LASZLO HORTOBAGYI
ANNALES OF GAYAN UTTEJAK SOCIETY
6TH ALL-INDIAN MUSIC CONFERENCE
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TRANCE ~ WORLD ~ ELECTRONICA ~ MYSTIC ~ OKKULT ~ EXOTIC PSYCHEDELIA
"MIND-BENDING"
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CD IS NEW ~ FACTORY SEALED ~ 1995 EDITION - LABEL: ERDENKLANG, GERMANY
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ITEMS ARE DESCRIBED WITH INTEGRITY
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"TRANCENDENTLY SUPERB"
TRACKS
1. Anagatha ~ 5:53
2. Russian Chakra ~ 8:05
3. Kriti-Baroque ~ 8:07
4. Foris-Intus ~ 10:27
5. Paragita-Lauda ~ 8:16
6. Ragamelan ~ 10:39
7. Anavirarsja ~ 9:08
TOTAL PLAYING TIME ~ 60:35
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LASZLO HORTOBAGYI
László Hortobágyi was born in Budapest, 1950. Besides his musicological and indological studies, he takes part in the design and building of a few organ throughout in Hungary, East-Europa. Since 1967 he has organised and made private expeditions - in the first place - to North-India for making recordings on the spot, studying philological-musicological sources, archives, libraries and pursuing practical studies. Play instruments : rúdra-viná,surbahár,sitár,tablá,etc. In 1980 he established the musical society called "Gáyan Uttejak Mandal It was named after the Hindu-Moslem musician's society founded by Navraojji Kabraji in 1870 (it was the school of the great musicologist, V.N Bhatkhande ). Its members consider it to be their obligation to practice and to study the traditional cultures - as a planet-world heritage - of the Eastern branch of the history of music, primary the traditional Hindu-Moslem music, - within the framework of lectures, comparative music studies, making compositions sometimes concerts and performances. In 1984 he founded "The Oriental Music Archives" which is unique in Middle-Europe and which operates parallel with the music studio called "Gáyan Uttejak Studio" and the "Gáyan Uttejak Orchestra" . His music pieces composed in the classical Indian musical structure, together with other traditional and futuristic compositions are issued in the Netherlands,Germany,Greece, USA, France, England, Russia,Poland Hungary, etc. Musicological and theoretical publications in the field of “Music of Hindusthán and Karnátaka”, “ Computer Music Systems” “Virtual Mémesis of the Music”, “Frames of the Fictitious Societies”, “A Possible Bi-tonality System” , “Tála system of Hindusthán and the Alienation: Overcome of the Reality”, “ The’Polyphonic’ Shrutí System” etc. Paintings about “cyber rága-málá”and “mém”delineations,tryptichons,etc Member of the Advisory Council of the Research Project of Computer Music at the Institute of Musicology, Hungarian Academy of Sciences]].
Thoughts
The social system of our fascinating age, that is becoming more and more global, being prodigal and destroying the nature, has the incomparable ability to deprave traditional cultures and human soul.
The realized development of the citoyen-classes has also another side: the mass ideology, coming to life again, day by day, through the „culture” of transnational undertakings, the practice of which will teach, that the people and their different cultures should be considered as a source of profit-making and personal enrichment, where material interests are able to swallow up any other human feeling, and as a result of this the society will look like hullabaloo of Aliens’ extorting passion.
There is no difference, even as regards classical Indian music, where contemporary social existence and consciousness are able to do the impossible, and will transform the original meaning of Indian music, that is nothing else but the metaphysical musical exode of the most ancient awareness of life and the refined distillate of this ancestral life-suffering, and for today it has become Tantric rectum cleaning and music of entertainment industry characterized by beauty-world and wellness-ambient.
The authentic classical Indian music’s total degeneration process became evident on planetary level in the eighties, after the emergence of the zombie-genre of world music.
At the beginning of extra-European manipulation of modern music, the Death Gurus of the sixties would breathe the philosophical prana of millennial human misery of all the horrible Eastern societies on the more and more caste-like Western communities of the 68er generations with a seized up mobility, and their youth would inhale it like ganja.
This is followed in our days by glittering metaphysical hodgepodges of money-maker projects saturated with saliva and sweet mucus called “world music”, where it is not the art forms of authentic, time-honoured traditions that are becoming dominant, but conversely, the white man’s idiotic loops of music, diminished to four-fours.
These art forms and fundamental structures, being impoverished into grooves, will actually colonize the extra-European polyrhythmic way of thinking through their reinterpreted and stupefied reincarnations.
Here, the traditional intervals, periodical rhythmic systems and timbres of unique instruments are purely meringue sound-samples on the übergeil cake of entertainment industry, where the well-n-ass of little Himmler Gurus are fattening on exploitable fat of traditions.
It is interesting to see, as, during this final Super Sonderangebot the great Ustads and Pandits, who could afford to be devoted to their unmatched but still fading family traditions, are becoming knights of saliva and ancillaries of white man.
At the same time, obviously, this is the ordinary course of nature, and so the autocracy of realized global and uniform musical language is soon to be expected, which will slightly precede the evolution of homogeneous human genom.
---- László Hortobágyi 2007
GUOLOGY
Gáyan Uttejak regrets to inform You: GUO doesn’t have it in its power to guarantee the delightful experience of a conventional easy-listening, 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. Be a part of it.
GAYAN UTTEJAK
Modern industrial societies and their overwhelming superiority in technology and dynamic expansion are totally reorganizing the world. All traditional cultures that are alien to these technologically "homogeneous" societies are doomed to extinction. This means that there's a real possibility that traditional cultures will expire before they can enter "world-culture" circulation. Bearing all of this in mind, Lâszlô Hortobâgyi set up the "Gâyan Uttejak Society" in Budapest, Hungary 1981. Since then it has been active - among other things - as a music studio and maintains a remarkable library of oriental music. It was named after the Hindu-Moslem musician's society founded by Navraojji Kabraji in 1870 (it was the school of the great musicologist, V.N Bhatkhande ) .The members of the Gâyan Uttejak Society and The Gáyan Uttejak Orchestra in Budapest have made it their duty practice and to study the world heritage of the traditional cultures - among them the classical Language of the Hindu-Moslem Tradition of the Hindusthani Music - but also the bioastronomy, Kathakali, songs of the whales ("whale-canto"), Tinctoris'compositions, nigromania,computed fractal engines, Raga-mala paintings, cyborgs, Kuandalini sex, reports from the Arecibo Radiotelescope's Post Ozma Project, Tantic mandalas, Skinny Puppy tracks, tortures techniques of the Inquisition, Vedanta, brainwave synthesizers, building techniques of the cathedrals, Dolphin's Language, Seti-Phoenix Project, Bergen-Belsen, works of Lyn Margulis, Ajanta paintings, the softwares of the Nasdaq derivatums, Cavaille Coll Organs, techno-bio-morphology, Gagaku compositions, reptiles from the Reticulum constellation, Kondratyev cycles, transplantation of the human consciousness into Internet, architecture of Bhuwaneshwar, navigation softwares of the Ohio submarines, works of Stanislaw Lem, piknolepsia, Ustad Imdad Khan's compositions, animals'rights, sociology, Max Reger's composition, the nature of the human alienation, works of [Richard Dawkins]], the Polynesian polyrythmia and migrations' history of the islands, logistic softwares of the transnational corporations, bol-matrix of the Delhi-Farukhabad-Ajrada schools of Tabla playing, the cast-system of the capitalism, ectoplasma, Louis Vierne's compositions, works of Ilya Prigogine, death factory networks of the human societies, works of Zoltan Ganti, recreations of the ancient Bali banjar's gamelan compositions and the types of gongs, sci-fi visions of Wolfgang Jeschke and the Strugackij Brothers, arithmetric of integers, Persian tonality, Facteur Cheval’buildings, history of the trade unions, creating polyphonic digital instruments based on Shruti system, etc,etc, - please complete into your preferences here - creating in our brain a well-tempered mem-synthesizer.....
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