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LUC FERRARI/ 2011
(  Satoshi Kinoshita )
| Series: | Prints on paper: Portraits 2 | | Medium: | Giclée on Japanese matte paper | | Size (inches): | 16.5 x 11.7 (paper size) | | Size (mm): | 420 x 297 (paper size) | | Edition size: | 25 | | Catalog #: | PP_0184 | | Description: | From an edition of 25. Signed, titled, date, copyright, edition in pencil on the reverse / Aside from the numbered edition of 5 artist's proofs and 2 printer's proofs.
"Whereas Schaeffer and Henry were working like samplers, their idea was to capture those sounds which couldn't be serially calibrated because they were too complex in character."
- Luc Ferrari
Luc Ferrari -
Luc Ferrari (February 5, 1929 - August 22, 2005) was of an Italian heritage but French born composer, particularly noted for his tape music.
Luc Ferrari was born in Paris, and was trained in music at a very young age, studying the piano under Alfred Cortot, musical analysis under Olivier Messiaen and composition under Arthur Honegger. His first works were freely atonal. A case of tuberculosis in his youth interrupted his career as a pianist. From then on he mostly concentrated on musical composition. During this illness he had the opportunity to become acquainted with the radio 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 as inspiration for Ferrari to use magnetic tape in his own music. In 1958 he co-founded the Groupe de Recherches Musicales with Pierre Schaeffer and François-Bernard Mâche. He taught in institutions around the world, and 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 sounds to suggest a dramatic narrative. The use of ambient recordings 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 that music is always going on all around us, and if only we were to stop to listen to it, we would realise this. Ferrari continued to write purely instrumental music as well as his tape pieces. He also made a number of documentary films on contemporary composers in rehearsal, including Olivier Messiaen and Karlheinz Stockhausen.
-http://en.wikipedia.org/wiki/Luc_Ferrari
Luc Ferrari Quotes -
Boulez seemed to me to be a guy who wrote laws. Like a company lawyer.
Electronic music used pure sounds, completely calibrated. You had to think digitally, as it were, in a way that allowed you to extend serial ideas into other parameters through technology.
I have problems with machines which aren't gestural.
I probably went to musique concrete concerts - though not the very first ones - at the beginning of the 50s.
I think I came across Cecil Taylor a bit later, in 65 or 66. That really impressed me - Cecil Taylor is an amazing character... Both his music and the way he approaches the instrument are astonishing.
I wanted to play piano, and that slid quickly into writing - it wasn't enough to play other people's notes: I had to write notes too.
I was born in Paris, and I haven't moved, except until now - I live in the suburbs and I hate it.
My sisters were going out with artists and poets, and eventually it was the creative world which attracted me.
So the ideology was that: use sounds as instruments, as sounds on tape, without the causality. It was no longer a clarinet or a spring or a piano, but a sound with a form, a development, a life of its own.
Well, first I studied piano. I wasn't very satisfied because I though my teachers were dumb... and repressive.
When the Domaine Musical started up, I wasn't part of it. They were the major players in contemporary music at that time, braodcasting old and new composers' work. And I wasn't one of them.
Whereas Schaeffer and Henry were working like samplers, their idea was to capture those sounds which couldn't be serially calibrated because they were too complex in character.
With the piano I'm completely in control of the gestural situation-not that I'm going to play the piece myself, but I know what's difficult, what's impossible.
You turned on the radio and heard all kinds of things.
-http://www.brainyquote.com/quotes/authors/l/luc_ferrari.html
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