Jean-Claude Éloy

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Jean-Claude Éloy (born 15 June 1938 in Mont-Saint-Aignan, near Rouen) is a French composer.

Éloy studied at the Paris National Superior Conservatory of Music, where he was awarded first prizes in piano (1957), chamber music (1958), counterpoint (1959), ondes martenot (1960), and composition (1962). His composition teacher there was Darius Milhaud. He attended the summer courses at Darmstadt in 1957, 1960, and 1961, where he studied with Henri Pousseur, Hermann Scherchen, Olivier Messiaen, Pierre Boulez, and Karlheinz Stockhausen. From 1961 to 1963 he attended Boulez's composition masterclasses at the Basle Musik-Akademie.

From 1966 to 1968 Éloy taught at the University of California, Berkeley. By the end of this period, his compositional style began to show the influence of Asian musics, in works such as Faisceaux-Diffractions (1970) and Kâmakalâ (1971). From 1972 to 1973 he worked in the Electronic Music Studio of WDR in Cologne, where he produced Shânti (revised in 1974). At the Electronic Studio of Tokyo Radio (NHK) in 1977–78, he created the four-hour long Gaku-no-michi (1977–8). In collaboration with the French Ministry of Culture, in 1983 he founded a center for musical research (CIAMI), and his compositions return to the use of orchestral and choral forces, while also exploring the live-electronic possibilities of synthesizer and sampler orchestras.

His works have been performed in Europe, Asia, the United States, Canada, and Latin America, under conductors such as Pierre Boulez, Ernest Bour, Michael Gielen, Bruno Maderna, Diego Masson, Michel Tabachnik, and Arthur Weisberg.

[edit] Sources

  • Chauvin, Marie-José. 1971. "Entretien avec Jean-Claude Eloy." Courrier musical de France 36 (October–December).
  • Deloche, Aimée-Catherine. 1985. "Eloy, le temps revisité." Silences 1:159–67.
  • Éloy, Jean-Claude. 1970. "Improvisation: Refuge, utopia or necessity?" The world of music/Die Welt der Musik/Le monde de la musique 12, no. 3:6–21. [In English, German, and French.]
  • Éloy, Jean-Claude. 1969. "Musiques d'Orient, notre univers familier". In La musique dans la vie 2 ("Rayonnement des cultures africaines, regards sur les civilisations asiatiques, quelques problèmes du monde actuel"), 183-215. Paris: ORTF.
  • Éloy, Jean-Claude. 1995. "L'autre versant des sons: Vers de nouvelles frontières des territoires de la musique? " In La musique et le monde (Internationale de l'imaginaire, nouvelle serie 4), edited by Françoise Gründ, 193–231. Arles: Actes Sud. ISBN 2742702806
  • Felder, John. 1981. "The Structural Function of Wind Role Transformations in Equivalences by J. C. Eloy. " Ex Tempore: A Journal of Compositional and Theoretical Research in Music 1, no. 1:18-35
  • Green, Tona. 1991. "Interview with Jean-Claude Éloy." Computer Music Journal 15, no. 1 (Spring): 14–19.
  • Mâche, François-Bernard. 1963. "Une oeuvre nouvelle de Messiaen". Mercure de France 1202 (December), 828–31.Reprinted in François-Bernard Mâche, Un demi-siècle de musique...et toujours contemporaine, Collection sémiotique et philosophie de la musique (Paris: L'Harmattan, 2000), 28–31. [discusses Jean-Claude Éloy's Équivalences as well as Messiaen's Sept haïkaï.]
  • Stoïanova, Ivanka. 1993. "Mythen der Weiblichkeit in der achtziger und neunziger Jahren: Stockhausen, Eloy", Wiederaneignung und Neubestimmung, der Fall ‘Postmoderne’ in der Musik (Studien zur Wertungsforschung), ed. Otto Kolleritsch, 87–116. Vienna: Universal Edition.
  • Stoïanova, Ivanka. 1997. "Jean-Claude Éloy: à la recherche du feu méditant: portrait du compositeur." In Music and Sciences, ed. G.F. Arlandi, 196–227. Bochum.
  • Stoïanova, Ivanka. 2003. "Produktion und Reproduktion in der elektronischen Musik am Beispiel von Jean-Claude Eloy". In Musikalische Produktion und Interpretation: Zur historischen Unaufhebbarkeit einer ästhetischen Konstellation (Studien zur Wertungsforschung 43), ed. Otto Kolleritsch, 163–75. Vienna: Universal Edition.
  • Weid, Jean-Noël von der. 1997. "La cosmogonie sonore de Jean-Claude Éloy." Dissonanz, no.51:30–32
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