{"product_id":"sylvia-lim-copy","title":"Zeynep Toraman","description":"\u003cp class=\"MsoNormal\" align=\"center\" style=\"margin-bottom: 0cm; text-align: center;\"\u003e\u003cspan style=\"font-family: 'Tahoma',sans-serif; mso-bidi-font-family: Calibri;\"\u003e1 \u003cb\u003e\u003cspan style=\"mso-spacerun: yes;\"\u003e   \u003c\/span\u003eThe Same Moonlight\u003cspan style=\"mso-spacerun: yes;\"\u003e    \u003c\/span\u003e\u003c\/b\u003e(2023)\u003cspan style=\"color: #92d050;\"\u003e\u003cspan style=\"mso-spacerun: yes;\"\u003e     \u003c\/span\u003e\u003c\/span\u003e12:29\u003cbr\u003e\u003cstrong\u003eEnsemble Proton Bern\u003cbr\u003e\u003c\/strong\u003eSusanne Blumenthal (conductor)  Bettina Berger (flute)\u003cbr\u003eMartin Bliggenstorfer (oboe)   Richard Haynes (clarinet)\u003cbr\u003eElise Jacoberger (bassoon)   Miriam Paschetta (harp)\u003cbr\u003eCoco Samuel Fried (piano)  Maximilian Haft (violin)  Jan-Filip Tupa (cello)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" align=\"center\" style=\"margin-bottom: 0cm; text-align: center;\"\u003e\u003cspan style=\"font-family: 'Tahoma',sans-serif; mso-bidi-font-family: Calibri;\"\u003e\u003cspan style=\"mso-spacerun: yes;\"\u003e                                                                                                                   \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" align=\"center\" style=\"margin-bottom: 0cm; text-align: center;\"\u003e\u003cspan style=\"font-family: 'Tahoma',sans-serif; mso-bidi-font-family: Calibri;\"\u003e2\u003cspan style=\"mso-spacerun: yes;\"\u003e    \u003c\/span\u003e\u003cb\u003eLooks but Glances\u003c\/b\u003e\u003cspan style=\"mso-spacerun: yes;\"\u003e    \u003c\/span\u003e(2022)\u003cspan style=\"mso-spacerun: yes;\"\u003e    \u003c\/span\u003e16:06\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-family: 'Tahoma',sans-serif; mso-bidi-font-family: Calibri;\"\u003eEnsemble Dedalus \u0026amp; guests\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-family: 'Tahoma',sans-serif; mso-bidi-font-family: Calibri;\"\u003eCarlo Sampaolesi (accordion)   Amelie Berson (flute)\u003cbr\u003e   Phoebe Bognar (bass flute)  \u003c\/span\u003e\u003cspan style=\"font-family: 'Tahoma',sans-serif; mso-bidi-font-family: Calibri;\"\u003ePaolo Aviles (harp)\u003cbr\u003eMaria Alejandra Jimenez (violin)  Thierry Madiot (bass trombone)\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: 'Tahoma',sans-serif; mso-bidi-font-family: Calibri;\"\u003eMireia Pellisa Martin (saxophone)   Adele Viret (cello)  \u003cbr\u003eFelix Lacquement (electric guitar)   Paulo Amendoeira (percussion)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" align=\"center\" style=\"margin-bottom: 0cm; text-align: center;\"\u003e\u003cspan style=\"font-family: 'Tahoma',sans-serif; mso-bidi-font-family: Calibri;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" align=\"center\" style=\"margin-bottom: 0cm; text-align: center;\"\u003e\u003cspan style=\"font-family: 'Tahoma',sans-serif; mso-bidi-font-family: Calibri;\"\u003e3\u003cspan style=\"mso-spacerun: yes;\"\u003e    \u003c\/span\u003e\u003cb\u003eLong Lurking in the Sky\u003cspan style=\"mso-spacerun: yes;\"\u003e   \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"mso-spacerun: yes;\"\u003e(2025)  16:18\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-family: 'Tahoma',sans-serif; mso-bidi-font-family: Calibri;\"\u003e\u003cspan style=\"mso-spacerun: yes;\"\u003eEnsemble Vortex\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-family: 'Tahoma',sans-serif; mso-bidi-font-family: Calibri;\"\u003e\u003cspan style=\"mso-spacerun: yes;\"\u003eRada Hadjikostova (violin)   Benoit Morel (viola)\u003cbr\u003e  Aurelien Ferrette (cello)   \u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-family: 'Tahoma',sans-serif; mso-bidi-font-family: Calibri;\"\u003e\u003cspan style=\"mso-spacerun: yes;\"\u003eRebecca Minten (bass clarinet)\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" align=\"center\" style=\"margin-bottom: 0cm; text-align: center;\"\u003e \u003c\/p\u003e\n\u003ch2 class=\"MsoNormal\" align=\"center\" style=\"margin-bottom: 0cm; text-align: center;\"\u003e\u003cspan style=\"font-family: 'Tahoma',sans-serif; mso-bidi-font-family: Calibri;\"\u003e\u003cspan style=\"mso-spacerun: yes;\"\u003eInterview with Zeynep Toraman\u003c\/span\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cem\u003eFirst of all, I know virtually nothing about you, so can you outline where you come from, where you're based, and how you came to experimental music?\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003eI’m from Istanbul and I’ve been based in Berlin for 5 years now. I was based in the US for quite some time before that and I eventually did a PhD in music composition at Harvard, where I also developed a parallel interest in film, visual culture, literature.\u003c\/p\u003e\n\u003cp\u003eMy route into experimental music was probably less a single moment than a gradual accumulation of interests. I grew up playing electronic guitar in some rock and metal bands, but I was always interested in the space between different kinds of musical practice, particularly between electronic music, composition, sound, and visual media, especially film. Studying computer science also made me very comfortable with thinking about music as something that could involve systems, processes, and technologies, with technology being only a means to an end.\u003c\/p\u003e\n\u003cp\u003eI feel no commitment to any genre particularly. Over the few years, though, my practice has become much more porous. I’ve become increasingly interested in recorded sound, synthesizers, voice, field recordings, and the more experimental and ambient music scenes. I think I’m less interested now in maintaining a distinction between “composition” and other kinds of music-making. A lot of what I’m doing is really about listening and about constructing particular sonic environments, whether that happens through an ensemble, electronics, or a much more intimate recording setup.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cem\u003eThe three pieces on the CD are all played by different ensembles. Were they all commissions from the ensembles? Can you tell us a little about the circumstances underlying each piece?\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003eThey come from slightly different circumstances, although they are all connected to the period when I was working very intensively with ensembles and electronics.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Same Moonlight\u003c\/em\u003e was commissioned by Ensemble Proton and premiered by them in 2023. The starting point for the piece was Beethoven’s Intermezzo from the Piano Sonata Op. 101, but I was interested less in making an arrangement or quotation than in treating a particular moment in the piece - namely the return of the exposition in the middle of the piece, this tender authorial moment is creates - The title also comes from this idea of recurrence, loosely quoting Nietzsche via Yuk Hui: the “same” moonlight appearing in completely different contexts, in memory, in literature, as a romantic rendering on the constructed loops of the piece.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cem\u003eLong Lurking in the Sky\u003c\/em\u003e was written for Ensemble Vortex as part of their Ensemble Next project. This one actually started from a piece I had written for electric guitar and field recordings. For the Vortex project, I completely reworked that material as a chamber piece, but kept parts of the original electronic material. So there is this strange relationship between the two versions: the instrumental piece is almost a reconstruction of something that originally existed in a much more solitary, recorded form, while some of that original sound remains present through the electronics.\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cem\u003eLooks but Glances, I\u003c\/em\u003e wrote for this joint project between GMEA in Albi and Ensemble Dedalus called \u003cem\u003eExperiences\u003c\/em\u003e in 2022. That piece is for ensemble and electronics, and I was thinking quite a lot about perception and the instability of what we think we're hearing. The electronics allowed me to create another layer of instrumental memory, so that sounds could seem to come from somewhere outside the ensemble, or could become difficult to distinguish from the live instruments. In the end I also made an entirely electronic version of this piece, which eventually became the soundtrack of Burak Çevik’s film\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eForm of Forgetting,\u003cspan\u003e \u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003ewhich relates to this endless translation idea\/method that I like to work with.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eConcert recordings by Joel Cormier (The Same Moonlight),  Benjamin Maumus (Looks but Glances)  and Daniel Zea (Long Lurking in the Sky).  Mastering by Murat Colak.\u003c\/span\u003e\u003cspan style=\"font-size: 11.0pt; line-height: 115%; font-family: 'Tahoma',sans-serif; mso-bidi-font-family: Calibri;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; text-align: center;\"\u003e\u003cspan style=\"font-size: 11.0pt; line-height: 115%; font-family: 'Tahoma',sans-serif; mso-bidi-font-family: Calibri; color: black;\"\u003eCover Artwork by Nazlı Cengiz, with thanks\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; text-align: center;\"\u003e \u003c\/p\u003e","brand":"Another Timbre","offers":[{"title":"Default Title","offer_id":67681678262586,"sku":"at258","price":10.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0740\/3631\/4426\/files\/at258_front_cover.jpg?v=1791816602","url":"https:\/\/www.anothertimbre.com\/products\/sylvia-lim-copy","provider":"Another Timbre","version":"1.0","type":"link"}