Zeynep Toraman
composition | film music | theory
bio • works • calendar • listen • contact
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I wrote “for equally damaged …” in tandem with the piece for solo violin that follows it immediately, “Damaged Equally” : both born out of my fascination with the Blonde Redheads song, For the Damaged Coda - the band’s quasi-homage to Chopin’s Nocturne in F Minor, Op. 55 No. 1. In my quest for material complexity, I began working with micro-quotations of Bach’s Violin Sonata No. 2 in A minor, BWV 1003, capturing some essence in the form of traces and ossifying its thin specters. The piece unfolds around these micro quotations, the musical material I added in wtands in sync with but distant from the cited material: it is simulataneously a collection of fragments, a dense-rendering and a commentary.
Most importantly, I wanted the piece itself to function as a curatorial space: allowing many relationships to be discover between materials, gluing them together in its dream-like atmosphere.
One layer deeper: This piece is the result of my collaboration with Amie and Nicola, and is a real homage to the summer days I spent at their place in Manerbio, Italy a couple years back: our many deep conversations, meeting their lovely friends, driving out to the beautiful medical church just outside town, my day trip to Brescia from there, visiting Santa Giulia and simply walking around the city.
With many thanks to both friends.
Tu as tout compris, tout compris...
composition | film music | theory
bio • works • calendar • listen • contact
<<
“for certain damaged ...” [violin and double bass]| 2019
Written for Amie Weiss and Nicola Barbieri
Written for Amie Weiss and Nicola Barbieri
I wrote “for equally damaged …” in tandem with the piece for solo violin that follows it immediately, “Damaged Equally” : both born out of my fascination with the Blonde Redheads song, For the Damaged Coda - the band’s quasi-homage to Chopin’s Nocturne in F Minor, Op. 55 No. 1. In my quest for material complexity, I began working with micro-quotations of Bach’s Violin Sonata No. 2 in A minor, BWV 1003, capturing some essence in the form of traces and ossifying its thin specters. The piece unfolds around these micro quotations, the musical material I added in wtands in sync with but distant from the cited material: it is simulataneously a collection of fragments, a dense-rendering and a commentary.
Most importantly, I wanted the piece itself to function as a curatorial space: allowing many relationships to be discover between materials, gluing them together in its dream-like atmosphere.
One layer deeper: This piece is the result of my collaboration with Amie and Nicola, and is a real homage to the summer days I spent at their place in Manerbio, Italy a couple years back: our many deep conversations, meeting their lovely friends, driving out to the beautiful medical church just outside town, my day trip to Brescia from there, visiting Santa Giulia and simply walking around the city.
With many thanks to both friends.
Tu as tout compris, tout compris...