Corpus Cemil Bey

Works of Great Mediterranean Composers

Tanbr Cemil Bey

. . his document has been produced with the financial assistance of the European Community. The views expressed herein are those of the publishers and can therefore in no way be taken to reflect the official opinion of the European Commission.

Works of Great Mediterranean Composers

Tanbr Cemil Bey - edited by Necip Glses

II MediMuses : : , Walter Feldman, Mahmoud Guettat, , Toufic Kerbage, Kiya Tabassian

(1871 1916): Necip Glses : : Andrew Hendry : : : Necip Glses : : Hy Brazil : : : : , 2005 21 54622 .: 2310253285/6 fax: 2310257485 e-mail: [email protected] www.medimuses.gr

, .

European Union Programme Euromed Heritage II MediMuses Project Action for the History of Music of the Mediterranean Corpus Series with works of Great Mediterranean Composers Artistic Director: Kyriakos Kalaitzides Under the guidance of the Workgroup for the History of Music: Thomas Apostolopoulos, Walter Feldman, Mahmoud Guettat, Kyriakos Kalaitzides, Toufic Kerbage, Kiya Tabassian.

Tanbr Cemil Bey (1871 1916)Edited by: Necip Glses Translation into Greek: Pashalis Valsamides Translation into English: Andrew Hendry Editing of the Greek text: Despoina Sarafeidou Editing of the English text: Michael Eleftheriou Digital editing of scores: Necip Glses Adaptation: Elias Andreoulakis Graphic Design: Hy Brazil Concept: Kyriakos Kalaitzides Production coordination: Nikos Terpsiades Production assistant: Melina Pantazidou Production: En Chordais, March 2005 EN CHORDAIS Musical Traditions of the Mediterranean 21 Pavlou Mela str. 54622 Thessaloniki, Greece tel.: +30 2310253285/6 fax: +30 2310257485 e-mail: [email protected] www.medimuses.gr

Unauthorized republication or reproduction of the content of this publication in any medium is forbidden.

8

. . , . , , . , , , . , . , . ediMuses . MediMuses - . , , . MediMuses

PrologueMany significant masters have been creatively active in the Near East. Often the impact of their work has reached beyond the boundaries of the city or country where they lived and spread throughout the Mediterranean. Nonetheless, the lack of a complete and documented presentation of this common cultural heritage is today making itself more and more acutely felt; a presentation of particular scientific and educational interest to teachers and students of music schools and academies, researchers and musicologists that would also create an inspiring backdrop for new musical creation by contemporary musicians. Thanks to this series, interpreters, musical ensembles, orchestras and choirs around the world will have the opportunity to globally study the particular musical idioms of great civilizations, as these have been expressed by great composers through the ages. At the same time, the presentation to the general public of these works of great aesthetic value and importance will be made possible. In opposition to the contemporary trend towards conflict between nations, fed by ideologies of cultural superiority or inferiority, the series hopes to contribute to the reconciliation and the peaceful coexistence of the Mediterranean peoples, with their common musical heritage acting as an axis of cohesion. The beginning of this effort is taking place as part of the MediMuses project that is funded by European Union in the context of the Euromed Heritage II program and has also received financial support from the Hellenic Ministry of Culture. The MediMuses Workgroup for the History of Mediterranean Music worked on the planning of the series and in the first phase six collections of works will be published. Each collection contains the complete works of the composer, a brief biography, interpretational notes and other related material which was collected and edited by established musicians and musicologists of the Mediterranean. Kyriakos Kalaitzides Artistic Director MediMuses

9

10

42 ( 2002 2005) , , 11 7 75 6 (CD) 6 (CD) 6 - 2 / 10 - / 3 / 2

MediMuses

42 months (February 2002 July 2005) Research, study, re-composition and promotion of the elements of the common Mediterranean musical heritage 11 Concerts 7 International Music Meetings 75 Visiting Lecturers 6 CDs in the Great Mediterranean Masters series 6 CDs in the Great Mediterranean Composers series 6 Anthologies with works of Great Mediterranean Composers 2 Workgroups / 10 Workshops / 3 Symposia / 2 Volumes for the History and Theory of Mediterranean Music

MediMuses project

LEADER EN CHORDAIS, Musical Traditions of the Mediterranean Thessaloniki, GREECE PARTNERS - THE NATIONAL MUSIC CONSERVATORY OF THE NOOR AL HUSSEIN FOUNDATION Amman, JORDAN - THE LEBANESE NATIONAL HIGHER CONSERVATORY OF MUSIC Beirut, LEBANON - EL HEFNY CENTER FOR MUSIC STUDIES Cairo, EGYPT - ASSOCIAZIONE CULTURALE SCUOLA DI MUSICA ANTICA VENEZIA Venice, ITALY - THE BYZANTINE FESTIVAL IN LONDON London, UNITED KINGDOM - ECUME, Echanges Culturels en Mditerrane Marseilles, FRANCE - CENTRO FLAMENCO PACO PEA Cordoba, SPAIN - ST. LAZARUS SCHOOL OF BYZANTINE MUSIC Larnaca, CYPRUS

11

www.medimuses.gr

BIOGRAPHY

14

, , . . 9 1871. . . Grgoire Maurice. , , . , . , . . , . , . . , , , . . , , . , . . , , . ,

TANBR CEMIL BEY Tanbr Cemil Bey was the fourth and youngest son of Zihni Yr Hanm, a slave and wet-nurse to Hayriye Hanm, the daughter of Sultan Mahmut II and Adile Sultan. Zihni Yr Hanm married the assistant prefect of Shkodra, Mehmet Tevfik Bey, and Cemil Bey was born in Constantinople on May 9, 1871. Although he lost his father at the age of three, he completed his primary school education with the help of his uncle, Refik Bey. While at junior school, he learned French under Messrs Grgoire and Maurice. He began to play the saz at the age of ten, later taking up the violin and kann, and later still the tanbr, which was eventually to win his heart. He learned makam theory from his elder brother, Ahmet Bey, and Western musical theory and the Hamparsum Limonciyan system from the violinist, Aleksan Efendi. A child prodigy at the age of twelve, by the age of eighteen he was already renowned as an instrumentalist of unrivalled talent. Profoundly knowledgeable of Constantinopolitan music, he was to play a decisive role in its development, and was also to devise and apply new playing methods to a wide range of musical instruments, particularly the lyra and the tanbr. He employed his knowledge of both traditional and western music to develop tanbr technique, and thus opened up new avenues for Turkish musical instruments as a whole. During a year at the School of Political Sciences, he met Aziz Mahmut Bey, a tanbr player whose father, Ali Efendi, agreed to tutor him in the same instrument. The first time Ali Efendi, a romantic composer, heard Cemil Bey play, he realized he was in the presence of a genius. When he declared that Cemil Bey played the tanbr even better than he did, word of his charismatic students abilities spread like wildfire through Constantinoples musical circles. Through Ali Efendi, Cemil Bey came into contact with romantic music, under whose influence he was to remain for the rest of his life. At the same time, he acquired an outstanding technique, especially in the use of the plectrum, with a view to playing in the classical style, and was second to none at playing with the plectrum in the left hand. By playing more quietly and making less frequent use of the plectrum, he exploited the full potential of the classical tanbr, taking the instrument a stage further in its development. He also developed a new and more impressive method of playing during this period, thus establishing a new school.

15

16

. , , , . , . . , (yali tanbr). 1900 . , 300 . , , , , , , , . , , , . . , . - , . , , . , , , , . 78 , , . 1910 1914 Ofeon Record. , (), (), () (), . 1901 , .

At the age of twenty, he demonstrated his talent by playing the lyra, the lavta and the violin. It was Cemil Bey, too, who introduced the use of the bow to tanbr-playing, thereby creating what was in effect a new instrument: the yali tanbr. By 1900, his fame had spread throughout the Ottoman Empire. When he appeared before Sultan Abdlhamit II with his tanbr and lyra, he was rewarded with 300 gold sovereigns and the post of General Secretary in the Ministry of Foreign Affairs. A versatile composer, Cemil Bey wrote perevs, instrumental sems, longas, syrta, zeybeks, and art songs. Though he composed his instrumental works within the ambits of classical music, his conception of the capabilities of his instruments was such that these works display a new and original approach. His musical pieces appear to be divinely inspired in their innovativeness and uniqueness of form, although his songs were to prove somewhat less successful. Of all the Turkish instrumental works ever written in the ed-i Arabn makam, Cemil Beys saz sem may be regarded as the best. His perevs and sems has been a constant source of discussion since they were composedindeed, now more than everand are frequently played both in Turkey and abroad, where they are broadcast by radio stations in Tunis, Baghdad, Cairo, Damascus and Beirut. The wide distribution of his music was assisted by the fact that it was recorded and distributed throughout the Mediterranean area on 78 rpm records, on which Cemil Bey played both taksims and his own compositions. Most of the recordings were made between 1910 and 1914 by the Blumenthal brothers on the Orfeon label. On these recordings, Cemil Bey worked with some of the most famous musicians of his time, including Nevres Bey (oud), Ibrahim Efendi (clarinet), Cemal Bey (piano) and Blbl Salih (violin), a student of the tanbr player, Kad Fuat. His Guide to Music, which contains elements of Turkish musical theory, was published in 1901. Cemil Bey married erife Saide Hanm in the same year, 1901, but the marriage was to prove a difficult one, since Cemil Beys wife did not share his passion for music. The marriage produced one son, Mesud Cemil, who was later to follow in his fathers footsteps and become a famous musician. In addition to playing the tanbr and the cello, he also became an orchestral conductor.

17

18

1901 . , . , . , , , . . 45 1916. , 2004

Cemil Bey retired into himself in the last few years of his life, and sank into melancholy. He contracted tuberculosis, eventually dying from the disease in 1916 at the age of fortyfive in Constantinople. Necip Glses, tanbr player Istanbul, Spring 2004

19

ERGOGRAPHY

22

1. Beyt Perev, Hafif 2. Bestenigr Perev, Sofyan 3. Bestenigr Saz Sem, Aksak Sem 4. Ferhfez Perev, Muhammes 5. Ferhfez Saz Sem, Aksak Sem 6. Kadim Hicz Saz Sem, Yrk Sem 7. Hicazkr Perev, Muhammes 8. Hicazkr Saz Sem, Aksak Sem 9. Hseyn Oyun Havas-een Kz, Nm Sofyan 10. Isfahn Perev, Devr-i Kebr 11. Isfahn Saz Sem, Aksak Sem 12. Krdili Hicazkr Perev, Muhammes 13. Mahr Perev, Muhammes 14. Muhayyer Perev, Devr-i Kebr 15. Muhayyer Saz Sem, Aksak Sem 16. ev Perev, Devr-i Kebr 17. Nihavend Saz Sem, Aksak Sem 18. Nihavend Longa, Nm Sofyan 19. Nikrz Longa, Nm Sofyan 20. Nikrz Zeybek, Mantalena, Aksak 21. Nikrz Sirto, Nm Sofyan 22. Nikrz Zeybek, Aksak 23. Szidil Saz Sem, Aksak Sem 24. Szidilr Saz Sem, Aksak Sem 25. ed-i Arabn Perev, Fahte 26. ed-i Arabn Saz Sem, Aksak Sem 27. Evi ark, Bir nighn gnlm etti esir-i akn ah, Aksak 28. Evi ark, Nazirin yok senin ey mah yerde, Aksak Sem 29. Glizr ark, Gl gonca-i mmid gibi gel ail gl, Sengn Sem 30. icz Ninni, Dada tavanlar uyur, Dyek 31. Hicz ark, Hep saye-i vaslnda gnl ad olacac kan, Sengn Sem 32. Hicz ark, Matemzedeyim glbe-i ahznm fel gr, Aksak 33. Hseyn ark, Grmek ister gzlerim her dem seni, Devr-i Hind 34. Krdili Hicazkr ark, Defi nali eylerim hep seyr-i ruhsarnla ben, Aksak 35. Mahr ark, Sen gl elen ad man ol, Air Aksak 36. Mahr ark, Var iken ztnda byler hsn- an olma nihn, Air Aksak 37. Muhayyer ark, Pr lerze olur ryini grdke cananm, Sengn Sem 38. Sultn Yegh ark, Bir peri sima 39. Nihavend ark, Sevdim seni ey ive bz, Yrk Sem 40. Segh ark, Gel ey ski bana sun bir piyle, Aksak 41. Segh ark, Hatr- na-d gel gr, Air Aksak 42. Mster ark, Nihandr dideden geri cemalin 43. ehnz ark, Feryd ki ferydma imdd edecek yok, Sengn Sem 44. Suzink ark, Beni bigane-i hb etdi keder, Aksak

A. Uak Taksm B. Nihavend, with tanbr C. ed-i Arabn Taksm, with tanbr D. Szidil Taksm, with tanbr

23

WORKS

- GREAT MEDITERRANEAN COMPOSERS 26

27

TANBURI JEMIL BEY

/ WORKS


29

TANBURI JEMIL BEY

/ WORKS


31

TANBURI JEMIL BEY

/ WORKS


33

TANBURI JEMIL BEY

/ WORKS


35

TANBURI JEMIL BEY

/ WORKS


37

TANBURI JEMIL BEY

/ WORKS


39

: , , ( ). Adaptation of a melody found in a wide range of forms from Western Greece to the Black Sea, and known by various names, including Xyla, Plevra, and Chechen Kiz (maiden from Chechenya).

TANBURI JEMIL BEY

/ WORKS


41

TANBURI JEMIL BEY

/ WORKS


43

TANBURI JEMIL BEY

/ WORKS


45

TANBURI JEMIL BEY

/ WORKS


47

TANBURI JEMIL BEY

/ WORKS


49

TANBURI JEMIL BEY

/ WORKS


51

TANBURI JEMIL BEY

/ WORKS


53

TANBURI JEMIL BEY

/ WORKS


55

TANBURI JEMIL BEY

/ WORKS


57

78 . Adaptation of a Constantinopolitan zeybek known from the 78 rpm discography as Mantalena.

TANBURI JEMIL BEY

/ WORKS


59

TANBURI JEMIL BEY

/ WORKS


61

TANBURI JEMIL BEY

/ WORKS


63

TANBURI JEMIL BEY

/ WORKS


65

TANBURI JEMIL BEY

/ WORKS


67

TANBURI JEMIL BEY

/ WORKS


69

TANBURI JEMIL BEY

/ WORKS

70

- GREAT MEDITERRANEAN COMPOSERS

78 , . This version is from a 78 rpm recording in which Cemil Bey performs the piece on a tanbur.

71

TANBURI JEMIL BEY

/ WORKS


73

TANBURI JEMIL BEY

/ WORKS


75

TANBURI JEMIL BEY

/ WORKS


77

TANBURI JEMIL BEY

/ WORKS


79

TANBURI JEMIL BEY

/ WORKS


81

TANBURI JEMIL BEY

/ WORKS


83

TANBURI JEMIL BEY

/ WORKS


85

TANBURI JEMIL BEY

/ WORKS


87

TANBURI JEMIL BEY

/ WORKS


89

TANBURI JEMIL BEY

/ WORKS


91

TANBURI JEMIL BEY

/ WORKS


TAKSIMS


95

78 : . . From a 78 rpm recording (Y. Cavga).

TANBURI JEMIL BEY

/ TAKSIMS


97

TANBURI JEMIL BEY

/ TAKSIMS


99

TANBURI JEMIL BEY

/ TAKSIMS

100


101

TANBURI JEMIL BEY

/ TAKSIMS

102


78 : . From a 78 rpm recording (Mehmet Emin Bitmez).

103

TANBURI JEMIL BEY

/ TAKSIMS

104


LYRICS

106

Opus 27 Bir nighn gnlm etti esir-i akn ah Her zaman kan alarm derdinle ey em-i siyah Yarelendi tir-i mjgnnla klb-i gam penh Her zaman kan alarim derdinle ey em-i siyah Opus 30 Dada tavanlar uyur ninni Evde koanlar uyur ninni Benim yavrum uyumaz ninni Uyusun da bysn ninni Opus 32 Matemzedeyim glbe-i ahznm gel gr Ey em-i semvi dil-i girynm gel gr Ydnla dolan dide-i hicrnm gel gr Ey em-i semvi dil-i girynm gel gr Opus 33 Grmek ister gzlerim her dem seni Yd et allah akina sen de beni nki syler alarm ben hep seni Yd et allah akna sen de beni Opus 34 Def-i nali eylerim hep seyr-i ruhsarnla ben Arz- ehre eyle glen atr ol piinde sen Gayri kurtulsun bu kalb-i pr eninim giryeden Arz- ehre eyle glen atr ol piinde sen Opus 36 Var iken ztnda byle hsn- n olma nihn Seyre k reftr edip uk eyle dmn Sen kimin meftunusun mahzun durursun her zaman Seyre k reftr edip uk eyle dmn Opus 37 Pr lerze olur ryini grdke cananm Her an seni grmek dilerim rh-i revanm Takdis ederek sevmek seni maksad- canm Her an seni grmek dilerim rh-i revanm

Opus 39 Sevdim seni ey ive bz ektiklerim tkat gdz Bunca zaman ettim niyz Bilmem neden bu ihtirz Ey ive bz ey serv-i nz Sen de beni sevsen birz Ey ruh-nvz ey dil-nvz Hicrna ol sen re-saz Opus 40 gel ey saki bana sun bir piyale eriti mevsim-i gl, fasl- lale hezar- nevbahar erdi visale gnl hasretle girdi bak ne hale Opus 41 Hatr- n di gel gr bir nefes yad et beni Kaydi hierandan a zalim artik azad et beni Hasretinle pek harabm bari bt et beni Kaydi hierandan a zalim artik azad et beni Ey cefa-c eyle insaf ak- bianere Merhem-i lutfunla imdd eyle gel avarene Opus 43 Feryd ki ferydma imdd edecek yok Efss ki gamdan beni azd edecek yok Tesri mahabbetle yklm mteellim Virne dili bir daha bd edecek yok Y rb ne iin zr nigri u cihanda N-d edecek oksa da dil-d edecek yok Opus 44 Beni bigne-i hb etdi keder Dnp ah ederim tbe seher Arttrr derdimi muzlim geceler Dnp ah ederim tbe seher

107

/ CONTENTS / Credits / Prologue MediMuses / MediMuses Project / Biography / Ergography / Works 1. Beyt Perev, Hafif 3. Bestenigr Saz Sem, Aksak Sem 4. Ferhfez Perev, Muhammes 5. Ferhfez Saz Sem, Aksak Sem 7. Hicazkr Perev, Muhammes 8. Hicazkr Saz Sem, Aksak Sem 9. Hseyn Oyun Havas-een Kz, Nm Sofyan 10. Isfahn Perev, Devr-i Kebr 11. Isfahn Saz Sem, Aksak Sem 12. Krdili Hicazkr Perev, Muhammes 13. Mahr Perev, Muhammes 14. Muhayyer Perev, Devr-i Kebr 15. Muhayyer Saz Sem, Aksak Sem 16. ev Perev, Devr-i Kebr 19. Nikrz Longa, Nm Sofyan 20. Nikrz Zeybek, Mantalena, Aksak 21. Nikrz Sirto, Nm Sofyan 22. Nikrz Zeybek, Aksak 23. Szidil Saz Sem, Aksak Sem 24. Szidilr Saz Sem, Aksak Sem 25. ed-i Arabn Perev, Fahte 26. ed-i Arabn Saz Sem, Aksak Sem ed-i Arabn Saz Sem, Aksak Sem, Version B 27. Evi ark, Bir nigahn gnlm etti esir-i akin ah, Aksak 28. Evi ark, Nazirin yok senin ey mah yerde, Aksak Sem 30. icz Ninni, Dada tavanlar uyur, Dyek 31. Hicz ark, Hep saye-i vaslnda gnl ad olacac kan, Sengn Sem 32. Hicz ark, Matemzedeyim klbe-i ahznimi fel gr, Aksak 33. Hseyn ark, Grmek ister gzlerimher sem seni, Devr-i Hind 34. Krdili Hicazkr ark, Defi nali eylerim hep seyr-i ruhsarinla ben, Aksak 36. Mahr ark, Var iken zatnda byle hsn- an olma nihn, Air Aksak 37. Muhayyer ark, Pr lerze olur ryini grdke canarim, Sengn Sem 6 8 10 13 21 25 26 28 30 32 34 36 38 40 42 44 46 48 50 52 55 56 58 59 60 62 64 66 68 71 72 74 75 76 78 81 82 84

39. Nihavend ark, Sevdim seni ey ive bz, Yrk Sem 40. Segh ark, Gel ey ski bana sun bir piyle, Aksak 41. Segh ark, Hatr- n d gel gr, Air Aksak 43. ehnz ark, Feryad ki feryadma imdd edecek yok, Sengn Sem 44. Suzink ark, Beni bigane-i hb etdi keder, Aksak / Taksims A. Uak Taksm B. Nihavend, with tanbr C. ed-i Arabn Taksm, with tanbr D. Szidil Taksm, with tanbr / Lyrics

86 88 89 90 92 93 94 96 100 103 105

Corpus Cemil Bey

Documents

Transcript of Corpus Cemil Bey