Luc Ferrari, Musician

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Luc Ferrari - Wikipedia, the free encyclopedia

Luc Ferrari
From Wikipedia, the free encyclopedia

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

Luc Ferrari

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 in
my 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 Rien
No. 4)
2.5 Concept of the Disappearance
(Presque Rien No. 5, - almost nothing
with instruments -)
2.6 Exploitation of the Concepts
3 Death
4 Discography
5 CD + DVD releases
6 Recent book releases
7 Bibliography
8 External links

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/)

Biography
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

en.wikipedia.org/wiki/Luc_Ferrari

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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.

The Concepts
Another turn in his music was for Ferrari: Presque Rien ou le lever du Jour au Bord de la Mer - almost nothing
or daybreak at the sea -. This piece illustrates or rather suggests unconsciously a minimalist process, about
which 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 composition
which materializes the break with the practices of the classical electro acoustics. Still more directly than what
was called after Hétérozygote, anecdotic music, he requires for himself clearly the continuous sequence and the
fixed sound image - like a slide - offering a slice of real as a work method and as means to escape from the
habits. " « At the beginning the concept Presque Rien does not have anything to do with the music. One
must 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 desire
without worrying whether this something fits into a category. The concept in his opinion cannot be defined as
genre, as aesthetics or as technology, but only as idea. That means that the concept at the beginning cannot be
seized physically, but rather as a general impression, which one lends to a body. This concept consists of: only
one place - only one time - a certain acoustics - components, which he continues to develop from one Presque
Rien 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 to
make observable the time suggesting that something occurs in a place. Against the sound landscapes, where the
place is perceptible, the elements he uses, and which he calls everyday life sounds should, by the concept of a
minimal and not eventful story stimulate to a journey in the time; the coincidence of the everyday life noises
belonging to the daily gestures and consisting of substance, is the element that constructs the time. The intention
to 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 the
perversion precisely in this sense. A concept is relatively abstract, however it becomes alive with the change of
time. This is exactly, what he calls Perversion. But since it’s his invention, he has no reason to remain loyal to his
concept. 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 somewhat
mallow and superfluous attribute. He believes from now on in the contrary that we should be concerned with the
beauty, that it is indispensable for our reflection. Or don't we have the time any more to be in charge of beauty
because 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 at
all 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 for
the harmony of relations and the times. Disappears the narration. Disappears the recording as memory of a
place or a situation. Remains a kind of report, the presentation of some fewer elements, like a dilution and, how
these find their place in the time. The matter In Presque Rien No. 5 is the play of the objets musicaux - musical
objects -.

Exploitation of the Concepts
« Since autumn 99, I have undertaken the composition of a new series of pieces with the general title
Exploitation of the concepts. My purpose is to use those concepts I experimented in the course of my life as a
composer 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 to
use my archives resulted from the necessity, to update my tapes of these memories - which suffered in my
studio 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 boring
work 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 the
memories is not new to me, who are always backdue regarding the autobiographies.What is different
here is to manage together as well the sound as the picture. In the same way as I am a sound takercomposer, I am a here a picture taker-composer. Also the cycle of the memories means that all components
are 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 listening
to my recordings from the seventies I suddenly felt the need, without nostalgia and without allegiance on
the past, to make new from it. Also I took very large freedom and easiness concerning the concepts
while exploiting them. Indeed, if I speak of it, the question is not to make recognizable the concept, as
that was usual at that time, rather to recover this idea thirty years later, how it rubs against the other
earlier experiences, how it deforms or takes differently form. Or disappears. Perhaps I like also to use
the word „exploitation“ in a provocative sense - although a little frivolously - as a concept. Also I claim
the right to use my ideas exactly the same way as my sounds. I listen and I make from it a present that is
rich 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 ') The
Exploitation of concept 1. 3 and 4 use the same elements for the memorized material, but differently
assembled 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 the
tautology 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 or
acousmatic pieces. In other words and, in order to approach more precisely my topic, I would speak here
only of the electroacoustic pieces or those developed with technology. First unconsciously, then more
and more aware came up to me that I worked on the field of the autobiography. Thus I can only
retrospectively speak about the time that led me to this concept. This happened about 1962, while I
worked on the project of an electroacoustic piece: Hétérozygote. I thus want to try to explain, how
significant the simple gesture was to go out from the studio searching sounds outside. I went out with
portable utensils, which were my property, i.e. with my microphones and my tape recorder. This was my
equipment, and it was I.Whether one wants or not, I was here in an original situation of presence and
instrumental recognition making of me without being conscious, a manufacturer of the autobiography. I
was present, I held my microphone, I put on my tape recorder as soon as I considered it was good, I took
the sound that occurred front of me at the time I decided. This sound was my choice, my moment of the
life stored on my equipment. In other words, should the last sentence not be clear, this compositional gesture
in the recognition of the even indistinct sound, recognizing the found object as the first condition of an emotional
attitude, 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 Hessischer
Rundfunk,

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'oreille
Metamkine 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 Simonovitch
Blue 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 Ferrari
Blue 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 : (197678)
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 piano
SONATINE 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) - 10’02
APRES 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 HÉTÉROCLITE
SONATINE 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 BANDE
MAGNETIQUE' - (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°1
PRESQUE RIEN N° 2
PRESQUE RIEN AVEC FILLES
PRESQUE 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, Piano
MUSIC 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 piano
Tautologos 3 (1969)

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by Vincent Royer, viola and Jean-Philippe Collard-Neven, piano
+ DVD
Luc Ferrari face à sa tautologie - 2 jours avant la fin
Film by Guy-Marc Hinant and Dominique Lohlé
French 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-4290
Robot Records 2008
Forced Exposure; Métamkine, Fr.; Die Schachtel, It.; Mimaroglu Music Sales; Die Stadt, Germ.; AMusik, 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 Tazz
Miyaoka
Disc 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) - 2007
by Alexandre Yterce and Florence Gonot - www.revuelicences.com
products_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 ART
by 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. LES
PRESQUE 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 as
CONCEPTS (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 de
France, 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 actually
compose?) 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


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1974 Tibor Kneif: Types of the « Entsprachlichung » in the new music 1 Stephan, Rudolf (Hg.): About music
and language. SEVEN ATTEMPTS ABOUT THE NEWER VOCAL MUSIC Mainz (Schottt) 1974, p. 30 –
31
1974 Luc Ferrari. INTERRUPTEUR, TAUTOLOGOS 3, Ensemble Instrumental de Musique Contemporaine
de 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, (The
Death) 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 Cahiers
Recherche/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 por
Luc Ferrari In Arte Nuevo 1, Universidad Veracruzana 1978, p. 10 - 13
1979 Luc Ferrari ERUDITE CULTURES AND POPULAR CULTURES Interview by Catherine Millet In Art
Press 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 Michel
Giroud 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 By
Klaus 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, January
1986, p. 68 - 69
1989 Hörspiel - Création radiophonique – Radio Art JE ME SUIS PERDU - ABYRINTHE PORTRAIT from
Luc 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 20
Analyse 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 la
Creuse - 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 SOUS
L’ANGLE DE LA PHILOSOPHIE JAPONAISE (Research on the transformation of musical time under the
angle of Japanese philosophy) by Ryôsuke SHIINA, Université de Lille III, 9, rue Auguste Angellier, 59046
Lille 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 Jahrbuch
der 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 du
XXe 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 - Tower
records - Vol. 12, Japan, March, 1998, p. 14
1998 Luc Ferrari in: ASPECTS DE LA NOTATION VERBALE ESSAI DE TAXINOMIE DES
PROPOSITIONS 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 Radosveta
Kouzmanova 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 Computer
Music 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 the
service 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 to
tautologize 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 TOUT
ENTIÈRE 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. 184-190
VERIRRT. EIN LABYRINTH In Akustische Spielformen SWR Schriftenreihe « Grundlagen 1 » Spring 2000
2000 Luc Ferrari in: LE CONCERT ENJEUX, FONCTIONS, MODALITÉS JEU DE SOCIÉTÉ OU LA
THEATRALISATION DU CONCERT (Stakes, functions, methods parlour game or the
THEATRALISATION 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-Documentation
2001-06-13
2001 Luc Ferrari in DIE KUNST DER FIXIERTEN KLÄNGE (The art of the fixed sounds) by Jean-Noël
von 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 with
photographs. Author: Jacqueline Caux. Discussions with Jacqueline Caux Publication January 2001 Editions
Main 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 for
Interdisciplinary 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 Inrockuptibles
August 14 to 20, 2002 N° 351, p. 58 - 59
2003 T. Möller: Luc Ferrari, in: Komponisten der Gegenwart, (composers of the present) 26. Subsequent
edition 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 THE
SCORE AT THE TWENTIETH CENTURY Thesis of Doctorate of Music and Musicology of the 20th
century 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 (Music
and its outside - Anecdotic Music with the Arrhythmia) by David Sanson et Pierre Yves Macé. In Mouvement
N° 30, p. 48-59
2004 Luc Ferrari tasted by Dan Warburton INVISIBLE JUKEBOX in THE WIRE N° 242 April 2004, p. 2023
2005 L'ESCALIER DES AVEUGLES: a Hörspiel from Luc Ferrari (The staircase of the blinds). By Andrea
Cohen 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 The
chance with determination. For his 75th birthday… By David Sanson et Pierre Yves Macé In Mouvement
Musique 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 Gabiele
Bonomo, 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 age
of 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 PRODUCER
LUC FERRARI » Tatjana Böhme-Mehner. « AN ALTERNATIVE TO THE OPERA. LUC FERRARI
ABOUT MUSIC THEATER » - Jacqueline Caux. « SOUNDS, SOUNDS… THE PIECES OF ALMOST
NOTHING» 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 IN
LUC FERRARI’S STUDIO» - Klaus Mehner. « THE TRUE OR UNTRUE STORY OF CAHIER DU
SOIR» (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, Luc
Ferrari » - 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 (March
2006), 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-Christophe
Camps, Jérôme Noetinger, Chantal Dumas, eRikm, Jean-Baptiste Favory In revue & corrigée N° 67, March
2006
2006 ALMOST NOTHING WITH LUC FERRARI Book by Jacqueline Caux. Discussions with Jacqueline
Caux Published in January 2001 Editions Main d’Oeuvre, Nice Tel./Fax 04 93 92 42 49 Published in Japanese
by Ryosuke Shiina, Tokyo, March 2006
2007 SONOPSYS N° 4 Luc Ferrari Cahier Musique Concrète / Acousmatique by Florence Gonot and
Alexandre Yterce, Edition LICENCES. Publication at the moment of the premiere of Morbido Symphonie in
Paris on May 11, 2007. Art-book with CD.

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2007 Luc Ferrari – PORTRAITS POLYCHROMES, Published by INA/GRM, Collection directed by Evelyne
Gayou. 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, 1998
Otherminds.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 Luc
Ferrari, 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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