MUHIDDIN DÜRRÜOĞLU (b.1969): Scènes d’Anatolie and In Memoriam for Clarinet, Cello and Piano, 3 Émotions Fugitives for Cello and Piano, Footnotes for Harp, Grand Singular for Violin and Piano, Contact for Flute and Piano.
Catalogue Number: 11V069
Description: Fazil Say is one of Dürrüoğlu’s friends of longest standing, and there are many points of contact between the two pianist-composers' music (including the use of muted, drum-like bass and plucked midrange strings of the piano) though their styles remain distinct. Scènes d'Anatolie is dedicated to Say, whose music (08V063, 11Q086, 12P008) is predominantly tonal, while drawing heavily on the modes, melodies and rhythms of traditional Turkish music, and has the most in common with Say's style. The work depicts a railway journey through the Anatolian landscape, the rough, vigorous irregular rhythms of the wheels on the tracks vividly conveyed by the music, with stops along the route portrayed by melancholy folk songs or lively folk dances. Dürrüoğlu is fascinated by physical and cosmological phenomena and fiction, and his work based on Carl Sagan's "Contact" (also the source of the eponymous 1997 movie) is the clearest, but not the only, example of this here. Beginning in impressionistic meditation, the work follows the drama of Sagan's narrative. Grand singulier is based on a one of Anne Desobry's dreamlike canvases, inhabited by figures that may be suffering, or caught between worlds in space and time with no stable existence, haunted by their own shadows which seem more substantial than they are, subject to gravitational forces unrelated to their surroundings, or suspended outside reality. The painting in question is of a figure with a clear face, expressive of loneliness or sorrow, its body dissolving into its amorphous surroundings, represented in music by the efflorescence of material from an initial monophonic source. Both the sparkling Footnotes and the sombre In memoriam evoke the rhythms of the music of the Sufi Whirling Dervishes, the latter in combination with funerary rites of rural Anatolia. The three Émotions fugitives, written for the composer’s cellist wife depict images of love with the purity of Renaissance harmony, the passion of Romanticism (the allusions to Tristan are unmistakable), and the ecstatic energy of folk dance. Ensemble Kheops.