1.
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.
Luc Ferrari
2.
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.
Luc Ferrari
3.
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.
Luc Ferrari
4.
I have problems with machines which aren't gestural.
Luc Ferrari
5.
I probably went to musique concrete concerts - though not the very first ones - at the beginning of the 50s.
Luc Ferrari
6.
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.
Luc Ferrari
7.
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.
Luc Ferrari
8.
Well, first I studied piano. I wasn't very satisfied because I though my teachers were dumb... and repressive.
Luc Ferrari
9.
My sisters were going out with artists and poets, and eventually it was the creative world which attracted me.
Luc Ferrari
10.
I was born in Paris, and I haven't moved, except until now - I live in the suburbs and I hate it.
Luc Ferrari
11.
Boulez seemed to me to be a guy who wrote laws. Like a company lawyer.
Luc Ferrari
12.
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.
Luc Ferrari