temA was written in the summer of 1968. In spite of Ligeti's “Aventures” it may be considered one of the first compositions in which the breathing plays a role as an accoustically transmitted energy process (Holliger, Globokar, Kagel, Schnebel and Stockhausen in “Hymnen” have already worked on this phenomenon independently of each other and from different points of view). Moreover, “temA” marks for me the first step into that “musique concrète instrumentale” in which the mechanical conditions of...