Ojai at 60
Osvaldo Golijov and György Ligeti
“I didn’t really change my ideas, but I work like somebody in science, when he solves the problem comes a hundred new problems. Calvin Klein. I have a lot of admiration, but Klein developed . . . a certain blue and then he used only this blue. I am the opposite. My ideal is Stravinsky, went from Russian to Pergolesi to Bach to Webern finally. My music has a lot to do with jazz, but is definitely not jazz.
“You know, we have certain drawers. There is a drawer of so-called classical music and jazz is in a different drawer and pop and rock, but there are places where the drawers mix. So I have my love for jazz even I don’t play jazz. When Stravinsky wrote his Piano Rag Music, his ragtime was also very, very deep . . . In fact I dare to say that the real musical style of the 20th century, the real big thing that happened was jazz, this melding of African rhythmic thinking and English, Irish melodies . . . more important, I feel, than many of the deep learned music.
“There are some composers, some very distinguished colleagues, who really use algorithms, calculating methods. I don’t do them. I feel very close to the scientific community, to the computer people, to the artificial-intelligence people. I’m a member of the secret mafia of fractal geometry, of chaotic and dynamic systems and nonlinear equations, but I don’t use them. If a composer pretends that he invented anything, he is a liar. Nobody invented nothing. Everybody is starting from somebody else.”?
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