They discuss other interpretations of the piece: Radulescu remembers “the huge viola of Gerard Caussé so large that the detunings were huge. Maybe he used gut strings?” —Radulescu and Rodrigue debate this for a while— “He had a large viola, perhaps from 1500's. He performed it in 1984 at the festival of La Rochelle in France.” “Rohan [de Saram, former cellist for the Arditti's] played Das Andere for me in a 10 th century church, the Abbazia di Fiastra, near Macerata, Italy, and that was spectacular. When Rohan played my music, he was basing his tunings off of the spectra from a vibration of 1 hertz. That leads to 641 resultant tones! Microtones within microtones...” Rodrigue is the only violinist to have ever played the piece.

Radulescu spends much of the lunch trying to convince him to record the Bach first Violin Partita on a disc with Das Andere ... “it will sell out !” Rodrigue wants to be in the bins at FNAC [France's answer to Tower records – ed.]. FNAC, c'est foutu, [fucked]” retorts Radulescu; “never mind them, we'll sell lots of copies elsewhere.” Radulescu waxes rhapsodic about the ‘tierces de Tartini' which create the differentials that give the piece its distinctively piquant character. The differentials*, sound best in churches. Any church? “Yes, any church will do, but I prefer Romanesque churches: the period from 900 to 1200 is best.”

Extract from the interview by Guy Livingstore, September 4th, 2007

The Interview by Guy Livingstone published on Paris Transatlantic Magazine