Et tournent les Sons dans la Garrigue  (September 1977)

And turn the Sounds in the Scrubland


Reflection on the writing No. 1

This piece of music is a proposal more than a composition.

It is about the communication between the musicians who choose to carry it out or “to invent it”.

What is proposed is a score of intentions or of sound desires, a tape indicating musical matters and a shape as well as general ideas that must give a direction.

I found some sentences written at the time of work and which seem me to locate without too much specifying the intentions of this composition and to put the musicians in a psychological climate incitant them to imagination:

“… These last summers, I made prolonged stations in the scrubland of Corbières. I dozed there without really sleeping during the hot hours of the day. This half-sleep (or the abandonment of the conscience in the first degree) impregnated me with this place with which I entered in complicity. An silence inhabited of small more or less defined sounds, perfumes of lavender and thyme, the hardness of the stones and thistles, air moving in the pine needles whose noise evokes that of the caresses on the curves of a large body.

(“What have you made today?” I was asked, and I answered, “I worked in the scrubland”)

The soft and violent scrubland of complex and unspecified sensuality located its universe in difference with the remainder of the landscape, I recognized its time suspended as forms and durations of gestures of love… “


The score and the tape consist of 6 sequences (just for explanation).

The chain of the one with the other is done by fades, so that they should be heard.

The musical result is thus only one gesture, a slow evolution, only one movement of pleasure.


Seq. 1 (5′)  eyes, the glance, approach, contemplation, harmonic play, the absence of time


Seq. 2 (3′)  the kiss, the mouth, immobility, the changing vibration, the chord, time


Seq. 3 ( ’45)  hands, caresses, touches, the beginning of the rhythm, recognition and the superimposition of different times


Seq. 4 (4’45)  the language, the course, the movement, shivers, dispersion, the tension, speed, the repetition, the nervousness


Séq. 5 (4’10)  play of the sex, rise, convergence, the orgasm, the rhythm, the unit


Séq. 6 (4’30)  languor, the memory, the calmness, the impulse, the harmonic melody



Luc Ferrari (Gruissan – Paris, August 1977)