diaphanous lies
[...and she tugged the curtains shut—as if the frail sheer fabric could somehow shield us from oblivion]

When no relying matter could shelter its nuances,
a flattening will erase all material vicissitudes.
Frail images, simulations, and plasticity.

Tort, ruse or feint.
Its tyrannizing lies are nevertheless unfailing.

-----------------
electroacoustic composition - stereo audio


*This piece has a wide dynamic range, it is advised to be careful with the levels. Good quality headphones or loudspeakers are also recommended*

diaphanous lies [2022]

for 2 trombonists, accessory instruments and electronics.

Written for and premiered by @rage-thormbones:
@wolencki - trombone and accessory instruments (expression pedal+transistors, bowed plastic and snare drum), 
@mattbarbier-1 - trombone and accessory instruments (1/4-inch jack+guitar pedals, prepared vinyl tubing, brushes and snare drum),
Electronics (Max/MSP patch) performed by the composer. 

Recorded by Andrew Harlan (with additional support from Hallie Smith, Jon Yu and Curtis Rumrill) at the Center for New Music and Audio Technologies (CNMAT), UC Berkeley, California/USA, April 2022.

*good quality headphones or loudspeakers are recommended*

surrogate heart [2022]

Performed by Klank.ist Ensemble 

Electronics,synth,vocal : Eda Er 
Cello: Zeynep Ayşe Hatipoğlu 
Electric Guitar: Aslı Kobaner 
Keyboard: Fulya Uçanok

Klank.ist ensemble : https://www.klank.ist/klank-ist-ensemble

I took a train to mars for ensemble

beyond the barrens - for mixed sextet [2023]

• Written for Schallfeld Ensemble and Pierre-André Valade. 
Zinajda Kodrič, flutes (concert and bass)
Stephanie Schoiswohl, baritone sax and prepared tube
George Lolas, accordion
Patrick Skrilecz, piano and objects 
Lorenzo Derinni, violin and boxes
Myriam García Fidalgo, cello and boxes 

Pierre-André Valade, conductor

• Premiered at the Klangspuren Schwaz Future Lab 2023.
@ SZentrum Knappensaal, 18 September 2023, Schwaz, Austria.
Recorded by The Austrian Broadcasting Corporation.

• Program Notes:
It is in the pursuit of a resilient catalyst spark,
one that will transcend the unsound cyclic nature of uncertainty,
that the afterlight reveals a retaliating barrenness adorned with thorns.
(responsorial)
Bottomless mudcracks penetrate the viscera of the imagined world. 
Yet, in absence, life treads forwards, whispers rise as unwavering chants.
The beauty of the scorched land lies in the abundance of juxtaposed 
impossibilities.
Still, the soul wanders amidst harsh epiphanies that unfold their coarse
truth.
Fate, for now, is adjourned.

beyond the barrens [2023]

Nathan Corder - Limited Set (Swamp) - 03 Wading, Waiting, Watching

Public Open Reading, Herbst Theatre, January 5, 2024
SF Contemporary Music Players, Eric Dudley conducting

Eda Er - Beyond the Pacific Ocean

shaped and already gone - for piano and percussion quartet [2023]

• Written for and premiered by @yarn-wire

Laura Barger, piano, keyboard, and accessory percussion
Julia Den Boer, piano, keyboard, and accessory percussion
Russell Greenberg, percussion, objects, and transducers
Sae Hashimoto, percussion and objects

• Recording of the premiere @ Hertz Hall, University of California, Berkeley 
15 December 2023, Berkeley/CA, USA. 
Recorded by Jeremy Wagner and Brendan West.

*good quality headphones or loudspeakers are recommended*


• Program Notes:

This piece speaks to the paradoxical idea of molding existence into non-existence. Perhaps it seeks a dialogue between what is tangible and what is not—and imagined like so. 
It delves into a sense of interconnected temporalities and imagines what could travel across planes. 
There is also the perception of heaviness and the charged icons of one's personal narrative. 
This work talks about types of presences, reimagined objects, and whatever impalpable things accompany them. Intentional creation and impermanence. 

"He throws a stone today and kills a bird yesterday" (Ulli Beier, 1970). I have always interpreted the Yoruba aforism on Eshu as a reflection on consequences that defy our conventional understanding of time, in connections that appear impossible between cause and effect. 
To me, one challenge of creating lies in incorporating a possible future into a version of the past, although neither can exist.

In this piece, some sounds were simply laid flat. Others were revived or borrowed from elsewhere. What connects them (or not) is what I'm currently identifying as my own.

shaped and already gone [2023]

Nathan Corder - Chemical Commons - 01 Nosediver

Cello : Eric-Maria Couturier
ONL conducted by Peter Rundel
12/13/2016 - World Premiere - Lille / Nouveau Siècle

Quarks, concerto for cello and large orchestra

Widerklang for bass-clarinet, percussion, piano, violin and violoncello
l'instant donné

premiere recording from Festival Musica
Strasbourg, France

Widerklang for 5 performers (2

Widerklang for 5 performers

@lockdown.type.beat
Covid19 Lockdown

image from 
https://www.nejm.org/doi/full/10.1056/NEJMc2004973?query=featured_home&fbclid=IwAR2iibUkvH_hXiMFybUFZ4O1C6ORYEYrR4afLmqLRSq7TqjkXM_8pgBWy5Q

Lockdown.type.beat.001

Eda Er is a composer, multimedia artist, and vocalist exploring storytelling, technology, and interdisciplinary art. Her work integrates electronic music, visuals, and performance, drawing from identity, belonging, trauma, and cultural heritage.

📧 Contact: info@edaer.me
🌐 Website: www.edaer.me

I took a train to mars for ensemble

Eda Er

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