“The ideal scenario can be found after his death: because other people will leave him alone to make his artistic paintings while he is alive,” Spiegel software engineer who called the launch of the fortnight said last month. She remembers Richard Serra, a party on the roof, for the secret of her success: “You simply tell him not all the time,” he said. “You tell them to leave and not brain because you are busy running in your paintings. And they will come back more and more, but you just tell them to leave. “

A look at Spiegel’s curriculum shows how much Serra’s recommendation followed (or how Herbal is). What he has done over the years is to work: in his own music and in systems of his own invention, such as “Music Mouse” for Apple’s first computers, as well as concerts for other systems. This technique raises its challenges, with respect to the new fame, anything that the composer recognizes: “I have never been self -promotional. ” If you have heard of Spiegel for the first time this year, it is probably because you read something about the vital use of a first song difficult to understand: “Sediment”, in the film adaptation of “The Hunger Games”.

If you knew Spiegel before this boomlet, you would possibly be accustomed to avant -garde musical messages, or a music student with a specific interest in the reference books of the twentieth century that put in detail the pioneer paintings of Spiegel. The electronic and experimental music of Thom Holmes “and” American music through Kyle Gann in the twentieth century “, dedicate several pages differences to their achievements as composer and technical. You can also have been a fan of Laurie Anderson, and choose the seminal compilation” Women in electronic music 1977 “to listen to Anderson’s songs” New York Life “and” Time to Go ” Compilation of the Spana’s women of the Spina of the Spana of the Spana of the Anderson Spina “and also the emblematic list”, and also the emblematic list.

This distribution challenge is about to be resolved. Spiegel’s wonderful year continues while his reference point and his 1980s for a long time in 1980 “The expanding universe” realized for the first time on the compact album through the world’s invisible label. While the original LP ran a little more than forty -five minutes (and had to lie in the long run of a name of a dynamic diversity to adapt all rhythms on both sides), the expansion of the universe “expanding” newly expanded, in its physical form, on two compact discs, with a time of two hours and an operating time part. What is old about this reissue is more blow and more punk than the mp3 torn through the vinyl that exists online. And what is new to “The expanding universe” is as diversified and alive as any electronic music published this year, even if all these pieces have been designed in a hybrid formula of the anapa of IT hidden in a Bell Labs Hall from 1973 to 1979.

This device would be the device “that generates genuine operations of Max Mathews in tension equipment”, in a different way known as Groove. It was a hybrid virtual analog mechanism that was giant enough to require several rooms. (Although it is too difficult to handle to obtain a live performance, Spiegel once described it as “the final synthesizer”). A technical breakdown of the slot settings can become quite complex, but, in summary, the system was controlled from that monitor, a three-eighth keyboard and a joystick operated through the user, everything that was separated through a glass window from a temperature of a temperature-control with a living room with a giant, a giant, a joys day, all of which was separated through a glass window from a glass window from a glass window from a glass window from a glass window of a temperature-control with a living room with giant, which the user was operated. in turn connected to a virtual magnetic strip on the corridor.

Since portable synthesizers already existed to serve electronically susceptible composers, what was the point of such a heavy system? For Spiegel, it was the mixture of the ability of a PC to maintain and repeat complex controls while allowing the genuine integration of the diversifications of a human artist.

Spiegel’s improvisation sensitivity, and his word to repeat himself at a conceptual level, made of all incredible music before. “A popular study”, which transmits below, shows what Kyle Gann called the “live minimalist flavor of Spiegel that recalls the selection of the rural banjo. ” Speaking of the first innovatives in the minimalist field, Spiegel adopts a suspicion of jargon of countries the identity of some of their less unusual guidelines. “I suppose Steve [Reich] and Phil [Glass] left here from African rhythms and Indian music, however, we had things here, in the house here in the United States and the banjo is a tool that that is, because it has the chain raised next to the weak rope like the Indian tools. “

Spiegel, she herself a banjo and lute player who studied in Juilliard in the last place of the 1960s, directed musical paintings for H. Wiley Hitchcock on American music before the civil war. From Cette Façon, Elle is one Avant-Garde Unique: the genre qui voit aucune tension between the Folkloriques Américainas and the radicals of ses contemporaries. “I just listen to a lot of music that are drones and curls,” said Spiegel, speaking of the existing experimental scene. “ILS COMMENCENT JUSTE QULQUE chose ETSUITE ILS AJOUTHENT UNE AUTRE COUCE ET ONE AUTRO COUCE OU ILS ITÉRINT JUSTE . . .

The scope of Spiegel’s adventure spirit as a composer is also revealed in reissue. In particular, its programming of percussive accents presented in the “Drums” polyithmic song, as well as in the “ClockWorks” of five minutes, observe the global but invented from minimum techno:

“It’s so strange to them new!” Spiegel says about those pieces. “Je l’Ai Fait il and if Longtemps; C’est Comse Collagant more Longtimps than Je Ne Pouvais Même Pas follower of Les écuter. ” She adds: “I am less what sounds now”, citing the fact that “the raw analog sounds are back in fashion” and their preference to see their composition techniques that suffer complaints and composers.

When he sits in his housing and paint area, a tribute to a museum with PC guts of all times, electrical acoustic hybrid tools and books on topics that pass from Bach to the coding, I saw how the apartment built for paintings and, above all, and how the living room can be a testimony of what calls its ability to “become fascinated” and pass a bliss with the UN have time. According to the apartment, it also has a wall of grades full of functionality bands that are not extracted and archive for the virtual age. Spiegel told me that the New York Library for the exhibition arts had come to call, even if it has not yet had the possibility of perceiving where its files belong in all problems.

When looking now in the composite pieces in Bell Labs at the time of the “expanding universe”, Spiegel believes that they probably have not happened in any of the PC music systems in the university, which, according to her, even her stuttering, launched a “network of old people. ” “I am very, very lucky that Max [Mathews] idea that I was quite bright and that I had the right concepts and I liked my electronic music that I played and that I gave my freedom to do what I wanted. “

To listen to Spiegel saying, the environment of Bell Labs, at least in the wing of PC music, was collaborative at the end. “Technology was a way to succeed in a finish.

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