Zeynep Toraman
composition | film music | theory
bio • works • calendar • listen • contact
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Live recording, April 8, 2022
Recorded by Seth Torres
Mix and Mastering by Murat Çolak
Artwork by Nazlı Cengiz
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Taking Mozart’s Fantasia in F minor, K. 608 as my starting point and working with the indeterminacy built into the piece’s origin, as both the manuscripts and the mechanical instrument for which K. 608 was intended are lost, I have loosely organized the music in two parts: each part filled with recurrences, juxtaposing tints and hues, lights and shadows in relation to feelings or perceptions, the distinction between these recurrences becoming more and more indeterminate, and moments fade away, (hopefully) leaving a scent of their memory behind.
* - Theodor Fontane, Effi Briest (Noting the bizarre recurrences of its plot, its ominous cyclicality which “ continually folds in on itself, retelling its own,” (V. Greenberg, “The Resistance of Effi Briest: An (Un)told Tale”) unanswered and unarticulated questions. 'Nun, es kam, wie's kommen mußte, wie's immer kommt’)
composition | film music | theory
bio • works • calendar • listen • contact
<<
SUNSOAKED [ trumpet, tuba, violin, cello and electronics] | 2022
Written for and performed by Ensemble MusikFabrik in Cambridge, MA
Written for and performed by Ensemble MusikFabrik in Cambridge, MA
Live recording, April 8, 2022
Recorded by Seth Torres
Mix and Mastering by Murat Çolak
Artwork by Nazlı Cengiz
“[E.] who was sitting there lost in thought, sat up and looked out to the right, where the moon had just risen, veiled in white cloud that was rapidly disappearing. The great copper disc was behind a copse of alders and cast its light over a wide stretch of water the [K.] formed there. Or perhaps it was already the lagoon that was fed by the open sea.” *
“—I wanted to make the mouth, with the beauty of its color and everything, look like one of the sunsets or something of Monet,” (Francis Bacon, via Jalal Toufic, Over-Sensitivity)
“—I wanted to make the mouth, with the beauty of its color and everything, look like one of the sunsets or something of Monet,” (Francis Bacon, via Jalal Toufic, Over-Sensitivity)
Taking Mozart’s Fantasia in F minor, K. 608 as my starting point and working with the indeterminacy built into the piece’s origin, as both the manuscripts and the mechanical instrument for which K. 608 was intended are lost, I have loosely organized the music in two parts: each part filled with recurrences, juxtaposing tints and hues, lights and shadows in relation to feelings or perceptions, the distinction between these recurrences becoming more and more indeterminate, and moments fade away, (hopefully) leaving a scent of their memory behind.
* - Theodor Fontane, Effi Briest (Noting the bizarre recurrences of its plot, its ominous cyclicality which “ continually folds in on itself, retelling its own,” (V. Greenberg, “The Resistance of Effi Briest: An (Un)told Tale”) unanswered and unarticulated questions. 'Nun, es kam, wie's kommen mußte, wie's immer kommt’)