Kemânî Tatyos Efendi

Transkript

Ἔργα
Μεγάλων
Συνθετῶν τῆς
Μεσογείου
Works
of Great
Mediterranean
Composers
Αὐτό τό ἔντυπο ἔχει παραχθεῖ μέ τή χρηματοδότηση τῆς Εὐρωπαϊκῆς Κοινότητας. Οἱ ἀπόψεις πού
ἐκφράζονται ἐδῶ εἶναι τῶν ἐκδοτῶν καί σέ καμία περίπτωση δέν ἀντανακλοῦν τήν ἐπίσημη ἄποψη τῆς
Εὐρωπαϊκῆς Ἐπιτροπῆς.
Τhis 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.
Ἔργα
Μεγάλων
Συνθετῶν τῆς
Μεσογείου
Works
of Great
Mediterranean
Composers
ἐπιμέλεια - edited by
Βασίλης Τζωρτζίνης - Vassilis Tzortzinis
Εὐρωπαϊκή Ἕνωση
Πρόγραμμα Εὐρωμεσογειακή Κληρονομιά II
Ἔργο MediMuses
∆ράση γιά τήν Ἱστορία τῆς Μουσικῆς στή Μεσόγειο
Σειρά βιβλίων μέ ἔργα Μεγάλων Συνθετῶν τῆς Μεσογείου
Καλλιτεχνικός ∆ιευθυντής: Κυριάκος Καλαϊτζίδης
Ὑπό τήν ἐποπτεία τῆς Ὁμάδας Ἐργασίας γιά τήν Ἱστορία τῆς Μουσικῆς:
Θωμᾶς Ἀποστολόπουλος, Walter Feldman, Mahmoud Guettat, Κυριάκος Καλαϊτζίδης,
Toufic Kerbage, Kiya Tabassian
Κεμανί Τατυός Ἐκσερτζιάν (1858 – 1913)
Ἐπιμέλεια: Βασίλης Τζωρτζίνης
Κείμενα: Βασίλης Τζωρτζίνης
Μεταφράσεις στά ἀγγλικά: James Lillie
Ἐπιμέλεια κειμένου στά ἑλληνικά: Ζωή Σιάπαντα
Ἐπιμέλεια κειμένου στά ἀγγλικά: Μιχάλης Ἐλευθερίου
Ἠλεκτρονική ἐπεξεργασία μουσικῶν κειμένων: Γιῶργος Κοκκινάκης
Γραφιστική ἐπιμέλεια: Hy Brazil
Σχεδιασμός ἔκδοσης: Κυριάκος Καλαϊτζίδης
Ἐπιμέλεια παραγωγῆς: Νίκος Τερψιάδης
Βοηθός παραγωγῆς: Μελίνα Πανταζίδου
Παραγωγή: «ΕΝ ΧΟΡ∆ΑΙΣ», Ἰούλιος 2005
© ΕΝ ΧΟΡ∆ΑΙΣ
Μουσικές Παραδόσεις τῆς Μεσογείου
Παύλου Μελᾶ 21
54622 Θεσσαλονίκη
τηλ.: 2310253285/6
fax: 2310257485
e-mail: [email protected]
www.medimuses.gr
Ἀπαγορεύεται ἡ ἀναδημοσίευση ἤ ἀναπαραγωγή μέ ὁποιονδήποτε τρόπο μέρους ἤ ὅλου τῆς
ἔκδοσης, χωρίς τήν ἔγγραφη ἄδεια τοῦ ἐκδότη.
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
Kemânî Tatyos Eksertzian (1858 – 1913)
Edited by: Vassilis Tzortzinis
Texts: Vassilis Tzortzinis
Translation into English: James Lillie
Editing of the Greek text: Zoi Siapanta
Editing of the English text: Michael Eleftheriou
Digital editing of scores: Yiorgos Kokkinakis
Graphic Design: Hy Brazil
Concept: Kyriakos Kalaitzides
Production coordination: Nikos Terpsiades
Production assistant: Melina Pantazidou
Production: «En Chordais», July 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
Πρόλογος
Στήν καθ’ ἡμᾶς Ἀνατολή ἔδρασαν καί δημιούργησαν πολλοί καί σημαντικοί συνθέτες. Τό
ἔργο τους συχνά ξεπέρασε τά ὅρια τῆς πόλης ἤ τῆς χώρας ὅπου ἔζησαν καί ἁπλώθηκε σέ
ὅλη τή Μεσόγειο. Στίς μέρες μας ὡστόσο, γίνεται ὁλοένα καί πιό αἰσθητή ἡ ἀπουσία μιᾶς
πλήρους καί τεκμηριωμένης συλλογῆς αὐτῆς τῆς κοινῆς πολιτιστικῆς κληρονομιᾶς. Μιᾶς
συλλογῆς ἰδιαίτερου ἐπιστημονικοῦ καί ἐκπαιδευτικοῦ ἐνδιαφέροντος γιά καθηγητές
καί σπουδαστές μουσικῶν σχολῶν καί ἀκαδημιῶν, ἐρευνητές καί μουσικολόγους, ἡ
ὁποία δημιουργεῖ παράλληλα τίς προϋποθέσεις ἔμπνευσης γιά νέα μουσική δημιουργία
ἀπό τούς σύγχρονους συνθέτες.
Μέ τήν παρούσα ἐκδοτική σειρά ἐκτελεστές, μουσικά σχήματα, ἀλλά καί ὀρχῆστρες καί
χορωδίες ἀνά τόν κόσμο ἔχουν πιά τήν εὐκαιρία νά μελετήσουν σφαιρικά τίς ἰδιαίτερες
ἀποχρώσεις τῶν μουσικῶν ἰδιωμάτων μεγάλων πολιτισμῶν, ὅπως αὐτά ἐκφράστηκαν
ἀπό ἐξέχοντες δημιουργούς στό διάβα τῆς ἱστορίας. Ταυτόχρονα, δίνεται ἡ δυνατότητα
παρουσίασής τους στό εὐρύ κοινό τό ὁποῖο μπορεῖ νά γνωρίσει καί νά ἀπολαύσει ἔργα
ὑψηλῆς αἰσθητικῆς καί μοναδικῆς σπουδαιότητας.
Στόν ἀντίποδα τῆς σημερινῆς ἐποχῆς πού ὁ ἀνταγωνισμός μεταξύ ἐθνῶν τρέφεται ἀπό
ἰδεολογίες περί πολιτισμικῆς ἀνωτερότητας ἤ κατωτερότητας, ἡ σειρά φιλοδοξεῖ νά
συμβάλει στήν ἐπαναπροσέγγιση καί στήν εἰρηνική συνύπαρξη τῶν λαῶν τῆς Μεσογείου
μέ συνεκτικό ἄξονα τήν κοινή μουσική κληρονομιά τους.
Τό ξεκίνημα αὐτῆς τῆς ἐκδοτικῆς προσπάθειας ὑλοποιεῖται στό πλαίσιο τοῦ ἔργου
ΜediMuses πού ἐντάσσεται στό χρηματοδοτικό πρωτόκολλο «Εὐρωμεσογειακή
Κληρονομιά ΙΙ» τῆς Εὐρωπαϊκῆς Ἕνωσης καί ἔχει καί τήν οἰκονομική στήριξη τοῦ
Ὑπουργείου Πολιτισμοῦ. Γιά τό σχεδιασμό τῆς σειρᾶς ἐργάστηκε ἡ «Ὁμάδα Ἐργασίας
γιά τήν Ἱστορία τῆς Μουσικῆς στή Μεσόγειο» τοῦ ἔργου MediMuses καί σέ πρώτη
φάση ἐκδίδονται ἕξι βιβλία - μουσικές συλλογές. Σέ κάθε βιβλίο περιλαμβάνονται τό
σύνολο τῶν ἔργων τοῦ συνθέτη, μικρό βιογραφικό σημείωμα, ἑρμηνευτικές σημειώσεις
καί ἄλλο συναφές ὑλικό πού καταρτίστηκαν μέ τήν ἐπιμέλεια καταξιωμένων μουσικῶν
καί μουσικολόγων τῆς Μεσογείου.
Κυριάκος Καλαϊτζίδης
Καλλιτεχνικός ∆ιευθυντής MediMuses
Prologue
9
Many 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
10
Ἔργο MediMuses
42 μῆνες (Φεβρουάριος 2002 – Ἰούλιος 2005)
Ἔρευνα, μελέτη, ἀνασύνθεση καί ἀνάδειξη τῶν στοιχείων τῆς κοινῆς μουσικῆς
κληρονομιᾶς τῆς Μεσογείου
11 Συναυλίες
7 ∆ιεθνεῖς Μουσικές Συναντήσεις
75 Ἐπισκέπτες Καθηγητές
6 Ψηφιακοί δίσκοι (CD) στή σειρά Μεγάλοι ∆εξιοτέχνες τῆς Μεσογείου
6 Ψηφιακοί δίσκοι (CD) στή σειρά Μεγάλοι Συνθέτες τῆς Μεσογείου
6 Βιβλία-Συλλογές μέ ἔργα Μεγάλων Συνθετῶν τῆς Μεσογείου
2 Ὁμάδες Ἐργασίας / 10 Συναντήσεις-Συνεδριάσεις / 3 Συμπόσια / 2 Τόμοι γιά τήν
Ἱστορία καί τή Θεωρία τῆς Μουσικῆς τῆς Μεσογείου
MediMuses project
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
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 Méditerranée
Marseilles, FRANCE
- CENTRO FLAMENCO PACO PEÑA
Cordoba, SPAIN
- ST. LAZARUS SCHOOL OF BYZANTINE MUSIC
Larnaca, CYPRUS
www.medimuses.gr
11
ΒΙΟΓΡΑΦΙΑ
BIOGRAPHY
14
ΚΕΜΑΝΙ ΤΑΤΥΟΣ ΕΚΣΕΡΤΖΙΑΝ
Ὁ Κεμανί Τατυός Ἐκσερτζιάν γεννήθηκε τό 1858 στήν
Κωνσταντινούπολη. Ἀρμένιος στήν καταγωγή, καταξιώθηκε
ὡς μία ἐξέχουσα προσωπικότητα μέσα στήν πολυπολιτισμική
μουσική κοινότητα, πού τήν ἀποτελοῦσαν κυρίως Τοῦρκοι,
Ἕλληνες, Ἀρμένιοι κι Ἑβραῖοι, μέ ἕδρα τό κέντρο τῆς
Ὀθωμανικῆς Αὐτοκρατορίας.
Τό προσωνύμιο «Κεμανί» σημαίνει βιολιστής ἀπό τήν περσική
λέξη κεμάν, δηλαδή τόξο, δοξάρι, πού χρησιμοποιεῖται ἀπό
τούς Τούρκους γιά τό βιολί. Ὑπῆρξε μαθητής τοῦ φημισμένου
τυφλοῦ βιολονίστα Κεμανί Σεμπούχ. Ὁ Τατυός γνώριζε
πολύ καλά τή μουσική σημειογραφία τοῦ Χαμπαρσούμ,
ἕνα εἶδος ἀπόδοσης πού χρησιμοποιήθηκε σέ μεταγραφές
πρίν ἀπό τήν καθιέρωση τοῦ πενταγράμμου μέ τά ἐπιπλέον
σημεῖα ἀλλοιώσεως γιά τήν ἀπόδοση τῶν διαστημάτων τῆς
ἀνατολικῆς μουσικῆς.
Ὁ Τατυός συμμετεῖχε ἐνεργά στά ἀστικά μουσικά δρώμενα
καί διατηροῦσε σχέσεις καί μέ τό ὀθωμανικό παλάτι, πού
τότε φιλοξενοῦσε τόν Σουλτάνο Ἀμπντούλ Χαμίντ Β΄,
γνωστό ὡς τελευταῖο Ὀθωμανό μονάρχη. Ἔπαιζε βιολί
στά ὀνομαζόμενα «σεμάι καφέ» καί τίς ταβέρνες τῆς Κωνσταντινούπολης, πού λειτουργοῦσαν περί τά τέλη τοῦ
δεκάτου ἐνάτου καί τίς ἀρχές τοῦ εἰκοστοῦ αἰώνα ὡς μικροί
συναυλιακοί χῶροι, μέρα καί νύχτα.
Ἔπασχε ἀπό ἀλκοολισμό καί πέθανε φτωχός, τό 1913, ἀπό
κίρρωση τοῦ ἥπατος. Ἡ ἔρευνα σέ παλαιούς δισκογραφικούς
καταλόγους δείχνει πώς προσωπικά ὁ Τατυός εἶχε
συμμετάσχει μόνον σέ μία δισκογραφική ἔκδοση, παίζοντας
τό Χουσεϊνί Σάζ Σεμάι. Ὅμως πολλά τραγούδια καί
συνθέσεις τοῦ Τατυός ἠχογραφήθηκαν ἀπό καταξιωμένους
συγχρόνους του μουσικούς, ὅπως ὁ Ταμπουρί Τζεμίλ Μπέη,
ὁ Οὐντί Νεβρές Μπέη κ.ἅ.
Τό ἔργο του ἀποτελεῖται ἀπό ὀργανικές συνθέσεις στίς
μουσικές φορμές τοῦ πεσρεφιοῦ καί τοῦ σάζ σεμάι, καθώς
κι ἀπό τραγούδια, τά λεγόμενα σαρκί. Χαρακτηρίζονται
ἀπό μελωδική πρωτοτυπία, τροπική εὐρηματικότητα μέ
συχνές ἀλλαγές μακαμιῶν μέσα στό ἴδιο κομμάτι καί ἔντονη
διαλεκτική σχέση ἀνάμεσα στή μελωδία καί τό ρυθμό. Τό
ἀποτέλεσμα κρατᾶ διαρκῶς τό ἐνδιαφέρον τοῦ ἀκροατῆ
καί δίνει τήν αἴσθηση πώς ὁ Τατυός, ἐκτός ἀπό τό νά παίζει
μουσική, ταυτόχρονα ἔπαιζε μέ τή μουσική... Αὐτός εἶναι
καί ὁ λόγος πού ἡ ἐκτέλεση κι ἡ ἑρμηνεία μιᾶς σύνθεσης τοῦ
ΚΕΜÂΝÎ TATYOS EKSERTZIAN
Kemani Tatyos Eksertzian was born in Constantinople in
1858. Of Armenian origin, he is recognized as an outstanding
personality in the multi-cultural music community—made up
mainly of Turks, Greeks, Armenians and Jews—which was
based in the capital of the Ottoman Empire.
The appellation «Kemani» means violinist, from the Persian
word, kemán, i.e. bow, which is used by Turks for the violin.
He was taught by the famous blind violinist Kemani Sebuh.
Tatyos was very well acquainted with the Hamparsum musical
notation, a kind of notional script used in transcriptions before
the establishment of the pentagram, with additional modulation
signs for the rendition of the intervals of Eastern music.
He was actively involved in urban musical events and also in
those of the ottoman court, which, at that specific period, was
home to Sultan Abdul Hamid II, the last Ottoman monarch.
Tatyos played the violin in the so-called «semâ‘î cafés» and
the tavernas of Constantinople which, around the end of the
nineteenth and beginning of the twentieth centuries, served as
intimate settings for musical performances, both by day and
night.
He was an alcoholic and died poor in 1913 from cirrhosis
of the liver. Investigation of the old discography catalogues
reveals that Tatyos himself took part in only one recording
session, playing Hüseynî Saz Semâ‘î. But many of his songs and
compositions were recorded by established musicians who were
his contemporaries, such as Tanbûrî Cemil Bey, Ûdi Nevres
Bey and others.
His oeuvre consists of instrumental compositions in the
forms of the peşrev (overture, prelude) and the saz semâ‘î,
as well as songs (şarkı). They are typified by their melodic
originality, stylistic invention—with frequent changes of the
makam within the same piece—as well as an intense dialectical
relationship between the melody and rhythm. The end result
holds the attention of the listener throughout and gives the
feeling that, apart from playing the music, Tatyos was playing
with the music…This is why the performance of a composition
by Tatyos is a real joy for a musician or singer.
It is abundantly clear that, as a composer, Tatyos was mindful of
the function of music as a means of enjoyment, as, in any case,
he experienced it himself, but at the same time he shows total
15
16
Τατυός εἶναι πραγματική χαρά γιά ἕναν μουσικό ἤ ἕναν
τραγουδιστή.
Εἶναι ἐμφανές πώς ὁ Τατυός ὡς συνθέτης δέν παραβλέπει
τή ψυχαγωγική λειτουργία τῆς μουσικῆς, πού ἄλλωστε
βίωσε κι ὁ ἴδιος. Ὅμως, ταυτόχρονα, δείχνει ἀπόλυτο
σεβασμό στό ὕφος καί τό ἦθος τῆς ὀνομαζόμενης κλασσικῆς
ὀθωμανικῆς μουσικῆς. ∆έν εἶναι τυχαῖο τό γεγονός ὅτι
οἱ ὀργανικές συνθέσεις τοῦ Τατυός ξεπέρασαν τά ὅρια
τῆς Κωνσταντινούπολης, κι ἔγιναν ἐπίσης γνωστές καί
ἰδιαίτερα δημοφιλεῖς στό ἀραβικό τόξο τῆς Μεσογείου. Ἡ
διαχρονική ἀξία τοῦ ἔργου τοῦ Τατυός ἐπιβεβαιώνεται ἀπό
τήν ἀδιάλειπτη ἐκτέλεση τῶν ἔργων του ἀπό τήν ἐποχή πού
γράφτηκαν μέχρι καί σήμερα, τήν ἔνταξή τους στό βασικό
ρεπερτόριο μουσικῶν καί ἑρμηνευτῶν, ἀλλά καί τήν ἔντονη
παρουσία τους στή δισκογραφία.
Ἡ παροῦσα συλλογή περιλαμβάνει ἕντεκα ὀργανικές
συνθέσεις καί εἴκοσι ἐννέα τραγούδια ἀπό τά ἐβδομήντα
δύο συνολικά ἔργα πού ἀποδίδονται στόν Τατυός, καί
βασίστηκε σέ μιά συγκριτική μελέτη ἀνάμεσα σέ διαφορετικές
καταγραφές στό πεντάγραμμο, δημοσιευμένες ἤ μή, τυπωμένες
ἤ χειρόγραφες. Οἱ διαφορετικές ἐκδοχές τῆς μελωδίας σέ
ὁρισμένα κομμάτια ἀντανακλοῦν τίς καταγραφές ἀπό
διαφορετικούς ἀνθρώπους μία ζωντανῆς παράδοσης, ὅπου
ἀναμφισβήτητα ἀνήκει τό ἔργο τοῦ Τατυός. Σημειώνουμε
τήν καταγραφή σέ βυζαντινή σημειογραφία τοῦ Κιουρντιλί
Χιτζαζκιάρ Σαρκί μέ τίτλο Sohbetinle hos gecen eyyam cana
ozlerim στή συλλογή «Ὁ Ρυθμογράφος» τοῦ Ἀγαθάγγελου
Κυριαζίδου (Κων/πολη 1909). Τό σύνολο τοῦ ὑλικοῦ πού
συλλέχθηκε, μαζί μέ παρατηρήσεις ἀπό τή συγκριτική
μελέτη εἶναι στή διάθεση τοῦ μουσικοῦ ἤ τοῦ μουσικολόγου
ἐρευνητῆ στή βιβλιοθήκη τοῦ ΕΝ ΧΟΡ∆ΑΙΣ.
Βασίλης Τζωρτζίνης
respect for the texture and mores of Classical Ottoman music.
It is no accident that his instrumental compositions spread far
beyond the bounds of Constantinople and became well-known
and extremely popular throughout the Arab Mediterranean.
The enduring value of Tatyos’s work is confirmed by the fact
that his compositions have continued to be played from the
time he created them until today, that they are well-established
in the basic repertoire of musicians and singers and also that
they are very well represented in the discography.
The present collection brings together eleven instrumental
compositions and twenty nine songs of the seventy two works
attributed to Tatyos and is based on a comparative study of
various transcriptions in the pentagram, some published,
others not, some printed others in manuscript form. Different
versions of the melody appear to be the result of different people
writing down a living tradition which, without question, is the
work of Tatyos. We note the recording in Byzantine notation
of the Kürdili Hicazkâr Şarkı entitled Sohbetinle hoş geçen
eyyamı cânâ özlerim in the collection «Ο Ρυθμογράφος» [O
Rythmografos] by Agathangelos Kyriazides (Constantinople
1909). All the material which has been collected, together
with observations from comparative research, are available to
musicians and musicologists in the Library of En Chordais.
Vassilis Tzortzinis
17
ΕΡΓΟΓΡΑΦΙΑ
ERGOGRAPHY
20
1. Rast Peşrev, Muhammes
2. Rast Saz Semâ‘îsi, Aksak Semâ‘î
3. Suzinâk Peşrev, Çenber
4. Suzinâk Saz Semâ‘îsi, Aksak Semâ‘î
5. Kürdili Hicazkâr Peşrev, Devr-i Kebîr
6. Kürdili Saz Semâ‘îsi, Aksak Semâ‘î
7. ‘Uşşak Peşrev, Devr-i Kebîr
8. Hüseynî Saz Semâ‘îsi, Aksak Semâ‘î
9. Karciğar Peşrev, Çifte Düyek
10. Karciğar Saz Semâ‘îsi, Aksak Semâ‘î
11. Bestenigâr Peşrev, Fahte
12. Rast Şarkı, Sengin Semâ‘î
13. Rast Şarkı, Çeşmi cellâdın ne kanlar döktü Kağıthane’ de, Ağır Aksak
14. Rast Şarkı, Mavi atlasar giyersin,Türk Aksağı
15. Rast Şarkı, Mey-i lânline dil mestâne olsun,Curcuna
16. Suzinâk Şarkı, Atfetme sakın hançer-i mujgânını nâgâh, Sengin Semâ‘î
17. Suzinâk Şarkı, Çeşmi cellâdın boyandı, Ağır Aksak
18. Suzinâk Şarkı, Gel elâ gözlüm efendim yânıma, Müsemmen
19. Suzinâk Şarkı, Güzelim gözlüğünü çeşmine tak, Aksak
20. Suzinâk Şarkı, Suzinâk-i fasl-ı aşkın söyleyim dinle yeter, Ağır Evfer
21. Hicazkâr Şarkı, Mâni oluyor hâlimi takrire hicâbım, Curcuna
22. Kürdili Hicazkâr Şarkı, Ehl-i aşkın neşvegâhı kûşe-i meyhândedır, Ağır Aksak
23. Kürdili Hicazkâr Şarkı, Sohbetinle hoş geçen eyyamı cânâ özlerim, Ağır Aksak
24. Nivahend Şarkı, Ah cânâ firkatinle simeni ben dağlarım, Aksak
25. Nivahend Şarkı, Meftûnu gönül oldu o mestâne nigâhın, Sengin Semâ‘î
26. ‘Uşşak Şarkı, Ah Rahmı yok bir yâre düştüm el-aman gonca dehen, Ağır Aksak
27. ‘Uşşak Şarkı, Âteşi aşk olmada her dem sebep berdadima, Ağır Aksak
28. ‘Uşşak Şarkı, Bu akşam gün batarken, Aksak
29. ‘Uşşak Şarkı, Gamzedeyim devâ bulman, Sofyan
30. ‘Uşşak Şarkı, Ol kadar ağlattın ki gülmek bana oldu harâm, Ağır Aksak
31. ‘Uşşak Şarkı, Rûhum musun ey rûh-i safabâhş-i cihânin, Türk Aksaği
32. Hüseynî Şarkı, Çektim elimi gayri bu dünya hevesinden, Curcuna
33. Hüseynî Şarkı, Gönül düştü yine gülzâr-ı zevke, Curcuna
34. Hüseynî Şarkı, Meskenim kûşe-i zillet olalı şâm-ü seher, Ağır Aksak
35. Karciğar Şarkı, Göz süzüp yan bakişinla yine aldatma beni, Aksak
36. Karciğar Şarkı, Güldün eğlendin perişân hâl-ü kal’imle bugün, Ağır Aksak
37. Hicâz Şarkı, Bilsen deneler geçti af şu biçâre serimden, Sengin Semâ‘î
38. Hüzzam Şarkı, Gözüm hasretle giryândır, Aksak
39. Müste‘âr Şarkı, Tağyir olunmuş sanki havası, Türk Aksaği
40. Muhayyer Şarkı, Uyandı bahtım etmem artık şevkâ felekten, Sengin Semâ‘î
Ἔργα τοῦ Τατυός γιά τά ὁποία δέν βρέθηκαν καταγραφές / Unrecorded works of
Tatyos
Ὀργανικές συνθέσεις / Instrumental compositions
41. Hüseynî Peşrev
Τραγούδια / Songs
42. Rast Şarkı, İftirâkı-cân kederinle senin ey gül beden
43. Rast Şarkı, Beni dilsir ederken âh-ı visâli
44. Rast Şarkı, Bilmem ki nedendir, bana sen hor bakiyorsun
45. Hüseynî Şarkı, Ölürüm terkedemem ey gül-i nevreste seni
46. Hüseynî Şarkı, Saki-i bezm-i elest-i rûh iken şîrîngüvâr
47. ‘Uşşak Şarkı, Nâil-i vuslat olan zinet-i dünya bilmez
48. Hicâz Şarkı, Nevbahâr-ı dehr içinde hârsız gül mü olur
49. Hicâz Şarkı, Şu mahzun gönlümü yâr şad eylesin
50. Hicâz Şarkı, Gulsen-i zevk-i hayatin simdi
51. Hicâz Şarkı, Neydi maksudun senin bu hale koymakdan beni
52. Kürdili Hicazkâr Şarkı, Iltiyam-i zahm-i aska ah doktor
53. Kürdili Hicazkâr Şarkı, Niye mahzun duruorsun bana soyle melegim
54. Kürdili Hicazkâr Şarkı, Hoş geçen eyyamı cânâ her nefes âh özlerim
55. Nihavend Şarkı, Ihtiyarlik bahsi hictir olse uslanmaz gonul
56. Nihavend Şarkı, Gecdikce demler sehharelendi
57. Hicazkâr Şarkı, Ben çâre ararken dil-i biçâreye senden
58. Hicazkâr Şarkı, Tir-i cesmin ta cigergahimba
59. Suzinâk Şarkı, Gülşen-i zevk-i hayâtın şimdi mehcurlardanız
60. Suzinâk Şarkı, Cevher-i rûhum musun ey melek
61. Suzinâk Şarkı, Suzinâk-i âteş-i gam yetiş feryâde gel
62. Suzinâk Şarkı, Gulmek yarasir gul yuzune ey gul-i canim
63. Suzinâk Şarkı, Efendim, nev-civanimsin
64. Suzinâk Şarkı, Afet misin-ey husni ozlerim
65. Suzinâk Şarkı, Hasretinle gun be gun
66. Karciğar Şarkı, O mâhitâbı acep gösterir mi bana felek
67. Karciğar Şarkı, Kemend-i zülf-i esir-i zülf-i yâr oldum
68. Karciğar Şarkı, Vuslat dilerim yârime hicrandan usandım
69. Karciğar Şarkı, Hâtıram rahatsız etmezse sent
70. Isfahân Şarkı, Sohret-i husnunle alem dem-guzar
71. Isfahân Şarkı, Akl-ü sabrım gitti mahzûn oldum âh
72. Neveser Şarkı, Asktan hic bir zaman vazgecmez
73. Hüzzam Şarkı, Acdim yuzunu tal’at-i didarina bakdim
74. Segâh Şarkı, Nice feryad edeyim, ah ask senden
75. Şehnâz Şarkı, Sevdi bir suh-i cihani kim gonul
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WORKS
ΜΕΓΑΛΟΙ ΣΥΝΘΕΤΕΣ ΤΗΣ ΜΕΣΟΓΕΙΟΥ - GREAT MEDITERRANEAN COMPOSERS
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KEMANI TATYOS EFENDI
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ΣΤΙΧΟΙ
LYRICS
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Opus 12
Bir gönlüme bir hâl-i perîşânıma baktım
Zâlim seni yâd ben yalnız çıldıracaktım
Zâlim seni yâd eyleye âh eyleye âh eyleye çactım
Sen yoksun o yok eyleye çactım
Opus 13
Çeşmi cellâdın ne kanlar döktü Kağıthâne’de
Çağlayan fevvâre-i hün-i ciğer dilhânede
Bakma kaç ahû hırâmın tutmasın bu kan seni
Döktüğüm kan eleverir dünyâyı tûfân eyleme
Zevrek-ı nuh-ı deli al kaane pûyâneyleme
Bir daha vur hançer-i fettânını öldür beni
Opus 14
Mavi atlaslar giyersin
Nazar değmes firusesin
Ne nasik reftar edersin
Nazar değmes firusesin
Opus 15
Mey-i lâlinle dil mestâne olsun
Aman sâkî getir bir tâne olsun
Gönül kâşânesi meyhâne olsun
Aman sâkî getir bir tâne olsun
Opus 16
Atfetme sakın hançer-i müjgânını nâgâh
İncitme yazık hasta-i hicrânını ey mâh
Koymaz yanına ettiğini Hazreti Allâh
Bir nâr-ı ciğersûzunâ yaktın beni eyvâh
Yaksın seni de ben gibi âteşlere Allâh
Evvelce sen ettin ana tahsis ile rağbet
Müştâk-ı nigâh oldu o bi-çare de elbet
Ağlar sana âh eyler o mazlum-u muhhabet
Bir nâr-ı ciğersûzunâ yaktın beni eyvâh
Yaksın seni de ben gibi âteşlere Allâh
Opus 17
Çeşm-i cellâdın boyandı girdi artık kanıma
Baş çevirmez oldu zâlim didei giryânıma
Tir-i müjgânın bu yaşda kıydı hayfâ cânıma
Baş çevirmez oldu zâlim didei giryânıma
Opus 18
Gel elâ gözlüm efendim yânıma
Hasretin kâr etti artık cânıma
Tesliyetsâz ol dil-i nâlânıma
Gel beni kurtar bu mihnethâneden
Bıktım artık ülfet-i bigâneden
Pek üzüldüm sabr-ı meyûsâneden
Opus 19
Güzelim gözlüğünü çeşmine tak
Eser-i hicrin olan yâreme bak
Fikrini söyle defolsun şu merak
Ya beni vasla sezâ kıl ya bırak
Opus 20
Suzinâk-i fasl-ı aşkı söyleyim dinle yeter
Çille-i aşkı çekenler böylece feryâd eder
Dilberânın ahd-ı çâlıdır uyup çekme keder
Hisseyâb-ı zevk-i vuslat olmak istersen eğer
Ehl-i dil bezminde sevmekten sevilmektir hüner
Opus 21
Mâni oluyor hâlimi takrire hicâbım
Üzme yetişir üzme firâkinla harâbım
Mahvoldu sükûnum beni terk eyledi hâbim
Üzme yetişir üzme firâkinla harâbım
Opus 22
Ehl-i aşkın neşvegâhı kûşe-i meyhânedir
Sâkiyâ uşşâkı dilşâd eyleyen peymânedir
Güftü gûy-i âleme aldanma hep efsânedir
Bitmiyor âlâm-ı dünya bitse de ömr-ü beşer
Ömrünü rahat geçirmek isteyen dünyada ger
Bilmiyorsa sevmek hem sevilmektir hüner
Opus 23
Sohbetinle hoş geçen eyyamı cânâ özlerim
Leblerin kaldı lebimde gözlerinde gözlerim
Meh cebinim hâle-i ağuşda kaldı sözlerim
Leblerin kaldı lebimde gözlerinde gözlerim
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Opus 24
Ah cânâ firkatinle sinemi ben dağlarım
Yâd edip eyyâm-i vasli dembedem kan ağlarım
Şimdi mâtemgir-i hicrânım siyehler bağlarım
Kimlere arzeyleyim ahvâlimi biçâreyim
Vâdi-i hasretle kaldım böyle bahtı kaareyim
Bikes-ü me’yûs-i aşkım derdi çok âvâreyim
Opus 25
Meftûnu gönül oldu o mestâne nigâhın
Gözler kamaşır rûyine baktıkça o mâhın
En sevgili mahlûku mu bilmem ki ilâhın
Pür lerze iken âteş-i hicrân ile cânım
Gördükçe o gül çehreyi artar helecânım
Bilmen nedir öyle kesilir tâb-ü tüvânım
Opus 26
Ah Rahmı yok bir yâre düştüm el-aman gonca dehen
Allâh Allâh bu ne hikmettir dili tahrib eden
Bulmadı ah çâre lokman bunun esbâbı neden
Allâh Allâh bu ne hikmettir dili tahrib eden
Opus 27
Âteşi aşk olmada her dem sebep berbadima
Can feda olmak diler gönlüm heman cânanıma
Âşıkım terki can etsem de lâyik şanima
Can feda olmak diler gönlüm heman cânanıma
Opus 28
Bu akşam gün batarken gel
Sakın geç kalma erken gel
Tahammül kalmadı artık
Aman geç kalma erken gel
Cefâ etme bana mâhım
Sontra tutar seni âhım
Üzme beni şîvekârım
Aman geç kalma erken gel
Ne müşkül ayrılık hali
Eğer ister isen hâli
Görüşmek bâri lûtfet de
Sakın geç kalma erken gel
Opus 29
Gamzedeyim devâ bulmam
Garibim bir yuva bulmam
Kaderimdir her çektiğim
İnlerim hiç rehâ bulmam
Elem beni terk etmiyor
Hiç te fâsıla vermiyor
Nihâyetsiz bu ta’ kîbe
Doğrusu tâkat yetmiyor
Opus 30
Ol kadar ağlattın ki gülmek bana oldu harâm
cevrine ver fâsila biraz dinlesen kıl ârâm
ger beni öldürmek değil sence arzuyi merâm
cevrine ver fâsila biraz dinlesen kıl ârâm
Opus 31
Ruhum musun ey rûh-i safâbahş-i cihânın
Sensiz bulamam neş’esini ömr-i revânın
Mahkûm görünür dîdeme gülzâr-ı cihânın
Sensiz bulamam neş’esini ömr-i revânın
Opus 32
Çektim elimi gayri bu dünya hevesinden,
Azâd edeyim mürg-i dili ten kafesinden
Ey hasta gönül umma medet son nefesinden
Azâd edeyim mürg-i dili ten kafesinden
Opus 33
Gönül düştü yine gülzâr-ı zevke,
Safâyâb et aman yârab dahilek.
Güzel ruhlar ile şâd-ü şevke
Safâyâb et aman Yârab dahilek.
Opus 34
Meskenim kûşe-i zillet olalı şâm-ü seher
Acıman yandığıma sevdiğim âh bilsen eğer
Sûziş-i dûzah-i firkat ile tâ haşre kadar
Acıman yandığıma sevdiğim âh bilsen eğer
Opus 35
Göz süzüp yan bakışinla yine aldatma beni
O güzel başın için sevdiğim ağlatma beni
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Hâkipâyin olayım böyle ezip atma beni
O güzel başın için sevdiğim ağlatma beni
Opus 36
Güldün eğlendin perişân hâl-ü kal’imle bugün
Merhametsiz sen perişânlık nedir bilmez misin
târü mâr ettin beni bir bûse-i zülfün için
Aşkımı bilmezsen de insanlık nedir bilmez misin
Opus 37
Bilsen deneler geçti şu biçâre serimden
Dünyayı gözüm görmüyor artık kederimden
Seylâb-ı elemdir dökülen didelerimden
Bir dilber için düştü gönül bunca itâba
Te’sir-i figan etmiyor ol çeşm-i elâya
Sabreyleyemez oldu gönül bunca cefâya
Opus 38
Gözüm hasretle giryândır,
Yaman hâlim perişândır.
Hemişe kârım efgandır,
Yaman hâlim perişândır.
Opus 39
Tağyir olunmuş sanki havâsı
Gelmez meşâma bûy-i vefâsı
Nerde o hâl-i cennet-nümâsı
Gelmez meşâma bûy-i vefâsı
Böyle değildi bilmem ne olmuş
Hep lâlezârı kasvetle dolmuş
Envârı kaçmış ezhârı solmuş
Bitmiş bu baygın zevk-u safâsı
Opus 40
Uyandı bahtım etmem artık şekvâ felekten
Bana vadi visâl tebşir oldu o melekten
Defettim merakı vaz geçtim âh eylemekten
Bana vadi visâl tebşir oldu o melekten
ΠΕΡΙΕΧΟΜΕΝΑ / CONTENTS
Στοιχεῖα ἔκδοσης / Credits
Πρόλογος / Prologue
Ἔργο MediMuses / MediMuses Project
Βιογραφία / Biography
Ἐργογραφία / Ergography
Ἔργα / Works
1. Rast Peşrev, Muhammes
2. Rast Saz Semâ‘îsi, Aksak Semâ‘î
3. Suzinâk Peşrev, Çenber
4. Suzinâk Saz Semâ‘îsi, Aksak Semâ‘î
5. Kürdili Hicazkâr Peşrev, Devr-i Kebîr
6. Kürdili Saz Semâ‘îsi, Aksak Semâ‘î
7. ‘Uşşak Peşrev, Devr-i Kebîr
8. Hüseynî Saz Semâ‘îsi, Aksak Semâ‘î
9. Karciğar Peşrev, Çifte Düyek
10. Karciğar Saz Semâ‘îsi, Aksak Semâ‘î
11. Bestenigâr Peşrev, Fahte
12. Rast Şarkı, Sengin Semâ‘î
13. Rast Şarkı, Çeşmi cellâdın ne kanlar döktü Kağıthane’ de, Ağır Aksak
14. Rast Şarkı, Mavi atlasar giyersin,Türk Aksağı
15. Rast Şarkı, Mey-i lânline dil mestâne olsun,Curcuna
16. Suzinâk Şarkı, Atfetme sakın hançer-i mujgânını nâgâh, Sengin Semâ‘î
17. Suzinâk Şarkı, Çeşmi cellâdın boyandı, Ağır Aksak
18. Suzinâk Şarkı, Gel elâ gözlüm efendim yânıma, Müsemmen
19. Suzinâk Şarkı, Güzelim gözlüğünü çeşmine tak, Aksak
20. Suzinâk Şarkı, Suzinâk-i fasl-ı aşkın söyleyim dinle yeter, Ağır Evfer
21. Hicazkâr Şarkı, Mâni oluyor hâlimi takrire hicâbım, Curcuna
22. Kürdili Hicazkâr Şarkı, Ehl-i aşkın neşvegâhı kûşe-i meyhândedır, Ağır
Aksak
23. Kürdili Hicazkâr Şarkı, Sohbetinle hoş geçen eyyamı cânâ özlerim, Ağır
Aksak
24. Nivahend Şarkı, Ah cânâ firkatinle simeni ben dağlarım, Aksak
25. Nivahend Şarkı, Meftûnu gönül oldu o mestâne nigâhın, Sengin Semâ‘î
26. ‘Uşşak Şarkı, Ah Rahmı yok bir yâre düştüm el-aman gonca dehen, Ağır
Aksak
27. ‘Uşşak Şarkı, Âteşi aşk olmada her dem sebep berdadima, Ağır Aksak
28. ‘Uşşak Şarkı, Bu akşam gün batarken, Aksak
29. ‘Uşşak Şarkı, Gamzedeyim devâ bulman, Sofyan
30. ‘Uşşak Şarkı, Ol kadar ağlattın ki gülmek bana oldu harâm, Ağır Aksak
31. ‘Uşşak Şarkı, Rûhum musun ey rûh-i safabâhş-i cihânin, Türk Aksaği
32. Hüseynî Şarkı, Çektim elimi gayri bu dünya hevesinden, Curcuna
33. Hüseynî Şarkı, Gönül düştü yine gülzâr-ı zevke, Curcuna
34. Hüseynî Şarkı, Meskenim kûşe-i zillet olalı şâm-ü seher, Ağır Aksak
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35. Karciğar Şarkı, Göz süzüp yan bakişinla yine aldatma beni, Aksak
36. Karciğar Şarkı, Güldün eğlendin perişân hâl-ü kal’imle bugün, Ağır Aksak
37. Hicâz Şarkı, Bilsen deneler geçti af şu biçâre serimden, Sengin Semâ‘î
38. Hüzzam Şarkı, Gözüm hasretle giryândır, Aksak
39. Müste‘âr Şarkı, Tağyir olunmuş sanki havası, Türk Aksaği
40. Muhayyer Şarkı, Uyandı bahtım etmem artık şevkâ felekten, Sengin Semâ‘î
Στίχοι / Lyrics
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Kemânî Tatyos Efendi

Transkript

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