...How conservative was the avant-garde of the sixties, and how conservative has experimental music become today? I could speak about academic experimental music, but then I’m talking about killing all of the possibilities that an experiment can have. In an experiment, the end result is very difficult to predict. Certain processes are unpredictable, but experimental music has become very predictable. I’m not interested in the old opposition of avant-garde and rear-guard. I’m a classic example of someone who did things that weren’t in the mainstream during the time of the avant-garde. To obey the rules of style, I was always absolutely against that. Pieces that are written without anarchy, without going against style, against the stony dimension of style, are more-or-less impossible to hear.
Composing for the prepared piano is not a criticism of the instrument. I'm only being practical.