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FRAGMENTS FROM THE MUSIC OF WHIRLING DERVISH CEREMONIES

Listen to the Ney how it tells a tale complaining of separations.

KUDSI ERGUNER Nay flute

Sunday 26 April 2020 at 7pm

Donations: £10.00 (Students: £5.00)

THIS EVENT IS POSTPONED


There will be an automatic waiting list in case of overboooking, please follow instructions from Eventbrite

 DOORS OPEN AT 6.15   

Please note that latecomers cannot be admitted

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KUDSI ERGUNER, one of the foremost nay masters of our times, is particularly famed for his activities helping to introduce Ottoman and sufi music to the world with internationally acclaimed projects and recordings. He lives and works in Paris as a musician, composer, musicologist, teacher and author.

Erguner comes from a family of Turkish musicians. His contact with many famous musicians from the older generation, who continually passed through his parents house, and his involvement with various Sufi brotherhoods, whose music and teachings Erguner studied, left their decisive marks on him. He received his training directly from his father, Ulvi Erguner, who was the last great master of the Nay.

Kudsi Erguner studied also architecture and musicology in Paris, he has given concerts and played in major festivals throughout the world and has researched the music of India, Pakistan and Turkey, grounded diverse music ensembles, recorded numerous albums and has worked with such well known artists such as Robert Wilson, Peter Gabriel, Maurice Bejart, Carolyn Carlson, Peter Brook, Didier Lockwood, Michel Portal, Tony Gatliff, Marc Minkovsky, Alexandre Desplat, Bartabas, Sarkis, Marcus Stochausen, Nusret Fathi Ali Khan, Christof Lauer, Renaud Garcia Fons, Michel Godard, Jordy Savall, Fazil Say.

Erguner has thus made authoritative contributions to world music. He has documented and revived nearly forgotten musical tradition and brought them to the attention of the Western public, securing them a place within Europe’s cultural inheritance in this way he did also initiate the renaissance of the Ottoman Classical and Sufi music in Turkey.

He has devised many original projects for the International Music Festivals. He released more than hundred CD mostly dedicated to the different aspects of the Ottoman music and published four book in french. In 1981 he created the MEVLANA association in Paris where he teaches music and Sufism according to the original tradition. He also gives conferences on Sufism and its music all over the world, and steers twp small communities connected to the Mevlevi tradition, one in Paris, the other in Histanbul.

 

He is been designated as a UNESCO Artist for Peace in May 2016. He was also awarded an honorary doctorate by Bulent Ecevit University in Turkey in 2014 and by the University of Arts Audiovisuels Scopje in Makedonia in 2018.

In parallel with his concerts and activities, he works as a professor at the Rotterdam Conservatory (CODARTS) and leads a master class (Birun) at the Cini Foundation - Venice every year.

 

NEY FLUTE

 

Listen to the Ney how it tells a tale complaining of separations 

 

 

Thus begins Mathnevî's first couplet, the Ney is, here, a metaphor for the human being.

 

The reed (Ney), before becoming a flute, is separated from its natural environment, after being cut, it’s been hollowed out and cleaned by red-hot rod.

 

Man experiences a similar feeling of separation from his divine origin, even if he does not remember it; he is subjected to a state of forgetfulness and distraction from the moment he is clothed in flesh and submitted to his own nature.

 

The plaintive sound of Ney evokes this state of separation, Its melodies are similar to the words of the accomplished Man.

 

Anyone who hears his melancholy speech is placed in a state of recollection, of recalling his state of the pure spirit. As a result, the Ney was listened to in the Sufi brotherhoods of the Mevlevi order with the same attention as listened to Rumi himself. Because in this poetic metaphor the Ney is Rumi himself.

 

 

THE CEREMONY OF SAMÂ, the Sufi brotherhood Mevlevî, disciples of Mevlânâ Djalâl ad-din Rûmî (1207-1273), is known in the West under the name of "Whirling Dervishes". The ritual of Samâ (listening) is considered as an invitation and preparation for a state of the soul to become into union with the One.

The ritual is formed by two stages, first long meditative moments followed by a procession and the whirling movement.

 

MUQABALA: (meeting) The most important part of this ritual consists in greeting each other with respect and stands face to face because the one who refuses to greet the Man would be worse than the Devil.

Only after praying and meditating will the emotion turn into motion.

This part is accompanied by a prelude (Peshrev) of procession.

 

MOVEMENT. In this second part, listening to a musical work called Âyîn specially composed by great musicians of classical music on the poems of Rumi initiate the danse called sama. These compositions are masterpieces of the world of modal music (Maqam), by their size and refinements we can compare this musical form to oratorios of Western music. The musical form of Âyîn is made up of three anonymous works dating from the 15th century. Structured by four parts called Selâm which are composed on well defined rhythmic cycles. Kudsi Erguner propose to interprete with his Ney a selected repertoire of various parts of the Ayins on several maqâms.

 

                          PROGRAMME

 

Fragments from the :

 

- Âyîn Pendjgâh composed by Abd al Rahmân Molla Djamî (1414-1492)

 

- Âyîn Bayâtî composed by Kûçek Dervish Mustafa Dede ( ?1683)

 

- Âyîn Segâh composed by Buhurîzâde Mustafa Itrî (1640-1711)

 

- Âyîn Hidjâz composed by Nâyî Osman Dede (1652-1729)

 

- Âyîn Adjém-Ashîrân composed by Hüseyin Fahreddîn Dede (1854-1911)

 

- Âyîn Ferahfezâ composed by Hammâmîzâde Ismâil Dede (1778-1846)