Compositions

Taqsim I-III (1990-92) ca. 50′ Taqsim I in four parts 24′
Metamorphosis – Evocacin – Scherzo – Choral
Taqsim II Elegie – Fragment (mit Präparation) 8′
Taqsim III in one movement 16′
solo guitar
Premiere of the complete work 1993 Orsoy CD 2004 Kreuzberg Records

The composition TAQSIM I-III was written between the years1990 and1993 as a “work in progress” both in Cologne, Germany and Cappadocia, Turkey. Originally conceived as a work somewhere in-between improvisation and impromptu osciallating patterns and lines, it has been continually revised over the years and experienced increased refinement at each new compositional stage. Inspired by the atmosphere, history and morphology of the Cappadocian landscape, the musical sketches and textures successively coagulated into a “notated” composition – a self-contained resonance of broad dimension.
The Arabic word “taqsim”, borrowed from the Greek “taxis” meaning division, break or order, is used to describe the solo improvisation of the Arabian lute (oud) or another solo instrument based on established scales, the maqam, comparable to the ancient Greek modes.
The harmonic material employed in the solo cycle TAQSIM I-III comes to us from both of these sources.
On the one hand, this piece pays homage to the sounds of the Cappadocian highlands and the tonal cavities of its isolated stone cathedrals and rock formations which are exposed to permanent erosion caused by rain and wind. On the other hand, it is a tribute to the Iraqi oud master Muneir Baschir. When we consider both its melodic and harmonic conception as well as its form, TAQSIM I-III can be regarded as a reflection on both middle eastern and western musical perceptions. Correspondingly one finds musical erosion and alluvial movement released through the compositional process: shaved layers are returned and ero- ded layers become alluvial again. Elements reduced to their smallest parts are reunited into a functional whole. Eroded material finds itself at the vanguard once more.
TAQSIM I contains four sections: Metamorphosis, Evocación, Scherzo and Choral. The differing lingual sources of the titles mirror the stylistic orientation of the different movements. In TAQSIM II Elegie/Fragment, a guitar with scordatura (Eb G d g bb e‘) is used which is played with a pick, a bottleneck and small sticks. Four contrasting movement fragments coexist next to each other.
TAQSIM III in One Mouvement, in one single motion, is like a series of cascading waterfalls. The four sections flow into each other: a "Preamble" is followed by a "Danza alla Kalimba" which, after an "Elegia" (in an altered mode), leads to the final "Cantus".