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there are 2 titles featuring jean-claude eloy in stock.
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threads:
1970s-electronic
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modern-composition

creel pone (france) #creelp shanti cd

jean-claude eloyshànti” double compact disc recordable set

  • face i
  • face ii

  • face iii
  • face iv
what we have here is a massive, four side-long drone-epic from jean-claude eloy, as composed in the wdr studios in köln from 1972 to 1973. while this piece is widely dissed as a stockhausen “rip-off” (eloy’s use of pan-cultural textures and spoken fragments is purely textural, not any sort of commentary on nationalism as, purportedly, “hymnen” is...) i’ve always found it completely successful in its ability to transport the listener to a distant, frozen-crystal wasteland... another one of my all-time favorite long-form pieces of music; a more perfect soundtrack for that lost afternoon i’d be hard-pressed to spell-out...

again thank (our various) god(s) for mr. p.c.’s aktion(s) here, esp. as the original of this set is, of course, rare as hen’s teeth (if you’re interested i know a seller that has one for sale: $400) beautifully rendered with the gatefold and libretto intact...
creel pone press release...
this creel pone edition includes:
1 x crystal-clear resealable polypropylene cd sleeve with a blue / silver foil stamp affixed to the exterior
1 x double-sided six-color / one-color inkjet-printed hand-cut card-stock insert
2 x six-color inkjet-printed compact disc recordables in high-density round-bottom cd sleeves

jean-claude eloy (1938) shànti (dedicated to karlheinz stockhausen)

shànti meditation music for electronic and "concrete" sound. produced in the westdeutscher rundfunkstudios cologne.

shanti is a sanskrit word meaning peace. it is above all spiritual peace. the supreme peace that yogis strive for; it is also the psychic and emotional peace of the individual. lt is political peace and peace found in nature and the physical elements of the universe. however, for me, no notion can exist without its opposite lu antagonistic counterpart.. mean rebellion and war in the larger sense. from the muffled explosions of a volcano to student barricades.

therefore for me, shànti is peace in constant flux (because without antagonism and struggle the world would simply end). it is the dialectic nature of things with struggle and violence. it is peace in the heraclitian sense. hence the continual progress, the eternal search for the elusive goal, sometimes glimpsed at and very occasionelly attained; the glimmer of eternity... it would be a mistake to think that shànti was in any way a stable or continuous piece. we have to look for it in the sound. in each of the long sequences. the whole form of the music is a slow and permanent spiral,with no limit

the best way to listen to this "meditation music" is to be completely relaxed and open. it is a good idea to close your eyes or darken the room. karlheinz stockhausen talking about this work in a letter said "...the biggest problem is to find a suitable place for the audience to listen, where they can listen for the whole evening without any disturbance... you must close your eyes to listen. in my opinion there is no longer any need to see things... it is best to close your eyes,sitting in a relaxed position, the eyes have really no use."

this version of shànti was composed in the wdr electronic music studios of cologne in 1972-73. at the end of 1973, i added another part (shànti ii; meditation/memory) for concerts, to used as a huge parenthesis straight after the first tape (side one of this record). texts by shri aurobindo, mao tse tung in chinese, hindi words, and an interview with a young woman familiar with india are all heard mixed with electronic sounds. because of its length and because it was originally intended for conoerts, this additional section has been left out; on this record we hear the original version

due to the fact that the music is heard on record, there is an unfortunate interuption between sides, whereas the music should be listened to as a continuous whole. i have made sura however that each side corresponds as far as possible to characteristic musical areas, and that the end of each side is as smooth as possible, giving a result rather like a series of "acts".
...

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new to stock as of
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threads:
1970s-electronic
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minimalism-drones
field-recordings
analogue-synth

creel pone (france) #creelp gaku cd

jean-claude eloygaku-no michi” compact disc recordable

  • the follow-up to “shanti” !! two discs of frozen concrète-drones !!!
disc 1 / lp 1
  • tokyo” la voie des sons quotidiens (du concret à l’abstrait) (extrait) 29’09
  • fushiki-e” (“vers ce qui n’est pas connaissable”) la voie des sons de méditation (de l’abstrait au concret) (1er extrait) 28’53
disc 2 / lp 2
  • fushiki-e” ( “vers ce qui n’est pas connaissable”) la voie des sons de méditation (de l’abstrait au concret) (2ème extrait) 29’45
  • kaiso” (“réminiscence”) la voie du sens au-delà des métamorphoses (de l’abstrait à l’abstrait) 17’27
  • kaiso” (2ème extrait) “han” son de prolongation (extrait du début) 11’37
ah - here’s the one a bunch of you have been waiting for with baited breath: the follow-up to jean-claude eloy’s “shanti”, recorded 5 years later at tokyo’s n.h.k. studio (yes, the same studio that so many of the pieces on both the “obscure tape music of japan” and “oto no hajimari wo motomete” were executed at...) using many of the same tools & speaking the same lexicon of expanding drone-sound & distant, reverb-soaked field-recorded events...

gaku no michi” (“ways of music”) is an epic piece (originally over 4 hours long; in its recorded form here close to 2 hours !!) utliizing environmental sounds from in and around tokyo (recordings of pachinko parlors, sumo arenas, train stations, machinery, and department stores are mixed seemlessly with temple bells, traditional drumming, etc... in an old-world-meets-the-new setting) and quite a bit of analogue synth-chatter (there’s an amazing electronic flare-out in the middle of the second iteration of “fushiki-e”) yielding a thick, ominous cloud of dense, full-frequency sonic information; as claustrophobic as contemporary tokyo itself...

a mind-melter of a creel pone; highly recommended for fans of xenakis’ “bohor” and/or anything that intersects both the musique concrète and long-form electronic sound spheres...
creel pone press release...
this creel pone edition includes:
1 x crystal-clear resealable polypropylene cd sleeve with a black / gold foil stamp affixed to the exterior
1 x double-sided six-color / one-color inkjet-printed hand-cut card-stock insert
2 x six-color inkjet-printed compact disc recordables in high-density round-bottom cd sleeves

music: jean-claude eloy
by john rockwell
published: november 19, 1983

jean-claude eloy's ''gaku-no- michi,'' or ''paths of music,'' is a four-hour electronic-music score that was presented wednesday night at the experimental intermedia foundation as part of the forum 83 ''international festival of today's music.''

international mr. eloy certainly is. he was born in france in 1938 and studied with, among others, pierre boulez and karlheinz stockhausen. but as its title suggests, wednesday's score was realized in japan, and mr. eloy has spent considerable time in asia.

all works of such extended duration invite audience members to submerge themselves into the flux, abandoning conventional notions of form and structure in return for hypnotic involvement. in this writer's experience, however, such submersion is best achieved when the moment-by- moment unfolding of the work is of interest, and if the larger formal coherence becomes manifest in the smaller details. that coherence needn't be imposed by busy formal ingenuity or schematic rationality. it works better subtly and intuitively, but however it works it must be there.

mr. eloy's piece is a blend of ''concrete,'' or pre-recorded, sounds with or without alteration, and synthesized music. at its best, the two blend suggestively, pointing at a real gift for an electronic music theater of the future. many of the sounds are really sumptuous, although most of the time wednesday the four-channel reproduction seemed to suffer from a blunt treble cut-off that dulled sensuous appeal.

the real trouble was just that lack of convincing coherence. the tension rose and fell, the music got louder and softer and thicker and thinner, all without any demonstrable dramatic or musical purpose. it was a collage of effects, some good, some bland but not adding up to something larger than its many, many parts.

as a direct result of that impression, this review is based on a 90- minute sampling. perhaps a different judgment would be rendered if one made a commitment to the full four hours. this writer will never know.

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