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ABSTRACT
This article explores various aspects of Éliane Radigue's approach to working with her ARP 2500 modular synthesiser, analysing sketches, recordings, and technical information about her instrument to fill gaps in currently available accounts, such as those found in Holterbach, Rodgers, and Eckhardt. Drawing on correspondence with François J. Bonnet, the second section outlines the general process she undertook to commit these compositions to tape, with attention paid to the limited set of tools at her disposal. Throughout the text I suggest that Radigue intentionally occludes her role as the work's author. I argue that this is a trend that characterises Radigue's music-making process in general.
Disclosure Statement
No potential conflict of interest was reported by the author(s).
Notes
1 Bonnet: ‘Most of [Radigue's] ‘patch scores’ have been lost. They have been shared for an exhibition, a long time ago, and the gallery's basement got flooded’ (email correspondence with the author, January 8, 2021).
2 Unless otherwise noted, all translations from the French are my own.
3 That endeavour is undertaken in my PhD. Thesis.
4 Eckhardt and Radigue's translation.
5 Additional partials above and below the signal being modulated.
6 This phrase, attributed to Radigue, is taken from Holterbach's liner notes for INA/GRM's 2021 release of Opus 17, and is provided in both French and English.
Additional information
Notes on contributors
Daniel Silliman
Daniel Silliman is a composer, performer, and electronic musician. He has presented work at CCRMA, Carnegie Hall, Palacio de Bellas Artes, and The Kitchen. He holds a PhD in music from Princeton University.