Suite - Chaconne

Suite - Courante

Swedish folk - Äppelbo

Commission piece for VIDEO-PERFORMANCE by Carla Sophie.


Arg-CH may 2021.

Mi demonio es mi santuario

Macédoine (7’08’’, 8-Channel)
Is a mixture, made up of a series of short pieces from Totengeläut.

Macédoine

Etwa die Hälfte der vorliegenden Musik entstammt einem Kompositionstagebuch, das zunächst einzelnen Tagen Stücke zuordnete, später mehrere Stücke zu Werken zusammenfasste. Andere Nummern wurden gebunden improvisiert, so wie La Puerta, das einem inneren Programm folgt, die Pasacalle einem Bassmodel, einem cantus firmus, wie Franziska II, oder sie gehören größeren Werkzyklen an, wie die Tardeserie (Abendlied) und der Syncoflip (Consort music, second set).

Mehrere klangliche Ebenen verschränken sich im Dialog, konzertieren oder bilden ein Gewebe. Dies ist inspiriert durch die Klangfarbenplette der Lyra Polyversalis, ein Saiteninstrument in Gitarrenstimmung, mit 6 Metallsaiten, gerundetem Steg und Metallbünden. Sie eignet sich zum Zupfen und Streichen, auch begrenzt gleichzeitig. Die Lyra wurde von dem Komponisten und Lautenisten Andreas Arend ab 2019 entwickelt und dem Luthier Valentin Oelmüller verbessert und 2021 gebaut, unter Verwendung des Korpusmodells einer Archtopgitarre von William Wilkanowski. Die Spieltechnik konstituiert sich unter anderem aus Motiven derjenigen der Renaissancelaute, Vihuela de Arco und Plektrumgitarre.

ZEIT 0:44:42

La Puerta

01. LA PUERTA

is the first song of a sonic landscape from which all the songs of the compilation have emerged. The sonic material is generated with a small bell, minimal sound processing and a delay/feedback network. The very old bell I used is from my family and heralds the familys end, as Harmony is an only child and do not plan to have any children. 
Through the delay/feedback network, sounds played in the past can return to the future and layer themselves from the past to the present, says Pauline Oliveros, another voice for whom the bells of the pieces are meant to ring.  Bells can be transposed well, they can be changed in size well, without having them real in front of you.

Totengeläut

Untitled 2 - 2

deconstruction of mechanism by an undefined wavelength

Industrial Silence

Particle K is the electronic persona of composer Kaan Bulak, born in the digital world.
Immersed in pulsating beats and rough moments, the self is reduced to a single letter, to its particle level. Nothing is composed here, expressions get amplified until distortion. It's all about leaving the framework of expectations and finding a mirror reflecting your inner self.

Particle K @ Panke Culture (April 29 2022)

Augmented Piano Quintet, K. Bulak, Op. 11 (2018)
1. Adagio
2. Sonore
3. Andante

Kaan Bulak & Ensemble

Violin: Moritz Ter-Nedden
Viola: Friedemann Slenczka
Cello: Simone Drescher
Doublebass: Kristina Edin
Augmented Piano: Kaan Bulak

Recorded at ZKM_Kubus by Sebastian Schottke
Mixing & Mastering at Feral Note Salon by Kaan Bulak

Augmented Piano Quintet

Kaan Bulak is a composer and pianist. His music combines acoustic and electronic sounds as well as eastern and western influences. Currently Bulak is artist-in-residence at ZKM Karlsruhe as composer fellow of #bebeethoven, where he records and collaborates live with artists such as Robert Lippok, ensemble reflektor, Rothko String Quartet and more.
On the production side Bulak has released the experimental house record "1840 EP" on Contexterrior Records in collaboration with Jay Haze. Furthermore Bulak wrote the soundtrack for the 2015 film "We Were Rebels".

Augmented Piano Quintet

Kaan Bulak

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