Music Promenade / Unheimlich Schön
LUC FERRARI
Music Promenade / Unheimlich Schön
Boomkat Product Review:
This pair of masterpieces by the pivotal 20th century pioneer and poet of musique concrète were previously only available on his ‘L’Œuvre Électronique’ boxset. ‘Music Promenade’ is an absorbing study of peacetime late ‘60s Europe, with chattering ladies and brass pomp intersected by fireworks/artillery and atonal blasts of serialist music, whereas ‘Unheimlich Schön’ effectively explores the inverse, with nothing more than whispered syllables wisping across the stereo field in utterly hypnagogic style. It’s a perfect example of Ferrari’s fascination with observing daily life, and finding poetry in the prosaic.
"Music Promenade', composed in 1969, has been realized from a certain number of recording I have done on journeys in different European countries. The first purpose of this realization was an acoustic installation based on four independent tape machines unfolding the tapes in loops. Thus this sound events scattered to the four corners of the hall met one another permanently in an aleatoric (generated by random means) encounter. The duration of the piece was indefinite. So the issue on CD is an immovable version of a possible stabilized mix version.
Each of the four tapes was about twenty minutes long (each tape has a different duration so that the cycles can never encounter in the same manner). The structure of each tape consists of a succession of short characteristic an dynamic sequences alternating with blurred and slight, sometimes nearly silent sounds. When one characteristic sequence encounters by chance a slight sound, this one colors that one. On the other hand, when an event sequence encounters another one, they perturb each other, for their good or for their evil. Such is life.When I consider this piece now, I notice that I am still working on the same principles of random variations that create encounters and superimpositions of cycles that combine themselves by alteration. This concept I called « tautology » in the 1960s is still present in my recent compositions.
- Luc Ferrari”
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Boomkat Product Review:
This pair of masterpieces by the pivotal 20th century pioneer and poet of musique concrète were previously only available on his ‘L’Œuvre Électronique’ boxset. ‘Music Promenade’ is an absorbing study of peacetime late ‘60s Europe, with chattering ladies and brass pomp intersected by fireworks/artillery and atonal blasts of serialist music, whereas ‘Unheimlich Schön’ effectively explores the inverse, with nothing more than whispered syllables wisping across the stereo field in utterly hypnagogic style. It’s a perfect example of Ferrari’s fascination with observing daily life, and finding poetry in the prosaic.
"Music Promenade', composed in 1969, has been realized from a certain number of recording I have done on journeys in different European countries. The first purpose of this realization was an acoustic installation based on four independent tape machines unfolding the tapes in loops. Thus this sound events scattered to the four corners of the hall met one another permanently in an aleatoric (generated by random means) encounter. The duration of the piece was indefinite. So the issue on CD is an immovable version of a possible stabilized mix version.
Each of the four tapes was about twenty minutes long (each tape has a different duration so that the cycles can never encounter in the same manner). The structure of each tape consists of a succession of short characteristic an dynamic sequences alternating with blurred and slight, sometimes nearly silent sounds. When one characteristic sequence encounters by chance a slight sound, this one colors that one. On the other hand, when an event sequence encounters another one, they perturb each other, for their good or for their evil. Such is life.When I consider this piece now, I notice that I am still working on the same principles of random variations that create encounters and superimpositions of cycles that combine themselves by alteration. This concept I called « tautology » in the 1960s is still present in my recent compositions.
- Luc Ferrari”
Boomkat Product Review:
This pair of masterpieces by the pivotal 20th century pioneer and poet of musique concrète were previously only available on his ‘L’Œuvre Électronique’ boxset. ‘Music Promenade’ is an absorbing study of peacetime late ‘60s Europe, with chattering ladies and brass pomp intersected by fireworks/artillery and atonal blasts of serialist music, whereas ‘Unheimlich Schön’ effectively explores the inverse, with nothing more than whispered syllables wisping across the stereo field in utterly hypnagogic style. It’s a perfect example of Ferrari’s fascination with observing daily life, and finding poetry in the prosaic.
"Music Promenade', composed in 1969, has been realized from a certain number of recording I have done on journeys in different European countries. The first purpose of this realization was an acoustic installation based on four independent tape machines unfolding the tapes in loops. Thus this sound events scattered to the four corners of the hall met one another permanently in an aleatoric (generated by random means) encounter. The duration of the piece was indefinite. So the issue on CD is an immovable version of a possible stabilized mix version.
Each of the four tapes was about twenty minutes long (each tape has a different duration so that the cycles can never encounter in the same manner). The structure of each tape consists of a succession of short characteristic an dynamic sequences alternating with blurred and slight, sometimes nearly silent sounds. When one characteristic sequence encounters by chance a slight sound, this one colors that one. On the other hand, when an event sequence encounters another one, they perturb each other, for their good or for their evil. Such is life.When I consider this piece now, I notice that I am still working on the same principles of random variations that create encounters and superimpositions of cycles that combine themselves by alteration. This concept I called « tautology » in the 1960s is still present in my recent compositions.
- Luc Ferrari”
Boomkat Product Review:
This pair of masterpieces by the pivotal 20th century pioneer and poet of musique concrète were previously only available on his ‘L’Œuvre Électronique’ boxset. ‘Music Promenade’ is an absorbing study of peacetime late ‘60s Europe, with chattering ladies and brass pomp intersected by fireworks/artillery and atonal blasts of serialist music, whereas ‘Unheimlich Schön’ effectively explores the inverse, with nothing more than whispered syllables wisping across the stereo field in utterly hypnagogic style. It’s a perfect example of Ferrari’s fascination with observing daily life, and finding poetry in the prosaic.
"Music Promenade', composed in 1969, has been realized from a certain number of recording I have done on journeys in different European countries. The first purpose of this realization was an acoustic installation based on four independent tape machines unfolding the tapes in loops. Thus this sound events scattered to the four corners of the hall met one another permanently in an aleatoric (generated by random means) encounter. The duration of the piece was indefinite. So the issue on CD is an immovable version of a possible stabilized mix version.
Each of the four tapes was about twenty minutes long (each tape has a different duration so that the cycles can never encounter in the same manner). The structure of each tape consists of a succession of short characteristic an dynamic sequences alternating with blurred and slight, sometimes nearly silent sounds. When one characteristic sequence encounters by chance a slight sound, this one colors that one. On the other hand, when an event sequence encounters another one, they perturb each other, for their good or for their evil. Such is life.When I consider this piece now, I notice that I am still working on the same principles of random variations that create encounters and superimpositions of cycles that combine themselves by alteration. This concept I called « tautology » in the 1960s is still present in my recent compositions.
- Luc Ferrari”
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2022 Re-Press, includes a download of the album dropped to your account. Debossed gatefold jacket layout by Stephen O'Malley. Cut by CGB and Rashad Becker at D&M
Boomkat Product Review:
This pair of masterpieces by the pivotal 20th century pioneer and poet of musique concrète were previously only available on his ‘L’Œuvre Électronique’ boxset. ‘Music Promenade’ is an absorbing study of peacetime late ‘60s Europe, with chattering ladies and brass pomp intersected by fireworks/artillery and atonal blasts of serialist music, whereas ‘Unheimlich Schön’ effectively explores the inverse, with nothing more than whispered syllables wisping across the stereo field in utterly hypnagogic style. It’s a perfect example of Ferrari’s fascination with observing daily life, and finding poetry in the prosaic.
"Music Promenade', composed in 1969, has been realized from a certain number of recording I have done on journeys in different European countries. The first purpose of this realization was an acoustic installation based on four independent tape machines unfolding the tapes in loops. Thus this sound events scattered to the four corners of the hall met one another permanently in an aleatoric (generated by random means) encounter. The duration of the piece was indefinite. So the issue on CD is an immovable version of a possible stabilized mix version.
Each of the four tapes was about twenty minutes long (each tape has a different duration so that the cycles can never encounter in the same manner). The structure of each tape consists of a succession of short characteristic an dynamic sequences alternating with blurred and slight, sometimes nearly silent sounds. When one characteristic sequence encounters by chance a slight sound, this one colors that one. On the other hand, when an event sequence encounters another one, they perturb each other, for their good or for their evil. Such is life.When I consider this piece now, I notice that I am still working on the same principles of random variations that create encounters and superimpositions of cycles that combine themselves by alteration. This concept I called « tautology » in the 1960s is still present in my recent compositions.
- Luc Ferrari”
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