Recordings

But the ‘sociology’ of the concert, which is the communication between performer & audience, is what it is: a snippet. The high ground to which one should have access gives more, that is sure. And if a broadcast results in supreme gratification, that is already far-reaching. But otherwise? An entire life would not be enough. 

So the record or the CD as it is known today (provisionally no doubt) moves things on. And if its own impact is obviously very precarious (the whole music world says so) it widens ones experience and it is welcome. It puts you on the map. I speak from experience as it wasn’t until I was in my 50s (in the 1980s, that is) that I took off, like a plane at the beginning of the 20^th century, but take off I did. Otherwise I might not have seen my interpreters (Roland Hayrabedian & the Musicatreize Ensemble) nominated at the Victoires de la Musique in1997 for a Lyrinx CD of my music for voices.  

I can at least tell you how these recordings came about: I will not hesitate to say that without Regionalisation in France, the only real fundamental change in fifty years, I would personally have nothing. I owe my three monographs to the help I received from the authorities in the region of Provence-Alpes-Côte d'Azur where I lived the longest as a model citizen. Help, which as its name suggests, is neither sponsorship nor payment. There is more to it, such as personal commitment, even friendship and the generosity of some, including the performers. Otherwise art is dead