ZEYNEP GEDIZLIOGLU (b.1977): Susma - Schweige Nicht (String Quartet No. 2) (Arditti Quartet), Akdenizli - Das Mediterrane for Violin, Viola and Piano (Michael Dinnebier [violin], Hendrik Vornhusen [viola], Julia Vogelsänger [piano]), Yol - Der Weg for Clarinet, Vibraphone and Piano Trio (Anton Hollich [clarinet], Jochen Schorer [vibraphone], Catherina Lendle [violin], Gabriele Maiguaschca [cello], Vogelsänger [piano]), Ungleiche Gleichungen for Clarinet and Cello (Hollich [clarinet], Markus Tillier [cello]), Dialogo a tre for Recorder, Violin and Harpsichord (Barbara Neumeier [recorder], Michael Dartsch [violin], Lutz Gillmann [harpsichord]), Dei Wand entlang for Piano (Vogelsänger), Wenn Du mich hörst, klopf zweimal for Soprano and String Quartet (Sarah Maria Sun [soprano], Arditti Quartet), Kesik - Schnitt for 12 Instruments (Ensemble Modern; Oswald Sallaberger).

Description: Gedizlioglu's idiom is a somewhat bewilderingly heterogeneous one, initially at least, with a very wide range of unrelated modern techniques called into play. A frequently revisited method is the layering of small cells, with variants, to produce a complex polyphonic texture (always firmly atonal); the larger the ensemble, the more it seems to bring out this tendency in the composer. Some degree of repetitive structure tends to be present in all the pieces, providing a certain level of cohesiveness, or at least an aid to the listener's memory. The pieces for ensemble, or combinations of instruments, involve a certain amount of extended technique - banging on the case of the harpsichord, multiphonics for wind instruments and the like - but even this is not constantly present; 'Along the Wall', a motoric piano toccata, and easily he most readily approachable work here, is played entirely on the keys. Here the mutating repeated gestures are readily apparent, superimposed on a persistent chain of rapid-fire repeated notes. Here and there - in 'The Mediterranean' and 'The Path', one melodic line among many in 'Kesik', for instance - melodic fragments with a middle-eastern flavor are added to the mix, presumably a passing reminder of the composer's heritage. 'If you hear me . . .' has a fine sense of drama, with a virtuosic vocal part and very Arditti-friendly quartet writing.