A few moments with Utku Asuroglu

We give the U.K. première of Utku’s Hayirli Olsun at our concert on February 16th at Brixton East 1871, 7.30pm. Find out more about him on his website, and read his thoughts on composing, conducting and his Turkish heritage in our interview below!

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Your musical studies and career have taken you from Turkey all across Europe. Did anywhere in particular steal your artistic heart?
The years I spent in Graz, Austria were the most valuable and important in my artistic life as a composer. The rich culture of Austria and my professor, Clemens Gadenstätter had a huge impact on me.
Does your conducting work inform the way you compose music?
Of course. My experiences in conducting greatly developed my inner hearing, my understanding of orchestration, and understanding of the psychology of the performers behind the music.
This piece features a prominent part for harpsichord (performed by our very own Goska Isphording). What attracted you to this particular instrument together with the unusual combination of piano, percussion and trombone?
The harpsichord is an instrument whose presence I truly miss in contemporary music. When used creatively, harpsichord adds extremely unique colours and expressive possibilities to any instrumentation. Dutillieux’s Les Citations [performed by Riot Ensemble in 2014!] or Carter’s Sonata for Flute, Oboe, Cello and Harpsichord are wonderful works that prove my point. I wanted to contrast harpsichord with another keyboard instrument, and I tried to underline their percussive quality with percussion and their expressive ability using the trombone.
Your programme note mentions the Sivas Massacre of 1993. Have you addressed these horrific events in music, and if so then how?
My music mostly lacks any programmatic content. However, non-musical influences have always proven to be strong points of departure for my compositions. The word non-musical sounds very unjust to me, for I can’t isolate music from literature or architecture.
The Sivas Massacre was a horrible hate crime against critical and creative minds of Turkey. Even though I was just a kid in 1993, I have read a lot about it ever since and its impact is still present in my life. I don’t think it’s possible to address how I used these impressions in this particular piece, and I believe this is the very unique thing about music; it defies being described with words.
Can you tell us more about your future plans?
I’m working on an ensemble piece that’s going to be premiered by International Ensemble Modern Academy in the Gaudeamus Music Week 2017. I will also be busy with a chamber opera project with Marcel Beekman in the Netherlands. We are still working on the libretto. Working with artists from different disciplines motivates and inspires me. I am very much looking forward to hearing and seeing the resulting work on the stage.
Many thanks, Utku!