In their first duo collaboration, Turkish born clarinetist Oğuz Büyükberber, from the Amsterdam modern music scene, and master pianist Simon Nabatov go for an amalgam of high energy improvisation and structure, resulting in an intensely focused interplay of colors, ideas and instrumental virtuosity.
The main inspiration for this piece is the theme of home. The title "XY" refers to coordinates of a moving or static point: where home is, where it isn't, and where we are in our relationship to it. It investigates the possibility of continuity, a sense of connectedness through our lives even though each event may seem isolated.
When we write, we move on the two axis and define the position of each stroke. Many strokes form the text, especially in calligraphy.
This work was commissioned by Duo X, with the request that it relate to the theme of calligraphy, and that it not use a standard notation, but a compositional system that can be played without a written score. "XY" incorporates video using the relationship and dissonance between calligraphy and type, the handmade and the digital made. It parallels the music, comprised of acoustic instruments and electronics, which includes real-time processing, synthesis and ambient recordings. Players need to memorise a rule- based pitch system and the overall form. This pitch system functions as the main connecting element; it stays the same throughout the piece.
"XY" builds on a previous work, "Relearning to Write", a work for flexible instrumentation, live electronics and live video, which Duo X also performed. These works arepart of my lifelong passion of connecting music and visual art..
(busy mind of the) Lonely Commuter
MUSIC FOR SILENT MOVIES ABOUT AMSTERDAM, ISTANBUL, PARIS AND MORE..
BY BÜYÜKBERBER KLEIN DUO
[busy mind of the] lonely commuter is an audio-visual performance by bass clarinetist and visual artist Oguz Büyükberber and bass clarinetist Tobias Klein, both based in Amsterdam, the Netherlands.
lonely commuter reflects the everyday experience of solitary commuters who subliminally absorb the view from their moving vehicle while their mind wanders off to somewhere else. Their gaze might fix on to objects or landscapes which, by the vehicle's movement, transform into patterns and abstract shapes. Their eyes might rest, go out of focus and blur their vision.
This visual experience tends to alter the minds activity, which can become meditative or obsessive, lucid or channeling into the subconscious. Emotionally, commuting can be intense or mellow, evoking feelings of bottomless isolation or spiritual union. For commuters it's a coveted or dreaded ritual, a calibrating moment of everyday life.
[busy mind of the] lonely commuter translates this experience into a performance, a shared cinematographic view of the commuter gaze and a musical interpretation of the busy commuter mind. The music is completely improvised, inviting the audience into the ultimate here-and-now of commuting. Our world being on the threshold of rapidly turning entirely virtual, we stress the significance of commuting as a paradigm of post- industrialist modern times, celebrating the romantic exhilaration of actual physical, intellectual and emotional movement.
[busy mind of the] lonely commuter features sequences of video shot in Amsterdam, Paris, Istanbul and other places, illuminating the local facets of a universal experience..
A theatrical project by Marc Sinan Company for the memorey of life, work and suffering of the Armenian composer, musicologist Komitas Vardapet.
“Live at the Bimhuis” 21-9-12
Oğuz Büyükberber- Bass Clarinet, Contra-Bass Clarinet, Simon Nabatov- Piano, Gerry Hemingway- Drums
In 2012, Büyükberber received a “Carte Blanche” from Amsterdam’s famous Bimhuis and he invited Simon Nabatov and Gerry Hemingway to play a set together. This was the second time this trio played a concert. First one was another “Carte Blanche” by the International Akbank Jazz Festival in Istanbul, for its 20th anniversary edition. The music on this EP release was recorded on the Bimhuis was recorded and broadcasted by the VPRO.
“The trio covers a wide terrain, from scratchy textural exchange energised sequences where lyrical bass clarinet spews out notes atop careening piano and tub-tubing drums. Though just over half an hour in length, it’s sufficient to show that this aggregation deserves more than one one off.”
John Sharpe, The New York City Jazz record