m u s i c m o d e r n

                                                    




AYDINESEN




      W O R K S   : 

 . . unbound

L I G H T Y E A R S    º    E X T I N C T I O N _
                                  

            
           The new world-premiere recordings of the large-scale sound works. Much has been speculated and wondered about these long-awaited [hidden] dense writings/recordings never released ever.. Light Years and Extinction recordings were finalized after  years of realizations at the SIGNAL-X, Esen's atelier, and a quite a long evalutionary journey for the ideas/sketches/recordings travelling throughout the worlds with him, certain parts written/recorded in different soils during his tourings or teachings and so on..
          
           One must travel beyond such tangible spaces to identify the deeper foundation for these creations. In a ghostly sort of spontaneous generation, these astonishing pieces seem to fluoresce without past or future, new worlds of radiance and complexity developing at the boundaries of crushed stars (Cyg X-1), within the glasslike envelopes of tiny sea crustaceans, (Diatom), or during phases of species obliteration and renewal, (Induan).  Strains and bubblings erupt beneath the planetary crust, while telepathic presences occasionally draw too close for comfort. At such moments, when the composer seems to vanish into the work and the sound engulfs us with almost asphyxiating clarity, we are reminded of Pater’s dictum that all art aspires to the condition of music. 

            In the works of Aydın Esen, we are confronted with no less than a pathbreaking investigation of a new aesthetic form, one which identifies the full range of human intellectual and emotional activity as the seedbed of musical art. The process draws matter ceaselessly toward a turbulent,  compacted core, yet the voyage ends in creation, not destruction. Falling nutrients are reconstituted in wondrous ways and sprayed out into the universe as music, our kind’s most extraordinary and unbounded aesthetic legacy. Problems plaguing composition from Monteverdi and Rameau, through Wagner and Debussy, found courageous challengers, each interrogating and endeavouring to solve these problems at the highest level in a manner befitting their unique personas. The process grew considerably more aggressive and complex with the coming of modernity, an age of peculiar triumphs, catastrophes and humiliations.  Webern assaulted these problems. Schoenberg and later, Boulez dealt with them. Luigi Nono dealt with these problems and today, actually since the early 70's from the conservatory years, Aydın Esen, through a lifetime of relentless exploration, has offered his own sophisticated non-formulative but extreme-moment-to-moment-precise music that belongs-to-no-system or groups may just be right at the edge of the precise arriving point with an huge step in musical history, the new re-defined movement;  re-definition of everything.. Remembering some interviews with him dating back almost 20 years, saying things like 'constantly cleaning up the mess of the masters' and stuff like that, urging us to re- think.. Therefore,  it  is arguebly far beyond the new complexity of Ferneyhough's. Start with the Reactants or Antinomy.. 

          We can cite intriguing alliances and cross pollinations, yet the work under consideration has no close correlate under the stars. The new music, for all its uniqueness, proves  accessible across cultures and times, not merely through academic formalism but via the skeleton key of consciousness, the common key our species shares. No music exists in a societal vacuum, this music, perhaps least of all. The predicament our species finds itself in is without analogue during our tenure on earth. 2005 witnessed the highest global temperatures on recoread. Arctic researchers insist “..we are reaching a tipping point or threshold beyond which, sea ice will not recover.” Partial implications of these trends are profoundly troubling and full implications are unknown. Oceanic life is dying at a precipitous rate, owing to contamination and over-exploitation of marine resources, and amphibious life, (long recognized as highly vulnerable to climate change), may be entering a wave of mass extinction. Recent estimates point to a possible loss of one quarter of the earth’s species by century’s end. We face the prospect of a world heart-breakingly stripped of its diversity and beauty, one which may eventually prove untenable for our own existence. As though intending to accelerate the descent into a world hostile to all life, humans have intensified the destruction of their home through indifference to environmental warning combined with new wars of aggression and new technologies of homicide. It is therefore against conditions of grave foreboding that this music was written and it is against a backdrop of acute anxiety we must absorb it. But as such, these creations appeal to an alternate instinct, one they hope to draw out of heavy dormancy—an instinct for love, resurgence, and the nomadic wanderings of the conscious mind… for life in its luminous and inexhaustible forms.

           His scientific mind serves this amount of mass whose existense, like the dark matter, which until now, escaped all detection but may still remain detectable only by the gravitational effect. It's like, his ideal - 'all there and all part of us' from one of his recent conversations and continues 'you don't have to be a musician to feel it' . Aydin Esen, that massive instrumental force in forming new galaxies for future generations..   Richard Harth, BioDesign Inst.
ASU

        


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AYDIN ESEN LIVING GROUP LIVE IN EUROPE









If you'd like to see some other releases
by Aydin Esen

  abstractlogix.com
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MATERIAL RECORDS WIEN

dialogo



dialogo 2005



               flashpoint 2005




 
for extinction releases
please contact

Mr. Richard Harth


info@extinctiondirect.com

or visit the web site

www.extinctiondirect.com



         
                                                    timpani                    




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