Éliane Radigue (b. 1932) is a pioneering French composer of undulating continuous music marked by patient, virtually imperceptible transformations that purposefully unfold to reveal the intangible, radiant contents of minimal sound—its partials, harmonics, subharmonics and inherent distortions. As a student and assistant to musique concrète pioneers Pierre Schaeffer and Pierre Henry in the ‘50s and ‘60s, Radigue mastered tape splicing techniques, but preferred the creation of fluid, delicately balanced feedback works to the spasmodic dissonance of her teachers’ music. Finding peers among minimalist composers in America, Radigue began working with synthesis in 1970, eventually discovering the ARP 2500 synthesizer, which she would use exclusively for her celebrated electronic works to come. With remarkable restraint, Radigue spent years on each electronic piece, painstakingly assembling series of subtle, pulsating ARP recordings to be later mixed meticulously into hourlong suites of precise, perpetual mutation, including masterpieces Trilogie de la mort and Adnos I-III. In 2001, Radigue adapted an early feedback work to live performance on electric bass, Elemental II, and in 2004, with the encouragement of ongoing collaborator Charles Curtis, she permanently abandoned electronics for acoustic composition, beginning with Naldjorlak for solo cello, composed for Curtis. As within each individual work, Radigue has maintained an obstinate focus throughout the flow of her career, her dedication to the materiality of sound earning her numerous accolades and ensuring her place as one of the most important composers of our time.
(From [The Lab](https://www.thelab.org/projects/2019/9/10/liane-radigue-occam-ocean).)