Harold Budd

with Vincent Plush

Los Angeles

California May 3, 1983



Table of Contents


Side a                                                                                                                                                           p. 1-23


Family background- -L.A. during World War Il- -Religious background- -Early experiences with music- -Marching bands- -Drum lessons- -Music and childhood fantasy life- -Griffith Park merry-go-round- -Dreams of the Old West- -Drums- -Harmonium- -Jazz- -Working to support family- -Music courses at L.A. City College- -Deciding to become a composer- -The Army Band- -Teaching own self harmony- -Conducting the Army Band- -Experimentation in composing



Side b                                                                                                                                                           p. 23-41


Coming out of the Army- -san Fernando Valley State College in Northridge- -Gerald Strang- -Early sixties music scene in L.A.- -Studying with Ingoif Dahl for masters degree at U.S.C.- -Other influential composers of the time- -Academic leave- -Varèse- -Lack of pianistic ability and development of own piano style- -Leonin vs. Perotin- -Gesualdo- -Monteverdi- -Debussy- -Delius- -In Delius’ Sleep- -Satie- -Boredom- -Thelonius Monk- -Nature of the stylist- -Encounter with a Mark Rothko painting



Side c                                                                                                                                                p. 41-62


Early years at CalArts- -Problems in separating performance from theory- -Minimalization of own musical language- -The Candy-Apple Revision- -Coming back with Madrigals of the Rose Angel- -The Pavilion of Dreams- -Butterfly Sunday and Let Us Go Into the House of the Lord- -First performances- -song of Paradise- -Writing for Marvin Hayes and setting the Koran- -Marion Brown and Bismillahi ‘Rharnani ‘Rrahim- -Durations of pieces- -First performance of Bismillahi- -Marion Brown and own departure from teaching


Side d                                                                                                                                             p.62-81


Juno- -Songs of Past Regrets and Future Fears- -Recordings Associatio with Brian Eno- -The Plateaux of the Mirror- -Perceptions of music- -Performing on the piano- -Use of studio techniques- -Cantil Records- -Twelve-inch 45(rpm)- -The Serpent (In Quicksilver)- -New collaboration with Eno- -Use of music from Plateaux- -Other future releases- -Solo piano concerts- -Film music- -Decision to remain in L.A.--L.A. Vs. New York- -Audience- -Accessibility of music- -Contemporaries of interest- -Future of American Music.