“hungarian electronic music” compact disc-recordable

• zoltán pongrácz “mariphonia” (1972) 8’07”
  
• zoltán pongrácz “egy cisz-dúr akkord története (1975) 5’48”
  
• péter eötvós “mese - rövidített változat” (1968) 12’18”
  
  
• iván patachich “magánhangzók” (1976) 8’06”
  
• iván patachich “hangzó függvények” (1975) 10’37”
  
• máte victor / péter winkler “viscositas” (1975) 5’12”

creel pone press release...

this creel pone edition includes: 1 x crystal-clear re-sealable polypropylene cd sleeve with a green / gold foil stamp affixed to the exterior 1 x double-sided professionally printed full-color semi-gloss photo-stock booklet 1 x six-color inkjet-printed compact disc-recordable in a high-density round-bottom anti-static cd sleeve 1 x double-sided hand-cut one-color laser-printed insert zoltan pongracz (1912) studied composition with zoltan kodaly. after considerable preliminary studies in the german federal republic he earned his qualifications in electronic music - the first among hungarian composers to do so - at the university of utrecht in holland in 1965/66 as a pupil of professor g.m. koenig. since 1975 he has been teaching electronic composition at the liszt ferenc academy of music in budapest. mariphonia - is the title of his electronic music composition, realized at the electronic studio in bratislava in 1972, on a commission from the czechoslovak radio. the work is an "acoustical portrait" of the composer's wife. "maria" is his wife's name, and "phonos" is the word for "sound" in greek, hence the title: mariphonia. the sounding fundamental material of the work consists of sung vowels, consonants pronounced in prose, declamation, weeping, laughter, heart beats, etc. the vowels recorded in a singing voice are located in the non-tempered scale between 140 and 615 hz. the rhythmic movement and formal dimensions are determined by a scale of more than 20 numbers obtained from the physical dimensions of the model. the permutations of these numbers control the melody, rhythm, tempo and all other aspects of the work. the human body is the source of all the sounds, therefore the model itself speaks to us throughout the work. the various electronic modulations of the human sounds create a peculiar sounding world. in 1974, among the 71 works submitted from 20 countries at the international competition in bourges, france, mariphonia won the first prize. the story of a chord in c sharp major was composed at the request of the groupe de musique experimentale of bourges, and was realized by the composer at the charybde electro-musical studio of bourges in 1975. the c sharp major chord sounded on the hammond organ first breaks up into its harmonies, and then disintegrates into noises and impulses. in the second formal section, out of this realm of impulses and noises the original harmony emerges with ever increasing clarity and brilliance. peter eötvös (1942) completed his musical studies at the liszt ferenc academy of music in budapest. he later worked as an associate of karlheinz stockhausen in cologne. recently he has appeared at more and more places as a conductor. at present he resides in paris. electronic music assumed great scope in his interest in composition from the very start (cricket music etc.). peter eotvos writes on his composition: the basic material for my work ‘tale’ was offered by gyula ortutay's collection of hungarian folk tales. after reading some one-hundred stories i began to visualize a world of sounds in which the most characteristic elements of the tales swirled, buzzed and began to sort themselves out into some kind of order. a newly emerged tale follows the typical dramaturgy of hungarian folk tales: the numbers of sites of the occurrences, and of the characters - conflicts - struggle - further involvements - resolutions, gaiety, frolicking - closing formulas. i placed this new tale over itself three times and displaced the three layers in canon form. the ratio of displacement is 5 : 4 : 3, that is, the first narration sounds faster and higher than the third in a proportion of 5 : 3. by this mean a dramaturgical displacement emerges, in which consecutive scenes are now heard simultaneously, too. this form increases the tension of the scenes. the three narrations start from the same point at the beginning (”hey ... "), in the middle (during the dragon fight) the first and the third narrations change places, and at the very end of the tale they meet again at one point (" ... and this is the end."). in the recording of the narration we hear exclusively the voice of the actress piroska molnar (fragments of texts, vowels and consonants); in this sense "tale" is not even electronic music, but rather an auditory drama. i made the recordings of the text in budapest in 1968, and realized it at the electronic studio of the cologne radio in about three months, working about four hours daily. the work was composed on a commission from the westdeutscher rundfunk, and had its first performance in darmstadt in the summer of 1968. ivan patachich (1922), graduated from the liszt ferenc academy of music in 1948. he has concerned himself with electronic music since 1958. after his experiments at electronic studios in new york, stockholm and bratislava he worked with g.m. koenig in utrecht and e. karkoschka in stuttgart. ta fonaenta was realized in 1976 at the electronic studio of the budapest radio. it is determined by a 52-membered logarithmically rising numerical series from 90 to 855, and its derivatives. as the work's title indicates the sounding material is based on vowels, whose order of succession is determined by morgenstern's poem entitled: das grobe lalula. the sounding material is also supplemented by synthetic sounds. the 11 formal sections, and the rhythm, all stem from the 52-membered numerical series. structurally the work is stereophonic with two channels, and frequently employs spatial movement. each of the formal sections is marked by a typical electroacoustical method or procedure (spectra, filtering, ring modulation, feedback, etc.). the sounding units within the formal sections are microstructures. the form of the work is a bridge, thus the 11th formal section is a variation, a mirror image of the first, and the 10th is an image of the second. the sixth formal section - the one with feedback - is the climax. the piece also has an optical variant in which a modulated oscilloscopic image of the sound has to be projected synchronously with the music in such a way that each formal section has a different colour, corresponding successively with the colours of the rainbow (red » violet (climax) » red). in his work funzione acustica all the parameters expressible with numbers are given by a 48-membered numerical series based on a cubic function (y== x3-3x2+24x) and its derivatives. the sounding material of the work consists, on the one hand, of synthetic sounds, and on the other hand, of human sounds (emotional sounds, vowels). apart from these, of the phrase "i love you" in the ancient persian, chinese, japanese, ancient arabic, ancient greek and ancient hebrew languages, as well as of the two names adam and eve. the work of two-channel structure is made up of 12 contrasting formal sections. it was realized at the electronic studio of the bratislava radio, with the technical collaboration of peter janik and jan backstuber. mate victor (1945) was a pupil of ferenc farkas in composition at the liszt ferenc academy of music in budapest. he continued his studies in warsaw with g. bacewicz and w. kotonski. his two-channel, electroacoustical composition entitled viscositas (viscosity) was realized at the electronic studio of the budapest radio with the collaboration of sound engineer peter winkler. its sounding material consists exclusively of synthetic sounds. the sounds planned in advance are transformed with the modulating possibilities of the moog iii/c synthesizer in the course of the work. the densification and rarefaction of the sounding material, the contrasts of timbre and spatial movement, are all characteristics of the development of the sounding material. - ivan patachich