Environment, piece for symphonic orchestra with ensemble

Premiered at the Ostrava Days Festival 2021 by Ostrava New Orchestra (ONO)

Conductors: Jiří Rožeň, Ondřej Vrabec

Ensemble: Lucie Vítková - accordion, harmonica, voice and feedback, Jiří Havrlant - harpsichord, Daniel Skála - cimbalom, Daan Vandewalle, Alexandr Starý - piano, Kristýna Švihálková, Jan Nepodal - percussion

2. Lucie Vítková_Environment

The Humble Bee - 'Light Trespassing'
Format: CD / Digital
 Release Date: December, 2021
Cover image by Craig Tattersall

"Like the last embers of a fire burning"

https://motionward.bandcamp.com/album/the-humble-bee-light-trespassing

MWCD001: The Humble Bee, 'Light Trespassing'

16.02.2023 @ Ircam Espace de Projection
Music by Didem C.
On vibraphone: Christophe Bredeloup
On Marimba : Benoît Masson
'Dawn Chorus, que l’on peut traduire par « le chœur de l’aube », désigne ce moment du début de journée où les oiseaux se mettent à chanter. Dans Dawn Chorus, Didem Coskunseven mêle à nouveau ses goût et intérêt personnels pour le jazz modal avec une électronique à l’esthétique contemporaine, soulignant la joie simple qu’il y a à écouter de la musique – que l’on pourrait tout aussi bien appeler le duende. El duende désigne en effet le pouvoir d’envoûtement et d’évocation de l’art : il trouve sa source au plus profond de notre être en tant que réponse physique ou émotionnelle à la réception d’une œuvre. C’est ce qui fait naître le frisson, ce qui fait sourire ou pleurer, en tant que réaction charnelle à une performance artistique particulièrement expressive. Le concept donna naissance à une théorie développée par Federico Garcia Lorca.
Cependant, ce qui intéresse Didem Coşkunseven dans Dawn Chorus est moins le duende en lui-même que ce frisson d’enchantement suscité par l’acte « d’écouter de la musique » en concert. Elle aspire ainsi à créer un « état d’émotion exacerbé », dont nous pourrions faire l’expérience collectivement ; une expérience qui serait plongée dans l’espace performatif'

Note de programme du concert du 16 février 2023 à l'Espace de projection de l'Ircam

Dawn Chorus [for vibraphone,marimba&electronics]

The first piece for Persian-tuned and electronically-enhanced piano, based on the traditional gusheh Basteh-Negar and partly improvised. 
Performed by the artist at the Banff Centre, March 25, 2015 as part of the World Music Residency.

Océans de Feu: Basteh-Negar

String Quartet No. 3 is the result of exploration of technology and tradition. The piece was
composed entirely within Ableton Live, utilizing a custom Max for Live (M4L) patch that I
developed using Max/Msp visual programming environment. At its core, the composition is
driven by four oscillators that interact and blend, each contributing to the sonic fabric of the
work. The transcription of the material from Ableton into conventional notation was undertaken at a subsequent stage of the process. These synthesized elements aim to engage with and expand upon the timbral palette of the string quartet, an ensemble whose sonic possibilities have been continually redefined since its establishment in the common practice era.

This work received its premiere during the MIAM 25th Anniversary Gala in November 2024, commemorating a quarter-century since the department's founding.

Conductor: Kamran Ince
Violin I: Ceren Türkmenoğlu 
Violin II: Seçil Işıksoy 
Viola: İlay Öztürk 
Cello: Gözde Yasar

String Quartet No. 3 (2024)

Matt Carlson - "Sitting Down To Boolean Tea"

Included in The Wire Tapper 44, the CD compilation included with the August 2017 edition of The Wire.

Badalisc (from The Wire Tapper 44)

Temporary Residing (2017, rev. 2021): This is a piece that explores a myriad of moments, and movements that bridge them. These movements are sometimes enacted through sudden ruptures and at others, subtle leakages and transitions. The piece invites listeners to move through various residences, temporarily inhabiting each space, while exploring diverse sound behaviors and listening situations. It is messy, it is plural, it is always situated.

Temporary Residing

sound lover, electroacoustic musician, pianist & artist researcher; composing, improvising and experimenting.

currently interested in response-able sympoietic sounding practices with humans and more-than-humans, including practices of material agency with instruments.

please use headphones or loudspeakers in order to reproduce all audio details.

Temporary Residing

Fulya Uçanok

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