GD: In the contemporary electroacustic research usually artists works on technology using effects and artefacts. What’s your esigence using saxophone and how do you interact with electronics?
BG: Since many years, I work about expanded technics to produce some other kind of sounds that saxophone’s tradition doesn’t usually produce. These last years, I focus myself about breath sounds and multiphonics sounds. I am not so much interested to use some effects and artefacts. I usually play acoustic to try to play with the acoustic of the place. When I play with amplified system, It is to amplified very quiet sounds, to produce a very particular colour with sounds and space or sometimes to produce feed-backs.
GD: I feel that your work keep inside a reflection on “presence”, on a different modality “to stay”, maybe “to inhabit” a sound. This element bring us to a performative dimension, linked to the body and the breath…
BG: That’s right. Breath is very linked to the work of a saxophone player. And if we are talking about breath, we are talking about body. I am very focused about the sound living, his relationship with acoustic space around and how I can play with these parameters. What kind of experience can I produce with a sound, with a breath? Until where can I go with this sound? How my sound can mix up with the other frequences in the orchestra? How a sound can suggest a way of hasard?
GD: Your music join up often radio, film and dance. Which non-musical elements are involved in your research?
My collaborations with film and dance are more activated with electronic music that I also compose. It is not really easy to answer to this question but I am especially interested by the frontier between music and no-music, between noise and sound, noise and music.