Jean-Claude Éloy

He studied composition with Darius Milhaud at the Paris Conservatory, where he was awarded four premier prix: in piano (1957), in chamber music (1958), in counterpoint (1959), and in ondes Martenot (1960).

In the late 1980s, Éloy embarked on a cycle of compositions collectively titled Libérations, focussing on women or the feminine principle, and developed in collaboration with exceptional vocalists such as Junko Ueda, Fátima Miranda, and Yumi Nara.

[4] Éloy founded his own publishing house and record company, hors territoires, with the aim of documenting his artistic work through the publication of books and compact discs.

[5] In some earlier works, Fibonacci numbers played a part – in a very obvious way in Équivalences, where fermatas are assigned values of ½, 1, 1½, 2½, 4, and 6½ seconds,[6] and disguised by arbitrary arithmetic transformations in the rhythms of the withdrawn composition Macles.

On a higher plane, we may regard it as a depiction of the contrasting elements that make up the work: density: zero to maximum; registers: fixed to mobile; coordination: absolute to relative, etc.