LUC FERARRI (1929-2005): Visage 2 for Brass and Percussion, Après presque rien for 14 Instruments (Musiques Nouvelles; Jean-Paul Dessy), Madame de Shanghai for 3 Flutes and Digitally Stored Sounds (Scottish Flute Trio).
Catalogue Number: 02M106
Description: Ferrari's Visage pieces (there are five) were written in the 1950s, while the composer was firmly entrenched in Darmstadt serialism. They pre-date his later exploration of musique concrète and electronic music, and this one is a kind of pointillist exercise in small, detached gestures, with some spatial effects. The other two works are much more recent, from within the past 15 years, and reflect the composer's mature style; very eclectic, with elements of serialism, minimalism, recorded and sampled sounds, and synthesized material. His presque rien series mostly consists of 'anecdotal' recordings of 'found' events; Après presque rien is an instrumental work, lively and varied, with episodes of quasi-minimalist propulsiveness and an almost jazzy, improvised feel, interspersed with environmental sounds of people and background noises. Madame de Shanghai is also superimposed on a background of sounds recorded in Paris' Asian district, with a vague plot involving references to Orson Welles' 1947 film of the same title, while the three flutes weave a braided thread of instrumental sound around a central note.