1997 – Fata Organa (CD)

Fata-organa1997_FrontIt seems that music in our world is the sweet poison of humanity and at the same time the most sensitive test-paper of the feelings of the western society that is in the process of orientalization (i.e. setting up its system of castes).
Rituals and beliefs – as the ectoplasms of the human brain and imagination creating symbols – substitute the rationally perceivable world: the traditions of dead generations have a nightmarish impact on the fantasy of the living. This functions as the daily historical practice of the cocooned Self, the individual that has been crushed by the social block of the biggest human-societal evil.
The demographic and the cultural socio-overpressure of the (not always) free market offers an infinite selection of the materialized mutations of the consciousness of the biological and cultural monsters of alienation.
The Earth is slowly covered by the mucus of the “alien-generation”.
(On the other hand) In the material of this record the organ – the most alienated instrument of the European architectural musical high culture: the hidden meaning of a ritual architectural element and a transcendent musical instrument – meets the spirituality of the Muslim tradition, which – from a European viewpoint – is regarded as coming from a completely different world. The imaginary world of the Fata-Organa attempts to depict this othervise trivial possibility: the common root of cultures, which spans over time and space, is nothing but the edge old essence of human misery, which – as the thread of Ariadne – connects the seemingly strange-but-familiar world of mankind with the techniques of the art of how to break out of it.

The vocalized text of  “fata-sūra”

“The fog is rising, the wells are opening, and in a thin beam like in its own silver ray and vapor cloud fossilized aspic, bubble-granulates are sparkling towards the sky. Its horizon is a mass of executioner-machines that are rolling and screaming in a continuous whitish silver Milk Ocean, a swarm of myriapodous creatures with rustling chitin membranes, sitting in the cloud and making court to their rotting god, eating flesh of one another to the bone; whitish odour, fragments of flesh, repeated rumble, the exploding body of the creatures submerging into splashing and spumy sea of Eden of the collapsing medulla-storm, according to their belief it is the very morning of life. Here, the heaps of plasmatic formations and rawmeat-sucklings, surrounded by vapor, are beaten to foam on the pavement. The twinkling of the birdlike creatures with a disintegrating glass-thorn eye will madden the army of the peacock-thighed creatures reviving from the mucous and slippery flesh-marsh, the rebirth of their tortures, ending in a hoarse and mouldering scream. The sky-high explosion of the distant horizon, where the spiky-tabby shells are adhering to the violet-veil of the rolled up sky and to the sea of the Eden-cream-foam of the falling medulla-storm; creatures, that are being knocked flat in the inside of milksilver orbs in the name of the morning of life, accompanied by the exclamation of triumph emitted by the glass-ants. The mucous-opalesque body of sea-green peacock-feather-eyed giant medusas that are stepping out of the golden river, and that are condensing into hydra-cloud of mercury pearl there, where the river is nibbling its own two banks, and flows as if it were composed of bowels. There are Solaris-phenomenas swimming about on the surface of the river, transparent jelly balls are glittering high above in the air, at first there is a deaf silence, there are weeping willows swaying in the sinister sunshine, crickets are falling into silence, but at this very moment the river flares up furiously on the horizon in a terrible quake, there are spectacles on its hood, and the death is splashing in its mouth.” (written by L.Hortobágyi 1972) 

Dispositions of organ stops

Each of the Disposition elements in the music of “Fata-organa” is original and traditional but digitally reconstructed. Here the new timbre or tone-colour is made up of tens of thousands of “model-cells” – the original tone split into atoms.

None of the figuring Dispositions are in the reality: they consist of long takes of organ-stops (registers) and digital rearranged of their original acoustic, live recordings (except track 12).
The technological basis of this procedure is a PCM morphology using up the old FFT spectrum analysis as an algorhythm-controller (like “convolution”) and a virtual overtone synthesis software developed by eL-Hortobāgyi.

No additional equalization, compression or artifical pottering was employed while composing, mixing the master disc, thus assuring a virtually perfect match to the original organ recordings.

Disposition for I. Manual, Positif/Brustwerk  

Cor anglais 16′ A Englisch Horn 16′
Dulcian 16′ K Dolcian 16′
Montre 8′ C
Bourdon 8′ G Bourdon / Gedackt 8′
Unda Maris 8′ A
Gambe 8′ C Gamba 8′
Cromorne 8′ A Krummhorn 8′
Flute harmonique 8′ D
Trompette 4′ J Trompete 4′
Sesquialtera II K Sesquialter 2. fach
Clairon 4′ A Posaune 4′
Flute douce 4′ D Rohrflöte 4′
Acuite IV L Acuta 4. fach
Octavin 2′ N Oktav 2′
Doublette 2′ F Prinzipal (Superoktav) 2′
Sifflet 1′ L Sifllöte 1′

Disposition for II. Manual, Grande-Orgue/Hauptwerk

Violon-basse 16′ A Cello, Geigendregal 16′
Bourdon 16′ E Bourdon/Gedakt 16′
Bombarde 16′ J Holzpommer / Pommer 16′
Diapason 8′ D Prinzipal 8′
Montre 8′ E
Trompette 8′ H Trompete 8′
Bombarde 8′ J Pommer 8′
Salicional 8′ M Salizional/Salicet im 4′ 8′
G Gemshorn 4′
Cornet 4′ C Kornet/4-5 fach Zink 4′
Prestant 4′ A
Cor de nuit 4′ H Nachthorn 4′
Clarion harmonique 4′ K
Nazard 2 2/3 C
Quinte 2 2/3 I Quint 2 2/3
Clairon doublette 2′ D Prinzipal 2’/Superoktav 2′
Flute traversiēre 2′ J Querflöte 2′
Fourniture maior VI.-VIII. G Mixtur maior 6-8 fach
Fourniture minor V. M Mixtur minor 5 fach
Cymbale III. J Zimbell 3 fach

Disposition for III. Manual, Rēcit Expressif/Oberwerk

Diapason 16′ K Holz Prinzipal 16′
Tuba Magna 16′ A
J Rankett 16′
Gambe acuitē 8′ H Spitzgambe 8′
Flute couvert 8′ G Koppelflöte 8′
Violon-basse 8′ J Geigendregal 8′
Basson-hautbois 8′ C Oboe 8′
Trompette harmonique 8′ A
Voix ēolienne 8′ A Vox Aeol 8′
Quintaton douce 4′ H Rohrquintaton 4′
Voix cēleste 4′ I Vox Celesta 4′
Voix humaine 4′ J Vox Humana 4′
Clairon harmonique + tremolo 4′ A Tremulant 4′
Cornettino 2′ M Kornette 2′
Octavin 2′ I Oktav 2′

Disposition for Pedale/Pedal

Sousbasse 32′ F Untersatz 32′
Bombarde 32′ D Pommer 32′
Contrebombarde 32′ A
Principal basse 16′ C Prinzipal Bass 16′
Contrebasse 16′ G Kontrabass (Bourdon) 16′
J Quintbass 10 2/3
Basse 8′ J Choralbass 8′
Bourdon 8′ G Bourdon/Gedackt 8′
Octavebasse 8′ J Oktavbass 8′
Clarine 4′ M Klarinet 4′
Trompette 4′ D Trompete 4′
L Rauschquint 7 fach

Sources of the organ-stops (registers)

A Organ by Aristide Cavaille-Coll (1811-1899) of l’Abbatiale Saint-Queen, Rouen
B Organ by Aristide Cavaille-Coll (1811-1899) of l’Eglise Saint-Francois-de-Sales, Lyon
C Organ by Aristide Cavaille-Coll (1811-1899) of Basilica of Saint-Sernin, Toulouse
D Organ by Aristide Cavaille-Coll (1811-1899) of Saint-Sulpice, Paris
E Organ by Aristide Cavaille-Coll (1811-1899) of the Cathedral, Orleans
F Organ by Aristide Cavaille-Coll (1811-1899) of l’Eglise Saint-Solomon Saint-Grēgoire, Pithiviers
G Organ by Gottfried Silbermann (1683-1753) of the temple, Grosshartmannsdorf, Freiberg (Sachsen)
H Organ by Karl Joseph Riepp (1710-1775) of the Benedictine Abbey, Ottobeuern
I Sauer Organ of Tomaskirche, Leipzig
J Organ by Jonas Gren and Petter Strahle (1751) of the St. Katarina Church, Stockholm
K Organ by Daniel Nutrowski (1683) in the Church, Frombork (Poland)
L Organ by Jan Wulf (was built between 1763-1788) and Rudolf Dalitz (1791-93) in the Cathedral, Oliwa (Poland)
M  Organs by Peter Soōs (1953-1986) in the temples of Hungary

Fata-organa 1997 Organ Reed Stops