Greek Turkish friendship through music

Ayvalık & Midilli Mutfağı (Aivali & Lesvos Kitchen)-Pınar Atay Başol

2009-12-20T15:18:00.001+02:00

Title: Ayvalk & Midilli Mutfağı (Aivali & Lesvos Kitchen)
Author: Pınar Atay Başol
Label: Alfa Yayınevi
Year: 2009
Pages: 253
ISBN: 9786051061207
Language: Turkish

It contains that food cultere of Aivali & Lesvos..

"Ayvalık'a yolunuz düştüğünde, yaz olsun kış olsun, her zaman birbirinden lezzetli otlar bulabilmeniz mümkündür. Belki de adını yeni duymuş olacağınız istifno, deniz börülcesi, susamotu, radika/hindiba, yaban ıspanağı, muhliye, ebegümeci, kuzukulağı, ısırganotu, cibes, hardalotu, yaban sarımsağı, akkız/şevketi bostan, turpotu, yaban kerevizi, kazayağı, arapsaçı/rezene, leylekgagası, zoho gibi nice otlar...Bu otlar nerede, hangi mevsimde yetişir, hangi yemeklerde kullanılır ve nelere faydalıdırlar? Pişirilirken dikkat edilmesi gereken esaslar nelerdir? Hangi et hangi yemeğe yakışır? Hangi balık hangi mevsimde bulunur?Pınar Atay Başol'a dedesinden miras kalan tarifler, annesi Afet Atay'ın da katkısıyla bu kitapta toplandı. Ege yöresine özgü, hem sağlıklı hem de hafif tariflerden oluşan Lezzet Sırlarıyla Ayvalık ve Midilli Mutfağı, Ayvalık'a özgü hafif, sağlıklı ve lezzetli yemek tarifleriyle dolu."

Yiorgos Kaloudis-Truth

2009-12-02T08:43:00.006+02:00

Title:Truth

Artists: Yiorgos Kaloudis (Cello), Sylvan Richardson (6 String El. Bass), Ruth Hill (Kanoun)

Label: DNA Lab

Year: 2005

Born in 1973 in Athens, Greece, and was raised in a music family. His love for the cello inspired him to attend the Athenaeum Conservatoire, Athens, where he received a Diploma under the instruction of cellist Claire Demeulenaere. He furthered his studies in improvisation with musician and composer Stavros Lantsias. The scholarship from the Fulbright Foundation granted him the chance to develop his personal technique on the instrument and to study composition, arrangement and improvisation under the guidance of Ted Greene and James Mahlis in Los Angeles. Upon his arrival he established “Faros” duet together with the saxophonist David Lynch. He composes music for films, theatrical and dance theatre projects and he also gives master classes, seminars and lectures on his unique personal technique on the cello, and creative ways of performing in modern styles of music. On the February of 2005 DNA LABEL records released his debut solo album “Truth”. Yiorgos Kaloudis is based in Athens Greece. He performs his own compositions as a duet with Ruth Hill on the kanun and as a trio with the bassist Sylvan Richardson. He’s also collaborating with Alkinoos Ioannidis, Stavros Lantsias, David Lynch, Takis Farazis, Yiotis Kiourtzoglou, Elli Paspala, and music ensembles such as the Music Ensemble of M.Hadjidakis.

http://www.kaloudis.info/

www.myspace.com/yiorgoskaloudis

1.April

2.Balo Sokak

3.Paramithi

4.Truth

5.Panselinos

6.Facing South

7.Anamoni

8.Parthenia

9.Epiloue

Samples

JORDI SAVALL & HESPÈRION XXI - ISTANBUL / DIMITRIE CANTEMIR

2009-11-30T16:17:00.010+02:00

Title: ISTANBUL / DIMITRIE CANTEMIR (1673-1723)
“The Book of the Science of Music” and the Sephardic and Armenian musical traditions
Label/Year: AliaVox /2009
Artists: Jordi Savall & Hesperion XXI

Classical Ottoman Music from 16th & 17th century, ISTANBUL..

HESPÈRION XXI

Yair Dalal oud, Driss El Maloumi oud, Pierre Hamon ney & flûte, Dimitri Psonis santur, Pedro Estevan percussion, Jordi Savall rebab, vielle et lire d’archet

GUEST MUSICIANS:

Kudsi Erguner ney, Derya Türkan Istanbul kemençe, Yurdal Tokcan oud, Fahrettin Yarkın percussion, Murat Salim Tokaç tanbur, Hakan Güngör kanun, Gaguik Mouradian kemancha, Georgi Minassyan duduk, Haïg Sarikouyomdjian duduk et ney « Beloul », Haroun Taboul tanbur à archet

Direction: JORDI SAVALL

"At the time of Dimitrie Cantemir (1673-1723), the city which stands at the crossroads of the continents of Europe and Asia, ISTANBUL for the Ottomans and CONSTANTINOPLE for the Byzantines, already marked a veritable high point in history. Despite the memory and very palpable presence of the old Byzantium, it had become the true heart of the Muslim religious and cultural world. An extraordinary melting-pot of peoples and religions, the city has always been a magnet for European travellers and artists. Cantemir arrived in the city in 1693, aged 20, initially as a hostage and later as a diplomatic envoy of his father, the ruler of Moldavia. He became famous as a virtuoso of the tanbur, a kind of long-necked lute, and was also a highly-regarded composer, thanks to his work Kitab-i ilm-i musiki (The Book of the Science of Music), which he dedicated to Sultan Ahmed III (1703-1730)."

more info: http://www.alia-vox.com/

Samples:
1. Taksim (Kanun, Viola, Oud, Kemence & Tanbur) Improvisation
2. Der makām-ı ‘Uzzâl uşūleş Devr-i kebīr - Mss. Dimitri Cantemir (118) Anonym (ancien)
10. Taksim (Lira) Improvisation
18. Der makām-ı ‘Uzzâl uşūleş Berevsan (Mss. D.Cantemir 148) ‘Alí H^äce (Ali Hoca)
21. Der makām-ı Hüseynī Sakīl-i Ağa Rıżā (Mss. D. Cantemir 89) Anonyme (ancien)

A Periodical - Toplumsal Tarih ( Social History )

2009-10-18T15:48:00.006+03:00

TOPLUMSAL TARİH ( Social History )

Description: A periodical published by the History Foundation since January 1994. The journal presents a fusion of the popular and the academic, each issue offering a number of interesting articles covering a wide field extending from prehistoric times to the present, the emphasis being on the Ottoman Empire and the Turkish Republic. The journal also holds an annual "History Competition" for university students, to raise the students' history consciousness and to accustom them to scholarly research and writing.

http://www.tarihvakfi.org.tr/english/default.asp

EKİM SAYISI:

Toplumsal Tarih’in Ekim sayısı Lozan Antlaşması’na ek protokol uyarınca Türkiye ve Yunanistan arasında yaşanan ‘Büyük Mübadele’nin getirdiklerini sayfalarına taşıyor.

Toplumsal Tarih 190. sayısında Türkiye ve Yunanistan’da büyük mübadelenin sosyopolitik, kültürel izlerini ve entegrasyon sürecini inceleyen ve editörlüğünü Nikos Sigalas ile Lisa Montmayeur’ün yaptığı “Mübadeleden Sonra” başlıklı dosyaya yer veriyor. Dosya içerisinde yer alan, Haris Theodorelis-Rigas’ın “Marjinalleşme Sesleri: Rembetiko Şarkıları Üzerinden Mübadele Deneyiminin Yunanistan’daki Yönleri” başlıklı makalesi mübadeleyle birlikte Yunanistan’a Anadolu’dan ve doğu Trakya’dan gelen mübadillerin yaşadıkları trajediyi rembetiko şarkılarını inceleyerek bize aktarıyor.

Yine dosya içerisinde, Mehmet Ö. Alkan “Selanik’ten İstanbul’a: Bir Muhacir ve Mübadil Olarak Terakki Okulları” isimli makalesinde Selanik’te kurulan Terakki Okulları’nın mübadele sürecinde İstanbul’a göçünün hikâyesini ele alıyor. Samim Akgönül “Soyadları Yoluyla Kimliğin Meşrulaştırılması: 1923 Türk Mübadilleri Örneği” başlıklı makalesinde Yunanistan’dan Türkiye’ye gelen mübadillerin soyadları aracılığıyla ulusal kimliğe dâhil olma süreçlerini inceliyor. E. Tutku Vardağlı ise “Birinci Kuşak Mübadillerin Siyasal Katılım Stratejileri Üzerine Bir Deneme” isimli makalesinde farklı sınıflardan gelen mübadillerin yeni geldikleri topraklarda nasıl bir siyasal örgütlenme içine girdiklerini ve siyasal katılım biçimlerini inceliyor.

Bulutları Beklerken (Waiting For The Clouds)

2009-10-08T07:56:00.007+03:00

Title: Bulutları Beklerken (Waiting For The Clouds)
Directed and written by Yesim Ustaoglu
Source Writer :Georgios Andreadis
Cast: Ruchan Caliskur, Dimitris Kamberidis, Ridvan Yagci, Ismail Baysan, Yannis Georgiadis, Feride Karaman, Suna Selen, Oktar Durukan, Irene Tachmatzidou, Damoklia Mustakidou, Fatma Parlagi
Year:2004
Time:92 minutes

"Turkish director Yesim Ustaoglu weaves a moving tale about the meaning of identity and the power of home. Along Turkey's northeastern Black Sea coast, beautiful valleys shrouded in mist hide terrible secrets about the country's bloody past. An elderly woman looks back on her long life after the death of her sister. For over 50 years, she has carefully guarded a secret about her distant past, but grief threatens to expose that she and her sister are Greek, not Turkish. In the early 1920s, after the Turkish War of Independence, Greeks were forcefully deported. But the old woman and her sister hid their true identity for five decades. Now she feels compelled to search for a long-lost brother in Greece.
Adapted from the novel by Georgios Andreadis, WAITING FOR THE CLOUDS follows an elderly woman living in Turkey on the coast of the Black Sea. There, she contemplates her painful past and the secret she's been hiding for 50 years."
www.cduniverse.com

http://www.ustaoglufilm.com/eng/waiting_for_the_clouds/index.html

About the Director: Yesim Ustaoglu

After making several award-winning shorts, Yesim Ustaoglu made her feature film debut with 1994's "Iz" (The Trace). The film was presented at numerous international venues, including Moscow and Gotenburg. Ustaoglu received international recognition for her 1999 film "Gunese Yolculuk" (Journey to the Sun). In competition at the Berlin Film Festival, "Journey to the Sun" received the Blue Angel Award (Best European Film) and the Peace Prize, as well as Best Film, Best Director, the FIPRESCI Prize, and the Audience Award at the Istanbul Film Festival. Yesim Ustaoglu's recent documentary, "Sirtlarindaki Hayat" (Life on their Shoulders) was screened at the 10th Annual Boston Turkish Arts and Culture Festival in 2005.

Selected Filmography:

Life on their Shoulders (Sirtlarindaki Hayat) (Documentary, 2004)
Waiting for the Clouds (Bulutlari Beklerken, 2004)
Journey to the Sun (Gunese Yolculuk, 1999)
The Trace (Iz, 1994)

Starting trailer of Yeşim Ustaoğlu's Bulutlari beklerken (Waiting for the Clouds) (2003). Archive film shots of the resettlement of the Pontus Greeks.

George Ivanovitch Gurdjieff

2009-09-22T18:17:00.005+03:00

Biography
Gurdjieff was born in Alexandropol (Gümrü), Armenia to a Pontic Greek father and an Armenian mother. The exact year is unknown; anything from 1866 to 1877 has been offered. James Moore's biography ("Gurdjieff: The Anatomy Of A Myth") argues pursuasively for 1866. Gurdjieff grew up in Kars, traveled in the Near East before returning to Russia and teaching in Moscow and St. Petersburg in 1913.
In the midst of revolutionary upheaval in Russia he left Petrograd (St. Petersburg was renamed Petrograd on September 1, 1914) in 1917 to return to his family home in Alexandropol. During the Bolshevik Revolution he set up temporary study communities in Essentuki in the Caucasus, then Tuapse, Maikop, Sochi and Poti, all on the Black Sea coast of Southern Russia where he worked intensively with many of his Russian pupils.
In mid-January 1919 he and his closest pupils moved to Tbilisi. In late May 1920 when political conditions in Georgia changed and the old order was crumbling, they walked by foot to Batumi on the Black Sea coast, and then Istanbul. There Gurdjieff rented an apartment on Koumbaradji Street in Péra and later at 13 Abdullatif Yemeneci Sokak near the Galata Tower. The apartment is near the tekke (monastery) of the Mevlevi Order of Sufis (founded by Mevlana Jalaladdin Rumi) where Gurdjieff, Ouspensky and Thomas de Hartmann experienced the sema ceremony of The Whirling Dervishes. In Istanbul Gurdjieff also met John G. Bennett.
In August 1921 Gurdjieff traveled around western Europe, lecturing and giving demonstrations of his work in various cities such as Berlin and London. In October 1922, he established the Institute for the Harmonious Development of Man south of Paris at the Prieuré des Basses Loges in Fontainebleau-Avon near the famous Château de Fontainebleau.
In 1924 he nearly died in a car crash. After he recovered, he began writing All and Everything originally written by him in Russian and Armenian. He stopped writing in 1935 having completed the first two parts of the trilogy and only having started on the Third Series which had been published under the title Life is Real Only Then, When 'I Am'.
In Paris, Gurdjieff lived at 6 Rue des Colonels-Rénard where he continued to teach throughout World War II.
Gurdjieff died on October 29, 1949 at the American Hospital in Neuilly-sur-Seine, France. His funeral was held at the St. Alexandre Nevsky Russian Orthodox Cathedral at 12 Rue Daru, Paris. He is buried in the cemetery at Fontainebleau-Avon.

His music:
Consideration of Gurdjieff's music begins with grateful tribute to his loyal and gifted amanuensis, the classically trained Russian musician Thomas Alexandrovitch de Hartmann (1866-1956). Although de Hartmann generously insisted, 'It is not "my music". It is his. I have only picked up the master's handkerchief ', it was he who arranged, scored and first played, the compositions which Gurdjieff inspired and indicated in essence. Gurdjieff, although not a proficient instrumentalist, variously attempted the piano, the mouth-organ, the guitar, and the portative organ on which, particularly in old age, he extemporised. He could score sufficiently to indicate the key signature and the fundamental melody. Altogether he commanded sufficient means to superintend a collaboration which Laurence Rosenthal has called 'unique in the history of music'.

Gurdjieff began his musical training as a choirboy in the cathedral of Kars, and was enthusiastic enough to seek (though unsuccessfully) entrée to the Archdeacon's choir in Tiflis. As an adult he acquired an intimate knowledge of Middle Eastern and Central Asian traditional and religious music. He also had an impressive command of Western speculative music and of 'mantric chanting' .

In all Gurdjieff composed around 200 pieces. Most of the Movements and ballet music were created in the early years of the Gurdjieff/de Hartmann relationship; most of the programme music (short descriptive pieces - tender, witty, elegiac, religious, humorous, etc.) in the period of intensive work between 29th July 1925 and 1 May 1927, when the collaboration ended. A third and scarcely precedented category is identifiable as 'ideological music'; for example, 'Holy Affirming, Holy Denying, Holy Reconciling' correlates musically the Law of Three and the Law of Seven.

None of these compositions is a slavish pastiche of ethnic music. Rather Gurdjieff transmutes and recanalises the subtle essence of an ancient tradition, delivering it to modern man as a summons to awaken and a support for his effort to be. Gurdjieff's determination to influence the West led him to express an œuvre redolent of Asia on that archetypally European instrument the pianoforte - to introduce the unknown in terms of the known. It is true that de Hartmann's specialisation (he studied piano under Annette Essipov, a teacher of Prokoviev and Schnabel) predicated his choice - but it is equally true that Gurdjieff chose de Hartmann, preferring him over Vladimir Pohl.

Emphatic rhythms feature strongly in Gurdjieff's music, especially in the men's movements. Further musicological analysis must begin by recognising the constraints inherent in Gurdjieff's choice of instrument. His rich melodies are evoked within predetermined harmonic schemes. Analysis will find strong emphasis on the tonic, and, since the music is largely modal, scant recourse to modulation. Rather we find a prevalence of grace notes which, gliding into the adjacent tone, somehow impart the taste of quarter-tones (unplayable per se on the piano). A characteristic feature is the elision from a semi-tone to a minor third; a favourite mode is D E F G A B flat C sharp D (sometimes the E is flat). Intriguingly, small recourse is had to the scale adduced in Gurdjieff's Law of Seven. (This is the modern major scale, an inversion of the Greek diatonic Dorian - E D C B A G F E - the mode operated by the Demiurge in Plato's Timaeus.)

Although the Gurdjieff/de Hartmann music is - as yet - seldom brought to life outside authentic Gurdjieffian circles, a representative introduction to the œuvre, re-recorded from tapes of de Hartmann's playing, is now available on compact disc and cassette from Triangle Records, Triangle Editions, Inc., P.O. Box 452, Lenox Hill Station, New York, New York 10021. The definitive edition of the piano scores is under publication in Germany by B. Schott's Söhne (which produced first editions of Mozart, Beethoven and Wagner), the last of four volumes being due in 1992. Serious musicologists are referred to the de Hartmann papers in the music library of Yale University.

Recommended Cds:
1.Vassilis Tsabropoulos-Chants, Hymns And Dances / Gurdjieff (ECM-2004)
2.The Complete Piano Music of Georges I. Gurdjieff and Thomas de Hartmann (6 CD Boxed Set)-Cecil Lytle (Celestial Harmonies-1997)

Komitas Vardapet

2009-09-22T17:28:00.007+03:00

"1869 yılı sonbarında Soghomon müzisyen bir ailenin ilk çocuğu olarak Kütahya'da dünyaya geldi. Henüz bir yaşına varmadan halı desinatörü ve dokumacı aynı zamanda müzisyen olan annesini, on bir yaşında ise bestekâr ve ozan aynı zamanda ayakkabıcı olan babasını kaybeder.
Sadece Türkçe konuşabilen Soghomon sesinin çok güzel olması sebebiyle, Etchimiadzin Ruhban Okulu'nda öğrenim hakkı kazandı.
1890 yılında bu okuldan rahiplik unvanı ve KOMITAS Vardapet ismini alarak mezun oldu. Komitas halk müziği ve antik enstrumanları, koro, orkestra ve kilise orkestralarında kullanan ilk müzisyendir. Ermeni müziğinin antik tempo ve ezgilerinin şifrelerini cözmek için; Anadolu, İran, Kafkasya, Grek ve Mısır topraklarında Ermeni halk türküleri ve tempolarını ayrıca ulaşabildiği antik sesleri de derleyip düzenlemiştir.
Bu çalışmaları ile 4000'e yakın eser toplayan Komitas eşsiz bir müzik kolleksiyonuna sahip olmuştur.
Daha sonra 1895 yılında Tiflis'ten Berlin'e Müzikoloji eğitimi almak için gitti. Kaiser Friedrich Wilhelm Universitesine kaydoldu. Müzik eğitiminin yanı sıra genel tarih, müzik tarihi, felsefe ve estetik derslerine de katıldı.

Khazzes türkülerinin tempo ve ezgi şifrelerini çözdü ve "Ses Teorisi" ni ıspatladı. 1899 yılında bu okuldan Müzikoloji Doktoru payesini alarak mezun oldu.
Anadolu, Avrupa ve Mısır'da müzikoloji, Ermeni kilise ve halk türkülerini konu edinen seminerler verdi. Çesitli orkestra ve korolar kurup, müziğini icra etti.
Yerel ve antik müziklere olan cezbesi sebebiyle kiliseden uzaklaştı. Kendine özgü Badarak İlahileri'nin bestelerini tamamlayamamıştır. Yarattığı makam ve üsluplar onu müzik tarihine "otantikliğin sesi" olarak işledi. Keman dörtlüsü için hazırladığı beste ve derlemeler Avrupa'dan Rusya ve İran'a kadar ünlendi ve çok beğenildi.

1910 yılında Ermeni müziğini ve antik ezgileri geliştirmek, çok sesli koro ve orkestralarda sahneletmek için İstanbul'a geldi. Anadolu'nun çeşitli yerlerinde müzik dersleri ve seminerler verdi. Birçok halk müziği korosu ve orkestrası kurup yönetti. İzmir ve Hatay'da da konaklayan Komitas, Türk Ocakları'nda da müzik dersleri ve seminerleri verdi. Dokunaklı ve özgün eserleri yaşandığı ve yaratıldığı coğrafyaların en eşsiz sesleridir.

300 erkek üyeli ünlü " Gousan Korosu" nu kurdu. Gousan Korosu ile seslendirttiği eserler bugün hala Avrupa ve Rusya'da düzenli olarak sahnelenmektedir.
1915, 24 Nisan Tehcir Kararı gereğince; aynı gece 234 Ermeni yazar, yayıncı, sanatkar ve entellektüelleri ile birlikte tutuklanıp Çankırı'ya sürgüne gönderildi. Bu tarihe kadar yaptığı bütün çalışmalar, derlemeler ve notaları yakıldı.
Halide Edip Adıvar'ın ısrarlı çaba ve girişimleri ile 8 Mayıs’ta İstanbul‘a geri gönderildi. Yaşadıkları Komitas'a derin ve onulmaz yaralar açtı.
1916 yılında İstanbul'da La Paix Hastanesi Psikiyatri Kliniği‘ne yatırıldı. 1919 yılında ise Paris'teki bir psikiyatri kliniğine yollandı. 1935 yılına kadar bu klinikte yaşadı ve bu klinikte öldü.

Anadolu müziği ve hinterlandı ile ilgili en kapsamlı ve tek bilimsel çalışmaya imzasını atan sanatkarımıza yaşatılan acıları ve reva görülen yalnızlığı ayrıntılı bir şekilde anlatmaktansa; ülke ve toplum olarak takındığımız cahil asabiyetlerin bizleri nasıl da yoksul hayallere mahkum bıraktığını, koca koca yalanlar yaşattığını anlatmak daha yerinde olacaktır.
Coğrafyalar, tarihler, kimlikler üstü bir müzik dehasına hangi düşünceye kanaat getirilerek tutuklama ve sürgün kararı çıkarılmıştır.
Bu günah sadece Halide Edip ve çevresini rahatsız ederken, o günleri bilip de bu günlere kadar hep susan, her dönemin "itibarlı" sanatçıları ve müzik araştırmacıları rahatsız olmak bir yana Komitas'ın eserlerini kendilerine mâl edip icra etmişlerdir.

Birkaç dipnot düşmeden bu tahlili tamamlamış olamam. Cumhuriyet'in " büyük " derlemecisi neredeyse isminin anılmadığı türkü olmayan Muzaffer Sarısözen'in derleme ve çalışmalarının nerede ise tamamı Komitas'a aittir. Anadolu ve çevresindeki müzik araştırmaları ve derlemeleri yapan ilk şahsiyet yine Komitas'tır. Muzaffer Sarısözen'in kendisi keşfetmiş gibi anlattığı " halı dokuma tezgâhı temposu" ile yazılmış türkülerin tempo şifrelerini çözen, bu temponun dokuma temposu olduğunu ilk söyleyen yine Komitas'tır.

Sadece dokuma tezgahı temposu değil, Anadolu'da kullanılan birçok ilkel aletin temposunun müziğe uyarlandığı teorisi Komitas'a ait olup, Kaiser Friedrich Wilhelm Universitesi‘nin kayıtlarında, 1899 yılı dokumanlarından edinilebilinir."
Lena UMAY

The most popular Armenian composer of his time (Kutahya/Turkey 1869-Paris/France 1935.Komitas is;
singer, choir conductor, flautist, and teacher.
Komitas is the founder of Armenian national school of musical composition. He freed Armenian music from foreign influences and was the first to prove the Armenian nation have its own music. Being a profound expert of national music, Komitas created an original synthesis of Armenian monodic (one-voice) thinking and European polyphony that has endured to the present. He collected and wrote down thousands of folksongs, studied church and folk music considering them to be “siblings”. Komitas also made a research of Armenian khazes (symbols used in the old Armenian system of musical notation), and authored Patarag (Liturgy) of the Armenian Church.

Samples:
1.Habrban
2.Shogher Djan
3.Vagharshapati
4.Al Ayloughs
5.Kele Kele

more info:
http://www.komitas.am/
http://en.wikipedia.org/wiki/Komitas_Vardapet

Bizans-Osmanlı Sentezi (Byzantine-Ottoman Synthesis)

2009-09-16T15:50:00.006+03:00

Book: Bizans-Osmanlı Sentezi /Bizans Kültür ve Kurumlarının Osmanlı Üzerindeki Etkisi (Byzantine-Ottoman Synthesis)
Author: İsmail Tokalak
Publisher: Gülerboy Yayınları
Year: 2006
Pages: 704
ISBN: 9944547204

Description: Araştırmacı yazar İsmail Tokalak eserinde; Türklerin Bizansla tanışması ve Anadoluda yeni Türk kimliğinin oluşum süreci, Osmanlı öncesi Bizansın İslam dünyasına etkisi, devlet kurumları, toprak düzeni ve vergi sistemindeki benzerlikler, yemek ve müzik kültürü, dini inanışlar, büyü ve evliyalık/azizlik öykülerinin benzerliği, mimari, dil etkileşimi ve Bizans ve Osmanlıda kadın başlıklarıyla incelemiş ve ortaya oldukça kapsamlı bir kültür hazinesi çıkarmış. 1000 yıl birlikte yaşayan bu iki halkın karşılıklı kültür etkileşimlerini irdeleyen ve ezberleri bozan bir kitap.

This book is about the similarities of the Ottoman and Byzantine state traditions, tax system, army order, religious interactions like saints and evliya/veli/abdals etc., common music roots and food culture, language interactions, architecture, Byzantine & Turks' relations in the history.

The Bengi Baglama Trio / Bengi Bağlama Üçlüsü

2009-09-16T14:17:00.008+03:00

Bengi Trio was formed in 1988 by Okan Murat Öztürk, Kenan Özdemir and Özay Onay. Bengi Trio has been almost the only "bağlama" (long-necked Anatolian folk lute) group elaborated on bağlama and Anatolian music.The trio has been trying to dovelop the solo performance of bağlama and sees it as the basic and prior musical instrument of Anatolia. While the members of the group give much importance to the traditional way of playing techniques (tavır), they also consider the proper harmonic accompaniments which means that Anatolian music, though being a modal and unison music, can be polyphonic. These ideas are briefly expressed in one thrase remaining the same while changing, changing while remaining the same which is what the Bengi Concept is.

The trio has played in many international and domestic festivals and given academic leveled concerts at different foreign and local culture centers and concert halls. Some ofthese are Houston international Festival (USA). U.M. Church (Atlanta-USA). HDK Bundeshalle Concert Hall (Berlin-Germany), Balihaus (Berlin-Germany), Mercator Halle Concert Hall (Duisburg-Germany), Ankara International Music Festival (Turkey), Istanbul CRR Concert Hall (Turkey), İzmir Atatürk Culture Center (Turkey), METU Culture Center (Turkey), Antalya Culture Center (Turkey), İzmit S. Demirci Culture Center (Turkey), As well as the concerts, there are many tv and radio programs in the past of Bengi.

The albums of Bengi Trio;

Güneş Bahçesinden Ezgiler (Songs from the sun's garden) by Kalan Müzik - 1999:
Sel Gider Kum Kalır (Flood leaves, sand remains) by Kalan Müzik " 2001.

The Bengi Bağlama Trio is now celebrating its 20th anniversary with a new album released via the Kalan Music label. Billed as “Turkey's best bağlama ensemble” by Martin Stokes and Francesco Martinelli on the “Rough Guide of World Music,” the trio has recorded 17 folksongs from four corners of Anatolia on the new CD, titled “Yeni Gelenek” (New Tradition).

Album: New Tradition / Yeni Gelenek
Producer: Kalan Music
Year: 2009
Genre: Turkish Folk Music
Instruments:
Laouto: Okan Murat Ozturk
Tanbura: Okan Murat Ozturk
Cogur: Ozay Onal
Divan Sazi: Ozay Onal
Dede Baglama, Cura: Erdem Simsek

Tracks:

1. Teber
2. Tutam yar elinden
3. Sabah oldu
4. Tulbent oyun havasi
5. Şu daglarin yuksegine erseler
6. Keskin halayi
7. Ayagina giymis sedef nalini
8. Karasar zeybegi
9. Karanfilim budama
10. Gokyuzunde boluk boluk turnalar
11. Zile semahi
12. Nikriz oyun havasi
13. Kekligi vurdum tasta
14. Hicaz zeybek
15. Abdurrahman halayi
16. Ozlem
17. Topal oyun havasi

Meanings in Turkish Musical Culture / Türk Musıki Kültürünün Anlamları

2009-09-16T14:02:00.009+03:00

Book: Meanings in Turkish Musical Culture / Türk Musıki Kültürünün Anlamları

Author: Eugenia Popescu Judetz

Publisher: Pan Yayıncılık

Year: 1996

Description: Eugenia Popescu-Judetz is an ethnomusicologist and art historian with foremost expertise in Turkish musical writings and performing arts of the Ottoman period. Adjunct Professor and Museum Consultant to Duquesne University in Pittsburgh, Pennsylvania, she has taught courses in the folk music and performing arts of Eastern Europe and Turkey. She is the author of several monographs and essays on Turkish music sources and Romanian folk arts.

Haig Yazdjian - Videos - Live at Alsos Nea Smyrni Athens Greece

2009-09-10T23:05:00.002+03:00

Haig Yazdjian - Es Kisher

Haig Yazdjian - Fazen

Haig Yazdjian - Fog el-nakhel

Theo Angelopoulos

2009-07-16T14:57:00.008+03:00

Theo Angelopoulos was born in Athens in 1935. After studying law, he attended courses at (the French school of cinema) "L'IDHEC" and then grew close to Jean Rouch. Back in Greece, he was hired as film critic for the daily Allagi, which was closed down by the military junta. He began working on Forminx Story, a feature-length film about a pop group in 1965 but the film was never finished. This was followed by Broadcast (Ekpompbi) a short he made in 1968.
In 1970 he completed his first feature Reconstruction (Anaparastassi). "Out of the story"s thriller-type plot," writes Jean-Loup Passek, "- an immigrant returning from Germany is murdered by his wife and her lover - emerges an ideological style and approach which sets the film quite apart from the conformism of Greek cinema of the same period. The crime itself is far less interesting for the filmmaker than the ins and outs, as well as the individual and collective implications, of the inquiry." The film won an award at the Festival d’Hyeres and got noticed in Berlin, calling the attention of critics the world over to Theo Angelopoulos.

His next three films make up a trilogy on the history of contemporary Greece. Days of '36 (Meres tou '36) takes place just prior to the election during which General Metaxas imposed his dictatorship. The film is about the sequestration of a reactionary Member of Parliament. The government hesitates several times, but the hostage-taker is finally killed and this murder foretells the greater repression to follow.

The Traveling Players (O Thiassos, 1975), received the International Critics' Award at the Quinzaine des realisateurs, at the Cannes Film Festival. Largely considered a masterpiece of modern cinema, the action centers around a troupe of actors touring Greece from 1939 to 1952. Functioning on the principle of "collective memory", the film deliberately ignores chronological principles, traveling at will through the recent and dramatic past, including the Metaxas dictatorship, the Nazi occupation, the Greek resistance and its various tendencies, the victory of the monarchy, the civil war, the defeat of the communists in 1949, and the 1952 elections.

The members of the troupe relate to each other on several levels - as characters in the popular story they are attempting to perform; through the psychology of their characters; and on an historical level, concerning their relationship to Greece and its evolution. They bear the illustrious names of the Atridae. "For the first time in the short history of Greek cinema," explains Tassos Goudelis, "a film makes a truly ambitious attempt to dramatize the ordeals of contemporary Greece. Allusions to the Atridae give the viewer direction, inviting him to take stock of Greece’s recent history – both political and social - in the light of a more global destiny, the roots of which reach back to ancient times. The tragic dimensions of the characters are explored in the conflict which pits them against reigning political power."

With this four-hour fresco, and then with The Hunters (I Kynighi, 1977), which begins with the discovery of the body of a resistance soldier by six hunters (introducing the story of Greek political history from 1949 to 1977) some of the thematic and stylistic constants of Angelopoulos' cinema were established - the weight of history, a clinical examination of power, a Brechtian theatricality, wherein the individual has no importance with respect to the group, a rejection of conventional narration in favor of an intentionally broken one, in which stationary cameras and sequence-length shots create an alternative sense of time.

Power is once again at issue in Megalexandros (1980), the story of a turn-of-the-century highway robber who attempts to reign as tyrant. Born of common folk, he is ultimately destroyed by the common folk. After making a short documentary in 1982, Athens, Return to the Acropolis, Angelopoulos collaborated for the first time with screenwriter and poet Tonino Guerra on Voyage to Cythera (Taxidi sta Kithira, 1984), which won the Cannes Festival's International Critics’ Award for best screenplay. We follow the path of a filmmaker who wants to make a film about his own father and who returns to the Soviet Union after thirty years in exile, a stranger in his native land. Through this story of a society in which all spirituality appears to have been banished, Angelopoulos expresses more generally his own disillusionment with democratic Greece. A quest for identity, quite clearly marked by Antonioni, replaces the study of the group. The voyage, usually a coming home and signaled by the crossing of a border, becomes a basic tenet of the filmmaker's writing.

The Beekeeper (O Melissokomos, 1986), the last trip of an old man who has left his family, then Landscape in the Mist (Topio stin Omichli, 1988), the voyage of two children searching for an imaginary father, pursues this examination of a world without spirit and direction. In the latter, which won the Silver Lion at the Venice Mostra, Theo Angelopoulos quotes explicitly from The Traveling Players through the character of Orestes, who meets the film's two heroes. His next film is The Suspended Step of the Stork (To meteoro vima tou pelargou, 1991). Set on the borderline between two imaginary countries, in the heart of a village overflowing with refugees, a journalist believes he has recognized a politician who had mysteriously disappeared. With this film, Theo Angelopoulos begins his bitter reflection on the loss of reference points in the world since the fall of the Berlin Wall.

In 1994, he began shooting Ulysses' Gaze (To vlema tou Odyssea), throughout the Balkans. Writing about the film, which starred Harvey Keitel, Andrew Horton says, "«Ulysses' Gaze is a triple odyssey. On one level it is a search for the roots of Balkan cinema and, really, of cinema itself. It is also a voyage through the history of the Balkans, leading up to and including the ongoing tragedy of Bosnia. Finally, it represents a man's individual journey through his life, his loves and his losses.» Ulysses' Gaze won the Grand Jury Prize and the International Critics' Prize at Cannes and was named "European Film of the Year" by the critics.

With his next film Eternity and a Day (Mia eoniotita kai mia mera) Angelopoulos finally won the coveted Palm D'Or in Cannes and represented Greece at the American Film Academy Awards. Michael Wilmington called Eternity and a Day "a visually spellbinding study of an aging writer's journey through the present and past.» while in VARIETY David Stratton wrote, "«Eternity and a Day finds Angelopoulos refining his themes and style. Just as the other great filmmakers have in the past explored similar themes time and again, so Angelopoulos has evolved and come up with one of his most lucid and emotional journeys thus far.

Osmanlı’dan Cumhuriyete Musiki Mirası Uşşak Faslı

2009-07-09T16:09:00.002+03:00

Instruments: Ney: Salih Bilgin, Quanun: Taner Sayacıoğlu, Tanbur: Murat Aydemir, Classical Kemenche: Derya Türkan, Circle: Vahit Anadolu
Art Director: Mustafa Doğan Dikmen
Year: 1999
Production: Kalan Müzik (http://www.kalan.com/)
Tracks: 16 tracks

1- Baş taksim: Salih Bilgin (ney)
2- Darbeyn usulünde peşrev / Sultan I. Mahmud
3- Hafif usulünde kar (Maragalı Abdülkadir’e atfedilen eserlendir)
4- Darb-ı fetih beste / Hamamizade İsmail Dede
5- Nim devir beste / Tulum Abdi
6- Ağır aksak semai usulünde ağır semai / Halifezade Tahir Efendi
7- Ağır aksak semai şarkı / Dede Efendi
8- Aksak şarkı / Hacı Arif Bey
9- Aksak şarkı / Şevki Bey
10- Kanun taksimi: Taner Sayacıoğlu
11- Aksak şarkı / Lem’i Atlı
12- Curcuna şarkı / Enderuni Kadıköylü Ali Bey
13- Aksak şarkı / Dellalzade İsmail Efendi
14- Tanbur taksimi: Murat Aydemir
15- Nakış yürük semai / Tab’i Mustafa Efendi
16- Neva makamında son peşrev ve son yürük semai (Bestecisi bilinmiyor)

Fasıl Nedir?
“Fasıl”, din dışı Osmanlı musıkisinde kullanılan bir terimdir. Aynı makamdan değişik musıki şekillerinde bestelenmiş sözlü eserler ile saz eserlerinin birbirlerine bağlı olarak seslendirildiği konser düzenine fasıl denir. Aynı terim, bir bestecinin aynı makamdaki bir peşrev, iki beste, iki semai, bir de saz semaisinden oluşan eserleri için de kullanılır. Sadece iki beste ile semaiden oluşan sözlü eserler dizisine “takım” denir. Bu yapının batı musıkisindeki “süit”le gösterdiği benzerlik dolayısıyla, batılı kaynaklarda fasıl “birleşik bir süit” olarak nitelendirilmiştir.

The Ottoman Fasıl Music
The Arabic word fasıl literally means “division” or “section”. It denoted a section of a collection of lyrics or notations arranged according to makams, or performance of secular compositions in one makam. Songs composed in the same makam but in different compositional genres constitute a fasıl program in concert. The classical Ottoman fasıl in its most matured structure included the following compositions: taksim (instrumental improvisation), peşrev (instrumental, prelude), kâr ( vocal composition having a rather free structure), murabba beste (vocal composition whose song-text is based on four lines), ağır semai (vocal form in 10/8), şarkıs (light vocal pieces in various rhythmic patterns), yürük semai (vocal form in 6/8, performed in faster tempo), saz semaisi (an instrumental piece in 10/8, a postlude). Excluding the şarkı, this sequence was probably established in the second half of the eighteenth century. The şarkıs began to be included in the fasıl concerts at the beginning of the nineteenth century. (For the whole article: http://www.kalan.com/scripts/Dergi/Dergi.asp?t=3&yid=9486 )

More info about CD:
http://www.kalan.com/english/scripts/album/dispalbum.asp?id=464

Samples
Baş taksim
Nim devir beste
Ağır aksak semai şarkı
Curcuna şarkı
http://www.4shared.com/file/116953945/8a69faa5/ussak_fasli.html

Muammer KETENCOĞLU-Karanfilin Moruna

2009-07-07T11:03:00.006+03:00

Title: Karanfilin Moruna
Artist: Muammer Ketencoğlu
Label: Kalan Music (209)
Year: 2001
Tracks: 12

"I am not going to tell you here about the early 20th Century rebellions by the Efes and Zeybeks of Turkey's Aegean region, nor about their customs or heroism which gave headaches to the Sultan, instead, l will share with you what working on this album has evoked in me -- an album evolved from the song collections of the Zeybeks, to whom we owe the prototypes, which later grew in subject matter and number."
Muammer KETENCOGLU

Gitar: Cengiz Onural
Akordeon: Muammer Ketencoğlu
Keman: Baki Kemancı
Ney: Aziz Şenol Filiz
Bendir: Aziz Şenol Filiz
Tanbur: Murat Aydemir
Davul: Yıldıray Kılkışlar
Darbuka: Suat Berkay
Bağlama: Mehmet Erenler
Cura: Cengiz Onural
Kontrbas: Nezih Yeşilnil
Zurna: Necmettin Ündev
Zurna: Mehmet Ündev
Kemane: Ersin Baykal
Lavta: Murat Aydemir
Santur: İhsan Özer

1- Kuyu Başında Bakır
2- Testi Doldurdum Çaydan
3- Beyaz Geyme Toz Olur
4- Yağcılar Zeybeği
5- Ah Öleyim Vah Öleyim
6- Kocaarap Zeybeği
7- Bir Gemim Var Adalara Yaslanır
8- Karanfilin Moruna
9- Karyolamın Demiri (Yandım Ayşem)
10- Manisa Zeybeği
11- Oduncular Dağdan Odun İndirir
12- Kadıoğlu Zeybeği

Theodora-Radi Dikici

2009-07-07T10:47:00.004+03:00

Title: Theodora
Author: Radi Dikici
Publisher: Remzi Kitabevi
Language: Turkish
Year: 2009
Page: 367
ISBN: 9751413482

Bizans’ın gizemli imparatoriçesinin soluk kesici romanı…

Bizans imparatoriçesinin 48 yıllık yaşamını, günümüze ulaşan belgelerden de yararlanarak ele alan bu roman, işleniş ve kapsamıyla bir ilki temsil ediyor.
Dünya tarihinde kraliçe, çariçe, sultan ve benzeri unvanlarla hüküm sürmüş kadınlar arasında Theodora kadar güçlü bir imparatoriçe olmamıştır. O, hükmetme gücünü bizzat kendi yaratmış ve herkes ona biat etmiştir.
Tarih O'nu, bir taraftan cinsellik düşkünü –elbette gerçek payı vardır– bir kadın olarak tanıtırken, öte yandan çelik gibi bir iradeyle Bizans İmparatorluğu’nu önemli badirelerden kurtaran bir imparatoriçe olarak alkışlamıştır.
Theodora’yı bir yandan zaaflarıyla ve başarılarıyla izleyip hayranlık duyacak, öte yandan Bizans’ın o soluk kesici entrikalarını bir serüven filmi gibi izleyeceksiniz.

Haremde Neşe - Music from the Harem

2009-07-01T16:08:00.005+03:00

Title: Haremde Neşe / Music from the Harem
Artists: Quanun: Safinaz Rizeli, Tanbur: Çiğdem Gürser, Classical Kemenche: Fatoş Aşçıoğlu, Blacksea Kemenche: Fatoş Aşçıoğlu, Vocals: Şehnaz Rizeli Uğurel-Ferahnaz Rizeli Gündoğdu-Gülnaz Rizeli, Musical Consultant: Reha Sağbaş, Director: Ahmet Kadri Rizeli
Year: 1996
Production: Kalan Müzik (http://www.kalan.com/)
Tracks: 22 Tracks

The Harem:Lexically the word connotes a sacred place where public entrance is absolutely forbidden. In specific usages of the word/ such as HAREM-İ ŞERİF the prophet's mausoleum in Medina is denoted, or in HAREM-İ HÜMAÛN women's guarters in the royal palace is referred to. In a general context it means a special space reserved for women within the social life of a tradional Turco-Islamic community. Though HAREM lost its inital mystery and enchantment with the passing of time, its currency is still retained at certain hocalities.Life in the HAREM varied according to time and place. Ordinary household practice was obviously differently than its counterpart in the palace. Like wise variations accordirg to difterend seasons/ months/ and days manifested an indead colorful atmosphere. (For the whole article: http://www.kalan.com/scripts/Dergi/Dergi.asp?t=3&yid=9506)

More info about CD:
http://www.kalan.com/english/scripts/album/dispalbum.asp?id=29

Tracks
Dök zülfünü meydane gel - Hisar Buselik Şarkı / Gülnaz Rizeli
Gönlüm hevesi zülf-i siyah kare düşürdüm - Hisar Buselik Yürük Semai / Koro
Dü çeşminden gitmez – Hisar Buselik Şarkı / Koro
Bir nev-civansın, şuh-i cihansın – Hisar Buselik Şarkı / Ferahnaz Rizeli Gündoğdu
Yandım denizden ağyar elinden – Hisar Buselik Şarkı / Koro
Karşılıklı taksim – Hüseyni
Senden bilirim yok bana bir faide ey gül – Hüseyni Şarkı / Şehnaz Rizeli Uğurel
Hicran oku sinemi deler – Hüseyni Şarkı / Gülnaz Rizeli
Potpori (Rumeli Türküleri) – Yalı kenarında zülfüm tararım, Aksadeler giyer boylu boyunca, İstanbul’dan Üsküdar’a yol gider
Çargah Sirto / M. Doğan Dikmen
On kere demedim mi sana (Rumeli Türküleri) – Evç Rumeli Türküsü
Kanun taksimi – Saba / Safinaz Rizeli
Gelmiş değil böyle peri – Saba Şarkı / Koro
Kemençe taksimi – Muhayyer / Fatoş Aşçıoğlu
Hal-i siyahı gerden-i nazik tenindedir – Muhayyer Ağır Semai / Koro
Bir elif çekti yine sineme canen bu gece – Muhayyer Yürük Semai / Koro
Sevdiceğim aşkını ağlatır – Muhayyer Şarkı / Şehnaz Rizeli Uğurel
Sevdiceğim cemalin çünki göremem – Hüseyni Şarkı / Ferahnaz Rizeli Gündoğdu, Koro
Karcığar Köçekçeler / Koro
Tanbur Taksimi – Hicaz / Çiğdem Gürser
Gidem dedim yarenlerim darıldı – Hicaz Rumeli Türküsü / Koro
Hicaz Mandıra

Samples:
Dök zülfünü meydane gel - Hisar Buselik Şarkı / Gülnaz Rizeli
On kere demedim mi sana (Rumeli Türküleri) – Evç Rumeli Türküsü
Kanun taksimi – Saba / Safinaz Rizeli
Gelmiş değil böyle peri – Saba Şarkı / Koro

http://www.4shared.com/file/115316251/ca678f15/haremde_nese.html

Zülfü Livaneli

2009-06-23T00:03:00.011+03:00

Omer Zulfu Livaneli was born in Ilgin, Turkey in 1946. After being held under military detention for three months during the coup of March 12th, 1971, he had to leave Turkey and move to Sweden. After Stockholm, he lived in Paris and Athens, and he returned to Turkey in 1984.

Livaneli’s latest novel “Leyla’s House” was published in Turkey in May 2006. His third novel “Bliss”, published in 2002, also a number one best-seller, made 44 editions, became almost a cult work and is recently adapted to cinema in Turkey. In 2005, “Bliss” was published in Greece and Sweden, and in 2006, it was published in France by Gallimard, in the United States by St.Martin’s Press and in Italy by Gremese. Immediately after its publication in the latter, Bliss was awarded by Barnes & Noble, the biggest bookstore chain in the world, with the annually given “Discover Great New Authors” award due to its “superior literary value”. Bliss will soon be published in Norway by Gylendal and in Netherlands by Prometheus/ Bert Bakker. His second novel “One Cat One Man One Death”, his first novel “The Eunuch of Constantinople” and a collection of his stories titled “A Child in Purgatory” have also been published abroad.

Livaneli achieved prominent success not only as a writer but also as a musician. With his songs, which have reached cult proportions, he has had an impact on many generations of Turkish youth. His 1997 Ankara concert was attended by no less than 500 thousand people. Livaneli's songs have been recorded by well-known soloists in foreign countries. His collaborations with Mikis Theodorakis of Greece have been noted as a gesture of bringing together the two countries. He has been giving international concerts and the London Symphony Orchestra has recorded his songs. His music continues to have an impact on Turks and non-Turks alike.

Livaneli is perhaps one of the most outstanding figure in the cultural, artistic and political life of Turkey. He also has had a formative influence through his editorial and movies.

Besides being one of the foremost defenders of Turkish-Greek friendship, he has been a highly influential figure in Turkey's political life for the past 30 years.

Livaneli has been a UNESCO Goodwill Ambassador since 1996.

Sources: wikipedia.org

unesco.org

Music samples:

http://www.4shared.com/file/113493262/138331d/Zulfu_Livaneli.html

500 Years of Ottoman Cuisine-Marianna Yerasimos

2009-06-16T08:10:00.004+03:00

Title: 500 Yıllık Osmanlı Mutfağı (500 Years of Ottoman Cuisine)

Author: Marianna Yerasimos

Publisher: Boyut

Year: 2005

ISBN: 9752301115

Language: Turkish

Pages:308

"Osmanlı Mutfağı... İstanbul'daki saray mutfağında ve saray çevresinde yaşayan, güzel yemeklerden hoşlanan bir seçkinler grubu tarafından 15. yüzyıldan itibaren biçimlendirilmiş bir yemek kültürü... Bu kültür, kullanılan malzemeden pişirme yöntemlerine, yemek çeşitlerinden yemek yeme alışkanlıklarına, yemek öğünlerine, sofradaki görgü kurallarına, mutfak binalarına dek pek çok konuyu kapsamakta. Bu kitapta Osmanlı yemek kültürünü oluşturan ögelere kısaca değiniyor, sonra da bu mutfaktan alınıp çağdaş mutfağa uyarlanan, denenmiş ve yapılabilir 99 yemek tarifi sunuyoruz. Osmanlıların beslenme alışkanlıklarını kavramak için bazen 7. yüzyılın Orta Asya'sına; bir yemeğin köklerini bulmak için 9. yüzyıla, Abbasi İmparatorluğu'nun başkenti Bağdat'a; pilavların sırrını çözmek için 13. yüzyıla, Moğol istilasına uğrayan Anadolu'ya, oradan da Safevi sarayına gidiyor; bu arada 15. yüzyılın çok öncesinden günümüze kadar, sadece zaman içinde değil, mekanlar içinde de yolculuk yapıyoruz. Bazen balık, balık yumurtası, havyar, lakerda ya da lalanga söz konusu olunca Bizans'a, hatta Roma İmparatorluğu'na dek uzanıyoruz."

Manos Loizos - Gramma stin Agapimeni (Letter for the beloved - Nazim Hikmet)

2009-06-11T07:48:00.003+03:00

Artist: Manos Loizos
Title: Gramma stin Agapimeni (Letter for the beloved)
Year: 1983
Production: MINOS - EMI
Description: Poems of Nazim Hikmet's "Letter for the beloved", rendition by Giannis Ritsos
Titles tracks:
1. Μονάκριβή Μου (6:30)
2. Για Τη Ζωή (4:53)
3. Το Δίχτυ (2:11)
4. Απερίγραπτη Λένε (4:30)
5. Στηθάγχη (4:04)
6. Κατά Τις Λάμψεις Πέρα (2:01)
7. Χλιαροί Και Παλλόμενοι (2:29)
8. Λίγα Γαρούφαλα (3:17)
9. Όπως Ο Κερέμ (4:25)
10. Τι Όμορφο Που 'ναι Να Σε Συλλογιέμαι (4:51)
11. Αν Με Τη Μεσολάβηση (4:13)
12. Η Πιο Όμορφη Θάλασσα (4:18)
13. Ένα Κρεβάτι Εκστρατείας (5:41)
14. Ο Άνεμος Κυλάει (2:12)

Itri (Buhurizade Mustafa Efendi)

2009-06-10T16:27:00.008+03:00

His real name was Mustafa (1640-1712), and he was sometimes referred to as Buhurizade Mustafa Efendi . Itri was a major exponent of Turkish classical music, much in the same way that his contemporary J.S.Bach revolutionized Western music. He was a very prolific composer with more than a thousand works. However, only about forty of these survived to this day.
It is believed that he was a Mevlevi, and composed religious music for this order. He lived through the times of five Ottoman Emperors. He became well known during the time of Mehmet IV. He sang in fasıls, which are concert programs with the same makam, in the presence of Mehmet IV. Starting from this time, he enjoyed the support of the palace for many years. He taught music in the palace Enderun school. He was also interested in gardening. It is believed that his name Itri comes from the word itir, which means rose-geranium, or pelargonium.
As with most composers of his day, Itri was also a famous poet. He used poetic forms based on the classicial Ottoman school of poetry (Divan), as well as those based on syllabic meters identified with folk music and poetry. Unfortunately most of his poetry has not survived to this day. He was also known for being a calligrapher.

Major Works:

Segâh Kurban Bayramı Tekbiri , Segâh Salât-ı Ümmiye

Tut-i Mucizei Guyem
Dilkeşhâveran Gece Salâtı , Mâye Cuma Salâtı
Segâh Mevlevi Ayini , Rast Darb-ı Türkî Naat ve Sofyan Tevşih
Nühüft Durak; Nühüft İlahî , Nühüft Tevşih; Nevâ Kâr
2 Pençgâh Beste , Hisar Devr-i Kebir Beste ve Aksak Semai
Mâhûr Ağır Aksak Semai , Rehavî Berefşan Beste
Buselik Hafif Beste ve Yürük Semai, Segâh Ağır Semai
Segâh Yürük Semai , Bayatî Çember Beste
Bestenigâr Darb-ı Fetih Beste , Dügâh Hafif Beste
Isfahan Zencir Beste ve Ağır Aksak Semai
Nikriz Muhammes Beste , Râhatu'l Ervah Zencir Beste
Irak Aksak Semai , Rast Aksak Semai
Nühüft Aksak Semai , Acemaşiran Yürük Semai
Rehavî Peşrev

16th International Istanbul Jazz Festival

2009-06-08T11:11:00.004+03:00

16th International İstanbul Jazz Festival running July 2-15 will host world-famous artists and groups within its rich programme that includes a wide range of musical genres varying from classical and modern jazz to pop, rock, ethnic and folk music. Festival tickets available.

PROGRAMME:

FATİH ERKOÇ & KEREM GÖRSEV TRIO
SMV (Stanley Clarke, Marcus Miller ve Victor Wooten)
GEORGE BENSON - "Unforgettable Tribute to Nat 'King' Cole"
MELODY GARDOT
JOE JACKSON
MARACA'S OTRA VISION
ERKAN OĞUR-ALIM QASIMOV-DERYA TÜRKAN
BRAD MEHLDAU TRIO
PETER CINCOTTI
“New Folks” EMILIANA TORRINI
CENK ERDOĞAN TRIO AND TINEKE POSTMA
GENCO ARI TRIO & ADA ROVATTI
YILDIZ İBRAHİMOVA AND MIKE DEL FERRO
KAMİL ERDEM & RENÉ SOPA
NİLÜFER VERDİ TRIO AND ANDREAS BUCHMANN
AYŞE TÜTÜNCÜ ÜÇLÜSÜ VE MATHIAS EICK
MARC SİNAN
CAZ BOAT
BALKAN BOAT
CAZ CITY STREET CONCERTS
YOUNG CAZ
A.K.A. TRİO
FMY PROJECT – THE QUINTET
BAŞAK YAVUZ QUARTET

http://www.iksv.org/caz/program.asp

JAZZ Magazine- Issue 54

2009-06-08T10:30:00.004+03:00

Türk basın sektöründe 1995 yılının Ocak ayından beri varolan Jazz dergisi Türkiye'nin tek jazz dergisi olma gururunu 7 yıldır taşıyor. Türkiye'de müzik dinleyicilerinin % 5'inin dinlediği jazz müziğini meraklı kitlesiyle buluşturan ve Jazz'la ilgilenen her yaştan insanın giderek artan bir sempatiyle benimsediği Jazz dergisi, dünyadaki benzerleriyle de yarışıyor... Yurdumuzdaki ve dünyadaki Jazz müziği festival ve konserlerini izleyen, ünlü cazcılar ve müzisyenlerle röportajlara yer veren, yeni çıkan albümleri, müzisyenleri tanıtan yazı, fotoğraflar ve yorumlarla oldukça zengin içeriğiyle üç ayda bir yayınlanıyor.

Bu sayıda bulabilecekleriniz:

JAZZ'ARAZZI Zuhal Focan

MC NELLY SMITH Devrim Dikkaya-Dilek Himam Er

NO BORDERS: RICHIE BEIRACH Selim Benba

YAZARLARIMIZ; SERDAR KARABATI Devrim Dikkaya

ŞU JAZZ DEDİKLERİ, Ali Sönmez

FİRMALAR - SOUND'LAR: CRAMMED DISC Orhan Kahyaoğlu

RÖPS. MICHEL CAMILO Serhan Yedig

KEREM GÖRSEV Tunçel Gülsoy

OZAN MUSLUOĞLU Tunçel Gülsoy

TELVETEN Tunçel Gülsoy

JÜLİDE ÖZÇELİK Tunçel Gülsoy

KURT ROSENWINKEL Sevim Yolaçtı

TİMUÇİN ŞAHİN Sevim Yolaçtı

ANA VIDOVİC Nilgün Unur

ÖZEL DOSYA, BLUE NOTE 70 YAŞINDA Can Ergelmiş

NELER OLACAK: CHARLES LLOYD Can Ergelmiş

CHARLES LLOYD Feridun Ertaşkan

BABYLON Sarp Dakni

CRR Sümeyra Gümrah

NARDIS JAZZ CLUB Zuhal Focan

İSTANBUL JAZZ CENTER Zuhal Focan

GHETTO Aslı Delikara

SEVDA CENAP AND Zuhal Focan

Sultan Composers

2009-06-07T16:20:00.007+03:00

Title: Sultan Composers (2 CD) [Sultan Bestekarlar]

Artists: Violoncello:Uğur Işık, Ney:Ahmet Şahin, Quanun:Reha Sağbaş, Tanbur:Özer Özel, Classical Kemenche:Ahmet Kadri Rizeli, Rhytms:Fahrettin Yarkın

Year: 1999

Production: Kalan Music (130-131)

Description: The works in this collection are the recorded examples of an imperial family's musical heritage. These are professional level compositions of the Ottoman family members, who gave their signature to six centuries of the Turkish history. Composed between the first half of the sixteenth century and the second half of the present century, they have remained for many years in private collections known as "Sultani Besteler" (Sultanic Compositions). Now, for the first time, they have been brought together on these CD's.

Tracks: 47 tracks

Music Samples:

1.Evc Saz Semai-Sultan Bayezid II (1447 - 1512)

2.Uzzal Peşrev-Sultan Murad IV (1612 - 1640)

3.Uşşak Peşrev-Sultan Mahmud I (1696-1754)

4.Pesendide Peşrev-Sultan Selim III (1761 - 1808)

5. Pesendide Saz Semai-Sultan Selim III

6.Hicaz Oyun Havası-Sultan Aziz (1830 - 1876)

7. Hicaz Sirto-Sultan Aziz

more info about CD:

http://www.kalan.com/english/scripts/album/dispalbum.asp?id=217

Ara GULER

2009-06-07T15:42:00.007+03:00

Ara Guler, one of the most distinguished and internationally renowned of creative photographers, was born in Istanbul in 1928. While still at Lycee he took up various types of work in the film studios, while at the same time following theatre courses run by Muhsin Ertugrul with the ambition to be a stage director or a playwright. He began his journalistic career in 1950 on the Yeni Istanbul newspaper while still a student at the Faculty of Economics. On completing his military service he began work on the Hayat magazine, where he was employed until 1961 as head of the photographic department. When Time-Life opened an office in Turkey, Ara Guler was engaged as correspondent for the Near East. This was followed by his employment as Near East photographic reporter for Paris-Match and Der Stern. It was during this period that he made the acquaintance of Henri Cartier-Bresson and joined the Paris Magnum Agency. In 1961 he was selected by the English publication Photography Annual as one of the seven best photographers in the world, and in the same year he was accepted as the sole Turkish member of ASMP (American Society of Magazine Photographers). In 1962 he was awarded the title Master of Leica, an honour accorded to very few photographers, and in the same year, the Swiss periodical Camera, the most important publication in the world of photography, devoted a special issue to his work. In 1964 photographs by Ara Guler were included in a work by Mariana Noris printed in the USA entitled Young Turkey. In 1967 an anthology entitled Photography of the World containing photographs by Ara Guler and Richard Avedon was published in Japan. An album of photographs entitled Turkei was published in Germany in 1970. Some photographs on the subject of art and the history of art appeared in the literary sections of Newsweek, Time-Life and Horizon, and were used by the Swiss publishing house Skira. Ara Guler furnished the photographs for Lord Kinross’ Hagia Sophia, published in 1971. The cover photograph on the English, French and German versions of Picasso, Metamorphose et Unite, published by Skira to celebrate Picasso’s 90th birthday, was by Ara Guler. Works by Ara Guler were exhibited in Glimpses of the Human World in Canada in 1967, Ten Masters of Colour Photography in the New York Gallery of Modern art in 1968, and the Fotokina Fair in Koln in the same year. In 1972, an exhibition was opened in the Bibliotheque Nationale in Paris. In 1975 he was invited to the United States, where he took photographs of a number of famous Americans, and an exhibition entitled Creative Americans composed of photographs taken during this trip was opened in several large cities throughout the world. About the same time, Ara Gdler interviewed and took photographs of various famous personalities from Bertrand Russel to Winston Churchill, Arnold Toynbee to Picasso and Salvador Dali. The most famous of these photographic portraits was that of Picasso who was well known for his refusal to sit to photographers. In 1979 Ara Guler was awarded First Prize by the Association of Turkish Journalists for his work in the field of photographic journalism. In 1980 a number of his photographs were published in book form by the Karacan Press under the title Photographs. In 1986 he supplied the photographs illustrating the book Mimar Sinan written by Abdullah Kuran and published by the Hurriyet Foundation. The same book was published in English in 1987 by the Institute of Turkish Studies. In 1989 photographs of famous personalities in the world of the cinema were collected by Hil Publications under the title The Movie World of Ara Guler. In 1991 he supplied the photographs to illustrate the book The Sixth Continent written by Cevat Sakir Kabaagac (the Fisherman of Halicarnassus) for the Turkish Ministry of Foreign Affairs. Meanwhile, Ara Guler had travelled over most of the world apart from South America, and the photographs taken during these travels had been distributed throughout various countries by the Magnum Agency and printed in various newspapers and periodicals. From 1989 onwards he worked in Indonesia, Malaysia and Brunei with the most distinguished photographers in the world on the programme A Day in the Lfe of.. His photographs of the works of the architect Sinan, a subject on which he had worked for many years, were published in France in 1991 by Edition Arthaud, and in the U.K. and U.S.A by Thames and Hudson in a deluxe edition entitled Sinan, Architect of Soliman the Magnjicent. The same year saw the publication of a book published in the U.K. and U.S.A by Thames & Hudson under the title Living in Turkey, in Singapore by the Archipelago Press under the title Turkish Style, and in France by the Albin Michel Press with the title Demeures Ottomanes de Turquie. A large number of Ara Guler’s photographs are to be found in the Bibliotheque National in Paris, the George Eastman Museum in Rochester U.S.A., and the Nebraska University Sheldon Collection. His photographs are also exhibited in Das Imaginare Photo-Museum and the Ludwig Museum in Koln.

Most famous black&white old Istanbul photos by Ara GULER

Murat Belge-Istanbul Travel Guide

2009-06-05T14:44:00.004+03:00

Book Title: Istanbul Travel Guide

Turkish Title: Istanbul Gezi Rehberi

Author: Murat Belge
ISBN: 9789750504730

Language: Turkish
Year: 2007
Pages: 423

Publisher: İletişim Yayınları
Description: Prof.Dr.Murat Belge's Istanbul guide is about the old legends of the city, unknown historical places and stories from Byzantine and Ottoman period, ethimologic roots of the district names..

Everyone who believe that Istanbul is the capital city of the world should read this book.

http://www.iletisim.com.tr/iletisim/book.aspx?bid=1298&kitap=İstanbul%20Gezi%20Rehberi

Zafer Karaca-Istanbul Greek Orthodox Churches

2009-06-05T14:29:00.011+03:00

Book Title: Greek Orthodox Churches in Istanbul before 1839

Turkish Title: İstanbul'da Tanzimat Öncesi Rum Ortodoks Kiliseleri

Author: Zafer Karaca

ISBN: 9789750814839

Language: Turkish

Year: 2008

Pages: 680

Publisher: Yapı Kredi Yayınları

Description: It's about Istanbul Greek Orthodox Churches in Istanbul.why before 1839? because after the westernisation and reformisation process (1839) , Greek churches were influenced from this period and church architecture look like to the western European churches..This book is about the more Greek/Byzantine architecture.

https://www.ideefixe.com/kitap/tanim.asp?sid=BOJFH76RF14F2EKFJ264

Bezmara-In The Search Of The Lost Sound

2009-06-05T11:45:00.006+03:00

Title: Yitik Sesin Peşinde (In The Search Of The Lost Sound)
Artist: Bezmara Ensemble (Oud:Akgun Col, Ney:Aziz Senol Filiz, Quanun:Serap Aybar Caglayan, Tanbur:Birol Yayla, Kemança:Kemal Caba, Kudüm:Kamil Bilgin, Kopuz:Birol Yayla, Santur:Ihsan Ozer, Ceng:Fikret Karakaya, Sehrud:Osman Kirklikci, Miskal:Tugay Basar)
Year: 2000
Production: Kalan Music (161)
Description: The Bezmara Ensemble, specialized in the interpretation of early Ottoman music, owning instruments some of which have totally disappeared, was founded in 1996 by Fikret Karakaya on the occasion of the musicological project, whose purpose was to recreate, on ancient instruments the compositions which appear in various old collections, and which contemporary musicians had abandoned.

Arazbar Peşrev - Besteci: Nefiri Behram, Fahte (5:14)
Hüseyni Peşrev - Besteci: Gazi Giray Han, Zencir (5:08)
Kanun taksimi (1:01)
Evc Peşrev - Besteci: Acemler, Fetig Darbi (2:36)
Arazbar Peşrev - Besteci: Eyyubi Mehmed Çelebi, Devr-i Revan (6:27)
Çeng Taksimi
Nişabur Peşrev - Besteci: Hintliler
Çargâh Peşrev - Besteci: Derviş Mustafa
Kemançe Taksimi
Kürdi Peşrev
Buselik-Aşiranı Peşrev
Evc Peşrev
Muhayyer Peşrev
Mahur Semai

more info:
http://www.kalan.com/english/scripts/album/dispalbum.asp?id=493

Giorgos Leonardos - The Last Palaeologue

2009-06-05T08:41:00.002+03:00

Book Title: The Last Palaeologue
Greek Title: Ο τελευταίος Παλαιολόγος
Author: Giorgos Leonardos
ISBN: 978-960-14-1644-1
Language: Greek
Year: 2007
Pages: 541
Publisher: Livanis "Nea Sinora" http://www.livanis.gr
Description: An historical novel that refers to the last Empire of the Byzantine, Constantine Palaiologos, based on the Venetian, Turkish and Greek sources.
The questions answered were, how much did the Byzantines fight the Ottomans to save Constantinople, and how much the Latin Catholics. Who traded Constantine Palaiologos and who raised the ottoman flag in the castle of “Vlahernon” while he was fighting in the central walls of the City. How much did the clergy resist the capture of the city or figh for their own tide to obtain privileges with the ottoman establishment. What happened after the fall of the Byzantine Empire……

Website:
http://www.gleonardos.gr/gleon_index_en.html

Dances of Lesvos Island Greece

2009-06-04T08:41:00.006+03:00

Geragotikos Sirtos, Aptalikos Karsilamas

Ayvaliotikos Zeybekikos

Ayse Karsilamas (Kareklatos) or Aydinikos

AVLU - Η ΚΑΓΚΕΛΟΠΟΡΤΑ

2009-05-29T14:48:00.002+03:00

Book Title: AVLU - Η ΚΑΓΚΕΛΟΠΟΡΤΑ
Author: Andreas Franghias
ISBN: 978-975-08-1189-0
Language: Turkish
Publisher: In Turkey Yapı Kredi Yayınları, 2007, translation Berin Myisli
Description: Çok para kazanma hayalleriyle yanıp tutuşan sokak satıcısı Eftihis, taşrada öğretmenlik yapan kocasından hayallerine sığınan Lukia, direniş zamanının yiğitlerinden muhasebeci Andonis, siyasi suçlu, kendinden kaçak Angelos ve onu muazzam bir aşkla bekleyen İsmini...

Avlu, 2. Dünya Savaşı’nın yıkıntıları arasındaki Atina’nın belki de en yoksul mahallesinde yaşayan insanların hüzün ve mizah yüklü öyküsü. Kendisini yeniden biçimlendirmeye çalışan bir kentin geleceğinin belirsizliğiyle geçmişinin kâbusları arasında salınan bir toplumun portresini çizen Andreas Franghias’ın romanı, suyun öte yanından tutulan bir ayna.

Eftihis, the street vendor who is burning with a desire to make a lot of money, Lukia who hides in the memories of her husband who teaches in a village, the accountant Andonis, who used to be a brave fighter at times of resistance, the political prisoner Angelos, who also ran away from himself and Ismini who waits for him with undying love…The book is full of emotion and humor and tells about the story of people living in Athens during the Second World War, among the ruins of perhaps the city’s poorest district. Andreas Franghias’ın story is a reflection of a society that tries to restructure itself, torn between the nightmares of the past and ambiguities of the future.
Kitaptan: “…Angelos derin bir nefes alarak zorlukla devam etti: ‘Korku bir hastalıktır, İsmini. Sinirlerini bozar, beynini boşaltır, iç organlarının titrediğini hissedersin. Çok ağır bir hastalıktır, insanı felç eder, aptallaştırır. Bu durumun yaşamakla hiçbir ilgisi yoktur, her geçen gün kaosa sürüklenirsin. Yaşamda kalma çabası çok masraflıdır. Açıkça söylüyorum: Korkuyordum. Şimdi ikinci aşamadayım: Utanıyorum. Dün akşam yatağın altındaydım, hiç benden bunu bekler miydin? Bu akşam ise işe yaramaz bir şey gibi bu depodayım. Fakat teslim de olamam…’…”

From the Book: “ …Angelos took a deep breath and continued with great effort:
‘Fear is an illness, Ismini. It wrecks your nerves, empties your brain, you feel your internal organs shivering. It’s a severe illness, it paralyzes one, it makes one stupid. This condition has nothing to do with living, everyday you find yourself moving towards chaos. The cost of surviving is very high. I tell you honestly: I was afraid. Now, I’m in the second stage: I’m ashamed. Last night I was under the bed. Would you have ever expected this from me? Tonight I’m in this storage like a useless thing. But I can’t surrender either…”

Stratis Myrivilis - Argonaftis - Post Avcisi

2009-05-29T08:19:00.007+03:00

Greek original title: Αργοναύτης, Argonaftis
Turkish edition title: Post Avcisi
Author: Stratis Myrivilis (Mirivilis)
ISBN: 960-05-0212-9, Turkish Edition: 9789750708695
Year published: - (Last Turkish publication 1981)
Publisher: Estia (http://www.hestia.gr) Turkey Istanbul: Yalçın Yayınları
Translation in Turkey: Ahmet Yorulmaz
Description:
Öğrenci olan Andrea`nın babası, sahilde müşterileri yalnızca denizciler olan bir kahvehane işletmektedir. Her gün, okuldan sonra babasının kahvesine gelip geç saatlere kadar kalan Andrea, hem oranın elli yıllık garsonunun, hem de kaptan ve tayfaların birbirlerine anlattıkları denizcilik öykülerini dinleyerek zamanını geçirmektedir. Denizciliğe tutkundur. Ancak, babasını ve iki kardeşini denizde kaybeden annesi oğlu Andrea`nın denizciliğe merak sarmaması için öğütlerde bulunmakta, "Eğer beni seviyorsan hiçbir zaman teknelere adım atmayacaksın. En güvenilmez şey denizdir oğlum,demektedir. Dedesinin, iki dayısının başına gelenlere karşın kahvehanede dinlediği denizcilik öyküleriyle Andrea çoktan denizciliğe gönül vermiştir. "Altın Post" söylencesinin etkisinde, içten içe onu gidip bulma isteğindedir. Kafasına iyiden iyiye yerleşmiş bu söylence Andrea`yı büyük bir maceraya sürükleyecektir. Ve bir gün, akşam alacasında Andrea`nın büyük macerası başlar...

Andrea's father runs a seaside cafe that is frequently visited by sailors. Every day after school Andrea goes to the cafe and spends his time listening to the maritime stories of the captains, the crew and the waiter, who has worked there for the last fifty years. Andrea is passionate about seamanship. However, his mother, whose father and two brothers has died at sea, warns him not to take an interest in the sea, saying that the sea is the least dependable thing and that he should never step onto a boat. Despite what has happened to his grandfather and uncles, thanks to the maritime stories he keeps listening to at the cafe, Andrea has long set his heart on seamanship. Influenced by the legend of “The Golden Hide”, he longs to go and find it. This legend is destined to lead him to a big adventure. His adventure starts one night at dusk…

Dimitri Kantemiroglu

2009-05-28T21:00:00.004+03:00

Dimitri Kantemiroglu (1673 –1723) was twice Prince of Moldavia (in March-April 1693 and in 1710–1711). He was also a prolific man of letters – philosopher, historian, composer, musicologist, linguist, ethnographer, and geographer.Dimitrie was the son of Moldavian Voivode Constantin Cantemir.Remnants of Cantemir's mansion in Istanbul, located in Fener, on the grounds of the Cantacuzino estate.His education began at home, where he learned Greek and Latin and acquired a profound knowledge of the classics. Between 1687 and 1710 he lived in forced exile in Istanbul, where he learned Turkish and studied the history of the Ottoman Empire at the Patriarchate's Greek Academy, where he also composed music.During his stay at Istanbul he studied the Turkish language and music, in which he afterwords excelled to such a degree, that he was the first introducer of musical notes among the Turks, and composed several pieces of music.He had around 40 compositions in the Ottoman music of which few are performed today, but his greatest service to the Ottoman music is the fact that he helped survival of 350 instrumental pieces by recording them in a certain notation (the ebced) script he developed in his work Edvar which he presented to Sultan Ahmed II.The most recent publication of his abovementioned work, reprint along with complete transcription and explanations, is: Kantemiroğlu, Kitâbu 'İlmi'l-Mûsiki alâ Vechi'l-Hurûfât, Mûsikiyi Harflerle Tesbit ve İcrâ İlminin Kitabı, Yalçın Tura, Yapı Kredi Yayınları, Istanbul 2001

1.Jordi Savall & Hesperion XXI-Makam Nikriz usul Berevsan
2.Jordi Savall & Hesperion XXI-Makam Rast Semai

3.Jordi Savall & Hesperion XXI-Makam Rast (Murassa)

4.Bezmara-Bestenigâr Pesrev

5.Bezmara-Muhayyer Peşrev

Samples

More info (Turkish)

http://www.halksahnesi.org/incelemeler/kantemir/kantemir.htm

http://tr.wikipedia.org/wiki/Dimitri_Kantemiro%C4%9Flu

English:

http://en.wikipedia.org/wiki/Dimitrie_Cantemir

Kemani Tatyos Efendi - Kudsi Erguner Ensemble

2009-05-21T08:46:00.006+03:00

Title: Kemani Tatyos Efendi
Artist: Kudsi Erguner Ensemble
Year: 1996
Production: Traditional Crossroads
Description: This two Cd contains all of the instrumental works of Tatyos, as well as a big part of the vocal. For those interested deeply in the music of the last Ottoman periode this is a fine example, of one of the best Armenian composers.
Musicians: Kudsi Erguner ney, Suleyman Erguner ney, Baki Kemanci violin, Sukru Kabaci, clarinete, Husnu Anil kanun, Mehmet Bitmez ud, Necip Gulses tanbur, Dogan Hossed def, Melihat Gulses vocals

Tracks CD 1
1. Suzinak Pesrev (3:55)
2. Suzinak Saz Semai (4:58)
3. Kurdili Hicazhar Pesrev (5:41)
4. Kurdili Hicazkar Saz Semai (4:07)
5. Rast Keman Taksim (5:08)
6. Rast Pesrev (7:06)
7. Rast Saz Semai (4:11)
8. Ushshak Ney Taksim (3:18)
9. Ushshak Peshrev (5:39)
10. Huseyni Ud Taksim (3:00)
11. Huseyni Saz Semai (4:38)
12. Karcigar Peshrev (3:26)
13. Karcigar Keman Taksim (1:29)
14. Karcigar Saz Semai (4:09)
15. Bestenigar Kanun Taksim (4:39)
16. Bestenigar Pesrev (4:15)

CD2
1. Ussak Taksim (4:34)
2. Gamzedeyim Deva Bulmam (5:29)
3. Bu Aksam Gun Batarken (3:16)
4. Guldun Eglendin (3:49)
5. Goz Suzup Yan Bakisinla (3:32)
6. Tanbur Taksim (3:19)
7. Gonul Dustu Yine (3:51)
8. Cektim Elimi (1:50)
9. Rast Ney Taksim (2:39)
10. Cesm-I Fettanin (3:02)
11. Mey-I Lalinle Dil Mestane Oslun (2:47)
12. Bir Gonlume Bir Hal-I Perisanima Baktim (5:05)
13. Bilmen Ki Nedendir, Bana Sen Hor Bakiyousun (2:26)
14. Keman Taksim (2:14)
15. Cana Firkatinle (2:37)
16. Klarnet Taksim (1:45)
17. Mani Oluyor (2:41)
18. Ehl-I Askin Nesvegahi Kusei Mey Hanedir (2:00)
19. Ud Taksim (3:15)
20. Atfetme Sakin Hancer-I Mujganini Nagah (3:35)
21. Gel Ela Gozlum Efendim Yanima (3:36)
22. Kanun Taksim (2:48)
23. Gozum Hasretle Giryandir (3:03)
Music samples

Kemani Tatyos Eksertzian

2009-05-19T08:11:00.006+03:00

Kemani Tatyos Eksertzian was born in Constantinople in 1858. Of Armenian origin, he is recognized as an outstanding personality in the multi-cultural music community—made up mainly of Turks, Greeks, Armenians and Jews—which was based in the capital of the Ottoman Empire. The appellation «Kemani» means violinist, from the Persian word, keman, i.e. bow, which is used by Turks for the violin. He was taught by the famous blind violinist Kemani Sebuh. Tatyos was very well acquainted with the Hamparsum musical notation, a kind of notional script used in transcriptions before the establishment of the pentagram, with additional modulation signs for the rendition of the intervals of Eastern music. He was actively involved in urban musical events and also in those of the ottoman court, which, at that specific period, was home to Sultan Abdul Hamid II, the last Ottoman monarch. Tatyos played the violin in the so-called «sema‘i cafes» and the tavernas of Constantinople which, around the end of the nineteenth and beginning of the twentieth centuries, served as intimate settings for musical performances, both by day and night.
He was an alcoholic and died poor in 1913 from cirrhosis of the liver. Investigation of the old discography catalogues reveals that Tatyos himself took part in only one recording session, playing Huseyni Saz Sema‘i. But many of his songs and compositions were recorded by established musicians who were his contemporaries, such as Tanburi Cemil Bey, Udi Nevres Bey and others.

His oeuvre consists of instrumental compositions in the forms of the pesrev (overture, prelude) and the saz sema‘i, as well as songs (sark?). They are typified by their melodic originality, stylistic invention—with frequent changes of the makam within the same piece—as well as an intense dialectical relationship between the melody and rhythm. The end result holds the attention of the listener throughout and gives the feeling that, apart from playing the music, Tatyos was playing with the music…This is why the performance of a composition by Tatyos is a real joy for a musician or singer. It is abundantly clear that, as a composer, Tatyos was mindful of the function of music as a means of enjoyment, as, in any case, he experienced it himself, but at the same time he shows total respect for the texture and mores of Classical Ottoman music. It is no accident that his instrumental compositions spread far beyond the bounds of Constantinople and became well-known and extremely popular throughout the Arab Mediterranean.
The enduring value of Tatyos’s work is confirmed by the fact that his compositions have continued to be played from the time he created them until today, that they are well-established in the basic repertoire of musicians and singers and also that they are very well represented in the discography.
The present collection brings together eleven instrumental compositions and twenty nine songs of the seventy two works attributed to Tatyos and is based on a comparative study of various transcriptions in the pentagram, some published,
others not, some printed others in manuscript form. Different versions of the melody appear to be the result of different people writing down a living tradition which, without question, is the work of Tatyos. We note the recording in Byzantine notation of the Kurdili Hicazkar Sark? entitled Sohbetinle hos gecen
eyyam? cana ozlerim in the collection «Ο Ρυθμογράφος» [O Rythmografos] by Agathangelos Kyriazides (Constantinople 1909). All the material which has been collected, together with observations from comparative research, are available to
musicians and musicologists in the Library of En Chordais.

Vassilis Tzortzinis

This article is from
En Chordais (Greece)
http://www.medimuses.gr/english.html

Music samples
1. Anastas Leontarides - Karcigar Pesrev
2. Anastas Leontarides - Rast Pesrev
3. Mahur - Kurdilihicazkar Saz semaisi
4. Ussak Sarki - Bu aksam gun batarken gel
5. Derya Turkan- Murat Aydemir - Suzinak Saz Semai
6. Ensemble Kudsi Erguner - Bestenigar Peshrev
7. Ensemble Kudsi Erguner - Bilmen Ki Nedendir, Bana Sen Hor Bakiyousun
8. Ensemble Kudsi Erguner - Ushshak Peshrev
9. Gecmisten Gunumuze Turk Muzigi - Isbank - Kurdili hicazkar pesrevi - Ehl-i askin - Vasilaki
10. Giorgos Bacanos - Kurdilihicazkar Pesrev
11. Huseyni Saz Semai
12. Istanbul Klasik Turk Muzigi Orkestrasi - Kurdilihicazkar Pesrev
13. Mete Aslan - Suzinak Pesrev
14. Richard A. Hagopian - Huseyni Saz-Semai
15. Richard A. Hagopian - Rast Pesrev
16. Serap Caglayan/Mahinur Ozustun - Suzinak Pesrev
17. Udi Hrant - Huseyni saz semai

Video

Kürdilihicazkar Peşrev (Kemani Tatyos Efendi)
Göksel Baktagir (Kanun) - Yurdal Tokcan (Ud). Live from "1002 Nihtes Club" Athens Greece, 3 Febuary 2009.

Domna Samiou - Ehe geia Panagia

2009-05-16T07:47:00.004+03:00

Title: Ehe Geia Panagia
Artist: Domna Samiou
Year: 1973
Production: Columbia
Description: One of her best studio recordings, with music from all around Greece

Tracks
1. Ehe geia Panageia (Hasapiko Politiko)
2. Gianni mou to Mandili sou
3. Katou sta roda (Paintouska Thakis)
4. Saranda pente mastoroi (Kageleftos horos Makedonias)
5. O Marandon (Omal Pontou)
6. Zeybebiko Smyrnis
7. O Mparba Mathios (Hasapiko Samou)
8. Rousa Papadia (Sirto Roumenils)
9. Epse proipses eperasa (Argo Makedonias)
10. Zonaradikos horos Thrakis
11. Oso varoun ta sidera (Crete)
12. Moiroloi (Heperos)
13. Aman Gel Aman (Karsilamas Mikras Asias)

Domna Samiou - Introduction

2009-05-13T07:28:00.004+03:00

DOMNA SAMIOU
Domna Samiou was born on 12 October 1928 in Kesariani Athens. Her parents were refugees from Asia Minor, and lived in a village, Baintiri, outside Izmir. Her mother came to Greece after the disaster, and her father four years later, «because he remained there as a prisoner». She was introduced to Greek folk music at an early age by her parents, as she admits in an interview. In this way she grows up and loves the folk songs and music.
At the age of 13 years she becomes actively involved in music. She goes to "Association for Diadosin of National Music", where she is taught by the intellectual supporter, researcher and teacher of Greek Music, Simon Karras. There she takes the first courses of Byzantine music and discovers the secrets of the traditional songs. Also, at that time she attends the nocturnal Gymnasium.
From 1954 till 1971 she works at the National Radio Institute (E.I.R) along with the Greek Television (E.R.T) where she takes part in the preparation of a series of musical documentaries titled "Musical Journey". This preparation will help her gain a rich reservoir of musical materials, which proved important, aiming at the preservation of traditional Greek music.
In 1971, a milestone year for her future course, she performs traditional songs on the stage together with Dionissis Savvopoulos. But her singles and Lps have already been popular in Greece, France and Sweden since1960, which represent the impact of her work mainly in Greece and the Greek Diaspora.
Against the commercial abuse and the popularisation of Greek tradition, she begins to show over the years her most authentic performance. She not only gives countless concerts in which she sings in her own authentic way, but also presents original and creative artists of the folk tradition.
Her works go beyond the Greek borders and the Greek language. She becomes well-known in many countries of Europe, America and cities in Australia, where she gives concerts.

The most important stations in her career
- At the "Odeon of Herodes Atticus" singing for four consecutive years (1995-1998).

- Great recognition given from the "Megaron Musikis (Music Hall of Athens), where she performs her "Border Songs" (May 1995) and Greek traditional carols (Christmas 1996)

- In 1981 she creates the Artistic Society of Traditional Music "Domna Samiou", where she continues the same quality and a remarkable record production.

- In addition, from 1994 to 2001, she gives lessons on folk song music at the Museum of Greek Popular Musical Instruments in Athens.

- In 2006, she receives the Arion Award for her total contribution for the preservation of the Greek folk music.
The Domna Samiou continues today investigating and recording traditional Greek music.
The depth of her knowledge of traditional Greek music as well as her long experience and accuracy in performing the music style of each region, make her unique in this sector.

Adoption from Wikipedia and the Greek text, Panos and Filiz

Introduction files:
1. Aganta Yialesa
2. Armenaki
3. Dimitroula (Mikras Asias)
4. Fetos to kalokairaki
5. Gianni mou to mantili sou (Sirtos sta tria Hipiros)
6. Heliem Kai ti Polargiases
7. Ipopsia na min eheis (Mikras Asias)
8. Lambros Papathanasiou - Violeta m' Anthismen
9. Nanourisma
10. O Marandon (Omal Pontus)
11. Oso varoun ta sidera (Kritis)
12. Toutes Oi Meres To Xoune

Videos

2009-05-11T15:15:00.006+03:00

Book Title: Biz İstanbullular Böyleyiz! Fener’den Anılar 1906-1922 Ta Konstantinu-Politika Ke Ala
Author: Haris Spataris
ISBN: 975-8704-71-0
Language: Turkish
Publisher: In Turkey Kitap Yayınevi, 2004, translation Iro Kaplangı
Description: Haris Spataris, 1906, İstanbul Fener doğumlu. Ailesi 1922’de Yunanistan’a göç etmiş. “Küçük Asya Felaketi”nden sonra, Mübadele İstanbul Rumlarını kapsamasa da, artık kendileri için bir gelecek olmadığını düşünen bazı Rumlar doğdukları şehri terk ediyorlar. İşte böyle bir siyasi geri planda dikkatli bir gözlemci Spataris. Bizlere, binaları yerinde kalsa da artık var olmayan bir dünyayı anlatıyor: Fener’in ara sokakları, evler, insanlar, vapurlar, sandallar, sandalcılar, patrikhanenin papazları, sokaklardaki havagazı lambalarını yakıp söndüren memurlar, mahallede yanan ilk elektrik ampulü, “dünyanın merkezi” Galata, gençliğinde onu heyecanlandıran Galata’nın kötü şöhretli evleri, Bolşevik devrimi sırasında Rus elçiliği önünde çatışan Ruslar, Rumların “tavan taburu” (askere gitmemek için tavan arasında saklananlar), Tünel’in onarılması, Rum cemaatinin ileri gelenleri. Rumların yemekleri, eğlenceleri, bayramları, hamam sefaları… Ayazmalar, yangınlar, tulumbacılar, sokak satıcıları, Ermeniler, Kürtler, Yahudiler… Bu kitap, Haris Spataris’in anlattığı Fener’in sokakları adım adım dolaşılarak hazırlandı. Döneme ait fotoğrafların yanı sıra günümüzü yansıtan fotoğraflara da yer verildi. Jacques Pervititch’in hazırladığı, Fener’e ait 1929 tarihli sigorta haritalarının birkaçı da kitaba eklendi.

Haris Spataris was born in 1906 in Fener, İstanbul. His family immigrated in 1922 from Greece. After the “Minor Asia Disaster”, some of the Greeks who did not see a future for themselves anymore, decided to leave the city where they were born in. The observant Spataris enters the scene in such a political environment. He tells us about a world which doesn’t exist anymore, even if the walls are still there. The side streets of Fener, houses, people, ships, boats, boatmen, the clergymen of patriarchate, men who switch off the gas lamps in the streets, the first electric bulb lit in the street, “the center of the world” Galata, certain houses in Galata with a bad reputation, which used to excite him in his youth, Russians fighting in front of the Russian Embassy during the Bolshevik Revolution, Russians, the Greeks “ceiling soldiers” (those who hid in the ceiling to avoid going to the army), the reparation of Tunel, the leading members of the Greek community. Greek food, their way of entertainment, bayrams, hamam sessions… The small churches, fires, tulumba sellers, street vendors, Armenians, Kurds, Jews…For this book, Fener district as narrated by Haris Spataris, has been thoroughly researched, inch by inch. The book includes photos from the past and present. It also includes some insurance maps from 1929 belonging to Fener prepared by Jacques Pervititch.

Yorum: Fener semtini keşfetmek için pek çok farklı gezi rehberi bulabilirsiniz ama semtin 1900’lerin başlarındaki sosyal yaşamını, sokaklarını samimi, mizah dolu ve olabildiğince tarafsız bir gözle anlatan başka bir kitap bulunabilir mi bilmiyorum. Fenerin eski sakinlerini tanımak ve semtin gayri resmi tarihini öğrenmek için ideal bir kitap.

Comment: One can find many tour guides to discover the Fener district but I don’t know if any other book exists which tells the district’s social life and street life in the beginning of 1900’s with such warmth, humor and objectivity. The book is ideal for getting to know the old residents of Fener and learn about the district’s unofficial past.

Metronomos Magazine issue No32

2009-05-07T10:44:00.002+03:00

Τεύχος 32 ΙΑΝΟΥΑΡΙΟΣ - ΜΑΡΤΙΟΣ 2009
Περιεχόμενα
Το σύγχρονο «λαϊκό» κιτς, τα χαρακτηριστικά και τα παρελκόμενά του,
του Αλέξη Βάκη
Κατερίνα Παπαδοπούλου, του Ηλία Βολιότη – Καπετανάκη
Νίκος Κυπουργός, του Αντώνη Περιβολάκη
«Άλλος δρόμος δεν υπήρχε», μια ταινία του Σταύρου Ψυλλάκη
Σοφία Εμφιετζή, της Τούλας Καρώνη
Πηγή Λυκούδη, του Τάσου Π. Καραντή
Ένωση Μουσικοσυνθετών Στιχουργών Ελλάδος του Θανάση Συλιβού
Αλέξανδρός Παπαδάκης, του Λευτέρη Γ. Μαυρογιαννάκη
Δημήτρης Ατραΐδης, του Παναγιώτη Γερογιάννη
Ανθολόγιο αναμνήσεων Στέλιου Δούση: Τσάρκα με ένα μπουζούκι
Μανώλης Λιδάκης του Τάσου Π. Καραντή
Tirill - Μια χαρισματική τραγουδοποιός από τη χώρα του Henrik Ibsen και του Edvard Grieg, του Αλέξη Βάκη
Γιάννης Ήττος – Τραγουδιστής του πάλκου, του Ηλία Βολιότη – Καπετανάκη
Θανάσης Σπυρόπουλος – Καραγκιοζοπαίχτης με ρεμπέτικη διαδρομή,
του Ηλία Μπαρούνη
Η δύναμη της μουσικής στην εκπαίδευση, του Κωνσταντίνου Τσικλέα
Ένα τραγούδι, για να ΄ν΄ τραγούδι; του Σπύρου Κουρκουνάκη
Βαγγέλης Μαχαίρας, του Ηλία Βολιότη – Καπετανάκη
Ο λαϊκός χορός στην Αρμενία, του Αγκόπ Τζελαλιάν
Τα ερωτικά λιανοτράγουδα, του Ανδρέα Καρζή
Για τα «αμαρτωλά» κορίτσια που αγαπήσαμε, του Γιάννη Σαμπά
Ο «κρυμμένος» Καζαντζίδης, του Θόδωρου Βαλσαμίδη
Πίσω από τα όργανα: Σπύρος Γκούμας, του Γιώργου Αλτή
Αναγνώσεις
Ακροάσεις
ΕΝΘΕΤΟ
Εξώφυλλα, μουσικές και αναμνήσεις από τις 45 στροφές
Δεκαετία του ΄60: Ελληνική ποπ & ροκ Β΄ μέρος

Stratis Myrivilis - Ζωή εν Τάφω - Hayat Mezarda

2009-05-07T07:59:00.006+03:00

Greek original title: Ζωή εν Τάφω Zoi en Tafo
Turkish edition title: Hayat Mezarda (1968, 2006), Savaştan korkuyorum (1982)
English edition title: Life in a Tomb
Author: Stratis Myrivilis (Mirivilis)
ISBN: 960-05-0239-0, Turkish Edition: 975-571-136-8 English Editions: 1-932455-05-1
0-87451-391-Χ
Year published: 1924 (Last Turkish publication 2006)
Language: Greek - Turkish - English
Publisher: Estia (http://www.hestia.gr) Turkey Istanbul: Arıon Yayınevi
Translation in Turkey: Kriton Dinçmen
Description: This summary written by Stratis Myrivilis

Summary of the war book “Life in a tomb”
One student, full of patriotic and democratic ideals joins the revolution of the national defence and enlists the Archipelago Division, to fight «for freedom of the people and for the liberation of the enslaved Greeks and Democracy». His dreams turn into frustration with the barbarism he finds in the city of Monastirion in Serbia, and seeing what the allies have done to the Greek population of the city. Without faith in combat, without ideals, without believing in the honesty of war, he goes through a terrible crisis in the trench of the parapet of Monastirion, and describes the war with the sincerity of a man who faces death and does not want to lie neither to himself nor to others. After an adventurous life of battle, he is accidentally killed in a Bulgarian trench by a French flame-thrower. The book is a cry against the war between nations who do not hate each other, but are mobilized against each other by various political interests.

Stratis Myrivilis

Περίληψις του πολεμικού βιβλίου «Η Ζωή ένα Τάφω»
Ένας φοιτητής γεμάτος πατριωτικά ιδανικά και δημοκρατικά ιδεώδη προσχωρεί είς την επανάστασιν της Εθνικής Αμύνης και κατατάσσεται στην Μεραρχία Αρχιπελάγους δια να πολεμήσει «υπέρ της ελευθερίας των λαών και υπέρ της απελευθερώσεως των υποδούλων Ελλήνων και υπέρ της Δημοκρατίας». Τον περιμένουν αδιάκοπες διαψεύσεις των ονείρων του με τας βαρβαρότητας που ευρίσκει εις το Μοναστήριον της Σερβίας να κάμουν οι σύμμαχοι (υπέρ του οποίου επήγε να σκοτωθεί) είς βάρος του Ελληνικού πληθυσμού της πόλεως. Χωρίς πίστιν είς τον αγώνα πλέον, χωρίς ιδανικά, χωρίς να πιστεύει εις την τιμιότητα του πολέμου περνά τρομεράς κρίσεις μέσα εις το χαράκωμα της προκαλύψεως Μοναστηρίου, και περιγράφει την ζωήν του πολέμου με την ωμήν ειλικρίνιαν ανθρώπου ο οποίος ευρισκόμενος αντίκρυ στο θάνατο δεν θέλει να ψευσθεί ούτε προς τον εαυτόν του ούτε προς τους άλλους. Κατόπιν περιπετιεώδους πολεμικής ζωής σκοτώνεται κατά λάθος εις ένα βουλγαρικό χαράκωμα από ένα Γάλλον εξακοντιστήν του υγρού πυρός. Το βιβλίον είνε μια κραυγή εναντίον του πολέμου που γίνεται μεταξύ λαών που δε μισούνται αλλά κινητοποιούνται εναντίων αλλήλων από διάφορα πολιτικά συμφέροντα.

Στράτης Μυριβήλης

Various links:
http://worldliteratures.suite101.com/article.cfm/life_in_the_tomb
http://www.tulumba.com/storeItem.asp?ic=zBK339798DE587

Vassilis Tsitsanis 1936-1940 - REBETIKA 3

2009-05-06T07:45:00.005+03:00

Title: Vassilis Tsitsanis 1936-1940 - REBETIKA 3
Artist: Vassilis Tsitsanis
Year: 2008
Production: JSP Records England
Description: This 5 CD colletction contains music of the productive years 1936-1940, of the Greek rebeti Vassilis Tsitsanis. One of the best collections with very good sound, that are reproduced from the 78,s. Compiled and Annotated by Charles Howard, who had done also the previous great CD collections, Rebetika 1 & Rebetika 2. For any serious lover of the Greek music this is a must.

Tracks:

Sample tracks

Vasilis Tsitsanis

2009-05-04T21:54:00.006+03:00

Vasilis Tsitsanis is considered to be one of the greatest Greek composers, lyricists and singers of the 20th century (whose songs are heard even today). Also one of the major figures of rembetiko and (laiki mousiki) popular music of Greece.

Vasilis Tsitsanis was born in Trikala on 18 January 1915. From an early age he showed an interest in music and got violin, mandolin and bouzouki courses. In 1936 he went to Athens to study Law. In 1937 he made his first recording. During 1937-1940 he wrote great songs that he recorded with the voices of Dimitris Perdikopoulou, Stratos Pagioumtzis, Markos Vamvakaris, Apostolos Hatzihristos and Stellakis Perpiniadis on many recordings in which Tsitsanis participated as a second voice.

During the German occupation Tsitsanis stayed in Thessaloniki. There he wrote some of the best songs, which were recorded after the end of the war.

In 1946 he settled in Athens and began to record, beside the known singers, such as Sotiria Bellou, Ioanna Georgakopoulou, Ninou Marika and Prodromos Tsaousakis.

In his first pre-war period of his discography (1937-1940) he recorded more than 100 songs (87 under his own name). In the after-war period (1946-1960) he recorded more than 300 songs most of which are sung by the majority of the Greek people. One of the ingenious Greeks of that time, the painter Giannis Tsarouhis said in 1966 “Tsitsanis is the only proof that we have civilization”. After 1960 there were more than 300 songs recorded on 45s and 33rpm, records.

The following years Tsitsanis enjoyed widespread acceptance. He died on 18 January 1984 in London, and was buried in the first cemetery of Athens.

Sources:
Rebetika III Tsitsanis
Kounadis Panagiotis, "Eis Anamnisin Stigmon Elkistikon"
Wikipedia
Photo: Ilias Petropoulos, Rebetika Tragoudia

Introduction samples:
After war songs (1946~1955)
1. Vasilis Tsitsanis, M. Ninou - I Serah
2. Vasilis Tsitsanis, M. Ninou, Prodromos Tsaousakis - Eimaste Alania
3. Vasilis Tsitsanis, Prodromos Tsaousakis - Giati me xipnises proi
4. Vasilis Tsitsanis, Prodromos Tsaousakis - Paixe Christo to bouzouki
5. Vasilis Tsitsanis, Prodromos Tsaousakis, Ioanna Georgakopoulou - Peftoun tis vrohis oi stales
6. Vasilis Tsitsanis, Prodromos Tsaousakis, M. Ninou - Sinnefiasmeni Kyriaki.
7. Vasilis Tsitsanis, Stratos Pagioumtzis - Arhondissa
8. Vasilis Tsitsanis, Stratos Pagioumtzis - Bakse Tsifliki

Pains of Autumn - Guz Sancisi

2009-05-04T20:01:00.005+03:00

Pains of Autumn - Guz Sancisi - Φθινοπωρινή Οδύνη

The film, almost entirely shot in and around Beyoğlu with great assistance from Beyoğlu Mayor Ahmet Misbah Demircan, reflects Istanbul on the screen as it was in 1955. Naz Erayda, Nilüfer A. Giritlioğlu and Erol Taştan are the art directors of the film, each set, costume and accessory of which was meticulously and painstakingly prepared by a thorough research of Istanbul as it was in 1955.

Set in 1955, “Güz Sancısı” depicts the story of Behçet (Murat Yıldırım), the idealist and nationalist son of a rich land owner who falls in love with his Greek neighbour Elena (Beren Saat) across from his apartment and engages in a private settling of scores with his feelings and political ideas in the setting of the 6-7 September incidents.

Behçet’s father Kamil Efendi (Tuncel Kurtiz) is a wealthy land owner in whom the government has a close interest due to his strong influence in the region and who has close links with the “deep” powers within the country’s bureaucracy. A young man cast under the shadow of his father’s strong personality, Behçet’s greatest ambition is to heed Kamil Efendi’s suggestions and take his place and rise in the world of politics. His strongest supporter in realising this goal is Kenan Bey (Hüseyin Avni Danyal), his father’s close friend and the father of his fiancée Nemika (Belçim Bilgin Erdoğan). A former bureaucrat himself, Kenan Bey is among the top executives of the “Cyprus is Turkish Association” and gives direction to deep state operations.

Behçet is conservative, calm, serious, introverted and also places great value on justice and ethics. This causes him to be often disturbed by developments in the world of politics, but he basically believes his nationalist outlook is correct, fair and realistic. He believes the Turkish nation was under siege by the western powers and that this situation was most obvious in Cyprus. In fact, he also experiences this feeling of being under siege very strongly in his private life and he falls in love with his Greek neighbour Elena. As the darkness of the tense political atmosphere slowly descends upon Beyoğlu, the uncontainable love between the two young people is trying to defend itself. As Behçet walks the political line drawn by the ever darkening colours of a militant columnist, every step he takes towards the morning of September 6th makes it harder for him to reach Elena. The two lovers who are forced to carry the heavy burden of the Turkish political life are on the “same” side in the land of love but on “different” sides in the land of their country.

Tomris Giritlioğlu and her team who have together completed very successful projects to date including “Çemberimde Gül Oya” (My Rose Embroidered Scarf) and “Hatırla Sevgili” (Remember Darling) are bringing back the past to the present once again with the film “Güz Sancısı” (Pains of Autumn). With this special project she has been working on since 2002, Tomris Giritlioğlu is making a comeback as a film director after ten years. The director’s last film “Güz Sancısı”, along with “Suyun Öte Yanı” (The Other Side of the Water) and “Salkım Hanım'ın Taneleri” (Mrs. Salkim’s Diamonds) completes the trilogy she has set as a career goal. The film will be shown in film theatres as of 23 January 2009.

The film is produced by C Yapım and Film, distributed by Özen Film and shot in cooperation with Asis Yapım. Starring in “Güz Sancısı” are Murat Yıldırım, Beren Saat, Okan Yalabık, Belçim Bilgin Erdoğan, İlker Aksum, Hüseyin Avni Danyal, Umut Kurt, Avni Yalçın, Tuncel Kurtiz and Zeliha Berksoy. The screenpay, co-authored by Etyen Mahçupyan and Nilgün Öneş is based on a novel by Yılmaz Karakoyunlu under the same title. The novel also won the Writers Association of Turkey Novel Award in 1992.

The official Web Site
http://www.guzsancisi.net/

The Greek Newpapare Kathimerini
http://trans.kathimerini.gr/4dcgi/_w_articles_qsite1_1_24/04/2009_276487

From "Eis tin poli" blog
http://eistinpolin.wordpress.com/2009/04/05/sancisi/

Cretan Music and Dance

2009-05-03T18:50:00.005+03:00

by Sandra Iedema

A Cretan’s life is drenched to the bone with rhythm and rhyme; not just today, but for as long as they remember, in times of peace and in times of war and oppression. All events, be them happy or sad, concerning love or fate, heroic deeds or hymns to nature are expressed by music and song. Everything that touches the soul has to be bared and soothed with music and songs that tell the tortured soul what to do.
Known all over the Aegean are the mandinádhes, 15 syllable two-verse rhymes that tell of sweet or bitter love, tricks of fate, advise someone or even give a sarcastic opinion of some recent event. At feasts, a mandinádhes-singer is not only supposed never to repeat the same verse twice, but he is also expected to compose new verses instantly, in answer to, or as continuation of those sung previously. This improvisation often takes the shape of a poetic contest between singer(s) and lýra player, thus keeping up the party’s cheerful atmosphere. Even today this form of rhyming is immensely popular with Cretan youth, to a point that they store the mandinádhes on their mobile phones!
Myrolóia, on the other hand, are chanted in times of grief and sorrow; they are not accompanied by music, often during the night wake after having lost a beloved one.

Authentic Cretan songs are the rizítika, discerned in songs of the table (távla) that are sung among friends during or after dinner – usually without music – and the songs of the walk that accompany a groom and his musician friends on their way to the bride’s house. Many of the rizítika tell of historical or heroic deeds or report events of contemporary society.

MUSICAL INSTRUMENTS

Ross Daly in concert (Malia, archaeological site, August 2008)

Very little is known about the origins of Cretan music, but with all the invaders that have made their appearance on the island over the centuries, it cannot but have been influenced. Cretan music belongs to the Eastern Mediterranean family of musical tradition, with discernable foreign traits from other regions of Greece as well as from the Middle East and Turkey.

The 2 basic Cretan instruments today are the lýra, a 3-stringed pear-shaped fiddle, resting on the knee and bowed with a bow, and the láouto, a large lute that is played like a guitar to accompany the lýra player. Other accompanying instruments are the askomandoúra, a small bagpipe made of goatskin, the thiaboli, a small flute and the daouláki, a little double-faced barrel drum. The mandolin is often used to accompany mantinádhes, while in eastern Crete in particular the viololýra, a combination of violin and lýra, is played. Most of Crete’s music is dance music, played at weddings, baptisms and local festivals and the like.
Some of the greatest Cretan musicians of the past include Andreas Rodhinós, one of Crete’s most important lýra players who died in 1936, aged only 23; Kostas Moudákis, lýra player and singer and Athanásios Askordhalós, a very gifted lýra player. Today’s most renowned musicians of Cretan music are without doubt Ross Daly, Thanássis Skoulás and Psarandónis, brother of Nikos Xiloúris.

NIKOS XILOURIS

Born in Anóyia in 1936, Nikos Xiloúris was a shepherd in his younger years. From the moment he got his first lýra at the age of 12, he played the instrument with an amazing feel, constantly perfecting his skill.
After endless performances at local feasts and celebrations, where he became highly popular, he made his first record in 1958; in 1966 he won the first prize at the San Remo festival, after which he started to pursue a national career by moving to Athens in 1970.
An extremely gifted lýra player with a golden voice, Nikos Xiloúris held Greece’s spirits up and inspired hope as a leading protest singer during the years of the military Junta. He became a national star in the late 1970s, interpreting the unforgettable songs of Greek composers. Sadly, at the peak of his career he died of cancer in 1980, aged 44. Many believe that if he were alive today, he’d have the world at his feet.

ROSS DALY – An Irish Lýra Player in Crete

Ross Daly, born in England, travelled all over the world during his childhood years with his Irish parents. There he came into contact with different cultures and their music. Daly is a unique composer of his music of the world, as well as a virtuoso on instruments like the Cretan lýra, the Turkish sazi, the outi, the Indian sitar and the Afghan rabab. He has been living in Crete for the last 25 years and is giving concerts all over Greece and abroad.

In Houdetsi, Ross Daly’s base some 20km south of Iraklio, Daly has created a musical workshop, the Labyrinth, where he yearly organizes seminars of the traditional music of Greece, the Balkans, Turkey, the Middle East, North Africa and North India (summer and winter seminars). Besides the seminars there are regularly held concerts during the summer months and there is a museum of musical instruments.

CRETAN DANCES

Panagiotis, Maria, Themis and Kalia showing off the 'real' Cretan spirit.

While the mantinádhes express a Cretan’s thoughtful and philosophical side, the Cretan dances display a Cretan's ‘levendiá’ or 'manliness', where he shows off his physical fitness and well-shaped body. There are 5 Cretan dances, all of which are danced by men and women alike today:

Syrtós is a slow, 12-step dance, even and imposing, where men and women line up circularly, holding each other’s hands and make small steps with sharp, straight-out footwork. The first dancer in line performs figures.
Sighanós is an easy, slow, circular 5-step dance, performed by men and women, with arms outstretched and hands resting on their neighbours’ shoulders.
Pendozális is based on the 5 steps of the sighanó and a continuation of this dance, which is completed with 5 more steps. Formerly this was a man’s dance only, as the vivid and jumpy movements on an increased rhythm were ‘not done’ for women. Nowadays the pendozális is danced by men and women alike and has a wide variety of movements.
Malevisiótis is one of the fastest and most energetic Cretan dances, danced in a circle and of a jumpy type, where men and women take each other by the hands that are kept at shoulder height and perform 8 small fast steps forward and 8 steps back. The impressive, acrobatic personal figures of the first dancer in line give the dance a strong, intense character.
Soústa is a jumpy, 3-step couple’s dance in two-quarter beat. Initially a war dance, the soústa was performed by a male couple, symbolizing the two warring opponents. Later it acquired an erotic character, as it is danced by a man and a woman, the man performing imposing and challenging movements that are received by the woman with dignity and modesty and to which she answers with graceful movements.

In this context, I would like to refer to
Aviva Gabriel's notes
• Instruments of Turkish Sufi and Folk Music
http://www.facebook.com/notes.php?drafts&id=1527124650#/note.php?note_id=153569150192
• Persian / Iranian Music
http://www.facebook.com/notes.php?drafts&id=1527124650#/note.php?note_id=140713090192
and Rowan Storm's note
• 14 Feb 09 ~ Silk Road Music and Dance Ensemble ~ Mingei International Museum
http://www.facebook.com/note.php?saved&preview&suggest&note_id=77813607807#/note.php?note_id=51639774226)

Stratis Myrivilis - Vasilis o Arvanitis

2009-04-29T09:12:00.008+03:00

Book title: Βασίλης ο Αρβανίτης, Vasilis o Arvanitis
Turkish title: Midilli'den Arnavut Vasil
English title: Vasilis o Arvanitis
Author: Stratis Myrivilis (Mirivilis)
ISBN: 960-05-0133-5, Turkish: 975-571-136-8, English: 0-85834-502-1
Year pubished: 1943 (Turkish publication 1997)
Language: Greek - Turkish
Publisher: Estia (http://www.hestia.gr) Turkey Istanbul: Belge.
Translation in Turkey: Cem Kaskarlı,
Description: A story at Ottoman times in Lesvos (Midilli) of Vasilis o Arvanitis. Giving the life and times of this hot blooded, young Greek through the brave short life he lived.

STRATIS MYRIBILIS was born in 1890 in the Skamia of Lesbos. Immediately after completing his circulars studies (1909) will start publishing the first literary texts in local forms of the island. In 1912 entered the University of Athens, the Faculty of Philosophy and Law, without ever taking a degree, a result of participating in the successive wars conducted by Greece at the time. Returning in 1923, after ten years of war, in Mitilini he produces the newspaper “Kampana”, in which he publishes in 42 issues the anti military novel “Life in a grave”. The 1932 he settles permanently in Athens with his family. In 1956 he is elected member of the Academy of Athens. Died on 19 July 1969. O Myrivilis Stratis, one of the leading representatives of the Generation of 30’s, gave us some of the greatest works of modern Greek prose of the twentieth century.

Stratis Myrivilis (1892)- (..1969) Asıl adı efstratios stamatopoulos olan, myrivilis midilli adasının kuzey sahilinde bulunan skamniya kentinde doğdu 1892 tarihinde. Lise öğrenimini tamamladığı midilli kentine gelene kadar köyünde kaldı. Atina üniversitesindeki hukuk öğrenimi balkan savaşları nedeniyle yarım kaldı. 1915 Yılında ilk yapıtını, “kızıl hikayeler”i yayınladı. Daha sonra birinci dünya savaşı ve türk-yunan savaşı sırasındaki deneyimleri, onun baş yapıtlarından biri sayıları ve 1924 yılında yayınlanan “mezarda hayat” adlı romanının temelini oluşturdu. Bu romanda savaşın bütün dehşeti yansır. 1933 Yılında “altın gözlü okul müdiresi”, 1949 yılında ise denizkızı madonna´yı yayınlanan “arnavut vasil” dışında iki kısa romanı daha olan myrivilis´in birçok kısa öyküsü daha bulunmakta. Myrivilis, italyan ve alman işgali karşısında direnişçi bir tavır sergiledi. 1943 Yılında alman işgali sırasında yayınlanan “arnavut vasil”de büyük bir heyecanla karşılandı. Myrivilis 1969 yılında atina´da öldü.

Cengiz Onural - Bir Nefes Hayat

2009-04-28T17:32:00.004+03:00

Title: Bir Nefes Hayat
Artist: Cengiz Onural
Year: 2007
Production: Kalan
Description: A collection of music for films

Tracks
1. Kirlangic (3:05)
2. Naz (2:32)
3. Bir Nefes Hayat (3:49)
4. Muhurlu Gozle (4:45)
5. Eve Donus (3:25)
6. Sandalim Bagli Ayazma'ya (3:30)
7. Mir'at (4:39)
8. Yaprak Dokumu (1:46)
9. Masalci Dede (3:02)
10. Efsane (2:59)
11. Dut Agaci (5:17)
12. Agit (3:27)
13. Benim Sirrim (3:48)
14. Kiyi Kahvesi (4:20)
15. Masumiyet (3:43)
16. Gece Yolculari (3:46)
17. Yaz Masali (2:50)

Samples

Interview with Cengiz Onural (İncesaz)

2009-04-27T13:07:00.016+03:00

Here is an interview made with Cengiz Onural, from İncesaz. I want to thank Filiz very much for her English translation.

You were once a member of Yeni Türkü. Later, you have continued your musical career with İncesaz, which you formed together with Murat Aydemir and Derya Türkan. Can you tell us how you decided to form İncesaz and how the group has reached its present state?

Murat Aydemir and Derya Türkan wanted to work with me while recording their first Turkish Classical Music album “Ahenk”. That’s how we met. I realized that these two musicians had the noble traditional attitude towards music that I was longing to see and they discovered my intention to try new things, so we started strumming together. Then, over the years, some other very qualified musicians, who you are already familiar with, have joined us and the group has reached its final state.

How do you define the music of İncesaz?

First of all, I believe that a musician is incapable of defining his own music because he already expresses himself through his music. The rest is just empty talk. However, as I do not want to leave your question unanswered, I can explain “what we think about our own music”. The music of İncesaz is a blend of both traditional and universal modes, melodies, rhythms, tones accompanied with such instruments as klasik kemençe / politiki lyra (three-stringed fiddle), tanbur (Turkish long-necked lute) and kanun / kanonaki (zither). As we produce our music, we don’t restrict ourselves to the much debated matter of “east – west synthesis”. We use most aspects of the universal language of music, and say our word as freely as possible.

Your sixth album “Kalbimdeki Deniz” has recently been released. Can you tell us about your previous albums and your musical journey in time?

Since Incesaz have never been in the mainstream struggling with money and power, we have always sung songs that are uniquely ours. Although the group have been exposed to moral pressure after the first few albums, Incesaz, with its stringed instruments quartet, “baglama”s, tangos and symphony orchestra, presisted in making its own music. We have never troubled ourselves with whether a song would be popular or what our fans would think. In this sixth album we have also included some of our songs we have long ignored.

In “Kalbimdeki Deniz” the soloists are Dilek Türkan and Bora Ebeoğlu. In your previous albums, you worked with again Dilek Türkan as well as Melihat Gülses and Cengiz Özkan as soloists. Can you tell us how working with different singers contributes to your music?

I believe that every single individual is a universe within himself and that the musical language of Incesaz is completely universal. I also believe that any musician who has contributed to us through their voices and breaths has tremendously enriched our music. I would like to take this opportunity to, once again, thank all these people who I truly love and admire.

Incesaz has a wide range of fans. You don’t have any videos. We don’t see you on TV either. You keep in contact with your fans via concerts only. We can conclude that you intentionally prefer to take a back seat rather than be in the public eye. Why is that so?

As I have previously mentioned we, as a group, do not exist in the mainstream struggling with money and power. In order to take part in the mainstream, which can also be called as populism, you have to fulfill some requirements, make concessions and play the game by the rules. As we do not take part in this game, we have the freedom to say “You play your game!”. In my opinion, this freedom is much more valuable than the benefits that “dancing with wolves” would bring.

Can you also inform us about the forthcoming projects of İncesaz? Do you have any plans for a concert in Greece?

There are three bands in Greece that we have close relations with. Dromos, Romeiko Ensemble and Hainides, with whom we have been friends and have given concerts for many years. We have been working together with Grigoris Vassilias of Dromos, the bouzouki player, and Grigoris Bialis of Romeiko for such a long time that we have even become like brothers. We have been invited to perform in several Greek festivals this summer (2009) together with Dromos and we have immediately accepted. If we can realize this project, it is going to be an amazing experience. Apart from that, Derya Türkan, the “kemençe” virtuoso of İncesaz, in collaboration with the Greek “kemençe” virtuoso Sokratis Sinopoulos, give “kemençe” lessons in Crete every year to students from Greece and many other parts of the world. I also intend to attend those classes this year.

Apart from İncesaz, you have also been playing Rebetiko, İzmir music (Smyrneiko) and Zeybek music with Muammer Ketencoglu and Zeybek Toplulugu. What led you to this genre of music?

I love Greek culture and music so much that one could almost think I have Greek origins. This love is the main reason for all these musical activities. I not only perform this genre but I also go to Greece very often to visit prominent musicians, some of whom are close friends of mine, and I try to benefit from their knowledge as much as possible.

Can you share with us your thoughts regarding the blog, “Greek Turkish Friendship Through Music” and the group on facebook?

It is only love that unites us, nothing else. Neither interests, nor power….Nothing is more precious than this.

Cengiz Onural’ı Yeni Türkü grubundan tanıyoruz. Sonrasında Murat Aydemir ve Derya Türkan’la birlikte kurduğunuz İncesaz grubuyla müzik yaşamınızı devam ettirdiğinizi biliyoruz. Bize kısaca İncesaz’ın oluşum öyküsü ile bugünlere nasıl geldiğinizden bahsedebilir misiniz?
Murat Aydemir ile Derya Türkan Ahenk isimli ilk klasik Türk Müziği albümlerinin kayıtlarını benimle yapmak istemişler. Böylelikle tanışmış olduk. Ben onların, özlemini duyduğum soylu geleneksel tavra sahip olduklarını, onlar da benim yeni bir şeyler yapma niyetimi görünce birlikte tıngırdamaya başladık. Sonra yıllar içinde şimdi isimlerini bildiğiniz değerli müzisyenlerin de katılmasıyla bugünkü halimizi aldık. (www.incesaz.com)
İncesaz olarak yaptığınız müziği nasıl tanımlıyorsunuz?
Her şeyden önce şunu söylemeliyim ki, kanımca, bir kişi veya grup kendi müziğini tanımlamakta aciz kalır. Çünkü o sözünü müzikle zaten söylemektedir. Fazlası boş laftır. Ancak sorunuzu cevapsız bırakmak yerine “kendi müziğimiz hakkında düşündüklerimizi” şöyle ifade edebilirim: İncesaz bir yandan geleneksel müziğimizin makam, ezgi, ritm ve tınılarını, klasik kemençe, tanbur ve kanun sazlarının icra tavırlarını korurken, diğer yandan da evrensel armoni, ezgi, ritm ve tınıları müziğinde bir arada barındırıyor.
Müziğimizi üretirken yüzyıllardır tartışılan “doğu – batı sentezi” parantezine sıkışıp kalmıyoruz. Kendi müzikal ifademiz için doğru bulduğu evrensel müzik dilinin çoğu unsurunu kullanarak sözümüzü olabilecek en özgür biçimde söylemeyi seçiyoruz.
Geçtiğimiz günlerde 6. albümünüz olan “Kalbimdeki Deniz” yayınlandı. Geriye dönüp hazırladığınız albümlere baktığınızda nasıl bir müzikal yolculuk olmuş, biraz anlatabilir misiniz?
İncesaz para ve iktidarla cilveleşen ana arterde yer almadığı için daima ve yalnızca kendi türküsünü söyledi. Birkaç albüm sonra oluşmaya başlayan “muhipler” her ne kadar grubun üzerinde bir manevi baskı kurmayı başardılarsa da, İncesaz gâh bir yaylı çalgılar dörtlüsüyle, gâh bağlamalarla, gâh tangolarla, gâh senfoni orkestrasıyla birlikte tıngırdayarak sözünü söyledi. “Bizi sevenler ne der?”, “Tutar mı?” gibi teraneler hiç ayağımıza dolanmadı. Bu altıncı albümde de epeydir bir kenara attığımız kendi şarkılarımıza yer verdik.
“Kalbimdeki Deniz”de solistleriniz Dilek Türkan ve Bora Ebeoğlu. Daha önceki albümlerinizde solist olarak yine Dilek Türkan, Melihat Gülses ve Cengiz Özkan’la çalışmıştınız. Farklı isimlerle çalışmanızın müziğinize olan katkılarını anlatabilir misiniz?
Ben her insanın bir dünya, bir evren olduğuna, İncesaz’ın söylediği sözün evrensel olduğuna, bize sesi ve nefesiyle katılan her değerli solistin müziğimize paha biçilmez bir zenginlik kattığına inanırım. Çok inandığım, çok sevdiğim, hayranlık duyduğum bu kişilere bu bahaneyle bir kez daha teşekkür etmek isterim.
İncesaz toplumun pek çok farklı kesiminden oluşan geniş bir hayran kitlesine sahip. Hiç klip çalışmanız yok, TV programlarında görmüyoruz. Hayranlarınızla olan iletişiminizi sadece konserlerinizle sürdürüyorsunuz. Sizin çok göz önünde olmaktansa daha geri planda olmayı tercih eden bir grup olduğunuzu söyleyebiliriz. Neden?
Biraz önce belirttiğim gibi biz para ve iktidar ile cilveleşen ana arterde yer almıyoruz. Popülizm olarak da adlandırılabilecek bu ana çizgide kalmak için, bazı gereklilikleri yerine getirmeli, bazı tavizleri vermeli ve oyunu kurallarına göre oynamalısınız. Biz bu oyunda olmadığımıza göre, “Oyununuz sizin olsun!”, diyebilme özgürlüğüne sahibiz. Bana göre, bu özgürlük, “kurtlarla dansın” getireceği nimetlerden çok daha değerli.
İncesaz’ın gelecek projelerini de biraz öğrenebilir miyiz? Programda Yunanistan’da konser bulunuyor mu acaba?
Yunanistan’da çok yakından gönül bağımız olan üç grup var. Yıllardır dost olduğumuz, birlikte konserler verdiğimiz Dromos, Romeiko Ensemble ve Hainides. Dromos’un lideri buzuki sanatçısı Grigoris Vassilas ve Romeiko’nun lideri Giorgios Bilalis ile uzun zamandır tanışıyor ve çalışıyoruz. Öyle ki her ikisiyle de kardeş kadar yakın dost olduk. Bu yaz (2009 yazı) Dromos ile birlikte çeşitli Yunanistan festivallerine katılma teklifi aldık ve gözü kapalı kabul ettik. Eğer gerçekleşirse, bizim için muhteşem bir deneyim olacak.
Ayrıca İncesaz’ın kemençe üstadı Derya Türkan, her sene Girit adasında Yunanistan ve dünyanın çeşitli yerlerinden gelen öğrencilere yunanlı kemençe sanatçısı Sokratis Sinopulos ile birlikte kemençe dersi veriyor. Bu sene ben de bu derslere katılmaya niyetliyim.
İncesaz haricinde Muammer Ketencoğlu ve Zeybek Topluluğunda Rebetiko, İzmir ve Zeybek müziği üzerine çalışmalarınızı sürdürüyorsunuz. Sizi bu tür müziğe yönelten neydi?
Neredeyse bir yanım Yunan dedirtecek kadar Yunan kültürünü ve müziğini severim. Bütün bu çalışmalar bu sevgiden kaynaklanıyor. Bu müziği yapmakla kalmam, sık sık Yunanistan’a seyahat eder, bazıları yakın dostum olan değerli müzisyenleri dinlemeye ve feyz almaya bakarım.
Facebook’taki Greek Turkish friendship with Music Grubu ve bloğumuz ile ilgili görüşlerinizi bizimle paylaşır mısınız?
Bizi sevgiden başka bir araya getiren bir şey yok. Ne çıkar, ne iktidar... Öyleyse bundan değerlisi yok.

Greek and Turkish proverbs

2009-04-25T15:45:00.008+03:00

Music and dance oriented proverbs
Νηστικό αρκούδι δε χορεύει
Aç ayı oynamaz
(Common)

Όποıος μπαίνει στο χορό, χορεύει
Halaya giren kolunu sallar

Kizi kendi haline brakirsan, ya davulcuya varir yada zurnaciya
If you let your daughter decide by herself, she will marry either a davul or a zurna player
(Turkish)

Davulsuz dugun, kopeksiz köy
Wedding without a "davul", village without dogs
Γάμος δίχως νταούλια, χωριό δίχως σκυλιά
(Turkish)

Zurnanin son deligi(yim)
(I am) the last hole of the zurna
Είμαι η τελευταία τρύπα του ζουρνά
(Common)

Davulun sesi uzaktan hoş gelir
From a distance the sound of the davul is sweet
Του νταουλιού η φωνή από μακριά γλυκά ακούγεται
(Turkish)

Elsewhere the bride is getting married, elsewhere the "davul"s are beating..
Αλλού παντρεύεται η νύφη, αλλού βαρούν τα νταούλια
Greek (Lesvos Island)

Η Τουρκάλα στο τραγούδι, η Ρωμιά στο ψαλμό
The Turkish woman on the song, the Rum Woman on the psalms

Common in Thrace, esp. among the smokers
Cigarasiz kahve, gaydasiz bulgar dugunune benzer.
A cup of coffee without a cigarette is like a Bulgarian wedding without a "gayda"

Oynayamayan gelin yerim dar dermiş.
A bride who cannot dance says she doesn't have enough space.
(Turkish)

Anlayana sivrisinek saz, anlamayana davul zurna az.
To the wise, a mosquito's buzz is as obvious/clear as the sound of "saz"; to the dumb, even the drum and horn are not enough.
(Turkish)

Common and other
Δύο καρπούζια κάτω από μία αμασκάλη δε χωράνε
İki karpuz bir koltuğa sığmaz

Δείξε μου το φίλο σου να σου πω ποιος είσαι
Bana arkadaşını göster sana kim olduğunu söyleyeyim

Έχε τα πόδια σου ζεστά την κεφαλή σου κρύα
Ayağını sıcak tut başını serin

Με στραβό σαν κοιμηθείς το πρωί γκαβίζεις
Körle yatan şaşı kalkar

Ο τρελός είδε το μεθυσμένο και φοβήθηκε
Deli sarhoşu görünce çomağını saklar

Όποιος ανοίγει τον λάκκο του άλλου πέφτει ο ίδιος μέσα.
Başkasının kuyusunu kazan içine kendi düşer.

Όπου υπάρχει καπνός υπάρχει και φωτιά
Ateş olmayan yerden duman çıkmaz

Oτι σπείρεις θα θερίσεις
Ne ekersen, onu biçersin

Σκυλί που γαβγίζει μην το φοβάσαι
Havlayan köpek ısırmaz

Χωριό που φαίνεται κολαούζο δε θέλει
Görünen köy kılavuz istemez

Edited by Filiz and Panos

Anadolu'nun Kayıp Şarkıları / Lost Songs of Anatolia

2009-04-25T12:16:00.007+03:00

Original Title: Anadolu’nun Kayip Sarkilari
English Title: Lost Songs of Anatolia
Origin: Turkey
Year: 2008
Production Company: Nezih Ünen Productions
Language: Turkish and various languages as lyrics (English subtitles)
Description: A musical voyage among exotic places and people of Anatolia, unique host of ancient civilizations, empires as well as mythologies and glory of 10 millennia.
The fruit of 350 hours of footage, more than 40,000 km traveled and 133 recorded live performances, Lost Songs of Anatolia may be the first example of its kind as a documentary-musical film. The cultural riches of Anatolia are sung in authentic performances recorded live on location spontaneously. With the modern arrangements made, an incomparable musical is formed.
While this journey is showing how music and culture is derived from life, geography and work, an exploration of Anatolia’s versatile cultures takes place on a basis of music, dance and rituals. The staggering environment surrounding these people and influencing their lifestyles contribute the lyric flow of the film.
The making of this film took more than 5 years, during which Anatolia was explored thoroughly twice, and afterwards, several additional shootings were made at spot locations. A total of 133 performances were recorded on 121 locations and 43 of them were selected to take place in the film.

Cultures taking place in the film

Circassian Dances from Duzce
Alevi rituel semah and folk songs from Tokat
Horon Dance from Trabzon
Hemsin Songs and improvisations from Rize
Polyphonic Georgian Songs from Artvin
Minstrel Quarrel and The Shepherd’s Love Song from Kars
Eagle Dance from Bingol
Bektasi Song from Tunceli
Dengbej Song in Mus
Cotton field workers’ Work Song from Diyarbakir
Syriac rituals in Mardin
Folk songs from Midyat and scenes from Harran
Gazel from Urfa
Barak Song from Gaziantep
Silk producer’s Work Song in Hatay
Folk songs and Kirtil Semah Ritual from Silifle
Bozlak Song from Kirikkale
Zeybek Dance and a Karacaoglan Song from Denizli
Nomad’s music played with kemane and sipsi from Burdur. Also Lover and the Beloved Dance.
Gypsy’s Drum and Clarion from Mugla
Sword and Shield Game from Bursa
Armenian and Greek Songs
Whirling Dervishes

Dr Umit Mutlu - Santur

2009-04-25T08:23:00.005+03:00

Title: Santur
Artist: Dr Umit Mutlu
Year: 2003
Production: Kaf
Description: A collection of zeybek and other tunes of the early past century
Musicians: Derya Turkan, kemence, Fahrettin Yarkin, bendir

Tracks:
1. Bergama Zeybegi (Anonymous)
2. Huseyni Zeybek (Anonymous)
3. Bandirma Zeybegi (Anonymous)
4. Mahur Zeybek (Anonymous)
5. Hicazkar Sirto (Sultan Abdulaziz)
6. Tavas Zeybegi (Anonymous)
7. Cargah Sirto (Anonymous)
8. Rast Sirto (Anonymous)
9. Sultaniyegah Sirto (Refik Fersan)
10. Nihavend Santur Taksimi (Umit Mutlu)
11. Nihavend Zeybek (Anonymous)
12. Nikriz Longa (Tanburi Cemil Bey)
13. Izmir Zeybegi (Anonymous)
14. Hicaz Sirto (Tanburi Kadi Fuad Efendi)
15. Hicaz Mandra (Anonymous)
16. Hicaz Sazeseri (Dr.Umit Mutlu)
17. Yunan Oyun Havasi (Anonymous)

Sample tracks

Turkish Proverbs - Thomas Korovinis

2009-04-24T15:03:00.006+03:00

Book title: Turkish Proverbes - Τούρκικες Παροιμίες

Author: Thomas Korovinis
Year: 1988

ISBN:

Language: Turkish

Publisher: Agra

Examples:
Νηστικό αρκούδι δε χορεύει
Aç ayı oynamaz
Δύο καρπούζια κάτω από μία αμασκάλη δε χωράνε
İki karpuz bir koltuğa sığmaz
Χωριό που φαίνεται κολαούζο δε θέλει
Görünen köy kılavuz istemez
Αγάπη που πεισμάτωσε και αραμπά τουμπάρει.
Άκουσε σάβανο και πέθανε αποβραδίς.
Άλλο λογαριασμό ο γάιδαρος και άλλο ο αγωγιάτης.
Άλλος με τις παράδες του και άλλος με τις προσευχές του.
Άμα χτυπήσεις μόνος, δεν πονάς.
Γουρόυνια που τα βόσκω εγώ, τα χούγια τους εσύ θα μου μάθεις;
Η γυναίκα ένα μυαλό, ο άνδρας δώδεκα!
Να αφήσω τα σκατά να πάω στα απόσκατα
Σκυλί που δαγκώνει, δε δείχνει τα δόντια του
Στη τέχνη δώσε πίστη και ο παράς θα σε κυνηγάει
Στη τύχη μη πιστεύεις, αλλά και δίχως τύχη μη μένεις
Στο κόκκινο το μήλο πολλοί πέτρες πετάνε
Στον μπακάλη δεν πουλάνε μπακαλική.
Στο ψώφιο λιοντάρι οι λαγοί κάνουν γιούργια
Σώθηκε ο τράγος απ'το λύκο, στα κέρατά του το χρωστάει.
Τα τσαλίμια δεν κάνουν παράδες.
Τα τσιγγανάκια πληθαίνουν, ο αρχιτσιγγάνος κατουργιέται απ'τη χαρά του!
Της καμήλας το το μπόι έφτασες, αλλά αυτιά σαν της καμήλας δεν έκανες!
Της νοικοκυράς ο άντρας, από τα βρακιά του φαίνεται
Το αχμάκικο σκυλί, απ'το μπακλαβά μερίδα περιμένει.
Το γαϊδούρι, και χρυσό σαμάρι να του βάλει, πάλι γαϊδούρι θα είναι.
Φτηνό είναι θα έχει κουσούρι, ακριβό είναι, θα χτυπάει στο μάτι!

Music Therapy - Turkish music and movement therapy tradition

2009-04-19T22:12:00.012+03:00

Album: Rehavi Makamı
Year: 2001
Company: TUMATA (Türk Musikisini Araştırma ve Tanıtma Grubu / The Group for the Research and Promotion of Turkish Music)

According to the view of experts who have done research on music; music existed before language. Abstract concepts, memory, symbols, associations, analogical relations necessary for conversation and speech have evolved and matured with humanity. Together with this, there is in every particle in nature, a unity of melody and rhythm which continues with great order and harmony. In the harmony and rhythm perfection of bird sounds, in the movement of atoms, electrons and galaxies and in the amplified sounds of the fluids of our body, we can observe the relation and association of music with the created world at large.

Music and music therapy history understanding of the present world, directs us to colloborate with sciences like anthropology, history, ethnotherapy, ethnomedicine, psychology, pedagogy, sociology, spirituality and parapsychology.

Curing with makam (Turkish tonality) music and treatment with these elements, which matured and established itself along with the Bakshi-Kam curing tradition and pentatonic music form which has an important place in Turkish culture and history of music and dance, has again revitalized itself in today’s medical arena. One thousand years ago in Central Asia, Farabi, Ibn-i Sina, Ebu Bekir Razi, Hasan Suuri, Hekimbasi Gevrekzade Hafiz Hasan Efendi and Hasim Bey have written works on makam music, which was developing and spreading in Horasan (Transoxiana) and Uigur Regions, and they described the relations of makams with feelings and organs of the body by classifications. While pentatonic music was continuing to develop in Turkic provinces, a different makam music based on a system of 7 notes, where one whole note was divided into 9 different sounds (komas), has contributed to our culture and art with a wealth of over 400 makams.

Ebu Bekir Razi, one of the great Muslim Turkish scholars, who lived between 834-932, in his work on the curing of melancholic patients tells us the following: “... melancholic patient must be cured through some sort of pre-occupation... melancholic patient should pursue a joyful hobby like hunting or fishing. He should get to know different kind of games. He should meet people whose character, behavior and morals he likes; and should listen to songs which are sung by beautiful voices.”

Great Turkish scholar Farabi (870-950) classifies the effects of the tonalities to the soul as follows:

Rast tonality: Induces joy and feelings of peace
Rehavi tonality: Induces feelings of infinitude
Kuchek tonality: Eliminates feelings of sorrow and grief
Buzurk tonality: Eliminates fear
Isfahan tonality: Induces feelings of self confidence and aids the ability to move
Neva tonality: Gives a person taste and relief
Ussak tonality: Induces laughter
Zirgule tonality: Induces sleep
Saba tonality: Gives a person courage and power
Buselik tonality: Gives strength
Huseyni tonality: Induces feelings of peace (calmness and comfort)
Hicaz tonality: Induces humbleness

Great Muslim Turkish philosopher and scholar Ibn-i Sina (Avicenna, 980-1037) defines the role music plays in medicine as follows: “... One of the most effective and best paths of curing is to increase the mental and spiritual strengths of the patient. To cope better with the illness, the patient should be encouraged, should listen to good music and should come together with people whom he loves.”

Ibn-i Sina states that, he had benefited greatly from the works of Farabi, and adds that he had learned music from him and applied it in his medicinal occupation. In his book ’Kitap’un Necat’ and ’Kitab’un Sife’ which he wrote in Arabic, 12. chapters are totally reserved for music. These chapters were translated by Baron Rodolph Dearlangar, and were named and published as ’La Musique Arap’.

In the works named ’Tadil-i Emzice’ of the ancient Turkish Doctor Shuuri, there is encompassing information about curing with music. Shuuri in his work ’Tadil-I Emzice’ states that at the different times of the day, different tonalities are effective.

According to him:

Rast and Rehavi tonality: Effective at dawn
Huseyni tonality: Effective in the morning
Irak tonality: Effective around mid-morning
Nihavend tonality: Effective around noon
Hicaz tonality: Effective between two prayer times
Buselik tonality: Effective in the afternoon
Ussak tonality: Effective at dusk
Zengule tonality: Effective after sunset
Muhalif tonalities: Effective after the last prayer in the evening
Rast tonality: Effective at midnight
Zirefkend tonality: Effective after midnight

According to Shuuri, different tonalities affect the different gatherings of people:

Gathering of religious scholars (Ulema meclisi): Rast and Tevabii tonalities
Assembly of Kings: Isfahan and Tevabii tonalities
Gathering of Dervishes: Hicaz and Tevabii tonalities
Gathering of Sufis: Rehavi and Tevabii tonalities

Nine centuries before our time in the Nureddin Hospital in Damascus, which was built by Seljukian Sultan Nureddin Zengi, musical tonalities were used to cure patients.

In later times, curing with music was implemented in Amasya, Sivas, Kayseri, Manisa, Bursa, Istanbul (Fatih Kulliyesi) and Edirne hospitals. We find the following written in Evliya Chelebi’s travel chronicles: ”The late Bajezid, the benefactor; may God forgive his sins; to cure the ill, to relieve the aggrieved, to get rid of the passion of love and as a nutrition to the souls of the crazy, had arranged 10 professional singers and 10 musicians, of which 3 were only singers, 1 was a Neyzen, 1 was a violin player, 1 was a musikar (Pan flute) player, 1 was a Santur player, and 1 was an Ud player. They came 3 times a week to apply a session of music to the patients and the mad.”

According to these sources, during the execution of these passive-receptive music therapy sessions, which developed with the ripened tonalities of Turkish Art Music - which has its origin in Horasan (Transoxiana) - and Horasan Anatolian music, the patients would listen either by sitting comfortably or lying down in a resting position. In this form of curing, the aim was to relieve the patient by changing their emotional states and help them rekindle their self confidence.

Source:

www.tumata.com

Short examples from TUMATA CDs:

www.tumata.com/99ing_icerik.aspx?pageName=eng_makamlar.html

Rehavi Makamı

http://www.4shared.com/file/100280169/90622b8c/Rehavi_Makami.html

YEGANE MİRAS - Η ΜΟΝΗ ΚΛΗΡΟΝΟΜΙΑ

2009-04-15T10:15:00.007+03:00

Book title: Η ΜΟΝΗ ΚΛΗΡΟΝΟΜΙΑ
Turkish title: Yegane Miras

Author: Yorgos Yoannu

ISBN: 975-05-0070-9

Language: Turkish

Publisher: In Turkey İletişim Yayınları, 2002, translation Müfide Pekin

Description: Yunan edebiyatının en büyük düzyazı ustalarından ve önemli şairlerinden, annesi ve babası Tekirdağ-Keşan doğumlu Yorgos Yoannu, çocukluk ve yeniyetmelik dönemlerinin anılarını bir araya getirdiği Yegâne Miras’ta okura, 1923 Mübadelesi’nden sonra ailesinin yerleştiği Selânik’ten, daha sonra görevli gittiği Atina ve Bingazi’den son derece canlı insan portreleri ve günlük yaşam manzaraları sunuyor. Yeniyetme bir delikanlı olarak yaşadığı İkinci Dünya Savaşı sırasında, bombalar altında yıkılan Selânik’te yazarın kendi aile çevresinde gelişen traji-komik olaylarla örülen bu öykülerin ayrıntılarında Yunanistan’ın gizli çağdaş tarihini bulmak mümkün. Yeni gelişmekte olan bir toplumsal yapının kuruluş sancıları içinde yaşama tutunmaya çalışan küçük insanın sıkıntıları, artık kaybolmaya yüz tutan alışkanlıklar, yok olan tatlar, Yegâne Miras’ın ana temalarını oluşturuyor. Kitapta yer alan “Kemal’in Evi” adlı öykü, Yunanistan’da orta öğretim edebiyat ders kitaplarında düzyazı örneği olarak okutulmakta.

Yorgos Yoannu, whose parents were from Tekirdağ-Keşan area, was one of the greatest writers and poets in Greek literature. In his book, he talks about his memories from his childhood and teenage years. He writes about Selanik where his parents moved after the Exchange of Population which took place in 1923, Athens and Bingazi where he went on duty and gives vivid human portraits and scenes from daily life. He talks about the Second World War which he went through as a young man and describes Selanik collapsing under the bomb attacks, and tragicomic stories which surround his family. Within the details of the stories, the reader can find traces of Greece’s hidden history. The difficulties of people who try to hold on to life, living in an era where a new social structure is being formed, habits which are fading away, customs which are disappearing, form the main themes of the book. The story “Kemal’s House” in the book is being taught as an example of literary text in Greek secondary school literature classes.

“Kemal’in Evinde” öyküsünden alıntı: “…Herkes eski güzelliğinden, eski şaşaasından bahsediyordu evin. Ben bütün bu yüksek sesli konuşmaların arasında bir ihtiyar kadının alçak sesle söylediği şu sözleri çok iyi hatırlıyorum: ‘Bu ev bir beyzadeye aitti, beyzadenin serin sular misali bir de kızı vardı. Merdivenlerden bir aşağı, bir yukarı yürümez, adeta akardı. Evi terk ederlerken eğildi, basamağı öptü. Bu gözlerim böylesine derin bir yürek acısını bir daha görmedi.’”
From the book: “….Everybody was talking about the former beauty and extravagance of the house. Among all the talks, I remember with great clarity the words of an old woman told in a low whisper: “This house used to belong to a young noble and he had an extremely graceful daughter. While climbing up and coming down the staircase, she almost didn’t walk but flowed like water. When they left the house, she kissed the step. My eyes have never seen such a deep heart ache.”

Bosporus - Fanari tis Anatolis - Balkanika oneira

2009-04-12T10:06:00.003+03:00

Artist: Bosporus
Album: Fanari tis Anatolis - Balkanika oneira
Year: 1996
Company: Music box
Musicians: Vasiliki Papageorgiou - Μelda Kurt
Description: A collaboration of the Greek of Constandinople Vasiliki with Turkish musician and with songs that are from both countries

Tracks:
1. Βασιλική Παπαγεωργίου - Μοναχογιός Ο Κωνσταντής
2. Μelda Kurt - Ezim Ezim Eziliyor Yuregim
3. Βασιλική Παπαγεωργίου - Ανάθεμα Τον Αίτιο
4. Μelda Kurt - Ela Gozlu Pirim Geldi
5. Βασιλική Παπαγεωργίου - Δακρύζω Με Παράπονο
6. Βασιλική Παπαγεωργίου - Μισεύω Εξαιτίας Σου
7. Μelda Kurt - Zeybek
8. Βόσπορος - Anadolu
9. Βασιλική Παπαγεωργίου - Τα Ματόκλαδά Σου Λάμπουν
10. Μelda Kurt - Dun Gece Yar Hanesinde
11. Βασιλική Παπαγεωργίου - Σαν Πάς Στα Ξένα
12. Βόσπορος - Goz
13. Βασιλική Παπαγεωργίου - Πετραδάκι, Πετραδάκι
14. Μelda Kurt - Bad-I Saba - Madem Ki Ben Bir Insanim
15. Βασιλική Παπαγεωργίου - Anne (Mάνα)
Sample tracks 2-13

Evliya Celebi - Peregrination to Greece (1668-1671)

2009-04-12T10:03:00.001+03:00

Book Title: Peregrination to Greece (1668-1671) - Οδοιπορικό στην Ελλάδα (1668-1671)
Author: Evliya Celebi
ISBN: 960-7437-07-1
Language: Greek
Year: 1994 This edition 2005, fifth edition
Publisher: Ekati http://www.ekatibooks.gr
Translator: Dimitris Loupis
Description: This book is part of the descriptions of the traveller Evliya Celebi, in the Ottoman periode in Greece.
Notes: The text of this book is based upon the book "Evliya Celebi Seyahatnnamesi, Mehmet Zillioglu, Istanbul Üçdal Nerşriyatö 1985)

Rum (Greek) Composers of Constantinople - Bosporos

2009-04-09T20:25:00.003+03:00

Artist: Bosporos
Album: Ρωμιοί Συνθέτες της Πόλης
Year: 1987
Company: Minos EMI
Music production: Ihsan Ozgen
Production: Nikoforos Metaxas

Tracks
1.Taxim ney Maqam Rast
2. Rast Beste Zacharias Handedes
3.Sazkiar Pesrev - Dimtri Kandemir
4. Pencugkiah Saz Semasi - Dimtri Kandemir
5. Taxim Kanun - Husun Anil - Pencugkiah
6. Mahur Saz Semaisi - Nikolaki
7. Nikriz Zeybek - Tanburi Cemil Bey
8. Taxim Huseyni
9. Huseyni Agir Semai - Zacharias Handedes
10. Taxim ney
11 Huseyni Saz Semaisi - Antonis Kyriazis
12 Taxim Tambur Huseyni
13 Kurdilihicaskiar Pesrev - Vasilakis
14. Taxim Kurdilihicaskiar
Sample tracks: 11,13

From magazine HITECH

Η εν λόγω έκδοση επιχειρεί μια γνωριμία με τους Ρωμιούς συνθέτες, που έδρασαν στο χώρο της οθωμανικής κλασικής μουσικής. Μια μουσική με βαθιές ρίζες στη μακραίωνη παράδοση της ανατολικής Μεσογείου, που είναι κι η άμεση κληρονόμος της βυζαντινής και της αραβοπέρσικης μουσικής παράδοσης. Οι φορείς της προέρχονταν απ' όλους τους λαούς που έζησαν στο πολυεθνικό ψηφιδωτό της Κωνσταντινούπολης: Ρωμιοί, Τούρκοι, Αρμένιοι, Εβραίοι... Στην έκδοση αυτή, ξεναγός μας στο έργο των Ρωμιών συνθετών της Πόλης είναι το συγκρότημα "Βόσπορος", που αποτελείται από διακεκριμένους Τούρκους δεξιοτέχνες. Οι Ρωμιοί συνθέτες που ανθολογούνται έδρασαν από το 18ο αιώνα, περίοδος μεγάλης ακμής της οθωμανικής κλασικής μουσικής, έως τις αρχές του αιώνα μας. Ανάμεσά τους ο πρίγκιπας Δημήτριος Καντεμίρης, βοεβόδας της Μολδαβίας, που ήταν ένας από τους πιο μορφωμένους λογίους της εποχής του. Πολλοί απ' αυτούς είχαν σπουδάσει και τη βυζαντινή μουσική, όπως ο Ζαχαρίας ο χανεντές. Ήταν μαθητής του Δανιήλ Πρωτοψάλτη στη βυζαντινή μουσική και μελοποίησε και εκκλησιαστικούς ύμνους, ιδιαίτερα καλοφωνικούς ειρμούς. Παράλληλα έπαιζε ταμπούρ κι ήταν και χανεντές (τραγουδιστής) στο παλάτι του Σουλτάνου... Στην έκδοση αυτή μπορούμε να πάρουμε μια γεύση από τις πολύ εκφραστικές μελωδικές γραμμές που συνέθεσαν οι Ρωμιοί συνθέτες, οι οποίες στηρίζονται στα "μακάμια" (μουσική "δρόμοι") και τα "ουσούλια" (ρυθμικά σχήματα) της ανατολικής μουσικής. Ακούγονται τα όργανα της κλασικής ορχήστρας: πολίτικη λύρα, νέι (μακριά φλογέρα), ταμπούρ, κανονάκι και βιολοντσέλο. Η πολίτικη λύρα είναι γνωστή και με το όνομα "κεμεντζέ ρουμί" (κεμεντζές των Ελλήνων), γεγονός που φανερώνει την ελληνική προέλευσή της. Περιλαμβάνονται οχτώ οργανικές συνθέσεις που στηρίζονται στις φόρμες της λόγιας μουσικής της Κωνσταντινούπολης κι έξι ταξίμια, όπου κάθε όργανο της ορχήστρας φανερώνει τις εκφραστικές του δυνατότητες. Οι οργανικές φόρμες "Πεσρέφ" και "Σαζ σεμαϊσί" έχουν τις ρίζες τους στην αυλική μουσική των Περσών, ενώ το "Μεστέ" είναι αργή και μελισματική φωνητική σύνθεση, όπου ανάμεσα στους στίχους τραγουδιούνται οι συλλαβές "τερεννούμ". Είναι κάτι αντίστοιχο με την καλοφωνία της βυζαντινής μουσικής. Απ' αυτό το παράδειγμα μπορούμε να δούμε τις ανταλλαγές και τις αλληλεπιδράσεις ανάμεσα στις δυο μουσικές, τη στιγμή που -πολλές φορές- τα ίδια άτομα διακρίνονταν και στις δυο... Ο δίσκος αυτός είναι ο πρώτος αφιερωμένος στο έργο των Ρωμιών συνθετών της Πόλης που κυκλοφόρησε στην Ελλάδα. Επιχειρεί να φωτίσει μια άγνωστη (στο πλατύ κοινό) πλευρά της ελληνικής μουσικής, πολύ πριν οι εθνικισμοί καταστρέψουν τη μακραίωνη συμβίωση των λαών... Οι δεξιοτέχνες του "Βοσπόρου", κληρονόμοι και συνεχιστές της μακραίωνης αυτής παράδοσης, μας ξεναγούν στο κλίμα που επικρατούσε στη λόγια μουσική της Πόλης έως τις αρχές του αιώνα. Προσεγμένη είναι επίσης κι η επιλογή του ηχητικού υλικού. Τα μακάμια που ακούγονται είναι "συγγενικά" μεταξύ τους, ενώ το τελευταίο ταξίμι καταλήγει στο μακάμ "ράστ", όπου κινούνταν τα πρώτα κομμάτια. Στο ένθετο φυλλάδιο περιέχονται σύντομα βιογραφικά στοιχεία των ανθολογούμενων συνθετών, πληροφορίες για τα μουσικά όργανα, καθώς και κατατοπιστικά σχόλια για τα κομμάτια της έκδοσης από το Γιάννη Ζάννο. Την επιλογή των κομματιών έχουν κάνει ο Νικηφόρος Μεταξάς και η Ανιές Αγκοπιάν.

Χάρης Σαρρής
HITECH

The Rough Guide to Turkey

2009-04-08T15:38:00.003+03:00

Book Title: The Rough Guide to Turkey
Authors: Rosie Ayliffe, Marc Dubin, John Gawthrop and Terry Richardson
ISBN: 1-84353-071-6
Language: English
Year: This edition 2003, fifth edition
Publisher: Rough Guides http://www.roughguides.com
Description: One of the best all around book guides for Turkey, reliable, readable, practical.
With a very good section guide also on music

Ercan Irmak - Davet / Invitation with nay

2009-04-06T19:55:00.005+03:00

Artist: Ercan Irmak
Album: Davet
Year: 2006
Company: Trio Lila
Contributing musicians: Ney, Percussion -Ercan Irmak, Piano -İlyas Mirzayev, Guitar -Erkan Oğur
Description: In "Davet", the masterpieces of the genius composers of Turkish Classical Music, like Hamamizade İsmail Dede Efendi, Tanburi Büyük Osman Bey, Mesut Cemil, Sadi Işılay are interpreted, along with some unique examples of Turkish Folk Music.

Tracks:
1. Muhayyer Kürdi Saz Semaisi / Beste: Sadi Işılay (download)
2. Yemen Türküsü / Anonim
3. Batum / Anonim
4. Gülnihal / İsmail Dede Efendi
5. İltifat- Ey Büt-i Nev Eda / İsmail Dede Efendi
6. Karadeniz - Kanatları Gümüş / Mesut Cemil
7. Kayıkçı / Anonim
8. Saba Peşrevi / Tamburi Büyük Osman Bey
9. Davet / Ercan Irmak
10. Giz (Uşşak Taksim) / Ercan Irmak

"Dithen" - Greek traditional music

2009-04-06T10:07:00.012+03:00

Palios Ikariotikos (Old Ikariotikos island dance)

Bam Zeybekikos (traditional of Asia Minor)

Aman Gel Aman (Tis triandafilias ta fila - Karsilamas) (traditional of Asia Minor)

Gialo-Gialo/Ti se melei esena (Sirtos) (traditional of Asia Minor)

Ehe geia -Hasapiko (traditional hasap havasi of Constandinople)

Dr. Umit Mutlu - Interview

2009-03-31T17:42:00.011+03:00

The Musicians and Music of the “Other Side” Part B’ Dr Umit Mutlu – The santouri in Turkey

When I was in Urla (40km from Izmir), Turkey in the summer of 2006 I have exchanged gifts with Muammer Ketencoglu (I talked to him about part A’ of “Lesvos Mas” No51 in Greece) and he gave me a CD that immediately took my attention from all the others. It was a CD with Turkish santour, with tunes, that had the same roots with Lesvos music. It was in fact music from the Ottoman period, with Zeybek, Karsilama, Sirtos, Longa tunes. When I listened, I thought about the old limbo and where all these brought up to! Αll instrumental tunes. It reminded me the CD of Dimitris Kofteros “Santouri of Mytilini”. When I asked a friend from Izmir to learn about the santour player, he offered me to go and meet him. We went to the Director of the Izmir Choir for Classical Turkish Music, Mr. Guner Ozkan, he called him up, but unfortunately he was busy with a Doctor Obstetrician, he wasn’t able to meet. Instead, this article interview was made through e-mail.
(This Interview was made in 2007 and previously published in the magazine of Lesvos "I Lesvos mas", also Dr Umit Mutlu with Derya Turkan did finaly give a concert in Lesvos July 2007)

Biography
He was born in Ankara in 1939. While he was a student at Istanbul Medicine Faculty during 1960, he took Turkish music lessons from Istanbul Municipality Conservatuary. In 1963, he attended to Classical Chorus after the invitation of Dr. Nevzad Atlig from Istanbul Radio Classical Chorus as a kanun player. Within the ensembly of Istanbul Radio he worked with Kemal Niyazi Seyhun (kemence), Cevdet Cagla (violin), Vehice Daryal (kanun), Niyazi Sayin(ney) and Sekip Ayhan Ozisik (ud). With the inspiration he got from Conservatuary artist Husnu Tuzuner he started to be interested in santur and he started to work with a santur that he brought from Iran. He developed a new accord system with Iran santur that is more appropriate to Turkish music by adding pins. He was well aware of the missing methods regarding to teach and to learn Turkish Music instruments so he published “Kanun methods” in 1985 that he worked on and developed for long years. The same work has been republished in 1998 with additional exercising technics and analysis. Umit Mutlu continued with music and his researchs on santur even when he was in Germany during 1975-1989 for his medicine carier. Since 1963 he has composed 39 songs. His “Yesil gozlerinden muhabbet kapt?m” song has been chosen as the song of the year thru public voting by Milliyet newspaper in 1975 and has been sang by 10 diffrent singers. Being the brother of singer Serap Mutlu Akbulut, Dr. Umit Mutlu has been working as kanun and santur player for Ministry of Culture Izmir Governmental Turkish Music Chorus since he returned back to Turkey in 1991, joining to concerts with his santur to perform examples from Turkish and worldwide music.

The group of Dr Umit Mutlu in the choir for Turkish instrumental music.

Interview with Dr Umit Mutlu
It is said that in Turkey the santouri is forgotten, what is the reason of this situation, and what is its current place?
When I began to play my first Iranian santour in 1967, there were two players whose name were well known. The chord system of their santours were almost the same to the Greek one's. Being constructed in this way these santours were not too suitable for playing Turkish tunes and therefore did not spread much. I adapted the system of the kanun (mandal) to the santour to overcome this problem. Since I have lived for quite a long time in Germany, unfortunately I did not have the possibility to introduce and spread this new type of santour. In 1989, when I returned to Turkey I began to develop this instrument. Being a member of the Izmir State Choir for Classical Turkish Music and further by performing on concerts I tried to introduce this instrument. Currently santours with the new chord system adapted by me, are being constructed in Istanbul and also been sold to the USA. I can not give a forecast on what kind of development this santour will go through after me, but during the past 15-20 years the number of santour players has increased.

Why have you chosen this musical instrument to expose your music instead of the kanun that is widedly spread in Turkey?
I decided to choose the santour as my instrument, because I liked its sound. In the beginning it was more a kind of curiosity and interest, which turned into a love towards this instrument. Further I am the only professional player among other santour players and I have dedicated myself for the continuation of it.

The tunes you have selected in your latest CD are very old and similiar to the music of Lesvos. Do people dance with this music, with Karsilama and Zeybek music in weddings, or festivals?
The tunes you've heard on the CD may seem very old to you, but actually these tunes are still current tunes played in Turkish Folk Music as well as in Turkish Classical Music. They are often played in folk music and people use to dance to these tunes, i.e. Zeybek, Karsilama etc., especially in the Aegean region.

You are a player of kanun and have written a method for it, have you use any techniques of the kanun in your santouri playing?
Though there are similarities between the kanun and the santour in respect to the body, the chord systems are different. The playing technique for the santour is also different, but I also use the kanun technique sometimes, which gives a different tune compared to the classical santour playing style.

What are the differences between the Turkish and the Greek Santouri?
As you may already have seen on my website, until the adaptation of the new manual chord system, a different chord and string system has been used. With the help of these mandals intertunes used in Turkish music, can be fully played like it is with the kanun. As far as I know the Greek santour is used with a chord system of half tones. This is why there is a difference of tunes between the Turkish and the Greek santour. If we have the possibility to meet in Lesvos, I'll be glad to show and explain you the system in detail.

If you would get an invitation, would you play In Lesvos Island?
We will be glad to introduce our music and the Turkish Santour, if you decide to organize a meeting and send us an invitation. We will be able to come with the same group, which is noted on the CD, i.e. Kemence (Derya Turkan), Santour (Umit Mutlu) rhythm (Mehmet Gultekin- KAF Music Producer). We also might bring our CD including with the introduction for the people who are interested. The Director of the Izmir Choir for Classical Turkish Music, Mr.Guner Ozkan, has a collection of historical Turkish instrument. Maybe a part of this collection can be exhibited on Lesvos in case of interest. Further I will also have the chance to examine the Greek santour, during our stay at Lesvos.

The website of Dr Mutlu: http://www.turksanturu.com/

The National Choir for classical Turkish music of Izmir. This choir is the second biggest choir for classical Turkish music of Turkey. This choir performs classical as well as modern pieces. Dr Umit Mutlu retired from the Choir in August 2004.

The last concert of Dr Mutlu with the choir which was held in antique theater in Ephesos in summer 2004.

Farhetin Yarkin (percussion), Dr Mutlu (santur), Derya Turkan (Kemence) from the concert given in Gera Perama Lesvos, summer 2007.

The Diary of Balat - Serap Caglayan, Mahinur Ozustun

2009-03-30T22:05:00.003+03:00

Title: The Diary of Balat
Artist: Serap Caglayan, Mahinur Ozustun
Also featured artists, Cengiz Onural, Murat Aydemir
Year: 2004
Production: Melodiko Karavi www.melkmar.gr
Description: A Turkish recording of Constantinople, that is published in Greece

Tracks
01. To imerologio tou Balata [The Diary of Balatas]– C. Onural
02. Arsanas tou Balata [Balatas Harbour] – M. Aydemir
03. Smirneika sokakia [Smyrnan Alleys]– Aydemir & Onural
04. Smyrneikoi kipoi [Smyrnan Gardens]- M. Aydemir
05. Sultani Yegah Improvisation – Caglayan Ozostun
06. Sultani Yegah Medhal – Kemal Emin Bara Sample
07. Sultani Yegah Instrumental Suite – Nedim Aga
08. Smyrna Longa – M. Aydemir
09. Smyrneiko deilino [Smyrnan Afternoon] – C. Onural
10. To scholiko koudouni tou Balata [The Balata School Bell] – C. Onural
11. Suzinak Introduction (Peshrev) – Thaddeus Avthentis
12. Suzinak Improvisation – Caglayan Ozostun
13. Suzinak Instrumental Suite –Thaddeus Avthentis
14. Kyriaki sto Balata [Sunday in Balata] – C. Onural

Nazim Hikmet - Poems of 9-10 am

2009-03-29T21:17:00.003+03:00

Book Title: Poems of 9-10 am
Greek Title: Τα ποιήματα των 9-10
Author: Nazim Hikmet
ISBN: Greek edition: 960-310-112--5
Language: Greek, Turkish
Year: Greek 2000
Publisher: Themelio http://www.themelio-ekdoseis.gr/
Translation: to Greek, Petros Markaris
Description: Poems of Nazim Hikmet, from his imprisonment in Bursa, Turkey (Prousa) in 1945

Poem 24 September 1945

Η πιο ωραία θάλασσα:
αυτή που ακόμη δεν ταξιδέψαμε.
Το πιο ωραίο παιδί:
ακόμη δε μεγάλωσε
Οι πιο ωραίες μέρες μας:
αυτές που ακόμη δεν ζήσαμε...
Κι ο πιό ωραίος λόγος που θέλω να σου πω:
αυτός που ακόμη δεν σου είπα...

En güzel deniz:
Henüz gidilmemiş olanıdır.
En güzel çocuk:
Henüz büyümedi.
En güzel günlerimiz:
Henüz yaşamadıklarımız.
Ve sana söylemek istediğim en güzel söz:
Henüz söylememiş olduğum sözdür...
(for the turkish thx to Filiz)

Nazım Hikmet

Giorgos Leonardos - Barbarosa the pirate

2009-03-29T21:04:00.002+03:00

Book Title: Barbarosa the pirate
Greek Title: Μπαρμπαρόσα ο πειρατής
Author: Giorgos Leonardos
ISBN: 960-236-977-9
Language: Greek
Year: 1998
Publisher: Livanis "Nea Sinora" http://www.livanis.gr
Description: An historical novel, about the famous pirates Orus (Baba) Barbarossa, and Barbaros Hayreddin Paşa or Hızır Hayreddin Paşa
Other information: http://en.wikipedia.org/wiki/Hayreddin_Barbarossa

Eleftheria Arvanitaki at Smyrni

2009-03-24T14:10:00.016+02:00

The power of music is unique, over obstacles and bridges. Even if the words are not understood, music, rhythm, and the movement of the artist on stage can bring people together. This was the concert of Elefteria Arvanitaki held on Tuesday night in the 16th Jazz Festival of Smyrna.
The Greek General Consulate of Greece in Izmir in collaboration with the Cultural Foundation of Izmir and the crucial involvement of Samos Prefecture, made this special concert-the first foreign-hosted at the brand new Centre of Arts - Ahmet Adnan Saygun Smyrna.

For 2 hours the Greek artist and the orchestra offered unique moments, winning the applause of spectators from Turks and about 60 from the Greeks of the Island of Samos who attended the concert. Indeed, the Greek Consul, Ms Hara Skolarikou described as a personal stake and all of its Consulate General in Izmir to contribute significantly to bring the two peoples of Greece and Turkey.
«The full hall of brand Mansion Art show that we approach our goal. The Jazz Festival is a very important institution that has operated for 16 years in Smyrna and want to publicly thank him for the invitation sent to us. It is the result of the excellent cooperation of many entities from both sides», added Ms Skolarikou saying thanks.
Satisfaction for the cooperation was expressed by the chairman of the Cultural Foundation Smyrni Filiz Sarper, she wished that cooperation will continue.

«You made me feel young»

The greatest gift to the Greek artist was from the 88 year old Turkish Cretan origin.
«Tonight with your songs Eleftheria, I felt young again!», said Abidin Bayraktaroglu visibly excited after the concert.
«I was born here in Smyrna, but I am from Heraklion Crete. When I was a kid I was singing Greek songs. “To gilekaki” “Samiotisa”, “Kanarini mou glyko” ... The people in both countries and both sides of the Aegean, love one another. I am 88 years old and I always have this love. »
-«Thank you Eleftheria Arvanitaki », said Mr. President Bayraktaroglu Turkish of the cultural association Cretan and Greek-Turkish Friendship Association.
«It is the first time playing in Smyrna, a jazz festival with great contributions and I am delighted that the Greek Consulate and the Prefecture of Samos made it reality», said Eleftheria Arvanitaki.
We have the warm applause from the audience, although most do not understand the lyrics of the songs.
«You know, when you go out of your country, you are performing not only yourself but also other colleagues, what is essentially standing in the people is feeling the music and the singer on stage, the melodies, the way it tries to contact with them.»
«This is the magic of music, this role is always the art among the people, it can make them communicate, it can be done even for a moment to forget differences, they can be forgotten for a moment from the everyday and waken », Eleftheria Arvanitaki noted.
Satisfied with the event, expressed by Samos Prefect Manolis Karla.
«The concert of Eleftheria Arvanitaki in Smyrna surpassed all expectations. This shows that there is a dynamic between the two countries to invest in peace, cooperation and friendship. We support all the dynamic forces that are here tonight.

Dido Sotiriou motivates

But our fight for peace, cooperation and progress is daily, it gives the roots and fruits and a future perspective», said.
And indeed the Samos Prefecture not only lived the Smyrna Jazz Festival, during his stay in Asia Minor, but also Capital Mr Karla met the President of the Izmir Foundation for Culture to consider the potential to become events at Ephesus and Samos along together with the National Theater.
«We are in a parallel search of capabilities of establishing more cultural events between Turkey and Greece, for example in Samos, in the year of women writers. Because of the origin of the Aydin Dido Sotiriou and the relationship he had with Samos enabled the two peoples to express themselves through a more permanent literary and cultural event.
Our goal is through the exchange of culture to open roads and to create opportunities for our people», said Samos Prefect.

Theodoris Pyliotis

Manos Hatzidakis - Introduction

2009-03-23T07:50:00.002+02:00

Greek self taught composer, (born Xanthi 1925 – Athens 1994). With origin from Crete he started in 1944 composing music for theater acts. In 1948 in the “Theater of Arts” of Carolos Koun he gave a lecture about the “rebetika songs” . He composed music for ancient Greek drama, as well as incidental music for the contemporary repertory: Medea (1956) Women in Ecclesia (1956), Birds (1959), Othello (1957), A Streetcar Named Desire (1948), Blood Wedding (1948), Eurydice (1960). Manos Hadjidakis composed music for eighty Greek and foreign films: Stella (1955) The Rapist (1956), America-America (1963), Blue (1967), Honey-moon (1973), as well as music for two documentary films by J. Cousteau. In 1960 he was awarded an Oscar for his music in Never on Sunday by Jules Dassin. From 1966-72 he lived in New York, where he recored some of his important works Rhythmology (for piano), Magnus Eroticus (cycle of songs based on poems by ancient and modern writers), Reflections (songs influenced by the atmosphere of the New York music scene).
Manos Hadjidakis, other activities: he founded and directed the Athens Experimental Orchestra (1964-1971, the cafe-theatre called "Polytropon" (1972), the Music Festivals in Anogia, Crete (1978), the Musical August in Heraclion Crete (1979), the Musical Contests in Corfu (1981), and also, the cultural magazine "Tetarto" (1982), the record company "Sirius" (1985), the symphonic ensemble "Orchestra of Colours" (1989), and he directed the Third Programme of Greek National Radio (1975-81). He passed away in 1994.

Introduction tracks
1. Flery Dandonaki - Pame mia volta sto feggari
2. Giorgios Moutsios, Nana Moushouri - Ena Mitho
3. Elli Paspala - To pelago einai vathi
4. Melina Merkouri - Agapi pou egines dikopo mahairi
5. Grigoris Bithikotsis - H Kyra
6. Manos Hatzidakis - Parthena tis geitonias sou

Manos Hatzidakis - Joconta's smile

2009-03-23T07:47:00.003+02:00

Title: Joconta's smile
Artist: Manos Hatzidakis
Year: 1964
Production: EMI
Description: One of his instrumental works that show the very delicate side of him

Tracks:
1. When the clouds come
2. Contessa Esterhazy
3. The Virgin of your neighbour
4. The rain
5. Portrait of my mother
6. The concert
7. Mr. Noll
8. The killers
9. Night return
10. Dance with my shadow

Women of Istanbul / İstanbul'un Hanımları

2009-03-22T22:50:00.022+02:00

Translation: Cem Taylan
Text: Harold G. Hagopian
Production: Kalan Muzik
Licence: Crossroads
Year: 1998
Description: A collection of recordings involving the songs which gained popularity in Istanbul between 1927 - 1940.
Singers: Safiye Ayla, Roza Eskenazi, Müşerref Hanım, Perihan Altındağ Sözeri, Hamiyet Yüceses, Zehra Bilir, Saadet Hanım, Suzan Yakar Rutkay, Fahriye Hanım, Necmiye Ararat, Nezihe Uyar, Sabite Tur Gülerman, Nedime Gürses, Mahmure Handan, Faide Yıldız

Tracks:
1. Konyalim
2. Dikmen Güzeli
3. Sen Bu Yaylarlari Yaylayamazin
4. Helvaci
5. Görünce O Dilberi
6. Anam Olasin Omer
7. Saatlerce Basbasa
8. Oglanin Davari
9. Develer Katar Katar
10. Sevda Zinciri
11. Eminem
12. Sigaramin Dumani
13. Gel Gel Bakmiyor
14. Çesmi Siyah
15. Segah Gazel
16. Yetisir
17. Karsidan Gel Göreyim
18. Karsiyakali
19. Mümkün Mü Unutmak Güzelim
20. Baglamamin Dügümü
21. Nafile Gülme
22. Beni Unutma
23. Son Hatıra
24. Düş Ben Gibi Bir Aşka

Sample tracks

Kudsi Erguner - Introduction

2009-03-22T22:16:00.002+02:00

Kudsi Erguner comes from a family of musicians. Though his meetings with many master players of the older generation, he has been able to steep him-self in the authentic Ottoman style, the reflection of the centuries of musical culture. He is the only Turkish musician of his generation to have been taught directly by his father in the art of the Ottoman classical music, in the old oral traditional of transmission from master to pupil. His attendance at meetings of Sufi fraternities, has enabled him to follow their spiritual and musical teaching. Among his many activities, he was a permanent member of the Istanbul Radio Orchestra. In 1975 he went to live in Paris, where he successfully completed his studies in architecture and musicology. He has given numerous concerts in the USA and in Europe, bringing Ottoman classical music and Sufi music from Istanbul to the attention of Western audiences. His research into Indian, Pakistani and Turkish music has led to his recording some rare, authentic musical genres, later released on record in Europe, whilst in Turkey he’s founded special ensembles to play styles of the music virtually forgotten since the move towards modernization swept the country. He has written the hagiography of a 13th century Sufi master, Haji Bektasi Veli, as well as a book of tales and parables based on the highly important work of Jalaluddin Rumi, and I yet another of his books, an autobiographical work, he’s written an unusual testimony about the conflicts arising from the clash of old, traditional cultures, especially that of Sufism, with modernity. His large discography of CD’s released in Europe, the US, Japan and Turkey offers panorama of his authentic style coupled with his genuine creativity, whilst offering real insight into the different facets of the Ottoman music. Since 1990, he has made regular appearances at the Istanbul Music Festival, where his concerts have aroused increasing interest amongst the younger generation and played a large part in the return to sources, i.e. to the traditional arts, especially those linked to Sufism. He has worked with major European artists from different disciplines, including Peter Brook, Carolyn Carlson, Maurice Bejart, Peter Gabriel, George Aperghis, Didier Lockwood, Michel Portal… In 1981 he created the Mevlana association in the Paris, where he now teaches the Sufi tradition and classical music. He is also the director of two small communities, one in Paris and the other in Istanbul, linked to the Mevlevi tradition.
Information provided by the booklet of the CD “Kudsi Erguner – The Ottoman Heritage (L’heritage Ottoman)

Introduction music
1. Kudsi Erguner - Huseyni Pesrev
2. Kudsi Erguner - Ada Vapuru
3. Kudsi Erguner & Gilles Andrieux - Nihavend Saz Semai
4. Kudsi Erguner - Ussak Sirto
5. Kudsi Erguner - Kurdili Hicazkar Saz Semai
6. Kudsi Erguner & Derya Turkan – Deuil

The Ottoman Heritage - Ensemble Kudsi Erguner

2009-03-22T22:12:00.002+02:00

Title: The Ottoman Heritage
Artist: Ensemble Kudsi Erguner
Year: 2004
Production: Institut Du Monde
Description: This CD contains a very nice example with the music of the Ottoman heritage, played with very fine musicians

Tracks:
1. Huseyni Pesrev
2. Hayal
3. Muhayyer Kurdi Saz-Semai
4. Feza
5. Ferahfeza Pesrev
6. Suz-i ask
7. Sϋzidil Sas-Semai
8. Seddiaraban Saz-Semai
9. Pierre Loti
10. Dilnigar
11. Nevrϋz
12. Uskudar
13. Muhabbet
14. Cecen kizi

The journey of a Sufi musician - Kudsi Erguner

2009-03-22T22:10:00.003+02:00

Book Title: Voyages diun musicien soufi (The journey of a Sufi musician)
Greek Title: Το ταξίδι ενός Σούφι Μουσικού
Author: Kudsi Erguner
ISBN: Greek edition: 978-960-421-103-6
Language: French, Greek
Year: First edition 2000, Greek 2007
Publisher: For Greece Arhetypo
Translation: to Greek, Anna Tsakona
Description: His biograph, and his journey through Sufisum, and as a musician. Also contains Cd.

Greek & Turkish Collections Week 28

2009-03-21T07:06:00.005+02:00

Week 28 Collection (I) - Greek songs...
1. Baggelis Germanos - Anoixiatiki vrohi
2. Dimitris Kontogiannis - Vissarionas
3. Eleftheria Arvanitaki - Meno ektos
4. Gerasimos Andreatos - Na pio apt\' to potiri sou
5. Giannis Karalis - An Ise... (Pos The Na Xero)
6. Giorgos Mulonas - Ase ena psema
7. Haris & Panos Katsimihas - Mia vradia sto louki
8. Haris & Panos Katsimihas - O paliatsos kai o listis
9. Kostas Hatzis - Ap\' to aeroplano
10. Loudovikos Ton Anogeion - Tis Ririkas
11. Manos Pirobolakis - Stis Ekklisias tin porta
12. Mihalis Papazisis - To koinokaravo
13. Nikos Portokaloglou - Risko
14. Nikos Xidakis - Melina Kana - I fregada

Week 28-Collection of Songs (II)-Various world music
1. Les mots-La Rue Ketanou
2. Pokamia-Roberto De Brasov
3. Amor Em Paz-Herbie Mann, Joao Gilberto
4. One Note Samba-Herbie Mann, Joao Gilberto
5. Chouf la gazelle-La Rue Ketanou
6. Danse rituelle du feu (Manuel de Falla)-Le Trio de Guitare de Paris
7. La pluma-Compay Segundo
8. Firat Agiti (Ask)-Erkan Ogur,Ismail Hakki Demircioglu
9. Keren, Chavorale, Drom-Balval
10. Karacaoglan-Fuat Saka
11. Georgia On My Mind-Django Reinhardt
12. Chan chan-Buena Vista Social Club
13. São Vincente Di Longe-Cesaria Evora

Week 28 Collection (III) - Introduction to Nikos Portokaloglou
1. Psemeta
2. Thalassa mou skoteini
3. Pes to kai egine
4. Iparhei logos sovaros
5. To potami
6. Oti den se skotoni

Week 28 Collection (IV) - Various
1. Arrostisa mana - Giorgos Kavouras
2. Bekledim Kaç Gece - Tarsus\'lu Abdülkerim
3. Bogazici - Mehlika Belgül & Sema İçli
4. Dio magkes mes\' ti filaki - Lela Papadopoulou
5. Kaliopaki - (Panagiotis Tountas)
6. Konyali (Mehmet Bey) - Hafız Burhan Bey
7. Manolia - Ali Ugurlu
8. Manolia - Stelios Kazantzidis
9. Manolyam - Zeki Müren
8. Ne Cikar Bahtimizda - Zeki Müren (M.Kürdi)
9. Oyun Havası - Kemancı Haydar Tatlıyay
10. Siyah gözlere - Seyyan Hanım
11. Stalagmatia stalagmatia - Marika Ninou & Stavros Tzouanakos
12. Taksim - Udi Marko Melkon Alemsherian

Week 28 A brief introduction - Richard Hagopian
1. Agh Im Anush Yarus
2. Anush Yares Heratza
3. Huseyni Saz Semai
4. Suzinak Saz Semai

Χαρικλάκι - Darıldın mı gülüm bana - Common Songs

2009-03-17T21:37:00.006+02:00

Song title: Χαρικλάκι - Darıldın mı gülüm bana
Written by: Panagiotis Toundas
Style: Smyrneiko, Cifteteli
Comments: A very popular song even today

Lyrics:
Χαρικλάκι (Panagiotis Toundas)

Χτες το βράδυ Χαρικλάκι είχες βάλει τ’οργανάκι
και γλεντούσες μ’ένα αλάνι κάτω στο Πασάλιμάνι
Φιλάκια, ναζάκια, αχ βρε Χαρικλάκι πως με γέλασες
άντε γεια σου, μου την έσκασες

Μες τη μπύρα όταν μπήκες, αχ μανούλα μου τι γλύκες
με φωνόγραφο και πλάκες νταλκαδάκια με τους μάγκες
Ζηλεύω και κλαίγω, αχ βρε Χαρικλάκι πως με γέλασες
άντε γεια σου, μου την έσκασες

Το πρωί μες στη Γλυφάδα κούκλα μου αυτοκινητάδα
κολυμπάς σαν πάπια χήνα και το στρίβεις στην Αθήνα
Ζηλεύω και κλαίγω, αχ βρε Χαρικλάκι πως με γέλασες
άντε γεια σου, μου την έσκασες

(οργανικό)
Ζηλεύω και κλαίγω, αχ βρε Χαρικλάκι πως με γέλασες
άντε γεια σου, μου την έσκασες

Darıldın mı gülüm bana (Xariklaki)

Darıldın mı gülüm bana
hiç bakmıyorsun bu yana
darıldıysan barışalım
kumru gibi koklaşalım

Esmerim güzelim tuti dillim
ben yanıyorum aman allah çok seviyorum

Her zaman üzersin beni
ah yaramaz çapkın seni
benim hiç günahım yoktu
baştan sen çıkardın beni

Esmerim güzelim tuti dillim
ben yanıyorum aman allah çok seviyorum

Tracks:
1. Hamiyet Yuceses - Esmerim Guzelim
2. Hazan Viktoria - Hariklaki
3. Rita Ambatzi - Hariklaki
4. Roza Eskenazy - Hariklaki
5. Giasemi Saragouda - Hariklaki
6. Glykeria - Hariklaki
7. Mariza Kox - Hariklaki
8. Candan Ercetin - Darildin mi Gulum Bana
9. Engin Kizilay - Darildinmi cicim bana
10. Kudsi Erguner - Darildin Mi
11. Melihat Gulses - Darildin Mi Gulum Bana
12. Dilek Kots-Karsi - Hariklaki (Darildim mi gulum bana)

Mikis Theodorakis - The Very Best of Vol.1

2009-03-17T21:07:00.004+02:00

Title: The Very Best of Mikis Theodorakis Vol.1 (Compilation)
Artist: Mikis Theodorakis
Year: 2005
Production: EMI (Minos-EMI AE)
Description: This CD contains music of his best productive years 1960-1964, majorly with
artists like Grigoris Bithikotsis. A suggested CD for anyone listening to Greek music.

Tracks:
1. An thimitheis t'oneiro mou (Mary Linda)
2. Mera magiou (Grigoris Bithikotsis)
3. Mana mou kai Panagia (Grigoris Bithikotsis)
4. Drapetsona (Grigoris Bithikotsis)
5. Parapono (St. Kazanztidis- Marinella)
6. Arnisi (Sto Perigiali To Kryfo) - (Grigoris Bithikotsis)
7. Krathsa Th Zwh Mou (Grigoris Bithikotsis)
8. Omorfh Poli (Tha Gineis Dikia Mou) - (M. Theodorakis)
9. Agapi Mou (Faidra) - (Melina Merkouri)
10. Tis xenitias (Fegari Magia Mou'kanes) - (Grigoris Bithikotsis)
11. Aprilis (Grigoris Bithikotsis)
12. Koimisou Aggeloudi Mou (Nanourisma) - (Giota Lydia)
13. Gwnia - Gwnia (Grigoris Bithikotsis)
14. OI Moraioi (Grigoris Bithikotsis)
15. Marina ( Nt. Giannakopulou)
16. O kypos empaine sti thalassa (Nt. Giannakopoulou)
17. Oi hartaetoi (Orchestra)
18. Ena to helidoni (Grigoris Bithikotsis)
19. Ths Dikaiosynhs Hlie Noite (Grigoris Bithikotsis)
20. Ths Agapis Aimata (Grigoris Bithikotsis)

Introduction tracks

MIKIS THEODORAKIS - Introduction

2009-03-16T21:29:00.003+02:00

Mikis Theodorakis of Cretan descent was born in Chios Greece, 29 July 1925. He lived in many cities in Greece before setting in Athens, where he now lives.

From 1954 to 1960 he worked in Paris and London composing symphonic music, ballet and film music. In 1960 he places himself as leader of the regenerative cultural-political movement in Greece centered on the union of poetry and music, composing dozens of song-cycles, oratorios, revues, music for the ancient Greek drama and other. This movement was connected with the progressive political forces of that period, which aimed, beyond the establishment of democratic life in Greece, to a much deeper and broader rebirth of the Greek people. This brings him often at the center of political life, climaxing with his active participation in the resistance movement against the military dictatorship (1967-74).
Theodorakis wrote for all musical forms. His work, rich and versatile, transcends the limits of music and covers areas such as poetry, prose, philosophy, musicology, even political essays.
The first period of his musical creation (1940-53) includes songs, oratorios, chamber music, ballets and symphonic works, the First Sympony being his most significant work.
The second period, the Paris period (1954-59), includes chamber music, ballets and symphonic works, the major work being the ballet Antigone commissioned by Covent Garden in 1959.
The third period, 1960-1980, is devoted to the popular music. Outstanding works produced are the oratorios Axion Esti and Canto General.
There follows the fourth period, 1981 to 1988, during which, while composing song-cycles, he returns to the symphonic music. Most significant works written are the Third Symphony, the Seventh Symphony, his first opera Kostas Kariotakis (The Metamorphoses of Dionysus) and the Zorbas ballet.
Finally, during the fifth period (1989 to date), he composes three operas (lyric tragedies) Medea, Electra and Antigone. This trilogy is complemented by his new Opera Lysistrata. With these works Theodorakis ushers in the period of the Lyrical Life, that is, his complete turn to lyricism and perfection of the lyrical musical expression within the total range of his musical achievement.

Information from the booklet of the CD "The very best of Mikis Theodorakis Vol.1"

Introduction tracks
1. Mikis Theodorakis - Zorba the Greek (orxhstriko)
2. Maria Farandouri - To gelasto paidi
3. Manolis Mitsias - To treno fevgei stis okto
4. Grigoris Bithikotsis - Ths Xenitias ( Fegari Magia Mou'kanes)
5. Grigoris Bithikotsis - Aprilis
6. Grigoris Bithikotsis - Ths Dikaiosynhs Hlie Noite

Aşkın Samatya’sı Selanik’te Kaldı-Φίλησα μια φορά την Ευδοξία

2009-03-16T17:10:00.005+02:00

Book Title: Aşkın Samatya’sı Selanik’te Kaldı

Greek Title: Φίλησα μια φορά την Ευδοξία

Author: Sergun Ağar (Σεργκούν Αγάρ)

ISBN: Turkish edition: 975-07-0061-9, Greek edition: 960-410-290-7

Language: Turkish, Greek

Year: First edition 2001

Publisher: Can Yayınları, in Greece Εκδόσεις Ωκεανίδα ΑΕ, 2003, μετάφραση από τα τουρκικά: Φραγκώ Καράογλαν
Description: Bu kentte, bu İstanbul’da milyonlarca insan yaşadı ve öldü. Kimileri de bu kentte doğup büyüdü, ama başka ülkelerde öldü. Böyle olmasını kendileri istemediler. Annelerinin, babalarının, sevgililerinin mezarları burada, kendi mezarları başka ülkelerde kaldı.Eski Samatya’dan Selanik’e yola çıkan bu kitapla onları anıyorum. Öte yandan, tüm bunları, yaşadıkları ve yaşamadıklarıyla bana bırakan annemdir. Bana anlattıkları ve yaşattıklarıyla, o ve onun hayal gücü…Hayal gücü diyorum; çünkü zaman zaman neyin gerçek, neyin hayal olduğunu anlamakta kararsız kaldığım yerler oldu. Yine de bir zamanlar bu kentte yaşamış insanların öykülerini olduğuna inanmalısınız. Çünkü ben anneme hep inandım.

Εκατομμμύρια άνθρωποι έζησαν και πέθαναν σε τούτη εδώ την πόλη, την Ιστανμπούλ. Κι άλλοι πάλι γεννήθηκαν εδώ, μεγάλωσαν στην πόλη αυτή, μα έκλεισαν τα μάτια τους σε τόπους άλλους. Για λόγους που δεν όριζαν οι ίδιοι. Οι τάφοι των μανάδων, των πατεράδων, των αγαπημένων τους μείναν εδώ, οι δικοί τους βρίκονται σε άλλες χώρες. Αυτούς τους τελευταίους μνημονεύω με το βιβλίο αυτό, που ταξιδεύει από τα παλιά Ψωμαθειά στν Σαλονίκη. Την ιστορία που θα σας πω μου την άφησε παρακαταθήκη η μάνα μου. Είναι όσα εκείνη έζησε και δεν έζησε. Όσα μου διηγήθηκε εκείνη και μ’ έσπρωξε να βιώσω η φανταίσα της…Λέω “η φαντασία της” γιατί σε πολλά μέρη δυσκολεύθηκα να ξεχωρίσω την αλήθεια από τ’ όνειρο. Πρέπει πάντως να πιστέψετε ότι είναι ιστορίες ανθρώπων που κάποτε έζησαν σε τούτη δω την πόλη. Γιατί εγώ πίστευα πάντα αυτά που μου έλεγε η μάνα μου.

ASIA MINOR OVER AGAIN - Documentary Film

2009-03-16T15:54:00.003+02:00

The Aegean Kardasia present the Documentary Film “Asia Minor Over Again” by Tahsin Isbilen in Athens “ILION” cinema, on Sunday, 22nd of March, 11:00 am. The show is supported by the Greek Film Center and the Unions of Associations of Lesvos and Samos in Attica. The Director and the Producer of the film will be available to discuss the film Subject with the audience after the show.
The Film was very recently awarded the 2nd prize by TRT and, also, has confirmed its participation in the International Film Festival of Patras, for next October.

ΠΡΟΣΚΛΗΣΗ για την Κυριακή,22 Μαρτίου 2009, 11:00
προβολή του βραβευμένου ντοκιμαντέρ «ΜΙΚΡΑ ΑΣΙΑ ΠΑΛΙ» του Τούρκου σκηνοθέτη Tahsin Isbilen, την Κυριακή 22 Μαρτίου 2009, 11:00 πμ στον Κινηματογράφο ΙΛΙΟΝ, Πατησίων και Τροίας 34, ΜΕΤΡΟ «Βικτώρια».
Η εκδήλωση, η οποία πραγματοποιείται με την ευκαιρία της επίσκεψης των Δημιουργών του Φιλμ στην Αθήνα, γίνεται με την υποστήριξη του Ελληνικού Κέντρου Κινηματογράφου και θα χαιρετήσουν η Ομοσπονδία Σαμιακών Συλλόγων καθώς και η Ομοσπονδία Λεσβιακών Συλλόγων Αττικής.
Η είσοδος στο «ΙΛΙΟΝ» είναι δωρεάν, η προβολή θα διαρκέσει μία ώρα και θα ακολουθήσει συζήτηση με το Σκηνοθέτη για το Φιλμ.
Το θέμα της ταινίας είναι η φιλοξενία που παρείχαν οι Τούρκοι των Παραλίων (στην Πέργαμο, στο Κουσάντασι κλπ) προς τους Έλληνες των νησιών (κυρίως από Σάμο και Λέσβο) που καταδιωκόμενοι από τους Γερμανούς κατακτητές (1942-1944) ζήτησαν σωτηρία στην Τουρκία (άλλοι για εγκατάσταση, άλλοι για να συνεχίσουν το ταξίδι τους στην Μέση Ανατολή). Η αξία της συγκεκριμένης εξιστόρησης γίνεται πιο σημαντική αν αναλογιστεί κανείς ότι οι μνήμες του 1922 ήταν ακόμη νωπές (20 μόλις χρόνια μετά την Ανταλλαγή), και ότι, παρόλη την αρχική καχυποψία, η καλή γειτονία και η αλληλεγγύη αναδείχθηκαν από τις καρδιές Τούρκων και Ελλήνων σαν οι κυρίαρχες αξίες στις σχέσεις τους.

Πολύ πρόσφατα, το Φιλμ εξασφάλισε τη συμμετοχή του στο Διεθνές Φεστιβάλ Κινηματογράφου της Πάτρας τον Οκτώβρη του 2009 και, επίσης, πήρε το 2ο βραβείο στο διαγωνισμό ντοκιμαντέρ της κρατικής Τουρκικής Ραδιοφωνίας Τηλεόρασης (TRT).

http://www.asyaminor.com/en/index.asp

Serap Tamay - Canım Terkeyledi Beni

2009-03-16T11:03:00.009+02:00

Last week we put the blog an interview with turkish musician Serap Tamay and now we are introducing their albume here which consists of turkish songs.

Title: Canım Terkeyledi Beni
Artist: Serap Tamay
Year: 2002
Production: ADA music
Description:.

Tracks:
1. Salınıp giderken (words: Aşık Veysel, music:İsmet Tezcan)
2. Sabah olsun(words: anonymous, music: İsmet Tezcan)
3. Yarın beyaz gerdanında (words: Aşık Veysel, music: İsmet Tezcan) Sample
4. Bahcede erik dalı (traditional Bursa, arr.Ömer Akpınar)
5. Sabahın seferinde(traditional Tokat, arr.M.Erenler)
6. Ferayi (traditional Muğla, arr.M.Sarısözen)
7. Çalın davulları (traditional Roumelia, arr.Nihat Kaya)
8. Sevgilim (music: Rauf Hacıyev)
9. Cayin Ote Yuzunde (traditional Elazığ, arr.M.Sarısözen)
10. Bulut bulut Ustune (traditional Mut, arr.Melih Duygulu)
11. Bahcalarda Zerdali (traditional Gaziantep, arr.M.Sarısözen)
12. Canım terkeyledi beni (words: Zerrin Kurtoğlu music: İsmet Tezcan)
13. Allı Turnam (traditional Keskin, arr.M.Sarısözen)

Metronomos Magazine issue No31

2009-03-13T14:09:00.002+02:00

ΠΕΡΙΟΔΙΚΟ Magazine
Issue 31 October - December 2008
Τεύχος 31 Οκτώβριος - Δεκέμβριος 2008

Περιεχόμενα
Αφιέρωμα στον Ηλία Κατσούλη
Το τελευταίο ταξίδι, του Θανάση Συλιβού
Η μπαλάντα ενός αθόρυβου, της Στέλλας Βλαχογιάννη
Δεν ήταν θαυματοποιός, ήτανε ονειροποιός, του Διονύση Καρατζά
Για τον Ηλία Κατσούλη, του Νότη Μαυρουδή
Τα παπούτσια μας ήταν μικρά, του Κώστα Καλημέρη
Σημείωμα από καρδιάς, του Νίκου Χειλαδάκη
Ένας σεμνός ποιητής «έφυγε», του Δημήτρη Μπαγιέρη
Μέγας μάστορας, του Σώτου Αλεξίου
Ο Ελευθερίου των φτωχών, του Θόδωρου Βαλσαμίδη
Ένα μεγάλο παιδί, του Σπύρου Κουρκουνάκη
Αδερφέ μου Ηλία… του Θωμά Κοροβίνη
Ελλαδογραφία 1900 – 2008. Μια μουσική παράσταση, της Μαρίας Τομαρά
Εργοστάσιο Columbia. «Βλέπω την κάνουμε σιγά – σιγά…», του Δημήτρη Βάκη
Χρήστος Κωνσταντίνου, του Τάσου Καραντή
Αφεντούλα Ραζέλη, του Αλέξη Βάκη
Γιώργος Σταυρακάκης, του Ηλία Βολιότη – Καπετανάκη
«Ανοιχτά παράθυρα», το Καβαλιώτικο μουσικό σχήμα, του Θανάση Συλιβού
Λάμπρος Λεονταρίδης, του Ηλία Βολιότη – Καπετανάκη
Θυμάμαι το Νικόλα Άσιμο, του Σταύρου Καρτσωνάκη
Ο Θωμάς Κοροβίνης και η «Όμορφη νύχτα»,
Της Λιζέτας Καλημέρη
Νίκος Μαμαγκάκης - «Τα τραγούδια της παράδεισος»,του Ηλία Βολιότη – Καπετανάκη
Το ηπειρώτικο πανηγύρι, του Ανδρέα Καρζή
Μουσικοί Ιχνηλάτες, του Ηλία Βολιότη – Καπετανάκη
Ατασθαλίες ή, πιο ευγενικά, ετερόκλητες συνεργασίες, του Σπύρου Κουρκουνάκη
Ο Γιώργης Τρουλλινός και η μελαμπιανή παρέα,
του Κωστή Μουδάτσου
Πίσω από τα όργανα: Αχιλλέας Κουλαξίζης – Ο μάστορας
Του ακορντεόν, του Γιώργου Αλτή

ΕΝΘΕΤΟ
Εξώφυλλα, μουσικές και αναμνήσεις από τις 45 στροφές
Δεκαετία του ΄60: Ελληνική ποπ & ροκ Ά μέρο

Aptalikos - Common tune & music Score

2009-03-13T08:15:00.008+02:00

Song title: Aptalikos, Aptal Havasi, Zeybegi Kordon
Written: Traditional of Asia Minor
Style: Smyrneiko, Aptaliko Zeybekiko,
Comments: A karsilama with the style of 3+2+2+2 that is called "Aptalikos"
the oldest versions is directly from Smyrni and from Lefteris Menemenlis. Interesting is also the 2nd version by Sukru Tunar, who also was born in the Aegean coast in the city of Edremmiti

Tracks
Version A + Music score
1. Farah Dance Orchestra - Aptal Havasi
2. Lefteris Menemenlis - Aptal Havasi - Tetrahordon
3. Stefanos Bezos - Aptalikos
4. Giorgos Mitsakis - Aptaliko
5. Traditional Group from Lesbos - Aptaliko
6. Estoudiantina Neas Ionias - Aptaliko, Smyrneiko Ballos, Sire na peis tin mana su

Version B
1. Kyriakos Guventas - Aptaliko Zeybekiko
2. Surku Tunar - Zeybegi Kordon

Nikos Portokaloglou - Live at Kyttaro Athens 7-3-09

2009-03-13T07:55:00.004+02:00

Nikos Portokaloglou - Introduction

2009-03-12T08:23:00.004+02:00

Born in Volos city 1957. His father a refugee from Smyrni worked there in an oil company. He is the second child of the family. Due to work they finally settle in Athens and the suburb of Nea Smyrni. At school he meets Odysseas Tsakalos, who will be the main partner to create the first group called "FATME". He has been influenced by the songs of Hadjidakis with Nana Mouschouri, Frank Sinatra, Yves Montant, also some classical music. Via his brother he listens to the Beatles, Jimmy Hendrix and also the LP "Perivoli Tou Trellou" by Dionisis Savvopoulos.
After entering and playing in various small bands, he finally forms the group FATME in 1979-80 and they record their debut LP "FATME", followed by PSEMETA, RISKO, BGAINOYME APO TO TOUNEL, TAXIDI, PALKO.
From 1990 he has followed a solo carrier and has released more than 10 personal LPs/CDs. He is regarded as a prolific songwriter, with songs that are constantly awarded the song of the year, and he still continues to compose and perform live. Some of his very known songs: TA KARAVIA MOU KEO , KALOKERAKI, PES TO KI EGINE, IPARHEI LOGOS SOVAROS, PSEMMATA and others.

More information on his website (in English and Greek)
http://www.portokaloglou.gr/

Introduction tracks:
1. Psemeta
2. Thalassa mou skoteini
3. Pes to kai egine
4. Iparhei logos sovaros
5. To potami
6. Oti den se skotoni

http://www.youtube.com/watch?v=pFbOxGNvrm0

Istanbul 1925

2009-03-12T00:10:00.009+02:00

Title: Istanbul 1925
Artists: Various
Year: 1995
Production: Kalan Music
Graphic Design: Jerry Bezdikian
Production: Harold G. Hagopian
Description: Istanbul 1925 presents a collection of legendary performers from one of the most exciting periods in Middle Eastern music. Belly dancing, folk music and classical styles were merged together creating a sound which became the rage of Istanbul - a city situated literally at the crossroads of Europe and Asia. The greatest cabaret singers, musicians, dancers and classical artists from various ethnic backgrounds - Turks, Armenians, Jews, Greeks and Gypsies lived in Istanbul, creating a musical style that dominated the city for more than half a century.

Hundreds of recordings were made by His Master's Voice in Turkey and issued on 78 rpm records. Presented here are performances of Turkey's greatest artists recorded during that era, digitally remastered from the original metal parts, allowing the quality of the music to be heard for the first time without the additional distortion and surface noise of early 78 discs. Performances by Sükrü Tunar, Kemani Nubar, Kanuni Artaki, Münir Nurettin Selçuk, Udi Hrant and many others. Includes 23 page booklet with extensive liner notes and rare photographs..

Reviews:
"One after the other, the luminaries of Turkish music are presented on this recording. The liner notes are full of biographical snippets and a few pictures of the performers. This is an excellent survey of a very important period in Turkish music." Singout!
"Istanbul 1925 is a comprehensive introduction to a musical movement that had as profound an impact in Turkey as the development of rock'n roll did here." In Pittsburgh Newsweekly
"Mastered digitally from the original metal parts, they have a sound clarity that makes it seem as if they had arrived magically out of a time machine." Rolling Stone

Tracks

1) Hüzzam taksim (Sükrü Tunar)
2) Neva Hicaz Gazel (Mahmut Celalettin)
3) Çikar yücelerden (Münir Nurettin Selçuk/S. Kaynak)
4) Çifte Telli (Udi Hrant)
5) Daktilo (Deniz Kizi/Kanuni Artaki)
6) Raks Bedia (Kemani Haydar Tatliyay)
7) Hicaz taksim (Udi Hrant)
8) Sevda Zinciri (Suzan Yakar)
9) Yüzü Pembe (Mahmut Celalettin/Udi Marko)
10) Suzinak taksim (Sükrü Tunar) Sevda Zinciri (Suzan Yakar)
11) Karsilama (Sükrü Tunar)
12) Neva Ussak Gazel (Mahmut Celalettin)
13) Hüzzam taksim (Udi Hrant)
14) Leyla (Münir Nurettin Selçuk/S. Kaynak)
15) Agladim Aci Çektim (Kuçuk Nezihe Hanim/Sükrü Tunar)
16) Bahriye Çifte Telli (Kemani Nubar)
17) Kürdili Hicazkâr taksim (Udi Hrant)
18) Arap Oyun Havasi (Kemani Haydar Tatliyay)
19) Rast Neva Gazel (Mahmut Celalettin)
20) Ne Bahar Kaldi Ne gül (Perihan Altindag/R. Elkutlu)
21) Kessik Kerem (Hanende Agyazar Efendi)
22) Çifte Telli (Sükrü Tunar)

One of us: Interview with Serap Tamay

2009-03-09T20:49:00.012+02:00

Here is an interview made with Serap Tamay, a musician from Izmir, a friend and member of GreekTurkish friendship groups. Zuhal Okuyan asked the questions.

From her performace at the Turkish Greek festival of Karaburun Turkey 2008

Tell us something about yourself…
I was born in Ankara. I have been living in Izmir since about twenty-five years. I finished State Turkish Music Conservatory and I am a music teacher.
How did you change your musical interest from Turkish Music to World music?
As a child, I was raised in a family where everybody sang or played some musical instrument. My grandmother played the garmon (a Circassian accerdeon like instrument), my father and mother also sang and my father had a very large repertoire of Circassian songs. So I have grown up in a musical environment. In 1989 I met İsmet Tezcan (my husband) and Hüsrev Öztürk and we formed a group called ‘Group Günberi’. At first we sang some songs from Aegean Islands and some latin songs and gradually our repertoire expanded and included many cultures and languages. As Group Günberi, we gave many concerts called ‘From New World to Mediterranean’ and made the music from Latin America to Spain and Portugal and to Balkans and especially Greece.We extended our musical journey to Rembetiko and Anatolian Folk music.We wanted to share with the audience the universal language of emotions in different languages. Each country has a different colour and I wish to sing in all languages if possible!

Can you please also mention the musicians you have worked with?
I had the chance of working with very good musicians.Ismet Tezcan, apart from being my beloved husband is a very good guitarist and composer, our good friend Husrev Öztürk (whom we lost very early couple of years ago), others like Ömür Gidel (arrangements) Funda Meyer (flute) Ali Aliyev (bass guitar) and Alesker Abbasov (keyboard), Zeynep Tamay (viola), Hasan Telkıvıran (flute), Ali Ozturk (guitar), İlhan Çınar (violin), Onur Topoğlu (cello), Tolga Kulak (violin) and many other good musicians…
Can you also say something of Ismet’s music?
Ismet has composed a lot of music. Some of them are children songs, and we are planning to make a children song book project. He also got prizes in some competitions.There are four songs he composed in our first and only work in the market, the album called "Canım Terkeyledi Beni" ('My Soul Has Left Me'). We are working on new songs; my friend Zerrin Kurtoğlu writes the lyrics, İsmet composes and I sing! I am looking forward to sharing our new work with my friends!

And also you had TRT days?
Since 1989 we have participated in many programs of TRT (Turkish Radio Television). In TRT-2 we made programs for a long time for the program called ‘Muzik Mozaik’. Also with other important programs we had the chance to make our music heard country-wide and everywhere in the world where they watched TRT.
What are you doing now?
We continue teaching. Ismet is a guitar teacher in Fine Arts High School. I am also writing a book called "History of Western Music" for schools with a group of friends.
We know your interest in contributing to peace between two countries and more than that you have been singing in Greek for a long time in many concerts. Since when have you been singing rebetiko music?
Since 1990. There are many stories in this part of the world we live and Aegean stories are an important part of them. By singing these common heritage songs, we want to make everybody to feel and think about peace, friendship, love, brotherhood…I think this music is a treasure and will help us to create and promote peace on two sides of Aegean water.
What do you think about our Turkish Greek friendship groups? Do you have any comments or suggestions?
Last year in Karaburun and Mordoğan we had the chance to perform with other Greek and Turkish musicians and shared our emotions with the audience. I think everybody was very happy and excited. I hope this Greek-Turkish Friendship activity continues.Very good musicians have come together. A real friend Panos Agiakatsikas and his beautiful daughter Myrsini, Themis Patilas, Fotini Banou with wonderful voice, dervish-hearted and beloved Dimitris Alexakis and Aris Kotsas, Muammer Ketencoğlu, Deniz Ketencoğlu, Fulya Özlem, Salih Nazım Peker, İbrahim Sivrikaya,Aykut Yalçın …..also contribution of you, Özlem Yaşayanlar, Filiz Korkmaz, Tahsin İşbilen, Işın Turgut...Also both mayors of Karaburun and Mordoğan really believed in Greek-Turkish friendship and facilitated the realisation of this event.
We are already preparing for this summer’s event and thanks to dear Panos, Filiz, Çağatay and Aris enlarging our common repertoire. I would like to thank them here. I would like to take part in and support every work to develop our friendship. There must be concerts, exhibitions, film performances, literature discussions, visits to both countries to develop this friendship. I also propose a newsletter in future (although this blog serves for this purpose, for reaching more people). Also a catalog of activities would be a nice idea.We need sponsors of course!
Which greek composers and artists do you like most?
Markos Vamvakaris, Vasilis Tsitsanis, Giannis Papaioannou, Kostas Skarvelis, Apostolos Kaldaras, Manos Loizos, Manos Hadjıdakis, the composer Mikis Theodorakis……. Roza Eskenazi, Marika Ninou, Rita Abadzi ….Moreover, George Dalaras and Haris Alexiou. I love them all. I am very happy I have listened to them all.

For the last, I thank you my dear friend Zuhal, as one of the architects of this beautiful group and events…..
Love and greetings to all friends.

Loxandra - Maria Iordanidou

2009-03-08T19:27:00.006+02:00

Greek book title: Loxandra
Turkish title: Loksandra Istanbul Dusu
Author: Maria Iordanidou
ISBN: Greek edition 960-05-0138-6 , Turkish edition: 975-344-099-5
Type: Novel
Language: Greek, Turkish
Year: First edition 1966 Greece 1994 (Turkey)
Publisher: Turkey: Greece: Estia
Description:
The central person of the novel is Loxandra, a prototype of an anatolian Greek women of the Poli. The whole story occurs in Constandinople at the beggining of the 19th century. A nostalgic, view of a Greek family that lives at that time, and also describes many characters that mold the picture of Constandinople. Reading this book directly you live with Loxandras family, and shape in mind the style and life of that time.
Other books issued in Turkey by Maria Iordanidou
http://www.netkitap.com/arabul2.asp?kisiID=2820