İlhan Mimaroğlu Video
compositore, musicista
- musica contemporanea
- Turchia
Ultimo aggiornamento
2024-04-27
Aggiorna
Currier Janis Siegel 1415 1544 1902 1914 1931 1950 1963 1965 1966 1973 1974 1975 1976
Timecodes 0:00 No.1, Prelude for Magnetic Tape +••.••(...)/1976) 2:54 No.2, Prelude for Magnetic Tape +••.••(...)/1976) 5:21 No.6, Prelude for Magnetic Tape +••.••(...)/1976) 7:42 No.9, Prelude for Magnetic Tape +••.••(...)/1976) 10:01 No.11, Prelude for Magnetic Tape +••.••(...)/1976) 13:08 No.12, Prelude for Magnetic Tape +••.••(...)/1976) 15:44 No.14, Prelude for Magnetic Tape +••.••(...)) 19:31 No.16, Prelude for Magnetic Tape +••.••(...)) PRELUDES FOR MAGNETIC TAPE For the purpose of these pieces, a prelude for magnetic tape is no different from an instrumental prelude, provided the term is understood in its 19th century sense, i.e., a short, independent piece in the style of an improvisation. The first twelve preludes were composed in 1966-67. After a lapse of several years I began making new preludes and so far I reached number sixteen. If I keep on composing more of them, they will all be political pieces as Nos. 14,15 and 16 are. In PRELUDE No. 1 the sounds of a piano torn apart for tuning practice are employed. Equal emphasis is placed in both the production and the modification of sounds. The former includes the obtaining of portamenti by means of a tuning hammer, and the latter consisting of amplitude and frequency modulations. This Prelude, along with No. 12, was used by the Jose Limon Dance Company for Ruth Currier's "Phantasmagoria 1975" PRELUDE No.2 is all electronic. It is served by the sounds of a Thomas organ which, as an electrophonic instrument, is far more versatile and interesting than any of the current day synthesizers. The option of modifying the source material is fully utilized. In PRELUDE No. 6 guitar sounds are exclusively employed. The predominant modification procedure is the application of various attack and decay rates to the sound of the open strings revealed at the end of the piece in its original state. The clarinet provides the raw material for PRELUDE No. 9 and the material is subjected to frequency modulation mostly by two simultaneous carrier frequencies beating against each other. The sound source for PRELUDE No. 11 is a rubber band whose rich timbres cannot be fully perceived by the unaided ear but can be captured by sensitive microphones. Throughout this piece the use of modification techniques not directly associated with the tape recorder is kept at a minimum. PRELUDE No. l2 is the only one in the early group that combines the two "opposing" sound categories, the electronic and the "natural" Both meet on a common ground, the tape recorder, and exchange characteristics within the climate of a musical vocabulary not normally associated with experimental music. The quaint voice reading Orhan Veli's +••.••(...)) Turkish poem belongs to Gungor Bozkurt to whom the Visual Studies carry a dedication by which she was shortchanged (although she does not feel so) for not only sharing some of the toil that went into the making of those pieces, but all of the privations of a composer's life too. I translate the poem as follows: "We have our seas, full of sun;/ We have our trees, full of leaves;/ Morning till night, we go and go, back and forth/ Between our seas and our trees,/ Full of nothingness." This Prelude and No. 2 were the ones Federico Fellini used in his Satyricon, in versions I had specially ' revised for the film. PRELUDE No. 14 was composed at a time when I was acquiring better comprehension of the essential (but efficiently covered up) function of music: if music can talk and sing, as it does, then it should do so only about what's going on and what's to be done, about (social, political, economic) realities, truths, and actions. Its traditional privilege to remain mute I still recognize, but only if a message is conveyed by way of titles, program notes, performance instructions, etc. Hence the title of this all electronic, all mute Prelude of 1973--Face The Windmills, Turn Left. PRELUDE No. 16 is set to a poem by. Nazim Hikmet +••.••(...)) whom I regard (many do) as the greatest poet of revolutionary struggles. It is titled "On A Painting By Abidin Dino-The Long March" As I was translating it from the Turkish (not for a musical purpose at first) I imagined a melody in the voice of Janis Siegel (of that extraordinary vocal group, The Manhattan Transfer) whom I had not even met at the time. Eventually I contacted her and asked her to sing it for me. Rarely have I been so right in my conceptualizations. Ilhan Mimaroglu #ilhanmimaroglu Prelude No.8 Dedicated to the memory of Edgard Varese. I had started to develop a material (celesta and harpsichord sounds) and prepare the material in the spring of 1965, a few months before Varese's death (a presentiment?). The piece was completed in the early part of '66. Photo: Ilhan Mimaroglu Copyright - I don't own any music or image used. All rights to the original owners.
İlhan Mimaroğlu 1900 1926 1965 2012
İlhan Mimaroğlu +••.••(...)): Agony, per nastro magnetico (1965)./ The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly. Your collaboration will be appreciated.
Provided to YouTube by Smithsonian Folkways Recordings To Kill a Sunrise: A Requiem for Those Shot in the Back - A Composition of Agitprop Music for Electromagnetic Tape · Ilhan Mimaroglu To Kill a Sunrise and La Ruche ℗ 2004 Smithsonian Folkways Recordings / 1976 Folkways Records Released on: 1976-01-01 Auto-generated by YouTube.
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- cronologia: Compositori (Europa). Interpreti (Europa).
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