DRAGON NEST 2014 — The musical universe of the Gayan Uttejak Orchestra is unparalleled so we can easily say that it will be one of the most exceptional DRAGON NEST experiences this summer. Last year his concert was the closing production on the Dragon stage and it will be no different this year either.

GUO’s music combines music of non-existing mythological worlds and Extra-European high music cultures with creative techniques aimed at a possible, global still virtual language of music that nevertheless differs fundamentally from the realized world music.

The roots of Gáyan Uttejak Orchestra (GUO) date back to the end of the 19th Century. The Gáyan Uttejak Mandal, the archetype of GUO’s establisher Gáyan Uttejak Society (founded in Hungary, 1981), was operated between 1870 and 1917 by Navraojji Kabraji and V.N. Bhatkhande in Mumbai. The Society was expanded in 1984 with the Archive of Oriental Music, to be considered unique and unrivalled in Eastern Europe, “Gáyan Uttejak Studio” and “Gáyan Uttejak Orchestra”, composed of musicians of the most diverse nationality and being the direct progenitor of the present GUO.

In concert, the traditional Hindu-Islamic and classical Asian musical structures and textures are performed by GUO in the original orchestration, effectuating simultaneously a live-electronic sound synthesis controlled by the traditional instruments, in complete conformity with 21st Century traditions of GUO.

More than 50 records published by German, American, Greek, Indian, French, British, Dutch and Hungarian record companies.

Dharmabit  & Karmafossilisation Tour
The white winged, greenish-gold lizard-bodied, peacock feather-thighed cherubs, accompanying the Divine Soul, are flittering among the pillars with traditional choreography of the trans-electronics, while the sighs of Basso Profundis will counterpoint the cantosections of the choir celebrating the addressing and marching in of the ones condemned to death who are waiting for rebirth.
Ejaculation of the white-colored divine-cerebrum on the memetically corrugated consciousness, when the Earth is going to spread its crust at the moment of the Two Tabla Intrada. Then, the flagellation of the laid-on participants will commence, started by the Imperial Gong, sounded in 7/4 period and articulated by the series of bass-throbbings, that are shifted by a deem phase but still symmetrical. The whole movement is blended with the ancient Greek spirit of “chronos protos”, that will integrate the musical order of this collective exaltation into balanced and subtle unites, reconciling the conventions of the human culture and law and order with the laws of the universal time.
The traditional cadence formula of the movement, incarnated in the bell strokes, is going to introduce the Great Mughal Period performed by the Limited Guo Orchestra, that will simultaneously determine the quality of the flagellation.
That will give an impulse to the electrolictors, so the whole ceremony is slowly turning into the final phase, where the patterns of rhythmic-cumulonimbi and asparagus  will indicate the high-flying of the executed souls.