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KÂMAKALÂ Press (English) ________________ CARREFOUR November 4, 1971 Jean-Claude ELOY et Georges SEBASTIAN (Jean-Claude ELOY and Georges SEBASTIAN) Antoine Goléa CLÉS POUR LA MUSIQUE (KEYS TO THE MUSIC) December 1971 Brussels Semaines Musicales Internationales de Paris Journées de Musique Contemporaine International Music Weeks in Paris Contemporary Music Days Harry Halbreich KÖLNISCHE RUNDSCHAU February 25, 1975 A weekend at the WDR studio for the " Current Music " Festival: A sumptuous "Meeting with India". By Hans-Elmar Bach KÖLNER STADT-ANZEIGER February 25, 1975 The fifth concert of the WDR "Current Music" cycle, a three-day meeting with India. By Dietolf Grewe MANNHEIMER MORGEN February 27, 1975 The Current Music Cycle of the Cologne Radio: A Look at India Hanspeter Krellmann DIE WELT February 28, 1975 "Meeting with India" at the WDR studio of Cologne Reinhard Beuth FRANKFURTER ALLGEMEINE ZEITUNG (F. A. Z.) March 6, 1975 Meeting with India – and the cult of India – during an artistic event in Cologne Gerhard R. Koch 1 NOTRE TEMPS Brussels, March 6, 1975 Prestige des religions Anciennes (Prestige of Ancient Religions) Évelyne Sznycer, Serge Pahaut. LUXEMBURGER WORT March 7, 75 VIe Biennale de Musique Moderne à Bruxelles (6th Biennial Festival of Modern Music in Brussels) Nicolas Koch-Martin LE QUOTIDIEN DE PARIS Tuesday, May 25, 1976 Perspectives du XXe siècle (20th Century Outlook) Gérard Mannoni LE NOUVEL OBSERVATEUR Monday, May 31, 1976 Music by Maurice Fleuret L'amour avec les sons (Love with Sounds) "Kâmakalâ" at Radio-France The Magic Vibration of Origins PIECES BY LUCIANO BERIO AND JEAN-CLAUDE ELOY Concerts with Radio-France THE TIMES OF INDIA NEW DELHI: FRIDAY, OCTOBER 27, 1978 Memorable session of electronic music By Krishna Chaitanya TÉLÉRAMA May 1979 Radio 20TH CENTURY OUTLOOK SATURDAY MAY 29. 2:45 PM. FRANCE-CULTURE MONDAY MAY 31. 2 PM. FRANCE-MUSIQUE Jean-Claude EIoy The Beauty of a Single Note Paul Meunier 2 KÂMAKALÂ Press (English) ________________________________________________ CARREFOUR November 4, 1971 Jean-Claude ELOY et Georges SEBASTIAN (Jean-Claude ELOY and Georges SEBASTIAN) I was quite worried last night at Jean-Claude Eloy's concert at the Théâtre de la Ville. I had arrived a little early, and had the time to glance through the program. There I found, underneath the composer's signature, a literature halfway between philosophy and Einstein physics, which, ignorant as I am, I did not understand at all. […] Years ago, I had greeted him for that as one of the most promising upcoming composers of the young generation following Boulez. The work I heard then, Equivalences for chamber orchestra, appealed to me for its clarity, especially that of its rhythmic structures, its timbres, and its very expressive sometimes dramatic dynamic. These were the qualities of an authentic musician, and they have remained until today when so many young people believe that it is enough to strike any old how on a piano for it to be music. For several years as he was prey to a real crisis of conscience, Eloy did not compose. He traveled the world, to America, Asia, mainly in India. He came back a fervent follower of a synthesis between Western and Eastern music. It is a path that Messiaen took on before him, but that he found again alone as he never was a student of Messiaen's nor simply under his influence. We heard the successions and superpositions of Equivalences again the other night, and the excellent impression that I had from this work was strongly confirmed, which is a sign of real value. Then we heard Faisceaux Diffractions, also for chamber orchestra. Behind this somewhat forbidding title, which refers to luminous beams, Eloy offers a much compelling work where expressive and dramatic powers are yet again accused. The composer possesses a gift now very rare: he knows how to use silences, and to give them an expressive weight. It is a gift as old as the hills in Western music, and in this area, Eloy has remained much of a Westerner. After the intermission came the world premiere of Kamakala, for three orchestras and vocal ensembles. The Hindu word used as the title means "soaring desire". It is about a very ambitious musical piece which tends to illustrate the birth and development of life having the universal desire as a source. It starts a little bit like The Rhine Gold by Wagner that also describes the birth of a world through indistinct, pianissimo murmurs in the lowest-pitched vocal registries. It rises very slowly both as a dynamic and as a tessitura, gradually held by instruments up to the highest levels of voice. The long held voices of the beginning are progressively split up until they sound like furiously torn barks of animals in heat. It is very impressive, all the more as Eloy never overplays the sound power: he does not kill his music by overpushing decibels and deafening the listeners. Everything always remains musical with Eloy, far away though sounds sometimes appear to be from music. Once the target is achieved, everything is on the descent never finding again the silent murmur of the beginning: once life is given its impetus, it can never die; it sometimes simply reaches the shores of balance and serenity; thus ends Eloy's work, which Olivier Messiaen told me after the concert reminded him of Tibetan music to the point of obsession. The presentation by the choruses and the National Orchestra of the O.R.T.F., conducted by Marius Constant, Boris de Vinogradov and Catherine Comet sounded excellent to me. […] ANTOINE GOLÉA ________________________________________________ 3 CLÉS POUR LA MUSIQUE (KEYS TO THE MUSIC) December 1971 Brussels Semaines Musicales Internationales de Paris Journées de Musique Contemporaine International Music Weeks in Paris Contemporary Music Days […] A particularly exciting day gave Jean-Claude Eloy the opportunity to make a comeback long awaited for by all those who consider this 33-year-old composer, a disciple of Boulez', as one of the best bets in the current French music movement... During his few years in the United States, Eloy somehow kept a low profile in France, where many would-be artists hastily replaced the vacant spot. Today, he is emerging from a deep artistic and personal crisis, and his resurrection is nothing but stunning. For a long time, Eloy has been fascinated by Eastern music, and he explained the reasons why during an enthralling conference illustrated with striking sound examples. His whole current approach tends to throw a bridge between the East and us by defining the creative attitude that a Western musician from today can show when faced with non- European music. The lure of exoticism, which one has now gone beyond, yielded to a much more insidious one – that of intellectual colonialism, more sterile and destructive. Integrating Indian or Balinese "sound objects" is not more fruitful than developing sonatas or symphonies based on scales and rhythms from over there. Eloy wishes to go much further, and manages to do it: on the one hand, by aiming at an Eastern conception of musical time, excluding "closed" structures and architectures based on a certain periodical symmetry typical of Western music; and, on the other hand, by embracing the Eastern conception of musical matter, that of music created above all with sounds, rather than with notes: Varèse, and, in a certain way Debussy, had preceded him. Eloy has now entered a full evolution process, an unfinished evolution yet marked by a potential great richness, which will be exciting to follow. He is not about to review his accomplishments, and he says so. However, the three creations heard during the S.M.l.P. help appreciate the speed and the ascending curve of this evolution. Équivalences, for 18 instrumentalists (1963), that "pre-crisis" piece, although still in Boulez' wake somehow, already conveys quite a violence, and most of all an extraordinary sound seduction made of unusual refinement not in the least without power. Faisceaux-Diffractions for 28 instrumentalists (1970) was a quantum leap. A manly and muscled music, with the beauty of a sound texture worthy of Varèse, with magnificent brass sonorities, and which contrasts with the still "pointillist" discontinuity of the previous piece for the much Eastern-like sake of filling the entire time and sound space with large static aggregates. Sumptuously ornamented melisms, glissandi of electric guitars freely reminiscent of Indian sitars and sarods come within that continuity. It is one of the most efficient and most complete music piece composed in the past few years. May Belgium hear it soon. Nevertheless, the most awaited-for event was the world creation of Kâmakalâ for choirs and three orchestra groups, the biggest and most challenging work produced by the young composer. So far, he has only been able to accomplish the first tier of what sounds to be a huge triptych probably lasting an hour and a half to two hours. The completed part lasts about 37 minutes. "Kâmakalâ, Eloy explains, is a Sanskrit term meaning "triangle of energies" in Shivaism and, most of all, Tantrism. Kâma refers to desire, the God of eroticism, but also to the thirst for life, to the creative momentum born of the union between Shiva (the male entity, or Linga, the substance) and his 4 Shakti (female entity, or Yoni, the energy). Kalâ represents the Shiva components appearing in 5 degrees, from the absolute peace of dead silence to the physical appearance of the human being. Thus, the piece starts from a "pre-world deep silent sleep", and progressively builds up to the bursting of life, whose core part will describe the various expressions in a sort of giant "dance of life" before the third tier brings us back to the state of final dissolution.