Presentation by Laszlo Dubrovay Hungarian Electroacoustic Music Miklos Sugar was born in Budapest on 2 July, 1952. He studied conducting (1974-78) and composition (1975-80) at the Budapest Academy of Music. His professors were Andras Korodi and Emil Petrovics. Between 1979 and 1987, he was a member of the Young Composers Group of the Association of Hungarian Musicans, acting as the group's head in 1983-87. Since 1978, he has taught at the Academy of Dramatic and Film Arts. Between 1984 and 1988 he was conductor of the Bekescsaba Symphony Orchestra. Since January, 1988 he has been on the staff of the Music Department of Hungarian Radio. In 1989, his piano piece Felhovariaciok (Cloud Variations) won third prize at the international composers' competition of the Budapest Spring Festival. In 1981, he received the prize of the Albert Szirmai Foundation; in 1984 and 1985, he was awarded the Kodaly Scholarship. Since 1991 he has been working for the National Philharmonie. Models Miklos Sugar began to compose his piece Models in autumn 1992 and it was getting ready in Ferbruary 1993. Models was written for basson which voice is modulated by 2 Yamaha Rev 5 equipments. The piece was inspirated by Gyorgy Lakatos who is not only a prominent bassoonist, but an excellent partner in looking for technical news of the instrument. All of the 10 parts change the voice of the bassoon on various ways with the help of 2 Yamaha Rev 5. The voice of the solo bassoon becomes to the sound like an orchestra. Models is first of all a concert piece, and not an etude, because the technological systems play a less important part behind the musical composition, according to a variation form. Gyula Pinter Born in 1954, in Jaszbereny, Hungary. Learnt the piano under Lidia Csebiss, the composition under Zoltan Pongracz and Janos Kautsky (Holland). Besides composition, he is engaged in fine arts too. From 1978, has made experiments of electroacoustic music in his studio designed by himself. From 1980, has participated in different musical and art events, and festivals. Has takes part in several performances and technical events both in Hungary and abroad. During the last years, won several prizes at competitions. Appeared in the Festival of ISCM and the Gaudeamus Foundation in 1989, in Amsterdam. In 1990, participated in the electronic festival of Bourges. So far, has composed four solo, five electronic and one chamber piece. Armoured Smile The sound basic material of the piece is other different metal percussion instruments and sounds generated by a PCM synthesizer. The Separely registered sounds of these instruments are united in the same system, with the help of a sampler, that can be handled so as a key instrument in the traditional sense. The composition consists of three main parts within which there are smaller division as well. Its musical structure is made of not only the system of the development and variation of the figures but also the layers of differents intonations. The piece was made in the author's studio, in 1991. Janos Decsenyi Janos Decsenyi was born in Budapest in 1927. In 1956 he graduated as a composer at the Budapest Ferecz Liszt Academy of Music. Since 1951 he has been on the staff of the Hungarian Radio. In 1956 he won a prize at the Vercelli composers competition in Italy, he was awarded an Erkel prize in 1975, and the prize of the Hungarian critics in 1981, and 1991. Since 1986 he is Honoured Artist. His interests over a broad sphere of music genres - he composed symphonic and chamber music, chorals, film music and incidental music for radio, theaters and also electroacoustic music. Interwoven curtain of sounds The structure of the composition is based on a double variation line. On the one hand, it is made up of man's world of sounds, whose opening theme could be a Gregorian melody as well; and on the other, of the world of bird sounds. These two basic layers can be heard either separately, reinforcing each other, rhytming with each other, or, in some places, contrasted to each other - in the last case also laying the being played according to "proper" rules. This composition uses as raw material the acoustic atmosphere which surrounds the cathedral, or rather which existed (could have existed) in it during the centuries. Moreover, the piece also transforms all of this and completes it with a synthetic world of sounds, with the help of computer programmes. This composition, comprised of nineteen microstructure, has for its "scene" both a place out of doors (outside the cathedral), and an inner, "abstract" place. "Birds of the Cathedral" is the third of the composer's soundsca Laszlo Dubrovay Born in Budapest on 23 March 1943, Laszlo Dubrovay attended the Bela Bartok Conservatory and the Academy of Music, graduating in 1966. His professors of composition were Istvan Szelenyi, Ferenc Szabo and Imre Vincze. On a scholarship of the Deutscher Akademischer Austauschdienst (DAAD),he continued his studies in West Germany between 1972 and 1974; he took courses in composition with Karlheinz Stockhausen and in electronic music with Hans-Ulrich Rumpert. In 1975, Dubrovay was commissioned by Westdeutscher Rundfunk, Cologne, to realise the electronic composition Sogaj (Sigh) in the electronic studios of WDR. Since 1976, he has taught music theory at the Budapest Academy of Music. 1985, he spent a year in West Berlin within the framework of the Berliner Künstlerprogramm. Laszlo Dubrovay has realised electronic and computer music in the electronic studios of WDR, the West Berlin University of Technology, in Freiburg, Stockholm, Bourges and Budapest. Prizes: 1973 Szczecin - 1st prize (Delivrance for Organ) 1974, Triest - 2nd prize (Succession for orchestra), 1985 Budapest - Erkel prize. Since 1976 he is professor at the Academy of Music Budapest. In 1965 "Artist in Berlin". Symphonia 1985 The piece was realised in 1984-85 in West-Berlin at the Technical University under the leadership Folkmar Hein. It was worked by digital (Synklavier II) and analog (Synlab) too. The working procedd was the next one. All notes were composed exactly, programmed step by step in the memory of Synklavier II, and that programm had controlled the instrumentation,and allmusical processor and soundstransformations. It was determined the sounds-system too,as an acoustical tonesystem. That material was transformed and refined by the analog "Synlab" synthesizer. The Piece has a classical form-conception. The first part has a sonate-form. There are real themes, melodies united with a new haratnical system. In the movement will be made such as soundstransformations, soundmetamorphosen, in Polytempo constructing soundsprocesses, Polyrhythmen, significance changings, just like wouldn't have been to realise by orchestra or instruments. The second part is an Adagio in bridgeform. That is a very dramatic monothematica Twins in The Mirror (composed by Istvan Szigeti) The piece has been created by two twin-sisters spontaneous acoustic gestures (speaking, singing, laughing, crying etc.). The basic material has been recorded during the children's everyday activity by hidden microphones - without the purpose of any artistic production. The production was made with the help of a Macintosh Ci 20/40 M computers in 1993. The main principles of arranging different acoustic gestures have been purely compositional and that of humour.