Electronic music used pure sounds, completely calibrated. You had to think digitally, as it were, in a way that allowed you to extend serial ideas into other parameters through technology.

I have problems with machines which aren't gestural.

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.

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.

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.

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.