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Köksal, Füsun

Füsun Köksal

Prize winner composer of the Composition competition “The contemporary guitar 2018″
for her work “Three New Pieces for Guitar” 

Füsun Köksal is a composer based in İzmir, Turkey. Her works have recently been programmed in various contemporary music festivals such as Berliner Festspiele MaerzMusik, Schleswig Holstein Music Festival, Warsaw Autumn, Via Stellae Festival, Forum Neuer Musik, Fertile Crescent, Mise-En Music Festival, Centre Acanthes, Bilkent New Music Days, and Dias de Musica Electroacustica etc.

Recently awarded a Civitella Ranieri Music Fellowship, Köksal is recipient of numerous international awards including the 6th International Henri Dutilleux Composition Competition and 3rd International German-Polish Composition Prize.

She won several awards of the SCI/ASCAP composition commissions and was nominated for the 3rd Pablo Casals Award in 2009. Recently she has collaborated and performed by number of distinguished orchestras, ensembles, and artists, including Bilkent Symphony Orchestra, Orchestre Nationale de Lorrain, Royal Liverpool Philharmonic 10/10 Ensemble, Ensemble Modern Academy, Ensemble Calliopée, Arditti String Quartet, Pacifica Quartet, Eighth Blackbird, Vertix Sonore Ensemble, Hezarfen Ensemble, and her works has been conducted by distinguished conductors, among them, Julien Masmondet, Christoph Matthias Müller, Anu Tali, Cliff Colnot, and Diego Mason.

Köksal graduated from Hochschule für Musik Köln, and received her Ph.D in composition from The University of Chicago. Her works has been published by PWM (Poland), Edition Dohr (Germany), and Bachovich Music Publications (USA) and broadcast by Südwestfunk and Deutschlandfunk.

Three New Pieces for Guitar

Composed during the summer of 2017 Three new Pieces for Guitar has been commissioned by guitarist İrene Kalisvaart. Since my father was a guitarist, I grew up with guitar music at home and practiced myself until I started the conservatory in Ankara to study composition. Since than composing for this beautiful instrument has always been a challenge. I started several projects but gave up immediately because I was not able to isolate myself from the literature I have been listening to throughout my life. Finally I decided to come over this challenge and one solution for this appeared to me to involve with extended techniques as in the first piece. The second piece however, has a completely different character and looks for different ways to integrate characteristic guitaristic gestures into my language. And finally the third one is a commentary, involving rasguedos and at the same time extended techniques.

Ballio, Emanuela
Bliokh, Konstantin