مشاهدة جميع الاصدارات : To Paul and 3amr

29-03-2006, 19:00
Sheddisaba Fasli and Ilahiler

Compositions of Cinucen Tanrikorur

Soloist Aleddin Yavasca

From the wonderful productions of:

Istanbul Buyukshehir Belediyesi

(The municipality of Istanbul).


1st Part

29-03-2006, 22:23
Thanks, Najib. I'm downloading the pieces and will listen to them soon - now a beautiful guitar version of Bach's Cello Suites is in my CD player and I won't stop that - not even for Cinucen's compositions.

30-03-2006, 11:57
Cello Suites would take priority if it was Du Pre or Rostopovitch playing, otherwise it's Cinucen I'm afraid :-)

30-03-2006, 12:53
More sublime stuff from the same CD.

30-03-2006, 13:23
Sorry I had a problem with track 9, re-uploading with this last part now.

30-03-2006, 13:39
I have no idea how to react to this music. The beauty is so amazing, I'm afraid I'd have to say Cinucen takes precedence over Bach for the time being, considering the cello suites are well recorded and available, whereas these little gems here are so rare and delicious.

I think these recordings demonstrate two things:
1- Alaeddin Yavasca is one heck of a great singer.
2-Udi Cinucen is one heck of a composer, and nothing less than a musical phenomenon, I would say he's probably the synthesis of all that is great and beautiful about Ottoman music. His legacy could well be one of the few viable ways for the continuation and development of the Ottoman tradition.

30-03-2006, 14:08
The fact that this architect (Cinucen) is a self-taught musician enforces your point of view, and proves that no matter how you try to theorise this art, it is always, and will remain ear-driven.

30-03-2006, 14:10
I remember Hakem asking me why is he so special on the Ud.

My immediate answer is that he is the first one that made the Ud breathes.

The Ud with Cinucen is in a sublime state, post-string instrument.

I have been practising for the last three months on Koyde Sabah, just sectioning it and slowing down each part enough to see how is handling it.

Just by doing that my Ud playing has really improved.

30-03-2006, 17:03
I really understand what you mean by making the oud breathe. But a good deal of the time, it isn't just breathing that the oud is doing, it might well be gasping and sighing.

The thing about his playing, however, that stops me from fully enjoying it, is that his later taksim's (from what I've heard), are so subtle, and the style is almost identical to tanbur playing, I just can't keep up with what he's doing.

The intonation in turkish music, particularly with cinucen, is so difficult for an untrained ear to appreciate. But I'm trying.

His singing however, is immediately enjoyable, and his mastery over traditional turkish means of vocal expression is nothing short of breathtaking, though he never resorts to any fireworks.

His earlier taksims however, are nothing short of murder for me, particularly the incredibly tight bass, and the ultra high energy that goes into each move of the plectrum.

One small note however, has anybody noticed anything weird about the way he holds the mizrap? in the a video I've seen, his wrist appears to be very bent, as I understand it, oud teachers don't encourage this.

thanks again for the magnificent music.

30-03-2006, 19:35
Thanks for this wonderful music. Cinucen to me is definitely the best Turkish oud player I've ever heard and I agree in your view that he's a great composer also. Yavasca was here in Berlin recently and he gave a concert in the local radio station. Unfortunately I missed that event (unless I am extremely lucky and he will come these days only. I'll enquire tomorrow. As for the Cello suites, I was in the midst of them, and I can't imagine to stop right in between and switch to something totally different. And it was a guitar transcription, played by Andreas von Wangenheim - wonderful, with the guitar being my first (and lasting) love. In that music I'm as much at home as many of you in Arab music.

Anyway, again a great thanks to Najib for providing such a rare treat.

31-03-2006, 09:03
I completely understand your feeling about the cello suites, and in case your wondering, I'm even more comfortable listening to them than listening to even arab music, though in their original cello form, so basically, you're not alone. (my first and lasting love was classical music in general).

as for the topic at hand, I simply can't get over Yavasca's singing. It's just too wonderful.
and cinucen's compositions, well, what can I say. I mean, the tanananni's and the yalalalli's are perhaps the best of their kind ever written in turkish music in any maqam, and go far beyond their traditional role (as can be seen in Dede efendi's yine nesh'i muhabbet or meragi's neva Kar), into an unparalleled expressive role.

31-03-2006, 13:24
is for Hatim really for gifting me this wonderful CD, and may this friendship last forever.

Thanks Hatim.

(believe it or not, I still haven't heard it completely yet, because of Abu 3ala and Lagrange's merciless bombardment of adwar, and of theoudman hammering us with Qatrib stuff)

So I will come back after I listen properly.