Text by Jacqueline Caux, Luc Ferrari. Interview by Jacqueline Caux, François Delalande, Daniel Terrugi, Evelyne Gayou. Translated by Jérôme Hansen.
Perhaps the only postwar classical composer to invest avant-garde music with overt eroticism, Luc Ferrari (1929–2005) was one of France’s leading composers of the twentieth century, relentlessly experimental while always preserving his keen sense of humor. Ferrari was a first-generation exponent of musique concrète, and made brilliant use of field recordings to develop sensual, proto-ambient narrative that he termed “anecdotal music” or “cinema for the ear.” Perhaps the most notorious instance of this approach was Danses Organiques (1973), for which Ferrari recorded the meeting and sexual encounter of two young women, cut with other ambient and music sound. In his final decades Ferrari was championed by David Grubbs (of Gastr del Sol), who brought his music to a postrock audience. Almost Nothing is the first publication on this composer. It alternates Jacqueline Caux’s interviews with 14 “imaginary autobiographies” by the composer, offering a lively account of new music’s most revolutionary era.
FORMAT: Hbk, 6 x 9 in. / 164 pgs / 20 b&w. LIST PRICE: U.S. $22.00 LIST PRICE: CANADA $30.5 ISBN: 9780982743911 PUBLISHER: Errant Bodies Press AVAILABLE: 3/31/2013 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Out of print AVAILABILITY: Not available TERRITORY: NA LA ASIA AU/NZ AFR ME
Published by Errant Bodies Press. Text by Jacqueline Caux, Luc Ferrari. Interview by Jacqueline Caux, François Delalande, Daniel Terrugi, Evelyne Gayou. Translated by Jérôme Hansen.
Perhaps the only postwar classical composer to invest avant-garde music with overt eroticism, Luc Ferrari (1929–2005) was one of France’s leading composers of the twentieth century, relentlessly experimental while always preserving his keen sense of humor. Ferrari was a first-generation exponent of musique concrète, and made brilliant use of field recordings to develop sensual, proto-ambient narrative that he termed “anecdotal music” or “cinema for the ear.” Perhaps the most notorious instance of this approach was Danses Organiques (1973), for which Ferrari recorded the meeting and sexual encounter of two young women, cut with other ambient and music sound. In his final decades Ferrari was championed by David Grubbs (of Gastr del Sol), who brought his music to a postrock audience. Almost Nothing is the first publication on this composer. It alternates Jacqueline Caux’s interviews with 14 “imaginary autobiographies” by the composer, offering a lively account of new music’s most revolutionary era.
