Premiered at 5th Novalis music+art festival, Kulturni Centar Osijek, Osijek, Croatia, 9th September 2021.

Piccolo - Ana Batinica
Violoncello - Vid Veljak

divided together (2021) for piccolo and violoncello

Written for HANATSUmiroir

Laurent Camatte, Viola
Clotilde Lacroix, Violoncello

The Time Regulation Institute (2023) for Viola, Cello, and Electronics

Inspired by John Cage’s concept of gamut, this piece plays with combinations of a very small number of elements.

Harp: Angélica Salvi 

Audio recording: Miguel Orama studio

 March 2021

Bagatelas (solo harp)

Binaural recording, please use headphones.

Impulse Impromptu I (Binaural Version)

Cassette/digital available from Imprec.com

“The Generous Law,” a new album by organist Jack Langdon and guitarist Anthony Vine, presents a glimpse of the inner voices and acoustical splendor of the Fisk Organ at Wellesley College, enlivened by the intuition of two improvisers. At the keyboards, Langdon crafts geometries of patiently braided lines and incisions, configuring the hues and shades of organ stops with an ear to the materiality of sound. Vine seizes on this, tuning his guitar to the organ and bringing his strings into alignment with the harmonics of the reeds and pipes, becoming an extension of the instrument, an organ stop of sorts. The guitar flows in and around Langdon’s angular counterpoint, like the shimmer between the divots of a jigsaw puzzle, illuminating its matrix. 

The tonal design of the Fisk Organ brings these interactions into vibrant relief through its quarter-comma meantone tuning and 17th c. Danish and German stops—giving organists access to sonorities only found in historic North European churches. Resurrecting a distant sonorous past echoes the design of Wellesley College's Houghton Chapel itself, a braiding of ecclesiastical motifs with no historical center, designed to impart a sense of old-world sacredness. Fisk’s ahistorical mélange yielded something extraordinary, not a cheap replica or period imitation, but an instrument of sui generis chroma and expressivity.

The musical idioverse of Langdon and Vine is defined less by interior imaginations, established style, and compositional formality, and more by the inexplicable pull of the organ, its guiding and grounding voice. In a letter to Ross Feld, Philip Guston speaks to this abstract, yet ubiquitous dynamic in artmaking with his notion of the “generous law,” the namesake for this collection:

“I think you are writing about the generous law that exists in art. A law which can never be given but only found anew each time in the making of the work. It is a law, too, which allows your forms (characters) to spin away, take off, as if they have their own lives to lead—unexpected too—as if you cannot completely control it all. I wonder why we seek this generous law as I call it. For we do not not know how it governs—and under what special conditions it comes into being. I don’t think we are permitted to know other than temporarily. A disappearance act. The only problem is how to keep away from the minds that close in and itch (God knows why) to define it.” -Philip Guston to Ross Feld

This music is not driven by concept, process, or system, but by the wanderlust of sound, time, and listening.

Jack Langdon & Anthony Vine - The Generous Law - 1  July 27, 2022 - 1pm

Roman Yusipey, Akkordeon live
Salzlager, Hall in Tirol

Audioconvert

reprise (2017)

ORIGIN (or a summary of my youth in Turkey in about 118 seconds)

Violin: Alexandrina Boyanova.

Inspired by the tumultuous landscape of the post-truth era, Drowning in Post-Factual Waves delves into the intricate fabric of contemporary human existence, particularly within the digital epoch of the 21st century. Through a nuanced exploration of sound, it seeks to unravel the existential quandaries and societal complexities that define our modern reality. This work was commissioned by SEAMUS and is dedicated to the violinist, Alexandrina Boyanova.

Drowning in Post-Factual Waves

Elegy No. 2 is a piece for violin and computer. The piece was commissioned by Sarah Plum.

http://www.sarahplum.com/

This recording is a preview of the piece that will be recorded and premiered in early 2018. 

The score,  SuperCollider file, and the setup explanation can be found at
http://www.joowonpark.net/elegy2

Elegy No. 2

Mert Moralı is a Berlin-based composer from Izmir, Turkey, whose current research and artistic focus lies on prosthesis and corporeality in-relation and how this relationship is conditioned by space and particularly its socio-political connotations.

He is the recipient of first prize in the duo category at Wilde Lieder - Marx.Music Composing Competition in Trier, Germany and J.J. Strossmayer Prize at Novalis Festival in Osijek, Croatia. Also, he was a composer in residence at Stiftung Künstlerdorf Schöppingen in Germany.

Moralı’s works have been heard at many festivals, such as Bauhaus Festival, Festival Mixtur, Klangwerkstatt Berlin, KONTAKTE Festival, protonwerk, and Ultraschall Berlin, and performed by Ensemble Dal Niente, ensemble proton bern, georg katzer ensemble, hand werk, Hezarfen Ensemble, KNM Berlin, modern art ensemble, United Instruments of Lucilin, and many others. He attended workshops led by composers, including Mark Andre, Franck Bedrossian, Pierluigi Billone, Chaya Czernowin, Brian Ferneyhough, Stefano Gervasoni, Liza Lim, Isabel Mundry, and Marco Stroppa.

He studied composition primarily with Tolga Yayalar and Turgut Pöğün at Bilkent University in Ankara and with Eun-Hwa Cho at "Hanns Eisler" Berlin School of Music. He also studied Electroacoustic Music at "Hanns Eisler" Berlin School of Music with Wolfgang Heiniger.

divided together (2021) for piccolo and violoncello

Mert Morali

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