http://database.unearthingthemusic.eu/api.php?action=feedcontributions&feedformat=atom&user=Mtabtk 2026-04-16T11:18:38Z User contributions MediaWiki 1.32.4 http://database.unearthingthemusic.eu/index.php?title=L%C3%A1szlo_Najm%C3%A1nyi&diff=3509 2021-02-22T15:53:18Z

<p>Mtabtk: </p> <hr /> <div>László Najmányi (1946-2020) was an uncompromising [[:Category:Hungary|Hungarian]] artist: stage designer, performer and video artist, active in various types of artistic fields and mediums. As he stated in one of his memoirs among many: &quot;I had an eventful, long life. I have lived in many political systems, in 12 countries on four continents. Until the age of 60, I lived in 116 apartments&quot;. Najmányi constantly reinvented himself by reinterpreting and rearchiving his oeuvre. He developed a close connection with theatre which lasted long in his career. In 1971, he was the founder of István Kovács Studio, which started as an informal theatre group with an experimental spirit (it was harassed and banned multiple times by the authorities). In the Studio, many became later well-known figures of the neo-avantgarde scene: from Tibor Hajas, and Péter Halász to László Rajk Jr. During 1972 and 1976 he directed and wrote several pieces for the group. 278/5000 One of the best-known works from this period is an experimental film titled The Emperor's Message (1974), which was made after the short story of the same title by Franz Kafka at the Béla Balázs Studio. A year later, he also contributed to Tibor Hajas' short film: Self-Fashion Presentation. He was also a member of several &quot;national” theatre companies for a short time From 1975 to 1978 he became the member of the National Theater of Pécs and then from 1978 to 1979 the member of the Szigliget Theather of Szolnok. In 1977, with [[Gergely_Molnár|Gergely Molnár]] and others, he founded the legendary new wave (art) punk band called Spions (Pierre La Chez Show was one of his songs). (Najmányi published a series of articles about the history of Spions and his own work in the columns of Balkon magazine for more than a decade). Even though the band had only three concerts, it had a great influence on the alternative music scene. With the motivation of breaking out from the closed neo-avangard scene, the band experimented with different popular music genres (rock and roll) and mediums. As a result of that, the concerts were a mix of experimental theatre, performance with sometimes controversial and &quot;taboo breaker” lyrics (for example in the case of the Anna Frank’s dream song). The band disbanded in May 1978 due to, among other things, official harassment, and its members emigrated first to Paris and later to Canada. Najmányi left the country a little later and continued on this journey, eventually settling from Paris to Canada in New York, where until 1996.<br /> <br /> == Related Content ==<br /> <br /> [[Category: Hungarian Profiles]]</div>

Mtabtk http://database.unearthingthemusic.eu/index.php?title=Katalin_Ladik&diff=3428 2021-02-14T22:19:56Z

<p>Mtabtk: </p> <hr /> <div><br /> [[File:Katalin Ladik 2015-09-26 Bw.jpg|thumb]]<br /> <br /> Ladik Katain (b. 1942) was animated and sometimes controversial spirit in the neoavant-garde in Yugoslavia before the country’s collapse in 1992. Her output includes a novel, poetry, sound poems, graphic scores, performances and happenings. She has enjoyed close working relations with musicians, performing, for instance, with Dubravko Detoni and Milko Kelemen’s experimental music group ACEZANTEZ in the early 1970s. With his husband Ernő Király who was an experimental musician, they formed an artistic duo creating avant-garde pieces that had close ties to the local Balkan and Hungarian folk culture (about this collaboration please find an essay by Emese Kürti: Multi-etnicity and performative music. The collaboration between Katalin Ladik and Ernő Király at the blogsite of Unearthing the Music project). This collaboration survived even their marriage. Later in the decade, she had a role as a vocalist in a monumental performance of Kurt Schwitter’s ‘Ursonate’ (1979). Conducted in Belgrade by Oskar Danon, it involved four vocalists, four orchestras, banks of tympany augmented with tape music by Vladan Radovanović made from fragments of folk, electronic and pop music. Ladik is also a visual artist. A member of the Bosch + Bosch group in Novi Sad, she created collage graphic scores for what she called her phonopoetics in the early 1970s. Slicing material from glossy West German women’s magazines as well as other graphic materials including sewing patterns and stamps, Ladik produced powerful images for use in public performances, interpreting them in situ. As if employing the kinds of editing, pitch-stretching and duplicating techniques available in the studio, Ladik’s ‘natural’ voice seems strangely involuntary. Ladik was a celebrity in Yugoslavia. She performed naked, treating her body like as an instrument (running a primitive bow across her hair). When, in 1975, these performances attracted the attention of mass-market magazines, she was thrown out of the League of Communists of Yugoslavia for ‘immorality’. In the paradoxical fashion of Yugoslav socialism, she then becomes a star on state TV. Never a campaigning feminist, Ladik’s performances always put female subjectivity to the fore, often in uncompromising ways. In the past years, the attention of the art world toward the oeuvre of Katalin Ladik emerged exponentially, due to the rising interest for Eastern European neo-avantgarde and extraordinary artistic practices. In 2014, part of the rediscovery of her art, she was invited to participate at Documenta in Kassel, where she presented some of her phonic poems, objects and paintings. Since 2010s she had several group and solo shows in Hungary and abroad alike, and her pieces became part of the biggest art collections. From early 1990s Katalin Ladik is living in Budapest. <br /> <br /> == Related Content ==<br /> [[Glimpses from the history of the Eastern Bloc’s neo-avant-gardes: Katalin Ladik’s collage-portrait]]<br /> <br /> [[Category: Yugoslavian Profiles]]</div>

Mtabtk http://database.unearthingthemusic.eu/index.php?title=File:Katalin_Ladik_2015-09-26_Bw.jpg&diff=3427 2021-02-14T22:19:25Z

<p>Mtabtk: </p> <hr /> <div>Katalin Ladik</div>

Mtabtk http://database.unearthingthemusic.eu/index.php?title=Katalin_Ladik&diff=3426 2021-02-14T22:16:01Z

<p>Mtabtk: </p> <hr /> <div>Ladik Katain (b. 1942) was animated and sometimes controversial spirit in the neoavant-garde in Yugoslavia before the country’s collapse in 1992. Her output includes a novel, poetry, sound poems, graphic scores, performances and happenings. She has enjoyed close working relations with musicians, performing, for instance, with Dubravko Detoni and Milko Kelemen’s experimental music group ACEZANTEZ in the early 1970s. With his husband Ernő Király who was an experimental musician, they formed an artistic duo creating avant-garde pieces that had close ties to the local Balkan and Hungarian folk culture (about this collaboration please find an essay by Emese Kürti: Multi-etnicity and performative music. The collaboration between Katalin Ladik and Ernő Király at the blogsite of Unearthing the Music project). This collaboration survived even their marriage. Later in the decade, she had a role as a vocalist in a monumental performance of Kurt Schwitter’s ‘Ursonate’ (1979). Conducted in Belgrade by Oskar Danon, it involved four vocalists, four orchestras, banks of tympany augmented with tape music by Vladan Radovanović made from fragments of folk, electronic and pop music. Ladik is also a visual artist. A member of the Bosch + Bosch group in Novi Sad, she created collage graphic scores for what she called her phonopoetics in the early 1970s. Slicing material from glossy West German women’s magazines as well as other graphic materials including sewing patterns and stamps, Ladik produced powerful images for use in public performances, interpreting them in situ. As if employing the kinds of editing, pitch-stretching and duplicating techniques available in the studio, Ladik’s ‘natural’ voice seems strangely involuntary. Ladik was a celebrity in Yugoslavia. She performed naked, treating her body like as an instrument (running a primitive bow across her hair). When, in 1975, these performances attracted the attention of mass-market magazines, she was thrown out of the League of Communists of Yugoslavia for ‘immorality’. In the paradoxical fashion of Yugoslav socialism, she then becomes a star on state TV. Never a campaigning feminist, Ladik’s performances always put female subjectivity to the fore, often in uncompromising ways. In the past years, the attention of the art world toward the oeuvre of Katalin Ladik emerged exponentially, due to the rising interest for Eastern European neo-avantgarde and extraordinary artistic practices. In 2014, part of the rediscovery of her art, she was invited to participate at Documenta in Kassel, where she presented some of her phonic poems, objects and paintings. Since 2010s she had several group and solo shows in Hungary and abroad alike, and her pieces became part of the biggest art collections. From early 1990s Katalin Ladik is living in Budapest. <br /> <br /> == Related Content ==<br /> [[Glimpses from the history of the Eastern Bloc’s neo-avant-gardes: Katalin Ladik’s collage-portrait]]<br /> <br /> [[Category: Yugoslavian Profiles]]</div>

Mtabtk http://database.unearthingthemusic.eu/index.php?title=Katalin_Ladik&diff=3425 2021-02-14T22:15:35Z

<p>Mtabtk: </p> <hr /> <div>Ladik Katain (b. 1942) was animated and sometimes controversial spirit in the neoavant-garde in Yugoslavia before the country’s collapse in 1992. Her output includes a novel, poetry, sound poems, graphic scores, performances and happenings. She has enjoyed close working relations with musicians, performing, for instance, with Dubravko Detoni and Milko Kelemen’s experimental music group ACEZANTEZ in the early 1970s. With his husband Ernő Király who was an experimental musician, they formed an artistic duo creating avant-garde pieces that had close ties to the local Balkan and Hungarian folk culture (about this collaboration please find an essay by Emese Kürti: Multi-etnicity and performative music. The collaboration between Katalin Ladik and Ernő Király at the blogsite of Unearthing the Music project). This collaboration survived even their marriage. Later in the decade, she had a role as a vocalist in a monumental performance of Kurt Schwitter’s ‘Ursonate’ (1979). Conducted in Belgrade by Oskar Danon, it involved four vocalists, four orchestras, banks of tympany augmented with tape music by Vladan Radovanović made from fragments of folk, electronic and pop music. Ladik is also a visual artist. A member of the Bosch + Bosch group in Novi Sad, she created collage graphic scores for what she called her phonopoetics in the early 1970s. Slicing material from glossy West German women’s magazines as well as other graphic materials including sewing patterns and stamps, Ladik produced powerful images for use in public performances, interpreting them in situ. As if employing the kinds of editing, pitch-stretching and duplicating techniques available in the studio, Ladik’s ‘natural’ voice seems strangely involuntary. Ladik was a celebrity in Yugoslavia. She performed naked, treating her body like as an instrument (running a primitive bow across her hair). When, in 1975, these performances attracted the attention of mass-market magazines, she was thrown out of the League of Communists of Yugoslavia for ‘immorality’. In the paradoxical fashion of Yugoslav socialism, she then becomes a star on state TV. Never a campaigning feminist, Ladik’s performances always put female subjectivity to the fore, often in uncompromising ways. In the past years, the attention of the art world toward the oeuvre of Katalin Ladik emerged exponentially, due to the rising interest for Eastern European neo-avantgarde and extraordinary artistic practices. In 2014, part of the rediscovery of her art, she was invited to participate at Documenta in Kassel, where she presented some of her phonic poems, objects and paintings. Since 2010s she had several group and solo shows in Hungary and abroad alike, and her pieces became part of the biggest art collections. From early 1990s Katalin Ladik is living in Budapest. <br /> <br /> == Related Content ==<br /> [[Glimpses from the history of the Eastern Bloc’s neo-avant-gardes: Katalin Ladik’s collage-portrait]]<br /> <br /> [[Category: Yugoslavian Profiles]]<br /> <br /> Ladik Katain (b. 1942) was animated and sometimes controversial spirit in the neoavant-garde in Yugoslavia before the country’s collapse in 1992. Her output includes a novel, poetry, sound poems, graphic scores, performances and happenings. She has enjoyed close working relations with musicians, performing, for instance, with Dubravko Detoni and Milko Kelemen’s experimental music group ACEZANTEZ in the early 1970s. With his husband Ernő Király who was an experimental musician, they formed an artistic duo creating avant-garde pieces that had close ties to the local Balkan and Hungarian folk culture (about this collaboration please find an essay by Emese Kürti: Multi-etnicity and performative music. The collaboration between Katalin Ladik and Ernő Király at the blogsite of Unearthing the Music project). This collaboration survived even their marriage. Later in the decade, she had a role as a vocalist in a monumental performance of Kurt Schwitter’s ‘Ursonate’ (1979). Conducted in Belgrade by Oskar Danon, it involved four vocalists, four orchestras, banks of tympany augmented with tape music by Vladan Radovanović made from fragments of folk, electronic and pop music. Ladik is also a visual artist. A member of the Bosch + Bosch group in Novi Sad, she created collage graphic scores for what she called her phonopoetics in the early 1970s. Slicing material from glossy West German women’s magazines as well as other graphic materials including sewing patterns and stamps, Ladik produced powerful images for use in public performances, interpreting them in situ. As if employing the kinds of editing, pitch-stretching and duplicating techniques available in the studio, Ladik’s ‘natural’ voice seems strangely involuntary. Ladik was a celebrity in Yugoslavia. She performed naked, treating her body like as an instrument (running a primitive bow across her hair). When, in 1975, these performances attracted the attention of mass-market magazines, she was thrown out of the League of Communists of Yugoslavia for ‘immorality’. In the paradoxical fashion of Yugoslav socialism, she then becomes a star on state TV. Never a campaigning feminist, Ladik’s performances always put female subjectivity to the fore, often in uncompromising ways. In the past years, the attention of the art world toward the oeuvre of Katalin Ladik emerged exponentially, due to the rising interest for Eastern European neo-avantgarde and extraordinary artistic practices. In 2014, part of the rediscovery of her art, she was invited to participate at Documenta in Kassel, where she presented some of her phonic poems, objects and paintings. Since 2010s she had several group and solo shows in Hungary and abroad alike, and her pieces became part of the biggest art collections. From early 1990s Katalin Ladik is living in Budapest.</div>

Mtabtk http://database.unearthingthemusic.eu/index.php?title=L%C3%A1szlo_Najm%C3%A1nyi&diff=3424 2021-02-14T22:12:13Z

<p>Mtabtk: </p> <hr /> <div>László Najmányi (1946-2020) was an uncompromising [[:Category:Hungary|Hungarian]] artist: stage designer, performer and video artist, active in various types of artistic fields and mediums. As he stated in one of his memoirs among many: &quot;I had an eventful, long life. I have lived in many political systems, in 12 countries on four continents. Until the age of 60, I lived in 116 apartments&quot;. Najmányi constantly reinvented himself by reinterpreting and rearchiving his oeuvre. He developed a close connection with the theatre which lasted long in his career. In 1971, he was the founder of István Kovács Studio, which started as an informal theatre group with an experimental spirit (it was harassed and banned multiple times by the authorities). In the Studio, many became later well-known figures of the neo-avantgarde scene: from Tibor Hajas, and Péter Halász to László Rajk Jr. During 1972 and 1976 he directed and wrote several pieces for the group. 278/5000 One of the best-known works from this period is an experimental film titled The Emperor's Message (1974), which was made after the short story of the same title by Franz Kafka at the Béla Balázs Studio. A year later, he also contributed to Tibor Hajas' short film: Self-Fashion Presentation. He was also a member of several &quot;national” theatre companies for a short time From 1975 to 1978 he became the member of the National Theater of Pécs and then from 1978 to 1979 the member of the Szigliget Theather of Szolnok. In 1977, with [[Gergely_Molnár|Gergely Molnár]] and others, he founded the legendary new wave (art) punk band called Spions (Pierre La Chez Show was one of his songs). (Najmányi published a series of articles about the history of Spions and his own work in the columns of Balkon magazine for more than a decade). Even though the band had only three concerts, it had a great influence on the alternative music scene. With the motivation of breaking out from the closed neo-avangard scene, the band experimented with different popular music genres (rock and roll) and mediums. As a result of that, the concerts were a mix of experimental theatre, performance with sometimes controversial and &quot;taboo breaker” lyrics (for example in the case of the Anna Frank’s dream song). The band disbanded in May 1978 due to, among other things, official harassment, and its members emigrated first to Paris and later to Canada. Najmányi left the country a little later and continued on this journey, eventually settling from Paris to Canada in New York, where until 1996.<br /> <br /> == Related Content ==<br /> <br /> [[Category: Hungarian Profiles]]</div>

Mtabtk http://database.unearthingthemusic.eu/index.php?title=L%C3%A1szlo_Najm%C3%A1nyi&diff=3423 2021-02-14T22:09:53Z

<p>Mtabtk: Created page with &quot;László Najmányi (1946-2020) was an uncompromising artist: stage designer, performer and video artist, active in various types of artistic fields and mediums. As he stated i...&quot;</p> <hr /> <div>László Najmányi (1946-2020) was an uncompromising artist: stage designer, performer and video artist, active in various types of artistic fields and mediums. As he stated in one of his memoirs among many: &quot;I had an eventful, long life. I have lived in many political systems, in 12 countries on four continents. Until the age of 60, I lived in 116 apartments&quot;. Najmányi constantly reinvented himself by reinterpreting and rearchiving his oeuvre. He developed a close connection with the theatre which lasted long in his career. In 1971, he was the founder of István Kovács Studio, which started as an informal theatre group with an experimental spirit (it was harassed and banned multiple times by the authorities). In the Studio, many became later well-known figures of the neo-avantgarde scene: from Tibor Hajas, and Péter Halász to László Rajk Jr. During 1972 and 1976 he directed and wrote several pieces for the group. 278/5000 One of the best-known works from this period is an experimental film titled The Emperor's Message (1974), which was made after the short story of the same title by Franz Kafka at the Béla Balázs Studio. A year later, he also contributed to Tibor Hajas' short film: Self-Fashion Presentation. He was also a member of several &quot;national” theatre companies for a short time From 1975 to 1978 he became the member of the National Theater of Pécs and then from 1978 to 1979 the member of the Szigliget Theather of Szolnok. In 1977, with [[Gergely_Molnár|Gergely Molnár]] and others, he founded the legendary new wave (art) punk band called Spions (Pierre La Chez Show was one of his songs). (Najmányi published a series of articles about the history of Spions and his own work in the columns of Balkon magazine for more than a decade). Even though the band had only three concerts, it had a great influence on the alternative music scene. With the motivation of breaking out from the closed neo-avangard scene, the band experimented with different popular music genres (rock and roll) and mediums. As a result of that, the concerts were a mix of experimental theatre, performance with sometimes controversial and &quot;taboo breaker” lyrics (for example in the case of the Anna Frank’s dream song). The band disbanded in May 1978 due to, among other things, official harassment, and its members emigrated first to Paris and later to Canada. Najmányi left the country a little later and continued on this journey, eventually settling from Paris to Canada in New York, where until 1996.</div>

Mtabtk http://database.unearthingthemusic.eu/index.php?title=%22Let_me_play%22_-_An_interview_with_Zsolt_Prieger&diff=3002 2020-10-30T10:27:46Z

<p>Mtabtk: </p> <hr /> <div>[[File:Zsolt Prieger 1.jpg|thumb|right|Zsolt Prieger in his home. Photo by Bálint Szabó.]]<br /> <br /> We met with [[Zsolt Prieger]], one of the leading figures of [[:Category: Hungary|Hungarian]] electronic and experimental pop music at his home in Martonvásár and asked him to share his impressions about how it felt like to grow up in Szombathely, experience the regime change and overcome his unanticipated pop success. <br /> <br /> His agility and child-like curiosity reveal a bottomless motivation, leading him to never give up on keeping up with an ever-accelerating world. One would need to grow wings in order to follow his endlessly winding associations. <br /> <br /> ''Interview and photos by Bálint Szabó.''<br /> <br /> == &quot;Let me play&quot; - An interview with Zsolt Prieger == <br /> <br /> '''Could you tell us about your first, base influences as a child? What kind of kid were you and how did you experience the ‘70s and ‘80s in Szombathely?'''<br /> <br /> First of all, I would like to emphasise my father’s influence. In my youth, I always had the desire to demonstrate my qualities or a kind of positive compulsion to conform that was basically caused by the clash of my father’s rigour and the exquisitely tender artistic context he provided. He had tremendous expectations and at the same time, he had a kind of tenderness and these two mixed up. The aforementioned desire to show my qualities have always been with me, after my father’s death as well. <br /> <br /> '''What was your father’s profession?''' <br /> <br /> He was a doctor, but a kind of a doctor who would cure my toothache with “The Magic Flute” and in my case it worked like a charm. As a child, I already listened to Bartók and to jazz. I remember my father showing me, on a Bergendy record, the differences between a vocal and an instrumental piece and telling me about instrumentation. The latter, which I would call the “dress of the music”, has always fascinated me. <br /> <br /> Getting back to your original question I dare to say that I was a really voracious and curious type of person. I always needed to know everything, I got excited about everything - both pop culture and experimenting, philosophy and dance. I also presented dance performances to my family, ballet with classical music. Or I wanted to be an archaeologist and I dug up my grandmother’s whole garden. I’m like my dog Luna, who gets excited when food is around - as I get excited about everything that includes art and spectacle, or spectacle in spectacle - a phenomenon that has no real substance or message. <br /> <br /> '''How was life in Szombathely&lt;sup&gt;1&lt;/sup&gt; then? Was it different? Was there any sort of cultural life and open-mindedness there?'''<br /> <br /> If I go back in time I have memories of a megapolis, and since then it has shrunken intellectually. In the first grade of high school, I used to go to the jazz club, or to the conferences of the Parisian Hungarian Workshop with my friend and then bench mate [[Gábor Pados]], now the head of ACB Gallery&lt;sup&gt;2&lt;/sup&gt;. I also attended a [[Katalin Ladik]] performance and a concert by [[István Grencsó]]’s Masina band at the local cultural centre. In that band played a saxophone player whose son was the co-founder of [[Anima Sound System|Anima]], besides me and my younger brother. I tend to link these paths and characters not only because I clearly see the beautifully crossing paths of these destinies, but because this feeling of inevitability has always been weaved through my life. <br /> <br /> &lt;youtube&gt;https://www.youtube.com/watch?v=z5aHP373Efw&lt;/youtube&gt;<br /> <br /> So my life as a child was a real hustle and bustle, bathed in incessant influences. My father used to read aloud the cultural section of the Népszabadság&lt;sup&gt;3&lt;/sup&gt; newspaper, all the poems by poets from [https://en.wikipedia.org/wiki/Ferenc_Juhász_(poet) Ferenc Juhász] to [https://en.wikipedia.org/wiki/László_Nagy_(poet) László Nagy], then on a Sunday afternoon after lunch, we would get into the car and go to the nearby village of Iszkáz, to the pear tree that László Nagy had planted. And we would sit there right under the tree waiting for hours for a ripened pear to fall into our laps. <br /> <br /> So my father’s influence, the jazz club, the exhibition room, the conferences of the Parisian Hungarian Workshop and our book and fine arts lover and supporter president of the council, György Gonda. It was not at all usual to have a politician who had built up an art gallery or supported the start of the Bartók Festival, while in other counties like Veszprém the leader wanted to lay dry the Balaton lake. To me, the Bartók Festival was the musical Mecca. There I saw John Cage, [[Krzysztof Penderecki|Penderecki]] or [[Witold Lutosławski|Lutoslawski]] at close quarters - I also have a picture in my head in which [[András Wilheim]], [[Péter Eötvös]] and John Cage are sitting in front of a sports house and I’m walking by them eating ice cream. It was absolutely natural that I would be eating ice cream while John Cage was writing a poem to the symphonic orchestra of my hometown. This is what my childhood looked like. I could add it was very special but I guess I would have experienced the same if I lived in Pécs or Debrecen. <br /> <br /> &lt;youtube&gt;https://youtube.com/watch?v=O--VJ5BH2u8&lt;/youtube&gt;<br /> <br /> '''You seem to imply that life was better then...'''<br /> <br /> Sometimes I self-flagellate myself for saying such things after the year 2000, but I have to confess that we lived in an amazingly free, network-like and almost modern-postmodern community in the country, while there was a dictatorship indeed. Of course, there were some restrictions - for example, we went to a [[Beatrice]]&lt;sup&gt;4&lt;/sup&gt; concert by train with Gábor Pados and there were some policemen keeping an eye on us. But there was also a mysteriousness, a kind of winking-at-each-other that was a nice thing to live with. I went to Pécs to the Csontváry museum or to music festivals. I hitchhiked to Debrecen on a truck carrying tons of apples to see a concert by Anthony Braxton, [[György Szabados]] and Joe Zawinul. This was the first time I saw somebody playing multiple synthesizers at the same time. And it also felt like a prison - from outside it was actually a prison, but inside it felt like cultural embalming where I got influences that still last up until now. <br /> <br /> &lt;youtube&gt; https://www.youtube.com/watch?v=fKOq5LFY5Zk &lt;/youtube&gt;<br /> <br /> '''And when did you decide to become a musician?'''<br /> <br /> In the beginning, I didn’t want to be one at all. I wanted to work with theatre and film, but I considered both unaffordable because they needed so much money. And I also realised that someone so impatient as me shouldn’t be a theatrical or film person, because it takes a couple of years to get one piece ready, and that is already too late for me. Anyways, I consider all branches of art as one thing. Like I begged my mother to buy twelve cinema tickets for a Miklós Jancsó series at the Mini cinema of Szombathely. There was actually nobody in the screening room except me and we needed to buy twelve tickets so that they would start the screening. And there was also a kind of Gesamtkunstwerk in the film: Tamás Cseh sang and played music and the direction was quite experimental. <br /> During the Kádár Era, these kinds of things went together and were not yet separated. I give you an example: at high school, we were all taken to watch the film Csontváry made by Zoltán Huszárik. It’s not a classic film at all, its story is nonlinear, presenting the Kádár Era and the time of Csontváry at the same time. Half of the students were laughing at it but we were watching a film by Huszárik. This was the Zeitgeist, and I don’t think at all that everything was much better, I’d rather say it was completely different. Growing up as a creative person was completely different. All in all, my father, the Zeitgeist, the local events, a tyrant counsellor with good taste, the proximity of Austria - these all contributed to my upbringing and character. <br /> <br /> &lt;youtube&gt; https://www.youtube.com/watch?v=w2M_75860ew &lt;/youtube&gt;<br /> <br /> '''Were there any other musical influences, perhaps from abroad?'''<br /> <br /> For example, there was a radio show entitled Music Box on Austrian FM4 where one could catch acid music from Manchester or a brand new Nick Cave record. Interestingly, I wasn't inspired by these at the end of the ’80s. No matter if there was alternative, punk or new wave culture, I was basically inspired by the influences I mentioned earlier and I made my first materials quite instinctively. We founded our first band ÉV and our record, entitled &quot;Palomar&quot;, is thirty years old now. It contained a Jewish cantor’s singing, distorted bass, a recitation to a distant piano playing. By then I hadn’t known the [https://www.youtube.com/watch?v=w2M_75860ew music of Psychic TV] or Throbbing Gristle in its depth, but our music had quite a similar vibe. <br /> <br /> By the way, getting back to instinctiveness, I think it’s better not to think about creativity, art, creation. The best and the most realistic representation of everything is when we play like little children with whatever is at hand. I never wanted to have more in the Kádár Era, nor today: let me play, that’s all. <br /> <br /> '''What was exactly that kind of condensation that came to life and gave birth to Anima before it exploded? Did you have a higher heat of inner combustion or did it happen due to external changes? Or perhaps a series of lucky coincidences contributed to it?''' <br /> <br /> It was also around the time of the regime change that my social sensitivity was being formed and it did change a lot of things: the holocaust priest on our record “Shalom” or the cassette tape from ‘93, drug liberalization, so many issues of liberalism and its inner problems which wouldn’t have excited me so much if there hadn’t been regime change.<br /> <br /> To me the greatest influence at that time was the book “The Society of the Spectacle” by Guy Debord which later heavily influenced punk and modern arts. This book made a huge impact on me, I could say that to me it was a greater cataclysm than the regime change itself. <br /> <br /> From the effects I absorbed I might have tried to put together something new. Surely I did have former inspirations, for example, the spirituality of dub reggae or that kind of mixing technique when ten singers are [https://www.youtube.com/watch?v=dvs0MwlIiug waiting in Lee Perry’s garden]. He makes a basic theme, and each time they get a new version. And I think it was the birthplace of the whole remix culture. It influenced me a lot when we stood around the mixing desk together and the tunes were created out of whatever came out of us. This kind of spontaneity originated from folk music, but I never had to look for folk musicians because I was always surrounded by them. For example, [[Szilvia Bognár]] studied singing in the same building where my co-producer [[Gergely Németh]]’s mother had her folk lessons, and we rehearsed next to their room. So it happened completely naturally, no matter if professionals used to say how many components Anima had and how meticulously its music was built up. No, this was not the case at all. It was an exemplary case of what I did later.<br /> <br /> [[File:Zsolt Prieger 2.jpg|frame|left| Zsolt Prieger. Photo by Bálint Szabó.]]<br /> '''Was this situation a concrete moment or rather a systematic workshop work?'''<br /> <br /> The latter. In a small village near Szombathely called Gencsapáti, there was a culture house and next to the folk music assembly room of the Vas county there was where we started. It was an unheated toilet room without a lavatory or a toilet, tubes were hanging out from the wall and we rehearsed there for a year. We didn’t quite have any goals, and then came Szilvia Bognár. Anima had already existed, the Prieger brothers used to make music at home so this type of collective seance was completely new. There were a few folk musicians, a half folk-musician half double-bass-player jazz musician who loved Kraftwerk, my younger brother who was a great songwriter, me and an Austrian reggae percussionist. Thanks to him our first concert was in Vienna, where there were shows like Kruder and Dorfmeister or Cypress Hill. It could have been a nice ending but after the regime change, some guys in Tilos Radio fell in love with this multicultural, folkish, melting-pot-like music. Of course, they imagined that this was all consciously invented and well made. Anima was a poignant success, radios and TV shows were playing our music a lot and we were nicely made to fit in some kind of box.<br /> <br /> By the way, our band ÉV had a poster in which a man takes off his skin and throws it away, and he stands there with his muscles and veins - it was actually a cutaway image from the Middle Age. And Anima needed to do exactly the same thing to survive. We had the greatest success when I thought as a creator that it was the most boring stuff we ever made. Anima had originally been a music workshop work thing but later became popular as a pop band. David Bowie took off his coat and joined a [https://www.youtube.com/watch?v=Ok5A8VoOMis band named Tin Machine]. That’s why I’m always telling people that the name doesn’t need to be changed, what has to be changed is the inner content, you have to throw out the old stuff and start from scratch. It’s a lot more pain, but a lot more excitement. <br /> <br /> '''Can we say that you didn’t look for pop music but pop music finally found you?'''<br /> <br /> Yes, it happened exactly like that. Our hits like Tekerd or Csinálj gyereket were meant to be jokes, but nobody believed me. After so many experimentations it’s normal that you play tunes, and when they become hits - as it turned out in our case -, I tried to escape by [https://www.youtube.com/watch?v=bOV57Bn2Y5Q starting a new project called Dubcity Fanatikz]. I put aside Anima until new members would join and we could start to make something completely new and different. <br /> <br /> &lt;youtube&gt; https://www.youtube.com/watch?v=MDO0kSSIf4I&amp;ab_channel=CirkoVid &lt;/youtube&gt;<br /> <br /> '''Looking back to those years, what do you think the aforementioned condensation manifested at its best?''' <br /> <br /> One of my favorite productions is Dubcity Fanatikz, and from that album, [https://youtu.be/VtB7qhxvFa0 Volga is my favorite song], [https://youtu.be/UJkiRaV7Ajs or Bradaz and Sistaz]. Or I even think of an even nicer [https://m.soundcloud.com/sword-and-scythe/sword-and-scythe-attila-i-miss experimental huntechno project, Sword and Scythe].<br /> <br /> &lt;youtube&gt;https://www.youtube.com/watch?v=bOV57Bn2Y5Q&lt;/youtube&gt;<br /> <br /> '''What have you been listening to, reading and watching recently?'''<br /> <br /> Many many things… I’ve been reading a lot of books by János Térey - due to the piece “Kaddish for János Térey” we made with Franciska Töröcsik - for example Boldogh-ház, Kétmalom utca. I’ve been listening to a lot of music, like László Borbély’s coming record this Autumn on which [https://www.youtube.com/watch?v=bOV57Bn2Y5Q he plays Messiaen’s Catalogue of Birds], or the Goldberg Variations. I listened to six David Bowie records that I didn't know well, like Blackstar, I really loved it. And to tell you the truth I’m not a Netflix fan but “The Devil All The Time” is a magnificent film almost evoking Dostoevsky. <br /> <br /> &lt;youtube&gt;https://youtube.com/watch?v=XRWojwu76dQ&lt;/youtube&gt;<br /> <br /> ==Notes==<br /> # ''Szombathely is the 10th biggest city in Hungary, located 220 km from Budapest close to the Austrian border.'' <br /> # ''ACB is a commercial gallery representing contemporary and Hungarian neo-avantgarde art alike. https://acbgaleria.hu'' <br /> # ''Népszabadság was founded during the Hungarian Revolution as the successor of the Szabad Nép which was established as the central organ of the Hungarian Working People's Party. Népszabadság was also the main organ of the party.'' <br /> # ''Beatrice (1969) is one of the most important rock bands of the ’70s-’80s, who played in many genres from disco to punk music.'' <br /> <br /> <br /> [[Category: Interviews]] [[Category: Hungarian Content]]</div>

Mtabtk http://database.unearthingthemusic.eu/index.php?title=%22Let_me_play%22_-_An_interview_with_Zsolt_Prieger&diff=2993 2020-10-19T16:39:03Z

<p>Mtabtk: </p> <hr /> <div><br /> [[File:Zsolt Prieger 1.jpg|thumb|Zsolt Prieger in his home. Photo by Bálint Szabó.]]<br /> <br /> We met with [[Zsolt Prieger]], one of the leading figures of [[:Category: Hungary|Hungarian]] electronic and experimental pop music at his home in Martonvásár and asked him to share his impressions about how it felt like to grow up in Szombathely, experience the regime change and overcome his unanticipated pop success. <br /> <br /> His agility and child-like curiosity reveal a bottomless motivation, leading him to never give up on keeping up with an ever-accelerating world. One would need to grow wings in order to follow his endlessly winding associations. <br /> <br /> ''Interview and photos by Bálint Szabó.''<br /> <br /> == &quot;Let me play&quot; - An interview with Zsolt Prieger == <br /> <br /> '''Could you tell us about your first, base influences as a child? What kind of kid were you and how did you experience the ‘70s and ‘80s in Szombathely?'''<br /> <br /> First of all, I would like to emphasise my father’s influence. In my youth, I always had the desire to demonstrate my qualities or a kind of positive compulsion to conform that was basically caused by the clash of my father’s rigour and the exquisitely tender artistic context he provided. He had tremendous expectations and at the same time, he had a kind of tenderness and these two mixed up. The aforementioned desire to show my qualities have always been with me, after my father’s death as well. <br /> <br /> '''What was your father’s profession?''' <br /> <br /> He was a doctor, but a kind of a doctor who would cure my toothache with “The Magic Flute” and in my case it worked like a charm. As a child, I already listened to Bartók and to jazz. I remember my father showing me, on a Bergendy record, the differences between a vocal and an instrumental piece and telling me about instrumentation. The latter, which I would call the “dress of the music”, has always fascinated me. <br /> <br /> Getting back to your original question I dare to say that I was a really voracious and curious type of person. I always needed to know everything, I got excited about everything - both pop culture and experimenting, philosophy and dance. I also presented dance performances to my family, ballet with classical music. Or I wanted to be an archaeologist and I dug up my grandmother’s whole garden. I’m like my dog Luna, who gets excited when food is around - as I get excited about everything that includes art and spectacle, or spectacle in spectacle - a phenomenon that has no real substance or message. <br /> <br /> '''How was life in Szombathely&lt;sup&gt;1&lt;/sup&gt; then? Was it different? Was there any sort of cultural life and open-mindedness there?'''<br /> <br /> If I go back in time I have memories of a megapolis, and since then it has shrunken intellectually. In the first grade of high school, I used to go to the jazz club, or to the conferences of the Parisian Hungarian Workshop with my friend and then bench mate [[Gábor Pados]], now the head of ACB Gallery&lt;sup&gt;2&lt;/sup&gt;. I also attended a [[Katalin Ladik]] performance and a concert by [[István Grencsó]]’s Masina band at the local cultural centre. In that band played a saxophone player whose son was the co-founder of [[Anima Sound System|Anima]], besides me and my younger brother. I tend to link these paths and characters not only because I clearly see the beautifully crossing paths of these destinies, but because this feeling of inevitability has always been weaved through my life. <br /> <br /> &lt;youtube&gt;https://www.youtube.com/watch?v=z5aHP373Efw&lt;/youtube&gt;<br /> <br /> So my life as a child was a real hustle and bustle, bathed in incessant influences. My father used to read aloud the cultural section of the Népszabadság&lt;sup&gt;3&lt;/sup&gt; newspaper, all the poems by poets from [https://en.wikipedia.org/wiki/Ferenc_Juhász_(poet) Ferenc Juhász] to [https://en.wikipedia.org/wiki/László_Nagy_(poet) László Nagy], then on a Sunday afternoon after lunch, we would get into the car and go to the nearby village of Iszkáz, to the pear tree that László Nagy had planted. And we would sit there right under the tree waiting for hours for a ripened pear to fall into our laps. <br /> <br /> So my father’s influence, the jazz club, the exhibition room, the conferences of the Parisian Hungarian Workshop and our book and fine arts lover and supporter president of the council, György Gonda. It was not at all usual to have a politician who had built up an art gallery or supported the start of the Bartók Festival, while in other counties like Veszprém the leader wanted to lay dry the Balaton lake. To me, the Bartók Festival was the musical Mecca. There I saw John Cage, [[Krzysztof Penderecki|Penderecki]] or [[Witold Lutosławski|Lutoslawski]] at close quarters - I also have a picture in my head in which [[András Wilheim]], [[Péter Eötvös]] and John Cage are sitting in front of a sports house and I’m walking by them eating ice cream. It was absolutely natural that I would be eating ice cream while John Cage was writing a poem to the symphonic orchestra of my hometown. This is what my childhood looked like. I could add it was very special but I guess I would have experienced the same if I lived in Pécs or Debrecen. <br /> <br /> &lt;youtube&gt;https://youtube.com/watch?v=O--VJ5BH2u8&lt;/youtube&gt;<br /> <br /> '''You seem to imply that life was better then...'''<br /> <br /> Sometimes I self-flagellate myself for saying such things after the year 2000, but I have to confess that we lived in an amazingly free, network-like and almost modern-postmodern community in the country, while there was a dictatorship indeed. Of course, there were some restrictions - for example, we went to a [[Beatrice]]&lt;sup&gt;4&lt;/sup&gt; concert by train with Gábor Pados and there were some policemen keeping an eye on us. But there was also a mysteriousness, a kind of winking-at-each-other that was a nice thing to live with. I went to Pécs to the Csontváry museum or to music festivals. I hitchhiked to Debrecen on a truck carrying tons of apples to see a concert by Anthony Braxton, [[György Szabados]] and Joe Zawinul. This was the first time I saw somebody playing multiple synthesizers at the same time. And it also felt like a prison - from outside it was actually a prison, but inside it felt like cultural embalming where I got influences that still last up until now. <br /> <br /> &lt;youtube&gt; https://www.youtube.com/watch?v=fKOq5LFY5Zk &lt;/youtube&gt;<br /> <br /> '''And when did you decide to become a musician?'''<br /> <br /> In the beginning, I didn’t want to be one at all. I wanted to work with theatre and film, but I considered both unaffordable because they needed so much money. And I also realised that someone so impatient as me shouldn’t be a theatrical or film person, because it takes a couple of years to get one piece ready, and that is already too late for me. Anyways, I consider all branches of art as one thing. Like I begged my mother to buy twelve cinema tickets for a Miklós Jancsó series at the Mini cinema of Szombathely. There was actually nobody in the screening room except me and we needed to buy twelve tickets so that they would start the screening. And there was also a kind of Gesamtkunstwerk in the film: Tamás Cseh sang and played music and the direction was quite experimental. <br /> During the Kádár Era, these kinds of things went together and were not yet separated. I give you an example: at high school, we were all taken to watch the film Csontváry made by Zoltán Huszárik. It’s not a classic film at all, its story is nonlinear, presenting the Kádár Era and the time of Csontváry at the same time. Half of the students were laughing at it but we were watching a film by Huszárik. This was the Zeitgeist, and I don’t think at all that everything was much better, I’d rather say it was completely different. Growing up as a creative person was completely different. All in all, my father, the Zeitgeist, the local events, a tyrant counsellor with good taste, the proximity of Austria - these all contributed to my upbringing and character. <br /> <br /> &lt;youtube&gt; https://www.youtube.com/watch?v=w2M_75860ew &lt;/youtube&gt;<br /> <br /> '''Were there any other musical influences, perhaps from abroad?'''<br /> <br /> For example, there was a radio show entitled Music Box on Austrian FM4 where one could catch acid music from Manchester or a brand new Nick Cave record. Interestingly, I wasn't inspired by these at the end of the ’80s. No matter if there was alternative, punk or new wave culture, I was basically inspired by the influences I mentioned earlier and I made my first materials quite instinctively. We founded our first band ÉV and our record, entitled &quot;Palomar&quot;, is thirty years old now. It contained a Jewish cantor’s singing, distorted bass, a recitation to a distant piano playing. By then I hadn’t known the [https://www.youtube.com/watch?v=w2M_75860ew music of Psychic TV] or Throbbing Gristle in its depth, but our music had quite a similar vibe. <br /> <br /> By the way, getting back to instinctiveness, I think it’s better not to think about creativity, art, creation. The best and the most realistic representation of everything is when we play like little children with whatever is at hand. I never wanted to have more in the Kádár Era, nor today: let me play, that’s all. <br /> <br /> '''What was exactly that kind of condensation that came to life and gave birth to Anima before it exploded? Did you have a higher heat of inner combustion or did it happen due to external changes? Or perhaps a series of lucky coincidences contributed to it?''' <br /> <br /> It was also around the time of the regime change that my social sensitivity was being formed and it did change a lot of things: the holocaust priest on our record “Shalom” or the cassette tape from ‘93, drug liberalization, so many issues of liberalism and its inner problems which wouldn’t have excited me so much if there hadn’t been regime change.<br /> <br /> To me the greatest influence at that time was the book “The Society of the Spectacle” by Guy Debord which later heavily influenced punk and modern arts. This book made a huge impact on me, I could say that to me it was a greater cataclysm than the regime change itself. <br /> <br /> From the effects I absorbed I might have tried to put together something new. Surely I did have former inspirations, for example, the spirituality of dub reggae or that kind of mixing technique when ten singers are [https://www.youtube.com/watch?v=dvs0MwlIiug waiting in Lee Perry’s garden]. He makes a basic theme, and each time they get a new version. And I think it was the birthplace of the whole remix culture. It influenced me a lot when we stood around the mixing desk together and the tunes were created out of whatever came out of us. This kind of spontaneity originated from folk music, but I never had to look for folk musicians because I was always surrounded by them. For example, [[Szilvia Bognár]] studied singing in the same building where my co-producer [[Gergely Németh]]’s mother had her folk lessons, and we rehearsed next to their room. So it happened completely naturally, no matter if professionals used to say how many components Anima had and how meticulously its music was built up. No, this was not the case at all. It was an exemplary case of what I did later.<br /> <br /> [[File:Zsolt Prieger 2.jpg|thumb| Zsolt Prieger. Photo by Bálint Szabó.]]<br /> '''Was this situation a concrete moment or rather a systematic workshop work?'''<br /> <br /> The latter. In a small village near Szombathely called Gencsapáti, there was a culture house and next to the folk music assembly room of the Vas county there was where we started. It was an unheated toilet room without a lavatory or a toilet, tubes were hanging out from the wall and we rehearsed there for a year. We didn’t quite have any goals, and then came Szilvia Bognár. Anima had already existed, the Prieger brothers used to make music at home so this type of collective seance was completely new. There were a few folk musicians, a half folk-musician half double-bass-player jazz musician who loved Kraftwerk, my younger brother who was a great songwriter, me and an Austrian reggae percussionist. Thanks to him our first concert was in Vienna, where there were shows like Kruder and Dorfmeister or Cypress Hill. It could have been a nice ending but after the regime change, some guys in Tilos Radio fell in love with this multicultural, folkish, melting-pot-like music. Of course, they imagined that this was all consciously invented and well made. Anima was a poignant success, radios and TV shows were playing our music a lot and we were nicely made to fit in some kind of box.<br /> <br /> By the way, our band ÉV had a poster in which a man takes off his skin and throws it away, and he stands there with his muscles and veins - it was actually a cutaway image from the Middle Age. And Anima needed to do exactly the same thing to survive. We had the greatest success when I thought as a creator that it was the most boring stuff we ever made. Anima had originally been a music workshop work thing but later became popular as a pop band. David Bowie took off his coat and joined a [https://www.youtube.com/watch?v=Ok5A8VoOMis band named Tin Machine]. That’s why I’m always telling people that the name doesn’t need to be changed, what has to be changed is the inner content, you have to throw out the old stuff and start from scratch. It’s a lot more pain, but a lot more excitement. <br /> <br /> '''Can we say that you didn’t look for pop music but pop music finally found you?'''<br /> <br /> Yes, it happened exactly like that. Our hits like Tekerd or Csinálj gyereket were meant to be jokes, but nobody believed me. After so many experimentations it’s normal that you play tunes, and when they become hits - as it turned out in our case -, I tried to escape by [https://www.youtube.com/watch?v=bOV57Bn2Y5Q starting a new project called Dubcity Fanatikz]. I put aside Anima until new members would join and we could start to make something completely new and different. <br /> <br /> &lt;youtube&gt; https://www.youtube.com/watch?v=MDO0kSSIf4I&amp;ab_channel=CirkoVid &lt;/youtube&gt;<br /> <br /> '''Looking back to those years, what do you think the aforementioned condensation manifested at its best?''' <br /> <br /> One of my favorite productions is Dubcity Fanatikz, and from that album, [https://youtu.be/VtB7qhxvFa0 Volga is my favorite song], [https://youtu.be/UJkiRaV7Ajs or Bradaz and Sistaz]. Or I even think of an even nicer [https://m.soundcloud.com/sword-and-scythe/sword-and-scythe-attila-i-miss experimental huntechno project, Sword and Scythe].<br /> <br /> &lt;youtube&gt;https://www.youtube.com/watch?v=bOV57Bn2Y5Q&lt;/youtube&gt;<br /> <br /> '''What have you been listening to, reading and watching recently?'''<br /> <br /> Many many things… I’ve been reading a lot of books by János Térey - due to the piece “Kaddish for János Térey” we made with Franciska Török - for example Boldogh-ház, Kétmalom utca. I’ve been listening to a lot of music, like László Borbély’s coming record this Autumn on which [https://www.youtube.com/watch?v=bOV57Bn2Y5Q he plays Messiaen’s Catalogue of Birds], or the Goldberg Variations. I listened to six David Bowie records completely unknown to me, like Blackstar, I really loved it. And to tell you the truth I’m not a Netflix fan but “The Devil All The Time” is a magnificent film almost evoking Dostoevsky. <br /> <br /> &lt;youtube&gt;https://youtube.com/watch?v=XRWojwu76dQ&lt;/youtube&gt;<br /> <br /> ==Notes==<br /> # ''Szombathely is the 10th biggest city in Hungary, located 220 km from Budapest close to the Austrian border.'' <br /> # ''ACB is a commercial gallery representing contemporary and Hungarian neo-avantgarde art alike. https://acbgaleria.hu'' <br /> # ''Népszabadság was founded during the Hungarian Revolution as the successor of the Szabad Nép which was established as the central organ of the Hungarian Working People's Party. Népszabadság was also the main organ of the party.'' <br /> # ''Beatrice (1969) is one of the most important rock bands of the ’70s-’80s, who played in many genres from disco to punk music.'' <br /> <br /> <br /> [[Category: Interviews]] [[Category: Hungarian Content]]</div>

Mtabtk http://database.unearthingthemusic.eu/index.php?title=%22Let_me_play%22_-_An_interview_with_Zsolt_Prieger&diff=2992 2020-10-19T16:37:13Z

<p>Mtabtk: </p> <hr /> <div>&lt;br&gt;[[File:Zsolt Prieger 1.jpg|thumb|Zsolt Prieger in his home. Photo by Bálint Szabó.]]&lt;br&gt;<br /> <br /> We met with [[Zsolt Prieger]], one of the leading figures of [[:Category: Hungary|Hungarian]] electronic and experimental pop music at his home in Martonvásár and asked him to share his impressions about how it felt like to grow up in Szombathely, experience the regime change and overcome his unanticipated pop success. <br /> <br /> His agility and child-like curiosity reveal a bottomless motivation, leading him to never give up on keeping up with an ever-accelerating world. One would need to grow wings in order to follow his endlessly winding associations. <br /> <br /> ''Interview and photos by Bálint Szabó.''<br /> <br /> == &quot;Let me play&quot; - An interview with Zsolt Prieger == <br /> <br /> '''Could you tell us about your first, base influences as a child? What kind of kid were you and how did you experience the ‘70s and ‘80s in Szombathely?'''<br /> <br /> First of all, I would like to emphasise my father’s influence. In my youth, I always had the desire to demonstrate my qualities or a kind of positive compulsion to conform that was basically caused by the clash of my father’s rigour and the exquisitely tender artistic context he provided. He had tremendous expectations and at the same time, he had a kind of tenderness and these two mixed up. The aforementioned desire to show my qualities have always been with me, after my father’s death as well. <br /> <br /> '''What was your father’s profession?''' <br /> <br /> He was a doctor, but a kind of a doctor who would cure my toothache with “The Magic Flute” and in my case it worked like a charm. As a child, I already listened to Bartók and to jazz. I remember my father showing me, on a Bergendy record, the differences between a vocal and an instrumental piece and telling me about instrumentation. The latter, which I would call the “dress of the music”, has always fascinated me. <br /> <br /> Getting back to your original question I dare to say that I was a really voracious and curious type of person. I always needed to know everything, I got excited about everything - both pop culture and experimenting, philosophy and dance. I also presented dance performances to my family, ballet with classical music. Or I wanted to be an archaeologist and I dug up my grandmother’s whole garden. I’m like my dog Luna, who gets excited when food is around - as I get excited about everything that includes art and spectacle, or spectacle in spectacle - a phenomenon that has no real substance or message. <br /> <br /> '''How was life in Szombathely&lt;sup&gt;1&lt;/sup&gt; then? Was it different? Was there any sort of cultural life and open-mindedness there?'''<br /> <br /> If I go back in time I have memories of a megapolis, and since then it has shrunken intellectually. In the first grade of high school, I used to go to the jazz club, or to the conferences of the Parisian Hungarian Workshop with my friend and then bench mate [[Gábor Pados]], now the head of ACB Gallery&lt;sup&gt;2&lt;/sup&gt;. I also attended a [[Katalin Ladik]] performance and a concert by [[István Grencsó]]’s Masina band at the local cultural centre. In that band played a saxophone player whose son was the co-founder of [[Anima Sound System|Anima]], besides me and my younger brother. I tend to link these paths and characters not only because I clearly see the beautifully crossing paths of these destinies, but because this feeling of inevitability has always been weaved through my life. <br /> <br /> &lt;youtube&gt;https://www.youtube.com/watch?v=z5aHP373Efw&lt;/youtube&gt;<br /> <br /> So my life as a child was a real hustle and bustle, bathed in incessant influences. My father used to read aloud the cultural section of the Népszabadság&lt;sup&gt;3&lt;/sup&gt; newspaper, all the poems by poets from [https://en.wikipedia.org/wiki/Ferenc_Juhász_(poet) Ferenc Juhász] to [https://en.wikipedia.org/wiki/László_Nagy_(poet) László Nagy], then on a Sunday afternoon after lunch, we would get into the car and go to the nearby village of Iszkáz, to the pear tree that László Nagy had planted. And we would sit there right under the tree waiting for hours for a ripened pear to fall into our laps. <br /> <br /> So my father’s influence, the jazz club, the exhibition room, the conferences of the Parisian Hungarian Workshop and our book and fine arts lover and supporter president of the council, György Gonda. It was not at all usual to have a politician who had built up an art gallery or supported the start of the Bartók Festival, while in other counties like Veszprém the leader wanted to lay dry the Balaton lake. To me, the Bartók Festival was the musical Mecca. There I saw John Cage, [[Krzysztof Penderecki|Penderecki]] or [[Witold Lutosławski|Lutoslawski]] at close quarters - I also have a picture in my head in which [[András Wilheim]], [[Péter Eötvös]] and John Cage are sitting in front of a sports house and I’m walking by them eating ice cream. It was absolutely natural that I would be eating ice cream while John Cage was writing a poem to the symphonic orchestra of my hometown. This is what my childhood looked like. I could add it was very special but I guess I would have experienced the same if I lived in Pécs or Debrecen. <br /> <br /> &lt;youtube&gt;https://youtube.com/watch?v=O--VJ5BH2u8&lt;/youtube&gt;<br /> <br /> '''You seem to imply that life was better then...'''<br /> <br /> Sometimes I self-flagellate myself for saying such things after the year 2000, but I have to confess that we lived in an amazingly free, network-like and almost modern-postmodern community in the country, while there was a dictatorship indeed. Of course, there were some restrictions - for example, we went to a [[Beatrice]]&lt;sup&gt;4&lt;/sup&gt; concert by train with Gábor Pados and there were some policemen keeping an eye on us. But there was also a mysteriousness, a kind of winking-at-each-other that was a nice thing to live with. I went to Pécs to the Csontváry museum or to music festivals. I hitchhiked to Debrecen on a truck carrying tons of apples to see a concert by Anthony Braxton, [[György Szabados]] and Joe Zawinul. This was the first time I saw somebody playing multiple synthesizers at the same time. And it also felt like a prison - from outside it was actually a prison, but inside it felt like cultural embalming where I got influences that still last up until now. <br /> <br /> &lt;youtube&gt; https://www.youtube.com/watch?v=fKOq5LFY5Zk &lt;/youtube&gt;<br /> <br /> '''And when did you decide to become a musician?'''<br /> <br /> In the beginning, I didn’t want to be one at all. I wanted to work with theatre and film, but I considered both unaffordable because they needed so much money. And I also realised that someone so impatient as me shouldn’t be a theatrical or film person, because it takes a couple of years to get one piece ready, and that is already too late for me. Anyways, I consider all branches of art as one thing. Like I begged my mother to buy twelve cinema tickets for a Miklós Jancsó series at the Mini cinema of Szombathely. There was actually nobody in the screening room except me and we needed to buy twelve tickets so that they would start the screening. And there was also a kind of Gesamtkunstwerk in the film: Tamás Cseh sang and played music and the direction was quite experimental. <br /> During the Kádár Era, these kinds of things went together and were not yet separated. I give you an example: at high school, we were all taken to watch the film Csontváry made by Zoltán Huszárik. It’s not a classic film at all, its story is nonlinear, presenting the Kádár Era and the time of Csontváry at the same time. Half of the students were laughing at it but we were watching a film by Huszárik. This was the Zeitgeist, and I don’t think at all that everything was much better, I’d rather say it was completely different. Growing up as a creative person was completely different. All in all, my father, the Zeitgeist, the local events, a tyrant counsellor with good taste, the proximity of Austria - these all contributed to my upbringing and character. <br /> <br /> &lt;youtube&gt; https://www.youtube.com/watch?v=w2M_75860ew &lt;/youtube&gt;<br /> <br /> '''Were there any other musical influences, perhaps from abroad?'''<br /> <br /> For example, there was a radio show entitled Music Box on Austrian FM4 where one could catch acid music from Manchester or a brand new Nick Cave record. Interestingly, I wasn't inspired by these at the end of the ’80s. No matter if there was alternative, punk or new wave culture, I was basically inspired by the influences I mentioned earlier and I made my first materials quite instinctively. We founded our first band ÉV and our record, entitled &quot;Palomar&quot;, is thirty years old now. It contained a Jewish cantor’s singing, distorted bass, a recitation to a distant piano playing. By then I hadn’t known the [https://www.youtube.com/watch?v=w2M_75860ew music of Psychic TV] or Throbbing Gristle in its depth, but our music had quite a similar vibe. <br /> <br /> By the way, getting back to instinctiveness, I think it’s better not to think about creativity, art, creation. The best and the most realistic representation of everything is when we play like little children with whatever is at hand. I never wanted to have more in the Kádár Era, nor today: let me play, that’s all. <br /> <br /> '''What was exactly that kind of condensation that came to life and gave birth to Anima before it exploded? Did you have a higher heat of inner combustion or did it happen due to external changes? Or perhaps a series of lucky coincidences contributed to it?''' <br /> <br /> It was also around the time of the regime change that my social sensitivity was being formed and it did change a lot of things: the holocaust priest on our record “Shalom” or the cassette tape from ‘93, drug liberalization, so many issues of liberalism and its inner problems which wouldn’t have excited me so much if there hadn’t been regime change.<br /> <br /> To me the greatest influence at that time was the book “The Society of the Spectacle” by Guy Debord which later heavily influenced punk and modern arts. This book made a huge impact on me, I could say that to me it was a greater cataclysm than the regime change itself. <br /> <br /> From the effects I absorbed I might have tried to put together something new. Surely I did have former inspirations, for example, the spirituality of dub reggae or that kind of mixing technique when ten singers are [https://www.youtube.com/watch?v=dvs0MwlIiug waiting in Lee Perry’s garden]. He makes a basic theme, and each time they get a new version. And I think it was the birthplace of the whole remix culture. It influenced me a lot when we stood around the mixing desk together and the tunes were created out of whatever came out of us. This kind of spontaneity originated from folk music, but I never had to look for folk musicians because I was always surrounded by them. For example, [[Szilvia Bognár]] studied singing in the same building where my co-producer [[Gergely Németh]]’s mother had her folk lessons, and we rehearsed next to their room. So it happened completely naturally, no matter if professionals used to say how many components Anima had and how meticulously its music was built up. No, this was not the case at all. It was an exemplary case of what I did later.<br /> <br /> [[File:Zsolt Prieger 2.jpg|thumb| Zsolt Prieger. Photo by Bálint Szabó.]]<br /> '''Was this situation a concrete moment or rather a systematic workshop work?'''<br /> <br /> The latter. In a small village near Szombathely called Gencsapáti, there was a culture house and next to the folk music assembly room of the Vas county there was where we started. It was an unheated toilet room without a lavatory or a toilet, tubes were hanging out from the wall and we rehearsed there for a year. We didn’t quite have any goals, and then came Szilvia Bognár. Anima had already existed, the Prieger brothers used to make music at home so this type of collective seance was completely new. There were a few folk musicians, a half folk-musician half double-bass-player jazz musician who loved Kraftwerk, my younger brother who was a great songwriter, me and an Austrian reggae percussionist. Thanks to him our first concert was in Vienna, where there were shows like Kruder and Dorfmeister or Cypress Hill. It could have been a nice ending but after the regime change, some guys in Tilos Radio fell in love with this multicultural, folkish, melting-pot-like music. Of course, they imagined that this was all consciously invented and well made. Anima was a poignant success, radios and TV shows were playing our music a lot and we were nicely made to fit in some kind of box.<br /> <br /> By the way, our band ÉV had a poster in which a man takes off his skin and throws it away, and he stands there with his muscles and veins - it was actually a cutaway image from the Middle Age. And Anima needed to do exactly the same thing to survive. We had the greatest success when I thought as a creator that it was the most boring stuff we ever made. Anima had originally been a music workshop work thing but later became popular as a pop band. David Bowie took off his coat and joined a [https://www.youtube.com/watch?v=Ok5A8VoOMis band named Tin Machine]. That’s why I’m always telling people that the name doesn’t need to be changed, what has to be changed is the inner content, you have to throw out the old stuff and start from scratch. It’s a lot more pain, but a lot more excitement. <br /> <br /> '''Can we say that you didn’t look for pop music but pop music finally found you?'''<br /> <br /> Yes, it happened exactly like that. Our hits like Tekerd or Csinálj gyereket were meant to be jokes, but nobody believed me. After so many experimentations it’s normal that you play tunes, and when they become hits - as it turned out in our case -, I tried to escape by [https://www.youtube.com/watch?v=bOV57Bn2Y5Q starting a new project called Dubcity Fanatikz]. I put aside Anima until new members would join and we could start to make something completely new and different. <br /> <br /> &lt;youtube&gt; https://www.youtube.com/watch?v=MDO0kSSIf4I&amp;ab_channel=CirkoVid &lt;/youtube&gt;<br /> <br /> '''Looking back to those years, what do you think the aforementioned condensation manifested at its best?''' <br /> <br /> One of my favorite productions is Dubcity Fanatikz, and from that album, [https://youtu.be/VtB7qhxvFa0 Volga is my favorite song], [https://youtu.be/UJkiRaV7Ajs or Bradaz and Sistaz]. Or I even think of an even nicer [https://m.soundcloud.com/sword-and-scythe/sword-and-scythe-attila-i-miss experimental huntechno project, Sword and Scythe].<br /> <br /> &lt;youtube&gt;https://www.youtube.com/watch?v=bOV57Bn2Y5Q&lt;/youtube&gt;<br /> <br /> '''What have you been listening to, reading and watching recently?'''<br /> <br /> Many many things… I’ve been reading a lot of books by János Térey - due to the piece “Kaddish for János Térey” we made with Franciska Török - for example Boldogh-ház, Kétmalom utca. I’ve been listening to a lot of music, like László Borbély’s coming record this Autumn on which [https://www.youtube.com/watch?v=bOV57Bn2Y5Q he plays Messiaen’s Catalogue of Birds], or the Goldberg Variations. I listened to six David Bowie records completely unknown to me, like Blackstar, I really loved it. And to tell you the truth I’m not a Netflix fan but “The Devil All The Time” is a magnificent film almost evoking Dostoevsky. <br /> <br /> &lt;youtube&gt;https://youtube.com/watch?v=XRWojwu76dQ&lt;/youtube&gt;<br /> <br /> ==Notes==<br /> # ''Szombathely is the 10th biggest city in Hungary, located 220 km from Budapest close to the Austrian border.'' <br /> # ''ACB is a commercial gallery representing contemporary and Hungarian neo-avantgarde art alike. https://acbgaleria.hu'' <br /> # ''Népszabadság was founded during the Hungarian Revolution as the successor of the Szabad Nép which was established as the central organ of the Hungarian Working People's Party. Népszabadság was also the main organ of the party.'' <br /> # ''Beatrice (1969) is one of the most important rock bands of the ’70s-’80s, who played in many genres from disco to punk music.'' <br /> <br /> <br /> [[Category: Interviews]] [[Category: Hungarian Content]]</div>

Mtabtk http://database.unearthingthemusic.eu/index.php?title=%22Let_me_play%22_-_An_interview_with_Zsolt_Prieger&diff=2991 2020-10-19T16:36:10Z

<p>Mtabtk: </p> <hr /> <div>[[File:Zsolt Prieger 1.jpg|thumb|Zsolt Prieger in his home. Photo by Bálint Szabó.]]<br /> We met with [[Zsolt Prieger]], one of the leading figures of [[:Category: Hungary|Hungarian]] electronic and experimental pop music at his home in Martonvásár and asked him to share his impressions about how it felt like to grow up in Szombathely, experience the regime change and overcome his unanticipated pop success. <br /> <br /> His agility and child-like curiosity reveal a bottomless motivation, leading him to never give up on keeping up with an ever-accelerating world. One would need to grow wings in order to follow his endlessly winding associations. <br /> <br /> ''Interview and photos by Bálint Szabó.''<br /> <br /> == &quot;Let me play&quot; - An interview with Zsolt Prieger == <br /> <br /> '''Could you tell us about your first, base influences as a child? What kind of kid were you and how did you experience the ‘70s and ‘80s in Szombathely?'''<br /> <br /> First of all, I would like to emphasise my father’s influence. In my youth, I always had the desire to demonstrate my qualities or a kind of positive compulsion to conform that was basically caused by the clash of my father’s rigour and the exquisitely tender artistic context he provided. He had tremendous expectations and at the same time, he had a kind of tenderness and these two mixed up. The aforementioned desire to show my qualities have always been with me, after my father’s death as well. <br /> <br /> '''What was your father’s profession?''' <br /> <br /> He was a doctor, but a kind of a doctor who would cure my toothache with “The Magic Flute” and in my case it worked like a charm. As a child, I already listened to Bartók and to jazz. I remember my father showing me, on a Bergendy record, the differences between a vocal and an instrumental piece and telling me about instrumentation. The latter, which I would call the “dress of the music”, has always fascinated me. <br /> <br /> Getting back to your original question I dare to say that I was a really voracious and curious type of person. I always needed to know everything, I got excited about everything - both pop culture and experimenting, philosophy and dance. I also presented dance performances to my family, ballet with classical music. Or I wanted to be an archaeologist and I dug up my grandmother’s whole garden. I’m like my dog Luna, who gets excited when food is around - as I get excited about everything that includes art and spectacle, or spectacle in spectacle - a phenomenon that has no real substance or message. <br /> <br /> '''How was life in Szombathely&lt;sup&gt;1&lt;/sup&gt; then? Was it different? Was there any sort of cultural life and open-mindedness there?'''<br /> <br /> If I go back in time I have memories of a megapolis, and since then it has shrunken intellectually. In the first grade of high school, I used to go to the jazz club, or to the conferences of the Parisian Hungarian Workshop with my friend and then bench mate [[Gábor Pados]], now the head of ACB Gallery&lt;sup&gt;2&lt;/sup&gt;. I also attended a [[Katalin Ladik]] performance and a concert by [[István Grencsó]]’s Masina band at the local cultural centre. In that band played a saxophone player whose son was the co-founder of [[Anima Sound System|Anima]], besides me and my younger brother. I tend to link these paths and characters not only because I clearly see the beautifully crossing paths of these destinies, but because this feeling of inevitability has always been weaved through my life. <br /> <br /> &lt;youtube&gt;https://www.youtube.com/watch?v=z5aHP373Efw&lt;/youtube&gt;<br /> <br /> So my life as a child was a real hustle and bustle, bathed in incessant influences. My father used to read aloud the cultural section of the Népszabadság&lt;sup&gt;3&lt;/sup&gt; newspaper, all the poems by poets from [https://en.wikipedia.org/wiki/Ferenc_Juhász_(poet) Ferenc Juhász] to [https://en.wikipedia.org/wiki/László_Nagy_(poet) László Nagy], then on a Sunday afternoon after lunch, we would get into the car and go to the nearby village of Iszkáz, to the pear tree that László Nagy had planted. And we would sit there right under the tree waiting for hours for a ripened pear to fall into our laps. <br /> <br /> So my father’s influence, the jazz club, the exhibition room, the conferences of the Parisian Hungarian Workshop and our book and fine arts lover and supporter president of the council, György Gonda. It was not at all usual to have a politician who had built up an art gallery or supported the start of the Bartók Festival, while in other counties like Veszprém the leader wanted to lay dry the Balaton lake. To me, the Bartók Festival was the musical Mecca. There I saw John Cage, [[Krzysztof Penderecki|Penderecki]] or [[Witold Lutosławski|Lutoslawski]] at close quarters - I also have a picture in my head in which [[András Wilheim]], [[Péter Eötvös]] and John Cage are sitting in front of a sports house and I’m walking by them eating ice cream. It was absolutely natural that I would be eating ice cream while John Cage was writing a poem to the symphonic orchestra of my hometown. This is what my childhood looked like. I could add it was very special but I guess I would have experienced the same if I lived in Pécs or Debrecen. <br /> <br /> &lt;youtube&gt;https://youtube.com/watch?v=O--VJ5BH2u8&lt;/youtube&gt;<br /> <br /> '''You seem to imply that life was better then...'''<br /> <br /> Sometimes I self-flagellate myself for saying such things after the year 2000, but I have to confess that we lived in an amazingly free, network-like and almost modern-postmodern community in the country, while there was a dictatorship indeed. Of course, there were some restrictions - for example, we went to a [[Beatrice]]&lt;sup&gt;4&lt;/sup&gt; concert by train with Gábor Pados and there were some policemen keeping an eye on us. But there was also a mysteriousness, a kind of winking-at-each-other that was a nice thing to live with. I went to Pécs to the Csontváry museum or to music festivals. I hitchhiked to Debrecen on a truck carrying tons of apples to see a concert by Anthony Braxton, [[György Szabados]] and Joe Zawinul. This was the first time I saw somebody playing multiple synthesizers at the same time. And it also felt like a prison - from outside it was actually a prison, but inside it felt like cultural embalming where I got influences that still last up until now. <br /> <br /> &lt;youtube&gt; https://www.youtube.com/watch?v=fKOq5LFY5Zk &lt;/youtube&gt;<br /> <br /> '''And when did you decide to become a musician?'''<br /> <br /> In the beginning, I didn’t want to be one at all. I wanted to work with theatre and film, but I considered both unaffordable because they needed so much money. And I also realised that someone so impatient as me shouldn’t be a theatrical or film person, because it takes a couple of years to get one piece ready, and that is already too late for me. Anyways, I consider all branches of art as one thing. Like I begged my mother to buy twelve cinema tickets for a Miklós Jancsó series at the Mini cinema of Szombathely. There was actually nobody in the screening room except me and we needed to buy twelve tickets so that they would start the screening. And there was also a kind of Gesamtkunstwerk in the film: Tamás Cseh sang and played music and the direction was quite experimental. <br /> During the Kádár Era, these kinds of things went together and were not yet separated. I give you an example: at high school, we were all taken to watch the film Csontváry made by Zoltán Huszárik. It’s not a classic film at all, its story is nonlinear, presenting the Kádár Era and the time of Csontváry at the same time. Half of the students were laughing at it but we were watching a film by Huszárik. This was the Zeitgeist, and I don’t think at all that everything was much better, I’d rather say it was completely different. Growing up as a creative person was completely different. All in all, my father, the Zeitgeist, the local events, a tyrant counsellor with good taste, the proximity of Austria - these all contributed to my upbringing and character. <br /> <br /> &lt;youtube&gt; https://www.youtube.com/watch?v=w2M_75860ew &lt;/youtube&gt;<br /> <br /> '''Were there any other musical influences, perhaps from abroad?'''<br /> <br /> For example, there was a radio show entitled Music Box on Austrian FM4 where one could catch acid music from Manchester or a brand new Nick Cave record. Interestingly, I wasn't inspired by these at the end of the ’80s. No matter if there was alternative, punk or new wave culture, I was basically inspired by the influences I mentioned earlier and I made my first materials quite instinctively. We founded our first band ÉV and our record, entitled &quot;Palomar&quot;, is thirty years old now. It contained a Jewish cantor’s singing, distorted bass, a recitation to a distant piano playing. By then I hadn’t known the [https://www.youtube.com/watch?v=w2M_75860ew music of Psychic TV] or Throbbing Gristle in its depth, but our music had quite a similar vibe. <br /> <br /> By the way, getting back to instinctiveness, I think it’s better not to think about creativity, art, creation. The best and the most realistic representation of everything is when we play like little children with whatever is at hand. I never wanted to have more in the Kádár Era, nor today: let me play, that’s all. <br /> <br /> '''What was exactly that kind of condensation that came to life and gave birth to Anima before it exploded? Did you have a higher heat of inner combustion or did it happen due to external changes? Or perhaps a series of lucky coincidences contributed to it?''' <br /> <br /> It was also around the time of the regime change that my social sensitivity was being formed and it did change a lot of things: the holocaust priest on our record “Shalom” or the cassette tape from ‘93, drug liberalization, so many issues of liberalism and its inner problems which wouldn’t have excited me so much if there hadn’t been regime change.<br /> <br /> To me the greatest influence at that time was the book “The Society of the Spectacle” by Guy Debord which later heavily influenced punk and modern arts. This book made a huge impact on me, I could say that to me it was a greater cataclysm than the regime change itself. <br /> <br /> From the effects I absorbed I might have tried to put together something new. Surely I did have former inspirations, for example, the spirituality of dub reggae or that kind of mixing technique when ten singers are [https://www.youtube.com/watch?v=dvs0MwlIiug waiting in Lee Perry’s garden]. He makes a basic theme, and each time they get a new version. And I think it was the birthplace of the whole remix culture. It influenced me a lot when we stood around the mixing desk together and the tunes were created out of whatever came out of us. This kind of spontaneity originated from folk music, but I never had to look for folk musicians because I was always surrounded by them. For example, [[Szilvia Bognár]] studied singing in the same building where my co-producer [[Gergely Németh]]’s mother had her folk lessons, and we rehearsed next to their room. So it happened completely naturally, no matter if professionals used to say how many components Anima had and how meticulously its music was built up. No, this was not the case at all. It was an exemplary case of what I did later.<br /> <br /> [[File:Zsolt Prieger 2.jpg|thumb| Zsolt Prieger. Photo by Bálint Szabó.]]<br /> '''Was this situation a concrete moment or rather a systematic workshop work?'''<br /> <br /> The latter. In a small village near Szombathely called Gencsapáti, there was a culture house and next to the folk music assembly room of the Vas county there was where we started. It was an unheated toilet room without a lavatory or a toilet, tubes were hanging out from the wall and we rehearsed there for a year. We didn’t quite have any goals, and then came Szilvia Bognár. Anima had already existed, the Prieger brothers used to make music at home so this type of collective seance was completely new. There were a few folk musicians, a half folk-musician half double-bass-player jazz musician who loved Kraftwerk, my younger brother who was a great songwriter, me and an Austrian reggae percussionist. Thanks to him our first concert was in Vienna, where there were shows like Kruder and Dorfmeister or Cypress Hill. It could have been a nice ending but after the regime change, some guys in Tilos Radio fell in love with this multicultural, folkish, melting-pot-like music. Of course, they imagined that this was all consciously invented and well made. Anima was a poignant success, radios and TV shows were playing our music a lot and we were nicely made to fit in some kind of box.<br /> <br /> By the way, our band ÉV had a poster in which a man takes off his skin and throws it away, and he stands there with his muscles and veins - it was actually a cutaway image from the Middle Age. And Anima needed to do exactly the same thing to survive. We had the greatest success when I thought as a creator that it was the most boring stuff we ever made. Anima had originally been a music workshop work thing but later became popular as a pop band. David Bowie took off his coat and joined a [https://www.youtube.com/watch?v=Ok5A8VoOMis band named Tin Machine]. That’s why I’m always telling people that the name doesn’t need to be changed, what has to be changed is the inner content, you have to throw out the old stuff and start from scratch. It’s a lot more pain, but a lot more excitement. <br /> <br /> '''Can we say that you didn’t look for pop music but pop music finally found you?'''<br /> <br /> Yes, it happened exactly like that. Our hits like Tekerd or Csinálj gyereket were meant to be jokes, but nobody believed me. After so many experimentations it’s normal that you play tunes, and when they become hits - as it turned out in our case -, I tried to escape by [https://www.youtube.com/watch?v=bOV57Bn2Y5Q starting a new project called Dubcity Fanatikz]. I put aside Anima until new members would join and we could start to make something completely new and different. <br /> <br /> &lt;youtube&gt; https://www.youtube.com/watch?v=MDO0kSSIf4I&amp;ab_channel=CirkoVid &lt;/youtube&gt;<br /> <br /> '''Looking back to those years, what do you think the aforementioned condensation manifested at its best?''' <br /> <br /> One of my favorite productions is Dubcity Fanatikz, and from that album, [https://youtu.be/VtB7qhxvFa0 Volga is my favorite song], [https://youtu.be/UJkiRaV7Ajs or Bradaz and Sistaz]. Or I even think of an even nicer [https://m.soundcloud.com/sword-and-scythe/sword-and-scythe-attila-i-miss experimental huntechno project, Sword and Scythe].<br /> <br /> &lt;youtube&gt;https://www.youtube.com/watch?v=bOV57Bn2Y5Q&lt;/youtube&gt;<br /> <br /> '''What have you been listening to, reading and watching recently?'''<br /> <br /> Many many things… I’ve been reading a lot of books by János Térey - due to the piece “Kaddish for János Térey” we made with Franciska Török - for example Boldogh-ház, Kétmalom utca. I’ve been listening to a lot of music, like László Borbély’s coming record this Autumn on which [https://www.youtube.com/watch?v=bOV57Bn2Y5Q he plays Messiaen’s Catalogue of Birds], or the Goldberg Variations. I listened to six David Bowie records completely unknown to me, like Blackstar, I really loved it. And to tell you the truth I’m not a Netflix fan but “The Devil All The Time” is a magnificent film almost evoking Dostoevsky. <br /> <br /> &lt;youtube&gt;https://youtube.com/watch?v=XRWojwu76dQ&lt;/youtube&gt;<br /> <br /> ==Notes==<br /> # ''Szombathely is the 10th biggest city in Hungary, located 220 km from Budapest close to the Austrian border.'' <br /> # ''ACB is a commercial gallery representing contemporary and Hungarian neo-avantgarde art alike. https://acbgaleria.hu'' <br /> # ''Népszabadság was founded during the Hungarian Revolution as the successor of the Szabad Nép which was established as the central organ of the Hungarian Working People's Party. Népszabadság was also the main organ of the party.'' <br /> # ''Beatrice (1969) is one of the most important rock bands of the ’70s-’80s, who played in many genres from disco to punk music.'' <br /> <br /> <br /> [[Category: Interviews]] [[Category: Hungarian Content]]</div>

Mtabtk http://database.unearthingthemusic.eu/index.php?title=%22Let_me_play%22_-_An_interview_with_Zsolt_Prieger&diff=2990 2020-10-19T16:35:34Z

<p>Mtabtk: </p> <hr /> <div>[[File:Zsolt Prieger 1.jpg|thumb|Zsolt Prieger in his home. Photo by Bálint Szabó.]]<br /> We met with [[Zsolt Prieger]], one of the leading figures of [[:Category: Hungary|Hungarian]] electronic and experimental pop music at his home in Martonvásár and asked him to share his impressions about how it felt like to grow up in Szombathely, experience the regime change and overcome his unanticipated pop success. <br /> <br /> His agility and child-like curiosity reveal a bottomless motivation, leading him to never give up on keeping up with an ever-accelerating world. One would need to grow wings in order to follow his endlessly winding associations. <br /> <br /> ''Interview and photos by Bálint Szabó.''<br /> <br /> == &quot;Let me play&quot; - An interview with Zsolt Prieger == <br /> <br /> '''Could you tell us about your first, base influences as a child? What kind of kid were you and how did you experience the ‘70s and ‘80s in Szombathely?'''<br /> <br /> First of all, I would like to emphasise my father’s influence. In my youth, I always had the desire to demonstrate my qualities or a kind of positive compulsion to conform that was basically caused by the clash of my father’s rigour and the exquisitely tender artistic context he provided. He had tremendous expectations and at the same time, he had a kind of tenderness and these two mixed up. The aforementioned desire to show my qualities have always been with me, after my father’s death as well. <br /> <br /> '''What was your father’s profession?''' <br /> <br /> He was a doctor, but a kind of a doctor who would cure my toothache with “The Magic Flute” and in my case it worked like a charm. As a child, I already listened to Bartók and to jazz. I remember my father showing me, on a Bergendy record, the differences between a vocal and an instrumental piece and telling me about instrumentation. The latter, which I would call the “dress of the music”, has always fascinated me. <br /> <br /> Getting back to your original question I dare to say that I was a really voracious and curious type of person. I always needed to know everything, I got excited about everything - both pop culture and experimenting, philosophy and dance. I also presented dance performances to my family, ballet with classical music. Or I wanted to be an archaeologist and I dug up my grandmother’s whole garden. I’m like my dog Luna, who gets excited when food is around - as I get excited about everything that includes art and spectacle, or spectacle in spectacle - a phenomenon that has no real substance or message. <br /> <br /> '''How was life in Szombathely&lt;sup&gt;1&lt;/sup&gt; then? Was it different? Was there any sort of cultural life and open-mindedness there?'''<br /> <br /> If I go back in time I have memories of a megapolis, and since then it has shrunken intellectually. In the first grade of high school, I used to go to the jazz club, or to the conferences of the Parisian Hungarian Workshop with my friend and then bench mate [[Gábor Pados]], now the head of ACB Gallery&lt;sup&gt;2&lt;/sup&gt;. I also attended a [[Katalin Ladik]] performance and a concert by [[István Grencsó]]’s Masina band at the local cultural centre. In that band played a saxophone player whose son was the co-founder of [[Anima Sound System|Anima]], besides me and my younger brother. I tend to link these paths and characters not only because I clearly see the beautifully crossing paths of these destinies, but because this feeling of inevitability has always been weaved through my life. <br /> <br /> &lt;youtube&gt;https://www.youtube.com/watch?v=z5aHP373Efw&lt;/youtube&gt;<br /> <br /> So my life as a child was a real hustle and bustle, bathed in incessant influences. My father used to read aloud the cultural section of the Népszabadság&lt;sup&gt;3&lt;/sup&gt; newspaper, all the poems by poets from [https://en.wikipedia.org/wiki/Ferenc_Juhász_(poet) Ferenc Juhász] to [https://en.wikipedia.org/wiki/László_Nagy_(poet) László Nagy], then on a Sunday afternoon after lunch, we would get into the car and go to the nearby village of Iszkáz, to the pear tree that László Nagy had planted. And we would sit there right under the tree waiting for hours for a ripened pear to fall into our laps. <br /> <br /> So my father’s influence, the jazz club, the exhibition room, the conferences of the Parisian Hungarian Workshop and our book and fine arts lover and supporter president of the council, György Gonda. It was not at all usual to have a politician who had built up an art gallery or supported the start of the Bartók Festival, while in other counties like Veszprém the leader wanted to lay dry the Balaton lake. To me, the Bartók Festival was the musical Mecca. There I saw John Cage, [[Krzysztof Penderecki|Penderecki]] or [[Witold Lutosławski|Lutoslawski]] at close quarters - I also have a picture in my head in which [[András Wilheim]], [[Péter Eötvös]] and John Cage are sitting in front of a sports house and I’m walking by them eating ice cream. It was absolutely natural that I would be eating ice cream while John Cage was writing a poem to the symphonic orchestra of my hometown. This is what my childhood looked like. I could add it was very special but I guess I would have experienced the same if I lived in Pécs or Debrecen. <br /> <br /> &lt;youtube&gt;https://youtube.com/watch?v=O--VJ5BH2u8&lt;/youtube&gt;<br /> <br /> '''You seem to imply that life was better then...'''<br /> <br /> Sometimes I self-flagellate myself for saying such things after the year 2000, but I have to confess that we lived in an amazingly free, network-like and almost modern-postmodern community in the country, while there was a dictatorship indeed. Of course, there were some restrictions - for example, we went to a [[Beatrice]]&lt;sup&gt;4&lt;/sup&gt; concert by train with Gábor Pados and there were some policemen keeping an eye on us. But there was also a mysteriousness, a kind of winking-at-each-other that was a nice thing to live with. I went to Pécs to the Csontváry museum or to music festivals. I hitchhiked to Debrecen on a truck carrying tons of apples to see a concert by Anthony Braxton, [[György Szabados]] and Joe Zawinul. This was the first time I saw somebody playing multiple synthesizers at the same time. And it also felt like a prison - from outside it was actually a prison, but inside it felt like cultural embalming where I got influences that still last up until now. <br /> <br /> &lt;youtube&gt; https://www.youtube.com/watch?v=fKOq5LFY5Zk &lt;/youtube&gt;<br /> <br /> '''And when did you decide to become a musician?'''<br /> <br /> In the beginning, I didn’t want to be one at all. I wanted to work with theatre and film, but I considered both unaffordable because they needed so much money. And I also realised that someone so impatient as me shouldn’t be a theatrical or film person, because it takes a couple of years to get one piece ready, and that is already too late for me. Anyways, I consider all branches of art as one thing. Like I begged my mother to buy twelve cinema tickets for a Miklós Jancsó series at the Mini cinema of Szombathely. There was actually nobody in the screening room except me and we needed to buy twelve tickets so that they would start the screening. And there was also a kind of Gesamtkunstwerk in the film: Tamás Cseh sang and played music and the direction was quite experimental. <br /> During the Kádár Era, these kinds of things went together and were not yet separated. I give you an example: at high school, we were all taken to watch the film Csontváry made by Zoltán Huszárik. It’s not a classic film at all, its story is nonlinear, presenting the Kádár Era and the time of Csontváry at the same time. Half of the students were laughing at it but we were watching a film by Huszárik. This was the Zeitgeist, and I don’t think at all that everything was much better, I’d rather say it was completely different. Growing up as a creative person was completely different. All in all, my father, the Zeitgeist, the local events, a tyrant counsellor with good taste, the proximity of Austria - these all contributed to my upbringing and character. <br /> <br /> &lt;youtube&gt; https://www.youtube.com/watch?v=w2M_75860ew &lt;/youtube&gt;<br /> <br /> '''Were there any other musical influences, perhaps from abroad?'''<br /> <br /> For example, there was a radio show entitled Music Box on Austrian FM4 where one could catch acid music from Manchester or a brand new Nick Cave record. Interestingly, I wasn't inspired by these at the end of the ’80s. No matter if there was alternative, punk or new wave culture, I was basically inspired by the influences I mentioned earlier and I made my first materials quite instinctively. We founded our first band ÉV and our record, entitled &quot;Palomar&quot;, is thirty years old now. It contained a Jewish cantor’s singing, distorted bass, a recitation to a distant piano playing. By then I hadn’t known the [https://www.youtube.com/watch?v=w2M_75860ew music of Psychic TV] or Throbbing Gristle in its depth, but our music had quite a similar vibe. <br /> <br /> By the way, getting back to instinctiveness, I think it’s better not to think about creativity, art, creation. The best and the most realistic representation of everything is when we play like little children with whatever is at hand. I never wanted to have more in the Kádár Era, nor today: let me play, that’s all. <br /> <br /> '''What was exactly that kind of condensation that came to life and gave birth to Anima before it exploded? Did you have a higher heat of inner combustion or did it happen due to external changes? Or perhaps a series of lucky coincidences contributed to it?''' <br /> <br /> It was also around the time of the regime change that my social sensitivity was being formed and it did change a lot of things: the holocaust priest on our record “Shalom” or the cassette tape from ‘93, drug liberalization, so many issues of liberalism and its inner problems which wouldn’t have excited me so much if there hadn’t been regime change.<br /> <br /> To me the greatest influence at that time was the book “The Society of the Spectacle” by Guy Debord which later heavily influenced punk and modern arts. This book made a huge impact on me, I could say that to me it was a greater cataclysm than the regime change itself. <br /> <br /> From the effects I absorbed I might have tried to put together something new. Surely I did have former inspirations, for example, the spirituality of dub reggae or that kind of mixing technique when ten singers are [https://www.youtube.com/watch?v=dvs0MwlIiug waiting in Lee Perry’s garden]. He makes a basic theme, and each time they get a new version. And I think it was the birthplace of the whole remix culture. It influenced me a lot when we stood around the mixing desk together and the tunes were created out of whatever came out of us. This kind of spontaneity originated from folk music, but I never had to look for folk musicians because I was always surrounded by them. For example, [[Szilvia Bognár]] studied singing in the same building where my co-producer [[Gergely Németh]]’s mother had her folk lessons, and we rehearsed next to their room. So it happened completely naturally, no matter if professionals used to say how many components Anima had and how meticulously its music was built up. No, this was not the case at all. It was an exemplary case of what I did later.<br /> <br /> [[File:Zsolt Prieger 2.jpg Zsolt Prieger. Photo by Bálint Szabó.]]<br /> '''Was this situation a concrete moment or rather a systematic workshop work?'''<br /> <br /> The latter. In a small village near Szombathely called Gencsapáti, there was a culture house and next to the folk music assembly room of the Vas county there was where we started. It was an unheated toilet room without a lavatory or a toilet, tubes were hanging out from the wall and we rehearsed there for a year. We didn’t quite have any goals, and then came Szilvia Bognár. Anima had already existed, the Prieger brothers used to make music at home so this type of collective seance was completely new. There were a few folk musicians, a half folk-musician half double-bass-player jazz musician who loved Kraftwerk, my younger brother who was a great songwriter, me and an Austrian reggae percussionist. Thanks to him our first concert was in Vienna, where there were shows like Kruder and Dorfmeister or Cypress Hill. It could have been a nice ending but after the regime change, some guys in Tilos Radio fell in love with this multicultural, folkish, melting-pot-like music. Of course, they imagined that this was all consciously invented and well made. Anima was a poignant success, radios and TV shows were playing our music a lot and we were nicely made to fit in some kind of box.<br /> <br /> By the way, our band ÉV had a poster in which a man takes off his skin and throws it away, and he stands there with his muscles and veins - it was actually a cutaway image from the Middle Age. And Anima needed to do exactly the same thing to survive. We had the greatest success when I thought as a creator that it was the most boring stuff we ever made. Anima had originally been a music workshop work thing but later became popular as a pop band. David Bowie took off his coat and joined a [https://www.youtube.com/watch?v=Ok5A8VoOMis band named Tin Machine]. That’s why I’m always telling people that the name doesn’t need to be changed, what has to be changed is the inner content, you have to throw out the old stuff and start from scratch. It’s a lot more pain, but a lot more excitement. <br /> <br /> '''Can we say that you didn’t look for pop music but pop music finally found you?'''<br /> <br /> Yes, it happened exactly like that. Our hits like Tekerd or Csinálj gyereket were meant to be jokes, but nobody believed me. After so many experimentations it’s normal that you play tunes, and when they become hits - as it turned out in our case -, I tried to escape by [https://www.youtube.com/watch?v=bOV57Bn2Y5Q starting a new project called Dubcity Fanatikz]. I put aside Anima until new members would join and we could start to make something completely new and different. <br /> <br /> &lt;youtube&gt; https://www.youtube.com/watch?v=MDO0kSSIf4I&amp;ab_channel=CirkoVid &lt;/youtube&gt;<br /> <br /> '''Looking back to those years, what do you think the aforementioned condensation manifested at its best?''' <br /> <br /> One of my favorite productions is Dubcity Fanatikz, and from that album, [https://youtu.be/VtB7qhxvFa0 Volga is my favorite song], [https://youtu.be/UJkiRaV7Ajs or Bradaz and Sistaz]. Or I even think of an even nicer [https://m.soundcloud.com/sword-and-scythe/sword-and-scythe-attila-i-miss experimental huntechno project, Sword and Scythe].<br /> <br /> &lt;youtube&gt;https://www.youtube.com/watch?v=bOV57Bn2Y5Q&lt;/youtube&gt;<br /> <br /> '''What have you been listening to, reading and watching recently?'''<br /> <br /> Many many things… I’ve been reading a lot of books by János Térey - due to the piece “Kaddish for János Térey” we made with Franciska Török - for example Boldogh-ház, Kétmalom utca. I’ve been listening to a lot of music, like László Borbély’s coming record this Autumn on which [https://www.youtube.com/watch?v=bOV57Bn2Y5Q he plays Messiaen’s Catalogue of Birds], or the Goldberg Variations. I listened to six David Bowie records completely unknown to me, like Blackstar, I really loved it. And to tell you the truth I’m not a Netflix fan but “The Devil All The Time” is a magnificent film almost evoking Dostoevsky. <br /> <br /> &lt;youtube&gt;https://youtube.com/watch?v=XRWojwu76dQ&lt;/youtube&gt;<br /> <br /> ==Notes==<br /> # ''Szombathely is the 10th biggest city in Hungary, located 220 km from Budapest close to the Austrian border.'' <br /> # ''ACB is a commercial gallery representing contemporary and Hungarian neo-avantgarde art alike. https://acbgaleria.hu'' <br /> # ''Népszabadság was founded during the Hungarian Revolution as the successor of the Szabad Nép which was established as the central organ of the Hungarian Working People's Party. Népszabadság was also the main organ of the party.'' <br /> # ''Beatrice (1969) is one of the most important rock bands of the ’70s-’80s, who played in many genres from disco to punk music.'' <br /> <br /> <br /> [[Category: Interviews]] [[Category: Hungarian Content]]</div>

Mtabtk http://database.unearthingthemusic.eu/index.php?title=180_CSOPORT&diff=2682 2020-07-08T06:47:27Z

<p>Mtabtk: </p> <hr /> <div>[[File:04 19860921 Csok Istvan Keptar Szekesfehervar.jpg|thumb]]<br /> Group 180 (180-as Csoport in Hungarian) was a Hungarian ensemble dedicated to the performance of new music, active from 1978 until 1990. The group achieved recognition for their performances and recordings of contemporary music, and its membership included several young Hungarian composers (among them [[László Melis]] and [[Tibor Szemző]], the ensemble's co-founders, who were later joined by others such as [[László Gőz]], [[Tamás Tóth]], [[Ferenc Körmendy]], [[András Soós]] and [[Béla Faragó]]), whose works formed an important part of the ensemble's repertoire. <br /> <br /> This brought the group prominence as one of the preeminent European new music ensembles, and brought international attention to the emerging trend of Hungarian minimalism.<br /> <br /> In addition to works by Hungarian composers, Group 180 also performed works by minimal composers from other nations, such as Philip Glass, Roberto Carnevale, Steve Reich and Frederic Rzewski.<br /> <br /> == Related Content ==<br /> [http://database.unearthingthemusic.eu/blog/material/180-csoport-group-180/ &quot;180 CSOPORT - 1979-1990&quot; and materials from the Artpool-Körmendy collection @ UMCSEET Music]<br /> <br /> [[Category:Hungarian Profiles]]</div>

Mtabtk http://database.unearthingthemusic.eu/index.php?title=Gy%C3%B6rgy_Kurt%C3%A1g&diff=2108 2020-05-04T14:01:19Z

<p>Mtabtk: </p> <hr /> <div>[[File:Kurtág György-001.jpg|thumb|György Kurtág in 2014. Picture by Lenke Szilágyi]]<br /> György Kurtág (1926) is a [[:Category: Hungary|Hungarian]] composer, pianist and music teacher, regarded as one of the most important composers in Hungarian music life after the Second World War. He was born at Lugos, a town annexed by [[:Category: Romania|Romania]] in 1926. <br /> <br /> He began his piano studies at the age of five, under Magda Kardos (who was a former pupil of Bela Bartók) and studied composition teacher under Max Eisikovits. He later became a student of the Liszt Ferenc Academy of Music in Budapest from 1945 to 1955, attending courses by Pál Kadosa (piano), Sándor Veress and Ferenc Farkas (composition) and the famous Leó Weiner (chamber music). He graduated from piano and chamber music studies in 1951, and from composition studies in 1955, also receiving the Erkel Prize in the same year. <br /> <br /> In 1957–1958, Kurtág went to Paris to learn from Marianne Stein, while simultaneously attending lessons by Darius Milhaud and Olivier Messiaen. From 1960 to 1968 he was a tutor of the National Philharmonic in Budapest. Soon Kurtág became a piano (and later, chamber music) professor at the Liszt Ferenc Academy of Music. In 1971, he was in West Berlin for a year, thanks to a scholarship by the Art Project of DAAD. He was awarded the Kossuth Prize in 1973, and honored by the French State in 1985. He later left the Academy of Music, but still taught some courses until 1993.<br /> <br /> Kurtág also became a member of the Bavarian Academy of Fine Arts in Munich and the Academy of Arts in Berlin in 1987. He was in Vienna for a year, where he composed music and led master courses at the Konzerthaus. He would again receive the Kossuth Prize in 1996 for his oeuvre. In 1999 he was invited to France, where he remained for two years, by the French Ensemble Interontemporain, the Conservatoire (Paris), the Cité de la Musique and the Festival d’ Automne á Paris. He was awarded the John Cage Prize in New York in 2000, and named an honored member of the American Academy of Art and Literature. He moved to the neighborhood of Bordeaux with his wife, the pianist and piano teacher Márta Kurtág in 2002. He was honoured with a 5-day festival by the Budapest Music Center in his 80th birthday (Kurtág 80) in February 2006. The Hungarian State awarded him the civil section of the Great Cross of the Order of the Hungarian Republic. <br /> <br /> Thanks mainly to his chamber works (for example ’String Quartet, Op. 1.’ – 1959; ’Eight Duos, Op. 4.’ – 1961; ’Transcriptions from Machaut to J. S. Bach’ – 1976, 1985, etc.). György Kurtág is recognized as one of the most important modern Hungarian composers. His art originates from Bartók’s music, but he was also strongly influenced by the impressionistic sound of Anton Webern. Kurtág is known for his concentrated works with compact types of equipment and forms. György Kurtág was the first in Hungary to break up with the music practices of the 1950s, and began creating a new oeuvre when he was already a successful composer. Out of his peers in Hungarian composition, he was the only one who regularly visited the performances of the [[New Music Studio]]. He documented his impressions of those experiences in a little homage entitled ’Games.’ Thankful for his support, the members of the Studio paid tribute to him with the concert ’Hommage à Kurtág’ as a present on his 50th birthday. Kurtág always liked working with literary materials, creating compositions inspired by famous poets and writers: for example, ’Four Songs to Poems by János Pilinszky, Op. 11.’ (1975), ’Attila József Fragments, Op. 20.’ (1982), ’Eight Choruses to Poems by Dezső Tandori, Op. 23.’ (1982), ’Kafka-Fragments, Op. 24.’ (1987). His Russian song-cycles, accompanied by a chamber orchestra, the ’Messages of the Late R. V. Troussova, Op. 17.’ (1980) were staged in 1981, and it brought the composer international fame. He was awarded music prize of the Foundation of Monaco Duke Pierre for his ’Grabstein für Stephan, Op. 15c’ (1979) and ’Op. 27 No. 2 (Double Concerto)’ (1990) in 1993. In the summer of 2017, he finished his first opera (’Fin de partie / Endgame’) after almost 10 years of writing. The premiere of the opera – which was composed of the Samuel Beckett drama of the same name – was in the Scala (Milan) on November 15th 2018.<br /> <br /> == Discography == <br /> * 1987 - Flowers, Chants, Hymn, Plays and Games for Cimbalom <br /> * 1990 - Musikprotokoll '90 <br /> * 1991 - Carter, Elliott: Quintet; Donatoni, Franco: Blow; Kurtág, György: Quintetto; Ligeti, György: Zehn Stücke Stradivarius <br /> * 1993 - Kurtág György: Dalciklusok [Kurtág, György: Song Cycles] <br /> * 1994 - Kurtág György - Portraitkonzert - Salzburg, 1993. augusztus 10. [Kurtág, György - Portraitkonzert - Salzburg, 10. 8. 1993.] <br /> * 1994 - Ligeti / Kurtág / Orbán / Szerványszky <br /> * 1995 - Kurtág - Robert Schumann: Hommage á R.Sch. <br /> * 1995 - Kurtág György művei [Works by György Kurtág] <br /> * 1995 - Kafka-töredékek, Op. 24 [Kurtág, György: Kafka-Fragments, Op. 24] <br /> * 1996 - Grabstein Für Stephan; Stele; Stockhausen: Gruppen <br /> * 1996 - Musik für Streichinstrumente<br /> * 1997 - Játékok [Kurtág, György: Games] <br /> * 1998 - Hommage á R. Sch. Op.15d; Florentz Jean-Louis: L'Ange du Tamaris, Op. 12; Ligeti György: Trio for horn, violin &amp; piano [&quot;Hommage à Brahms&quot;]; Pesson Gerard: Récréations françaises: bagatelles <br /> * 1998 - Művek szoprán hangra [Kurtág, György: Works for Soprano] <br /> * 1998 - Mentsük meg a Zeneakadémiát! [Let's Save the Liszt Academy!] <br /> * 1999 - Ganz, Bruno: Wenn Wasser wäre <br /> * 1999 - Kortárs magyar szerzők orgonaművei [Hungarian Contemporary Organ Music] <br /> * 1999 - Rückblick Moderne - Orchestermusik im 20. Jahrhundert [Rückblick Moderne - 20th Century Orchestral Musik] <br /> * 1999 - Solos - XX. századi magyar kompozíciók szóló fuvolára [20th C. Hungarian Works for Flute] <br /> * 2000 - Kim Kashkashian - Bartók / Eötvös / Kurtág <br /> * 2000 - Ligeti / Kurtág / Veress - Wind Quintets <br /> * 2000 - Marlboro Music Festival - 50th Anniversary Album <br /> * 2001 - Psy: A cimbalom varázsa [Psy: Charm of the Cimbalom] <br /> * 2001 - Tihanyi Gellért: Kurtág/Bartók/Faragó/ Stravinsky/Reich <br /> * 2001 - Vékony Ildikó: Szálkák [Ildikó Vékony: Splinters] <br /> * 2002 - Bartók Béla: 44 Duos for Two Violins/Ligeti György: Ballade und Tanz/Kurtág György: Ligatura - Message to Frances-Marie Op. 31b [The 2002 -Answered Unanswered Question] <br /> * 2002 - Kurtág, Szőllősy, Sáry, Serei, Sári, Gyöngyössy <br /> * 2003 - Kurtág György: Signs, Games and Messages <br /> * 2003 - Viola Space - Japan 10th Anniversary <br /> * 2004 - Music Colors - Hungarian Contemporary Music (1989-2004)<br /> * 2004 - Piano Four Hands - Two Pianos in the XX Century Dynamic <br /> * 2005 - a la Carte - szólódarabok gordonkára [a la Carte - Solo Works for Cello] <br /> * 2005 - Die Revolution der Klange - Musik im 20. Jahrhundert <br /> * 2005 - La langue maternelle - Mother Tongue - Bartók, Ligeti, Kurtág, Eötvös <br /> * 2005 - Leaving Home: Orchestral Music in the 20th Century <br /> * 2006 - Játékok [Games] <br /> * 2007 - Kurtág 80 <br /> * 2007 - Játékok; Szálkák; Grabstein für Stephan [Games; Splinters; Grabstein für Stephan] <br /> * 2008 - Játékok 2. [Games - Selection 2] <br /> * 2009 - Harpchipelago - Kortárs magyar kompozíciók hárfára [Harpchipelago - Contemporary Hungarian Works for Harp] <br /> * 2009 - Kosmos / Crumb - Kurtág - Stockhausen - Bartók - Eötvös <br /> * 2010 - Ligeti and Kurtág at Carnegie Hall <br /> * 2015 - In memoriam Haydée - Játékok, átiratok szóló zongorára és négy kézre [In memoriam Haydée - Games and Transcriptions for piano solo and four hands] <br /> * 2016 - Kurtágék Kurtágtól játszanak [György and Márta Kurtág play Kurtág] <br /> * 2016 - Sir Simon Rattle Conducts and Explores Music of the 20th Century Arthaus Musik <br /> <br /> <br /> <br /> &lt;youtube&gt; https://www.youtube.com/watch?v=VAORmlCX2Qk &lt;/youtube&gt;<br /> <br /> == References ==<br /> <br /> * https://info.bmc.hu/index.php?node=artists&amp;table=SZERZO&amp;id=10;<br /> * https://hu.wikipedia.org/wiki/Kurt%C3%A1g_Gy%C3%B6rgy;<br /> * Who’s who in Hungarian Music Life? Edited by András Székely. Budapest, Zeneműkiadó, 1979. 189.;<br /> * László Vidovszky: The New Music Studio and it’s Preludes. An interview by Kristóf Weber. In: Today, 1988. 7–8. 633–639.<br /> <br /> [[Category: Hungarian Profiles]]</div>

Mtabtk http://database.unearthingthemusic.eu/index.php?title=K%C3%A1roly_Binder&diff=2107 2020-05-04T13:25:22Z

<p>Mtabtk: </p> <hr /> <div>[[File:Binder Károly (2017).jpg|thumb|Károly Binder in 2017. Picture by Irk Réka]]<br /> Károly Binder (1956) is an [[:Category: Hungary|Hungarian]] composer, pianist and music teacher.<br /> <br /> He began his classical music studies at the age of five. At first, playing the piano was a hobby for him and he harbored ambitions of being a doctor. Despite applying to medical school three times, he was rejected due to his intellectual origins (his father was a doctor, his mother was a teacher) being anathema to the official socialist system, and thus he decided to join the Jazz Department of the Béla Bartók Vocational Music School. He graduated under János Gonda's tutelage in 1979, and continued his classical music studies meanwhile. He got his diploma (summa cum laude) in 2000 at the Jazz Department of the Music Teacher Training Institute of Budapest (Liszt Ferenc University of Music) as a jazz pianist, teacher, jazz composer and teacher of jazz theory. He also received a diploma in 2003 from the Liszt Ferenc University of Music (for singing, music, solfeggio, music theory, choral conducting). <br /> <br /> In 1981, he won the International Jazz Pianist Competition in Kalisz (Poland). He recorded his first album in 1982 with the contribution of world-famous Danish free jazz musician John Tchicai. In 1989, Károly Binder founded the Binder Music Manufactory record label. A few years later, Hungaroton Records scrapped one of his albums because they couldn’t store it, which led Binder to publish his and other artist’s records himself. Since 1993 he published more than 100 records: his own albums, and music beyond the interests of profit-driven big record labels – mainly modern, jazz and experimental music. He taught at the Erkel Ferenc Music School, the Jazz Department of the Liszt Ferenc Academy of Music, the Jazz Department of the Music Teacher Training Insitute of Budapest (Liszt Ferenc University of Music). Since 2007 he is the department head and an associate professor of the Jazz Department of the Liszt Ferenc University of Music.<br /> <br /> == Discography ==<br /> <br /> * 1985 - In Illo Tempore <br /> * 1989 - Bernd Köppen, Károly Binder: Diagonalmusic <br /> * 1989 - Binder - Süle: For You. Two Pianos <br /> * 1989 - Kontinentspiel <br /> * 1991 - Erózió <br /> * 1992 - Little Song <br /> * 1993 - Binder Károly &amp; Szőke Szabolcs - feat. Theo Jörgensmann, Federico Sanesi - Pangea: Live at Music Academy <br /> * 1993 - Forgotten Pictures <br /> * 1993 - Binder-Juhász: Christmas Song <br /> * 1995 - Károly Binder, Theo Jörgensmann: In Budapest <br /> * 1996 - Binder Károly - Ramesh Shotham: Dance Music<br /> * 1996 - Binder Quartet: Senior és Adolphis <br /> * 1996 - Binder Quintet featuring John Tchicai <br /> * 1997 - 17 Opus <br /> * 1998 - Retropolis - Old songs, new dreams <br /> * 1999 - A History of Hungarian Jazz <br /> * 2000 - The Prepared Piano 1. <br /> * 2000 - Binder-Borbély: Hangok [Binder-Borbély: Sounds] <br /> * 2002 - The Prepared Piano 2. <br /> * 2004 - Binder - Borbély: 7 Duets <br /> * 2005 - Hungarian Jazz History 15. - Binder Károly: Az örök visszatérés mítosza [Hungarian Jazz History 15. - Binder, Károly: The Myth of Eternal Return] <br /> * 2011 - Binder Károly, Theo Jörgensmann: Blue in Blue <br /> * 2016 - Eastern European Sounds <br /> <br /> &lt;youtube&gt; https://www.youtube.com/watch?v=5Mv9z6LSJd8 &lt;/youtube&gt;<br /> <br /> == References ==<br /> <br /> * Gábor Simon Géza: The History of the Hungarian Jazz. Budapest, Magyar Jazzkutatási Társaság, 1999. október. 203–205.;<br /> * Attila Retkes: Old Song, New Dreams. Ancient Culture and Modern Civilization in Károly Binder’s new album. In: Hungarian Newspaper [Magyar Hírlap], 30th October 1998. 8.; <br /> * http://zti.hu/files/mza/docs/Oral_History/BinderKaroly.pdf<br /> <br /> <br /> [[Category: Hungarian Profiles]]</div>

Mtabtk http://database.unearthingthemusic.eu/index.php?title=K%C3%A1roly_Binder&diff=2106 2020-05-04T13:24:51Z

<p>Mtabtk: </p> <hr /> <div>[[File:Binder Károly (2017).jpg|thumb|Károly Binder in 2017. Picture by Irk Réka]]<br /> Károly Binder (1956) is an [[:Category: Hungary|Hungarian]] composer, pianist and music teacher.<br /> <br /> He began his classical music studies at the age of five. At first, playing the piano was a hobby for him and he harbored ambitions of being a doctor. Despite applying to medical school three times, he was rejected due to his intellectual origins (his father was a doctor, his mother was a teacher) being anathema to the official socialist system, and thus he decided to join the Jazz Department of the Béla Bartók Vocational Music School. He graduated under János Gonda's tutelage in 1979, and continued his classical music studies meanwhile. He got his diploma (summa cum laude) in 2000 at the Jazz Department of the Music Teacher Training Institute of Budapest (Liszt Ferenc University of Music) as a jazz pianist, teacher, jazz composer and teacher of jazz theory. He also received a diploma in 2003 from the Liszt Ferenc University of Music (for singing, music, solfeggio, music theory, choral conducting). <br /> <br /> In 1981, he won the International Jazz Pianist Competition in Kalisz (Poland). He recorded his first album in 1982 with the contribution of world-famous Danish free jazz musician John Tchicai. In 1989, Károly Binder founded the Binder Music Manufactory record label. A few years later, Hungaroton Records scrapped one of his albums because they couldn’t store it, which led Binder to publish his and other artist’s records himself. Since 1993 he published more than 100 records: his own albums, and music beyond the interests of profit-driven big record labels – mainly modern, jazz and experimental music. He taught at the Erkel Ferenc Music School, the Jazz Department of the Liszt Ferenc Academy of Music, the Jazz Department of the Music Teacher Training Insitute of Budapest (Liszt Ferenc University of Music). Since 2007 he is the department head and an associate professor of the Jazz Department of the Liszt Ferenc University of Music.<br /> <br /> == Discography ==<br /> <br /> * 1985 - In Illo Tempore <br /> * 1989 - Bernd Köppen, Károly Binder: Diagonalmusic <br /> * 1989 - Binder - Süle: For You. Two Pianos <br /> * 1989 - Kontinentspiel <br /> * 1991 - Erózió <br /> * 1992 - Little Song <br /> * 1993 - Binder Károly &amp; Szőke Szabolcs - feat. Theo Jörgensmann, Federico Sanesi - Pangea: Live at Music Academy <br /> * 1993 - Forgotten Pictures <br /> * 1993 - Binder-Juhász: Christmas Song <br /> * 1995 - Károly Binder, Theo Jörgensmann: In Budapest <br /> * 1996 - Binder Károly - Ramesh Shotham: Dance Music<br /> * 1996 - Binder Quartet: Senior és Adolphis <br /> * 1996 - Binder Quintet featuring John Tchicai <br /> * 1997 - 17 Opus (1997)<br /> * 1998 - Retropolis - Old songs, new dreams <br /> * 1999 - A History of Hungarian Jazz <br /> * 2000 - The Prepared Piano 1. <br /> * 2000 - Binder-Borbély: Hangok [Binder-Borbély: Sounds] (2000)<br /> * 2002 - The Prepared Piano 2. (2002)<br /> * 2004 - Binder - Borbély: 7 Duets (2004)<br /> * 2005 - Hungarian Jazz History 15. - Binder Károly: Az örök visszatérés mítosza [Hungarian Jazz History 15. - Binder, Károly: The Myth of Eternal Return] <br /> * 2011 - Binder Károly, Theo Jörgensmann: Blue in Blue (2011)<br /> * 2016 - Eastern European Sounds (2016)<br /> <br /> &lt;youtube&gt; https://www.youtube.com/watch?v=5Mv9z6LSJd8 &lt;/youtube&gt;<br /> <br /> == References ==<br /> <br /> * Gábor Simon Géza: The History of the Hungarian Jazz. Budapest, Magyar Jazzkutatási Társaság, 1999. október. 203–205.;<br /> * Attila Retkes: Old Song, New Dreams. Ancient Culture and Modern Civilization in Károly Binder’s new album. In: Hungarian Newspaper [Magyar Hírlap], 30th October 1998. 8.; <br /> * http://zti.hu/files/mza/docs/Oral_History/BinderKaroly.pdf<br /> <br /> <br /> [[Category: Hungarian Profiles]]</div>

Mtabtk http://database.unearthingthemusic.eu/index.php?title=K%C3%A1roly_Binder&diff=2105 2020-05-04T13:24:39Z

<p>Mtabtk: </p> <hr /> <div>[[File:Binder Károly (2017).jpg|thumb|Károly Binder in 2017. Picture by Irk Réka]]<br /> Károly Binder (1956) is an [[:Category: Hungary|Hungarian]] composer, pianist and music teacher.<br /> <br /> He began his classical music studies at the age of five. At first, playing the piano was a hobby for him and he harbored ambitions of being a doctor. Despite applying to medical school three times, he was rejected due to his intellectual origins (his father was a doctor, his mother was a teacher) being anathema to the official socialist system, and thus he decided to join the Jazz Department of the Béla Bartók Vocational Music School. He graduated under János Gonda's tutelage in 1979, and continued his classical music studies meanwhile. He got his diploma (summa cum laude) in 2000 at the Jazz Department of the Music Teacher Training Institute of Budapest (Liszt Ferenc University of Music) as a jazz pianist, teacher, jazz composer and teacher of jazz theory. He also received a diploma in 2003 from the Liszt Ferenc University of Music (for singing, music, solfeggio, music theory, choral conducting). <br /> <br /> In 1981, he won the International Jazz Pianist Competition in Kalisz (Poland). He recorded his first album in 1982 with the contribution of world-famous Danish free jazz musician John Tchicai. In 1989, Károly Binder founded the Binder Music Manufactory record label. A few years later, Hungaroton Records scrapped one of his albums because they couldn’t store it, which led Binder to publish his and other artist’s records himself. Since 1993 he published more than 100 records: his own albums, and music beyond the interests of profit-driven big record labels – mainly modern, jazz and experimental music. He taught at the Erkel Ferenc Music School, the Jazz Department of the Liszt Ferenc Academy of Music, the Jazz Department of the Music Teacher Training Insitute of Budapest (Liszt Ferenc University of Music). Since 2007 he is the department head and an associate professor of the Jazz Department of the Liszt Ferenc University of Music.<br /> <br /> == Discography ==<br /> <br /> * 1985 - In Illo Tempore <br /> * 1989 - Bernd Köppen, Károly Binder: Diagonalmusic <br /> * 1989 - Binder - Süle: For You. Two Pianos <br /> * 1989 - Kontinentspiel <br /> * 1991 - Erózió <br /> * 1992 - Little Song <br /> * 1993 - Binder Károly &amp; Szőke Szabolcs - feat. Theo Jörgensmann, Federico Sanesi - Pangea: Live at Music Academy <br /> * 1993 - Forgotten Pictures <br /> * 1993 - Binder-Juhász: Christmas Song <br /> * 1995 - Károly Binder, Theo Jörgensmann: In Budapest <br /> * 1996 - Binder Károly - Ramesh Shotham: Dance Music<br /> * 1996 - Binder Quartet: Senior és Adolphis <br /> * 1996 - Binder Quintet featuring John Tchicai <br /> * 1997 - 17 Opus (1997)<br /> * 1998 - Retropolis - Old songs, new dreams <br /> * 1999 - A History of Hungarian Jazz <br /> * 2000 - The Prepared Piano 1. <br /> * 2000 - Binder-Borbély: Hangok [Binder-Borbély: Sounds] (2000)<br /> * 2002 - The Prepared Piano 2. (2002)<br /> * 2004 - Binder - Borbély: 7 Duets (2004)<br /> * 2005 - Hungarian Jazz History 15. - Binder Károly: Az örök visszatérés mítosza [Hungarian Jazz History 15. - Binder, Károly: The Myth of Eternal Return] <br /> * 2011 - Binder Károly, Theo Jörgensmann: Blue in Blue (2011)<br /> * 2016 - Eastern European Sounds (2016)<br /> <br /> &lt;youtube&gt; https://www.youtube.com/watch?v=5Mv9z6LSJd8 &lt;/youtube&gt;<br /> <br /> <br /> == References ==<br /> <br /> * Gábor Simon Géza: The History of the Hungarian Jazz. Budapest, Magyar Jazzkutatási Társaság, 1999. október. 203–205.;<br /> * Attila Retkes: Old Song, New Dreams. Ancient Culture and Modern Civilization in Károly Binder’s new album. In: Hungarian Newspaper [Magyar Hírlap], 30th October 1998. 8.; <br /> * http://zti.hu/files/mza/docs/Oral_History/BinderKaroly.pdf<br /> <br /> <br /> [[Category: Hungarian Profiles]]</div>

Mtabtk http://database.unearthingthemusic.eu/index.php?title=K%C3%A1roly_Binder&diff=2104 2020-05-04T13:24:22Z

<p>Mtabtk: </p> <hr /> <div>[[File:Binder Károly (2017).jpg|thumb|Károly Binder in 2017. Picture by Irk Réka]]<br /> Károly Binder (1956) is an [[:Category: Hungary|Hungarian]] composer, pianist and music teacher.<br /> <br /> He began his classical music studies at the age of five. At first, playing the piano was a hobby for him and he harbored ambitions of being a doctor. Despite applying to medical school three times, he was rejected due to his intellectual origins (his father was a doctor, his mother was a teacher) being anathema to the official socialist system, and thus he decided to join the Jazz Department of the Béla Bartók Vocational Music School. He graduated under János Gonda's tutelage in 1979, and continued his classical music studies meanwhile. He got his diploma (summa cum laude) in 2000 at the Jazz Department of the Music Teacher Training Institute of Budapest (Liszt Ferenc University of Music) as a jazz pianist, teacher, jazz composer and teacher of jazz theory. He also received a diploma in 2003 from the Liszt Ferenc University of Music (for singing, music, solfeggio, music theory, choral conducting). <br /> <br /> In 1981, he won the International Jazz Pianist Competition in Kalisz (Poland). He recorded his first album in 1982 with the contribution of world-famous Danish free jazz musician John Tchicai. In 1989, Károly Binder founded the Binder Music Manufactory record label. A few years later, Hungaroton Records scrapped one of his albums because they couldn’t store it, which led Binder to publish his and other artist’s records himself. Since 1993 he published more than 100 records: his own albums, and music beyond the interests of profit-driven big record labels – mainly modern, jazz and experimental music. He taught at the Erkel Ferenc Music School, the Jazz Department of the Liszt Ferenc Academy of Music, the Jazz Department of the Music Teacher Training Insitute of Budapest (Liszt Ferenc University of Music). Since 2007 he is the department head and an associate professor of the Jazz Department of the Liszt Ferenc University of Music.<br /> <br /> == Discography ==<br /> <br /> * 1985 - In Illo Tempore <br /> * 1989 - Bernd Köppen, Károly Binder: Diagonalmusic <br /> * 1989 - Binder - Süle: For You. Two Pianos <br /> * 1989 - Kontinentspiel <br /> * 1991 - Erózió <br /> * 1992 - Little Song <br /> * 1993 - Binder Károly &amp; Szőke Szabolcs - feat. Theo Jörgensmann, Federico Sanesi - Pangea: Live at Music Academy <br /> * 1993 - Forgotten Pictures <br /> * 1993 - Binder-Juhász: Christmas Song <br /> * 1995 - Károly Binder, Theo Jörgensmann: In Budapest <br /> * 1996 - Binder Károly - Ramesh Shotham: Dance Music<br /> * 1996 - Binder Quartet: Senior és Adolphis <br /> * 1996 - Binder Quintet featuring John Tchicai <br /> * 1997 - 17 Opus (1997)<br /> * 1998 - Retropolis - Old songs, new dreams <br /> * 1999 - A History of Hungarian Jazz <br /> * 2000 - The Prepared Piano 1. <br /> * 2000 - Binder-Borbély: Hangok [Binder-Borbély: Sounds] (2000)<br /> * 2002 - The Prepared Piano 2. (2002)<br /> * 2004 - Binder - Borbély: 7 Duets (2004)<br /> * 2005 - Hungarian Jazz History 15. - Binder Károly: Az örök visszatérés mítosza [Hungarian Jazz History 15. - Binder, Károly: The Myth of Eternal Return] <br /> * 2011 - Binder Károly, Theo Jörgensmann: Blue in Blue (2011)<br /> * 2016 - Eastern European Sounds (2016)<br /> <br /> <br /> &lt;youtube&gt; https://www.youtube.com/watch?v=5Mv9z6LSJd8 &lt;/youtube&gt;<br /> <br /> == References ==<br /> <br /> * Gábor Simon Géza: The History of the Hungarian Jazz. Budapest, Magyar Jazzkutatási Társaság, 1999. október. 203–205.;<br /> * Attila Retkes: Old Song, New Dreams. Ancient Culture and Modern Civilization in Károly Binder’s new album. In: Hungarian Newspaper [Magyar Hírlap], 30th October 1998. 8.; <br /> * http://zti.hu/files/mza/docs/Oral_History/BinderKaroly.pdf<br /> <br /> <br /> [[Category: Hungarian Profiles]]</div>

Mtabtk http://database.unearthingthemusic.eu/index.php?title=K%C3%A1roly_Binder&diff=2103 2020-05-04T13:23:49Z

<p>Mtabtk: </p> <hr /> <div>[[File:Binder Károly (2017).jpg|thumb|Károly Binder in 2017. Picture by Irk Réka]]<br /> Károly Binder (1956) is an [[:Category: Hungary|Hungarian]] composer, pianist and music teacher.<br /> <br /> He began his classical music studies at the age of five. At first, playing the piano was a hobby for him and he harbored ambitions of being a doctor. Despite applying to medical school three times, he was rejected due to his intellectual origins (his father was a doctor, his mother was a teacher) being anathema to the official socialist system, and thus he decided to join the Jazz Department of the Béla Bartók Vocational Music School. He graduated under János Gonda's tutelage in 1979, and continued his classical music studies meanwhile. He got his diploma (summa cum laude) in 2000 at the Jazz Department of the Music Teacher Training Institute of Budapest (Liszt Ferenc University of Music) as a jazz pianist, teacher, jazz composer and teacher of jazz theory. He also received a diploma in 2003 from the Liszt Ferenc University of Music (for singing, music, solfeggio, music theory, choral conducting). <br /> <br /> In 1981, he won the International Jazz Pianist Competition in Kalisz (Poland). He recorded his first album in 1982 with the contribution of world-famous Danish free jazz musician John Tchicai. In 1989, Károly Binder founded the Binder Music Manufactory record label. A few years later, Hungaroton Records scrapped one of his albums because they couldn’t store it, which led Binder to publish his and other artist’s records himself. Since 1993 he published more than 100 records: his own albums, and music beyond the interests of profit-driven big record labels – mainly modern, jazz and experimental music. He taught at the Erkel Ferenc Music School, the Jazz Department of the Liszt Ferenc Academy of Music, the Jazz Department of the Music Teacher Training Insitute of Budapest (Liszt Ferenc University of Music). Since 2007 he is the department head and an associate professor of the Jazz Department of the Liszt Ferenc University of Music.<br /> <br /> == Discography ==<br /> <br /> * 1985 - In Illo Tempore <br /> * 1989 - Bernd Köppen, Károly Binder: Diagonalmusic <br /> * 1989 - Binder - Süle: For You. Two Pianos <br /> * 1989 - Kontinentspiel <br /> * 1991 - Erózió <br /> * 1992 - Little Song <br /> * 1993 - Binder Károly &amp; Szőke Szabolcs - feat. Theo Jörgensmann, Federico Sanesi - Pangea: Live at Music Academy <br /> * 1993 - Forgotten Pictures <br /> * 1993 - Binder-Juhász: Christmas Song <br /> * 1995 - Károly Binder, Theo Jörgensmann: In Budapest <br /> * 1996 - Binder Károly - Ramesh Shotham: Dance Music<br /> * 1996 - Binder Quartet: Senior és Adolphis <br /> * 1996 - Binder Quintet featuring John Tchicai <br /> * 1997 - 17 Opus (1997)<br /> * 1998 - Retropolis - Old songs, new dreams <br /> * 1999 - A History of Hungarian Jazz <br /> * 2000 - The Prepared Piano 1. <br /> * 2000 - Binder-Borbély: Hangok [Binder-Borbély: Sounds] (2000)<br /> * 2002 - The Prepared Piano 2. (2002)<br /> * 2004 - Binder - Borbély: 7 Duets (2004)<br /> * 2005 - Hungarian Jazz History 15. - Binder Károly: Az örök visszatérés mítosza [Hungarian Jazz History 15. - Binder, Károly: The Myth of Eternal Return] <br /> * 2011 - Binder Károly, Theo Jörgensmann: Blue in Blue (2011)<br /> * 2016 - Eastern European Sounds (2016)<br /> <br /> &lt;youtube&gt; https://www.youtube.com/watch?v=5Mv9z6LSJd8 &lt;/youtube&gt;<br /> == References ==<br /> * Gábor Simon Géza: The History of the Hungarian Jazz. Budapest, Magyar Jazzkutatási Társaság, 1999. október. 203–205.;<br /> * Attila Retkes: Old Song, New Dreams. Ancient Culture and Modern Civilization in Károly Binder’s new album. In: Hungarian Newspaper [Magyar Hírlap], 30th October 1998. 8.; <br /> * http://zti.hu/files/mza/docs/Oral_History/BinderKaroly.pdf<br /> <br /> <br /> [[Category: Hungarian Profiles]]</div>

Mtabtk http://database.unearthingthemusic.eu/index.php?title=K%C3%A1roly_Binder&diff=2101 2020-05-04T10:42:53Z

<p>Mtabtk: </p> <hr /> <div>[[File:Binder Károly (2017).jpg|thumb|Károly Binder in 2017. Picture by Irk Réka]]<br /> Károly Binder (1956) is an [[:Category: Hungary|Hungarian]] composer, pianist and music teacher.<br /> <br /> He began his classical music studies at the age of five. At first, playing the piano was a hobby for him and he harbored ambitions of being a doctor. Despite applying to medical school three times, he was rejected due to his intellectual origins (his father was a doctor, his mother was a teacher) being anathema to the official socialist system, and thus he decided to join the Jazz Department of the Béla Bartók Vocational Music School. He graduated under János Gonda's tutelage in 1979, and continued his classical music studies meanwhile. He got his diploma (summa cum laude) in 2000 at the Jazz Department of the Music Teacher Training Institute of Budapest (Liszt Ferenc University of Music) as a jazz pianist, teacher, jazz composer and teacher of jazz theory. He also received a diploma in 2003 from the Liszt Ferenc University of Music (for singing, music, solfeggio, music theory, choral conducting). <br /> <br /> In 1981, he won the International Jazz Pianist Competition in Kalisz (Poland). He recorded his first album in 1982 with the contribution of world-famous Danish free jazz musician John Tchicai. In 1989, Károly Binder founded the Binder Music Manufactory record label. A few years later, Hungaroton Records scrapped one of his albums because they couldn’t store it, which led Binder to publish his and other artist’s records himself. Since 1993 he published more than 100 records: his own albums, and music beyond the interests of profit-driven big record labels – mainly modern, jazz and experimental music. He taught at the Erkel Ferenc Music School, the Jazz Department of the Liszt Ferenc Academy of Music, the Jazz Department of the Music Teacher Training Insitute of Budapest (Liszt Ferenc University of Music). Since 2007 he is the department head and an associate professor of the Jazz Department of the Liszt Ferenc University of Music.<br /> <br /> &lt;youtube&gt; https://www.youtube.com/watch?v=5Mv9z6LSJd8 &lt;/youtube&gt;<br /> == References ==<br /> * Gábor Simon Géza: The History of the Hungarian Jazz. Budapest, Magyar Jazzkutatási Társaság, 1999. október. 203–205.;<br /> * Attila Retkes: Old Song, New Dreams. Ancient Culture and Modern Civilization in Károly Binder’s new album. In: Hungarian Newspaper [Magyar Hírlap], 30th October 1998. 8.; <br /> * http://zti.hu/files/mza/docs/Oral_History/BinderKaroly.pdf<br /> <br /> <br /> [[Category: Hungarian Profiles]]</div>

Mtabtk http://database.unearthingthemusic.eu/index.php?title=L%C3%A1szl%C3%B3_S%C3%A1ry&diff=2011 2020-04-14T11:22:47Z

<p>Mtabtk: </p> <hr /> <div>[[File:Sáry László.jpg|thumb|László Sáry. Photo by Gáspár Stekovics]]<br /> László Sáry (1940) is an [[:Category: Hungary|Hungarian]] pianist, composer and music teacher. Between 1958 and 1961, he studied composition with Géza Vönöczky in Győr. Then he became a pupil of Endre Szervánszky at the Liszt Ferenc Academy of Music. In 1970, he also took part in the foundation of the [[New Music Studio]], along with [[Zoltán Jeney]] and [[László Vidovszky]] and a few others. In 1972, he studied at Darmstadt with Christian Wolff who oriented him towards non-traditional compositional techniques and had a great impact on his work, leading him to seek new musical trends beyond traditional European practices. His first piece in this newly discovered style was entitled ’Sounds’ (1972). <br /> <br /> From the middle of the 1970s onwards he began using the ’Sáry Method,’ a special educational music practice reportedly able to improve musical thinking and compositional skills through specific exercises and musical games. Since then, this educational method has been applied at both the lower and higher education levels (music schools and the University of Theater and Film Arts in Budapest).<br /> <br /> Since the 1980s he regularly writes music pieces for theaters. He is also the music director of the Katona József Theatre since 1990. From 1994 onwards he participates at Lord Yehudi Menuhin’s MUS-E (’Source of the Music, Balance and Tolerance’), a project for underprivileged children based on the ’Kodály method’ and creative arts. In 1996, he was in Tokyo, thanks to a scholarship granted by the Japanese Foundation, where he investigated traditional Japanese theater, dance, and music. He won the 3rd prize in the 7th International Electroacustical Competition (IREN) in 1998 for his ’Locomotive Symphony’ (1997) in 1998. In 1999, he became a member of the Széchenyi Literal and Art Academy. He wrote more than 80 compositions, including two ballets (’Imago Mundi’ – 1996; ’Labirynth’ – 2008), operas (’Adorjáns and Jenős’ – 1994; ’Negros’ – 2004; Great Sound in the Running Around - Seriocomic Opera in 12 Pictures, with Pre- and Postlude – 2004, etc.), film scores (’Inter Images’ – 1990; ’Approaches to a Found Object’ – 1991, etc.), several chamber music and works for solo instruments.<br /> <br /> == References ==<br /> * [https://info.bmc.hu/index.php?node=artists&amp;table=SZERZO&amp;id=31 Who’s who in Hungarian Music Life?] Edited by András Székely. Budapest, Zeneműkiadó, 1979. 275.<br /> <br /> [[Category: Hungarian Profiles]]</div>

Mtabtk http://database.unearthingthemusic.eu/index.php?title=L%C3%A1szl%C3%B3_Kistam%C3%A1s&diff=2010 2020-04-14T11:21:10Z

<p>Mtabtk: </p> <hr /> <div>[[File:László Kistamás in 1979 credit péter Várkonyi.jpg|thumb|László Kistamás in 1979. Photo by: Péter Várkonyi/ fortepan.hu-101770]]<br /> László Kistamás (1958–) is a musician, composer, performer, singer. He was one of the founding members of [[Kontroll Csoport]] (Control Group) and Balkan (Fu)Tourist. <br /> <br /> == Biography ==<br /> <br /> Kistamás had his first artistic experiences at theatres after joining a little amateur company in Budapest after high school.<br /> In the 1970s, individual and alternative theaters had almost no chance to get permission for performances, but Kistamás soon realized it was much harder to control music groups than theatre ones. It was also there where he met [[Ágnes Bárdos Deák]] and [[Csaba Hajnoczy]], with whom he founded his first band, Kontroll Csoport (Control Group), where he was the song-writer, as well as a singer and musician. In 1980 [[Árpád Hajnóczy]] and [[Norbert Iványi]] joined them and their first concert was held at a New Year’s Eve house party at avant-garde painter and musician [[András Wahorn]]'s home and the band went on to perform further live concerts during the following year. Meanwhile, they were active members of the counter-culture scene, frequently participating in happenings throughout Hungary. Thanks to their increasing popularity they became essential figures of the Hungarian underground culture, despite the fact that the Kontroll Csoport disbanded in the mid-’80s.<br /> <br /> Kontroll Csoport's members continued their music activity in other groups, and Kistamás became the founder and leader of the band [[Balkán (Fu)Tourist]] in 1985. Meanwhile, he revived his connection to the theatre after becoming a member of the “Monteverdi Birkózókör” (András Jeles’s famous experimental troupe) and had some film roles (The Outsider, Ex-Kódex).<br /> <br /> [[File:László Kistamás and Ágnes deák Bárdos by tamas urban.jpg|thumb|László Kistamás and Ágnes deák Bárdos with the Kontroll Csoport band in 1981. Photo by: Tamás Urbán/ fortepan.hu-125698]]<br /> The “[[Fekete lyuk]]” (Black Hole) club, the epicentre' of the underground music life of Budapest played a determinant role in Kistamás’s life. He was one of the founders and organizers of the club and the Balkán (Fu)Tourist group made one of its first concerts here, as well. Furthermore, he took part in organizing the Nap-Nap Fesztivál (1990-1992), considered a predecessor of the Sziget Fesztivál, the biggest and most internationally famous music festival in Hungary. <br /> <br /> After the political transition, Kistamás gave up his career as a musician, except for several Kontroll memorial concerts, one of which was in 2009 in New York. However, he remained active on the stage and participated in numerous performance and creative cultural initiatives. He considers himself an everlasting restarter who reacts through artistic tools to the changes of the world.<br /> <br /> == Relationship with the state ==<br /> <br /> The Hungarian authorities considered amateur music bands to be less dangerous than professional ones, although some of them, such as Kistamás’groups, had a great impact on the music scene not only in Hungary but abroad as well. Their relation to the party-state was ambivalent, much like other bands or figures of the not-official cultural life in Hungary. They were often not allowed to play under their name. However, they could use a community center to rehearse, and their audience distributed their cassettes underground. To sum up, they were always between the tolerated and prohibited sphere. <br /> <br /> [[File:1920px-Kistamás László.jpg|thumb|László Kistamás in Paris. ]]<br /> == Discography ==<br /> '''With Kontroll Csoport'''<br /> * 1991 - 1991 <br /> * 1993 - Ős-Kontroll - Archív (A Kontroll Csoport 1981. Januárjában) <br /> * 1993 - 1983 <br /> * 1997 - Élő Felvételek <br /> <br /> '''With Balkan (Fu)Tourist'''<br /> * 1987 - A Szaturnusz Gyűrűje <br /> * 1988 - Ding Deng Dong ‎<br /> <br /> == Filmography ==<br /> * 1981 - Szabadgyalog (The Outsider)<br /> * 1983 - Ex-kódex<br /> * 1990 - The Last Boat - City Life (Short)<br /> * 1990 - Meteo<br /> * 2020 - Eden<br /> <br /> &lt;youtube&gt; https://www.youtube.com/watch?v=x9iVH1s8Io0 &lt;/youtube&gt;<br /> [[Category: Hungarian Profiles]]</div>

Mtabtk http://database.unearthingthemusic.eu/index.php?title=L%C3%A1szl%C3%B3_Vidovszky&diff=2009 2020-04-14T10:26:38Z

<p>Mtabtk: </p> <hr /> <div>[[File:Vidovszky1.jpg|thumb|László Vidovszky. Photo taken from the Editio Musica Budapest website https://www.emb.hu/]]<br /> László Vidovszky (1944) is an [[:Category: Hungary|Hungarian]] composer and music teacher. <br /> <br /> == Biography ==<br /> <br /> Between 1958 and 1962, he studied at the Vocational Music School in Szeged, and then at the Liszt Ferenc Academy of Music between 1962 and 1967, as a protégé of Ferenc Farkas. In 1970, thanks to an UNESCO scholarship, he was able to spend time in Paris, where he visited the courses of the Groupe de Recherches Musicales in the French Radio, and the compositional lessons of Olivier Messiaen at the Conservatoire. <br /> <br /> His early period was marked by an interest in experimental music. In 1970, he became one of the founders (along with [[Zoltán Jeney]] and [[László Sáry]], among others) of the [[New Music Studio]] in Budapest. The studio soon became well known and acclaimed internationally, with more than 600 contemporary pieces being performed there between 1972 and 1990. Vidovszky being active there both as a performer and as a composer. His first joint composition with Jeney and Sáry, &quot;Undisturbed&quot;, was performed in 1974 in Paris and was the cause of much debate in Hungarian music circles.<br /> <br /> Between 1972 and 1984, he taught music theory at the Institute of Music Teacher School of the Liszt Ferenc Academy of Music. Since 1984 he has been a teacher at the Janus Pannonius University of Sciences in Pécs, and became the dean of the Art Faculty in 1996–1999. Since 1999 he has also taught in the Liszt Ferenc University of Music. He is a committee member of the Artisjus since 1996, and a member of the Presidency of the Association of Hungarian Composers (1990–1993, and 1995–2004). He became the president of the Association of New Hungarian Music in 2004, and received the Kossuth Prize in 2010.<br /> <br /> == Style ==<br /> <br /> Beyond chamber and orchestral music, Vidovsky wrote pieces for the prepared piano and the computer. His creations often included audiovisual elements and different musical constructions combined with scenic actions. However, these works of art are often quite brief yet complex, with monumental effects. Vidovszky used traditional music elements adjusted to match his personality. <br /> <br /> In an interview, Vidovszky exposed many of his views on music. Among his other thoughts, he stated that every form of music is worthy of recognition and being experienced by an audience. He also notes that while critics generally focus on the concept behind music (and understandably so, as it is an important part of music), music itself is a much more complex and wide-ranging experience, and that knowing whether the music is conceptually &quot;good&quot; or &quot;bad&quot; only tells us a limited amount about its value. As he sums it up, talking about music is good but listening to it is much better. Expressing an opinion about music is the job of both the author and the audience, and the encounter (or clash) of these two views is what elevates music - without it, music would only be a sort of ceremony, not understood by respected by everyone.<br /> <br /> In his first composition period, Vidovszky created in an experimental style (’Autoconcert’ – 1972; ’405 – for prepared piano and unspecified instrumental ensemble’ – 1972; ’C+A+G+E MUSIC No. 1’ – 1972; ’C+A+G+E MUSIC No. 1 – 1973’; ’Schroeder´s Death’ – 1975, etc.). Between 1990 and 1995 he wrote several works for MIDI piano (’ Mechanical Bride´s Dance’ – 1989; ’Etudes for MIDI Piano’ – 1990; ’Ady: The Black Piano’ – 1995 etc.). Beside his chamber music (’GAGA’ – 1976; ’Hommage à Dohnányi’ – 1977; ’Narcissus and Harpies’ – 1986; ’Soft Errors’ – 1989 etc.) and orchestral works (’Fragment’ – 1970; ’Music for Győr’ – 1971; ’March to the Procession of Flags’ – 1980; ’German Dances - for string orchestra’ – 1990 etc.) he also wrote an opera (’Narcissus and Echo’ – 1981), ballet (’Lear’ – 1988), live electronic music (’DECEMBER 27’ – 1978) as well as several film scores (’From the Diary of an Eccentric Man’ – 1972; ’Plasticine’ – 1977; ’Chalk Circle’ – 1978; ’Mozart and Salieri’ – 1979; ’ The Dog´s Night Song’ – 1983; ’The Red Countess’ – 1984; ’My Twentieth Century’ – 1989, etc.).<br /> <br /> == Awards ==<br /> * Lajos Kassák Award (1979)<br /> * Ferenc Erkel Prize (1983)<br /> * Bartók-Shepherd Prize (1992)<br /> * Worthy Artist (1996)<br /> * Serial Creative Award (2001)<br /> * Knight's Cross of the Order of Merit of the Republic of Hungary (2004)<br /> * Kossuth Prize (2010)<br /> <br /> == Selected works == <br /> * 1972 - Car Concert - Audiovisual Work ISWC T-007.017.749-9<br /> * 1972 - Double - for two prepared pianos<br /> * 1972 - 405 - for prepared piano and chamber ensemble ISWC T-007.142.116-3<br /> * 1974 - Undisturbed - joint work with Zoltán Jeney and László Sáry<br /> * 1975 - Hommage à Kurtág - joint work with Péter Eötvös, Zoltán Jeney, Zoltán Kocsis and László Sáry<br /> * 1975 - Schroeder's death - for piano and 2-3 assistants<br /> * 1980 - Sound-Color-Square - 127 painted whistles (with Ilona Keserü )<br /> * 1980 - Meeting (to the tragedy of Péter Nádas )<br /> * 1981 - Narcissus and Echo - opera in one act<br /> * 1983 - Romantic Readings - for orchestra<br /> * 1985 - Romantic Readings No. 2 - for orchestra<br /> * 1989 - Etudes for MIDI Piano I-IV. booklet<br /> * 1989 - German Dances - for string quartet<br /> * 1989 - Twelve Duos for Violin and Violin<br /> * 1989 - Soft Errors - for chamber ensemble<br /> * 1989 - Bridesmaid Dance Music - for MIDI Piano<br /> * 1990 - NaNe audio-video games for computers<br /> * 1992 - Music for the Hungarian pavilion of the Seville World's Fair (with Zoltán Jeney)<br /> * 1993 - Praeludium &amp; Walzer - for two pianos<br /> * 1995 - Ady: The Black Piano - for MIDI Piano and Orchestra T-007.031.567-1<br /> * 1996 - Nine small Kurtág greeting choirs - for one or two pianos<br /> * 1997 - Black Quartet - for percussion instruments ISWC T-007.017.751-3<br /> * 1998 - Following Machaut I-III. - vocals and three optional instruments<br /> * 2000 - Zwölf Streichquartette - for string quartet<br /> * 2001 - I. Violin Radio Sonata<br /> * 2005 - The Death in my Viola - for viola and chamber ensemble<br /> * 2005 - Orchestra<br /> * 2007 - ASCH - for string six<br /> * 2007 - Doubles - for violin and cello<br /> * 2007 - Nine Kurtág greetings for choir orchestra<br /> * 2007 - ASCH<br /> * 2008 - II. violin radio sonata<br /> * 2011 - Reverb - for piano and string quartet<br /> * 2012 - Le piano et ses doubles - for piano and keyboard instruments<br /> * 2015 - Blue Waves - for violin, cello and piano<br /> <br /> == Discography == <br /> '''As a composer''' <br /> * László Vidovszky: Etudes for MIDI Piano. BMC Records, BMC CD 014<br /> * László Vidovszky: Zwölf Streichquartette; Twelve will give. BMC Records, BMC CD 075<br /> * Versus No. 2. HCD 31785<br /> * Schroeder's death. Hungaroton, SLPX 12063; Edition Zeitklang 4032824000023<br /> * Dual. Hungaroton, SLPX 12284<br /> * St. Nicholas toys. Hungaroton, HCD 12887-88<br /> * Contemporary Hungarian music for bassoon and piano. Hungaroton, HCD 31725<br /> * Solos - XX. for solo flute of 19th century Hungarian compositions. Hungaroton, HCD 31785<br /> * Hungarian soundscapes II. HEAR Studio-Hung. Rad., HEAR 104<br /> * Vld Ildikó : Threads. BMC Records, BMC CD046<br /> * Trio Lignum: Offertorium. BMC Records, BMC CD 090<br /> * Music Colors - Hungarian Contemporary Music (1989–2004). BMC HMIC, BMC PCD 015<br /> * Joint works of contemporary Hungarian authors of the 70s. BMC Records, BMC CD 116<br /> <br /> '''As a Contributor''' <br /> * Today's Hungarian dulcimer works. Hungaroton, SLPX 11899<br /> * Péter Eötvös: Cricket Music; Wind sequences. Hungaroton, SLPX 12602<br /> * Zoltán Jeney: Alef - Hommage á Schönberg; Apollo; Cantos para todos; 12 dal. Hungaroton, HCD 31653<br /> * László Sáry: The Word of Time; The repeating five; etc Hungaroton, HCD 31643<br /> * John Cage: Thirty pieces for five bands; Music for piano. Hungaroton, HCD 12893<br /> * Psy: The magic of the dulcimer. Hungaroton, HCD 32015<br /> * László Sáry: Percussion compositions. Hungaroton, HCD 32179<br /> <br /> == References ==<br /> * [https://hu.wikipedia.org/wiki/Vidovszky_L%C3%A1szl%C3%B3 Hungarian wikipedia page]<br /> * László Vidovszky– Kristóf Weber : Conversations about music ; Present, Pécs, 1997, ISBN 9636760861<br /> * Tünde Szitha: László Vidovszky. Mágus Publishing House, Budapest, 2006. ISBN 963-9433-43-8<br /> * András Székely ed .: Who is who in Hungarian music? Music Publisher, Budapest, 1988. ISBN 9633306728<br /> * [http://info.bmc.hu/index.php?node=artists&amp;table=SZERZO&amp;id=5 BMC - László Vidovszky]<br /> * [http://www.art.pte.hu/index.php?p=contents&amp;cid=617 PTE-MK - László Vidovszky]<br /> * [http://www.lfze.hu/oktatok/1407 LFZE - László Vidovszky]<br /> * [http://www.emb.hu/hu/composers/vidovszky László Vidovszky on the website of Editio Musica Budapest]<br /> <br /> [[Category: Hungarian Profiles]]</div>

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