The sounds used in the piece are pre-processed by using various techniques such as granular synthesis, subtractive synthesis, harmonizers, pitch-shifters, sound-resynthesis etc.
The structure of the piece changes perpetually. It begins with structural character where one sound triggers an event of series of other sounds. Slowly those trigger sounds turn into rhythmic, punctual elements which is accompanied by the new and previous material which gradually becomes a harmonious aspect. This harmonious concept disintegrates into noises from previous sections however they become the main material and will end it piece alone.
The piece is written in 6 channel surround system, where the diffusion of sounds in the space an important role for the relations of sonic events. They emphasize the cause and effect relations of the sound structures. In order to keep this spatialization concept for stereo listening, a binaural technique is used for mimicking the surround sound while listening with headphones.

Tales From Dylawerson

https://www.swr.de/swrclassic/donaueschinger-musiktage/donaueschinger-musiktage-2021-onur-duelger-baiterek-kut-100.html

Baiterek-Kut is a piece written for the Omnibus Ensemble with the following instrumentation: a string quartet, oboe, percussion, synth with sinus tones and the Uzbek instruments chang and tanbur, which are mainly used in this piece outside of their traditional cultural context.

“Baiterek is the Tree of Life from ancient Turkic mythology, which connects three worlds. The roots of Baiterek are underground in the Underworld, where all sorts of devilry and evil spirits reside, and where Bapa the King of Snakes lives with his wife and children. The trunk of Baiterek is the Middle World inhabited by people and animals, heroes, khans, rich and poor. And, finally, the top is the Upper World, where birds, angels, and kind deities live. The crown of Baiterek is a nest of Samruk, a giant bird that covers the sky with one wing, and meets the sun at sunrise with another.”

“According to the Turkic belief, Kut is a kind of force vitalizing the body. Through Kut, humans are connected with the heavens. Furthermore, the sacred ruler is believed to be endowed with much more Kut than other people, thus the heavens have appointed him as the legitimate ruler.”

In this piece, the notion of Baiterek (tree of life) is used as a basic construction of the work, which can be also seen as a Kut (sacred soul) of the piece. In this way different elements, textures and parts are connected through this hidden construction as if they would be different branches of the same tree, where formal elements and sounds themselves are changing gradually but not evolving into something else. Various extended techniques, occurring in different formal constructions, are used in assorted noise-pitch ratios in order to create differentiated but related soundscapes.

Cause and effect relationships between sound events are used throughout the piece. For instance, an impulse sound triggers a sound event such as a held pitch and/or noise. These usually accompany one another and often turn into textures.

In addition, rhythmic structures used in the piece are distributed between various instruments, creating the spatial effect of a single gesture in the acoustic environment. This is only highly effective if the players pay full attention to what and when the other instruments play.

The notion of Baiterek, which connects three worlds – the under, middle and upper worlds – is used in this piece as if it combines the sound materials from common Turkic heritage, foreign influences such as Islam and experimental soundscapes.

Baiterek-KUT - performed by Omnibus Ensemble

Barzakh means separation in Arabic. Moreover, in the Islamic eschatology, it is a barrier between the physical and spiritual worlds. In this piece, I am using this idea as an inspiration to my creation so that a disrupting sound and its developments are separating the sound worlds and opening new dimensions for new musical spaces. The piece is
composed for string quartet and its duration is approximately 9 minutes.

Barzakh performed by Arditti Quartett

Don’t do!

I have heard that you are thinking to sail away, don’t do,
You have intended to have an other friend, an other love don’t do. 
What are you searching for in foreign land you foreign?
Which sick heart do you mean? Don’t do

Our lips get dry if you get dry,
You make our eyes full with eye drops don’t do
Don’t steal us from us don’t go to those foreigns
You injure other stolen ones don’t do

Ah moon, the world has been destroyed to pieces
You make us so broken and destroyed don’t do
If you don’t have power to manage  with lovers
Why are you surprised to love then don’t do 

My dirty eye is a thief of your beauty 
How you steal is over all the robberies don’t do
Shout oh my friend it is not the time to say something
Why do you flirt with the weakness of love don’t do


Mevlana Celaleddin Rumi

Alienation for           solo Alto and Live-Electronics

Void for flute accordion and cello - Trio Amos

la fête du son, une musique contre le conservatoire

performed by Klaus Haidl and Bernhard Schöberl 

on 11th of October 2019, Echo Raum, Vienna
in das kleine symposion 2019

Sabantuy for two e-guitars

performed by Winston/Goepfert Duo on 25th of December 2019 in Eskişehir, Anadolu University

Le Salut des Sons for Trombone and E-guitar

performed by Ensemble Suono Giallo on 20th July 2019 at Teatro Comunale Citta Di Castello

Irkalla, the name of the piece comes from Sumerian religion, and it means the ancient Mesopotamian underworld, was a dark, dreary cavern located deep below the ground, where inhabitants were believed to continue "a shadowy version of life on earth". Sumerian civilization is the earliest known civilization in the world and located in the historical region of southern Mesopotamia.

In the piece, the idea of a shadowy version of life of an ancient world is processed. Sounds are depicting not necessary a place where souls suffer but a place where they are interacting and living in a different, strange version of life. Sounds, interacting and imitating each other can be seen as developing sound objects but also as an energy which is building narrative sound story.

The live-electronics are using the properties of sounds of four instruments independently as an input for the modulations of themselves. Therefore, the result is mostly a natural sounding extension of the insruments. It is used to both enhance the different characteristics of instruments and also for formal musical solo extension of this music.

Irkalla for bass flute, baritone sax, double bass, piano and live-electronics

Sound Constellations for the Youth for prepared piano, performed by Fidan Aghayeva-Edler

performed by Omnibus Ensemble during 20. Weimarer Frühjahrstage  on 25th of April 2019

Onur Dülger_II

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