Alireza Mashayekhi & Ata Ebtekar aka Sote ˇ
két mai iráni zeneszerző.
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Iráni zenét ritkán hallani mifelénk, elektronikus kompozícióikról semmit sem tudunk...
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Ezért volt érdekes blogtársam levele, amelyben felhívta figyelmemet az iráni zenére.
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Hamid Rahmati blogja szerint a legjelentősebb ma élő iráni zeneszerző Alireza Mashayekhi.
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Sikerült egy dupla lemezt szerezni. Az első lemez Mashayekhi elektronikus kompozícióiból ad nyolcat, a második lemezen egy másik iráni zeneszerzőt ismerhetünk meg: Ata Ebtekar aka Sote. Tőle tizenhárom szerzeményt hallgathatunk. Nagyon szép kivitelű lemez, nem véletlenül, hiszen a Sub Rosa kiadványa, amely bizonyosan az egyik legigényesebb kortárs zenei lemezkiadó. A kísérőfüzet közli Mashayekhi tanulmányát, ami érthetővé teszi számomra, hogy miért értékeli különösen nagyra őt Hamid Rahmati.
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Egy részlet a tanulmányból:
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THE PHILOSOPHY OF MUSIC
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BY ALIREZA MASHAYEKHI
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Music is a kind of language.
When we say music is a kind of language, in fact we are propounding it as a means of expression whose substratum is time. A musical composition is a ' new existence' that goes beyond itself to an extent that words cannot express. In an encounter whit this phenomenon, we are released from all the usual restrictions, such as words, metaphors, definitions etc. which burden artistic expression. I am surprised at the extent with which Heidegger emphasizes poetry, which after all has the above mentioned restrictions, as a means to seek the truth, (sec thesis 5)
..I myself as a composer find it very difficult to inform my audience of a process, which I believe is a musical composition of the contradictions that Adorno tried to explain. Expressing musical thoughts in words is so difficult that except for very rare cases, I have not been able to explain these 'moments' to my satisfaction. Among all my theses about music, this first one is indeed the most difficult to convey to others. We are actually in a contradictory state, because we want to 'speak' by 'the other side of language'. -
Music is a kind of language.
When we say music is a kind of language, in fact we are propounding it as a means of expression whose substratum is time. A musical composition is a ' new existence' that goes beyond itself to an extent that words cannot express. In an encounter whit this phenomenon, we are released from all the usual restrictions, such as words, metaphors, definitions etc. which burden artistic expression. I am surprised at the extent with which Heidegger emphasizes poetry, which after all has the above mentioned restrictions, as a means to seek the truth, (sec thesis 5)
..I myself as a composer find it very difficult to inform my audience of a process, which I believe is a musical composition of the contradictions that Adorno tried to explain. Expressing musical thoughts in words is so difficult that except for very rare cases, I have not been able to explain these 'moments' to my satisfaction. Among all my theses about music, this first one is indeed the most difficult to convey to others. We are actually in a contradictory state, because we want to 'speak' by 'the other side of language'. -
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Végül két rövidebb kompozíciót meghallgatásra mellékelek.
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1. Alireza Mashayekhi: Development 2. Op. 24.
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2. Ata Ebtekar aka Sote: Synthetic Overture ( Satan's Lullaby)
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