FREC 3 (2016-2017)
pour flûte, violoncello, percussion, piano and live amplification.
Dur. 52:00
Commande de l'Auditori de Barcelona/Sampler Series 2015-16
Création : Agustí Fernández, piano. Almudena Vega, flûte. Miriam Fèlix, violoncello. Núria Andorrà, percussion. Ferran Conangla, amplification. Sampler Series/Auditori de Barcelona, Fundació Tàpies, 22.02.2017.
RECORDING : Ferran Conangla

FREC 3 (2016/17)- Fragment

pour quatre solistes, ensemble et électronique
Emmanuelle Ophèle, flûte
Philippe Grauvogel, hautbois
Clément Saunier, trompette
John Stulz, alto
Ensemble intercontemporain
Matthias Pintscher, direction

Enregistré en direct le 09.06.2017 par France Musique à la Philharmonie de Paris

Namenlosen - Ensemble Intercontemporain (2017)

The pain they left behind /melted into thin air /and became the baseless fabric of /what we call ourselves today.
for flute, clarinet, piano, violin and violoncello 
Premiered by Oerknal Ensemble June 16, 2017 at Delian Academy for New Music, Mykonos-Greece

The Pain They Left Behind...(2013-2017)

This piece is dedicated to the people of The Republic of Kiribati to bring attention to their suffering which is caused by the global warming and its consequences that are created by all of us, the human race.

Piece was composed for the Young composers festival "Sesin Yolcuğu 11" held in May 2018 in Istanbul, Turkey and performed by Hezarfen Ensemble (https://soundcloud.com/hezarfen-ensemble).

Special thanks to Can Kuman (https://soundcloud.com/can-kuman), a fellow composer for the recording.

High Tides (for mixed ensemble)

Maeshowe for sextet and sine tones. Concert recording from the premier in Helsingborg, Sweden, April 2018.

With many thanks to the Riot Ensemble for their help in realising this project: Ausiàs Garrigos (clarinet), Andy Connington (trombone), David Royo (percussion), Fontane Liang (harp), Neil Georgeson (piano), Louise McMonagle (cello) and Aaron Holloway-Nahum (conductor).

The piece is based on the resonant frequencies of Maeshowe, an ancient burial chamber on the Scottish island of Orkney. The frequencies were extracted from the acoustic impulse response and converted from Hz to 12tone equally tempered pitches with cent deviations. The frequencies are played exactly as sine tones and approximated by the instruments in various ways.

Maeshowe

http://www.92Y.org/VPC - Kurt Vonnegut begins by reading a speech he delivered at Haverford College shortly after the shootings at Kent State. He then reads two more speeches—one on our addiction to war preparation and another on nuclear holocaust, which was originally delivered at the Cathedral of St. John the Divine. "If you are a New Yorker, if you are a writer, it's part of your civic duty to appear at the Y—at least once," Mr. Vonnegut says in his opening remarks.

Recorded May 16, 1983 at 92nd Street Y


Kurt Vonnegut: "Short Sentences and Placebo Profundities" | 92Y Readings

Cymatics (2018) for cymbal
Total Duration 8:50' minutes.

Ensemble Holophony Project
Preview Full Score at www.panayiotiskokoras.com/en/works.html
Studio edited mix © Panayiotis Kokoras

Cover photo, Frequency by Tim Chrepta (https://flic.kr/p/ebTun8)

Cymatics [cymbal]

for viola, violoncello, contrabass, percussion and electronics
Premiered by Hezarfen Ensemble on October 31st, 2019 
Commissioned by Dystopia Festival
Concert recording: Gökhan Deneç

“Misshapen chaos of well-seeming forms” 
William Shakespeare

“Natura respuit ut contraria quaeque iungantur” 
(Nature refuses the joining of unlike things)  
Boethieus

“There is a strange power in the joining of unlike things.”
Carnival Row season 1 Ep.4 15:04

The most successful dystopian fictions are created not by merely imagining a “utopia-gone-wrong” places but by exaggerating the features of the Past and the Present that contain potentials for them to become dystopian. These dystopian features are to be sought in the contemporary canvas of our societies: social memory loss, disregard for differences, unfounded familiarities, traces of past mass violence. What we call “ourselves” in a modern society are interwoven acts of barbarisms and adequate forgetfulness/indifference that go along with them. 

Les Traces de Notre Futur Antérieur for Hezarfen Ensemble takes this idea of “uncovering what is lost as a result of violence” and translates it into a musical circumstance that is inspired by the texts belonging to the people who once inhabited the Anatolian land for centuries.

Les Traces De Notre Futur Anterieur(2019)

Guido De Flaviis: Saksafon
Ilias Sdoukos: Viyola
Kostas Tzekos: Bas Klarnet 
Louizos Aslanidis: Yönetmen 
Spiros Tzekos: Klarnet 
Stella Tsani: Keman 
Theo Vazakas: Perküsyon

Air Raid Konstantinople (2019) for ARTéfacts Ensemble

Michelangelo's Empire Turbine (2020) for ratchet.
Total Duration 4' minutes.

Preview Full Score at www.panayiotiskokoras.com

Ensemble Holophony Project
Studio edited mix © Panayiotis Kokoras

Michelangelo's Empire Turbine [perc]

Tolga Tüzün (Ph.D.) is an electro-acoustic music composer and a performer.

He started taking classical piano lessons at the age of eleven. After receiving his BA in Political Sciences, he studied composition with Pieter Snapper and Marc Wingate and advanced orchestration with Ilhan Usmanbas and Hasan Ucarsu at the Istanbul Technical University, Center for Advanced Music Studies.

His compositions have been performed in various cities throughout US and Europe.  During his studies for a Ph.D. in Music Composition at CUNY Graduate Center, he studied composition with David Olan and Tristan Murail in New York, and with Philippe Leroux in Paris .

He has given lectures on music theory and electro-acoustic music at international conferences.  Between 2003-2005 he taught harmony and composition at Brooklyn College Conservatory of Music.  Tolga Tüzün participated in the composition and computer music course at IRCAM during 2005-2006.

Along with his compositional output, he also performs within experimental, jazz and electronic scenes, solo or with other artists. His collaborations include Oğuz Büyükberber, Korhan Erel, Nora Krahl, Ned Mc Gowan, Bob Ostertag, Frank Gratkowski, Nicolas Crosse, Sam Briton, Anıl Eraslan to name a few.  

Tolga Tüzün is a full professor at Istanbul Bilgi University where he teaches composition and electronic music since 2007.

Les Traces De Notre Futur Anterieur(2019)

Tolga Tuzun

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Martin Hoogeboom

DEEP

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