This is a great interview which I have read many, many times. It was given in 1997 and Teo touches upon many of the topics and concepts that are touched upon here. Plus, he also talks about Miles, Ellington, Varese Stockhausen, the state of electronic music,these kids of today and various other sundry items:
The composer is the only one of the creators today who is denied direct access with the public. When his work is done, he is thrust aside and the interpreter enters, not to try to understand but, impertinently, to judge it. Not finding in it any trace of the conventions to which he is accustomed, he banishes it from his programmes, denouncing it as incoherent and unintelligible
It is true that, in response to public demand, our official organisations occasionally place on their programmes a new work, surrounded by established names, but such a work is carefully choosen from the most timid and anaemic of contemporary production, leaving absolutely unheard the composer who represents the true spirit of our time
It's just recently that I've tried to become even more aware of this other side-the life side of music. I feel I'm just beginning again...music is a reflection of the universe, like having life in miniature. You just take a situation in your life or an emotion you know and put it into music.
They hurt you at home and they hit you in school
They hate you if you're clever and they despise a fool
Till you're so fucking crazy you can't follow their rules
Keep you doped with religion and sex and tv
And you think you're so clever and classless and free
But you're still fucking peasants as far as I can see
He is probably the first composer to list a specailized knowledge of acoustical sciences and electronic instrumental technique among his educational credits as a composer, rather than the diploma in piano or cello which composers used to boast in the past.
-Liner notes from CBS Odyssey release of Stockhausen's Nr.5 Zeitmasse for Five Woodwinds-
* The Best For Less: Records give you top quality for less money than any other recorded form.
* They Allow Selectivity of Tracks: With records it's easy to pick out the songs you want to play, or to play again a particular song or side, All you have to do is lift the tone arm and place it where you want it. You can't do this easily with anything but a phonograph record.
* They're The Top Quality in Sound: Long-playing phonograph records look the same now as when they were introduced in 1948, but there's a world of difference. Countless refinements and developments have been made to perfect the long-playing record's techincal excellence and insure the best sound reproduction and quality available in recorded form.
* They'll Give You Hours of Continuous and Uninterrupted Listening Pleasure: Just stack them up on your automatic changer and relax.
* They're Attractive, Informative, and Easy to Store: Record albums are never out of place. Because of aesthetic appeal of the jacket design, they're beautifully at home in any living room or library. They've also got important information on the backs-about the artists, about the performances or about the program. And because they're flat and not bulky, you can store hundreds in a minimum of space and still see every title.
* If It's in Recorded Form, You Know It'll Be Available on Records: Everything's on long-playing recoreds these days...your favorite artists, shows, comedy, movie sound tracks, concerts, drama, documented history, educational material...you name it. This is not so with any other kind of recording.
* They Make a Great Gift: Everybody you know loves music. And practically everyone owns a phonograph. Records are a gift that says a lot to the person you're giving them to. And they keep on remembering.
AND REMEMEBER....IT ALWAYS HAPPENS FIRST ON RECORDS.
-A Columbia Records inner record sleeve@1965-1969-