Afterwards I went to Messiaen, in 1953, or something like that. I went just after Boulez and Stockhausen. Messiaen was inspiring when discussing other people's music, and he was unbearable when he talked about his own!LQuote by Luc Ferrari about music
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.LQuote by Luc Ferrari about music
I was writing atonal music, noisy music, like Honegger - who I met too. I worked with him a bit and found him really depressive.LQuote by Luc Ferrari about music
Then I was at Darmstadt from 1954 onwards, and it was great. My first pieces were played straightaway. It was there that I met everybody who made up that generation that redefined post-War music.LQuote by Luc Ferrari about music
When the Domaine Musical started up, I wasn't part of it. They were the major players in contemporary music at that time, braodcasting old and new composers' work. And I wasn't one of them.LQuote by Luc Ferrari about music