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HUNG 31849CD
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Performed by Amadinda Percussion Group. Featured works: Haikai (for eight performers on gamelan degung); Improvisation Ia: Child of Tree (for percussionist using plant materials [with or without amplification], at least one of which is a pod rattle from a Poinciana tree and at least one [preferably several] are cacti); Improvisation Ib: Branches; Five4 (for soprano saxophone in B flat, alto saxophone in E flat and three percussionists); c /Composed Improvisation (for any solo or combination of snare drum, Steinberger bass guitar, and one-sided drums with or without jangles -- version for bass guitar and snare drum); But What About The Noise Of Crumpling Paper Which He Used To Do In Order To Paint The Series Of "Papiers Froissés" or Tearing Up Paper to Make "Papiers déchires"? Arp Was Stimulated by Water (Sea, Lake, and Flowing Waters like Rivers), Forests. (in celebration of the work of Jean Arp on the occasion of the centenary of his birth for three to ten percussionists each using at least two only slightly resonant instruments, also involving water, paper, etc. -- version for ten performers).
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HUNG 32594CD
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...Composers For Cimbalom. Featured works: Ilona Mesko (*1981): Mill Songs; Short Pieces; Poesie. Peter Zombola (*1983): Preludium; Institutio I/A. Mate Bella: Message; Messag 02. Balazs Horvath (1942 ? 2006): Gritty Street - for the 65th anniversary of Z. Jeney; Further Series. Daniel Dinyes: Ouverture, Air, Double. Marton Kerekfy: Rhapsody. Performed by Beáta Móri, cimbalom, Krisztina Dobner, flute, Zsolt Bartek, clarinet. "It was the 20th century when the international fame and recognition of the cimbalom started to grow exponentially. Today, a wide choice awaits musicians ranging from being an independent soloist of a concerto to playing in the most varied chamber ensembles. The relationship between composers and musicians works ideally; new compositions are played by outstanding experts and, in turn, cimbalom players abound in new pieces. What is more, as it is also demonstrated by our present recording, it is still possible to say something new through the cimbalom. Here, eleven pieces composed by six young composers will have been heard in the rendition of Beáta Móri, who -- despite her youth -- can already take pride in having several dedications."
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HUNG 17390CD
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The first Omega CD, 2003 edition. "Formed in 1962, Omega began releasing singles in 1966 which featured covers of The Rolling Stones, The Hollies and Herman's Hermits as well as their own original material which reflected these and other Western influences. By 1968, they had briefly toured England and released an album on the UK Decca label under the title Omega Red Star From Hungary, which included some of these singles as well as other tracks which were to appear on Trombidas Fredi es Rettenetes Emberek, their first Hungarian release on the government-owned label, Hungaroton. The themes and messages in the songs were typically '60s, about love & peace and had various approaches to the contemporary '60s rock composition, some sounding like Peter, Paul & Mary ('If I Were The Wind') others like early Rolling Stones ('A Girl Hasn't Gone Home') with trippy guitars and the title track even having a ragtime feel with a honky-tonk sounding piano and a horn section. For the most part though, the album is drenched in psychedelia." --Ian Gledhill, Prog Archives
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HUNG 17400CD
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2003 reissue of the second album from Omega. "Classic album from this legendary Hungarian band. In order to understand and appreciate what a remarkable achievement this work was when it was recorded in 1968, it is perhaps necessary to briefly examine the constraints and restrictions faced by aspiring pop bands behind the veil of The Iron Curtain during the 1960s. Despite the fact that Hungary was one of the first breakaway satellite countries both socially and economically under Josef Kadar's New Economic Mechanism implemented in 1966, a censorship board known as The Song Committee had been established in order to syphon out any sensitive material which it deemed harmful to or which seeked to undermine the idealogical agenda of the state. This was a good thing and a bad thing for the bands. They could play their rock n'roll music, which in itself was considered to be symbolic of Western capitalistic endeavors, but the lyrical contents were not to cross any fine lines politically. One has to bear in mind that this was the time when The Beatles were singing about a revolution, Bob Dylan was speaking his mind through the rock medium and closer to home in Western Europe, bands like Amon Düül and Floh de Cologne were making political musical statements. It was the '60s man! The themes throughout the album are mostly mystical and full of legend and even if the listener is not familiar with the unique Hungarian language, the music is very moody and appropriate to the individual song concepts. Omega evolved into the biggest rock act to emerge from Eastern Europe ever, recording in English and German, touring Western Europe as well as Japan. Omega broke down barriers long before the Berlin Wall was broken down and for those who want a taste of what was going on behind The Iron Curtain rock-wise, in the 1960s, 10000 Lepes is an interesting and important audio document which reveals the early Omega East meets West rock formula. Vintage Eastern European prog which rocked against the odds that takes the listener into a forbidden place in a dangerous time. Highly recommended for serious students of the prog rock genre." -- Ian Gledhill, Prog Archives
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HUNG 12855CD
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1994 release, featuring compositions by István Marta, John Cage, Steve Reich & George Hamilton Green. "The Amadinda Percussion Group, the first professional percussion group in Hungary, was formed in the spring of 1984. The group was formed at a time when a great many questions were being discussed concerning composers and the relationship between modern music and the public ... These were the conditions that helped bring about the formation of the Amadinda Percussion Group with artistic objectives easily comprehended. Firstly, the performance both at home and abroad of pieces by Hungarian composers, together with others not yet known in Hungary, including works ranked abroad today as classics. These prescriptions we have tried to follow while selecting the music for this recording. The ensemble has a serious interest in African folk music and jazz, and in this manner the record came to include the programme often given in concerts. Particularly interesting are the Green ragtimes, which the composer -- himself an outstanding percussionist -- wrote originally for xylophone with piano accompaniment. The version for xylophone and two marimbas was done on the basis of the original. Of the two Hungarian compositions on side one, the piece by Istvan Marta was written for the Amadinda Group. These two pieces, we feel, serve to complete the picture of the first two years of the ensemble which we wanted to present." -- From the liner notes. Tracklist: "Doll's House Story" by István Marta (1985), "Pebble Playing in a Pot" by Laszlo Sary (1978), "Second Construction" by John Cage (1978), "Piano Phase" by Steve Reich (1967), "Traditional African Music", "Log Cabin Blues (Blue Fox Trot)," "Charleston Capers" by George Hamilton Green, "Traditional African Music," and "Jovial Jasper (A Slow Drag)" by George Hamilton Green. Performed by Amadinda Percussion Group (Karoly Bojtos, Zoltan Racz, Zsolt Sarkany, & Zoltan Vaczi) with István Marta (Roland JX-8P synthesizer) and Gyorgy Racz.
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HUNG 31868CD
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2000 release. "The present recording contains the works of 7 composers written in quite different stylistic trends. What connects them is that they have all been composed at the request of the Ear group: all were written for the specific apparatus of the group (4-8 instruments and synthesizer/s) between 1992 and 1999 ... the name of the ensemble is the abbreviation of electroacoustic research. It aims at exploring new connections between instruments, electronics and acoustics through concerts and recordings, and utilizing these in compositions." --From the liner notes. Endre Olsvay: "Allegory" (1996); Bèla Farago: "Lux Perpetua" (1997-99); Máté Hollos: "L'EAR-A" (1992); Iván Madarasz: "J.J's Games" (1995); László Thanyi: "Nereid" (1995); István Szigeti: "ChambEAR Music" (1993); Miklós Sugár: "Dreams" (1997-98). Performed by the EAR Ensemble, conducted by Miklós Sugár & Bèla Farago.
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