Science Fair Project Encyclopedia
In 1954, Ferrari went to the United States to meet Edgard Varese, 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.
By the early 1960, Ferrari had begun work on his Hétérozygote, a piece for magnetic tape which uses ambient environmental sounds in "an organized and poetic, though non-plot oriented manner." The use of ambient recordings was to become a distinctive part of Ferrari's musical language. (Tyranny)
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 has continued to write purely instrumental music as well as his tape pieces. He has also made a number of documentary films on contemporary composers in rehearsal, including Messiaen and Karlheinz Stockhausen.
- Paristransatlantic.com: Luc Ferrari Interview by Dan Warburton, July 22, 1998
- Otherminds.org: Luc Ferrari
- Mode.com Artist Profile: Luc Ferrari
- If I were to lock you in your studio for the rest of your life with just ten records to listen to, what would you choose? at www.lichtensteiger.de
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