📌 "The earthquake showed the extent to which the basis of our political life and our understanding of #governance, along with the #buildings, were built on false and #uncritically examined foundations."
Why #historiography, "history-of-history", matters.
#earthquake #historyofhistory #6Subat
📌 Hrant Dink'in 1999 Gölcük Depremi sonrası düşüncelerini paylaştığı “Zihniyetin Zemin Etüdü” adlı yazısı:
"Deprem, binalarla birlikte siyasi yaşamımızın, yönetim anlayışımızın da temelinin ne denli yanlış ve etüdü doğru yapılmamış zeminler üzerinde yükseldiğini gösterdi."
https://x.com/yirmiucbucuk/status/1631564509897797633
Kaç yıl oldu karanlık bir merdivenden iner çıkar hayatımız
Yağmur olmuşsun mesela çatılarda, tıp tıp yürür güvercinler
Ahparig bu kilit nedir kapılarda, kırar çıkar kalbin sokaklara
Günaydın demişsin sen komşulara, pat pat uçsun güvercinler
…
Şimdi bir yağmur yağsa çıkar gelirsin
Uyansa mümkünümüz çıkar gelirsin
📍 ANKARA
Hrant Dink'i katledilişinin 19. yılında Sakarya Meydanı’nda andık.
Hrant'ı da gazeteci katliamlarını da unutturmayacağız!
Zeynep Gedizlioğlu wins German Composer Prize for chamber music 2022
Zeynep Gedizlioğlu (Izmir, 1977) has won the German Composer Prize 2022 in the chamber music category. The jury of the Akademie Deutscher Musikautor*innen writes: ‘She has made a name for herself far beyond the borders of Germany with her colourful, diverse, innovative and exciting music. Her strength lies especially in smaller, soloistic ensembles.’
Gedizlioğlu is little known in the Netherlands, but in 2019 the German Ensemble Modern presented the world premiere of Nacht, alongside the brand new composition Assange – Fragmente einer Unzeit by the German-Dutch composer Iris ter Schiphorst. Both composers were my guests at the introduction to the concert on 7 November in Muziekgebouw aan ‘t IJ. I had already interviewed Gedizlioğlu for a short article for its website. This has since been taken offline, so I have adapted my text for this post.
Dark Darkness
Zeynep Gedizlioğlu was born in Izmir in 1977 and studied composition with Cengiz Tanc in Istanbul. She then moved to Europe. There she studied composition with Theo Brandmüller in Saarbrücken, Ivan Fedele in Strasbourg and Wolfgang Rihm in Karlsruhe. She won several awards and participated in the renowned Summer Course for New Music in Darmstadt. She also studied electronic music at IRCAM in Paris. Since the end of 2001 she has been living and working in Berlin.
Like Ter Schiphorst, Gedizlioğlu sometimes reflects on current events. In 2007 she composed her second string quartet, Susma (‘don’t be silent’) for the Arditti Quartet. It is dedicated to the Armenian-Turkish journalist Hrant Dink, who was murdered earlier that year.
https://www.youtube.com/watch?v=s7Qpru2u1-I
Fierce attacks, shrill dissonances, thundering pizzicati and slipshod glissandi create an uncanny atmosphere. In this way, she makes the sultry climate and the increasing lack of freedom in Turkey almost physically tangible. In 2014 she composed the equally oppressive Kelimeler (‘key word’) for Neue Vokalsolisten Stuttgart. This was the same period when Erdogan forcefully suppressed protests in Istanbul’s Taksim Square.
Gedizlioğlu developed the piece from the character of the Turkish language and chose words of darkness and determination. The five vocalists utter terrifying cries, hum unpleasantly high notes and interrupt each other with mysterious whispers. The restless, raw music gets under your skin.
‘There is no compromise between dark and darkness’, she explained. ‘There is no light or white darkness, only darkness. I embrace the realisation that there are no compromises.’
Zeynep Gedizlioğlu: ‘There is no light or white darkness, only darkness. I embrace the realisation that there are no compromises.’
Night full of whispers
In 2019, Gedizlioğlu composed Nacht, commissioned by Ensemble Modern. She told me that she had chosen a new direction: ‘I wrote my own text – directly in German – which is spoken and whispered by the musicians during the performance.’
She confided that it had been an exciting experiment: ‘By trying something relatively new for me, I took a risk, because the outcome is unpredictable. Each individual performer, but also the music itself, reacts both to the sound of the text and to its meaning. This creates an interaction that increasingly transforms (or should transform) into an interaction between music and text.’
She also said that she envisions night rather as a place or a space than as a phenomenon that extends over a certain time. ‘It is a place of whispers, of futile attempts to say something. Because the musicians must pronounce their text within a limited space of time, a certain franticness and urgency are created.’
Incidentally, the text is not necessarily intelligible: ‘The silences between the various passages are perhaps even more important than the sounding notes.’ Nacht was beautifully performed by Ensemble Modern on that 7th November 2019. Unfortunately, there are no reviews but I can wholeheartedly endorse the jury’s verdict.
Nacht proved to be a compelling and oppressive work, that once more illustrated how colourful and exciting Gedizlioğlu’s writing is. Hopefully the German award will bring it more to attention in the Netherlands.
https://www.youtube.com/watch?v=jhl2RZKh_mU
#AkademieDeutscherMusikautorInnen #EnsembleModern #HrantDink #IrisTerSchiphorst #ZeynepGedizlioğlu
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