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September 12,2005

關於Luc Ferrari

 對他的瞭解其實也僅止於一張INA-GRM的錄音，想要多認識他的時候，
才發現他剛剛離開人世。以下是關於他的二三事。

 

在知道他過世之前的大概一兩週，有種想多認識他的衝動（那時候再整理唱片又拿出一些INA-GRM的東西重聽)。之後就是在黑狼的個版看到他過世的消息，那時找了一下新聞，好像都沒有。後來是看到David Grubbs的這篇才有那種哲人已遠的感覺出現。

　　這個月初上線的Paris Translatic Magazine就有一篇簡短的RIP，裡頭提到一篇關於Luc Ferrari的專訪。今天約略看過一遍，剪貼一些關於他的言談，作為紀錄。

關於Messiaen

 Messiaen was inspiring when discussing other people's music, and he was unbearable when he talked about his own! ......He kept going on about the birds, and I couldn't care less about birds, and then it was colours, these chords which were mixtures of colours, and it all seemed so incredibly naïve to me. And the Lord God, Jesus and Mary and all that came up again and again in what he said, and I was completely atheist. Bugged the hell out of me. I didn't think his music was any good. He had no sense of movement. It was music written in sections which didn't establish itself over time, or continue an idea. Music made up of little ideas stuck one on top of the other, in the same way as he stuck in the birdsong-there would be a gap somewhere and hey presto! he'd stick in a birdsong from somewhere or other. The concept was to put into music everything he heard and liked. It seemed a little thin to me.

關於Boulez

Boulez seemed to me to be a guy who wrote laws. Like a company lawyer. (Smiles) I didn't like that very much, because I felt more at home with freedom, working on intuition. What do I want, what do I really want? Seeing if that corresponded to a norm or not didn't strike me as an interesting problem. So I quickly moved away from that, and since I was more on Schaeffer's side than on the electronic music side, people didn't hang out with me all that much! 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.

關於Stockhausen

 Stockhausen was a great guy, very rich in terms of musical imagination, all the different aspects of sound creation rolled into one extraordinary intuition. With a strict intention to be serial, but serial in an explosive way.

關於Cage

1.the great musical encounter was with Cage, who exploded all those ideas which were already starting to get a bit institutionalised.

2. In fact, Cage didn't go on so much about that(指的是作者問的 Zen, mushrooms, whatever)at that time; he spoke about everyday life—we all know those speeches of his, which relate the little details of life, minimalist observations on society, human feelings, things we've seen, things we've experienced... Things we've experienced have so much to teach us-that's what was so extraordinary.

至於其他的人像 Pierre Schaeffer就不再列出來了。法拉利先生在整篇訪談錄理頭相當幽默的講述一些事件。問者在某些問題上也刻意想要讓他說些直接的話（像由法拉利他沒回答關於Le Marteau sans Maître的看法後馬上接著問起布列茲先生，想不到法拉利先生用company lawyer來形容布列茲，想起這幾十年的布列茲，還真有點像啊！哈～）

訪談最後一題是有點類似荒島唱片的題目（雖然看起來不是這麼有情調），法拉利先生的選擇是什麼？看起來還不怪啊！

＊下次選播一首他的作品好了。不過實在是不大適合轉成mp3，動態幅度太大～～


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