- Ephémère (1974) new version for viola & tape by Brunhild Ferrari (2012)
- Le Piano Englouti (2012) version for viola & tape
Vincent Royer – Luc Ferrari
- Pour que le vent soit propice (2011) based on “Ce qu’a vu le Cers” (1978) by Luc Ferrari
… a release in which Royer almost completely dissolves into Ferrari’s tapes. … If it hasn’t been evident already, Royer is one of the best Ferrari proponents around. — Grant Chu Covell, lafolia.com, November 2015
This album tells stories of the wind, the ocean and a village feast in the southern France … The listener is led into a poetic journey about freedom and impermanence. It brings together three Ferrari-related works: by Ferrari himself, by Ferrari’s wife Brunhild Meyer-Ferrari and an improvisation by Royer to one of Ferrari’s soundscapes.
Luc Ferrari was very interested in collaboration. New music violist Vincent Royer began collaborating with Ferrari following their meeting in
Regarding Éphémère (1974), Ferrari wrote: “This musical piece – which, as its name says, is based on the effects of the sea – is intended
for musicians open to all types of music. As the name says too, this tape has been conceived as a snap of time.” In 2012 Brunhild Ferrari realized this new version for Royer’s viola.
Brunhild Ferrari’s Le piano englouti (“The Sunken Piano”) is a tape piece comprised of recorded and processed sounds. The sounds were recorded over fourteen years, at a Greek island almost swallowed by the noisy Aegean Sea, and in 2010, at a very discreet and silent Japanese
island. Originally composed to accompany a piano, as in Debussy’s work of the same name, this version is arranged for Royer’s viola.
The Royer/Ferrari Pour que le vent soit propice uses Ferrari’s tape piece “Ce qu’a vu le Cers” as the basis for a viola & electronics
improvisation. This live recording captures the special mood of the intimate concert surroundings it was recorded at.