Premiere: July 1, 2015 | Elvira di Bona (violin), Saida Zulfugarova (piano) | “Les images accordees”, l’Université Paris-Sorbonne, Amphithéâtre Richelieu | Paris, France

Absheron, illusions

The etymology of Absheron is as follows: The word Absheron consists of a few parts. Ab means water, shour means salty and an is the suffix that makes plural in Persian. So, Abshouran, which came out these words, means “place of salty water”. It is also a name of the peninsula in Azerbaijan.

Premiere: November 19, 2013 | University of Cincinnati, Cohen Family Theater | “Sonic Explorations” concert of electronic music.

Exit strategies

Premiere: May 18, 2015 | Shur+ ensemble, The Grieg Academy | Bergen, Norway

confessions [9:27]

This piece is a cycle of confessions of a cellist.

[9:27] is a reference to the order number of the certain phrases in the Koran and The New Testament (Luke), both related to confessions and bearing the similar content.

The cellist articulates some words that are treated compositionally as part of the musical text, thus taken away from their initial associations. These words are from the poem I Wish It Was The Same Garden Again by Azerbaijani poet Mikayil Mushfig who was brutally murdered by the Soviet regime in his young age.

Premiere: April 2, 2015 | Gregory Rowland Evans: Performance and Time Arts, Contemporary Dance Theater | Cincinnati, USA


Control+[ is the traditional escape sequence used as a representation of Escape Key in computers.

An escape sequence is a series of characters used to change the state of computers and their attached peripheral devices. These are also known as control sequences, reflecting their use in device control. Some control sequences are special characters that always have the same meaning. Escape sequences use an escape character to change the meaning of the characters, which follow it.

“Music expresses only the quintessence of life and its events, never these themselves.”-Artur Schopenhauer.

there were noises and tiny bluish-yellow lights

Premiere: July 14, 2014 | ECCE ensemble, Jean Philippe Wurtz (conductor) | 2014 Etchings Festival, Auvillar | France

Anamorphic objects

Anamorphosis is a distorted projection or perspective requiring the viewer to use special devices or occupy a specific vantage point to reconstitute the image. The word “anamorphosis” is derived from the Greek prefix ana-,meaning back or again, and the word morphe, meaning shape or form. This piece is about sequences of anamorphic sound objects made by sound gestures and timbral qualities of saxophones.

Premiere: May 31, 2014 | Martha Cargo (flute), Jordan Dodson (guitar) | Tenri Cultural Institute of New York | New York, USA | Concert of Ensemble Sans Maitre

for Almut Kühne

Premiere: October 9, 2012 | Almut Kuhne (soprano), Turkar Gasimzada (laptop), Benjamin Schindler (video) | Dresden, Germany
Qüinar, Tonlagen Festival of Contemporary Music


Zühur is dedicated to the memory of Kara Karayev, a prominent composer of Azerbaijan. Zühur means “reappearance” in Azerbaijani. There is a quote to the pitch material of the “Dance of the most beautiful” from ballet titled “Seven beauties” by Kara Karayev. “Seven beauties” is an epic poem by Nizami Ganjavi, an Azerbaijani poet who lived in 12th century. The story is about seven beauties having affiliation with a prince named Bahram. Each of the beauties is telling him stories meant to positively affect his personal character. One of them is treated as the most beautiful one, so the title of the piece could be interpreted as a reappearance of that “most beautiful”.

Premiere: March 23, 2013 | Ensemble Cafe Momus, conducted by Thanapol Setabrahmana | Cohen Family Studio Theater, University of Cincinnati | Cincinnati, USA


Qurama is an ancient handicraft of Azerbaijan, a kind of patchwork made of cloth scraps of various sizes and colors. The etymology of the word qurama also contains a meaning closer to construction in English. Ideas of working with different shapes and colors, adding multiple layers on top of each other or subtracting, separating them, exploring different time concepts and listening experiences are important to the compositional processes of this piece.
This piece is dedicated to Lale khanim and Mezahir bey Avshars, painters and sculptors, friends of my family. Both had an impact on me as an artist.

Premiere: October 7, 2012 | Contemporary Music Ensemble of Boston University, conducted by Theodore Antoniu | TSAI Performance Center, Boston, MA
ALEA III International Composition Competition


Premiere: February 11, 2011 | Manhattan School of Music Symphony, conducted by David Gilbert | John C. Borden Auditorium, New York

Opalescences (1)

Premiere: June 23, 2012 | Ensemble Sans Maitre | Tenri Cultural Institute, New York
Music of Drake Andersen and Turkar Gasimzada

in absentia

in absentia is dedicated to violinist Erika Dicker. The sparse and quite character of the piece is intentionally meant to suggest an unusual type of listening experience. The latter is about perceiving ‘non-audible’ sound, even by holding breath now and then to hear it while simultaneously enjoying silences.

Premiere: November 19, 2013 | Erika Dicker | Cohen Family Studio Theater | Cincinnati, USA | “7”-DMA recital of Turkar Gasimzada

bu axşam, quşlar

Premiere: April 30, 2011 | Christie Finn (soprano), Felix Behringer (clarinet) | First Presbyterian Church, New York
“Constellations”: The Music of Drake Andersen and Turkar Gasimzada


Premiere: January 28, 2011 | Azerbaijan State Symphony Orchestra, conducted by Ayyub Guliyev | Azerbaijan State Philarmony, Baku, Azerbaijan
View Score


Premiere: June 18, 2011 | Azerbaijan State String Orchestra, conducted by Vladimir Runchak | Azerbaijan State Philarmony, Baku, Azerbaijan
“Zamanla uz-uze” festival of Contemporary Music

music for 8 instruments

Premiere: November 8, 2007 | Omnibus Contemporary Music Ensemble, conducted by Artyom Kim | Ilkhom Theatre Hall, Tashkent, Uzbekistan
“Omnibus Labaratorium” Festival of Contemporary Music


Stretto is about exploring intimacy, closeness, narrow interval relationships. The title of the piece also refers to it, as it’s etymologic meaning is closeness. Listener can hear real musical strettos as well as in different places throughout the piece. I called the piece “Stretto” after having read Paul Celan’s poem of the same title.

Premiere: November 23, 2009 | Caitlyn Phillips (flute), Felix Behringer (clarinet), Timothy Robinson (trombone), Alyson Rzessotarski (percussion), Joshua Modney (violin), Victor Lowrie (viola), John Popham (cello), conducted by Elliot Moore | Manhattan School of Music, New York

Opalescences (2)

Opalescences (2) is a type of dichroism seen in highly dispersed systems with little opacity. The material appears yellowish-red in transmitted light and blue in the scattered light perpendicular to the transmitted light. The phenomenon is named after the appearance of opals. There are different degrees of opalescent behaviour. One can still see through a slightly opalescent phase. The more particles and the bigger the particles are, the stronger the scattering arising from them and the cloudier the particular phase will look. At a certain concentration the scattering is so strong that all light passing through is scattered, so that it is not transparent any more. Examples are the blue sky in the daytime and the yellowish-red sky at sunset. Another example can be made by adding a few droplets of milk to a glass of water. The liquid appears bluish but if one looks through the glass at a light source, it becomes yellowish-red. Opalescence is an effect exploited in lustreware pottery.
Piece is dedicated to the memory of my professor in composition Ismayil Hajibeyov.

Premiere: April 5, 2013 | Terence Teow, Tyler Bentley, Kivie Cahn Lipman, CCM Percussion Ensemble, conducted by James Culley | Patricia Corbett Theater, University of Cincinnati | Cincinnati, USA
CCM Percussion Ensemble Concert

yarpaqlarda ağacın təkrarı

yarpaqlarda ağacın təkrarı is a phrase taken from the poem by prominent Turkish poet Nazim Hikmet. English translation of the phrase is “…the repetition of the tree in the leaves”.

Premiere: November 19, 2013 | Lindsey Jacob (alto saxophone), Tyler Niemeyer | University of Cincinnati, Cohen Family Studio Theater | Cincinnati, USA

Nar’s dream

Premiere: December 19, 2008 | Contempo Ensemble | Baku, Azerbaijan


Premiere: November 22, 2010 | Andrew Roitstein, Gregory Chudzik | Manhattan School of Music, New York


Premiere: October 9, 2009 |Lisa Premiesberger (bass clarinet), Jude Traxler (marimba), Mariel Roberts (cello), Anne Rainwater (piano) | Manhattan School of Music, New York

accentuating the green color

Premiere: October 30, 2009 | Lisa Premiesberger (bass clarinet), Mike Perdue (marimba) | Manhattan school of Music, New York

9 rubai

9 rubai is composed for flute and guitar. Rubai is a poetry style. It is used to describe a Persian quatrain, or it is derivative form in English and other languages. The plural form of the word, rubaiyat is used to describe a collection of such quatrains. The most commonly used form of rubai is AABA form. 9 musical quatrains are composed and separated from one another by silences. The essential thing in the form of rubai is its rhyming aspect as all the lines have the same rhyming ending except the 3rd line. The similar form is followed in this piece. The endings of the phrases of all the lines except the 3rd are similar to each other, which also provokes a unique listening experience.

Patterns of the ink dissolving in water

Patterns of the ink dissolving in water is composed for solo flute. The title strictly refers to the image of the ink’s dissolving process in water, which is meant to be imitated by the structure and the notation of the composition. It is the end of this process when water and ink become one single, so it is for musical elements in this composition. Echoed with this sounds what Movlana Jalaladdin Rumi has said: “Don’t grieve. Anything you lose comes round in another form”.

Premiere: March 29, 2010 | Erin Lesser | Manhattan School of Music, New York


Premiere: October 16, 2010 | Kenji Fujimura | Iwaki Auditorium, Melbourne, Australia
“Unique Forms of Continuity in Space” Composition Competition

Another inadequate gift

Another inadequate gift is composed for solo marimba. The piece randomly reflects events that are depicted in the miniature which is attributable to 16th century Persian calligrapher /painter Mirza Ali. The notation of the piece is also pretty much inspired by and derived from Middle Eastern miniature paintings which include in themselves the text – a short story alongside the painting.

One of the essential primary thoughts behind the piece is to gain the simultaneity of sounding two different but somehow similar musical events/spaces/materials. The intention is to create an atmosphere or sense of multiple personality disorder.

The text below is the English translation of the particular story included in the miniature.
“Determined to get to heaven, a king visited a hermit and became his disciple. Whenever he went to the holy man he brought a valuable gift, which the recipient invariably spurned. Baffled and annoyed by this, the king went hunting instead. After killing a brace of ducks, he was inspired with the happy notion that the ascetic might better appreciate these simple useful things that his previous richer offerings. But when he presented them, the holy man responded as before. At last the king understood: meaningful gifts come from lifelong devotion, the only certain road to heaven.”

Premiere information forthcoming.

espacio blanco para toda la nieve

espacio blanco para toda la nieve is composed for the “15-Minutes-of-Fame” project and dedicated to pianist Shiau-uen Ding.

The composition is a musical response to the poem “El future es espacio” by Pablo Neruda. The selected part of the poem indicates the structure of the composition. Every eight note rhythmic division is applied to each syllable from Neruda’s text. Pianist is whispering the lines from the text for appropriate bars of music and the text becomes the background consisting of blurry/cloud-colored whispering sound texture for the traditional music sounds.

Premiere: February 12, 2012 | Shiau-uen Ding | Jan Hus Church, New York
Vox Novus Composer’s Voice Series, 15 Minutes of Fame: “Pieces pour la fin du monde”

turş gilənar dadlı fikirlər

Premiere: November 17, 2009 |Sergei Yelizarov (flute), Merkurio Karalis (clarinet), Samuel Price (trombone), Mihaela Despa (percussion), Irina Gintova (violin), Anton Vilkhov (viola), Hye Ri Kim (cello), Svatislava Luchenko (conductor) | Culturescapes Festival, Zurich, Switzerland

Two dances

Premiere: July 24, 2013 | Azerbaijan State Symphony Orchestra, conducted by Fakhraddin Karimov | Azerbaijan State Philarmony, Baku, Azerbaijan
5th Gabala International Music Festival