Luc Ferrari
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| - | {{Template}}'''Luc Ferrari''' ([[February 5]], [[1929]] – [[August 22]], [[2005]]) was a [[France|French]] [[composer]], particularly noted for his [[tape music]]. | + | {{Template}} |
| + | '''Luc Ferrari''' ([[February 5]], [[1929]] – [[August 22]], [[2005]]) was a [[France|French]] [[composer]], particularly noted for his [[tape music]]. | ||
| + | ==Biography== | ||
| + | {{Cleanup|date=May 2008}} | ||
| + | Luc Ferrari trained in music since a very young age and continued his composition and piano studies, until 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 the pioneers such as [[Schönberg]], [[Berg]], [[Webern]] and others who strengthened him in his resolution to dissociate himself from the instruction of his first conservatoires. | ||
| - | Ferrari was born in [[Paris]] and studied the [[piano]] under [[Alfred Cortot]], [[musical analysis]] under [[Olivier Messiaen]] and [[Musical composition|composition]] under [[Arthur Honegger]]. His first works were freely [[atonal]]. | + | He participated from 1954 to 1958 in the “Internationale Ferienkurse Darmstadt” - international vacation courses, where he had friendly relations with [[Karlheinz Stockhausen]], [[Luigi Nono]], [[Luciano Berio]], [[Henry Pousseur]], [[John Cage]], [[Edgard Varèse]]. Later and afterwards [[Pierre Schaeffer]] still increased his urge to break the dams which force the musical traditions until then. Ferrari could only withdraw himself from dogmas. |
| - | 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. | + | Overwhelmed by «Déserts» from [[Edgard Varèse]], he likewise discovered at the broadcast, he decided immediately in the year 1954 to visit him in New York. He dedicated this trip of several weeks on a freighter to the composition of piano pieces. |
| - | + | His attraction to the musique concrète and his collaboration with [[Pierre Schaeffer]] from 1957 to 1966 led him to extend the notion of abstract music, to want to tear the membrane between the genres. The first portable tape recorders allowed him to collect outside of the studios the sound for his piece ''Hétérozygote'', his first composition that he calls - with a smile, - ''« anecdotic music »'' - : ''«I want that the gesture of taking sounds outside allows my admission to the social. »'' | |
| - | 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]]. | + | There is no doubt that this composition from 1963-64 revealed his mind of freedom. |
| - | + | From then on, his activities proved this as well as his deep attention to the society, his character open in all directions, marking his work within the most different areas such as films; writings; installations; symphonic works or for ensembles; works, in which he connected instruments with recorded sounds; spectacle-concert; multimedia; electroacoustic works; radio plays and also, starting from 1999, his work with experimental DJs and improvisation. | |
| - | 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. | + | Besides his inclination to the society, to the mixture of genres, his sense of humor, sensuality narration, perversion, to the anecdotic, Ferrari’s compositions transmit his revolt, his desire and his love for life. |
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| - | 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 [[Socialist Federal Republic of Yugoslavia|Yugoslavia]]n [[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. | + | |
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| - | Ferrari continued to write purely instrumental music as well as his tape pieces. He also made a number of documentary [[film]]s on contemporary composers in rehearsal, including [[Olivier Messiaen]] and [[Karlheinz Stockhausen]]. | + | |
| + | With the films of 1965-66 for the [[Service de la Recherche of the O.R.T.F]] ''Les Grandes Répétitions'' - the important rehearsals - (INA), which he realizes with [[Gérard Patris]], and which opened the spirit of the composers and pioneers such as [[Messiaen]], [[Stockhausen]], [[Varèse]], [[Hermann Scherchen]], [[Cecil Taylor]], it happened for the first time that contemporary music was presented on French television. These are unique documents coveted by a large world of music. | ||
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Revision as of 08:16, 5 February 2009
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Luc Ferrari (February 5, 1929 – August 22, 2005) was a French composer, particularly noted for his tape music.
Biography
Template:Cleanup Luc Ferrari trained in music since a very young age and continued his composition and piano studies, until 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 the pioneers such as Schönberg, Berg, Webern and others who strengthened him in his resolution to dissociate himself from the instruction of his first conservatoires.
He participated from 1954 to 1958 in the “Internationale Ferienkurse Darmstadt” - international vacation courses, where he had friendly relations with Karlheinz Stockhausen, Luigi Nono, Luciano Berio, Henry Pousseur, John Cage, Edgard Varèse. Later and afterwards Pierre Schaeffer still increased his urge to break the dams which force the musical traditions until then. Ferrari could only withdraw himself from dogmas.
Overwhelmed by «Déserts» from Edgard Varèse, he likewise discovered at the broadcast, he decided immediately in the year 1954 to visit him in New York. He dedicated this trip of several weeks on a freighter to the composition of piano pieces. His attraction to the musique concrète and his collaboration with Pierre Schaeffer from 1957 to 1966 led him to extend the notion of abstract music, to want to tear the membrane between the genres. The first portable tape recorders allowed him to collect outside of the studios the sound for his piece Hétérozygote, his first composition that he calls - with a smile, - « anecdotic music » - : «I want that the gesture of taking sounds outside allows my admission to the social. » There is no doubt that this composition from 1963-64 revealed his mind of freedom. From then on, his activities proved this as well as his deep attention to the society, his character open in all directions, marking his work within the most different areas such as films; writings; installations; symphonic works or for ensembles; works, in which he connected instruments with recorded sounds; spectacle-concert; multimedia; electroacoustic works; radio plays and also, starting from 1999, his work with experimental DJs and improvisation. Besides his inclination to the society, to the mixture of genres, his sense of humor, sensuality narration, perversion, to the anecdotic, Ferrari’s compositions transmit his revolt, his desire and his love for life.
With the films of 1965-66 for the Service de la Recherche of the O.R.T.F Les Grandes Répétitions - the important rehearsals - (INA), which he realizes with Gérard Patris, and which opened the spirit of the composers and pioneers such as Messiaen, Stockhausen, Varèse, Hermann Scherchen, Cecil Taylor, it happened for the first time that contemporary music was presented on French television. These are unique documents coveted by a large world of music.
