Introduction
Emre Kayiş (born 14 March 1965) is a Turkish composer, conductor, and music educator recognized for integrating Western classical forms with traditional Turkish musical elements. Over a career spanning more than four decades, he has composed symphonic and chamber works, conducted national and international orchestras, and played a pivotal role in contemporary music education in Turkey. His contributions have earned him multiple national awards, including the Turkish State Music Prize, and he has been cited in academic discussions on the evolution of Turkish classical music.
Kayiş's influence extends beyond composition and conducting; he has authored several textbooks on orchestration and counterpoint, and he founded the Istanbul Conservatory of Contemporary Music in 2004, which has become a leading institution for training young musicians in Turkey. His recordings, available on major classical labels, feature a range of works from the early twentieth‑century repertoire to his own modern symphonies, many of which incorporate modal scales derived from Ottoman classical music.
Early Life and Education
Family Background and Childhood
Emre Kayiş was born in Istanbul to Ahmet Kayiş, a civil engineer, and Leyla Kayiş, a schoolteacher. Growing up in a culturally vibrant neighborhood, he was exposed to both secular and traditional Turkish music from an early age. His mother encouraged him to explore the piano, and he received his first lessons at the age of six from a local teacher who specialized in Western classical repertoire. By age ten, Kayiş was performing in community recitals, showcasing an early aptitude for both performance and composition.
Primary and Secondary Education
Kayiş attended the Galatasaray High School, where he excelled in both mathematics and music. The school’s music program, which emphasized rigorous training in Western harmony, provided him with a solid foundation in counterpoint and orchestration. During his secondary years, he composed his first major piano sonata, which received praise from his teachers and was performed by the school orchestra.
Undergraduate Studies
In 1983, Kayiş entered the Istanbul State Conservatory (now Istanbul University - Faculty of Music) to study composition under Professor Yalçın Koca. Over the next four years, he immersed himself in the works of J.S. Bach, Ludwig van Beethoven, and contemporary Turkish composers such as Ulvi Cemal Erkin. His final year thesis explored the use of Ottoman makam (modal systems) within Western harmonic structures, a theme that would recur throughout his career.
Graduate Studies and Early Influences
After completing his undergraduate degree in 1987, Kayiş pursued a Master of Music in Composition at the Vienna Academy of Music. His doctoral advisor, Professor Wolfgang Ratz, encouraged him to investigate the intersection of Western and Turkish musical traditions. Kayiş's master’s thesis, titled “Modal Integration in Late Nineteenth-Century Turkish Music,” earned him the academy’s Outstanding Thesis Award in 1989.
While in Vienna, Kayiş attended lectures on ethnomusicology and developed a friendship with fellow composer Mehmet Güçlü, who introduced him to the works of Béla Bartók and the concept of integrating folk material into orchestral contexts. These experiences broadened Kayiş's compositional palette, inspiring him to adopt a more eclectic approach in his later works.
Career
Early Compositional Work (1980s–1990s)
Kayiş began publishing his compositions in the late 1980s, with his first public performance occurring in 1988 when the Istanbul State Symphony Orchestra premiered his “String Quartet No. 1” in Ankara. This piece was noted for its lyrical use of the makam Hicaz and for employing traditional Western quartal harmony.
In 1991, he composed the “Sinfonietta for Piano and Orchestra,” which premiered at the International Music Festival in Istanbul. Critics praised the work for its dynamic contrasts and for blending Turkish rhythmic cycles (usul) with classical symphonic form. The same year, he composed his first opera, “The Broken Lyre,” a short, chamber opera that explored themes of cultural identity. It was performed by the Istanbul Opera House in a season dedicated to contemporary Turkish composers.
Conductor and Educator (1995–2005)
Alongside his compositional activities, Kayiş began a parallel career in conducting. In 1995, he was appointed assistant conductor of the Istanbul State Symphony Orchestra, a position he held until 2002. During this period, he led the orchestra in both domestic and international tours, conducting works ranging from Mahler’s symphonies to his own contemporary pieces.
Kayiş's tenure as a conductor coincided with a broader movement in Turkish music education that emphasized the inclusion of contemporary works in concert programming. He championed the performance of Turkish composers, arranging a series of “New Turkish Music” concerts that showcased a blend of traditional and modern compositions.
In 2000, he began teaching orchestration at the Istanbul State Conservatory, where he developed a graduate seminar that explored the use of Turkish modal scales within orchestral texture. His students included several prominent Turkish musicians who later became influential composers and conductors.
Founding of the Istanbul Conservatory of Contemporary Music (2004–present)
Recognizing a gap in formal education for contemporary music in Turkey, Kayiş founded the Istanbul Conservatory of Contemporary Music in 2004. The institution focuses on training musicians in modern compositional techniques, electronic music production, and interdisciplinary collaboration. Kayiş served as the conservatory’s first director, a role he held until 2014, during which he developed the curriculum, recruited faculty, and secured funding from governmental arts grants.
Under his leadership, the conservatory became a hub for young composers and performers, hosting annual festivals that feature student works, guest lectures, and workshops with international artists. The conservatory’s alumni network includes several award‑winning composers, performers, and music technologists who contribute to Turkey’s contemporary music scene.
Major Compositions and Collaborations (2010–present)
Kayiş’s compositional output has expanded to include large‑scale works, chamber music, and vocal pieces. Notable works from this period include:
- Symphony No. 3, “Echoes of the Bosphorus” (2011) – a four‑movement symphony that incorporates the rhythmic patterns of Turkish folk dance and the melodic contours of Ottoman lullabies.
- String Quartet No. 5, “Reflections of Dawn” (2013) – a composition that employs spectral techniques to evoke the soundscape of Istanbul’s early morning.
- Choral Symphony “The Song of the Crescent” (2016) – an orchestral‑choral work that blends Western choral writing with traditional Turkish poetic forms.
- “Crescent City” – An opera in three acts (2019) – a large‑scale work that tells the story of Istanbul through a narrative that intertwines historical events with contemporary social issues.
Kayiş has collaborated with a diverse array of artists, including Turkish pianist and composer Gülten Çoruh, and international electronic musician Satoshi Nakamura. These collaborations often explore the integration of acoustic and electronic soundscapes, reflecting Kayiş’s interest in expanding the boundaries of traditional concert music.
Teaching and Scholarly Work
Beyond his administrative duties, Kayiş has continued to write extensively on music theory and composition. His textbook, Orchestration for the 21st Century (published in 2007), provides a comprehensive overview of orchestral instrumentation, with particular emphasis on incorporating Turkish musical elements into modern orchestration. The book is widely used in conservatories across Turkey and has been translated into English.
He has also published research papers on the use of modal harmony in contemporary Turkish music. In 2015, he presented his paper “Modal Fusion: The Role of Makam in Contemporary Composition” at the International Conference on Musicology in Berlin, which received critical acclaim for its analytical depth and cross‑cultural perspective.
Major Works
Symphonic Works
Kayiş’s symphonic repertoire is characterized by a synthesis of traditional Turkish musical modes and Western symphonic structure. His Symphonies Nos. 1–3 each reflect a distinct phase of his compositional development. Symphonies No. 1 (1995) was noted for its lyrical themes and complex counterpoint, while Symphony No. 2 (2002) introduced a more experimental approach to rhythm and harmony. Symphony No. 3, “Echoes of the Bosphorus,” premiered in 2011 and was performed by the Vienna Philharmonic in 2013.
Chamber Music
Kayiş’s chamber works include several string quartets, a piano trio, and a trio for flute, clarinet, and piano. These pieces often explore intricate textures and feature unconventional techniques, such as col legno and sul ponticello, to evoke sonic landscapes reminiscent of Istanbul’s diverse cultural heritage.
Vocal and Choral Works
His vocal output includes arias, songs, and large‑scale choral symphonies. Kayiş’s 2016 choral symphony “The Song of the Crescent” was performed by the Turkish National Choir in Ankara and received positive reviews for its blend of lyrical melody and harmonic complexity.
Operas and Stage Works
Kayiş has written two operas: “The Broken Lyre” (1991) and “Crescent City” (2019). Both operas address themes of cultural identity, historical memory, and the role of art in society. They have been staged in prominent theaters across Turkey, including the Istanbul Opera House and the Ankara State Opera.
Awards and Honors
Kayiş has received numerous national and international awards, including:
- Turkish State Music Prize (1998) – awarded for his contributions to contemporary Turkish music.
- International Composition Prize, Vienna (2003) – for his Symphony No. 2.
- Best Conductor Award, International Music Festival, Istanbul (2006) – recognizing his work with the Istanbul State Symphony Orchestra.
- Distinguished Teacher Award, Turkish Music Education Association (2011) – for his impact on music education.
Personal Life
Kayiş is married to Selin Kayış, a violinist and professor of music theory at the Istanbul Conservatory of Contemporary Music. The couple has two children, both of whom are involved in the arts: their daughter, Leyla Kayış, is a contemporary dancer, while their son, Arda Kayış, is a composer and electronic musician. Kayiş’s personal life has been described as deeply rooted in Istanbul’s cultural milieu, often reflecting the city’s artistic vibrancy in his works.
He is an avid supporter of community arts initiatives, regularly participating in music workshops for underprivileged youth in Istanbul. His philanthropic activities include donating instruments to schools and establishing scholarships for music students with financial need.
Legacy and Influence
Emre Kayiş is regarded as a pivotal figure in the development of contemporary Turkish classical music. His integration of Ottoman makam with Western orchestration has influenced a generation of composers seeking to bridge cultural traditions. Moreover, his founding of the Istanbul Conservatory of Contemporary Music created a formal platform for nurturing new talent in Turkey’s modern music scene.
Scholars have cited Kayiş’s work in discussions on cross‑cultural music synthesis, particularly his analyses of modal integration and rhythmic adaptation. His pedagogical texts continue to serve as essential resources for students and educators alike.
Related Topics
- Ottoman Classical Music
- Turkish Modal System (Makam)
- Contemporary Turkish Composition
- Music Education in Turkey
- Orchestration Techniques
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