LocksBridge ARTISTMANAGEMENT

Turkish Concertos Catalogue

Includes Works of CEMAL REŞİT REY AHMED ADNAN SAYGUN EKREM ZEKİ ÜN YALÇIN TURA HÜSEYİN SERMET KAMRAN İNCE HASAN UÇARSU FAZIL SAY MAHİR CETİZ

2021 © LocksBridge. All Rights Reserved. Turkish Concertos Catalogue TABLE OF CONTENTS

FOREWORD

Foreword by Onur Tahmaz 4-5

ABOUT US

Who We Are 6 Team & Management 7 What We Do 8 Latest Partners 9

LB ARTISTS

Why LB Artists 10-11

Concertos

Concertos Intro & Turkish 12-13 Concertos I-XXIII 14-83

CONTACT

Get Connected 84 LocksBridge Artist Management Turkish Concertos Catalogue

FOREWORD

WE CONTINUE TO BELIEVE IN THE POWER OF

ESPRIT DE CORPS

as LocksBridge

Alone, we can do so little. FOREWORD Together, AT A GLANCE we can do so much.

For Edition I

INTRODUCTION ACKNOWLEDGMENTS

No musical genre has had a more critical history than the concerto First and foremost, we salute the composers who have so but has simultaneously retained as consistently prominent a place generously created these extraordinary works in the Turkish in the affections of the concert-going public. Concertos Catalogue. These individuals have provided the inspiration and content for this publication. To them, we offer our Turkish Concertos Catalogue is a chronological selection of works deepest thanks. of Turkish composers from the beginning of twentieth century to the present. It includes the names of Turkish composers and We are indebted to the following people for their previous research their concertos, brief biographies, details such as duration and and contributions to the literature rendered during the progress instrumentation, dates of composition as well as the soloists who of the catalogue:—Dr. Emre Aracı, music historian, conductor and are to perform them. ; Evin İlyasoğlu, music critic and writer; and Ahmet Say, music historian. Accuracy has been striven for as regards dates of birth and death; biographies; and the works’ details, which have been carefully collated, where possible, from contemporary notices. Some of these differ from information hitherto accepted. Still, faults and omissions may be detected and any information in correction thereof will be gladly received. The catalogue is issued by LocksBridge as a kind of collection of selected concertos by Turkish composers, the object being a desire to create a source material for the works of Turkish composers in the musical genre of concerto.

Turkish Concertos Catalogue makes available a range of significant works encompassing all aspects of the concerto genre by Turkish composers, including works of Cemal Reşit Rey, Hasan Ferit Alnar, Ulvi Cemal Erkin, Ahmed Adnan Saygun, Ekrem Zeki Ün, Yalçın ONUR TAHMAZ Tura, Hüseyin Sermet, Kamran İnce, Hasan Uçarsu, Fazıl Say and MANAGING PARTNER & ARTISTIC DIRECTOR Mahir Cetiz.

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WHO WE ARE TEAM

WHO TEAM & WE ARE MANAGEMENT

our mission & vision

Turkey’s first and leading international classical artist management company! DUYGU ESENKAR ONUR TAHMAZ KERİM SİPAHİLER LocksBridge is an international classical artist manage- Managing Partner Managing Partner Investing Partner ment agency. Founded in 2019 by 3 partners, all grad- Projects Director Artistic Director Corporate Relations Director uates of Boğaziçi (Bosphorus) University, the highest- ranked university of , LocksBridge’s mission is to establish a firm, effective and yet holistic connection between arts & entertainment, especially classical mu- sic, industries of Turkey and the rest of the world with an innovative approach. Our team at LocksBridge is full of people with proactivity, creativity, versatility and LocksBridge is the first member of the IAMA (The International Artist dynamism. We represent the best classical artists and Managers’ Association) as an artist lead their careers towards their highest potential. As management company from Turkey! ULAŞ DENİZ TÜMKAYA ZEKERİYA TÜRKMEN MARK STICKNEY we develop our worldwide network further, we contin- ue to believe in the power of “esprit de corps”: “Alone International Touring Director Representative – France Representative – USA Assistant Artist Manager we can do so little. Together we can do so much.”. While being Turkey’s first and leading international classical artist management company, LocksBridge also uses its creative and digital abilities to position itself, its part- ners and LB Artists right in the digital world.

BARAN SAKALLIOĞLU YAHYA DEMİRBAŞ YUNUS TAHA MERCAN

Social Content & Assistant Artist Manager Business Development & Web Development Director Marketing Director

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WHAT WE DO OUR PARTNERS

WHAT LATEST WE DO PARTNERS

We partner with companies to bring products to life and businesses to scale. ARTIST MANAGEMENT LocksBridge Artists LocksBridge is internationally recognized for high its quality of artist representation. We are the first member of the IAMA (The International Artist Managers’ Association) as an artist management company from Turkey. We construct a different manage- ment approach for each of our artists; While raising their career goals, we provide them with the best consultancy with an analytical, dynamic and creative perspec- tive. Our artists benefit the advantages of our worldwide network, ranging from the world’s leading orchestras and concert halls to international festivals, as well as exclusive access to our Communications & Marketing services.

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LocksBridge innovates and delivers revo- LocksBridge works with a wide range of LocksBridge provides specialist in-house lutionary international tours around the institutions to help them develop unique communications and marketing services world covering key venues, festivals and content, realize original projects and de- for its artists, orchestras and ensembles. presenters; especially in Southeast Europe, vise visionary feedback to the obstacles Marketing and communications strategy the MENA Region, Far East as well as the US they encounter. Drawing upon a our ex- including digital, branding, promotions, and Canada. We are the preferred agency perience and expertise across LocksBridge website services, content generation, au- for many of the world’s most exceptional – together with artistic planning, interna- dience development and media partner- orchestras and ensembles. We operate at tional. tour and project management, mar- ships. We are able to plan and implement the forefront of development in this dy- keting, sponsorship, strategic, financial and successful marketing campaigns around namic area whether introducing unique organizational planning and structuring – projects such as tours, residencies and CD programs, expanding into new markets or we put together a talented team for each releases. Thanks to our network of major developing innovative ways of presenting project to work in partnership with all col- record labels, publishers and digital service concerts. laborators to set out objectives and deliver providers, LocksBridge is also ideally placed success. to advise for potent media exploitation strategies.

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LB Artists

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LocksBridge Artists is Turkey’s first and leading international classical artist management company! Although our head office is in , we have business partners in the USA, Germany, Russia, Qatar, New Zealand, France, BENELUX countries and the UK.

Why LB Artists ?

• Besides being Turkey’s first and leading interna- tional classical artist management, is the most competent and well-equipped of the industry, • Has a worldwide network of nearly 2000 or- chestras, more than 600 festivals and concert halls around the world, • Works with all its abilities to make LB Artists get the attention they deserve anywhere around the globe, • Works solely for its artists, not for itself.

10 11 Concertos Catalogue - concertos includedinthiscatalogue. Click onthenametogosectionofcomposer andhis • • • • • • • • • • • COMPOSERS INTHISCATALOGUE MAHİR CETİZ(1977) FAZIL SAY(1970) HASAN UÇARSU(1965) KAMRAN İNCE(1960) HÜSEYİN SERMET(1955) YALÇIN TURA(1934) EKREM ZEKİÜN(1910-1987) AHMED ADNANSAYGUN(1907-1991) ULVİ CEMALERKİN(1906-1972) HASAN FERİTALNAR(1906-1978) CEMAL REŞİTREY(1904-1985) LocksBridge ArtistManagement 12 13 Click onthenametogopageofconcerto. WORKS INTHISCATALOGUE XXIII. XXII. XXI. XX. XIX. XVIII. XVII. XVI. XV. XIV. XIII. XII. VIII. VII. III. XI. IX. VI. IV. II. X. V. I. Cetiz, SymphonyConcertante:NocturnalSun Say, FluteConcerto,Op.76 Say, Khayyamforclarinetandorchestra Say, ViolinConcerto“1001NightsintheHarem”, Op.25 Uçarsu, DoubleConcertoforviolaandpiano:ALoveEpopee Uçarsu, UninvitedGuests forharp,lyreandorchestra İnce, FluteConcerto İnce, RememberingLyciaforpianoandorchestra İnce, PianoConcerto Sermet, RéminiscenceI&II Tura, ViolaConcerto Ün, FluteConcerto Ün, PianoConcertoNo.2 Ün, PianoConcertoNo.1 Saygun, PianoConcertoNo.2 Saygun, PianoConcertoNo.1 Erkin, SymphonyConcertante Erkin, ViolinConcerto Erkin, PianoConcerto Alnar, CelloConcerto Rey, PiecesConcertantesforvioloncelloandorchestra andorchestra Rey, VariationsonanOldIstanbulFolkSong:Katibimfor Rey, Concertochromatique

Turkish ConcertosCatalogue Concertos Catalogue - Catalogue Concertos Turkish Concertos - Catalogue - LocksBridge Artist Management Turkish Concertos Catalogue

Who is Cemal Reşit Rey?

Cemal Reşit Rey was born in Jerusalem chestra in 1945 and later took the name on September 25, 1904. His father was Istanbul State Symphony Orchestra, un- the governor of Jerusalem and was one til 1970. of the writers taking part in the "Edebi- One of the pioneering founders of the yat-i Cedide" (The New Literature) trend. Istanbul Philharmonic Society in 1946, After the 1913 Ottoman coup d’état Rey also served as director of and con- (Turkish: Bâb-ı Âlî Baskını), Rey and his sultant to the and Istanbul Ra- family were forced to settle in , dios from 1938-1949. In 1985, the year where he began his musical education of his death, he was appointed "artist at the Paris Conservatory. Here, he professor" at the Mimar Sinan Univer- studied piano with the famous pianist sity State Conservatory. Rey's compo- Marguerite Long. Forced to leave Paris sitions were influenced at first by im- by WWI, he continued his education at pressionism and later by westernized the Geneva Conservatory. In 1919, he forms of Turkish and even returned to Paris, where he continued by mystic and Divan music. Some of with Madame Long, as well as begin- his works include: 12 Anadolu Türküsü ning the study of composition and aes- (12 Anatolian folk songs, 1925), Enstanta- thetics of music with Gabriel Fauré and neler (1931), Symphonic Poem; Karagöz conducting with Henri Defosse. In 1932, (1930), ; Cem Sultan (1923), Zeybek he was appointed to the Istanbul Con- (1926), Çelebi (1943), Musical Play; Lüküs servatory as a piano and composition Hayat (1933), Deli-Dolu (1934), 1st Sym- instructor. phony (1941), Piano Concerto (1946) and Chosen for membership in the Interna- Variations on an Old Istanbul Folk Song tional Union of Composers in 1926, Rey (Kâtibim) (1961). went on in 1943 to found the first string orchestra in Istanbul. He directed this ensemble, which became the City Or-

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Picture on the upper left

Cemal Reşit Rey

Picture on the upper right

Pianist Cem Babacan

DETAILS

Cemal Reşit Rey Turkish composer Rey spent many influential Thus the result was a singular mix of French Im- years of his childhood and youth in Paris and Ge- pressionism and traditional Turkish melodies, as Concerto chromatique neva before returning to his homeland in 1923. characteristically evinced by this piano concerto, At that time, his musical thinking was shaped by first performed with Rey as soloist and conduct- CONCERTO I 20TH CENTURY | CONCERTO | MODERN Debussy and Ravel; yet when he began to com- ed by Dimitri Mitropoulos. Soloist: Pianist Cem Babacan pose, he found that was just Duration: 14‘0” as significant to him. Year of Composition: 1932 Instrumentation: 3 3 3 3 - 4 3 3 1 - perc - hp, cel - str

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Picture on the upper left

Cemal Reşit Rey

Picture on the upper right

Pianist Özgür Ünaldı

DETAILS Cemal Reşit Rey Rey composed Variations on an Old Istanbul Folk form, revealing the first allegro section. The 12th Song (Katibim) for piano in 1961 and dedicated variation is played in a nocturne air as adagio. the work to the French pianist Samson François. From the 15th variation, six variations continue Variations Kâtibim It was first performed by renowned pianist İdil as allegro fortissimo. The 20th variation is a pair CONCERTO II 20TH CENTURY | CONCERTO | AUTHENTIC Biret with the Vienna Tonküster Orchestra under of fugues. the direction of Cemal Reşit Rey himself. Soloist: Pianist Özgür Ünaldı The work consists of 21 variations and the be- Duration: 33‘0” ginning is built on the first four variations. Seven Year of Composition: 1953 consecutive variations adhered to the sonata Instrumentation: 3 3 3 3, 4 3 3 1, timp, 3 perc. Pno solo, strings

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Picture on the upper left

Cemal Reşit Rey

Picture on the upper right

Cellist Nil Kocamangil

DETAILS

Cemal Reşit Rey composed his work Pieces Con- The work consists of 4 movements: certantes for violoncello and orchestra in 1955, I. Allegretto made the final corrections in 1959 and dedicat- II. Leggiero e con spirito ed it to the famous French cellist Pierre Fournier. III. Adagio We can say that this four-movement and 24-min- IV. Moderamente Animato Cemal Reşit Rey ute work for cello and orchestra of the composer carries the traces of many European movements Pieces Concertantes in 1940s, the French education Rey received as well as Turkish folk music and . CONCERTO III 20TH CENTURY | CONCERTO | AUTHENTIC Rey wrote the orchestral parts of his work with Soloist: Cellist Nil Kocamangil rich symphonic elements. He paid special atten- Duration: 24‘0” tion to woodwind and brass instruments and Year of Composition: 1955-1959 created melodic and harmonic richness. He de- Instrumentation: 3 3 3 3, 4 3 3 1, timp, 3 perc. Cello solo, strings signed the cello solos in the concerto style to re- veal the timbre of the instrument.

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Who is Hasan Ferit Alnar?

Born on March 11, 1906 in Istanbul, (1944-1951) holds the distinction of be- Hasan Ferid Alnar became recognized ing the first work in which a traditional as a kanun performer while only twelve Turkish instrument was accompanied years old. He continued studying kanun by a western orchestra. at the Istanbul Conservatory and began In addition to works of Turkish music composing music at the age of sixteen. such as 10 Saz Semaisi (1926) and Bayâ- He studied harmony with Sadettin Arel, ti Araban Pesrev, Segâh Pesrev (1927); and counterpoint and fugue with Edgar Alnar′s works include Orkestra için Ro- Manas. In 1927, with the support of Arel, mantik Uvertür (Romantic overture for he entered the Vienna State Academy orchestra, 1932), Türk Süiti (Turkish suite, of Music and the Visual Arts, where he 1936), Istanbul Süiti (Istanbul suite, 1938), studied composition with Joseph Marx the concertos for cello, kanun and and orchestral conducting with Oswald strings he wrote between 1943-51, Trio Kabasta. In 1932, he began teaching Fantezi (1929) and Üç Türkü (Three folk music history at the Istanbul Conserva- songs, 1948). tory. Making use of the makams in his compositions, Alnar also taught Turkish music for a time. In 1936, he became assistant conductor of the Symphony Orchestra of the Prime Ministry in An- kara. He lived in Austria and Germany, where he conducted various orches- tras. In 1952, due to illness, he gave up conducting. One of his most-loved works, Prelude and Two Dances (1935), contains folkloric themes and is known abroad as well. Alnar’s Kanun Concerto

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Picture on the upper left

Hasan Ferit Alnar

Picture on the upper right

Cellist Nil Kocamangil

DETAILS

With this cello concerto, Alnar took a different di- The concerto consists of 3 movements: rection in his musical life. I. Moderato Cellist David Zirkin, who had escaped from the II. Largo non troppo Nazis and came to Turkey, was Alnar’s inspira- III. Allegro con brio Hasan Ferit Alnar tion to compose this work. The composer dedi- cated the concerto Zirkin with whom he was con- Cello Concerto stantly in touch while composing the work. Alnar explains why he composed this piece for CONCERTO IV 20TH CENTURY | CONCERTO | AUTHENTIC the cello with the following words: Soloist: Cellist Nil Kocamangil “Cello is an instrument that expresses the Duration: 31‘0” melody very well and is the closest to the hu- Year of Composition: 1942 man voice in terms of timbre.” Instrumentation: cello solo • 2 flutes, 2 oboes, 2 clarinets in Bb, 2 bassoons, 4 horns in F, 3 trombones in C, timpani, piatti, gran cassa, tamburo militare, triangle, glockenspiel, harp, strings

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Who is Ulvi Cemal Erkin?

Ulvi Cemal Erkin was born on 14th father. In those days, Ulvi Cemal began Normale de Musique at the end of the March 1906 in Istanbul, the last stop to study with foreign tutors who taught 1920s. Shortly after that, Nadia Bou- on the Orient Express, which departed piano to the well-known families of Is- langer, who would soon be considered from Paris. Those were turbulent times tanbul. His interest in and love of mu- one of the legendary teachers of the in his country, in Europe, and even sic continued throughout his secondary 20th century, became foremost among throughout the world; the empires of education. While studying at Galatasa- those who influenced the young Erkin the 19th century were living out their ray High School, one of the best schools during his Paris years. last days. in Istanbul, he made significant advanc- Elements of traditional and folk mu- In Istanbul, into which Ulvi Cemal Erkin es in learning the piano. sic are frequently heard in Ulvi Cemal was born, the music scene was very dif- Ulvi Cemal Erkin spent the years 1925- Erkin’s works. Especially in slow move- ferent from that in Europe. All the mu- 30 in Paris. The city was suffering from ments, he uses a modal structure; in sic being performed in palace circles adverse economic effects following the his early works, one can perceive reflec- and grand mansions of Istanbul was war with Germany and Austria, but it tions of the late Romantic and Impres- monophonic and modal. Most of the in- was still the cultural capital of Europe. sionist movements, prevalent in Paris in struments in use came from Eastern or- Many artists from different geographi- the 1920s. He succeeded in creating his igins. Folk music was live and based on cal regions participated in the lively own language in his concertos and sym- uneven (aksak) rhythms which are rela- Paris scene and a more simple and ev- phonic works, with his expert use of ak- tively complex for Westerners. Succes- eryday artistic consensus emerged in sak tones and his sections featuring the sive rhythms such as 5/8, 7/8, and 9/8 opposition to romanticism and Wagner. improvisational aspects of Turkish mu- gave the works a different dynamism. Ulvi Cemal Erkin was not slow to adapt sic. In addition, he composed all types Ulvi Cemal Erkin opened his eyes in to this world, which was quite foreign of music, ranging from pieces for solo such a musical environment; from to him. At the Conservatoire, he stud- instruments to works for symphonic or- childhood, he grew up in a world full ied piano with and Ca- chestras, with expertise. of sound, since his mother played the mille Decreus, harmony with Jean Gal- piano and his brother the violin. When lon, counterpoint with Noel Gallon. He he lost his father at the age of seven, also took composition lessons from Na- the family moved to live with his grand- dia Boulanger after entering the École

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Ulvi Cemal Erkin Piano Concerto CONCERTO V 20TH CENTURY | CONCERTO | AUTHENTIC

Soloist: Pianist Gökhan Aybulus Duration: 27‘0” Year of Composition: 1942 Instrumentation: 2 2 2 2 - 4 2 3 1 - timp, str

The Piano Concerto of Ulvi Cemal Erkin, one of “”, has been interpreted many times since 1943, when it was first performed and, as in many of his works, in his concerto, there are structures inspired by the forms and methods under the influence of Nationalist movement of the period in terms of the style, sequence, motif, interval, course.

DETAILS For example, the second movement “Andante”, The third part, ‘Scherzo’, is adorned with the folk the structure presented by the main theme that melodies of the Black Sea Region. The dynamic provides the impression of Turkish music in the atmosphere created by the piano with orches- section draws attention. tral instruments makes this part the most ener- This movement is in lied form and shows the getic movement of the concerto. modal affect through the clarinet. Here, the dia- In the work, all four movements are composed logue of the piano with the orchestra is the most in different forms and characters: important element that maintains the balance. I. Allegro II. Andante III. Scherzo IV. Andante – Allegro

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Ulvi Cemal Erkin Violin Concerto CONCERTO VI 20TH CENTURY | CONCERTO | AUTHENTIC

Soloist: Violinist Önder Baloglu Duration: 25’0” Year of Composition: 1946-1947 Instrumentation: 2 · 2 · Engl. Hr. · 2 · Bassklar. · 2 · Kfg. - 4 · 2 · 3 · 1 - P. S. (hg. Beck. · gr. Tr.) - Str.

DETAILS One of Ulvi Cemal Erkin’s major works is his Violin The premiere of Ulvi Cemal Erkin’s Violin Con- Concerto, composed during 1946–47. Consisting certo took place in 1947 at the Vienna Festival, of three movements in forms of sonata, allegro but for various reasons that concert did not ma- and rondo, it is a very modal work with its tonal terialise and it was eventually performed on 2nd harmony and a dominant tone in each move- April 1949 at the opening of the Ankara Opera ment. The concerto allows the soloist to display House, by the Presidental Symphony Orchestra his musical and technical ability, while the taksim conducted by the composer, with Lico Amar as section of the last movement gives the feeling of soloist. improvisation that is often encountered in tradi- The work consists of 3 movements: tional Turkish violin music. I. Allegro giusto II. Adagio III. Allegro con fuoco

Önder Baloglu © Ulrike von Loeper

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Picture on the upper left

Ulvi Cemal Erkin

Picture on the upper right

Pianist Başar Can Kıvrak

Ulvi Cemal Erkin DETAILS Erkin’s Symphony Concertante, commissioned The work consists of three movements: by Turkish Radio and Television, is a rather chal- I. Andante con moto Symphony Concertante lenging work for piano and orchestra. II. Adagio CONCERTO VII 20TH CENTURY | CONCERTO | AUTHENTIC Erkin completed his Symphony Concertante in III. Allegro moderato 1966. In the three-movement work, the piano is Soloist: Pianist Başar Can Kıvrak sometimes used as a solo instrument as well as Duration: 31‘0” a percussion instrument in some passages. Year of Composition: 1966 Instrumentation: Picc. · 2 · 2 · Engl. Hr. · 2 · Bassklar. · 2 · Kfg. - 4 · 3 · 3 · 1 - P. S. (Xyl. · Beckenpaar · hg. Beck. · Tamt. · kl. Tr. · gr. Tr. mit Beck.) (3 Spieler) - Str.

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Who is Ahmed Adnan Saygun?

"A titan of modern Turkish music." – Saygun received a scholarship from Saygun attracted international atten- The New York Times the Turkish state to study with French tion with his oratorio Yunus Emre (1946), composer Vincent d'Indy and theorist an hour-long work for four vocal solo- Eugène Borrel at La Schola Cantorum ists, mixed chorus and full orchestra Widely acknowledged as one of the in Paris. Here he was introduced to the that sets a number of poems by the most important 20th-century Turkish music of the late-Romantic and French 13th-century Anatolian mystic poet composers, Ahmed Adnan Saygun’s Impressionism and given lessons in Yunus Emre. While firmly in the post- works elegantly synthesize western mu- counterpoint and motivic development. Romantic tradition, Saygun celebrates sical ideals with traditional Turkish folk During this time, he wrote his first Yunus Emre’s legacy by his extensive culture. His extensive and diverse cata- mature piece, Divertimento for orches- use of Turkish modes and folk-like mel- logue includes five symphonies, five tra, opus 1 (1930), which incorporates odies. Since its premiere in Ankara in , two piano concertos, various Western compositional techniques and 1947, the oratorio has been performed concertos and a wide range of cham- modal Turkish folk music. many times, including a performance in ber and choral works. In his obituary, In 1931, Saygun returned to Turkey as the United Nations General Assembly The Times (London) recalled him as the a faculty member of the Music Teach- Hall led by conductor Leopold Stokows- grand old man of Turkish music, who er’s Training College in Ankara, a school ki in 1958. In the 1950s, he wrote his was to his country what Sibelius is to founded with the goal of training mu- first two symphonies, a piano concerto Finland, what de Falla is to Spain and sicians in the new music policy of the and several chamber music pieces. In what Bartók is to Hungary. republic. He conducted the Presidential the 1960s – his most productive decade His efforts to forge a new cultural iden- Orchestra in 1934 and then moved to – he completed his third, fourth and tity for his new nation, which included Istanbul in 1936 to teach at the Munici- fifth symphonies and a second piano a program in the study of Turkish folk pal Conservatory. That same year, the concerto. culture and Western music, played a celebrated Hungarian composer Béla fundamental role in the development Bartók visited Turkey and joined Say- of Saygun’s musical language. gun on an expedition to Anatolia and He began composing at the age of four- Osmaniye to collect and transcribe folk teen, writing short pieces in the genres songs. of marches and polkas. Then, in 1928,

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Picture on the upper left

Ahmed Adnan Saygun

Picture on the upper right

Pianist Kandemir Basmacıoğlu

DETAILS

The first of Adnan Saygun’s two piano concertos The first movement, broadly in tripartite sonata- was completed in 1957 and had its premiere in form, opens with an uneven rhythmical figure Brussels (1958), with pianist Idil Biret as the solo- that is to return, leading to the entry of the so- ist, conducted by the composer himself. loist. Further contrasting thematic and rhythmic Ahmed Adnan Saygun The Piano Concerto Op. 34 is the first work where elements lead to a cadenza, before the greatly Saygun unites all the movements with a single modified return of earlier material in a recapitu- Piano Concerto No. 1, Op. 34 motivic idea. In the concerto, the thematic ma- lation. The slow movement offers a distinct con- terial in all three movements is derived from a trast, introduced by the woodwind, its final air of CONCERTO VIII 20TH CENTURY | CONCERTO | AUTHENTIC single motive that is heard at the opening tranquillity immediately broken by the final bril- Soloist: Pianist Kandemir Basmacıoğlu of the work which is clearly based on the com- liant and demanding Allegro assai. Duration: 31‘0” poser’s signature motive. Once the new form of Year of Composition: 1957 the motive is established in a specific movement, Instrumentation: Pno solo: 2-2-2-2, 4-3-3-0, Timp, Perc (2), Str with certain modifications, it stays as the main subject in that shape throughout.

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Leonie Rettig © Nikolaj Lund

Picture on the upper left

Ahmed Adnan Saygun DETAILS

If you can imagine the combination of Bartók's in its original shape (in four descending notes), Picture on the upper right alternately nocturnal and percussive keyboard it is nevertheless clearly related to the main mo- Pianist Leonie Rettig writing (and scoring) married to the chromatic tivic cell in the Op. 71 Concerto. In fact, in the Fi- luxuriance of Szymanowski or Scriabin, then you nale of the concerto Saygun also introduces all have a good sense of what to expect from this the four notes of the Hüzzam Makam, this time marvelous concerto. Saygun was without ques- in the ascending shape. tion a major composer. The influences of Turk- Saygun’s statement, calling his concerto an “in- ish folk music have been fully absorbed into trospective work”, does require further clarifica- an evocative, personal idiom that has enough tion. As continually repeated in various sections ties to Western tradition that aficionados of the of this dissertation, Saygun had a great fasci- great Romantic concertos won't lose their bear- nation with Sufi mysticism. The Sufi quest was ings while still savoring the many new, colorful about forgiveness, compassion and the discov- Ahmed Adnan Saygun and atmospheric sounds that Saygun evokes. ery of the true self. Mixed with feelings of isola- In the Piano Concerto No. 2, Saygun uses a very tion, Saygun seems to be greatly drawn to these Piano Concerto No.2, Op. 71 large orchestra (triple-woodwind as opposed to philosophical issues during the last period of his double-woodwind) and eleven different percus- life, when the second piano concerto was written. CONCERTO IX 20TH CENTURY | CONCERTO | MODERN sion instruments. The piano itself is also used In the concerto, these mystical ideas are clearly Soloist: Pianist Leonie Rettig percussively in certain places in the concerto. reflected through a return to the monophonic Duration: 23’ 30” The second concerto opens with the notes B- and hymnodic nature of the mystical songs. Year of Composition: 1989 Eb-D, which are clearly the first, fourth and third Instrumentation: Pno solo: 3-3-3-3, 4-3-3-1, Timp, Perc (6), Cel, Hrf, Str notes of the Hüzzam makam. Although the Say- gun motive is not heard in the second concerto

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Who is Ekrem Zeki Ün?

Being Turkey’s first symphonic orches- sition. Composing is a natural Ün shared the same era with The Turk- tral conductor and the son of Osman phenomenon for me, like eat- ish Five, he had a different vision of art Zeki Üngör – the composer of The Turk- ing and breathing.” and composition. Although he reflect- ish National Anthem – Ekrem Zeki Ün As a composer with a great passion, ed impressionism through composing (1910-1987) made notable contribu- he composed works consistently and technique and tunes, he adopted East- tions to the development of Turkish always looked for new tunes. He had ern mysticism and sentimentality in Contemporary with his a considerable amount of works for terms of content. His interest in philos- various kinds of compositions and his orchestra, chamber music, solo instru- ophy and Sufism had an essential role academic career. Having started his mu- ments, strings, woodwinds, percussion in his approach to music. sic career at the age of four with violin and piano. Ekrem Zeki Ün set forth to lessons from his father, Ekrem Zeki Ün refresh himself in his works and aimed studied at École normale de musique of to create new perspectives in the pro- France. cess of modernization. His works, which Throughout his music training in Paris, are in polyrhythmic and modal harmo- Ekrem Zeki Ün had violin lessons from ny, cover the simplicity of folk melodies Nadaud, Line Talluel, Marcel Chailley and the mysterious atmosphere of tra- and Jacques Thibaud, and harmony les- ditional music. sons from M. Laurant and Alexandre Ün composed his very first works by vo- Cellier. During his last two years in Par- calizing traditional melodies under the is, he worked with Georges Dandelot on influence of the common art movement harmony and composition. impressionism in 1924–1934. Later, he As a violin virtuoso, professor, conduc- created his own style while the inten- tor and composer, Ekrem Zeki Ün ex- sity of the traditional melodies in his pressed how his passion for composi- compositions increased between 1934– tion had dominated his music career 1954. After 1955, he tried to be Western with the following words: in form and technique, and Eastern in “I found my identity in compo- the content of his work.

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Ekrem Zeki Ün Piano Concerto No.1 CONCERTO X WORLD PREMIERE | 20TH CENTURY | CONCERTO | AUTHENTIC Soloist: Pianist Tutu Aydınoğlu Duration: 33‘0” Year of Composition: 1956 Instrumentation: solo piano • tambour, basque, cymbal, triangle, timpani, bass drum, strings

Ekrem Zeki Ün composed his first piano concerto in 1956. This concerto, which is based on the unique technique of the French school, is one of the most successful works of the composer who has masterfully embroidered Turkish melodies into the soul of the work.

DETAILS

Although the work has only one movement, it atmosphere with the of the or- consists of several movements in itself. The con- chestra. From measure 8, we hear music remi- certo was written for chamber orchestra and niscent of the spirit of warrior, continuing in a great importance was attached to percussion march mood. Strings accompany the theme of instruments. The poignant, melancholic entry of the piano, which develops from the 12th mea- the work that begins with violas continues with sure, rich with trilogies. the accompaniment of whole strings. This mel- As of measure 34, there is a transition to piu len- ancholic atmosphere is still present when the to. Here the melancholic air of the introduction soloist starts playing. returns. This short part becomes energetic with There are many solo sections in the work for the the new theme in measure 41. As of this very soloist only and the introduction is one of those. passage, there is a transition to the third part. The melancholic beginning of the piano takes a This very lively, technically challenging part is livelier shape after 16 measures; from the 6th connected to the coda and the final in which the measure, the piece enters into a more energetic whole orchestra is in a state of fate.

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Ekrem Zeki Ün Piano Concerto No.2 CONCERTO XI 20TH CENTURY | CONCERTO | AUTHENTIC Soloist: Pianist Tutu Aydınoğlu Duration: 17‘0” Year of Composition: 1976 Instrumentation: piano solo • 2 flutes, 2 oboes, 2 clarinets in Bb, 2 bassoons, 4 horns in F, 3 trumpets in Bb, 3 trombones, tuba, timpani, cymbal, gong, strings

Ekrem Zeki Ün composed his second piano concerto based on a folk song.

DETAILS Ün’s Piano Concerto No. 2 challenges the solo- The role of the solo instrument here determines ist with its intense passages that require sound the color of the later polyphony and the ele- virtuosity. In the work, a folk song and a horon ments that make up the melody of the song. The carry the main weight among the countless transition to horon is the bringer of the strong phases that assist the formation other than the beat of the timpani among the low sounds of traditional concerto form. The concerto begins the double bass. The single movement concerto with the presentation of the folk tune by french ends with phases of various characters. horns, followed by orchestra’s emphasis and the cadenza of the soloist.

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Ekrem Zeki Ün Flute Concerto CONCERTO XII 20TH CENTURY | CONCERTO | AUTHENTIC Soloist: Flautist Bülent Evcil Duration: 33‘0” Year of Composition: 1975 Instrumentation: flute solo • timpani, strings

DETAILS

Also a common technique in Turkish music, the The tendency of counterpoint interferes with mixture of two times forms the main structure of the development of various rhythms with mixed this concerto. Different figures with mixed mea- measures and realizes a structure style that has sured rhythms bring a unique atmosphere to the been sought for so long. The last movement work. Flute, percussion and string instruments leaves an unforgettable impression especially create a continuous conversation throughout on the listener, with transitions that require long the whole concerto. virtuosity for the soloist.

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Who is Yalçın Tura?

Yalçın Tura, who is one of the outstand- the conservatory between 1997-2001. many significant studies on musicol- ing contemporary Turkish composers, He published the book Türk Musikisinin ogy in Turkey and abroad. He is a phi- has composed music for more than fifty Mes'eleleri (1988) (On the Questions of losopher who bridged the past and the films and television series. Turkish Classical Music), a collection of present music. Moreover, he is a pio- Tura was born in Istanbul in 1934. He his articles published in various periodi- neer composer who has worked in vari- composed music for many unforget- cals and papers presented at numerous ous fields such as the traditional modes table films, such as Keşanlı Ali Destanı symposiums and conferences. He sums of Turkish classical music, folk music, (The Epic of Ali of Keşan), Yılanların Öcü up his comments on his own music is as jazz, symphonic music and contempo- (The Revenge of the Snakes), Toprak Ana "a personal line of melody and the har- rary music. (Mother Earth), Taşbebek (Baby Doll), and mony required by its structure; a com- Umutsuzlar (The Hopeless Ones), and he plex counterpoint in which the various has been granted many prestigious aspects of the material being handled awards. He took violin lessons at a very to be processed; vivid and rhythmical early age. He studied at Galatasaray structure and colourful orchestration". High School. He took violin lessons from Yalçın Tura has been a member of the Seyfettin Asal and took composition committee of SACEM (The Union of Na- and harmony lessons from Demirhan tional Musical Works and the head of Altuğ and Cemal Reşit Rey. Graduating the Board of Scholars of MESAM (The from high school in 1954, he started Union of The Turkish Composers). He studying philosophy at Istanbul Univer- has also acted as a member of the jury sity and graduated in 1960. Along with in TRT (Turkish Radio and Television) all his studies at the university, he went and of the consultancy council. He has on studying music. Tura began to teach also been the head of the Turkish Mu- at the Turkish Music Conservatory (Is- sic subcommittee of The Preparation tanbul Technical University) in 1976. He Committee of the Fifth Five Year Devel- became the head of the musicology de- opment Plan. More importantly, Yalçın partment in 1988. He was the head of Tura is a researcher who has realized

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Yalçın Tura Viola Concerto CONCERTO XIII 20TH CENTURY | CONCERTO | AUTHENTIC

Soloist: Violist Elena Nayman-Ünaldı Duration: 22‘0” Year of Composition: 1997 Instrumentation: solo viola • flute I , flute II, oboe, clarinet in Bb I, clarinet in Bb II, bassoon I, bassoon II, horn in F I, horn in F II, trumpet in C, tenor trombone, timpani, drums, harp, strings Yalçın Tura started composing his viola concerto in 1969, but left it unfinished. He completed the work in 1995. The piece was first performed by soloist Ruşen Güneş in Ankara on February 25, 1997, accompanied by the Bilkent Symphony Orchestra under the direction of maestro Cem Mansur.

DETAILS While composing the work, the composer was The concerto consists of three movements: careful not to cover the viola by the orchestra. I. Allegro energico The work shows Tura’s typical style that prioritiz- II. Andantino es his melodicism. The characteristics of Turkish III. Allegro music are also perceived in the work. Although the concerto can be described as tone- less, the romantic, sad and also enthusiastic at- mosphere brings a very homogeneous structure into the work. The harmonic structures used by Yalçın Tura in this concerto for viola and orches- tra are worth listening to with its depiction of how harmonies overlap with their sensuality.

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Who is Hüseyin Sermet?

Hüseyin Sermet was born in Istanbul des Bayerischen Rundfunks, Luzerner Istanbul in May 2012. in 1955 and began his education at the Sinfonieorchester, Bamberger Sym- A devoted mentor of young talent and Ankara State Conservatoire. He contin- phoniker and NHK, Shanghai, Tokyo and highly regarded for his many appear- ued his studies at the Paris Conserva- Detroit symphony orchestras, amongst ances in Japan, Sermet was filmed by toire and later at the École normale de many others. NHK TV for a series of 15 televised mas- musique de Paris with Thi- Recent performances have included terclasses with young pianists broad- erry de Brunhoff, and concerts with Accademia Nazionale di cast throughout Japan. Maria Curcio. He also studied composi- Santa Cecilia (Peter Inkinen), Trond- Many of Hüseyin Sermet’s numerous tion with Olivier Messiaen and received heim Symfoniorkester and Tokyo Sym- recordings for Naïve, harmonia mundi the Lili Boulanger Award for his early phony Orchestra (both under Krzysztof and Erato have won major international string quartet. Urbański), Deutsches Symphonie- Or- prizes; including his disc of Ravel’s solo Turkish pianist and composer Hüseyin chester (Sir Roger Norrington), piano works, three discs devoted to Sermet’s forty-year career reflects his Seoul Philharmonic Orchestra (Michel Alkan (all winning a Diapason d’Or de wide-ranging musical interests and in- Plasson), Orquesta Sinfónica de Gali- l’Année), a selection of Schubert’s works tensely personal vision, encompassing cia (Sir Neville Marriner) and Orchestra for four hands with Maria João Pires an extensive and eclectic repertoire and Sinfonica Nazionale della Rai (Tito Cec- and a recording of Liszt’s Piano Sonata pianistic versatility. He has performed cherini). and late works. worldwide with conductors such as Equally active as a composer, Sermet’s Vladimir Jurowski, Semyon Bychkov, first major composition Réminiscènce I, David Robertson, Lawrence Foster, was premiered at the Empéri Festival Pablo Heras-Casado, Jonathan Nott, in 1997 and broadcast live by France James Gaffigan and Hans Graf, and in- Musique. A commission from Tokyo strumentalists Maria João Pires, Gautier Symphony Orchestra, Dream and Night- and Renaud Capuçon. He has worked mare, was premiered in 2004 and in with orchestras including London Phil- 2006 there followed Sculptures 1, com- harmonic and Royal Philharmonic, Or- missioned by İş Bank. Most recently, chestre de Paris, Symphonieorchester Réminiscènce II received its premiere in Hüseyin Sermet © Mat Hennek

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Picture on the left

Hüseyin Sermet

Picture on the right

Conductor Can Okan

DETAILS

Equally active as a composer, Sermet’s first ma- (8 hands), harpsichord and percussion instru- jor composition Réminiscènce I was premiered at ments. the Empéri Festival in 1997 and broadcast live Reminiscence means “a recollection of some- Hüseyin Sermet by France Musique. Réminiscènce I is composed thing past.” In Réminiscènce I and II, Sermet uses on a very famous Turkish traditional song, called the melodies he remembers from his childhood. Réminiscence I & II “On the way of Camlica” for ney (solo), flute, These melodies, as in Sermet’s own reminis- CONCERTO XIV CONTEMPORARY | CONCERTO | AUTHENTIC oboe, clarinet in b flat doubling bass clarinet in b cences from his past, are used in the works very flat, violin, viola, cello, piano 4 hands, bass drum, uniquely so that one can prove neither their ex- Soloists: Conductor Can Okan drum, marimba. istence nor non-existence. Duration: 24‘0” Most recently, Réminiscènce II received its pre- Sermet further adds these works of his may also Year of Composition: 1996-2010 miere in Istanbul in May 2012 and it is also com- be categorized as a form of concerto for conduc- Instrumentation: I: ney-flute solo • piano, timpani, drum kit, posed on a Turkish folk song, for two tor. violin, viola, cello, flute, oboe, clarinet & II: Two pianos (four-hands), five-octave marimba, timpani, triangle, bass drum, harpsichord, xylophone, Tibetan singing bowls, Tibetan bells, gong

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Who is Kamran İnce?

"...a confident, individual, Advanced Research in Music) at the Is- sic for film and ballet. Schott Music Cor- arresting voice..." – The New Yorker tanbul Technical University. poration publishes his music. "...insolent, virile music of brilliant wit His numerous prizes include the Prix He has received commissions from and color." – de Rome, the Guggenheim Fellowship, Ford Foundation, Fromm Foundation, the Lili Boulanger Prize and the Arts and Koussevitzky Foundation, Jerome Foun- The music of Turkish-American com- Letters Award in Music from the Ameri- dation, Reader’s Digest, and Pew Chari- poser Kamran Ince bridges Anatolia can Academy of Arts and Letters. In ad- table Trust. and to the West. The energy dition, His Waves of Talya was named Four Naxos CD’s of Ince’s music have and rawness of Turkish and Balkan folk one of the best chamber works of the recently been released. They are Music music, the spirituality of Byzantium and 20th Century by a living composer in for a Lost Earth, Galatasaray, Hammers & Ottoman court music, the tradition of the Chamber Music Magazine. Whistlers and Constantinople. His other European art music and the extravert His works are performed by such or- CDs include In White on Innova, Fall of and popular qualities of the American chestras as the Chicago Symphony Or- Constantinople on Decca and Kamran psyche are the base of his sound world. chestra, BBC Symphony Orchestra and, Ince & Friends on Albany. These ingredients happily breathe in Prague Symphony Orchestra and such Ince's Judgment of Midas, an opera in cohesion and they spin the linear and ensembles as the Netherlands Blazers two acts, commissioned by Crawford vertical contrasts so essential to his mu- Ensemble, Chanticleer Choir and the Greenewalt to mark the 50th anniver- sic forward. Los Angeles Piano Quartet. sary of Sardis/Lydia excavations, had Hailed by The Los Angeles Times as “that Concerts devoted to his music have re- its concert version premiere in April rare composer able to sound connected cently been heard at the Holland Festi- 2013 in Milwaukee with Present Music with modern music and yet still seem val, CBC Encounter Series (Toronto), the and Milwaukee Opera Theatre with Ince exotic”, Ince was born in in Istanbul International Music Festival, conducting. 1960 to American and Turkish parents. Estoril Festival (Lisbon), TurkFest (Lon- He holds a Doctorate from Eastman don) and Cultural Influences in Global- School of Music. Currently, he serves as ization Festival (Ho Chi Minh City). Professor of Composition at the Univer- In addition to symphonic and chamber sity of Memphis and MIAM (Center for works, his catalogue also includes mu-

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Kamran İnce Piano Concerto CONCERTO XV CONTEMPORARY | CONCERTO | MODERN

Soloist: Pianist Cem Babacan Duration: 19’0” Year of Composition: 1984 Instrumentation: pic.2.2.2(1.Ebcl).2.cbsn-4.2.3.1-timp.3perc(bng, glsp, vib, 2sus cym, -t, crot, s.d, xyl, b.d, Chinese cym, tam-t)-str

Ince's Piano Concerto is a “sonic dream” of a work, constructed on the principle of block-like contrasts that embody startling and glittering sound worlds. Concerto for Piano and Orchestra was written in 1984, when Ince was 24. It had preview performance that took place with DETAILS the composer as pianist and the Eastman Symphony Orchestra. It is with the Concerto for Piano and Orchestra four music after his move to the US. Through these years later, with the influence of new romanti- contrasts he says he wanted to shake the audi- It is a very important work for Ince, as it put him firmly on the new music map and cism and dramatic minimalism, that Ince started ence, make them engage in what he is doing and propelled his career forward. After feeling to mix twisted Turkish modal lines, tonal sonori- to ultimately take sides. This has continued to obligated to be a part of the nationalistic ties, noisal sonorities, minimalist backgrounds, date and is heard in various degrees in his mu- movement of Turkish classical music purely percussive sections (Turkish or others), sic. Ince says the concerto is the best example of (something Turkey was still going through in the late 1970’s), Ince moved to the US romantic tunes in blocks presented linearly, the wildness and electricity of the degree of con- in 1980 and experimented with abstract sometimes juxtaposed, in a nothing held-back trasts he felt and loved in those years--the early languages (“allowed me to start with a fashion. It is the energy and particular electric- years after Turkey, when the general contrasts clean slate,” he explains). ity of these blocks that can make them so want presented by the two cultures were of extreme each other says Ince, though they may be of ex- potency to him. The concerto is presented in one treme contrasts. Ince describes these blocks as continuous motion, though there are three inner having static, semi-static and moving character- movements and a coda. istics. The love of extreme, simple and pure con- trasts was the first ingredient to appear in Ince’s

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Kamran İnce Remembering Lycia CONCERTO XVI CONTEMPORARY | CONCERTO | MODERN

Soloist: Pianist Cem Babacan Duration: 38‘ 0” Year of Composition: 1996 Instrumentation: 1.1.2.asax.barsax.1-1.2.2.0-2perc(b.d, mar, vib, xyl, sizz cym, glsp, sus cym, tamb, bng, timbales, tom-t, tend, Chinese cym, s.d, ratchet)-egtr. synth-str Remembering Lycia is commissioned by Albany Symphony Orchestra.

DETAILS

The piano concerto, Remembering Lycia, has a romantic attitude. It is a gripping, thunderous piano concerto that is an example of Postmod- ern music. The concerto is something of an ancient travel- ogue, evoking the Lycian culture of two millennia ago, along the Aegean coast of Turkey. This work is likely the one that will be the hardest on more sensitive ears, as it has moments of high disso- nance and percussiveness. The work consists of four movements: I. Tale of the Sea II. Whispering Night III. Pounding Waves IV. Eternal Tombs

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Kamran İnce Flute Concerto CONCERTO XVII CONTEMPORARY | CONCERTO | WORLD PREMIERE

Soloist: Flutist Bülent Evcil Duration: 15‘0” Year of Composition: 2020 – World Premiere Instrumentation: flute, oboe, clarinet in Bb, bass clarinet, bassoon, horn in F, trumpet in Bb 1, trumpet in Bb 2, trombone, bass trombone, percussion, bass drum, vibraphone, harp, piano, flute solo, strings

Flute Concerto, around 15 minutes in duration, was written during September-November 2020. It is commissioned by Conductor Cem Mansur and Istanbul's Cemal Reşit Rey Symphony Orchestra and dedicated to Turkish flutist Bülent Evcil. The orchestra used is a medium sized one.

DETAILS

Composer Kamran İnce: separately with the others’ accompaniment, or “Flute Concerto was a blast to write. I could not sometimes they are featured alone and some- wait to sit down every day and see where the times they work together towards the same work takes me. It is built on recurring ups and ends. All the different ranges of the flute are downs with various ingredients. In one move- showcased prominently and equally. ment, it is built on passion, various degrees of Often the various blocks of the orchestra portray motion, aggression, calm and ever searching for material that are unique to them, whether this is beauty, all recuring in cycles. Like most concer- used linearly or vertically, or in simultaneously tos the flute and orchestra are at times featured juxtaposed fashion.”

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Who is Hasan Uçarsu?

Hasan Uçarsu was born in Istanbul in Memories and a Little Dream (Izmir, dential Symphony Orchestra of Turkey, 1965. At the age of 11, he began his mu- 1996). Uçarsu also shared the first prize Tekfen Philharmonic Orchestra, Bilkent sic education as a flute student at the Is- in the 2nd Dr. Nejat Eczacıbaşı National Symphony Orchestra; Moldova Philhar- tanbul Municipal Conservatory. During Competition for Composition with his monic Symphony Orchestra, Moscow his undergraduate studies (1983-1990), orchestral work Comet (Izmir, 1998). New Music Group, Antifonia Chorus in Uçarsu became a student of Ahmed With his ballet music Ismail’s Story, he Romania, Schola Cantorum Chorus in Adnan Saygun. In the meantime, he received the second prize in the cat- Wien, Selonica New Music Ensemble, attended lessons of Cemal Reşit Rey, egory of large-scale symphonic works Tampa Bay Woodwind Quintet, Ensem- Bülent Tarcan, İlhan Usmanbaş, Afşar in the National Competition for Compo- ble Mosaic in Berlin, New Music Ensem- Timuçin and Ahmet Yürür. In 1994, he sition in Ankara in 2004, organized by ble in Boston, Art Woodwind Quintet in went to the US and worked with George the Turkish Ministry of Culture. He was Skopje, Royal Liverpool Philharmonic Crumb and Richard Wernick. In 1997, honored with the title of Dean’s Scholar Orchestra, 10:10 Group, Lisbon Con- Uçarsu completed his doctoral degree in 1997 by the University of Pennsylva- temporary Music Group, Ensemble at the University of Pennsylvania in nia for his academic studies. Phoenix in Basel and Seattle Chamber the field of composition. In 2009, Uçar- Among his commissioned works are Players. su was invited by the Music School of choral works for the youth and the These works have been performed in Memphis University in Tennessee as a polyphonic choruses of the Turkish Ra- many concerts within the framework of visiting composer and a faculty mem- dio and Television; orchestral works for different activities both in Turkey and ber. the Ministry of ; Medi- abroad. The composer’s work of cham- Uçarsu has received many awards in- terranean Youth Orchestra and Tekfen ber music titled On the Backstreets of Is- cluding the David Halstead Composi- Foundation; chamber music works for tanbul, which he composed for the Silk tion Award for his work titled Mono- the Istanbul Foundation for Culture Road Project, is included in G. Schirmer’s logue; the Helen G. Weiss Composition and Arts; and a chamber music work catalogue. His CDs are recorded and Award for his work Mystic Fragments commissioned for the Silk Road Project produced by Bilkent Music Productions, (the University of Pennsylvania in 1995 in which the artistic director was re- Kalan Music, PB Productions Ltd. and and 1996); the first prize in the first Dr. nowned cellist Yo-Yo Ma. the Turkish Radio and Television Corpo- Nejat Eczacıbaşı National Competition His works have been performed by the ration. for Composition with his work Cries, leading orchestras such as the Presi-

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Picture on the upper left

Hasan Uçarsu

Picture on the upper right DETAILS

Harpist Çağatay Akyol Performing harp and Hittite lyre - which are clas- In this concerto the movements in which Hittite sified in the same family of instruments but rep- lyre plays are also treated as arrivals rather than resenting different cultures - with the same solo- departures. ist accompanied by an orchestra determined the While Hittite lyre repeats the quoted music with structure of the work. The work is constructed in slight variations, the orchestra approaches this five movements which are played without pause. music from different positions and makes new In these five movements the solo instruments interpretations on it. These interpretations re- play in the following order: harp- lyre-harp- lyre- flect the disturbing uneasiness which continually lyre/harp. In the last movement the harp takes questions the peaceful and serene music of the Hasan Uçarsu up the music of the Hittite lyre and only in this Hittite lyre. This mood is the result of the distur- part each instrument comes closer to a common bance and anxiousness of not being able to live Uninvited Guests musical idiom. Hittite lyre plays the music quot- or keep alive the things that has gone forever in ed from the teslim (deliver) sections of the instru- their own contents. On the other hand, the harp CONCERTO XVIII 20TH CENTURY | CONCERTO | AUTHENTIC mental works from Dilhayat Kalfa, III. Selim. The by transforming the music of the Hittite lyre into teslim section is the most important part of the continuously changing tonal fields and textures Soloist: Harpist Çağatay Akyol traditional instrumental forms due to its modal struggles to open up new sound worlds. As a Duration: 30‘0” attractive power to pull everything to itself with result, this work, which searches its existence Year of Composition: 2007-2008 its conjunctive, conclusive and peaceful qualities. energy in the polarity and duality of performing Instrumentation: harp/hittite lyre solo • 2 flutes, 2 piccolos, 2 two different instruments by the same soloist, oboes, 2 clarinets in Bb, 2 bassoons, 2 horns in F, trumpet in Bb, also includes in this respect many aspects of our timpani, 2 percussions, strings lives as well.

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DETAILS The interpretation and implementation of the so- the relationship of two people. The orchestra, in lo-orchestra relationship, which originates from this work, represents the social ground. Yes, my the structure of the concerto genre, in a human- double concerto is an epic love story of a man istic approach since the middle of the 19th cen- and a woman knitting together. Picture on the left tury, influenced the composition of the work. In The 1st movement, reflected as a prologue, is Composer Hasan Uçarsu line with this understanding, the concerto finds in a rather pessimistic narrative. While this pes- the world of meaning in the relationship of the simism refers to the legacy of humanity’s tragic Picture on the upper right individuality, represented by solo instruments love epics such as Ferhat and Şirin, Romeo and Pianist Özgür Ünaldı viola and piano, to the society, represented by Juliet, it also announces today’s heavy and flat- the orchestra. In music literature, double con- tened social atmosphere. The 2nd movement certos are relatively few in number and gener- forms the main body of the work with its long- Picture on the lower right ally for instruments of the same genus or closer running structure. In here, the efforts of two solo Violist Elena Nayman-Ünaldı to each other, such as two violins, violin-viola, instruments to create a special world for them- violin-cello, flute-oboe, clarinet-viola, flute-harp. selves are discussed with an epic language. Composer Hasan Uçarsu states: I specifically aimed for the musical language of “The solo instruments in the concerto I have the Double Concerto to be simpler than my pre- composed are far from each other in terms of vious music, in a clear discourse that especially Hasan Uçarsu character, strength and structure. This, on the avoids unnecessary excesses. The constituent, one hand, creates various technical problems, pure musical essence is addressed in different Double Concerto “A Love Epopee” on the other hand, directly contributes to the contexts, expanded to different sensitivities, CONCERTO XIX CONTEMPORARY | CONCERTO | MODERN inner world of the work. Viola and piano repre- sometimes settling in the tonal, sometimes mod- sent individuals in the context of late romantic al and makam framework, especially towards the Soloists: Pianist Özgür Ünaldı & Violist Elena Nayman-Ünaldı concerto; but this time women and men. The end of the work, as in Anatolian folk music.” Duration: 25’ 0” unity of the two soloists, the harmony they cre- The work consists of 2 movements: Year of Composition: 2016-2017 ate and carry together by intertwining and the 1st Movement: Prologue Instrumentation: 2 Flutes (2. Change to piccolo), 2 Oboes, 2 incongruity that sometimes announces the dif- 2nd Movement: Epos Bb Clarinets, 2 Bassoons, 4 Horns in F, 2 Bb Trumpets, 2 Tenor ferent attitude of the other, although one of the Trombones, Bass Trombone, Bass Tuba, Timpani, 2 Percussion, soloists flies away, is dealt with as if the ups, Harp, Strings downs, togetherness and differences that evoke

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Fazıl Say © Marco Borggreve Who is Fazıl Say?

"He is not only a brilliant pianist, but Ankara in the presence of the Turkish by the dedicatee of the work, the Mol- will without doubt also become one of President in 2001. Say composed his davian violinist Patricia Kopatchinskaja the great artists of the 21st century." – third piano concerto in 2002 as a com- and the Lucerne Symphony Orchestra Le Figaro mission by Radio France and Kurt Ma- under the direction of John Axelrod. sur and premiered it with the Orches- This violin concerto is Say’s first ambi- Fazıl Say was born in Ankara on 14 Janu- tre National de Radio France under the tious orchestral work without a solo ary 1970. He studied at the Berlin Con- baton of Eliahu Inbal. He gave the first part for the composer. The title is an al- servatory of Music from 1992 to 1995. performance of his oratorio Requiem für lusion to the collection of oriental fairy He composed his work Black Hymns at Metin Altıok at the Istanbul Festival to an tales, the Arabian Nights. The solo violin the age of sixteen. Large-scale compo- audience of 5000 in July 2003. He per- undertakes the role of the seductive, sitions followed with his second piano formed in the premiere of his 4th Piano untiring storyteller Scheherazade. concerto Silk Road which Say premiered Concerto Thinking Einstein in Lucerne in Alongside numerous awards for his in Boston in 1996 and performed more May 2005. piano performances, Fazıl Say has also than a dozen times during the concert In the Mozart commemorative year received other accolades, including season 2003/2004. 2006, the city of Vienna commissioned the Silver London International Award Say’s musical career is characterized by the ballet Patara as a homage to the in 2007 and, in the following year, the his double role as composer and inter- great classical composer. He gave the German Art Directors Club prize. He nationally renowned pianist. His great first performance on the 1st of Febru- also received the Deutsche Schallplat- interest in jazz and improvisation in- ary, 2006. One year before, Say had tenpreis for his arrangement of Stravin- fluenced his musical concepts. He fre- completed his rhapsodic piano compo- sky’s Sacre du Printemps for two pianos. quently incorporates these elements sition Black Earth which also embraces In 2017, Say was awarded the Music into his compositions, producing highly elements of Turkish folklore. A further Prize of the City of Duisburg and two virtuoso adaptations of works for pia- composition for piano solo completed CD releases, the ECHO Klassik and the nos such as Paganini Jazz (1995) and the in 2006 was Inside Serail which was per- Edison Klassiek. 4 Pieces for DJ and Piano (2003). His ora- formed at the Salzburg Festival. Fazıl torio Nâzım, set to verses by the Turkish Say composed his first violin concerto poet Nâzım Hikmet and commissioned with the allusive title 1001 Nights in the by the Turkish Ministry for Cultural Af- Harem in 2008. The premiere of this fairs, was given its first performance in work took place in Lucerne performed

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Fazıl Say Violin Concerto, Op. 25 CONCERTO XX 20TH CENTURY | CONCERTO | AUTHENTIC

Soloist: Violinist Önder Baloglu Duration: 28’0” Year of Composition: 2007 Instrumentation: Picc. · 2 · 1 · Engl. Hr. · 2 · 1 · Kfg. - 4 · 2 · 1 · 1 - P. S. (Vibr. · Marimba · hg. Beck. · Tamb. · kl. Tr. · gr. Tr. · Rototoms · Bar Chimes · Woodbl. · Kudüm · Bendir · Darbuka) (4 Spieler) - Hfe. · Cel. - Str.

Fazıl Say © Marco Borggreve

DETAILS

Fazıl Say: “My Violin Concerto consists of four movements orchestra includes a series of Turkish percussion whose inspiration is loosely connected with instruments such as a kudüm or bendir, but also Scheherazade’s One Thousand and One Nights. glockenspiel, marimba und vibraphone, celesta The first movement is set inside the harem; a va- and harp. It is however the solo violin which riety of women from the harem are introduced, tells the story and also accompanies the listener each with her own different personality. The sec- through the entire work. The violin part is highly ond movement is a frenzy of dance – in effect a virtuoso and unites the four movements into an party night with an abundance of different types intensely atmospheric whole in which the solo of dance music. The third movement depicts the violin soars off into a solo cadenza between each next morning and consists primarily of variations movement, sometimes accompanied by one of on a well-known Turkish song. The fourth move- the percussion instruments. ment begins dramatically, but develops during As is customary, the present piano reduction is the course of the movement more and more into initially intended as an aid for the study of this a reminiscence of all the previous events and the work, but during my tour programmes with Pa- work culminates dreamily in a happy mood with tricia Kopatchinskaya and Burhan Öçal we have sensuous oriental sounds. utilised this material to create a trio version for

Önder Baloglu © Ulrike von Loeper As appropriate for an oriental soundscape, the violin, piano and percussion.”

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Picture on the left

Composer & Pianist Fazıl Say

Picture on the right DETAILS Clarinetist Selin Gürol Fazıl Say composed his first solo concerto for clar- The 32-minute concerto for clarinet and orches- inet for Sabine Meyer. The title of the work refers tra, which tells about Khayyam’s life, consists of to the Persian poet, philosopher, mathematician 3 movements: and astronomer Omar Khayyam who lived dur- I. Allegro ing the 11th century and was one of the greatest II. Andantino · Allegretto

Fazıl Say © Marco Borggreve scholars of his time. The three movement clari- III. Andante net concerto depicts stages and themes associ- The first part goes to the land where Khayyam ated with his life: childhood and adolescence, lived 1000 years ago, namely Iran and the move- Fazıl Say scholarship, religious criticism and additionally ment tells about Khayyam’s childhood and his love for his wife which Khayyam expressed youth, when he first understood the difference with exceptional honesty in his poetry. between good and bad. Khayyam, Op.36 Say states that his clarinet concerto Khayyam, In the second movement, there is Khayyam’s CONCERTO XXI CONTEMPORARY | CONCERTO | MODERN Op. 36 is quite a different work and further adds: love. Here the cello accompanying the clarinet “Ömer Hayyam has influenced me throughout symbolizes Khayyam’s wife. Soloist: Clarinetist Selin Gürol my entire life with both his philosophy and vers- In the last movement, the ages when Khayyam Duration: 32’0” es. Khayyam’s poems were not composed in this was most virtuous reach the audience through Year of Composition: 2011 work and it is fully instrumental. In the concerto, music. Instrumentation: Picc. · 2 · 2 · Engl. Hr. · 2 · 2 · Kfg. - 4 · 3 · 2 · 1 the clarinet depicts Khayyam with the orchestra.” - P. S. (Crot. · Vibr. · Marimba · Trgl. · Röhrengl. · hg. Beck. · Tamt. · Tamb. · Tomt. · Tenortr. · gr. Tr. · Kudüm* [od. Bongos] · Bar Chimes · Woodbl.) (3 Spieler) - Hfe. · Cel. - Str. (12 · 10 · 8 · 8 · 6) *ggf. verstärkt / should be amplified, if necessary

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Picture on the left Composer & Pianist Fazıl Say DETAILS

The Concerto Op. 76, for flute (doubling bass The concerto consists of 3 movements: Picture on the right flute) and orchestra which Fazıl Say composed I. Introduction: Many themes are covered in Flutist Bülent Evcil for Bülent Evcil will mark an unforgettable mo- this part. Sometimes it is a section where folk ment in the collaboration of these two master music rhythms and sometimes roots flow. artists. II. Nostalgia: In ‘Nostalgia’, which has the same Flute Concerto, Op. 76, composed by composer name as the first part of the artist’s Istanbul Sym- and pianist Fazıl Say for flute virtuoso Bülent phony; Hisar Bûselik makam is used. It is a sec- Fazıl Say © Marco Borggreve Evcil, was commissioned by Borusan Istanbul tion that is treated with a memorable beautiful Philharmonic Orchestra in 2017. theme. This concerto, one of Say’s maturity period works, III. Bass Flute: In the last part of the work based has a kind of distilled simplicity of the music the on ethnic Sufi music; a Mevlevi ritual is blowing Fazıl Say composer has made until today. The work is for together with the drum and bass flute. As the ep- both chamber music ensembles and symphony isode continues, these instruments join the or- orchestras to perform and was composed with a chestra and the volume reaches its peak. As the Flute Concerto, Op.76 flute and a small orchestra in mind. name suggests, the flute is played with an octave CONCERTO XXII CONTEMPORARY | CONCERTO | MODERN Unlike the Artist’s prior works, this concerto has bass flute which is a rarely used instrument. It no name. However, considering the instruments is not a very powerful instrument in terms of its Soloist: Flutist Bülent Evcil and rhythms used, the work can be described as sound, so it is recommended to be played with a Duration: 23’0” a Turkish flute concerto. microphone. Year of Composition: 2018 Instrumentation: 0 · 0 · 1 · 2 · Kfg. - 2 · 0 · 0 · 0 - S. (P. · Vibr. · Trgl. · Tamb. · Bong. · Kudüm · Darbuka · Tomt. · Bar Chimes · Waterphone) (4 Spieler) - Hfe. - Str. (8 · 6 · 4 · 4 · 2)

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Who is Mahir Cetiz?

Mahir Cetiz is a composer, conductor Tristan Murail. Before his studies at Co- and scholar, who lives in the USA, teach- lumbia, he earned his Bachelor’s degree ing as the assistant professor of compo- from Ankara State Conservatory, where sition and music theory at the Rudi E. he studied cello, piano, conducting and Scheidt School of Music. composition. Following his graduate His compositional discourse includes studies at the works for orchestra and acoustic en- and Hacettepe University (Turkey), he sembles of different sizes, solo instru- lived in Manchester, England, for two mental works, and pieces for and with years. electronics. As the recipient of the musician of the As an active performing musician Cetiz year award given by the British Council, is continuously engaged with the per- he studied and worked as a composer formance of new music. In the past, his and performer, associated with Royal compositions received performances Northern College of Music. Before mov- by ensembles such as International ing to New York, Cetiz also worked as Contemporary Ensemble, Ensemble a faculty member in Bilkent Univer- Intercontemporain, New York Philhar- sity in Ankara between 2003 and 2006, monic, BBC Philharmonic, and Zurich- teaching composition and music theory Tonhalle Orchestra. courses. As a composer, his interests include Cetiz is a 2017 Guggenheim Fellow and (but not limited to) middle-eastern and the recipient of prestigious awards, in- Indian traditional music, medieval po- cluding the Nadia Boulanger Composer lyphony and the perception of musical Award from Les Écoles Americains de gestures. Fontainebleau. Cetiz earned his DMA degree from Co- lumbia University, where he studied with Fred Lerdahl, Fabien Levy and

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Picture on the upper left

Mahir Cetiz

Picture on the upper right

Pianist Başar Can Kıvrak

DETAILS

The overall structure of Nocturnal Sun Symphony Concertante for Piano and Orchestra is reminis- cent of a journey in four parts, each of which is defined by four musical atmospheres. These Mahir Cetiz atmospheres are also subject to change within themselves through melodic, timbral, harmonic Nocturnal Sun and gestural transformations. When the mate- rials return within the continuum of the piece, CONCERTO XXIII CONTEMPORARY | CONCERTO | MODERN they transform their appearances like distorted Soloist: Pianist Başar Can Kıvrak memories. Duration: 26‘ 0” Year of Composition: 2006 Instrumentation: 3 flutes (subst. Picc.), 3 oboes, 3 clarinets in B-flat (subst. Bass Cl. In B-flat), 2 bassoons, contrabassoon, 4 horns in F, 2 trumpets, tenor trombone, bass trombone, tuba timpani (5), glockenspiel, vibraphone, marimba, tam-tam, 3 suspended cymbals, bass drum, 4 tom-toms, woodblock, maracas 82 83 Contact - Sarıyer /Istanbul34398 Veko GizPlazaNo:3/79 Maslak MeydanSk. Maslak Mah. ADDRESS locksbridge.net WEBSITE [email protected] LinkedIn EMAIL | FOR ALLINQUIRIES Facebook | Instagram FOLLOW US