For Large Ensemble
Conductor: Orhun Orhon
Flute: Seray Seyhan
Oboe: Ulaş Yurtoğlu
Clarinet in Bb (also Bass Clarinet): Onur Ustabaş
Bassoon: Serkan Alagök
Horn in F: Mustafa Kaplan
Trumpet in C: Onurcan Çağatay
Trombone: Mehmet Ali Baydar
Tuba: Özgür Haran
Harp: Gözde Ece Yavaş Öztürk
Violin 1: Özge Erdem
Violin 2: İlayda Zeynep Köksal
Viola: Ali Başeğmezler
Cello: Mehmet Gökhan Bağcı
Double Bass: Doğukan Pahsa
Percussion: İrem Dekeli, Alican Öztan
Music for Ensemble (2020)
For flute, clarinet, trombone, piano, violin, viola and violoncello
Written for and Performed by XX. jahrhundert (2020)
The piece is made up of eight chords which are employed as harmonic sections specifically derived from a limited microtonal pitch space. The pitch spaceis a combination of two distorted harmonic spectrums, one major second apart from each other. The frequencies are quantized to
quarter and 1/8 tones, thus each of these chords contain a number of intervals that can be perceived differently depending on the context. That is what drives the piece forward harmonically. A variety of expressive qualities are implicit in textural and timbral layers and they unfold with respect to the nature of this pseudo-spectral idea.
Layers Into Rural Unconsciousness (2020)
(Higher Order Ambisonics)
Improvisation 1 (2020)
An excerpt from the video recording of live performance (low quality audio)
For Bassoon and Live Electronics
Bassoon: Deniz Aslan
Moments from Silence (2019)
For flute, clarinet, percussion, piano, violin and violoncello
Written for and Performed by Oerknal (2019)
Silence has no identity. It doesn't have a timbral profile, it doesn't have a pitch organisation nor is it constructed on a scale or a row. It has the dynamics we imagine and has a spectromorphology as complex as our mental state at the moment.
It is what that has not started and it is what remains.
It is neither null nor 4'33.
It is as concrete as air.
It is coherent as it does not seek coherency.
There is always silence; as there is always sound.
Tape Music (2019)
Fixed Media (Stereo)
Window (Mahal) (2019)
Site Specific Sound Installation
For an old cassette player, an old stereo and a computer with old monitor and speakers
Collaboration with 7 composers/sound artists
Commissioned by Evliyagil Museum/Klasik Keyifler
Exhibited at Evliyagil Museum (Ankara, 2019)
The looping video on the computer
Mahal is conceived as a site specific sound project for Müze Evliyagil. Even though it contains diverse elements such as musical performance and sound installation, it aims to provide the audience with a collective sound experience. Works, that are formed upon a conceptual basis thought out by seven composers, occupy their own spaces simultaneously in a similar fashion that art objects are placed in a museum. Each work penetrates into the other by interfering with the space of the other. The impossibility of containing sound in a closed space, became a common starting point rather than an obstacle for the project. For a good hour, this collective sound world that penetrates every corner inside and spills outside, aims to add a new layer to the memory that the space has created up to now. Unlike a musical concert, Mahal does not require any ideal position to experience. The impossibility of perceiving sounds of Mahal as a whole, encourages listeners to draw their own individual paths, ultimately offering them a unique and subjective experience.
Three sound systems from different periods with different technologies which convey different listening practices, simultaneously play three separate music which are “idiomatically” composed using the same material while taking the sound qualities, characteristics, conventions and connotations of each system into consideration.
By creating a multi-dimensional counterpoint, the piece intends to break the linearity and open a new window on these sound worlds.
An outside view of the computer
An excerpt form the overall sound in the museum
Excerpts form individual soundfiles
For string quartet
Performed by Arditti Quartet (2019)
Performed by Hezarfen Ensemble (2018)
Gri narrates an effort to reach “the white” from a black plane, in a black and white dominant world. Such that, it is never noticed that in the light of the new comprehensions reached as a consequence of every attempt, more and more into “the gray” it is submerged. Logic starts to fall apart in moments that hope becomes despair - and in the end of the process, in an absolutely gray world, there we float, unable to distinguish any contrast. I, in this piece, try to examine in musical matters and cause and effect relations if one can reach a point of awareness in a chaotic world only consisting of intersections and interactions of logic, as a result of the pursuit of their silhouettes which reveal themselves occasionally. I aim to exhibit a whole as broken into fragments, which is to be understood not only by observing from a plane of time, but from any aspect.
For blockflute, panflute and vibraphone
Written for and Performed by Black Pencil (2016)