Jean-Claude Eloy Gaku-No- Michi Ades Label 21.005 LPL 5705 1 Y Gatefold double
£
50
$
66
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Description
THE WORLD
14 and 15 January 1979
"NO GAKU MICHI," Jean-Claude Eloy
Gaku-no-Michi, concrete and electronic work of Jean-Claude Eloy, lasted two hours during the world premiere at the Rencontres de La Rochelle (Le Monde, 11 July 1978); it lasted three hours and forty-one minutes for rehearing Thursday Salle Wagram.
The Japanese title means "the way of the music." From a practical view, Tokyo noises enough scrambled ("the way of everyday sounds"), one sinks "from concrete to abstract," then "to what is unknowable '( "the path of meditation sounds"), in "the incessant flow of all things," then it is "the way of métamophoses sense" which leads to "the way of meaning beyond métamorphoees" and "an extension of its" motionless, immortalized for a quarter of an hour.
These indications are only landmarks, also rather vague, through a sound journey through the abstract which would be a spiritual experience of oriental type, although less explicit than Shanti, who was a contemplative state of peace of mind. This is "to access the power of sound experiments of perception located unusual, inviting us to expand conscienoe we have things like ourselves."
Jean-Claude Eloy has reached a kind of time dilation: we listen to these approximately four hours of music without experiencing more attention difficulties and physical discomfort for two hours from the previous version, such as a space without sound limit, open, but also without absolute nécessitté. Past the first ten minutes of "film" Tokyo, sounds hardly have identifiable origin and we follow very well these vast electronic textures that unfold at leisure, engender each other melodies and polyphony, such as motor snoring vibrations, magnitudes, intensities, often very different harmonic spectra, which intersect in voltage phases, and rarely dramatic relaxation, often contemplative and majestic.
Of children and women's voices, a brief evocation of Hiroshima, few chants of Buddhist monks and the sound of their wooden sandals, bells stolen ghosts come sometimes decorate or mark time, give it a religious significance.
Eloy, like Stockhausen, Pierre Henry and François Bayle, certainly invented a form of wide variation can crisscross the unlimited field of electronic music. But we are both captivated and remains half incredulous.
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