slow enough well bound and melancholic look light but strong slow down repeat well by found a grand eyes or to become fat GR in French particularly detain please slower outside to slow down broadminded or breath or Vision As I understood it when I was young false translation do not turn in a very singing manner positively better again scratch not fast smile with pleasure naturally since then outside without malice direct visible from the corner take to sing necessarily a lot to be seen do not sp
eak say precious cresendo that doesn't need translation look alone opposite real retain nobly those were the instructions the French composer Eric Sati gave to the musician in his composition for piano for hands called you see here the first presentation of this piece in kosma Museum of Contemporary Art in Helsinki and then here you see its second presentation the next year in y kazim taskin art gallery on E in Istanbul so the piece takes a different form depending on the space here it Embraces
all the nukes and corners of the space here in AR you have it now in my exhibition that bears the same title L de and uh here it's like the first version it's just one taking one corner but it can also be just a straight line sometimes I've shown it like that the point in this piece is that as a young girl I played this this composition by Sati with my teacher and I remember those instructions that were poetic and weird and uh somehow really intriguing for the for the mind of a maybe 11 12 year
old person as I was then and we didn't speak French neither him nor me nor his wife who nevertheless translated the the titles for us uh and they kind of remained in my memory for decades because then we go like we jump 20 years or more in time to this moment when I finally actually used them to make this piece where I took all the instructions in the order of appearance and uh I attached an image to each of them sometimes I made a picture sometimes I found a picture in my archive something that
I have not had not used before um it became an important piece because in a way it's it summarizes what I had been doing since then I was quite a young artist in 2005 uh I had less than 10 years of practice behind me but this piece somehow synthesizes what I had been doing it has all the light motifs or like the themes with their variations that I was treating by then or had been working on it's a lot about the geometry of a simple landscape this water Reflections uh that's the color of of sky
or color of light there's the ren figure the figure seen from the back that originates from the German romantic painter KAS David F who is one of my references since the beginning and then there is a big theme uh of love I can't find a better word it's a big word but but um this piece uh happened when I had just met my partner Lowry and it tells also about that I'm getting I'm getting emotional um how did we come here here is the reason this man is Ken BL whom I've had the pleasure to work with
on on several occasions um he brought me to is but that was not my first time in Istanbul actually I will quote him because he he puts it well here in the exhibition text my first encounter with elen bres and her work took place in 1999 in Istanbul she showed a series of photographs titled street fres at the sixth International Bal that depicted subjects with tiny pieces of paper that was posted stickers actually stuck to them labeling them by name in French a private and humorous self-study uh
course in the language of the country to which she had just moved from Helsinki if the cheerful light-heartedness of the works in the S Fran recalled the composition of the same name by Johan Sebastian bah so a later photo series actually earlier but never mind do me the girl spoke of Love cites another great musical work here the title is a line from the first song in France schuber v a cycle of some 30 leads of farewell and aimless venturing into a winter landscape like the music the images al
so are full of tenderness Melancholy and poetry also large de the major new cycle of photographs displayed here in yapi in 2006 if I recall correctly is dedicated to a composer Eric Sati May well have been one of the most enigmatic composer personalities of the early 20th century he often annotated his highly ironic compositions which were closer in spirit to the radical concepts of visual artists than to any musical tradition with more and always unacademic performance instructions some of thes
e instructions by the composer engraved by elen bres in the glass of the frames have become titles of The fortifi Works which once again are lighter Freer and also more self-ironic than those in the Scher cycle end of quote this is my first exhibition 1998 in Helsinki it's my ba show actually I just got my bachelor's degree and this is the the series Ren speaks about so we have pieces here uh the big triptic in the back is called my mother's wedding dress my father's wedding suit my mother's fun
eral dress because I lost my parents when I was quite young so then I found these clothes years later at my grandparents summer house and I tried to establish a contact over like across time with with my parents whom I never knew as an adult and uh here is from the Istanbul banial 1999 where I showed both the street Fran and a part of the these are my wedding portraits I got married way too young and then the next year I divorced this is the divorce portrait it was equally important a moment in
a person's life so I thought this also needs to be documented but my my now ex-husband did not want to join for this picture but it's taken on the same Bridge you know here we were below the bridge I cut my hair and I gave him my hair that was the symbolic thing of you know giving something important from yourself to to the other and then I'm on top of the bridge now and then you see that that ship that's sinking at the same moment which which I didn't realize when I was actually taking the pict
ure but it became like Wordly symbolic event and I I took off my ring and I threw it into the water for the future archaeologists to find still the same series I was supposed to talk about my relation to music so I also tried to pick some pictures where music has a certain role here you see Miles Davis Kind of Blue on the floor so it might put a little soundtrack in your head when you when you look at this picture which is called false memories and this one is called epilog it was another story
after the divorce and you know an impossible story that's why the gloves I give titles to pieces I think titles are important because I don't think artists need to give like a user manual to the art I think people are creative enough to to watch art without explanations but I think a title is a good like a tiny guideline so when the title is epilog it already kind of gives you a a key to the piece I think and then the other series Rene mentions the one with postage stickers that's when I as a yo
ung artist moved to France first for an artist residency but then like it happens when a young person and divorced you just might stay because there's no other plans so um I was three months in a museum in Shalon in burgundy and I didn't speak French when I went there I I had barely had the time to take a beginner's class at the summer University to learn to say who I am and where I come from so it was really necessary for me to to learn French because people didn't speak speak English there the
museum director and then the one guy I met who spoke English who became my boyfriend so French uh vocabulary was was important so my my method was Post-its I was just writing the names of things on Post-it stickers and and putting them on objects first and then later also on myself to to kind of depict more abstract things but because photography is a time machine I can't help showing you this now it's the same room the same mirror but 12 years later here again 1999 and 12 years later because t
he museum asked me uh in 2012 to to come back to actually do a workshop for local high school students and without understanding why I said yes with the condition that I can stay in the same dormitory where I was as a young artist because somehow I thought that something might happen this one says content on fun finally happy finally content and then here the same room 12 years later still asking myself the same question maybe um here like in a midlife crisis um so I wanted to put myself in a si
tuation like let's do this like an animal experiment on on myself what happens when I go back to my roots in this country that has become my second home but which is also the place where I became I think I finally became an adult I an independent person and also I became an artist because they took me seriously they they treated me like a real artist although I kind of strictly speaking was still a student because I hadn't uh given out my ma thesis yet when I was in The Residency but then 12 yea
rs later you can see that I did learn some French uh and here I'm kind of summarizing my situation then I was about 40 years old and I'm talking about um this the piece is called the [Music] um like the morning the young me who has been in a way like a pan idea and I I write that um life has not been how I expected it to be and it's soon time to accept this and to mourn for the dreams that are not going to come true it's time to mour BN for the young me for the how do you translate that the the
last time is it maybe yeah the young me who has been and this was also the start of the geometrical landscape that then became such a big theme in my work in uh in shalom in the beginning I did kind of like Central perspectives but often it was a bridge so that you would not see the other end it would be like the Horizon that you not you cannot see further than the Horizon because the Earth is curved and then the next year after I finished uh in France I I went back to Finland briefly to graduat
e and um and then I had an exhibition in Iceland and when I went there I had an important conversation with a with a gallerist Eda Yun doter who said that she thinks that photography is the new painting and I thought wow that's a very good title so I stole it from her and called my serious the new painting because I realized then that I'm dealing with kind of same themes or same subject matters that have been like the realm of painters until until our days so yeah like the the the theme of the y
ou know human figure how to depict it in a in a space um how to divide the picture plane what is the simplest landscape it's a horizon it's just a line and and when the line goes further and further down how down can you put it and still kind of consider it a a landscape and when does it become just like a color field or like a Barnet Newman stripe and you see the the Waterfront the bather the the very classical themes that then kind of naturally came into my work because I was then parting my t
ime already between France and Finland I kind of first going to France I never quite left so I always have had since then one foot in France and one foot in Finland and uh third and fourth foot or my hands maybe than everywhere else because I I like to to move a lot I'm an impatient person so I need to you know see new things um and then the r figure the figure from the back which is here of course um an illusion to to fre um this famous painting the wonderer U neare the werer above the Sea of f
og and again I can't help showing you this this is much newer this is from 2021 during Co when all of a sudden we could not move about and I had to stay in Finland for almost two years which was highly exceptional so I went to to one of our national parks with my fish bag the tote bag with this famous painting and the same coat that I'm wearing here um you know I I keep things I never throw stuff away so I have the same coat that I had when I was 25 um and and there's a beautiful story to this b
ecause you know fich is it's his 250th anniversary next year and the famous painting which is in hural is now traveling it went to two other exhibitions prior to the big anniversary exhibition that opens in December and they asked me if they could replace the painting on their wall with this Photograph and uh I can't tell how how moved and flattered and surprised I was and I thought if only that young artist I was this young insecure person would have known that one day her piece will be replaci
ng the the original fre painting I feel very very grateful for that so the words in the in the Sati piece that you have here in in Ara they are engraved on the glasses that was um I don't know where the idea came from because I was thinking how could I incorporate text in the images first I was thinking should I write it on the te on the on the print should I write it on the wall under the print should there be like a little maybe a silver plate screwed to the frame like they did in olden times
in museums and then out of somewhere you know from outer space case the idea dropped to my head like what if I engrave them on the glass and it's quite nice actually because depending on the on the light that you have on the piece either you see it as a shadow or you see it with the engraving which is then like kind of like white or you see both at the same time and there's one more important thing to to this this Sati the the synthesis of of what I had done so far but at the same time without m
e knowing it was also a prediction of what comes next because this is the first score-based work I did in a way what is a score the fluxus artists in the 19 um late 50s or actually like early early um 60s mostly I would say um they invented this concept of of event score because one of the first ones were students of John Cage and uh cage was teaching a class of experimental music music in the new school in New York and because his compositions or the the students compositions kind of started to
drift further and further away from being just sounds uh they started to to call them not musical scores but event scores and I got to know about these event scores actually again through Renee block Renee is Always Somewhere behind my back I feel he has helped me so much um because I kind of uh ended up in a in a writer's block when I was um you know something like 2015 I felt like I had done everything I was able to do being both in front and behind the camera I had kind of used all the possi
bilities of of my body and my imagination so I went to Berlin to um to see a show of of Rene's archive and private collection and there I saw these little pieces of paper on the walls and in vines with strange texts and I asked what are these and and then he explained that these are event scores so fluxus artist often wrote A Little Instruction so that anybody could actually do the piece like how however they want to perform it so here then I asked him like what if I use them could I would it be
okay that I use them and uh sort of have them trigger New pieces in my own practice because I felt inspired you know by reading these things and he said yeah sure it's it's totally okay just remember to mention who is the original artist behind the score to to be polite so so then that's precisely what I did now you saw um a piece by mosio me called um mirror piece and the instruction is uh stand on a Sandy Beach watch yourself in a mirror step into the water but then of course I had to come ou
t from the water too so that's when I that was then my own invention that I turn the mirror around and when I walk back then the mirror is actually showing where I'm coming from and uh now I want to share also a piece by cage with you um this is maybe the most famous piece by John Cage called um 433 I'm not going to show the whole thing because it's a bit long it's 4 minutes 33 seconds actually a little bit more in my piece because I also have the entry and the exit but this is the so-called sil
ent piece which is actually not silent at all the idea is that it's it can be for any instrument uh it was first performed on the piano and then there's three parts in the score and The Pianist who walks in puts his notes on the puts his uh score on the piano and then he marks the beginnings and the endings of the three parts by opening and closing the lid of the piano but he does not play anything he just sits there that's the piece that's why it's called a silent piece but then actually we hea
r all the amb it sounds like Amplified because people get worried like what's going on here and they start to make noises themselves so that becomes the piece and here because there was not a piano in this place where I'm performing I did it uh singing so I'm opening and closing my mouth I'm just going to fast forward it for you so now it's another part and then the last part and then she goes away so I started to do a lot of these fluxus pieces um at the same time I got nominated for two prizes
and that was a great motivation there was one prize in Switzerland and one prize in Paris so I needed to produce a lot of new work so then I I did a lot of archival research I I went to to different Museum libraries and bookshops and online Etc to to find scores and some of my pieces are like really quite straightforward interpretations of rather like U yeah some of the classical scores like here we have George bre black suitcase white objects or here we have Yoko Ono lighting piece light a mat
ch and watch it until it goes out or here we have um again mosomi falling event let something fall from a high place and it's followed by George re's drip music many of these exist in both still photography and moving image because often I didn't know which one I prefer so I did both and uh then depending on on the curator or on the space sometimes I S I show one or the other or even both um they're all on my website if you're curious to to see the video videos you're welcome to to watch them th
ere I will show you some though this is a funny one this is again MOSI this is a musical piece called passing music for a tree so it's um you have to make something uh somebody or something pass a tree uh and each time in a different way these are all very short like 1 minute 2 minutes 3 minutes maximum and because the the price in France that I actually won uh it's quite funny it was actually sponsored by the how do you call it you know when you bet for horses the horse race betting company it'
s in France it's called pm and uh they had this this prize called carto blanch pm and when I got selected there was a jury and all and there was one member of the jury from this company and then I heard later that he had said like okay I don't understand this Choice like what that this artist has nothing to do with our company and when I heard this I was like oh he wants some horses I'll give him some horses so here we are um per performing the different like the all the different ways horses mo
ve my friend here she's a she's a proper dancer V deal is her name and I've worked a lot with her since we were both students and we we contined to do things together this one is my favorite this is the the Icelandic hsees this oh I'll show you one more mosomi actually this is a fun one as well um this one has the same title as one of the videos we have in our show this is called wind music but it's very different you will see [Music] for [Music] [Music] [Applause] [Music] let's move on and just
show you the score scores are blown away from STS by wind from a strong fan in the wings as the orchestra tries to hold to them so very literal interpretation a score can be anything it doesn't have to be something that has been written to be a score here we took a line from one of my favorite childhood books uh the Ming Ming trolls and there was uh one part where they made um false teeth out of orange peel and then there was a nice uh footnote from the author um if you don't know how to make t
hem ask your mother she will know well we just made up our own teeth and uh this is the result and uh here's a piece inspired by ADI kka uh who said people ask why I answer why not and that has become like my slogan it's a wonder ful thing actually to be an artist you can do anything and why not so just trying out the the the funniest uh things is um is a privilege of the artist we can continue to play even if we are adults I think it's one of the only professions where that is possible and even
encouraged sometimes my friend was not available so because for this um for this thing this price in Paris I actually uh to make it different from the Swiss priz to be able to say okay I'm doing something completely different for you guys I invented uh this doppelganger so I said okay in all of the pictures there is this other person I'm not alone I'm performing everything together with someone and sometimes she couldn't make it because she was sick so then I I did this called the performance i
s cancelled due to illness and then it's like her presence in her absence or this one too where uh I'm pretending it's her but it's actually somebody else's hand coming coming into the picture and this is my dog he's a very good collaborator marello um the trick is to to have some treat in my hand so then he stands very still and waits that he gets the treat um this one is called fluke harpsicord concert uh and it's it's dedicated to to Renee once again because Renee organized in dorf uh uh this
this evening fluxus evening called the flux harp Secord concert where all the pieces were performed on a harpsicord and it happens to be so that I also have a harpsicord this is my Harps Secord and I built it when I was young because at some point when I uh I was playing the piano when I was young and then at some point I kind of stopped uh advancing because I didn't have enough time to practice then my wise teacher said well why don't you change instruments so then you can get this nice feelin
g of getting forward again so they had just bought a harpy cord to the music school and then I went first to to practice there like three times a week and then the next year my teacher again said hey I found this this amazing summer class where you can build your own Harpy cord and it's like four times cheaper than buying one like a real readymade Harpy cord so I attended the class and then I made this Harpy cord so I still have it and um and this there's another score actually behind this piece
which is by um George maunes it's um piano pieces for Nam Jun now I might say something wrong what's it for Nam Jun Pike huh I can't remember now we have to double check this later but anyway the idea is that you put a dog or a cat or both inside a piano and play shop I collaborate with some other people sometimes this fantastic lady is Valley expert so she's like the uh feminist avanguard person I respect her very much and when I did a show in Vienna the curator said that they would very much
like me to collaborate with somebody from Austria in the same way as I had did with my finnished dancer friend so then they actually knew Valley export and uh invited her to to do a piece with me so I I chose this title of her old piece stand up sit down and I don't even know how she did it I was just like reading a catalog reson of all her pieces and I I took this title and then I made the t-shirts and um I call it disobedience and another Austrian artist irin WM who did the famous one minute s
culptures so here's one one minute sculpture where it's it's Irvin and me who are uh reenacting it and he was also very sweet because you know he's a he's a big artist I mean also like Valley expert they didn't have to do this but they they both were so kind to to agree and then a was even we we're working in his Studio outside Vienna and he was saying like first we took a picture and then he said wait wait I put on my coat so I look heavier and then I take another picture and then he goes wait
wait I put on my hat so I look funnier and this is then the one that we chose in the end it's called caran levitate or a score can be another artwork here I'm uh of course referencing the the famous uh youth uh piece by Bruce snowman where he um he's making the fountain and then he said that a true artist in is an amazing luminous Fountain so that's of course yeah a little tonguey cheek but Artist as Fountain and here Artist as lamp um I'm also quoting a book now I can't remember the title nor t
he author but uh I have it on my website I can check it later um so the idea was that in art history um the artist had been considered earlier like a mirror who is mirroring the world showing the world as it is and then later on after Romanticism artist became like the lamp or the fountain who is just like um yeah ideas are sprouting out from the artist so so this is an ironic uh sort of statement about that and then I also make my own scores sometimes this one is called bad camouflage because I
happened to have this um flower probe for going to an opening and then my hotel room had these flower curtains and then to add another layer to it I decided that it has to be an installation piece and it can only be shown on floral wallpaper so the museum or the whoever owns it uh can choose the paper but it has to be with flowers another artist I'm often uh referring or or or working on is John basari and he had this this fantastic piece called a make a piece um using for instance one gallon o
f paint so I did a little bit less than a gallon but I did a um a full little bottle of nail polish so here's the result baldasari had this list of art ideas that he gave to his students if they had no ideas of their own from which to make a piece there was something like 150 art ideas in the list and uh I have been using them quite a lot uh when I teach and when I saw how much fun the students had with the basari ideas then I thought okay I want to use them myself too so I've been doing a numbe
r of them here's another basari piece um there is this this piece where he gave an instruction to a photographer that bisari was throwing a ball in the air and the photographer had to try to capture the ball in the middle of the frame and in that way he was um not able to to compose the picture too well because we're all like prisoners of our good taste and we always want to make these very nice composition so so that exercise kind of brings in the the the stochastic element and and prevents you
from from framing too well and I sometimes of also present it this way that I align the ball so so then the the line comes nice and wavy and this one of course led to the um the musical piece Aur that we have here let me see if I have it I wanted to show it to you as well do I have it here yes I do it's only one minute and I really love this [Music] [Music] so that was my own score again it was just the idea of uh using the electric lines as a score paper and then throw snowballs and see where
they end and then kind of write the positions on a on a score paper and then the music was played by Ma Savi Kangas on um on a viola picato so then it remains like a SoundCloud of these bouncing ball sounds and then the other big video that I have in the show here is called wind music um and it's about a scarf flowing in the air and these are the kind of precursors for that piece these I just call them measuring wind speed and uh in the piece that we have here then it's actually the it's a slow
motion video where the scarf is flowing in the air and then the the position on the Y AIS and the surface area of the scarf are mapped uh by a comp computer geek and then that's translated into into sound so so the important thing there is that what we see is what we hear and to finish with I would like to show you my newest work which is unpublished uh at the moment this is something I'm working on right now for the museum uh Museum schlo moand in Germany the director an Brit Melman is here in
the audience today and um it's all about Joseph Boyce because moand has the biggest Archive of of Joseph Boyce in the world correct me a if I'm wrong and also a big collection of his his works a lot of his his early works are there and Auntie M is the new director of the museum and she wants to sort of you know get the dust of boys and and do uh Contemporary Art around this very iconic figure so I was uh invited to to do my take on boys um I'm taking him to places first I took him home this is u
h celd a place where he he he had his two very good friends the fond grinton brothers who actually like saved him when he was he was very ill at some point he had like a kind of like a mental breakdown the brothers took him home to their home and he was he was living there and uh walking on the fields to to feel better and and sleeping in their house so this is boy convalescent and then I have been to the K Academy in dorf where he was very active so actually yesterday morning I had the honor to
to interview one of his former students uh Emil schul uh who is also you know the the member of cvac the the band so he was a boys student and um he told me wonderful things about how boys was in in the school in the classroom he would always be the first one to arrive every morning he was there early and he would be sweeping the floor of the classroom and he would be you know sitting at the old piano and playing something and then the students came and then he went right to them and he discuss
ed with them all the time and he was so different from the other teachers the other professors who would show up maybe once per week this is the room where he had his so-called uh free International University because boys considered um his teaching to be open to everybody so he would accept anyone on his class not only those who were officially enrolled in the university the class was open and that was one reason why he was also kicked out from the school because all of a sudden you know instea
d of having uh 500 students at the Academy there was like double because of boys having them all there and he was like totally not obeying to their rules so they kicked him out and that was a big drama this is the room and um because I'm also like carnivalization taking him to other places here I took him to the beach in Normandy I take him to I took him to my exhibition so here Bo is watching marello watching me watching out from the margarit window I took him to Switzerland I don't know if he
was there ever I took him to laav to see the ne wano and I took him to Venice he of course was in Venice because he did the bional that was one of his major shows in the German Pavilion but the funny thing is that when I investigated I spent like three days in the archive in the museum looking at all possible books they had and uh their huge photo archive I could not find a single picture of boys in Venice outside the German Pavilion so I thought poor guy he was there and the only thing he saw w
as the Pavilion from the inside so I took him to see the sites and then this is very new this is from last week I was teaching in Finland a master class international master class in the countryside so um the deal was that I'm also working so then you know when I teach I teach by example so I get up early in the morning and do picture so then in the evening when we go through what everybody has done then I also have something to show so this is boys with a shipwreck this is Bo as Target and this
is boys in the castle of the museum moand with a grand piano to remind that Bo also played the piano and here is boys in bed somebody else because of course it's not him but it's not quite me either in a way boys is the Hat he said that like the rabbit has ears boys has the hat so it was kind of it was such an iconic part of him that we only need to see the hat and we think of boys so in a way by bearing the hat and taking taking the hat to different places is like a reminder of of Bo and sort
of like a yeah re um actualizing maybe his presence also and bringing it to to our day to the Contemporary context this was my last image I can show you one more video if you like or we can use the remaining five minutes for questions if you have any one more video okay now I will show you another work in progress um I'm working with an orchestra in Norway with a conductor Avid odland and uh there's a concert hall called shien in southern Norway in Christians and and next to this concert hall th
ere will be a very very big beautiful new Museum called Kuno and they together commissioned um a conductor and an artist I'm the artist to to do a concert where I'm making new videos to the pieces of music that we have selected so I have to ask please when I show this um don't include it in the in the documentation video of this event because because I have not cleared the rights for the music this is just a trailer so that um so that the agent uh of the conductor can show it to other orchestras
around the world so that we can hopefully tour this piece um the concert is called overseas and um it has all to do with water there are three longer pieces 10 minutes each and then as interlude um there is old music the new pieces are by um Miss Mai and Holly Harrison who are both young women composers and the third one is ARA Kos in memorian Benjamin Britain a very beautiful piece that I I really love and then the the inludes are John daan's variations l so we have contempor very contemporary
and then Renaissance uh twined uh in quite a quite a nice Rhythm quite a nice manner [Applause] so so first I speak in English uh is there anyone who wants me to speak Turkish if not okay quickly that's the so we start with a surprise uh now Al and I will play a only the first and the second movements it is in so we're going to play the Pastoral and the coral the third one is a fug as one can guess these are uh humoristic um interpretations by for example the second one uh you can think of it a
s a mo piece uh to a b Coral Maybe first one you know the Pastoral music especially in Renaissance which is a happy um music a music and this one is in 68 fore [Music] spee speech forch spe fore spe fore speee [Music] [Music] good so now we have a little piece called a Dar P which can be translated as penultimate thoughts to English second so this is composed in 1950 and uh starting from 1910 sa started to compose uh humoristic little miniature pieces for the piano uh as Elena also showed um the
one on the know very um enigmatic um lines so he also uses the same kind of lines in here this uh I will only play the first and the third one from this the first one is Ed and it is um um it is uh attribute to the and the third one is medit that one is a tribute to Alber rousel and um at first the name of this piece was strange rumors but then said he wanted to change it so in all of those uh there is a there's an tinat figure and then uh all of them are like bonal pieces and up on that tinat
figure you have a nice Melodies so the first one will be e and the other one medit and Med in the there's a poet who is locked in a tower where he's beset by winds and you're going to hear the winds the winds that are manifestations of the devil but uh actually the poet thinks thinks they are his Muse but unfortunately you know they are manifestations of the devil and in the end he's very disappointed so a quick Turkish translation [Music] for forch forign [Music] speech forign speech for speech
foreign foreign foreign fore fore foreign forign speech fore speech forign speech [Music] foreign foreign speech for speech fore spe fore forign speech foreign forch foreign speech speech [Music] [Music] so the next piece is uh the first two from veritable prud flk uh which was written in 1912 uh we can translate it as real flabby preludes and this is again from uh the humoristic Miniatures um this one is [Music] actually it is written for dog and this was um really something s really wanted to
do to write a piece for a dog and he first attempted to write one and then he threw it away and then he wrote these ones so the first one is the sere reprimand in which the dog gets a sere scolding and the second one is home alone um forign speech foreign speech forign speech foreign forign foreign speech forign speech fore speech forign speech foreign speech [Music] [Music] the next pieces uh there will be four consecutive pieces they are from called P frat which we can translate either as C r
ooms or C pie uh p in French um we can translate it as room as well and there's a reason why these were composed back in 1897 in a period um in which SA really suffered um economically um he had a hard time um earning his living and he was like u in this tiny little apartment in Paris which was really cold and he had to put on all of his clothes in order not to um shiver at night so that's why he wrot these pieces um it's a total of six pieces uh three airs a of which we can translate as three p
ieces which will make you run away they're so horrible you don't want to run away and the other three are dances uh I will play all of those dances there are dance which can be translated as C um so Turkish speech fore foreign speech fore foreign foreign spe fore fore foreign for speech speech dances foreign spech spee forign speech speech speech foreign speech speech fore speech speech speech foree spee spee foreign speech I [Music] [Music] for [Music] [Music] o [Music] [Music] is [Music] and t
he last one is I'm pretty sure uh everybody knows this uh this is one the jop uh which is written in 1888 um it's not certain but they say of well actually in ancient Greece in the times of Plato and Aristotle um in the Greek civilization um physical education and music education were so import uh for children and um some say these pieces kind of symbolize um back then uh in which you know in classes these pieces were um played and um the students danced uh to these um so I going to play the fir
st song foreign speee for for speech speech foree for speee spech for speech foreign fore foree foree foreign foreign speech fore fore [Music] fore [Music] you [Applause] than thank you for this wonderful gift you have given us I give you this imaginary bouquet it's a very big bouet they are blue okay Bo said that music is a message from the future so with this message uh we wish you all a very happy holiday hope you will relax and listen to some beautiful s music uh these were discoveries for m
e for the most part so wonderful thank you so much and thank you
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