Fazil Say first came to international attention as a pianist, but he used that career as a springboard for launching his own compositions, and he has become widely recognized in both fields. This release from Naïve includes a fascinating assortment of his works that draw on his background in the Western classical tradition, his Turkish heritage, and his interest in jazz. His 2008 Violin Concerto, subtitled "1001 Nights in the Harem," skillfully brings the harmonic language, modal melodies, and textures of traditional Turkish music to the format of the concerto. Its sound is exotic to Western ears; it begins with a propulsively accented drumbeat in a meter of 11/8, folk-influenced instrumental textures, and a sinuous, slithering violin line.
Say's inventive treatment of the various influences is thoroughly engaging; this is an unusual violin concerto, but it's so strongly appealing that it's easy to imagine its making its way into the contemporary repertory. Soloist
Patricia Kopatchinskaja has a somewhat small tone, but she stylishly captures the concerto's sensuous mood. In an odd cultural juxtaposition,
Say uses Mozart's Rondo alla Turca not to delve into the music's Turkish roots, but as the basis for a cute jazz improvisation. He brings a similar conventional approach to the
Gershwin tune in his Summertime Variations.
Say takes the first movement of the Mozart Piano Sonata, K. 331, (of which the Rondo alla Turca is the last movement) as the foundation for the Patara Ballet, a colorful, hypnotic quartet for soprano, ney (a traditional Turkish wind instrument), piano, and percussion. The disc makes an excellent introduction to an intriguing composer who brings a fresh and unique perspective to the new music scene.