Faà di Bruno, Giovanni Matteo [Horatio, Orazio] 83



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Ferrari, Giovanni


(b Pisa; fl 1627–8). Italian composer. He was maestro di cappella of Livorno Cathedral at the time of his two known publications: Il primo libro de motetti for four to six voices and organ, op.1 (Venice, 1627), and Il primo libro de madrigali for two to four voices and continuo, op.2 (Venice, 1628).


Ferrari, Girolamo [Mondondone, Girolamo da]


(b ?Mondondone, ?c1600; d after 1664). Italian composer. In 1624 he was working at Vimercate, from 1641 until the end of 1644 he was maestro di cappella of Novara Cathedral and in 1664 was a Minorite at S Francesco, Voghera. All his known music dates from early and late in his life. As well as Missa, psalmi et polytoni for five voices and organ, op.1 (Venice, 1624), four secular and two sacred pieces date from his early years. They were printed in publications of Giovanni Ghizzolo (RISM 16186, 162312 and 16245) and in anthologies (RISM 162411, 16451, 16491 and 16531). Since Ghizzolo is represented in the first anthology, he was probably a friend of his; moreover, the uncle to whom he dedicated his op.1 was also the dedicatee of a song in Ghizzolo's op.6. Two sets of psalms date from some 40 years on: for four voices and organ, op.2 (Venice, 1663), and a five-part set, … pieni, e brevi, per li vesperi di tutte le solennità dell'anno op.3 (Milan, 1664).

BIBLIOGRAPHY


EitnerQ

V. Fedeli: Le cappelle musicali di Novara dal secolo XVI a' primordi dell'Ottocento (Milan, 1933)

R. Casimiri: ‘“Disciplinae musicae” e “Maestri di Cappella” dopo il Concilio di Trento nei maggiori Istituti Ecclesiastici di Roma: Seminario Romano, Collegio Germanico, Collegio Inglese (sec. XVI–XVII)’, NA, xvi (1939), 238–50

Gerolamo Ferrari da Mondondone: Voghera 1993

NIGEL FORTUNE/R


Ferrari, Luc


(b Paris, 5 Feb 1929). French composer. He studied at the Ecole Normale de Musique (1948–50) with Cortot (piano) and Honegger (composition), before attending Messiaen's classes at the Paris Conservatoire (1953–4). He joined the Groupe de Musique Concrète in 1958. He collaborated with Schaeffer in setting up the Groupe de Recherches Musicales in 1958–9, and was briefly its director (1959–60). He has taught in Cologne and Stockholm and at the Pantin Conservatoire. In 1982 he founded the association La Muse en Circuit, of which he was chairman until 1994.

Since the 1960s Luc Ferrari has shown allegiance to no one compositional system or aesthetic position. Drawn chiefly to the fields of musique concrète and electroacoustics, he has sought, since Hétérozygote (1963–4), to leave the studio for ‘the street’, and to incorporate within his composition expressions of society as a whole. This direct concern with places, contexts and social situations has inspired a large number of works, some preoccupied with narrative (Histoire du plaisir et de la désolation, 1979–81), some with repetition – not unrelated to that of the American minimalists – and some with montage, broadcast music, or allusions to popular music styles. He has also explored text composition, and various aspects of music-theatre and multimedia work. His compositions are shot through with reflections on the body and references to psychoanalysis; in short, as the composer has remarked, with ‘all that is human in humanity, in its fragile proliferation, its drama and its comedy’.


WORKS


(selective list)

stage


Journal intime (comédie musicale), spkr, 1v, pf, 1980–82, Musée d'Art Moderne, Paris, 1982; Cahier du soir (music theatre), actress, 14 insts, slides, 1991–2, Festival MUSICA, Strasbourg, 1994

electronic


Tape: Etude aux accidents, 1958; Etude aux sons tendus, 1958; Tête et queue du dragon, 1959–60; Tautologos I–II, 1961; Hétérozygote, 1963–4; Music Promenade, 1964–9; Presque rien no.1 ‘Le lever du jour au bord de la mer’, 1967–70; Unheimlich Schön, 1971; Petite symphonie intuitive pour un paysage de printemps, 1973–4; Presque rien no.2 ‘Ainsi continue la nuit dans ma tête multiple’, 1977; Strathoven, 1985; Et si tout entière maintenant, 1986–7; Presque rien avec filles, 1989; L'escalier des aveugles, 1991; Presque rien no.4 ‘La remontée du village’, 1990–98

El-ac: Und so weiter, pf, tape, 1966; Allô, ici la terre, chapitre i ‘play-light and time-show’, amp ens, slides, tape, 1971–2, collab. J.-S. Breton; Programme commun (Musique socialiste?), hpd, tape, 1972; Allô, ici la terre, chapitre ii, audio-visual spectacle, tape, amp insts, 1973–4; Cellule 75, pf, perc, tape, 1975; Et tournent les sons dans la garrigue, tape, insts, 1977; A la recherche du rythme perdu, pf, 1978; Ce qu'a vu le Cers, ens, tape, 1978; Porte ouverte sur ville, ob, cl, b cl, perc, va, tape, 1992–3; Madame de Shanghai, 3 fl, elecs, 1996; Symphonie déchirée, 17 insts, elecs, 1994–8; Les émois d'Aphrodite, pf, cl, perc, 2 samplers, CD player, 1986, 1998

instrumental


Orch: 8 petites faces, chbr orch, 1955; Symphonie inachevée, 1963–6; Société IV ‘Mécanique collectivité individu’, 1967; Histoire du plaisir et de la désolation, 1979–81; En un tournement d'amour, 49 insts, 1986; Tautologos IV, large orch, 4 samplers, 1996–7

Chbr: Visage IV ‘Profils’, 10 insts, 1957–8; Flashes, 14 insts, 1963; Société II ‘Et si le piano était un corps de femme’, pf, 3 perc, 16 insts, 1967; Interrupteur, 10 insts, 1967; Tautologos 3 (Vous plairait-il de tautologuer avec moi?), any insts, 1969; Apparition et disparition mystérieuses d'un accord, 4 a sax, 1978; Bonjour, comment ça va?, pf, vc, b cl, 1972–9; Entrée, 15 insts, 1978–9; Sexolidad, 15 insts, 1982–3; Patajaslocha, dance suite, 9 insts, 1984; Conversation intime, pf, perc, 1987–8; Fable de la démission et du cendrier, 2 pf, 2 cl, 1994

Pf (solo unless otherwise stated): Suite, 1952; Antisonate, 1953; Sonatine Elyb, 1953–4; Lapidarium, 1955; Suite hétéroclite, 1955; Visage I, 1956; Fragments d'un journal intime, 1980–82, rev. 1995; Comme une fantaisie dite des réminiscences, 2 pf, 1989–91

Other works: Music Promenade, installation, 1964–9; Hold still keep moving, installation, 1995; radio scores, film scores, TV scores

Principal publishers: Editions Françaises de Musique, Salabert

BIBLIOGRAPHY


P. Schaeffer: La musique concrète (Paris, 1967), 108ff

H. Pauli: Für wem komponieren Sie eigentlich? (Frankfurt, 1971)

F.-B. Mâche: ‘Entretien avec Luc Ferrari’, Nouvelle revue française, no.232 (1972)

K.H. Stahmer: ‘Von Vergnügen an der Lust, Luc Ferrari: Histoire du plaisir et de la désolation für Grosses Orchester’, Melos, xlvi/4 (1985), 19–33

D. Warburton: ‘Luc Ferrari’, The Wire, no.181 (1999)

PIERRE MICHEL




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