![]() ![]() “Stereo Spasms” at Pioneer Works celebrated Ferrari the rogue recordist, but also Ferrari the polymath, a composer who frustrated the French musical avant-garde by bucking that label and flirting with cinema, television, and painting. ![]() The composition’s apparent fidelity to the facts of time and place was anathema to the GRM, which preferred its sounds excised and isolated from their original contexts. ![]() It seemed a polemically direct and plainspoken document, a sort of sonic vérité. 1., or Daybreak at Seashore, 1967–70): a twenty-one-minute recording of dawn in a Dalmatian fishing village. 1 ou le lever du jour au bord de la mer (Almost Nothing No. This line of exploration found its apotheosis in Presque rien no. With his composition Hétérozygote (1963–64), Ferrari began integrating sonic “anecdotes” into his work. While Ferrari counted musique concrète among his formative influences, he also nurtured a much wider and more heterogeneous set of interests, including John Cage and Surrealism.įerrari eventually found a sonic analogue to the Surrealist objet trouvé in “anecdotal recording,” capturing everyday sound with a Nagra portable tape recorder. Ferrari was to be a part of what Schaeffer deemed a “new era,” renaming the studio the Group de Recherches Musicales (GRM). Courtesy Anthology Film Archives.įerrari, who had studied with the composers Olivier Messiaen and Arthur Honegger, joined the GRMC in 1958, around the time Henry acrimoniously split from Schaeffer. In 1951, they established a studio under the name Group de Recherche de Musique Concrète (GRMC), where they approached recorded sounds as discrete objects to be studied rigorously and estranged from recognizable sources through techniques of looping, cutting, and splicing. The introduction of magnetic tape made manipulation and recombination easier. Their early experiments were mixed with discs and phonographs, which at the time were cumbersome editing tools. In 1949, Schaeffer found a partner in the younger composer Pierre Henry. Unbeholden to any tonal system, Étude reframed composing as assemblage, anticipating modern sampling practices. In 1948, he recorded the clatters, clangs, and whistles of a steam engine, and pieced these sounds together in a composition titled Étude aux chemins de fer (Railway Study). Schaeffer saw in emerging sound technologies the potential for a music rooted in the material aspects of sound, captured in the raw and then meticulously edited. Musique concrète germinated in Paris in the early 1940s, when the French radio engineer Pierre Schaeffer began experimenting with radiophonic and recorded sound. Lawrence Abu Hamdan Penetrates an Inaccessible Prison Using Sound With the Meridian Arts Ensemble in residence, in fall of 2007 he joined the faculty of Manhattan School of Music’s graduate Contemporary Performance program.James Allister Sprang Blends Concrete Sculptures and Musique Concrète He holds DMA and MM degrees from SUNY Stony Brook, and a BM from William Paterson University where he serves on the performing arts faculty. Ferrari has also appeared and/or recorded with many other notable organizations such as: Bang On A Can All Stars, Da Capo Chamber Players, Manhattan Symphonietta, Perspectives Ensemble, The Group for Contemporary Music, Orpheus Chamber Players, Riverside Symphony, Locrian, Cygnus, Pittsburg Collective, and many others. He is a founding member of the Naumburg Award winning New Millennium Ensemble, a regular guest artist of the Chamber Music Society of Lincoln Center and Chamber Music Northwest, and has been a member of Meridian Arts Ensemble since 1993. He performs and gives master classes nationally and abroad, and appears on dozens of recordings as percussionist, drummer and conductor. John Ferrari is active in classical, jazz, pop, Broadway, film, television and dance music, the avant-garde, and multi-media. ![]()
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