\n<\/p>\n
\u00c9liane Radigue<\/a>, a French electronic composer behind multiple masterworks of musique concr\u00e8te and minimalism, has died. The Groupe de Recherche de Musique Concr\u00e8te<\/a> (INA GRM), a Paris-based research institute that specializes in the genre, confirmed the news today, February 24. A cause of death was not disclosed; Radique was 94 years old.<\/p>\n \u201cAn early collaborator in the field of musique concr\u00e8te, working first with Pierre Schaeffer<\/a> and then Pierre Henry<\/a>, \u00c9liane Radigue went on to carve out her own path with unparalleled freedom and vision,\u201d INA GRM\u2019s statement<\/a> read. \u201cA major figure in musical creation has left us.\u201d<\/p>\n Born in 1932 in Paris, Radigue came of age alongside France\u2019s burgeoning musique concr\u00e8te movement, which would influence and shape her own patient musical style. In her early twenties, she discovered Pierre Schaeffer\u2019s work on a radio broadcast, later meeting him by chance through a friend. Radigue went on to study as an apprentice under Schaeffer and Pierre Henry at the Studio d\u2019Essai. It was there that Radigue first experimented with tape splicing, looping, and layering, a practice that satiated her childhood taste for long, slow classical movements. But, as she told Purple Magazine<\/em><\/a> of Schaeffer and Henry in 2019: \u201cI\u2019ve always done what I wanted to as an artist, independent of my surroundings\u2026I was never concerned with making music like theirs.\u201d<\/p>\n Radigue first encountered a synthesizer, which would become her instrument of choice, while a guest composer at New York University in 1970, sharing a studio with Laurie Spiegel<\/a> and Rhys Chatham<\/a>. Although her initial impression of the rig was negative, Radigue eventually realized the instrument\u2014specifically, the ARP 2500 modular system\u2014had the potential to create the measured, organic sound she was looking for.<\/p>\n \u201cFor the first three months in front of the synthesizer, I just ejected anything I didn’t want,” Radigue told the Guardian<\/em><\/a> in 2011. \u201cAll of what I would call the \u2018big effects\u2019. Then, finally, I found a tiny little field of sound that interested me \u2013 and I just dug under its skin.\u201d When she returned to France with her first ARP, she reportedly did not even bring the synth\u2019s keyboard attachment.<\/p>\n With her ARP in tow, Radigue crafted multiple records that have become beloved minimalist classics, including Jetsun Mila<\/em> and Trilogie de la Mort.<\/em> Many of her works, including the pivotal series Adnos I-III<\/em>, took years to complete, and came to fruition as hour-plus suites of feedback, synthwork, and drone. Her music also drew inspiration from the tenets of Buddhism, which Radigue discovered alongside the synthesizer in New York in the \u201970s.<\/p>\n In the early 2000s, Radigue shifted her gaze towards acoustic composition with the encouragement of contemporaries like Charles Curtis (with whom she wrote Nadjlorlak<\/em><\/a>) and Kasper T. Toeplitz. After decades of working primarily independently, she reveled in the new horizons of collaboration. \u201cI\u2019d been working very much alone my entire life. Except for my cat, I haven\u2019t even had an assistant!\u201d Radigue expanded in her interview with Purple<\/em>. \u201cI discovered that the pleasure of working with musicians on acoustic sounds was what I\u2019d been looking for all along while making electronic music.\u201d<\/p>\n Her Occam<\/a> Ocean<\/em> suite, which includes over fifty pieces for solo artists and ensembles alike, saw her work with basset horn players Carol Robinson and Bruno Martinez, harpist Rhodri Davies, organist Fr\u00e9d\u00e9ric Blondy<\/a>,<\/strong> and the Canadian string quartet Quatuor Bozzini, among others. Radigue premiered the most recent installment, Occam Delta XXIII,<\/em> at the London Contemporary Music Festival in January 2025.<\/p>\n<\/div>\n