Boulez likened the experience of playing taped music in a concert hall to a "crematorium ceremony" and the only wholly pre-recorded pieces he composed were the "Deux Etudes" (1951, withdrawn).
The only wholly pre-recorded pieces he composed were the "Deux Etudes" (1951, withdrawn). Boulez likened the experience of playing taped music in a concert hall to a "crematorium ceremony".
Boulez likened the experience of playing taped music in a concert hall to a "crematorium ceremony". The only wholly pre-recorded pieces he composed were the "Deux Etudes" (1951, withdrawn).
Boulez likened the experience of playing taped music in a concert hall to a "crematorium ceremony". The only wholly pre-recorded pieces he composed were the "Deux Etudes" (1951, withdrawn).