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ELOY, JEAN-CLAUDE - YO-IN

Format: 4 x CD & BOOK
Label & Cat.Number: Hors Territoires HT 07-8-9-10
Release Year: 2011
Note: first publication of this epic piece composed 1980 - "sound theater for an imaginary ritual" - for electronic and concrete sounds, using about two hundred (!) different percussion instruments; this version was recorded during a public concert at the Warsaw Autumn Festival (Sept. 1994) and post-produced at the Institute of Sonology in Utrecht; comes with 20p booklet and 160p. BOOK about YO-IN (texts, photos, interview) with documents collected 1980-2010, incl. 20 pages of photos
Price (incl. 19% VAT): €47.50


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"English version. This is a book on the piece 'Yo-in' + the piece on a digipack 4CDs. 'Yo-In' (1980). Sound theater for an imaginary ritual, in four acts. For electronic and concrete sounds, fixed on multi-tracks. For a percussionist-character (solo percussionist). With about two hundred varied percussion instruments. Performed by Michael W. Ranta (solo percussionist) and Jean-Claude Eloy (electroacoustic projection, synchronisation, mixings). Recorded during a public concert given at the Warsaw Autumn festival Polish-Radio, Warsaw, September, 1994. Electro-acoustic production : Instituut voor Sonologie, Rijkuniversiteit, Utrecht. Institute of Sonology, State University, Utrecht. With the collaboration of NHK, Denshi Ongagu Studio, Tokyo. First world publication. Digipack 4 x CDs with a booklet of 20 pages. The book on Yo-In : 'Of literal and the oral', documents (texts, photos, interview) from 1980 to 2010. Bilingual publication English-French, 154 pages, from which 20 pages of photos, format A5. 'Jean-Claude Eloy is a French composer, born in 1938. He studied at the Paris National Superior Conservatory of Music, where he won First Prizes in Piano, Chamber Music, Counterpoint, Ondes Martenot, and studied composition with Darius Milhaud. He attended summer courses at Darmstadt (Pousseur, Scherchen, Messiaen, Boulez, Stockhausen) and was a student in composition in Pierre Boulez' master class at the Music Academy in Basel (1961-1963). Works by Jean-Claude Eloy have been performed all over the world. They have been conducted by Pierre Boulez, Ernest Bour, Michael Guilen, Bruno Maderna, Diego Masson, Michel Tabachnik, Arthur Weisberg and others ... He has lived in the United States (professor at the University of California, Berkeley, in the sixties), Germany (invited by the WDR studios in Cologne, the Technische Universitt in Berlin, guest artist at the Berliner Knstlerprogramm), Holland, Japan (where he collaborated with NHK and the National Theater of Japan, among other activities). He participates regularly in numerous international festivals, principally in Europe, but also in Asia, the United States, Canada and Latin America as sound-projectionist for his electro-acoustic works and with the soloists closely associated with his compositions : Fatima Miranda (vocalist), Yumi Nara (soprano), Michael Ranta (percussionist), Junko Ueda (Shmy singer and Satsuma-Biwa player), Kshin Ebihara and Kjun Arai (Buddhist monk singers), Mayumi Miyata (Sh player), etc." [label info]

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"When 'Yo-In' was performed for the first time, it caused mixed reaction - to say the least. Eloy's blending of Japanese (or Asian) music with electronics caused a ripple in the music scene. The extensive book details a lot of what went into producing this work, from his work at the institute of Sonology in Utrecht, the nature of the some 200 percussion instruments used as well as the field recordings, but also the reception of the work, make this an excellent read. For which you have time, while listening to the work: it lasts three hours and forty minutes. The title translates as 'reverberations'. The background, if we may call it like that, is made up of electronic processes of percussions and field recordings, although perhaps a lot of the time not so recognizable. The foreground is filled with the shimmering tones of bells, percussion, toms, and who knows what else - there are a few pictures in the book, but apparently the various performances have never been properly filmed. This work too has a meditative character, but throughout to a lesser extent than 'Ahata-Anahata' - there is no doubt more action here. This too is a beautiful work, especially the longitude works very well. Sit back and listen: there is not much you can do." [FdW/Vital Weekly]