2009

5/10/2009 Pécs/Hungary

Balkán Világzenei Fesztivál - Pécs, Uránia Mozi

26/09/2009 Budapest/Hungary

Művēszetek Palotāja Fesztivāl Szīnhāzterem.

14/08/2009 Budapest/Hungary

Sziget Fesztivál Amfiteátrum-Pécs 2010 Színpad

 

 

2008

15/05/2008 Gyula/Hungary

Gyulai Vārszīnhāz - Kamaraterem

14/5/2008 Szarvas/Hungary

Vajda Péter Művelődési Kōzpont

10/5/2008 Budapest/Hungary

Fonó Budai Zeneház

25/04/2008 Budapest/Hungary

Budapest, Millenáris Teátrum

 

 

2007

28/12/2007 Budapest/Hungary

Művēszetek Palotāja Fesztivāl Szīnhāzterem.

05/11/2007 Budapest/Hungary

GUO meet MOME

1/8/2007 Kapolcs/Hungary

Művēszetek Völgye (katolikus templom)

 

 

2006

 

30/11/2006 Budapest/Hungary

Jövő Hāza / Millenāris (1024 Budapest, Fēny utca 20-22.)

23/09/2006 Pēcs/Hungary

Öröksēg Fesztivāl - Pēcsi Napok, 2006 programsorozat
ÖröksēgGyār rendezvēnyēn
Zsolnay Porcelānmanufaktūra Zrt. Ēpületkomplexuma
(Hungary 7630 Pēcs, Zsolnay V. u. 37.)

 

:: Guology ::

Gāyan Uttejak Orchestra regrets to inform You: GUO doesn't have it in its power to guarantee the delightful experience of a conventional concert, as the kind of participation demanded from You is not conform to what is habitual in average concerts.

The Orchestra will not apply means of musical stops, breaks and intermissions to create sensation and to bring down the house, and will not adopt the possibility of reiterating different movements and phrases, and, by way of illustration, will not even take a pause in the course of its performance. GUO's music is not going to imitate the structure of traditional Western-European music, and will not provide a reference and encourage delicious adherence to concert-etiquette.

GUO desires to be a humble forerunner of the new Western-Amerasian Empire's musical mappings that are coming into existence in the caste-system of future society. In addition, GUO is opposed to the traditional music industry that will operate as one of the Wellness-Neuronetics subdivisions of Wychi-Exonybm corporation.

GUO has the intention to create a kind of a state of Stoa: its components reside in the periods of the polyrhythmic structure, and they are the ones that will lead to performer-listener levitation and to collective-luminiferous phosphorescence of the Moebius-mind memetized by the music.

The basis for it is the centuries-old hypno-static musical experience of Asian high cultures, where the music itself is nothing else but a sophisticated technique of exode, and that will, as a distillation of the diseased and uninhabitable socium, praise the thousand years old art-techniques of imaginary and momentary escape of humanoid being from evolutionary and social captivity.

In the putrefied social existence, metaphysical prosthesises that are existing, in place of a world livable by intellect, as ectoplasms grown on to human brain, are to be superseded by this sort of music, which is the rational language of the sole existing positive resistance of our days, the only bridge that could guide us, as a quasi yoga technique, to provisional dissolution of collective alienation, to a sartori state where self-correction of individual existence will contribute to the improvement of the World