Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Dunya Ensemble Traces 1000 Years of Istanbul Music on a Massive Double Album

Boston-based Turkish music group Dunya Ensemble has two new double albums out. The first of these is the lavish A Story of the City…Constantinople, Istanbul, a dreamlike, surreal and sometimes ghostly creation. These are the ghosts of centuries past, a homage to a melting pot that’s been a hotbed of musical cross-pollination for over a millennium. Conceived by multi-instrumentalist bandleader and Turkish music maven Mehmet Ali Sanlikol, it’s a sometimes drastically original take on about a thousand years worth of music. Sanlikol rightly sees Istanbul as a hub where genres from across the silk road, and beyond, mingled and created brand-new sounds, to which he adds his own eclecticism as an indie classical composer with a jazz background. Confusing? A little. This is an album to be enjoyed as a buffet: an atonal avant garde overture leads into a series of dark choral pieces – whose melodies date from the middle ages – to a graceful baroque waltz, lots of clanky lute-and-voice pieces where the Middle Eastern scales are just starting to emerge, and eventually rock. Depending on your personal taste, you may want to completely resequence these tracks; on the other hand, fans of choral music have a feast of mini-suites on their hands here, as do fans of 20th century Middle Eastern music. The big choral works are delivered by the powerful voices of Boston renaissance choir Schola Cantorum and Ensemble Trinitas; the Janissary music is by Janissary band New England Mehterhane. Many of this album’s 40 tracks clock in at around two minutes, although there are also some epics. It’s a mammoth undertaking and ultimately a mammoth triumph for everyone including the listener. Sanlikol has said that this music is not meant to reflect any sense of contentment: instead, in a city composed of foreigners, unease is the usual state of mind, and that’s usually the case here.

The first disc begins with that atonal overture, followed by what sounds like a series of Hasidic cantorial ngunim with hints of Middle Eastern microtones – this mini-suite grows gradually more complex in its counterpoint and arrangements. There’s a brief, stately Byzantine Palace diptych with clanking lutes and a rustic waltz; quaint European Crusaders’ ballads; dark ominous plainchant melodies capped with fiery zurna (Turkish oboe) cadenzas; an absolutely lovely choral miniature that could be Andrea Gabrieli; and a lumbering, explosive vamp with thunderous bass drums to close it out.

The second is where the readily identifiable Middle Eastern modes coalesce and eventually catch fire. Bits of raga and casually crescendoing improvisations for various lutes personify Istanbul, then other waves of outsiders arrive, adding their own tonalities to this rich stew. The Turks’ vivid contribution to Greek music is acknowledged by a slowly swaying, nostalgic Smyrniki ballad, while Greek melodies and Egyptian rhythm slink their way in as well, the klezmer element represented by a bracingly brassy dance tune. The ngunim of the first cd get lush, rich orchestration a second time around and dance out joyously. Perhaps with intentional irony, what sounds most overtly Turkish only appears toward the end: a gorgeously brief dance, a muezzin’s call and finally an irresistible 1970s style Mediterranean disco/funk epic. Eclecticism has never been more lavishly successful than it is here.

Advertisements

November 30, 2011 Posted by | middle eastern music, Music, music, concert, review, Reviews, world music | , , , , , , , , , , , , , , , , | 1 Comment

Concert Review: Erkan Ogur and Ismail Hakki Demircioglu with the Dunya Ensemble at Drom, NYC 10/11/08

If looks could kill, the bar along the club’s back wall would have been littered with lifeless bodies. One of the Boston-based Turkish traditional group the Dunya Ensemble’s percussionists cast a contemptuous glare at the crowd in the back who wouldn’t stop talking. Before the show, he’d made an entreaty to the sold-out crowd: “This music comes from silence and is best enjoyed in silence,” he explained poetically. Perhaps the majority of the audience, pressing toward the stage, agreed enthusiastically. In the back, some clearly did not. This was the closing party for the most recent Turkish Film Festival and since pretty much everybody had been sitting and watching in silence for the better part of the day, there was a faction here who weren’t up for standing in silence for another hour, or maybe another minute. Which on one level makes perfect sense, although it’s hard to imagine anyone wanting to talk through a set of music as otherworldly beautiful as the group onstage were playing. The six musicians – the highly regarded Erkan Ogur and Ismail Hakki Demircioglu each playing lute, accompanied by saz (a three-stringed Turkish instrument that sounds much like the Persian tar), harp and two percussionists – ran through a mix of sacred and secular songs imbued equally with longing and riveting beauty.

 

Everyone except the harpist sang, a chorus of powerful, soulful baritones who would murmur, low and intense and then leap to a passionate crescendo. When all the stringed instruments were going at full volume, the blend of jangly, plinking textures was as bracing as it was hypnotic. Traditional Turkish music frequently uses the Arab scale, but not always, making frequent use of fifths and octaves which, while neither major nor minor, often create a forest of eerie overtones. It was those tonalities ringing quietly in the excellent sound mix that imbued a considerable portion of the music with a haunting, ethereal feel. A couple of numbers featured just a single lute backed by percussion and a chorus of voices; another early in the set had a beautifully rustic, pastoral feel. The group’s two best songs were stately, slowly crescendoing, hypnotic anthems, the first built on a deliberate, three-chord descending progression that hit a potent crescendo as the chorus kicked in. Like a considerable amount of music from the Middle East, much of the group’s material featured extended introductions, whether vocal or instrumental, giving each player the chance to solo. By the end of the night, the group (along with many people in the crowd gathered by the stage) had managed more or less to shush the crowd at the bar, in fact drawing many of them in to see what their fellow concertgoers had found so captivating.

October 12, 2008 Posted by | Live Events, Music, New York City, Reviews | , , , , | Leave a comment