Erberk Eryılmaz, Wrestling Airs for Two Davuls and Chamber Orchestra

Point G For Solo Violin 2013

Concerto for Solo Wind Instrument, Ensemble and Imaginary Folk Dancers
-Thrace
-Eastern Black Sea
-Istanbul
-Western Black Sea 
-Southeastern Anatolia

Ismail Lumanovski, soloist (clarinet in Bb and clarinet in G)
Erberk Eryılmaz, conductor

HOPPA PROJECT
Dawn Posey, violin
Alyssa Wang, violin
Laura Krentzman, viola
Evan Kahn, cello
Ryan McMasters, double bass
Cihan Yücel, piano
Abby Langhorst, percussion
Ari Hajek, percussion

Concerto For Solo Wind Instrument, Ensemble And Imaginary Folk Dancers

Conducted by Jebat Kee and performed by members of the Shepherd School of Music orchestra. Recorded on 10/23/16.

Beltway 8

Commissioned by National Gugak Center for the Pacific Rim Music Festival

Ten Thousand Blooms, Falling Petals for traditional Korean orchestra III (reading)

Returning Souls for solo violin

Performed by the Shepherd School of Music Symphony Orchestra on March 22nd, 2019. Conducted by Ben Manis.

House of Stairs

The final concert of the In Concert series, "The Wrestler", featured the world premiere of Erberk Eryılmaz’s Wrestling Airs for Two Davuls and Chamber Orchestra (in memory of Koca Yusuf) - showcasing the festivity and drama of a traditional Turkish wrestling match and honoring the legendary 19th century wrestler. Conductor David Danzmayr returned to ROCO with one of his favorite pieces, Jocelyn Morlock's Solace, while organ soloist Paul Jacobs returned for Samuel Barber's Toccata Festiva. Recorded May 4, 2019 at The Church of St. John the Divine, Houston, TX.

Eryılmaz, Wrestling Airs for Two Davuls and Chamber Orchestra

Ensemble Dal Niente
Michael Lewanski, conductor

In Between for large ensemble (2019)

Wyatt Wear — Saxophone
Sonya Walker — Trumpet
Ben Morris — Piano
Mike Facey — Bass
Michael D'Angelo — Drums

Recorded 12/13/19 at Mighty Fine Studios, engineered by Colin Bricker

Hongdae After Midnight

for Piano Quartet

Variations Between the Creases is a set of four variations on a faux-chorale theme. Diatonic modes and triads figure prominently into the harmonic language, but throughout the piece these artifacts are denatured by specifics of instrumental playing technique. At the opening, the instruments play in their highest registers, making the bright, open sonorities sound strained. The story of the piece is a long descent, from the stratospheric glint of the high piano chords, to the subterranean rumble of the closing viola solo.

Concerto For Solo Wind Instrument, Ensemble And Imaginary Folk Dancers

Erberk Eryılmaz

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Ben Morris

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