Last month on NewMusicBox, Frank J. Oteri sat down with the acclaimed (and often misunderstood) composer Wendy Carlos for this excellent interview. The main page contains a Quicktime video of highlights of the interview, the entire enchilada though was transcribed and listed in nine sections at the bottom of the main page. Even if you don't watch the video, a read through all the sections is essential! Wendy is articulate, fiesty and particularly animated on many of my favourite issues, namely:

“What I was aware of before I started the album (Ed: Switched-On Bach) was that electronic music was a medium and it was not a style of music. It was just a tool. Piano music can also be anything: commercial rock/pop, real jazz, early through late classical repertoire, even the most challenging of serious music. But isn't any medium like that?” -Wendy Carlos

Then later on in the interview, in response to using a question about her use of serial techniques, I found her answer spirited and revealing! Go Wendy!!

“I messed with it some, sure. We all did then. Unfortunately, having had a background in physics and mathematics, I saw that a lot of it was pretty inane number-play, simple combinations and permutations. I had seen far more impressive theories in the math department and wasn't about to be taken in by silliness, even if it seemed to be weighty material to many other musicians and composers. It wasn't so easy to keep a straight face or to endure the endless talk hyperventilating over such forgettable, unlovable writing. And one last thing nearly everyone sounded so similar, MUCH less variety than non-serial music. This bothers me greatly, as it suggests that the technique itself tends to mask an individual's personality. Nearly no one speaks about that. Think of all pianists wearing boxing gloves, they'd lose most of their individuality, too!”
-Wendy Carlos