Luc Ferrari Quotes (19 Quotes)


    When the Domaine Musical started up, I wasn't part of it. They were the major players in contemporary music at that time, braodcasting old and new composers' work. And I wasn't one of them.

    My sisters were going out with artists and poets, and eventually it was the creative world which attracted me.

    I think I came across Cecil Taylor a bit later, in 65 or 66. That really impressed me - Cecil Taylor is an amazing character... Both his music and the way he approaches the instrument are astonishing.

    I had these ideas of interpretation that went way beyond the standard Conservatoire limits. So I was at war with my piano teachers.

    I have problems with machines which aren't gestural.


    No, the great musical encounter was with Cage, who exploded all those ideas which were already starting to get a bit institutionalised.

    Boulez seemed to me to be a guy who wrote laws. Like a company lawyer.

    I was doing the university circuit-I do conferences on my work and if all goes well they give me a concert or two in the university.

    I was born in Paris, and I haven't moved, except until now - I live in the suburbs and I hate it.

    Electronic music used pure sounds, completely calibrated. You had to think digitally, as it were, in a way that allowed you to extend serial ideas into other parameters through technology.

    Whereas Schaeffer and Henry were working like samplers, their idea was to capture those sounds which couldn't be serially calibrated because they were too complex in character.

    So the ideology was that: use sounds as instruments, as sounds on tape, without the causality. It was no longer a clarinet or a spring or a piano, but a sound with a form, a development, a life of its own.

    I was a kid during the Second World War and even before that my parents had one of the first radio sets, and there was Radio London.

    I wanted to play piano, and that slid quickly into writing - it wasn't enough to play other people's notes: I had to write notes too.

    With the piano I'm completely in control of the gestural situation-not that I'm going to play the piece myself, but I know what's difficult, what's impossible.

    Well, first I studied piano. I wasn't very satisfied because I though my teachers were dumb... and repressive.

    I probably went to musique concrete concerts - though not the very first ones - at the beginning of the 50s.

    What interested me was looping the events in such a way that each time they reappeared, they created new musical objects. The idea of tautology.

    You turned on the radio and heard all kinds of things.


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