Four Sacred Spaces (2022)
for three spatially separated string quintets
The Byzantine churches of Istanbul have long been a source of inspiration in my work. In earlier pieces such as di Luce e ombra, String Quartet No. 2, and Vestiges of Time, I have often drawn on these somewhat overlooked and forgotten aspects of the city’s cultural heritage. Four Sacred Places continues this line of exploration. The work consists of four movements, each inspired by one of Istanbul’s most well-known Byzantine churches. The relationship between music and architecture varies from movement to movement: the first reflects an abstraction of the layered structure of Zeyrek, the second evokes the monumental resonance of Hagia Sophia, the third engages with the austere aesthetic of Hagia Irene, and the final movement draws on the pastoral setting of Chora.
Beyond its temporal dimension, the piece also proposes a spatial experience. Instead of a single string orchestra, the work is written for three string quintets positioned across the stage, left, center, and right, creating a near-stereophonic field of sound. Each movement explores a different spatial strategy. At times, the three ensembles function independently, forming distinct layers of musical activity; at other moments, they echo one another across the stage, or combine to produce a composite mid-side spatial effect.
The musical material is deliberately restricted to open strings and natural harmonics. This choice produces a sonority that is both pure and fragile. Many of the harmonics, especially in the higher register, are inherently unstable in projection; their tendency to flicker and fade becomes an integral part of the musical expression. This fragility is not incidental, but central to the work’s conception.
What continues to fascinate me about these Byzantine spaces is not only their historical presence but also the way they shape and contain space itself. Each church exists in a different state of preservation, yet all retain a distinct spatial identity. The piece approaches these four sites as meditations on the spaces they create. The limited and transparent sound material reflects the simplicity and clarity of these environments, while the harmonic spectrum of natural harmonics suggests a sense of purity associated with their sacred and spiritual character.