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 )
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
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.
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.
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
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.
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.
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
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
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
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
Title: Izmir Hatirasi - Smyrna Recollections Artist: Muammer Ketencoglu Year: 2007 Production:Kalan records Description: A collection of songs of Smyrni and the Aegean costs, from Greeks, Turks, Jews Comments: Something very new for the discography in Turkey, unknown music, from the minorities. Except from very known Turkish musicians that participate in the Cd, there are Greek singers as well, like Stelios Berberis, Ivi Demerci and Panagiota Mihaleli.
Title tracks 1. Ucun Kuslar 2. Mendilimin Ucuna Sakiz Bagladim Sakiz 3. Hicaz Taksim 4. Esma 5. Izmir Uclemesi Sample 6. To Salvari 7. Alt`ay Oldu Ben Bu Dagi Asali 8. Hurmuz Hanim 9. Muhayyer Taksim 10. Milo Mu Ke Mandarini 11. Segah Taksim 12. Uc Kemerin Dibegi 13. Alma Miya 14. Su Izmir`den Cekirdeksiz Nar Gelir 15. To Dervisaki 16. Gokcen Efe`m 17. Yalo Yalo
Title: Asia Minor Μικρά Ασία (Αιγαίο) Artists: Various Year: 2003 Published:http://www.hellenicrecord.gr/ Production: Petros Tambouris Description: A collection of songs and tunes of Turkish artists of Asia Minor and the Aegean coast of Turkey Comments: A fine introduction, to old recordings, and artists, like Sukru Tunar, Haydar Tatliyay. The minus is there is no information, on the artists and the music.
Title: Rum Bestekarlar - Greek Composers Artists: Various Year: 2001 Published: Sony Turkey Production: Golden Horn Records Description: A collection of songs and tunes of Greek composers from the Ottoman era. Comments: An excellent introduction to Greeks about these unknown composers, as well as an introduction to the Ottoman music
Album: Istanbulin Artist: Cihat Aşkın Label: Kalan Music-421 (2007)
Famous Turkish violin virtous Cihat Aşkın plays old Istanbul songs (late 19th & early 20th century) with his ensemble. All of these songs are belong to Istanbul. You can listen famous Turkish Classic music composer's songs including Santuri Ethem Efendi, Tanburi Cemil Bey etc. even you can find some old Istanbul Greek songs like Hasapikos..
Turkish ethnic music orchestra "Bosphorus" play with Greek singer Vassiliki Papageorgiou..This boat leaves from Halki (Heybeliada) then Marmara and Aegea coasts ..at last it arrives to other coast with their friendship and peace.
