The three movement Sonata ‘Father and Daughters’ composed by Ozan Yarman in the Summer of 2003 for two classical kemenches and a pianoforte with inspiration from a solo sheet music by I·hsan Özgen and his request that it be scored into a polyphonic contemporary work, appears to be the first example in its field following a quick survey of the repertory. The first movement of the work – one exhibiting a Yarman-Özgen meld of usul-makam motifs sculpted through Yarman’s compositional workmanship – opens in 10/4 meter and moderate tempo with a tell-tale Eb Major ensuing from Jazz chords advanced by the pianoforte, to reach a Bb Major cadence after freely visiting several tonalities, be they far or near, sometimes too in polytonal and atonal styles; the second movement reveals a G Kürdi canon in 4/4 meter and languorous tempo, circumnavigates around various tonalities, almost gives rise to an experience of ‘Baroque aires in the Topkapi Palace’, and concludes with Bb Major; the third movement starts with G Rast in 4/4 meter and swift-paced tempo, hurtles through a 5/4 meter zone halfway without reducing speed, and after visiting the 4/4 meter bars a final time, exclaims in capitulation with Eb Major in 5/4 meter. While a sense of nostalgic dejection overpowers the work’s first two movements, a surging dynamism is witnessed in the third. The kemenches ‘buzz and sting’ like angry wasps, so to speak, the harried and maddened giant represented by the pianoforte. The ‘infuriated’ piano ‘wearies down’, to put it metaphorically, from the call & response struggle it engages with the kemenches. The kemenches, in turn, ‘playfully fade away’ at the end. It goes without saying that the piano is not tuned to 12-tone equal Temperament. The composer has sought to unify the pianoforte and kemenches in a painstaking equilibrium in the Sonata. The evenhanded distribution of weights and priorities to the instruments with a mind as to their respective registers and expressive powers has been accomplished to a great extent. The work is much demanding from a technical and artistic perspective. Yarman’s Sonata requires a considerable deal of labour, patience and heedfulness whether from the standpoint of the realization of nuances and dynamics, or of the high-level pianism and uncommon passages that loom to tax thekemenches. Although, time constraints, ongoing engagements, projected costs of ‘paid-by-the-hour performance’ and the precariousness of its success did not permit a full live execution, a ‘synthesis concert’ that comes close to the desired realism has been mastered nevertheless. The 10 minute long Sonata that uplifts the microtonal climate particular to the kemenche on to a ‘neo-romantic polyphonal Chamber Music’ level has been wholly presented for the first time at the Kemenche Symposium to interested parties as a realistic mix-down that came to life in digitalized fashion via Yarman’s home-studio expertise. During its audition, the work was possible to follow via a slideshow of the score. In addition, the music was evaluated at the end of each movement and at the conclusion of the piece.