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New Chamber Works by Kamran Ince

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New Chamber Works by Kamran Ince NEW CHAMBER WORKS BY KAMRAN INCE WWW.ALBANYRECORDS.COM TROY1565 ALBANY RECORDS U.S. 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 © 2015 ALBANY RECORDS MADE IN THE USA DDD WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. KAMRAN INCE Asumani NEW CHAMBER WORKS BY KAMRAN INCE Far Variations (2009) [15:32] [10:50] 16 Drawings (2002) [1:30] Marie Sander, FLUTE 3 from far Kamran Ince & Friends 4 close passion [1:33] Phillip Bush, PIANO 5 far within [1:06] KAMRAN INCE 6 dance fire [1:23] 17 Two Step Passion (2012) [3:34] TROY1565 1 Asumani (2012) [8:43] 7 far dance [3:20] Cihat A¸skın, VIOLIN Özgen Duo 8 ripples [0:30] Yelda Özgen Öztürk, CELLO Kamran Ince, PIANO (Neva Özgen, KEMENÇE 9 obsession fire [0:56] Yelda Özgen Öztürk, CELLO) 10 far ripples [0:40] 18 Requiem for Mehmet (2009) [4:44] 11 fire within [1:39] 2 Symphony in Blue (2012) [12:30] 3 Piano Project 12 from far within [1:15] Hüseyin Sermet, PIANO (Zeynep Üçba¸saran, PIANO I 13 distant passion [0:48] Miguel Orgega Chavaladas, PIANO II 14 far gathering [0:55] Sergio Gallo, PIANO III) Soh-Hyun Park Altino, VIOLIN Anthony Gilbert, VIOLA [13:05] 19 Abandoned (2014) Leonardo Altino, CELLO Peabody Southwell, MEZZO-SOPRANO Kamran Ince, PIANO Prizm Ensemble (Carina Nyberg Washington, CLARINET 15 Road to Memphis (2009) [8:46] Daniel Gilbert, VIOLIN TROY1565 Özcan Ulucan, VIOLA Iren Zombor, CELLO) Kamran Ince, PIANO Kamran Ince & Friends Total Time = 77:46 WWW.ALBANYRECORDS.COM Asumani TROY1565 ALBANY RECORDS U.S. 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 © 2015 ALBANY RECORDS MADE IN THE USA DDD WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. KAMRAN INCE THE COMPOSER The music of Turkish/American composer Kamran Ince bridges Anatolia and the Balkans to the West. The energy and rawness of Turkish and Balkan folk music, the spirituality of Byzantium and Ottoman court music, the tradition of European art music and the extrovert and popular qualities of the American psyche are the base of his sound world. These ingredients happily breathe in cohesion, and they spin the linear and vertical contrasts so essential to his music forward. Hailed by The Los Angeles Times as “that rare composer able to sound connected with modern music, and yet still seem exotic,” Ince was born in Montana in 1960 to American and Turkish parents. He holds a Doctorate from Eastman School of Music, and currently serves as Professor of Composition at University of Memphis and at MIAM Center for Advanced Research in Music at the Istanbul Technical University. His numerous prizes include the Rome Prize, the Guggenheim Fellowship, the Lili Boulanger Prize and the Arts and Letters Award in Music from the American Academy of Arts and Letters. His Waves of Talya was named one of the best chamber works of the 20th century by a living composer in the Chamber Music Magazine. His works are performed by such orchestras as the Chicago Symphony Orchestra, BBC Symphony Orchestra and the Prague Symphony Orchestra, and such ensembles as the Nederlands Blazers Ensemble, Chanticleer Choir and the Los Angeles Piano Quartet. Concerts devoted to his music have been heard at the Holland Festival, CBC Encounter Series (Toronto), the Istanbul International Music Festival, Estoril Festival (Lisbon), TurkFest (London), and Cultural Influences in Globalization Festival (Ho Chi Minh City). In addition to symphonic and chamber works, his catalogue also includes music for film and ballet. His music is published exclusively by Schott Music Corporation. Commissions he has received include those from Ford Foundation, Fromm Foundation, Koussevitzky Foundation, Jerome Foundation, Reader’s Digest and Pew Charitable Trust. Important projects include Songs in Other Words (2014) (six kernels from Mendelssohn’s Songs Without Words recomposed) for Spark and Schleswig-Holstein Festival (released on Berlin Classics); Fortuna Sepio Nos (2013), a piano trio for Arkas Trio; it’s a nasreddin (2013) for Berlin Counterpoint and Istanbul Festival; Zamboturfidir (2012) for Irish Arts Council for Yurodny (Dublin) and Hezarfen (Istanbul); Still, Flow, Surge (2011) for choir and orchestra for Present Music’s 30th anniversary; Concerto for Orchestra, Turkish Instruments and Voices (2009) for the Turkish Ministry of Ince’s father was Turkish; his mother is American. He grew up partly in each country and now splits time Culture; Dreamlines (2008) to celebrate the 100th Anniversary of Turkish Chamber of Architects; Music for between Memphis, Tennessee, and Istanbul. Ince is first and foremost a composer in the Western classical a Lost Earth (ambient music project) (2007); Gloria (Everywhere) (2007) for the Chanticleer Mass project tradition, but he is not bound by that tradition. He is also well versed in Ottoman classical music and grounded (released on Warner Classics And on Earth, Piece); Turquoise (2006), a mix of his works arranged for the in Turkish culture. In ways sometimes explicit and sometimes subtle, his music reflects that dual heritage. Nederlands Blazers Ensemble (released on NBELive), and 5th Symphony Galatasaray (2005) in honor of the infamous soccer club’s (winner of the European and the World Super Cup in 2000) centennial celebrations. Asumani, the title track of this CD, is the most obvious example of Turkish influence on this disc. Ince pairs the Western cello with either the classical kemençe, a small string bowed instrument held upright Five Naxos CDs of Ince’s music have been released. They are Music for a Lost Earth, Galatasaray, with the tail on the knee, or the ney, an end-blown flute, made of reed. Both the ney and the kemençe Hammers & Whistlers, Constantinople and Kamran Ince. His other CDs include In White and Passion and instruments figure in mystical Sufi worship. On this recording, Neva Özgen’s kemençe brings out the Dreams on Innova, Fall of Constantinople on Argo/Decca and Kamran Ince & Friends on Albany. spiritual yearning Ince wrote into Asumani, a term that expresses a reaching for the heavens in order to become enveloped in the love of the almighty. Özgen, with cellist Yelda Özgen, inflects Ince’s innately Ince’s Judgment of Midas, an opera in two acts, commissioned by Crawford Greenewalt to mark the 50th haunting hexachord scale — D (supported with C-sharp below), E-flat, F-sharp, G, A, B-flat, C-natural — anniversary of Sardis/Lydia excavations, had its concert version premiere in April 2013 in Milwaukee with to profound effect. The melodies rise from a mist of scrapings and murmurings of unstopped strings, as if Present Music and Milwaukee Opera Theatre with Ince conducting (released by Albany Records). Its staged all of creation were arising from nothingness. premiere, under the direction of the composer, was given by the Istanbul State Opera at the Istanbul International Opera Festival in June 2015. Ince typically notates down to the last detail, but in this case he allows the kemençe an episode of improvisation in the style of Ottoman Classical music, on a specified scale over an up-and-down pedal in the cello. The improvisation fits into a firm, ingenious structure that gathers the wildness of the music into a cohesive whole. THE MUSIC Hakan Erdog˘an commissioned Asumani. Neyzen (a master ney player) Kudsi Ergüner and cellist Eric Kamran Ince’s music sounds spontaneous and volatile, just what you’d expect from the bigger-than-life Maria Coutier gave the premiered at the Bach Before & After concert series at the St. Antuan Cathedral in personality of this uncommonly passionate composer. Istanbul in March of 2012. So much of this music inhabits the extremes of both sublime and violent expression and tests the sonic Symphony in Blue opens with staccato clusters that punch the ear at odd, unpredictable time intervals. A possibilities of the instruments. Musicians can approach it with nothing less that total mastery, total abandon, brief episode of plucked piano strings follows. The clusters return. Then a charming, high tinkling of ivories and a reckless commitment to its emotional and rhythmic impetus. The many musicians Ince gathered to drifts atop the plucking, now in the low strings. Mellow chords flow as pianist Hüseyin Sermet hums a low record these varied pieces have in common not only the big technique his music requires, but also the vocal. It all seems arbitrary and unrelated at first. But as the music plays out over 12-plus minutes, we wildness and intensity it demands. They are Ince’s triumphant champions, and he is their inspiration. hear these elements combined systematically — two at a time, then three, then more — in varied ways. The music creates and solves its own puzzle, and thus unfolds as a visceral, emotional and intellectual They have recorded a disc of music infused with passion in both composition and execution in every bar. experience all at once. The Istanbul Modern Museum commissioned Symphony in Blue in honor of a rare showing of Burhan The Snyder Duo (harpsichord and viola) commissioned this Road to Memphis and played the premiere in Dog˘ançay’s painting of the same name. It was premiered by Hüseyin Sermet at the museum in June 2012. May 2009 at Carnegie Hall’s Weill Recital Hall in New York. Maggie and Minnie Snyder grew up in Memphis and encouraged Ince to bring some Memphis sound into the new work. Far Variations, for piano quartet, might be the most structurally clear and tightly knit piece on the disc. The theme is not so much a melody as a tiny, three-note kernel of an idea: An ascending leap, a descending “Although I have been associated with Memphis all these years I never really consciously used musical step.
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