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Luc Ferrari

Background information

Birth name Lucien Ferrari

Born February 5, 1929

Paris, France

Died August 22, 2005 (aged 76)

Arezzo, Italie

Genres Orchestra music, Musique concrète,

electroacoustic, classical

Occupations Composer, musician, film director

Years

active

1950–2005

Website www.lucferrari.org

(http://www.lucferrari.org/)

Luc FerrariFrom Wikipedia, the free encyclopedia

Luc Ferrari (February 5, 1929 – August 22, 2005) wasa French-born composer of Italian heritage, particularlynoted for his tape music.

Contents

1 Biography

2 The Concepts

2.1 Concept of the Unit

2.2 Concept of narration (Presque Rien

No. 2 - ainsi continue la Nuit dans ma

Tête multiple) - and the night continues inmy numerous head -

2.3 Concept of the Lie or the Perversion(Presque Rien avec filles) - almost nothing

with girls

2.4 Concept of the Beauty (Presque RienNo. 4)

2.5 Concept of the Disappearance

(Presque Rien No. 5, - almost nothing

with instruments -)

2.6 Exploitation of the Concepts3 Death

4 Discography

5 CD + DVD releases6 Recent book releases

7 Bibliography8 External links

Biography

Luc Ferrari was born in Paris, and was trained in music at a very young age, studying the piano under AlfredCortot, musical analysis under Olivier Messiaen and composition under Arthur Honegger. His first works werefreely atonal. A case of tuberculosis in his youth interrupted his career as a pianist. From then on he mostlyconcentrated on musical composition. During this illness he had the opportunity to become acquainted with theradio receiver, with pioneers such as Schönberg, Berg, and Webern.

In 1954, Ferrari went to the United States to meet Edgard Varèse, whose Déserts he had heard on the radio,and had impressed him. This seems to have had a great effect on him, with the tape part in Déserts serving asinspiration for Ferrari to use magnetic tape in his own music. In 1958 he co-founded the Groupe de RecherchesMusicales with Pierre Schaeffer and François-Bernard Mâche. He taught in institutions around the world, and

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worked for film, theatre and radio. By the early 1960, Ferrari had begun work on his Hétérozygote, a piece formagnetic tape which uses ambient environmental sounds to suggest a dramatic narrative. The use of ambientrecordings was to become a distinctive part of Ferrari's musical language.

Ferrari's Presque rien No. 1 'Le Lever du jour au bord de la mer' (1970) is regarded as a classic of its kind.In it, Ferrari takes a day-long recording of environmental sounds at a Yugoslavian beach and, through editing,makes a piece that lasts just twenty-one minutes. It has been seen as an affirmation of John Cage's idea thatmusic is always going on all around us, and if only we were to stop to listen to it, we would realise this. Ferraricontinued to write purely instrumental music as well as his tape pieces. He also made a number of documentaryfilms on contemporary composers in rehearsal, including Olivier Messiaen and Karlheinz Stockhausen.

The Concepts

Another turn in his music was for Ferrari: Presque Rien ou le lever du Jour au Bord de la Mer - almost nothingor daybreak at the sea -. This piece illustrates or rather suggests unconsciously a minimalist process, aboutwhich one will speak much in the following years.

Concept of the Unit

Indeed, Presque Rien ou le lever du Jour au Bord de la Mer, from between 1967 and 1970, is a compositionwhich materializes the break with the practices of the classical electro acoustics. Still more directly than whatwas called after Hétérozygote, anecdotic music, he requires for himself clearly the continuous sequence and thefixed sound image - like a slide - offering a slice of real as a work method and as means to escape from thehabits. " « At the beginning the concept Presque Rien does not have anything to do with the music. Onemust carry oneself back into the time; in the sixties one said: noises on a side, music on the other one. » "Ferrari did not get involved in this play. He was concerned with making something coming from a deep desirewithout worrying whether this something fits into a category. The concept in his opinion cannot be defined asgenre, as aesthetics or as technology, but only as idea. That means that the concept at the beginning cannot beseized physically, but rather as a general impression, which one lends to a body. This concept consists of: onlyone place - only one time - a certain acoustics - components, which he continues to develop from one PresqueRien to the other.

Concept of narration (Presque Rien No. 2 - ainsi continue la Nuit dans ma Tête

multiple) - and the night continues in my numerous head -

One of the main characteristics of the Presque Rien is the narration, Not in the sense to tell a story, rather tomake observable the time suggesting that something occurs in a place. Against the sound landscapes, where theplace is perceptible, the elements he uses, and which he calls everyday life sounds should, by the concept of aminimal and not eventful story stimulate to a journey in the time; the coincidence of the everyday life noisesbelonging to the daily gestures and consisting of substance, is the element that constructs the time. The intentionto tell is there, but remains blurred.

Concept of the Lie or the Perversion (Presque Rien avec filles) - almost nothing

with girls

The concept of the lie stimulates Ferrari, and to name it, is almost a provocation. He uses the term of theperversion precisely in this sense. A concept is relatively abstract, however it becomes alive with the change oftime. This is exactly, what he calls Perversion. But since it’s his invention, he has no reason to remain loyal to hisconcept. If loyalty should be, so only that of the search for certain acoustics.

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Concept of the Beauty (Presque Rien No. 4)

Ferrari believed for a long time, and the time helping, that beauty was a concept of the past, like a somewhatmallow and superfluous attribute. He believes from now on in the contrary that we should be concerned with thebeauty, that it is indispensable for our reflection. Or don't we have the time any more to be in charge of beautybecause hideousness exasperates us? He lived since some years in a suburb, where everything is ugly,inharmonious and wrong on its place, thus the harmony and the beauty appear to him as a necessity and not atall a trifle or a secondary matter.

Concept of the Disappearance (Presque Rien No. 5, - almost nothing with

instruments -)

Indeed, the Presque Rien are in search of the beauty of the sound, the harmony of the sound. In the search forthe harmony of relations and the times. Disappears the narration. Disappears the recording as memory of aplace or a situation. Remains a kind of report, the presentation of some fewer elements, like a dilution and, howthese find their place in the time. The matter In Presque Rien No. 5 is the play of the objets musicaux - musicalobjects -.

Exploitation of the Concepts

« Since autumn 99, I have undertaken the composition of a new series of pieces with the general titleExploitation of the concepts. My purpose is to use those concepts I experimented in the course of my life as acomposer and to use them in all possible directions. »

Archives sauvées des Eaux (2000)

Exploitation of the concepts 1 - archives saved from the flood - (for 2 CD and Vinyls - 48 ') "The thought touse my archives resulted from the necessity, to update my tapes of these memories - which suffered in mystudio a damage caused by water -. I have indeed analogue tapes with all recordings I made since 1960,and which I have used or not. While copying this material on CD I felt the need to convert this boringwork into creative work. And instead of copying I began to compose with them. "

Cycle des souvenirs (1995–2000) - cycle of the memories -

Exploitation of the concept 2 (installation with 6 CD and 4 video projectors) - (duration: endless) "To use thememories is not new to me, who are always backdue regarding the autobiographies.What is differenthere is to manage together as well the sound as the picture. In the same way as I am a sound taker-composer, I am a here a picture taker-composer. Also the cycle of the memories means that all componentsare structured in cycles, which produce random encounters by their overlay. Therefore everything is rotating. "

Archives Génétiquement Modifiées (2000)

Exploitation of the concepts 3 - Genetically Modified Archives (memorized sounds) - (25') "While listeningto my recordings from the seventies I suddenly felt the need, without nostalgia and without allegiance onthe past, to make new from it. Also I took very large freedom and easiness concerning the conceptswhile exploiting them. Indeed, if I speak of it, the question is not to make recognizable the concept, asthat was usual at that time, rather to recover this idea thirty years later, how it rubs against the otherearlier experiences, how it deforms or takes differently form. Or disappears. Perhaps I like also to usethe word „exploitation“ in a provocative sense - although a little frivolously - as a concept. Also I claimthe right to use my ideas exactly the same way as my sounds. I listen and I make from it a present that isrich of memory.Thus these archives are fundamentally and even perhaps genetically modified."

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Tautologies et Environs (2000–2001) - Tautologies and environments -

Exploitation of the Concepts 4 For 14 sound-amplified instruments and memorized sound (25 ') TheExploitation of concept 1. 3 and 4 use the same elements for the memorized material, but differentlyassembled and deeply changed. Here the composition for orchestra, using the ideas of the tautology,gives a completely new aspect to the memorized sound. Also one encounters as new the idea of thetautology used in the composition for orchestra, particularly if one refers to the earlier Tautologos."

Exploitation of the concept of the Autobiography

"Since the beginning I composed as many works for instruments or orchestra as electroacoustic oracousmatic pieces. In other words and, in order to approach more precisely my topic, I would speak hereonly of the electroacoustic pieces or those developed with technology. First unconsciously, then moreand more aware came up to me that I worked on the field of the autobiography. Thus I can onlyretrospectively speak about the time that led me to this concept. This happened about 1962, while Iworked on the project of an electroacoustic piece: Hétérozygote. I thus want to try to explain, howsignificant the simple gesture was to go out from the studio searching sounds outside. I went out withportable utensils, which were my property, i.e. with my microphones and my tape recorder. This was myequipment, and it was I.Whether one wants or not, I was here in an original situation of presence andinstrumental recognition making of me without being conscious, a manufacturer of the autobiography. Iwas present, I held my microphone, I put on my tape recorder as soon as I considered it was good, I tookthe sound that occurred front of me at the time I decided. This sound was my choice, my moment of thelife stored on my equipment. In other words, should the last sentence not be clear, this compositional gesturein the recognition of the even indistinct sound, recognizing the found object as the first condition of an emotionalattitude, was the inevitable introduction of the composer’s present in real time and thus as an autobiographer. "In this sense were realized the radio compositions for the German broadcasts Südwestfunk and HessischerRundfunk,

Death

Luc Ferrari died in Arezzo, Italy on 22 August 2005, at age 76.

Discography

Acousmatrix

Petite symphonie intuitive pour un paysage de printemps (1973-74)

Strathoven (1985)

Presque rien avec filles (1989)Hétérozygote (1963-64)

BVHAAST 9009 Acousmatrix 3 - 1990

Unheimlich schön

Unheimlich schön (1971)

Coll. Cinéma pour l'oreilleMetamkine MKCD008 1993

L'Escalier des aveugles

Patajaslotcha (1984)

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L'Escalier des aveugles (1991)Xavier Legasa / Donatienne Michel-Dansac / Michel Musseau (song)

Ensemble Le Banquet, Dir. Olivier Dejours

Ina-grm ina c 2008/Musidisc 201302 - 1993

Presque rien

Music promenade (1964-69)

Presque rien n°1 - le lever du jour au bord de la mer (1967-70)Presque rien n°2 - ainsi continue la nuit dans ma tête multiple (1977)

Presque rien avec filles (1989)

Ina-grm 245172 - 1995

Piano-piano

Suite pour piano (1952)

Antisonate (1953)Suite hétéroclite (1955)

Visage I (1956)

Fragments du journal intime (1980-82)Comme une fantaisie dite des réminiscences (1989-91)

Christine Lagniel / Michel Maurer (Piano)

Auvidis Montaigne MO 782110 - 1997

Cellule 75

Cellule 75 (1975)

Place des Abbesses (1977)Chris Brown (Piano), William Winant (Perc.)

Tzadik USA - TZ 7033 - 1997

Interrupteur / Tautologos III

Interrupteur (1967)

Tautologos III (1970)

Ensemble de musique vontemporaine de Paris, Dir. Konstantin SimonovitchBlue Chopsticks USA BC1, distrib. France : Chronowax – 1999

Chansons pour le corps - Et si tout entière maintenant

Chansons pour le corps

Elise Caron (Song), Carol Mundinger / Sylvain Frydman (Clar.), Christine Lagniel (Perc.), Michel

Maurer (Piano.), Michel Musseau (Synthesizer)Et si tout entière maintenant (1986-87)

Symphonic story. (Prix Italia 1987) – Text by Colette Fellous

Anne Sée (Voice), Nouvel Orchestre Philharmonique, Dir. Yves Prin.

Mode Records USA MODE 81 - 1999

Danses Organiques cinéma pour l’oreille

Danses organiques (1971-73)

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Elica mpo-3340 - 1999

vinyle LP Elica 4VL 3704 – 2003

Far-West news

Far-West news episode n°1 (1998-99)

Histoire du plaisir et de la désolation (1979-81)Nouvel orchestre de France, Dir. Michael Luig.

Signature, France ASIN : B00005Q4KU – distribution Harmonia Mundi – 1999

Cycle des souvenirs - Exploitation des concepts n°2

Cycle des souvenirs - Exploitation des concepts n°2 (1995-2000)Blue Chopsticks USA BC8, distrib. France : Chronowax - 2002

Tautologos and other early electronic works

Étude aux accidents (1958)

Étude aux sons tendus (1958)

Visage V (1958/59)

Tête et queue du dragon (1959-60)Tautologos I (1961)

Tautologos II (1961)

Und so weiter for piano and tape (1965-66)

(works from 1959 to1966) EMF and GRM

Gérard Frémy (Piano)

EMF CD 037 - 2003

Comedia dell'amore 224 (1992)

Performers and composers : Jean-Jacques Birgé, Francis Gorgé, Bernard Vitet and Luc Ferrari

Un Drame musical instantané "Opération Blow up" GRRR 2020 - distrib. France : Orkhêstra / Les

Allumés du Jazz - 1992

Impro-micro-acoustique (2001)

Performers and composers : Noël Akchoté, Roland Auzet and Luc FerrariBlue Chopsticks, USA BC12 - distrib. France : Chronowax - 2004

Collection

Collection de petites pièces ou 36 Enfilades pour piano et magnétophone (1985)

Jeu du hasard et de la détermination (1999)

Michel Maurer (Piano.), Françoise Rivalland (Perc.).Les empreintes digitales, France – distribution Abeille Musique (Nocturne) ED13171 – 2004

Les Anecdotiques

Les Anecdotiques - Exploitation des Concepts N°6 (2002)

SUB ROSA SR 207 – 2004

Grand Prix 2005 Charles Cros In Memoriam

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Archives sauvées des eaux

Archives sauvées des eaux - Exploitation des concepts n°1 (2000)

Version for plastic, Milan 2004. By Luc Ferrari and Erikm

Angle Records, Italie CD 0008 – 2004

Grand Prix 2005 Charles Cros In memoriam

Son mémorisé

Presque Rien N°4 (1990-98)

Promenade symphonique dans un paysage musical ou Un jour de fête à El Oued en 1976 : (1976-

78)

Saliceburry cocktail (2002)

Sub Rosa, SR252 - 2006

Far-West news episodes 2 and 3

Far-West news episodes 2 (May 1999)

Far-West news episodes 3 (June 1999)

Blue Chopsticks BC16 CD September 2006

Et tournent les sons

Et tournent les Sons dans la Garrigue - Réflexion sur l'écriture n°1 (1977)

Archives sauvées des eaux - Exploitation des concepts N°3 (2000)

By the Ensemble Laborintus and Erikm

Césaré 06/03/4/2/1 France septembre 2006. Distr. Metamkine

Les ProtoRythmiques

Les ProtoRythmiques (2007)EriKm (Luc Ferrari) and Thomas Lehn

Room40 RM417/ May 2007

Didascalies

Rencontres fortuites (2003) for viola, piano and memorized sounds.

Didascalies (2004) for viola and piano

Tautologos III (1969)By Vincent Royer and Jean-Philippe Collard-Neven

Luc Ferrari facing his tautology – 2 days before the end,

a film by Guy Marc Hinant and Dominique Lohlé

Sub Rosa SR261 luc ferrari "didascalies" / cd+ dvd / May 2007

Sonopsys

Passage pour mimes (1959)J'ai été coupé (1960-69)

Selbstportrait oder Peinture de sons ou bien Tonmalerei (1996-97)

Sonopsys 4 - Cahiers musique concrète/acousmatique. May 2007

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in OHM: The Early Gurus of Electronic Music / 1943 - 1980

Ellipsis arts…… EA500-4 USA

in Asia - Trio d'argent

Madame de Shanghaï (1996)

Michel Boizot / François Daudin Clavaud / Xavier Saint-Bonnet (Flutes)

Musique d'Aujourd'hui 9701 MDA M7 847 – 1997

in An anthology of noise & electronic music / vol. #2

Visage V (1958-59)

Sub Rosa SR200 – 2003

in Early modulations : vintage volts

Tête et queue du dragon (1959-60)Caipirinha CP219 USA - 2000

in Archives GRM – CD 2/5

Étude aux sons tendus (1958)

Étude floue (1958)

Étude aux accidents (1958)

Ina c 1032(2004) ADD – 750 - 276522

Chantal, or the portrait of a villager (1977–78)

stereo tape.

in collaboration with Brunhild Meyer.

Digital on-line edition 2008

Room 40

Archives Génétiquement Modifiées (2000) – mémorized sound

Société II (1967)

for four soloists and sixteen instruments (flute, oboe, clarinet, bassoon, horn, trumpet, trombone, 4 violins,

2 violas, 2 violoncellos, 1 contrabass. Soloists: 1 piano, 3 percussions.) recording from 1968 by the

EIMCP dir. Konstantin Simonovich.

Robot Records, USA

À la recherche du rythme perdu

for piano and memorized sound. by Wilhem Latchoumia

In Wilhem Latchoumia – piano & electronic sounds

Sisyphe 013

Madame de Shanghaï (1996)

for 3 flutes and memorized sound

In Manuel Zurria repeat !

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Die Schachtel, Zeit C01

Archives sauvées des eaux - Luc Ferrari with Otomo Yoshihide.

Bonus-track (CD extra) for the first 2000 copies : « Slow landing » Luc Ferrari with Otomo Yoshihide,Camera: Miyaoka Hideyuki and Nishihara Tazz Miyaoka

Disc Callithump CPCD-001

Labyrinthe de violence

Danse

LP Alga Marghen

Disque vinyle PLANA-F alga027 - 2009

Sexolidad (1982–83)

Dialogue Ordinaire avec la Machine (1984)

Elica mpo-4301 – 2009

INA-GRM Box (2009)

in partnership with La muse en circuit,

contains 10 CD Luc Ferrari’s works for memorized sound as well as film music.

Chantal (2009)

stereo tape (1977-78)

in collaboration with Brunhild Meyer.Ohm/Avatar - ohm 051

DIDASCALIES 2 ou Trois personnages en quête de notes (2005)

For two pianos and a third very strong instrument capable to uphold a very strong note.

Claude Berset and Jean-Philippe Collard-Neven, piano – Vincent Royer, viola

Recorded at La Chaux-de-Fonds, Switzerland

Vinyl disc Sub rosa SRV 305- April 2010

TRANQUILLES IMPATIENCES (2010)

by Brunhild Ferrari recomposing tapes from Luc Ferrari called “Exercices d’Improvisation”

vinyle disc ALGA MARGHEN - 2010 - plana-MF alga028

EPHÉMÈRE I & II (1974)

for tape and undetermined instrumentation

éphémère I - L’ordinateur ça sert à quoi ? Nov ; 1974

éphémère II - Lyon 75 Nov. 1975

ALGA MARGHEN plana f. 33 NMN 081 - 2010

EXERCICES D'IMPROVISATION (1977)

Suite of exercices (5 to 7 min. each) - can be individual or collective improvisation for any

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instrument or instrument group (maximum 8). They are intended for amateurs, professionals or

students and may take place in concerts.

By Gol and Brunhild Ferrari

Vinyl disc ALGA MARGHEN planam 5 (it) - 2010

PIANO & PERCUSSION WORKS

Satoko Inoue piano & Toshiyuki Matsukura percussion

CONVERSATION INTIME (October 1987 - March 1988) 19:33

for piano and percussion

VISAGE I (1956) 7:21 for pianoSONATINE ELYB POUR PIANO (1953–54) - 7 :44 for piano

CELLULE 75 - FORCE DU RYTHME ET CADENCE FORCEE (May - November 1975) 32:45

for piano, percussions and tape

Recorded in 2004 - Hat(now)ART 165 - Jan. 2011 - harmonia mundi

LUC FERRARI « Madame de Shanghai » - « Après Presque Rien » - « Visage 2 »

VISAGE 2 (1955-56) - 10’02APRES PRESQUE RIEN (2004) – 31’47 (commissioned by Art Zoyd, Musiques Nouvelles and

CCMIX)

MADAME DE SHANGHAI (1996) - 15’22

By the Scottish Flute Trio and Ensemble Musiques Nouvelles, cond. Jean-Paul Dessy

Mode 228 - Feb. 2011

VISITATION (1 avril 2011) - 25’23

eRikm & Luc Ferrari - The night bird, Cap 15 and night bird, Tuchan, in Presque Rien N0 2

Vinyle disc Alga Marghen Planam 18 (it) - 2011

Souvenir, Souvenir

SUITE' (1952)

SUITE HÉTÉROCLITESONATINE ELYB

VISAGE I

COLLECTION DE PETITES PIÈCES OU 36 ENFILADES POUR PIANO ET MAGNÉTOPHONE

piano : Elmar Schrammel - WERGO 67372

JETZT ou PROBABLEMENT MON QUOTIDIEN IL EST LA, DANS LA CONFUSION DES

LIEUX ET DES MOMENTS - Hörspiel 1982 - 1 h. 45'

Radio composition for Hessischer Rundfunk. .

Ferrari (r)écouté

new compositions with sound material of Ferrari’s JETZT tapes from:

Tiziana Bertoncini – Antje Vowinckel – Frank Niehusmann – David Fenech – Neele Hülcker

COMPOSER LA RADIO – DAS RADIO KOMPONIEREN

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excerps from a radio conférence with Luc Ferrari (2000)

produced by ZKM, Karlsruhe and WERGO. - WERGO ZKM milestones 2066.2 - 2011

PROGRAMME COMMUN Luc + Brunhild Ferrari

Double CD

Luc Ferrari:

MUSIQUE SOCIALISTE, or PROGRAMME COMMUN POUR CLAVECIN ET BANDEMAGNETIQUE' - (1972)

harpsichord: Elisabeth Chojnacka

DIDASCALIES 2 – (2005)

for 2 pianos and a third very powerful instrument that can hold a very loud note : viola

Jean-Philippe Collard-Neven et Claude Berset : piano. Vincent Royer : viola

LES EMOIS D’APHRODITE – (1986) Version 1998

for clarinet, piano, percussion, 2 samplers and memorized sound

by the ensemble MC BAND, dir. Mary Chun, San Francisco

Brunhild Ferrari - electroacoustic, with sounds from Luc Ferrari :

DERIVATIF – (2008)

BRUMES DU REVEIL - (2009)TRANQUILLES IMPATIENCES – (2010)

Sub Rosa SR363 AB - www.SUBROSA.NET

LUC FERRARI « PRESQUE RIEN »

double vinyl discs

PRESQUE RIEN N°1PRESQUE RIEN N° 2

PRESQUE RIEN AVEC FILLESPRESQUE RIEN N° 4 - La remontée du Village

Recollectio GRM 2012 – REGRM 005 et éditions MEGO – INA GRM

L. FERRARI

UND SO WEITER for electric piano and tape

Gérard Frémy, PianoMUSIC PROMENADE original mix

re-issue of the vinyl disc by WERGO from 1969 - WER 67752 – 2012

CD + DVD releases

Didascalies

Rencontres Fortuites (2003) pour alto, piano et SM.Didascalies (2004) pour alto et pianoTautologos 3 (1969)

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by Vincent Royer, viola and Jean-Philippe Collard-Neven, piano

+ DVDLuc Ferrari face à sa tautologie - 2 jours avant la fin

Film by Guy-Marc Hinant and Dominique LohléFrench version, with English sub-titles, recorded while the rehearsal of Tautologos III.

"that would be Luc’s last one in this beginning of July 2005.Sub Rosa SR261 luc ferrari "didascalies" / cd+ dvd / mai 2007

This Box was rewarded with the « Coup de Coeur Charles Cros - musique contemporaine

printemps 2008 » and the Grand Prix from the festival "Filmer à tout prix", Brussels in 2008

Presque rien avec Luc Ferrari

Film by Jacqueline Caux and Olivier Pascal – with Elise Caron – eRikm – Christof Schläger . 2004.ELICA VPO-4290Robot Records 2008

Forced Exposure; Métamkine, Fr.; Die Schachtel, It.; Mimaroglu Music Sales; Die Stadt, Germ.; A-Musik, Cologne, Germ.; Empreintes Digitales, Montreal Can.; Disk Union, Tokyo, Jap.

Les Archives sauvées des Eaux

Luc Ferrari with Otomo Yoshihide.

« Slow Landing » Luc Ferrari with Otomo Yoshihide, Camera: Miyaoka Hideyuki and Nishihara TazzMiyaokaDisc Callithump CPCD-001

Recent book releases

PRESQUE RIEN AVEC LUC FERRARI

book by Jacqueline Caux. Discussion with Luc Ferrari.

Editions Main d’œuvre, Nice – January 2001

translation into Japanese by Ryosuke Shiina (Tokyo, 2006)

Luc Ferrari to hotondo nanimo nai.Editions Gendaishichô-shinsha (2006), Tokyo, Japan.

translation into English by Jérôme Hansen.

Almost Nothing with Luc Ferrari. Editions Errant Bodies (2013)

SONOPSYS N° 4 LUC FERRARI

Cahiers Musique Concrète / Acousmatique, published by Licences (French - English) - 2007by Alexandre Yterce and Florence Gonot - www.revuelicences.comproducts_id=741&language=en%20%20Purchase%20order%20in%20inglish%20-%20PDF

LUC FERRARI PORTRAITS POLYCHROMES

supplemented edition by GRM / INA – 2007 - grm@ina.fr

Luc Ferrari in : THE POLITICS OF PRESQUE RIEN by Eric Drott"

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in Sound Commitments (Oxford University Press, 2009).P. 145-166. Pdf to download on the website on “bibliography” 2009 page 9

Luc Ferrari in : IN THE BLINK OF AN EAR:

TOWARD A NON-COCHLEAR SONIC ARTby Seth Kim- Cohen. (Continuum, 2009). "Sound-Out-Of-Itself" p. 175-185.

Pdf to download on the website on “bibliography” 2009 page 9

Luc Ferrari in : Silence, les couleurs du prisme & la mécanique du temps qui passe. LESPRESQUE RIEN - ET TOURNENT LES SONS DANS LA GARRIGUE by Daniel Caux

Editions de l’Eclat, Paris. Pages 333-337 (2009)

Syntone NEWS AND CRITIQUE OF THE RADIO-ART

the Radio of Luc (and his listeners)Chantal Dumas - François Parra - Irvic Oliver - José Iges - Götz Naleppa - Lucien Bertolina.Contributions collected and conducted by Etienne Noiseau. Edited by Etienne Noiseau

The Bells Angels N° 2

Magazine TBA Nr 2 July 2010-07-03 containing the score of

MONOLOGOS (for solo voice and électroacoustic device) - 1970 – as well asCONCEPTS (3 excerpts of Jacqueline Caux’ book: Presque Rien avec Luc Ferrari

éditions nuitdencre galerie 64 rue jean-pierre timbaud – 75011 paris

The Bells Angels

Magazine TBA Nr 3 – 2011, http://thebellsangelszine.blogspot.com/

10 photoengraving-works by Luc Ferrari

Bibliography

1959 Luc Ferrari: STAGES OF THE VISION/STAGES OF THE PRODUCTION In Expériences musicales- Concrete music - exotic Electronics Revue Musicale N° 244, Paris 1959, p. 8 - 10

1967 LUC FERRARI by Pierre Schaeffer In La Musique Concrète QUE SAIS-JE Presses Universitaires deFrance, Paris 1967, p. 108 - 113

1970 LUC FERRARI. Interview by Denys Lémery In Actuel N° 12, 1970, p. 14 - 18

1971 Luc Ferrari - FÜR WEN KOMPONIEREN SIE EIGENTLICH? (For whom do you actuallycompose?) By Hansjörg Pauli Ed. S. Fischer - Frankfurt 1971, p. 37 - 59

1972 Discussion with Luc Ferrari by François-Bernard Mâche In Nouvelle Revue Française N° 232, 1972

1973 Luc Ferrari LES DANSES ORGANIQUES Remarks collected by Daniel Caux in Art Vivant - Le Corps(The body) 2, N° 41, July 1973, p. 30 - 32

12/8/13 Luc Ferrari - Wikipedia, the free encyclopedia

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1974 Tibor Kneif: Types of the « Entsprachlichung » in the new music 1 Stephan, Rudolf (Hg.): About musicand language. SEVEN ATTEMPTS ABOUT THE NEWER VOCAL MUSIC Mainz (Schottt) 1974, p. 30 –31

1974 Luc Ferrari. INTERRUPTEUR, TAUTOLOGOS 3, Ensemble Instrumental de Musique Contemporainede Paris, Konstantin Simonovitch By Klaus Stahmer In Melos Heft IV, July–August 1974, p. 242 - 244

1975 ALLO, ICI LA TERRE... (Hello, the Earth is speaking) by Luc Ferrari In Art Vivant - La Mort, (TheDeath) N° 54, January 1975, p. 22 - 23

1977 Luc Ferrari - FÜR WEN KOMPONIEREN SIE EIGENTLICH? For whom do you actually compose?By Hansjörg Pauli Reproduction in Beiträge zur Musikwissenschaft, Heft 4, 1977, p. 260 - 269

1977 Luc Ferrari. Discussion with David Jisse In Unison N° 3 Paris, May 1977, p. 14 - 16

1977 Reflections by Luc Ferrari on DOES THE MUSIC OF FUTURE HAVE A FUTURE? In CahiersRecherche/Musique, INA-GRM, 1977, p. 77 - 79

1978 François-Bernard Mâche: LES MAL ENTENDUS. Composers of the 70s In Revue musicale N° 314,1978, p. 65 - 69

1978 - SREFACIO A... Y REFLEXION SOBRE... por Luc Ferrari - UN PUEBLO NUMERO 11350 porLuc Ferrari In Arte Nuevo 1, Universidad Veracruzana 1978, p. 10 - 13

1979 Luc Ferrari ERUDITE CULTURES AND POPULAR CULTURES Interview by Catherine Millet In ArtPress International, N° 26, March 1979, p. 18

1981 Luc Ferrari - dossier "En attendant Enée" In Cahier de l'animation musicale, N° 19, June 1981, p. 11 - 12

1981 Discussion with Luc Ferrari. Remarks collected by Francis Hofstein Jazz magazine – 1981, p. 26 - 29

1981 Discussion with Luc Ferrari by Denis Levaillant In L'Improvisation Musicale, Editions J.C. Lattès 1981,p. 4 - 7

1983 Luc Ferrari THE MUSIC IS ALSO WORD. JOURNAL INTIME –(DIARY) Interview by MichelGiroud In Canal, N° 54, November 1983, p. 19

1983 Luc Ferrari. SOCIÉTÉ 1 text-score In Chemin de Ronde, Vol. 3, 1983,

1985 Luc Ferrari. About the pleasure of the desire - HISTOIRE DU PLAISIR ET DE LA DÉSOLATION ByKlaus Hinrich Stahmer In Melos, N° 4, 1985, p. 19 - 33

1986 Luc Ferrari. Moderato ma non troppo by P. Minod In Restons Simples (Creativ Media), N° 2, January1986, p. 68 - 69

1989 Hörspiel - Création radiophonique – Radio Art JE ME SUIS PERDU - ABYRINTHE PORTRAIT fromLuc Ferrari by Michel Dumont In magazine kanal, N° 42, April 1989, p. 60 - 61

1990 Luc Ferrari. Interview by Stephane Ollivier In Revue et Corrigée, N° 5, Spring 1990, p. 4 - 7

1990 COMPOSERS AND RHETORIC, Discussion between François Delalande and Luc Ferrari In 20Analyse Musicale, Paris June 1990, p. 47 – 49

1993 ÇA FROTTE – (It brushes) by Luc Ferrari In L'Evidence, N° 2, Autumn 1993, p. 24 - 27

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1993 Analyse – Journal (Analysis Diary) by Luc Ferrari In Musiques d'Aujourd'hui Conseil Général de laCreuse - December 1993, p. 69 - 77

1995 Luc Ferrari PRESQUE RIEN By Jérôme Noetinger In Revue et Corrigé, N° 26, December 1995, p. 35

1996 Discussion with Luc Ferrari - by Ch. Zanesi In Ars Sonora, N° 3, March 1996, p. 7 - 15

1996 Discussion with Luc Ferrari - by Danielle Cohen-Levinas In La Règle du Jeu – 1996

1996 Luc Ferrari in: RECHERCHES SUR LA TRANSFORMATION DU TEMPS MUSICAL SOUSL’ANGLE DE LA PHILOSOPHIE JAPONAISE (Research on the transformation of musical time under theangle of Japanese philosophy) by Ryôsuke SHIINA, Université de Lille III, 9, rue Auguste Angellier, 59046Lille Cedex

1996 JE COURAIS TANT DE BUTS DIVERS... (I was running in so many different directions...)(Contemporary music review Vol. 15 In G+B Arts International, London, p. 95 - 104

1997 Sandeep Bhagwati: TWO FRENCH COMPOSERS (Georges Aperghis and Luc Ferrari) In Jahrbuchder Bayrischen Akademie der Schönen Künste 11. 1997, p. 391 – 399

1997 Luc Ferrari in THE ART OF THE FIXED SOUNDS, by Jean-Noël von der Weid, In La musique duXXe siècle Editions Hachette (Pluriel), p. 221 - 223

1997 Luc Ferrari. Interview by Haruyuki Suzuki In Eigageijutsu, N° 383, Japan 1997

1998 MINIMAL OR NOT Luc Ferrari. Interview by Karen Tanaka In Musée - a shape of miles - Towerrecords - Vol. 12, Japan, March, 1998, p. 14

1998 Luc Ferrari in: ASPECTS DE LA NOTATION VERBALE ESSAI DE TAXINOMIE DESPROPOSITIONS VERBALES DES ANNÉES SOIXANTE ET SOIXANTE-DIX. Mémoire du DEA(Essay on taxonomy of the verbal proposals of the Sixties and seventies) Memory of the DEA by RadosvetaKouzmanova Bruzaud U.F.R. de Musique et Musicologie du XXe siècle – Université de Paris IV-Sorbonne,Oct.1998

1998 Luc Ferrari - INTERVIEW WITH AN INTIMATE ICONOCLAST by Brigitte Robindoré In ComputerMusic Journal, Vol. 22, Nr. 3 – Autumn, p. 8 - 16

1999 Luc Ferrari. Remarks collected by Dan Warburton Peace Warriors Nr. 10 - January

1999 Luc Ferrari in: LA NOTATION VERBALE AU SERVICE DU RITUEL (the verbal notation with theservice of the ritual) Colloquia „Musique et Rites“ 17–19 May 1999 by Radosveta Bruzaud

1999 SERIAL DEVIANT by Dan Warburton The Wire – April, p. 26 - 28

1999 Luc Ferrari FAR-WEST NEWS In Soundscapes - VPRO Hilversum – NL, November 1999, p. 20 - 21

1999 LOTS OF LUC FERRARI by John Palmer In 20th Century Music, San Anselmo CA., USA, December,p. 3 - 10

1999 LUC FERRARI'S ART OF TAUTOLOGY Vous plairait-il de tautologuer avec moi? (Would you like totautologize with me?) Interview by Jacqueline Caux - French / English In Art Press International, Nr. 252 -December 1999, p. 49 - 52

2000 Luc Ferrari in conversation with J. Palmer In SAN Journal of electroacoustic music, London, p. 36 - 44

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2000 Luc Ferrari. About the publication of the CD: CHANSONS POUR LE CORPS AND ET SI TOUTENTIÈRE MAINTENANT by Ryosuke Shiina In Musée - sacrifice fly - Tower records - Vol. 23, Japan,January, p. 93 - 107

2000 11. Karl-Sczuka-Preis 1972, p. 99-101 PORTRAITSPIEL 27. Karl-Sczuka-Preis 1988, p. 184-190VERIRRT. EIN LABYRINTH In Akustische Spielformen SWR Schriftenreihe « Grundlagen 1 » Spring 2000

2000 Luc Ferrari in: LE CONCERT ENJEUX, FONCTIONS, MODALITÉS JEU DE SOCIÉTÉ OU LATHEATRALISATION DU CONCERT (Stakes, functions, methods parlour game or theTHEATRALISATION in the concert by Radosveta Bruzaud Harmattan – Logique Sociale, p. 137 – 174

2000 Luc Ferrari. Remarks collected by Ryosuke Shiina In Poetry and criticism: Eureka 5 / 2000, p. 39 - 51

2001 Luc Ferrari. PORTRAITS POLYCHROMES Co-Edition Cdmc, Ina Groupe Edition-Documentation2001-06-13

2001 Luc Ferrari in DIE KUNST DER FIXIERTEN KLÄNGE (The art of the fixed sounds) by Jean-Noëlvon der Weid, In Die Musik des 20. Jahrhunderts Insel-Verlag, Leipzig, p. 332 - 335

2002 PRESQUE RIEN AVEC LUC FERRARI (Almost nothing with Luc Ferrari) 260 pages withphotographs. Author: Jacqueline Caux. Discussions with Jacqueline Caux Publication January 2001 EditionsMain d’Oeuvre, Nice Tel./Fax 04 93 92 42 49

2002 LUC FERRARI, OR MEMORY AS NON-„MUSIC“ par Ryosuke Shiina In « Bulletin of Institute forInterdisciplinary Studies of Culture » Vol.19 Doshisha Women’s College, Japan, March 31/2002

2002 Cinéma pour les oreilles about Almost Nothing with Luc Ferrari by Jacqueline Caux In Les InrockuptiblesAugust 14 to 20, 2002 N° 351, p. 58 - 59

2003 T. Möller: Luc Ferrari, in: Komponisten der Gegenwart, (composers of the present) 26. Subsequentedition 12/03.

2003 Luc Ferrari: IMPRO-MICRO-ACOUSTIQUE by Noël Akchoté in skug N° 57– Austria, p. 49

2004 Luc Ferrari in: LE MOT DANS LA PARTITION AU VINGTIÈME SIÈCLE (THE WORD IN THESCORE AT THE TWENTIETH CENTURY Thesis of Doctorate of Music and Musicology of the 20thcentury by Radosveta Kouzmanova Bruzaud U.F.R. de Musique et Musicologie - Université de Paris IV –Sorbonne, December. 2004

2004 LA MUSIQUE ET SON DEHORS – RE LA MUSIQUE ANECDOTIQUE À L’ARYTHMIE (Musicand its outside - Anecdotic Music with the Arrhythmia) by David Sanson et Pierre Yves Macé. In MouvementN° 30, p. 48-59

2004 Luc Ferrari tasted by Dan Warburton INVISIBLE JUKEBOX in THE WIRE N° 242 April 2004, p. 20-23

2005 L'ESCALIER DES AVEUGLES: a Hörspiel from Luc Ferrari (The staircase of the blinds). By AndreaCohen in Les compositeurs et l'art radiophonique (The composers and the radiophonic art) thesis of Doctorate.Sorbonne-Paris IV 2005

2005 L’Eloge de l’Arythmie. LE HASARD AVEC DÉTERMINATION. (The Praise of the Arrhythmia Thechance with determination. For his 75th birthday… By David Sanson et Pierre Yves Macé In MouvementMusique Action, Cahier Spécial, May 18–29, 2005, p. 10-12

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2005 Luc Ferrari CYCLES DES SOUVENIRS - EXPLOITATION DES CONCEPTS (Cycle of memories -Exploitation of the Concepts From the “Diary in disorder or the pursuit of the daily life sounds” In:TEMPORALE Edizioni Studio Dabbeni - Lugano - N° 60-61 - 2005 "Joueurs Aspendiens" a cura di GabieleBonomo, p. 56-60

2005 Page of the score TAUTOLOGIES ET ENVIRONS – EXPLOITATION DES CONCEPTS N° 4.2000-2001 in Sound Visions p. 91, Pfau-Verlag, Saarbrücken, Editors Möller/Shim/Stäbler.

2005 Möller, Torsten: PLEASE, JUST GO YOUR WAY... - Luc Ferrari died in the Italian Arrezzo at the ageof 76 years In: NZfM 6., p. 42-43

2005 Möller, Torsten: ZUM TOD VON LUC FERRARi, (Luc Ferrari died) in: Dissonanz/Dissonance 92(December 2005), p. 43

2005 Luc Ferrari in MusikTexte Heft 107, November 2005 « ALWAYS UNCONVENTIONAL»Remembering Luc – Peter-Michael Hamel. « THE COMPOSER, RADIO PLAY AND FILM PRODUCERLUC FERRARI » Tatjana Böhme-Mehner. « AN ALTERNATIVE TO THE OPERA. LUC FERRARIABOUT MUSIC THEATER » - Jacqueline Caux. « SOUNDS, SOUNDS… THE PIECES OF ALMOSTNOTHING» from Luc Ferrari – Daniel Teruggi. « THE DRAMA OF EVEN THE LIFE». Luc Ferrari’s« Cellule 75 » - Monika Lichtenfeld. « WHAT WOULD BE, IF? STRAVINSKY MEETS BEETHOVEN INLUC FERRARI’S STUDIO» - Klaus Mehner. « THE TRUE OR UNTRUE STORY OF CAHIER DUSOIR» (1991–1992) » - Luc Ferrari. « EACH TIME… », « THE CITY OF THE FUTURE»,Autobiographies from Luc Ferrari. In memory of Luc Ferrari. « “Committed observer of the reality, LucFerrari » - Daniel Caux.

2005 Luc Ferrari in: La musique du XXe siècle. - Jean Noël von der Weid. Hachette. ISBN 2-01-235948-5.2005. P. 359-363

2005 THE LESSON OF FREEDOM - REMEMBERING LUC FERRARI (1929–2005) By John Palmer -Guilherme Vaz - Hildegard Westerkamp In Soundscape Vol. 6 Nr. 1

2006 K.T. Goldbach: Akusmatisches und ökologisches Hören in Luc Ferraris Presque rien avec filles,(acousmatic and ecologic listening in Luc Ferrari’s Presque rien avec filles) in: Zeitschrift der GMTH 3, H. 1

2006 Böhme-Mehner, Tatjana: HE ALWAYS COMPOSED… UNTIL HIMSELF. THE COMPOSER,ELECTROACOUSTICIAN AND FILM PRODUCER LUC FERRARI In: Dissonanz/Dissonance 93 (March2006), p. 4-9

2006 Random Notes – Luc Ferrari 1929–2005 by David Cotner in SIGNAL TO NOISE Winter 2006 issue#40 operations@signaltonoisemagazine.com

2006 SALUT LUC By Carole Rieussec, David Grubbs, Alessandro Bosetti, Li Ping Ting, Jean-ChristopheCamps, Jérôme Noetinger, Chantal Dumas, eRikm, Jean-Baptiste Favory In revue & corrigée N° 67, March2006

2006 ALMOST NOTHING WITH LUC FERRARI Book by Jacqueline Caux. Discussions with JacquelineCaux Published in January 2001 Editions Main d’Oeuvre, Nice Tel./Fax 04 93 92 42 49 Published in Japaneseby Ryosuke Shiina, Tokyo, March 2006

2007 SONOPSYS N° 4 Luc Ferrari Cahier Musique Concrète / Acousmatique by Florence Gonot andAlexandre Yterce, Edition LICENCES. Publication at the moment of the premiere of Morbido Symphonie inParis on May 11, 2007. Art-book with CD.

12/8/13 Luc Ferrari - Wikipedia, the free encyclopedia

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2007 Luc Ferrari – PORTRAITS POLYCHROMES, Published by INA/GRM, Collection directed by EvelyneGayou. New increased edition

2007 ALMOST NOTHING WITH LUC FERRARI By Toshiharu Osato in "nobody", critic film-, music-,literature-review Published May–June 2007 N° 25, Japan. Pages 47–57:

External links

Luc Ferrari (http://www.lucferrari.org/) official website of the composer.Paristransatlantic.com: Luc Ferrari Interview

(http://www.paristransatlantic.com/magazine/interviews/ferrari.html) by Dan Warburton, July 22, 1998Otherminds.org: Luc Ferrari (http://www.otherminds.org/shtml/Ferrari.shtml)The online music review La Folia (http://www.lafolia.com/) has review articles about Ferrari: "Presque

Fin": Ferrari Almost Final (http://www.lafolia.com/archive/covell/covell200509ferrari.html) and LucFerrari, Head and Tail (http://www.lafolia.com/archive/covell/covell200310ferrari.html)

Retrieved from "http://en.wikipedia.org/w/index.php?title=Luc_Ferrari&oldid=577560252"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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