In May 1973, a few days before the Paris premiere of Les Danses Organiques at Théatre Récamier the 28th of that month, an unusual meeting was held at Luc Ferrari‘s home in Montreuil, near Paris. The composer (1929-2005) had been approached by Daniel Caux for an interview about Les Danses… to appear in the July issue of art journal L’Art Vivant. But Ferrari declined the one-to-one interview and, instead, organized a collective meeting between no less than seven people. In addition to Ferrari and Caux, were also invited: the composer’s wife, Brunhild ; Daniel Caux’s wife, Jacqueline ; Rio and Monika, the two young women whose moanings and sighs were recorded by Ferrari and formed the basis of Les Danses… ; and photographer Philippe Gras, who was Daniel Caux’s photograph of choice when interviewing a musician. I assume the photos adorning the article were also taken the day of the interview. In any case, this interview-cum-panel discussion-cum-nude photo session was to be something very special.
In his introduction to the printed interview, Caux notes a listening session was held before the discussion, since only the Ferraris had the chance to hear the tape before the premiere (short sound clip here). While she generally approves the idea of Danses Organiques, Brunhild suggests the concept is a mix of Ferrari’s sensuality and voyeurism. The two women, who are alternatively presented as lesbians or bisexuals during the course of the interview, say they met for the first time during the recording session. They are pleased with the result (“frais et lumineux”). They only note the montage emphasizes the more exciting moments from a man’s perspective (“N’est-ce pas un peu le choix du mâle qui trouve ces lesbiennes si charmantes ?”). Ferrari suggests Danses Organiques is about imitation: the two women mimicking love, his own music following love’s progress and his wry comments mocking art critics. Ferrari rebelled against the idea of art criticism, favoring observation and description, what he was himself trying to do with his Musique Anecdotique concept.
The unusual meeting, the exquisite eroticism of the photos and the wonderful layout all contribute to make this event a touchstone in the field of the Interview-as-Art, of which Andy Wahrol or Willem de Ridder were also prominent figures. The 3-pages article appeared in the July 1973 issue of L’Art Vivant. Below is a link to download hi-res scans of the interview.