Ayşe Deniz Birdal (Istanbul, 1996) studied at the Istanbul University State Conservatory from the age of 13, after which she continued her studies with Julius Berger in Augsburg. She won the First Prize in the Rudolf Matz Strings Competition, and a Second Prize in the International Johan Andreas Stein Strings Competition, where she played her own composition Sky-Cut, among others.
Birdal has played at several festivals, including the Menuhin Festival Gstaad String Academy and the Kronberg Academy Cello Festival, and has soloed with the Kaunas Philharmonic Orchestra, among others. In addition to classical-romantic repertoire, she has a great fondness for new music and music from her native land and is an enthusiastic improviser.
This album was produced with the support of the Anner Bijlsma Award and the Cello Biennale Amsterdam. Using the prize money from the 2018 Anner Bijlsma Award, cello phenomenon Giovanni Sollima set up an intensive development program for four young international cellists – Ayşe Deniz Birdal (Turkey), Maya Fridman (Russia), Abel Selaocoe (South Africa) and Chiara Trentin (Italy). They all were looking to become far more than just soloists playing the standard repertoire. Sollima went with them in search of their musical identity. Who did they want to become in the world of music? What did they want to create? What did they want to convey to their audiences? This album is the result of the journey that Ayşe made during this project.
This album is available exclusively in Stereo DSD 512, 256, 128, 64 and DXD as well as 5ch Surround Sound DSD 256, 128, 64 and DXD. It is not available on SACD.
TracklistPlease note that the below previews are loaded as 44.1 kHz / 16 bit.
Total time: 00:51:10
|Original Recording Format|
|Release Date||March 31, 2023|
Turkish cellist Ayşe Deniz Birdal treats us with a recital of contemporary music for cello and voice grounded in Turkish and Uyghur folk song plus original compositions. All works are 2015 – 2022 compositions by Birdal. And we hear them in TRPTK’s usual high standards of recording quality.
Birdal has a very pure high voice with which she complements and expands upon her compositions here and there. It is not an album filled with voice. It is an album for cello which is supplemented by voice. The compositions range from very tradition infused contemporary works (e.g., “Sky-Cut” based on a Turkish folk song) to very modern atonal works (e.g., “Tautropfen, for four cellos, 2019” and “Amnesiac Bells, for 4 cellos and voice, 2019”) Recording engineer, Brendon Heinst, confirmed to me that all the cello parts were played by Birdal herself and overdubbed. When I told him how well I thought this had come off, he replied, “The trick is to use all microphones when overdubbing and just move the musicians, rather than layering in the mix. This way, you get exactly the same sound as when there’s four cellists.” My ears believe it!
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