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Turkish Music for Cello and Piano

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Turkish Music for Cello and Piano TURKISH MUSIC FOR CELLO AND PIANO Saygun • Manav • Uçarsu • Usmanbaş CelloPianoDuo Dilbağ Tokay, Cello • Emine Serdaroğlu, Piano Ahmet Adnan SAYGUN (1907-1991) The Three Turkish Folk Songs can be seen as an TURKISH MUSIC Ahmet Adnan Saygun, born in Izmir, was a prominent exploration of Turkish folk music idioms through folk Turkish composer who studied at the Schola Cantorum songs originating from three different regions of Anatolia. FOR CELLO AND PIANO in Paris with Vincent D’Indy, Eugène Borrel, and Paul The first piece is a love song from the Aegean coast. Le Flem between 1928 and 1931. He taught extensively Its recitative-like middle section and the coda distinctly echo the popular Aegean coast dance zeybek. The Ahmet Adnan SAYGUN (1907-1991) 19:08 in Ankara and Istanbul Conservatoires throughout his life, and in 1936 carried out research into Turkish second piece provides a soothing transition between Viyolonsel ve Piyano için Sonat, Op. 12 folk music with Béla Bartók in southern Anatolia. As a the outer works, and is based on an aksak, a limping, (Sonata for Cello and Piano, Op. 12) composer, Saygun was attached to the traditional values asymmetrical measure in a moderate tempo. This work 1 Animato 8:07 of European classical music, searching for the ideal is based on a courting song from the eastern Black Sea 2 combination of Turkish folk music and Western musical region. The third piece is based on a lively folk song from Largo 5:50 central Anatolia, mostly sung and danced by women. 3 heritage to construct a new identity for modern Turkish Allegro assai 5:11 music. He was also an influential ethnomusicologist, There are instances of extended playing techniques in pedagogue, and scholar. all three pieces, some of which are derived from bağlama Özkan MANAV (b. 1967) 10:58 The Sonata for Cello and Piano Op. 12, composed (Anatolian long-necked lute) playing, while others stem from vocal gestures and exclamations. Üç Türkü (Three Turkish Folk Songs) in 1935, was dedicated to the memory of David Zirkin, a German cellist who fled from Nazi Germany and lived “Even though my music still dwells widely in the 4 Ah Bir Ateş Ver (O, Give Me Fire) 5:37 in Turkey as a highly esteemed teacher. The Sonata territory of contemporary music, the number of my 5 Al Tavandan Belleri (Take the Spades from the Ceiling) 3:12 belongs to Saygun’s first creative period, characterised imminent visits to folklore has reached a point reminiscent 6 Leblebi (Roasted Chickpeas) 2:09 in the main by his quest to construct a unique Turkish of a double life, which feels like being an amphibian.” Özkan Manav style from a blend of Western structural elements and Anatolian musical tradition. It aims to present a fresh Hasan UÇARSU (b. 1965) and modern sound for the new Turkish Republic. At this Hasan UÇARSU (b. 1965) 7 Elif Dedim Be Dedim (I Said A, I Said B) 5:30 time, in addition to being fascinated by the marriage of Hasan Uçarsu was born in Istanbul in 1965. He studied traditional Anatolian folk music with traditional Turkish- composition with Ahmet Adnan Saygun at Mimar İlhan USMANBAŞ (b. 1921) 27:23 Ottoman music (as derived from Bartók’s ideas), Saygun Sinan Fine Arts University (MSFAU) Istanbul State was heavily influenced by pentatonicism. The five-note Conservatory, where he earned his Bachelor’s and 8 Viyolonsel ve Piyano için Müzik No. 1 scale formations form a central tenet of Asian music, Master’s degrees in composition in 1990 and 1992 (Music for Cello and Piano No. 1) 3:50 and Saygun considered them a cornerstone of Turkish respectively. He completed his doctorate in composition 9 Viyolonsel ve Piyano için Müzik No. 2 musical roots. The pentatonic scales are a distinguishing in 1997 at The University of Pennsylvania, USA, with (Music for Cello and Piano No. 2) 6:38 feature of Saygun’s first creative period and, predictably, George Crumb and Richard Wernick. Since then, he has 0 of the Sonata. been teaching at MSFAU Istanbul State Conservatory. Raslamsal, Viyolonsel ve Piyano için No. 1 As a composer, his main concern is to create an original (Aleatoric for Cello and Piano No. 1) 4:09 Özkan MANAV (b. 1967) musical language with a special emphasis on personality ! Raslamsal, Viyolonsel ve Piyano için No. 2 Özkan Manav was born in 1967 in Mersin and counted and identity. To this end, he utilises novel compositional (Aleatoric for Cello and Piano No. 2) 4:27 among his teachers the influential Turkish composers techniques to develop a musical aesthetic which @ Raslamsal, Viyolonsel ve Piyano için No. 1, ver. 2 Ahmet Adnan Saygun and İlhan Usmanbaş. Later, he represents the sounds, geography and cultures of his homeland. (Aleatoric for Cello and Piano No. 1, ver. 2) 4:14 studied with the American composers Lukas Foss and Marjorie Merryman at Boston University, where he Elif Dedim, Be Dedim was commissioned in 1999 # Raslamsal, Viyolonsel ve Piyano için No. 2, ver. 2 earned his doctoral degree. He has been awarded prizes as part of a project which brought together folk song (Aleatoric for Cello and Piano No. 2, ver. 2) 4:05 in the USA, Germany, Turkey, Bulgaria and Italy, and his arrangements for cello and piano. A fervent believer music has been released on CD in Turkey, Germany, and that arranging folk songs for Western instruments is the USA. He has been teaching at his alma mater, Mimar tantamount to segregating it from its original musical Sinan Fine Arts University Istanbul State Conservatory and social context, Uçarsu was concerned that an since 1991. arrangement of this Anatolian folk song for cello and piano would result in the loss of many of its original, pizzicati versus percussive piano notes and chords; Ahmet Adnan SAYGUN (1907-1991) olmuştur. İkinci ana kaynak ise, Orta Asya müziğinin authentic features; in particular, the lyrics. To repeated chords against the cello’s melodic lines; Ahmet Adnan SAYGUN İzmir’de doğmuş, 1928-1931 en belirleyici özelliklerinden biri olan ve pentatonik counteract this, he attempted to bring out the inner quick passages for some measures and then meno yılları arasında Paris’te, Schola Cantorum müzik olarak adlandırılan beş sesli Asyatik ses dizileridir. spirituality and cultural meaning with programmatic mosso measures; and steady cello pizzicati (in the okulunda Vincent D’Indy, Eugène Borrel ve Paul la Saygun, pentatonizmi Türki müziğin özü, izi ve damgası instrumental writing for lines such as ‘Ah! There is coda) against smooth piano arpeggios. Flem ile çalışmış, 1936 yılında Bela Bartok ile birlikte olarak değerlendirmiştir. Daha sonra bu düşünceyi no way to write down my sorrows even if a bird’s Music for Cello and Piano No. 2 was written Türkiye’nin güneyinde folk müziği araştırmaları yapmıştır. çok genelleyici bulduğu için terk etmiş, ancak bu beş wing turns out to be a pen.’ The arrangement during the composer’s studies with Kemal İlerici, a Ölümüne dek Ankara ve İstanbul Konservatuvarlarında sesli diziler onun ilk yaratı döneminin ve dolayısıyla da concludes in a dramatic manner, with the cellist and composer and theorist who proposed an authentic öğretmenlik görevinde bulunan Saygun, uluslararası Sonat’ının en ayırt edici özelliklerinden birisi olmuştur. pianist requested to sing a line of the song whilst harmonic practice of quartal harmony for Turkish başarıları, üretkenliği, müziği ve düşüncelerinin simultaneously playing it, in order to fully express modal music. The rhythmic patterns used in both yoğun etkileriyle, batı sanat müziği anlayışıyla Özkan MANAV (1967) the ethos. instrumental parts are also related to Turkish yaratılan “Cumhuriyet Dönemi Türk Müziği”nin en Özkan Manav 1967 yılında Mersin’de doğmuş, Mimar classical music’s metric patterns with heavy and önemli bestecilerinden biri, hatta ‘kurucusu’ olarak Sinan Güzel Sanatlar Üniversitesi (MSGSÜ) İstanbul İlhan USMANBAŞ (b. 1921) light beats which are presented predominantly in the nitelendirilmiştir. Besteciliğinin yanı sıra, etnomüzikolog, Devlet Konservatuvarı’nda Adnan Saygun ve İlhan İlhan Usmanbaş, born in 1921, is the major piano’s left hand. Beginning with a long introductory eğitimci ve düşünce insanı olarak da çok etkili olmuştur. Usmanbaş’la, Boston Üniversitesi’nde Lukas Foss ve representative of the second generation of Turkish section of the piano in the Segâh makam based on Teknik açıdan Avrupa sanat müziğinin geleneksel, klasik Marjorie Merryman’le kompozisyon çalışmıştır. Yapıtları composers of polyphonic music and one of the B with a diminished fifth (a makam being a system değerlerine bağlı olmakla birlikte, kendi müzik kimliği ABD, Almanya, Türkiye, Bulgaristan ve İtalya’da ödüle most influential figures for the younger generation of melody types used in Turkish music), the music konusunda da duyarlı bir besteci olarak, modern Türk değer bulunmuş, Türkiye, Almanya ve ABD’de CD with his depth of vision and ceaseless aspiration continues with the cello towards other makams. müziğini yaratma yolunda batı müziği geleneğiyle Türk kayıtlarıyla yayınlanmıştır. 1991 yılından bu yana for newer musical expression. He studied cello The introductory section comes back before each halk müziğinin ideal bileşimini araştırmıştır. MSGSÜ İstanbul Devlet Konservatuvarı’nda ders and composition at Ankara State Conservatory cello entrance and is shortened each time it is vermektedir. and became a student of the prominent ‘Turkish repeated. Viyolonsel ve Piyano için Sonat Op. 12 1935 yılında Five’ (Saygun, Erkin, Rey, Alnar and Akses), who Aleatoric for Cello and Piano Nos. 1 & bestelenmiş ve Nazi Almanya’sından kaçtıktan sonra Üç Türkü: Viyolonsel ve piyano için yazılan bu parçalar, forged the foundations of Western music in Turkey, 2 consist of a number of figures assigned to Türkiye’de yaşayıp öğretmenlik yapmış olan Alman Anadolu’nun üç farklı yöresinden kaynaklanan halk composing their most outstanding work in the early each instrument.
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