Jean-Claude Eloy

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Jean-Claude Eloy in 2015.

Jean-Claude Eloy (born June 15, 1938 in Mont-Saint-Aignan , Canton of Mont-Saint-Aignan , France ) is a French composer of instrumental , vocal and electroacoustic music .

In his work Eloy realizes one of the most significant syntheses of the music of the 20th century - between electronic and instrumental music , between European and non-European music. Although he received a solid classical music education, Eloy has been an admirer and connoisseur of non-European musical traditions since his youth. Even if he never disregarded the complexity of Western musical thought, the experience with non-European music decisively determines his artistic inspiration.

Music education

Jean-Claude Eloy was born in Mont-Saint-Aignan (near Rouen ). After classical studies at the Paris Conservatory (piano, chamber music, counterpoint , Ondes Martenot and composition with Darius Milhaud ), between the late 1950s and the early 1960s, Eloy attended the Darmstadt summer courses for new music several times . From 1961 to 1963 Eloy studied composition with Pierre Boulez at the Basel Music Academy.

The young Eloy assimilates with great speed the teaching of the Second Viennese School ( Schönbergs , Weberns , Bergs ) and the music of Olivier Messiaen , such as works such as Trois pièces pour piano ("Three piano pieces") (1960), Cinq poèmes de Saîgyo (1960) for soprano and piano and Chants pour une ombre (1961) for soprano and 8 instruments.

career

The confrontation with Pierre Boulez is crucial for the music education of the young Eloy. Etude III (1962) for orchestra (dedicated to Darius Milhaud) and Equivalences (1963) for 18 musicians (dedicated to Pierre Boulez) are the first works to be received by a larger audience.

From 1966 to 1968 Eloy was a professor at the University of California , Berkeley. After his stay abroad in the USA , Eloy distanced himself from serial music and in his work the interest in sound itself and in the ritual dimension became more and more central. Since the beginning of the 1970s, the cultural references to philosophical and musical ideas of Asian traditions (especially to India and Japan) have become more and more explicit and frequent in his work.

The work Kâmakalâ ("triangle of energies") for three orchestras, five choir groups and three conductors represents a real stylistic turning point in his work.

In 1972 Eloy was invited by his friend Karlheinz Stockhausen to the studio for electronic music in Cologne to realize his first electronic work. The result of his experimentation in the studio with sound and with the time of sound is Shânti ("Peace") (1972/73), a two-hour fresco for electronic and concrete sounds, based in particular on the philosophy of Heraclitus (struggle of opposites) and by influenced by the writings on the yogi Sri Aurobindo Ghoses .

After composing Fluctuante-Immuable (1977) for orchestra, Eloy worked between 1977 and 1978 in the Tokyo-Rundfunk (NHK) Electronic Music Studio, where he wrote the four-hour fresco Gaku-no-Michi ("The Paths of Music" or "Das Dào der Musik"), which is based on the dialectic between concrete (sounds recorded from everyday Japanese life) and abstract materials (purely synthetically generated sounds).

The next major works also have strong references to Japanese culture and Japanese music: Yo-In ("Rückstrahlungen") (1980), music for an imaginary ritual in four acts for tape and a percussionist who plays more than 100 percussion instruments; A l'approche du Feu Méditant… (1983) for 27 Gagaku instruments, two choirs of Buddhist monks (Shômyô singing) and five Bugaku dancers; Anahata (1984–1986) for electronic and concrete sounds, five Gagaku musicians and two Japanese Buddhist monks (Shômyô singing).

Towards the end of the 1980s, Eloy designed a large cycle of works entitled Liberations on female figures, which, however, remains unfinished to this day. As part of this project, Eloy begins his intensive collaboration with singers such as Yumi Nara ( Butsumyôe , 1989), Fatima Miranda ( Sappho Hiketis , 1989) and Junko Ueda ( Erkos , 1991; … kono yo no hoka… , 1996).

Eloy founded his own publishing house hors territoires to document his artistic work through the publication of books and compact discs.

Works (selection)

  • Etude III (1962) for orchestra
  • Equivalences (1963) for eighteen instrumentalists
  • Faisceaux-Diffractions (1970) for twenty-eight instrumentalists
  • Kâmakalâ (The Triangle of Energies, 1971) for three orchestras and five choir groups with three conductors
  • Shânti (Frieden, 1972–1973) for electronic and concrete sounds; Realization: Electronic studio of the WDR in Cologne
  • Fluctuante-Immuable (1977) for large orchestra
  • Gaku-no-Michi (The Paths of Music, 1977–1978) for electronic and concrete sounds; Realization: Electronic studio of the NHK Tokyo
  • Yo-In (Rückstrahlungen, 1980) music for an imaginary ritual in four acts for a drummer who plays more than two hundred percussion instruments, sounds recorded on multi-track tapes, live electronic modulations and light; Realization: Instituut voor Sonologie, Utrecht
  • A l'Approche du Feu Méditant (1983) for twenty-seven Gagaku instrumentalists from Japan, two choirs of Buddhist monks (Shōmyō singing) and five Bugaku dancers
  • Anâhata (Vibration primordiale, 1984–1986) for two solo voices by Buddhist monks (Shōmyō singing), three Gagaku instrumentalists from Japan, a percussionist, electronic and concrete sounds; Realization: Electronic studio of the Sweelinck Conservatory Amsterdam
  • Butsumyôe (The Ceremony of Repentance, 1989) sung and spoken performance for two female voices who also play different percussion instruments
  • Erkos (Lobgesang, 1990–1991) for a Japanese Satsuma Biwa soloist (voice and instrument) who also play several percussion instruments with electroacoustic sounds; Realization: Electronic studio of the WDR in Cologne
  • Electro-Anâhata (1986–1994) Electroacoustic complete version of Anâhata . Realized based on the original electroacoustic recordings on the composer's PC
  • Galaxies, Warsaw Version (1986–1994) purely electronic version
  • Metametal: L'Anneau des sept lumieres (The Ring of the Seven Lights, 1994–1995), long version of a part from Electro-Anâhata
  • Galaxies, Sigma Version (1996) with the vocal solo… kono yo no hoka… (… the world beyond…) for a female voice (Shōmyō singing) and electro-acoustic sounds
  • Etats-Limites, our les cris de Petra (Grenzlinien, or Petras Wehrufe, 2013), for a female voice and electroacoustic sounds with the Cologne vocalist Petra Gabriele Meinel , to whom he dedicated a requiem after her death in 2001.
  • The Midnight of the Faith (the midnight darkness of faith, 2014), for electronic and concrete sounds to selected sets of Edith Stein , by the German actress Gisela Claudius be carried forward

Bibliography (selection)

  • Bargheon, Ludovic: "Eloy, Jean-Claude" in: Music in the past and present. Second revised edition , ed. by Ludwig Finscher, Kassel 2001, person part vol. 6, col. 286–287.
  • Eloy, Jean-Claude: "Cheminement" in: MusikTexte. Zeitschrift für Neue Musik , issue 139, Cologne 2013, p. 27.
  • Eloy, Jean-Claude: Collective normalizations and individuation process. Around serveral works with woman soloist voices. Songs for the other half of the sky. Songs of solitudes, pleas, revolts, celebrations or prayers , hors territoires, o. O. 2012.
  • Eloy, Jean-Claude: Between concrete and abstract. Gaku-No-Michi The Ways Of music , ed. by Jean-Claude Eloy, hors territoires, o.O. 2006.
  • Eloy, Jean-Claude: "From Kâmakalâ to Shânti" in: Composition and Musicology in Dialogue V (2001-2004) = Signals from Cologne. Contributions to the music of the time , vol. 11, ed. by Christoph von Blumröder and Imke Misch; Münster 2006, pp. 23–56.
  • Eloy, Jean-Claude: "I owe him ..." in: Commemorative publication for Stockhausen , ed. from the Stockhausen Foundation for Music, Kürten 2008.
  • Eloy, Jean-Claude: Music From The Orient, Our Familiar World. texts n ° 13 (1968) , o. O. 2003.
  • Eloy, Jean-Claude: Of the literal and the oral. Yo-In 'Reverberations' , hors territoires, o. O. 2007.
  • Eloy, Jean-Claude: Stockhausen or the metamorphosis of creative vitality. Determinism and indeterminism throughout his work , text n ° 48, 1987, hors territoires, o. O. 2004.
  • Eloy, Jean-Claude: "On the ritual of applause ... in 'Galaxies' and other works" in: MusikTexte. Zeitschrift für Neue Musik , issue 139, Cologne 2013, p. 34.
  • Mews, Sebastian: Shânti and Gaku-no-Michi. The electroacoustic music by Jean-Claude Eloy in the discourse between Occident and Orient , < http://www.eloyjeanclaude.com/Mews-Eloy.pdf >, Cologne 2015.
  • Siano, Leopoldo: “The 'Paths of Music'. A portrait of the French composer Jean-Claude Eloy ”in: MusikTexte. Zeitschrift für Neue Musik , Issue 139, Cologne 2013, pp. 25–34.
  • Stoianova, Ivanka: "Eloy, Jean-Claude" in: The New Grove Dictionary of Music and Musicians 2nd Edition , ed. by Stanley Sadie, Oxford 2001, vol. 6, p. 159.
  • Stoianova, Ivanka: In Search of the meditative flame , < http://www.Eloyjeanclaude.com/MeditativeFlameIvanka.html >.
  • Stoianova, Ivanka: “Myths of femininity in the eighties and nineties. Re-appropriation and new determination: Stockhausen, Eloy “in: Re-appropriation and new determination, the case of 'Postmodernism' in music , ed. by Otto Kolleritsch, Vienna 1993, pp. 87–116.
  • Stoianova, Ivanka: “Production and reproduction in electronic music using the example of Jean-Claude Eloy” in: Musical production and interpretation. On the historical irrevocability of an aesthetic constellation , ed. by Otto Kolleritsch, Vienna (et al.) 2003, pp. 163–175.

Web links

Individual evidence

  1. ↑ Bargheon, Ludovic: "Eloy, Jean-Claude" in: The music in history and present. Second revised edition , ed. by Ludwig Finscher, Kassel 2001, person part vol. 6, col. 287.
  2. ^ Weid, Jean-Noel from: "Jean-Claude Eloy's Sound Cosmogony" in: DISSONANZ - DISSONANCE. The new Swiss music magazine , issue 51, Basel 1997, p. 2.
  3. ↑ Stoianova, Ivanka: “Eloy, Jean-Claude” in: The New Grove Dictionary of Music and Musicians 2nd Edition , ed. by Stanley Sadie, Oxford 2001, vol. 6, p. 159.
  4. ↑ top v .: “List of works Jean-Claude Eloy” in: MusikTexte. Zeitschrift für Neue Musik , Issue 139, Cologne 2013, pp. 38–39.
  5. ↑ Mews, Sebastian: Shânti and Gaku-no-Michi. The electroacoustic music by Jean-Claude Eloy in the discourse between Occident and Orient , Cologne 2015, p. 7.
  6. ↑ Mews, Sebastian: Shânti and Gaku-no-Michi. The electroacoustic music by Jean-Claude Eloy in the discourse between Occident and Orient , Cologne 2015, p. 13.
  7. ^ Eloy, Jean-Claude: Shanti. Extracts from the text published in the program of 'The London Music Digest ,' Round House ', London 1975, p. 1.
  8. ↑ Siano, Leopoldo: “The 'Paths of Music'. A portrait of the French composer Jean-Claude Eloy ”in: MusikTexte. Zeitschrift für Neue Musik , Issue 139, Cologne 2013, pp. 31–32.
personal data
SURNAME Eloy, Jean-Claude
ALTERNATIVE NAMES Éloy, Jean-Claude
BRIEF DESCRIPTION French composer
DATE OF BIRTH June 15, 1938
PLACE OF BIRTH Mont-Saint-Aignan , Canton of Mont-Saint-Aignan, France