From Wikipedia, the free encyclopedia Luc Ferrari
Luc Ferrari
Luc Ferrari (February 5, 1929 - August 22, 2005) was of an Concept of the Unit
Italian heritage but French born composer, particularly
Indeed, Presque Rien ou le lever du Jour au Bord de la Mer,
noted for his tape music.
from between 1967 and 1970, is a composition which ma-
terializes the break with the practices of the classical
Biography electro acoustics. Still more directly than what was called
after Hétérozygote, anecdotic music, he requires for him-
Luc Ferrari was born in Paris, and was trained in music at
self clearly the continuous sequence and the fixed sound
a very young age, studying the piano under Alfred Cor-
image - like a slide - offering a slice of real as a work
tot, musical analysis under Olivier Messiaen and compo-
method and as means to escape from the habits. " « At the
sition under Arthur Honegger. His first works were freely
beginning the concept Presque Rien does not have anything to
atonal. A case of tuberculosis in his youth interrupted his
do with the music. One must carry oneself back into the time; in
career as a pianist. From then on he mostly concentrat-
the sixties one said: noises on a side, music on the other one. »
ed on musical composition. During this illness he had the
" Ferrari did not get involved in this play. He was con-
opportunity to become acquainted with the radio receiv-
cerned with making something coming from a deep de-
er, with pioneers such as Schönberg, Berg, and Webern.
sire without worrying whether this something fits into a
In 1954, Ferrari went to the United States to meet
category. The concept in his opinion cannot be defined
Edgard Varèse, whose Déserts he had heard on the radio,
as genre, as aesthetics or as technology, but only as idea.
and had impressed him. This seems to have had a great
That means that the concept at the beginning cannot
effect on him, with the tape part in Déserts serving as
be seized physically, but rather as a general impression,
inspiration for Ferrari to use magnetic tape in his own
which one lends to a body. This concept consists of: on-
music. In 1958 he co-founded the Groupe de Recherches
ly one place - only one time - a certain acoustics - com-
Musicales with Pierre Schaeffer and François-Bernard
ponents, which he continues to develop from one Presque
Mâche. He taught in institutions around the world, and
Rien to the other.
worked for film, theatre and radio. By the early 1960,
Ferrari had begun work on his Hétérozygote, a piece for
magnetic tape which uses ambient environmental
Concept of narration (Presque Rien No. 2 -
sounds to suggest a dramatic narrative. The use of am- ainsi continue la Nuit dans ma Tête multi-
bient recordings was to become a distinctive part of Fer- ple) - and the night continues in my nu-
rari’s musical language.
Ferrari’s Presque rien No. 1 ’Le Lever du jour au bord de la
merous head -
mer’ (1970) is regarded as a classic of its kind. In it, Ferrari One of the main characteristics of the Presque Rien is the
takes a day-long recording of environmental sounds at a narration, Not in the sense to tell a story, rather to make
Yugoslavian beach and, through editing, makes a piece observable the time suggesting that something occurs in
that lasts just twenty-one minutes. It has been seen as an a place. Against the sound landscapes, where the place
affirmation of John Cage’s idea that music is always go- is perceptible, the elements he uses, and which he calls
ing on all around us, and if only we were to stop to lis- everyday life sounds should, by the concept of a minimal
ten to it, we would realise this. Ferrari continued to write and not eventful story stimulate to a journey in the time;
purely instrumental music as well as his tape pieces. He the coincidence of the everyday life noises belonging to
also made a number of documentary films on contempo- the daily gestures and consisting of substance, is the el-
rary composers in rehearsal, including Olivier Messiaen ement that constructs the time. The intention to tell is
and Karlheinz Stockhausen. there, but remains blurred.
Concept of the Lie or the Perversion
The Concepts (Presque Rien avec filles) - almost nothing
Another turn in his music was for Ferrari: Presque Rien
with girls
ou le lever du Jour au Bord de la Mer - almost nothing or
daybreak at the sea -. This piece illustrates or rather sug- The concept of the lie stimulates Ferrari, and to name it,
gests unconsciously a minimalist process, about which is almost a provocation. He uses the term of the perver-
one will speak much in the following years. sion precisely in this sense. A concept is relatively ab-
stract, however it becomes alive with the change of time.
1
From Wikipedia, the free encyclopedia Luc Ferrari
This is exactly, what he calls Perversion. But since it’s his cycle of the memories means that all components are
invention, he has no reason to remain loyal to his con- structured in cycles, which produce random encounters
cept. If loyalty should be, so only that of the search for by their overlay. Therefore everything is rotating. "
certain acoustics. • (2000)
Exploitation of the concepts 3 - Genetically Modified
Concept of the Beauty (Presque Rien No. Archives (memorized sounds) - (25’) "While listening to my
4) recordings from the seventies I suddenly felt the need, without
nostalgia and without allegiance on the past, to make new from
Ferrari believed for a long time, and the time helping,
it. Also I took very large freedom and easiness concerning the
that beauty was a concept of the past, like a somewhat
concepts while exploiting them. Indeed, if I speak of it, the ques-
mallow and superfluous attribute. He believes from now
tion is not to make recognizable the concept, as that was usual
on in the contrary that we should be concerned with the
at that time, rather to recover this idea thirty years later, how
beauty, that it is indispensable for our reflection. Or don’t
it rubs against the other earlier experiences, how it deforms or
we have the time any more to be in charge of beauty be-
takes differently form. Or disappears. Perhaps I like also to use
cause hideousness exasperates us? He lived since some
the word „exploitation“ in a provocative sense - although a little
years in a suburb, where everything is ugly, inharmo-
frivolously - as a concept. Also I claim the right to use my ideas
nious and wrong on its place, thus the harmony and the
exactly the same way as my sounds. I listen and I make from it
beauty appear to him as a necessity and not at all a trifle
a present that is rich of memory.Thus these archives are funda-
or a secondary matter.
mentally and even perhaps genetically modified."
• (2000–2001) - Tautologies and environments -
Concept of the Disappearance (Presque Exploitation of the Concepts 4 For 14 sound-amplified in-
Rien No. 5, - almost nothing with instru- struments and memorized sound (25 ’) The Exploitation
ments -) of concept 1. 3 and 4 use the same elements for the memorized
material, but differently assembled and deeply changed. Here
Indeed, the Presque Rien are in search of the beauty of the
the composition for orchestra, using the ideas of the tautology,
sound, the harmony of the sound. In the search for the
gives a completely new aspect to the memorized sound. Also one
harmony of relations and the times. Disappears the nar-
encounters as new the idea of the tautology used in the compo-
ration. Disappears the recording as memory of a place or
sition for orchestra, particularly if one refers to the earlier Tau-
a situation. Remains a kind of report, the presentation of
tologos."
some fewer elements, like a dilution and, how these find
•
their place in the time. The matter In Presque Rien No. 5 is
"Since the beginning I composed as many works for instru-
the play of the objets musicaux - musical objects -.
ments or orchestra as electroacoustic or acousmatic pieces. In
Exploitation of the Concepts other words and, in order to approach more precisely my topic,
I would speak here only of the electroacoustic pieces or those
« Since autumn 99, I have undertaken the composition of developed with technology. First unconsciously, then more and
a new series of pieces with the general title Exploitation of more aware came up to me that I worked on the field of the au-
the concepts. My purpose is to use those concepts I exper- tobiography. Thus I can only retrospectively speak about the
imented in the course of my life as a composer and to use time that led me to this concept. This happened about 1962,
them in all possible directions. » while I worked on the project of an electroacoustic piece:
• (2000) Hétérozygote. I thus want to try to explain, how significant
Exploitation of the concepts 1 - archives saved from the the simple gesture was to go out from the studio searching
flood - (for 2 CD and Vinyls - 48 ’) "The thought to use sounds outside. I went out with portable utensils, which were
my archives resulted from the necessity, to update my tapes of my property, i.e. with my microphones and my tape recorder.
these memories - which suffered in my studio a damage caused This was my equipment, and it was I.Whether one wants or not,
by water -. I have indeed analogue tapes with all recordings I I was here in an original situation of presence and instrumen-
made since 1960, and which I have used or not. While copying tal recognition making of me without being conscious, a man-
this material on CD I felt the need to convert this boring work ufacturer of the autobiography. I was present, I held my mi-
into creative work. And instead of copying I began to compose crophone, I put on my tape recorder as soon as I considered
with them. " it was good, I took the sound that occurred front of me at the
• (1995–2000) - cycle of the memories - time I decided. This sound was my choice, my moment of the
Exploitation of the concept 2 (installation with 6 CD and 4 life stored on my equipment. In other words, should the last
video projectors) - (duration: endless) "To use the memo- sentence not be clear, this compositional gesture in the
ries is not new to me, who are always backdue regarding the recognition of the even indistinct sound, recognizing the
autobiographies.What is different here is to manage together as found object as the first condition of an emotional atti-
well the sound as the picture. In the same way as I am a sound tude, was the inevitable introduction of the composer’s
taker-composer, I am a here a picture taker-composer. Also the present in real time and thus as an autobiographer. " In
2
From Wikipedia, the free encyclopedia Luc Ferrari
this sense were realized the radio compositions for the Suite hétéroclite (1955)
German broadcasts Südwestfunk and Hessischer Rund-
funk, Visage I (1956)
Fragments du journal intime (1980-82)
Death
Comme une fantaisie dite des réminiscences (1989-91)
Luc Ferrari died in Arezzo, Italy on 22 August 2005, at age
76. Christine Lagniel / Michel Maurer (Piano)
Auvidis Montaigne MO 782110 - 1997
Discography •
•
Petite symphonie intuitive pour un paysage de Cellule 75 (1975)
printemps (1973-74)
Place des Abbesses (1977)
Strathoven (1985)
Chris Brown (Piano), William Winant (Perc.)
Presque rien avec filles (1989)
Tzadik USA - TZ 7033 - 1997
Hétérozygote (1963-64) •
BVHAAST 9009 Acousmatrix 3 - 1990 Interrupteur (1967)
•
Tautologos III (1970)
Unheimlich schön (1971)
Ensemble de musique vontemporaine de Paris, Dir.
Coll. Cinéma pour l’oreille Konstantin Simonovitch
Metamkine MKCD008 1993 Blue Chopsticks USA BC1, distrib. France :
• Chronowax – 1999
•
Patajaslotcha (1984)
Chansons pour le corps
L’Escalier des aveugles (1991)
Elise Caron (Song), Carol Mundinger / Sylvain
Xavier Legasa / Donatienne Michel-Dansac / Frydman (Clar.), Christine Lagniel (Perc.), Michel
Michel Musseau (song) Maurer (Piano.), Michel Musseau (Synthesizer)
Ensemble Le Banquet, Dir. Olivier Dejours Et si tout entière maintenant (1986-87)
Ina-grm ina c 2008/Musidisc 201302 - 1993 Symphonic story. (Prix Italia 1987) – Text by
• Colette Fellous
Music promenade (1964-69) Anne Sée (Voice), Nouvel Orchestre
Philharmonique, Dir. Yves Prin.
Presque rien n°1 - le lever du jour au bord de la mer
(1967-70) Mode Records USA MODE 81 - 1999
Presque rien n°2 - ainsi continue la nuit dans ma tête • cinéma pour l’oreille
multiple (1977) Danses organiques (1971-73)
Presque rien avec filles (1989) Elica mpo-3340 - 1999
Ina-grm 245172 - 1995 vinyle LP Elica 4VL 3704 – 2003
• •
Suite pour piano (1952) Far-West news episode n°1 (1998-99)
Antisonate (1953) Histoire du plaisir et de la désolation (1979-81)
3
From Wikipedia, the free encyclopedia Luc Ferrari
Nouvel orchestre de France, Dir. Michael Luig. SUB ROSA SR 207 – 2004
Signature, France ASIN : B00005Q4KU – Grand Prix 2005 Charles Cros In Memoriam
distribution Harmonia Mundi – 1999 •
•
Archives sauvées des eaux - Exploitation des concepts
Cycle des souvenirs - Exploitation des concepts n°2 n°1 (2000)
(1995-2000)
Version for plastic, Milan 2004. By Luc Ferrari and
Blue Chopsticks USA BC8, distrib. France : Erikm
Chronowax - 2002
• Angle Records, Italie CD 0008 – 2004
Étude aux accidents (1958) Grand Prix 2005 Charles Cros In memoriam
•
Étude aux sons tendus (1958)
Presque Rien N°4 (1990-98)
Visage V (1958/59)
Promenade symphonique dans un paysage musical ou
Tête et queue du dragon (1959-60) Un jour de fête à El Oued en 1976 (1976-78)
Tautologos I (1961) Saliceburry cocktail (2002)
Tautologos II (1961) Sub Rosa, SR252 - 2006
•
Und so weiter for piano and tape (1965-66)
Far-West news episodes 2 (May 1999)
(works from 1959 to1966) EMF and GRM
Far-West news episodes 3 (June 1999)
Gérard Frémy (Piano)
Blue Chopsticks BC16 CD September 2006
EMF CD 037 - 2003 •
• (1992) Et tournent les Sons dans la Garrigue - Réflexion sur
Performers and composers : Jean-Jacques Birgé, l’écriture n°1 (1977)
Francis Gorgé, Bernard Vitet and Luc Ferrari
Archives sauvées des eaux - Exploitation des concepts
Un Drame musical instantané "Opération Blow up" N°3 (2000)
GRRR 2020 - distrib. France : Orkhêstra / Les
Allumés du Jazz - 1992 By the Ensemble Laborintus and Erikm
• (2001) Césaré 06/03/4/2/1 France septembre 2006. Distr.
Performers and composers : Noël Akchoté, Roland Metamkine
Auzet and Luc Ferrari •
Blue Chopsticks, USA BC12 - distrib. France : Les ProtoRythmiques (2007)
Chronowax - 2004
• EriKm (Luc Ferrari) and Thomas Lehn
Collection de petites pièces ou 36 Enfilades pour piano et Room40 RM417/ May 2007
magnétophone (1985) •
Jeu du hasard et de la détermination (1999) Rencontres fortuites (2003) for viola, piano and
memorized sounds.
Michel Maurer (Piano.), Françoise Rivalland (Perc.).
Didascalies (2004) for viola and piano
Les empreintes digitales, France – distribution
Abeille Musique (Nocturne) ED13171 – 2004 Tautologos III (1969)
•
By Vincent Royer and Jean-Philippe Collard-Neven
Les Anecdotiques - Exploitation des Concepts N°6 (2002)
4
From Wikipedia, the free encyclopedia Luc Ferrari
Luc Ferrari facing his tautology – 2 days before the end, Soloists: 1 piano, 3 percussions.) recording from
a film by Guy Marc Hinant and Dominique Lohlé 1968 by the EIMCP dir. Konstantin Simonovich.
Sub Rosa SR261 luc ferrari "didascalies" / cd+ dvd / Robot Records, USA
May 2007 •
•
for piano and memorized sound. by Wilhem
Passage pour mimes (1959) Latchoumia
J’ai été coupé (1960-69) In Wilhem Latchoumia – piano & electronic sounds
Selbstportrait oder Peinture de sons ou bien Tonmalerei Sisyphe 013
(1996-97)
• (1996)
Sonopsys 4 - Cahiers musique concrète/ for 3 flutes and memorized sound
acousmatique. May 2007
In Manuel Zurria repeat !
• in
Ellipsis arts…… EA500-4 USA Die Schachtel, Zeit C01
• in • - Luc Ferrari with Otomo Yoshihide.
Madame de Shanghaï (1996) Bonus-track (CD extra) for the first 2000 copies :
« Slow landing » Luc Ferrari with Otomo Yoshihide,
Michel Boizot / François Daudin Clavaud / Xavier Camera: Miyaoka Hideyuki and Nishihara Tazz
Saint-Bonnet (Flutes) Miyaoka
Musique d’Aujourd’hui 9701 MDA M7 847 – 1997 Disc Callithump CPCD-001
•
• in
Visage V (1958-59) Danse
Sub Rosa SR200 – 2003 LP Alga Marghen
• in Disque vinyle PLANA-F alga027 - 2009
Tête et queue du dragon (1959-60)
• (1982–83)
Caipirinha CP219 USA - 2000 •
Elica mpo-4301 – 2009
• in
Étude aux sons tendus (1958) • (2009)
in partnership with La muse en circuit,
Étude floue (1958)
contains 10 CD Luc Ferrari’s works for memorized
Étude aux accidents (1958) sound as well as film music.
Ina c 1032(2004) ADD – 750 - 276522 • (2009)
stereo tape (1977-78)
• (1977–78)
stereo tape. in collaboration with Brunhild Meyer.
in collaboration with Brunhild Meyer. Ohm/Avatar
Digital on-line edition 2008 ohm 051
Room 40
CD + DVD releases
• (2000) – mémorized sound •
• (1967)
Rencontres Fortuites (2003) pour alto, piano et SM.
for four soloists and sixteen instruments (flute,
oboe, clarinet, bassoon, horn, trumpet, trombone, Didascalies (2004) pour alto et piano
4 violins, 2 violas, 2 violoncellos, 1 contrabass.
5
From Wikipedia, the free encyclopedia Luc Ferrari
Tautologos 3 (1969)
Bibliography
by Vincent Royer, viola and Jean-Philippe Collard- 1959 Luc Ferrari: STAGES OF THE VISION/STAGES OF THE
Neven, piano PRODUCTION In Expériences musicales - Concrete music
- exotic Electronics Revue Musicale N° 244, Paris 1959,
+ DVD
p. 8 - 10
Luc Ferrari face à sa tautologie - 2 jours avant la fin
1967 LUC FERRARI by Pierre Schaeffer In La Musique
Film by Guy-Marc Hinant and Dominique Lohlé Concrète QUE SAIS-JE Presses Universitaires de France,
Paris 1967, p. 108 - 113
French version, with English sub-titles, recorded 1970 LUC FERRARI. Interview by Denys Lémery In
while the rehearsal of Tautologos III. Actuel N° 12, 1970, p. 14 - 18
1971 Luc Ferrari - FÜR WEN KOMPONIEREN SIE
"that would be Luc’s last one in this beginning of EIGENTLICH? (For whom do you actually compose?) By
July 2005. Hansjörg Pauli Ed. S. Fischer - Frankfurt 1971, p. 37 - 59
1972 Discussion with Luc Ferrari by François-Bernard
Sub Rosa SR261 luc ferrari "didascalies" / cd+ dvd / Mâche In Nouvelle Revue Française N° 232, 1972
mai 2007 1973 Luc Ferrari LES DANSES ORGANIQUES Remarks
collected by Daniel Caux in Art Vivant - Le Corps (The
This Box was rewarded with the « Coup de Coeur Charles Cros
body) 2, N° 41, July 1973, p. 30 - 32
- musique contemporaine printemps 2008 » and the Grand Prix
1974 Tibor Kneif: Types of the « Entsprachlichung »
from the festival "Filmer à tout prix", Brussels in 2008
in the new music 1 Stephan, Rudolf (Hg.): About music
•
and language. SEVEN ATTEMPTS ABOUT THE NEWER
Film by Jacqueline Caux and Olivier Pascal – with
VOCAL MUSIC Mainz (Schottt) 1974, p. 30 – 31
Elise Caron – eRikm – Christof Schläger . 2004.
1974 Luc Ferrari. INTERRUPTEUR, TAUTOLOGOS 3,
ELICA VPO-4290 Ensemble Instrumental de Musique Contemporaine de
Paris, Konstantin Simonovitch By Klaus Stahmer In Melos
Robot Records 2008 Heft IV, July–August 1974, p. 242 - 244
1975 ALLO, ICI LA TERRE... (Hello, the Earth is speak-
Forced Exposure; Métamkine, Fr.; Die Schachtel, It.; ing) by Luc Ferrari In Art Vivant - La Mort, (The Death)
Mimaroglu Music Sales; Die Stadt, Germ.; A-Musik, N° 54, January 1975, p. 22 - 23
Cologne, Germ.; Empreintes Digitales, Montreal 1977 Luc Ferrari - FÜR WEN KOMPONIEREN SIE
Can.; Disk Union, Tokyo, Jap. EIGENTLICH? For whom do you actually compose? By
• Hansjörg Pauli Reproduction in Beiträge zur Musikwis-
senschaft, Heft 4, 1977, p. 260 - 269
Luc Ferrari with Otomo Yoshihide.
1977 Luc Ferrari. Discussion with David Jisse In Uni-
« Slow Landing » Luc Ferrari with Otomo son N° 3 Paris, May 1977, p. 14 - 16
Yoshihide, Camera: Miyaoka Hideyuki and 1977 Reflections by Luc Ferrari on DOES THE MUSIC
Nishihara Tazz Miyaoka OF FUTURE HAVE A FUTURE? In Cahiers Recherche/
Musique, INA-GRM, 1977, p. 77 - 79
Disc Callithump CPCD-001 1978 François-Bernard Mâche: LES MAL ENTENDUS.
Composers of the 70s In Revue musicale N° 314, 1978,
p. 65 - 69
Recent book releases 1978 - SREFACIO A... Y REFLEXION SOBRE... por Luc
• Ferrari - UN PUEBLO NUMERO 11350 por Luc Ferrari In
book by Jacqueline Caux, translation in Japanese by Arte Nuevo 1, Universidad Veracruzana 1978, p. 10 - 13
Ryosuke Shiina (Tokyo, 2006) 1979 Luc Ferrari ERUDITE CULTURES AND POPULAR
• CULTURES Interview by Catherine Millet In Art Press In-
ternational, N° 26, March 1979, p. 18
Cahiers Musique Concrète / Acousmatique, édité 1981 Luc Ferrari - dossier "En attendant Enée" In
par Licences (ouvrage bilingue) Cahier de l’animation musicale, N° 19, June 1981, p. 11 -
12
By Alexandre Yterce and Florence Gonot -
1981 Discussion with Luc Ferrari. Remarks collected
www.revuelicences.com
by Francis Hofstein Jazz magazine – 1981, p. 26 - 29
•
1981 Discussion with Luc Ferrari by Denis Levaillant
augmented edition by GRM / INA In L’Improvisation Musicale, Editions J.C. Lattès 1981, p. 4
-7
6
From Wikipedia, the free encyclopedia Luc Ferrari
1983 Luc Ferrari THE MUSIC IS ALSO WORD. JOURNAL Mémoire du DEA (Essay on taxonomy of the verbal pro-
INTIME –(DIARY) Interview by Michel Giroud In Canal, N° posals of the Sixties and seventies) Memory of the DEA
54, November 1983, p. 19 by Radosveta Kouzmanova Bruzaud U.F.R. de Musique et
1983 Luc Ferrari. SOCIÉTÉ 1 text-score In Chemin de Musicologie du XXe siècle – Université de Paris IV-Sor-
Ronde, Vol. 3, 1983, bonne, Oct.1998
1985 Luc Ferrari. About the pleasure of the desire - 1998 Luc Ferrari - INTERVIEW WITH AN INTIMATE
HISTOIRE DU PLAISIR ET DE LA DÉSOLATION By Klaus ICONOCLAST by Brigitte Robindoré In Computer Music
Hinrich Stahmer In Melos, N° 4, 1985, p. 19 - 33 Journal, Vol. 22, Nr. 3 – Autumn, p. 8 - 16
1986 Luc Ferrari. Moderato ma non troppo by P. Min- 1999 Luc Ferrari. Remarks collected by Dan Warbur-
od In Restons Simples (Creativ Media), N° 2, January 1986, ton Peace Warriors Nr. 10 - January
p. 68 - 69 1999 Luc Ferrari in: LA NOTATION VERBALE AU
1989 Hörspiel - Création radiophonique – Radio Art JE SERVICE DU RITUEL (the verbal notation with the service
ME SUIS PERDU - ABYRINTHE PORTRAIT from Luc Ferrari of the ritual) Colloquia „Musique et Rites“ 17–19 May
by Michel Dumont In magazine kanal, N° 42, April 1989, 1999 by Radosveta Bruzaud
p. 60 - 61 1999 SERIAL DEVIANT by Dan Warburton The Wire –
1990 Luc Ferrari. Interview by Stephane Ollivier In April, p. 26 - 28
Revue et Corrigée, N° 5, Spring 1990, p. 4 - 7 1999 Luc Ferrari FAR-WEST NEWS In Soundscapes -
1990 COMPOSERS AND RHETORIC, Discussion be- VPRO Hilversum – NL, November 1999, p. 20 - 21
tween François Delalande and Luc Ferrari In 20 Analyse 1999 LOTS OF LUC FERRARI by John Palmer In 20th
Musicale, Paris June 1990, p. 47 – 49 Century Music, San Anselmo CA., USA, December, p. 3 - 10
1993 ÇA FROTTE – (It brushes) by Luc Ferrari In 1999 LUC FERRARI’S ART OF TAUTOLOGY Vous
L’Evidence, N° 2, Autumn 1993, p. 24 - 27 plairait-il de tautologuer avec moi? (Would you like to
1993 Analyse – Journal (Analysis Diary) by Luc Ferrari tautologize with me?) Interview by Jacqueline Caux -
In Musiques d’Aujourd’hui Conseil Général de la Creuse - French / English In Art Press International, Nr. 252 - De-
December 1993, p. 69 - 77 cember 1999, p. 49 - 52
1995 Luc Ferrari PRESQUE RIEN By Jérôme Noetinger 2000 Luc Ferrari in conversation with J. Palmer In
In Revue et Corrigé, N° 26, December 1995, p. 35 SAN Journal of electroacoustic music, London, p. 36 - 44
1996 Discussion with Luc Ferrari - by Ch. Zanesi In Ars 2000 Luc Ferrari. About the publication of the CD:
Sonora, N° 3, March 1996, p. 7 - 15 CHANSONS POUR LE CORPS AND ET SI TOUT ENTIÈRE
1996 Discussion with Luc Ferrari - by Danielle Cohen- MAINTENANT by Ryosuke Shiina In Musée - sacrifice fly
Levinas In La Règle du Jeu – 1996 - Tower records - Vol. 23, Japan, January, p. 93 - 107
1996 Luc Ferrari in: RECHERCHES SUR LA 2000 11. Karl-Sczuka-Preis 1972, p. 99-101
TRANSFORMATION DU TEMPS MUSICAL SOUS L’ANGLE PORTRAITSPIEL 27. Karl-Sczuka-Preis 1988, p. 184-190
DE LA PHILOSOPHIE JAPONAISE (Research on the trans- VERIRRT. EIN LABYRINTH In Akustische Spielformen
formation of musical time under the angle of Japanese SWR Schriftenreihe « Grundlagen 1 » Spring 2000
philosophy) by Ryôsuke SHIINA, Université de Lille III, 9, 2000 Luc Ferrari in: LE CONCERT ENJEUX,
rue Auguste Angellier, 59046 Lille Cedex FONCTIONS, MODALITÉS JEU DE SOCIÉTÉ OU LA
1996 JE COURAIS TANT DE BUTS DIVERS... (I was run- THEATRALISATION DU CONCERT (Stakes, functions,
ning in so many different directions...) (Contemporary methods parlour game or the THEATRALISATION in the
music review Vol. 15 In G+B Arts International, London, concert by Radosveta Bruzaud Harmattan – Logique So-
p. 95 - 104 ciale, p. 137 – 174
1997 Sandeep Bhagwati: TWO FRENCH COMPOSERS 2000 Luc Ferrari. Remarks collected by Ryosuke Shi-
(Georges Aperghis and Luc Ferrari) In Jahrbuch der ina In Poetry and criticism: Eureka 5 / 2000, p. 39 - 51
Bayrischen Akademie der Schönen Künste 11. 1997, p. 391 2001 Luc Ferrari. PORTRAITS POLYCHROMES Co-Edi-
– 399 tion Cdmc, Ina Groupe Edition-Documentation
1997 Luc Ferrari in THE ART OF THE FIXED SOUNDS, 2001-06-13
by Jean-Noël von der Weid, In La musique du XXe siècle 2001 Luc Ferrari in DIE KUNST DER FIXIERTEN
Editions Hachette (Pluriel), p. 221 - 223 KLÄNGE (The art of the fixed sounds) by Jean-Noël von
1997 Luc Ferrari. Interview by Haruyuki Suzuki In Ei- der Weid, In Die Musik des 20. Jahrhunderts Insel-Verlag,
gageijutsu, N° 383, Japan 1997 Leipzig, p. 332 - 335
1998 MINIMAL OR NOT Luc Ferrari. Interview by 2002 PRESQUE RIEN AVEC LUC FERRARI (Almost
Karen Tanaka In Musée - a shape of miles - Tower records nothing with Luc Ferrari) 260 pages with photographs.
- Vol. 12, Japan, March, 1998, p. 14 Author: Jacqueline Caux. Discussions with Jacqueline
1998 Luc Ferrari in: ASPECTS DE LA NOTATION Caux Publication January 2001 Editions Main d’Oeuvre,
VERBALE ESSAI DE TAXINOMIE DES PROPOSITIONS Nice Tel./Fax 04 93 92 42 49
VERBALES DES ANNÉES SOIXANTE ET SOIXANTE-DIX.
7
From Wikipedia, the free encyclopedia Luc Ferrari
2002 LUC FERRARI, OR MEMORY AS NON-„MUSIC“ « SOUNDS, SOUNDS… THE PIECES OF ALMOST NOTHING»
par Ryosuke Shiina In « Bulletin of Institute for Interdis- from Luc Ferrari – Daniel Teruggi. « THE DRAMA OF
ciplinary Studies of Culture » Vol.19 Doshisha Women’s EVEN THE LIFE». Luc Ferrari’s « Cellule 75 » - Monika
College, Japan, March 31/2002 Lichtenfeld. « WHAT WOULD BE, IF? STRAVINSKY MEETS
2002 Cinéma pour les oreilles about Almost Nothing BEETHOVEN IN LUC FERRARI’S STUDIO» - Klaus Mehner.
with Luc Ferrari by Jacqueline Caux In Les Inrockuptibles « THE TRUE OR UNTRUE STORY OF CAHIER DU SOIR»
August 14 to 20, 2002 N° 351, p. 58 - 59 (1991–1992) » - Luc Ferrari. « EACH TIME… », « THE CITY
2003 T. Möller: Luc Ferrari, in: Komponisten der Ge- OF THE FUTURE», Autobiographies from Luc Ferrari. In
genwart, (composers of the present) 26. Subsequent edi- memory of Luc Ferrari. « “Committed observer of the re-
tion 12/03. ality, Luc Ferrari » - Daniel Caux.
2003 Luc Ferrari: IMPRO-MICRO-ACOUSTIQUE by 2005 Luc Ferrari in: La musique du XXe siècle. - Jean
Noël Akchoté in skug N° 57– Austria, p. 49 Noël von der Weid. Hachette. ISBN 2-012-235948-5. 2005.
2004 Luc Ferrari in: LE MOT DANS LA PARTITION AU P. 359-363
VINGTIÈME SIÈCLE (THE WORD IN THE SCORE AT THE 2005 THE LESSON OF FREEDOM - REMEMBERING LUC
TWENTIETH CENTURY Thesis of Doctorate of Music and FERRARI (1929–2005) By John Palmer - Guilherme Vaz -
Musicology of the XXe century by Radosveta Kouzmano- Hildegard Westerkamp In Soundscape Vol. 6 Nr. 1
va Bruzaud U.F.R. de Musique et Musicologie - Université 2006 K.T. Goldbach: Akusmatisches und ökologisches
de Paris IV – Sorbonne, December. 2004 Hören in Luc Ferraris Presque rien avec filles, (acous-
2004 LA MUSIQUE ET SON DEHORS – RE LA MUSIQUE matic and ecologic listening in Luc Ferrari’s Presque rien
ANECDOTIQUE À L’ARYTHMIE (Music and its outside - avec filles) in: Zeitschrift der GMTH 3, H. 1
Anecdotic Music with the Arrhythmia) by David Sanson 2006 Böhme-Mehner, Tatjana: HE ALWAYS
et Pierre Yves Macé. In Mouvement N° 30, p. 48-59 COMPOSED… UNTIL HIMSELF. THE COMPOSER,
2004 Luc Ferrari tasted by Dan Warburton INVISIBLE ELECTROACOUSTICIAN AND FILM PRODUCER LUC
JUKEBOX in THE WIRE N° 242 April 2004, p. 20-23 FERRARI In: Dissonanz/Dissonance 93 (March 2006),
2005 L’ESCALIER DES AVEUGLES: a Hörspiel from Luc p. 4-9
Ferrari (The staircase of the blinds). By Andrea Cohen in 2006 Random Notes – Luc Ferrari 1929–2005 by David
Les compositeurs et l’art radiophonique (The composers Cotner in SIGNAL TO NOISE Winter 2006 issue #40 opera-
and the radiophonic art) thesis of Doctorate. Sorbonne- tions@signaltonoisemagazine.com
Paris IV 2005 2006 SALUT LUC By Carole Rieussec, David Grubbs,
2005 L’Eloge de l’Arythmie. LE HASARD AVEC Alessandro Bosetti, Li Ping Ting, Jean-Christophe Camps,
DÉTERMINATION. (The Praise of the Arrhythmia The Jérôme Noetinger, Chantal Dumas, eRikm, Jean-Baptiste
chance with determination. For his 75th birthday… By Favory In revue & corrigée N° 67, March 2006
David Sanson et Pierre Yves Macé In Mouvement 2006 ALMOST NOTHING WITH LUC FERRARI Book by
Musique Action, Cahier Spécial, May 18–29, 2005, p. 10-12 Jacqueline Caux. Discussions with Jacqueline Caux Pub-
2005 Luc Ferrari CYCLES DES SOUVENIRS - lished in January 2001 Editions Main d’Oeuvre, Nice Tel./
EXPLOITATION DES CONCEPTS (Cycle of memories - Ex- Fax 04 93 92 42 49 Published in Japanese by Ryosuke Shi-
ploitation of the Concepts From the “Diary in disorder ina, Tokyo, March 2006
or the pursuit of the daily life sounds” In: TEMPORALE 2007 SONOPSYS N° 4 Luc Ferrari Cahier Musique Con-
Edizioni Studio Dabbeni - Lugano - N° 60-61 - 2005 crète / Acousmatique by Florence Gonot and Alexandre
"Joueurs Aspendiens" a cura di Gabiele Bonomo, p. 56-60 Yterce, Edition LICENCES. Publication at the moment of
2005 Page of the score TAUTOLOGIES ET ENVIRONS – the premiere of Morbido Symphonie in Paris on May 11,
EXPLOITATION DES CONCEPTS N° 4. 2000-2001 in Sound 2007. Art-book with CD.
Visions p. 91, Pfau-Verlag, Saarbrücken, Editors Möller/ 2007 Luc Ferrari – PORTRAITS POLYCHROMES, Pub-
Shim/Stäbler. lished by INA/GRM, Collection directed by Evelyne Gay-
2005 Möller, Torsten: PLEASE, JUST GO YOUR WAY... ou. New increased edition
- Luc Ferrari died in the Italian Arrezzo at the age of 76 2007 ALMOST NOTHING WITH LUC FERRARI By
years In: NZfM 6., p. 42-43 Toshiharu Osato in "nobody", critic film-, music-,
2005 Möller, Torsten: ZUM TOD VON LUC FERRARi, literature-review Published May–June 2007 N° 25, Japan.
(Luc Ferrari passed away) in: Dissonanz/Dissonance 92 Pages 47–57:
(December 2005), p. 43
2005 Luc Ferrari in MusikTexte Heft 107, November
2005 « ALWAYS UNCONVENTIONAL» Remembering Luc
External links
– Peter-Michael Hamel. « THE COMPOSER, RADIO PLAY • Luc Ferrari official website of the composer.
AND FILM PRODUCER LUC FERRARI » Tatjana Böhme- • Luc Ferrari official blog of the composer.
Mehner. « AN ALTERNATIVE TO THE OPERA. LUC • Paristransatlantic.com: Luc Ferrari Interview by Dan
FERRARI ABOUT MUSIC THEATER » - Jacqueline Caux. Warburton, July 22, 1998
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From Wikipedia, the free encyclopedia Luc Ferrari
• Otherminds.org: Luc Ferrari Short description Composer
• The online music review La Folia has review articles
Date of birth February 5, 1929
about Ferrari: "Presque Fin": Ferrari Almost Final
and Luc Ferrari, Head and Tail Place of birth Paris, France
Persondata Date of death August 22, 2005
Name Ferrari, Luc Place of death Arezzo, Italy
Alternative names
Retrieved from "http://en.wikipedia.org/w/index.php?title=Luc_Ferrari&oldid=459295425"
Categories:
• Musicians from Paris
• 20th-century classical composers
• 21st-century classical composers
• French composers
• Electroacoustic music composers
• 1929 births
• 2005 deaths
• Tzadik Records artists
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