2000s–present: Acoustic works

In 2000, she made her last electronic work in Paris, L'Ile Re-sonante, for which she received the Golden Nica Award at the festival Ars Electronica in 2006.
In 2001, on request from electric bassist and composer Kasper T. Toeplitz, she created her first instrumental work, Elemental II, which she took up again with The Lappetites, a laptop improvisation group comprising Antye Greie/AGF, Kaffe Matthews and Ryoko Akama. She participated in their first album Before the Libretto on the Quecksilber label in 2005.
Since 2004 she has dedicated herself to works for acoustic instruments. First with the American cellist Charles Curtis, the first part of Naldjorlak was premiered in December 2005 in New York and later played in 25 concerts across the U.S. and Europe. The second part of Naldjorlak for the two basset horn players Carol Robinson and Bruno Martinez, was created in September 2007 at the Aarau Festival. The three musicians completed the third part of Naldjorlak with Radigue and premiered the complete work, "Naldjorlak I,II,III", in Bordeaux on January 24, 2009. In June 2011 her composition for solo harp Occam I, written for the harpist Rhodri Davies, was premiered in London. Numerous solos and ensemble pieces in the OCCAM cycle have followed.
In January 2025, Radigue’s new collaborative work OCCAM DELTA XXIII, created with Carol Robinson and Ensemble Klang, premiered at the London Contemporary Music Festival at Wigmore Hall. This piece continues Radigue’s OCCAM series, exemplifying her innovative approach of composing collaboratively and transmitting scores orally, and demonstrates her ongoing influence on contemporary music.

Selected works

  • Jouet électronique, archival, 1967
  • Elemental I, archival, 1968
  • Usral, Grand Palais, Paris, 1969
  • Omnht, Rive Droite Gallery, Paris, 1970
  • Stress Osaka, Osaka International Fair, Osaka, 1970
  • Vice-Versa, etc..., Lara Vincy Gallery, Paris, 1970
  • Opus 17, Centre Artistique de Verderonne, Verderonne, France, 1970
  • Chry-ptus, New York Cultural Art Center, 1971
  • 7th Birth, New York, 1972
  • Geelriandre, Théatre de la Musique, Paris, 1972
  • Ψ 847, The Kitchen, New York, 1973
  • Arthesis, Theater Vanguard, Los Angeles, 1973
  • Biogenesis and Transamorem Transmortem, The Kitchen, New York, 6 March 1974
  • Adnos, Festival d'Automne, Paris, 1974
  • 7 petites pièeces pour un Labyrinthe Sonore, GERM, Paris, 1975
  • Triptych, Dancehall/Theatre of Nancy, 1978
  • Adnos II, Mills College, Oakland, 1980
  • Adnos III, Prélude à Milarepa, Experimental Intermedia Foundation, New York, 1982
  • 5 Songs of Milarepa, San Francisco Art Institute, 1984
  • Jetsun Mila, Vie de Milarepa, GERM, Paris, 1986
  • Kyema, New Langton Arts, San Francisco, 1988
  • Kailasha, Experimental Intermedia Foundation, New York, 1991
  • Koumé, Mamac, Festival MANCA, Nice, 1993
The last three works constitute the three parts of the Trilogie de la Mort.
  • Elemental II, Festival Cités soniques, CCmix, January 2004
  • Naldjorlak, Tenri Cultural Institute, New York, December 2005
  • Naldjorlak I II III, CACP, Bordeaux, January 2009

    Occam Series

  • Occam I for harp. Premiered by Rhodri Davies in London
  • Occam II for violin. Premiered by Silvia Tarozzi in Bologna
  • Occam III for birbynė. Premiered by Carol Robinson in Bologna 20’
  • Occam IV for viola. Premiered by Julia Eckhardt in Bologna
  • Occam V for cello. Premiered by Charles Curtis in New York
  • Occam VI for EMS synthesizer. Premiered by Thomas Lehn in Berlin
  • Occam VII for voice and electronics. Premiered by Antye Greie-Ripatti
  • Occam VIII for cello. Premiered by Deborah Walker in Metz
  • Occam IX for “digital spring spyre”. Premiered by Laetitia Sonami in San Francisco
  • Occam X for trumpet. Premiered by Nate Wooley in New York
  • Occam XI for tuba. Premiered by Robin Hayward in Brussels
  • Occam XII for viola. Premiered by Catherine Lamb in Frankfurt
  • Occam XIII for bassoon. Premiered by Dafne Vicente-Sandoval in Glasgow
  • Occam XIV for harp. Premiered by Hélène Bréchand  in Paris
  • Occam XV for clarinet in C. Premiered by Bruno Martinez
  • Occam XVI for bass clarinet. Premiered by Carol Robinson in Dundalk 23’
  • Occam XVII for double bass. Premiered by Dominic Lash in London
  • Occam XVIII for contrabass recorder. Premiered by Pia Palme
  • Occam XIX for five string double bass. Premiered by Louis-Michel Marion in Clermont-Ferrand 30’
  • Occam XX for EMS synthesizer. Premiered by Ryoko Akama in Huddersfield
  • Occam XXI for violin. Premiered by Angharad Davies in Mexico
  • Occam XXII for voice. Premiered by Yannick Guédon in San Sebastian
  • Occam XXIII for alto saxophone. Premiered by Bertrand Gauguet in Paris 20’
  • Occam XXIV for bass and alto flute. Premiered by Cat Hope in Eveleigh New South Wales
  • Occam XXV for organ. Premiered by Frédéric Blondy in London 40’
  • Occam XXVI for percussion. Premiered by Enrico Malatesta in Berlin
  • Occam XXVII for bagpipes. Premiered by Erwan Keravec in Montreal
  • Occam River I for birbynė and viola. Premiered by Carol Robinson, Julia Eckhardt in Bolzano 25’
  • Occam River II for violin and cello “. Premiered by Silvia Tarozzi, Deborah Walker in Metz
  • Occam River III for birbynė and trumpet. Premiered by Carol Robinson, Nate Wooley in New York 22’
  • Occam River IV for tuba and cello. Premiered by Robin Hayward, Charles Curtis in Brussels
  • Occam River V for viola and cello. Premiered by Catherine Lamb, Deborah Walker in Brussels
  • Occam River VI for contrabass recorder and harp. Premiered by Pia Palme, Rhodri Davies in Huddersfield
  • Occam River VII for bassoon and cello. Premiered by Dafne Vicente-Sandoval and Deborah Walker
  • Occam River VIII for bass clarinet and five string double bass. Premiered by Carol Robinson, Louis-Michel Marion in Claremont-Ferrand 26’
  • Occam River IX for two violas. Premiered by Julia Eckhardt, Catherine Lamb in Brussels
  • Occam River X for bassoon and tuba. Premiered by Dafne Vicente-Sandoval, Robin Hayward in Glasgow
  • Occam River XI for bassoon and cello. Premiered by Dafne Vicente-Sandova, Charles Curtis in Glasgow
  • Occam River XII for cello and harp. Premiered by Charles Curtis, Rhodri Davies in Glasgow
  • Occam River XIII for bassoon and harp. Premiered by Dafne Vincente Sandoval and Rhodri Davies in Oslo
  • Occam River XIV for harp and five string double bass. Premiered by Hélène Breschand and Louis-Michel Marion
  • Occam River XV for violin and double bass. Premiered by Angharad Davies and Dominic Lash in Matlock Bath, Derbyshire
  • Occam River XVI for birbynė and harp. Premiered by Carol Robinson and Rhodri Davies in Brooklyn 54’
  • Occam River XVII for violin and harp. Premiered by Angharad Davies and Rhodri Davies
  • Occam River XVIII for double bass and harp. Premiered by Dominic Lash and Rhodri Davies
  • Occam River XIX for viola and baritone. Premiered by Julia Eckhardt and Yannick Guédon in San Sebastian
  • Occam River XX for harp duo Helene Breschand and Rhodri Davies
  • Occam River XXI for tuba and harp Robin Hayward and Rhodri Davies
  • Occam River XXII for bass clarinet and saxophone Premiered by Carol Robinson and Bertrand Gauguet in Paris 28’
  • Occam River XXIII
  • Occam River XXIV
  • Occam River XXV
  • Occam River XXVI
  • Occam River XXVII for bass clarinet and harp Premiered by Carol Robinson and Helene Breschand in Paris 20’
  • Occam River XXVIII for birbynė and viola de gamba 27’
  • Occam Delta I for birbynė, violin, viola and harp. Premiered by Carol Robinson, Silvia Tarozzi, Julia Eckhardt, Rhodri Davies in Bologna
  • Occam Delta II for bass clarinet, viola and harp. Premiered by Carol Robinson, Julia Eckhardt, Rhodri Davies in Huddersfield 30’
  • Occam Delta III for violin, viola and cello. Premiered by Silvia Tarozzi, Julia Eckhardt, Deborah Walker in Metz
  • Occam Delta IV for tuba, cello and harp. Premiered by Robin Hayward, Charles Curtis, Rhodri Davies in Paris
  • Occam Delta V for bass clarinet, tuba, cello and harp. Premiered by Carol Robinson, Robin Hayward, Charles Curtis, Rhodri Davies in Paris 20’
  • Occam Delta VI pour bassoon, two violas and cello. Premiered by Dafne Vicente-Sandoval, Julia Eckhardt, Catherine Lamb, Deborah Walker
  • Occam Delta VII for two violas and cello. Premiered by Julia Eckhardt, Catherine Lamb, Deborah Walker in Brussels
  • Occam Delta VIII for bassoon, tuba, cello and harp. Premiered by Charles Curtis, Rhodri Davies, Robin Hayward, Dafne Vicente-Sandoval in Glasgow
  • Occam Delta IX for bassoon, tuba, and cello. Premiered by Dafne Vicente-Sandoval, Robin Hayward, Charles Curtis in Mexico
  • Occam Delta X for trombone, horn, tuba. Premiered by Hillary Jeffrey, Elena Kanakaliagou, Robin Howard in Milan
  • Occam Delta XI for violin, viola and bassoon. Premiered by Silvia Tarozzi, Julia Eckhardt, Dafne Vicente-Sandoval in Paris
  • Occam Delta XII for bass fute, bass clarinet and cello. Premiered by Erik Drescher, Volker Hemken, Robert Engelbrecht in Hamburg
  • Occam Delta XIII for bass clarinet, harp and 5-string double bass. Premiered by Carol Robinson, Hélène Breschand, Louis-Michel Marion in Metz 35’
  • Occam Delta XIV for harp, violin and double bass. Premiered by Angharad Davies, Dominic Lash, Rhodri Davies in London
  • Occam Delta XV for string quartet. Premiered by Isabelle Bozzini, Alissa Cheung, Stéphanie Bozzini, Clemens Merkel in Montreal
  • Occam Delta XVI for bassoon, tuba and harp. Premiered by Dafne Vicente-Sandoval, Robin Hayward, Rhodri Davies in Darmstadt
  • Occam Delta XVII for bassoon, violoncello and harp. Premiered by Dafne Vicente-Sandoval, Charles Curtis, Rhodri Davies in Glasgow
  • Occam Delta XVIII for saxophone, viola, baritone, bass clarinet. Premiered by Bertrand Gauguet, Julia Eckhardt, Yannick Guedon, Carol Robinson in Paris 30’
  • Occam Delta XIX for alto saxophone, birbynė, voice+viola de gamba. Premiered by Carol Robinson, Bertrand Gauguet, Yannick Guedon 25’
  • Occam Hexa I for bass clarinet, tuba, viola, cello and harp. Premiered by Carol Robinson, Robin Hayward, Julia Eckhardt, Charles Curtis, Rhodri Davies in Paris 24’
  • Occam Hexa II for flute, clarinet, viola, cello and percussion. Premiered by Decibel in Perth, Australia
  • Occam Hexa III for trumpet, bassoon, bass clarinet, violin, viola and 5-string double bass. Premiered by Nate Wooley, Dafné Vicente-Sandoval, Carol Robinson, Silvia Tarozzi, Julia Eckhardt, Louis-Michel Marion 27’
  • Occam Hexa IV for 2 violins, viola, cello and double bass. Premiered by Silvia Tarozzi, Angharad Davies, Julia Eckhardt and Dominic Lash in Huddersfield
  • Occam Hexa V for 2 saxophones, trombone, electric guitar, piano and percussion
  • Occam Hepta I for Ensemble Dedalus. Premiered in Salzburg
  • Occam Océan I for large ensemble. Premiered by ONCEIM, conductor Fréderic Blondy in Paris 55’