ELOY, JEAN-CLAUDE — Anahata
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"Anâhata' (1984-86). Primordial vibration. Sound ceremonial with a contemplative character for two voices of Japanese Buddhist monks (traditional Shômyô techniques - traditional temple chanting - in a larger, modern and creative form), three Japanese Gagaku instrumentalists (traditional court music in a modern and creative form), one percussionist (with a percussion instrument orchestra) and electro-acoustic (fixed interactive sounds). Electronic studio of the Sweelinck Conservatorium, Amsterdam (1984-86). With Ebihara Kôshin (Tendai sect): solo voice, Arai Kôjun (Shingon sect): solo voice, Yaotani Satoru: Ô-Hichiriki solo, Shiba Sukeyasu : solo Ryûteki, Miyata Mayumi: Shô solo, Ô-Shô, Alto-Sheng, Michael W. Ranta : solo percussions, Jean-Claude Eloy, electro-acoustic (sound projection, general coordination, mixing). Studio recording made during the Donaueschingen festival 1990 (Donaueschinger Musiktage) by the SWF (Südwestfunk), Baden-Baden. First World publication. Presented in a small box of 3 x CDs with 60 pages booklet." [label info]
www.hors-territoires.com
"Today I spend a whole day with Jean-Claude Eloy. Not literally of course, but I listened to these 7 CDs with two works, and read all the material that came along with it. In the case of 'Ahata-Anahata' this is a CD sized book, of 80 pages but with mostly images but in the case of 'Yo-In' this is like a A5/B5 sized book of 150 pages. Now this is not my first encounter with the long works of Eloy, before I reviewed 'Shanti' (2CDs) and 'Gaku-No-Michi' (4CDs) - see Vital Weekly 752. This former student of Darius Milhaud likes to compose lengthy works, although primarily electronic, its not exclusively electronics and these works proof that. 'Anahata' is a work in three parts, the first spanning two discs and the second and third are on the third disc. The work started when Eloy composed a work for a Gagaku orchestra, made up of Japanese traditional court music and Buddhist singers (the first composer to do so other than traditional texts) and then went on to compose this new work, which
incorporates electronics, traditional instruments, such as the Sho, O-Sho, Shomyo, Hichiriki and the ryuteki and Japanese voices. The title is from the sanskrit and refers to 'the idea of a fundamental frequency of the universe, an unstruck, unheard sound, a vibration cosmic by nature, translated as 'primordial vibration'' and is a work of great contemplation, certainly the almost 100 minutes of the first part. Here we have large parts of vocal singing, bells sounds and throughout its seems not a lot of electronic music, although in some parts there is some metallic rumble. An excellent part. In part two things start to get a bit louder, the flutes here play an important and electronica is more 'awake', which then culminates in the third part which is the most electronic one, blending vast electronic drones with the sound of the Sho, O-Sho and Alto-Sheng. The cerebral nature of the two other parts seems to be broken here, but the organ like sounds perhaps also make great sense. The first hundred minutes being very contemplative, the next hour there is a great sense of electronic music blending with instruments." [Frans de Waard/Vital Weekly]
www.hors-territoires.com
"Today I spend a whole day with Jean-Claude Eloy. Not literally of course, but I listened to these 7 CDs with two works, and read all the material that came along with it. In the case of 'Ahata-Anahata' this is a CD sized book, of 80 pages but with mostly images but in the case of 'Yo-In' this is like a A5/B5 sized book of 150 pages. Now this is not my first encounter with the long works of Eloy, before I reviewed 'Shanti' (2CDs) and 'Gaku-No-Michi' (4CDs) - see Vital Weekly 752. This former student of Darius Milhaud likes to compose lengthy works, although primarily electronic, its not exclusively electronics and these works proof that. 'Anahata' is a work in three parts, the first spanning two discs and the second and third are on the third disc. The work started when Eloy composed a work for a Gagaku orchestra, made up of Japanese traditional court music and Buddhist singers (the first composer to do so other than traditional texts) and then went on to compose this new work, which
incorporates electronics, traditional instruments, such as the Sho, O-Sho, Shomyo, Hichiriki and the ryuteki and Japanese voices. The title is from the sanskrit and refers to 'the idea of a fundamental frequency of the universe, an unstruck, unheard sound, a vibration cosmic by nature, translated as 'primordial vibration'' and is a work of great contemplation, certainly the almost 100 minutes of the first part. Here we have large parts of vocal singing, bells sounds and throughout its seems not a lot of electronic music, although in some parts there is some metallic rumble. An excellent part. In part two things start to get a bit louder, the flutes here play an important and electronica is more 'awake', which then culminates in the third part which is the most electronic one, blending vast electronic drones with the sound of the Sho, O-Sho and Alto-Sheng. The cerebral nature of the two other parts seems to be broken here, but the organ like sounds perhaps also make great sense. The first hundred minutes being very contemplative, the next hour there is a great sense of electronic music blending with instruments." [Frans de Waard/Vital Weekly]