Luc Ferrari

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Biography

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 increasedd 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.

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 our 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.

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 taker-composer, 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."

*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,

Luc Ferrari wanted to remain young, not age. The life of this thus young 76 years old man expired in Arezzo on 22 August 2005.

Discography since 1990

* 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) : "L'Escalier des Aveugles" (1991) : Xavier Legasa / Donatienne Michel-Dansac / Michel Musseau (song) : Ensemble Le Banquet, Dir. Olivier Dejours : 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) : MUSIDISC 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 Contemporaine 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) : Conte symphonique. (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) : ELICA mpo-3340 - 1999: en 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 pour piano et bande magnétique" (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

* 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 LIMITED, 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" (1976-78) : "Saliceburry Cocktail" (2002) : SUB ROSA, Belgique SR252 2006

* Far-West News Episodes 2 and 3: "Far West News Episode 2" (Mai 1999) : "Far West News Episode 3" (Juin 1999) : BLUE CHOPSTICKS BC16 CD septembre 2006

* Et tournent les sons: "Et tournent les Sons dans la Garrigue - Réflexion sur l'Ecriture 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: CD ROOM40 RM417/ mai 2007

* Didascalies: "Rencontres Fortuites" (2003) for alto, piano and memorized sounds. : "Didascalies" (2004) for alto and piano : "Tautologos III" (1969) : By Vincent Royer and Jean-Philippe Collard-Neven: "Luc Ferrari face à sa Tautologie – 2 jours avant la fin", a film by Guy Marc Hinant and Dominique Lohlé: 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. Mai 2007

* in OHM : Early Gurus of Electronic Music / 1943 - 1980: Ellipsis arts…… EA500-4 USA

* in Asia - Trio d'Argent: "Madame de Shanghai" (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: "Etude aux Sons Tendus" (1958) : "Etude floue" (1958) : "Etude aux Accidents" (1958) : Ina c 1032(2004) ADD – 750 - 276522

*Chantal, or portrait of a villager (1977-1978) : stereo tape: in collaboration with Brunhild Meyer: Room40

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 SchaefferIn La Musique Concrète QUE SAIS-JE Presses Universitaires de France, Paris 1967, p. 108 - 113

1970 LUC FERRARI. Interview by Denys LémeryIn Actuel N° 12, 1970, p. 14 - 18

1971 Luc Ferrari - FÜR WEN KOMPONIEREN SIE EIGENTLICH? (For whom do you actually compose?) By Hansjörg PauliEd. S. Fischer - Frankfurt 1971, p. 37 - 59

1972 Discussion with Luc Ferrari by François-Bernard MâcheIn Nouvelle Revue Française N° 232, 1972

1973 Luc Ferrari LES DANSES ORGANIQUESRemarks collected by Daniel Caux in Art Vivant - Le Corps (The body) 2, N° 41, July 1973, p. 30 - 32

1974 Tibor Kneif: Types of the « Entsprachlichung » in the new music 1Stephan, Rudolf (Hg.): About music and language. SEVEN ATTEMPTS ABOUT THE NEWER VOCAL MUSICMainz (Schottt) 1974, p. 30 – 31

1974 Luc Ferrari. INTERRUPTEUR, TAUTOLOGOS 3, Ensemble Instrumental de Musique Contemporaine de Paris, Konstantin SimonovitchBy Klaus StahmerIn Melos Heft IV, July-August 1974, p. 242 - 244

1975 ALLO, ICI LA TERRE... (Hello, the Earth is speaking) by Luc FerrariIn 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 PauliReproduction in Beiträge zur Musikwissenschaft, Heft 4, 1977, p. 260 - 269

1977 Luc Ferrari. Discussion with David JisseIn 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 70sIn Revue musicale N° 314, 1978, p. 65 - 69

1978 - SREFACIO A... Y REFLEXION SOBRE... por Luc Ferrari- UN PUEBLO NUMERO 11350 por Luc FerrariIn Arte Nuevo 1, Universidad Veracruzana 1978, p. 10 - 13

1979 Luc Ferrari ERUDITE CULTURES AND POPULAR CULTURES Interview by Catherine MilletIn 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 HofsteinJazz magazine – 1981, p. 26 - 29

1981 Discussion with Luc Ferrari by Denis LevaillantIn 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 GiroudIn Canal, N° 54, November 1983, p. 19

1983 Luc Ferrari. SOCIÉTÉ 1 text-scoreIn Chemin de Ronde, Vol. 3, 1983,

1985 Luc Ferrari. About the pleasure of the desire - HISTOIRE DU PLAISIR ET DE LA DÉSOLATIONBy Klaus Hinrich StahmerIn Melos, N° 4, 1985, p. 19 - 33

1986 Luc Ferrari. Moderato ma non troppo by P. MinodIn Restons Simples (Creativ Media), N° 2, January 1986, p. 68 - 69

1989 Hörspiel - Création radiophonique – Radio ArtJE ME SUIS PERDU - ABYRINTHE PORTRAIT from Luc Ferrari by Michel DumontIn magazine kanal, N° 42, April 1989, p. 60 - 61

1990 Luc Ferrari. Interview by Stephane OllivierIn Revue et Corrigée, N° 5, Spring 1990, p. 4 - 7

1990 COMPOSERS AND RHETORIC, Discussion between François Delalande and Luc FerrariIn 20 Analyse Musicale, Paris June 1990, p. 47 – 49

1993 ÇA FROTTE – (It brushes) by Luc FerrariIn L'Evidence, N° 2, Autumn 1993, p. 24 - 27

1993 Analyse – Journal (Analysis Diary) by Luc FerrariIn Musiques d'Aujourd'huiConseil Général de la Creuse - December 1993, p. 69 - 77

1995 Luc Ferrari PRESQUE RIEN By Jérôme NoetingerIn Revue et Corrigé, N° 26, December 1995, p. 35

1996 Discussion with Luc Ferrari - by Ch. ZanesiIn Ars Sonora, N° 3, March 1996, p. 7 - 15

1996 Discussion with Luc Ferrari - by Danielle Cohen-LevinasIn 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. 15In 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 SuzukiIn Eigageijutsu, N° 383, Japan 1997

1998 MINIMAL OR NOT Luc Ferrari. Interview by Karen TanakaIn Musée - a shape of miles - Tower records - Vol. 12, Japan, March, 1998, p. 14

1998 Luc Ferrari in: ASPECTS DE LA NOTATION VERBALEESSAI 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 BruzaudU.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 RobindoréIn Computer Music Journal, Vol. 22, Nr. 3 – Autumn, p. 8 - 16

1999 Luc Ferrari. Remarks collected by Dan WarburtonPeace 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 WarburtonThe Wire – April, p. 26 - 28

1999 Luc Ferrari FAR-WEST NEWSIn Soundscapes - VPRO Hilversum – NL, November 1999, p. 20 - 21

1999 LOTS OF LUC FERRARI by John PalmerIn 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 / EnglishIn 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

2000 Luc Ferrari. About the publication of the CD: CHANSONS POUR LE CORPS AND ET SI TOUT ENTIÈRE MAINTENANT by Ryosuke ShiinaIn Musée - sacrifice fly - Tower records - Vol. 23, Japan, January, p. 93 - 107

2000 11. Karl-Sczuka-Preis 1972, p. 99-101PORTRAITSPIEL 27. Karl-Sczuka-Preis 1988, p. 184-190VERIRRT. EIN LABYRINTHIn 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 BruzaudHarmattan – Logique Sociale, p. 137 – 174

2000 Luc Ferrari. Remarks collected by Ryosuke ShiinaIn Poetry and criticism: Eureka 5 / 2000, p. 39 - 51

2001 Luc Ferrari. PORTRAITS POLYCHROMESCo-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 CauxPublication January 2001 Editions Main d’Oeuvre, Nice Tel./Fax [phone]

2002 LUC FERRARI, OR MEMORY AS NON-„MUSIC“ par Ryosuke ShiinaIn « Bulletin of Institute for Interdisciplinary Studies of Culture » Vol.19Doshisha Women’s College, Japan, March 31/2002

2002 Cinéma pour les oreilles about Almost Nothing with Luc Ferrari by Jacqueline CauxIn 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 CNTURYThesis of Doctorate of Music and Musicology of the XXe century by Radosveta Kouzmanova BruzaudU.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. 20-23

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 ArrhythmiaThe 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

2005 Luc Ferrari CYCLES DES SOUVENIRS - EXPLOITATION DES CONCEPTS(Cycle of memories - Exploitation of the ConceptsFrom the “Diary in disorder or the pursuit of the daily life sounds”In: TEMPORALEEdizioni 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 – VXPLOITATION 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 passed away) 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 2-012-235948-5. 2005. P. 359-363

2005 THE LESSON OF FREEDOM - EEMEMBERING LUC FERRARI (1929-2005)By John Palmer - Guilherme Vaz - Hildegard WesterkampIn 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 [e-mail]

2006 SALUT LUCBy Carole Rieussec, David Grubbs, Alessandro Bosetti, Li Ping Ting, Jean-Christophe Camps, Jérôme Noetinger, Chantal Dumas, eRikm, Jean-Baptiste FavoryIn revue & corrigée N° 67, March 2006

2006 ALMOST NOTHING WITH LUC FERRARIBook by Jacqueline Caux. Discussions with Jacqueline CauxPublished in January 2001 Editions Main d’Oeuvre, Nice Tel./Fax [phone]Published in Japanese by Ryosuke Shiina, Tokyo, March 2006

2007 SONOPSYS N° 4 Luc FerrariCahier 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 11th, 2007. Art-book with CD.

2007 Luc Ferrari – PORTRAITS POLYCHROMES, Published by INA/GRM, Collection directed by Evelyne Gayou. New increased edition

2007 ALMOST NOTHING WITH LUC FERRARIBy Toshiharu Osato in "nobody", critic film-, music-, literature-review Published May-June 2007 N° 25, Japan. Pages 47-57:

External links

* [http://www.lucferrari.org/ Luc Ferrari] official website of the composer.
* [http://www.paristransatlantic.com/magazine/interviews/ferrari.html Paristransatlantic.com: Luc Ferrari Interview] by Dan Warburton, July 22, 1998
* [http://www.otherminds.org/shtml/Ferrari.shtml Otherminds.org: Luc Ferrari]