radicalOtherness

for flute, clarinet in B-flat, piano, violin and cello

Onur Dülger
2014

© 2016 by ONUR DULGER

All rights reserved
 Instructions
2
GENERAL conductor
It is very crucial to have enough time to practice this piece; first seperately, then alltogether.
Rhythmic structures, dynamic balances in different sections and quartertone intonation are crucial the vertical arrows show whether simultaneously occuring instances such as entries or pauses or
to bring out. they show rhythmic structures distributed to diffrent instruments and also relationships
between sonic events. 16th note, 8th note, quintuplet and triplet rhythms are indicated with beams.
Rhythms and timing are the most important things in the piece. Pay full attention to rhythmic Longer and dotted distances are indicated with notevalues over the beams.
structures distributed to diffrent instruments. They must be played precisely; If not, most of the
"cause and effect" relationships won't be audible! Example: bar 18, pizzicati are one 16th note
apart and cause the clarinet's multiphonic. woodwinds general
Dynamic balance is also crucial in the piece. Except far harmonics where the dynamics are
increased one level, all the dynamics are based on the results, regardless to the playing techniques. Hierarchy of techniques

Dynamics in brackets are used for reminding players, in which dynamic they are currently If it is not possible to play multiple playing thechniques at the same time. Hierarchy is as follows:
playing. It means that there is no change in dynamic. Multiphonics, singing, glissando, flutter-tongue and tremolo.

"balance", "foreground", "background" and "NOT foreground" are used to indicate the Ordinario with key cliks
hierarchy between the voices.
Key click noises should be audible during ordinario playing. It is shown with a "+" sign over the
Pizzicati: Strings pizzicati should be always in foreground but balanced with other instruments!! head of the note.
They create structures with piano's similar punctuations! Example: bars 49-50 and 61.
Flutter tongue
Glissandi: Clarinet and Flute Glissandi should be played continuously and in the foreground!
There are two different notation for flutter tongue which indicate the speed. 32nd note tremolo is
Melody: Violin lines shouldn't sound like melody! They should sound noisy and balanced with slower than the unmeasured "z" symbol. They are often combined with multiphonics.
other instruments.
Multiphonics
" " means that the sound should stop suddenly and simultaneously with the other instruments,
in order to create a stronger effect of suddenly cessation. This is a kind of reversed attack like one If it is not possible to play the given multiphonic, the highest pitch is the most important one. Then
hears in acousmatic music. try to find another one which has similar character. Important is that they begin to sound
immediately
Trill: Small note heads in brackets show, with which tone the trills are to be played. In some
passages, intervals are stable; whether quarter tone or larger intervals. In other cases, intervals vary For flute multiphonics I used Carin Levine's and Christina Mitropoulos-Bott's "The Techniqus of
over the time like a glissando. Flute Playing".

Irr. trill: In page 34, two small note heads can be seen next to the main notes with a verbal For clarinet multiphonics I used also two references. Gerald Farmer's "Multiphonics and Other
explonation "irr. trill". This means that all three notes have to be played irregulary in different Contemporary Clarinet Techniques" and the Phillip Rehfeldt's "New Directions for Clarinet"
combinations.
Sing and Play
Tremolo: There are sometimes arrows between 16th note tremolo and 32nd note or vice versa.
These represent continuous changes of tremolo-speed. It might be sometimes difficult to find the exact pitches which have to be sang. The player can play
the tone in "pppp" dynamic right before singing, in order to find the right pitch. If it becomes too
Quarter tones symbols are as follows: difficult to sing and play at the same time with the exact pitches, the player should give the
importance to the playing part. It is kind of "frequency molutation" where ordinario played notes
one quarter tone higher one quarter tone lower are coloured by singing part. There are two different notation for ties in the sung notes. The most
semi tone higher semi tone lower common one is beam connects two notes, the other is a regular tie, since the singing and playing
three quarter tone higher three quarter tone lower parts are very close to each other, as in bars 31-34.
 3
Sub Harmonic
Pitch Vibrato
Only the octave sub harmonics are here used. They should be played with an extremely slow bow and
They are used in different combinations. Sometimes they develop from non to molto vibrato and light bow pressure. This can be seen here:
from narrow to wide vibrato. In other passages, they are just alternations between wide and narrow http://www.youtube.com/watch?v=G0dgtW49wNs
vibrato.

Slap tongue It is pizzicato for flute. Seagull Effect

Slow Jet Whistle The interval of fingers should be kept Playing with Plectrum
constant.
This has the charecter of jet whistle but it is actually only air supported by chromatic fingering. It It is kind of pizzicato sound,
sounds more like a glissando with an airy tone, which can be heard at this link: it is the second sound Col legno Tratto which is played with a
in the jet whistle example. plectrum.
http://www.larrykrantz.com/et/et.htm#Jet It should be played with half bow hair
and half wood. Spiccato
Air vs. Tone
String key Bow bounces upon the string.
There are passages where flute goes from "air" to "ord." and vice versa. "air" means that the sound
has lots of air-noise components but the pitch can still be perceived, whereas the "ord." is ordinary Each space of staff denotes a different string of Col legno Battuto
playing. For airy sounds angular note heads are used. the cello. They show on which string the player
should play. It is shown as "clb".
strings
piano
Bow Pressures
This piece is very difficult for the pianist. The piano part should be learned almost by heart. It needs lots of self
There are four different bow pressure levels as follows: Both over pressure levels have to contain the practising before playing with the group since the pianist, should go insde of the piano and come back frequently.
written pitch as a component of noisy sound.!!! There must be a helping person for turning pages and assisting for prepearation, and serving the plectrums etc.
half pressure Cordination between pianist and helping person should be practised as well. Pianist should learn almost by heart,
ord.
where to take the forks away during the first 60 measures of the piece.
normal pressure
little over pressure
Playing with Fingers
over pressure
Left Hand Pressure play with fingertip (fewer overtones, dark)
play with fingernail (more overtones, bright)
There are three different kind of left hand pressure as follows:
light touch for harmonics For all the notes which are played inside on the piano, the angular note heads are used.
half pressure
normal pressure Prepared hair clips

Bow Location
There are six different bow location in this piece, which are as follows: "est." for extreme sul tasto,
"st." for sul tasto, "ord." for ordinario, "sp." for sul ponticello, "esp." extreme sul ponticello, "bb."
behind the bridge.
Prepare hair clips on the given strings before the performance. From bar 35 on, hair clips are to be
removed from indicated strings. The player need not remove them immediately, but as soon as
possible, meaning that all the hair clips must be removed by bar 60. Cross note heads are used for
this preparation.
prepared with hair clips
take hair clips away
4
Plectrum
Horizontal Glissando
Place the plectron somewhere, where you can easily pick it up. There are passages, where one
or two notes have to be played at the same time. The player has to play the given pitches All chromatic tones should be played between the given notes with a plectrum inside the piano towards the
given direction.
inside of the piano with plectrums. The strings could be marked with colors before the
performance in order to find the correct pitches easily. If there is not enough time to change,
just play them on the keyboard.

with plectrum
put the plectrum away
Dampened Strings
Right Pedal During the performance prior this passage, the player should place a wood block on the strings: The
wood block needs to be a minor 6th long and it should be placed between G4 to Eb5. Moreover the
There are 3 different levels of pedal used in this piece. 1/2 pedal, 2/3 pedal and full wood block should be neither too heavy nor too light. It should change the sound chracter but it
pedal. With 1/2 pedal has to make the sound sustain but still as secco as possible. 2/3 shouldn't dampen the sound too much. The strings must be free to vibrate. Special note heads are used
pedal is between full pedal and half pedal terms of a sound quality. for this sound. If it is not possible to damp Eb5 with the wood block in some pianos, because of the
construction of the piano, you can use hairclip for Eb5. If your piano doesn't allow to dampen the
Sostenuteto Pedal given strings with wood block, you can use hair clips for those strings too.
As can be seen at the beginning of the piece, sostenuto pedal is used to let only the
played string vibrate.

Harmonics

On the bars 5-7 there are overtones of the A1 string. The player has to play the A1
string on the keybord while touching the proper harmonic nodes inside of the piano. It
is crucial to mark the nodes before the performance in order to find them easily. The
notes in the brackets indicate the pitches that should be heard.

Vertical Glissando
Questions:
The player has to scratch the given sting vertically and continuously with a plectrum.

In the case of any kind of questions about playing techniques or nonplayability please contact me
under this email:

onur_dulger@hotmail.com
Cluster Chords

All chromatic tones should be played between the given notes on the keyboard.
 radicalOtherness
for flute, clarinet in B-flat, piano, violin and cello 5

Onur Dulger
2014
in C only air, supported by chromatic fingering
balance
"slow jet w." 3
q=64 air with very little pitch components
flutter tongue

Flute
7 2 5
8 4 8
pp
3
ppp pp ppp pp

Clarinet 7 2 5
in Bb 8 4 8
ppp

balance
play tremolo with index and middle fingers sul A1 sul E2 sul G2 sul A2
inside the piano
touch the harmonic nodes 3. 4. 4. 4.
on the below indicated string 4. 5. 3
3
Piano
7 2 G G 5
8 4 G G G G 8
change the change the G
tremolo speed tremolo speed ppp
3
sos ped. play on the keyboard 3
ppp pp pppp

NOT foreground
(flautando) ord.
(flautando) ord. sp.
est. st. est. harmonic gliss
q=64 5
sul A 3
Violin
7 2 5
8 4 8
5
5
ppp pp ppp pp ppp pp ppp

(flautando)
ord. ord.
balance
st. ord. sp.
harmonic gliss

sul A

Cello
7 2 5
8 4 8
ppp pp ppp pp

© 2016 by ONUR DULGER

All rights reserved
6
only air, supported by chromatic fingering
"slow jet w."
3 air with very little pitch components
3
8

Fl.
5 3
8 4
ppp pp ppp pp ppp pp

flutter tongue 3

Cl.
5 3
8 4
ppp
pp ppp pp ppp

Pno.
5 3
8 4
sos ped.
ppp pp ppp

NOT foreground

(flautando)
est. st. est.

Vln.
5 3
8 4
5 5 3
pp ppp
(flautando) ord
st. ord sp.

sul C

Vc.
5 3
8 4
ppp pp ppp pp
 airy sounds 7
as soft as possible

3 NOT foreground
ord. with key clicks
14

Fl.
9 7 2 3
8 8 4 8
5
ppp pp pp ppp pp 3 6
ppp pp

flutter tongue
flutter tongue

Cl.
9 7 2 3
8 8 4 8
ppp pp
pp ppp pp

(hair clips prepared on given strings)

on keyboard

take the prectrum

3

Pno.
9 7 2 G 3
G 8G G 8 G G G G 4 8
pp
pp

full

st. st.
extremly slow bow extremly slow bow
pizz.
sub harmonic octave pizz. sub harmonic octave
arco

Vln.
9 7 2 3
8 8 4 8
p
piu
pp p ppp

(flautando) ord.
pizz. sp. ord. st. ord.
arco pizz. arco

Vc.
9 7 2 3
8 8 4 8
3
pp ppp pp p pp
p
8

20

Fl.
3 2
8 4
7 3
ppp

NOT foreground
flutter
ord. with key clicks tongue
foreground
play

Cl.
3 2
8 4
ppp 7 7 7 7
pp p pp p ppp pp

Play with plectum in the indicated passages.

Whenever it becomes impossible to take and inside the piano
leave the plectum, play those pitches on the
keyboard.
on keyboard

Pno.
3 G 2 G
8 G 4 G G G G
pp [pp] p
pp
1/2 1/2

ord.
NOT foreground
sp. st.
(flautando)
optional [
est. st. est. st.
arco
5

Vln.
3 2
8 4
5
ppp pp ppp pp [pp] p ppp

[pizz.] short gliss

(flautando) ord.
sp. ord. st. est. pizz.

Vc.
3 2
8 4
ppp pp ppp pp [pp]
pp
 9
NOT foreground
ord. with key clicks sing & play
26
play

Fl.
7 2
8 4
sing
3 6 6 pp p pp
pp ppp

sing & play

play

Cl.
7 2
8 4
sing

p ppp pp p ppp

Pno. G G 7 2
8 G G G 4
5
p p pp

1/2 full

NOT foreground

ord. [ord]
ord. [ord] esp. sp. ord. sp. ord.

pizz.
[pizz.]

Vln.
7 2
8 4
5
p
sub. 5 5
pp ppp p pp p

st.
extremly slow bow ord.
sub harmonic octave sp. ord.
arco

Vc.
7 2
8 4
p
"pp" pp p
10 3
4
--
2
32 3
4

Fl.
5
8
ppp p pp

sing & play flutter tongue

5 play

Cl.
5
8
sing
pp p pp p p

from this point on, the pianist should begin

to remove the indicated hair clips
take hair clips away
from d#2, c#3 take the plectron

5 5 5
Pno. G 5
G 8
5
pp ppp p pp
5
p

1/2 1/2

NOT foreground
ord.

ord. esp. sp. ord. ord. sp. ord.

[optional]

[pizz.]
arco

Vln.
5
8
5 p 7 7 3
ppp pp p

st.
extremly slow bow
st. ord.
sub harmonic octave

Vc.
5
8
pp

p
 11
only air, supported by chromatic fingering
"slow jet w." sing & play
play
37

Fl.
3
4
sing

pp p pp pp p pp p

Cl.
3
4
pp p 5

on keyboard ord.
play the lower pitch with fingertip
on keyboard
5
play the lower pitch with fingertip 5

Pno.
3
G G G 4 G G
p
[p] 5
p 5
pp
1/2 1/2

5
ord. ord. ord. ord. ord.
ord. esp. sp. ord. sp.

Vln.
3
4
7
pp p pp p pp p ppp

ord. est.
ord.
arco sp. ord.
sul G pizz.

Vc.
3
4
pp p p pp p pp
pp p
12 airy sounds
only air, supported by chromatic fingering
as soft as possible
"slow jet w."

41

Fl.
3
5 8
ppp ppp pp
ppp pp
ppp p pp p

airy sounds
more air than
pitch if possible

Cl.
3
8
ppp

play the lower pitch with fingertip

take the hair clips away

from f1, f#2, g3, b4 inside the piano take a plectrum

Pno.
3
G G 8
sos ped
ppp pp [pp]
p ppp pp p

ord.
st. sp.
extremly slow bow arco
3 5
sub harmonic octave pizz.

Vln.
3
8
3

pp p [p] ppp pp

ord.
sp. st.
ord. est.
pizz. pizz.
sp. arco
3
Vc.
3
8
p ppp ppp pp ppp pp p ppp pp ppp p
 13
3 ord.
flz.

46

Fl.
3 2
8 4
ppp p ppp
3 3
ppp p ppp

air sound gliss.

Cl.
3 2
8 4
2 3 5 5
pp
5 ppp p ppp pp 7
ppp pp ppp
ppp pp

take the hair clips away

from d3, bb3, c1

on keyboard ord.
on keyboard
3
3
Pno.
3 2
8 4 G G G G G
sos ped. pp [p]
p pp

ppp p ppp
1/2 1/2 1/2

ord.
ord. sp.

pizz.

Vln.
3 2
8 4
3 3

ppp p ppp p

pizz.
ord.
arco sp. ord. sp. ord.

Vc.
3 2
8 4
p

ppp p ppp p
14
only air, supported by chromatic fingering accel.
slow jet w. sing & play 3 3 3
3
52

Fl.
7 2
8 4
3 3 3 3
p ppp p ppp pp ppp pp ppp p

5 5
5
Cl.
7 2
8 4
3 7
5
ppp p ppp pp ppp

inside the piano on keyboard ord.

Pno.
7 2
G G G 8 4
sos ped.
p 7
ppp pp ppp pp ppp p

accel.
pizz.
pizz.

Vln.
7 2
8 4
Play with all four fingers of the right hamd.
pp p Don't break the chord. No Arpeggio!!
sfz sfz

ord.
ord. sp. ord.
arco

Vc.
7 2
8 4
3 3
ppp pp ppp
 15
q=106 q=76
background
only air, supported by chromatic fingering more air than pitch foreground
non vibrato
slow jet w. wait until
reverberation is weak
57

Fl.
2 7 5
4 8 8
3
3
3 pppp ppp pppp pppp
pp p pp mp p
5 mp

alternating between wide

background and narrow pitch vib.

Cl.
2 7 5
4 8 8
pppp ppp pppp

on keyboard ord.

inside the piano

3
Pno.
2 7 5
4 8 8
3
pp p mp p ppp

3
7 5
8 8
p
pppp pppp

3
background
q=106 q=76 3
3 foreground [optional]

arco
[pizz.]

Vln.
2 7 5
4 8 8
3 "p" ppp
sfz sfz sfz
p mp

Play with all four fingers of the right hand.

Don't break the chord. No Arpeggio!!
ord. foreground
sp. pizz.
[pizz.] 3
Vc.
2 7 5
4 8 8
5
3 "p"
sfz sfz
p mp
 background
alternating between wide
16 and narrow pitch vib. balance
non vibrato

63

Fl.
5 7 2 5
8 8 4 4
pp ppp p ppp

foreground balance balance

foreground
non vibrato

Cl.
5 7 2 5
8 8 4 4
pp ppp pp ppp p ppp

balance

foreground balance
5 7 2 5
8 8 4 4
5 7 p
p ppp p pp pp
Pno. 3
3
5 7 2 5
8 8 G G G G G G G 4 4
p ppp p 3

1/2 full
5 5 5

background

foreground [optional]
pizz.
5 arco

Vln.
5 7 2 5
8 8 4 4
p pp
5 pp "pp"
p ppp p ppp pp ppp

balance
with plectrum

5 5 [pizz.]
[pizz.]

Vc.
5 7 2 5
8 8 4 4
5 3
"pp" pp p p ppp pp ppp
 whistle tones 17
as loud as possible!!!

67 non vib.

Fl.
5 2 5 9 4 7
4 4 4 8 4 8
pp mp pp ppp pp p ppp pp

foreground

Cl.
5 2 5 9 4 7
4 4 4 8 4 8
pp mp
ppp pp p ppp pp

on the keyboard

5 2 5 9 4 7
4 4 4 8 4 8
p
mp

Pno.
inside the piano
3
5 2 5 9 4 7
4 4 4 8 4 8
sos ped. sos ped. p
p
pppp ppp pppp pp

non vibrato
alternating between
st. ord. wide and narrow vib.

non vib.

Vln.
5 2 5 9 4 7
4 4 4 8 4 8
pppp pp p ppp p
mp

alternating between
wide and narrow vib.
[pizz.] ord. sp
arco ord.

Vc.
5 2 5 9 4 7
4 4 4 8 4 8
mp p pp pp p ppp p
 alternating between wide
18 and narrow pitch vib. sing & play

72

Fl.
7 3 3 3
8 4 8 4
[pp] ppp pp p pp

alternating between wide

and narrow pitch vib. sing & play
sing & play

Cl.
7 3 3 3
8 4 8 4
ppp pp ppp p pp

7 3 3 3
8 4 8 4
3

pp [pp] p
mp pp
Pno.

3
7 3 3 3
8 4 8 4
3
ppp pp p
3

full

sp. ord.
ord.
ord.

Vln.
7 3 3 3
8 4 8 4
pp ppp p pp p

control the dynamic of over pressre with

increasing and decreasing the bow speed.
ord. sp. ord.
ord.
ord. pizz

Vc.
7 3 3 3
8 4 8 4
3
pp ppp p mf pp
3
 sing & play
non vibrato 19
76

Fl.
3 2 3 9
4 4 4 8
3 3 3 3
mp mf pp p

non vibrato
3

Cl.
3 2 3 9
4 4 4 8
pp p
mp mf

3 3
3 2 3 9
4 4 4 8
3
mf pp mp p
mp
Pno.
articulate the first tones of trills 5

3 2 3 9
4 4 4 8
3
mp
1/2

3
3
sp.

ord. ord.
3
Vln.
3 2 3 9
4 4 4 8
pp p
mp mf

sp.
ord.
ord.
arco

Vc.
3 2 3 9
4 4 4 8
3
p mp mf pp p
 [ppp] don't be louder than vln. and vlc. !!
20 3 3
81

Fl.
9 2 9 4
8 4 8 4
mp p pp p mp mf

[ppp] don't be louder than vln. and vlc. !!

3

Cl.
9 2 9 4
8 4 8 4
p pp
3 p mp pp
mp

3 3

9 2 9 4
8 4 8 4
5 3
mf
mp p pp mp

Pno.

3
9 2 9 4
8 4 8 4
mp
mp 3
mp

3
3 3
3
3
[f] don't be quiter than fl. and cl. !! 3 pizz.

Vln.
9 2 9 4
8 4 8 4
p mp 3 mf
mp p pp

[f] don't be quiter than fl. and cl. !! pizz.

3 3
Vc.
9 2 9 4
8 4 8 4
3 mf
mp p pp
 more air than pitch
more air than pitch 21
86

Fl.
3 4
8 4
3 p
[p] pp ppp pp mf pp

Cl.
3 4
8 4
pp mf p pp pp p

3
3 4
G G G 8 4 G G
3 5
3
mp mp p
p mf mp 3
Pno.

3
3 4
G G G G 8 4 G
mf mp
mf
p
1/2 full p
1/2 1/2
3 5 5 5

[pizz.] 5 5 arco

Vln.
3 4
8 4
pp p pp
sfz p
3 3 "p"
mp

[pizz.] 3
3 5 arco

Vc.
3 4
8 4
5
mp sfz pp p pp
p "p"
22 play & sing
91

Fl.
7
8
pp
pp p sub. pp p pp pp

play & sing

Cl.
7
8
pp pp p sub. pp p pp

3
3
7
G G G G 8 G G G G

mp mp mf
mf p
Pno.

7
G G G 8 G G G G
p 5
3 mp mp

1/2 2/3 2/3 2/3

seagull effect keep the interval of handhold always the same 5

sul E

arco.
arco pizz.
pizz.

Vln.
7
8
mp p
3 sfz sfz p pp "mp"
3

seagull effect
sul A keep the interval of handhold always the same
pizz. 3 arco

Vc.
7
8
mf
3 3 3 p
f sfz
 pitch vibrato

non vibrato
soft marcato 23
non vibrato soft marcato
95

Fl.
3 5 3
4 4 4
ppp ppp

ppp pp

pitch vibrato

non vibrato non vibrato

soft marcato

Cl.
3 5 3
4 4 4
5 pp ppp
pp ppp

with plectron
inside the piano

take a plectron
Acciaccatura
on the keyboard
3 5 G 3
4 4 G 4
sfz sfz
5
Pno. mp p

5
3 5 G 3
4 4 4
full

mf

5 5
pitch vibrato

non vibrato
non vibrato
5 5 arco.

Vln.
3 5 3
4 4 4
mf
ppp pppp pp ppp

pitch vibrato
non vibrato
pizz. arco. non vibrato

Vc.
3 5 3
4 4 4
ppp
pppp pp ppp
sfz
pp
 pitch vibrato
24 non vibrato poco vibrato non vibrato poco vibrato
molto vibrato
102

Fl.
4 3 4
4 8 4
mp ppp

pitch vibrato

poco vibrato non vibrato

molto vibrato

Cl.
4 3 4
4 8 4
mp ppp

4 3 4
4 8 4
ppp ppp

Pno.

4 3 4
4 8 4

pitch vibrato
poco vibrato non vibrato poco vibrato
non vibrato
molto vibrato

Vln.
4 3 4
4 8 4
ppp
mp

pitch vibrato
molto vibrato non vibrato poco vibrato non vibrato

Vc.
4 3 4
4 8 4
mp pp
 poco vibrato molto vibrato
non vibrato poco vibrato non vibrato 25
110

Fl.
7 2 4 9 6
8 4 4 8 8
pp [pp] mp pp mp pp

poco vibrato molto vibrato

poco vibrato non vibrato
non vibrato

Cl.
7 2 4 9 6
8 4 4 8 8
pp [pp] mp ppp p pp

play the lower pitch

with fingertip

take a second plectron

7 2 4 9 6
8 4 4 8 8
pp p sfz sfz
p mp mf

Pno.

7 2 4 9 6
8 4 4 8 8
sos ped.
ppp

poco vibrato molto vibrato

non vibrato

non vibrato

Vln.
7 2 4 9 6
8 4 4 8 8
pp p [p] mp pp
mp
keep the dynmic same as a result and don't be softer than winds

poco vibrato molto vibrato

poco vibrato non vibrato

Vc.
7 2 4 9 6
8 4 4 8 8
p mp [mp] mf ppp mp pp

keep the dynmic same as a result and don't be softer than winds
26
air ord.
120

Fl.
7 5 5 2 9 7
8 8 8 4 8 8
p mp p pp 5
3 p

Cl.
7 5 5 2 9 7
8 8 8 4 8 8
p mp 3 p pp

3
on the keyboard
7 5 5 G 2 9 7
8 8 G 8 4G G 8 8
2 sfz
2sfz 2 sfz p 5
sfz sfz sfz p

Pno.

3
7 5 5 G 2 9 7
8 8 G 8 4 G G 8 8
p
p mp
5

control the dynamic of over pressre with 3 3 5 5

increasing and decreasing the bow speed. sp.
sp. ord. 3
ord.
ord pres.
pizz. 5
3
Vln.
7 5 5 2 9 7
8 8 8 4 8 8
p mp "p" 5
mp

ord. sp.
ord. pizz.
3 5
Vc.
7 5 5 2 9 7
8 8 8 4 8 8
3
p mp 3 "p"
mp
 27
background
ord. air ord. air

128

Fl.
7 9 3 5
8 8 4 4
ppp p pp p pp

foreground
slap tongue
3

Cl.
7 9 3 5
8 8 4 4
https://www.youtube.com/watch?v=eQqOPDoSbqU
mf [p]
[mf] 3
pp p pp

3 background

take two plectrons

inside the piano play the lower pitch
with fingertip
7 9 3 G 5
8 8 4 G G 4 G
3
mf mp pp p mp
mp
background
Pno.
inside the piano play only the given sting vertically
vertical gliss. and continuously with a plectrum

3 3
7 9 3 G 5
8 8 4 G G G 4
pp p pp

ord. s.p. s.p.

ord. ord.
with plectrum pizz.
arco. 3 arco

Vln.
7 9 3 5
8 8 4 4
pp p p
pp p mp

3 3
ord. s.p. with plectrum
arco. ord. with plectrum

3
Vc.
7 9 3 5
8 8 4 4
pp p pp 3
p pp
mp
3
28 background
background non vib.
air ord.
ord. foreground
foreground
134 pizz. pizz. 3

Fl.
3
4
3
3 sfz mf
mp mp p mf p mf
mf

background
foreground background
slap tongue

Cl.
3
4
3
p
3 f
mf mp mf mp mf mf

3
foreground background
3
G 3
G G G 4
f 3
3
mp mf sfz mp f
Pno.

G G 3
G G 4
mp

foreground background
ord. pres. foreground
c.l.b. spiccato ord. c.l.b.
pizz. sp ord.

Vln.
3
4
3 5 5
p mp p mp
mp mf [mf]

foreground background foreground

spiccato c.l.b. ord. pres. spiccato
pizz. 3 sp ord.
3 3 3
Vc.
3
4
5
mp mp f mf mp mp p mp
 only air, supported by chromatic fingering
balance
air "jet w." ord air
5 29
138

Fl.
6 4 6 3 3
4 4 4 4 4
pp mp mf mp mf mp mf pp mp

balance
5
Cl.
6 4 6 3 3
4 4 4 4 4
pp mp mf mp

balance

take two plectrons

play the lower pitch
with fingertip
6 4 6 3 3
G 4 4 4 4 4
3
mf f
mp mf
sfz

Pno. inside the piano

vertical gliss.

3
6 4 6 3 3
4 4 4 4 4

s.p. ord. s.p.

balance
pizz. arco
3

Vln.
6 4 6 3 3
4 4 4 4 4
3
mf mp mf mp mf pp mp

sp balance
ord. ord.
ord.
sul A pizz. s.p. ord.
arco 3 arco

Vc.
6 4 6 3 3
4 4 4 4 4
5 3
mp mp mf mp mf mp mf mp mf
mf
 ord foreground background
30 foreground

143

Fl.
3 4 3 2 4 3
4 4 4 4 4 4
mf p 3 mp mf [mf] mp mf [mf] mp

background

Cl.
3 4 3 2 4 3
4 4 4 4 4 4
sub.
mf p 3 mp mf p mf p

3 4 3 2 4 3
4 4 4 4 4 4
5
mf p mp p
mf p mp

Pno.
5

3 4 3 2 4 3
4 4 4 4 4 4
3

ord. pres. ord. pres

s.t.
ord. make a gliss with the trill interval. ord.
ord. s.p.

Vln.
3 4 3 2 4 3
4 4 4 4 4 4
sub.
mf mp mf p mf p mf

make a gliss with the trill interval.

ord. pres
ord.
ord. ord.
s.p. ord.
s.p. ord. s.t. ord.
arco

Vc.
3 4 3 2 4 3
4 4 4 4 4 4
mp mf mp mf mp mf mp mf mp mf
 only air, supported by chromatic fingering 31
slow jet w.

149

Fl.
3 3 4 7 3
4 4 4 8 8
mf f
mf mp p mf mp mf

foreground flutter tongue

Cl.
3 3 4 7 3
4 4 4 8 8
mf f mp mf mf f mf

3
3 3 4 7 3
4 4 4 8 G G 8
mf mp mf mp mf
3
Pno.
f

3 3 4 7 3
4 4 4 8 G G 8
3 mp
mf
p
1/2
ord. pres
ord.pres. sp. ord.
s.p. ord.

Vln.
3 3 4 7 3
4 4 4 8 8
mp mf mf
mp mf

ord.pres. ord. pres

s.p. ord. sp. ord.
pizz.

Vc.
3 3 4 7 3
4 4 4 8 8
3
mp mf
3
mp mf
32

154

Fl.
3 4
8 4
f
mf f ff mf f

Cl.
3 4
8 4
mf f mf f mf

3
3 4
8 4
3
mf

Pno. f

3 4
8 4
mf f
mp mf
1/2

sp

Vln.
3 4
8 4
f mf

sp

arco.

Vc.
3 4
8 4
f mf
sfz
 33
156

Fl.
2 3
4 4
ff f

Cl.
2 3
4 4
f mf

2 3
4 4
f

Pno.

take a plectron.
2 3
4 4
full

ord. pres
ord. sp

ord.pres.
ord

Vln.
2 3
4 4
f mf f

ord. pres
ord. sp
ord.pres.
ord.
irr.
irregular trill with the given notes

Vc.
2 3
4 4
mf f
f
34 irr. irr. irr. irr. irr.
irregular trill with the given notes
159

Fl.
3 3 5 3 3 3 9 2 3
4 8 8 4 8 4 8 4 4
subito
ff fff pp

irr. irr. irr. irr. irr.

irregular trill with the given notes

Cl.
3 3 5 3 3 3 9 2 3
4 8 8 4 8 4 8 4 4
subito
ff fff pp

irr. irr.
irregular trill with the given notes irr.
3 3 5 3 3 3 9 2 3
4 8 8 4 8 4 8 4 4
ff fff
Pno.

3 3 5 3 3 3 9 2 3
4 8 8 4 8 4 8 4 4

ord.pres.
ord.
irr. irr.
irregular trill with the given notes
irr. irr. irr.

Vln.
3 3 5 3 3 3 9 2 3
4 8 8 4 8 4 8 4 4
ff fff

ord.pres.
ord.
irr. irr.
Vc.
3 3 5 3 3 3 9 2 3
4 8 8 4 8 4 8 4 4
ff fff
 balance
q=68
balance with strings 35
169

Fl.
3 2 4
4 4 4
[fff]
ff mf f mp
ff

balance
balance with strings

Cl.
3 2 4
4 4 4
[fff] ff f ff mf f mp

balance
loco
foreground
inside the piano
take two plectrons

3 2 4
4 4 4 G G
3
sfz sfz
[fff] ff [ff] fff
foreground
Pno. Brutally, but
slowly and equally
inside the piano
3 2 4 G G
4 4 G 4

f ff

foreground
balance
ord.p. ord.p.
ord. sp.
q=68 esp. bb. ord. sp. ord.
balance with woodwinds

Vln.
3 I
II
2 4
4 III
IV
4 4
[fff] ff fff ff fff ff

balance foreground balance with woodwinds

ord.p. ord.p.
ord. esp. bb. ord. sp. ord. sp. sp.
sp. ord.

Vc.
3 I
II
2 4
4 III
IV
4 4
[fff] ff fff ff fff ff
 balance foreground background
ord.
flutter tongue
36
173

Fl.
3 3 2
8 4 4
f ff f [f]
ff

balance

foreground

flutter tongue

Cl.
3 3 2
8 4 4
ff f ff f

balance
balance 3
on the keyboard
3 3 2
G G 8 G 4 4
[f]
ff mf f
Pno.

3
G 3 3 2
8 G 4 G 4

balance foreground
balance
sp. esp. bb. pizz.

Vln.
I
II
3 3 2
III
IV
8 4 4
3 f
[ff] f mf ff

foreground

sp. esp. bb.

balance
balance
pizz.
3
Vc.
I
II
3 3 2
III
IV
8 4 4
3 3
[ff] f mf ff f
 foreground
balance
37

176

Fl.
2 3 2 3 4 3
4 4 4 4 4 4
ff f ff mf ff mf ff mf f mf

balance

Cl.
2 3 2 3 4 3
4 4 4 4 4 4
ff f ff mf ff mf f mf

take a plectrum
2 3 2 3 4 3
4 G 4 G 4G G 4 4 4
3 6 6 6
f ff sffz sffz foreground
Pno. Brutally, but
slowly and equally
inside the piano
2 3 2 3 4 3
4 G 4 4G G 4 4 4
mf f

f ff

3 3

foreground
balance ord.pres.
sp. ord. sp.
arco bb.

Vln.
2 3 I
II
2 3 4 3
4 4 III
IV
4 4 4 4
3
3 fff fff
sffz mf ff f f
ff

foreground ord.pres.
balance
3 arco bb. ord. sp. ord.

Vc.
2 3 I
II
2 3 4 3
4 4 III
IV
4 4 4 4
3
ff sffz mf ff fff f fff f
 foreground balance

38
181

Fl.
3 5
4 8
ff
3 7
4 8
sffz f
f ff

background balance

Cl.
3 5 3 7
4 8 4 8
ff f ff mp

foreground
play on the keyboard if there
is no time to take the plectrum

balance take a plectrum

3 5 3 7
4 G 8 4 8

ff f fff sffz
Pno.

3 G 5 3 7
4 8 4 8

ord. pres. sp
ord. sp. esp. bb.
balance
foreground

Vln.
3 5 I
II
3 7
4 8 III
IV
4 8
ff f ff mf

ord. pres.
sp. esp. ord. pres.
ord. bb. ord.
foreground balance

Vc.
3 5 I
II
3 7
4 8 III
IV
4 8
ff f ff mf
 7
7 7 39
7
184

Fl.
7 4 2 3
8 4 4 4
7 7 7
mf f sffz ff f ff f ff

7 7
7
7

Cl.
7 4 2 3
8 4 4 4
7 7
7
f sffz ff f ff f ff

balance

7 4 2 3
8 4 G G 4 4
7 7 7

sffz sffz sffz 7 sffz sffz

Pno. ff f ff

3
7 4 2 3
8 4 G G G 4 4

ord. pres. ord. press.

ord. sp. ord.

7 4 2 3 3
Vln. 8 4 4 4
7 7
7 7
ff f ff f

ord. pres. ord. press.

sp ord. sp. ord.
7
3

Vc.
7 4 2 3
8 4 4 4
7 7
7 7
ff f ff f ff f
 7
7
40 7 7
187 7

Fl.
3 5 6
4 4 4
7 7
ff f ff f ff mf f

7
7 7 7
7

Cl.
3 5 6
4 4 4
7 7
f ff f ff f mf f
ff

3 5 6
4 G 4 4
7 7 7
7 7
sffz
Pno. ff f sffz sffz ff mf f mp

3 5 G 6
4 G G 4 4

ord. pres ord. pres ord. press

sp. ord. sp. ord. ord.
7

Vln.
3 5 6
4 4 4
7 7 7 7
ff f ff f ff mf f

ord. pres ord. pres ord. press

ord. sp. ord. sp. ord.
7 7 7

Vc.
3 5 6
4 4 4
7
7
ff f ff f ff mf f
 foreground
balance
6 non vib. 41
189

Fl.
6 4 4
4 4 4

p mf p mf p [p]

balance
non vib.
foreground
6 6

Cl.
6 4 4
4 4 4
6
p mf p f p [p]

foreground
foreground take a plectrum
6 4 4
4 4 4
mf f pp
Pno. sfz
sffz sffz

6 4 4
4 4 4

ord. pres. ord. pres. ord. pres.

st. ord. st. ord. st. ord.

balance
6

Vln.
6 4 4
4 4 4
6
6
6 6
p
6
mf mp f mf [mf] p mp

balance
ord. pres. ord. pres. ord. pres. ord. pres.
st. ord. st. ord. ord. st. ord.
6 6
6

Vc.
6 4 4
4 4 4
6
6
6 [mf]
p mf mp f mf p mp
 7 7
42 7
191 7

Fl.
4 3 4
4 4 4
7 7
[p] mf ff mf f

Cl.
4 3 4
4 4 4
[p] mf ff

balance

4 3 G 4
4 G G 4G 4
f

ff
7
Pno. mf

foreground 7
4 G 3 4 G
4 4G 4

f ff

ord. pres. ord. pres.

ord. sp. ord.

Vln.
4 3 4
4 4 4
6 6 6
[mp] f ff mf f

ord. pres.
ord. sp.

Vc.
4 3 4
4 4 4
5
5 5
[mp] f ff
 7
6 5 43
6 6 5 5 5
194

Fl.

6 5
mf f mf f

7
7 6
6

Cl.

mf f mf f mf f

foreground

6 7
5
Pno. f mf ff f fff ff

ord. ord. pres.

ord. pres. ord. pres. st.
sp. ord.

Vln.
7 7
6
mf f mf 7 f mf f

ord. pres. ord. pres.

ord. st.

5 6 7

Vc.
6 7
6
mf f mf f
44 5
6 6 6 5
196 6 6 6

Fl.
6
5 6 5
mf f mf f mf f mp f

3 3
6 3
3
3 3
Cl.

6 mp
mf f

balance

foreground

7 6
7
6 [mp]
Pno. f mf f mp
6

G G G
ff

ord. pres. ord. pres. ord. pres.

ord. sp. ord. st.
5
5
Vln.
5 5
5 5
f mf f mf f
mf

ord. pres. ord. pres.

sp. ord.
ord.

Vc.

mf f mf f
 background
non vib.
45
198 5 5
5

Fl.
12
8
5
mp
3
mf p sfz p

background
non vib.
6 6 3
6 3
6
Cl.
12
8
f mp 6 mf p sfz p

balance
foreground 3
5
5 12
G 8 G
mf pp sfz sfz
f
Pno. 5

3
12
G G G 8 G G G
sfz

3
3
ord. pres.
ord. non vib. ord. pres.
st. st.
arco
foreground [pizz.] 3

Vln.
12
8
3
mp mf p sfz pp

ord. pres.
st. ord.
foreground
3 3 [pizz.] 3
Vc.
12
8
3
3
mp mf p sfz sfz
 change the vibrato speed and width as indicated. Imitate the clarinet
alternating between wide
and narrow pitch vib.
non vib. balance
46
200

Fl.
3 4 3
8 4 4
pp p pp p pp p pp p pp p pp p mp p
simile..

simile..
alternating between wide change the vibrato speed and width as indicated. Imitate the clarinet
and narrow pitch vib. non vib. balance

Cl.
3 4 3
8 4 4
pp p pp p pp p pp p pp p pp mp p

take a plectrum foreground

3 4 3 G G
G G G G G G G G G G G G G 8 4 4
sfz p mp
mf
Pno.

G 3 4 3 G
G G G G G G G 8 4 G 4G
pp
p

ppp

balance

sp. non vib. [ord. pres.]

ord. [ord.] st. ord. st.
non vib.

Vln.
3 4 3
8 4 4
ppp pp ppp pp mp p f mf mp

balance

non vib. ord. pres. non vib. [ord. pres.]

pizz. arco. ord.
arco ord. sp. ord. [ord.] st. ord. st.

Vc.
3 4 3
8 4 4
pp ppp sfz sfz pp ppp pp mp p f mf mp
 change the tremolo speed as indicated. Imitate the clarinet but without gliss. accel.
ord. air ord. air ord. air ord. air ord. change the tremolo speed as indicated. Imitate the clarinet but without gliss. 47
207 ord. air ord. air ord. air ord. air

Fl.
12 9 12
8 8 8
ppp p ppp p ppp p ppp p ppp ppp p ppp p ppp p ppp p ppp

simile..

change the tremolo speed as indicated. Imitate the flute but add the gliss.
change the tremolo speed as indicated. Imitate the flute but add the gliss. simile..

Cl.
12 9 12
8 8 8
ppp p ppp p ppp p ppp ppp p ppp p ppp p ppp

prepare the hair clips on given strings

12 G 9 12
G G 8 G G G G G G 8 8
f f f

Pno.

G 12 G 9 12
8G G G G G G G G 8 8
ppp ppp

accel.
[non vib.] poco vib.
est. st. ord. esp. sp. ord. sp. ord.

Vln.
12 9 12
8 8 8
ppp
pp

[non vib.] poco vib.

est. st. ord. sp. esp. sp. ord.

Vc.
12 9 12
8 8 8
pp
ppp
 q=78 q=54
48 non vib. poco vib. molto vib. half airy sound
ord. non vib.
ord. air ord. air background
214

Fl.
4 2 5 3
4 4 8 4
ppp p pp mp mf f ppp pppp ppp

non vib. poco vib. molto vib.

background
non vib.

Cl.
4 2 5 3
4 4 8 4
p pp p mp f p pppp
ppp

on the keyboard
Dampen the strings with a proper wood block. Use hair clips for necesseary foreground solo
3
strings if your piano doesn't allow to dampen all asked strings with wood block.
4 2 5 3
4 G G 4 G G 8 G G 4
ppp pp 7
Pno.

4 2 5 3
4 4 8 4
play as if the cello and piano
one instrument. They should
the melody distributed to different instruments be complementary
2

2
q=78 background
q=54
molto vib. non vib. c.l. tratto
sp. ord. half hair, half wood

Vln.
4 2 5 3
4 4 8 4
p mf f ff pppp ppp

molto vib. non vib. foreground

sp. ord.
pizz. 3
2
Vc.
4 2 5 3
4 4 8 4
play as if the cello and piano 7
p mf f ff pppp pp one instrument. They should
boxes indicate the pitches which create be complementary
a melody distributed to different instruments.
 49
223

Fl.
3 7 4 3 4
4 8 4 4 4
pp ppp pp mf pp p

NOT foreground
ord. with key clicks

Cl.
3 7 4 3 4
4 8 4 4 4
7 7 7
3
pp mp p ppp pp mf p pp

NOT foreground
7
3 7 4 3 4
4 G G 8 G G G G 4 G G G 4 4
7 3
p mp
6 7 6
p
p mp p

Pno.

3
3 7 4 G 3 4
4 8 4 G G G G 4 4
mp

ord.
arco

Vln.
3 7 4 3 4
4 8 4 4 4
pp ppp pp mf pp p

7 ord.
arco

Vc.
3 7 4 3 4
4 8 4 4 4
[pp] ppp pp p pp
sfz mp mf
 accel.
NOT foreground flutter tongue
50
228 ord. with key clicks non vib.

Fl.
4
4
7 7 7 7
mp p pp pp p pp p ppp pp

flutter tongue NOT foreground

5

Cl.
4
4
p mp ppp pp ppp pp p

NOT foreground
NOT foreground

4
4 G G G G G G G G
3 3
p mp p mp sfz
f
sfz sfz
mp
Pno.

4
4 G G G G G G G G
mp mf
pp p p mp
mp p

NOT foreground
accel.
est. st. est. st.
ord press.
arco ord. resonance of the piano with
quarter tone pitch difference

Vln.
4
4
5
5 sub.
mp p ppp pp ppp p mp p mp pp pp p

resonance of the piano with

NOT foreground quarter tone pitch difference
ord press.

resonance of the piano with est. st. ord.

quarter tone pitch difference 3

Vc.
4
4
5 5
pp
p mp ppp pp ppp pp p
 balance
q=76 accel. q=84 q=54 51
non vib. poco vib.

232 backgrpound

Fl.
2 5 7 4 6 7 4
4 8 8 4 4 8 4
pp ppp pp

balance

non vib. poco vib.

backgrpound

flutter tongue

Cl.
2 5 7 4 6 7 4
4 8 8 4 4 8 4
5 3
5
mp p mp pp ppp pp

NOT foreground

2 5 7 4 6 7 4
G G G G 4 8 8 4 4 G 8 G 4
5 5 3
5
f
sfz mp p mp
pp p mp
Pno.

2 5 7 4 6 G 7 4
G G G 4 8 8 4 4 G 8 4
pp

5 5 5 3

q=76 accel. q=84 q=54 balance

arco 3
pizz. 5 non vib. poco vib.
5

Vln.
2 5 7 4 6 7 4
4 8 8 4 4 8 4
pp p "p" ppp p pp

balance
with plectron arco non vib.
pizz.
pizz.
5 5

Vc.
2 5 7 4 6 7 4
4 8 8 4 4 8 4
p "p" ppp pp mf mp pp
 06.19.2014

52 foreground
molto vib. whistle tone
as loud as possible!!
240

Fl.
4 6 4 7 3 6 5 7 3 6
4 4 4 8 4 4 4 8 4 4
ppp mp pp ppp

molto vib. background

non vib.

Cl.
4 6 4 7 3 6 5 7 3 6
4 4 4 8 4 4 4 8 4 4
ppp mp
ppp pppp

foreground
NOT foreground Acciaccatura
on the keyboard
4 6 4 G 7 3 6 5 7 3 6
4 G G 4G G 4 8 G 4 G 4G G G 4 G 8 G 4 G G 4 G
5 sfz
f sfz
f
ppp
Pno.
foreground
4 6 G 4 7 3 6 5 7 3 6
4 G G G G 4 4 8 4 4 4 8 G 4 G G 4 G
ppp
pp

non vib. background

ord. sp. sp. ord.
molto vib.

Vln.
4 6 4 7 3 6 5 7 3 6
4 4 4 8 4 4 4 8 4 4
pp mf pppp [pppp] ppp pppp

poco vib. molto vib.

non vib.
ord. sp. sp. ord.
background

Vc.
4 6 4 7 3 6 5 7 3 6
4 4 4 8 4 4 4 8 4 4
mf pppp [pppp] ppp pppp
Compositions and performances:
2016: “Barzakh” for string quartet
2016: “Meddah” for solo piano and up to 3 players
Performance on 04.17.2016 in Sesin Yolculuğu festival at Süreyya Opera House.
2015: "il futuro del passato non realizati " for solo accordion
Performance on 05.09.2016 by Krassimir Sterev at the Austrian Culture Office
Performance on 09.17.2016 by VIII. Francisco Escudero International Accordion
Composition Competition
2015: “Bai-Ulgan” for solo harp, ensemble and live-electronics
Performance on 01.28.2015 at ORF Radiokulturhaus Vienna
2014: “RadicalOtherness” Quintet for flute, clarinet, piano, violin and cello
Performance on 04.24.2015 at Brechemin Auditorium University of Washington
School of Music, by Inverted Space Ensemble in Seattle, WA
Performance on 05.01.2015 at Boston University's Tsai Performance Center, by
Ensemble Sound Icon in Boston, MA
Performance on 10.19.2014 at Sala Manuel M.Ponce, Palacio de Bellas Artes
Mexico City, by Ensemble Cepromusic
Performance on 01.31.2014 at BU college of fine arts, concert hall, Boston
2011: ”microbes" for fixed media
Performance on 10.12.2011 at the Schlosstheater Schönbrunn, Vienna
Link: http://www.youtube.com/watch?v=3IGRXMfxK0Y
Programming with Max / Msp
Spatialization with Ambisonic and wave field synthesis
2011: ”sacrosanct” generative sound environment
Performance on 06.24.2011 in Brick 5, Vienna
Performance on 07.20.2011 in Taipei, Taiwan
Performance 05.12-26, 2012 in Festival SOHO in Ottakring, Vienna
Programming with Max / Msp, Spatialization with Ambisonic
2011: ”alienation” for solo alto and live electronics
Performance on 11.15.2012 at Palais Auersperg, in the event ”Aufspiel” MDW
GALA
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 Performance on 06.24.2011 in Brick 5, Vienna
Programming with Max / Msp, Spatialization with Ambisonic
2011: ”the remix of my souls” for large orchestra
2010: ”gluckital” for fixed media
Performed on 22, 24 and 01/26/2011at Schlosstheater Schönbrunn, Vienna
Link: http://www.youtube.com/watch?v=1dgDg4eGlIc
Performance on 06.01.2011 in the Glockenhaus, Lueneburg, Germany Released
on DVD by the MDW, Vienna
Programming with Max / Msp
2010: ”celloacoustic” for solo cello, ensemble and live electronics
Performance on 06.10.2013 in Radiokulturhaus, ORF, Vienna
Performance on 01.24.2013 in Graz with Ensemble Webern
Performance on 01.19.2013 in Radiokulturhaus, ORF, Vienna
Performance on 06.26.2010 in Brick 5, Vienna
Published on CD by the MDW, Vienna
Programming with Max / Msp
2009: ”4x4+Live-Elektronik” for piano, percussion, bass clarinet and cello and live
electronics
Performance on 06.24.2009 in Brick 5, Vienna
Programming with Max / Msp
2009: ”R.I.I.P.” for flute, clarinet, 2 percussionists, piano, violin and cello
Selected for the Composition Competition in Weimar
Performance on 07.16.2012 with Ensemble unitedberlin in Weimar, Germany
Performance on 03.24.2009 and 05.12.2009 at MDW, Vienna
2008: ”unadorno” for electric guitar and fixed media
Performance on 06.30.2008 at the Essl Museum in Klosterneuburg Performance
on 10.28.2011 in the Echo Raum, Vienna
Programming with Max / Msp
2008: ”Von Goldmund” for viola, cello and double bass
Performance on 04.16.2008 in the Joseph Haydn-Saal of the MDW, Vienna
2007: ”study 1” for fixed media
2007: ”Factum Brutum”, for piano solo
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 Performance on 05.15.2007 in Fanny Mendelssohn-Henzel hall at MDW
2006: ”M-Faktor” for flute and two percussionists
Performance on 05.30.2006 in the Joseph Haydn-Saal of the MDW
2005: “clarinet quintet”
2005: ”Das Fatum” for Brass Quintet
Performance on 05.12.2005 in the Italian Cultural Center, Istanbul
Performance on 04.14.2005 at Galata Perform, Istanbul
2005: ”The head waiter at the Hotel Eros” Quartet for soprano, alto, tenor and bass
2004: ”splenn” for large orchestra
2004: ”the reality” for clarinet, viola and piano
Performance on 04.21.2005 at Galata Perform, Istanbul
Performance on 10.24.2004 at the University of Kocaeli, Kocaeli, Turkey
2003: ”Music for three notes and two instruments” for viola and piano
2002: ”Beatitude, Inferno” for violin and piano
Performance on 11.23.2002 at Istanbul University, Istanbul
Performance on 05.25.2007 at the composer-marathon in the Haus der Musik
Vienna
2002: "on the contempt" for guitar solo
2001: "trio for woodwind instruments" for flute, clarinet and bassoon
Performance on 05.30.2004 at Istanbul University, Istanbul
Performance on 03.30.2004 in the Italian Cultural Centre, Istanbul
Performance on 05.17.2002 at "Mediterranean Contemporary Music Days",
Istanbul
2001: ”invention” for string quartet
Performance on 10.24.2004 at the University of Kocaeli, Kocaeli, Turkey
2000: “nothingness" for piano solo
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