new to stock as of
april 4th, 2008
|creel pone (hungary) #cp 086 cd|
laszlo dubrovay “live electronic” compact disc-recordable
- “a2” (to erhard karkoschka) (16:35) 1975
- oscillations no.3 (9:54) 1977
- oscillations no.1 (to karlheinz stockhausen) (17:58) 1976
- oscillations no.2 (11:48) 1977
|... after a long winter-hiatus, creel pone returns anew in fine form w/a reproduction of this 1979 hungaroton-label burner, covering a series of “live electronic” pieces composed by laszlo dubrovay during the mid-late 70s ...|
after an extended “modern composition” -leaning ensemble-bleep venture (i.e. heavily filtered / ring-modulated piano, strings, cimbalom, and percussion playing in a sparse, pointillist manner), the album progresses into deeper waters, first with a sorted piano / synthesizer duet between dubrovay and partner zsuzsanna kiss, then a killer 18-minute auto-filtered electronic organ / synthesizer droner (thick, sliding tones, never quite reaching any kind of tonal center, with errant flurries of fizzy vclfo’ed resonance-figures ...), & finally a sparse, electronically-enhanced cimbalom & cello piece (using the ring-mod in its lowest-frequency settings, resulting in almost auto-gate sound rich with deep, filtered out passages) ...
notable both for being one of the earliest eastern-european “classical” live-electronic sets ; certain sections recall the more freewheeling electro-acoustic improv of il gruppo, mev, and even david tudor’s reading of larry austin’s “accidents” ... once again, mr p.c. c.p. has dug up a fine slice of early electronic-music experimentation missing from the myriad history-books & documentation ...
this creel pone edition replicates the eye-popping cover-art, with its ems vcs3 pin-matrix ...
|creel pone press release...|
|this creel pone edition includes:|
1 x crystal-clear resealable polypropylene cd sleeve with a black / gold foil stamp affixed to the exterior
1 x single-sided six-color inkjet-printed hand-cut glossy-photo-stock booklet
1 x six-color inkjet-printed compact disc recordable in a high-density round-bottom cd sleeve.
zongora • piano (a)
elektromos orgona • electronic organ (b)
(yamaha yc-45 d)
szintetizátor • synthesiser (a, b)
(ems [london] ars)
hegedú • violin (a/1)
gordonka • cello (a/1, b/2)
ütohangszerek • percussion (a/1)
recording producer: dóra antal
recording engineer: judit lukács
front-cover: ems ars synthesiser
design: sandor sajnovits
made in hungary (p) 1979
the record can be played with a stereo or mono cartridge.
this work consists of two layers, one being determined by a permutation principle, and the other by a melody (sequence).
the melody - by the acceleration and retardation of its notes, or by the stopping on one or other of the notes - organizes both polyphony and simultaneous sounding as well as all the inner movements of the piece. the same melody controls the modulation processes of the sythesiser which transform the original notes of the instrument.
by the end of the work the two layers merge into each other; the synthesiser's own sound is heard while at the same time modulating the sound group of the cow bell and the other instruments determined by the permutation principle.
all three pieces are built on an identical composition principle. the triangular voltage fluctuation (wave) fed into the sequencer of the synthesiser, or the wave form motion of an oscillator produce changes in the original sound of the instrument which, according to the given wave shape, affect their frequency composition, timbre, dynamics and form of motion (articulation).
this oscillation principle naturally regulates not only the changes taking place within a note, but also the spatial and temporal relationship between the notes, thereby resulting in acceleration and retardation, condensation and rarefaction, intensification and softening. in short, it can organize all the parameters of music.
the musical material of the three works is quite different.
the notes, groups of notes and harmonies of oscillations no. 1 have been produced by the application of the permutation principle, while the note stock of oscillations no.2 is made up of the expansion and constriction of a mass of minor seconds into hyper major chords. the musical material of oscillations no.3 consists of a few cells. each cell has a stock of notes, characteristic only of itself, which originated by means of the coding of the permutation of a numerical series.