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Ferrari, Luc

Atelier De Liberation De La Musique [VINYL]

Ferrari, Luc: Atelier De Liberation De La Musique [VINYL] (Alga Marghen)

Six recordings from Luc Ferrari's Atelier De Liberation De La Musique, a collective he created together with Martin Davorin Jagodic (electric piano), Philippe Besombes (synthesizer), and Alain Petit (sax, clarinet & flute) in 1975 for a series of performances at the Galliera Museum in Paris to take place within an audio-visual labyrinth.

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product information:

UPC: 769791969582

Label: Alga Marghen
Catalog ID: NMN 156LP
Squidco Product Code: 25843

Format: LP
Condition: New
Released: 2018
Country: Italy
Packaging: LP
Recorded in Paris, France, in February and March 1975.


Luc Ferrari-electric organ

Martin Davorin-Jagodic-electric piano

Alain Petit-saxophone, clarinet, flute

Philippe Besombes-synthesizer

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Artist Biographies:

"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 (

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"Martin Davorin-Jagodić is a Croatian contemporary music composer and educator born in Zagreb in 1935. His work includes theatre music, graphic scores, instructions for performances, multimedia installation art, radio art, electroacoustic music on tape as well as experimental film soundtracks.

Davorin-Jagodić studied music in Zagreb (Croatia) and Ljubljana (Slovenia), under Croatian composer Milko Kelemen, among others. He relocated to France in 1960 to study under Olivier Messiaen at Conservatoire de Paris and work at Pierre Schaeffer's Groupe de Recherches Musicales from 1967 to 1969. His career as an educator started in 1969 as assistant and then lecturer at the music department of Université de Vincennes Paris 8, later also teaching stage design and scenography at Ecole Nationale Supérieure des Arts Décoratifs from 1974 to 1988. In the 1990s, he taught musicology at Université de Saint-Denis, after the Université de Vincennes Paris 8 had relocated there in 1980.

Often relying on highly stylized, abstract graphic scores hardly offering any kind of musical clue in terms of instrumentation, actual notes to play or pitch, Davorin-Jagodić's work of the 1960s and 1970s encompasses Conceptual art and Fluxus performance art, for which the interpret is more like a collaborator or co-composer of the work. Graphic scores like Uberklavier, 1970 and Variations sur l'Opus 16, 1971, make sure that, if performed, they will sound like nothing the composer has anticipated, thus welcoming aleatoricism and freeing the interpret from the tyranny of a score, in the John Cage tradition.

An emblematic work of the 1970s is Body Music, 1971, in which a pianist plays in an adjacent room, remote from the audience, with electric sensors fixed on his body around chest, arms and mouth. The P.A. system on stage amplifies the pianist's movements, bodily sounds and breath but not the actual music played - as an option, a camera may reproduce the image of the pianist's movements.

In the 1970s, Davorin-Jagodić often performed in former Yugoslavia, including a personal exhibition at Galerija Studentskog Centra, Zagreb, Croatia, in 1971, a performance during the Muzički Biennale Zagreb (Music Biennale Zagreb, directed by Milko Kelemen) in 1973, or his participation to the Aprilski Susret festival in Belgrade, Serbia, in 1972 and 1974.

In 1975, Davorin-Jagodić released a long-playing record in the avant-garde music series Nova Musicha of Italian label Cramps Records. Titled Tempo Furioso (Tolles Wetter) and produced by Walter Marchetti in Milan, the music is a collage of electronic and found sounds.

Davorin-Jagodić composed music for several experimental films, starting with Environment in 1969, a film by Belgian directors L. Peire et J. Mil, for which he recorded an electroacoustic soundtrack at the IPEM - Institute for Psychoacoustics and Electronic Music, in Ghent, Belgium. He also created music for According to... by French film director Yann Beauvais in 1981.

Since the 1990s, Davorin-Jagodić collaborates with former student, developer, electronic and installation artist Elisabeth Son on multimedia installations, like their installation during the Media-Scape Symposium in 1999 or the interactive, immersive sound installation Orchestre Virtuel in 2003."

-Wikipedia (

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"Alain Petit, violinist, began his musical studies in Mâcon, pursued at the conservatories of Lyon, Brussels and Boston where he obtained his Master's Degree in the class of Dorothy Delay. He perfected himself in baroque violin at the Geneva Conservatory, became a member of the Opera Orchestra of Lyon, then Arts Florissants, and Musicians of the Louvre.

Attracted by all the music, from the interpretation on old instruments to the creation of new repertoires, he played with musicians as varied as Christophe Rousset, Florence Malgoire, Juan José Mosalini, Pablo Cueco, Raymond Gratien, Adrien Politi, for quote only a few.

Holder of the Certificate of Aptitude, he taught at the Old Music Center of the Conservatory of Toulouse, at the Conservatory of Reunion Island, and at the Conservatoire du 19ème arrondissement in Paris.

Currently professor at the Conservatory of Pantin, Alain is divided between teaching and an activity of concerts and recordings in solo and chamber music: in 2016, concerts in Australia France Italy and USA."

-International Academy of Music of Colombes (Translated by Google) (

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"Philippe Besombes, born 21 January 1946 in Paris, is a composer of contemporary music, sound engineer and music producer French.

Philippe Besombes is an underground but now cult french artist from the 70's avant garde-prog scene. After a student doctoral degree to become a chemist he turned to music and was partly formed by Stockhusen and Xenakis. He rapidly showed an interest to electronic synth dispositifs (AKS, MiniMoog, Polyphonic ensemble Korg...). In 1976 Philippe Besombes had opened his own recording studio with Jean-Louis Rizet. He produced three major albums under his name. He recorded his most notorious effort in 1975 with Jean Louis Rizet. The duo published the enigmatic and complex "Pôle" (1975) for synthesisers orchestration and shimmering, spacious, nebulous electronic textures. The same year Besombes recorded the soundtrack of the movie "Libra".The music delivers an hybridation of electroacoustic experimentations, bizarre ambient soundscapes and jazzy-folkish ingredients. In 1976 "Ceci est Cela" is a collection of experimental electronic pieces more in the genre of Pierre Henry and Stokhausen).

Philippe Besombes is also known for his group "Hydravion" and for being the founder of the obscure label "Pôle -Tapioca" (have been published different works from Magma, Gong, Pôle, Potemkine...)"

-ProgArchives (

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track listing:


1. Untitled (3:32)

2. Untitled (8:59)

3. Untitled (2:57)


1. Impro Multi Echos (10:48)

2. Impro Multi Echos (13:44)
sample the album:

descriptions, reviews, &c.

"Recordings from Luc Ferrari's Atelier De Libération De La Musique, a collective he created together with Martin Davorin Jagodic, Philippe Besombes, and Alain Petit in 1975 for a series of performances at the Galliera Museum in Paris.

It was in those years that Luc Ferrari investigated open forms and created some of the most experimental and elusive works of his entire catalog. "Exercices D'improvisation", first recorded by Brunhild Ferrari with GOL, issued on PLANAM in 2010; but specially "Ou Donc Est-T-On?", a very complex piece forthcoming on Alga Marghen including both "Dance", issued on Alga Marghen on the occasion of the presentations at Centre Pompidou in 2009 and "Ephemere", issued on CD by Alga Marghen in 2010, as well as the "Labyrinthe De La Violence", an audio-visual permanent labyrinth for which Ferrari created four fantastic electronic music pieces forthcoming on Alga Marghen.

After these experiences the composer decided to discontinue these open practices for a more controlled work in the studio. And within the "Labyrinthe De La Violence" installation Luc Ferrari conceived a series of electro-visual concerts to be performed by the newly created Atelier De Libération De La Musique. The collective included some of the most creative artists of the time: together with Luc Ferrari playing the electric organ you find on electric piano Martin Davoric Jagodic (whose masterpiece of electronic music titled Tempo Furioso was issued on Cramps in Italy that same year), on synthesizer Philippe Besombes (of Pole fame) and on sax, flute, and clarinet, Alain Petit (who was at the time collaborating with Besombes at the wonderful Besombes / Rizet double LP).

These four artists met in February and March of 1975, rehearsing for a series of concerts to take place within the audio-visual labyrinth. It is the previously unheard recordings from these wild rehearsals which make up this incredible LP. The sound of Atelier De Libération De La Musique is a thrilling and overwhelming ride. Rattling, difficult polyrhythms play against droning, pulsing and simmering sonorities. These recordings are human and open, wild and incredibly ahead of their time."-Alga Marghen

Related Categories of Interest:

Vinyl Recordings
Improvised Music
Electro-Acoustic Improv
Quartet Recordings
European Improvisation and Experimental Forms
New in Experimental & Electronic Music

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