Peshrev (Sheddiaraban)

[Hakem]

Peshrev
Maqam Sheddiaraban
Composed by: Tamburi Cemil Bey

Rarely that the these giants of the Turkish Ney play together!
Ney Ensemble: Ulvi Erguner, Niyazi Sayin, Aka Gunduz Kutbay and Dogan Ergin

From the CD that accomanied the book:
Kudsi Erguner: Journeys Of A Sufi Muscian (2005)

Enjoy!
Hakem.

[Najib]

Ahla ya Hakem, and welcome to this forum.

Fantastic contribution indeed.

Is this book translated from an original french or not.

Also is it by Dar el Saqi (your english version)?

[Hakem]

Yes it is translated from French, but not sure if it is available in French. The UK publisher is Saqi, and available on Amazon UK.

[أبو علاء]

Thanks Hakem. This is indeed an outstanding debut. I have known the semaï for a very long time now, but I haven't heard about such a pesrev and it's really beautiful.

[theoudman]

I wanted to contribute a different (and very beautiful) version of this pesrev by the Kudsi Erguner Ensemble from a cd titled Peshrev & Semai of Tanburi Cemil Bey -
I hope you enjoy

[Najib]

For me this is the best Erguner CD, although it is really hard to choose sometime with an artist of Kudsi's diversity!

[3amr]

well, just happened to have a pic with all three of the mentioned ney players

niyzi is the one in the middle, aka gunzuz kutbay is the one sitting next to the tall percussionest.

the old cellist does not really need an introduction.

from neyzen.com

[3amr]

is it just me, or does the intonation of the makam differ between the two recordings?

intervals seem more spicy in the older version.

a small treat attached (and thanks to zeryab himself who put it up a very long time ago).

Ulvi Erguner Hicaz Taksim (one of the most distinctive ney sounds I've heard, and no reverb thank god (a bit of studio resonance though, which isn't a bad thing).

Amr

[Hakem]

I wanted to contribute a different (and very beautiful) version of this pesrev by the Kudsi Erguner Ensemble from a cd titled Peshrev & Semai of Tanburi Cemil Bey -
I hope you enjoy

Thanks so much for this. I am happy another version of this Peshrev. And again Kudsi!

Hakem.

[Hakem]

is it just me, or does the intonation of the makam differ between the two recordings?

intervals seem more spicy in the older version.

a small treat attached (and thanks to zeryab himself who put it up a very long time ago).

Ulvi Erguner Hicaz Taksim (one of the most distinctive ney sounds I've heard, and no reverb thank god (a bit of studio resonance though, which isn't a bad thing).

Amr

I have got this taksim, but your version is much clearer than the recording I have. I have got the CD that accompanied Kudsi's book. What is the source of your track?
thanks,
Hakem.

[Najib]

It's the Kalan double Ney CD?

[3amr]

I have just reviewed my archive, and well, to my surprize, the person who posted this on zeryab is non other than Najib :D (a long long time ago)

I have attached the original post (amazing what I have in my archive).

Amr

[dem]

Peshrev
Maqam Sheddiaraban
Composed by: Tamburi Cemil Bey

Rarely that the these giants of the Turkish Ney play together!
Ney Ensemble: Ulvi Erguner, Niyazi Sayin, Aka Gunduz Kutbay and Dogan Ergin

From the CD that accomanied the book:
Kudsi Erguner: Journeys Of A Sufi Muscian (2005)

Enjoy!
Hakem.

Wow , it's great.
Thank you very much Hakem.

[tecladista]

thanks a lot for these!!!!!!! Shukran!!!:D

[Sazende]

Composer's own recording.

[3amr]

Thank you sazende.

Cemil bey's playing is inimitable, so full of spirit, emotion, and brilliance. I wonder if his Kemence style has survived in modern turkey.

I don't know what possessed him to record with a piano though, usually he recorded with udi Nevres or some other proper instrumentalist.

I forgot to mention the ending taksim which is a marvel, demonstrating the whole makam in almost one long phrase, and so beautifully phrased.

I always thought the concluding taksim or concluding layali were only standard practice in old recordings of egyptian adwar. I wonder if the recording medium (the 78 rpm records in particular) has anything to do with this practice, where it's always safer to finish a piece with time to spare which is then filled up with a concluding taksim rather than risk truncating the actual composition being performed.