eL-Hortobagyi: 04 - Gwālior-ki Fioratura of Barokrītis 2016
eL-Hortobagyi - Transrational-(trancerational) Baroque Sangeet Music - (see and download in higher quality from : http://guo.hu/?page_id=8483 & http://guo.hu/?page_id=190)
The Barokrītis 2016 CD it is my private vision-mythology about the common improvisation and structure between the the “code-systems” of the baroque musical practice and the classical Indian Music, especially the way of thinking of the vocal and instrumental practice (bol-taans, bol-baand, ritornello , etc).
My first composing was ended in 1984 (under title: Kirānā-baroque, published in Transreplica Meccano LP, 1988) and later the Gāyan Uttejak Orchestra playing live on harpichord and tablā-tārang on their tour, mainly my raga composing in Rūpaka, Chautāla, Dhammār, etc. Unfortunately the new global colloquial musical language deforming these traditions to another and brutal way and it seems to lost the original “source code” of these high musical cultures heritages and common roots.
The last living (but dying) colloquial-vernacular musical language now can only be found in the Arabian-Indian-Indonesian World on this planet.
Though the extinction of the traditional Indian schools (gharānā) had already commenced in parallel with the disappearance of the mahārāja courts, around the turn of the previous century the general misunderstanding of the classical Indian music by ”white man’s” consumption could also lead to the development of a consumable Indian music that was comparable with the global “conform-idiomatism” of the awful pop-New Age industry and finally died out about on the symbolical day of Ustād Vilāyat Khān‘s death (March 13, 2004).
Today it has become a Tāntric rectum cleaning and the music of entertainment industry characterized by kitschyworld and wellness-ambient facility that will operate as one of the Wellness-Neuronetics subdivision of Wychi-Exonybm Corporation.
When in 1580 a choir-master-organist living in the Netherlands wrote a fugue to which in the majority of the cases he did not add any key-signature, and there was no rhythmic marking out, neither was the way of performance added in Italian, nevertheless a hundred years later, in a distance of 2000 km, it was perfectly performed since the person who wrote it trusted the other person who played it: “what both of us know, why should be put down”.
The last “free improvisation” practice of the European music based on the huge basic-melody treasury of the reformation choral music and on the contemporary improvisational practice of the organ-cembalo-lute performances, with (above mentioned) very simple notation system (like guru-sishyā paramparā or the scores of the gamelan banjar orchestras, etc). The European continental-collective musical language’s general practice died out about on the symbolical day of J.S. Bach‘s death (July 28, 1750).
