@anhuman: Ez igazán kedves. Köszönöm.

Remixed & remastered version: https://www.youtube.com/watch?v=1waaVKGrebE

Nagyon szép munka többedjére is izgalmas végig hallgatni :)

Mi is pontosan a gamelán és milyen hangszerek vannak egy gamelán együttesben? Milyen szerepe van az indonéz kultúrában a gamelánnak, milyen külső hatások formálták és hogyan jelenik meg a hatása európai zeneszerzők műveiben?

Mai adásunkban Nagy Ákos zeneszerzővel beszélgetünk indonéz hangszerekről, zenészekről, a gamelánt ért hatásokról, és arról, hogy mi nyűgözte le az európai zeneszerzőket, többek között Ákost magát is a gamelán csengő-bongó világában. 


Az Orient Expressz adásainak elkészültét a Magyar Nemzeti Bank támogatja.
Riporterek: Günsberger Dóra és Szivák Júlia
Elhangzott a Civilradio.NET-en 2022. április 26-án.

Az adásban elhangzott zeneszámok:
The Bamboo Radicals: Széles szájú kiskutyád
https://www.youtube.com/watch?v=bSWd69XWsTI 
Bali: Lelambatan Tabuh Enem [Galloway Records 1972]

Bali: Legong kratan  [Galloway Records 1972-1973]

Java: Puru Paku Alaman Gending Sigromangsah [Galloway Records 1973] 

Nagy Ákos: Chiaroscuro/részlet - előadja: Baráth Bálint preparált zongorán [2013 Nádor terem]

Orient Expressz #161: Mit szólt Bartók a gamelánhoz? - Nagy Ákos

Telekom Electronic Beats Hungary releases its second compilation album on 10  Jun 2022 full of skillful local talents on it, in the genres of POP, CLUB and EXPERIMENTAL. We couldn't have imagined that 900+ tracks would be submitted to our competition, keeping our judges up late into the night for days. It turned out, however, that the internal combustion engine of musical ideas is not at all limited to a few dozen people in our small little homeland: talent seems to be making its way in 2022, too, even if mass consumption or commercial radio stations have no interest in facilitating it. This new Electronic Beats compilation, available on all streaming platforms, is a celebration of these talents.

@akosnagy

XPERI22 by Telekom Electronic Beats

Ákos Nagy - Vibhava-taṇhā no. 2

In dem Nebel 

My greatest music experience in 2016 was when I did my usual 10 km's running in the evening in Rijeka and I heard an amazing polyphonic honking fog horn choir.
Their major-third had a faintly flashing turquoise greenish-purple colour and vertiginous pallor. Of course they didn’t try to follow any temperation (for example: just intonation), I was totally impressed even though. So much that when we arrived home to Budapest with my family I immediately started to rewrite my half done piece, In dem Nebel from the beginning and I enhanced its originally 8 minutes length to double.

The fog horn here had a trumpet-horn-trombone choir sounding which is moving in a synthetic system and ends up in a kind of tonal blur. I wrote the “fog horn” melody with Püthagoras fifth emphasizing the comma. In this case the four fifth which are build on one another results a lower major third. The fifth sound in the range (C-G-D-A-E) will always be higher than the perfect major third which are built on the first tone. I made the melody using these so called synthonic comma.

Ákos Nagy - In dem Nebel [2nd version]

The piece is build up from more different audio interfaces which are based on Henri Michaux Par la voie des rythmes titled book on the one hand where the automatic writing in becoming to calligraphic art and then to very different meaning content. In case of Michaux these can always be transformed to his self-made ABC set (see H. Michaux: Alphabets/Arbres des tropiques/ Mouvements book) so in this way the drawing can become writing and writing can become drawing. I wanted to make this very interesting and only Michaux-characteristic articulation to the main organizing principle of my music.

On the other hand I wanted to emphasize the interoperability between different cultures which I was interested in as well as Michaux in his H. Michaux Idéogrammes en Chine, Ecoudar titled book – published at Bozóthegyi book publisher. So you can find Japanese, Korean and many other South East-Asian music cultures as well as European and South-American Latin traditions. It was very important for me to reflect this as a locale colorit or dialect.

If I want to word this precisely without any genre, stylistic and aesthetic notion then I would say that are the sounding-time is becoming audible. The excessively fluid and amorphous articulation and motion of this sounding-time creates the music itself.

Ákos Nagy - Par la voie des rythmes - La Déploration sur la mort'd Henri Michaux

András Gelléri: 
Burst of Evidence (2019)for contrabass clarinet and high voice
performed by Au∂ur Edda Erlendsdóttir

Burst of Evidence - for contrabass clarinet

Nagy Akos - Somewhere, Far Off Sirens (2014) for Clarinet solo

Don't miss this months jam with ÁKOS NAGY!

The art of Ákos Nagy is synthetic and shows synthesizing tendency which is built from the Netherlandish polyphone tradition. His music is influenced by the I-II World War Avant-garde, the American experimental, the early psychedelic music, many European and outside Europe folk music and former arts. In his pieces, he shows a penchant for mathematical series, textures arranged after principles of variations which are substantiated with polyrhythmic, polytempoed, polymetric patterns of melody and rhythm.

ÁKOS NAGY | Free Harbour series #22 | 26/06/2020

Chiaroscuro- Isorhythm pseudo gamelan & pseudo khmer music, polyrhythmic, polytempoed, polymetric patterns 
played by Bálint Baráth

Ákos Nagy - Chiaroscuro

My finals programme which I won the Szeged International Guitar Competition with.

Louis Couperin - Courante en ré mineur

Louis Couperin - Allemande en ré mineur

His art is synthetic and shows synthesizing tendency which is built from the Netherlandish polyphone tradition.
He examined Gothic and late Renaissance music, traces of which show up in his later music along with elements of Transsylvanian, Indian, Khmer, Balinese and Japenese classical culture. 
He is researching the rhythm and tone systems outside Europe.
He turns towards exploring new forms and structures, filling them up with his characteristic take on melody which origins usually from non-tempered (just intonation) systems.
His music juxtaposes solid blocks of sound that keep reprising accumulatively – a method he branded ’layering technique’.
He has been experimenting with psychoacoustic ‘tricks’ for example morfing tremolos with different tempos, phenomenon of binaural beats, low frequencies impulses (ELF-WLF), sounds of pulsars, magnetars and other radio signals from space, different spectral distortions, paradox of tritone and octave, glissando-like effects, scale illusions and Doppler-effect.  

Apart from acoustic instruments he is interested in electronic instruments, electro-acoustic music, sound synthesis, percussions and instruments which differs from European ones for example shakuhachi, hichiriki, sho, bansuri, serpent, hurdy-gurdy, viola da gamba, etc. He is preparating piano, dulcimer, viola, flute with clarinet piccolo jet which has to be put into the head of the flute.
His music is influenced by the I-II World War Avant-garde, the American experimental, the early psychedelic music, many European and outside Europe folk music and former arts.
In his pieces, he shows a penchent for mathematical series, textures arranged after priciples of variation which are substantiated with polyrhythmic, polytempoed, polymetric patterns of melody and rhythm. 

Since the years 2000, he regularly publishes articles, recensions, and other musically themed publications in various music weeklies and magazines. In 2009, he brings to life - along with four partners – a workshop for the propagation of contemporary music by the name SZIMNIA (Szimmetrikus Zenei és Írásos Műveket Népszerűsítő és Ismertető Alapítvány - Foundation for Introducing and Popularising Symmetrical Works of Music and Literature), where he also carries the role of art director and program organizer. Since May 2009. he is the editor of contemporary music program Karnevál on Civil Radio.
Since Autumn of 2013 he performs noted and improvisational electro-acoustic music with Szabolcs Kerestes and Bálint Baráth named Tri(o)KeBaNa. His music is usually performed together with the Hungarian Sound Painting Orchestra. 
In 2015 he associates with Zsuzsanna Aba-Nagy and Robert Mandel in GENEAMUS Ensemble Historical and Contemporary Music Group.

Many of his pieces have been performed in Hungary-wide for example on café Budapest in CET, in Műcsarnok (Kunsthalle Budapest), Fészek Art Club, Budapest Music Center,  International Bartók Seminar and Festival Szombathely, Aurora Modularis, Újszínház (New Theartre ) Budapest, Budapest Spring Festival, MÜPA (Glass room), Fringe Festival, Thalia Theatre, Nádor Concert Hall, Műveszetek Völgye Fesztival (Valley of Arts Festival), Művészetek és Irodalom Háza Pécs, ICA-d Dunaújváros, etc. They have been also performed abroad for example in Germany, BKA Theater Berlin, in Italy, Greece, France, Sweden and USA.   

Ákos Nagy - In dem Nebel [2nd version]

Akos Nagy

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