Fata-Organa 1997
(for full version of booklet click on the cover)
:: LISTEN ::
:: LABELS ::
2000 BMC CD 039 [CD] BMC (Hun)
:: TRACKS ::
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0:30 |
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3:40 |
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1:19 |
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2:53 |
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1:19 |
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5:02 |
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3:12 |
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3:58 |
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8:43 |
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1:21 |
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6:48 |
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6:41 |
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8:43 |
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1:36 |
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8:37 |
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8:37 |
All music composed, recorded and mixed by el-Hortobāgyi
at the Gāyan Uttejak Studio, Budapest, 1977-1997
Portrait photo: Lenke Szilāgyi
Design: ArtHiTech
Produced by Lāszlō Gõz
Published by Budapest Music Center Records, 2000
INTRO:
It seems that music in our world is the sweet poison of humanity and at the same time the most sensitive test-paper of the feelings of the western society that is in the process of orientalization (i.e. setting up its system of castes).
Rituals and beliefs - as the ectoplasms of the human brain and imagination creating symbols - substitute the rationally perceivable world: the traditions of dead generations have a nightmarish impact on the fantasy of the living. This functions as the daily historical practice of the cocooned Self, the individual that has been crushed by the social block of the biggest human-societal evil.
The demographic and the cultural socio-overpressure of the (not always) free market offers an infinite selection of the materialized mutations of the consciousness of the biological and cultural monsters of alienation.
The Earth is slowly covered by the mucus of the "alien-generation".
(On the other hand) In the material of this record the organ - the most alienated instrument of the European architectural musical high culture: the hidden meaning of a ritual architectural element and a transcendent musical instrument - meets the spirituality of the Muslim tradition, which - from a European viewpoint - is regarded as coming from a completely different world. The imaginary world of the Fata-Organa attempts to depict this othervise trivial possibility: the common root of cultures, which spans over time and space, is nothing but the edge old essence of human misery, which - as the thread of Ariadne - connects the seemingly strange-but-familiar world of mankind with the techniques of the art of how to break out of it.
DISPOSITIONS:
Each of the Disposition elements in the music of "Fata-organa" is original and traditional but digitally reconstructed. Here the new timbre or tone-colour is made up of tens of thousands of "model-cells" - the original tone split into atoms.
None of the figuring Dispositions are in the reality: they consist of long takes of organ-stops (registers) and digital rearranged of their original acoustic, live recordings (except track 12).
The technological basis of this procedure is a PCM morphology using up the old FFT spectrum analysis as an algorhythm-controller (like "convolution") and a virtual overtone synthesis software developed by el-Hortobāgyi.
No additional equalization, compression or artifical pottering was employed while composing, mixing the master disc, thus assuring a virtually perfect match to the original organ recordings.
Disposition for I. Manual, Positif/Brustwerk
| Cor anglais | 16' | A | Englisch Horn | 16' |
| Dulcian | 16' | K | Dolcian | 16' |
| Montre | 8' | C | ||
| Bourdon | 8' | G | Bourdon / Gedackt | 8' |
| Unda Maris | 8' | A | ||
| Gambe | 8' | C | Gamba | 8' |
| Cromorne | 8' | A | Krummhorn | 8' |
| Flute harmonique | 8' | D | ||
| Trompette | 4' | J | Trompete | 4' |
| Sesquialtera | II | K | Sesquialter | 2. fach |
| Clairon | 4' | A | Posaune | 4' |
| Flute douce | 4' | D | Rohrflöte | 4' |
| Acuite | IV | L | Acuta | 4. fach |
| Octavin | 2' | N | Oktav | 2' |
| Doublette | 2' | F | Prinzipal (Superoktav) | 2' |
| Sifflet | 1' | L | Sifllöte | 1' |
Disposition for II. Manual, Grande-Orgue/Hauptwerk
| Violon-basse | 16' | A | Cello, Geigendregal | 16' |
| Bourdon | 16' | E | Bourdon/Gedakt | 16' |
| Bombarde | 16' | J | Holzpommer / Pommer | 16' |
| Diapason | 8' | D | Prinzipal | 8' |
| Montre | 8' | E | ||
| Trompette | 8' | H | Trompete | 8' |
| Bombarde | 8' | J | Pommer | 8' |
| Salicional | 8' | M | Salizional/Salicet im 4' | 8' |
| G | Gemshorn | 4' | ||
| Cornet | 4' | C | Kornet/4-5 fach Zink | 4' |
| Prestant | 4' | A | ||
| Cor de nuit | 4' | H | Nachthorn | 4' |
| Clarion harmonique | 4' | K | ||
| Nazard | 2 2/3 | C | ||
| Quinte | 2 2/3 | I | Quint | 2 2/3 |
| Clairon doublette | 2' | D | Prinzipal 2'/Superoktav | 2' |
| Flute traversiēre | 2' | J | Querflöte | 2' |
| Fourniture maior | VI.-VIII. | G | Mixtur maior | 6-8 fach |
| Fourniture minor | V. | M | Mixtur minor | 5 fach |
| Cymbale | III. | J | Zimbell | 3 fach |
Disposition for III. Manual, Rēcit Expressif/Oberwerk
| Diapason | 16' | K | Holz Prinzipal | 16' |
| Tuba Magna | 16' | A | ||
| J | Rankett | 16' | ||
| Gambe acuitē | 8' | H | Spitzgambe | 8' |
| Flute couvert | 8' | G | Koppelflöte | 8' |
| Violon-basse | 8' | J | Geigendregal | 8' |
| Basson-hautbois | 8' | C | Oboe | 8' |
| Trompette harmonique | 8' | A | ||
| Voix ēolienne | 8' | A | Vox Aeol | 8' |
| Quintaton douce | 4' | H | Rohrquintaton | 4' |
| Voix cēleste | 4' | I | Vox Celesta | 4' |
| Voix humaine | 4' | J | Vox Humana | 4' |
| Clairon harmonique + tremolo | 4' | A | Tremulant 4' | |
| Cornettino | 2' | M | Kornette | 2' |
| Octavin | 2' | I | Oktav | 2' |
Disposition for Pedale/Pedal
| Sousbasse | 32' | F | Untersatz | 32' |
| Bombarde | 32' | D | Pommer | 32' |
| Contrebombarde | 32' | A | ||
| Principal basse | 16' | C | Prinzipal Bass | 16' |
| Contrebasse | 16' | G | Kontrabass (Bourdon) | 16' |
| J | Quintbass | 10 2/3 | ||
| Basse | 8' | J | Choralbass | 8' |
| Bourdon | 8' | G | Bourdon/Gedackt | 8' |
| Octavebasse | 8' | J | Oktavbass | 8' |
| Clarine | 4' | M | Klarinet | 4' |
| Trompette | 4' | D | Trompete | 4' |
| L | Rauschquint | 7 fach |
Sources of the organ-stops (registers)
| A | Organ by Aristide Cavaille-Coll (1811-1899) of l'Abbatiale Saint-Queen, Rouen |
| B | Organ by Aristide Cavaille-Coll (1811-1899) of l'Eglise Saint-Francois-de-Sales, Lyon |
| C | Organ by Aristide Cavaille-Coll (1811-1899) of Basilica of Saint-Sernin, Toulouse |
| D | Organ by Aristide Cavaille-Coll (1811-1899) of Saint-Sulpice, Paris |
| E | Organ by Aristide Cavaille-Coll (1811-1899) of the Cathedral, Orleans |
| F | Organ by Aristide Cavaille-Coll (1811-1899) of l'Eglise Saint-Solomon Saint-Grēgoire, Pithiviers |
| G | Organ by Gottfried Silbermann (1683-1753) of the temple, Grosshartmannsdorf, Freiberg (Sachsen) |
| H | Organ by Karl Joseph Riepp (1710-1775) of the Benedictine Abbey, Ottobeuern |
| I | Sauer Organ of Tomaskirche, Leipzig |
| J | Organ by Jonas Gren and Petter Strahle (1751) of the St. Katarina Church, Stockholm |
| K | Organ by Daniel Nutrowski (1683) in the Church, Frombork (Poland) |
| L | Organ by Jan Wulf (was built between 1763-1788) and Rudolf Dalitz (1791-93) in the Cathedral, Oliwa (Poland) |
| M | Organs by Peter Soōs (1953-1986) in the temples of Hungary |