Label: Hors Territoires

フランス・アヴァン/電子音楽界の伝説的人物の初出音源!!24ページ・ブックレット付き!!2025年最重要タイトル!!本邦NHK電子音楽スタジオの録音ブツ[楽の道]をはじめ、僧侶迎え国立劇場で行われた演目[観想の焔の方へ]など、ここ日本での活動でも知られる伝説的コンポーザーのジャン＝クロード・エロワ。GRM時代の実験精神と精鋭的な器楽曲、二つの側面を巧みに融合させた、3つの重要音源からなる新アーカイヴ音源を出版。28人の楽器奏者によるハモンドオルガンとエレキギターによる異例の70年作品[Faisceaux-Diffractions]、同国の映画監督ジャック・リヴェットの[修道女]、[狂気の愛]の為に作曲された66年[Macles]、68年[Boucle Et Sequence]、氏のコンサートと映画音楽に対する珍しい側面を捉えた傑作集成。

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A landmark archival release documenting Jean-Claude Éloy’s radical 20th-century innovations. This collection brings together three seminal works showcasing the French composer’s dual mastery of concert hall abstraction, cinematic narrative and GRM-era experimentation.
The new release Faisceaux-Diffractions – Macles – Boucle et Séquence offers an illuminating portrait of Jean-Claude Éloy, a composer whose work has quietly shaped the landscape of postwar French music. This album brings together three significant pieces that showcase Éloy’s inventive orchestration, his sensitivity to timbre, and his close relationship with the world of cinema. At the heart of the album is Faisceaux-Diffractions (1970), a striking composition for 28 instrumentalists that includes the unusual presence of a Hammond organ and two electric guitars. The work, recorded live at its world premiere in Washington D.C. by the New York Contemporary Chamber Ensemble under the baton of Arthur Weisberg, demonstrates Éloy’s fascination with sonic color, spatial relationships, and the interplay of acoustic and electric textures. The performance, released with the permission of the Library of Congress, captures the energy and ambition of a composer unafraid to experiment on a grand scale.

Macles (1966, short version) offers a different perspective on Éloy’s creativity. Originally conceived as extracts for Jacques Rivette’s film La Religieuse, this version features a distinctive instrumentation that includes a solo Zarb (performed by Jean-Pierre Drouet) and Cymbalum, alongside various instrumental groups. The recording, made by Ensemble Musique Vivante under Boris de Vinogradov, is a rare document produced specifically for the film and later featured in a 1967 ORTF television portrait dedicated to Éloy. Here, the composer’s nuanced approach to timbre and atmosphere comes to the fore, blending the worlds of concert music and cinema with subtlety and precision.

The album concludes with Boucle et Séquence (1968), a series of concise musical sequences written for Rivette’s film L’Amour fou. Performed by soloists from Ensemble Musique Vivante and conducted by Jean-Claude Éloy himself, these pieces were recorded in Paris during the film’s production. They reveal Éloy’s talent for crafting evocative, miniature sound worlds that serve both the needs of the screen and the demands of contemporary composition.

Taken together, these three works provide a window into Jean-Claude Éloy’s artistic vision—a vision marked by curiosity, technical mastery, and a willingness to blur the boundaries between genres. This release is not only a valuable historical document, but also a vivid listening experience that highlights Éloy’s enduring influence on both the concert stage and the cinema.