Milan Grygar - Akustická Kresba

Milan Grygar
Akustická Kresba

Single 1969 on Supraphon label
Spoken Word (Musique Concrète, Experimental, Abstract, Sound Art)

A [Czech] Šroub, mechanický ptáček, větrák, hrací vlček, dětská foukačka, alpské zvonky (nahrávka s 2 mikrofony) [English] Screw, mechanical bird, fan, playing wolf, baby blower, alpine bells (recording with 2 microphones) AA [Czech] Plech, metronom, hrací strojek, 2 zvonky, malý gong, řehtačka, sklenička, hrací vlček (nahrávka s 2 mikrofony). [English] Sheet metal, metronome, playing clock, 2 bells, small gong, rattle, glass, playing wolf (recording with 2 microphones) Akustická Kresba (Acoustic Drawing) is the first of the vinyl records of Milan Grygar and this it is its first edition (the cover is an original printing on lithos paper offsset one ink printed). He has only released another one, in 1976 and on the same Supraphon label called Kresba 18 A 17 (drawing 18 A 17). In 2017, on the occasion of his 90th birthday, he had a great retrospective exhibition for which they relaunched both in CD version. Text on the back: MILAN GRYGAR Acoustic Drawing (foto Josef Prošek) In the liquid state of kinetic, concrete, phonetic and phonic poetry, lettrism, pop and op-art, specific music, electronic and algorithmic, graphic and action, art permutational, assemblages, happenings, psychodelics and environments has added Czech painter and graphic artist MILAN GRYGAR from his acoustic drawings, mechanical acoustic drawings and cartoons All this in 1966-1968, in qualitative successions, reveals the secrets and conjectures of the more obvious inner possibilities of each species of the kind previously. At the moment of deciding on his own artistic journey, he discovered a drawing that VIDETSL YSET can simultaneously use a tape recorder to record all the sounds, noises and noises generated in the drawing process by hand (s) of various objects. Objets sonores did not choose a composer, but a creator who did not give up purely creative goals The stage of sound verisim, in which the authentic rhythm of work on artwork pulsated, enriched Grygar soon with the unique play instrument. movements and movable objects operating on the production. An area within 2 microphones. Rotating mechanical objects, drawing instruments and differentiated sound sources (aristons, wolves, metallic birds and frogs, screws, etc.) have not "organized" the relationship of the hand-front and, conversely, the programmed and directly coordinated acoustic design of the composition. the horizon turned into contrasts of tones, noises, beats, sounds, sounds, and their surfaces, often layered on top of each other, while the cartoon record shone brightly. Then Grygar began to draw scores. The scores with ff, mf, pp, with M 120 (or M.M. • I = 120), notably, represented by musical events. Sometimes they are precisely marked by the determination of the sound sources, the time, the direction of the course in the stereo space, sometimes only indicated: in this case it can be realized individually by a flutist or philharmonic or no one Milan Grygar has established a closer relationship between music and artwork. He enthusiastically develops the original idea of the existence of the musical and visual rhythm and their variable contexts, symbiosis, syntheses. Somewhere at the end of the process, a generous project emerges - image production in multidimensional space with the participation of more acoustic and plastic structures. Meanwhile, she presents drawings that do not lose the values of the sound without sounds. And sounds that even without artwork (like this documentary record) do not lose the charm and freshness, the fragility and the strength of the sounding material, and the unrepeatable colors and their connection. They can not describe themselves, they have to listen. Jaromír Paclt