Martin Burlas & Musica falsa et ficta — Hexenprozesse

 ^{Martin Burlas & Musica falsa et ficta — Hexenprozesse}  •♠Ψ•   Conservative principles in music are often described as dead. But musically dead can also be the Describer, practically the one, that complains about the actual state of music. So who is really dead? The answer to this question will be given by histories in the future. We are actually too young to give answers to such questions, but our goal is to bring perhaps just a bit of light by our improvised music into the problem.
•♠Ψ•   Musica falsa et ficta practices conducted collective improvisation. It is a group of about 25 young musicians, mostly studying at the State Conservatory and at the Academy of Music in Bratislava, plus guests. Each of these musicians brings his own personal view of music into the proces of improvisation. We try to combine music created by classical instruments with electronics (laptops, effects, …) and we move on the edge of composition, improvisation and interpretation in real time.
Location: Bratislava, Slovakia
Album release: 2015
Record Label: Atrakt Art
Duration:     29:44
Tracks:
1. 1     6:36
2. 2     2:37
3. 3     4:46
4. 4     2:48
5. 5     5:20
6. 6     7:37Members: Andrea Babjaková — violin, Peter Ferienčík — violin, Michaela — viola, Jonatán Pastirčák — cello, electronics, Pavol Kušík — double bass, Peter Duchnický — flute, Veronika Vitázková — flute, piccola, Martina Kuštarová — flute, Marek Piaček — conducting, Šimon Lupták — movement, Lucia Chuťková — clarinet, voice, Paulína Rónaiová — oboe, Tomáš Rak — bassoon, Alexander Platzner — alto saxophone, bass clarinet, Miro Tóth — alto saxophone, Juraj Miškovič — horn, Martin Krížik — horn, voice, Róbert Kolář — horn, Jozef Gorel — perkussions, Ján Oriško — drums, Lenka Novosedlíková — piano, xylophone, bells, František Király — piano, Janko Brtka — accordeon, Slávo Krekovič — el. guitar, synth, Oliver Rehák — el. guitar, rbnx — electronics, Daniel Matej — Structures, Pages and Improvisations / excerpt.•♠Ψ•   The sounds of the improvisational musical tradition in Eastern Europe are still very lively and it is common to encounter some of its interesting expressions, both in academic and experimental circles. Sometimes, however, these different musical universes are not as separate as you might thin. Take, for example, Martin Burlas, an artist who boasts productions since the late eighties. Burlas is a composer accustomed to moving from a classic approach to techno and from minimalism to free form. He is involved with the symphonic improvisation collective Musica falsa et ficta, a group equally experienced with combining traditional motifs and new electronica, mixing conventional composition with more contemporary techniques. Hexenprozesse, in particular, is inspired by many hybrids: images of the Inquisition period, the use of acoustic and electronic instruments, objects and design, procedures that tell us of violent torture stories. At the time of the fall of Berlin wall, the barbaric atmosphere was originally rebuilt, using instruments specially made by Milan Adamčiak, a conceptual Slovakian artist and author of visual poetry, a musician, composer and musicologist himself. Only twenty~five years later and after a troubled gestation, through the efforts of Miro Toth, another musician active in that area, the composition will be updated and released in conjunction with a video of an anti~NATO demonstration held in the capital of Slovakia. New instruments in the meantime have been specially developed for the piece and the author’s agitprop verve remains unaltered: what is remarkable are the stylistic features of an approach that, although dated, continue to be engaging, symbolic and quite unconventional.   •♠Ψ•   http://neural.it/
Bandcamp: https://martinburlas.bandcamp.com/releases
Website: http://martinburlas.net/????????????????????????????????????????????????????????????????????

Martin Burlas & Musica falsa et ficta — Hexenprozesse

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