Lacking Sound Festival 

‘To listen to my music correctly you have to remain patient. Let the music come quite naturally. Let the sound penetrate your consciousness. Freely. Slowly. Without a stir, with great serenity, without any mental preconception.

It is useless to try and "understand", especially to understand at once, in a heartbeat, with only one grasp of consciousness. That would be an artificial way of doing it.’ — Jean-Claude Eloy, " To better listen to my music " (2015)



失聲祭Listen98 x JEAN – CLAUDE ELOY 


● 關於︱尚克羅德˙艾洛瓦

尚克羅德 • 艾洛瓦生於1938年法國。在巴黎國立高等音樂舞蹈學院學習時,跟隨 Darius Milhaud 學習作曲。他在 Darmstadt summer school 已師從於多位作曲家如 Henri Pousseur、Hermann Scherchen、Olivier Messiaen、Pierre Boulez 和 Karlheinz Stockhausen 等。在1961至63年年間,他在巴賽爾音樂學院中師從 Pierre Boulez。

在1968至68年期間,他受邀成為柏克萊加州大學的教授。其後,他的作品開始深受東方文化與哲學的影響。在70年代期間,他創作了兩個對他往後生創作生涯重要的作品 Faisceaux-Diffractions 及 Kâmakalâ 。在1972至73年間,他受 Karlheinz Stockhausen 的邀請到科隆無線電電子音樂工作室 (WDR)並創作出其創作生涯其中一個重要作品《冥》。在1977至78年間他到日本放送協會 (NHK)創作出另一件重要的作品《樂之道》。艾洛瓦此後作品繁多,其中重要作品有《餘韻》、《Erkos》、《銀河》等。在近年,艾洛瓦亦成立他的廠牌 Hors Territories 出版他個人的作品以及書藉。艾洛瓦雖然年事已高,但依然熱衷於作曲以及電子原音音樂的創作; 近年創作了《信仰的午夜》這個全新的作品,將於本次演出呈現給失聲祭的觀眾們。


Jean-Claude Eloy is a French composer, born in 1938. He studied at the Paris National Superior Conservatory of Music 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).

He has lived in the United States as professor at the University of California, Berkeley in the sixties. During seventies, he produced seversal significant composition works such as ‘Faisceaux-Diffractions’ and ‘Kâmakalâ’. Later on, he was also invited and collaborated with different sound studio in Germany such as WDR studios in Cologne where he produced one of his most significant works in his career, ‘Shanti’. Between 1977 - 78, he was invited by NHK in Japan and produced the epic ‘Gaku-No-Michi’. After 70s, he produced several important compositions and electroacoustic works such as ‘Yo-In’, ‘Erkos’ and ‘Galaxies’.

In recent years, Eloy also established his publishing label ‘Hors Territories’ for releasing his previous works in CD format. Even though he is now 77 years old, he is still active in compositions and electroacoustic music. In 2013, he composed his new work ‘The Midnight of the Faith’ and Eloy will present the piece in the concert for Lacking Sound Fest.’s audience.


「我的音樂嘗試表達所有在自然當中的力量。 戰爭、平和、沖突、動亂、鬥爭與暴力的力量,同時也是接納、吸收、融化、冥想或沉思的力量:所有這些力量關乎於我以及我們所有人,因為我們都是自然與宇宙當中的一部份。」 尚克羅德•艾洛瓦

‘My music endeavors to convey all forces of nature. The forces of war like the forces of peace. The forces of conflicts, upheavals, fights and violence, as the forces of acceptance, absorption, dissolution, the contemplative or meditation: all those forces concern me and concern us all as we are part of nature, part of the cosmos. ’ Jean-Claude Eloy


● 曲目︱信仰的午夜

信仰的午夜(The Midnight Of The Faith)是Eloy近期的代表作之一,曲目長達約120分鐘,內容應用了一些來自艾蒂特 · 史坦茵(Edith Stein)所著文本的字符。艾蒂特 · 史坦茵是一位出生在1891年德國的猶太裔修女,專研德文、哲學、心理學跟歷史。堅決對抗納粹政權的艾蒂特於1942年死於奧斯威辛集中營,她寫過深受Eloy景仰的兩個人一位是十字若望,另一位是亞維拉的德蘭。Eloy引用了一些自艾蒂特文字中關於光、死亡、自由、神的摘錄,透過吉塞拉 · 克勞狄(Gisela Claudius)的朗誦,將其聲音節錄起來,並使用軟體像是Metasynth,開始龐雜大量的聲音堆砌,為作品裏主要的素材來源。同時也使用了像是牛鈴的聲音取樣,這同樣也用在邊界(Borderlines)(Eloy另一近期的創作)。Eloy以拉長延展和稠密的聲模式,創造出一緻密且恢弘壯麗的音景。

● Program︱The Midnight of the Faith
Program Duration: about 2 hours without intermission.

The Midnight Of The Faith is Eloy’s recent composition. It's a long piece, spanning 120 minutes, and uses a few bits of text by Edith Stein, a nun from Jewish origin who studied German, philosophy, psychology and history, who was firmly against the nazi regime and who died in Auschwitz in 1942. She wrote about two persons admired by Eloy, St-John Of The Cross and St. Tereas of Avila. Eloy uses only a few excerpts of her writing, about light, death, freedom, God, and uses these voice excerpts (read by Gisela Claudius) to start a vast mass of sound, using software such as Metasynth. That takes up most of the sound sources, but Eloy also uses samples of cowbells and such like, which he also used on 'Borderlines' (that is also a more recently finished composition). Eloy creates a massive sound here, with long stretched out, dense patterns of sound. 

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