Journalist Blair Dedrick described İnce’s music as
characterized . . . by its ability to pinpoint the sonorous strains present in the jagged dissonance of elements such as a smooth cello yearning suddenly broken by an incongruent spatter of drum beats.[This quote needs a citation]
His music has been described as post-minimalist, that is, it makes use of near repetition, tonal language, but avoiding traditional tonal functionality, and influence of world music.[citation needed] Indeed, his Concerto for Orchestra, Turkish Instruments and Voices uses an actual Turkish ensemble mixed with Western instruments.
His musical palette tends toward large-scale works, mainly for orchestra or ensemble; he has also composed several smaller works for either solo instrument (In Memoriam: 8/17/99 for piano) or solo instrument and piano (Lines for clarinet and piano).[citation needed]
Although several of his works display this sudden movement between slow chord movements and the nattering of percussion and / or instruments, such as Flight Box (2001) or Hammer Music (1990), other pieces use a more consistent texture, such as the energetic F E S T for New Music Ensemble and Orchestra (1998) or the subdued Curve (1998).[1]
Reception
His work has been performed by orchestras across the world to wide critical acclaim. A critic for the Los Angeles Times called him
that rare composer, able to sound connected with modern music and yet still seem exotic, Kamran Ince is a force on the cutting edge of contemporary composition, bridging the East and the West.[7]
Chute, James. 2001. "Ince, Kamran". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
This article uses material from the Wikipedia article Kamran_Ince, and is written by contributors.
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