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1 HOW I HAVE GOT THIS MUSIC
It was very surprising for me, when I realized, that actually in all my
life I wanted to create this kind of music. I went in to a normal
gymnasium at my age of 14-18, first I wanted to be a physicist. I was very
interested in the secrets of the atoms and the most little particles of
matter and energy. But at my age of 17 I started to listen to music
generated by my imagination, so I thought I ought to be a composer. An
experimental scientist is not very far from an experimenting composer;
both of them are going into realms, which are not explored yet, into the
fields of unknown. It is very fascinating, that these fields are very far
and strange (stars), very close and strange (the world of particles), and
very far / closed and very strange / well known at the same time (the
world of our spirit).
Music promised me to link the two polar field, science and soul. It was
evident, that I tried to compose pieces modelling the processes of matter,
the fine changes in the structure under the surface, and the sudden
changes of quality after the accumulation of the changes in micro sphere.
It is amazing, that somehow all of my compositions went on this path. They
all were a kind of continuum. The audience loved that type of playing with
the sounds, because this kind of contemporary music gave them enough
anchor points for observation of the processes. Another interesting
experience was, that listening to this music everybody reflected onto soul
processes. How funny: I wanted to model the drama of matter, and
molecules, and people are sensing in all this the drama of the soul. The
“dead” matter waked up living emotions and thoughts.
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1.1
Improvisation
However,
I was not quite happy whit this: in the material world, and even in the
spiritual world, the events are happening in real time, everything is
coming into existence in the present time, now. It is not a big
contradiction, if one is working on a paper for months, to create events,
which are happening in a spontaneous moment? As I walked down on the
street, I used to dream up so many musical moments, variations, ostinatos,
repetitions, virtuous solos, colourful orchestrations… but in the next
moment, as I wanted to catch them, they changed, and for the new moment
has belonged a new music, new sound, new instrumentation… I was very
unhappy. How can one make the music as spontaneous, as the real things
occur!
Then I
started to work in a contemporary dance group, as a répétiteur, and on
every morning I had to improvise on the piano for the ballet class.
Improvisation is creation in the present time. Composing on the spot! We
could say, every moment and every group of people on every spot of the
earth could have a unique musical moment, represented differently by each
artist of course, so it is evident, that one cannot make the same music in
different times and situations. But how can one achieve the possibility to
create the right music for the right moment?
For me
to create the desired music, the solution was brought by computer
technique. I started to play with synthesizers on the 90-ies and I could
get my dreamed up looper (the necessary instrument for catching and
layering the moments) in the year 2000. This was the realization of my
long desired dream and of a new beginning. This was the birth of the Music
of The Spheres.
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2 SYMMETRY
AND THE MUSIC OF THE SPHERES
In 2001
Erzsébet Tusa, Hungarian pianist and professor in Japan gave an
interesting lecture in Budapest. The title was: “How I have found Europe
in Japan”. She was confronted with the difference of thinking in the far
east, and this has brought about a new understanding of what is actually
Europe, European thinking in the light of Japanese, Indonesian, Indian, or
aboriginal cultures. She has experienced while teaching European music in
Japan that the structures of the great European masters waked up different
impressions in the Japanese students. She realized, that every culture
stresses different aspect of the perception and so of art, music. She gave
different names for each experienced art thinking and she asked the
audience to think further and to discover more type of musical thinking. I
was very interested, because her approach promised me the understanding of
how my particular music is working. It became more and more clear for me,
that the Music of The Spheres contains elements from each musical
approaches, the Japanese (the art of the moment), the Gamelan (Indonesia,
cosmic art, the music of the moving sky objects, the “Music of The
Spheres” by Kepler and Pythagoras…), the Indian (music of the path,
starting from one point and arriving on another after a long journey), the
European (the structures).
I gave
her a copy of my CD with this new type of music. After some time she
called me on the phone, and she gave my name to the Organizers of the
event Symmetry 2003. It happened so, that I have had the honour to play
the closing concert of the Symmetry 2003 in Budapest. Later I met Dénes
Nagy, the President of ISIS-Symmetry, at the Austral-Hungarian conference
on symmetry in Budapest. He was very much interested in this new music and
now I have the possibility to show, how much the Music of The Spheres have
developed recently.
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2.1
Symmetry, asymmetry, dissymmetry in music
One can
say, there is no music without the use of symmetry, but better to say,
that this so called symmetry is really asymmetry. In the presence of a
proper amount of symmetry (unchanged elements moved in time in the form of
repetitions) can one only perceive asymmetry, because if nothing is
symmetrical and nothing is constant, the alteration of patterns, or the
lacking of constancy cannot be perceived at all. If there is no symmetry -
no constancy - at all in none of the constituting elements of a system,
one is speaking of chaos, which is total dissymmetry. In the state of
chaos the game possibilities are absent (there is no life), because the
differences are indifferent – one cannot relate anything to anything. The
perfect chaos cannot be imagined really well, because one tends to look
for constant elements even in a state of a chaos, and from that point,
game – and life - becomes possible. On the other hand, in the state of a
perfect symmetry - unchanged repetition - again the possibilities of game
are gone, therefore there is no life either. But, similarly, it is again
unimaginable; even in the most rigid repetition there is a changing
element: the audience will change and gives newer and newer meaning to the
unchanging object. In both cases the audience, the observing and living
part taker pours his life into the non-living, too-symmetrical (over
ordered) or too indifferent (chaotic) systems. One can say from that
point, that life can come only from life, and life is coming only
from life, and life has the tendency to give life.
A soon,
as there is enough symmetry and enough dissymmetry in the same system, one
can play thousand and thousand games with the asymmetry and life becomes
really interesting. It is obvious, that too much symmetry accumulates
tension and a will of changing, and too much dissymmetry makes everything
indifferent (no tension) which provokes again a will to give some meaning
to some elements, because this gives them certain constancy among the
ocean of constant changes.
Therefore the experiment of dodecaphonic music (twelve tone music by
Arnold Schönberg and his pupils, the new Viennese school) with the
striving to cancel any hierarchy, any relative importance between the
tones to each other and any possible repetition in the twelve tone system
leads towards extreme dissymmetry (but never could really reached, thanks
God). The striving for too much diversity leads to no diversity at all. As
soon, as one tone or one rhythm becomes constant element, which is related
to the rest of the tones, or rhythm patterns, we can speak about a kind of
tonality or metrics. In the presence of tonality and metrics - that is
symmetry - the differences and nuances – that is asymmetry - are sharper
and therefore the variance is significantly bigger. The game field of
asymmetry is really wide and there are infinite numbers of possibilities
of how one can combine symmetry with dissymmetry to obtain a living
asymmetry
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