Against the stage

While this seems to be the natural order of things for most musicians, it is a serious problem for me. Furthermore, I believe it is also a serious problem for music itself; at least for a certain conception / appreciation of music involving a strong absolute sense, which not only does not require the stage but is also fundamentally affected by it. I am talking about the dissipative action of the stage on the sonic material itself and, consequently, on all the potential levels of experience and transformation sparked by the latter, from the perceptual to the spiritual.

in: Era 21 ekologie/realizace/architektura 3/2004