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Trick of the Mirror by Korucu

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About This Work

Composer:  Semih Korucu 

Description: Trick of the Mirror.  Our senses are limited. We are sensibly limited. And nothing is limited to our audible capacity.. 'Do we hear everything?' Answer to this question will always be both affirmative and negative. However we tend to say that we hear everything, yet what we solely do is just listening indeed. If you believe that you hear everything, then after listening to the Trick of The Mirror, you should have noticed Shostakovich and his accompanist standing in the middle of a living room surrounded by mirrors and reflections of their images in the mirrors. And of course the games made with them such as inversions, retrogrades, retrograde inversions, enlargements and narrowings as well as canonic structuring in which they exist. All of these are connected to 'mirror',or the 'speculum' in other words. The word 'speculative' is a derivation of latin word speculum for mirror, meaning looking to or by mirror (lat: speculari). Then the word 'speculative', naturally hosts a meaning of reflection. This reveals a deep relation between music and philosophy. If you have not noticed them in music, then you will have to question yourself how much and until what point you may trust your senses. If all of the mentioned things take place in music and we are able to notice only a few of them, then we will have to think on ‰Û÷what' we heard about the things that we have just listened. Experiences we live through our senses invite us to think; an invitation to think their effects and impressions on us together with what we already have. In this case, moderating Beethoven's words, perharps we may say 'try once more'. If this music had been written by a serialist composer, then it would have to be depending on certain procedures. Despite that I benefit the same procedures, I am not a serialist composer. Besides, I did not start composing this music in order to make, technical explanations. The first reason was an image; image of two musicians facing each other and their reflection on me. Changing these two musicians to two individuals may help for a better comprehension of what I am willing to achieve. What would happen if these two individuals do the things just told above? Completing different parts of the same sentence or bringing about theformation of sentence when joined together; saying the same things in different times while being in a perpetual flow; realizing this truth, yet being unable to share with;although essentially the same things are said, because of the existence of time and different angles,being in a paradoxical dilemma that whatsoever is said may not be so; rushing to prompt and produce responses;absence of a place to stop,misbelieving that the roots of sources are exogenous;ambiguousness and self-contradiction of our poor understanding of the other because of our constant efforts on trying to produce only our own words and answers;and finally giving up all of these, realizing the possibility of a common sentence, to exist with and for it, that is growing bigger and bigger within little evolutions;and existence of common struggle for this much beautiful entirety; and finally completion of the sentence and realization of unity. Can both these two different narrations be telling the same thing?

Instrumentation: Guitar

Era: 21st Century

Form: Other

Type of Work: Chamber Music

Type of Ensemble: Duet

Nationality: Turkey

Parts:  Score and Parts

Publisher: SECONDAPRATTICA.ORG

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