https://sensodivoce.wordpress.com
This particular interlude has an ABBA form, with a scaffolded structure of tessitura-exchanges between instrument and voice and a gradual shift of timbre. During the two long improvisatory parts in the middle, the musicians are guided to look for specific timbres and their interference.

from Interludes © 2019

For an ensemble of five players: oboe & English horn, trombone & bass trombone, viola & violin, cello & electric cello, percussion (vibraphone & marimba, Chinese drums, crash & cymbal) and recorded voices (fixed media).
Contact for the score!  esin@esingunduz.com
-- https://esingunduz.com/2019/01/09/lights-on-inanna/ --

“Lights on Inanna” is based on the texts of three ancient Sumerian tablets that were inscribed for their Goddess Inanna and I read these texts as the Sumerians’ cultural/psychological projections on women. Throughout my compositional process, I performed, recorded, and analyzed selected phrases from these tablets. I studied the semantics, spectra, and the sensory experiences that they bring about and molded this data into instrumentation and orchestration. My works generally explore the union and opposition of energies which “Lights on Inanna” points to by acknowledging three -still present- cultural/psychological projections on women.

On three selected Sumerian tablets, the Sumerians relate to their Goddess Inanna as the:

1) Adored object
2) Destructive power
3) “One of us”!

MOVEMENTS START AT:

…an-zà-śè maḫ-àm… …as lofty as the horizon… 00:03
…ku-ku za-lag ge-eş ĝar… …to turn darkness into light… 04:42
…ur-re ca-mu-u-hul-le… …to make you joyous… 10:19


Performers on this recording:
Megan Kyle, oboe, English horn and reeds
Ben David Aronson, trombone, bass trombone
Leanne Darling, viola, violin
Jonathan Golove, cello, electric cello
Steve Solook, percussion
Recorded March 2017, UB, Buffalo NY

Mix: Henry Birdsey

…

Composer, vocalist, and improviser Esin Gunduz writes music that investigates the energies at play among and between all beings. She explores these energies as visceral sensory experience and sound, building landscapes of her own recorded-voice samples to surround acoustical instrumental textures—to create breathtaking vistas. 

Ms. Gunduz has performed her works at the (R)evolution Resonant Bodies program at the Banff Centre for Arts and Creativity, at the June in Buffalo Festival, and the Sō Percussion’s “Brooklyn-Bound” Series. The performers who have championed her work include Ensemble Linea, mandolinist Avi Avital, and members of the Talea Ensemble and Mivos Quartet. Current projects include an electroacoustic solo work-in-progress for voice and recorded voices about healing from trauma, an open piece for any instrument exploring the bodily experience of physical energies, and a larger electroacoustic ensemble work for ensemble and recorded voices based on the cultural / psychological projections on the Goddess Inanna as inscribed on Sumerian tablets.

A researcher of vocal performance, Esin Gunduz is an adjunct professor of voice at Villa Maria College and holds a PhD in music composition from SUNY University at Buffalo.

-- esingunduz.com

Esin Gunduz, Composer | Vocal performer