Two major works from electroacoustic composer Luc Ferrari: "Heterozygote" written in 1964, where Ferrari attempts to engineer a language located both on the musical and on the dramatic plane; and "Petite symphonie intuitive pour un paysage de printemps" from 1947, part of a series of imaginary soundscapes based on recollections of a mountain landscape.
Memorial Day 8-15% Sale: save $1.76
Out of Stock
Shipping Weight: 16.00 units
Quantity in Basket: None
Log In to use our Wish List
Label: Recollection GRM
Catalog ID: REGRM 017LP
Squidco Product Code: 23415
Recorded between 1963 and 1974.
Highlight an artist name or instrument above
and click here to Search
1. Heterozygote 26:19
2. Petite symphonie intuitive pour un paysage de printemps 25:09
New in Compositional Music
sample the album:
"Hétérozygote (1963-1964), 26:19
Composed between December 1963 and March 1964
In the field of biology Heterozygous (Hétérozygote) means: a plant whose heredity is mixed. It implies that this composition is an attempt to engineer a language located both on the musical and on the dramatic plane. You could call this music "Anecdotal Music" for if the organisation of events is purely musical, their choice suggests situations justified at two levels: the music and the anecdote. However, the anecdote is hardly formulated and is open to plural interpretations. The listener is then asked to imagine their own story by rejecting - if necessary - the one suggested by the author.
More specifically, the author suggests an anecdotal complex, potentially bearing several meanings. The work preceded by an opening is made of eight scenes, separated (or not) by interludes. And if we wished to push the paradox further, we could say that the titles of the scenes are optional and the interludes are also scenes, etc.
Petite symphonie intuitive pour un paysage de printemps (1973-1974), 25:09
"This electroacoustic music is part of a series that could be called "imaginary soundscape". Unlike 'Presque rien ou le lever du jour au bord de la mer (almost nothing or daybreak by the seaside)', where the landscape narrates itself, here a traveller discovers a landscape which he tries to convey as a musical landscape. Brunhild and I were in the Gorges du Tarn area. We chose to take a small path that was going up a rocky mountain for about ten kilometres.
After a last turn, a totally unexpected landscape opened before my eyes. It was sunset. Before us, a vast plateau spread open with soft curves up to the horizon, up to the sun. The colours ranged from dry grass yellow to purple, in the distance, with the darkness of a few small groves punctuating the space. The almost bare nature was presenting itself to the eye, free from any obstacle. We could see everything. Later, when I Photo © Laszlo Ruszka, 1963 recollected this place and the sensations I had experienced there, I tried to compose a music that could revive this memory. The "Causse Méjean" is a high plateau, about 1000 m high, in the Massif Central mountain range. It is dotted by scattered farms. A few people bring their flocks of sheep home. I thought about evoking this solitary and hazy human presence by including snippets of conversations I had had with some of the shepherds. Human language is woven into the musical texture; the sound of the voice says more than its actually meaning. Once, a shepherd told me "... I am never bored. I listen to the landscape. Sometimes I play my flute and then I listen to the echo responding..." Thinking of him, I used the flute and its echo in my music."Luc Ferrari. October 18, 2002"-Recollection GRM
• Show Bio for Luc Ferrari
"Luc Ferrari (February 5, 1929 - August 22, 2005) was a French composer of Italian heritage.
Ferrari was born in Paris, and was trained in music at a very young age. He studied 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.
Ferrari died in Arezzo, Italy on August 22, 2005, at age 76."-Wikipedia (https://en.wikipedia.org/wiki/Luc_Ferrari)
Have a better biography or biography source? Please Contact Us so that we can update this biography.
^ Hide Bio for Luc Ferrari
Search for other titles on the Recollection GRM label.