Ambigua, Act II: to transcend

by vasilis ginos

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The second act of Ambigua is this rendition of Music for Strings, Percussion and Celesta, Sz.106 using synthesizers. Their sound lends itself beautifully to the harsh and rough, out-of-this-world but still so earthly, dissonant passages of Bartók's masterpiece, so ahead of its time.
Béla Bartók is one of the most forceful and influential musical personalities of the 20th century, whose music was so widely abused and misunderstood in their own lifetime. He fused and completely assimilated seemingly conflicting musical elements - the classical masters, contemporaries like Debussy and folk songs. Especially the polychromatic orchestral textures of Richard Strauss had an immediate effect upon Bartók's instrumental sense, evidenced in masterpieces such as Music for Strings, Percussion and Celesta (commissioned by the conductor Paul Sacher to celebrate the 10th anniversary of the Kammerorchester Basel and written in 1936.) It perfectly reflects the composer's style, as it had evolved through several stages into one of the most distinctive and influential musical idioms: Ingenious application of asymmetrical, sometimes driving, often savage, rhythmic propulsion and ear-tweaking sonorities, exploitation and refinement of devices like palindromes, arches and proportions based on the "golden ratio."

credits

released October 16, 2016

adapted, programmed and performed by vasilis ginos
recorded in gallery studio, athens by vasilis ginos
artwork by yiannis vamvouras

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about

vasilis ginos Athens, Greece

A Greece-based musician, vasilis ginos was born in Athens in the '60s.
He started off playing keyboards in bands, most of which he co-founded.
His influences were the big rock groups of the era, his classical training, a late infatuation with jazz and a solid local folk background.
An early adopter of music technology he works in many diverse genres, most recent of which is classical crossover.
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