ELOY, JEAN-CLAUDE - FAISCEAUX-DIFFRACTIONS - MACLES - BOUCLE ET SÉQUENCE (CD)

A series of instrumental pieces documenting the years before the switch to the long electroacoustic compositions more characteristic of the composer. Faisceaux-Diffractions: (1970) for 28 instrumentalists including a Hammond organ, and two electric guitars. Recording of the world premiere, on October 30, 1970, in Washington D.C. (USA) by the New York Contemporary Chamber Ensemble. "The instrumental ensemble is subdivided into three strongly isomorphic orchestras, allowing the treatment in the space of similar musical structures. This tone-color isomorphism allows sometimes to leave "floating" the synchronization between the three orchestras, the conductor being able to combine the "tiling" of the orchestras, following a large number of possibilities, but within strictly defined temporal proportions." Macles (1966 - short version): extracts of the music of the film La Religieuse (The Nun) by Jacques Rivette For various groups of instruments including a solo Zarb and a Cymbalum. Ensemble Musique Vivante under the conducting of Boris de Vinogradov. Zarb solo played by Jean-Pierre Drouet. "At the time of the realization of this work, in 1966, I was a teacher at the University of Berkeley, and I was trying to find a theory to unify the modal music (repetitive, with uses of fixed harmonic fields and use of notes poles, etc.) to atonal chromatic music, serial or not (variational, fluctuating, ornamented, etc.): this by directly organizing the structural blocks, and not by deducing them from a serie." Loop and Sequence (1968) for 19 instrumentalists: Very short musical sequences for the film l'Amour fou (Mad love) by Jacques Rivette."These two very short musics were written in 1968 at the request of Jacques Rivette for his film l'Amour Fou (Mad love), which he was shooting (Sequence is the music of the very last scene of the film - in its oriiginal version - when Jean-Pierre Kalfon leaves walkking alone in the streets of Paris.). In hindsight, they constitute a sort of "premonition" of the writing and aesthetics, which will then be affirmed, in 1970 and 1971, with Faisceaux-Diffractions and Kâmakalâ (use of repetitive loops; mass heterophony; intervals filled in active aggregates; etc.)."" (label info)