I think I came across Cecil Taylor a bit later, in 65 or 66. That really impressed me - Cecil Taylor is an amazing character... Both his music and the way he approaches the instrument are astonishing.

Boulez seemed to me to be a guy who wrote laws. Like a company lawyer.

My sisters were going out with artists and poets, and eventually it was the creative world which attracted me.

Whereas Schaeffer and Henry were working like samplers, their idea was to capture those sounds which couldn't be serially calibrated because they were too complex in character.

I probably went to musique concrete concerts - though not the very first ones - at the beginning of the 50s.

Well, first I studied piano. I wasn't very satisfied because I though my teachers were dumb... and repressive.

With the piano I'm completely in control of the gestural situation-not that I'm going to play the piece myself, but I know what's difficult, what's impossible.