Emre Dündar is an Istanbul-based composer, pianist, and improviser. Primarily engaged in concert music composing, Dündar composed solo, chamber, orchestral, vocal, and choral pieces. Additionally, he also delivered soundtracks and sound designs for many films as well as composing numerous music pieces for a wide range of channels such as theatre, installation, and radio with the international context.
The composer creates works using the acoustic and electro-acoustic mediums and variably-transitively utilizes composition-related multiple techniques together exclusive to several aesthetic concepts and tendencies. The composer decides on how to apply composition-related techniques to his pieces in accordance with the aesthetic- rhetoric context that he identities with the creation. In such a sense, within composer’s music, different tendencies varying from polystylism to serialism,hyper-modality to spectralism, etc., are taken advantage of through analysis specific to the composition.
His works have been performed in Turkey, Germany, Austria, France, Belgium, Holland, Italy, Spain, Portugal, Switzerland, Denmark, Norway, Greece, Russia, Algeria, Azerbaijan, Georgia, and Japan. Language-music relation is an endless data field for a composer. Dündar spent most of his life in Istanbul, where many languages intersect/collide mostly within sorrowful and tragic contexts. Composer collects sonic memories -“language prints”- he gathers from several languages that he has heard throughout his life and incorporates them into his music.
To the extent of such direction composer holds a deep interest in musical value and counterparts of the act of speaking-telling in music, therefore builds his musical language around the notion of “narration”, focusing on ancient rhetorical traditions in particular. He establishes expressive contexts of his works on the basis of different forms taken by the concept of narration during its journey throughout history and on various possible applications of the act of “narration”. In this sense, poetry and formal problems of poetry have a direct impact on the composer’s musical language.
Photo: Jasper Kettner