1925 __ « Farblichtmusik »
‣ Original excerpt : « In 1925, Hungarian composer Alexander Laszlo wrote a text called “Color-Light-Music” ; Laszlo toured Europe with a color organ. — Alexander Laszlo composed scores for a surprising number of interesting and popular movies during the 1940s and 1950s, as well as memorable theme and background music for numerous television series of the 1950s. Laszlo was born in Hungary but raised in Germany. A child prodigy at the piano, he later studied performance and composition. Laszlo's early compositions were principally pieces for violin and piano duets and solo piano sonatas. By the early '20s, he was writing music that was used to accompany movies during the silent era. He was also something of a musical theorist, and in the mid-'20s began presenting concerts based on his ideas about the relationship between music and color. color would have confused (or "overloaded") Alexander Laszlo's 1927 visualization of Honneger's Pacific 231 with two side-by-side images pushing the viewer into a 120kph vortex. — Fischinger used the film-strips from a 1926 multiple-projector performance that he had designed for the Farblichtmusik (Color-Light-Music) concerts of a Hungarian composer Alexander Laszlo, who wanted synaesthetic color manifestations to parallel his piano compositions. Laszlo played several short pieces over a 30-minute period, most keyed to a single color/mood, but for the climactic moments, Fischinger had used a triptych of five projectors with three side-by-side images and two other images overlapping the joins of these three. After Laszlo's 1926 tour of concerts were over, Fischinger continued to play his multiple-projection piece (somewhat revised and with different, percussion music) under the title R-1, ein Formspiel (R-1, A Form-Play). — In the same year that Braun's and Segal's book was published Sandor (Alexander) Laszlo published his book "Farblichtmusic" (Color Light Music). Whereas Braun includes light as a third element accompanying color and form in picture, sculpture, and stage, Laszlo uses light as projected color in the course of his research on the connection between music and colors. The relation between color/light/music and the concept of "expanded cinema", which appeared much later, is acceptable to the extent that it was supported by film expert Oskar Fischinger. Moholy-Nagy also knew and highly appreciated Lasdlo's work, and mentioned it in his "Painting, Photography, Film". Without delving further into laszlo's presentations or the characteristics of the color/light/music relation, I would simply point out that we are once again faced with a constructed machine. — a piece of electric equipment and the theoretical research work connected with it. While Laszlo experimented with connections of music and light, Braun did likewise with light and three-dimensional objects. However, in the works of Henrik Neugeboren (Henri Nouveau) we find examples of the connections between sculpture and music, reinforced by theory and text. » (Miklos Peternak)
‣ Source : Peternak, Miklos (2005), "Light and Sound from Hungary", In "Beyond art: a third culture : a comparative study in cultures, art, and science in 20th century Austria and Hungary, Numéro 72", Edited by Peter Weibel, Springer, p. 84.
‣ Urls : http://www.oskarfischinger.org/GasparColor.htm (last visited ) http://rhythmiclight.com/archives/timeline.html (last visited )
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