Tag Archives: ney

Marvelous Persian Flute Fusion Works

Kaveh Sarvarian – Kereshmeh  – Nueva perspectiva de música persa (La Cupula Music, 2019)

Iranian multi-instrumentalist Kaveh Sarvarian has released a new album titled Kereshmeh, which is a type of ancient melody in classical Iranian music. Kereshmeh is also an exploration on the opportunities of composing and improvising in less known rhythms and a way of using percussion in a simpler form.

Kaveh Sarvarian – Kereshmeh  – Nueva perspectiva de música persa

Madrid-based Kaveh Sarvarian combines traditional Persian music, jazz fusion, Bakuchi and Armenian folk traditions and contemporary experimental music forms. He uses beautiful layers of various types of flutes, including the ney, accompanied by a wide range of percussion, subtle keyboards such as fascinating electric piano and organ and piano.

Adding different tracks and making a musical loop was something unfamiliar to me,” says Kaveh Sarvarian. “It is an idea that I have been experimenting and learning over the past few years. In Kereshmeh, I have tried to use this technique with the traditional and folkloric music of Iran.”

Buy the digital edition of Kereshmeh  – Nueva perspectiva de música persa from amazon or the CD from kavehsarvarian.bandcamp.com/album/kereshmeh

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Artist Profiles: Hossein Omoumi

Hossein Omoumi – Photo by Marco Prozzo

Hossein Omoumi was born in 1944 in Isfahan, Iran, and commenced his musical education singing with his father. At age 14, he studied the ney, the traditional reed flute of Iran.

At the same time as he was studying architecture, Hossein was accepted as a tutorial student at the National Superior Conservatory of Music in Tehran. He worked with maestros Mahmud Karimi and Farhad Fakhreddini, and subsequently went on to study with acclaimed ney master Hassan Kassaei.

His career as a performer has included appearances at many major festivals and concert halls in Europe and the United States.

A distinguished scholar and teacher of Persian music, he taught at the National Conservatory, Tehran University, and the Center for Preservation and Dissemination of Music in Tehran; the Center for Oriental Music Studies (CEMO) of Sorbonne University in Paris; and the ethnomusicology departments of the University of California Los Angeles (UCLA), and the University of Washington (UW) in Seattle.

Currently, he is the Maseeh Professor in Persian Performing Arts of Music at the University of California, Irvine (UCI). He has done wide-ranging research on the ney and Iranian percussion, and arranged and composed lessons to teach the standards of classical Persian music under the title of ‘Pish Radif.’

The movie Classical Persian Music – Hossein Omoumi from Isfahan to Irvine, that documents his goal to make classical Persian music widely available, was released in 2017, supported by the National Endowment for the Arts.

Discography:

Persian Classical Music, with Sima Bina ‎(Nimbus Records, 1995)
Persian Classical Music, with Madjid Khaladj ‎(Nimbus Records, 1995)
Improvisation in the Mahour Mo, with Madjid Khaladj (Al Sur, 1996)
Tale Of Love I – Esfahan (QuarterTone, 1999)
Tale Of Love II – Nava (QuarterTone, 2003)
Sarmast – Trance of Devotion, with Madjid Khaladj ‎(Bâ Music Records, 2004)
Voices of Spring Avay – E Bahar (2009)
Earthly Exile (Mahoor Institute Of Culture & Arts, 2015)
Ateş-i Aşk, with Kiya Tabassian, and Ziya Tabassian (Z Ses Görüntü, 2016)

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Artist profiles: Salih Bilgin

Salih Bilgin

Salih Bilgin is one of the leading ney virtuosos in Turkey today. Bilgin is the primary student of Niyazi Sayin, the greatest living ney player and an expert on Mevlevi Sufimusic with whom he still studies ney making ebru (marbling) and tesbih (prayer beads).

He has performed internationally with the Romeiko Ensemble, the Istanbul Tasavvuf Music and Semah Ensemble and the Istanbul Government Classical Music Chorus.

His extensive recording work brought him into collaboration with Melihat Gulses, Derya Turkan and Huseyin Tuncel. He performs with the Cantemir Ensemble.

Discography:

Neva (Golden Horn Records)
Neva 2 (Kaf Muzik)

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Artist Profiles: Omer Erdogdular

Omer Erdoğdular

Omer Erdoğdular started studying music while still a child. He was born in Konya and grew up in Istanbul, initially learning ney from his father. In 1965 he began studying with Umit Gurelman and soon after started lessons with Niyazi Sayin which continued for many years. In the following two decades he participated in many radio and TV programs orchestras and concerts in a period when ney just began to be rediscovered in Turkey.

In 1980 he first appeared in concert with the famous soloist Bekir Sitki Sezgin and from then on played in most of his concerts. From 1984 to 1987 Omer Erdoğdular was a neyzen in Ministry of Culture’s Classical Turkish Music Chorus. He made several recordings among them with tanburi Necdet Yaşar and kemence player Ihsan Ezgen.

In 1987 he became a member of the Ministry of Culture’s State Classical Turkish Music Ensemble founded by Necdet Yaşar of which he is still an active member. As a soloist a member of the State Classical Turkish Music Ensemble and also the Necdet Yaşar Ensemble, Omer Erdoğdular performed around Turkey and in Europe, United States, Japan and the Middle East, participating in various festivals concerts and recitals.

He devotes a significant amount of his time to teaching both in Istanbul Turkey and in seminars abroad such as the annual Labyrinth Musical Workshop in Greece, Makamhane in Austria and the Sufi Music Retreat in the United States of America.

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Artist Profiles: Siamak Jahangiry

Siamak Jahangiry

Siamak Jahangiry was born in 1971 in chaloos, in northern Iran. He started playing the ney at the age of 12. Jahangiry studied with Abdolnaghi Afsharnia before going on to study with Iran’s leading ney players, mostly with Mohammad Ali Kiani Nejad.

He received his degree in music from Tehran University of the Arts and has written a book on the ney, its playing techniques in the 20th century, and its masters.

Jahangiry is a member of the Abd-al-kadir Ensemble, a group dedicated to the compositions of Abd-al-kadir Maraghi—one of the most important Iranian music theorists and composers of the 14th century.

Siamak Jahangiry is also a member of Yo-Yo Ma’s Silk Road Ensemble and appears on the ensemble’s albums Silk Road Journeys: When Strangers Meet and New Impossibilities, as well as recordings with his own ensemble. “//When you travel and play for people outside your country, they usually want to learn more about your culture and where you come from//,” says Jahangiry. “//This is an important aspect of what we do with this project. We gain knowledge about each other and share knowledge about ourselves//.”

He is currently a professor of music in the Fine Arts school of Tehran University.

Discography

* Silk Road Journeys: When Strangers Meet
* New Impossibilities
* Misty Solitude (2007)
* Tanha (Alone)
* Taranomi Baraye Sobh (2014)

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Turkish Musician Kudsi Ergüner Designated UNESCO Artist for Peace

On July 10, 2016 the Director-General of UNESCO, Irina Bokova, namedd Turkish musician Kudsi Ergüner, UNESCO Artist for Peace, at a ceremony held at the Congress Center in Istanbul (Turkey) following the opening ceremony of the 40th session of the World Heritage Committee, which ends on July 20.

Kudsi Ergüner is appointed in recognition of his efforts to promote the universal values of music, an essential instrument of dialog between cultures, for his contribution to the protection of musical heritage, his support for the International Decade of the Rapprochement of Cultures (2013-2022) and his firm commitment to the ideals of the Organization.

During the ceremony, Director General Irina paid tribute to Mr. Ergüner’s efforts throughout his career to keep alive the musical heritage of his country. “Your life and work have been guided by a profound passion to bring the past to life, to share the wisdom and beauty of traditions, to pass their messages of peace and dialogue to current and future generations, to share the depth of Mevlevi Sufi music, building on Persian and Turkish traditions, mixing this with poetry, literature and living arts across the region,” she expressed.

Born in Turkey in 1952, Kudsi Ergüner is a ney (reed flute) player, composer, musicologist, teacher, author and translator. Trained by his father, Ulvi Ergüner, the last great master of the ney flute, he has given concerts throughout the world and helped revive traditional musical trends. His collaborations with prestigious artists such as Peter Gabriel, Maurice Béjart, Peter Brook and Didier Lockwood helped to spread this music to Western audiences.

As a UNESCO Artist for Peace, Mr. Ergüner aims to work for the updating of the forgotten musical heritage. “I’m an artist but also a man of action and I hope to share my actions in the framework of UNESCO alongside other Artists for Peace,” he declared.

UNESCO Artists for Peace are internationally renowned personalities who use their influence, charisma and prestige to promote the message and UNESCO programs. UNESCO is working with them to increase public awareness regarding key development issues and the role of the Organization in these areas.

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Labyrinth Musical Workshop in Crete Announces Summer Seminar Program 2016

Labyrinth Musical Workshop, one of the most respected series of seminars and master classes in Europe, has announced its Summer Seminar Program 2016. The workshops target musicians of all levels who wish to study the modal musical traditions of the world.

Labyrinth is located in Crete (Greece) in the picturesque mountain village Houdetsi 20 kms from the capital city of Heraklion.

In addition to helping students learn the necessary technical and theoretical skills of each musical idiom, the seminars and master-classes encourage students to come closer to the spirit of the tradition they are studying, and to eventually enter into this world where musical language is just one of many other intertwining elements.

Throughout the seminars, teachers and students become part of one big “parea” (company in Greek). Aside from the time spend in the classes, teachers and students play music together, eat together, talk about matters of common interest, share stories etc.

Summer Seminar Program 2016

June 13-18, 2016

Efrén López – Music Group, An introduction to Modal Music.

June 20-25, 2016

Efrén López – Hurdy Gurdy (zanfona)

Giorgis Manolaki – Bouzouki

Ross Daly – The structure & phrasing of Makams

June 27- July 2, 2016

Ido Segal – Improvisation in North Indian classical music

Ciro Montanari – Tabla and the rhythmic cycles of North India

Giorgis Xylouris – A journey into Cretan music

July 4-9, 2016

Evgenios Voulgaris – Yayli Tanbur & Makam

Murat Aydemir – Tanbur Through The Ages

Patrizia Bovi / Peppe Frana – Medieval Music

Pavlos Spyropoulos/Theodora Athanasiou – Accompaniment in modal music

July 11-16, 2016

Martha Mavroidi – Motif & Rhythm

Senih Űndeğer – Turkish style violin

Muhittin Kemal Temel – Ali Ufki, Dimitri Kantemir and 17th century Ottoman Music

Manos Ahalinotopoulos – Modal music in the world of the Greek clarinet

July 18-23, 2016

Tigran Aleksanyan – Armenian Duduκ

George Papaioannou – Violin 2nd Part

Uğur Önür – The music & instruments of the nomads of South West Anatolia

Yiorgos Mavromanolakis – Oud for less advanced students

July 25-30, 2016

Kourosh Ghazvineh – Kurdish Makam with Tanbur

Arslan Hazreti – Kamancha

Ivan Varimezov – Gaida, Balkan rhythms and repertoire

Tzvetanka Varimezova – Bulgarian choral singing

August 1-6, 2016

Hooshang Farahani – Iranian Tar & Radif

Daud Khan Sadozai – Afghan rabab

Periklis Papapetropoulos – CİHAN TÜRKOĞLU- Saz

Djamshid & Bijan Chemirani – Τhe poetry of rhythm

August 8-13, 2016

Yurdal Tokcan- Turkish Oud (Master Class)

Göksel Baktagir – Kanun

Eleonore Billy – Nyckelharpa

Christos Barbas – Music Group: The Instrument as a Voice

August 15-20, 2016

Ahmet Erdoğdular – Classical Ottoman Singing

Ömer Erdoğdular – Ney

Derya Türkan – Kemençe

Periklis Papapetropoulos – Lavta

August 22-27, 2016

Ross Daly – Modal composition

Kelly Thoma – Lyra with sympathetic strings

George Papaioannou – Violin 1st part

Adel Sαlameh – Arabic Oud

August 29- September 3, 2016

Zohar Fresco – Frame Drums (Master Class)

Harris Laμbrakis – Rhythmic improvisation

Vagelis Karipis – Percussion in Greek tradition, Rhythms & Techniques

Peppe Frana – A modal perspective

Anna-Maria Hefele – Over-tone singing (Master Class)

September 5-10, 2016

Zacharis Spyridakis – Cretan Lyra

Michalis Kontaxakis – Cretan Mandolin

Giorgis Manolakis – Cretan Laouto

Fragiskos Baltzakis – Askomantoura

More information at http://www.labyrinthmusic.gr/en

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Artist Profiles: Abdel Karim Ensemble

Abdel Karim Ensemble
Abdel Karim Ensemble

Formed by professional musicians from several countries (Syria, Egypt, Morocco and Spain) and under the direction of Abdel Karim, this ensemble has the purpose of studying and popularizing Arabic classical music.

Its repertory includes music from throughout the Middle East, from Turkey to Egypt, ranging from the 16th to the 19th centuries. Abdel Karim Ensemble also performs Andalusian Arabic music, a genre that originated in Al-Andalus, Islamic medieval Spain, where it was cultivated as a poetic-musical form known as Muwashaha.

Andalusian Arabic music has been preserved not only in the Magreb (Morocco, Tunisia, Algeria and Libya) under the name of Andalusian Music, Maluf, etc, but ratherit has had great influence in the countries of the Middle East such as Syria, Lebanon, Egypt, etc.In these countries, Andalusian music has been cultivated with great zeal and without hardly changes to the tradition of the Muwashaha, conforming the nucleus of the Arab-Andalusian Music of the East, called this way in memory of its origin.

This Eastern Arabic cultured music tradition must be distinguished from the one preserved in the Magreb by its musical, rhythmic and literary differences.This repertoire can be regarded as early music and classical music, born in parallel with the Baroque and classicism of the Western musical tradition. Its language is, therefore, of an enormous wealth, unlike Andalusian music, which uses scales that are very close to western music.

One can point out the use of the quarter tones, perfectly written within a very complex modal system called Maqam, as well as subtle rhythmic formulas called wazn, of difficulty that parallels its beauty.

The instruments used have been around for centuries in Arab countries: the Nay (Arab reed flute), the Kanun (Arab zither), the ´Ud (Arab lute) and the percussion characteristic of this music: Darbuka, Bendir and Riqq, presided over everything for the melodious voice of the Mughanni (singer) that weaves with skill the feeling of the music with the refined beauty of the poetry.

At the end of the 19th century European bowed instruments began to be adopted. First it was the violin and then the cello and double bass, performed with a different, perfectly coordinated with the traditional instruments.

Although he started from a solid classical training, soon he went searching for music rooted in the past, such as music from the Middle Age, the Renaissance, the Baroque period or Arab Classical Music, learning from Moroccan masters in Tangier and TetuanDamascus (Syria), Spain, Italy, etc., and performed these styles in ensembles such as “The Earth is Flat” (Medieval Music), “Neocantes” (Renaissance) “Lúdicus Consort and Divertimento Musicale” (Baroque) and Al-Baraka (Traditional Music of the Middle East and The Magreb).

Abdel Karim has learned the Maqam (Mode), Wazn (Arabic rhythmic patterns), the technique and interpretation of the Nay with the noted specialist in Middle Eastern music Noureddin Acha, in Tangier. He has also received classes from Ziyad Qadi Amin, (Ensemble Al-Kindi) considered the best nayati (nay player) of Syria.At the moment he is deepening the knowledge of this fascinating art with diverse Arabic music specialists. He was director and professor of the Municipal Classroom ofMusic of Aracena, 1992-96 in the subjects of transversal flute and recorder flute.Abdel Karim was the founder and director of the Festival of Ancient Music of Aracena (Huelva) 1994 to 1998, as well as coordinator of the First Festival ofAncient Music of Ubeda and Baeza.

Jakaranda

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International Ney Meeting

ney
ney
Greece – On Saturday the 11thth, Sunday the 12th and Monday the 13th of October 2003, the Cultural Organization En Chordais – Musical Traditions of the Mediterranean – is organizing an International Ney Meeting in Istanbul.

The International Ney Meeting is taking place within the framework of the MediMuses project, whose field of action includes research, educational and artistic activities in countries of the Mediterranean. The International Meetings are considered to be of the most significant activities of the project, as they focus on the musical instruments of the Mediterranean.

MediMuses project, which is part of the broader European Union supported Euromed Heritage II program, aims to research and recompose the elements of the common Mediterranean Music Heritage.

During the International Ney Meeting nine of the most distinguished Mediterranean ney (or nay) performers will teach and present their style, technique and repertoire, by giving master classes and recitals. As side events, lectures on the historical evolution of the instrument will be given by researchers and musicologists (Dr. Cem Behar, Dr. Mahmoud Guettat, Dr. Walter Feldman, Mr. Fikret Karakaya and Mr. Hossein Omoumi).

The selection of the performers ensures that all the different schools that have flourished around the Mediterranean will be presented with their different style, technique, and repertoires.

Timetable of the International Ney Meeting

Saturday 11th of October 2003

15:00 – 16:30 p.m. Master Class – Ali Tufecsi

16:30 – 18:00 p.m. Master Class – Haris Lambrakis

18:00 – 19:30 p.m. Master Class – Slah El Manaa

19:30 – 21:00 p.m. Master Class – Samir Siblini

Sunday 12th of October 2003

10:00 – 10:30 a.m. Kyriakos Kalaitzides opens the lectures.

10:30 – 11:00 a.m. Lecture by Fikret Karakaya: “The Ney in the history of Turkish music and the role of Niyazi Sayin”

11:00 – 11:30 a.m. Lecture by Mahmoud Guettat: “The Ney in the Arabic musical tradition”

11:30 – 12:00 a.m. Lecture by Walter Feldman: “Sufi and seculars in the history of the performance of the ney in the Ottoman Turkey””

12:00 – 12:30 p.m. Lecture by Cem Behar: “The Ney in Ottoman Turkey”

12:30-13:00 p.m. Lecture by Hossein Omoumi: “Ney in Persian Music: from past till nowadays.”

13:00 – 14:00 p.m. Intermission

14:00 – 17:00 p.m. Open Stage

19:30 – 20:00 p.m. Concert – Ahmed Sahin

20:00 – 20:30 p.m. Concert – Haris Lambrakis

20:30 – 21:00 p.m. Intermission

21:00 – 21:30 p.m. Concert – Rachid Zeroual

21:30 – 22:00 p.m. Concert – Samir Siblini

Monday 13th of October 2003

10:00 – 11:30 a.m. Master Class – Hassan Faqir

11:30 – 13:00 p.m. Master Class – Ahmed Sahin

13:00 – 14:30 p.m. Master Class – Hossein Omoumi

14:30 – 16:00 p.m. Master Class – Rachid Zeroual

19:30 – 20:00 p.m. Concert – Ali Tufekci

20:00 – 20:30 p.m. Concert – Slah Eddine Manaa

20:30 – 21:00 p.m. Intermission

21:00 – 21:30 p.m. Concert – Hassan Faqir

21:30 – 22:00 p.m. Concert – Hossein Omoumi

22:00 – 22:30 p.m. Concert – Suleyman Erguner

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