Sunday, 20 December 2009
Ayvalık & Midilli Mutfağı (Aivali & Lesvos Kitchen)-Pınar Atay Başol
Title: Ayvalk & Midilli Mutfağı (Aivali & Lesvos Kitchen)
Author: Pınar Atay Başol
Label: Alfa Yayınevi
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."
Wednesday, 2 December 2009
Monday, 30 November 2009
JORDI SAVALL & HESPÈRION XXI - ISTANBUL / DIMITRIE CANTEMIR
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..
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
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/
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)
Sunday, 18 October 2009
A Periodical - Toplumsal Tarih ( Social History )
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.
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.
Thursday, 8 October 2009
Bulutları Beklerken (Waiting For The Clouds)
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
"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."
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.
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.
Tuesday, 22 September 2009
George Ivanovitch Gurdjieff
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.
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.
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)
"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."
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.
Wednesday, 16 September 2009
Bizans-Osmanlı Sentezi (Byzantine-Ottoman Synthesis)
Book: Bizans-Osmanlı Sentezi /Bizans Kültür ve Kurumlarının Osmanlı Üzerindeki Etkisi (Byzantine-Ottoman Synthesis)
Author: İsmail Tokalak
Publisher: Gülerboy Yayınları
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
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
Genre: Turkish Folk Music
Laouto: Okan Murat Ozturk
Tanbura: Okan Murat Ozturk
Cogur: Ozay Onal
Divan Sazi: Ozay Onal
Dede Baglama, Cura: Erdem Simsek
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
17. Topal oyun havasi
Meanings in Turkish Musical Culture / Türk Musıki Kültürünün Anlamları
Book: Meanings in Turkish Musical Culture / Türk Musıki Kültürünün Anlamları
Author: Eugenia Popescu Judetz
Publisher: Pan Yayıncılık
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.
Thursday, 10 September 2009
Haig Yazdjian - Videos - Live at Alsos Nea Smyrni Athens Greece
Haig Yazdjian - Fazen
Haig Yazdjian - Fog el-nakhel
Thursday, 16 July 2009
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.
Thursday, 9 July 2009
Osmanlı’dan Cumhuriyete Musiki Mirası Uşşak Faslı
Instruments: Ney: Salih Bilgin, Quanun: Taner Sayacıoğlu, Tanbur: Murat Aydemir, Classical Kemenche: Derya Türkan, Circle: Vahit Anadolu
Art Director: Mustafa Doğan Dikmen
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”, 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:
Nim devir beste
Ağır aksak semai şarkı
Tuesday, 7 July 2009
Muammer KETENCOĞLU-Karanfilin Moruna
Title: Karanfilin Moruna
Artist: Muammer Ketencoğlu
Label: Kalan Music (209)
"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."
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
Author: Radi Dikici
Publisher: Remzi Kitabevi
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.
Wednesday, 1 July 2009
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
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:
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
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
Tuesday, 23 June 2009
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.
Tuesday, 16 June 2009
500 Years of Ottoman Cuisine-Marianna Yerasimos
Thursday, 11 June 2009
Manos Loizos - Gramma stin Agapimeni (Letter for the beloved - Nazim Hikmet)
Artist: Manos Loizos
Title: Gramma stin Agapimeni (Letter for the beloved)
Production: MINOS - EMI
Description: Poems of Nazim Hikmet's "Letter for the beloved", rendition by Giannis Ritsos
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)
Wednesday, 10 June 2009
Itri (Buhurizade Mustafa Efendi)
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.
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
Monday, 8 June 2009
16th International Istanbul Jazz Festival
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.
SMV (Stanley Clarke, Marcus Miller ve Victor Wooten)
GEORGE BENSON - "Unforgettable Tribute to Nat 'King' Cole"
MARACA'S OTRA VISION
ERKAN OĞUR-ALIM QASIMOV-DERYA TÜRKAN
BRAD MEHLDAU TRIO
“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
CAZ CITY STREET CONCERTS
FMY PROJECT – THE QUINTET
BAŞAK YAVUZ QUARTET
JAZZ Magazine- Issue 54
Sunday, 7 June 2009
Sultan Bayezid II (1447 - 1512)
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.
Friday, 5 June 2009
Murat Belge-Istanbul Travel Guide
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..
Zafer Karaca-Istanbul Greek Orthodox Churches
Book Title: Greek Orthodox Churches in Istanbul before 1839
Bezmara-In The Search Of The Lost Sound
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)
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)
Nişabur Peşrev - Besteci: Hintliler
Çargâh Peşrev - Besteci: Derviş Mustafa
Giorgos Leonardos - The Last Palaeologue
Book Title: The Last Palaeologue
Greek Title: Ο τελευταίος Παλαιολόγος
Author: Giorgos Leonardos
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……
Thursday, 4 June 2009
Dances of Lesvos Island Greece
Geragotikos Sirtos, Aptalikos Karsilamas
Ayse Karsilamas (Kareklatos) or Aydinikos
Friday, 29 May 2009
AVLU - Η ΚΑΓΚΕΛΟΠΟΡΤΑ
Author: Andreas Franghias
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...
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
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
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…