Turkish composer born in 1971 in Istanbul.
At the age of 11, Tolga Tüzün began studies of the piano with Meral Beseli, gradually becoming acquainted with avant-garde electronic music and jazz, which he studied intensively during his years at university. Upon graduating from the French section of the University of Marmara with a degree in political science, he embarked on a career as a musician. He studied jazz theory and composition briefly with Aydin Esen, but learned music theory independently. In 2000, he enrolled at the Istanbul Technical University Center for Advanced Studies in Music (MIAM), where he studied composition with Pieter Snapper and Mark Wingate, and orchestration with Hasan Uçarsu and Ilhan Usmanbaş. Around this time, his first compositions for chambre ensemble were performed. In 2002, Tüzün moved to New York, where he obtained a doctorate from Columbia University under the supervision of David Olan and Tristan Murail.
In New York, his works were performed by Cygnus Ensemble, Composers Alliance, and the Contemporary Ensemble. His electronic pieces were featured at international festivals and symposia such as June in Buffalo, the Brooklyn College 10th Electro-acoustic Music Festival and the 6th International Literature and Humanities Conference.
During his time in New York, he also served as an artistic advisor and technical director of the New York Sounds French and Stephan Wolpe Festivals, and was on the artistic committees of Argento Ensemble and Speculum Musicae.
From 2002 to 2005, he taught music history, theory, and composition at the Brooklyn College Conservatory of Music.
In 2005-2006, he moved to Paris to undertake the IRCAM Cursus (IRCAM’s composition and computer music course).
Since 2007, he has taught composition and electronic music at Bilgi University in Istanbul, where he was named Director of the Music Department in 2010.
Tüzün’s music, in line with his influences and representative of the period marking the beginning of the 21st century, prioritises the exploration of timbre. His works are conceived as musical fluxes, thereby avoiding commonplace forms. He often makes reference to fields outside of music, creating models upon this basis using digital technology, such as sonic morphing and transformative processes, or multiple layers of harmony and rhythm. Musical space and perception are the fundamental parameters in his works.
© Ircam-Centre Pompidou, 2017
- Solo (excluding voice)
- elec My dear nightmares sincerely yours for viola and electronics (2002)
- elec Along The Borderline: The Breath and The Gaze for clarinet and electronics (2003-2005), Inédit
- elec Le Déchirement des Pétales for bass clarinet and electronics (2003-2005)
- elec ircam Ircam cursus Metathesis for two double basses and electronics (2006), 10 mn, BabelScores [program note]
- Permanence for piano (2010)
- Seamlessly Falling in Our Usual Traps III for tenor saxophone (2010)
- Transfigurations for piano (2010)
- Existo for double bass (2011)
- Five Preludes for cello (2014)
- ... and they fell one by one for guitar (2015), BabelScores
- Chamber music
- Trauma cuts string quartet n° 1 (2000), BabelScores
- Cross-Sections for clarinet and piano (2004)
- Two Miniatures for guitar duo (2004)
- Under Pressure for bass clarinet and alto saxophone (2010), BabelScores
- Duet for guitar and violin (2011), BabelScores
- Okeanos Reflex for percussion quartet (2015)
- the pain they left behind/ melted into thin air /and became the baseless fabric of /what we call ourselves today for flute, clarinet, piano, violin and cello (2013-2017)
- elec “Les Traces De Notre Futur Antérieur” for viola, cello, double bass, percussion and electronics (2019)
- It was about time now it is not anymore for flute, clarinet, percussion, piano, violin and cello (2020)
- Instrumental ensemble music
- In saint for ensemble (2000)
- Mort miniscule de l’été for orchestra (2001)
- Déchirement for ensemble (2002)
- Incompatibility for orchestra (2002)
- elec Snapshots Through My Desert Memories for ensemble and electronics (2002)
- Ouverture: An Anacrusis for "Opera" for large ensemble (2009), BabelScores
- It's about time for flute, clarinet, percussion, piano, violin and cello (2015), BabelScores
- Winter Worries for string ensemble (2015)
- Imaginary Neighborhoods of Athens for large ensemble (2018)
- Vocal music and instrument(s)
- Last Meal for voice and piano (2011), BabelScores
- A cappella vocal music
- Meğer for choir (2011)
- Electronic music / fixed media / mechanical musical instruments
- elec Nevroz / yap-boz for electronics (2001)
- elec Meğer for electronics (2003)
- elec Diaphanous Stones for electronics (2004)
- elec Plugged for electronics (2005)
- elec Vulgaire Obscur for electronics (2005)
- elec Proportional Farce for electronics (2008)
- elec L'esprit d'escalier for fixed sounds (2010)
- elec uncomfortable possibilities of seamless unions for fixed sounds (2012)
- elec something fierce for fixed sounds (2015)
- It was about time now it is not anymore for flute, clarinet, percussion, piano, violin and cello
- elec “Les Traces De Notre Futur Antérieur” for viola, cello, double bass, percussion and electronics
- Imaginary Neighborhoods of Athens for large ensemble
- the pain they left behind/ melted into thin air /and became the baseless fabric of /what we call ourselves today for flute, clarinet, piano, violin and cello
- Five Preludes for cello
- elec uncomfortable possibilities of seamless unions for fixed sounds
- Ouverture: An Anacrusis for "Opera" for large ensemble, BabelScores
- elec Proportional Farce for electronics
- elec Meğer for electronics
- Tolga TÜZÜN, « “Maquette” as Data Structure and Synthesis Agent in “Metathesis” », dans The OM Composer’s Book. Volume 2, (Jean Bresson, Carlos Agon, Gérard Assayag, eds), Sampzon, éditions Delatour ; Paris, Ircam-Centre Pompidou, coll. « Musique/Sciences », 2008, p. 263-277.
- Tolga TÜZÜN, The pain they left behind ; Existo ; Dialogue at Monastraki ; And they fell one by one ; Under pressure ; 5 preludes for solo cello I ; 5 preludes for solo cello II ; 5 preludes for solo cello III ; 5 preludes for solo cello IV ; 5 preludes for solo cello V ; It was about time now it is not anymore ; Cross-Sections 1 - Blueprint for Ilhan Mimaroglu, dans « It’s about time », CD Bilgi, 2020.
- Tolga TÜZÜN, Bittersweet anticipation of life ; Angst and hope ; Mor ; Stone bridges ; Mavi ; Hypertensive dreams ; Kurşuni ; Temporary Emotions of guilt ; Perpetual numbness, dans « Tales of Angst, Numbness and Hypertension », CD Bilgi, 2018.
- Tolga TÜZÜN, Northeast wind ; 12tone Structures-1 ; Vortex contact ; Song for those ; Duman ; 12tone Structures-5 ; Mavi ; This Land I belong ; Cool breeze under the sun ; 12tone Structures-2 ; A rainy daydream ; The struggle continues ; Your caressing touch ; At the seaside a table full of mezes ; Utopia and non rational times, dans « Multiple wounds », CD Bilgi, 2017.
- Tolga TÜZÜN, Korhan EREL, Superimposed circumstances, 1 cd Another World, 2012.
- Tolga TÜZÜN, L’Esprit d’escalier ; Diaphanous Stones ; Vulgaire Obscur ; Plugged, dans « SOnuMUT », 1 cd Müzik Hayvani, 2012.
- Tolga TÜZÜN, My dear nightmares, sincerely yours ; Metathesis ; Along the borderline ; Le Déchirement des pétales, «Periphery, dans electroacoustic works for solo instrument and electronics », 1 cd AK Müsik, 2009.
- Tolga TÜZÜN, nix, Kalan Music CD207, 2000.
- Site du compositeur : www.tolgatuzun.net
- Soundcloud : www.soundcloud.com
- BabelScores : www.babelscores.com
(liens vérifiés en avril 2021).