Παιδιά, βρήκα ένα αγγλόγλωσσο κείμενο, που συνοπτικά εξηγεί τις σχέσεις ανάμεσα στον αμανέ, το gazel και τα αντίστοιχα αραβικά άσματα. Είναι από το πρόγραμμα μιας συναυλίας που έγινε με τη συμμετοχή Τούρκων, Ελλήνων και Αράβων καλλιτεχνών:
THE IMPROVISED LOVE SONG
During the latter days of the Ottoman Empire some of the most popular singers of commercial songs in Turkish were the hafizlar, individuals especially trained to create improvised vocal renditions of The Holy Koran in Arabic. It was usually only these same hafizlar who were considered up to the task of singing gazel, the highly prized free-rhythm improvisation on secular love poetry, a practice which has a number of parallels in Arabic and Greek music, as well.
These parallels in other traditions generally show up with other names. Among Greek singers, the closest practice to gazel is perhaps the amane. Among Arabic singers, the equivalent forms would be mawwal and layali. The Greek amane usually comes before the singing of a composed song and usually employes words like “aman, medet aman”, expressions for which there is no literal translation. The Arabic layali, which is a vocalization using the syllables “ya layl” (again, there is no literal translation), and the mawwal, which uses a poetical text in colloquial Arabic, can both go on for extended periods of time, longer than the average Turkish gazel. The folk equivalent of the classical Turkish gazel is called an uzun hava and tends to be less freely improvised than the gazel, although it resembles the gazel, amane and layali in its highly expressive improvisatory quality and in its free rhythm. While the tradition of gazel-singing is more often associated with poetic texts in Ottoman (the Turkish-Persian-Arabic mixture spoken by the Ottoman elite until the 1930s), the uzun hava uses poetic texts in colloquial Turkish.
Each of these improvised song traditions has a different style and complexity of its own, with love the most common subject. Among all of these traditions, the degree of spontaneous improvisation can vary drastically, depending on the singer. The differences in vocal color among the traditions will also be obvious to even a first-time listener. But despite their unique qualities, all these forms can co-exist, and in fact communicate with each other, as will be apparent in the second half of this concert, which features a three-way conversation among Turkish, Greek and Arabic musicians.
Unfortunately, the vocal improvisation traditions in all three of these communities are gradually loosing the popularity they had at the beginning of the 20th century. In Turkey alone, as much as one quarter of all the 78 RPM recordings from this early period were gazels. Today there is hardly a single new recording in which gazel is featured, making this evening’s concert a commemoration of past traditions, even as it explores new collaborative possibilities which we hope will contribute to the continued vitality of all three.
PROGRAM
I. Gazel from Greece to Turkey and Syria
Amane and “Mana mou Hellas” (folk song)
singer: Theodoulos Vakanas
“Makber” (anonymous) and gazel
singer: Mehmet Ali Sanlikol
Uzun hava and “Gozunu toprak doyursun” (folk song)
singer: Guc Basar Gulle
Mawwal and “Duaa mawlaayah”
singer: Albert Agha
“Bakmiyor cesm-i siyah” (Haci Arif Bey) and gazel
singer: Mehmet Ali Sanlikol
II. Surrounded by double Gazels
Double gazel and “Sallasana mendilini/Sala sala” (Turkish and Greek folk song)
singers: Mehmet Ali Sanlikol and Theodoulos Vakanas
Gazel and "Donulmez aksamun ufkundayiz (Munir Nurettin Selcuk)
singer: Mehmet Ali Sanlikol
Mawwal and “Qul lil Malihati” (words: Al-Darimi music: Sabah Fakhri)
singer: Albert Agha
Double gazel and Ada sahilleri (Turkish folk song)
singers: Mehmet Ali Sanlikol and Albert Agha
Εύα
