for 12 timpani

 - γ (Gamma)
- α I (Alpha)I, counter-intuition I
- δ (Delta), phasing
- ρ-π (Rho-Pi), interaction
- α II (Alpha)II, counter-intuition II
- λ (Lambda) coda
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Juanjo Llopico,
Miguel Ángel García Martín ,
Víctor Barceló,
Yuriko Sekiguchi

Conductor: Matthias S. Krüger

Constructive Interference

Tamar 
Kurdish song about biblical figure Tamar (1 Mose 38)
Lyrics & Music: Diyarisan
All instruments: Diyarisan
Except percussion: Buelyd
Linguistic advice: Bahoz Ouso
Produced by Buelyd


Lyrics:
You have never left a dirty problem unresolved
You never said you would give up your rights
You never take a step back, when those
others wanted to upset you
Your name is Tamar, your name is Tamar

You have never left a dirty problem unresolved
You never said you would give up your rights
You used every trick to  pursue your own interests
Your name is Tamar, your name is Tamar

Tamar

Virtual Love
Every night you call me with your mobile phone
Every night we talk on the phone all night
Every night you express that your love is so tight
Every night we have a date on Skype
I am happy and hope it never ends the quarantine 
I hope I never have to meet you in reality
We are loving each other like avatars 
But woe, when we're really supposed to meet each other

Music & lyrics by Diyarisan
Percussion & effects by Buelyd
Produced by Buelyd

Virtual Love

These recordings were made by Hiromi Lorraine Sakata and Tom Sakata between August 1966 and July 1967 in Afghanistan. They are excerpted from several larger field recording collections deposited at the UW Ethnomusicology Archives in Seattle. More about Hiromi Lorraine Sakata's collections: guides.lib.uw.edu/archives/sakata
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Rights: This recording was digitized for preservation/access purposes by the University of Washington Libraries in Seattle. Its copyright status may be protected by the U.S. Copyright Law (Title 17, U.S.C.) or state copyright statute(s). Its reproduction and use may also be restricted by terms of gift or purchase agreements, donor restrictions, ethical considerations, privacy and publicity rights, licensing and trademarks. This work is made accessible within the context of this website for purposes of noncommercial educational use. Transmission or reproduction of works protected by copyright beyond that allowed by fair use requires the written permission of copyright owners. Responsibility for any use rests exclusively with the user. If you have questions, concerns, or information about this recording, please contact us at ethnoarc@uw.edu.

Afghanistan, Throat Games (1983069-1)

The waltz is structured like the well-known numbers game of the same name.

Sudoko (Valse)

We dance Tango

I want to dance tango with you. 
You want to dance tango with me. 
Who are you? Where can we dance?
Is tango a drug? Shall we float?


Tanssimme Tangoa
Minä haluan tanssia tangoa kanssasi. 
Sinä haluat tanssia tangoa kanssani. 
Kuka sinä olet? Missä voimme tanssia?
Onko tango huume? Kellutaanko?

Music&Lyrics: Diyarî San
Produced by Buelyd

Tanssimme Tangoa

Dis Un Il Im Ir

For 4 computer-controlled pianos and 4 speakers.

Premiered Feb 13th, 2014 as part of Qubit's Machine Music Concert.

In sin fin bin din bin fin sin in

Elusive for ensemble and live electronics (2022) - Ensemble for New Music Tallinn
Warsaw Autumn 2022

Elusive for ensemble and live electronics (2022) - Ensemble for New Music Tallinn

Guitar and custom software

Commissioned and premiered by Ensemble for New Music Tallinn.
Premiere 21.11.2024 at Festival Sound Plasma, Genezarethkirche, Berlin.

“This is. And thou art. There is no safety. There is no end. The word must be heard in silence. There must be darkness to see the stars. The dance is always danced above the hollow place, above the terrible abyss.”
― Ursula K. LeGuin

the dance above the abyss (2024) for sextet and electronics

link to spotify below (for better recordings)

Constructive Interference

Arash Yazdani