Performed by Hezarfen Ensemble in June, 2017 at
Bilkent Concert Hall, Ankara
Conductor - Orhun Orhon
Flute - Cem Onerturk
Clarinet - Elif Aksoy
Percussion - Amy Salsgiver
Piano - Muge Hendekli
Violin - Ozcan Ulucan
Viola - Ulrich Mertin
Violoncello - Caglayan Cetin
Hezarfen Ensemble Website: www.hezarfenensemble.com
Performed in World New Music Days, Garden of Fire - a concert of chamber music works, selected work from Turkey Section, ISCM, 2018 at
CCOM Prince Mansion Concert Hall, Beijing, China
Conductor - CHEN HongJun
Flute - Liu Xiaoyu
Clarinet - Zhang Jiawei
Percussion - Ren Jingxue
Piano - Xie Ziwei
Violin - Ye Lin
Viola - Sun Kang Changrui
Violoncello - Luo Ju
About the Piece
AVAZ is particularly written for Hezarfen Ensemble in order to be performed at Bilkent Composition Academy in 2017. The title means “one’s loudest, strongest voice” , and etymologically comes from Farsi. Before I started to compose this piece, I had the state of someone’s yelling loudly, piercingly in my mind. I use this state as a morphological connection for the piece. So, there is certainly not an intention of portraying a situation or story. I strongly believe that every piece creates its unique temporal identity and listeners perceive it subjectively. I tried to preserve that identity and the energy through the piece.
After the performance of Hezarfen Ensemble, the piece is selected to be part of World New Music Days, ISCM 2018 at 2018.
In order to explain the piece itself and the composition process, transcription of the interview from BCA-17 is written below.
-intentions/concept of your piece?
-I tried to create and organise very intense gestures and zones. I use the state of someone’s yelling loudly, piercingly as a morphological source to create the shape of the overall texture.
-Would you like to talk about your creative process?
-I usually think the overall identity of the composition at first. When I feel that unique , intense materials are beginning to arise, I start to define, understand, identify them in a deep manner in order to form dynamic organisms. And the process goes on by creating the relationships between these organisms to design, to organise the piece.
-Do draw inspiration from extra-musical sources? If so, what and how?
-Yes definitely, I do. These sources can be diverse. It can just be an object, a situation, an article,a philosophical essay anything in which I can find a musical connection for my compositions.
What are the greatest difficulties you face as a composer? How do you overcome them? Do you find them fruitful?
-The most challenging thing is time management to finish the piece. I always try to find a good balance between pre compositional process, writing process and engraving and editing process. The most beneficial thing is that while trying to find this balance I usually come up with creative solutions.
-What was your experience with Hezarfen Ensemble? What do you think you can cherish from this experience?
-They easily understood my intentions and they adopted the piece in a short time. Thus, we had plenty of time to discuss the details. Furthermore they can suggest creative solutions for some problems. After this experience with Hezarfen Ensemble, I realised that the piece does not finish when I put the double barline. Because during the rehearsals, as a result of useful collaboration, I still continue to change, to balance the composition.