FERRARI, LUC — Presque Rien
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„Fast Nichts“, aber immerhin: Ein Bauchnabel auf dem Cover und vier Werke mit viel Einsatz von found Sounds und field recordings, die vorher z.T. auf nicht mehr erhältlichem Vinyl erscheinen sind: zu hören sind hier MUSIQUE PROMENADE von 1969, wo verschiedenste traditionelle Musik (Märsche, klassische Lieder & Tänze) bizarr zusammengeführt werden, das stark field recordings-lastige PRESQUE RIEN No.1 (1970), das poetische, mit ruhigen Erzähl-Stimmen & Umgebungsgeräuschen arbeitende PRESQUE RIEN No. 2 (1977), und schließlich das „voyeuristische“ PRESQUE RIEN AVEC FILLES (1989).
“...series of early Ferrari works for magnetic tape (previously issued on Wergo and DGG in the LP era). "Presque Rien No. 1" is a piece from 1970, a work that he referred to as "poor man's concrete music," in that it was not heavily edited or manipulated, but is fascinating in its success in creating a "harmonious architecture resulting from a secretly methodical use of polyphony." "Presque Rien No. 2" is almost an ambient-environmental work: the sounds of crickets and other insects, eventually building into "a nightmarish frenzy of storm and rain, and an insistent beating of electronic notes." "Music Promenade" was realized in 1969 for 4 magnetic tapes, each comprising different recordings, played simultaneously on 4 separate tape recorders, and a truly successful head blower. Definitely one of the key INA CD releases. "So much musique concrete was interchangeable, but Ferrari was the medium's poet, and Presque Rien (Almost Nothing No. 1) the genre's classic, a recorded day at the seaside enhanced so subtly that it's a virtual extension of '4'33"...the other concreters string noises together, but Ferrari paints situational tone-pictures so lifelike you want to creep into the loudspeaker to see what's going on." [Kyle Gann]
“...series of early Ferrari works for magnetic tape (previously issued on Wergo and DGG in the LP era). "Presque Rien No. 1" is a piece from 1970, a work that he referred to as "poor man's concrete music," in that it was not heavily edited or manipulated, but is fascinating in its success in creating a "harmonious architecture resulting from a secretly methodical use of polyphony." "Presque Rien No. 2" is almost an ambient-environmental work: the sounds of crickets and other insects, eventually building into "a nightmarish frenzy of storm and rain, and an insistent beating of electronic notes." "Music Promenade" was realized in 1969 for 4 magnetic tapes, each comprising different recordings, played simultaneously on 4 separate tape recorders, and a truly successful head blower. Definitely one of the key INA CD releases. "So much musique concrete was interchangeable, but Ferrari was the medium's poet, and Presque Rien (Almost Nothing No. 1) the genre's classic, a recorded day at the seaside enhanced so subtly that it's a virtual extension of '4'33"...the other concreters string noises together, but Ferrari paints situational tone-pictures so lifelike you want to creep into the loudspeaker to see what's going on." [Kyle Gann]